Masha Godovannaya
Nacimiento : 1976-10-01, Moscow, USSR (Russia)
Historia
Masha Godovannaya (Russian: Маша Годованная; born 1976; Moscow) is a Russian visual artist, queer-feminist researcher, curator and educator based in Vienna, Austria. She studied music, literature, and book publishing before leaving for the United States in 1995. In New York, she programmed film series in various cultural institutions and festivals. She returned to St. Petersburg, Russia, in 2003 where she continued her artistic career and taught film/video classes at the Department of Liberal Arts and Science (Smolny College) of St. Petersburg State University. In 2016, she entered the Academy of Fine Arts, Vienna, Austria, as a PhD-in-Practice candidate. Masha holds an MFA degree in Film/Video from Milton Avery Graduate School of the Arts, Bard College, New York, and an MA in Sociology from European University in St. Petersburg, Russia. Her films and visual works have been shown at many festivals, screenings, and art venues (such as Rotterdam Film Festival, the Tate Modern, Oberhausen International Film Festival, London Film Festival, Manifesta-10, 7th Liverpool Biennial, Center Georges Pompidou, etc.
Director
The film is based on a text by an art historian Koivo on how architectural elements of the past find themselves in mundane structures of our everyday. Together we walked Vienna in search of these architectural residues and their inscription into the urban landscape with the haunted history.
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A visual study which sketches the forms and outlines, the margins of queer kinships lived and practiced by the local queer community of post-socialist Split, Croatia.
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A found-footage film that exhilarates via virtuosic editing, this homage to early Soviet-era cinema pioneer Sergei Eisenstein reconfigures extracts from several of the maestro’s classics—such as Battleship Potemkin—into something fresh and provocative. Inspired by Eisenstein’s seminal montage theories, the director works in tandem with composer Federico Schmucler to thrillingly evoke tumult.
Director
The film departs from Carl T. Dreyer's La Passion de Jeanne d'Arc (1928), Sergej Eisenstein's Battleship "Potemkin" (1925), October (1928), and the Mexican film material (1930), as well as Friedrich W. Murnau's Nosferatu (1922). Conceptualised in three parts, it draws viewers into landscapes populated by ghostly communities, shadows, and intermediate beings acting as transitions to revolutions and dreams in the past, future, and present. Produced and realised as a framework for the que_ring drama project – Dark Revolutions which premiered on 14 Nov. 2019, at studio brut, Vienna, Austria.
Director
Landscapes from Murnau’s Nosferatu: A Symphony of Horror (1922) are accompanied by reflections on the ghosts of political struggles of the past, vision as an instrument of colonisation and the true meaning of the decolonising gaze that upends all order.
Director
The iconic depiction of Joan of Arc in Carl Theodor Dreyer’s film. Joan, destined to become a symbol of faith, patriotism and self-sacrifice. The separation of flesh and spirit. A little more and she would be a proto-feminist martyr. Is that too much to ask of you, Joan?
Director
This film is based on Holes and Bone, two poems by American poet, lesbian and cult figure of the New York poetry scene Eileen Myles. The film is an exchange between two queer sensibilities and a dialogue between two women who have emigrated.
Director
This film is an exploration of unseen but intensely felt encounters: dreams. The fear – maternal fear – of loss, of separation from a child creeps into the self, bypassing the defence mechanism. Fear expands in dreams. The film’s images become a potential substitute and a release from the terror of these haunting, unimaginable sensations.
Director
A letter from the dead dog Laika, the first conqueror of space. This is the story of her heroic deeds and martyrdom, a document of one of many lives it was deemed necessary to sacrifice in the name of the human plan for conquest and domination.
Director
Do you believe in ghosts? An incantation becomes a refrain in this two-channel projection of sequences from an old film, recaptured on a Lomo lens. It’s all in her* hands shaping his form, her* labour questioning his authority.
Director
On March 18, 2014 President Putin gave a speech to both chambers of the Federal Assembly of the Russian Federation. He declared the Crimea as a part of the Russian Federation. He said: “Esteemed friends, we have gathered here today because of an issue that is of vital importance, of historical significance for us all. On March 17, a referendum took place in the Crimea; it was held in full compliance with democratic procedures and the norms of international law. Voter turnout was more than 82 %. More than 96 % voted for reunification with Russia. The figures are extremely compelling.” He gave the speech. The war continues. The plague have started.
Director
On April 14, 2014 Vladimir Zhirinovsky, a right-wing politician, publicly attacked two female journalists simply because one of them asked about the sanctions against Ukraine. He ordered to his guards “rape” and “kiss her hard” regardless of her pregnancy and threatened another one with unemployment when she defended her colleague. None of male journalists stood behind the women and tried to stop the high-ranked attacker and his followers.
Director
The horizons of trembling film landscapes, captured on expired Soviet film, long out of production, developed by hand, break through the closed spaces of the city, reminding of the lost phenomenon of natural borders. For a short time, a person becomes, literally, the bearer of image and sound - he is given power over space, which usually oppresses him. For a while, he can turn it into something new or remind you of something long forgotten, elusive.
