All Roads
Natalia Fedorova is an artist, curator, researcher, and educator in the field of contemporary art and literature. Her work is centred around mediation between the languages of humans, technology, and ecosystems. Natalia’s latest artistic pieces can be classified as interspecies communicators. She is currently working with philosopher Pierre Cassou-Noguès on an installation Room for René Descartes, which presents VR technology as an “evil genius” that creates multiple distortions. Natalia holds a PhD in literary theory from Herzen State University (St-Petersburg). She has won a Fulbright scholarship to do her first year of Postdoc the Trope Tank at MIT. For the last ten years Natalia has been teaching at the Faculty of Liberal Arts and Sciences at Bard College (Upstate New York) and at the Art&Science program of ITMO University (Moscow). Currently Natalia is a guest researcher at the Laboratory for the Logics of Contemporary Philosophy at the Paris 8 University, supported by PAUSE. She is also teaching two courses in Smolny Beyond Borders and is working on an art project as a TSI (Threatened Scholar Initiative) at LUMA Foundation (Arles, France). Natalia co-founded the media-poetry group Machine Libertine (Natalia Fedorova/Taras Mashtalir). Her audio and video poems appeared in TextSound, Rattapallax, LIT magazine, and Ill-Tempered Rubyist, räume für notizen | rooms for notes as well as number of international festivals and biennales, such as ISEA 2016, ELO 2015, 6th Moscow Biennale of Contemporary Art, Manifesta 10, Krasnoyarsk Book Culture Fair, REVERSE, Moscow Book Festival, E-Poetry, LUMEN EX, Interrupt II, VideoBardo, Liberated Words, Tarp. Natalia lives and works in Paris.
The new series by Paris-based artist Natalia Fedorova is a riot-meditation or a sublime protest. Five interactive poems given as HTML files surprise the viewers and readers by brevity and minimalism of how this radical message is designed. This highly political project addresses the current crises differently than other series, literally, it speaks from another dimension. In the artist’s words, “The series I write to you from the clouds is about life, but rather about death, about the atmospheric and planetary calm into which a person plunges while observing these phenomena.” Floating above the struggles, the project is an analogue of writing degree zero, free of industry expectations. It challenges the high velocity and flamboyance of the current state of digital arts to bring power back to words, colours, and code.
