#anton zakharov

[sewn-with-lilies-fair]

Photograph of all time. Svyatoslav Besedin (Morgoth) lifting Anton Zakharov (Huan).

[emeraldskulblaka]

Technically it's Celegorm Day, but here's Huan being a Good Boy instead.

[pinetreeairfreshener]

Anton Zakharov in the London 2012 Mens 10m dive prelim

[automaticvr]

KALININGRADER QUEST Eine Gralssuche im 21. Jahrhundert THE QUEST OF KALININGRAD Germany, 96 minutes, Der Blaue Vogel Berlin Film ©2020 The Search for the Grail in the 21st Century Gaming isn’t the only virtual reality in Kaliningrad. It’s inhabitants live at least two different levels of reality all the time with old Königsberg in mind. In the past, numerous culturally important persons have lived here and one of them, Immanuel Kant, seems to be a kind of eternal contemporary for the Kaliningraders. Besides that, facing the modern ruin of a Sowjet Palace on the ground of the Königsberg castle, the visible appears to be less reliable than the invisible in today's Kaliningrad. A scientist, an architect, a writer, a worker, a student: Everyone is on their personal quest, which leads them over the ruins of collapsed ideologies and over the fragments of fragmented worldviews. Queen Conduireamour from the medieval myth of Parzival's Grail Search seems to defy the boundaries of time to put up the crucial question of human being, just like Immauel Kant, whose thoughts about humanity are more relevant than ever... Screenplay & Director Irina Roehrig With Iris Berben (voice), Vladimir Gilmanov, Arthur Sarnitz, Alexander Popadin, Alexander Korobennikov, Michael Li and the actors Sergey Borisov, Ljubov Orlova, Anton Zakharov | Operator Axel Brandt, Evgenij Spivakov, Nikolai Zhloba | Sound Engineer Sergey Korobeinnikov, Ramil Davletshin | Costume manufacture Claudia Skoda | Music John Schigol | Visual Effects and Colour Grading Fabian Ferley | Computer graphics, animation & VFX Holger Bück | Stopmotion Animation Floris Gerber & Fabian Ferley and many others

[thedowntown500]

Concerning the Spiritual Tradition in Russian Art at Chelsea Museum

April 14 – May 7, 2011

Ground Floor

Concerning the Spiritual Tradition in Russian Art: Selections from the Kolodzei Art Foundation examines the intersections of artistic and religious consciousness that explore spiritual expression in the Soviet Union and Russia. This exhibition confronts the historical collisions of the sacred and secular, the conflict of government censorship, and freedom of expression under the Communist regime. During the Soviet era, such works of religious subject matter were often banned from public display, and in some cases, they were even confiscated.

Images of Christian churches or objects of veneration, as in the works of Oscar Rabin, Dmitri Plavinsky, and Anatolii Slepyshev, were considered religious propaganda. Art that was supportive of religion in any way was unacceptable to Soviet authorities. Regardless, a number of Russian artists turned to religious themes as a protest to government restrictions, an escape from Russian day-to-day life, or a private expression of faith. While some artists embraced traditional imagery depicting Russian churches, religious icons, or images from the Old and New Testament, other artists, such as Leonid Borisov and Gennadii Zubkov, expressed their spiritual ideas in more abstract, geometric forms. By the mid-1990’s, after Russia had emerged on the international art scene, artists shifted their focus to new subjects and ideas like digital media, as is used in the work of Konstantin Khudyakov and Alena Anosova.

This selection of 50 works by 35 artists, spanning from the 1960’s to the present, illuminates the progression of various artistic and political movements in Russia. Featured artists from the 1960’s and 1970’s participated in significant, unofficial exhibitions that challenged the official, approved style of Socialist Realism. Artworks from the 1980’s to the present reflect the emergence of a free and democratic Russia, after the era of Perestroika. Concerning the Spiritual Tradition in Russian Art offers the viewers a glimpse into artistic traditions of Russian artists who, despite oppression, fervently re-appropriated sacred imagery as a way of conveying rebellious expression.

The title for the exhibition alludes to Wassily Kandinsky Concerning the Spiritual in Art of 1911.

Featured Artists

Alena Anosova, Edward Bekkerman, Farid Bogdalov, Leonid Borisov, OlgaBulgakova, Oleg Bourov, Irene Caesar, Mihail Chemiakin, Maria Elkonina, Valeriy Gerlovin, Rimma Gerlovina, Dimitry Gerrman, Francisco Infante, OtariKandaurov, Anton S. Kandinsky, SanSan Kara, Konstantin Khudyakov,Mikhail Koulakov, Yefim Ladyzhensky, Valentina Lebedeva, TatianaLevitskaia, Sergei Maliutin, Komar and Melamid, Artem Mirolevich, IgorMolochevski, Ernst Neizvestny, Natalia Nesterova, Alexander Ney, ShimonOkshteyn, Vladimir Ovchinnikov, Valeri Pianov, Dmitri Plavinsky, PetrPushkarev, Oscar Rabin, Eduard Shteinberg, Alexander Sitnikov, AnatoliiSlepyshev, Alexi Tyapushkin, Yakov Vinkovetsky, Alexander Zakharov and Gennadii Zubkov.

