Anna Frants
Since 2006
Works in New York, New York United States of America

Anna Frants is an international new media artist and curator.

Anna Frants’ interactive art installations have been exhibited at top venues across the world. Recent highlights from 2009-present include exhibiting in the St Petersburg Biennial, Moscow Biennial and Polish Biennial, KuoseinoSato Museum of Contemporary Art (Fukuoka, Japan), The Museum of Art and Design (New York, USA), The State Hermitage Museum (St Petersburg, Russia), Chelsea Art Museum (New York, USA), RSProjects (Berlin, Germany), VAP / Gogolfest (Kiev, Ukraine) and Transmediale (Berlin, Germany) as well as participating in a 17 day expedition to The Arctic Circle with The Farm Foundation of Arts and Sciences. Frants is represented by Dam, Stuhltrager Gallery (Brooklyn, USA & Berlin, Germany) and Barbarian Gallery (Zurich, Switzerland).

An accomplished artist, Frants is also a distinguished curator active in expanding and progressing the international field of New Media. She is co-founder of Cyland - a nonprofit that organizes an annual new media festival held throughout St Petersburg, Russia’s top institutions including The State Hermitage Museum, The Peter and Paul Fortress and Sergey Kuryokhin Modern Art Center. Cyland also houses Eastern Europe's largest video archive and hosts an artist residency program.

An important voice in the cultural dialogue of experimental art, Frants has served as a contributing writer to NYArtsmagazine and Art & Antiques Magazines. Anna graduated from Baron Stieglitz St.Petersburg Academy of Art & Industry in Russia and Pratt Institute School of Advanced Studies in New York. She spends her time split between Russia and New York.

Recent Highlighted Exhibitions


"Polar Bear Fodder", ArtParis 2011 (Paris, France)

“Sign & Time”, Transmediale / Concentart (Berlin, Germany)


“Visionary Dreams #3245-3353”, Borey Gallery (St Petersburg, Russia)

“We Are Here”, Cyberfest / The Peter and Paul Fortress (St Petersburg, Russia)

“Breathing in the Air”, VAP Gogolfest / Dovzhenko Film Studios (Kiev, Ukraine)

"World Arts Olympus", Queen Mary (Long Beach, California)

“220V”, RSProjects (Berlin, Germany)

“Sediments”, Barbarian Gallery (Zurich, Switzerland)

“The NEW New”, East/West Project (Berlin,Germany)

“Made in Ancient Greece”, Museum of Art and Design (New York, NY)


“Made in Ancient Greece“, Scope Miami (Miami, FL)

“Visionary Dreams #3005 - 3009”, Borey Gallery (St Petersburg, Russia)

“Act“, Cyberfest / The Central Exhibition Hall (St Petersburg, Russia)

“Soda Water“, Cyberfest / Loft Projects (St Petersburg, Russia)

The Arctic Circle Expedition, The Farm Foundation for the Arts & Sciences (The Arctic Circle)

“Drum Painting”, Moscow Biennial / Moscow Contemporary Art Center (Moscow, Russia)

“Dialogues”, St Petersburg Biennial / Manege Central Exhibition Hall (St Petersburg, Russia)

“Drum Painting“, KyoseinoSato Contemporary Art Museum (Japan)

“Shine A Light", Dam, Stuhltrager Gallery (Brooklyn, NY)

“Made in Ancient Greece”, scope NY (New York, NY)

“…Kolodzei Art Foundation”, Chelsea Art Museum (New York, NY)
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Siggraph 2011 Asia

Great! Just noticed that it is no note at all in Exhibition Guide about the Art Exhibition at Hong Kong Convention and Exhibition Center. What are we? Clowns that had been hired for the party?


Siggraph 2011 Asia

I brought 2 engineers for collaborative projects "Trembling Critters" for exhibition at Siggraph Asia since we were invited for exhibition. We got 1 pass for the activities for all 3 of us!!! That's counting the fact that Siggraph does not cover anything for invited artists. This is really disrespectful for the art world!



Sat May 31, 2008 00:00 - Thu May 01, 2008

United States of America

Apr 25 - May 31
opening April 25 (7-9pm)

38 Marcy Avenue, Brooklyn NY 11211

FOR IMMEDIATE RELEASE: “The space penetrates the space.”- Vladimir Vasilievich Sterligov
Dam, Stuhltrager partners with St. Petersburg Art Project to forge new frontiers and find common ground in New Media. Russian artist, Anna Frants' media installations are total environments that envelop the viewer in image and sound. Her work employs state-of-the-art technologies and is distinguished by precision and direct simplicity. Just as her Sterligovite predecessors conceptually redefined space in paint, Frants utilizes video and audio to reconfigure a viewer's reality...

