Tuesday, December 10, 2024

Series of Livestreamed Lectures: "The Horror in Us", Launch of Instagram Page

My experience of the social media platform Instagram over the last 2.5 years has not been filled with unequivocal joy. I understand that I should get with the times a little bit - "no-one reads long-form criticism anymore" "people communcate mostly with images and experience now", and so on, but I admit I was resistant for a long time. To me, there's nothing like - and will never be anything like - sitting down to read a piece of long-form criticism from someone who really cares about the subject enough to give it their full attention and reflection. Also, there's something self-aggrandising about the platform (and social media genreally) that doesn't fit with the intention of criticism: part of the act of criticism is staying invisible and putting the focus on the artist and their work, which doesn't sit well in the age of personal hyper-branding.

So in launching an Instagram page this week, my intentions are very much to fit my own sqaure peg into that round hole, without, I guess, over-reacting to the age of the influencer. My plan with it is to offer that most difficult of things, "access", as people have very legitimate reasons why they might sideline their critical reading: time and money pressures, lack of attention due to other demands, and simple discomfort at sitting down for an hour with ideas they fear they will not understand. I hope to be able to offer more byte-sized parts of discourse for those without the luxury to spend hours reading and dissecting a text (although in my opinion, it's time well-spent).

 

In conceiving this trio of lectures, I have been greatly influenced by my colleagues at Cultural Workers Studio - both their support, which motivates me - and the specific nature of their plight. While the 2022 Full-Scale Invasion of Ukraine gets a lot of press, it can be a little lacking in other types of attention. There have been a few dedicated events and support for an exchange of ideas around those events in 2022, but I observe a lack of reflection on a cultural level on what I view as a seismic shift in philosophy represented by the last few years. Far from being given adequate attention, these matters seem to have been put into a category where they are viewed as uncomfortable or too difficult.

Thursday, December 5, 2024

FEST! Celebrating the work of Filmmaker Anna Chasova (UKR)

Honesty gets harder in the face of adversity. In the case of colleague Anna Chasova (Kharkiv), being diagnosed with an aggressive form of breast cancer while continuing to live close to the frontlines of the 2022 Full-Scale Invasion, it becomes an act of bravery just to continue your work as a filmmaker - not to mention choosing a path of being open and public about it, trusting your community to respond and support you.

   

Photo: Anita Kopylenko

On Sunday, Cultural Workers Studio did just that, organising a screening of Chasova's films and a fundraising charity event. My colleagues organised individual activities that could be customised to suit attendees - including mystical fortune-telling from actor Olha Bohachevska, sound production consultation from producer Axxi Oma, an underground marketplace from manager Oynnet Piliuhina, portrait photography from artist Anita Kopylenko, and crafts from actor Hannah Liashenko - as well as Sandwich Art from yours truly.

Image: Anita Kopylenko (screen capture)

At a screening later in the day, I was privilaged to introduce Chasova's works Supper (2021) and a rough cut of the work-in-progress film How to Play a War (2024-). The texts are published below.

Thank you to the Berliners that came out and supported us, and people who donated from afar!

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Tonight we are proud to present a short film and rough cut from Anna Chasova – the first is called Supper, 2021, 10´, which will be followed by a rough cut preview of How to Play a War (2024-, 16´).

Anna Chasova (2001) is a Ukrainian filmmaker from Zaporizhzhia, based in Kharkiv. She is a graduate of the Kharkiv State Academy of Culture’s Directing department, as well as a LitOsvita in screenwriting and playwriting, successfully defending her first feature-length documentary B.2 as part of the graduating process in 2023. She is a recipient of the FILMBOOST scholarship from Docudays UA and the Deutsche Filmakademie, attending the DocLab PolandUkraine programme at the Krakow International Film Festival and working together with the theatre Chesni Tobi as an actor touring­ cities in the south of Ukraine, as well as appearing in the music videos of Serhiy Zhadan. Her previous works have included the short documentary “Поля стійкості” (Fields of Resilience), short film “Сім новел про вбивство дитини” (‘Seven Short Stories about the Murder of a Child, 2021), and the films we will watch this evening.