viewpoint-east.org

A Missing Gaze

Category: by oleksiy radynski, guests, movies
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(Läsningstid: 3 minuter)

Melody for a Street Organ (2009) by Kira Muratova compensates for the 20 years-long absence of social cinema in Ukraine in a strikingly unexpected way. To capture the social reality of Ukrainian society is not an easy task, since, like any other post-Soviet society, it avoids a direct look at its basic manifestations (like marginalization of large social segments and dissolution of interpersonal links) by rendering them invisible for the mass media apparatuses. In order to assemble the mosaic of unrepresented society, Muratova has chosen the vantage point that is generally repressed in contemporary Ukraine. Her latest film is set in public spaces where taking pictures is usually prohibited for reasons that are neither explained nor questioned, in spite of availability of those spaces for the general public: the train station and the supermarket.

The first part of the film follows a couple of homeless kids through a railway station, where they are confronted with a series of unfavourable circumstances, while the second part takes them to a supermarket, where the penniless protagonists, hallucinating from hunger, are trying to get some food. Still, those areas – the railway station and the supermarket – are only seemingly excluded from democratic representation, since they are subjected to numerous surveillance apparatuses that not only passively collect information but also actively constitute the social relations at the observed territory, producing the subjectivities of those under surveillance. By entering this domain of monopolized representation with her camera, Muratova gets an opportunity to spy at the members of contemporary society reduced to their purely functional, mechanical identities – those of the train passengers or supermarket clients.

This reduction is obvious in numerous film scenes where the kids appeal to occasional strangers with a cry for help only to get a standardized, artificial, ‘cinematic’ reaction from the people who cannot transcend their prescribed social roles. In a crucial episode of the film, the kids occasionally witness the extrinsic child beggar telling their own numerously repeated story verbatim to a stranger and getting a generous reward. The shock that children experience in the course of the scene is quite similar to a shock of the viewer confronted with Muratova’s numerous episodic characters that despite of their constructed, unnatural behaviour (or, maybe, precisely owing to these features) are strikingly recognizable in their representation of post-Soviet social identities. Rather than reproduce “reality as it is”, Muratova focuses on fiction underlying the reality itself, a fiction that is deconstructed from an ‘impossible’ viewpoint of the camera sneaking after the people who unconsciously perform their prescribed identities.

Oleksiy Radynski is an essayist, editor and scholar of film theory. He is a postgraduate student at the National University of Kyiv-Mohyla Academy and collaborator at Visual Culture Research Center at the same university.


S:t Petersburg 1995/2010

Category: art, guests, russia
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(Läsningstid: 2 minuter)

viewpoint-east.org proudly presents a brand new element – online virtual gallery with a different viewpoint.

First one out is Maria Magnusson.

Maria grow up at a farm at the Swedish country side, in a small village called Norra Björke. She has BA and MA in Photography at The University of Gothenburg, Sweden and a BA of Arts in History and Theory of Art also at The University of Gothenburg.

Maria is working as a photographer and occasionally as DJ and has been engaged on special projects at Stockholm City Museum. In October 2009 she participated in the 12th Annual Antimatter Film Festival, Canada, with the art video Bliss out. She was also a warm-up DJ to Jan St Werner (Mouse on Mars) at Riche, Stockholm, October 2009.

This is Maria’s words about the pictures:

S:t Petersburg 1995/2010

It has been 15 years since I looked at these pictures. They were photographed in spring 1995. It was my first trip to S:t Petersburg, Russia.

I went there with my friend Oleg Bogdanov who is a Sociologist and was
born in the city. He did a work about young people living in S:t Petersburg and I took portraits of the interviewee.

At first glance, it strikes me that these pictures looks contemporary. Like they could have being taken today. The clothes and hairdos are highly in fashion now. Time aspect is playing a trick. The time spinning around like
a lottery wheel and has stopped at 2010, when nostalgia for the 80’s in fashion, music and ideas are at it’s peak.

Looking at these portraits again I see the innocence of youth ready to
make steps through adolescence.

What are they doing today I wonder?