Technologies today make it possible to do a great deal. There was a time when it was difficult to even imagine the potential that they offered for the visualization, processing, reproduction, replication, and synthesis of large volumes of data, including data perceived visually. However, this no longer comes as a shock. Everyone is so engulfed by the high-tech nature of daily existence in the city that the boundaries between the “personal”, social, global and virtual networks are flattening out more and more. Now that the ability to use databases, maintain contacts through news feeds, connect to the constantly updated resources of the cinema and audio files and spend time in social networks is part of the daily routine, the issue of differentiation or even the conscious introduction of screens to block out the increasing flow of information is becoming more and more relevant. This concerns not so much so-called “remediation”, as it does attempts to establish the significance of "mediation" and where it applies.
The video works of Elena Koptyaeva form two groups: the contents of the first group refer to the materiality of the paper and concrete wall, while the second group describe the technological impact, which opens up additional dimensions in the image. However, in both instances the artist renders perceptible and visible the actual moment when materiality thins and disintegrates, and different topologies flicker. In the thick grey concrete wall, the typical splinter of state town-planning facilities, you don’t expect the gaping component moving along its surface and setting a new visual regime that is somewhere between a street and pictures from memory.
It is not only the external space, not only the typical view from the window, but also, so it would seem, a component as inextricably linked to its "carrier" as the face, which is also subjected to disassociation: spectators see how the image disintegrates again and again as the head moves, and its reunification is only a brief moment before it diverges into a new series of stratification. Whereas experiments with the medium of the photograph in one of the works representing Varvara Stepanova resulted in the actual atlas of her face precisely combined along the contours, static and consisting of consecutive photographs of the rotations of her head through 180°, in this video the face of the young female artist as such is virtually not visible, and cannot be recovered from the momentary vestiges of its appearance as a whole from the series of its ruined looks. The spectator sees a face set in motion and for this reason it acquires an increasingly large number of looks compared to the ones that are usually visible in "reality".