Special installation


synthetic work
composer Dmitry Kurlyandskiy
artists art group PROVMYZA
duration: 66'
producer: Anna Gor
curators: Ksenij Anufrieva, Andrey Nosov
actors: Pavel Alechin, Alexander Shulpinov
camera: Andrey Skvorzov
MASM (the Moscow Ensemble of Modern Music)
NoName Ensemble (Nizhny Novgorod0
eNsemble (St. Petersburg)
conductor: Fyodor Lednyov

Dmitry Kurlyandskiy
"Impossible objects were created as a manifest of my theory of "objective music".
The essence of the theory is the minimization of the subjective presence
of the author and the cast when creating and performing the production plus
the subordination of all composition processes to either set or newly
discovered "objective" structure, which determines the organization of time
and the distribution of the work's material."

"A number of slow shifts combined in a relative sequence is dedicated to
the theme of inevitability. In correlation with music they create a forcing
and never ending tension. A human body is suggested to be seen as
an "impossible object". The body is naked and it doesn't think about itself,
being in hand of another human who deliberately and continuously shifts it
in time and space, intentionally creating certain events that lead to purity
loss: body in the sand, body in the soot, wet body, steaming body in the cold. Everything happening becomes an object of a visual emotional experience
of a disturbed existence of a body, accompanied by other "impossible objects" dragging behind, always demanding flesh, plant and animal matter. "The body
in hand"
guided by the oblivion makes a long way to the mountain where
it meets the end of "revival".

The Impossible Objects Project was created by request of the “Future Music”
Festival; it is presented at various sites: the Seventh Studio
(the Platform Project, Cntre for contemporary art WINZAVOD, Moscow);
Arsenal museum (NCCA, Nizhny Novgorod) and the New Stage
of the Alexandrinsky Theater.
The project was sponsored by the Ministry of Culture of the Russian Federation;
the Platform Project; the Volga Branch of National Center for contemporary
arts and the “Cultural Capital of Volga Region” Foundation;
Pro Arte Foundation.



“Three string quartets for one video”

first project in the frames of the “Synthetic” program of The National Centre
for Contemporary Arts (Volga region), started in the year 2007.
Specially made new video work “Confusion” by artists of the “Provmyza” group was suggested to three composers (Georgy Dorokhov, Aleksey Nadzharov,Aleksey Shmurak)
as foundation for musical reflection.
Minimizing dynamics of the work, the artists present an opportunity for
a spectator to observe change of heroes' reaction from surprise to curiosity,
from concern to confusion, as well as gender differences of perception, male
and female behavioral patterns. Mentalities of men and women are being tested.
The girls cannot handle the tension; their confusion ends in a passive form
of 'self-oblivion', an extreme form of anxiety- a faint. The boys' confusion transforms itself into fast-growing aggression towards the bushas animal form
for annihilation.
Interacting with video art and placing it in contrast to cinematographic
narrative, "Confusion" turns to theater subject. Esthetics and composition
of the work resembles a classic theater performance and at the same time
challenges it, turning young people, initially spectators, into main heroes.
Formally following rules of a soundtrack (timing, precise juxtaposition
of sound and video), three string quartets composed for one video actually
became a reflection of different perceptions of a visual work, its plot,
emotional state, metaphors, plot emphasis.
Presentation of the project – three consecutive premiere screenings of the “Confusion” video work which are accompanied by three different soundtracks
performed by the Moscow Contemporary Music Ensemble.
Curator: Alisa Savitskaya.

“ Three sisters ”
double channels video installation
exhibiton in Arsenal,Nizhny Novgorod
/04.40/DVD/Ch1 Ch2/
support:NCCA RF N.Novgorod/

Author's Statement:
One Similarly to three sisters from Chekhov's play, children face to a choice. They are given right to play degree of their decision importance, fraught with serious consequences. It is a certain theatrical performance for children, an aspect of competitive spirit and, at last, an element of entertainment. But children's imagination is those that their behaviour actually balances on the verge of "game-life". It becomes more similar to performance. The presented artistic interpretation of Chekhov's play is contained in performance behavioural strategy. Children play performance, which is similar to theatrical game and on the contrary. We have put the formal part of the project on brink of "game cinema", theatre, and artistic action playing a real situation.This mixture of genres has allowed us to delve deeply into and to aggravate the situation, presented in performance.

