“In russian, i do not feel such”

to make network art in Russia.

Interview with Olia LiAlina

"IF You Want Me To Clean Your Screen, Scroll Up and Down", Stand in the email, which announced a new work of Olia LiAlina.

Who clicked on the specified address, found nothing but the image of a narrow woman’s hand that spread out the framework of the browser. When moving the picture with the cursor, it looked as if the hand wiped the monitor from the inside – one "female" Perspective on the networked computer, or a questioning of technological dispositifies?

The co-work of the Russian network artist Olia LiAlina speak rather for the latter interpretation, the Olia Lialina deals with in all its work specifics of the Internet. In your "Mesh film" "My Boyfriend Came Back FROM was" uses the frames technology to a multi-layer story in a kind "Stream of Consciousness" to tell you (this work can be found in the Telepolis network room; "Anna Karina goes to paradise" Collapse the pages of Internet search engines, and "Heave Bright", A project with Belgian Michael Samyn, is a telematic collaboration: Olia Lialina puts one side on a Russian server that has a link to a non-existent page on a Belgian server. Samyn then puts this page and links them again with an existing page on the Russian server. In Belgium is the Holle, in Russia the sky. Anyone who knows the URL can watch how that "Work-in-Progress" developed.

Can you describe how the art scene in Rubland places itself for grid?

Olia LiAlina: Honestly, I do not have much to do with the art scene in Rubland. My impression is that the underground scene of the spades of seventies, early eighties dominates the contemporary art today. These are people ending three, early forty, which come from conceptual art. There are many performances and installations, including video, but for video art, for example, there is only one gallery in Moscow. At the beginning of the nineties, there were more than ten galleries that have shown video, but only one has remained. Net art or even computer art does not take place in exhibitions at all. The only person with which I can entertain myself in Moscow over the net art, as I understand it, is Alexej Shulgin. Most other knowledge at best just what the internet is. Thinking, network art is the design of homepages. What about CONNECTIVITY in RULDAND? Can you say how many people in Rubland are online, and how they used the network?

Olia LiAlina: A year ago there was an official statistic that there are only 50,000 internet users in Rubland, but now new ones seem to be added. I started a year ago to make a homepage for the Cine Phantom Cinema. At that time I wrote the in English because I thought that that would only show you anyway. Meanwhile, the site is in Russian. If I ask the people who come to us in the cinema, where they know our program, many say: "From the Internet." What is Cine Phantom? A program cinema?

Olia LiAlina: Cine Phantom is the cinema of the Russian experimental kinos, which has developed in the mid-eighties. I first written as a critic about experimental film, now I am at Cine Phantom Filmkuratorin. And the homepage for Cine Phantom was the first thing I have made on the internet… How to get from the design of a homepage for a cinema to make netkunst?

Olia LiAlina: On the homepage of Cine Phantom I always have AVI.-Files involved, with which you theoretically show a whole movie on your own side. But that was not enough for me. I wondered how to portray film and cinematic thinking in the network differently. Even with the experimental film, it’s about the desire to tell stories, but to find a new language. I tried to make my experiment with the storytelling with HTML instead of footage. When did you start?

Olia LiAlina: Actually already over ten years. When I was thirteen, I wanted to write a poem, but I did not get beyond the first two lines: "My Boyfriend Came Back FROM THE WAR / AFTER DINNER THEY LEFT US ALONE." The two lines had just come to my mind in Russian, but then I did not wave. By last year, a filmmaker came to Cine Phantom to give me a picture for our archive. I asked him to take pictures of me, and made a picture of him and me, on which we sit with the jerk. With this picture also starts "My Boyfriend Came Back FROM was", And from there it goes deeper and deeper. Is the story you pay there, autobiographical?

Olia LiAlina: No not at all. I do not have my pictures on my side because I think that you should not represent yourself in the network. Many think that this has to do with the Chechnya war, but that’s not true. It is an abstract story. The pictures are all from the Hollywood movie "Broken arrow". The people who see this work are likely to think that I am so honest and so in love – quite different from all the other computer artists. When I check that the pictures come from a movie and not from my family album, many people have been so obvious than I had seen them for months. As a result, I understood that "My boyfriend" Also from the interaction on the internet: that they communicate with each other without seeing themselves and without knowing who talks there. And nobody answers anyway. The way you at "My boyfriend" Mount different pictures and words with each other, reminiscent of the film cut. Do you refer to your work on the stylistic means of cinema?

