LTATIANA ARZAMASOVA & LEV EVZOVICH (AES+F )
Görsel Sanatçı / Visual Artist /
RUSYA / RUSSIA
tatiana@aesf.art
lev@aesf.art
AES+F: Tatiana Arzamasova, Lev Evzovich and Evgeny Svyatsky united as AES group in 1987. Vladimir Fridkes joined AES in 1995. Group changed name to AES+F. Collective is based in Berlin and New York.
studio@aesf.art; Facebook / Instagram: @aesplusf
AES+F, photo by Michail Vilchuk, 2019. © AES+F | ARS, New York
İlk olarak 1987 yılında Arzamasova, Evzovich ve Svyatsky tarafından, AES Grup adıyla kurulan kolektif, 1995 yılında Fridkes'in katılımıyla AES+F adını aldı. AES+F geleneksel medya, fotoğraf, video ve dijital teknolojilerin kesişimi üzerine çalışıyor. Pratiklerini, çağdaş, küresel kültürün değerlerini, ahlaksızlıklarını ve çatışmalarını ortaya çıkardıkları ve keşfettikleri, bir tür “sosyal psikanaliz” olarak tanımlıyorlar.
AES+F, ilk çok kanallı video enstalasyonu Last Riot (2007) ile 2007 yılında 52. Venedik Bienali’ndeki Rus Pavyonu'nda dünya çapında tanındı ve beğeni topladı. Bunu izleyen iki proje, The Feast of Trimalchio (2009) ve Allegoria Sacra (2011) Venedik, Moskova ve diğer bienallerde gösterildi. AES+F, bir sonraki çok kanallı video projesi Inverso Mundus'u (2015) 56. Venedik Bienali, 4. Kochi-Muziris Bienali, 1. Bangkok Bienali ve diğer bienallerde sundu. En son video enstalasyonu Turandot 2070 (2021), 2021'de Güney Kore'deki Jeonnam Sanat Müzesi'nde ve ardından 2022'de 3. Bangkok Bienali'nde sunuldu.
AES+F, 2016-2019 yılları arasında, tiyatro ve opera için set tasarımı alanında da çalıştı. Sanatçılar ilk video set tasarımlarını, Alexander Zeldovich ile birlikte yönettikleri, Sarah Kane'in ünlü oyunu 4:48 Psychosis'in yeniden yorumlanması olan Psychosis için yaptılar. Psychosis'in prömiyeri Haziran 2016'da, Moskova'daki Electrotheater Stanislavsky'de yapıldı. Grup, 2019'da İtalyan opera yönetmeni Fabio Cherstich ile birlikte, ilk operalarının prömiyerini yaptı; yeniden tasarlanan Turandot, eleştirmenler tarafından cesur ve vizyoner olarak nitelendirildi. Turandot, Palermo'daki Teatro Massimo'nun girişimiyle, Bologna'daki Teatro Comunale, Badisches Staatstheater Karlsruhe ve St Petersburg'daki Lakhta Center ile birlikte uluslararası bir ortak yapım olarak yaratıldı.
On yılı aşkın bir süredir AES+F'nin eserleri, Moskova ve Venedik'in yanı sıra Adelaide, Gwangju, Havana, Helsinki, İstanbul, Kiev, Kochi-Muziris, Lille, Lyon, Bonifacio, Siracusa, Melbourne, St Moritz, Sidney, Taipei, Vancouver dahil olmak üzere dünyanın dört bir yanındaki önemli festivallerde ve iki yılda bir düzenlenen çağdaş sanat sergilerinde sergilenmektedir. Çalışmaları, ayrıca ARS Electronica (Linz), Mediacity Seoul ve Video Zone (Tel Aviv) gibi yeni medyaya ve FotoFest (Houston), Les Rencontres d'Arles ve Moskova Fotoğraf Bienali gibi, fotoğrafa adanmış etkili etkinliklerde yer aldı.
