Tereshko Alena – Cyland Video Archive

Home Odysseia

Darya Cherkashina — Fri, 24 Nov 2023 15:44:13 +0000

Alena Tereshko and Antti Kukkonen (Russia–Finland)

Home Odysseia project consists of drawings, objects resembling theatrical scenery, videos and performances with the participation of “stuffed toys”, authors’ friends who take a direct part in their everyday life.

In a presented series of short videos the family duo of artists Alena Tereshko and philosopher Anti Kukkonen introduces in their home world of stuffed friends Isovelikarhy, Possy, Tike and Naha. In the format of living dialogue they discuss relationships in society, differences between socialism and capitalism, history and politics.

«How do I see my relation to our teddy bears? Of essence is love. Without love, a teddy bear is only a thing, material substance. Following philosopher Max Scheler, I could state the following: With the power of love, they exemplify ever higher values, and it is us who by loving our animal friends, partake also in these higher values. In a sense our animal friends show us what love can achieve, when we also see how for others our loved ones are only stuffed things. When we compare these two attitudes, we understand a great deal on love.»

— Antti Kukkonen

Alena Tereshko is an artist living and working in Helsinki, born in Russia, 1986. Alena is particularly interested in the intertwining of contemporary and tradition, in the relation between images and perception, and, generally, in opposite categories and their points of contact.

Antti Kukkonen was born in Helsinki in 1975. He graduated with two master’s degrees, theoretical philosophy and political history from the University of Helsinki. Currently, Antti writes a blog and researches the philosophy of history.

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Field

Darya Cherkashina — Tue, 16 Jul 2019 15:29:11 +0000

Drawing herself without a mirror, a camera or any other equipment, the artist makes a play of perspectives open to her own view only, wherein the author’s personality stays “off screen”, invisible for viewers. “Field” is a variability, multiplicity. The field looks like a black hole, endless, ever expanding, but with boundaries (which only itself is aware of).

You can find a field anywhere. It is a basic concept. In the art world, we deal with models of a field – canvas or plane in a broad sense, with a screen which is a plane, too, but endued with time, with space (in music, sculpture, architecture), with text field. All these models refer us to the original which they are in a sense.

Roaming a field, we may run into a hole, then a hill, we may see a buttercup, then a rib grass. Virtually, they are all the same and they belong to the same field.

I look for a picture in the video, I try to make the picture be a photograph, drawings be a video, etc.

Field1

Field2

Field5

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A lot of things

Darya Cherkashina — Wed, 23 Dec 2020 16:19:01 +0000

For 10 minutes, the same text is repeated, with the same pauses, with the same intonation, in the likeness of a phone ringing. One phrase: “everyone has a lot to do, a lot to do, a lot to do, everyone is busy” – for all the abundance of contacts, in a noisy and swarming city, … Continue reading "A lot of things"

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Between two theatres

Darya Cherkashina — Wed, 02 Dec 2020 17:16:47 +0000

Between two theaters (Musical Theater and National Theater) on Kirov Square in the city of Petrozavodsk there is another theater – right on the square in the late evening you can see street racers. On the roof of the National Theater there is a camera that broadcasts machine choreography on the Internet. During the day, I noticed that the area was streaked with traces of tire friction on the asphalt, and for two or three days I painted over these traces with white, making them visible not only to me, but also to others. These traces record this theater of movement, it lasts in these static traces, it is his handwriting.

between_two_theatre1

between_two_theatre_1

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Just My Own

Darya Cherkashina — Wed, 09 Dec 2020 17:12:49 +0000

This performance video portrays the esoteric mission of an individual to have meaning beyond biological function or social expectations. Swaying on a foot, hugging and balancing potentially being both someone´s child and someone´s mother ‐ the artist makes a critical attempt to physically embody a role defined by one´s self.

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Second-Class Travelling

Darya Cherkashina — Tue, 16 Jul 2019 15:14:21 +0000

Materials for this video were filmed in the train from St. Petersburg to Astana. In the second-class carriage on the upper side of the shelf (this is the common place you get — when you buy a second-class ticket). I spend two days in the train, and this video captures all the highlights of the trip. In this piece, as in my previous work I try to explore the boundaries of the frame and the amount of the space which I can see through the lens.

This work is also the kind of social research for me. Trains and cars are the over social spaces, very often overcrowded as you can see it here. People are forced to go into crowd, to spend time among strangers and it is often quite uncomfortable. This space is perceived differently in connection with these terms, it is like a small separate life. Perhaps this is because of the constant movement, and that travelling always has the beginning and the end. Anyway, for me it is interesting not only because of formal but because there is also some history of human life.

Second-Class Travelling1

Second-Class Travelling2

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Sinewave

Darya Cherkashina — Wed, 13 Jan 2021 17:04:52 +0000

Media-object, video, 48” + 24 shots (3 ranges, 8 pieces in one range)

48” + 24 shots 10×15 cm, 3 ranges

16×9, 1280×720, HD, 48”, mute

The video starts as an exploration of a shot, specifically how a field of a shot that concentrates an event is created. The author fixes a try to keep the rising moon framed.The video was filmed on a boat rocking on waves. Then the artist divides the video into24 shots and makes a photo series which documents the process. The movements of the moon reproduce the wave sinusoid, shot after shot, the cause of the movement in shot.

Alena Tereshko Sinewave exhibition

Alena Tereshko Sinewave3

Alena Tereshko Sinewave2

Alena Tereshko Sinewave1

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The Grid

Darya Cherkashina — Wed, 25 Nov 2020 17:15:32 +0000

The video is a part of “The Route” project. It is based on watching monotonous rhythms through the window of the tram.

The work deals with motion and its perception, changing perspective inside a moving object and a static shot. The artist draws on the wall a structure, or a grid, fitting the picture frame where all the plots develop.

Alena Tereshko The Grid3

Alena Tereshko The Grid2

Alena Tereshko The Grid1

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Landscape

Darya Cherkashina — Fri, 29 Mar 2019 16:32:42 +0000

The author tries to comprehend video as painting. The main feature of a painting is flatness or two-dimensionality. In classical landscapes, artists tried to solve the problems of relations and subdominance of three-dimension space to two-dimension space, Spatial views were then of great importance – close-up view, mid-distance view, far-distance view. In Alena’s work the text becomes information load which once corresponded with every view of the image. The moving text in the video is borrowed from a real love letter, but it carries no real information but rather draws a graphic boundary between space views than carries any specific information.

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The girl from the Ural

Darya Cherkashina — Tue, 26 Dec 2017 16:30:10 +0000

In the video author as a character is setting behind the table. The plate full of «pelmeni» (authentic ural food) is in front of her. Wild flowers are sitting in the jar, muscas are fliing and wriggling along the tabble time to time. The young woman begins to eat pelmeni singing song the same time (it is russian folk-song «oh! My mother fancy for me» – and the point — to settle daughter). It is too much pelmeni in the plate for one person, but there is a tradition eat up food in family. And worse of it song which is go on muzzleful.

The idea was adjustment eating and singing, it is very tippical for russian. In this case it entailes astonishment and sympathy: endlessness of pelmeni, endlessness of the song (it consist of repeat), and suffering from all together: food, uncomfortable, unhappy personal life situation. One moment the girl begins to cry but stops cry, finnish with food, song and after go away.

Videostills:

ural girl3

ural girl1

ural girl 2

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