Works by Dmitry Plavinsky and Andrei Tarkovsky in a virtual ancient church belfry. AZ Museum Press Service If you are in the city center and need a break from contemporary reality, crawl over the ditches and around the construction barriers and make your way off Pushkin Square to the Theater of Nations’ New Space, a 19th century two-story building that has been artfully reconstructed into exhibition spaces. Until July 20 you can see “Breakthrough to the Past,” an unusual exhibition about two brilliant artists and their work in the 1960s. Organized by the Anatoly Zverev (AZ) Museum and the Dva Andreya Foundation, it presents two artists who worked in different media and never met, but whose work and world views have much in common. The show presents filmmaker Andrei Tarkovsky and artist Dmitry Plavinsky. More specifically it highlights Tarkovsky’s film "Andrei Rublev" and Dmitry Plavinsky’s etchings and paintings done at the same time and, in some cases, in the same places as Tarkovsky was filming. In the 1960s both artists were drawn to Russia’s ideologically forbidden religious past, to what the curators call the “aesthetics of icons as the manifestation of the Christian world view, as a path for spiritual development and inner freedom.” The idea of the exhibition was suggested by Polina Lobachevskaya, director of the AZ Museum, and first received rather skeptically by her colleagues. Maria Revyakina, director of the Theater of Nations, found the project utterly “unexpected.” Zoya Koshelyova, academic director of the Dva Andreya Foundation dedicated to the work of Andrei Tarkovsky, at first “couldn’t see the two artists together.” But over time, everyone not only came around, but embraced the pairing, which was then produced as a multimedia project by Natalya Opaleva.
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A new commission by Barbara Kruger for the V-A-C Foundation's Palazzo delle Zattere gallery in Venice (Photo: courtesy of the artist, Sprüth Magers and Mary Boone Gallery) Another influential foreign patron is building an art empire in Venice, joining the ranks of the French luxury goods tycoon François Pinault and the Italian fashion giant Miuccia Prada. The Russian gas billionaire Leonid Mikhelson is launching a gallery in the 19th-century Palazzo delle Zattere with a show of Soviet and contemporary art during the opening week of the Venice Biennale (Space Force Construction, 13 May-25 August). Mikhelson’s Moscow-based V-A-C Foundation will run the new space, which will host two temporary exhibitions a year. The gallery will be free to enter, unlike Pinault’s two Venetian museums, the Punta della Dogana and Palazzo Grassi, and the Prada Foundation space, Ca’ Corner della Regina. “All of our exhibitions and activities at Palazzo delle Zattere will continue to be free of charge and open to everyone,” says Teresa Iarocci Mavica, the V-A-C Foundation’s Italian-born director. The foundation, which Mikhelson established in 2009, has organised annual exhibitions in Venice since 2010. Mavica says that the Palazzo delle Zattere will not house its own collection of international and Russian contemporary art. “It will be a more permanent space for us to be able to continue our work with new generations of artists in Russia and worldwide, offering them an international platform on which to produce and show their work,” she says. A spokeswoman declined to discuss the future programme. Unbelievable movie producer George A. Romero, the father of the cutting edge film zombie and maker of the momentous "Night of the Living Dead" establishment, has kicked the bucket at 77, his family said. Romero passed on Sunday in his rest following a "brief however forceful fight with lung disease," as per an announcement to The Times given by his long-term delivering accomplice, Peter Grunwald. Romero kicked the bucket while tuning in to the score of one his most loved movies, 1952's "The Quiet Man," with his better half, Suzanne Desrocher Romero, and girl, Tina Romero, next to him, the family said. Romero's companions and partners in his Image Ten generation organization pooled their assets to make the film. Impacted by Richard Matheson's novell, I Am Legend, the high contrast film recounts the account of a gathering of individuals caught in a Pennsylvania farmhouse who fall prey to a swarm of the undead. The film was said to be a critique of capitalism amid the counter-culture period of the Sixties. Romero co-composed and coordinated "Night of the Living Dead" in 