SPONSORS

This exhibition is made possible in part by the generous support of the #KolodzeiArtFoundation

[peppermintstranger]

Hi Pepper!! Sorry for the very specific request, but I need this face sooo much, but found nothing by myself. I am looking for someone similar to the russian model Vanya Zakharov (during his long hair time) as much as possible. Someone with a similar, sweet and androgynous type of beauty and straight long hair of course. Eyes or hair color doesn’t matter, I care about the similar structure of the face. Thank you in advance!!

Hello!

You have: Erin Mommsen, Nils Schoof, Anton Thiemke, Kristians Jacovlevs, Malcolm Lindberg, Mans Aberg.

Hope it helps c:

[sewn-with-lilies-fair]

View this post on Instagram

A post shared by Rowan // Роуен (@sewnwithliliesfair)

Less than one week until the Lay of Leithian live broadcast- March 11th! ✨️You can purchase tickets here, and find more resources- including a translation- here.

Follow sewnwithliliesfair on Instagram for Leithian news and support in English. 💚

.

Huan- Anton Zakharov

Beren- Mikhail Potekhin

Finrod- Evgeny Egorov

Photo by Alexandr Kolbaya on VK

[party-hard-or-die]

Russian City’s Dazzling New Soccer Stadium Outshines Its Team

KALININGRAD, Russia — Nikita I. Zakharov leads the fan club for the soccer team in this leafy, slow-paced provincial city, and yet he keeps a cleareyed view of its place in the wider world of soccer.

“We cannot really boast of soccer success,” he said mournfully. The team, Baltika, plays in a second-tier Russian league. In its 64-year history, it has won the championship once — in 1995, “the golden year!” exclaimed Mr. Zakharov — and came in second twice, in 1959 and 1961.

Its biggest win, it turns out, was not so much on the field as with a field. Rising out of a formerly undeveloped swampy area in the city, a gigantic, glistening $280 million stadium appeared this year, one of six new arenas Russia built for the World Cup.

It is a bumper crop of new stadiums that, even by World Cup standards, appear out of proportion with the small crowds drawn by local teams like Baltika, which will use the venues after the tournament.

Their construction, at a cumulative cost estimated at $11 billion along with related infrastructure, illustrates how sports, as with the oil and mining businesses, has become integral to how the Kremlin and Russia’s ultra-wealthy financiers, known as the oligarchs, do business together.

World Cup stadiums became a means to reward well-connected businessmen, said Ilya Shumanov, the deputy director of the anticorruption group Transparency International.

“Authoritarian regimes love megasports projects,” Mr. Shumanov said. “Huge sums are distributed from the budget. It’s bread and circuses at the same time.”

The lucrative deal in Kaliningrad, a Russian exclave between Lithuania and Poland, went to the company of Aras Agalarov, who is one of Russia’s wealthiest men. Mr. Agalarov also had a commercial relationship with Donald J. Trump, having partnered with him in 2013 to host the Miss Universe pageant in Moscow.

“The Agalarovs are very well connected, in Azerbaijan, in Russia and in the United States,” Mr. Shumanov said.

The stadium in Kaliningrad is among those that went to cities with no top-tier soccer team. In one instance, a stadium with 45,000 seats went up in Saransk, a city with a population of 297,000.

The designs of the new stadiums nod to local pride. In Kaliningrad and St. Petersburg, both port towns, the stadiums’ look hints at ships. Mastlike towers suspend the roofs. The flying-saucer-shaped Cosmos Arena appeared in Samara, a center of the space industry.

Kaliningrad’s residents have been scratching their heads over what to do with the stadium when the World Cup is over.

The 35,000-seat venue will host four tournament matches in June and then pass to team Baltika, which last year drew an average of 4,000 spectators to matches. These were low-key events, according to videos of the games, where tepid fans munched sesame seeds and watched their blue-and-white clad soccer heroes play and, sadly, often lose.

“There are just not so many soccer lovers here,” said Vadim Chaly, an associate professor of philosophy at Kaliningrad University, and an authority on Immanuel Kant, a city native from the time Kaliningrad was German and called Konigsberg.

The oversize stadium, Mr. Chaly said, would have flummoxed the philosopher, who in his “Critique of Pure Reason” wrote of the need to derive knowledge from the cues in the world around us.

