In our times, with the emerging role of media and its diverse ideological influences on our social and private lives, the
ability to manipulate perceptions of reality with words and images has become a formidable instrument in the hands
of people in power who want to control viewpoints on local and global political situations. This manipulation
of public opinion for the gain of private interests goes against principles of democracy which require
transparent governments and a well-informed public, resulting in pseudo-democratic processes and the
suppression of human rights.
One method of protesting against such a system of falsification and (re)invention of history
is to uncover and examine the premises and long-term goals of the media apparatus by carrying out
one’s own research and investigation. The results of this attempt may be shared with
independent (inter)national magazines, organizations and news outlets. (Here the word
«independent» is meant to signify the honest attempt to portray things objectively through
a deep consideration of one’s own bias—that is, by recognizing situatedness, or the
limits of objectivity itself within cultural and political contexts.)
To involve people in this process and establish personal contact, one can
organize demonstrations and create a discussion of ideas through the
distribution of manifestos, propositions, etc. One could also conduct
an anthropological or sociological field inquiry into his or her home
region or in other countries. Further, one could reflect on this
particular research as well as the wider system of distortion
in the media in the form of a documentary or fictional film,
photography, and various other practices of art including
public art, performance art, video art etc.
Following these thoughts, in the summer of 2013, after having gathered experience in different fields of contemporary art and cultural politics, we decided to gather a small group of young people engaged with art and documentary for the purpose of starting a new video(art) project that would integrate different methods of intellectual protest against the ongoing information war and facilitate interdisciplinary and cooperative engagement among youth with present critical discourses. Our main intention was to focus on a local context (physically and ideologically)—the project was based in Moscow, Russia—but at the same time to analyze the consequences and influences it has on and within a global setting and vice versa. Current social situations were to be considered from different cultural, artistic and political angles while looking back at historical contexts and backgrounds with awareness of one’s own bias.
We made an international call for participants and invited 12 of them — one of whom was unable to attend due to visa problems — to come to Moscow on a volunteer basis for two weeks. The team was comprised of motivated young people with varying professional backgrounds from Estonia, Germany, Italy, Russia, Serbia, Slovenia, Spain and Turkey, who were to produce a short movie or a work of video art during their residency about the current political, historical, and artistic discourse in the capital of Russia. There were no restrictions placed on their creativity; the main demand was a personal critical engagement with the political, social and (inter)cultural processes in Moscow.
- Participation in forming/altering conceptions of the world and the way these conceptions are produced and perceived through media
- Examination of the boundaries of one’s tolerance and the limits of one’s viewpoint on global problems in local settings
- Reflection on one’s individual position on local happenings formed by various ideologies, philosophies, personal identities, images, fears, impressions etc.
- Presenting a point of view that strives to be objective through examining personal ethics and truths; and to communicate this point of view with visual means that are as approachable and understandable as possible to the public
- Discovering new social-critical discourses and rethinking/ re-situationalizing/ re-arranging/re-connecting existing ones
- Practicing interdisciplinary, intensive short-term research within the field of movie making, contemporary art, cultural anthropology, critical philosophy, gender studies, ethics, sociology etc
- Questioning the positionality of the movie-maker while shooting a documentary or making video-art
- Examining one’s capability of reflecting on different historical narratives in specific (inter)national contexts
- Questioning the existing phenomena in social and political structures, suggesting hypotheses, seeking explanations
- Relating site-specific problems to global trends and comparing the similarities/differences
- Searching for the «alternative» objective reality beyond common ideas and prejudices
- Facilitating multicultural exchange at the site of the project
- Involving people from different social milieus and of different ages in the research process
- Discovering new forms of cooperation and co-working within the project/ with other initiatives
- Widening one’s practical technical vocabulary and theoretical corpus of knowledge in camera work/ video editing, photography, interviewing etc. for more exact and appropriate transmitting of ideas and thinking constructs
- With the help of a network of sponsors, giving everybody a chance to express his or her opinion with no accountability to background, nationality, or financial situation (ex. reimbursement of travel costs, accommodation, food, material costs)
- Using social networks, video portals and TV channels to share the best projects with a broad audience and to facilitate a discussion
Participants were able to work freely: some went into various communities in Moscow and teamed up with people outside LOOK! Moscow; for others, the project was an individual process of theoretical interrogation focused on the different discourses of the topic they chose; others produced their works through a kind of contemplative process in which they allowed the city to speak to them as they explored its environments and made observations.