Olia LiAlina: In Rubland it is very hard to make movies. I made two experimental films myself, but that has become impossible now. There is no cheap 16-millimeter material anymore, and you can not develop it anymore. My husband is filmmaker. He works with video now because he does not get a movie anymore. The difference between video and web is, but it is still squad at the web ("Frames") How to make the movie, but not video. I did not just want to show a movie on the web. Most people are enthusiastic that they are now spreading films in the network. In doing so, forget that it is not enough to put his movie into the net, artists should try to explore the medium to see what else can do with it. The Russian revolutionary directors like Eisenstein have tried through their assembly techniques to give the viewer findings. If you combine pictures and texts through frames, it seems more likely to go to make-up processes. And in contrast to the linear movie, the user has more freedom to combine the different cadres with one another…

Olia LiAlina: The web makes it possible to experiment with linear, parallel and associative installation. at "My boyfriend" Do you have influence on the expiration of the narration. It is a kind of interactive assembly. But the possibilities the user has are already limited because he does not know what happens when he clicks on a specific field. At this work, I am mainly about love and loneliness, not the technology. Why did you "My boyfriend" actually made for the internet? This type of narration on a CD-ROM did not work as well?

Olia LiAlina: I just started with the internet. How to make CD-ROMs, I do not know until today. But you’re right: "My boyfriend" could actually be on another digital medium. It is interactive, but no right network work. That’s why I wanted to do something as a next thing that is only possible on the Internet. "Anna Karina goes to paradise", My next work, is not only written in HTML, but also acts from "Environment" of the Internet. This work reflects the technology stronger. Interestingly, most reactions came up "My boyfriend" from abroad. But over "Anna Karina" was even reported in the Russian press – maybe because it was more in the tradition of Moscow concept art. And why are you sending Anna Karina on your journey into paradise through the internet search engines?

Olia LiAlina: I wanted you really lives on the internet and operates with the salary of the Internet. I tried to find materials for this work. That’s why I searched with different search engines according to the keywords that occur in the work: Love, Paradise and Train. When I saw the stupid pages that I found with these keywords, I found that the results of the search engines were much more interesting than a fictitious story. But I do not think that network art with the net committed. If it is on the net and if it is art, then it is net art (laughs). Many artists just want to show how many programs they dominate. This is the problem with new technologies: they develop so fast that you can often not think about them. Can you live from making art on the internet?

Olia LiAlina: You can earn money with many things. I do it like most network artists and work as a webmaster for a commercial company. I do not like to work with programmers, I prefer to do everything yourself. I’m because of this year "My boyfriend" so often to conferences and exhibitions have been invited that I can not complain that with network art is not able to earn any money. However, I have strong problems with the eyes. Actually, I can not work on the computer. When my doctor wave, I sitting on the computer, he was saying that I will finish my days in the hospital. Your last work is "Heave Bright", cooperation between Michael Simon and you. Can you say something about it?

Olia LiAlina: It’s about the kind of communication that results from such a cooperation. We have never seen us personal, but only alternately designed the pages that make up the work and watch them each other. Now his data comes from a server from New York and my server from Rubland. By communicating this way, we also develop something in the net. In addition, you have a kind of diary on your side, in which one "Sailor" and communicate an agathe with each other. "Sailor", That sounds like a figure…

Olia LiAlina: …from a fass binder movie. (laughs) The diary is a collection of links to art sites. At the same time it is a parody of link lists, because here are the links hidden. If you read a text in which the links are highlighted, you do not read it anymore, but only surfs around. This diary MUB you read. The Lingua France of the Internet is English. Is it a problem to articulate you in a language that you have not grown up?

Olia LiAlina: I do not want to make my work in Russian because I do not like what happens in Rubland on the net: Most things have something to do with font. This has to do with the tradition of Russian conceptualist literature. I do not want to be smucked in this context. If I do something for the net, I start thinking in English, even if my English is quite simple and stereotype. My English consists of only 100 words that I always recombine. That’s just my network-English. The texts in my work are not translated from Russian. In Russian, I never became such things as in "My boyfriend". In Russian, such feelings do not have. Nevertheless, you do not look at it as a restriction of your expressions if you want to print out in the network in English?

Olia LiAlina: I wrote film reviews in Russian film reviews. I like to play with words and sometimes even make new words. But this game does not pave the net. For people whose mother tongue is english, that sounds what I’m writing, probably primitive. But those who can not be so good English, it does not like. That’s probably the reason why "My boyfriend" has become so successful: because of my simple English and because it’s about love. (laughs)

The now award-winning work "My Boyfriend Came Back FROM was" Find in the telepolis mains room.

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