Alexandra Dementieva (born 1960, Moscow, USSR) is an artist who has been creating works of electronic, video and installation art.
Dementieva’s work is influenced by contemporary film directors like David Lynch, Jean-Luc Godard and David Cronenberg, to name but a few. Her use of the cut-up technique invites comparison with the cinematic montage as a method for altering reality that has been recorded. However, Dementieva’s editing depends largely upon audience participation, the chance and choices that she expects her viewers to make. This interactivity is an essential element in all her work. She has made spectator involvement an integral part of the creative process. Although she insists on active engagement of the willing audience in her “psychological experiments”, she does not control the viewer and welcomes unpredictable outcomes. She explores contemporary trends in the construction of a narrative, and questions the very process of storytelling by stepping aside and offering every viewer the power to reshape and manipulate the original imagery or plot. The sliced layers offer interesting juxtapositions and can derive new meaning or create a new contextual relationship in the viewer’s mind. In fact, her methods are akin to contemporary DJss manipulations, musical remixing and recycling. Her visualisations echo Dadaist experimentations with texts or Russian absurdist’s poetry. The space she creates for each installation “stimulates unconditional mental freedom” (Faina Balakhovskaya); it is fluid, responsive and transformative, like an ocean in Tarkovsky’s ‘Solaris’ – the ocean of possibilities.
Her interactive installations, exhibited in Brussels, Moscow and New York, were described by artist Barbara Rosenthal as “Technically proficient, visually striking, fundamentally simple despite the mechanical and computational pyrotechnics she and her associates put themselves through to produce them, her works draw spectators into them, and in ways that circle back into their own minds.”
Her work has been exhibited in Belgium, Russia, France, Brazil, USA, Spain, Mexico, Germany, Switzerland, Korea, Italy;
Cycloramadrome – Interactive video installation, 2013-14
Cycloramadrome is a project in which the spectators can interact with the work in the immersive ambient environment. Exploiting the technology of 360-degree projection developed in the 50s, the artist sets out to utilize aspects of the surrounding environment as a vehicle for impacting on the audience both mentally and physically: the movements of the characters are designed to trigger the movement of the audience. The artist uses modern technology to explore the complexity of common behavioral patterns as well as the public’s “iconophilia”, or constant manic love for images.
Breathless – interactive installation
Installation consists of three light objects. Two of them are connected to the RSS [web] feed via computers, and the third, with the aid of the anemomenter provides wind, temperature, noise of street (environment).
Computer searches for all words, related to the concept “of fear” (for first sculpture) and “desire” (for the second) in the RSS. The more such words appear, the brighter are the object’s LEDs, progressing from the base of object to the top. The third object is based on the same principle.
Spectator can walk inside the actual construction, where additional airspeed sensor is located. When she/he blows on it, the pattern of illumination changes – the simple act of breathing becomes visible and important.