Over the course of 2018, D’EST will form a contemporary video art platform that maps female* and collective positions reflecting the post-socialist transformation along focus topics. D’EST opens up artistic approaches to post-geographic, horizontal and gender critical historiographies online and across different art institutions. Between June and December 2018, the platform will launch six different screening chapters online shaped by fifteen curators containing forty video works, experimental, and documentary films. Check our program for the release dates!

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  • Ivana Mladenović, Miss Piranda, 2015. Videostill, HD, Colour, 12'

    In 1957, Roland Barthes stated that in “Western” mythology the USSR would be a world halfway between the Earth and Mars to exemplify that the communist world was considered as foreign as another planet. Similar to Barthes’ literary method in his Mythologies book, curator, filmmaker and artist Xandra Popescu scripted three semi-fictional short stories to introduce major paradigms of her screening program O’ Mystical East and West.

    → See the screening dates in the Program

  • Screening Preview

    Preview: THE SUSPENSION AND EXCESS OF TIME


  • Sasha Pigorova, Queue, 2014. Videostill, HD, Colour, Sound, 09’21’’

    The curatorial selection The Suspension and Excess of Time explores the role of time within a period of radical political, social, and economical change. The selected video works focus on the changes different societies were going through during the Perestroika era, the fall of the Berlin Wall, and the collapse of the soviet empire. Paying tribute to speculative temporalities, curators Becker and Seehusen will trace people’s everyday experiences in the former “East” and “West” before and after 1989 / 1991.

    → See the screening dates in the Program

  • Željka Blakšić aka Gita Blak, Whisper - Talk - Sing - Scream, 2013. Performance documentation, Videostill, 07’39’’

    The changing role and function of language before and after the “transition” cannot be discussed without considering the dimension of authoritarian speech acts in the last phase of socialism. Anthropologist Alexei Yurchak shares the observation that during the authoritarian speech act, sign and reference, language and gesture, word and action merge into each other. This thesis is the foundation for an understanding of the variety of linguistic and performative experiments in post-socialist video art. The curators will focus on video works that reflect upon shifts in language and meaning and employ diverse silent, verbal, performative, activist, and other strategies to discuss collective and personal memory, identity, power relations, gender roles, and socio-political change.

    → See the screening dates in the Program

  • Masha Svyagotor, Untitled, 2017. Photography from the series “Autobiography without facts”

    Screening #3

    Cosmos Cosmetics


    Political protocol tends to dispossess, overwrite, and refurbish unwanted narratives. Parallel to this, there are new agencies that enhance the intersections, reciprocities, and movements between bodies, spaces, objects, and memories. The video art and experimental film works of COSMOS COSMETICS: Unresting Memoryscapes and Corpofictions are concerned with architectural, corporeal, and phantasmatic materializations of internalized mnemonic, and bio-political regimes. Meanwhile they address surface porosities and subcutaneous layers of post-socialist cities. Hence this chapter of screenings in D’EST brings together artistic strategies and methods for unsettling, decontaminating, and queering artificial mono-histories, which stem from the urge to untag and distance the subject from the constraints of conformity, imposed belonging to a certain ethnic group or community, and identitarian politics in general.

    → See the screening dates in the Program

  • Lene Markusen, Sankt–Female Identities in the Post-Utopian, 2017. Film Still, HD, Colour, 5.1, 50’

    Screening #4

    The Body as an Indexical Reader


    The chapter examines the body as a collective, as a singular entity, as a social choreography of an alliance of states, as an organless, cognitive-capitalist, cerebral network, as a corporeal reading instrument of past, former socialist indices, as a place of textual and discursive inscription, but also as a genuine place of affective encounters and material practices. The curators focus on video works and films that flare up the affective, somaesthetic, relational and transformative potentials of the body after 1989 / 1991.

    → See the screening dates in the Program

  • Ana Hušman, Ručak, (Lunch), 2008. 4:3, Video Still, Single-Channel Video, Stereo Sound, Colour, 16’40’’

    Screening #5

    We are Family


    Entwining autobiographical, historical, and fictional narratives, this screening program examines generational, personal, and political frictions, breaks and entanglements, taking place in the dystopian context of post-1989. The tension bears down on the sphere of the personal and the political maintained through the relationship of the four figures: the figure of Neighbor, the figure of Mother, the figure of Lover and the figure of Other.

    → See the screening dates in the Program

  • Cooltūristės, Kosminis darželis (Space Kindergarden), 2012. Performance Videostill, Single-Channel Video, Stereo Sound, Colour, 05’37’’

    Screening #6

    ReTopia


    The screening chapter ReTopia acknowledges “post-socialism” not only as a continental but also as a global phenomenon, though with palpable regional specificity and intensity. It looks at transitional shifts and modes of remembrance of historical processes that evoke forms – rejected, outmoded, disposed from power, gender political, architectural, and even full of potential. Without being afraid of utopian ideology, it looks back and forth and sideways in search of radically different futures. Both curators, Bettina Knaup and Katja Kobolt ask these questions against the backdrop of their individual and collective endeavors to create “temporary archives”: re.act.feminism (2009-2013), a travelling performing archive Bettina Knaup initiated with Beatrice E. Stammer; and Perpetuum Mobile. The Artotheque, a collection of videos and other digitized works initiated by feminist curatorial collective Red Mined within the Living Archive (2011-2015) through the simple act of giving.

    → See the screening dates in the Program