“The idea of achieving some higher goal using enrichment as a motive is absolutely contrary to Kant,” Mr. Chaly said, referring to stated benefits of the World Cup stadiums beyond sports, like boosting Russia’s image internationally. “He always thought morality was the higher goal, nothing else.”

Zoya Bondarenko, a clerk at a convenience store near the new stadium, found it less perplexing.

Her door overlooks 200 acres of packed sand in the filled-in swamp, with the white, maritime-themed stadium in the distance, looking like a beached cruise ship.

“The Forbes list is growing longer,” she said nonchalantly of the scene, and the businessmen making money here.

Anton A. Alikhanov, the regional governor, said in an interview that the stadium and related soccer spending will only benefit Kaliningrad. It helped pay for new ribbons of asphalt on roads, an airport upgrade and the filling of swampland.

“The island was a swamp where nothing but cattails grew,” he said. “If we hadn’t built a stadium, we would never have built anything there.”

And Mr. Alikhanov praised the work of Mr. Agalarov’s company, Crocus Group. Crocus, which won the contract in 2014, did not reply to a request for comment on the stadium work.

Adding to the perplexity is the fact that Kaliningrad already had a stadium.

Opened in 1900, it is one of the oldest soccer arenas in Europe. It was first named after the German philanthropist Walter Simon, who donated money for its construction. As Mr. Simon was Jewish, the Nazis renamed it after a Nazi and it became Erich Koch Arena. Then the Soviets, who tried to scrub the region of its German past, renamed it again, to Baltika Stadium.

The site’s layered history is evident. Metal garlands festooning the stadium once held swastikas; the Soviet Union knocked out the Nazi symbols but kept the nonpolitical decorative elements.

Until 1991, when some bleachers were removed to allow access to a used car lot, it seated 22,000 people. The lot has since closed, but the seats, unneeded in any case, were never returned.

Refurbishing this stadium would have been far cheaper, critics say. But saving money on sports construction has not been the goal in recent years, according to a study by the Anti-Corruption Foundation, a group led by the opposition politician Aleksei Navalny.

It found that 19 of 24 major construction contracts for the 2014 Winter Olympics in Sochi went to companies with ties to senior officials, including a company led by a former judo sparring partner of President Vladimir V. Putin. Construction costs, on average, ran four times higher than initial estimates. Mr. Navalny’s group calculated that each Olympic event cost $510 million to prepare.

“Ideally, the Olympic venues should have been constructed only by experienced companies with the lowest price quotations and all necessary financial and operating resources,” the study said.

Still, soccer fans could not be more pleased. After lean years of little recognition for team Baltika, they feel the tide turning.

Mr. Zakharov runs the fan club from an office with a cracked linoleum floor, and decorated with a “Miss Baltika” calendar, open to Miss May, a scantily clad brunette.

He said a group of about 100 people from his fan club turn out at every game, stomping and chanting the team’s rallying cry: “From Moscow to the Baltic, there is no team as strong as Baltika!”

They will now show up to chant at the new stadium, he said.

“I’m really happy,” he said. “We didn’t build. But we will use it.”

The post Russian City’s Dazzling New Soccer Stadium Outshines Its Team appeared first on World The News.

from World The News https://ift.tt/2kvs0MQ via Breaking News

[newestbalance]

Russian City’s Dazzling New Soccer Stadium Outshines Its Team

KALININGRAD, Russia — Nikita I. Zakharov leads the fan club for the soccer team in this leafy, slow-paced provincial city, and yet he keeps a cleareyed view of its place in the wider world of soccer.

“We cannot really boast of soccer success,” he said mournfully. The team, Baltika, plays in a second-tier Russian league. In its 64-year history, it has won the championship once — in 1995, “the golden year!” exclaimed Mr. Zakharov — and came in second twice, in 1959 and 1961.

Its biggest win, it turns out, was not so much on the field as with a field. Rising out of a formerly undeveloped swampy area in the city, a gigantic, glistening $280 million stadium appeared this year, one of six new arenas Russia built for the World Cup.

It is a bumper crop of new stadiums that, even by World Cup standards, appear out of proportion with the small crowds drawn by local teams like Baltika, which will use the venues after the tournament.

Their construction, at a cumulative cost estimated at $11 billion along with related infrastructure, illustrates how sports, as with the oil and mining businesses, has become integral to how the Kremlin and Russia’s ultra-wealthy financiers, known as the oligarchs, do business together.

World Cup stadiums became a means to reward well-connected businessmen, said Ilya Shumanov, the deputy director of the anticorruption group Transparency International.

