Saturday, March 17 | 3 PM
Espace municipal Georges-Conchon • Rue Léo-Lagrange

Free access


International Video Art Festival Now&After has been carried out in Moscow since 2011. Now&After focuses on presentation, development and promotion of both Russian and international video art, getting together emerging and established artists from around the world to present their works to the general audience. Traditionally the festival takes place at museum's space, where during a few weeks the festival program is being demonstrated as a multi-channel video installation.

Now&After was held at the Moscow Museum of Modern Art, at the State Museum of Gulag History and at the Schusev State Museum of Architecture, at the State Darwin Museum, at CCI Fabrika. The festival is organized by non-profit organization Media Art Centre Now&After and collaborates with cultural organizations in Russia and abroad presenting its collections nationally and internationally. Founding director/curator of International Video Art Festival Now&After is Marina Fomenko.

Marina Fomenko

Artist and curator based in Moscow, Russia.
Participated in numerous exhibitions and festivals nationally and internationally.

Founding director and curator of International Video Art Festival Now&After that annually held in Moscow since 2011. She curated special projects at 4th and 5th Moscow Biennale of Contemporary Art, 2nd Moscow Biennale of Young Art, Moscow Photobiennale, PhotoVisa Festival (Krasnodar), Osmosis Media Festival (Taipei, Taiwan). Marina was a curator of exhibitions at Moscow Museum of Modern Art, CCI Fabrika (Moscow), the State Museum of GULAG History (Moscow), Schusev State Museum of Architecture (Moscow), Victoria gallery (Samara), LOT gallery (Lexington, USA), etc.



“Power is everywhere; not because it embraces everything, but because it comes from everywhere”.
Michel Foucault.

Phantoms of power haunt us even when we try to ignore them. Energy of power which has not become creative tends to destruction. It seems we remember all of this: power of suppression and counter- force of protest, static energy of obedience and fraught with destructive potential rest energy.
Curated by Marina Fomenko.

Earth, Yael Toren, Israel, 2015, 2:52
An inverted virtual scene of a futuristic imagery, back to an ancient origin, embryonic and terminal at the same time, linked to the dust of creation and earth of burial. The sculptural-material body, blindly withdrawn into itself, breaks up and crumbles before our very eyes. The whole cycle of life is completed; seemingly, the snake really bites its own tail. The embryonic image that Toren created seems vulnerable, though of a stony texture, or the opposite way around: an image of a forgotten fossil having “natural” physical characteristics. A hyper-realistic scene, culminating in a shining explosion within the darkness.

Soft Power, Еlena Artemenko, Russia, 2016, 10:00
The video represents a ritual materializing the metaphor of "pulling the trigger with someone else's hands." The objects in the video (a gun, a flag and a hand) are made of silicon (a material, that by its tactile properties is similar to the human flesh). Mechanistic sounds of viola and cyclical action with clearly written score and the observance of hierarchies within the characters resemble the force parade (which is gradually falls apart), a little creepy, like a blank shot stuck in a throat, that suddenly sounds in our heads.

Lucha Libre, Julia Kurek, Poland, 7:49, 2015
Social and cultural space. In Mexico Lucha Libre fight are part of the cultural identity of the country. Fighting often is a grotesque, sometimes end up outside the ring. The impetus for the implementation of the performance Lucha Libre in front of the Presidential Palace was the analysis of the political situation in Mexico. September 26, 2014, 43 students who manifested against the reform of the education system were abducted. Performance, which I did in front of the Presidential Palace took place a day later. Two weeks after kidnapping students bodies were found burned in mass graves. My action was an expression of solidarity with the part of the society, which opposes the situation.

I Was Born in Your Bed, Daniel Pesta, Czech Republic,  2012-2013, 10:00
The entire concept is constructed on the simple principle of a school photograph. Two classes of small children, one of girls, one of boys, stand in typical neatly arranged rows, as we all know from our own school days snapshots. In their hands the children hold white/black transparent cloth satchels similar to those in which one carries indoor shoes for changing into. An adult strong voice can be heard, calling the name of one of the individual pupils. One by one the children pull the satchels they have ready in their hands over their heads. It is striking how the Roma children voluntarily subject themselves to these orders. This is how one child after another reacts, until they all have their heads covered. The transformation of an individual and a horde has been accomplished.

Dust, Michael Alekseenko, Ukraine,  2014, 7:00
Regime that destroys personality. Systematic monotonous routine work. The sound, reminding that of a sawmill. Self-forcing until complete vanishing. Turning human to dust. Every action made leaves a trace. When disappeared, the material object creates something bigger – the memory about it. The main aim of this work is to show that you cannot eliminate a person without a trace. Dust becomes ashes, a data medium, a memory.

The Stone Guest, Marina Fomenko, Russia, 2017, 8:20
The key figure of the October Revolution of 1917 in Russia was Lenin. After his death in 1924 Lenin’s image was immortalized in countless numbers of monuments in the Soviet Union and in the Soviet bloc’s countries. In her video, the artist refers to depicted in stone image of the Revolution leader based on archival materials and found footage. There is neither living nor dead Lenin in the film; only “the stone guest” become ingrained in Soviet people lives after his death. The "birth" of each new stone Lenin is accompanied by a special ritual with speeches and festivities before a vast assembly. After the collapse of the Soviet Union, the life cycle of the "stone guest" is coming to the end.