Ihor Podolchak. Press_Archive 2008-2017

IHOR PODOLCHAK
PRESS ARCHIVE
Vol.1, 748 p.
2008 - 2017
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2008

» Rotterdam Film Festival 2008 Film Line-Up - Alternative Film Guide
2/29/08 10:07 AM
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Alternative Film Guide
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Rotterdam Film Festival 2008 Film Line-Up
January 9th, 2008 by Andre Soares
The 37th International Film Festival Rotterdam (IFFR),
which runs between Jan. 23–Feb. 3, has announced the 15
films (see below) vying for the 2008 VPRO Tiger Awards.
All entries are first or second features.
The festival will open with the world premiere of Lucía
Cedrón’s narrative feature-film debut Cordero de Dios /
Lamb of God (photo), about an elderly man kidnapped
during Argentina’s catastrophic economic crisis of 2002.
The man’s fate forces his exiled daughter to return to
Buenos Aires and confront her family’s past, which also involves a late 1970s kidnapping — one for
political reasons.
According to Cedrón, Lamb of God is a "work of fiction that is related to things that happened to me.
Even though the story is totally fictitious, the subject matter is something that is very close, deep, and
painful."
Lucía’s father, Jorge Cedrón, was the director of the clandestinely made and released 1973 political
thriller Operación Masacre, about the state-sponsored 1956 massacre of civilian supporters of a countermilitary
coup. Cedrón was murdered — under still nebulous circumstances — in Paris, to where he had
moved with his family after Argentina’s military coup of the mid-1970s.
Lamb of God stars Mercedes Morán, Jorge Marrale, Leonora Balcarce, Malena Solda, Juan
Minujín, and Ariana Morini.
The Tiger Awards are worth Euros 15,000 (US$22,070) for each of three winning features and Euros
3,000 (US$4,414) for the short film awards.
Lucía Cedrón’s quote: La Argentinidad … Al Palo
http://www.altfg.com/blog/film-festivals/rotterdam-film-festival-2008-film-line-up/
Page 1 of 9

» Rotterdam Film Festival 2008 Film Line-Up - Alternative Film Guide
2/29/08 10:07 AM
Rotterdam 2008 VPRO Tiger Awards Competition
Eat, for This Is My Body (Mange, ceci est mon corps) by Michelange Quay (France/Haiti), European
premiere
Flower in the Pocket by Liew Seng Tat (Malaysia), European premiere
Fujian Blue (Jin bi hui huang) by Wemg Shou-ming (China), European premiere
Go with Peace Jamil (Ma salama Jamil) by Omar Shargawi (Denmark), world premiere
The King of Ping Pong (PingPong-Kingen) by Jens Jonsson (Sweden), European premiere
Lamb of God (Cordero de dios) by Lucía Cedrón (Argentina), world premiere, Opening Film
Las Meninas by Igor Podolchak & Dean Karr (Ukraine), world premiere
Shanghai Trance by David Verbeek (The Netherlands), world premiere
The Sky, the Earth and the Rain (El cielo, la tierra y la lluvia) by José Luis Torres Leiva (Chile), world
premiere
Strizh by Abai Kulbai (Kazakhstan), international premiere
Tale 52 (Istoria 52) by Alexiou Alexis (Greece), world premiere
Waltz in Starlight (Hoshikageno Waltz) by Shingo Wakagi (Japan), international premiere
Wellness by Jake Mahaffy (US), world premiere
Wonderful Town by Aditya Assarat (Thailand), European premiere
Years When I Was a Child Outside (Taon noong ako ‘y anak sa labas) by John Torres (Philippines),
world premiere
IFFR 2008’s Tiger Awards Short Films Competition
27,000 Days by Naveen Singh (US)
5 Walks by Anna Abrahams (The Netherlands)
The Adventure by Mike Brune (US)
Ah, Liberty! by Ben Rivers (UK)
Allen Ginsberg Gives Great Head by X’Ho (Singapore)
As I Lay Dying by Ho Yuhang (Malaysia)
Batbox/Beatbox by Jani Ruscica (Finland)
Dear Bill Gates by Sarah Christman (US)
Elements of Nothing by Makino Takashi (Japan)
Foggy Mountains Break Down More Than Non Foggy Mountains by Jessie Stead (US)
Half Teaspoon (Setengah sendok the) by Ifa Isfansyah (Indonesia)
Launch by Brian Doyle (US)
Loud _Things by Telcosystems (The Netherlands)
Minot, North Dakota by Angelika Brudniak & Cynthia Madanski (US)
Mosaik mécanique by Norbert Pfaffenbichler (Austria)
Nook & Cranny by Francien van Everdingen (The Netherlands)
Observando el cielo by Jeanne Liotta (US)
The Rocket by Uruphong Raksasad (Thailand)
Sketch Film #5 by Tomonari Nishikawa (US)
Vertigo Rush by Johann Lurf (Austria)
33rd Metro Manila Film Festival
Nashville Film Festival 2008 - Dates
Slamdance 2008: Short Films
U.S. Critics’ Awards 2007
http://www.altfg.com/blog/film-festivals/rotterdam-film-festival-2008-film-line-up/
Page 2 of 9

Moviemachine
2/29/08 3:58 PM
:: Home :: Redactie :: Links :: Mailinglist :: Forum :: Contact :: vrijdag 29 februari 2008
ONDERWERPEN
.: Nieuws
.: Actuee
.: Fest va s & Awards
.: Happen ngs
.: Goss p & rodde s
.: Arch ef
.: Films in Roulatie
.: Prem eres
.: B nnenkort
.: Sneak Prev ew Caro us
.: Sneak Prev ew Lux
.: DVD
.: Deze maand op DVD
.: Verwacht op DVD
.: Koopt ps
.: Huurt ps
.: Recensies
.: Recens es
.: Recens earch ef
.: Soundtracks
.: Recens es
.: Recens earch ef
.: Specials
.: Interv ews
.: Art ke en
.: Cu t
.: Toys
.: Topper van de Maand
.: B nnenkort
.: Aanb ed ng
Prijsvragen
.: Meet the Robinsons, nu te koop op
DVD
W n DVD s Meet the Rob nsons, DVD
pakket met Ch cken L tt e en Pan ek op
de Pra r e en etu s.
.: Snow Buddies, nu te koop op DVD
W n DVD;s van Snow Budd es en DVD
pakketten met Snow Dogs, Wh te
Fang, E ght Be ow, Shaggy Dog en
The Incred b e Journey.
.: Superbad, nu te koop op DVD
W n een van de DVD s
.: The Kingdom, nu te koop op DVD
W n een van de DVD s
.: Irina Palm, nu te koop op DVD
W n een van de DVD s
.: Halloween, nu te koop op DVD
W n een van de DVDs
.: The Banquet, nu te koop op DVD
W n een van de DVD s
.: Lets Kill Bobby Z, nu te koop op
DVD
W n een van de DVD s
.: Mr Brooks, nu te koop op DVD
W n een van de DVD s
.: You Kill Me, nu te koop op DVD
W n een van de DVD s
.: Alibi, nu in de bioscoop
W k k
Film Festival Rotterdam pakt uit
Foto:
09-01-2008 -
Het International Film
Festival Rotterdam heeft
vijftien debuut- of tweede
speelfilms geselecteerd voor
de VPRO Tiger Awards
Competitie. Die omvat acht
wereldpremières (waaronder
SHANGHAI TRANCE van
David Verbeek met onder
meer Tygo Gernandt), twee
internationale premières en
vijf Europese premières. Vijf
van de speelfilms zijn mede
tot stand gekomen dankzij
een bijdrage van het Hubert
Bals Fonds. Voor de Tiger
Awards Competitie voor
Korte Films zijn twintig films
geselecteerd, waaronder
Nederlandse films van Anna
Abrahams, Telcosystems en
Francien van Everdingen.
Het festival wordt 23 januari
officieel geopend met de
wereldpremière van Tiger
Award-kandidaat CORDERO
DE DIOS (LAMB OF GOD)
van Lucía Cedrón. Voor het
publiek opent het festival
diezelfde avond met JUNO
van Jason Reitman.
Rutger Wo fson, d recteur van
het 37e f mfest va Rotterdam
over de compet t e: “A s
weersp ege ng van de
d vers te t n het programma
van het IFFR, s deze
compet t e r jker dan oo t aan
vorm, standpunten, herkomst
en onderwerpen. De
fest va programmeurs Ludm a
Cv kova, Gerw n Tamsma en
Gertjan Zu hof hebben f ms
gekozen d e opva en op
v suee , formee en verha end
n veau en d e b jk geven van
het onm skenbare ta ent van
hun makers. We z jn trots deze
groep ta entvo e f mmakers te
presenteren n onze
compet t e, een p atform dat de
afge open dert en jaar a ve e
van hun co ega!s heeft
geïntroduceerd n de
nternat ona e f mwere d. B j
het samenste en van de
se ect e werden we getroffen
door de versche denhe d aan
verha en, verte d op ve e
Foto's
IFFR 2008
Bron:
http://www.moviemachine.nl/news.php?nid=6453&sid=ae6cb104c139c3813c3d1fe5497614ed
Page 1 of 5

Moviemachine
2/29/08 3:58 PM
W n vr jkaarten, aanstekers, memo
boekjes en etu s voor cred tcards
.: Flight of the Living Dead en The
Mad, nu te koop op DVD
W n de DVD s
.: Alvin and the Chipmunks, nu in de
bioscoop
W n te gekke A v n pakketten met
tattoos, vo cechangers en mob e
phone hangers
.: Talk to me, nu te koop op DVD
W n een van de DVD s
Log nnaam:
Wachtwoord:
Inloggen
Log me automat sch n:
OK
Aanme den | Wachtwoord vergeten?
man eren, d e ons meevoeren
naar hart en z e van
personages n onder meer
Kazakhstan, de Veren gde
Staten, Zweden, Oekraïne,
Ch na, Gr eken and en Ch .
Deze T ger Awards Compet t e
toont het f mmaken en de
f mmakers van de toekomst.”
“Voor m j s CORDERO DE
DIOS een open ngsf m n de
geest van het Internat ona
F m Fest va Rotterdam. De
f m van Lucía Cedrón, een
product e van de ervaren L ta
Stant c, s een u tzonder jk
geacheveerd spee f mdebuut.
CORDERO DE DIOS toont het
verband tussen persoon jke
fam everha en en de po t ekh
stor sche gesch eden s van
haar and, Argent n ë, op
nte gente, beheerste en
u te nde jk emot one e w jze.”
De off c ë e open ngsf m van
het IFFR 2008 verte t
aangr jpend over de ontvoer ng
van de 77-jar ge Arturo n
2002, het jaar waar n
Argent n ë n econom sche
cr s s verkeert. H erdoor s z jn
dochter, d e a s nds 1978 n
ba ngschap eeft, gedwongen
naar Buenos A res terug te
keren. Langzamerhand k nkt
het ver eden door n het heden
en komen recente
gebeurten ssen n andere
perspect even te staan.
CORDERO DE DIOS s ook
gese ecteerd voor de VPRO
T ger Awards Compet t e 2008
en kwam mede tot stand
dankz j een b jdrage van het
Hubert Ba s Fonds. De f m s
een product e van L ta Stant c,
d e eerder tegendraadse
meesterwerken produceerde
a s Lucrec a Marte s THE
HOLY GIRL (LA NINA SANTA,
2004) en Paz Enc na!s
PARAGUAYAN HAMMOCK
(HAMACA PARAGUAYA,
2006).
De T ger Awards Jury d e de
w nnende f ms k est bestaat
u t de Iraanse f mmaker en
juryvoorz tter Jafar Panah
(w ens f mproject RETURN s
gese ecteerd voor de
C neMart), de Russ sche
f mmaker en actr ce Renata
L tv nova (te z en t jdens het
fest va n K ra Muratova!s
TWO IN ONE), de adjunctd
recteur van het Locarno F m
Fest va T z ana F nz ,), de
voorma ge adjunct-d recteur
van het F mmuseum n
Amsterdam R eks Hadders en
u t S ngapore, f mmaker
Royston Tan (z jn spee f m
881 en korte documenta re
SIN SAI HONG worden
http://www.moviemachine.nl/news.php?nid=6453&sid=ae6cb104c139c3813c3d1fe5497614ed
Page 2 of 5