“Authoritarian regimes love megasports projects,” Mr. Shumanov said. “Huge sums are distributed from the budget. It’s bread and circuses at the same time.”

The lucrative deal in Kaliningrad, a Russian exclave between Lithuania and Poland, went to the company of Aras Agalarov, who is one of Russia’s wealthiest men. Mr. Agalarov also had a commercial relationship with Donald J. Trump, having partnered with him in 2013 to host the Miss Universe pageant in Moscow.

“The Agalarovs are very well connected, in Azerbaijan, in Russia and in the United States,” Mr. Shumanov said.

The stadium in Kaliningrad is among those that went to cities with no top-tier soccer team. In one instance, a stadium with 45,000 seats went up in Saransk, a city with a population of 297,000.

The designs of the new stadiums nod to local pride. In Kaliningrad and St. Petersburg, both port towns, the stadiums’ look hints at ships. Mastlike towers suspend the roofs. The flying-saucer-shaped Cosmos Arena appeared in Samara, a center of the space industry.

Kaliningrad’s residents have been scratching their heads over what to do with the stadium when the World Cup is over.

The 35,000-seat venue will host four tournament matches in June and then pass to team Baltika, which last year drew an average of 4,000 spectators to matches. These were low-key events, according to videos of the games, where tepid fans munched sesame seeds and watched their blue-and-white clad soccer heroes play and, sadly, often lose.

“There are just not so many soccer lovers here,” said Vadim Chaly, an associate professor of philosophy at Kaliningrad University, and an authority on Immanuel Kant, a city native from the time Kaliningrad was German and called Konigsberg.

The oversize stadium, Mr. Chaly said, would have flummoxed the philosopher, who in his “Critique of Pure Reason” wrote of the need to derive knowledge from the cues in the world around us.

“The idea of achieving some higher goal using enrichment as a motive is absolutely contrary to Kant,” Mr. Chaly said, referring to stated benefits of the World Cup stadiums beyond sports, like boosting Russia’s image internationally. “He always thought morality was the higher goal, nothing else.”

Zoya Bondarenko, a clerk at a convenience store near the new stadium, found it less perplexing.

Her door overlooks 200 acres of packed sand in the filled-in swamp, with the white, maritime-themed stadium in the distance, looking like a beached cruise ship.

“The Forbes list is growing longer,” she said nonchalantly of the scene, and the businessmen making money here.

Anton A. Alikhanov, the regional governor, said in an interview that the stadium and related soccer spending will only benefit Kaliningrad. It helped pay for new ribbons of asphalt on roads, an airport upgrade and the filling of swampland.

“The island was a swamp where nothing but cattails grew,” he said. “If we hadn’t built a stadium, we would never have built anything there.”

And Mr. Alikhanov praised the work of Mr. Agalarov’s company, Crocus Group. Crocus, which won the contract in 2014, did not reply to a request for comment on the stadium work.

Adding to the perplexity is the fact that Kaliningrad already had a stadium.

Opened in 1900, it is one of the oldest soccer arenas in Europe. It was first named after the German philanthropist Walter Simon, who donated money for its construction. As Mr. Simon was Jewish, the Nazis renamed it after a Nazi and it became Erich Koch Arena. Then the Soviets, who tried to scrub the region of its German past, renamed it again, to Baltika Stadium.

The site’s layered history is evident. Metal garlands festooning the stadium once held swastikas; the Soviet Union knocked out the Nazi symbols but kept the nonpolitical decorative elements.

Until 1991, when some bleachers were removed to allow access to a used car lot, it seated 22,000 people. The lot has since closed, but the seats, unneeded in any case, were never returned.

Refurbishing this stadium would have been far cheaper, critics say. But saving money on sports construction has not been the goal in recent years, according to a study by the Anti-Corruption Foundation, a group led by the opposition politician Aleksei Navalny.

It found that 19 of 24 major construction contracts for the 2014 Winter Olympics in Sochi went to companies with ties to senior officials, including a company led by a former judo sparring partner of President Vladimir V. Putin. Construction costs, on average, ran four times higher than initial estimates. Mr. Navalny’s group calculated that each Olympic event cost $510 million to prepare.

“Ideally, the Olympic venues should have been constructed only by experienced companies with the lowest price quotations and all necessary financial and operating resources,” the study said.

Still, soccer fans could not be more pleased. After lean years of little recognition for team Baltika, they feel the tide turning.

Mr. Zakharov runs the fan club from an office with a cracked linoleum floor, and decorated with a “Miss Baltika” calendar, open to Miss May, a scantily clad brunette.

He said a group of about 100 people from his fan club turn out at every game, stomping and chanting the team’s rallying cry: “From Moscow to the Baltic, there is no team as strong as Baltika!”

They will now show up to chant at the new stadium, he said.

