Springs.video

Yates Norton curates videos for Springs.video

The four films selected by Yates Norton reflect on how people live, grapple and play with the peculiar qualities of a place. In the films, the artists let us into the world of cities (Gerda Paliušytė; Oleksiy Radynski), a peculiar monument erected to create myths (Erdem Taşdelen), and a home constructed through fear and power (Adam Walker and Vicki Thornton).

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The platform is partially funded by the Lithuanian Council for Culture and Vilnius City Municipality.

A new program at Springs.video curated by Elene Abashidze with videos by Anna Dziapshipa, Andro Eradze, Ana Gzirishvili, and Anuka Ramischvili – Shafer.

Now Mindia believed if he
Ate of the loathsome meat, ‘twould turn
To poison in his veins and every
Fibre of his body burn.
He ate one piece, and sickness smote
His every nerve: a chilling sweat
Ran down his face, and he could scarce
Repress the horror that he felt.
But suddenly it seemed to him
That from above flowed splendent light
And spreading through his veins he felt
A surging stream of strange delight.
New wisdom pierced his wond’ring brain;
He saw the world with different eyes,
He saw it smile, he heard it speak,
He knew the meaning of its sighs.
All things that breathed or lived had tongue,
Held converse soft in language strange;
And as he learned their secret thoughts
He wondered much at all this change.

An excerpt from "The Snake Eater" by Vazha Pshavela, 1901.

"Ostrannenie". A great film by Alexandra Anikina from a program curated by Alexander Burenkov.

"He who draws a map holds the power. "Ostrannenie" sees cartography as a symptom of the contemporary image ecology: the difficulty, or even impossibility to find yourself completely outside of the map of any kind. Our precise and accessible maps have acquired more weight than the ever-imperfect reality. Weaving the history of technology together with the history of human imagination, the video follows the genealogy of the ‘worldview’ - from the times when the Earth rested on elephants’ backs to the current moment of Google Maps and hyper-real stock footage.

At the same time, the video-essay refers to the works of Viktor Shklovsky, who invented the term ‘ostranenie’ (estrangement) in order to describe how literary language and art function. The slowing down of perception through language radically renews the perception of an art object or a text, allowing us to see its renewed essence. In the work, however, this important function is read as one turning territory into a country (‘strana’) through maps and language - something that can be subject to the tourist industry and media culture. Finally, ’ostrannenie’ points out that the neutrality of the images used in the film (and which come from the Western culture) is an illusion that serves cartographic interests."

Alexandra Anikina, (b.1989, Kolomna, Russia) is a researcher & artist investigating algorithmic governance, affect and visual culture. Completed PhD at Goldsmiths, London. Her work was shown at VI Moscow International Biennale for Young Art, HKW (Berlin), Anthology Film Archives, Korean Film Archive, NCCA Moscow, Krasnoyarsk Museum Biennale. Curator of IMPAKT 2018 'Algorithmic Superstructures'.

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