Moviemachine
2/29/08 3:58 PM
vertoond t jdens het fest va ).
De T ger Awards Compet t e
voor Korte F ms bestaat u t
bee dend kunstenaar Mon ek
Toebosch, de programmeur
van f mtheater en –d str buteur
C nema Nova u t Brusse Kat a
Ross n en de Canadese
v deo- en f mmaker M ke
Hoo boom (z jn exper mente e
featurette SCHOOL wordt
vertoond t jdens het fest va ).
De dr e bekroonde korte f ms
worden bekend gemaakt op
maandag 28 januar en kr jgen
e k 3.000 euro. De dr e
w nnende spee f ms worden
u tgere kt t jdens de Award
Ceremony op vr jdag 1
februar . E ke VPRO T ger
Award-w nnaar kr jgt 15.000
euro en de f ms worden
u tgezonden door de VPRO.
Het comp ete
fest va programma versch jnt
op donderdag 17 januar a s
b j age b j de Vo kskrant en
on ne op
www.f mfest va rotterdam.com.
De on ne kaartverkoop start n
de nacht van vr jdag 18 op
zaterdag 19 januar om 24.00
uur. De fest va kassa n de
Doe en, Rotterdam, opent
zaterdag 19 januar om 09.00
uur.
De 15 films in de VPRO Tiger
Awards Competitie 2008:
( n a fabet sche vo gorde op
nternat ona e f mt te )
• EAT, FOR THIS IS MY
BODY (MANGE, CECI EST
MON CORPS) by M che ange
Quay (France/Haït , 2007),
European prem ere • FLOWER
IN THE POCKET by L ew
Seng Tat (Ma ays a, 2007),
European prem ere
• FUJIAN BLUE (JIN BI HUI
HUANG) by Weng Shou-m ng
(Ch na, 2007), European
prem ere, Hubert Ba s Fund
supported f m
• GO WITH PEACE JAMIL
(MA SALAMA JAMIL) by Omar
Shargaw (Denmark, 2008),
wor d prem ere
• THE KING OF PING PONG
(PINGPONG-KINGEN) by
Jens Jonsson (Sweden, 2007),
European prem ere
• LAM OF GOD (CORDERO
DE DIOS) by Lucía Cedrón
(Argent na, 2008), wor d
prem ere, Open ng F m,
Hubert Ba s Fund supported
fm
• LAS MENINAS by Igor
Podo chak & Dean Karr
(Ukra ne, 2008), wor d
prem ere
• SHANGHAI TRANCE by
http://www.moviemachine.nl/news.php?nid=6453&sid=ae6cb104c139c3813c3d1fe5497614ed
Page 3 of 5

Moviemachine
2/29/08 3:58 PM
Dav d Verbeek (The
Nether ands, 2008), wor d
prem ere
• THE SKY, THE EARTH AND
THE RAIN (EL CIELO, LA
TIERRA Y LA LLUVIA) by
José Lu s Torres Le va (Ch ,
2008), wor d prem ere, Hubert
Ba s Fund supported f m
• STRIZH by Aba Ku ba
(Kazakhstan 2007),
nternat ona prem ere
• TALE 52 (ISTORIA 52) by
A ex ou A ex s (Greece, 2008),
wor d prem ere
• WALTZ IN STARLIGHT
(HOSHIKAGENO WALTZ) by
Sh ngo Wakag (Japan, 2007),
nternat ona prem ere
• WELLNESS by Jake Mahaffy
(USA, 2008), wor d prem ere
• WONDERFUL TOWN by
Ad tya Assarat (Tha and,
2007), European prem ere,
Hubert Ba s Fund supported
fm
• YEARS WHEN I WAS A
CHILD OUTSIDE (TAON
NOONG AKO Y ANAK SA
LABAS) by John Torres
(Ph pp nes, 2008), wor d
prem ere, Hubert Ba s Fund
supported f m
De 20 korte films in de Tiger
Awards Competitie voor
Korte Films 2008:
( n a fabet sche vo gorde op
nternat ona e f mt te )
• 27,000 DAYS by Naveen
S ngh (USA, 2007), 10!,
nternat ona prem ere
• 5 WALKS by Anna Abrahams
(The Nether ands, 2008), 15!,
wor d prem ere
• THE ADVENTURE by M ke
Brune (USA, 2008), 22!, wor d
prem ere
• AH, LIBERTY! by Ben R vers
(UK, 2008), 20!, wor d
prem ere
• ALLEN GINSBERG GIVES
GREAT HEAD by X!Ho
(S ngapore, 2007), 15!,
European prem ere
• AS I LAY DYING by Ho
Yuhang (Ma ays a, 2007), 10!,
European prem ere
• BATBOX/BEATBOX by Jan
Rusc ca (F n and, 2007), 17!,
nternat ona prem ere
• DEAR BILL GATES by Sarah
Chr stman (USA, 2006), 17!,
European prem ere
• ELEMENTS OF NOTHING
by Mak no Takash (Japan,
2007), 19!, nternat ona
prem ere
• FOGGY MOUNTAINS
BREAK DOWN MORE THAN
NON FOGGY MOUNTAINS by
Jess e Stead (USA, 2006), 59!,
European prem ere
• HALF TEASPOON
(SETENGAH SENDOK THE)
by Ifa Isfansyah (Indones a,
2008), 18!, wor d prem ere
http://www.moviemachine.nl/news.php?nid=6453&sid=ae6cb104c139c3813c3d1fe5497614ed
Page 4 of 5

Moviemachine
2/29/08 3:58 PM
• LAUNCH by Br an Doy e
(USA, 2007), 24!, European
prem ere
• LOUD THINGS by
Te cosystems (The
Nether ands, 2008), 10!, wor d
prem ere
• MINOT, NORTH DAKOTA by
Ange ka Brudn ak & Cynth a
Madansk (USA, 2008), 18!,
wor d prem ere
• MOSAIK MÉCANIQUE by
Norbert Pfaffenb ch er (Austr a,
2008), 9!, wor d prem ere \
• NOOK & CRANNY by
Franc en van Everd ngen (The
Nether ands, 2008), 3!, wor d
prem ere
• OBSERVANDO EL CIELO by
Jeanne L otta (USA, 2007),
19!, European prem ere
• THE ROCKET by Uruphong
Raksasad (Tha and, 2007),
19!, European prem ere
• SKETCH FILM #5 by
Tomonar N sh kawa (USA,
2007), 3!, European prem ere
• VERTIGO RUSH by Johann
Lurf (Austr a, 2007), 19!,
nternat ona prem ere
Gepost door:
Mov e Mach ne
Reageer
Reageer
Copyright 2004 Wijbenga Automatisering
http://www.moviemachine.nl/news.php?nid=6453&sid=ae6cb104c139c3813c3d1fe5497614ed
Page 5 of 5

Twitch - As IFFR 2008 is getting closer, more titles are announced…
3/23/08 12:31 PM
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Marx Brothers Go West
Jan
09
2008
As IFFR 2008 is getting closer, more titles are
announced…
Posted by Ardvark at 5:57pm.
Posted in Film News , IFFR 2008.
http://twitchfilm.net/site/view/as-iffr-2008-is-getting-closer-more-titles-are-announced
Page 1 of 7

Twitch - As IFFR 2008 is getting closer, more titles are announced…
3/23/08 12:31 PM
Only a mere week is left before the complete schedule is published
for the 37th International Film Festival Rotterdam! The festival itself will start on the 23rd of January
and end on the 3rd of February, and I hope to see more movies this year than ever before.
The festival website is now getting updated often and definitely merits frequent visiting!
Fifteen films have been selected for the VPRO Tiger Awards Competition, which is the major award at
this festival. Quoting the press office:
The line up consists of eight world premieres, two international premieres and five European
premieres. As always, all are first or second features by young, promising filmmakers.
This year the festival has had a complete change of management but the familiar programme sections
have thankfully been kept intact. Expect much Twitch coverage of the ”Rotterdämmerung” section
which always features an interesting selection of sci-fi, horror and weird cult movies: last year this
section contained (among others) “The Host”, Anders Morgenthaler’s “Princess”, “No Mercy for the
Rude” and “AAchi & SSipak”. No announcements yet for this section but interestingly the programme
sections page features art from “Appleseed Ex Machina”.
Yes!
Fingers crossed we get “Vexille” as well…
Other unannounced titles with shown artwork are “No Country for Old Men”, “881” and “Persepolis”.
Which are cool.
Anyway, after the break follows the entire Tiger Award line-up, in detail!
Here is the list, cobbled together from several official press releases:
The 15 films in IFFR 2008’s VPRO Tiger Awards Competition
(in alphabetical order by international film title)
Eat, for This Is My Body (Mange, ceci est mon corps) by Michelange Quay (France/Haïti,
2007), European premiere
Elegant, lyrical surrealism and restrained angry political pamphlet in one. Filmmaker from
Haïti treats in breathtaking tableaux vivants the dramatic colonial heritage of his native
country. With Sylvie Testud and a remarkable amateur cast.
Flower in the Pocket by Liew Seng Tat (Malaysia, 2007), European premiere
A film without a mother. A film with a father who has withdrawn into himself. And
especially a film with two charming young crooks. Liew Seng Tat’s début feature film has
an outspoken style of its own and is characterised by a melancholy absurdism and a slightly
perverted cheerfulness. Flower in the Pocket was awarded in Pusan by both audience and
Jury as Best Film in the New Currents Competition.
Fujian Blue (Jin bi hui huang) by Wemg Shou-ming (China, 2007), European premiere,
Hubert Bals Fund supported film
Attractive, energetic and topical début feature film is situated in Fujian, one of the first
Chinese provinces to be opened to the outside world and currently the nexus of modern day
Chinese diaspora. First part tells about petty criminals who finance their modern life style
with blackmail; the second part about a young man who doubts if he should try his luck in
the West.
http://twitchfilm.net/site/view/as-iffr-2008-is-getting-closer-more-titles-are-announced
Page 2 of 7

Twitch - As IFFR 2008 is getting closer, more titles are announced…
3/23/08 12:31 PM
Go with Peace Jamil (Ma salama Jamil) by Omar Shargawi (Denmark, 2008), world
premiere
Go with Peace Jamil is about Arabic people in a Western country, in this case a city in
Denmark. The story is based on the cultural, religious and traumatic ballast many people
from the Middle East carry along when they arrive at their new home in the West. A family
drama propelled by the power of family ties, loyalty among friends and the religious
dividing lines within the Arabic communities.
The King of Ping Pong (PingPong-Kingen) by Jens Jonsson (Sweden, 2007), European
premiere
The life of adolescents: a classic basis for a début film and Jens Jonsson, who has already
come to fame with his short films, proves with The King of Ping Pong that he can look at it
from a very original perspective. In the wintry north of Sweden, adolescent Rille rules over
his subjects in the local table-tennis centre but is bullied outside. This portrait of a boy
whose consciousness about uneasy and unpleasant things slowly comes to the surface is
recognizable, moving and funny.
Lamb of God (Cordero de dios) by Lucía Cedrón (Argentina, 2008), world premiere,
Opening Film, Hubert Bals Fund supported film
IFFR 2008’s Opening Night film, Lamb of God tells a gripping family drama about the
kidnap of 77-year old Arturo during Argentina’s economic crisis in 2002. This forces his
daughter, who has been living in exile since 1978, to return to Buenos Aires. Little by little,
the past is echoed in the present, reshaping the way current events are understood. Lucía
Cedrón’s film stands out as an exceptionally sophisticated feature début.
Las Meninas by Igor Podolchak & Dean Karr (Ukraine, 2008), world premiere
Feature film début by Ukrainian visual artist Igor Podolchak evokes a dysfunctional family
life as if it were a painting in movement. One musical part is co-directed by well known
music video director Dean Karr. Cutting-edge and enchanting, Las meninas is not a film
about a story; it is a film about senses - you see, you hear, you almost touch it and you
certainly experience the full strength of its flow.
Shanghai Trance by David Verbeek (The Netherlands, 2008), world premiere
Young Dutch director made an almost entirely Chinese film in a metropolis where all is new
and an outsider is not more lost then the locals. Shanghai Trance is a cinematic portrait of
Shanghai in three interconnected love stories. Each layer of the film explores a different
social layer of the city. All stories are about people between the age of 20 and 30, hereby
shaping the face of a generation.
The Sky, the Earth and the Rain (El cielo, la tierra y la lluvia) by José Luis Torres Leiva
(Chili, 2008), world premiere, Hubert Bals Fund supported film
The first feature by Torres Leiva provides an idiosyncratic, pure contribution to a new Latin
American wave of filmmakers. In the South of Chile, on a thinly populated island, he
follows the lonely lives of three women and a man. The lyricism of Torres is self-assured
and modest, his mise-en-scène is stunning and calm, his characters moving in their lonely,
precise simplicity.
Strizh by Abai Kulbai (Kazakhstan 2007), international premiere
Strizh is a coming-of-age film that seems to be universal in theme. On the other hand
though, it offers a chance to get to know the young generation in Almaty. One that is totally
unaware of the Soviet past and in search of its own identity. Kulbai’s début feature film is
shot in the tradition of modern Kazakh cinema, but has a very personal style that stands out.
Teenage girl Ainur struggles with her life, her only resort to peace seems to be her father.
Tale 52 (Istoria 52) by Alexiou Alexis (Greece, 2008), world premiere
Right from the start, Tale 52 puts the perception of truth of both the protagonist and the
viewer to the test. Iasonas meets Penelope at a dinner with mutual friends. At some point
Penelope moves in with him. Until, one morning, she has disappeared. Despite his outspoken
visual language, Alexis Alexiou leaves the viewer uncertain about the origins of the
emotional suffering of the timid looking Iasonas. His feature début turns into a psychological
thriller without deliverance.
http://twitchfilm.net/site/view/as-iffr-2008-is-getting-closer-more-titles-are-announced
Page 3 of 7

