The long-term and research program of etc. gallery focuses on the presentation of contemporary artists experimentally and analytically working with instruments of documentary videos. The project is called Politics of Truth and its second thematic block has a subtitle The Observation. The first of the screening blocks will begin with works by Oleksiye Radynski (UA). The program will also feature Czech and foreign artists working with confidence in camera recording.
Oleksiy Radynski is a filmmaker and writer based in Kyiv. He is a participant of Visual Culture Research Center, an initiative for art, knowledge, and politics founded in Kyiv, 2008. His latest films include Landslide (2016) and People Who Came To Power (2015, with Tomas Rafa), which won the main prize in the national competition at Docudays International Film Festival in Kyiv. His films have been screened at Oberhausen IFF, Dok Leipzig IFF, e-flux (New York), S A V V Y Contemporary (Berlin), Royal Institute of British Architecture, and other venues. His talks and presentations have recently taken place at Berlinale Forum Expanded, Museum of Modern Art (New York), Shtab (Bishkek), Institute for Contemporary Arts (London), and UdK (Berlin). His texts have recently been published in e-flux journal, Political Critique, Regarding Spectatorship, Raznoglasiya and other publications.
Landslide (2016, 26’)
Landslide is a film that represents post-revolutionary Ukraine through a community of people who ‘try to build a new society’ in the cracks and pores of a collapsing social system. The film unfolds in central Kyiv, in a space that has been reclaimed from the city by forces of nature. As a result of a series of landslides, the area of Petrivska street has become untenable and was subsequently occupied by the outcasts and outsiders of all kinds. It also became an important meeting spot for counterculture and artistic underground. A secretive graffiti team, a group of tech geeks and an avant-garde gay theatre that fled the war in Luhansk all struggle to create a place where they could coexist outside the pressure of dysfunctional social structures.
Banner (2017, 6’)
The climbers are installing a white banner on an large-scale unfinished construction in Kyiv. Their task is to remove the yawning blot of a failed project. But the more they try to erase this obscene object, the more persistently it returns.