Ф Е С Т И В А Л Ь И С К У С С Т В А F E S T I V a L Experiment's
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VI МЕЖДУНАРОДНЫЙ ФЕСТИВАЛЬ ЭКСПЕРИМЕНТАЛЬНОГО ИСКУССТВА VI INTERNATIONAL FESTIVAL EXPERIMENT’S ART 12 24 АВГУСТА 2006 КОМИТЕТ ПО КУЛЬТУРЕ ПРАВИТЕЛЬСТВА САНКТПЕТЕРБУРГА ЦЕНТРАЛЬНЫЙ ВЫСТАВОЧНЫЙ ЗАЛ “МАНЕЖ” РАБОЧАЯ ГРУППА Лариса Скобкина куратор Фестиваля Николай Васильев Алёна Войнова Максим Сурин (Эстония) организатор проекта “Открытые пространства и их обитатели” Henry Grahn организатор проекта скандинавских стран Наталья Жестовская организатор российскофинской программы перформанса BELARUS BABASJANTS SERGO МИЗИН ВЯЧЕСЛАВ BARCZEWSKA ANATKA NEFORMAT – МИНКЕВИЧ ОЛЬГА ENGLAND BATALLER DANIEL PERFORMANCE GROUP МИШИН ВАЛЕРИЙ BELSER ANSELM МИШИНАВАСЬКОВА АННА ESTONIA BERKENHOFF ANA PINK PUNK FINLAND BONTSUK ANDREY PERFORMANCE GROUP МОСКОВСКИЙ МУЗЕЙ ESTNA MERIKE СОВРЕМЕННОГО GERMANY GENNADIEV ANDREY С.П.О.Р.Т. ИСКУССТВА GOLDBACH CLEMENS B. PERFORMANCE GROUP IRAQ GRAHN HENRY THE HAFLER TRIO НОМ ISRAEL GRANBERG URBAN КАГАДЕЕВ АНДРЕЙ HENNINGS ROBERT АНТИПОВА ЛИДИЯ КОПЕЙКИН НИКОЛАЙ JAPAN HYRSKYLAHTI SAMI АФРИКА СЕРГЕЙ NORWAY JÕGEVA SANDRA БАРЫШЕВ СЕРГЕЙ НОРИНА ЗОЯ KURISMAA KAAREL БАСКИН ИГОРЬ RUSSIA KALAMEES KRISTIN БЕЛЯЕВ АНДРЕЙ ODDDANCE ТЕАТР KALDALU MEELIS БЛОХИН АНДРЕЙ ЖЕСТОВСКАЯ НАТАЛЬЯ SCOTLAND KAMINSKY NICOLE M. БУГАЕВ ВЛАДИМИР ГЛАЗУНОВ ГРИГОРИЙ SPAIN KELLER RAUL БУКОВСКАЯ ТАМАРА СЕМЕНОВА АННА KHATIB AMIR ВАСИЛЬЕВ НИКОЛАЙ ИЛЬЯСОВА МАРИЯ SWEDEN KIWA ВАСИЛЬЕВА АЛИНА KIRBY LYNN ГАЛЕЧЬЯН ВАЛЕРИЙ РУССКИХ МАРИНА USA KOCH MONIKA ГЕННАДИЕВ АНДРЕЙ СУВОРОВ ИВАН KUMELA KIMMO ГЕННАДИЕВА АЛИСА KURISMAA MARI ТЕАТР “САТУРН” LÕO ANDRES ГОСУДАРСТВЕННЫЙ ГУСЕВ АЛЕКСЕЙ MALKIA PASI УНИВЕРСИТЕТ MALKKI MERJA АЭРОКОСМИЧЕСКОГО ТРАПЕЗНИКОВА ЕЛЕНА АНГЛИЯ MARKOVSKI ANTON ПРИБОРОСТРОЕНИЯ ТРЕТЬЯКОВ ВЛАДИМИР McKENZIE ANDREW АННЕНКОВА ЕЛЕНА УШКОВ ИВАН БЕЛАРУСЬ MIYAKAWA M. CHAPA БЕЛОНЕНКО АЛЕКСАНДР ФРОЛОВ ДМИТРИЙ ГЕРМАНИЯ OLE KAIDO ИГНАТЬЕВ МИХАИЛ ЦЕРЕТЕЛИ ВАСИЛИЙ PEDANIK MARTIN КОВАЛЕВИЧ РОМАН ЧЕЖИН АНДРЕЙ ИЗРАИЛЬ PEHKONEN ANNE ЛЕКАРЕВ МИХАИЛ ШАБУРОВ АЛЕКСАНДР PIQUER JORGE МАКИН АЛЕКСЕЙ ИРАК PRAUST ARNOLD МАКИН ПЕТР SHAKIN MANAS ИСПАНИЯ RINGDAL OLAV НИКИТИН АЛЕКСАНДР КАЗИМИРОВ ВАСИЛИЙ SAMMET KAAREL ОВОДЕНКО АНАТОЛИЙ КАЛИНИНА ЕЛЕНА НОРВЕГИЯ SURIN MAKSIM ТРОШИН СЕРГЕЙ ЛЕВИН ЛЕОНИД TIITSMAA MARGUS S. ШАПОВАЛОВ ЕВГЕНИЙ ОБЛАПЕНКО ПАВЕЛ РОССИЯ TOOTS TIMO ПАВЛОВА ОЛЬГА США TREEPEE MAKS ГУСЕВА ЛЮДМИЛА ПОРОТИКОВ ЕГОР WOLFF KARL ЗАЙГОТТ ГЕРМЕС ФИНЛЯНДИЯ ЗЮЛЬКОВ ВИТАЛИЙ ШВЕЦИЯ ANSELM BELSER КОМЕЛЬФО ВЛАДИМИР PERFORMANCE GROUP КОПЫЛОВА КСЕНИЯ ШОТЛАНДИЯ КУЗНЕЦОВ ГЕОРГИЙ FESTIVAL OF NON КУЧКАРОВА РЕЗЕДА ЭСТОНИЯ EXISTING BANDS – ЛИТВАК СВЕТЛАНА ЯПОНИЯ PERFORMANCE GROUP МЕЛЬНИК АНДРЕЙ EMPTY SPACES AND THEIR OCCUPANTS MAKSIM SURIN МАКСИМ СУРИН We are a part of space and space is not something ESTONIA ЭСТОНИЯ static and solid; it arises in a constant negotiation between space, object and viewer, time or dura tion, the relational understanding of orientation, movement. This are some of the fundamental ba sics for experiencing/understanding space and Since 90ties started to investigate visualization of sound, worked thus ourselves. with realtime video improvisations and projections for theater, con ‘The space’, in most