Jungsuk Noh

The Meaning of National Identity and Art in the Non-Contact Era

Jungsuk Noh(IVCAA President, Director )

Today, we are living in the era of integration into a single area of life. The daily news of the world can spread very rapidly and affect each other, especially due to the development of information and communication technology. In the non-contact era after the COVID-19, online is more active from individual to national exchanges, connecting the sites around the world through websites, like a web. The website activation and other various conditions require a multinational and multilateral platform, and our art sites also require a new way for culture and art exchanges in the non-contact era.
Under these circumstances, the multinational and multilateral platform network ‘ARTPLATFORM ON’ has been constructed online as an alternative to uncertain on-the-spot exchanges. It was proposed to restore contemporary art values and share art sites around the world through each country’s online exchange cooperation that can make us quickly communicate both contemporary discourse and art situations in the five countries. With this sharing platform, we aim to cope with the dynamic art flow of the world, organizing exhibitions with common themes and presenting discourses through common messages and conferences in the five countries.

Nataliya Kamenetskaya

I am Nataliya Kamenetskaya, the artist and the curator, since 2012 I have taken part in art projects in Gwangju city.
Here in the project, I am the participant and organizer on the part of artists from two of the countries represented at this exhibition, Russia and Israel.
I greet you at the opening of the “Art Platform ON”, at the online exhibition “National Identity and Contemporary Art”. I would like to express my gratitude to all the initiators and organizers of this wonderful project - the President of the International Association for Visual Culture and Arts No Jongsuk and her colleagues, the Gwangju City Hall, the curators and the artists representing their art from five countries.
I should like to thank the Creative Union of Artists of Russia and the Russian State University for the Humanities, supported the implementation of Russian-Korean joint projects in Moscow, which paved the way for our cooperation today in the endless world net space of the exhibition of works by artists from 5 countries at Art Platform ON.
In 2015-2018, in the context of projects dedicated to the 30th Anniversary of the establishment of relations in the field of culture and arts between the Russian Federation and the Republic of Korea, exhibitions with the participation of artists from the Republic of Korea were successfully held in Moscow; our participation in this project "Art Platform ON" was also preceded by planned, but not yet implemented projects of international exchanges in the field of culture and art - exhibitions, ideas, art residences, master classes, etc. between the Republic of Korea, Russia and other countries ... The Art Platform, presented by Korean colleagues today, is the next stage of artists' communication in the context of the emerging world order, the onset of which will activate the epidemiological situation of the past two years.
In the post-covid era of minimizing contacts, the need to search for new ways of exchanging culture and art is actualized. But Jungkook invited colleagues from 5 countries to start building a multinational and multilateral networked online platform as an alternative to today's unreliable field exchanges - and she did. My colleagues and me, in our turn, are working on the creation of an international online platform in Israel and Russia, so that, in accordance with the program announced by No Jongsuk, “Through the joint public-private cooperation from five countries, we will share contemporary discourse on both art and the current situation of each country for five years, and communicate and connect art sites around the world, like a web, by restoring contemporary culture and art values and expanding each country’s online exchange cooperation. "

Nataliya Kamenetskaya

Alexandra Dementieva

Art Platform ON - National Identity and Contemporary Art

Contemporary art combines different styles and ways of expression.
This is one of the most important anthropological practices for describing and reflecting the world around us, and it develops along with it.
The current process of globalization has a profound impact on society. Large-scale international migrations leads to shifts in national cultures and identity, and the population of many countries become more diverse.
Brussels known as one of 20 major cities in the world where one-fifth of all migrants live. After Dubai, Brussels is the city with the highest percentage of foreign-born residents.
And it is no coincidence that the works of artists participating in the exhibition, reflect a multicultural rather than national identity.
Concept of cultural identity can be used in many ways. It can be used as a reference to the collective identity that the group embodies and reflects or the concept revolves around the identity of an individual in relation to his/her culture.

Displaying art online is not a new way to cross borders, but a well-organized web art platform can be a great tool to make an artist known and strengthen connections between the public of different countries.

Alexandra Dementieva

Isabella Indolfi

Isabella Indolfi is an independent curator living between New York City and Maranola (Italy), and working between Europe, Russia, Armenia and the United States of America.
Since 2009, she has been developing and producing projects in collaboration with artists, institutions, festivals, galleries and museums. She approaches contemporary art from the perspective of public, social, spatial and relational aspects. With graduate training in Sociology and Cultural Studies, her curatorial research is focused on site-specific and community-based art practices.