“I’m really happy,” he said. “We didn’t build. But we will use it.”

The post Russian City’s Dazzling New Soccer Stadium Outshines Its Team appeared first on World The News.

from World The News https://ift.tt/2kvs0MQ via Everyday News

[cleopatrarps]

Russian City’s Dazzling New Soccer Stadium Outshines Its Team

KALININGRAD, Russia — Nikita I. Zakharov leads the fan club for the soccer team in this leafy, slow-paced provincial city, and yet he keeps a cleareyed view of its place in the wider world of soccer.

“We cannot really boast of soccer success,” he said mournfully. The team, Baltika, plays in a second-tier Russian league. In its 64-year history, it has won the championship once — in 1995, “the golden year!” exclaimed Mr. Zakharov — and came in second twice, in 1959 and 1961.

Its biggest win, it turns out, was not so much on the field as with a field. Rising out of a formerly undeveloped swampy area in the city, a gigantic, glistening $280 million stadium appeared this year, one of six new arenas Russia built for the World Cup.

It is a bumper crop of new stadiums that, even by World Cup standards, appear out of proportion with the small crowds drawn by local teams like Baltika, which will use the venues after the tournament.

Their construction, at a cumulative cost estimated at $11 billion along with related infrastructure, illustrates how sports, as with the oil and mining businesses, has become integral to how the Kremlin and Russia’s ultra-wealthy financiers, known as the oligarchs, do business together.

World Cup stadiums became a means to reward well-connected businessmen, said Ilya Shumanov, the deputy director of the anticorruption group Transparency International.

“Authoritarian regimes love megasports projects,” Mr. Shumanov said. “Huge sums are distributed from the budget. It’s bread and circuses at the same time.”

The lucrative deal in Kaliningrad, a Russian exclave between Lithuania and Poland, went to the company of Aras Agalarov, who is one of Russia’s wealthiest men. Mr. Agalarov also had a commercial relationship with Donald J. Trump, having partnered with him in 2013 to host the Miss Universe pageant in Moscow.

“The Agalarovs are very well connected, in Azerbaijan, in Russia and in the United States,” Mr. Shumanov said.

The stadium in Kaliningrad is among those that went to cities with no top-tier soccer team. In one instance, a stadium with 45,000 seats went up in Saransk, a city with a population of 297,000.

The designs of the new stadiums nod to local pride. In Kaliningrad and St. Petersburg, both port towns, the stadiums’ look hints at ships. Mastlike towers suspend the roofs. The flying-saucer-shaped Cosmos Arena appeared in Samara, a center of the space industry.

Kaliningrad’s residents have been scratching their heads over what to do with the stadium when the World Cup is over.

The 35,000-seat venue will host four tournament matches in June and then pass to team Baltika, which last year drew an average of 4,000 spectators to matches. These were low-key events, according to videos of the games, where tepid fans munched sesame seeds and watched their blue-and-white clad soccer heroes play and, sadly, often lose.

“There are just not so many soccer lovers here,” said Vadim Chaly, an associate professor of philosophy at Kaliningrad University, and an authority on Immanuel Kant, a city native from the time Kaliningrad was German and called Konigsberg.

The oversize stadium, Mr. Chaly said, would have flummoxed the philosopher, who in his “Critique of Pure Reason” wrote of the need to derive knowledge from the cues in the world around us.

“The idea of achieving some higher goal using enrichment as a motive is absolutely contrary to Kant,” Mr. Chaly said, referring to stated benefits of the World Cup stadiums beyond sports, like boosting Russia’s image internationally. “He always thought morality was the higher goal, nothing else.”

Zoya Bondarenko, a clerk at a convenience store near the new stadium, found it less perplexing.

Her door overlooks 200 acres of packed sand in the filled-in swamp, with the white, maritime-themed stadium in the distance, looking like a beached cruise ship.

“The Forbes list is growing longer,” she said nonchalantly of the scene, and the businessmen making money here.

Anton A. Alikhanov, the regional governor, said in an interview that the stadium and related soccer spending will only benefit Kaliningrad. It helped pay for new ribbons of asphalt on roads, an airport upgrade and the filling of swampland.

“The island was a swamp where nothing but cattails grew,” he said. “If we hadn’t built a stadium, we would never have built anything there.”

And Mr. Alikhanov praised the work of Mr. Agalarov’s company, Crocus Group. Crocus, which won the contract in 2014, did not reply to a request for comment on the stadium work.

Adding to the perplexity is the fact that Kaliningrad already had a stadium.

Opened in 1900, it is one of the oldest soccer arenas in Europe. It was first named after the German philanthropist Walter Simon, who donated money for its construction. As Mr. Simon was Jewish, the Nazis renamed it after a Nazi and it became Erich Koch Arena. Then the Soviets, who tried to scrub the region of its German past, renamed it again, to Baltika Stadium.

