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|Purpose:||Tracking / Analysis|
Welcome to voices, the new online platform by the Staatliche Kunstsammlungen Dresden. A digital exhibition space, ON SCREEN features art and moving images in thematic program series that accompany our exhibitions and extend them into the digital space. VOICES MAG, our new digital magazine, presents essays, interviews and opinion pieces on exhibitions, art and culture and issues of the day, with a focus on sustainability and the trans-cultural.
The history of Ukrainian cinema and art was highly determined by the political cataclysms of the 20th century. According to Timothy Snyder, Ukraine was part of the ‘bloodlands’, territories of Central and Eastern Europe whose political tradition was built on the mass murders of totalitarian systems. Thus, like a kaleidoscope that shows a new image after every shake, each generation of Ukrainian artists changed their critical gaze and methods after every new political turn. However, a common value for the different stages of Ukrainian directors and visual artists was the idea of freedom and the struggle for it with tycoons, censors, or Russian occupants and against the erasure of identities.
Titel des nächsten Videos
Courtesy of the Oleksandr Dovzhenko National Center (Kyiv)
In the Ukrainian historical context, the resistance against power frequently meant the struggle against imperialistic oppression and social injustice. Both were spotlighted in the epic film Prometheus by director and sculptor Ivan Kavaleridze. Inspired by the heroic resistance of the Caucasians against the Tsarist army in the 19th century, a Ukrainian peasant returns after the war to his native village and leads a peasant uprising against the local tycoons.
Prometheus is one of the central films of the Ukrainian cinema of the 1930s. Kavaleridze wrote the script based on the work and biography of the prominent Ukrainian poet Taras Shevchenko. Also, the director added the very personal story of his great grandfather who was forcibly removed from his homeland during Russia’s conquest of the Caucasus.
The film was initially well-received by the Ukrainian press. However, later a devastating critique and accuse of nationalism appeared in the Pravda central newspaper. Therefore, the film was removed from distribution and forgotten for decades.
This program is curated by Oleksandr Teliuk and serves as a digital prologue to the exhibition "Kaleidoscope of (Hi)stories. Ukrainian Art 1912-2023" that will be on view at the Albertinum in Dresden starting in spring 2023.10:46 minutes [excerpt from the feature film]
Courtesy of Oleksii Radynskyi
Circulation is a bitter and keen observation on city landscape transformation through the window of the Kyiv urban electric train.
At first, the film could be seen as reminiscent of a city symphony, but unlike the old avant-garde it doesn’t search for the rhythmic and poetic essence of modern urban life but rather proposes a critical look at the city. In the film, Kyiv emerges as a formation of brutal rows of grey concrete and sporadical fences erected by developers during the governance by major Vitalii Klichko who was a boxing star in the past. However, among the new fast constructions you can also find some utopian marks like the incredible UFO building.
Oleksii Radynskyi is a filmmaker and writer based in Kyiv. His films have been screened at the Oberhausen International Short Film Festival, the Institute of Contemporary Arts (London), DOK Leipzig, e-flux (New York) and many others.
This program is curated by Oleksandr Teliuk and serves as a digital prologue to the exhibition "Kaleidoscope of (Hi)stories. Ukrainian Art 1912-2023" that will be on view at the Albertinum starting in spring 2023.11:24 Minuten
Courtesy of the Oleksandr Dovzhenko National Center (Kyiv)
The brief political 'thaw' of the 1960s brought a relatively liberal aproach to Soviet cinema and art. Authors now could discover ethnographic topics and borrow them for their works. Musical Pictures was a masterful sketch about the interaction with nature inspired by motifs from Ukrainian naive art and Mariia Prymachenko's paintings.
Moreover, the animated improvisation is based on the music pieces by the composer Anatolii Kolomiiets who interpreted Ukrainian folk children's songs. In the three short stories a lamb explores the world and gets acquainted with a rainbow ("Naughty"), a bird is dancing with flowers ("The Braggart"), and a fantastic monster is clumsily hunting for grasshoppers ("The Monster").