Grup, dünya çapında müzeler, sergi alanları ve ticari galerilerde 100'den fazla kişisel sergi açtı. AES+F eserleri ZKM (Karlsruhe), HAM (Helsinki), Moderna Museet (Stockholm), Tate Britain (Londra), MAXXI ve MACRO Future (Roma), DART Chiostro del Bramante (Roma), Centre Pompidou (Paris), Museo Thyssen-Bornemisza (Madrid), Today Art Museum (Pekin), Mori Art Museum (Tokyo), Leeum Samsung Museum of Art (Seul), The State Russian Museum (St. Petersburg), Garage Çağdaş Sanat Müzesi (Moskova), Avustralya Ulusal Galerisi (Canberra), Faena Sanat Merkezi (Buenos Aires) ve diğer pek çok yerde sunuldu.
Eserleri Moderna Museet (Stockholm), MOCAK (Kraków), Sammlung Goetz (Münih), ZKM (Karlsruhe), National Gallery of Australia (Canberra), Art Gallery of South Australia (Adelaide) gibi dünyanın önde gelen çağdaş sanat koleksiyonlarında ve Eski ve Yeni Sanat Müzesi (Tazmanya), Centre de Arte dos de Mayo (Madrid), Centre Pompidou (Paris) ve Louis Vuitton Vakfı (Paris), Vanhaerents Sanat Koleksiyonu (Brüksel), Taguchi Sanat Koleksiyonu (Tokyo) ve başka birçok yerde yer almaktadır. Sanatçıların çalışmaları ayrıca Devlet Tretyakov Galerisi (Moskova), Devlet Rus Müzesi (St. Petersburg), Ulusal Çağdaş Sanat Merkezi ve Multimedya Sanat Müzesi (Moskova) gibi Rusya'nın başlıca ulusal müzelerinde de temsil edilmektedir.
AES+F, Allegoria Sacra projesi ile 2011 Sergey Kuryokhin Ödülü'nü, 2012 Kandinsky Ödülü ana ödülünü, 2014 NordArt Festivali ana ödülünü ve 2015 Pino Pascali Ödülü'nü (18. Baskı) almıştır. AES+F, ayrıca, Rusya Ulusal Güzel Sanatlar Akademisi tarafından Bronz Madalya (2005) ve Altın Madalya (2013) ile ödüllendirilmiştir.
06/03/2025 Tarihinde güncellenmiştir.
Tatiana Arzamasova 1955'te doğdu, 1978 Yılında, Devlet Akademisi, Moskova Mimarlık Enstitüsü'nden (MARCHI) mezun oldu. 1987'den beri AES+F'nin kurucu ortağı olan Arzamasova, Berlin'de yaşıyor ve çalışıyor.
Lev Evzovich 1958'de doğdu, 11978 Yılında, Devlet Akademisi, Moskova Mimarlık Enstitüsü'nden (MARCHI) mezun oldu. 1987'den beri AES+F'nin kurucu ortağı olan Evzovich, Berlin'de yaşıyor ve çalışıyor.