Twitch - As IFFR 2008 is getting closer, more titles are announced…
3/23/08 12:31 PM
Waltz in Starlight (Hoshikageno Waltz) by Shingo Wakagi (Japan, 2007), international
premiere
A first feature by a photographer with an experienced and trained eye. This personal film
reconstructs an episode from the childhood of the photographer/filmmaker, focusing largely
on his admired grandfather, a performer of Manzai, a specific Japanese form of stand-up
comedy. Succesful in creating an authentic mood, Shingo Wakagi creates the images that
translate his memories to the screen.
Wellness by Jake Mahaffy (USA, 2008), world premiere
At first sight, Thomas Lindsey is an ordinary man. Less usual is his sales campaign for a
fake product. Wellness is a strong and unpolished low-budget film about the conflicts of
conscience a lonely man faces after realizing he has been cheated out of his life’s savings. In
the town of Warren the inhabitants, none of them professional actors, played almost all the
roles. The film is not a documentary, but that is how it was shot, providing an unusually
realistic effect.
Wonderful Town by Aditya Assarat (Thailand, 2007), European premiere, Hubert Bals
Fund supported film
Wonderful Town, a Pusan New Currents Award winner, is situated in a Thai village that
never recovered from the 2004 tsunami devastation. In the refined treatment of these sad
surroundings, something beautiful and fragile emerges between an architect who monitors a
reconstruction project and the sensitive hotel owner. Slowly, violence and drama also
emerge in the film.
Years When I Was a Child Outside (Taon noong ako’y anak sa labas) by John Torres
(Philippines, 2008), world premiere, Hubert Bals Fund supported film
This poetic, complex and personal film, is both a diary and an essay about the relationship
between the film maker and his father, an author and seller of self-help books. After
discovering his father has another complete family alongside his own, the son flees the
house. A contemplative travelogue about a quest with which he tries to create order in the
chaos, Years When I Was a Child Outside begins against the background of the damage
caused by a super typhoon in Manila.
Mind you, these are just the films in competition, the full list of movies shown at the festival will have
more than 200 titles on it. Choices, choices!
Anyone have a suggestion about what I really should see?
Related Links
The International Film Festival Rotterdam 2008 website.
That programme sections page I was telling you about.
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Reader Comments
1. kvdm 01/10/2008 @ 11:23am
2.
I’m really looking forward to it, already booked a hotel for the last weekend a long time ago. Just
one more week and we’ll know what great films they’ll be playing.
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http://twitchfilm.net/site/view/as-iffr-2008-is-getting-closer-more-titles-are-announced
Page 4 of 7

2008 January 09 «
3/23/08 1:43 PM
Archive for January 9, 2008
Rotterdam unveils Tiger Award lineup
Posted in International Festival Selection on January 9, 2008 by cineasie
By IAN MUNDELL
Asian pics make a strong showing in the lineup for the Tiger Awards at the Rotterdam Film Festival, set
to be unveiled today.
Six of the 14 candidates are from the East, checking in from Malaysia, China, Japan, Thailand, the
Philippines and Kazakhstan. Europe, which has dominated the selection in recent years, claims five
places, with films from the U.K., Sweden, Denmark, Greece, the Netherlands and Ukraine. A 15th film
was unconfirmed at press time.
Seven films make their world bow at the fest, which unspools Jan. 23- Feb. 3. These include “Wellness”
by the U.S. helmer Jake Mahaffy; “Go With Peace Jamil” from Danish helmer Omar Shargawi; “Las
Meninas” by Ukrainian visual artist Igor Podolchak and U.S. music video director Dean Karr; “Shanghai
Trance” by Dutch helmer David Verbeek; and “Tale 52” by Alexiou Alexis of Greece.
Two more preems are projects nurtured by the fest’s Hubert Bals Fund, which supports film makers from
developing countries: “The Sky, the Earth and the Rain” by José Luis Torres Leiva of Chile and “Years
When I Was a Child Outside” by John Torres of The Philippines.
Bals coin also went into “Fujian Blue” by China’s Wemg Shou-ming and “Wonderful Town” by Thai
helmer Aditya Assarat, which comes to the fest with a Pusan New Currents Award.
Star quality comes to the selection in the form of French thesp Sylvie Testud, who appears with an
amateur cast in Haitian helmer Michelange Quay’s surreal “Eat, for This Is My Body”.
The Tigers are for first or second films, reflecting Rotterdam’s desire to be seen as the home of young
talent. This year it backs the argument up with more coin, increasing the three awards to !15,000
($22,000) each.
The Tiger Award jury consists of Renata Litvinova, Jafar Panahi and Royston Tan (all three filmmakers
and producers); Tiziana Finzi, deputy director of the Locarno Film Festival; and Rieks Hadders, former
deputy director of the Filmmuseum in Amsterdam.
Lineup for Tiger Awards:
“Eat, for This Is My Body,” Michelange Quay (France/Haïti)
“Flower in the Pocket,” Liew Seng Tat (Malaysia)
“Fujian Blue,” Wemg Shou-ming (China)
“Go With Peace Jamil,” Omar Shargawi (Denmark)
“The King of Ping Pong,” Jens Jonsson (Sweden)
“Las meninas,” Igor Podolchak & Dean Karr (Ukraine)
“Shanghai Trance,” David Verbeek (Netherlands)
“The Sky, the Earth and the Rain,” José Luis Torres Leiva (Chile)
http://cineasie.wordpress.com/2008/01/09/
Page 1 of 2

2008 January 09 «
3/23/08 1:43 PM
“Strizh,” Abai Kulbai (Kazakhstan)
“Tale 52,” Alexiou Alexis (Greece)
“Waltz in Starlight,” Shingo Wakagi (Japan)
“Wellness,” Jake Mahaffy (U.S.)
“Wonderful Town,” Aditya Assarat (Thailand)
“Years When I Was a Child Outside,” John Torres (Philippines)
Read the full article at:
http://www.variety. com/article/ VR1117978575. html
( from malaysian-cinema egroup)
Leave A Comment »
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http://cineasie.wordpress.com/2008/01/09/
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Asia takes center stage in Rotterdam - Asia entertainment news from Variety - varietyasiaonline.com
2/29/08 10:02 AM
HOME DEPARTMENTS NEWS IN DATE ORDER NATIONAL NEWS REVIEWS CONTACT US
Asia takes center stage in Rotterdam
Written by Ian Mundell
Wednesday, 09 January 2008
Story Categories: Awards, China, Festivals, Film, Japan, People, Philippines, Pusan,
Taiwan, Thailand,
Search...
Go!
ROTTERDAM -- Asian pics make a strong showing in the lineup for
the Tiger Awards at the Int'l Film Festival Rotterdam, unveiled on
Tuesday.
Six of the 14 candidates are from the East, checking in from Malaysia,
China, Japan, Thailand, the Philippines and Kazakhstan. Europe, which
has dominated the selection in recent years, claims five places, with films
from the U.K., Sweden, Denmark, Greece, the Netherlands and Ukraine.
A 15th film was unconfirmed at press time.
Seven films make their world bow at the fest, which unspools Jan. 23-
Feb. 3. These include "Wellness" by the U.S. helmer Jake Mahaffy; "Go
With Peace Jamil" from Danish helmer Omar Shargawi; "Las Meninas" by
Ukrainian visual artist Igor Podolchak and U.S. music video director Dean
Karr; "Shanghai Trance" by Dutch helmer David Verbeek; and "Tale 52"
by Alexiou Alexis of Greece.
Two more preems are projects nurtured by the fest’s Hubert Bals Fund,
which supports film makers from developing countries: "The sky, the
Earth and the Rain," by Jose Luis Torres Leiva of Chile and "Years When
I was a Child Outside" by John Torres of The Philippines.
Bals coin also went into "Fujian Blue" by China’s Wemg Shou-ming and
"Wonderful Town" by Thai helmer Aditya Assarat, which comes to the fest
with a Pusan New Currents Award.
Asia has strong representation in other festival sections too. Kobayashi
Masahiro from Japan was selected as Filmmaker in Focus; there is the
'New Dragon Inns'-exhibition including, among others, works by Wang
Bing (his Hubert Bals Fund-supported, 70-hour documentary cum video
installation 'Journal of Crude Oil'), Tsai Ming-liang and Apichatpong
Weerasethakul.
Additionally, the thematic section 'Rediscovering the Fourth Generation'
is dedicated to films from China.
The Tigers are for first or second films, reflecting Rotterdam’s desire to
be seen as the home of young talent. This year it backs the argument up
with more coin, increasing the three awards to !15,000 ($22,000) each.
The Tiger Award jury consists of Renata Litvinova, Iran's Jafar Panahi
and Singapore's Royston Tan (all three filmmakers and producers);
Tiziana Finzi, deputy director of the Locarno Film Festival; and Rieks
Hadders, former deputy director of the Filmmuseum in Amsterdam.
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Lineup for Rotterdam's Tiger Awards
"Eat, for This Is My Body," Michelange Quay (France/Haïti)
"Flower in the Pocket" Liew Seng Tat (Malaysia)
"Fujian Blue," Wemg Shou-ming (China)
"Go With Peace Jamil," Omar Shargawi (Denmark)
"The King of Ping Pong," Jens Jonsson (Sweden)
"Las meninas," Igor Podolchak & Dean Karr (Ukraine)
"Shanghai Trance," David Verbeek (Netherlands)
"The Sky, the Earth and the Rain," Jose Luis Torres Leiva (Chile)
"Strizh," Abai Kulbai (Kazakhstan)
"Tale 52," Alexiou Alexis (Greece)
"Waltz in Starlight," Shingo Wakagi (Japan)
"Wellness," Jake Mahaffy (U.S.)
"Wonderful Town," Aditya Assarat (Thailand)
"Years When I Was a Child Outside," John Torres (Philippines)
http://www.varietyasiaonline.com/content/view/5270/53/
Page 1 of 2

Yahoo! Movies: Movie News -
2/29/08 10:05 AM
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ROTTERDAM '08 | "Lamb of
God" Opening 2008 Rotterdam
Fest; 14 More Films Also in
Tiger Competition
Thursday January 10 4:36 PM ET
by Eugene Hernandez (January 10, 2008)
All indieWIRE Movie News
Fifteen films will screen in competition at the
2008 International Film Festival Rotterdam
(IFFR) later this month and the festival will
open on January 23rd with the world premiere
of Lucia Cedron's "Lamb of God" (Cordero de
dios) from Argentina. The film is described as,
More Photos...
a family drama about the kidnapping of 77-
year old man during Argentina's economic crisis in 2002, forcing his daughter to return from
exile to Buenos Aires. Produced by Lita Stantic, who also produced "The Holy Girl" and
"Paraguayan, Hammock" the film was supported by IFFR's Hubert Bals Fund.
"This edition's Competition for first or second films reflects the festival's diversity in
programming, and features what may be a wider range than ever in style, attitude, origin or
topic," noted Rutger Wolfson, director of the 37th Rotterdam festival, commenting on this year's
Tiger Competition. The festival programmers included Ludmila Cvikova, Gerwin Tamsma and
Gertjan Zuilhof. Wolfson continued, in the statement, "Making this selection, we have been
moved by the many different stories told in very different ways, taking us to the hearts and
minds of characters from all over the world, from Kazakhstan, USA, Denmark, Ukraine, China,
Greece and Chile, amongst others. This Tiger Competition shows the ways of filmmaking and
the filmmakers for the future".
The complete International Film Festival Rotterdam Tiger Awards competition (in alphabetical
order by international film title, information provide by the festival): "Eat, for This Is My Body"
(Mange, ceci est mon corps) by Michelange Quay (France/Haiti, 2007), European premiere
Elegant, lyrical surrealism and restrained angry political pamphlet in one. Filmmaker from Haiti
treats in breathtaking tableaux vivants the dramatic colonial heritage of his native country. With
Sylvie Testud and a remarkable amateur cast. Sales: Memento Films "Flower in the Pocket" by
Liew Seng Tat (Malaysia, 2007), European premiere A film without a mother. A film with a
father who has withdrawn into himself. And especially a film with two charming young crooks.
Liew Seng Tat's debut feature film has an outspoken style of its own and is characterised by a
melancholy absurdism and a slightly perverted cheerfulness. "Flower in the Pocket" was
http://movies.yahoo.com/mv/news/iw/20080110/120001181900.html
Page 1 of 3

