Signal to Noise

Anya Tsyrlina and Sid Iandovka rework archival materials into something intensely personal but also open-ended and de-contextualised. The lack of context is not a forceful erasure, however, feeling more like the effect of an erosion or an exploratory retuning. Emanating love for the outtake, the velocity of sound, and the radiance of suspended moments, this staggering work is an affective plunge – not a search. Appraising seemingly only the periphery of records and memories, it deliberately sidesteps limits and frames of reference, diving and dwelling instead wholly elsewhere. There, it approaches images and sounds through a kind of sorcery, the magic of which feels both precise and rich with confident surrender.

~ Ilinca Vanau

Sid Iandovka and Anya Tsyrlina (both born in Novosibirsk, USSR) are an artist-duo whose practice extends across many different media, predominantly moving images. Though only selected works of theirs are co-authored in a traditional sense, as both have distinct interests and aesthetics, they have collaborated, on and off, for over twenty years – ultimately creating a joint, entirely independent, “homemade” production approach for their films. Their working methods are not products of any educational/professional institutions and their practice is not rooted in any state; it is immaterial and doesn’t benefit from any national/international funding, resources, or structures. The artists prefer for their own histories and words to remain in the background… – Herb Shellenberger

mysteries (2021), meteor (2021), live the live u love (2021), all other things equal (2021), escape goat (2020), a minor piece of damage (2020), 193 octillion (2020), horizōn (2019), phenomenon (2019), horizōn (2019)