Zuza Banasinska

Film created from the Polish Educational Archive materials, telling the story of a matriarchal family through the eyes of a child grappling with the reproduction of ideological and representational systems. Originally created as didactic and propagandist tools in communist Poland, the footage is repurposed as a locus of auto-fictional memories, with their scientific register shifted towards a treatment of images themselves as specimens.

The ghost of a possessed girl, trapped for centuries within a stone, encounters the director’s 102-year-old grandmother. What begins as a haunting becomes a tender dialogue, as archival, staged and documentary footage blur.

A 3-channel video installation consisting of spaces of worlding that allow for a reconfiguration of the real in a way that escapes commodification. Dismantling seemingly fixed identities, both of the subject and their background, the story weaves around Olga Petrova, an English silent film actress, who pretended to be an Eastern-European countess in order to gain fame in the American film industry of the 1910s. She set up her own film studio, which closed, like many others, when the major studios in Hollywood dominated the industry. The work looks at how copying, especially of the strategies of mass cinematic productions, can become a tool of emancipation and production of difference. Olga’s story is reimagined through a fictionalized tour of her studio, where the viewers are guided by a green screen.

In 2017, in the Belarusian village of Dobrovola, I found a photo album created by Boris. In the years 1984-86, he was served in the military in Crimea. Drawings in the album indicate the author's interest in the cosmos, specifically the radar complex near Eupatoria. By transforming the album into a virtual space of observation of various paths of memory, the temporal and spatial scale has been disturbed, and private memories are on an equal footing with interplanetary ones.