Yahoo! Movies: Movie News -
2/29/08 10:05 AM
awarded in Pusan by both audience and Jury as Best Film in the New Currents Competition.
Sales: Da Huang Pictures Sdn. Bhd. "Fujian Blue" (Jin bi hui huang) by Wemg Shou-ming
(China, 2007), European premiere, Hubert Bals Fund supported film Attractive, energetic and
topical debut feature film is situated in Fujian, one of the first Chinese provinces to be opened
to the outside world and currently the nexus of modern day Chinese diaspora. First part tells
about petty criminals who finance their modern life style with blackmail; the second part about
a young man who doubts if he should try his luck in the West. Sales: Fantasy Pictures
Entertainment "Go with Peace Jamil" (Ma salama Jamil) by Omar Shargawi (Denmark, 2008),
world premiere "Go with Peace Jamil" is about Arabic people in a Western country, in this
case a city in Denmark. The story is based on the cultural, religious and traumatic ballast
many people from the Middle East carry along when they arrive at their new home in the West.
A family drama propelled by the power of family ties, loyalty among friends and the religious
dividing lines within the Arabic communities. Sales: Trust Film Sales "The King of Ping Pong"
(PingPong-Kingen) by Jens Jonsson (Sweden, 2007), European premiere The life of
adolescents: a classic basis for a debut film and Jens Jonsson, who has already come to fame
with his short films, proves with "The King of Ping Pong" that he can look at it from a very
original perspective. In the wintry north of Sweden, adolescent Rille rules over his subjects in
the local table-tennis centre but is bullied outside. This portrait of a boy whose consciousness
about uneasy and unpleasant things slowly comes to the surface is recognisable, moving and
funny. Sales: Bob Film Sweden AB "Lamb of God" (Cordero de dios) by Lucia Cedron
(Argentina, 2008), world premiere, Opening Film, Hubert Bals Fund supported film IFFR 2008's
Opening Night film, "Lamb of God" tells a gripping family drama about the kidnap of 77-year
old Arturo during Argentina's economic crisis in 2002. This forces his daughter, who has been
living in exile since 1978, to return to Buenos Aires. Little by little, the past is echoed in the
present, reshaping the way current events are understood. Lucia Cedron's film stands out as
an exceptionally sophisticated feature debut. Sales: Lita Stantic Producciones "Las meninas" by
Igor Podolchak & Dean Karr (Ukraine, 2008), world premiere Feature film debut by Ukrainian
visual artist Igor Podolchak evokes a dysfunctional family life as if it were a painting in
movement. One musical part is co-directed by well known music video director Dean Karr.
Cutting-edge and enchanting, Las meninas is not a film about a story; it is a film about senses
- you see, you hear, you almost touch it and you certainly experience the full strength of its
flow. Sales: MF Films "Shanghai Trance" by David Verbeek (The Netherlands, 2008), world
premiere Young Dutch director made an almost entirely Chinese film in a metropolis where all
is new and an outsider is not more lost then the locals. "Shanghai Trance" is a cinematic
portrait of Shanghai in three interconnected love stories. Each layer of the film explores a
different social layer of the city. All stories are about people between the age of 20 and 30,
hereby shaping the face of a generation. Sales: IdtV Film/Motel Films "The Sky, the Earth and
the Rain (El cielo, la tierra y la lluvia) by Jose Luis Torres Leiva (Chili, 2008), world premiere,
Hubert Bals Fund supported film The first feature by Torres Leiva provides an idiosyncratic,
pure contribution to a new Latin American wave of filmmakers. In the South of Chile, on a
thinly populated island, he follows the lonely lives of three women and a man. The lyricism of
Torres is self-assured and modest, his mise-en-scene is stunning and calm, his characters
moving in their lonely, precise simplicity. Sales: Jirafa Films "Strizh by Abai Kulbai"
(Kazakhstan 2007), international premiere "Strizh" is a coming-of-age film that seems to be
universal in theme. On the other hand though, it offers a chance to get to know the young
generation in Almaty. One that is totally unaware of the Soviet past and in search of its own
identity. Kulbai's debut feature film is shot in the tradition of modern Kazakh cinema, but has a
very personal style that stands out. Teenage girl Ainur struggles with her life, her only resort to
peace seems to be her father. Sales: Kazakhfilm National Company "Tale 52" (Istoria 52) by
Alexiou Alexis (Greece, 2008), world premiere Right from the start, "Tale 52" puts the
perception of truth of both the protagonist and the viewer to the test. Iasonas meets Penelope
at a dinner with mutual friends. At some point Penelope moves in with him. Until, one morning,
she has disappeared. Despite his outspoken visual language, Alexis Alexiou leaves the viewer
uncertain about the origins of the emotional suffering of the timid looking Iasonas. His feature
debut turns into a psychological thriller without deliverance. Sales: Tugo Tugo Productions
"Waltz in Starlight" (Hoshikageno Waltz) by Shingo Wakagi (Japan, 2007), international
premiere A first feature by a photographer with an experienced and trained eye. This personal
film reconstructs an episode from the childhood of the photographer/filmmaker, focusing largely
on his admired grandfather, a performer of Manzai, a specific Japanese form of stand-up
comedy. Succesful in creating an authentic mood, Shingo Wakagi creates the images that
translate his memories to the screen. Sales: Tohokushinsha Film Corporation "Wellness" by
Jake Mahaffy (USA, 2008), world premiere At first sight, Thomas Lindsey is an ordinary man.
Less usual is his sales campaign for a fake product. Wellness is a strong and unpolished lowbudget
film about the conflicts of conscience a lonely man faces after realizing he has been
cheated out of his life's savings. In the town of Warren the inhabitants, none of them
professional actors, played almost all the roles. The film is not a documentary, but that is how
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Yahoo! Movies: Movie News -
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it was shot, providing an unusually realistic effect. Sales: Jake Mahaffy "Wonderful Town" by
Aditya Assarat (Thailand, 2007), European premiere, Hubert Bals Fund supported film
"Wonderful Town," a Pusan New Currents Award winner, is situated in a Thai village that never
recovered from the 2004 tsunami devastation. In the refined treatment of these sad
surroundings, something beautiful and fragile emerges between an architect who monitors a
reconstruction project and the sensitive hotel owner. Slowly, violence and drama also emerge
in the film. Sales: Memento Films "Years When I Was a Child Outside" (Taon noong ako'y
anak sa labas) by John Torres (Philippines, 2008), world premiere, Hubert Bals Fund
supported film This poetic, complex and personal film, is both a diary and an essay about the
relationship between the film maker and his father, an author and seller of self-help books.
After discovering his father has another complete family alongside his own, the son flees the
house. A contemplative travelogue about a quest with which he tries to create order in the
chaos, "Years When I Was a Child Outside" begins against the background of the damage
caused by a super typhoon in Manila. Sales: Peliculas Los Otros
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indieWIRE: ROTTERDAM '08 | "Lamb of God" Opening 2008 Rotterdam Fest; 14 More Films Also in Tiger Competition
2/29/08 10:02 AM
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The nternational Film Festival Rotterdam s official emblem as projected over the box office at last year s festival
ROTTERDAM '08 | "Lamb of God" Opening 2008 Rotterdam Fest; 14
More Films Also in Tiger Competition
by Eugene Hernandez (January 10, 2008)
F fteen f ms w screen n compet t on at the 2008 International Film Festival Rotterdam (IFFR)
ater th s month and the fest va w open on January 23rd w th the wor d prem ere of Lucia
Cedron s "Lamb of God" (Cordero de d os) from Argent na. The f m s descr bed as, a fam y
drama about the k dnapp ng of 77-year o d man dur ng Argent na s econom c cr s s n 2002,
forc ng h s daughter to return from ex e to Buenos A res. Produced by Lita Stantic, who a so
produced "The Holy Girl" and "Paraguayan, Hammock" the f m was supported by IFFR s
Hubert Bals Fund.
"Th s ed t on s Compet t on for f rst or second f ms ref ects the fest va s d vers ty n programm ng,
and features what may be a w der range than ever n sty e, att tude, or g n or top c," noted Rutger
Wolfson, d rector of the 37th Rotterdam fest va , comment ng on th s year s T ger Compet t on.
The fest va programmers nc uded Ludmila Cvikova, Gerwin Tamsma and Gertjan Zuilhof.
Wo fson cont nued, n the statement, "Mak ng th s se ect on, we have been moved by the many
d fferent stor es to d n very d fferent ways, tak ng us to the hearts and m nds of characters from
a over the wor d, from Kazakhstan, USA, Denmark, Ukra ne, Ch na, Greece and Ch e, amongst
others. Th s T ger Compet t on shows the ways of f mmak ng and the f mmakers for the future".
Premieres of the best in
cutting edge cinema;
indulgent experiences in food
& wine; a blissful mix of
industry parties & special
events; a star packed
attendee list this is the 17th
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Seoul, where dreams
are made
The comp ete Internat ona F m Fest va Rotterdam T ger Awards compet t on ( n a phabet ca
order by nternat ona f m t t e, nformat on prov de by the fest va ):
"Eat, for This Is My Body" (Mange, cec est mon corps) by Michelange Quay (France/ a t ,
2007), European prem ere
E egant, yr ca surrea sm and restra ned angry po t ca pamph et n one. F mmaker from a t
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indieWIRE: ROTTERDAM '08 | "Lamb of God" Opening 2008 Rotterdam Fest; 14 More Films Also in Tiger Competition
2/29/08 10:02 AM
treats n breathtak ng tab eaux v vants the dramat c co on a her tage of h s nat ve country. W th
Sy v e Testud and a remarkab e amateur cast.
Sa es: Memento F ms
"Flower in the Pocket" by Liew Seng Tat (Ma ays a, 2007), European prem ere
A f m w thout a mother. A f m w th a father who has w thdrawn nto h mse f. And espec a y a f m
w th two charm ng young crooks. L ew Seng Tat s debut feature f m has an outspoken sty e of ts
own and s character sed by a me ancho y absurd sm and a s ght y perverted cheerfu ness.
"F ower n the Pocket" was awarded n Pusan by both aud ence and Jury as Best F m n the
New Currents Compet t on.
Sa es: Da uang P ctures Sdn. Bhd.
"Fujian Blue" (J n b hu huang) by Wemg Shou-ming (Ch na, 2007), European prem ere, ubert
Ba s Fund supported f m
Attract ve, energet c and top ca debut feature f m s s tuated n Fuj an, one of the f rst Ch nese
prov nces to be opened to the outs de wor d and current y the nexus of modern day Ch nese
d aspora. F rst part te s about petty cr m na s who f nance the r modern fe sty e w th b ackma ;
the second part about a young man who doubts f he shou d try h s uck n the West.
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"Go with Peace Jamil" (Ma sa ama Jam ) by Omar Shargawi (Denmark, 2008), wor d prem ere
"Go w th Peace Jam " s about Arab c peop e n a Western country, n th s case a c ty n
Denmark. The story s based on the cu tura , re g ous and traumat c ba ast many peop e from the
M dd e East carry a ong when they arr ve at the r new home n the West. A fam y drama
prope ed by the power of fam y t es, oya ty among fr ends and the re g ous d v d ng nes w th n
the Arab c commun t es.
Sa es: Trust F m Sa es
"The King of Ping Pong" (P ngPong-K ngen) by Jens Jonsson (Sweden, 2007), European
prem ere
The fe of ado escents: a c ass c bas s for a debut f m and Jens Jonsson, who has a ready come
to fame w th h s short f ms, proves w th "The K ng of P ng Pong" that he can ook at t from a
very or g na perspect ve. In the w ntry north of Sweden, ado escent R e ru es over h s subjects n
the oca tab e-tenn s centre but s bu ed outs de. Th s portra t of a boy whose consc ousness
about uneasy and unp easant th ngs s ow y comes to the surface s recogn sab e, mov ng and
funny.
Sa es: Bob F m Sweden AB
"Lamb of God" (Cordero de d os) by Lucia Cedron (Argent na, 2008), wor d prem ere, Open ng
F m, ubert Ba s Fund supported f m
IFFR 2008 s Open ng N ght f m, "Lamb of God" te s a gr pp ng fam y drama about the k dnap of
77-year o d Arturo dur ng Argent na s econom c cr s s n 2002. Th s forces h s daughter, who has
been v ng n ex e s nce 1978, to return to Buenos A res. L tt e by tt e, the past s echoed n the
present, reshap ng the way current events are understood. Luc a Cedron s f m stands out as an
except ona y soph st cated feature debut.
Sa es: L ta Stant c Producc ones
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What is Horror?
"Las meninas" by Igor Podolchak & Dean Karr (Ukra ne, 2008), wor d prem ere
Feature f m debut by Ukra n an v sua art st Igor Podo chak evokes a dysfunct ona fam y fe as f
t were a pa nt ng n movement. One mus ca part s co-d rected by we known mus c v deo
d rector Dean Karr. Cutt ng-edge and enchant ng, Las men nas s not a f m about a story; t s a
f m about senses - you see, you hear, you a most touch t and you certa n y exper ence the fu
strength of ts f ow.
Sa es: MF F ms
"Shanghai Trance" by David Verbeek (The Nether ands, 2008), wor d prem ere
Young Dutch d rector made an a most ent re y Ch nese f m n a metropo s where a s new and
an outs der s not more ost then the oca s. "Shangha Trance" s a c nemat c portra t of Shangha
n three nterconnected ove stor es. Each ayer of the f m exp ores a d fferent soc a ayer of the
c ty. A stor es are about peop e between the age of 20 and 30, hereby shap ng the face of a
generat on.
Sa es: IdtV F m/Mote F ms
"The Sky, the Earth and the Rain (E c e o, a t erra y a uv a) by Jose Luis Torres Leiva
(Ch , 2008), wor d prem ere, ubert Ba s Fund supported f m
The f rst feature by Torres Le va prov des an d osyncrat c, pure contr but on to a new Lat n
Amer can wave of f mmakers. In the South of Ch e, on a th n y popu ated s and, he fo ows the
one y ves of three women and a man. The yr c sm of Torres s se f-assured and modest, h s
m se-en-scene s stunn ng and ca m, h s characters mov ng n the r one y, prec se s mp c ty.
Sa es: J rafa F ms
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"Strizh by Abai Kulbai" (Kazakhstan 2007), nternat ona prem ere
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indieWIRE: ROTTERDAM '08 | "Lamb of God" Opening 2008 Rotterdam Fest; 14 More Films Also in Tiger Competition
2/29/08 10:02 AM
"Str zh" s a com ng-of-age f m that seems to be un versa n theme. On the other hand though, t
offers a chance to get to know the young generat on n A maty. One that s tota y unaware of the
Sov et past and n search of ts own dent ty. Ku ba s debut feature f m s shot n the trad t on of
modern Kazakh c nema, but has a very persona sty e that stands out. Teenage g r A nur
strugg es w th her fe, her on y resort to peace seems to be her father.
Sa es: Kazakhf m Nat ona Company
"Tale 52" (Istor a 52) by Alexiou Alexis (Greece, 2008), wor d prem ere
R ght from the start, "Tale 52" puts the percept on of truth of both the protagon st and the v ewer
to the test. Iasonas meets Pene ope at a d nner w th mutua fr ends. At some po nt Pene ope
moves n w th h m. Unt , one morn ng, she has d sappeared. Desp te h s outspoken v sua
anguage, A ex s A ex ou eaves the v ewer uncerta n about the or g ns of the emot ona suffer ng
of the t m d ook ng Iasonas. s feature debut turns nto a psycho og ca thr er w thout
de verance.
Sa es: Tugo Tugo Product ons
"Waltz in Starlight" ( osh kageno Wa tz) by Shingo Wakagi (Japan, 2007), nternat ona
prem ere
A f rst feature by a photographer w th an exper enced and tra ned eye. Th s persona f m
reconstructs an ep sode from the ch dhood of the photographer/f mmaker, focus ng arge y on h s
adm red grandfather, a performer of Manza , a spec f c Japanese form of stand-up comedy.
Succesfu n creat ng an authent c mood, Sh ngo Wakag creates the mages that trans ate h s
memor es to the screen.
Sa es: Tohokush nsha F m Corporat on
"Wellness" by Jake Mahaffy (USA, 2008), wor d prem ere
At f rst s ght, Thomas L ndsey s an ord nary man. Less usua s h s sa es campa gn for a fake
product. We ness s a strong and unpo shed ow-budget f m about the conf cts of consc ence a
one y man faces after rea z ng he has been cheated out of h s fe s sav ngs. In the town of
Warren the nhab tants, none of them profess ona actors, p ayed a most a the ro es. The f m s
not a documentary, but that s how t was shot, prov d ng an unusua y rea st c effect.
Sa es: Jake Mahaffy
"Wonderful Town" by Aditya Assarat (Tha and, 2007), European prem ere, ubert Ba s Fund
supported f m
"Wonderfu Town," a Pusan New Currents Award w nner, s s tuated n a Tha v age that never
recovered from the 2004 tsunam devastat on. In the ref ned treatment of these sad surround ngs,
someth ng beaut fu and frag e emerges between an arch tect who mon tors a reconstruct on
project and the sens t ve hote owner. S ow y, v o ence and drama a so emerge n the f m.
Sa es: Memento F ms
"Years When I Was a Child Outside" (Taon noong ako y anak sa abas) by John Torres
(Ph pp nes, 2008), wor d prem ere, ubert Ba s Fund supported f m
Th s poet c, comp ex and persona f m, s both a d ary and an essay about the re at onsh p
between the f m maker and h s father, an author and se er of se f-he p books. After d scover ng
h s father has another comp ete fam y a ongs de h s own, the son f ees the house. A
contemp at ve trave ogue about a quest w th wh ch he tr es to create order n the chaos, "Years
When I Was a Ch d Outs de" beg ns aga nst the background of the damage caused by a super
typhoon n Man a.
Sa es: Pe cu as Los Otros
( posted on Jan 10, 2008 at 04:58PM | filed under Festival News, Lead Story, World Cinema )
MORE ARTICLES ABOUT
International Film Festival Rotterdam Lucia Cedron Lamb of God Lita Stantic The Holy Girl
Paraguayan, Hammock Hubert Bals Fund Rutger Wolfson Ludmila Cvikova Gerwin Tamsma
Gertjan Zuilhof Eat, for This Is My Body Michelange Quay Flower in the Pocket Liew Seng Tat
Fujian Blue Wemg Shou-ming Go with Peace Jamil Omar Shargawi The King of Ping Pong Jens
Jonsson Lamb of God Lucia Cedron Las meninas Igor Podolchak Dean Karr Shanghai Trance
David Verbeek The Sky, the Earth and the Rain Jose Luis Torres Leiva Strizh Abai Kulbai Tale 52
Alexiou Alexis Tale 52 Waltz in Starlight Shingo Wakagi Wellness Jake Mahaffy Wonderful Town
Aditya Assarat Years When I Was a Child Outside John Torres
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Fest faces flux with short-term director - Entertainment News, Film News, Media - Variety
2/29/08 10:33 AM
Latest News All Reviews Video People Box O ice Photos Blogs Award Central Festival Central The Biz
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FESTIVAL INDEX : OTHER FESTIVALS > NEWS • REVIEWS • FEATURES • BLOGS •
• NEWS
FEST FACES FLUX WITH SHORT-TERM DIRECTOR
Leadership questions overshadow Rotterdam
By SHANE DANIELSEN
Posted Tue., Jan. 15, 2008, 7 13pm PT
Can one of Europe s leading (and largest) film festivals
accommodate a part time director? And how long does it take
exactly to find a replacement? These are some of the
questions overshadowing the ntl Film Festival Rotterdam the
first fixture on the annual Euro fest calendar
For its 37th edition running Jan 23 Feb 3 the event will be
overseen by Rutger Wolfson director of the De Vleeshal center
for contemporary art in the Dutch town of Middelburg But his is
supposedly an interim appointment made according to
Wolfson "because the festival s board wanted to have time to
search for a new director And in fact they re talking to various
people at the moment "
This begs the question Just how much time does the
Rotterdam board need? The previous director s departure was
announced back in April yet as late as September during last
year s Venice fest tongues were still wagging over who would
take the reins permanently
Several names were touted as possible contenders Vienna
Film Museum majordomo Alexander Horwath (who was
apparently offered the post twice according to some
accounts but declined) Christian Jeune of Cannes
(negotiations with whom reportedly stalled while contracts were
being drawn up) and longtime Berlin
Panorama programmer Wieland Speck (who expressed a
reluctance to relocate to Holland)
But as the weeks became months with no name forthcoming
speculation grew that the board s primary consideration lay in
appointing a Dutch national a claim lent credence by criticisms
from various board members reportedly leveled at Brit Simon
Field during his tenure ended in 2004 that he d never learned
the language or chosen to live in the city full time "Simon was "
as one senior Dutch industry figure put it "far too British too
intellectual too art for art s sake for the Dutch social democrat
approach to the arts " ( FFR board chairman Melle Daamen
declined to be interviewed for this story )
hor Podolchak and Dean karr co-directed iger
Award competition pic Las meninas which is also
world-preeming
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2/28/08 6 43pm
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n the fall of 2007 Rotterdam announced "organization and All News >>
artistic substance" would be handled by Wolfson while Stef
Fleischeuer director of Plan F a local management consultancy firm would serve as "interim business director "
Both men have links to the festival Wolfson has been a member of its board since 2004 while Fleischeuer sat on
the Advisory Council of the Tiger Business Lounge "the club of business friends of the FFR" yet neither boasts
much in the way of film industry experience Both appointments were for the 2008 edition only and both positions
were part time with Wolfson in particular making it clear that he intended to continue his duties at De Vleeshal at
least for the foreseeable future
Links posted in this story:
• FILM REVIEWS
Shine a Light
Energetic account of a Rolling Stones concert at
Beacon Theater takes full advantage of heavy
camera coverage and top notch sound
Be Like Others
Yasukuni
CSNY Deja Vu
• VPAGE PHOTOS
Santa Barbara
honors Oscar folks
• View photo
gallery
Sundance snow biz
• View photo
gallery
-- Advertisement --
-- Advertisement --
• VIDEO • MIAMI FILM FESTIVAL • MEXICO/GUADALAJARA FEST
http://www.variety.com/index.asp?layout=festivals&jump=story&id=1061&articleid=VR1117979122&cs=1
Page 1 of 2