Tatiana Arzamasova, AES+F, photo by Michail Vilchuk, 2019. © AES+F | ARS, New York
Lev Evzovich, AES+F, photo by Michail Vilchuk, 2019. © AES+F | ARS, New York
Inverso Mundus (2015), AES+F'nin Orta Çağ’dan kalma Dünya Tersine Döndü kavramını araştıran ve tarihsel imgelerini çağdaş bir sosyo-politik bağlamda yeniden yorumlayan tek kanallı bir video çalışmasıdır. İlk gösterimi, 2015 yılında, 56. Venedik Bienali'nde (Magazzini del Sale, Fondamenta Zattere, Venedik) yapılmıştır. Video, kapsamlı dijital fotoğraf dokümantasyonunu gerçeküstü, animasyonlu bir anlatıya dönüştürüyor, fantastik yaratıklar ve rüya gibi ortamlar yaratmak için CGI kullanıyor. Mikhail Bakhtin'in karnaval ve mizah teorisine gönderme yapan Inverso Mundus, modern toplumdaki sosyal hiyerarşilerin ve absürtlüklerin tersine çevrilmesini vurguluyor. Sunumda, dijital fotoğraf kullanımı, CGI arka planlar ile klasik ve çağdaş müziğin harmanlanmasıyla oluşturulmuş ses kaydı da dahil olmak üzere, yaratıcı süreç tartışılıyor. AES+F'nin pratiği, Last Riot 'dan (2007) bu yana gerçekleştirdikleri başlıca projelerde de görüldüğü üzere, dijital fotoğrafçılığın statik görüntülerin ötesine geçerek, sürükleyici multimedya deneyimlerine nasıl dönüştüğünü örneklemektedir. Oturum, Inverso Mundus'un temaları ve sanatsal metodolojileri üzerine, diyaloğu teşvik eden bir soru-cevap ile sona erecektir.
Inverso Mundus, AES+F, Dünya Tersine Döndü, Dijital Fotoğrafçılık, CGI, Multimedya Animasyon, Sürükleyici Video, Çağdaş Sanat, Mikhail Bakhtin, Karnaval.
Inverso Mundus, Still #1-02, AES+F, 2015, still from the single channel video © AES+F | ARS, New York
Inverso Mundus (2015) is a single-channel video artwork by AES+F that explores the medieval concept of The World Upside Down, reinterpreting its historical imagery within a contemporary socio-political context. Premiered first at the 56th Venice Biennale in 2015 (in Magazzini del Sale, Fondamenta Zattere, Venice). The video transforms extensive digital photographic documentation into a surreal, animated narrative, incorporating CGI to create fantastical creatures and dreamlike environments. Referencing Mikhail Bakhtin’s theory of carnival and humor, Inverso Mundus highlights the inversion of social hierarchies and absurdities in modern society. The presentation discusses the creative process, including the use of digital photography, CGI backgrounds, and a curated sound score blending classical and contemporary music. AES+F’s practice exemplifies how digital photography extends beyond static imagery into immersive multimedia experiences, as demonstrated in their major projects since Last Riot (2007). The session will conclude with a Q&A, encouraging dialogue on the themes and artistic methodologies of Inverso Mundus.
Inverso Mundus, AES+F, The World Upside Down, Digital Photography, CGI, Multimedia Animation, Immersive Video, Contemporary Art, Mikhail Bakhtin, Carnival.
Introduction
This presentation explores Inverso Mundus, a 2015 single-channel video artwork by AES+F, in the context of its thematic depth and technical execution. The screening (39 minutes) will be accompanied by a discussion of the conceptual framework of Inverso Mundus and an insight into the artistic methodology behind its creation. The presentation will detail how we animate a massive archive of digital photographs in combination with CGI techniques to construct a unique video installation.
The Meaning of Inverso Mundus
Inverso Mundus (Latin for "The World Upside Down") draws inspiration from medieval engravings that depict an inverted reality—where societal roles are reversed, the absurd becomes rational, and established hierarchies collapse. This reversal of norms, reflecting the traditions of mundus inversus imagery, critiques contemporary socio-political structures and human behavior.
Our interpretation of this traditional genre reflects the paradoxes and contradictions of the contemporary world while directly quoting historical subjects from these engravings. Iconic scenes such as the Pig bathing the Butcher and Donkeys riding on the shoulders of people are reimagined within the video, linking past allegories to modern social and political concerns. By fusing historical iconography with a contemporary perspective, Inverso Mundus questions the cyclical nature of power dynamics and the absurdities embedded in human society.
Additionally, the work draws upon Mikhail Bakhtin’s interpretation of carnival and humor in ancient and medieval times. Bakhtin’s theory of the carnival as a temporary suspension of social hierarchies, where laughter and grotesque realism challenge dominant structures, resonates with Inverso Mundus. The inversion of roles, the fusion of the grotesque and the comedic, and the exaggeration of societal contradictions in the video installation reflect Bakhtin’s ideas on the liberating function of humor in historical and contemporary contexts.
