Since fall 2016, D’EST (2018-2020) has formed a contemporary video art platform that maps out female* and collective positions that reflect the post-socialist transformation along post-geographic, horizontal, and feminist focus topics. Shaped by fifteen curators, the platform features forty-three video works, experimental films and documentaries, which open up artistic historiographies to be screened online and at different art institutions. Check out our program for the coming screening events!

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  • Flo Kasearu, Client’s Day, 2020. Video still, 8’14’’, color, sound, 16:9, courtesy: the artist.

    EVENT: D’EST Video Screening at Haus der Statistik, Berlin (Aug. 15, 2020)

    Space Ideologies

    “Who owns the city?” and “Who is allowed to live and who has to die?”: these existential questions reverberate in urban infrastructures, architectures, and not least in people’s bodies in post-socialist cities. Space Ideologies investigates the asymmetrical effects of privatisation and neoliberal economisation in post-1990 Almaty, Belgrade, Berlin, Moscow, and Tallinn, from Moscow’s disenfranchised delivery and taxi workers to cultural-activist squatters in Belgrade. Participating artists: Anna Engelhardt, A.S.S. Collective (Mizu Sugai & Jonathan Jung), Senka Domanović, Ruthia Jenrbekova & Morris Getman and Flo Kasearu

    → See the screening dates in the Program

  • Gluklya, Debates on Division: When Private Becomes Public, 2014. Performance documentation still, 16’, color, sound, 16:9, courtesy: the artist and Manifesta 10.

    ONLINE COLLABORATION: Video Screening with etc. gallery (May 27, 2020)

    Imagined Community I: The Moving Image Friends Association

    The online exhibition project entitled The Moving Image Friends Association presents both historical and contemporary models of collectives, established for the sake of supporting the production, presentation and research of film and video art. By comparing those collectives, the project explores how the shared interest in the moving image medium, present-day political contexts and prevailing social conditions form the ways in which the art collectives functioned. Screenings of films on the gallery’s website, accompanying texts and artist’s research display the work of the Anthology Film Archives, Czechoslovak group Obor Video, and D’EST platform. Participating D’EST contributors: Anna Bitkina & Gluklya, curators: Markéta Jonášová and Tomáš Kajánek

    → See the screening dates in the Program

  • Anna Daučíková, Situation N. 30_the two are wearing glasses (excerpt from 33 Situations), 2015. Video still, 02’52’’, stereo sound, color, 4:3, English language version, courtesy: the artist.

    ONLINE COLLABORATION: Online Exhibition at Moderna galerija & Museum of Contemporary Art Metelkova (May 15-Dec. 31, 2020)

    Viral Self-Portraits

    Everything we produce at home during the corona time will soon add “extra value” to tourism, fashion, machines and vehicles, and will subsequently transform us as well. In the end, every crisis generates profit for someone. Viral Self-Portraits is an online exhibition around digital self-portraits understood as contemporary and individual subjectivity markers and phenomenologies co-defining our lives during the global lockdown. Participating D’EST artists: Anna Daučíková and Milica Tomić, participating D’EST curator: Jelena Vesić, concept: Zdenka Badovinac

    → See the screening dates in the Program

  • Phuong Linh Nguyen, Trùng Mù (Endless, Sightless), 2018. Video still, single-channel video (HD), 9’ (looping), color, sound, 16:9, courtesy: Singapore Art Museum

    EVENT: D’EST Video Screening at BeFem Festival in Belgrade, Serbia (Dec. 8, 2019)

    Postcosmetic META-morphoses

    At this year’s BeFem Festival, D’EST will present Postcosmetic META-morphoses, a video screening event about beauty and gender norms and their global toxic bonds. Filmmaker and D’EST collaborator Lene Markusen will introduce an excerpt of her film “Sankt – Female Identities in the Post-Utopian” (2017) in correspondance with “Trùng Mù (Endless, Sightless)” (2018) by the artist Phuong Linh Nguyen. In the course of this video screening program two vastly different beauty salon scenes from differing parts of the world become the focus of attention.

    → See the screening dates in the Program

  • Easterndaze x Berlin 2019

    EVENT: D’EST and Kajet at Easterndaze x Berlin (Nov. 30, 2019)

    D’EST and Kajet at Easterndaze x Berlin

    On November 30, 2019, from 5-9pm, D’EST will install a temporary viewing station at ZÖNOTÉKA for the music festival Easterndaze x Berlin. Easterndaze x Berlin is a festival for DIY electronic music collectives from Minsk, Tallinn, Bucharest and Berlin. After a panel discussion entitled “Subcultural Peripheries: Remapping the East,” curated by the Kajet Journal, a D’EST Viewing Station will be accessible. On this occasion, musically inspired video works by Vukica Đilas, Gery Georgieva, Ivana Mladenović, Henrike Naumann, Tabita Rezaire and others can be seen.

    → See the screening dates in the Program

  • Gery Georgieva, The Blushing Valley, 2017. Video still, 3’46’’, color, sound, 16:9, courtesy: the artist.

    EVENT: D’EST Video Screening in Plovdiv, Bulgaria (Nov. 1, 2019)

    Alyosha and the Rose Queen – Gestures of De-Monumentality

    On the occasion of the transdisciplinary symposium “Unstable Monuments. Remnants from Times of Ideology” hosted by visual artists Katharina Swoboda and Kamen Stoyanov in Plovdiv on November 1st, 2019, D’EST presents a video program entitled “Alyosha and the Rose Queen – Gestures of De-Monumentality.” The selected works, drawn from the platform and elsewere, are dedicated to an expanded, critical and performative perspective on monuments and showcase an artistic as well as civic reappropriation of the public sphere. Participating artists: Tal Alperstein and Julia Turbahn, Gery Georgieva, Szabolcs KissPál, Ilona Németh, Eglė Rakauskaitė / Rakė and Adnan Softić

    → See the screening dates in the Program

  • Lene Markusen, Sankt–Female Identities in the Post-Utopian, 2017. Film still, 50’, HD, color, 5.1, courtesy: the artist.