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Page 1 of 2

Las Meninas (2008) Recensie - Movie 2 Movie
27.01.09 01:27
0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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Regie Ihor Podolcak
Genre
drama
Tijdsduur
99 minuten
Jaar 2008
Acteurs
Mykola Veresen, Lyubov Tymoshevska, Hanna Yarovenko, Dmytro
Chernyavsky
Links [ IFFR 2008 ]
Samenvatting
De film toont een verstikkende gezinssituatie, waarin een zieke zoon zijn ouders en zuster met zijn grillen
terroriseert. Die zoon is alleen latent aanwezig; de terreur is intens voelbaar.
Er zijn in de wereld van de filmhuisfilm, of misschien beter gezegd de ‘arthouse cinema', bepaalde grijze
gebieden waarin niet altijd duidelijk is wat nog kan binnen de grenzen van de film. Experiment is natuurlijk
nodig om verder te komen in iedere kunstvorm en cinema vormt hierop geen uitzondering. ‘Las Meninas', de
debuutfilm van beeldend kunstenaar Ihor Podolchak is dan ook moeilijk te veroordelen op de grote mate van
experiment. Podolchak heeft als kunstenaar al ruim naam gemaakt, maar had hiervoor nog geen lange
speelfilm gemaakt.
De film begint sympathiek, met een ouder echtpaar in een bloeiende zomerse tuin, fantaserend over
kinderen die ze nooit hebben gehad; grappend over de buren en genietend van het zonnetje. Tot zo ver
enig aangenaam gevoel, vanaf dit moment is het niets dan ongemak en verwarring wat Podolchak ons
voorschotelt. Als in het gelijknamige schilderij van Velazquez zitten we gevangen in een oud huis, waarin
zich een onduidelijk gezinsleven afspeelt. Maar een film is geen schilderij, hoort dat niet te zijn in elk geval
en toch doet deze film aan als een levend schilderij, een stilleven, een droom, een v deoclip of een trip
misschien, maar geen film. De 99 minuten voelen als dagen door de onduidelijkheid, volledig gebrek aan
plot en constante herhalingen. De personages, over wiens onderlinge band slechts gegokt kan worden,
praten in wartaal, door en langs elkaar heen en verrichten voortdurend de vreemdste handelingen. Sommige
aspecten hiervan hebben nog wel zekere esthetische waarde, maar het ononderbroken geschraap, getik,
gekras, gezoem, gebonk, gesmak en gesnerp is ronduit irritant te noemen. En hoeveel close-ups van een
vork zijn er nu werkelijk nodig?
Natuurlijk zit er wel enig verhaal in en valt ook uit de symboliek van alles te halen, maar het doet er op een
bepaald punt eigenlijk niet meer toe en dat is jammer. De prachtige soundtrack maakt veel goed, maar kan
de film ook niet dragen. Met iets minder pretentie en iets meer plot had de maker iets heel speciaals kunnen
neerzetten. Nu is hij zijn doel volledig voorbij geschoten waardoor zijn film ondanks de première op het
Rotterdam Filmfestival geen lang leven beschoren zal zijn.
Ruby Sanders
Alle informatie op www.movie2movie.nl, in welke vorm dan ook, is auteursrechtelijk beschermd en/of is verbonden aan
intellectuele eigendomsrechten. In verband hiermee is het niet toegestaan om zonder uitdrukkelijke schriftelijke toestemming van
Movie 2 Movie informatie te kopiëren.
http://www.movie2movie.nl/r64068-Recensie-Las-Meninas.html
Page 1 of 2