Isabella Indolfi is currently holding multiple positions: she is MA Candidate in Human Rights and the Arts at Bard College in New York; she is independent researcher for Opere Vive; curator for public programs at the Embassy of Italy in Armenia—commissioned by the Minister of Foreign Affairs and International Cooperation of Italy; member representing Italy in the Manager Committee of “Writing Urban Places” in COST European Cooperation in Science and Technology; founder and art director at SEMINARIA Biennial Festival of Environmental Art; co-curator for Cyland Media Art Lab.

With a research focus on the impact of communities and environments on media art projects, Isabella Indolfi gave lectures at the Goldsmiths University of London and at the Manchester Metropolitan University School of Art.
She was recently Resident Curator for Residency Unlimited in Brooklyn, New York.

She curated exhibitions at museums such as the MACRO Museum in Rome (Italy), the Youth Center of The Hermitage State Museum in Saint Petersburg (Russia), the Cà Foscari University in Venice (Italy), the Cafesijan Museum in Yerevan (Armenia), and the New York Media Center (USA), among others. She has also collaborated with various international festivals such as Romaeuropa Festival (Rome, IT), Festival dei Due Mondi (Spoleto, IT), Cyfest (St Petersburg, RU - Caserta and Venice, IT - New York City, USA), Media Art Festival at the MAXXI Museum in Rome (IT), among others.

Pascal Girard

First I would like to thank Noh Junksuk for this beautiful project of a virtual exchange as part of the ARTPLATFORM ON exhibition.
Personally speaking, I am not very familiar with this kind of virtual exchange, since without doubt I am rather attached to a more traditional way of encountering and discovering artworks. Nevertheless in the context of the cancellation of many art events over the past two years, this initiative appears appreciable.
Nothing can replace direct human contact as well as the contact with artworks, however this virtual exchange is more than welcomed in the current international health context which unfortunately is still difficult.
To reunite around forty artists, from 5 different countries and two continents, is truly a wonderful initiative. I am grateful for all the work that was necessary to carry out this project and I offer my sincere congratulation to all those who contributed in it.
As it was a kind of novelty, it wasn’t easy to respond quickly to the proposed topic, National Identity and Contemporary Art, but as with all new thing, it is a beginning that appeals to further developments.
So “long live” to this virtual exhibition, and through it to the many artistic and friendly contacts between artists from all over the world.

Pascal Girard

Kwon-Kyungae

My work expresses the image of the most beautiful word in the world, ‘mother’. My works are filled with time to reflect on my mother, who pursued a new life every day and did her best. They are also existential traces of missing my mother, who passed in 2000 leaving four calligraphic works "Sangsunyaksu" and a note of 10 commandments she lived by.
My recollection of my mother, who always had a righteous and quiet character, extends from my mother to our mothers. Her body as the basis (foundation) of all lives and her warm, sublime spirit are sublimated into my repeated writing of "mother" based on the symbolism of red and blue.
Since 2020, I have been reflecting on the cycle and return of everything in the universe and trying to make new visual changes and broaden my perspectives through the installation of gravity-defying works.

Jungsuk Noh

Sarang(LOVE), 53.0x45.5cm, Mixed media, 2019

Hangeul – Korean language – represents our people’s sensitivity. This painting has a similar feeling to Hangeul and expresses "love" with the flow of colors using the stencil technique. So, its image looks like letters or its letters look like an image

Byun Kyungsup

Infinite dots in her work thus ring a bell with anyone who has experienced hardship and frustration; they represent a pledge not to live a life of skipping stitches, a decision not to escape from the suffering that has come, and a belief that it will be meaningful even in this difficult time.

Shin Sun Yun

When I saw the giant cacti, They remind me of tall buildings in the city.
Cacti leaves became thorns to survive in barren areas.
The buildings in the city are getting simpler and higher like cacti.
I wish that the world we live in would be beautiful like cacti that can bloom colorful flowers although they look simple and rough.

Lim Jeongeun

『Clue of Profondeur』 Kim, Sung-Ho(Art critic) 2019. 1.