    EVENT: D’EST Screening and discussion at Scriptings Berlin (July 3, 2019)

    Sisters Alike: Female Identities in the Post-Utopian (book launch)

    On the basis of selected scenes, the filmmaker Lene Markusen will provide brief insights into the variety of images and themes that form her new artist book “Sisters Alike. Female Identities in the Post-Utopian.” Her everyday ethnological and cinematographic view of female subjectivities and lifestyles has been roaming through the last three decades since her first trip to St. Petersburg in 1993. Screening and discussion with: Lene Markusen (filmmaker), Anne König (publisher Spector Books), Alexandra Köhring (art historian) and Ulrike Gerhardt (initiator of D’EST). Moderated by Achim Lengerer (Scriptings).

    → See the screening dates in the Program

  • The literary event-happening organized by Valdis Āboliņš at the 13th congress of European Latvian Youth Association (ELJA), Westende, Belgium. August 3, 1966. Photo by Noldis Millers.

    EXHIBITION: D’EST Viewing Station at Portable Landscapes: Unweaving the Iron Curtain (June 21-July 25, 2019)

    Portable Landscapes: Unweaving the Iron Curtain

    D’EST will participate in the exhibition Portable Landscapes: Unweaving the Iron Curtain at District Berlin. De-centring, contaminating, and queering dominant historical narratives, the project is part of the Latvian Centre for Contemporary Art project Portable Landscapes which examines stories of exiled and emigree Latvian artists locating them within the broader context of 20th century art history, and wider processes of migration and globalization. D’EST’s temporarily installed viewing station makes our archive of the histories of post-/socialist transformation accessible in the exhibition. With contributions by Valdis Āboliņš, Decolonizing 1968, D’EST, Inga Erdmane, Leonards Laganovskis, Elske Rosenfeld, Margo Zālīte, Nguyen Phuong Linh, Tuan Mami, and Revolt She Said. Curators: Andrea Caroline Keppler, Suza Husse, Antra Priede, Elske Rosenfeld and Andra Silapētere.

    → See the screening dates in the Program

  • Pauline Boudry/Renate Lorenz, Charming for the Revolution, 2009. Video still, 16mm/HD film installation, 11’00’’, sound, color, 16:9, performance: Werner Hirsch, courtesy: the artists

    EVENT: D’EST Video Screening in Belgrade, Serbia (March 30, 2019)

    Martovski Festival, REZ* na D’EST (CUT to D’EST)

    Martovski Festival REZ* na D’EST (CUT to D’EST): A selection of (feminist) video art with Marwa Arsanios, Pauline Boudry & Renate Lorenz, Maha Maamoun, Elske Rosenfeld, Sanja Iveković, and The Bureau of Melodramatic Research, curated by Marta Popivoda. *REZ is a festival of contemporary experimental film in Belgrade

    → See the screening dates in the Program

  • Marwa Arsanios, Who is Afraid of Ideology? Part I, 2017. Video still, single-channel video (HD), 23’00’’, sound, color, 16:9 | Courtesy: the artist.

    EVENT: D’EST Video Screening in Tallinn, Estonia (Jan. 26-27, 2019)

    D’EST at TOKSI-LINE: feminism ­– environment – geopolitics festival

    Toxic masculinity, toxic ignorance, toxic anger… But can feminism also be toxic? Toxic to whom and in what circumstances? At the end of January, D’EST will travel to Tallinn and bring together the themes of feminism, the environment and Eastern Europe in order to discuss toxicity in our increasingly polluted world. Estonia has one of the lowest levels of environmental awareness in Europe (Eurobarameeter 2017). What roles do gender, the communication context, and geopolitics play in this? D’EST video screening with Marwa Arsanios, Ioana Cojocariu, Factory of Found Clothes, Elske Rosenfeld and The Bureau of Melodramatic Research, introduced by Ulrike Gerhardt.

    → See the screening dates in the Program

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

    ONLINE: Screening Chapter #6


    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

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

    ONLINE: Screening Chapter #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

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

    ONLINE: Screening Chapter #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

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

    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

  • 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

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

    ONLINE: Screening Chapter #1

    The Suspension and Excess of Time

    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

  • Sanja Iveković, Instructions No. 2, 2015, video (HD), 4’52”, color, sound, 16:9 | Commissioned by Neuer Berliner Kunstverein (n.b.k.) and Nordstern Video Art Center Gelsenkirchen

    EVENT: Screening Chapter #1 Preview

    D’EST: The Suspension and Excess of Time at WRO Media Art Biennale 2017

    At the WRO Media Art Biennale 2017, D’EST’s first line of inquiry The Suspension and Excess of Time, a collaboration with the Video-Forum at Neuer Berliner Kunstverein (n.b.k.) will be introduced by its curators Kathrin Becker and Jana Seehusen by way of two selected video works. Screening and discussing Sanja Iveković’s INSTRUCTIONS No. 2 from 2015 and Ulrike Rosenbach’s 1976 video Glauben Sie nicht, dass ich eine Amazone bin. (eng.: Do not believe I am an Amazon.), visitors gain insight into the politics of living as a woman and how they manifested in (Post-)Yugoslavia and West Germany.

    → See the screening dates in the Program

  • Ivana Mladenović, Miss Piranda, 2015. Video still, HD, color, 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