Outside of the work process, participants enjoyed exploring the city and its significant venues, visiting concerts, street festivals, and thematic events, learned about cultural heritage and talked to inhabitants of the city. Some even managed to cooperate to shoot a second film after finishing his or her main project; for example, a film by Isabella Rinaldi and Juš Andraž Zidar investigates the changing roles and receptions of the Presnya Museum of Revolution
and the Mayakovski Museum
in social-cultural discourse since the Russian Revolution. The film considers how the museums have been perceived and employed through the political and ideological shifts that have taken place up until the present.
Concerning non-material opportunities for educational growth and personal development, participants were supported by a number of specialists in filmmaking, video art, curatorial practice, history, TV production, museology, gender research and politics.
In order to provide insight into the problematic social field of children from difficult backgrounds and/or family situations, a charitable trip to the Vdokhnovenie («Inspiration») Children Rehabilitation Centre
was arranged in cooperation with some of our partners for the participants. Our choice of this private center as opposed to an ordinary governmental one (that could be considered more representative of the majority of Russian orphanages) is explained by the sophisticated bureaucratic apparatus of the Ministry of Education of the Moscow region and the difficulties we had in obtaining the numerous permissions necessary for shooting inside the orphanages and the further restrictions that would have been placed on the publication of these films.
During the visit the children could apply their English speaking skills and gained experience in international communication. They got to know foreigners from different countries (some of whom spoke Russian) and learned through personal contact that they are not completely «other».
Andrea Rubino performed a clown show for the children and gave a workshop on self-defence for teenagers; Laura Vassalli with Patricia Ruiz García gave a salsa dance lesson for everyone at the orphanage; Alice Lackner dedicated a classical singing concert to the children with Russian and foreign songs; finally a traditional Bavarian meal («Kaiserschmarren») and an authentic Italian pizza were prepared with and for the inhabitants. We are also grateful for the generous support of «HARIBO Konfety
» (Pavel Katkov) and Samokat Publishing House
(Olga Partusheva) who provided us with gummy bears and books respectively to distribute among the children. A documentary film was produced about the journey (by Jose Fernando Ramirez Calero).
«Art is not just a critique. Not just a tool for shocking us awake. It is an enquiry into the nature of change»
— Paul Shepheard, Architect and writer
In its various dimensions as performance, new media, installation, video art, etc., the socially-engaged artistic practices of contemporary art serve as an ideal way to locate the points of interaction between art and everyday life, between Artist and Observer. Diverse methods strive to solve these problems on site in order to integrate with life on a deeper level, intertwining with everyday activities and interacting with practical psychologies and philosophies*.
In the framework of our project, we were pleased to invite Andrzej Dzierzbicki a «Vernetzungskünstler,» or «connections-artist» (making connections, building community and raising public awareness) based in Kassel (Germany), a traditional Documenta venue, to carry out his latest project ChessArtConnection. «We’re stomping out a new chess playing society from the ground up» (Schach-Kunst-Vernetzung. «Wir stampfen eine neue Schachgesellschaft aus dem Boden»).
The project took place in the Vorontsovo Manor Park Moscow
which is situated in a developing area where plenty of families live with their children. The main intention of the project was to awaken a feeling of community among visitors of the park and to create kindhearted and compassionate conditions for further interaction and participation in social projects. A series of workshops were organized during ChessArtConnection that invited visitors to take part in sculpting chess figurines from a natural clay mixture produced from materials taken from the local region. The sculpting material was produced by mixing clay and hay together by stomping it with the feet on a long plastic tarp placed on one of thfe paths in the park. The modeled figurines were dried afterwards to serve as pawns, castles, knights, queens, bishops and kings on a large chess table set up on the ground of the park which was available to visitors at all times, even during the evening when the plastic figurines provided by the park were put away. We regret that the project could not be carried out completely due to rainy weather — only part of the figures were made. We plan to continue the project next summer in the same park.
