“What a minor thing to be bothered with in times of invasion. It’s just a bureaucratic record,” scoffs the chorus of critics. Volodymyrivna, Mariia’s patronymic – a middle name derived from that of her father – has disappeared from her international documents. For her, the name is more than just a formality though: it links her to her father and to Ukraine. This personal film playfully combines documentary footage, archive material, official documents and staged re-enactments on a night train. In so doing, it questions the patriarchal concept of the patronymic and sheds light on its postcolonial connections. For Mariia, this is already her third work – following ‘May 9th’ (2015) and ‘Three Windows on South West’ (2023) – in which she grapples with her identity.
Seggen Mikael
Contains mentions of war scenes
Free entry
Free entry
This work is part of our exhibition
27/10–1/11/2026
Free entry
Find seven works at Kohlrabizirkus.
Tue–Sun | 11:00–18:00
Wed | 12:00–20:00
Taking place at Kohlrabizirkus with one piece situated at the Leipzig Central Station ground-floor and a special performance at Heilandskirche/Westkreuz.
Subject to the General Terms & Conditions of DOK Leipzig. Please be advised that due to a limited number of visitors allowed in the venues longer waiting times are to be expected. Thanks in advance for your patience.
Nothing but trouble with the elder siblings! One day, the smallest mouse decides to stop running after the three ruffians and to go hiking. She wants to climb the high mountain. While the ascent is already laborious, going down proves almost harder … When mist rolls in, the joy of seeing her family again is even greater.
Lina Dinkla
The two friends Pingu and Bear push their bicycle up a mountain, passing through forests, meadows and deserts. They brave ice storms and have to cross fields of lava. After this long, seemingly endless journey they finally reach the highest peak. They gather all their courage for the best descent ever.
Lina Dinkla
During the Unidad Popular election campaign in 1970, the Ramona Parra Brigades mobilised young activists across the country. They painted political messages on facades and walls using brushes and buckets of paint. In “Brigada Ramona Parra” (1970), Álvaro Ramírez – who continued to work as a filmmaker in exile in the GDR – documents the sometimes daring work of one of these groups. Leonardo Céspedes’ “Pintando con el pueblo” in turn shows the new direction of Chilean cultural politics under Salvador Allende. Artists and art students create a huge mural in front of the presidential palace, La Moneda, in Santiago, under the eyes of passers-by. The site becomes a stage for a rally organized by the Unidad Popular.The film ends with a speech by Allende about art as “an art for all the people”. The 16mm distribution print held by the Arsenal archive is probably the only surviving copy of “Pintando con el pueblo”. It was digitised for this retrospective.
Florian Wüst