1968, which went on to become a cult-classic. The film started the zombie film kind and impelled five continuations as a major aspect of Romero's "Dead" film series. Following quite a while of the Living Dead, he coordinated movies including There's Always Vanilla, Season of the Witch, and The Crazies, albeit none had the effect of his initially film. Some of his non-zombie movies of the '70s and '80s increased more consideration in the short-run. These included Knightriders - about jousters who re-authorize competitions on bikes - and the collection Creepshow composed by Stephen King. Among his different movies from the 1990s were Monkey Shines, Edgar Allen Poe adjustment Two Evil Eyes, in a joint effort with Dario Argento, The Dark Half and Bruiser. He official created and refreshed his own particular screenplay for Tom Savini's 1990 revamp of Night of the Living Dead. Also, Romero even showed up in The Silence of the Lambs. He was initially set to coordinate the wide screen port of survival-frightfulness computer game Resident Evil, yet left the venture because of imaginative contrasts. His fourth Dead motion picture Land of the Dead was made in Toronto in 2005, featuring Simon Baker, Dennis Hopper, Asia Argento and John Leguizamo. Born in the Bronx, Romero's father was Cuban and his mother Lithuania. He graduated Carnegie He additionally taken a shot at computer games and composed comic books. Mellon University in Pittsburgh, at that point started shooting shorts and commericals including a portion of "Mr. Rogers Neighborhood." He is survived by his wife Suzanne and two children. The family asks for their privacy to be respected at this time. editorial stuff Director Václav Kadrnka, photo credit: Jan Handrejch After fifteen years, the main competition at the Karlovy Vary festival has been won by a domestic entrant. Václav Kadrnka's meditative drama on fatherhood Little Crusader captured the five-member main jury's attention the most and along with the Crystal Globe for best film it also received a financial award of 25 000 dollars. "I'm overjoyed. There was a lot of uncertainty in the film from the beginning; it was a long journey. I'm glad that our film has created emotions," said the moved filmmaker. The special jury prize went to the drama on the trauma of the war in Yugoslavia Men Don't Cry by Bosnian director Alen Drljević. The directing prize was won by Slovak filmmaker Peter Bebjak, who was presenting his film The Line at the festival. The award for best actress went to Jowita Budnik and Eliane Umuhire together for the drama Birds Are Singing in Kigali. Russian actor Alexander Yatsenko was selected as best actor for his role as a doctor in the Russian film Arrythmia. The five-member jury also award two special recognitions – to the American romance Keep The Change for the best debut and to Romanian actress Voica Oltean for best starting actress for the film Breaking News. In the competition East of the West, the imaginative road movie How Viktor "the Garlic" took Alexey "the Stud" to the Nursing Home by Russian director Alexander Hant was successful. A special jury prize was earned by the film Dede, which takes place in Svaneti, a stark mountainous region in northwestern Georgia, directed by Mariam Khatchvani. The award for best feature-length documentary went to the Spanish film Lots of Kids, a Monkey and a Castle. The documentary jury awarded a special prize to the film Atelier de conversation by Austrian director Bernhard Braunstein. The Právo Audience Award was awarded to the American crime drama taking place on a Native American reservation Wind River starring Jeremy Renner in the main role. The movie's protagonist received a Festival President's Award from Jiří Bartoška at the closing ceremony. "I hope this prize doesn't mean that I'm old already?" asked the two-time Oscar nominee. "It's a wonderful honour. Thanks to Mr Babuška, because of whom this festival is alive, and all the staff," added the Avengers star. A KVIFF President's Award was also received by Czech director Václav Vorlíček, who during his thanks recalled the first showing of his comedy The Girl on the Broomstick at Karlovy Vary. The fifty-second Karlovy Vary IFF was attended by 13 734 accredited visitors – of those 11 544 with festival passes, 398 filmmakers, 1165 film professionals and 617 journalists. Over the course of the festival there were 505 film screenings and a total of 140 067 tickets were sold. A total of 207 different films were shown. Next year's 53rd Karlovy