* Read more about Public & Community-based Art:
— Claire Bishop (ed.): Participation, The MIT Press, Massachusetts 2006
— Nina Möntmann (ed.): New Communities, Public/The Power Plant, Toronto 2010
— Rosalyn Deutsche: Evictions, Art and Spacial Politics, The MIT Press, Massachusetts 1996
— Mary Jane Jacob, Michael Brenson, Eva M. Oldson: Culture in Action: Public Art Program of Sculpture, Bay Press, Chicago 1995
— Nuno Sacramento, Claudia Zeiske: ARTocracy, Jovis, Berlin 2010
In this section we tried to brainstorm and think through what kinds of challenges could arise during the project and how we could meet them. We are aware that some of them are an indispensible part of the process itself, causing useful tensions that serve for fruitful discussion and deeper reflection. Nevertheless, one must keep such a patchwork of interrelated problems in mind in order to manage the overall project development and better interpret its results.
Sometimes short-term projects, being published in the internet on common resources for such projects (www.e-vet.org
et.al.), are mostly only attractive to «cultural tourists», who are not motivated enough (or who don’t even trust that it is possible) to make anything fundamental within a short period of time. One suggestion is to cooperate with films institutes, art schools, anthropological organizations and NGOs in order to find truly motivated individuals. For example, one can network with professors and students, publish calls in student publications, e-mail lists, and intern newsletters, and make further efforts at a grassroots level, such as hanging flyers.
The more diverse the backgrounds of the participants, the more interesting the constellation of ideas in the project. One must not only concentrate on students or people with a high level of education. Therefore the question is raised—how can other groups of people be brought into the project? For example, seniors, families with children and the unemployed.
Sometimes technical- and project-related experience plays a minimal role if a participant’s motivation regarding the project/concept is high.
True, but problems can arise when bringing together «creative amateurs» and «experienced movie-makers.» On the other hand, interesting groups of different ages can likely cause a beneficial synergy effect.
Even experience with previous projects and artistic work can play at times no role (nor even narrow) one’s potential for critical thinking.
A feeling of community can be achieved through reciprocal interrogation and agonistic relationships. This can encourage an interactive learning environment in which all participants are interested in sharing their own knowledge and skills, and learning from each other through joint reflection on their projects. This can set up a new constellation of relationships and modify the hierarchical structure.
If one brings participants from different socio-economic milieus together, there is the danger that a hierarchy may develop among them based on, for example, the varying quality of their technical equipment. To prevent this, all participants should have access to high-quality equipment (if they want to use it.)
A possible problem is that the participants are not technically competent—there is no time during the project to learn how to shoot, edit, etc. A solution is to make shooting teams in which everyone will be given a special role (camera man, sound designer, script, etc).
Sometimes participants come to the project not being open-minded enough — with strong preconceptions about the guest country and how it functions. These reasons can be clichés and cultural stereotypes formed by images and mass media in their countries.
How to enable the deepest possible integration with the project for the most fruitful results in this short-term project? As a way to help reach this aim, pre-project communications per Skype or invitations for short research periods can be arranged.
One might ask if the results of the project (videos, concepts) are truly representative of the location, viz. where the project took place. As a way to confirm and update the results, once can carry out a new or follow-up study at the location from time to time that can also serve as a basis for reflection on subsequent projects.
The most problematic point here is the question who speaks for whom—what intentions does this person have and which reasons awakened interest in this project as opposed to others. Considering the biographies of participants can help reveal their real motivations for realizing their ideas and can indicate how they might contextualize their work.
«Introduction into shooting in Moscow. Social and political aspects»
Closed lecture by Sergey Sidorenko
«Production of a film. Time management»
Lecture by Sergey Sidorenko
Bookstore for art, philosophy and non-fiction «Tsiolkovsky
«Video art in Russia. The Video Art Festival Now&After»
Lecture and video art show by Marina Fomenko
Bookstore for art, philosophy and non-fiction «Tsiolkovsky
by Ana Núñez Rodríguez and Francesca Savoldi
In a short documentary about the women in Russia before and after Perestroika we wanted to show this women’s world and the factors of its change.
Radical turns in the economical and political system, which have led to the transformation of the social order, have also influenced the role of the women in Russian society and their rights. Different meanings of emancipation have characterized Russian history during the last century.
Edited by Ana Nuñez & Francesca Savoldi
Music by Francesca Savoldi
Sound by Maria Valuyskaya, Svetlana Narbekova
Translation by Anna Matygina
by Milica Maric
Since a long time ago, I had the idea to visit Moscow. I started reading about Russian history and I found a lot of cases which are very common to our Serbian culture, its traditions and customs. As I came across the project «LOOK! Moscow» I was very inspired because I got a chance to apply my knowledge practically and to share it with others. The main aim of my film was to reflect on the boundaries between two countries and their history and culture. Shooting a movie was a completely new experience for me and I learned a lot about how to express my ideas by means of video.