Characters inhabiting the Provmyza's  videos are passive, relative, as if time and place of their existence would settled exclusively by the moment of the action directed on them. In the Three Sisters project from Chekhov's play, children face to a choice. They are given right to play degree of their decision importance, fraught with serious consequences. It is a certain theatrical performance for children, an aspect of competitive spirit and, at last, an element of entertainment. But children's imagination is those that their behaviour actually balances on the verge of "game-life". Three sisters are a seductive and immersive contemporary video that based on a literary pre-text (Chekhov) combines two russian traditions – one deriving from the fantastic folk fairy tales and the second one with the ostranienie (V-) effect of the absurd, bizzare dada- based avantgarde.
Branka Bencic and Lorena Tadorni

“ Idiot wind ”
aero and sound installation
presentation on La Biennale di Venezia
51st International Art Exhibition
Russian pavilion, first floor
production:Provmyza2005/NCCA RF N.Novgorod

Extracts of the Interview
"Unlike painters who create visual arts/experimental film and video installation,
we decided to experiment by giving up the image altogether. The sense of touch is
one of the most permanent kinds of man's perception.
The sense of touch is perceived as unintentional and is taken for granted.
The body 'feeling' of an unseen object always goes
alongside nervous tension because it breaks the perception hierarchy:
seeing is prior to 'feeling'. Considering this we find wind the most attractive.
Modern machines are able to imitate air motion. This gave a possibility
to integrate the idea of wind into modern art giving
it a status of a most sociable art: man has to come into contact with wind.
The moving streams of air in the installation make an area
for individual contact. Individuality arises here as an event which
takes place here-and-now within the inconceivably short instant of a rush of wind.
The 'empty', windless areas are deliberately 'false' signs - simulacra
which provoke the audience into playing a tactile game of feeling wind
and feeling no wind. In fact we'd like to make the audience take part
in the performance in which the main part belongs to the tamed element
which still reminds of its power and whose image is created by the pattern of the audience's behavior. The plot develops from an unbearably light to strong wind,
from a slight breath of wind to supple and springy resistance,
to confrontation and collision. The force of physical action arouses
complex metaphysical feelings, and its visual minimalism suggests
numerous mythopoetic connotations of wind, air and elements.To achieve this,
a suite of three halls is required; behind the perforated walls of the halls
there are machines which produce wind. The installation space for the wind
is made of a homogeneous material, there are deliberately no visual emphases.
Besides the audience are disoriented by the dim light and unexpected streams
of wind of different strength. Yet the most important thing in the installation
is the marked borderline between play and real danger. By appealing
to the sensor and psychosomatic experience of perception the situation
is arranged so that the audience are exposed not only to the wind's tricks
such as a ruined hair-do or blown up skirt but the danger of cold.
That is why one's stay inside "Idiot wind" is limited to 5 minutes.
In the project we give the wind a possibility to carry a sound
or a word from one place to another. Children's voices cross
the empty areas carrying certain notions to the audience."


“ The Slippery Mountain ”
single channel video installation,
the projection on vertical,
concave construction that resembles a mountain
support:NCCA RF N. Novgorod/
production:Provmyza 2004/
The project is finalist for the All-Russian competition Arsenale 2004

Extracts of the Interview
Sergey: The word surfing' in the modern language describes
many different conditions which, I believe, carry anthropological meanings.
First of all it is Net surfing - interaction of Man with the Net,
with the information space. Besides it is a style of perception,
take for example skimming through books.
We intended the name to give the idea that surfing is a metaphor
of certain peculiarities of living in the modern world.
Galina: We'd like to add that the idea of surfing contains an archetypal message
from the world of recurring dreams familiar to almost everyone.
It is a message of the instincts to the rational parts of our mind.
The size of the projection display of about 5 meters high; the construction
in the shape of a sphere segment hanging above you and the low-frequency sounds
were intended to create an image of a sacred spot and mythological time,
a feeling of the sanctified and the dangerous equilibration.
One cannot get rid of these impressions; they keep challenging and provoking you.
That was why we decided to take several close-ups of our characters' faces.
Brief Synopsis:
"The sight of the extreme performance will remind a curious spectator of the horror
of the formerly endured nightmare, in which the spectator had to climb up and roll
down a steep slope, as well as of the punishment of mythic Sisyphus. Topical art,
as the artists assert, is the very potentially useful work the outputs of which are
useless in the framework of the existing society, and the work itself is endless.
But as Camus believed, a struggle to reach the top is sufficient to fill one s heart
with hope." /Lyubov Saprykina, Art Critic/



