2010 – Cyland Video Archive

Bootscreen

Darya Cherkashina — Wed, 21 Jul 2021 17:44:24 +0000

In constant chaotically changing space, there is one constant dimension – the defective pixels shown in the film. Only casually deteriorated fragments remain stable in the course of loading and expectation. Despite seeming simplistic and sending to ready-made video, it is possible to consider boot screen as a high-grade film. Scripted soundtracks, a storyboard, become an intrapersonal installation at a post-production stage. Shootings were made from the monitor in a special non-glare film studio. A bright dot defect is a group of three sub-pixels (one pixel) all of whose transistors are“off” for “TN” panels or stuck “on” for “MVA”/”PVA” panels. This allows all light to pass through to the RGB layer, creating a bright white pixel that is always on.

Elagin – Bootscreen 1

Elagin – Bootscreen 2

Elagin – Bootscreen 3

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Home

Darya Cherkashina — Thu, 12 Jul 2018 15:11:23 +0000

Inspired by stories and diaries of astronauts who have spent a long period on orbital stations, “Home” keenly conveys lacking earthly connections and recalling them.

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End of Fun

Darya Cherkashina — Wed, 19 May 2021 16:54:09 +0000

“End of fun” is Episode 3 from the series “Life and Adventures of WHITES and BLACKS”. The film’s technique is the animation of clothing “without people”. The behavior of clothing when there is no person inside them differs significantly from their behavior when on people. Everything is black-and-white.

Alexeeva Manya – End of Fun 1

Alexeeva Manya – End of Fun 2

Alexeeva Manya – End of Fun 3

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Dirt

Darya Cherkashina — Tue, 01 Sep 2020 22:28:38 +0000

“Drink a glass of water, eat a slice of bread, but I’m sickened, my brother, to sail across the blue sea! The evil fate ruined us, stripped me of my precious dress”

In former East Prussia young women living on the Curonian Spit were considered the worst brides, practically dowerless. The soil on which they were living – partly sandy, partly clayey – was infertile. Usually only poor fishermen from the Lithuanian side of the Curonian Bay, the “Curonians”, married these women. A girl had no right to see her husband prior to the wedding – he sent a boat for her and she went to the other side of the bay. After the wedding these women rarely came back to visit their families. Their parents never knew whether to rejoice or to sadden – their daughters became fishermen’s or peasants’ wives and all that was awaiting them on the other side was the same wasteland, the same poor soil, only separated from here by a thin strip of water.

A boat was sliding on the bay surface. In it were two black figures – the rower and his bride. They are barely distinguishable, the girl was only standing out with her high headdress and a broad dark ribbon that came out and was tumbling in the wind.

This is a typical for that time and place wedding outfit of a Curonian’s bride: a dress made of rough black linen, black ribbons and a black homespun kerchief. No colors, mourning dominates. A mourning for her young life, for her parents’ house, for her motherland. The Curonian women only put on a white dress (the best clothes) on several occasions – christening, communion, a farewell to the motherland (prior to the marriage). A farewell to the motherland was a crucial ritual that was obligatory for each bride leaving their parents’ house.

And so she went, in her best dress and jewels, throwing herself in ditches, in a slow flow of clay, and there she was lying, long, trying to plunge deeper into the ground, to penetrate, to nestle. And then she rose up and went to the water to wash the dirt off. This actions of dipping in dirt, rising and going to the water were the soul of the heavy process of saying goodbye to the motherland. And being heavy here is not just a figure of speech and description of the state of one’s heart – clay was sticking in-between all creases, sleeves and the hem, so that the clothes went extremely heavy and bulky and impeded to make several steps at a time.

A total dissolution. A hand clutched tightly, trying to grab the ice-cold spur of spring water trickling down a slope, eyes open and lost, working it to the bone to grasp and to remember: that tree over a ditch with its roots sagged and weary branches, her dirty ugly hands, hair stuck together, a torn lace of the dress, a dim string of pearls, a strip of sand, an old boat that grew into sand up to its rowlocks and a boat in the distance. It slides smoothly and easily and will be here in an hour.

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Turn

Darya Cherkashina — Tue, 01 Sep 2020 15:08:10 +0000

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Time, forward!

Darya Cherkashina — Wed, 15 Jul 2020 19:49:54 +0000

Time, Forward! is a well-known musical piece in the former USSR, which was composed by Georgy Sviridov for the film glorifying the builders of Magnitogorsk Steel Plant in the 1930s. Jürgenson used it as a soundtrack for her footage representing workers from the former USSR, who are grading and packing fruits in a British factory.

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Workers of the World unite!

Darya Cherkashina — Wed, 15 Jul 2020 19:34:38 +0000

In her new video film Jürgenson decorates cake sponges with political statements; after Workers of the World unite! is piped on the top of the first layer, Jürgenson covers it with cream, walnuts and another sponge, where she pipes Glory to Capitalism!

The artist reflects on the radical changes in the political system of the former Soviet republics. Sweet cake and the statements beautifully piped from icing sugar promise new sweet life, which requires a change of political system to attain. In reality this transformation can be very tough.

Slices of double-layered cakes were offered to the visitors of the opening of Olga’s solo exhibition Glory to Capitalism! at The National Centre for Contemporary Art in St Petersburg; delivered daily from a local bakery, slices of cakes with identical statements were offered to the visitors of the exhibition at the Worsted factory in Ekaterinburg during Ural Industrial biennial in 2010.

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Lots of letters

Darya Cherkashina — Wed, 15 Jul 2020 18:39:50 +0000

Spatial composition in the forest. Performance documentation.

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Zoo

Darya Cherkashina — Thu, 16 Apr 2020 21:09:50 +0000

Zoo is the film largely focused on the concept of female solidarity.

According to our survey in collaboration with sociologists from Undependent institute of sociological research and Smolnii university /st-Petersburg ,female friendship poorely compares with male brotherhood.

Why is this happening? Answering this question can take a lifetime.

The research preceded the film. We created the situation of temporary club called «Laments about men». We have written our scenario based on listening to a number of stories. One of the women represents a wide-spread symptom of a «manlike woman», a female, whose conscience is constructed by patriarchal dominating attitudes. She is successful in her career, but pathologically unhappy in her lovelife. The other heroine represents conservative female position. She is all pity and she is unusually passive in her actions. Both women are wrong. They are the victims of the system and will continue being unfree untill they realize their symptom and strart acting.

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Sutrapeze

Darya Cherkashina — Wed, 08 Apr 2020 22:42:12 +0000

Moving between the floor and ceiling of her living room, Sue performs an extraordinary daily ritual in a domestic setting. We see memorabilia of her flying above the streets of London. The creaks of ropes and the sound of breathing drown out the intimate silence.

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