Dana Kavelina

Beschreibungen von Filmen, die mit "Dana Kavelina" in Verbindung stehen

• SUBVERTING THE HISTORY: PROGRAMME 1 - MEMORIES OF HISTORY, STRUCTURES OF VIOLENCE

  Solidarity film programmes to support people in Ukraine and those displaced in the conse-quence of the war organised by a peer-to-peer network of artists residing in Ukraine, Belarus, Rus-sia and Europe. Proceedings from the screenings will be donated to the organisations delivering medical and humanitarian aid or to the organisations helping the people displaced from Ukraine in the result of war. Programme 1 - Memories of history, structures of violence Each film in the programme addresses a different fragment of life, a different space, where violence and the ways of dealing with its consequences reverberate. These spaces can be domestic and public, a shared history and a personal memory, mental spaces and land-scapes. Authors highlight issues of the society that, on the one hand, had an open war zone on the eastern side, and on the other, has been reworking the positions towards its history and political alignments. (Text: Mikhail Lylov) Dana Kavelina A letter to Turtledove, Ukraine 2020, 20 min, OVP+ENGsub In her film, Dana Kavelina, juxtaposes historical footage of coal mining in Donbas region with her own graphic work, poetry and found footage of the Russian military invasion into Donetsk and Luhansk in 2014. The film constructs an argument for a tragic intimacy between the body of earth and human subjectivity, it shows a continuity existing between extractivism and militarism. Kavelin-a's film-poem is not a plea for peace, but for love, which cannot be realized without the body that has been taken away and torn apart by war. Yarema Malashchuk and Roman Himey So They Won't Say We Don't Remember, Ukraine 2020, 24 min, No Dialog The video work is about both hidden and visible elements of the post-industrial landscape of Don-bas. In the film, locals, artists, and curators traverse the surface following one of the underground routes of the Novator mine. The ending point of the procession is the monument to the dead miners located just above the site of the underground accident, which led to the death of the workers and the subsequent closure of the mine in 1977. During the procession, people walk through the city, plowed fields and bushes connecting the ground and the underground space where soil and people are intertwined in the inextricably linked choreography of the common. Oleksandr Steshenko, Kateryna Libkind, Roman Himey, Yarema Malash-chuk, Pavlo Yurov In Memory of Antonina Nikolayevna on Lost Love, Ukraine 2018, 30 min, OVP+ENGsub The film is based on a screenplay written by Olexandr Steshenko - a person with Down syndrome and a big admirer of soap-opera genre. With a support of artists and filmmakers, one of his scripts was filmed. The story presents an estranged, yet affective, view on love drama, which escalates into revenge and domestic violence by conventions of a “normal” society. (Film contains instances of extreme lexic). Mykola Ridnyi NO!NO!NO! (2017), 22 min, OVP+ENGsub The main protagonists/heroes of the film are young people from Kharkiv, a city located in the East-ern part of Ukraine. Reaching their early twenties coincided with the breakout of the war in the neighbouring region of Donbass. A LGBT activist and poet, a fashion model, a group of street art-ists, a computer game programmer – all of them are artists or working in the creative industries, typical for a peaceful life of a big city. However, the proximity to the war effects each of the char-acters and their activities. The protagonists react and reflect the political events through their specif-ic relationships with the urban space and the reality of the social media.

• SUBVERTING THE HISTORY: PROGRAMME 2 - SENSORY VISIONS, MICRO-HISTORIES

  These recent experimental films from Ukraine and Belarus address an experience of history on the level of phenomena and their sensuous qualities: light, textures, sounds. By giving voice to atmospheric occurrences and their micro-environments, they dissolve binary identities and construct new, entangled phenomena: Habitual perception is suspended, things become uncanny, translucent and dreamlike. “History” is dissected into multiple micro-histories: patriarchal relationships narrated through a parcel of ties; fascist discourses dissected on the operating table of a desktop archive. (Text: Elena Vogman) Alina Kleytman: Responsibility, 2017, 5’46’’, no dialog This video shows a distressing process of inmost growth. A girl wearing a ridiculous masquerade meant to show how people wear the other people’s expectations about them like dresses. The suit fits her no more, she’s now more herself than ever before. Ugly and awkward, the rags distort and misrepresent her, but she hasn’t got anything else to put on. She keeps walking, fighting her shame. The bags taken from a low-cost shop symbolize the scantness of means at her disposal, be it material ones or whatever else. The bags containing her goals, wishes, and dreams, are somewhat heavy for her to carry. With great effort, she bears them into uncertainty. There’s no one waiting for her ahead, She keeps walking on her own, overcoming her fear. She walks because she can’t stay. Never will she do the same things to herself again. Pride. Zoya Laktionova, Territory of Empty Windows, Ukraine, 2020, 10’30’’, OVP+ENGsub Life flows in its everyday reality, but then suddenly something elusive changes its course. All that is left is the chance to plunge into memories where everything is preserved, as if in a museum. Yan Bachynsky: Non-Binary, 2020, Ukraine, 5’45, no dialog A bodily choreography of unlearning. What the enlightenment taugt us about human existence, the basis of binary condition is overthrown here by the use of body, a body exceeding two feet. Yan Bachynsky: My Grandfather’s Skin, 2020, Ukraine, 4’45, English This video uses an inductive method, which means that it starts reasoning from an individual experience and then tries to reach a collective one. The family story perhaps is a best material for such a research. Olia Sosnovskaya and A. Z. H.: F-Word, 2020, Ukraine, 12’09, OVP+EngSub The video refers to the current protests in Belarus, political struggle and state violence through the discourse of fascism. The topic of fascism and victory over it has for a long time been central to the contemporary state ideology of Belarus. Since the start of the uprising after the 2020 presidential elections, both the state and the protestors accuse each other of fascism. In turn, these positions are criticized by the academic community for historical untruths. The video trace this symbolic struggle and the political, social, affective and symbolic effects it produces. Dana Kavelina: Letter to a Turtledove, 2020, Ukraine, 20’, OVP+EngSub In her film, Dana Kavelina, juxtaposes historical footage of coal mining in Donbas region with her own graphic work, poetry and found footage of the Russian military invasion into Donetsk and Luhansk in 2014. The film constructs an argument for a tragic intimacy between the body of earth and human subjectivity, it shows a continuity existing between extractivism and militarism. Kavelina's film-poem is not a plea for peace, but for love, which cannot be realized without the body that has been taken away and torn apart by war.