The fabulousness of the music and folklore motifs determined the style of the film. The illustrator of the film, Yurii Skyrda, and the director Nina Vasylenko were inspired by the folk ornaments and fused sound and image into striking harmony.
This program is curated by Oleksandr Teliuk and serves as a digital prologue to the exhibition "Kaleidoscope of (Hi)stories. Ukrainian Art 1912-2023" that will be on view at the Albertinum in Dresden starting in spring 2023.8:18 minutes
Courtesy of Maria Stoianova
Second Wave feeds from the tension between two generations and two different epochs. Metaphorically, the wavelength becomes shorter or longer returning or erasing memorial and personal links. The film’s construction, pace, and rhythm are designed to create an almost physical sensation of waviness.
The short film by Maria Stoianova balances between documentary and experiment. It was created in 2020 when everyone was waiting for the second wave of the COVID-19 pandemic. Starting from the theme ‘coexistence in the days of the coronavirus’, the director talks about her grandfather and the (im)possibility of them being near to each other. Oscillating with her own material, she uses archival footage from an educational film of the Encyclopædia Britannica entitled Waves on Water (1989). Edited, these two layers create a sphere of undulation between detachment and attraction, repetition and uniqueness, bonding and the restraint to be close.
Maria Stoianova is a documentary film director and artist. She got degrees in cultural studies and social anthropology. She also studied in Serhii Bukovskyi’s DOC Workshop and made several short films that are shown in many international film festivals. Currently, she is developing her debut feature film.
This program is curated by Oleksandr Teliuk and serves as a digital prologue to the exhibition "Kaleidoscope of (Hi)stories. Ukrainian Art 1912-2023" that will be on view at the Albertinum in Dresden starting in spring 2023.5:28 minutes
Courtesy of the Oleksandr Dovzhenko National Center, licensed by The Dovzhenko Film Studios (Kyiv)
Kyiv Frescoes is an unfinished 15-minute film or rather a series of screen tests by Sergei Parajanov. He wanted to make this film just after his masterpiece Shadows of Forgotten Ancestors (1965), but the studio in Kyiv decided to stop the shooting of this "generally impressionistic film" because of its "idea of pacifism". Banned in its early pre-production stage, the rehearsal shot by Oleksandr Antipenko is often considered a seperate work.
Parallelly, with his appeal to the tragedy of the Second World War, Parajanov in Frescoes tested his revolutionary abstract poetics with a statical mise-en-scène, theatrical symbolism, and experiments with color. Moreover, the film was highly influenced by the beauty of Kyiv, where Parajanov dwelled for more than ten years.
After the ban Parajanov shot The Color of Pomegranates in Armenia and then returned to Kyiv again, where this time he got arrested for his liberal and extravagant behavior for more than four years.
This program is curated by Oleksandr Teliuk and serves as a digital prologue to the exhibition "Kaleidoscope of (Hi)stories. Ukrainian Art 1912-2023" that will be on view at the Albertinum in Dresden starting in spring 2023.15:01 minutes
Courtesy of fantastic little splash
similar image is the type of work that invites the spectator to look through visuality towards the hidden levels of reality.
The plain land(and sound)scape between urbanistic and natural areas looks like an ornament made from animal and technological traces or a stage for invisible forces and agencies that enigmatically influences human behavior and desire. Neither a utopia nor a fairytale this short and abstract story seems like an anxious sketch of neurotic dissolution in the environment. It seems that this disappearance is not about absence but about another form of presence, the authors describe the key effect of the work.
fantastic little splash is a collective of Lera Malchenko and Oleksandr Hants, who have a background in journalism and media studies. The duo is interested in utopias and dystopia, the collective imagination and its incarnations, projections, delusions, and uncertainties. Their projects have been exhibited at transmediale, Ars Electronica, Liste Art Fair Basel, and others.
This program is curated by Oleksandr Teliuk and serves as a digital prologue to the exhibition "Kaleidoscope of (Hi)stories. Ukrainian Art 1912-2023" that will be on view at the Albertinum in Dresden starting in spring 2023.9:16 minutes