[et_pb_section fb_built=”1″ _builder_version=”4.21.0″ _module_preset=”default” background_color=”#FFFFFF” background_image=”https:\/\/www.afarnetwork.com\/wp-content\/uploads\/2023\/08\/Residency-BG.png” background_blend=”multiply” custom_margin=”||-93px|||” custom_padding=”100px||126px||false|false” global_colors_info=”{}”][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” custom_margin=”34px|||||” custom_padding=”45px|||||” custom_css_after=”display: block;||content: ”;||width: 30px;||height:30px;||background:red;||border-radius: 50%;||position: absolute;||right: 10vw;||bottom: 10vh;” global_colors_info=”{}”][et_pb_row column_structure=”2_5,3_5″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_5″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” text_text_color=”#333333″ global_colors_info=”{}”]<\/p>\n
Zoya Laktionova<\/em> is a documentary filmmaker and contemporary artist. In her films, she aims to convey emotions through art metaphors intertwined with the dramatic language of cinema. This often makes it difficult to clearly allocate Zoya\u2019s films, which is why they are shown both at film festivals and in art museums such as the Center Pompidou in Paris or the MUMOK in Vienna. In her artistic practice, she adopts micro-history, auto-ethnography and creative storytelling to unfold the complexity of greater events and historical contexts.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”4.16″ _module_preset=”default” custom_padding=”|||20px|false|false” custom_padding_tablet=”|||0px|false|false” custom_padding_phone=”” custom_padding_last_edited=”on|tablet” border_width_left=”1px” border_width_left_tablet=”0px” border_width_left_phone=”” border_width_left_last_edited=”on|tablet” global_colors_info=”{}”][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” text_text_color=”#333″ header_font=”|||on|||||” header_font_size=”50px” global_colors_info=”{}”]<\/p>\n Memory Practices\u00a0<\/strong><\/p>\n Zoya Laktionova – a conversation about\u00a0how the artist navigates the complexities of history and identity, drawing attention to the nuanced intersections of personal and collective narratives.<\/p>\n 16.03.2024\/ 19:00 [\/et_pb_text][et_pb_image src=”https:\/\/www.afarnetwork.com\/wp-content\/uploads\/2024\/03\/03-TALK_Event_1920x1005-100.jpg” title_text=”WEB baner horizontalni TALK” _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text module_class=”artist-name” _builder_version=”4.21.0″ _module_preset=”default” text_text_color=”#333333″ global_colors_info=”{}”]<\/p>\n \u201dMy art practice belongs to two disciplines\u2014documentary filmmaking and contemporary art. Through my films, I aim to convey emotions using art metaphors intertwined with the cinematic drama language. This often makes it hard to find an unequivocal place for my films, which is why they are screened both at film festivals as well as at art museums and art galleries. In my practice, I adopt micro-history, auto-ethnography, and creative storytelling to unfold the complexities of greater events and historical context. In my short films, I build a human-to-human language that doesn\u2019t use complex political terms and is clear to the majority of the living. Even though my stories often touch on the complexity of the influencing macro powers of existence, I believe that the micro-stories of the human experience, and especially for me now\u2014the human experience of war\u2014need to be told. For a human to feel the other human being behind the big abstract categories like politics, history, economics, or social theory.\u201d – Zoya Laktionova<\/p>\n [\/et_pb_text][et_pb_code _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
Popa Soare 26<\/p>\n<\/div>\n