sneersnipe film review
04.01.09 20:28
So there was actually one place
on American soil wi h free,
universal healthcare...
LAS MENINAS Igor Podolchak with Dean Karr Ukraine 2008
Taking its name and inspiration from the painting of the same name by Diego Velázquez, Las Meninas
is a fabulously visual debut. Pushing the boundary of what an art movie can be the film leaves behind
narrative in favour of sequences of meticulously assembled dioramas and images which can be
gradually sorted in the mind afterwards for coherence. Or not. Based around a family in a country
house, all is not well as is gradually revealed.
The highs in Las Meninas are suitable impressive but so too are the lows. Ukrainian director Igor
Podolchak absolutely captures a vignette style of painting in the camerawork. Notably a bowl of fruit is
presented like an oil painting. A visual artist, Podolchak infuses his film with his background to the
extent that Las Meninas can feel like an installation. The film’s climax (to this reviewer) is a standout
scene where characters move around a bedroom. The shot is fixed but it has a mirror in it where most
the action can be spied. This activity then spills off the mirror in the rest of the shot giving the
impression of people walking in and out of shot with a dreamlike logic. It’s an unforgettable sequence.
Unfortunately much of the film makes no conventional sense whatsoever, making the experience a
taxing one for an audience unwilling or unprepared to go the distance. Long scenes of characters
discussing inscrutable matters ensue. It’s all bound up with a compelling sense of familial confinement
and social dread but it never seems to end. Give Las Meninas some time and space and prepared to
be rewarded.
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Las Meninas
http://www.sneersnipe.co.uk/review_title.php?id=484
Page 1 of 1

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“Las Meninas” is the first Ukrainian movie to
compete for the grand prix at the Rotterdam
International Film Festival
International Film Festival – the major forum of
avant-garde and art-house movies. The debut film
by Ihor Podolchak, “Las Meninas,” named after the
legendary painting by Diego Velazquez, will
premiere in the Rotterdam festival on Jan. 25.
Previously, the only Ukrainian film to be shown at
Rotterdram was “U Reki” (“By the River”), by Yeva
Neyman, and it was merely a part of the
informational program and wasn’t included in the
“Las Meninas” is the first feature film by Podolchak, who not only directed it, but also wrote the
screenplay for it and produced the movie together with Ihor Diurich. The erotic musical fragment
of the film was created by American music video maker and photographer Dean Karr, who
produced videos for Marilyn Manson, Ozzy Ozbourne, Duran Duran, and others.
“Las Meninas” is a psychological drama about a family living in the city suburbs in an old villa,
which looks more like a stage setting than a real house. The main character is a young man sick
with asthma and eczema. He uses his diseases as a means of terrorizing and keeping his parents
and sister obedient, turning their life into a kind of ritual, according to the film’s site. Among the
actors starring in the film are Mykola Veresen, Liubov Timoshevska, Dmitriy Cherniavsky and
Hanna Yarovenko.
The festival will be held from Jan. 23 to Feb. 3. “Las Meninas” will be competing for the main
prize with 14 other films: five of them from the Middle East, four European (Denmark, Sweden,
Greece and the Netherlands), three joint Latin American-European productions, one from the US
and one from Kazakhstan.
The jury of the festival this year will include Russian actress, director and producer Renata
Litvinova, Iranian director Jafar Panahi, Singapore director Royston Tan and deputy director of
the Film Museum in the Netherlands, Rieks Hadders.
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http://www.kpacomku.ru/cinema/2258-rotterdam-smotrit-kino-iz-ukrainyi-i-kazahstana.html
Page 1 of 2

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Page 2 of 2

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17.01.09 03:40
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Zone 5300: Film Festival Rotterdam 2008 - Las Meninas
2/29/08 10:30 AM
HOME
BEELDZONE TEKSTZONE AGENDA TIJDSCHRIFT START AG
IFFR
Las Meninas nfo
Ihor Podolchak, Dean Karr
24-01-2008 12:00 C nerama 2
Ton o van Vugt
*****
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Pas op wanneer beeldend kunstenaars en clipregisseurs
achter de camera kruipen, luidt een aloude filmwijsheid.
In deze Tiger-kandidaat komen er zelfs twéé man aan te
pas, elk één van bovenstaande beroepsgroepen
vertegenwoordigend, om een drol te verpakken in een
gouden lintje. Podolchak en Karr maken zich zo
ongeveer schuldig aan elk cliché waar een eerstejaars
kunstacademiestudent zich nog voor zou schamen. Moet
er verval uitgedrukt worden? Dan komen er kapotte
poppen en rottend fruit in beeld, voorzien van een
misplaatst pregnante, quasi-avantgardistische
soundtrack. U kunt het plaatje wel afmaken.
Hoewel Podolchak (verantwoordelijk voor de eerste twee
delen van de film) ons anders wil doen geloven, gaat de
film dus niet over een dysfunctioneel gezin dat
gevangen zit in repeterende handelingen, maar over de
regisseur zelf. Een regisseur, die elk contact met zijn
personages en publiek mist en een gevangene is van
beelden waar hij zo verliefd op is geworden dat hij ze
eindeloos herhaalt. Goddank doorbreekt clipregisseur
Karr de sleur met een muzikale sequentie die al het
voorgaande doet verbleken: genadeloos wordt de kijker
het domein der übersymboliek binnengetrokken,
compleet met naakte cellistes in een Nescafé-belichting.
De masturberende pianist uit deze sequentie is
ongetwijfeld de regisseur zelf, en het gevoel bekruipt je
dat zélfs hij dit allemaal niet meer serieus neemt.
Waarna Podolchak de laatste twee delen in keurig
cyclische modus weer voor zijn rekening neemt.
Hier wordt ambitie met pretentie verward. Het enige dat
de film nog redt van de totale ondergang is de visuele
flair waarmee hij geschoten is. Maar mooie plaatjes
vullen geen gaatjes.
25-01-2008 11:14
Reacties
http://www.zone5300.nl/special/iffr2008/494/
Page 1 of 2

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RFF 2008 - Las Meninas - Concorso by Close-Up.it - rivista e magazin…usica con recensioni, forum, blog - diretta da Giovanni Spagnoletti
2/29/08 10:08 AM
CONTATTI
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HOME CINEMA FESTIVAL SPECIALI TEATRO TELEVISIONE DVD MUSICA LIBRI
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SEI IN: HOME > FESTIVAL > ROTTERDAM FILM FESTIVAL 2008
durata: 99’.
RFF 2008 - LAS MENINAS - CONCORSO
venerdì 25 gennaio 2008 di Luca Lardieri
(Las meninas); Regia: Ihor Podolchak, Dean Karr; sceneggiatura:
Ihor Podolchak; fotografia: Serhiy Mykhalchuk; montaggio: Ihor
Podolchak; musica: Oleksandr Schetynsky; interpreti: Mykola
Veresen, Lyubov Tymoshevska, Hanna Yarovenko, Dmytro
Chernyawsky; produzione: MF Films; origine: Ucraina, 2008;
Usare lo schermo come tela sulla quale imprimere violente pennellate dal colore plumbeo.
Afferrare l’obiettivo della macchina da presa e frantumarlo in una moltitudine di piccole
schegge volte ad insinuarsi nello sguardo dei propri personaggi e a sezionarne l’animo. Un
animo multisfaccettato: inquietante, torbido, nauseante, claustrofobico. All’interno di mura
troppo piccole per poter contenere sensazioni vaste e contrastanti, e allo stesso tempo troppo
grandi per poter aprire al dialogo coloro che le abitano.
Un film sulle distanze, sull’egoismo dell’uomo e i sogni irrealizzati o irrealizzabili sui quali
va a schiantarsi la ragione per tramutarsi in follia. L’occhio dello spettatore viene scomposto
e trasportato con forza in un clima malsano, fatto di fantasmi ai quali la coscienza non ha
saputo dare un’identità precisa. Volti che sembrano nuche e nuche che cambiano aspetto ad
ogni movimento di macchina. Il tutto immerso in un completo silenzio prima ed in un
assordante rumore musicale poi, in cui gli strumenti diventano pulsioni primordiali ed i corpi
oggetti da bramare e concupire.
Un film completamente antinarrativo, con immagini che più di una volta cercano di riportare
in vita situazioni jarmaniane ed inquietudini tipiche del primo cinema di Luis Bunuel.
Alquanto interessante da un punto di vista visuale e visivo, ma irritante (volutamente?) nella
continua ripetitività e nell’estenuante lunghezza.
Piacevole comunque l’idea di procedere nella narrazione per rumori ed immagini, per poi
virare improvvisamente verso un universo da videoclip.
Versione stampabile:
http://www.close-up.it/spip.php?article3588
Page 1 of 3

Rotterdam 2008: "Las Meninas" - Cine Indie - Séptimo Vicio
2/29/08 10:33 AM
Rotterdam 2008: "Las Meninas"
El artista ucraniano Ihor Podolchak y el director de videoclips Dean Karr dirigen "Las Meninas", un experimento de vanguardia que promete todo un deleite para los
Nadie se ha dignado a comentar este artículo aún.
Una historia centrada en una familia asediada por circunstancias claustrofóbicas. Un hijo enfermo aterroriza a su pad
y a su hermana con sus caprichos. La presencia del hijo es sólo latente pero el terror puede sentirse hasta límites inso
Como se afirma en la sinopsis oficial, "Las Meninas" no es una película narrativa sino eminentemente visual y estétic
una implicación total por parte del espectador.
Dean Karr dirige concretamente la parte musical del film. Mykola Veresen, Lyubov Tymoshevska, Hanna Yarovenko
Chernyavsky, Ilonna Arsentyeva, Stas Arsentyev, Viktoriya Ulyanchenko y Valeriya Ulyanchenko conforman el repa
esencialmente ucraniano de este proyecto.
Premiere mundial en Rotterdam.
Fuente: David López
29/01/2008 - 21:21
esfera7.com SNEWS
RSS FEED
http://www.septimovicio.com/indie/29012008_rotterdam_2008_las_meninas/
Page 1 of 1

'Ik heb over het algemeen mijn eigen ideeën’ - Cinema.nl Interview
2/29/08 10:33 AM
IFFR bezoekers log in
'Ik heb over het algemeen mijn eigen ideeën!
Tiger-kandidaat Las Meninas van Ihor Podolchak
nterview / Evelien Kortum
Beeldend kunstenaar Ihor Podolchak wil geen gewone film maken, geen verhaal
vertellen en heeft geen idolen. In zijn eerste film, het experimentele kunstwerk Las
Meninas, over een disfunctioneel gezin dat geterroriseerd wordt door een zieke
zoon, is de zintuiglijke beleving dan ook belangrijker dan het verhaal. Met een
overweldigende wirwar van beeld en geluid probeert Podolchak in Las Meninas de
diepste gevoelens en verlangens van de menselijke geest op film te vangen.
CINEMA.NL
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hor Podolchak Dean Karr (2008)
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25 januari 2008
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Dossier: VPRO Tiger Awards 2008
nterviews met alle regisseurs
dossier do 24 januari 2008
Artikelpagina
n de tabbladen op artikelpagina s vind je relevante
informatie bij het artikel zoals videofragmenten films en
filmmakers of andere artikelen n het Bezoekerstabblad is
een lijst met populaire en veelbesproken artikelen te
ADVERTENTIE
Ihor Podolchak
Idee?
Podolchak !Drie jaar geleden vertelde een vriend van me een dokter over een van
zijn patiënten Dat vond ik zo interessant dat ik besloot er een verhaal over te schrijven
Uiteindelijk werd het een scenario k had heel duidelijk voor ogen hoe alles eruit moest
zien Het moest geen gewone film worden waarin het verhaal de boventoon voert k
wilde vooral emoties en plaatjes laten zien k wilde de diepste diepten van de
menselijke geest blootleggen door middel van een aaneenschakeling van beeld en
geluid waarbij de zintuigen maximaal gestimuleerd zouden worden Het scenario was
dan ook meer een montageplan een gids voor alle losse beelden in mijn hoofd
Dean Karr?
!De muzikale gedeeltes heb ik samen geregisseerd met videomaker Dean Karr We
kenden elkaar al jaren via mijn exposities waar hij wel eens kwam Het is een
interessante kunstenaar en ik vond het goed om samen te kunnen werken met iemand
die zijn sporen in de muziekvideo industrie reeds verdiend had De muziek heb ik
speciaal laten schrijven door een Oekraïense componist Oleksandr Schetynsky Met
de muzikale scènes heb ik de nadruk proberen leggen op het zintuiglijke aspect van de
film
Idolen?
! k heb geen idolen k zie mezelf niet zozeer als filmmaker maar vooral nog als
kunstenaar Er zijn regisseurs wiens werk ik interessant of mooi vind zoals de films van
David Lynch maar zij hebben geen invloed gehad op mijn werk k heb over het
algemeen mijn eigen ideeën
Ambities?
!Tot nu toe heb ik vooral als schilder gewerkt hoewel ik af en toe ook foto s en video s
maakte Toch heb ik voor mijn gevoel als schilder alles gezegd en gedaan wat ik wilde
k heb via schilderijen niets meer te vertellen Er zijn weinig mogelijkheden met
schilderen Met film is er naast bewegend beeld ook geluid k wil op zoek naar en
experimenteren met deze mogelijkheden Momenteel ben ik bezig met een nieuwe film
die ik in de lente ga draaien Het wordt een film met meer verhaal omdat het
gebaseerd is op een boek van de Poolse schrijver Gombtowich Toch ga ik proberen er
mijn eigen draai aan te geven
Filmen in Oekraïne?
!Het is heel moeilijk om in Oekraïne geld te krijgen voor het maken van een film Er is
sowieso een zeer klein budget voor kunst Las Meninas heb ik gemaakt met mijn eigen
geld en met behulp van vrienden Het is een persoonlijk project geworden pure kunst
Het enige probleem daarmee is dat het een film is die moeilijk te verkopen zal zijn en
dus ook weinig zal opleveren Maar ik hecht veel waarde aan mijn persoonlijke
http://www.cinema.nl/iffr-2008/artikelen/3032382/ik-heb-over-het-algemeen-mijn-eigen-ideeen
Page 1 of 2

