Natasha Akhmerova Gallery
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MADE IN ANCIENT GREECE
WORKS IN COLLECTION: 3
Sediment
WORKS IN COLLECTION: 3
TREAMBLING CREATURES
WORKS IN COLLECTION: 2
POLAR BEAR FODDER
WORKS IN COLLECTION: 2
Born in St Petersburg, Russia. Lives and works in New York City, NY.
Education:
Muhina Academy of Arts, St. Petersburg , Russia
Pratt Institute School of Advanced Studies, New York


“Made in Ancient Greece” is a series of freestanding video sculptures that visually embody the unlikely juxtaposition of form and function in vessels.
From their historical use by early civilizations to modern adaptations, vessels combine visual elements with utilization. Through varying shape or size to adorning images recording harvests or signifying ownership, vases have traditionally melded design by purpose with relaying visual information.
Anna Frants’ “Made in Ancient Greece Series” plays with vessels as subject matter, acknowledging and finding personality in plaster bodies. Just as distinguishing characteristics of a vessel are attributed to and provide insight into the people who made that style vase to meet their purpose – Frants’ vessels are a marriage of a traditional medium with moving images of Hollywood that defined the Soviet cinema of Stalin era.
Footage was shot in 1928-1936 by young cameraman Vyacheslav Alekseevich Burgov who later became legend of Russian sound technology.

ABOUT FUR DIE STADT:
Lenin stated that he could not listen to Beethoven's sonata because if he did he would never
finish the revolution. In Frant's Für die Stadt, hungry foot soldiers fight in a videotaped dance for
survival to "Moonlight Sonata"...
Pigeons foraging in cold snow of St Petersburg this past winter migrate all the way to New York
for spring. Anna Frants' multimedia installations of Russian city street pigeons scavenging for
food have landed on both sides of the East River. Undeterred by the bustling public street around
them, Frants video/sound projections of feathered city inhabitants go about their business in the
front window of Dam Stuhltrager Gallery in Brooklyn at the Chelsea Art Museum in Manhattan.
Connecting life as an artist in Russia and in America, Frant's video is set in a frozen, harsh and
unforgiving setting where occupants are filmed amidst routine of working hard to find and claim
their daily bread. Among the crowd, one bird has notably different movements and it becomes
clear he/she is sick or injured. Set to Beethoven's Sonata, the impeded pigeon is the weakest in
the bunch but nonetheless uniquely different, and thus rises as the star.
ARTIST STATEMENT: The effect of listening to Beethoven is want to "...tell people sweet stupid
things and caress their heads instead of smashing in those heads mercilessly..." - Lenin

ABOUT IN THE SHADE OF AN OLIVE TREE:
Just as her Sterligovite predecessors conceptually redefined space in paint, Russian artist Anna
Frants utilizes video and audio to reconfigure a viewer's reality...
Leaves rustle in wind that is not there. Chirping fills the air from birds that have flown farther than
could possibly be heard. The seemingly straight forward pleasures of a sunny day spent "In the
Shade of An Olive Tree" provides playful fodder for Frant's interactive installation.
The logic ingrained in how one distinguishes a common setting such as a tree in the sun's rays
is skewed. Video and sound are utilized to manipulate light, contrast, touch and “reversity” within
the installation, producing an environment where nothing is rationally as it is naturally perceived.
As spectators enter the frame of projected light- he/she participates in the creation of an image
and is transported, on the associative level, to a suggested world by inference.
ARTIST STATEMENT: "The space penetrates the space.”- Vladimir Vasilievich Sterligov

 "Much like with all art, I want my works to trigger viewers' emotions, but I like to use new means to achieve this. For instance the realistic painting depicts things not as they are, but how our eye sees them. My installation work appeals not just to the viewer's vision, but also to other senses – through smell, sound, touch and whatever else it takes to communicate my ideas. I love to play with new technologies. However, they are just a material for the art – a new means to the same end." – AF

Jumping Jacks by Anna Frants


New York

2009

 

We are used to seeing the depiction of running or jumping athletes on the Greek vases.  Five ancient amphorae in this installation have the same subject, except that, instead of the familiar red or black figures, we see on them videos based on Muybridge’s photographs “Human Figures in Motion” taken only about a century ago.  This work of the 21st century could be called “post-post-modern” in that it proves that everything old (or very-very old) is new again.