Sound by Maria Valuyskaya
Music «Kalinka malinka», «Russkaya Narodnaya», «Кamarinskaya», «Valenki»
Nikon coolpix S220
by Isabella Rinaldi
I’ve always been interested in mixed cultures, borders and melted identities. In a city like Moscow, with its historical and cultural heritage, ethnic minorities are a very significant part. I’ve chosen to speak with some of the „half-blooded“ people living in the city, collecting some impressions from Armenian, Georgian and Mongolian citizens of Moscow in order to understand how it is to find yourself living in such a huge city and being in the middle of multiple cultures.
Translation by Maria Stekhina
Samyang 35mm f/1.4 Wide-Angle US UMC Lens
AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR Lens
or how much does a man need to consciously bury his own consciousness without a proper shovel • by Juš Andraž Zidar
The movie tends to point out the hidden means of political repression. Legitimated in the context of daily security, their presence legitimates the existence of terrorism; they become the terrorism from the everyman’s point of view. Being constantly reminded of the possibility of violence, they become violence — accepting this position means the loss of your own intimate consciousness. It means submission to repressive politics. It is a global contemporary problem that restricts the freedom of living.
Music Anne Teresa De Keersmaeker (from «Rosas danst Rosas»)
Canon EOS 1100D
Canon EF-S 17-85mm 1:4-5.6 IS USM Lens
by Alice Lackner
Along with my major disposition to music, I am also interested in other forms of artistic expression, such as theater and fine arts. That was the reason why I decided to participate in the LOOK! Moscow project — to widen my view on the world personally as well as artistically.
In my documentary I tried to deliver a different impression of Moscow. The focus lies not on touristic sights but rather places and situations which one won’t necessarily expect to find in Moscow, or even if have encountered them, endeavors to forget. So my intention was shooting a movie about Moscow’s cultural diversity and life-styles.
Music «LilaBlaue Rose» and «Lesley» by Beavis Commerford, «Alla turca: Allegretto» Wolfgang Amadeus Mozart, «Aria» Johann Sebastian Bach, «Impromptu No. 4, Allegretto» Franz Schubert
Thanks to Ksenia Kochetkova, Anna Matygina, Svetlana Narbekova, Jose F. Ramírez, Timur Kiselev, World4u
by Ayþe Aslý Arca
My short movie is about music and musicians in Moscow. Before finally deciding which topic I wanted to work on, I had undertaken a little city trip. During that time I came across various musicians who were performing with special musical instruments, some of them even invented by the players. I really enjoyed exploring the different kinds of music they played. Maybe that’s why I was so impressed by the buskers on the streets. Meanwhile I filmed the musicians mostly in the Arbat Street (the longest pedestrian zone in Moscow), but also in Gorky Park and some other venues. I wanted to show some of the interesting musical (sub-)cultures of Moscow, which I was so excited about.
Directed by Ayşe Aslı Arca
Edited by Ayşe Aslı Arca and José F. Ramírez
Thanks to Ksenia Kochetkova, Maria Valuyskaya, Svetlana Narbekova ...and all the street musicians from Moscow!
Canon EOS 60D DSLR, Canon EF-S 18–135mm lens
by Svetlana Saikina
My movie is about green spaces in Moscow. In a huge urban area like Moscow, a lot of parks can be found which offer great possibilities for contact with nature and also to have a good time while visiting. The film shows that the main aspect in parks is not just nature, but their organization and landscape architecture, location, conditions, etc. Parks must satisfy recreational needs of visitors and, as nowadays people can find different ways to spend their leisure time, green spaces must also be competitive and multifunctional. The movie shows the main aspects, or reasons, why different parks in Moscow are being visited.
