The Polish born director talks to Natascha Drubek about the symbolic place of the Hospital, about Death as the only portal to spirituality in Western societies; about unconscious Catholicism; windows in art and voyeurism in Code Blue; the cleanliness of Berlin hospitals; the non-existence of female sexuality; and the withholding of permission to use a DVD cover of the film Doctor Zhivago in Code Blue.
Made during the 46th edition of the International Film Festival Karlovy Vary, Czech Republic, in July 2011.
Urszuła Antoniak was born in Czestochowa. She studied film production in Poland and graduated as film director at the Netherlands Film and TV Academy. Her last film, Nothing Personal (Ireland, NL 2009), received several prizes. Antoniak’s film Code Blue (co-produced by von Trier’s Zentropa) caused a stir at the Cannes Film Festival of 2011.
Articles: Joan Kee (Ann Arbor) considers the problem of scale in contemporary art practice. Carla Macchiavello (Bogotá) discusses the problem of influence in Latin American art during the 1970s and 1980s. Ruben and Maja Fowkes (Budapest) examine East European artists' approaches to the natural environment during the 1970s and beyond.
In the Document section, we present two pre-revolution Iranian manifestos of modern art (introduction/translation: Bavand Behpoor).
Artist Project: Shady El Noshokaty (Cairo), Rat Diaries, a series of drawings that attempts to map the intensity of everyday life in Egypt intertwined with intuitive visual and verbal comments on art practice.
Review Article: Monica Amor (Baltimore) discusses the exhibition Cold America: Geometric Abstraction in Latin America (1934-1973) and Alejandro Crispiani's book Objetos para transformar el mundo: Trayectorias del arte concreto-invención, Argentina y Chile, 1940-1970 [Objects to Transform the World: Trajectories of Concrete-Invention Art, Argentina and Chile, 1940-1970].
Two independent outlets, in separate media, of one and the same publication.
PRINT: Contemporary art in a global context
Published triquarterly by the MIT Press, ARTMargins provides a forum for the discussion of postmodernism and post-colonialism, and their critiques; art and politics in transitional countries and regions; post-socialism and neo-liberalism; and the problem of global art and global art history.
Founded in 1999, ARTMargins Online publishes articles, interviews, essays, and reviews devoted to contemporary art. Unlike ARTMargins (print), ARTMargins Online has traditionally had a regional focus, central and Eastern Europe.