I Don't Believe in Anarchy

‘And so I hid in caverns in the mountains; I began to wander, like a meteor’

A random seventies newsreel from the artists’ hometown in Soviet Siberia forms the substratum for a relentless exploration of representational and narrative strategies: without ever collapsing into a ‘story’ or abstraction, the film recants the relationship between analogue and digital, surface and reference, sense and experience, past and present. –Thomas Zummer

“The surface of a thing is not part of it. Thus the surface of water does not form part of the water, nor does it consequently form part of the atmosphere. Then what divides water from air?” To Leonardo da Vinci’s question, the poet Daniil Charms answered: "The water is like a wheel."

The birth of a new era in the first years of perestroika with its enthusiasm for clairvoyance and the dying practice of shooting on film are both contained within a single minute of screen time, during which a mnemonist ‘recalls’ an infinitely large number displayed on a board behind him.

Tsyrlina’s radical found footage film subjects frames and sequences taken from Soviet propaganda about women’s equality to a cinematic archaeology, unearthing a sensuous and discreetly subversive movement within the material’s interstices and ellipses.

By intertwining different visual layers, the artists introduce pluralities in processing sensory information. They engage in new forms of visualisation in the configuration of possible worlds. With escape goat they want the work to create itself 'on its own terms': unsteady and strange, untethered to familiar orders of mediated perception.

jason from the lake is an imaginary, nomadic electro-industrial band that has existed forever, yet debuted live in 2024 at the legendary Bad Bonn Kilbi Festival. Emerging from the Siberian experimental noise scene of the 90s, their performances weave dense electro soundscapes with visuals, creating immersive night rituals, haunting collages and visceral audiovisual experiences that bridge memory and technology.

Taking as a starting point an artist's own paintings, long lost, and recasting what a work can be with interventions of digital post-cinematic processes, a minor piece of damage explores the space between the vanished place of referential origin and its re-presentation as a cinematic 'artefact'.