Director
This film is a pure fascination with a filmic quality of the image captured on 16mm expired stock, hand-developed while neglecting rules of color processing and manipulated on a JK optical printer. Shot in 2008 it presents a transformed picture of Rotterdam's windmills reminiscent of Dutch Golden Age paintings and traditional Delft tiles.
Director
As if in response to Susan Suleiman’s aphorism on motherhood “Mothers don’t write, they are written” and Julia Kristeva’s question “After the Virgin [Mary] what do we know about the inner discourse of a mother?” I decided to do a film on my own experience as a mother who is also an artist and the ambivalent but poignant process of inscribing a child into my life.
Director
This film is the record of a traumatic reaction to the terrorist acts in the Moscow subway of March 29, 2010.
Director
Nearly all of us have shot home movies: on film, on video tape, or using the digital cameras built in to our mobile phones. We have filmed our children, family celebrations, or holidays. Now, imagine how a home-movie might look like if it were shot in the Warsaw Ghetto at the beginning of the 1940s by a German worker on vacation…
2 home-movies invites the viewer to look again at historically charged material from a different perspective and to think about our desire to pick-up a camera to record disasters.
Director
An idiosyncratic personal reflection on a mythical image of masculinity in cinema and the clash between cinematic representation and real life. Endlessly repeated shots of aeroplanes and paratroopers taken from Alexander Dovzhenko’s film Aerograd (1935) and an absurd anthem to mythical masculine powers are confronted by home video footage with a much less heroic intonation.
Director
The film is conceived as a free cinematic improvisation vaguely based on the myth of the Phoenix.
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This film is a personal dedication to New York, “a city symphony” to the place which means so much to me…
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It is my endeavor to stop time for a moment and to look through a different prism at things which have been around us for so long, forgotten and unnoticeable by us for so long. Forest, lake, meadow, sky... twilight... moon.
Director
The original film was shot in 2001 and its description sounded like: «It could be an ordinary trip on the Staten Island ferry. But shot with single frames, with a few colors added and with just 30 seconds of running time, it becomes a trip on a magic ferry... ». But in 2005 the sound was added - the music by LU who composed it especially for the film and this short movie has gotten its second life and ten more seconds...
Director
While walking along Nevskiy Prospect in St. Petersburg, Russia, I saw a young girl dancing this harsh, passionate and seductive dance.
Director of Photography
Caminando por la Perspectiva Nevsky de San Petersburgo vi a esta jovencita bailando una danza de manera apasionada y seductora.
Writer
Caminando por la Perspectiva Nevsky de San Petersburgo vi a esta jovencita bailando una danza de manera apasionada y seductora.
Editor
Caminando por la Perspectiva Nevsky de San Petersburgo vi a esta jovencita bailando una danza de manera apasionada y seductora.
Director
Caminando por la Perspectiva Nevsky de San Petersburgo vi a esta jovencita bailando una danza de manera apasionada y seductora.
Director
“MUZHCHINI”, when pronounced by emphasizing every letter, means “mature men” in Russian. It is a catchphrase of Yevgeniy Yufit, the father of the Russian necrorealist
movement and the hero of the film. This word well describes his attitude towards and interest in specific elements of Russian masculinity, which have been among the several themes of his own films. The second protagonist is Yuri Zverlin, an artist from St. Petersburg and star of Yufit’s feature “Killed by Lightning”; the third, an anonymous “Lenfilm” filmmaker.
We were on a trip to the sacred monastery of lake Seliger; it all started inside its ecological pyramid, built without single nail supposedly maintaining the equilibrium of the region.
It has no effect on us…
Director
"This video is dedicated to Peterhof, the suburb of St. Petersburg where I used to live"
Director
While walking around my Brooklyn neighborhood, I noticed these children joyfully playing in the spring sunshine. By chance I had my 16mm camera with me – and was able to film them. They were not afraid of me and my presence didn’t bother them. Somehow I was invited into their game, so similar to the first Round Dance of spring.
Director
It could be an ordinary trip on the Staten Island ferry. But shot with single frames, with a few colors added and with just 30 seconds of running time, it becomes a trip on a magic ferry…
Director
It was during one of our usual visits to this famous bar, or “Library” as we often call it. Jonas Mekas, Julius Ziz, August Varkalis, Moira Tierney and I were engaging in our daily activity – “reading books”, which lasted from dusk till dawn.
Director
For a long time Saint Patrick has been touted as the redemptor of Pagan Ireland: the man who rid the country of its snake population. We felt it was time the snakes got their due – You Can’t Keep A Good Snake Down redresses this historical imbalance.
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Light and Darkness of New York metro.
Director
A record of the lockdown spring of 2020, shot from the window of the director’s rented apartment in Vienna. Diary entries help to stave off the madness of isolation. The camera keeps track of time and reclaims the past. Cinema offers a reprieve from loneliness.
