The UnNational Monument
a public sculpture and digital residency on isthisit? platform as a part of DeptfordX 2018.
Project kindly supported using public funding by the Arts Council England Project Grants, Pangaea Sculptors Centre and DeptfordX bursary
Biographies of Objects
HD video with sound, 6’13”, 2018
6th Taiwan International Video Art Exhibition @Hong-Gah Museum, Taiwan, SHIFT like the end and the way curated by A–Z Anne Duffau, Transcending Identities @ Deptford Cinema, Whitstable Biennale and LOOP DISCOVER Award shortlist
Kindly supported by residency @ Goldsmith University Library
Womb of Time
HD video with sound, 10’26”, 2017
ARTAGON III Art Award 2017, RCA Show 2017, Visions in the Nunnery Biennale 2018
Do You Speak Peking Opera?
HD video with sound, 6’06”
Recontres International Paris/Berlin 2018, Red Mansion Award
Kindly supported by the Red Mansion Foundation.
Lewis Carroll meets Godzilla
HD video with sound, 3’45’, 2016
Cowley Manor Art Award 2016. Tenderflix 2016
Commissioned by Cowley Manor 2016
The Swearing Door
Interactive sound sculpture, 2016
Bristol Biennale 2016. Objectif Exhibitions 2016, Antwerp, Belgium.
I wrote a code that allows microcontroller to sense human presence and randomly chose a sound file from the pre-recorded library of sounds. Sounds are labels, that are usually assigned to human beings based on their race, age, political views, social status, nationalities, hobbies, health status, current mood etc.
The Welcoming Door
Bristol Biennale 2016, Espronceda Art Centre
Interactive sound sculpture, 2016
Kindly supported by Royal College of Art, London, and Espronceda Art Centre, Barcelona, Spain
The work appears in a doorway, where Arduino microcontroller and a tiny loudspeaker are installed. The sound (greetings in human languages, as well as sounds of animals, nature and man-made objects such as kettle whistle or gunshots) is randomly selected out of the sound library, and played out when a person enters the space.
Homage to Libera Carlier
Interactive installation with sound
Espronceda Art Centre, Barcelona, Objectif Exhibitions, Antwerp
Commissioned by Objectif Exhibitions, Antwerp, Belgium
An interactive installation of 22 projectors (equipped with motion detection sensors and mini-computers). Projections with sound are triggered when visitors move within the space. The footage is digitalized Super8 historic footage by Libera Carlier, distorted in the space. Sound is created via mobile app that scans a hand written score of ‘Scheldt Rhapsody’, the only surviving piece of music by Libera Carlier.
Horrors of Archiving
HD video with voiceover 11’36”
Objectif Exhibitions, Antwerp, Belgium, 2016. Oracles of Humankind, two person show with David Blandy, 2016
Kindly supported by the Arts Council England
Hello, Siri
Multi-media performance, 12’40’’, 2016
MANIFESTA 11, Zurich, 2016. Visions in the Nunnery, London, 2016.
Code is a life form (the only life from) that is created by humankind. My performance is a platform that allows artificial intelligence, as well as non-human and non-biological forms of existence.
During the performance, I play a DJ with my personal devices: phones, iPads, tablets and computer. On the computer I googletranslate in the real time the text I wrote. Other devices perform sounds from free on-line libraries – such as kettle whistling and gun shots. While I repeatedly question Siri on my phone “what is the meaning of life” receiving different (or sometimes repeated) answers but not giving up.
ONE-MAN PROTEST AS PER RUSSIAN LAW
HD video with voiceover 3’25’’, UK, 2012
WRO Biennale of Media Art 2013
Being a constant pendulum between 3 cultures (Russia, Belgium and UK) and passionately feeling the struggle of Russia to become a better place, I re-enacts the only allowed form of protest in Russia on the soil of the UK. The work is a step further into exploration of transnationalism and effects of the information flow and internet on oneʼs understanding of time and space.
Memento Mori Moscow 2011
HD video with sound, 3’33’’, Moscow ,2011
Moscow Biennale of Contemporary art 2011
Kindly supported by Pushkin House, London
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All content © Natalia Skobeeva 2018