'Ik heb over het algemeen mijn eigen ideeën’ - Cinema.nl Interview
2/29/08 10:33 AM
projecten dus ik zal ze altijd blijven maken Als ik het zelf moet betalen dan moet dat
maar
Las Meninas wordt vertoond op:
Vrijdag 25 januari 19 15 uur Pathé 7
Zaterdag 26 januari 10 30 uur Pathé 7
Maandag 28 januari 10 30 uur Pathé 7
Zaterdag 2 februari 19 15 uur Pathé 7
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RFF 2008 - Las Meninas - Concorso
Estratto da: Close-Up.it - rivista e magazine di cinema, teatro e musica con recensioni, forum, blog - diretta da
Giovanni Spagnoletti
Data di pubblicazione : venerdì 25 gennaio 2008
RFF 2008 - Las Meninas - Concorso
Abstract:
Usare lo schermo com la imprimere violente pennellate dal colore plumbeo. Afferrare lâ€obiettivo
della macchina da presa e fra a moltitudine di piccole schegge volte ad insinuarsi nello sguardo dei
propri personaggi e a sezionarn animo. Un animo multisf ccettato: inquietante, torbido, nauseante,
claustrofobico. All†nterno di mura troppo piccole per poter contenere sensazioni vaste e contrastanti, e allo
stesso tempo troppo grandi per poter aprire al dialogo (...)
Close-Up.it - rivista e magazine di cinema, teatro e musica con recensioni,
forum, blog - diretta da Giovanni Spagnoletti
Copyright © Close-Up.it - rivista e magazin di cinema, teatro e musica con recensioni, forum, blog - diretta da Giovanni Spagnoletti Page 1/2

RFF 2008 - Las Meninas - Concorso
Usare lo schermo come tela sulla quale imprimere violente pennellate dal colore plumbeo. Afferrare l obiettivo della
macchina da presa e frantumarlo in una moltitudine di piccole schegge volte ad insinuarsi nello sguardo dei propri
personaggi e a sezionarne l animo. Un animo multisfaccettato: inquietante, torbido, nauseante, claustrofobico.
All interno di mura troppo piccole per poter contenere sensazioni vaste e contrastanti, e allo stesso tempo troppo
grandi per poter aprire al dialogo coloro che le abitano.
Un film sulle distanze, sull egoismo dell uomo e i sogni irrealizzati o irrealizzabili sui quali va a schiantarsi la ragione
per tramutarsi in follia. L occhio dello spettatore viene scomposto e trasportato con forza in un clima malsano, fatto di
fantasmi ai quali la coscienza non ha saputo dare un identità precisa. Volti che sembrano nuche e nuche che
cambiano aspetto ad ogni movimento di macchina. Il tutto immerso in un completo silenzio prima ed in un assordante
rumore musicale poi, in cui gli strumenti diventano pulsioni primordiali ed i corpi oggetti da bramare e concupire.
Un film completamente antinarrativo, con immagini che più di una volta cercano di riportare in vita situazioni
jarmaniane ed inquietudini tipiche del primo cinema di Luis Bunuel. Alquanto interessante da un punto di vista visuale
e visivo, ma irritante (volutamente?) nella continua ripetitività e nell estenuante lunghezza.
Piacevole comunque l idea di procedere nella narrazione per rumori ed immagini, per poi virare improvvisamente
verso un universo da videoclip.
Cast&Credits:
(Las meninas); Regia: Ihor Podolchak, Dean Karr; sceneggiatura: Ihor Podolchak; fotografia: Serhiy Mykhalchuk;
montaggio: Ihor Podolchak; musica: Oleksandr Schetynsky; interpreti: Mykola Veresen, Lyubov Tymoshevska,
Hanna Yarovenko, Dmytro Chernyawsky; produzione: MF Films; origine: Ucraina, 2008; durata: 99 .
Copyright © Close-Up.it - rivista e magazine di cinema, teatro e musica con recensioni, forum, blog - diretta da Giovanni Spagnoletti Page 2/2

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37. MFF w Rotterdamie. George A. Romero w najlepszej formie - WYDARZENIA w Stopklatka.pl
3/23/08 1:47 PM
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Masz uwag# lub sugesti# dotycz$c$ serwisu? Napisz
37. MFF w Rotterdamie. George A. Romero w
najlepszej formie 27 stycznia 2008
Wizyta na festiwalu jest jak buddyzm zen. Nale"y
wyzby# si! ch!ci zapanowania nad ca$% rzeczywisto&ci%
i kontrolowania wszystkiego, co si! wydarza. Trzeba i&#
drog%, chocia" nie zawsze prowadzi ona tam, gdzie
chcemy.
Kiedy otworzymy si# na to co przychodzi nie tylko
osi$gniemy harmoni# ale by% mo!e zostaniemy równie!
nagrodzeni Kierowa% si# t$ zasad$ w realiach festiwalowych oznacza
pogodzi% si# z faktem !e nie obejrzymy wszystkiego co chcemy
Porównanie to przysz&o mi do g&owy kiedy zosta&em odprawiony spod sali z
filmem Gusa van Santa z powodu braku miejsc Nie maj$c lepszego
pomys&u wszed&em w nast#pne drzwi gdzie jak si# okaza&o lecia&
dokumentalny esej "Die Stille vor Bach" ("The Silence Before Bach") Pere
Portabelli z 2007 r (umieszczony w sekcji "Kings and Aces" po"wi#conej
dzie&om uznanych twórców)
R E K L A M A
“Bach jest nudny! Obiektywny Abstrakcyjny Monotonny Matematyczny
Wysublimowany Kosmiczny Kubiczny Nudny jest Bach!" pisa& Witold
Gombrowicz w "Dzienniku" Nic z tych rzeczy Gdyby Gombro zobaczy& "Die
Stille vor Bach" by% mo!e zmieni&by zdanie Temat filmu zapowiada
otwieraj$ce d&uuugie uj#cie z jazd$ graj$cej pianoli Portabella "ledzi
obecno"% Bacha w kulturze wspó&czesnej ale nie idzie na &atwizn# i ani
razu nie zagl$da do oczywistych miejsc w rodzaju filharmonii Opowiada za
to o pasji niewidomego stroiciela fortepianów kierowcy T R ów
odreagowuj$cego stresy pracy przy pomocy gry na fagocie czy o
przewodniku z Lipska który w przebrany za Bacha opowiada o miejscach w
Lipsku zwi$zanych z kompozytorem Portabella za pomoc$ wspólnych
miejsc uzupe&niaj$cych si# uj#% a przede wszystkim muzyki zr#cznie &$czy
wszystkie w$tki Dzi#ki inscenizowanej sekwencji poznajemy nawet samego
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Page 1 of 4

37. MFF w Rotterdamie. George A. Romero w najlepszej formie - WYDARZENIA w Stopklatka.pl
3/23/08 1:47 PM
legenda g&osi !e orygina& Pasji "w Mateusza zosta& odkryty przez Feliksa
Mendelhsonna u jego kucharza który zawija& mi#so w nuty) Oprócz
pokazywania jak ubogi by&by "wiat bez muzyki kantora z Lipska
Poortabella przypomina nam !e mo!e ona równie! przynosi% cierpienie
Przywo&uj$c "wiadectwa z O"wi#cimia opowiadaj$ce o do"wiadczeniu
emocjonalnego koszmaru jakim by&a gra obozowej orkiestry w warunkach
wszechobecnej "mierci W tym miejscu pojawia si# te! jedyne nieme uj#cie
zrzucone z du!ej wysoko"ci pianino rozbijaj$ce si# o tafl# morza Takich
wizyjnych momentów jest wi#cej Scena gry kilkunastu wiolonczelistów w
jad$cym wagonie metra urzeka swoim surrealizmem (zreszt$ Portabella by&
producentem kilku filmów Luisa Bunuela) Podobne wra!enie zrobi&o na
mnie subtelnie pokazana naga wioloczelistka (skojarzenie "wietnie
wykorzystane ju! wcze"niej przez Man Raya) Tak Bach zdecydowanie nie
jest nudny!
Podobnie przypadkowo trafi&em do jednego z mniejszych festiwalowych kin
a raczej salki projekcyjnej na ty&ach restauracji gdzie grano "RAZZLE
DAZEL the Lost World" - eksperymentalny film Kena Jacobsa (równie! w
sekcji "King and Aces") Wchodz$c na ty&y knajpy zaw#drowa&em
jednocze"nie na marginesy kina Chocia! opowiadanie zajmuj$cych historii
zawsze b#dzie g&ównym zadaniem kina to warto si# czasem zastanowi% na
czym polega natura i mo!liwo"ci tego medium Mo!e to jednak wymaga%
du!o samozaparcia Jacobs snuje 90 minutow$ nienarracyjn$ refleksj# na
temat jednego uj#cia przedstawiaj$cego zabaw# na karuzeli
zaczerpni#tego z filmu Thomasa Edisona Autor analizuje zjawisko percepcji
ruchu (dodaj$c efekt stroboskopowy) dwuwymiarowo"% ekranu (stosuj$c
komputerowe zniekszta&cenia) czy te! kognitywny aspekt reprezentacji
(dodaj$c elementy abstrakcyjne) Musz# si# przyzna% !e wytrwa&o"ci
starczy&o mi jedynie na godzin#
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Je!eli masz informacj# filmow$ o której jeszcze nie
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WYRA, SWOJ- OPINI.
Wyraź swoją opinie, to mo!liwo"% dodawania osobistych
komentarzy do tre"ci publikowanych na stronach serwisu
Stopklatka.pl. Mamy nadziej#, !e wasze opinie wzbogac$
informacje ze "wiata filmu, przygotowywane przez nasz
zespó& redakcyjny.
Zapraszamy do... wyra!ania swoich opinii.
)$cznikiem mi#dzy marginesami a centrum mo!e by% "Las Meninas",
pierwszy w historii festiwalu film ukrai(ski zakwalifikowany do konkursu
g&ównego To debiut znanego artysty gora Podolczaka absolwenta
Akademii Sztuk Pi#knych we Lwowie Prace Podolczaka zakupi&o wiele
muzeów na "wiecie znalaz&y si# nawet na pierwszej wystawie w kosmosie
na stacji Mir Ale z filmem mu nie wysz&o "Las Meninas" to inspirowana
obrazem Diego Velazqueza historia a raczej impresja na temat patologii
!ycia rodzinnego (takich jakie pokazuje na przyk&ad Marek Koterski) Tutaj
jednak zamiast przerysowanych absurdów otrzymujemy kumulacj#
freudowskich symboli surrealistyczno ekspresjonistycznych fantazji oraz
rekwizytów z holenderskich martwych natur Ca&y film sprawia wra!enie
erudycyjnej &amig&ówki dla zblazowanych estetów i wydaje si# bra% zbyt
dos&ownie tez# rosyjskich formalistów !e istot$ poetycko"ci jest udziwnienie
S&owem "Las Meninas" to pretensjonalna ciekawostka w modernistycznych
dekoracjach
Na koniec jeszcze jeden przyk&ad filmu o niejasnym
statusie pomi#dzy g&ównym nurtem a undergroundem O
czym mo!e by% nowy film George a A Romera?
Zgadli"cie trupy znowu o!ywaj$ Zaraza przemieniaj$ca
zmar&ych w krwio!ercze zombie okaza&a si# jedn$ z
trafniejszych metafor opisuj$cych bol$czki
wspó&czesno"ci od rasizmu przez wojn# w Wietnamie
po rozpasan$ konsumpcj# Z ró!nym efektem Romero
George A. Romero
stosuje ten motyw w serii filmów zapocz$tkowanych
"Noc$ *ywych Trupów" z 1968 r (filmem który zrewolucjonizowa& gatunek
horroru) Najnowszy odcinek nekro sagi "Diary of the Dead" nale!y do
udanych
Bohaterem filmu jest grupka studentów szko&y filmowej którzy ze swoim
profesorem wyjechali na odludzie !eby nakr#ci% horror o mumii "cigaj$cej
biu"ciast$ blondyn# Praca na planie nie uk&ada si# Zupe&ny rozpad
nast#puje za" pod wp&ywem telewizyjnego newsa pokazuj$cego jak trupy
cz&onków rodziny zabitej przez psychopatycznego ojca wynoszeni przez
medyków z mieszkania rzucaj$ si# na lekarzy policjantów i ekip#
telewizyjn$ Nie wiedz$c co o tym my"le% studenci postanawiaj$ wróci% do
swoich rodzin i korzystaj$c z posiadanego sprz#tu udokumentowa% ca&e
zdarzenie
Tym razem Romero ostrzega nas si# przed niebezpiecze(stwem
zwi$zanym z medialnym zalewem obrazów Dzisiejszym "wiatem rz$dzi
zasada: je"li czego" nie by&o w telewizji lub internecie to si# nie wydarzy&o
Ale czy to co jest pokazywane w telewizji jest prawdziwe? No bo kto w
http://www.stopklatka.pl/wydarzenia/wydarzenie.asp?wi=43149
Page 2 of 4

