Návštěva project is happy to announce its 4th event, with a bit changed structure. Instead of the presentation of only one artist, we focus on three young filmakers from Ukraine, whose work reflect dreary situation in their country. The common feature is an experimental approach to documentary form.
Very personal and intimate sight by filmaker Kataryny Gornostai, depicting the „never-ending“ year which has started with Maidan revolution and the outbreak of the war. Performer Piotr Armaniovski brings the eastern view from the cities Donetsk and Kramatorsk within two of his videos :„Volodia-Hero of revolution“ and „On the East“ . In the experimental video-reportage Who Owns Crimea? Festival of Annexation” , the journalist and documentarist Ksenyia Marchenko went to join one of the social rituals, the New Year's Day celebration in russian Crimea.
The evening guest is ukrainien historian Radko Mokryk, who spent quite a lot of time with Maidan revolution. He was born in Lviv and currently studies his Phd in FFUK in Prague. He is focusing on contemporary history of Eastern Europe, also working as a publicist for Czech and Ukrainien magazines.
Volodia- hero of revolution | 13:00 min | Piotr Armianovski
Volodia is a teenager from Donetsk. He dreams to become a popstar like American Justine Bibber and Russian Roma Zhelud. In spring 2014 pro-russian protests started in Donetsk. Volodia came there and knew that US want to save its nuclear waste in Donetsk coal mines and EU wants to take out Ukrainian soil. So young man decided to struggle for his Fatherland.
On the east | 08:35 min | Piotr Armianovski
Kramatorsk may not be the nicest place for life. A town of factories and broken infrastructures but its denizens find much to love there, reflecting on their home with frankness and warmth.
“Who Owns Crimea? Festival of Annexation” | 19:38min | Ksenia Marchenko
trilogy is a story of public celebration in the territory under sanctions against Russia. Film presents so called backstage of the celebration and how reality was used for political manipulation and propaganda news for Russian mass media during the second year of celebration of proclaiming Crimea its territory. Three parts of film presents anty Ukrainian ideas which are pronouncing publicly from the stage and works to increase conflict and hating between parts of the country.
Maidan is everywhere | 37:20 | Kateryna Gornostai
This film tells the story by Kateryna Gornostai about the year 2014. For her, it began when Maidan had started and maybe didn't end yet. The whole year was in the atmosphere of revolution, then war. Whatever you did - you saw this things on the background, you always feel them, although you live not even on a border of war, but deep in in the rear. Kateryna wants to remember this year, as she wants to keep the memory of all the people who surrounded her. The year of Maidan, the year marked by war and peace. Film received the Andriy Matrosov Award in Docudays UA in 2015
Piotr Armianovski, Kateryna Gornostai, Ksenyia Marchenkoauthor: Juliana Höschlová
Piotr, you are performer but you also stay behind the camera. Can you tell us how do you perceive the difference between being the object itself at one hand and observing other objects and sceneries at the other one? What is your background?
I was born into the family of engineers. I studied computer science, of course it was very prestigious occupation, but I was more interested in humanism and philosophy. I liked to ask questions about life, pain, happiness and my father always called me: “you, philosopher”. But for earning money I chose computers. I was also very into theater but what I saw in my hometown in Donetsk, it was even worse than some clown performance. Clowns would be funny, at least.
So after two years of study it wasn´t enough for me and I wanted more. One of the other fact was for example the corruption in the school which I didn´t like. Then I was invited to small theatre in the Donetsk suburb. There I met Viktor Pelevin and didn´t know anything about him. I was so impressed so I started to visit a small studio in this theatre- studio "Zhuki”.
I studied “performance” as it is understood by the terms of Antonin Artaud. His theatre “The Theatre of Cruelty” is very rough and his theories are reflected by Jean Genet, Jerzy Grotowski, Michael Chekhov and other artists. So this is a stage from where I came out. It seems logical to me, developing more Artaud’s ideas and going to art performance through this true and existence of right here, right now. After my university graduation I just moved to Kyiv where I started to visit a Dakh theatre in 2007. We also worked with Pelevin´s colleague Klim who was invited there many times. There was a spirit for an experiment.
In Kyiv I started to explore more performance and art. I saw work of Josef Beuys, Marina Abramović thanks to CEAC gallery or Pinchuk Art Centre, for example.
You studied biology, journalism and cinematography. It might seem quite far away from each other but it leads to one certain point. The interest of humanity. Is the human a central point of your work?
I really wanted to study in Kyiv-Mohyla University but I thought I am not smart enough so I decided to study something very unpopular like biology, there. And it was also the matter of money and receiving a scholarship. I was too young but I really wanted to study there because I liked the atmosphere. I am interested in science but not very into it. My parents are psychologists so there could be some link. In a time, first camera appeared in our family and I really liked it so after my graduation from biology I decided to study journalism even though I haven´t been working as a journalist any single day. I realized I need to have a deeper view into the situation not the brief one you always have to have when you work as a journalist. Documentary is just opposite.
How has the work with motion picture changed your career? It must have been a turning point of telling a story in a visual way.
I do believe if you want to say something you just choose the best way how to say it. I have tried many different forms. I do write all the time, just for me. And I do have a lot of materials but I always struggle with the fact how to show this and that to make the audience understand it. Some forms work, some don´t. And working with a video is the way I like mostly. I like to fix the reality there. And I have a big archive. I am shooting pretty much all the time. It is about catching the reality around me. The sound, the atmosphere, ordinary every-day things and when I watch it the past is just suddenly alive in my head. The archive helps me to preserve some anthropological features.
It is quite interesting that in Kyiv I have met quite a lot of people in the art field who have some link or background in journalism. Do you think it is just by coincidence or it is a consequence of some particular situation here?
Not only journalist are connected to some artistic projects now. You can see, that people from, let´s say, social and anthropological background, are into artistic projects and artists are into very wide scope of different fields and its topics. The turning point came with the Euromaidan revolution. People from different fields felt that they had to cooperate for one common aim. Those who could film were standing on Maidan and recording everything just because it was important. Now, the aim is to analyze and discuss the reality of the past 3 years of shootings at Maidan, annexation of Crimea, and ongoing war supported by Russia on the eastern part of Ukraine. We discuss what have happened and what´s the influence on our everyday life.
Here in Ukraine we have no modern film school, only conservative. That`s why people who are connecting to media visual piece of work often can be from different fields. I think, it is a kind of a crisis management. Culturologists starter to write articles for mass media, journalists makes film stories, artists have become a public leaders. We all work with the same topic but in different way.