 


Cyberfest ath the Youth Education Center of the State Hermitage

From November, 25 to November, 30, 2008, the Youth Education Center of the State Hermitage is the main ground for the Cyberfest-2008 which is the second international festival of cyber art in Russia. Cyberfest is organized on the basis of Cyland Media lab, a cooperation project of Russian National Center for Contemporary Art (Saint Petersburg, Russia) and the non-commercial organization Saint Petersburg Arts Project (New York, USA).

On the opening different performances were demonstrated. They show how current technologies, electronics, cybernetics, and virtual reality can become artist's tools. Moreover, these objects correspond to efforts to comprehend a role of technique and technologies in the contemporary world by language of art.

Michael a Crest sator Agafja from St. Petersburg presents his audio installation called "Bragofon-stvol-distillator "Liquidator" which is a mix of performance, music improvisation, alchemic experiment and friends' party. Bragophone is a complex system of bottles, retorts and chemical flasks which distils mysterious liquids. This chemical device is transformed by artist into a music instrument which plays extensive symphonies of bubbles, hisses, squeaks and falling drops sounds.

"Drumpainting" is an interactive media performance by Anna Frants, Michael Chernov and Marina Koldobskaya, where music is transformed into painting, and the audience is immediately involved into the process.

Visitors have a chance to see a net video project "Touch me" (idea Anna Frants, curator Anna Kolosova), put on a "Trip" cyber helmet (produced by Cyland Media lab, concept Anna Frants & Marina Koldobskaya, programming Oleg Rodionov, engineer Michael Chernov), which allows a spectator to move inside the exhibition room wearing a helmet with wireless video goggles. A sensor registers the spectator's walking speed and transmit their signals to a computer which transforms the signals into psychedelic visual images. The faster the spectator moves (walks, turns around, dances), the more intense the psychedelic Trip is.

Among objects showed at the Youth Education Center there is also a cult "Silver Clouds" installation by Andy Warhol, an artificial "Tide" of Brose Partington, Ryan Wolfe's "Field of Grass", and a "Model of bipolar activity" (Dmitry Kawarga, audio George Beloglazov, biofeedback Timour Shchoukine), which transforms biological currents into music.

On the opening day there was even an opportunity to shoot an artist, who appears on the screen, and to look at his reaction in a simple but impressive installation "37" by Vladimir Smirnov-Lilo.






Hermitage Museum

Anna Frants & Alexandra Dementieva "Shine A Light”
Share Friday, January 22, 2010 at 5:37pm

Anna Frants’ new installation asks the ever-current question, “What if we learned to consciously sift out visual rubbish?” Moving image is a form of communication that by definition lumps pictures for recognition and by use exceeds the capacity of visual information table to be absorbed. The contemporary brain is conditioned to read 30 individual frames per second and from film to tv to youtube - moving images are an indelible and irreplaceable language of modern society. We discern what is flashed before us through routine, by method, for necessity in order to comprehend meaning.

It is a learned behavior, an unconscious reaction, a human response. (Thank you, Lumière Brothers! We are salivating to your picture!)

But from all that is flashed to trick the brain into seeing one moving picture- which still frames deserve regard?

Anna Frants’ installation “Conversation” employs the obsolete technology, a slide projector, to slow down the pace of the individual frames within moving images. Reversely, she employs the use of slide projectors to cast a plethora of simultaneous images which implore each viewer to use visual discretion and make conscious decisions.

Alexandra Dementieva asks, “Who’s out there?” As guests, the audience pays a house call on unsuspecting residents. Buzzing one of eight bells summons dwellers of a fantasy apartment building to their open window. Projected video of the tenants - servants, intellectuals, wealth, middle-class, professionals, immigrants and criminals - gives the voyeur access to society’s home life.

NY Art Beart