Short and short... Lim JeoungEun’s recent works tried to convey the essence of the world. Also, it is possible to notice that she has been continuously experimenting with the projection and reflection of light since she began this series. Polished glass or metal surface, that is, her most frequently used artistic medium, reflects and transmits light ray. Her visual experiment with the depth of light and color applied some scientific principles by showing that colored shadow of light that goes through glass objects has higher brightness as it overlaps. Lim JeoungEun also created mixed-up ‘images of multiple subjects’ for photography through overlapped layers. In this way, many of the works in this exhibition reveal the way in which Lim JeoungEun has explored the basic elements of visual language, and create illusion effect of image, shadow, and color.

CHUNG, KYOUNG-YEON

KYOUNG-YEON CHUNG's fiber art work with the subject of 'gloves' opened up the possibility of various expressions in fiber art. By using the decorative and flat fiber material of gloves, the experimental spatial vocabulary of the development of 'fiber art' was formed into a new modern art with a rich and experimental unique style and positive evaluation. The mutual penetration of each area revealed in the work reveals the possibility of a new level of expression. By enabling textile art to express a new dimension, it boldly liberated the decorative flatness. Going beyond the initial vague state of bodily sensation, we are reaching a bold expression that evokes an impulse that is sometimes even disturbing.

Ju Rayoung

What do you see

A human expression staring at the world reveals fear of the unknown world and rejection of a flashy phenomenon away from its essence. The life that is disappearing from moment to moment was expressed in a flowing texture, and the fundamental question of existence was described with the facial expression of an unstable moment. Why were humans born? What do I see? Do the things I'm looking at actually exist?

Hong Joo

I am an artist and a PhD in Art Therapy.
I find historical sites where national violence took place and perform performances through drawings and gestures. Or, perform a performance to revive plastic-contaminated beaches or disappearing creatures. Most of my performances are site-specific, and they are a healing good that tells the truth and sympathizes with pain. It's like a shaman's ritual. I often speak in a drawing performance for the present democracy at 518 Democracy Plaza in Gwangju. Artists from all over the country are holding an exhibition in solidarity for the citizens of Myanmar who are resisting the military coup. I work as a healing artist and communicate by creating content that heals group trauma through sand animation.

If even one person walks while lighting a candle, the barbed wire disappears. For a freer world!

Alexandra Dementieva

Alexandra Dementieva’s main interests focus on social psychology and perception and their application in multimedia interactive installations.
Her interactive installation projects attempt to widen the mind’s potential for perception using different production materials: computers, video projections, soundtracks, slides, photography, etc. By making certain historical, cultural and political allusions, her exhibition locations create the frame within which the idea develops. The projects explore the spectator’s depths of perceptual experience and the interaction of the individual spectator with the exhibition as well as with other visitors. The subject of an installation or its production method becomes less important to her than the mind of the user. Thus the latter becomes the center of the project or the main actor in the performance.
She took part in many exhibitions in the most important Russian and foreign cultural institutions, including the State Hermitage, MMOMA, FILE festival in Sao Paulo, Centro de la Imagen in Mexico and so on.

Javier Fernandez

Des images non représentatives. Développement d’une image ,toujours la même et toujours différente, mouvement et changement chromatique doux et fondu ,linéaire. Demandant du temps et attention pour s’immerger. Sans début ni fin théoriquement , comme formant partie d’un continuum plus vaste. Dégageant une sensation calme et fluide.

Il y a un fond sonore mais pas de musique.

Ce qu’il n’y a pas
Ce sont des videos sans récit ni scénario ni acteurs, non militants, non idéologiques,non représentatifs, purement plastiques, visuels.

Jeanine Cohen

Jeanine Cohen (1951) was born in 1951 in Brussels, Belgium. She studied at La Cambre School of Visual Art (ENSAV) in Brussels, where she still lives and works. Jeanine Cohen’s works have been exhibited in museums and galleries in Portugal, Iceland, Belgium, Germany, France and Poland in solo exhibitions as well as group exhibitions. Her work also consists of site-specific projects for corporate and private institutions. Jeanine Cohen’s works are part of private, public and corporate collections in many countries.

Jeanine Cohen worked with canvas and acrylic painting but since 2000 she has been experimenting with diverse materials like polyester, polypropylene and wooden structures instead of canvas.
The artist took the decision to divert the very substance of the painting by using printing techniques reserved for photography to make us dive into the color. The contradiction is only apparent. Everything is played out in the relationship between the materiality of the elements and ideal abstraction, skillful geometry and colored passages, frankness of the lines and blur of perception.
Digital impressions with oppressive geometry come to stage a violent confrontation between the flatness of the support and the air that seems to inflate the large prisms in flat areas of bold colors. Stifling the surface of the painting, their ineluctable extension seems only momentarily constrained by the edges of the canvas before the explosion.

