Vitaliia Fedorova is a Ukranian artist who works and lives in Milan. Fedorova is passionate about contemporary art and the film industry. In 2017 she graduated from the Taras Shevchenko National University of Kyiv with a bachelor's degree in Psychology. And, after moving to Milan, she began her art path by showing her installation entitled Culto Bianco during the # 20 // Erase to Mark exhibition at the Fondazione Pini in Milan in 2019. Vitaliia completed her art education in 2021, graduating with a BA in Fine Art (Painting and Visual Arts); during her studies, her creative research was based on exploring codes and patterns of her native culture, primarily through the mediums of installation and video. During the same year, she took part in the Second Wave programme on the COVIDEO19 platform during the second week with her video Two Person Scene. 


My current focus is on auteur cinema, through which I continue my research on the poetic and the social, and I am now studying film and sound editing and the intricacies of this process's organisation to improve my professional qualifications. In her research, the artist distinguishes two primary trends: she is focused on studying the cultural attributes of Eastern European countries, and, having a psychological background, she inevitably performs an analysis based on introspection. Symbology, language constructions, spirituality, memory, phenomena of the psyche and the unconscious are the essential elements of Fedorova's works. By considering historical and psychological data, she acts as a bearer of a certain mentality and culture, simultaneously existing in a multicultural and globalised environment. Vitaliia always aims to share a part of herself with the audience through her works so that her personal experiences are familiar and her everyday adventures unique. 


The film's title refers to the Mavka - a type of female spirit in Ukrainian mythology, a creature of the forest. Referencing Slavic rituals, the film investigates the mother-daughter relationship - or rather daughter-daughter relationships, since we always remain someone's child even after growing up - throughout three generations of the artist's family, that has historically existed without the father figures, and consequently didn't correspond to the model of the ideal family firmly imprinted in our thought patterns by the society that we live in. Having been shot in Ukraine, the work makes evident the historically developed traces of language deterritorialisation.

For me, MAVKAS is a short film rather than simply a video piece; it touched me so profoundly with its honesty, melancholy and nostalgia that it brought me to tears. In merely 21 minutes and 43 seconds, Vitaliia connects and elaborates on the concept of family, on relationships within it, the importance and significance of rituals to keep the culture alive, on languages as a reflection of history and ultimately on love. Vitaliia Fedorova is the one to watch. 


Text by Maria Myasnikova


MAVKAS, 2021