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Collective Exhibition – From Friday, March 18 to Saturday, April 2

Online School of Contemporary Art "Concept"

Russia / 16'40
Galerie Dolet, Crous Clermont Auvergne, 25 rue Étienne Dolet, Clermont Ferrand

The only art school in Russia where artists and curators work together on a diploma exhibition and learn to cooperate during their studies. The annual program consists of 4 modules, 3 months each. The school participants are students of one of 5 regular workshop online meetings (5 workshops for art practices and 1 curatorial). At the end of each module the school has open online screenings with invited experts and events, organized in different cities.

The system of workshops and intermediate screenings has been transformed to online: it contributes to the formation of an interregional community, and varies depending on the feedback of students. The basis of the educational model is an emphasis on practice, each curator makes his own exhibition or curatorial project with the participation of art students.

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Videoart and Сommunication Strategies : Regular workshop by Evgeny Granilshchikov

The workshop focuses primarily on working with a moving image and uphols the discussion format of meetings. We are talking about films, video installations, video performances, structural cinema, video essays and video as a way of communication.

As part of the workshop, we analyze by examples how videos created for a museum exhibition differ from those created for cinema screening. We discuss artistic strategies for young artists, and also learn how to combine different media into a single project. Videoart today is perceived as a post-cinematic practice with a non-trivial relationship between sound and a moving image. This counterpoint, as well as installation methods of working with audiovisual works, are primarily the focus of the workshop’s attention. Working with digital media today, we raise the question of the lost narrative and the narrative capabilities of databases.

The workshop’s process is based on discussion and analysis of personal projects of student participants: from the stage of concept development to rough installation and, further, to the exposition solutions and participation in screenings. Analyzing the practice of videoart masters and the context (personal, historical and cultural), we learn to discover our own strategies and methods of working with video.


Parsing the second / Mary Logvinova / 2021 / 2’20

The video is called Parsing a second because it is created from a video that is 1 second long. The second was divided into 24 parts-according to the number of frames that the human eye can fix. These parts, in various variations, became the molecules of a new video about excitement and anxiety, during the editing of which I tried to recreate the experience of working with film and to clearly demonstrate how many visual possibilities are hidden even in 1 second of the video. No framing, cropping, or superimposing was used during editing.

You hear a home in a dream / Mariyat / 2021 / 1’55

A girl is sleeping in a car. The car is taking her somewhere she hasn’t been for a very long time. We can only imagine where she is heading. What if it’s all just a dream?

untitled_dance / Daria Akimova / 2021 / 5’33

The project is based on the found footage — a video of a striptease of an unknown woman. As an author-woman I work with the mechanisms of using a female body’s image in culture and the public field. By slowing down, fragmenting and constructing a new corporeality (embodiment), I reflect on the possibility of deconstructing sexuality, its reassembly and confrontation to appropriation, lack of freedom and the tools of liberation. At the same time I work with split screens to talk about the viewer’s eye, attention and participation in these processes.

untitled 2 / Karina Scherbakova / 2021 / 2’53

In the video, I work with a text, written and performed by a person I know, whom I had asked to describe their feelings about sadism and the role of submission in the manifestation of his own sexuality. I find images for my own sadistic clichés. At the same time, during the playback of the cliche, either I constantly listen to this text read aloud by my respondent, or I pronounce the text myself after playing it back.
I inevitably lag behind in speed and several times make mistakes in pronunciation, misunderstanding the source text by ear.
I also rely on personal impressions from the interview, taken on the eve of the shooting and not included in the video. I include a scene which reproduces the rubber band game I loved in childhood, according to rules that I complicated a little; here, while filmed, the subjects do not know about the topic of the completed work.

Tree Roots Growing Upwards / Danielle Form / 2021 / 4’09

Some people are like uprooted trees. They have no solid ground to grow like others. So they move a lot in order to find it. But it’s impossible for them to stop because it feels like dying.
Perhaps it was an earthquake or a civil war, or something in their blood that caused it. Over the course of time the reasons were forgotten.
Memory of a lost home haunts them. And maybe there is still a chance to recognize it in things, in smells, in sounds, in other people.


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