The site’s layered history is evident. Metal garlands festooning the stadium once held swastikas; the Soviet Union knocked out the Nazi symbols but kept the nonpolitical decorative elements.

Until 1991, when some bleachers were removed to allow access to a used car lot, it seated 22,000 people. The lot has since closed, but the seats, unneeded in any case, were never returned.

Refurbishing this stadium would have been far cheaper, critics say. But saving money on sports construction has not been the goal in recent years, according to a study by the Anti-Corruption Foundation, a group led by the opposition politician Aleksei Navalny.

It found that 19 of 24 major construction contracts for the 2014 Winter Olympics in Sochi went to companies with ties to senior officials, including a company led by a former judo sparring partner of President Vladimir V. Putin. Construction costs, on average, ran four times higher than initial estimates. Mr. Navalny’s group calculated that each Olympic event cost $510 million to prepare.

“Ideally, the Olympic venues should have been constructed only by experienced companies with the lowest price quotations and all necessary financial and operating resources,” the study said.

Still, soccer fans could not be more pleased. After lean years of little recognition for team Baltika, they feel the tide turning.

Mr. Zakharov runs the fan club from an office with a cracked linoleum floor, and decorated with a “Miss Baltika” calendar, open to Miss May, a scantily clad brunette.

He said a group of about 100 people from his fan club turn out at every game, stomping and chanting the team’s rallying cry: “From Moscow to the Baltic, there is no team as strong as Baltika!”

They will now show up to chant at the new stadium, he said.

“I’m really happy,” he said. “We didn’t build. But we will use it.”

The post Russian City’s Dazzling New Soccer Stadium Outshines Its Team appeared first on World The News.

from World The News https://ift.tt/2kvs0MQ via News of World

[placerdiario]

YADRO Impulse from SILA SVETA on Vimeo.

In October 2017 Russian IT company YADRO presented its latest groundbreaking products – VESNIN server and TATLIN data storage platform – during a grand event in the Moscow Planetarium, fully organized by Sila Sveta. The main presentation and dome projection were also created in the studio and took place in the main Star Auditorium of the planetarium.

Art Director: Daniil Kutuzov Producers: Dmitry Babanin, Aleksandra Tretiakova Creative Director: Alexander Us Show Director: Sergey Povarnitsyn Script: Vadim Pugin Production Director: Mikhail Dadaev General Producers: Alexey Rozov, Alexander Us Supervisor: Oleg Barankin Concept Artists: Ekaterina Konovalova, Stas Bashkatov CG Artists: Alexander Varlamov, Andrey Vyaznikov, Erik Baymukashev, Sergey Akulenok, Roman Kuzminih, Maxim Meshkov, Maxim Bitiukov Technical Director: Nikolay Kononov Video Engineers: Alexander Korneev, Sergey Pervakov Lighting Designers: Roman Vakulyuk, Anastasia Zhukova Technical Production: Sergey Zakharov, Pavel Ivaschenko, Dmitry Lobov, Mikhail Portnov, Yury Volodkin, Fedor Selin, Mikhail Churbakov Music & Sound Design: Monoleak Filming: Evgeny Arkhipov, Anton Arkhipov, Sergey Baryshnikov Editing: Evgeny Arkhipov, Anton Arkhipov

[motioncollector]

DCN Pick: YADRO Impulse by SILA SVETA // In October 2017 Russian IT company YADRO presented its latest groundbreaking products – VESNIN server and TATLIN data storage platform – during a grand event in the Moscow Planetarium, fully organized by Sila Sveta. The main presentation and dome projection were also created in the studio and took place in the main Star Auditorium of the planetarium. Art Director: Daniil Kutuzov Producers: Dmitry Babanin, Aleksandra Tretiakova Creative Director: Alexander Us Show Director: Sergey Povarnitsyn Script: Vadim Pugin Production Director: Mikhail Dadaev General Producers: Alexey Rozov, Alexander Us Supervisor: Oleg Barankin Concept Artists: Ekaterina Konovalova, Stas Bashkatov CG Artists: Alexander Varlamov, Andrey Vyaznikov, Erik Baymukashev, Sergey Akulenok, Roman Kuzminih, Maxim Meshkov, Maxim Bitiukov Technical Director: Nikolay Kononov Video Engineers: Alexander Korneev, Sergey Pervakov Lighting Designers: Roman Vakulyuk, Anastasia Zhukova Technical Production: Sergey Zakharov, Pavel Ivaschenko, Dmitry Lobov, Mikhail Portnov, Yury Volodkin, Fedor Selin, Mikhail Churbakov Music & Sound Design: Monoleak Filming: Evgeny Arkhipov, Anton Arkhipov, Sergey Baryshnikov Editing: Evgeny Arkhipov, Anton Arkhipov

[mxzehn]

YADRO Impulse from SILA SVETA on Vimeo.