Vary IFF will take place from 29 June to 7 July 2018. source: kviff.com by Alissa Simon A deliberately paced tale with a visually mannered style that keeps viewers at arm’s length and distances them from the full impact of the tragic proceedings. Reportedly inspired by Anton Chekhov’s “The Cherry Orchard,” the downbeat Azeri drama “Pomegranate Orchard” from Armenian-born director Ilgar Najaf is a deliberately paced tale with a visually mannered style that keeps viewers at arm’s length and distances them from the full impact of the tragic proceedings. Set in rural Azerbaijan, it revolves around the return of a prodigal son with ulterior motives whose reappearance in the bosom of his family after a 12-year absence significantly changes their way of life. Further festival travel is possible, but programmers will likely find it less charming and engaging than Najaf’s previous feature, “Buta” (2012). Aging Shamil (Gurban Ismayilov) is becoming too infirm to maintain the family pomegranate orchard, which has long been his pride and joy and whose saplings are highly valued by other growers. There are many who would like to buy him out, but the old man refuses all offers. Shamil shares his house with his daughter-in-law Sara (Ilahe Hasanova) and visually disabled young grandson Jalal (Hesen Aghayev). His beloved elder son died in a car accident some years previously. Following that tragedy, his black-sheep younger son Gabil (Semimi Farhad), Sara’s husband, left town without a word. We are in civil war. We are in a global war. Support the Black Bloc at G20 in Hamburg! „Its not suicide we are dealing with, but the murder of one part of the species by another part of the same species … the contemporary nomos would be something like the division of the legitimate nation state and the rogue states at the axis of evil (to which we could add the vandals, casseurs, black blocs, zapatistas, the people up in arms).“ Viveiros de Castro. International anti-capitalist demonstration against G20 summit: G20 Welcome to HellThursday, 6 July 2017 4 p.m., St. Pauli Fischmarkt, Hamburg read here more info here video here about G 20 about imperialism today about financial capital about the global proletariat Every three months, the Bandcamp Daily editorial staff combs through the stacks to present our favorite records of the year to date. This edition runs the stylistic spectrum, everything from jazz to pop to gospel to everything in between. And if you want to see our picks for the first three months of 2017, you can check them out here. It’s hard to shake the influence of Kraftwerk on electronic pop music today: the way they merged worlds of human consciousness and mechanical automation on their seminal album The Man-Machine is present in everything from Chicago house to big room EDM. The Detroit-bred techno-pop artist Matthew Dear shares a lot with Kraftwerk stylistically, from his glimmering keys and plastic atmospheres, to his emotive but conversational vocal style. But Dear has never worn Kraftwerk’s influence on his sleeve as clearly as on his new track, “Modafinil Blues.” The springy, filtered chords and the echoing arpeggios instantly recall Kraftwerk’s 1978 classic “Neon Lights.” But instead of the hopeful future imagined on that upbeat song, Dear sounds dejected, searching for a way out as he navigates a drugged-up comedown. He paints himself as a victim of his own self-medication, “hopeless at best,” and “helplessly floating from embers,” and it’s as honest as he’s ever felt on a track. Dear’s wide-open synths and cruising bassline feel airy and warm, but “Modafinil Blues” coasts at an unhurried pace emphasizing his brooding introspection. Pairing gentle production with his dark thoughts, Dear’s “Modafinil Blues” equally fits for an evening joyride or as a soundtrack for a restless insomniac. take from: Listen A track, below: The benefits of taking on new challenges in middle age Daniel Day-Lewis in There Will Be Blood. Photograph: Allstar/Miramax Although his previous attempt at a career break, by becoming an apprentice shoemaker in Florence, didn’t last long, it seems Daniel Day-Lewis is serious about retiring this time. Maybe he’s looking for a new challenge. As we get older, work can feel more routine and easy, which is born out in terms of brain activity. Scans show tasks we are practiced at often use less energy than novel activities – we tend to do them more efficiently, and the mental energy required decreases. We’re all familiar with this as our careers advance. We