Vladimir Vasilievich Sterligov did not transcribe to a particular doctrine nor labor along the lines of set methods. A visionary painterand theoretician, Sterligov defined learning as an experience beyond merely understanding fundamental principles such as light and space. Mastering conventional notion of given ideals is rudimentary. One practices in order find their own, particular aesthetic and conceptual clarity.
Leaves rustle in wind that is not there. Chirping fills the air from birds that have flown farther than could possibly be heard. The seemingly straight forward pleasures of a sunny day spent "In the Shade of An Olive Tree" provides playful fodder for Frant's interactive installation. The logic ingrained in how one distinguishes a common setting such as a tree in the sun's rays is skewed. Video and sound are utilized to manipulate light, contrast, touch and “reversity” within the installation, producing an environment where nothing is rationally as it is naturally perceived. As spectators enter the frame of projected light- he/she participates in the creation of an image and is transported, on the associative level, to a suggested world by inference.

"The lacy shadow of the olive tree, rustling of leaves, mosaic floor and power of imagination will bring you to Greece where specks of light on the marble of an ancient sculpture play in the same way as they do on your hand caught in a beam from the projector." - A.F. 2007 (Dedicated to Nina Zakharovna Kunina)

Anna Frants will unveil a brand new site specific work created for Dam, Stuhltrager's front windows.


Russian video art 1990-2000

Sun Apr 22, 2007 00:00 - Sun Apr 22, 2007

St. Petersburg Arts Project (NY) and National Center For Contemporary Art (Saint-Petersburg Branch)

cordially invite you to attend the video screening of

"Something About Power"

program of Russian video art of 1990s-2000s


Frants Gallery Space on Friday, April 27th, 2007

at 8:00 PM


81 Wooster Street
4th Floor
New York, NY 10012
Tel: 212 343 0104
RSVP 212 343 0104 or
e-mail at

Something About Power, program of Russian video art of 1990s-2000s
Curators of video program Marina Koldobskaya, Maria Korosteleva

Mediators & Manipulators
1. Gia Rigvava. You Can Rely On Me. 1993. 1’29
2. Gliukla (Natalia Pershina-Yakimanskaya). Secret Advice. 2004. 2'40
3. The Blue Noses Group (Viacheslav Mizin, Alexander Shaburov). New Russian Charades. One-Minute Animated Sculptures. 2004. 2'20
4. Anton Litvin. Restoration. 2006. 11’18
5. Prigov Family Group (Dmitry Alexandrovich Prigov, Natalia Mali, Andrei Prigov) The People and the State: Together We Build a New Russia. 2003. 7’22

Death Of A Hero
6. Pavel Dubov. Putin Karaoke. 2005. 0'50
7. Radek Community. Demonstration. 2002. 5’39
8. ZERGUT Group (Evgenii Goltsov, Vladimir Seleznyov, Ivan Snegiryov, Stanislav Cherva).
A Visualization Of Domestication, or A Special Case In Contemporary Ornithology. 2002. 3’20

9. Viktoriya Begalskaya. Nutcrackers. 2004. 5'58
10. Dmitry Vilensky. Contact. 2002. 4'40
11. Oleg Kulik. I Love Europe, Europe Does Not Love Me.
Performance on September 1, 1996. Kunstlerhaus Bethanien, Berlin. 6’
12. Anna Jermolaeva. 3 Minutes, trying to survive. 2000. 3'00

13. Elena Kovylina. Waltz. 2001. 5’55
14. Aristarkh Chernyshev & Vladislav Efimov. Schwarzen Ecke. 2002. 2 '21
15. Factory of Found Clothes (Natalia Pershina-Yakimanskaya aka Gliukla & Olga Egorova aka Tsaplya). Scarlet Sails. 2005. 7'00

Someone Above
16. Kirill Shuvalov. Massacre. 2003. 0'59
17. Viktor Alimpiev. Is it yours? 2004. 2’18
18. Yakov Kazhdan. Mona Lisa. 2003. 0'58
19. Vladimir Bystrov. Magnificat. 2005. 5'05