In October 2017 Russian IT company YADRO presented its latest groundbreaking products – VESNIN server and TATLIN data storage platform – during a grand event in the Moscow Planetarium, fully organized by Sila Sveta. The main presentation and dome projection were also created in the studio and took place in the main Star Auditorium of the planetarium.

Art Director: Daniil Kutuzov Producers: Dmitry Babanin, Aleksandra Tretiakova Creative Director: Alexander Us Show Director: Sergey Povarnitsyn Script: Vadim Pugin Production Director: Mikhail Dadaev General Producers: Alexey Rozov, Alexander Us Supervisor: Oleg Barankin Concept Artists: Ekaterina Konovalova, Stas Bashkatov CG Artists: Alexander Varlamov, Andrey Vyaznikov, Erik Baymukashev, Sergey Akulenok, Roman Kuzminih, Maxim Meshkov, Maxim Bitiukov Technical Director: Nikolay Kononov Video Engineers: Alexander Korneev, Sergey Pervakov Lighting Designers: Roman Vakulyuk, Anastasia Zhukova Technical Production: Sergey Zakharov, Pavel Ivaschenko, Dmitry Lobov, Mikhail Portnov, Yury Volodkin, Fedor Selin, Mikhail Churbakov Music & Sound Design: Monoleak Filming: Evgeny Arkhipov, Anton Arkhipov, Sergey Baryshnikov Editing: Evgeny Arkhipov, Anton Arkhipov

[iami0]

Mumiy Troll × Sila Sveta from SILA SVETA on Vimeo.

In celebration of their "Morskaya" album 20th anniversary, the Russian band Mumiy Troll visits St. Petersburg, Moscow and Vladivostok with huge live shows. Specially for this tour Sila Sveta designed and implemented its conceptual setting. The heart of the installation was an enormous circle representing both the East and the cover of the album. It was surrounded with an LED branching, kinetic lights, and projectors used in an unconventional way, along with a lot of smoke. These exceptional instruments allowed us to create inimitable scenic artworks and illustrate our own experience of the band’s music.

Art Director: Daniil Kutuzov Creative Director: Alexander Us Generative Content & Live Stream: 404.zero Project Manager: Dmitry Babanin Supervisor: Oleg Barankin Producers: Alexander Us, Alexey Rozov Production Director: Vadim Vinogorov Designers: Anton Nguyen, Yaroslav Svyatykh, Madina Fattakhova, Maxim Bitiukov, Evgeny Malyshev, Alexey Petrovykh, Danil Tabacari, Sergey Nikitin Lighting Designer: Pavel Zmunchila Video Engineers: Denis Akopov, Vadim Tumanov VJs: Denis Akopov, 404.zero, Alexander Us, Vadim Tumanov Technical Director: Mursal Mamedov Technical Production: Sergey Zakharov, Dmitry Lobov, Fedor Selin, Pavel Ivaschenko, Mihail Portnov, Yury Volodkin Music: Mumiy Troll Filming & Editing: Evgeny Arkhipov, Anton Arkhipov, Konstantin Bykovsky

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OC Masterlist!

Masterlist and Face Claims of my OCs! :^) Okie Dokes, in chronological order:

Dragon Age Origins:

Abeera Cousland: Hanan Turk

Aahil Cousland: Riz Ahmed

Nascha Mahariel: Raytanna Williams

Elena Tabris: Eva Mendes

Alex Brosca: Willy Cartier

Borghild Aeducan: Roshumba Williams

Brandt Aeducan: Shermon Brathwaite

Cheyenne Amell: Nguyễn Thùy Lâm

Dragon Age 2:

Mariel Hawke: Ji Hye Park

Gerard Hawke: Kim Sung Han

Dragon Age Inquisition:

Shiloh Surana: Olesya Rulin

Osiria Adaar: Sayo Yoshida

Jaimie Trevelyan: Clara Luce Lafond

Evangeline Trevelyan: Tico Armand

Harice Trevelyan: Christian Dubosse

Shokrakar Adaar: Theo Theodoridis

Elisa Cadash: Aishwarya Rai

Sahrel Lavellan: Dayvid Thomas

Olivia Lavellan: Eva Mendes

Amelan: Lira

Tailor: Mau Thuy

Asaara: Jodi Boam

Laella: Kassandra Clementi

Jade Empire:

Scholar Ling: Bebe Pham

Naruto:

