Alexandra Dementieva

Alexandra Dementieva’s main interest is application of social psychology and perception in multimedia interactive installations. Her interactive installation projects attempt to widen mind’s perception possibilities by different production means. By making certain historical, cultural and political allusions her exhibition sites create the frame within which the idea develops. The projects explore spectator’s depths of perceptional experience and interaction of an individual spectator with the exhibition proper, as well as with other visitors. The object on an installation or its production means become less important to her than the mind of a user. Thus the latter becomes the center of the project or the main actor of the performance.

For the last ten years Alexandra Dementieva has been creating technically complex installations, based on interaction between the spectator and the video’ images. The artist removes the fourth wall and makes viewers the participant of cinematographic situations. Creating installations Dementieva employs professional actors. “Dramhouse” – the largest movie set so far – involves 19 people.

In Science Fiction television often becomes interactive. The viewer determines not only what he will watch, but the very development of the plot in serials or film. “Dramhouse” allows us to peek into the future of entertainment industry. The viewer becomes God: fates of inhabitants of ordinary European houses hang upon his actions. All that is needed is to ring a doorbell of one of apartment number.

Video projection is a life-size building façade. In each of the eight windows an independent plot plays out. As in “La Comédie humaine” Balzac, the viewer observes life of almost all classes of European society: from the affluent middle class to the dregs –drug addicts and petty criminals. Their actions and ultimate fate depend on the number and sequence of your rings.

Dementieva, of course does not completely deify the. He is an observer, a voyeur, able only to look, and to await the finale. We all often peek into lighted windows. “Dramhouse” gives us the keys to control fate of others, but at the same time forces us to comprehend the natural limitations of our personal influence over the course of events. In this game – as perhaps in life – all moves are predetermined.
Valentin Diaconov

With the support of Flemish authorities and XL gallery.