“ Ball,skate,racket,bicycle in aggressive attack "
four channels video installation
support:NCCA RF N. Novgorod/
production:Provmyza 2002/

Brief Synopsis:
The diagram of militant rhythms, images and sounds is intended to shock and
frighten the audience. The prestigious and fashionable attributes of basketball and
tennis defy the surrounding them radiance and turn into an assault weapon.

Author's Statement:
The installation manipulates with popular sports objects with the aid of computer animation. The trajectory of the objects' motion agrees with their real movements
in a sport game. Assault tactics are selected. The object keeps moving towards the camera. The multiplication of the sport objects within one projection by 4 similar ones represents a mass psychological attack. A special montage allows showing abstract visual effects, which are invisible for the naked eye, and which appear in the object's motion. A mathematically, accurately timed sequence of the sport objects' attacks (within one projection, as well as between different ones) adds the esthetics of rigid logical structuralism to the installation.



“ Falls and Rises ”
five channels video installation for 5 windows
support:The Mondriaan Foundation/
Installation version of media performance.

Brief Synopsis:
The project is specially designed for the demonstration in building windows. A line of five windows is used. The outermost projections contain images of "people-provokers". One after another, they run into the crowd of peacefully standing people and destroy it. The falls of one crowd (in one projection) leads to falls of another crowd (in another projection) resembling the chain reaction. The panoramic realization of the performance creates a metaphoric picture of a terrorist act. The imagery consisted of five simultaneous video-loops showing a group of people standing in a dune landscape, falling down, lying in the natural landscape and standing up in a continuous repetition. The reference to 9/11 is almost implicit, the images poetic, deliberately vague and set in a slow sideway motion as if they are moving in the wind in the dunes.The installation was shown on the day of the air attack on the Twin Towers of the World Trade Centerin New York on September, 11.



“ Interaction installation for cable,hand and flash ”
2 cables/2 speakers/2 flashes/

Brief Synopsis:
Installation makes use of light (flash) and sound (an electronic click) at their maximum peak expression, which originates in the direct contact of a low-frequency cable against a hand. Unlike a real-world situation, where it is not always possible to control a process, an installation is an artificially created situation and therefore easily controllable. When touching the cable, people feel a weak electric charge,a kind of alternative to light and sound, as it is not fully sensed by us. This working model reveals the essence of the "hidden threat" mechanism. People get involved in a "dangerous" interactive game. They create by their own electronic music, with luminous effects, and get an electric charge. Only time will show the consequences of this game.

“ Wet Chicken ”
single channel video installation
projection on aluminium board
support:NCCA RF N. Novgorod/
Installation version of videoperformance.

Author's Statement:
The image is projected onto a large aluminum sheet. This kind of screen material
creates a light-reflection effect which visually resembles water flow.
The vertical transformation drives the image into narrow, restricted limits.
The monotonous sound of the working ventilator creates additional suspension.
Brief Synopsis:
We are concerned with the theme of violence not the explicit bodily
or disciplinary kind of violence, but the kind of violence
which imperceptibly penetrates into the life of each of us
and destroys our freedom. The media environment around us harbors quite
a few sources of danger and compulsion, e. g. advertisements.
The advertisements intrude into our audiovisual space, subjecting us imperiously
to their rhythm, vocabulary, to say nothing of imposing things to choose.
Our "soaked hen" is a (ironic) metaphor of a weak-willed object of violence.
Soaking and drying the girl in front of the video camera
we deliberately achieved commercial attractiveness and high image quality.
There would be no difference between this work and
any to which the model girl was exposed when the commercial was being shot.
The aesthetics of advertisements can swallow up everything,
even the statement about the advertisements' abuse.
It turns one into a weak-willed consumption object.