Marianne Csaky

The Other Planet - Memories from the Future, 2021
145x95 cm, photo and charcoal drawing
I am currently working on a photo and film-based series called "The Other Planet," which is based on archive film newsreels. The characters in the films, people and animals, are put into today’s or future's versions of situations many decades earlier, and their common destiny can interpret history retrospectively.

Time Leap - Garden Series 1, 2007
6x9x9 cm, lightbox: sheet film, leadplate, alumiium wire, mirror, lamp
The Time Leap series based on glass negatives from our family archive. Inserting my present personality - from a recently taken colour photo - into the scene depicted on the old glass negative I rewrite my memories, and reinterperet the history both on a personal and small community level.

Reggy Timmermans & Beatrijs Albers

'Oscillatory Motion' is an interactive installation presenting three entities, which can be perceived as 'small robots', moving around between the audience and changing direction when encountering an obstacle. Luminescent vinyls on top broadcast a compilation of sounds and fiction film music of the 60s. The project attempts to trigger our memory space confronted with the human cosmological projections of a certain era, creating a chaos apprehended by the infinite and interactive movement of a world that can be translated mathematically.

Various Artists

Django Jane is a series of portraits that addresses the issue of gender and racial inequality in the art world. The project questions the under-representation of women and the systematic racial inequality in the art industry.
The world of classical music could very well serve as a case study to illustrate the fact that most art institutions are still primarily run by white male directors. It is also an environment where self-aggrandisement and vanity are seen as acceptable “additional qualities" of the composer. Classical music/composition education has traditionally been an expensive art form to be educated in, leading to social and geographical imbalances.

Diana Quinby

Diana Quinby is essentially a graphic media artist working exclusively in drawing and intaglio printing. In her large-scale graphite drawings, etchings and drypoints, the cropped human body becomes a territory for exploring the possibilities of line and mark-making. She wields her drypoint needle like a scalpel, probing intimacy and transcribing emotion through the accumulation of incisive, overlaid lines.

Luc Thiburs

Biography (CORÉElation IV)
Luc Thiburs was born in Normandy where he still lives and works. His artworks have been displayed in many countries since 1993: France, Netherlands, Spain, Sweden, Italy, Germany, Canada, China and Korea. His encounter with Korea and Korean culture developed a new research for his artworks on Korean paper “hanji”.
“Through his researches combining traditional and contemporary techniques of etching, Luc Thiburs shows a world on a fragile paper, where the misty architecture sharpens our eye and makes us wonder about this area where past and coming merge together.”
Anne Jaillette director of the Maison des Arts Solange Baudoux, Evreux.

Muriel Baumgartner

Muriel Baumgartner, draws, engraves, embroiders, using materials not often associated with
engraving techniques, and since 2003 has made the use of thread her signature.
She creates series of work, taking graphic notes developing into anecdote and narration, until the subject is exhausted.
Her work is both biological and biographical and today is at the crossroads of plants, animals and humans.

http://www.murielbaumgartner.com/
Facebook : Muriel Baumgartner Plasticienne


MURIEL BAUMGARTNER
Born in France, lives and works in Normandy.
Many group exhibitions In France and abroad.

1992 -Assistant to Bracha Lichtenberg Ettinger, artist-psychoanalyst for the preparation of a conference on the theme of identity, Ecole des Beaux-Arts in Rouen, The matrix in Jacques Lacan.
-Graduated National School of Fine Arts of Rouen
1994 1st prize of the Jean Claude Reynal Foundation, Fondation de France


solo exhibitions (selection)

2018 Rhizome, Gallery Solo, St-Leu-La-Forêt
2017 Dissonant gaps, Center d ’Art Les Reservoirs, Limay
2016 Castle Berson, Meulan, See Red
2013 Gallery R9, Saint Sauveur en Puissaye Cabinet of curiosities
2012 House of Arts Solange-Baudoux, Evreux, Over you
Arts center St Charles, Rosny-sur-Seine, Side by side
2011 Gallery Village d'Artistes, Rablay sur Layon
2010 Eva Doublet Gallery, Surgères
2009 Chapel St Jacques, Mantes La Jolie, I/ You
2005 Center of Contemporary Art Les Réservoirs, Limay, Canning
2000 Center of Contemporary Art, Gaillon
1996 Center of Contemporary Art, Gaillon, Labyrinth
Arts center Agora, Evry, Human rights
1992 School of Fine Arts of Rouen, The limbo still

Pascal Girard

I am presently working on the theme of tree, and nature old subjects which never leaved me after all theses years.
These are important pattern, which offer the opportunity to play on colors, movements, lights and textures, and also a very strong pattern symbolically speaking, to express emotions, time that goes by, life and death.
In differing series, the succession and the arrangement of pictures create variations of frames and colors and express a world in a perpetual change, where life is only composed by fugitive realities.