Directed and Edited by Svetlana Saikina
Camera Operator Svetlana Saikina, Ksenia Kochetkova
Sound by Svetlana Narbekova
Translations by Ksenia Kochetkova, Svetlana Narbekova
Thanks to Ksenia Kochetkova, Maria Valuyskaya, Svetlana Narbekova, José F. Ramírez
Interviewees Alexey Rastok (Student of regional policy at Lomonosov Moscow State University (MSU)), Olga Polishuk (Project director of «Чего хочет Москва» (moscowidea.ru))
Canon LEGRIA HF R506
by Patricia Ruiz García and Laura Vassalli
«Hippie is light, it is love. It doesn’t matter who you are, where you come from, the color of your skin, who you love, what their sex [or gender] is. It doesn’t matter. If there is love, everything is ok.»
— Olga, interviewee
The film gives an insightful view into the variety of subcultures coexisting in Moscow: hippie, metal, LGBT, Freaks. What are their positions on politics? Are they religious? To which extent do they feel themselves to belong to any subculture? Which opinions do they have about western values in a Russian context? These and other questions posed in an interview format tend to build an objective image of the characters in the city, influenced by different (sub)cultures.
Directed and written by Patricia Ruiz and Laura Vassalli
Edited by Patricia Ruiz, Laura Vassalli, José F. Ramírez
Camera OperatorPatricia Ruiz and Laura Vassalli
Sound by Maria Valuyskaya, Svetlana Narbekova
Translations by Anna Matygina, Ksenia Kochetkova
Music «Drops of H2O» Djlang59 (Creative Commons License 3.0)
Thanks to Andrew Ponomarev, Andrew Obolensky, Olga, Maria, Sergei
Nikon COOLPIX P520
by Andrea Rubino
The film is about «Systema» (Система, literally meaning «The System»), a Russian martial art founded by Mikhail Ryabko. Training includes, but is not limited to: hand-to-hand combat, grappling, knife fighting, and fire-arms training. Training involves drills and sparring without set kata. It focuses mainly on controlling the six body levers (elbows, neck, knees, waist, ankles, and shoulders) through pressure point application, striking, and weapon applications.
«Systema» is counted alongside a number of pre-Soviet traditions, which are being actively cultivated by the Russian government.
Directed and written by Andrea Rubino
Edited by José F. Ramírez and Andrea Rubino
Camera Operator Ksenia Kochetkova
Translations by Svetlana Narbekova
Thanks to Mikhail Ryabko «Ryabkosystema», www.systemaryabko.com
Canon LEGRIA HF R506
Timur Kiselev, Project Curator
Born 1990, lives in Moscow and Berlin. He studied System Engineering at the National Research Nuclear University MEPhI (Moscow). He currently studies Art History and Social and Cultural Anthropology at the Free University in Berlin and is participant and organizer of numerous volunteer charity projects on culture and arts. Founder of the LOOK! Project.
For a number of years I have participated in various cultural projects in Russia and abroad in addition to my work and studies, mostly assisting with organization and as a member of the artistic team. Because of my interests in foreign cultures and international exchange, and especially because of my interest in documentary, contemporary art and curating, the question was often raised how one could create a special context in Moscow that would enable the integration of volunteer engagement, artistic interests, and critical reflection in a single project about the current state of affairs in political, social, and private realms. Moreover, it was crucial for me to challenge the methodology for realizing such a collective undertaking in the framework of the project.
While considering this, I got the idea to start up the media project LOOK! in Moscow (where I was born and mostly grew up), which was to become a critical platform for examining the changes in traditional values and overlapping historical narratives and to personally discover the intimate (hi)stories that from the common histories of families, sub-cultures, societies and countries. The artistic project (placing strongest emphasis on video) had to fill the existing gap in public initiatives—among other things, to achieve the conditions for generating a «fresh, independent» perspective on Moscow from foreigners who have never been to Russia before, and to give them an opportunity to critically face the dynamic representations, prejudgments, knowledge, and clichés transmitted by their national mass media; in short, to allow them to reflect on the opinion of Moscow in their countries within a Russian context.
Thus a unique setting was organized that enabled both foreigners and local populations to learn more about the city, discover a variety of viewpoints on its issues, and to examine current problematics in almost all spheres of life. The main objective was, in brief, to allow political action through artistic means (work politically); the project aimed to start a new agonistic and mutually useful relationship between those who have implicit knowledge (the local community) and those who know how to represent it explicitly (the project participants).
My interests are especially focused on non-formal learning process. I spend a lot of time reading, but also enjoy traveling, getting lost in the most unexpected places and meeting up with foreigners, learning from other cultures. Recently, I decided to focus on journalism and documentaries.
