Sasha Litvintseva Read Bio Collapse
Sasha Litvintseva’s work as an artist, filmmaker, and researcher has been presented at numerous film festivals and exhibited worldwide including in solo presentations at Institute of Contemporary Art, London; Berlinische Galerie, Modern Art Museum Berlin; Museum of Contemporary Art, Chicago; Union Docs, New York; screenings at the Berlinale, Rotterdam, Courtisane, Cinema Du Reel, RIDM, Ann Arbor, Alchemy film festivals; and group presentations at MUMOK Vienna, CAC Vilnius, Moscow Museum of Modern Art, Sonic Acts, Berlin Atonal and the Videobrasil, Moscow Young Art, Wroclaw Media Art and Venice Architecture biennales, among many others. Litvintseva is a lecturer in Film Theory and Practice at Queen Mary University of London and holds a PhD in Media, Communications, and Cultural Studies from Goldsmiths. Her academic writing has appeared in special issues of Environmental Humanities and Transformations journals, and she is currently working on a book monograph.
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One, two, three, four—and a plant framed in the middle of the shot is ripped out from the ground with its severed roots dangling in midair. The seeming oxymoron of a “taxonomy of monsters” can also be displaced and reencountered in the monstrousness of taxonomies as such; they sever specimens from the fluid integrity of the environments they inhabit, and which inhabit them, in order to monstrare: reveal, show, demonstrate. They cut apart the world, just as surgeons cut into the flesh. And what is more uniquely cinematic than the cut? What aspect of film more monstrous?
Visualizing the Anthropocene: Aesthetics and Politics
Alex Alonso