The Pangardenia project is made up of four paths: Parniki (artists at their homes; indoor gardening and other types of “capsuled” life), Abandoned gardens (semi-closed universities and ways for growing knowledge and art in lockdown), Wandering gardens (a site-specific artistic boat trip in collaboration with boat-drones), and Post(non)human gardens (new types of life forms, combining both human and non-human agents). One day for each path (subtheme) and a closing move of Pangardenia.
Fragility (uncertainty) and self-sufficiency (autonomy) are distinctive features of today’s pandemic life in lockdown. Our lives grow from the middle (Kafka) and we no longer have strong roots in the soil, but we are not immaterial cloud-based creatures either. This is a life between matter and data.
Timothy Morton says that “information dump mode” is a way for us not to relive the experience of (traumatic) data. To relive means to integrate data back into personal experience, and thus integrate it into the “collective experience,” expanding to a planetary scale (J. Lovelock). Pangardenia is an aspiration to relive through data, and an ambition to re-connect the virtual and the real. Pangardenia, a natural chimera, embraces Panic sensibility of the wild and guarded gathering of the garden and gradina, elemental and structural, growing and digital. What can bear fruit in these liminal gardens?
The Pangardenia project is made up of four paths: Parniki (artists at their homes; indoor gardening; autonomous existence and any other types of “capsuled” life), Abandoned gardens (semi-closed universities and ways for growing knowledge and art in lockdown), Wandering gardens (a site-specific artistic boat-trip in collaboration with boat-drones), and Post(non)human gardens (finding new types of life forms, combining both human and non-human agents). Each day we will walk down one of the paths (subtheme) and finalize the festival with a closing movie of Pangardenia.
Boris Shershenkov: Short glimpse through the curtain (2020)
The Russian term Parniki means greenhouses but they hold a connotation of hot closed space for plants, mostly southern such as tomatoes. Because of the cold climate and less natural light in Saint Petersburg we need to create an artificial climate for growing most plants. On this path we visit artists at their homes; explore indoor gardening; autonomous existence; creating gardens for spaceships and any other types of “capsuled” life.
Evgeniy Molodsov: Ramus
Cultural institutions such as universities and museums are locked. Used to be full of activities and people, today they are abandoned gardens. We will visit these semi-closed, semi-live spaces and share this experience online to recreate them in virtual spaces and to find new ways for growing knowledge and art.
Pangardenia Boat Trip
Saint-Petersburg is a city built on swamps and full of water. We don’t have much greenery rooted in soil, but we do have underwater “gardens” (microbiome of Neva, Fontanka, Krukov Kanal, etc.) and deeply layered swamp life in the city’s depth. This path will lead us through water nomadic gardens of the city and its outskirts. It will be a site-specific artistic boat-trip that collaborated with boat-drones whose task is to collect eco-data.
Ethan Avila, Laura Rodriguez: The Fruits of Consciousness
The final path of the trip is dedicated to finding new types of life forms, combining both human and non-human agents: robotics; AI+nature; the garden as a model of human consciousness; how to explain gardens to non-human agents; how to explain smells and touch to AI; collecting data from the gardens; big data and consciousness.
Mediation in AIR Gallery
Pangardenia is an epidemic that has taken over the gardens and gardens that have taken over us. It vests everyone with the desire to grow or be grown by somebody else. We, St.-Petersburg artists, want to explore this phenomenon, find the new life forms generated by this epidemic and study the old ones which were preserved and hidden in the gardens. Pangardenia is made up of four paths: Parniki, Abandoned gardens, Wandering gardens, and Post(non)human gardens. One day for each path (subtheme) and a closing move of Pangardenia.
Natalia Fedorova: To be the wind for the tree
Did you ever want to hear a tree talk? Did you ever want to feel how the water goes up the tree crones? How does the wind feel for the tree? The project of the artist and curator Natalia Fedorova is based on the idea of the Internet of Trees (IoT) verbalizing the tree sensualities. It consists of a poetry generator producing iterations based on TT and sensor data.
Project Credits / Acknowledgements
The Faculty of liberal arts and sciences (SPb) in collaboration with Bard College (NY) “Curatorial studies” master program
Laboratory of New Media, New Stage of Alexandrinsky Theatre
Art Media Center (Academy of Talents, SPb)