also get more skilled at spotting our mistakes and rectifying them; as an old hand, you can notice when the edge has gone but you have enough tricks in the bag to make amends. This ‘neuroprotective’ effect may be behind some of the results that show an apparent delay in symptoms of age-related cognitive decline for those more active in middle age. In this light a preemptive move, like Day-Lewis’s, may be more sensible as we become over familiar with what we do. It is perhaps typical of this most uncompromising of actors that he’s quitting while ahead. lthough his previous attempt at a career break, by becoming an apprentice shoemaker in Florence, didn’t last long, it seems Daniel Day-Lewis is serious about retiring this time. Maybe he’s looking for a new challenge. As we get older, work can feel more routine and easy, which is born out in terms of brain activity. Scans show tasks we are practised at often use less energy than novel activities – we tend to do them more efficiently, and the mental energy required decreases. We’re all familiar with this as our careers advance. We also get more skilled at spotting our mistakes and rectifying them; as an old hand, you can notice when the edge has gone but you have enough tricks in the bag to make amends. This ‘neuroprotective’ effect may be behind some of the results that show an apparent delay in symptoms of age-related cognitive decline for those more active in middle age. In this light a preemptive move, like Day-Lewis’s, may be more sensible as we become over familiar with what we do. It is perhaps typical of this most uncompromising of actors that he’s quitting while ahead. Dr Daniel Glaser is director of Science Gallery at King’s College London taken from: David Cronenberg’s erotically-charged social satire is a cautionary tale for the internet age. Since I see technology as being an extension of the human body, it’s inevitable that it should come home to roost.” David Cronenberg was referring to his 1988 film Dead Ringers when he offered up this fascinating insight into his work, but to a varying degree it applies to all of his early films, from Shivers and Rabid to The Brood and Scanners. Yet it’s Videodrome which perhaps best encapsulates this self-reflexive statement. Released in 1983 and hailed as the decade’s answer to A Clockwork Orange by none other than Andy Warhol, Cronenberg’s eighth feature further enhanced his reputation as North America’s foremost purveyor of body horror while simultaneously establishing him as the thinking person’s genre filmmaker. It is a bold, cerebral examination of human kind’s masochistic, subservient tendencies. Right from its immersive opening shot, Videodrome imagines a near-future in which technology has infiltrated every aspect of daily life. On a screen within the screen, a colourful ident for CIVIC-TV (“the one you take to bed with you”), a Toronto-based station specialising in shlock programming, flashes up before a woman (Julie Khaner) serenely delivers an automated wake-up call. Cronenberg may not have been actively trying to predict the future, but this scene contains an eerily prescient blueprint for the likes of like Siri, Alexa and other intelligent personal assistant systems. taken from: lwlies.com Midway through the festival, the Spectator’s website published a bonkers article headlined “Glastonbury wouldn’t survive under a Corbyn government”. In it, the writer conjured up a dystopian fantasy more berserk than anything you might find yourself listening to in the small hours at the Stone Circle. Chief among the dire presentiments was the suggestion that the ascension of Labour to power would result in Radiohead ceasing touring and instead taking up a residency at a Las Vegas resort. The image of Thom Yorke serenading Sin City’s high rollers with a rousing chorus of Pulk/Pull Revolving Doors was mind-boggling, but you could see why some press went on the offensive. Politicians have been turning up to Glastonbury for years, but this year the leader of the opposition was among the most hotly anticipated attractions: when he arrived on site, his Land Rover was mobbed by fans. In fact, it was hard to escape Corbyn: if Glastonbury 2017 had an unofficial anthem, it was his name sung to the tune of the White Stripes’ Seven Nation Army. You heard “oh, Jeremy Corbyn” everywhere: at the silent disco, during Radiohead’s Friday night headlining set, midway through the Other stage appearance by rapper Stormzy, who gamely joined in. When Corbyn finally gave a speech – in a stunning piece of billing that could only happen at Glastonbury, he appeared between hip-hop duo Run the Jewels and Southampton’s foremost R&B loverman Craig David – the crowd brought the entire area around the Pyramid stage to a standstill: in some of its furthest reaches, you occasionally got the sense that some people were eager for him to stop talking so they could get on with the more pressing business of singing “oh, Jeremy Corbyn”. read more: Labour leader urges Donald Trump to build ‘bridges not walls’ while addressing huge Pyramid Stage crowd, while telling the Guardian it was his campaign’s spirit of hope that chimed with young voters. The roar was deafening as Jeremy Corbyn walked on to the main Pyramid Stage of Glastonbury. The 68-year-old political veteran’s appearance was one of the most hotly anticipated moments of the weekend – an extraordinary turn a year after he cancelled his 2016 festival appearance following the vote for Brexit and as uncertainty mounted about his future as Labour leader. Facing the tens of thousands of festivalgoers who had gathered to see him, Corbyn, arriving on stage with Glastonbury founder Michael Eavis, beamed and waited for the chants of his name to die down. “Michael, you brought the spirit of music, of love, of ideas, and of great messages,” he said, giving Eavis a copy of the Labour manifesto. “And if you see that far,” he said to the crowd, “look at the wall that surrounds this festival. There’s a message for president Donald Trump. You know what it says? Build bridges, not walls.” The cheering erupted again. read more: When it comes to the lack of diversity in Hollywood, Spike Lee believes that “Hamilton” has the answer. He points to the song, “The Room Where it Happens,” using it as a way to describe the lack of representation in important boardrooms, packed with white men. “When you deal with diversity and you don’t have anybody in the room who looks like what you’re trying to do, then you have a fiasco like the Pepsi spot,” Lee says about a controversial ad that ran last spring starring Kendall Jenner. Chad VanGaalen will release a new album, Light Information, on September 8. The record, coming via Sub Pop (and Flemish Eye in Canada), follows 2014’s Shrink Dust. Listen to his new song “Old Heads” below. VanGaalen, who self-produced the record, is also heading out on a tour of North America and Europe—see the dates here. Of the album’s themes, he said in a press release, “Being a parent has given me a sort of alternate perspective, worrying about exposure to a new type of consciousness that's happening through the internet. I didn’t have that growing up, and I’m maybe trying to preserve a little bit of that selfishly for my kids. The off-Broadway musical Baghdaddy has extended its run at St. Luke's Theatre through September 3. It was originally scheduled to close on June 18, and then had been extended through June 25. Based on a screenplay by J.T. Allen, Baghdaddy (previously titled Who's Your Baghdaddy?) ran at the Actors' Temple Theatre in fall 2015, directed by Marshall Pailet with musical direction by Rona Siddiqui, orchestrations by Charlie Rosen, and choreography by Misha Shields. David Lynch is coming back to Tuscany for a special Twin Peaks event June 22 organized by the Lucca Film Festival. After premiering the new Twin Peaks in Los Angeles and Cannes, Lynch will present his show in person to audiences in Italy. He returns to the town after being honored by the Lucca Film Festival in 2014 with the festival’s lifetime achievement award. It was in Lucca during his visit three years ago that Lynch first began dropping real clues about the return of Twin Peaks. He told the audience then that he would like to meet up with the characters of Twin Peaks and check on how they’re doing. Free download of the first essay by Edmund Berger on Accelerationism (2014) translated into Italian is available: "Underground flows. A Hysterstation Microscopy and Esoteric Resistance »(Rizosphere / The Forces of the Future, SF008). A great overview of the concept of hypersecretion (Nick Land, CCRU, William Gibson, William S. Burroughs, etc.) and on the cyber and / or esoteric resistances of the twentieth century (Decoder, Klaus Maeck, Genesis P. Orridge, TOPY, Guy Debord, Situationism, Chaos Magic, Plagiarism, Stewart Home, etc.), intertwined with a conceptual core based on the Deleuze and Guattari Anti-Edipo, and on Accelerationism ... A Theory of Nothing |
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