Arukama Fumi: Nichole Bloom

Arukama Mizumi and Hannah Goldstein: Hayley Kiyoko

Arukama Natsumi: Devon Naoki

Final Fantasy 7:

Rosa Mireles-Valdez: Eva Mendes

Estrella Mireles-Valdez: Fluvia Lacerda

D. Gray Man:

Wysteria: Mystic Kids Evelyn

Harry Potter:

Shurah Alton: Anton Yelchin

XMen/Mystic Messenger:

Eun-Byeol Mun: Moon Geun-Young

Aileen Wilson: Jessica Stam

Aisha Jones: Amal Arafa

Jazz Williams: Bernadette Peters

Patricia/Trisha Walker: Ellen Page

Esfir Utkin: Veronica Vernadskaya

Kingdom Hearts:

Haos and Darkus: Roxio Crusset

Aether: Valentijn De Hingh

Astera: Courtney McCullough

XCOM:

Carrigan Ramos: Nita Fernando

Supernatural:

Mickey Yukiyama: Meisa Kuroki

Resident Evil:

Frida Tellers: Angela Basset

Overwatch:

Irina: N/A

Skyrim:

Kizochka Zima: Mountain Lion

Kay: Melina Weissman

Hand-Shadow-Tree: Blue Tongued Skink

Fallout:

Stacy Altaha: Marisa Quinn

Nate Bunker-Eaton: William Jackson Harper

Nora Bunker-Eaton: Andy Allo

Sally Li May: Chen Lili

Suzy Cain: Madeline Stuart

Fatal Frame/Amnesia:

Akiba Haruka and Haruko: Ryōko Hirosue

SWTOR:

Kabat'hafti: Daouda Sonko

Nasaa Saareem: Cierra Skye

Jean Lnu: Madison Reis

Kaphar'ti: Nneka Ogwumike

Charlotte and Margaret: Anna Sviridova

Arleena: Ji Hye Park

Pops: Vin Diesel

Hâskian Jensaarai: Ines Rau

Taral Jensaarai: Onnys Aho

Adelaide Hopps: Chanty Sok

Luiz'ahan: Lea T

Legend of Zelda:

Zenaide Tellers: Chanel Iman

Tallulah: N/A

Mass Effect Trilogy: 

Chen Shepard: Tong Liya

Lan Shepard: Tong Liya

Xian Shepard: Li Yifeng

Carlos Valdez: Laz Alonso

Allison King: Sarah Geronimo

Mass Effect Andromeda:

Qingmei Ryder: Blanche Chu

Jie Ryder: Godfrey Gao

Anfisa Andreev: Kristina Asmus

Pillars of Eternity:

Waiola: Denny Mendez

Hanne: Derek Jaeschke

DnD:

Siòphra: Thando Hopa

Timofei: Ivan Zakharov

WTNC:

Ives: Casil McArthur

World of Warcraft:

Beep-Beep: N/A

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Hotel Ukraina | Mapping Show from SILA SVETA on Vimeo.

One of the most famous Moscow high-risers was built in 1957 on what was then the outskirts of Moscow. Now it is one of the main architectural symbols of the capital and houses one of its best five-star hotels — Radisson Royal Hotel. Sila Sveta produced a vivid projection show to mark the 60th Anniversary of the legendary building. Inspired by its history and the local legends, we have created a monumental projection, employing the latest technological achievements and contemporary graphic styles.

Art Directors: Arthur Kondrashenkov, Philat Matveev Producers: Alexander Us, Alexey Rozov Script: Sergey Povarnitsyn, Anastasia Smagina Production Director: Vadim Vinogorov Project Manager: Maria Boyarintseva Supervisor: Oleg Barankin Designers: Alexandr Varlamov, Roman Kuzminih, Mikhail Dadaev, Anton Nguyen, Ruslan Bachaev, Andrey Kuznetsov, Andrey Vyaznikov, Vitaly Zykov, Maxim Meshkov, Yaroslav Svyatykh, Sergey Akulenok, Daria Shurkina, Ekaterina Konovalova, Philat Matveev, Arthur Kondrashenkov Technical Director: Mursal Mamedov Video Engineers: Maxim Tulin, Vadim Tumanov Technical Production: Yuri Volodkin, Sergey Zakharov, Mihail Portnov, Dmitry Lobov, Fedor Selin, Pavel Ivaschenko Technical Partner: SDI (Pavel Klimenko, Bogdan Mikhailenko, Maksim Chelombitko, Evgeny Tikhomirov, Petr Tyulenev) Music and Sound Design: Mitya Vikhornov Filming: Evgeny Arkhipov, Anton Arkhipov, Konstantin Bykovsky Editing: Anton Arkhipov, Evgeny Arkhipov