The video unfolds as a surreal, ever-shifting tableau in which beggars become rulers, animals act as humans, and the grotesque coexists with the mundane. It engages with themes of power, exploitation, and social absurdity, creating a visually stunning yet unsettling narrative that challenges the audience’s perception of reality.
Artistic Methodology: Animation of Digital Photography & CGI
Our artistic practice revolves around an intricate interplay between photographic documentation and digital animation. The making of Inverso Mundus involved:
● Massive Image Archive: The project was constructed using an extensive collection of digital photographs taken over a two-week production period in a cinema pavilion. The process involved 57 actors performing against a green background, allowing for detailed compositing and post-production manipulation.
● CGI Integration: We prepared specially created CG backgrounds, including both interiors and exteriors, as well as designed fantastical creatures such as chimeras, and giant version of simple organisms (Radiolaria) etc. These elements were seamlessly integrated with the photographic material to enhance the surreal atmosphere of the work.
● Animation Techniques: The still images were animated using advanced compositing techniques, allowing static photographic moments to unfold as fluid, painterly scenes.
● Sound Score: An important aspect of Inverso Mundus is its carefully curated sound score, which combines classical and contemporary music. This musical composition enhances the emotional depth and surreal atmosphere of the video, reinforcing its thematic contrasts and inversions.
● Installation Context: Though Inverso Mundus is presented as a single-channel video in this screening, its original format as a video installation leverages large-scale projections to immerse viewers in its visually intricate, paradoxical world.
Conclusion
Digital photography today is not limited to its conventional role as a static visual medium but serves as a foundational source for multimedia animation. The ability to manipulate and animate photographic material expands the creative possibilities of contemporary art, allowing for new forms of storytelling and immersive experiences. Inverso Mundus exemplifies this approach by transforming a vast archive of digital photographs into a dynamic video installation, bridging the gap between photography, CGI, and cinematic animation.
AES+F’s practice has consistently demonstrated this approach in a series of large-scale immersive video projects, beginning with Last Riot (2007), continuing through Inverso Mundus and further. These works showcase the evolving potential of digital photography as both a documentary tool and a key element in multimedia-driven visual narratives.
More details about AES+F, Inverso Mundus project, and other works of the collective could be found in the monograph AES+F published by Rizzoli NY in 2023, and on the website of the collective.
The presentation will conclude with a Q&A session, allowing for further discussion on the themes, artistic process, and technical execution of Inverso Mundus.
References:
AES+F. AES+F. Edited by Silvia Burini and Giuseppe Barbieri. Contributions by Brook McGowan, Tina Rivers Ryan, Hou Hanru, and Tom Morton. New York: Rizzoli New York, 2022. ISBN 978-0847872113.
AES+F. Inverso Mundus. Available at: https://www.aesf.art/inverso-mundus.
Inverso Mundus, AES+F, 2015, 7-channel video, installation view at Manege du Haras, Annecy, France 2016.
© AES+F | ARS, New York
Tatiana Arzamasova was born in 1955, graduated from Moscow Architectural Institute (MARCHI) – State Academy in 1978. Co-founder of AES+F (since 1987). Lives and works in Berlin.
Lev Evzovich was born in 1958, graduated from Moscow Architectural Institute (MARCHI) – State Academy in 1982. Co-founder of AES+F (since 1987). Lives and works in Berlin.
About AES+F
First formed as AES Group in 1987 by Arzamasova, Evzovich, and Svyatsky, the collective became AES+F when Fridkes joined in 1995. AES+F work at the intersection of traditional media, photography, video and digital technologies. They define their practice as a kind of "social psychoanalysis" through which they reveal and explore the values, vices and conflicts of contemporary global culture.
