Science arts as method of working with the future

Laboratory at the ‘Peace, Love and Robots’ school
June 10 – 16, 2021
VZOR conducted the Art&Science laboratory for young artists, designers and researchers. The laboratory was focused on the topic of space debris: the participants worked with open data and offered an artistic vision of this issue.

The participants learned about Art&Science projects in which artists and scientists considered aesthetic and ethical aspects of space research, new materiality in bio-art, communication with machines, and the possibilities of robotics in the present and the future.

During the practical part of the program, participants worked with specific data and created artistic projects.
They studied and worked with the vvvv software for translating data into audiovisual forms, and also trained in 3D-modeling and 3D-printing

Interpreting the same set of data, teams approached the issue from different angles and suggested to their spectators a contemplative or interactive situation. The result of the laboratory was the exhibition ‘1957: Open Data’.
Authors – Anna Tarasova, Anna Startseva, Egor Fedosov, Kamila Gizitdinova, Alexander Krenitsyn, Anastasia Sokolnikova, Vladislav Dudkin, Miroslava Shulika

According to several research papers, after 2055 we may face the complete impossibility of space shuttles and satellites entering the Earth's orbit.

The project is an installation in the form of an hourglass, a symbol of the relentless passage of time. Debris grains fill the planet's orbit, blocking the light of the future, with every second bringing us closer to imprisonment on Earth.

8 ° 28'S 106 ° 50′E: Error404
Authors – Maria Efimova, Andrey Shkarin

On October 16, 2020, with a 10% probability, over the territory of Antarctica, two obsolete space objects could collide: the ‘dead’ Soviet military apparatus of the Sail series and the stage of the Chinese Changzheng 4B rocket launched on May 10, 1999. The debris of the past – space debris – could overnight obliterate the purity of the ecosystem, the most important spot from the ecological map of the planet.

The art object is a recognizable topography of the purest continent, the coastline of which is dotted with bugs generated in real time. Based on data on space debris, flying over the territory of Antarctica, at the time the object is created.
Authors – Roman Smirnov, Roman Fokin, Anna Shmykova, Anna Ledeneva, Angelina Shutko

Cosmos is like inevitability, like an eternal satellite, like a huge shadow on the fabric of the universe and a field of universal responsibility, filled with our history. Over time, this story turns into waste products, leaving traces like paint on canvas.

The name of the project refers to the fact that during the entire time of space exploration 18 dogs have died. In this story, it is noteworthy and rather mysterious that 18 people also died in space.

The viewer is offered to try on a role of the Earth, which is surrounded by the consequences of the space age.
Authors – Ivan Sochnev, Olavi Siikki, Ulyana Mytsyk, Elena Budanaeva-Ramskaya

Earthling surrounded by space debris. With a wave of a magic bow, the remains of spacecraft begin to sound in different tones, depending on the speed of their movement and size. This is how the hypertrophied nature of this agenda sounds.

Space debris is not a tragedy. Humanity launched satellites into space, sent their hopes and dreams there in order to know it, to hear someone in response. However, after a while, dreams turned into a burden of responsibility. Yet, people have the ability to turn waste into resources and create new objects of science and creativity.

Authors – Sasha Kokacheva, Ada Morozova, Kristina Kuplinova, Iliya Shurinov, Andrey Moshkin

At the heart of Russian cosmism are the ideas of the relationship between cosmic and earthly processes, the search for a person's place in space and the concept of human immortality.

The return of Lenin's body to life is the conceptual outcome of Russian cosmism, which has never been achieved, as are many of the desired results of space exploration programs.

According to Boris Groys, Lenin's body in the mausoleum is a symbolic body. It is social: ‘He is exactly the same simple ordinary man, Lenin, who in some bodily sense is equal to us, to everyone else.’ If he's some space junk, then so we are. His body acts as a means of communication between the artifacts of the era and modern society.

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