Something about Power
program of Russian video art 1990s-2000s

Every artist has something to say about power, especially in Russia. Power changes hands and attitudes towards it also change - from complete rejection to an equally strong desire to be involved and to participate.
In the already legendary Soviet era the main feeling was one of hatred; hatred which was almost like unrequited love. One thing is clear - Soviet intellectuals were a community raised with ambitions to lead, but were never given the opportunity to lead. An artist or writer could resist power or dissolve into it, serve it or denounce it - but he could not exist outside this relationship. The artist represented an almost nonexistent civil society and entered into conflict with officials as if on its behalf, replacing preacher, psychiatrist and journalist.
The ban on politics resulted in a passion for politics. At that time, neither erotica, nor landscapes nor abstract paintings could exist by themselves, as aesthetic facts - like it or not, they carried an ideological load - either demonstrating a Western influence, or referring to fundamentalist national values, or simply expressing disgust with everyday Soviet life.
The artist would have willingly replaced politicians as well if he could, but this would have led to severe punishment.
The sudden interest in unofficial Soviet art during the ‘Gorby’ Boom resembled a short but passionate affair that nevertheless had mercenary motives at its heart. Russian society noticed contemporary art, allowed it to exist and to be useful - but it never really understood what art actually did and what its purpose was. And artists feverishly pursued their fortunes.
During the nineties, the euphoria from the possibility of talking about the past was replaced by the need to talk about the present. It was as if the art community decided to reward itself for years of silence and parables.
The language of art in the nineties was borrowed from Parliament, the streets and the marketplace - parodies of political parties, animal demonstrations, toy barricades, propaganda leaflets and ritual fights, with the best fight (between the artist Brenner and President Yeltsin) naturally not taking place. The most honorable epithets for artists of the 90s were: radical, hero, revolutionary. The most fashionable words in critics’ writings were appropriation, exploitation, post colonialism, cultural imperialism of the West, language terrorism, discursive repression, and so on.
Successful gallery owners became political spin doctors. Successful artists got involved in election campaigns.
In the mid-nineties, a revolution took place in Russia - not a political one, but a technological one. People, including artists, got hold of video cameras, computers and the internet. New technologies resulted in a new temptation - to turn art into media. Furthermore, many Russian artists of that time had experience of working in the press and on television. The combination of technology and experience seemed to offer real opportunities for influence. As a logical consequence, the slogan “the Artist Must Take Power” was almost taken seriously.
This never happened, because this could never happen. Quite the opposite, the ‘noughties’ turned into a time of neo-conservatism and the depoliticization of Russian society. Propaganda was replaced by commercials and a cult of glamour was established. It is glossy magazines and not clever newspapers that define a way of life now. In this ideological vacuum, when neither the powers that be nor society have decided what they really want, there is nobody to fight and nothing to fight for (apart perhaps for money). For an artist in Russia, this is quite a comfortless existence.
Disillusionment in politics, however, has not removed the habit of talking about life and art in terms of power; rather, it has widened the scope of questions. Today, art focuses not on politics, but on everyday life: the power of the old over the young, of the beloved over the lover, of the boss over subordinates - and vice versa. The power of media images, the power of money, the power of consumerist seduction. The power of the body, the power of tradition, the power of memory.
And some are reminded that “God may be everywhere”. Ultimately artists are in dialogue with Him, and not with any other being. As are all people.

Marina Koldobskaya


video/cyber art exhibition

Sun Dec 17, 2006 00:00 - Sun Dec 17, 2006

December 19-30, 2006
Exhibition “Visionary dreams #2391-95”
by Anna Frants at
Gallery Borey. St Petersburg, Russia

Anna Frants is a New York based independent curator and multimedia artist. Her accomplishments reflect the broad range of interests she has. She was born in St. Petersburg, Russia, where she graduated from Muhina Academy of Design in 1989 with a solid classical foundation and later expanded her interests and education to include the domains of computer imaging and animation. She has participated in and curated numerous art exhibitions in United States and Russia, for number of years have been teaching media studies and animation and also published articles on art. Works can be found in KyoseinoSato Contemporary Art Museum (Japan) and in private collections.

“In her works Anna Frants lightly and funnily tells us about most serious philosophical things and avoids academic truisms and highflown epithets. With the help of interaction she draws participants of different age into her works. /…/ Anna Frants suggests that new technologies are not only entertainment, but the best mean to convey the inner world of a person with all its complexities and nuances. And in that aspect digital art is really close to painting.” from the article by Olga Horoshilova

In Borey gallery Anna Frants will present video installations: “The Window”, “Made in Ancient Greece”, “Video Graffiti” and pportraits from Staticvideo series.


The art of the portrait, an artistic representation of a person, has flourish for centuries in many cultures through a variety of fine art forms such as painting, sculpture and photography. The new mediums and technologies such as video, computer graphics and animation created new possibilities for artistic insight into conveying the nuances of a personality. The “StaticVideo” offers opportunity to capture a moment of life in complex dynamics of colors and sound.

“The Window”
Soap bubbles/ video installation

Recent technological advances faded a fine line between reality and the virtual world, like playing computer games make us forget what type of reality we are in.
But since memory works alike in both worlds, triggering randomly pictures and events we have seen and experienced, “The Window”, does not tell us a story, but rather observes and remembers the way our minds works while the soap bubbles pop away.

Made in Ancient Greece
Video sculpture. 2006

“Made in Ancient Greece” is a freestanding video sculpture that introduces unlikely, from the conservative point of view, but perfect marriage of traditional art form and moving images.

Unlike renowned Tony Oursler's puppet theatre lit by “laterna-magica” projectors- narrative does not play any role, leaving viewer to concentrate on pure visuals.

Ridiculing snobbishness of our conventional thinking, sculpture plays on principles of our vision, time that long term memory takes to pulls out cliches, and perfect proportions of the Greek pottery.

Video Graffiti

Translucent screen, video projections. 2006

Video Graffiti is ambient video work projected on the translucent video screen from multiple locations. Video material mixed on the “canvas” derived from different world locations. There is no sound accompaniment, it is only video. Like traditional painting, video painting being there to be viewed or passed over - depending on the individual viewer preference at the moment.