Prints :

« Memories of vanished times »
etching / 100 x 33cm / 2019

« Sunflowers »
etching / 100 x 33cm / 2019

Pierre Guérin

The engraver Pierre Guérin lives his art as an insatiable explorer. He works randomly while following a starting protocol, all according to a controlled instinct. The work is presented in a series, to arrive at a “single multiple” The printing itself takes precedence over the creation of the matrix. The pattern of the print can be drawn by him, taken up from his previous work, or sought through the work of the old print masters.

Sabine Krawczyk

My work is essentially inspired by nature and everyday life scenes.
I use a mix of different techniques of intaglio engraving: aqua-tinta, aqua-forte,
mezzotint and soft varnish with a particular interest for colour.
In addition to maintaining and valuing ancient techniques, I try to develop new
technical approaches in order to contribute to a contemporary perspective of
etching.

Galina Bleikh

Artivive app for smartphones

https://bleikh-art.gala-studio.com/absence.php

Galina Bleikh
In the 4D, knots are left behind!

The knot is a metaphor for tension. The challenges we face are not settled, knots are not untied.
Knots live in the 3-dimensional space only. Based on the Knot Theory, one cannot tie knots in the 4D. In our visible 3D reality, however, we have to invest efforts to untie things, and yet we do not always succeed in doing so.
Normally, humans are not able to sense the 4th dimension. Are there any means that still could help us gain this experience?
In VR, there are no physical limitations. Surfaces penetrate each other freely: the cords – and objects in general – can just dissolve into one another. In light of this, I suggest that VR can serve as a model of the 4th dimension and thus make it accessible for our visual perception. At any rate, untying knots in VR doesn't take much!

Artivi

Perelmania. The Topology of Bagel
My art project "Perelmania. The Topology of Bagel" is dedicated to the prominent modern mathematician Grigori Perelman and to his discoveries in the field of geometric topology, including that of the torus ("bagel"). The torus is a fascinating geometrical shape whose characteristics can serve as the basis for a model that describes the laws of the universe. I am also fascinated by the figure of Perelman himself: a man who is utterly fixated on his life's work, mathematics, and who has steadfastly rejected all extraneous things, such as prestigious cash awards and career opportunities.
It is known that various breathing techniques allow you to achieve a mind alteration. At this point, the brain is working at full strength. But geniuses, such as mathematician Grigori Perelman, do not need to enter an altered state of mind, they exist in this state.
I have created all the images of this series on the basis of the single public domain photograph of Perelman that is freely available on the Internet. If we create a composition out of several 3D models of "bagels" (tori) and "wrap" them with a map consisting of tiled photographs of Grigori Perelman, we will then create a "Perelman topology" of sorts, where the photographs themselves may be altered beyond recognition by the mapping algorithm.
In my project, the mathematician and his discoveries are merged into one, turning into a symbol of the infinite multidimensionality of the world. On the road to coming to grips with this multidimensionality, some outstanding individuals – geniuses – become guides for the rest of humanity.

Miriam Naeh

Sleep Dust, sculptural installation, 2020
Hybrid creatures shaped from my grandmother’s beddings are hovering over ceramic pottery objects, a vase and an ossuary. The contemporary ceramic objects conversing with similar findings discovered in funerary sites from the Chalcolithic period in the ancient Levant. The faces of the dead were engraved on them in an abstract and almost cartoon-like manner, representing the idea that the tomb is the dwelling of the soul forming not a figurative but a symbolic representation.
Similarly, this work is an archaeological excavation into personal and familial, biographical and imaginary layers. At my parents’ house, I grew-up amidst an abundance of eclectic memorabilia objects and knick-knacks that belonged to deceased grandparents, aunts and other more remote relatives. Among them, I have found a pile of bedclothes my grandmother sawed from fabrics she has found. These textile sawed by my grandmother to sleep in was passed on for the use of future generations. In the work, I am recovering the materials that my ancestors’ body laid on, that absorbed the time and function of sleep and dreams. They are reused as material for the construction of soft sculptures inspired by the imaginary creatures listed in Borges’ 'The book of imaginary beings' (1957)
Image courtesy © Jüdische Gemeinde Frankfurt am Main