My field of expertise is focused on video, but I managed to learn from different people and gain new skills that allow me to adapt to any kind of media productions.
I really enjoy working with other people as a team and I’ve been dreaming of finding opportunities to express myself in different atmospheres since I studied in Sweden back in 2007. Prior to participating in «Look Moscow!», I had the chance and pleasure to take part in international media workshops either as participant or facilitator.
Nevertheless, I never played the role of a camp leader and video facilitator at the same time. Working with other volunteers during two weeks in Moscow was an exciting and unforgettable experience. Taking into account my lack of knowledge of the local language and culture, it was a big challenge that made me learn and discover my own weaknesses. The attempt to teach a very diverse group with different personalities and perspectives got to be quite enriching and stressful, but always with the purpose of learning and overcome difficulties. The more responsibilities, the more you learn. Nowadays I feel more capable to risk working in unknown situations with my best expectations.
Modern technologies, gadgets, and smart materials amaze me, but I also put much value on traditional handicraft. I love natural materials like wood, stones, shells and ceramics. For me it was a great feeling to watch people interacting by creating artifacts from such warm stuff as straw and clay, just like their fathers many years ago. I really enjoyed working on the ChessArtConnection project.
Jose Fernando Ramirez Calero, Film tutor, project organizer
Born in Spain, lives in Malaga, Spain. Finished his studies on Mass-Media and Communication in the University in Malaga in 2010. Since then, has been working in the Culture Department at the University in Malaga as a Multimedia Assistant and Video Editor. He has volunteered for NGOs, especially making promotional videos of their activities and doing exchange projects in which he is requested to present his point of view on the visited places.
Ksenia Kochetkova, Film tutor, project organizer
Lives and works in Moscow. Studies Film and TV Directing at Russian State University Of Cinematography (Moscow).
Maria Valuyskaya, Film tutor, project organizer, sound designer
Lives in Moscow and studies Sound at the Russian State University Of Cinematography (Moscow).
Anna Savostina, «ChessArtConnection Project» organizer, Fundraising, PR
Lives in Moscow, Russia, and finished her German studies at the Institute for Linguistics and Intercultural Communications in Moscow in 2010. After her graduation, she worked for the German Academic Exchange Service (DAAD) in Moscow, and since April 2014 she has been PR Manager at German Research and Innovation House (DWIH).
Vera Akulova (Translator, Political Activist), Irina Balakhonova (Samokat Publishing House), Ilya Budraitskis (Historical and Memorial
Museum «Presnya»), Ilya Dorogoychenko (VDOKHNOVENIE Children Rehabilitation Centre), Alexandra and Timofey
Dorogoychenko, Yana Drouz (Film Director), Andrzej Dzierzbicki (Artist), Marina Fomenko (Video Artist and Curator), Tini Holzke
(Designer), Anna Ivanova, Pavel Katkov (OOO HARIBO Konfety), Alla Kolesnikova (Waldorf School Moscow), Stefanie
Kommor, Marina Kryuchkova (World4U), Maria Kuzmina, Anton Kuznetsov (SE8 – Sphere of Ecology), Irina
Lebedeva (The State Tretyakov Gallery), Marina Loshak (The Pushkin State Museum of Fine Arts), Alla Mamonova
(The Lumiere brothers Center for Photography), Maria Mironos, Nadezhda Morozova (The State Museum
of V.V. Mayakovsky), Olga Partusheva (Samokat Publishing House), Ekaterina Piskunova, Denis Prikarev
(Vorontsovo Manor Park), Askar Ramazanov (DI Telegraph), Jose Fernando Ramirez Calero, Sabine Redlich
(Designer), Svetlana Romanova (TCT-Sputnik Travel Agency), Mikhail Ryabko (SYSTEMA Russian
Martial Art), Anna Savostina, Konstantin Shirkovets (Vorontsovo Manor Park), Sergey Sidorenko
(Russia-K TV Channel), Maria Stekhina, Kirill Usanov (DI Telegraph), Yulia Utenkova (Manager
at World4U), Natalja Wastschenko, Anastasia Zheleznova (DI Telegraph), Roman Zolotorevich.
And all those who took part in our films or stayed anonymous while helping
us to carry out the project!
If you wish to participate in our next project as a tutor, organizer, partner or participant, please contact us per e-mail