Dec 13, 2019

Cyland Media Festival in New York

Personal Mythology Program
30 John Street 
DUMBO, Brooklyn, NY 11201 
On View: Dec 13th - 23rd 
Works by:
Anton Vidokle / This is Cosmos, 2014
Anton Ginzburg / Constructivist Drift, 2016
Olga Tobreluts / The Manifest of Neoakademism, 1998
Polina Kanis / Formal Portrait, 2014
Sid Iandovka, Anya Tsyrlina / Horiz┼Źn, 2019
Almagul Menlibayeva / Butterflies of Aisha Bibi, 2010
Alexandra Lerman / Tree Time, 2019
Between myth and reality
At the turning-point of eras, new philosophical and aesthetic narratives are born. Their adepts and heralds are artists and scholars who are sensitive to the fabric of time and create myths. There is a rich tradition of myth-making in Russian art in the post-Soviet space: Moscow conceptualism, pirate television, neoacademism, necrorealism, medical hermeneutics. Today, Russian and American artists appeal to the study and mythologization of global layers of civilization: to the classical heritage, the ancient epic, the avant-garde, ideas of Russian cosmism and urbanism, ideology, gender and mass-media. This program gives a cross-section of significant works connected with the philosophy of Russian cosmism of Anton Vidokle and the mythology of neoacademism of the pioneer of media art Olga Tobreluts, to computer experiments and new artistic practices of perception through non-anthropocentric awareness.
This video program presents the cult film for Petersburg culture, “The Manifest of Neoakademism” (1998) inspired by the founder of the movement Timur Novikov. The author of the film is Olga Tobreluts (Russia), a pioneer of media art in Russia. The work of Anton Vidokle (USA) studies the roots of the phenomenon of Russian cosmism. Anton Ginzburg (USA) projects masterpieces of constructivism and urbanistic theses from the 1953 treatise by Ivan Shcheglov. Almagul Menlibaeva (Kazakhstan) turns to the national epic and through it conveys the gender ideas of our times. Alexandra Lerman (USA) models perception of nature through the consciousness of trees. Polina Kanis (Russia) reveals the frustration of ideological rituals through performance.