THE 9th ANNUAL CYBERFEST BRINGS PUBLIC ART TO BERLIN
A Production of: CYLAND Media Art Lab (St Petersburg, Russia)
in cooperation with THE WYE (Berlin, Germany)
Curated by: Anna Frants
Artwork by: Alexandra Dementieva (RU), Elena Gubanova & Ivan Govorkov (RU), Anna Frants (RU), Marie von Heyl (DE), Gergor Kuschmirz (DE), Gaspar Battha (DE)
Vernissage: October 16, 2015 7pm,
By Invitation Only
Dates: October 16 — November 6, 2015
With landmark exhibitions drawing crowds of more than 10,000 to international art and technology exhibitions in St. Petersburg, Tokyo, Berlin, and New York City in previous years, the 9th annual CYBERFEST will pioneer a global public art program at three carefully curated venues in Berlin, London and New York.
For 3 weeks in Berlin, CYBERFEST ‘ s inaugural public art program will be presented at Kino Babylon, Urban Spree, and Direktorenhaus offering the public engaging and ongoing access to the very best in New Media. Presenting three accomplished Russian artworks alongside three select Berlin artworks, the CYBERFEST public art program will explore the curatorial theme of «Patterns of the Mind» transnationally and across the very best of art and technology.
Held annually since 2007, CYBERFEST is the first and biggest festival for technologically-based art in Russia. CYLAND is one of Russia ‘ s most active New Media art nonprofit organizations and has headquarters in St Petersburg, Berlin and NYC. CYLAND houses the largest archive of Eastern European video art online, organizes exhibits around the world and is the force behind CYBERFEST.
Urban Spree will present artworks from Anna Frants (RU) and Gregor Kuschmirz (DE).
Anna Frants‘ «Live am Renaissance» installation incorporates found footage and constructed soundscapes to explore the idea of live video streams as a building material for creative construction in the digital age.
Gregor Kuschmirz‘s «Shy Camera» calls to attention the nature of observation, privacy, and awareness with a quirky sculptural twist on the ubiquitous surveillance camera. Unlike most surveillance cameras, the shy cam turns away whenever viewers approach, challenging the notion of the directional gaze and the contractual relationship between observer and observed.