Alternative Play Station

The information society has considerably transformed the character of the games.
The modern children do not play the collective, traditional games. They compete in dexterity, cunningness and knowledge in the virtual space. The film researches the behaviour of children
who were brought up in the space of the media culture, in the territory of a local gaming space.
The basis of the film is several performances which schematically resemble children\'s traditional games. Every performance has its scenario which conforms to the game rules and which the children know well. At the same time there are several \"provocations\" absolutely unexpected by the children, which give a practical cause for either changing or breaking the game rules. The \"provocations\" give a possibility to display the children\'s reactions to situations that do not belong to the game and that border between \"game and life\", truth and fiction.

Wet chicken
We are concerned with the theme of violence not the explicit bodily or disciplinary kind of violence, but the kind of violence which imperceptibly penetrates into the life of each of us and destroys our freedom. The media environment around us harbors quite a few sources of danger and compulsion, e. g. advertisements. The advertisements intrude into our audiovisual space, subjecting us imperiously to their rhythm, vocabulary, to say nothing of imposing things to choose. Our \"soaked hen\" is a (ironic) metaphor of a weak-willed object of violence. Soaking and drying the girl in front of the video camera we deliberately achieved commercial attractiveness and high image quality. There would be no difference between this work and any to which the model girl was exposed when the commercial was being shot.

More Good Products

People have invented many kinds of household equipment.
Some of it heats up, some cools down.
Sometimes it comes to the point of absurdity.

Counting the harvest

A large harvest of apples.
People do not copy with their work.
Overripe apples fall down.
People put apples into crates.

Since 1993 Galina Myznikova and Sergey Provorov have created a large number of projects which demonstrate a wide range of the artists\' interests and their inclination to creative experiments. Among them there are 20 experimental video films which took part in numerous Russian and foreign festivals (such as \"Transmediale\" /Germany/, FCMM /Canada/, \"Viper\" /Switzerland/,?Stuttgarter Filmwinter?/Germany/, Chilean International short film festival /Chile/, Moscow International Film Festival ?Media Forum? /Russia/, Pesaro International Film Festival /Italy/ etc.), many of them belong to the collections of Basis Wien (Vienna), MediaArtLab (Moscow) etc.; a number of installations created as joint international projects and presented at some Biennale (such as ?La Biennale di Venezia? 51st International Art Exhibition /Venice, Italy/, 1st Moscow Biennale of Contemporary Art /Moscow, Russia/and
1st The young artist?s Biennial /Bucharest, Rumania/).
By employing the principle of video montage Sergey Provorov creates sound constructions using natural noises and sounds. Till present 5 audio albums have been produced, some of which have been broadcasted by Russian, Austrian (ORF) and Mexican radio stations. Several sound compositions were included in the international CD anthology of sound poetry.
The form of interactive audio installation for the cable, hand and camera flash bulb was demonstrated by Galina and Sergey at \"Break 2.2\" festival in Ljubljana (Slovenia).
In 1993-1996 they created as the authors and producers an experimental program at the television of Nizhniy Novgorod with the development of an original concept of \"non-verbal information\"; the artists also work in the sphere of video, polygraphic and Internet advertising, which determines their special attitude to the form originating from the design practice.
At the end of 2000 Galina Myznikova and Sergey Provorov created \"PROVMYZA\" art brand. In their work they touch the problem how the communication mechanism functions per se, first of all its visual aspect, structure and representative models. Seemingly without any effort the artists switch between serene poetic video-poetry and
fast-cut, tightly designed and highly stylised advertisement clips. These contradictory modes of visual production have an almost natural presence in their work.