ARTMargins

Contemporary art across the evolving global peripheries

6 Search results

For the term "Andrei Tarkovsky".

ARTMargins Online: Interviews

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 by Mylène Ferrand (Paris) ·

The End of Nature: Interview with Angelika Markul

Angelika Markul (b. 1977, Poland) lives and works between Malakoff and Warsaw. After graduating from the École nationale supérieure des beaux-arts de Paris in 2003, she has researched the natural world and the cycles of life, through her video installations and sculptures. The artist has stated that she is influenced by artists as diverse as Miros?aw Ba?ka, Joseph Beuys, Christian Boltanski, Pierre Huyghe, Tadeusz Kantor, Jannis Kounellis, Alina Szapocznikow, and Tatiana Trouvé. Her 2016 solo exhibition What is Lost is at the Beginning at Zamek Ujazdowski Centre for Contemporary Art in Warsaw (Angelika Markul, What is Lost is at … Read more

ARTMargins Online: Book Reviews

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 by Raoul Eshelman (Munich) ·

Birgit Beumers and Nancy Condee (eds.), “The Cinema of Alexander Sokurov”

The Cinema of Alexander Sokurov, Birgit Beumers and Nancy Condee (Eds.), London: I.B. Tauris, 2011, 262 PP.

Alexander Sokurov is, by any standards, a highly original filmmaker, but one whose work is dark, disjointed, and often frustrating to view. The reasons for this are rooted only partially in the norms of auteur cinema that place a premium on making the medium itself difficult. In the case of Sokurov, this difficulty is intensified by a kind of anxiety of influence vis-à-vis his mentor Andrei Tarkovsky, whose vibrant, spiritualized cinematography would have been hard, if not impossible, to top. Sokurov reacted … Read more

ARTMargins Online: New Media & Film

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 by Natascha Drubek-Meyer (Prague/Munich) ·

Where Gravity Doesn’t Apply: An interview with Igor Ivanov about his film Upside Down (Macedonia, 2007)

Hideous corners of the city, scenes without a trace of sophistication, depressing enclosed spaces – this is the setting chosen for the desperate life drama of young Jan Ludvik. Its individual chapters are recalled as retrospectives by Jan himself as he travels in a train hurtling through the darkening landscape, in the company of a random female passenger whose miserable exterior renders her the embodiment of the bleakest of destinies. Jan was a gifted student and, by some strange quirk of fate, also a talented circus artist, but the world in which he lives drives him only to self-destructive actions. … Read more

ARTMargins Online: New Media & Film

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 by Ekaterina Degot (Moscow) ·

Transit Visas Are Not Being Issued Here: The Loop as Symbolic Form On Clemens von Wedemeyers Short Film “Otjezd”




At first glance—for those who grew up with Eastern European cinema—Clemens von Wedemeyer’s film “Otjezd” seems so astonishingly familiar that one can not believe it was not made by a “native viewer.” Gloomy, self-absorbed characters with fur hats, stuttering nervously or reciting poetry in dream-like surroundings seem to be a reference to Andrei Tarkovsky’s famous Mirror (1975). It is only when a living advertisement dressed as a green frog appears for a split second, chatting nonchalantly with bored policemen, that one begins to suspect that something has changed. There is obviously some capitalism around.

The simple Russian word otjezd, … Read more

20th / ARTMargins Online: Articles

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 by Slavoj Žižek (Ljubljana) ·

East of Art: Transformations in Eastern Europe: “On (Un-) Changing Canons and Extreme Avantgardes”

Europe is now building a kind of wall which functions as a united police force to cordon off Europe. There are, for example, some plans for a literal wall between the United States and Mexico, some kind of electronic wall.

So, there was this dream period where freedom was universal globalism. Now, walls are again popping up, which is why maybe such exhibitions can have such meaning.

So, I would like now, nonetheless, to say some small things in the praise of this poor, real socialism. The first one, I just have to refer here just a little bit to

… Read more

ARTMargins Online: Articles

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 by Slavoj Žižek (Ljubljana) ·

The Thing from Inner Space

Jacques Lacan defines art itself with regard to the Thing: in his Seminar on the Ethics of Psychoanalysis, he claims that art as such is always organized around the central Void of the impossible-real Thing – a statement which, perhaps, should be read as a variation on Rilke’s old thesis that “Beauty is the last veil that covers the Horrible”. (See Chapter XVIII of Jacques Lacan, The Ethics of Psychoanalysis, London: Routledge 1992.) Lacan gives some hints about how this surrounding of the Void functions in the visual arts and in architecture; what we shall do … Read more