In the modern world, where the lines between reality and illusion become increasingly blurred, artists play a crucial role in redefining the perception of the past and present. Lina Alimbekova challenges the very essence of personal and collective memory: her interdisciplinary approach to art merges artificial intelligence, chemical experiments with photographic film, and archival video materials. This synthesis of technology and traditional methods enables her to create expressive and emotionally charged images of fictional worlds that are nonetheless imbued with realism and emotional intensity, prompting viewers to reflect on the subjectivity and fluidity of memory. Point ART Magazine delves into the creative journey of this extraordinary artist.

Lina’s exhibitions have taken place in London, Bath, Cambridge, and Arles. These showcases attest to her talent for creating works that defy simple categorization—situated at the intersection of contemporary digital innovations, deeply rooted archival practices, and conceptual photography.

At the core of Lina’s artistry is a deliberate fragmentation of identities and perspectives, which manifests in her works through the artificial multiplication of personalities, voices, and characters. In this complex interplay of artificially created images and sounds, she masterfully combines elements of poetry inspired by folklore, video materials, and analog technologies, dismantling conventional notions of the reliability of personal recollection.

Lina’s exhibition «Random Access Memory,» held at London’s Rabbet Gallery, exemplified her creative approach by immersing the viewer in a constructed family photo album. Beneath its apparent simplicity lay a profound engagement with the concepts of personal and collective experiences. Each exhibit acted as a window into forgotten moments, intended to evoke a whirlwind of memories and hazy images in the viewer’s mind. With her performance «Placeholder» at Somers Gallery, Lina went further, probing the paradox of presence and absence in memory narratives.

Attuned to the currents of her time, Lina uses her group exhibitions to explore the intricate relationship between artificial intelligence and human memory. At the group exhibition «In Search of Some Phantom,» held at the Crypt Gallery in London, Lina unveils a world where memory is not merely a record of the past but a malleable material subject to constant distortions and transformations.

Continuing her explorations, Lina opened the exhibition «Fallacious Memory» at Walcott Chapel in Bath. Here, she combines modern technology with the warm light of old analog slides, reinterpreting the concept of nostalgia. This deep dive into the past prompts viewers to ponder what truly makes memories authentic and how artificial intelligence influences our recollection.

The exhibition «Forbidden Land» at Photobook Cafe in London addresses the theme of anxiety stemming from manipulation of memory and information in the digital age. Here, Lina highlights a new perspective on the topic, drawing attention to the dangers lurking in trusting digital sources. The exhibition is not merely an exploration but a powerful call to critical thinking and awareness of the subtle manipulations made possible by modern technology.

Inspired by the subtle nuances of human perception, Lina began crafting her unique artistic style from her earliest steps in the art world. By exhibiting at Copeland Gallery and House of Annette, Lina made her creative contribution to the projects «Savoring Shadows» and «Home Away from Home.» Through these projects, Lina addresses themes of transience, belonging, and the instability of collective memory. Her participation in Rencontres d’Arles marked a significant milestone in her career. It was here that she unveiled the true potential of merging traditional photographic techniques with cutting-edge technologies, solidifying her position as a key figure in the contemporary media landscape.

Particularly noteworthy is her method of chemical interventions in the film development process. These interventions serve as an allegory for the inevitable deterioration of the physical medium, reflecting humanity’s desire to preserve what is ultimately ephemeral. Each of Lina’s works is a dialogue between the past and the present, emphasizing the enduring value of the moments we strive to preserve in our consciousness.

Lina’s artistic journey continues to evolve, bridging the gap between personal and collective memory. By questioning the very existence of personal memory, her work prompts the audience to reconsider the narratives they perceive as truth. With a constantly expanding range of works that deconstruct, distort, and reimagine archives, Lina remains at the forefront of a new generation of artists redefining the boundaries of media, memory, and meaning.

She symbolizes a new generation of artists unafraid to challenge established norms and redefine the boundaries separating different media, memories, and meanings. Her creations are not merely artistic expressions but profound philosophical dialogues with society, inviting us to reflect and engage in self-discovery. This is where her greatness and uniqueness lie, compelling viewers not just to look, but to see, not just to hear, but to listen.

Lina Alimbekova is an interdisciplinary artist working in the realms of film and video art, experimental analog photography, artificial intelligence, and archival materials. Her works have been exhibited in the United Kingdom, France, and Italy, including participation in the Art Graduate Prize Exhibition in London, the group exhibition Patterns and Structures in Cambridge, and the off-RCA exhibition during the opening of the Les Rencontres D’Arles festival. In December 2024, her first solo exhibition, «R.A.M.» took place at the Rabbet Gallery in London.

---

Russian version