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Mysteries

Sid Iandovka and Anya Tsyrlina

This video is no longer available

Sid Iandovka, Mysteries (still), 2021.

Staff picks Mysteries
Sid Iandovka and Anya Tsyrlina
2021

7 Minutes

Staff Picks

Date
August 1–31, 2021

Join us on e-flux Video & Film for an online screening of Sid Iandovka's Mysteries (2021), streaming from Sunday, August 1 through Tuesday, August 31, 2021. The film is presented alongside Sid Iandovka and Anya Tsyrlina's Horizōn (2019) and Anya Tsyrlina's All Other Things Equal (2020), as part of the monthly series Staff picks.

Stitched together from diaristic video fragments from the early 2000s, and vintage digital artifacts undergoing varying levels of manipulation and continual reconstitution, Mysteries is a wordless emotive film that deals with the fragmented and the random, with memory and loss, that can equally captivate and frustrate. Private memories and personal story are fictionalized by working with musical and sound genre codes and ghostly allusions to popular and “high” culture, such as Romanticism, with its inherent fragmentation, self-reflective irony, and narratological detachment—all references erased to the point of purely intuitive appeal. But despite the active use of kitsch elements, the ambivalence of images leaves room for mysteries—and thus opens up an additional affective level beyond the opposition of sincerity and artificiality.

For more information, contact program@e-flux.com.

Category
Film, Music
Subject
Montage, Memory, Death, Fiction, Romanticism, Video Art
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Sid Iandovka and Anya Tsyrlina (both born in Novosibirsk, USSR) are an artist-duo whose practice extends across many different media, predominantly moving images. Though only selected works of theirs are co-authored in a traditional sense, as both have distinct interests and aesthetics, they have collaborated (on and off) for over twenty years—ultimately creating a joint, entirely independent, “homemade” production approach for their films. Their working methods are not products of any educational/professional institutions and their practice is not rooted in any state; it is immaterial and doesn’t benefit from any national/international funding, resources, or structures. The artists prefer for their own histories and words to remain in the background—but it’s not essential to know the whys and hows of these works, since there’s an almost alchemical and mystical quality to them that supersedes their construction. (Herb Shellenberger)

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