{"id":27352,"date":"2024-10-02T21:13:32","date_gmt":"2024-10-02T18:13:32","guid":{"rendered":"https:\/\/message2man.com\/?p=27352"},"modified":"2025-09-25T13:30:47","modified_gmt":"2025-09-25T10:30:47","slug":"2024-in-silico","status":"publish","type":"post","link":"https:\/\/message2man.com\/en\/2024-in-silico\/","title":{"rendered":"Mikhail Zheleznikov speaks about IN SILICO"},"content":{"rendered":"

\"Mikhail<\/a><\/p>\n

 <\/p>\n

The 14th In Silico experimental film competition has been bolstered by two new projects: Kiberglaz (Cybereye<\/a>), the Dziga Vertov Neural Network Film Laboratory and a programme of experimental films by Russian filmmakers Futurum<\/a>. Film viewing and discussion is no longer limited to the competition programme, and is now even combined with creative laboratory practice.<\/p>\n

The content of\u00a02024\u2019s experimental competition is best\u00a0characterised by\u00a0the\u00a0name\u00a0of\u00a0the\u00a0film\u00a0Decryption<\/i><\/a>, in which the artist Maya Zack deciphers the workings of memory. The \u201cdecoding of reality\u201d, as Vertov himself wrote, is the topical thread that links all the films in the programme.<\/p>\n

In\u00a0TWENTYT<\/i>\u0418<\/i>\u018eWT<\/i><\/a>\u00a0<\/i>and\u00a0Synchronicity<\/i><\/a>, Max Hattler\u00a0and\u00a0Yann\u00a0Chapotel\u00a0use optics and editing to dismember the architectural forms of mass housing developments in Hong\u00a0Kong\u00a0and\u00a0Paris, thereby questioning\u00a0the laws of physics and the common sense of architects. In\u00a0the\u00a0film\u00a0Pigeons<\/i><\/a>, Anosh\u00a0Aibara\u00a0transfers the drama of human relationships to \u201cour smaller brothers\u201d, as if ironising the slightly naive traditions of the avant-garde a century ago.\u00a0In her video work Sensitive<\/i>\u00a0<\/i>Content<\/i><\/a>, Narges\u00a0Kalhor\u00a0analyses the self-righteous escapism of the media, always afraid to shock the consumer with the truth of the documentary image. Jorge Moneo Quintana\u2019s Phantasia<\/i><\/a>\u00a0<\/i>examines the inner life of sculptures, while in Surface<\/i>\u00a0<\/i>S\u00e9ance<\/i><\/a>,\u00a0Michael Heindl deciphers the traces left by passengers in the metro, invisible to the naked eye. And Viktoria\u00a0Schmid\u00a0splits the New York colour spectrum into red, green and blue beams in\u00a0her\u00a0film\u00a0NYC<\/i>\u00a0<\/i>RGB<\/i><\/a>, as if approaching an answer to a problem that has not yet been formulated.<\/p>\n

As always, the largest thematic block in the programme\u00a0is devoted to the functioning of memory and its preservation in the media: we see this in the work of Nikita Spiridonov in Meat<\/i>\u00a0<\/i>Grinder<\/i> 2<\/i><\/a>, Frank Heath in Protect<\/i>\u00a0<\/i>Your<\/i>\u00a0<\/i>Home <\/i>(<\/i>Interpret<\/i>\u00a0<\/i>It<\/i>\u00a0<\/i>Well<\/i>)<\/i><\/a>, Daniele Grosso\u00a0<\/i>in\u00a0<\/i>The<\/i>\u00a0<\/i>View<\/i>\u00a0<\/i>from<\/i>\u00a0<\/i>the<\/i>\u00a0<\/i>Plane<\/i><\/a>, Saif\u00a0Alsaegh in Bezuna<\/i><\/a> and the aforementioned Maya Zack in Decryption<\/i><\/a>. All these films attempt to decode the subjective human experience contained in amateur and professional shots and photographs, television commercials and beautiful computer renderings.<\/p>\n

If\u00a0we\u00a0look\u00a0at\u00a0this\u00a0year\u2019s\u00a0experimental\u00a0programme\u00a0from\u00a0a \u201cVertovian\u201d angle, there is a sense that the predictions of the classic Soviet filmmaker, who died 80 years ago, are literally coming true. But any angle is arbitrary \u2013 this is something we must always remember when deciphering reality.<\/p>\n

Mikhail<\/b><\/i>\u00a0<\/b><\/i>Zheleznikov<\/b><\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

  The 14th In Silico experimental film competition has been bolstered by two new projects: Kiberglaz (Cybereye), the Dziga Vertov Neural Network Film Laboratory and a programme of experimental films…<\/p>\n","protected":false},"author":3,"featured_media":27357,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[96],"tags":[],"annum":[90],"class_list":["post-27352","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-curator-text","annum-90"],"acf":[],"_links":{"self":[{"href":"https:\/\/message2man.com\/en\/wp-json\/wp\/v2\/posts\/27352","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/message2man.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/message2man.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/message2man.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/message2man.com\/en\/wp-json\/wp\/v2\/comments?post=27352"}],"version-history":[{"count":6,"href":"https:\/\/message2man.com\/en\/wp-json\/wp\/v2\/posts\/27352\/revisions"}],"predecessor-version":[{"id":28636,"href":"https:\/\/message2man.com\/en\/wp-json\/wp\/v2\/posts\/27352\/revisions\/28636"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/message2man.com\/en\/wp-json\/wp\/v2\/media\/27357"}],"wp:attachment":[{"href":"https:\/\/message2man.com\/en\/wp-json\/wp\/v2\/media?parent=27352"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/message2man.com\/en\/wp-json\/wp\/v2\/categories?post=27352"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/message2man.com\/en\/wp-json\/wp\/v2\/tags?post=27352"},{"taxonomy":"annum","embeddable":true,"href":"https:\/\/message2man.com\/en\/wp-json\/wp\/v2\/annum?post=27352"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}