western societies is disappear temporary dance, opera and wide range of electronic, jazz music. ing as a focus of the ‘person’,in favour of imagined Organized series of openplatform experimental events exploring and imaginary ‘spaces’ that rely on temporal rather than physical, and that ‘the space’ can be said to electroacousticvisual space. Lately working on interactive objects, be living in the person. kinetics and light. Founder of independent film studio / neformat /, Our experiences, then, are constantly oscillating producing documentaries, video art, animation. between the expectations we bring with us;gestures, postures, language and movement suddenly come to assume a very special form that seems to be guided and controlled by the institution’s demands. This enforced orthodoxy, which finds its parallel in the consumer culture’s marketing strategies, where the standardizing regimentation of the consumer promises greater profits to the market. But this does not stop the external spaces from being imprinted. Beauty is a question of interaction, not a fulfillment of certain culturally valorizing expectations. We ex pecting physical input from the audience, and us investigating the audience’s experience of naviga tional interfaces. The atmosphere itself is never NEFORMAT completed, but constantly modified by those who : Arnold Praust, are present in a system of continuous feedbacks. Maksim Surin, Andrey Bontsuk, Being made aware of the true nature of one’s sur roundings is a first step towards a dialogue:and to Sergo Babasjants, Anton Markovski enter into that means that an approach can be made to see the self as it is, and not as it likes to think it is. By moving towards this state, it can be said that the breaking down of the habits, armour and illusory coatings of the self can begin, and that the possibility of a real ‘I’ begins to emerge. Andrew McKenzie and Maksim Surin SUPPORT: KULTUURMINISTEERIUM, KULTUURKAPITAL, KAASAEGSE EESTI KUSTI KESKUS, ENTERPRISE ESTONIA KIWA КИВА ESTONIA ЭСТОНИЯ Kiwa is an artist whose practice includes a wide range of media: music/soundart, texts/books, performance, social sculp ture, badpainting, video, installation, critics, conceptual projects in media and public space. His art draws on poplifestyles, youth and club culture and the counter cultures as well as cryptic texts, multimedia lectures, theories and practices in the field of microliterature, pseudoidentities and mystical conceptualism. He is the organizer of noise/soundart platform *metabor* and the Festival of NonExistent Bands ANDREW McKENZIE ЭНДРЮ МАККЕНЗИ SCOTLAND ШОТЛАНДИЯ THE HAFLER TRIO: The Hafler Trio is Andrew M. McKenzie (from Newcastle, England С currently residing in Tallinn, Estonia) working in the field of psychoacoustics and sonic research. Since 1982, The Hafler Trio has produced a prolific body of work involving art, science, sound, religion, comedy and philosophy С emphasizing a dynamic balance and interplay of ‘body’ ‘mind’ and ‘spirit’ over any one of these. McKenzie has previously worked with members of Cabaret Voltaire, Clock DVA, Nurse With Wound, Psychic TV, Whitehouse and Zoviet France. Andrew has also collaborated with performance artists John Duncan and