AES+F achieved worldwide recognition and acclaim in the Russian Pavilion at the 52nd Biennale di Venezia in 2007 with Last Riot (2007), their first multichannel video installation. The following two projects, The Feast of Trimalchio (2009), and Allegoria Sacra (2011), were also shown at the biennales of Venice, Moscow, and others. AES+F presented their next multi-channel video project, Inverso Mundus (2015), at the 56th Biennale di Venezia, 4th Kochi-Muziris Biennial, 1st Bangkok Biennial, and others. The most recent video installation Turandot 2070 (2021) was presented at Jeonnam Museum of Art in South Korea in 2021 and then on 3rd Bangkok Biennial in 2022.
Between 2016 and 2019, AES+F have also worked in set design for theater and opera. The artists created their first video set design for Psychosis, a reinterpretation of Sarah Kane's famous play, 4:48 Psychosis, directed together with Alexander Zeldovich. Psychosis premiered at Electrotheater Stanislavsky in Moscow in June 2016. In 2019, the group premiered their first opera together with the Italian opera director Fabio Cherstich, a reimagined Turandot acclaimed by critics as audacious and visionary. Turandot was created as an international co-production at the initiative of the Teatro Massimo in Palermo, together with Teatro Comunale in Bologna, Badisches Staatstheater Karlsruhe, and Lakhta Center in St. Petersburg.
For more than a decade, works by AES+F have been showcased in signature festivals and biennial exhibitions of contemporary art around the world, including — in addition to Moscow and Venice — those of Adelaide, Gwangju, Havana, Helsinki, Istanbul, Kiev, Kochi-Muziris, Lille, Lyon, Bonifacio, Siracusa, Melbourne, St. Moritz, Sydney, Taipei, Vancouver, and many others. Their work has also been featured in influential events devoted to new media — such as ARS Electronica (Linz), Mediacity Seoul and Video Zone (Tel Aviv) — and photography — such as FotoFest (Houston), Les Rencontres d’Arles and Moscow’s Photo Biennial.
The group had more than 100 solo exhibitions at museums, exhibition spaces, and commercial galleries worldwide. AES+F works have been shown in such prestigious venues as the ZKM (Karlsruhe), HAM (Helsinki), Moderna Museet (Stockholm), Tate Britain (London), MAXXI and MACRO Future (Rome), DART Chiostro del Bramante (Rome), Centre Pompidou (Paris), Museo Thyssen-Bornemisza (Madrid), Today Art Museum (Beijing), Mori Art Museum (Tokyo), Leeum Samsung Museum of Art (Seoul), The State Russian Museum (St. Petersburg), Garage Museum of Contemporary Art (Moscow), National Gallery of Australia (Canberra), Faena Art Center (Buenos Aires), and many others.
Their works appear in some of the world's principal collections of contemporary art, such as Moderna Museet (Stockholm), MOCAK (Kraków), Sammlung Goetz (Munich), ZKM (Karlsruhe), National Gallery of Australia (Canberra), Art Gallery of South Australia (Adelaide), and the Museum of Old and New Art (Tasmania), Centre de Arte dos de Mayo (Madrid), Centre Pompidou (Paris), and the Louis Vuitton Foundation (Paris), the Vanhaerents Art Collection (Brussels), Taguchi Art Collection (Tokyo), and many others. Their work is also well represented in some of Russia's principal national museums, such as The State Tretyakov Gallery (Moscow), The State Russian Museum (St. Petersburg), the National Center for Contemporary Art, and the Multimedia Art Museum (Moscow).
AES+F received Sergey Kuryokhin Award 2011, the main award of the Kandinsky Prize 2012, the main award of the NordArt Festival 2014, and Pino Pascali Prize 2015 (18th Edition) – all for the project Allegoria Sacra. AES+F were also awarded a Bronze Medal (2005) and a Gold Medal (2013) by the Russian National Academy of Fine Arts.
Updated March 3rd 2025