• 1
  • 2
  • A
  • B
  • C
  • D
  • E
  • F
  • G
  • H
  • I
  • K
  • M
  • N
  • P
  • Q
  • R
  • S
  • T
  • U
  • V
  • К
  • М
  • С

























Video art / screen media

Selected events

Selected Artwork Series

Selected artworks

Media art created at the intersection of art and technology includes science art, video art, soundart, experimental cinematography and many other forms.

Video art (or screen media) is a format of creating artistic works using moving images. Thanks to the creation of new technological innovations, the format has evolved greatly. Artists are free in technique. They can use video art as a standalone work of art when projected onto a screen or as a base for a performance, shoot video or use existing material, add sounds or effects, apply editing. Video art is influenced by performance and installation, theater and music, cinema and popular culture, game design and digital media.

Early experiments by video artists were associated with critiquing television formats and parodying them, in response to the increasing influence of television. The works of this direction draw attention to the problems of society, explore creative processes, human emotions and much more.

As a rule, interaction with the audience is built linearly, the artists strive beyond the fourth wall, as if letting the audience inside the work. Often, authors use techniques such as multiple screens (multi-screen), assigning roles to the viewer, or the opportunity to participate in the work.

In Belarusian art, the most notable pioneers of video art were Uriy Igrusha, Alexey Terehoff and Maxim Tyminko. A seminal video work is Beguiling Orpheus (2006), a digital opera created by Maxim Tyminko and his team. The project is a live opera performance, a media art version of Christoph Willibald Gluck's famous Baroque play Orpheus and Eurydice. In this interpretation, the traditional theatrical scenographic design is replaced by electronic scenography, one singer performs the part of Orpheus live, all other characters are presented on video projection. This is an attempt to consider the problem of the dissolution of personality in a completely artificial technological environment.

In 2012, Minsk hosted an international film cooperation festival of independent filmmakers – Cinema Perpetuum Mobile. As part of the event, the participants shot short films specifically for the festival on the theme of “perpetual motion” (Perpetuum mobile), there were also nominations: Perpetuum Ars (eternal art), Perpetuum Idea (eternal idea), Perpetuum Vita (eternal life), Perpetuum Adversi (eternal contradiction) and Perpetuum Libertas (eternal freedom). It was the first Belarusian festival to be included in the largest database of festivals Withoutabox, section IMDb (Internet Movie Database).

The representatives of the Belarusian cinema were: director and screenwriter, member of the European Film Academy Viktor Aslyuk; producer, director Uriy Igrusha; director, dean of the faculty of screen arts of the Belarusian State Academy of Arts, professor Pavel Ivanov; film critic, journalist, lecturer at BGAI Galina Shur; screenwriter, playwright, director and publicist Andrei Kureichik. As part of the festival program, a documentary film by the Belarusian contestant - "Underground" by Uriy Igrusha was presented.

Today, video art has become one of the most popular media among artists, here are some names that regularly turn to this media: the eeefff group, Alexandr Adamov, Raman Aksionau, Gleb Burnashev, Zhanna Gladko, Mikhail Gulin, Marina Naprushkina, Lesia Pcholka, Tatiana Radsivilko, Daria Sazanovich, Nadya Sayapina, Antanina Slabodchykava, Anna Sokolova, Anton Sarokin, Olga Sasnovskaya, Sergey Shabohin, Jura Shust, Oleg Yushko and many others.

The acute political and economic crisis in Belarus, lack of funding, censorship made the development of modern Belarusian cinema and video art almost impossible. In 2021, the Belarusian Filmmakers' Network was created, which supports and unites Belarusian filmmakers not for political, but for professional reasons (in exile). The main goal of the project is transparency, efficiency and integration into the European film industry. The network strives to build the future, to find an opportunity to make Belarusian cinema relevant and noticed on a global scale.