Stinky Souls, Soles, and Holes, 3 ch. 4K video and sculptural installation, 2018
An ear which opens up into a long void cave, holes, a rotten tooth stuck in a slice of bread, legs coming out from a stage, a nine headed creature in search of meaning and a Pompeii man fossilised while masturbating:
'Stinky Souls, Soles and Holes' is a video and sculptural installation exploring the combination of history, fiction and storytelling. The three screens collectively construct one narrative, guided by the voice of a non-native English speaker. The script is an amalgamation of original text, David Lynch's screenplay for 'Blue Velvet' and Roberto Rossellini's 'Journey to Italy' (the Pompeii scene). The sculptures in the space function both as the audience and as a frozen architecture/archaeological element.

Nataliya Kamenetskaya

Nataliya Kamenetskaya

1. Passing the Israel night, mi ricordo Angel in Drena.
I painted this angel in the Open Air Museum had to be called Museum of Time, in mountains of Drena in 2003. It was the one of paintings from the series of angels with bird like faces, I still remember it even so far. https://www.annamagicart.eu/page_3/Nataliya.jpg
2. 313.
The CIRCUITS series of video installations are the authors’ vision-projections of the world order’s circular labyrinths. Project 313 is oriented to the level of the formation of the world from texts and numbers. In this case it is the number 313 that is connected with a series of the author’s projects and calculations.
Some numbers follow us, turning into fate; others have a power of a different order. For example, 313, a mirror image of 13 and 13, 31 and 31, is אחדש†, achadesh, I will renew.

Alexander Zakharov

The themes of this project are growing pains, adolescent fears and perseverance.
In this series of works, I drew from the plot of a very popular children's sci-fi novel from the Soviet period.
This novel 'The Unusual Adventures of Karik and Valya', in turn, is an interpretation of Lewis Carroll's 'Alice in Wonderland'.
All works are made using lenticular printing technique.

Kirill Goremykin

“Flight of Dron (quadrupter)” is the multimedia series of my artworks, based on a video filming performed by the drone controlled by me, from the porch of my house in the Tula region. It presents the animated narratives of some projections of a different visibility, and transparency. These visions of beings, events, sounds—continue their movement around in the process of transformation. My home-standpoint supposed to be a base of its stability.

Konstantin Khudyakov

1.
This is the NEW RUSSIAN FONT
All the 33 letters of the Russian alphabet.

2.
THE RED SQUARE
flooded with oil. And the heroes of Russian history MININ and POZHARSKY
wander through it.

Maria Ovchinnikova

1. “Broken vessel”
Installation: shards of glass, thermal glue, paint on glass, 2019
According to the teachings of Jewish mysticism, Divine Light was imprisoned in vessels that broke. And this catastrophic event formed the basis for the creation of the world. As a result, the sparks of holiness got into the world and along with them the fragments from the vessels, which carry the basis of evil. Broken and glued shards of glass, in which information is encoded, remind of an attempt to restore a broken vessel of Light.

2. “Book of desires”
80 х 50 cm, plywood, mixed media on canvas, 2021
Project of the Book for many readings, confused desires and unformed thoughts. The book is a repository of the unpredictable and incomprehensible.

Struchkova_comments

It is generally accepted that old mirrors contain reflections of everything that they have seen in their entire life.
I saturate antique frames with images of web archeology - animated gifs. The technique of the image is a volumetric lenticular printing that conveys animation. Often, images of the early Internet showed us something undeniably recognizable and natural - starry sky, rain or fire. They were displayed in a loop, in endless animation, a moment that has existed forever. I would like to feel this non-linear connection of times - the old frame, the GIFS of the 1990s, the ultra-modern lenticular printing technique and the natural elements that have taken on infinity with the help of the LOOP function.

Nataliya Timofeeva

Nataliya Timofeeva. Branches.
The project was implemented as part of the 6th Moscow Biennale of Contemporary Art
Museum of arts and crafts.

Organizing the exposition, the curators started a dialogue with the approach based on the cultural eras description by comparing artifacts, objects seen as a unity of functional and aesthetic properties.