Anastasia Almosova
Anaescan
Libidinal re(CO₂)naissance/ Icarus underworld™
Sacrifice 2023
Fall to, Arrythmia
The Unary Substance Of The Deep Cyborg
The Artist is Unpresent
touch/e/scape
Interface
Interface 1.0
Medical Agency / Healing Body Assets
Beyond world
Robotic Shamanism
Digital egregore
More Than Human War
Re:hear:sync
On Machines of Suspense
0x0
Trybody, ikon-1 by Nick Knight
Human-AI collaboration
Design
Instagram
Email: nastyaalmosova@gmail.com
CV
Libidinal re(CO₂)naissance/ Icarus underworld™
Sacrifice 2023
Fall to, Arrythmia
The Unary Substance Of The Deep Cyborg
The Artist is Unpresent
touch/e/scape
Interface
Interface 1.0
Medical Agency / Healing Body Assets
Beyond world
Robotic Shamanism
Digital egregore
More Than Human War
Re:hear:sync
On Machines of Suspense
0x0
Trybody, ikon-1 by Nick Knight
Human-AI collaboration
Design
Email: nastyaalmosova@gmail.com
CV
More Than Human War
single chanel video, 8:10 min."War leaves traces, its marks are inscribed on flesh and land, its residues linger in environments and the mind, lesions puncturing bodies and landscapes. The battlefield in particular influences and alters all those caught up in its production and execution, shaping the nature of violence beyond the boundaries and specificities of each theatre of war." (Isla Forsyth (2016): More-than-human warfare, Social & Cultural Geography)
Referring to the ongoing Russian invasion in the Ukraine the CGI film "More Than Human War” sets its focal point to the displacement of natural world, uncovering disturbed spaces and voicing out unspoken suffering of the animalistic actors beyond political agenda. Introducing drone footage, 3D scans of real destroyed objects from the Ukranian regions and interviews with Ukranian refugees, the project aims to establish a cultural space of dialogue, reframing the politics of the game medium into a tool of experimental journalism.
To map out the matrix of violated habitats and bodies the use of 3D displacements is incorporated in the scenery’s imaginary, scaffolding the narrative.The project displays neither a speculative future nor a quite speculative present. It is an artistic attempt to evoke ethical compassion during a wartime for humans and nonhumans alike.
“...we have no states, no nations, no presidents, no premiers, no chiefs, no generals, no bosses, no bankers, no landlords, no wages, no charity, no police, no soldiers, no wars.” (Ursula K. Le Guin (1974): The Dispossessed)
To map out the matrix of violated habitats and bodies the use of 3D displacements is incorporated in the scenery’s imaginary, scaffolding the narrative.The project displays neither a speculative future nor a quite speculative present. It is an artistic attempt to evoke ethical compassion during a wartime for humans and nonhumans alike.
UdK Berlin
Rundgang 22