Annie Sprinkle, exFluxus artist Willem De Ridder, artist/designer Neville Brody, and sound/poetry artist Z’EV. Recently, The Hafler Trio are concerned with the ramifications of technology and the creation of the most extreme, all inclusive experience as possible, that ‘resonates’ over a period of time lasting much longer than just the physical time it takes to apprehend it, and affects and engages all levels of being. KAIDO OLE КАЙДО ОЛЕ ESTONIA ЭСТОНИЯ Kaido OleArtist’s statementRhythm and routine, everyday life with all its forecast sides, exactness in details, long lasting processes, skills and experiences, focussing on something, humour and absurdity, restrictions and limits if I try to name only some of my sources of inspiration or important parts of my way to make art. Lately I have recognized that ethics gives also the key to solve even esthetical problems. Things will become the same, if I started making art taking world apart now these different parts of the world would start to get back together again. And the most important answer will wait me in the very end of the whole trip, that’s what I’m sure of. MARTIN PEDANIK МАРТИН ПЕДАНИК ESTONIA ЭСТОНИЯ Martin Pedanik’s brand characters have existed among us for a couple of years. Their first coming was on leaflets and posters but they did it powerfully: in large quantities, proliferating, billowing and bending, acquiring new faces and changing masks. At first it seemed that it is just the cleansing of design – Pedanik drowned out the noise around the characters and was constantly moving towards the simplest possibilities. The front ground was stripped clean, the background was eliminated, the forms to be used where defined. But with the rap artist’s conviction, Pedanik started to repeat his characters methodically he injected them into side projects, found foster parents for them, made an exhibition of them. With this kind of repetition a question arises, are they really just design problems or are we talking about little devils, tricksters and werewolves? True, they do not act in secret and in the dark but in public and even noisily watching us from behind Pedanik’s back or from the urban space. But this doesn’t make a difference. Pedanik has encircled himself with rows of ghosts mythological creatures making it pointless to talk about functions any more, not even about what we can see (as customary in view of design) but about that which Pedanik keeps quiet about. I really am not sure if it is a good idea to look those characters in the eye. KAAREL KURISMAA КААРЕЛ КУРИСМАА ESTONIA ЭСТОНИЯ Kaarel Kurismaa has simultaneously cultivated kinetism and abstract painting thrughout his career. He has also worked as a decorator, an animator and teacher. The most original side of Kurismaa? work is his kinetic objects, although numbered among those recluses who devoted themselves to abstract painting, he has been one of the most uncompromising artists from the 1970 until the present. The artist almost always manages to realize his idea in his kinetic works with playful ease and without any visible effort. This is not always true of his paintings. One can sense tenseness, inner uncertainly and subsconsious dissatisfaction with the