37. MFF w Rotterdamie. George A. Romero w najlepszej formie - WYDARZENIA w Stopklatka.pl
3/23/08 1:47 PM
zalewie sensacyjnych informacji i krety(skich filmików na YouTubie uwierzy
!e trupy o!y&y atakuj$ ludzi i zagra!aj$ ludzko"ci? Znieczulaj$c si# na
przekazy medialne mo!emy przegapi% co" naprawd# wa!nego A z drugiej
strony mimo niewiary w obraz ka!dy z nas &aduje do sieci gigabajty
zarejestrowanch materia&ów
W "Nocy *ywych Trupów" nie by&o w$tpliwo"ci czy trupy naprawd# o!y&y a
media stanowi&y jeszcze w miar# wiarygodne +ród&o informacji o tym co si#
dooko&a dzieje i jak nale!y si# zachowywa% W "The Diary " nie ma po tym
"ladu "To by&o wsz#dzie w telewizji wsz#dzie w necie ale nikt nie wiedzia&
jaka jest prawda" mówi narratorka/bohaterka wydarze( Romero
wykorzystuj$c autokrytyczn$ technik# "film w filmie" ostrzega przed retoryk$
obrazu "zrobili"my ten film !eby da% "wiadectwo ale poprzez monta! i
odpowiedni$ muzyk# zrobili"my go tak !eby"cie si# bali" s&yszymy od niej
nieco wcze"niej
Romero wygrywa podwójne znaczenie s&owa "to shoot" oznacza to
jednocze"nie "kr#ci%" ale równie! "strzela%" Bohaterowie filmu na w&asnej
skórze przekonuj$ si# !e kamera mo!e zabija% Dodatkowo do"wiadczaj$
tego jak filmowanie znieczula na cierpienie Zmienia ludzi w cyborgi
uzbrojone w pancerz w postaci obiektywu za który uciekaj$ przed
uczestnictwem w rzeczywisto"ci Romero nie ogranicza si# jedynie do
krytyki samych mediów poddaje w w$tpliwo"% ca&o"% stosunków
spo&ecznych sk&adaj$cych si# na spo&ecze(stwo spektaklu Pyta czy jest
co" co naprawd# zas&uguje na zachowanie na ta"mie dla potomnych?
"Diary of the Dead" nie jest jednak jednostronn$ krytyk$ wspó&czesnej
kultury Re!yser wskazuje na subwersywny potencja& nowych mediów
Dzi#ki kamerze cyfrowej i internetowi bohaterowie mog$ pu"ci% w "wiat
przekaz pokazuj$cy wydarzenia w innym "wietle ni! stronnicze newsy
telewizyjne No a poza tym jest to film bardzo zabawny zreszt$ kto dzi"
potraktuje powa!nie te wszystkie wymy"lne sposoby na jakie trupy zabijaj$ i
s$ zabijane? Prze"mieszna jest na przyk&ad posta% (nomen omen) g&uchego
i niemego Amisza który w pewnym momencie ratuje bohaterom !ycie
Chocia! z pewno"ci$ nie jest to film tak prze&omowy jak "Noc " to na
pewno godny uwagi Romero w najlepszej formie przenikliwy krwawy i
pe&en dystansu do kina i w&asnej legendy
[wi#cej >>>]
Radykalnie niezale!ni (23 01 )
"Juno" i "Lamb of God" na otwarcie (25 01 )
Strona oficjalna www filmfestivalrotterdam com
[)ukasz Biskupski, Rotterdam
*mieszne filmiki
Ogl$daj "mieszne filmiki. We+ co" na widelec
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Zobacz tak"e
Wydarzenia
"Zdarzenie" w"ród nowych zwias unów z 15.02.2008
"25/8" od Wesa Cravena z 13.02.2008
Nowo"ci w"ród zwias unów z 26.01.2008
Ponad 50 nowych plaka ów z 26.01.2008
Nowy "Dzie( !ywych rupów" ylko na DVD z 02.01.2008
Sequel "Diary of he Dead" nie aki oczywis y z 07.11.2007
Ash on Ku cher ma romans z Michelle Pfeiffer z 02.11.2007
George A Romero znowu o!ywia rupy z 31.10.2007
Nadje!d!aj$ nowi "Rycerze na mo orach" z 27.10.2007
Si ges 2007 Filmy fan as yczne i grozy nagrodzone z 15.10.2007
Osoby
George A Romero
Filmy
Diary of he Dead
Wersja do druku | Wy"lij link
Dyskusja na forum
Temat 37. MFF w Rotterdamie. George A. Romero w najlepszej
formie »
Nikt si! jeszcze nie wypowiedzia$
http://www.stopklatka.pl/wydarzenia/wydarzenie.asp?wi=43149
Page 3 of 4

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Page 1 of 3

!"#$%&'"%( «&$)*#+,#)» -./#-0/ - 1,))/#2$+/. 3"$)/#%&$ 45678968:65;9 | 4)

Rotterdam: pierwsze dwa dni festiwalu
2/29/08 10:12 AM
kunstenaar Ihor Podolchak. Een ontypische film over een gekke, gesloten familie. Maar het verhaal,
waarin de zoon net zo goed een vroegere variant van de vader kan zijn of een echte zoon, doet er niet
erg toe. Het gaat de regisseur om een subtiel spel tussen beeld en geluid. Menselijke stemmen, het
tikken van een vork op een bord of het gebrom van een vlieg boven de soep, maar ook echte muziek.
En dat tegen ene achtergrond van steeds veranderende schilderijen. Dat is kost voor liefhebbers van
audiovisuele experimenten met een lichte knipoog richting absurdisme. Minder was de andere
competitiefilm 'Flower in the Pocket'. De Maleisiër Liew Seng Tat heeft een mengelmoesje gemaakt van
een film voor volwassenen en een kinderfilm. Een sprookje over twee broertjes die allerlei absurde
avonturen beleven, terwijl hun eenzame vader zich ook nogal eigenaardig gedraagt. Een lieve, maar
oppervlakkige film een beetje over niets.
Horror moet je van houden of er ver van blijven. Ik heb me laten verleiden tot het bekijken van de
volgende variant van de zombie-films, dus over de levende doden. De meester van de eerste zombiefilm,
George A. Romero, is in Rotterdam met zijn al vijfde versie van 'Diary of the Dead'. Een fanatieke
jonge filmer weigert de camera uit te zetten, zelfs waneer hij in levensgevaar is vanwege overal
opduikende levende doden, die alleen op nieuw gedood kunnen worden door een schot in het hoofd.
Absurd, maar een goed in elkaar zittende plot.
Hoewel ik rekende op iets meer serieus, heeft de Poolse regisseur Micha" Kosza"ka helaas een film
gepresenteerd die riekt naar necrofilie. Hoewel het onderwerp op zich interessant is. De oude acteur
Jerzy Nowak, gelovig katholiek, besluit zijn lichaam te doneren aan de wetenschap. Kosza"ka besteedt
de helft van zijn film aan het gedetailleerd t6oen van hele en in stukjes gehakte lijken. En de verhaallijn
van een oude man, die door zijn besluit allerlei discussies oproept in een land als Polen, blijft vlak en
nauwelijks dramatisch. 'Existence' heeft mij teleurgesteld.
Jan Minkiewicz
http://www.naszapolonia.com/culture/27rot.htm
Page 2 of 2

Rotterdam: pierwsze dwa dni festiwalu
2/29/08 10:12 AM
2008.01.27 Nasza Polonia
Rotterdam: pierwsze dwa dni festiwalu
Poniewa! dopiero w sobot" na dobre dotar#em
do Rotterdamu, omówi" te filmy, które
zdo#a#em zobaczy$ podró!uj%c przez pierwsze
dni festiwalu mi"dzy Amsterdamem a
Rotterdamem.
Zacz!"em od dwóch filmów konkursowych. 'Las
Meninas' to film ukrai#skiego artysty wizualnego
Ihora Podolchaka. Nietypowy film o zwariowanej,
zamkni$tej w sobie rodzinie. Ale fabu"a, w której
nie wiadomo czy syn jest m"od! odmian! ojca,
czy rzeczywi%cie synem, jest nieistotna.
Re&yserowi chodzi o subteln! gr$ pomi$dzy
obrazem i d'wi$kiem. Ludzkie g"osy, widelec
stukaj!cy o talerz albo brz$k muchy lataj!cej
wokó" talerza z zup!, ale te& prawdziwa muzyka. I
to w tle stale zmieniaj!cych si$ obrazów
malarskich. Wszystko to dla mi"o%ników
eksperymentów audio-wizualnych z oczkiem lekko
puszczanym w kierunku absurdyzmu. Mniej
spodoba" mi si$ drugi film konkursowy 'Flower in
the Pocket' - 'Kwiat w kieszeni'. Malezyjczyk Liew
Seng Tat sp"odzi" mieszank$ filmów dla doros"ych i
dla dzieci. Bajeczk$ o dwóch ch"opcach
prze&ywaj!cych ró&ne absurdalne przygody,
podczas gdy ich samotny ojciec równie&
zachowuj$ si$ do%( dziwnie. Mi"y film, ale p"ytki i
troch$ o niczym.
Las Meninas - Ihor Podolchak
Istnienie - Michal Koszalka
Horror trzeba albo lubi(, albo ich unika(. Zdoby"em si$ na obejrzenie kolejnego wariantu 'The Living
Dead', czyli '&ywych martwych'. Mistrz pierwszego filmu o Zombies, George A. Romero pokazuje w
Rotterdamie ju& pi!ty wariant 'Diary of the Dead' - 'Dziennik Martwych). Fanatyczny m"ody filmowiec
odmawia wy"!czenia kamery, nawet kiedy jest w %miertelnym niebezpiecze#stwie, otoczony ze wszech
stron przez zmartwychwsta"ych nieboszczyków, których ponownie u%mierci( mo&na tylko przez strza" w
g"ow$. Absurdalna, ale zgrabnie skonstruowana fabu"a.
Chocia& liczy"em na co% bardziej powa&nego, to niestety polski re&yser Micha" Kosza"ka zaserwowa"
film kojarz!cy si$ z nekrofili!. Cho( o interesuj!cej tematyce. Stary aktor Jerzy Nowak, wierz!cy
katolik, postanawia odda( swoje cia"o nauce. Kosza"ka po"ow$ filmu po%wi$ca na szczegó"owe
pokazywanie ca"ych i poci$tych na kawa"ki zw"ok. A w!tek starego cz"owieka wywo"uj!cego swoj!
decyzj! w takim kraju jak Polska ró&ne dyskusje, pozostaje p"ytki i ma"o dramatyczny. Film 'Istnienie' -
'Existence' mnie zawiód".
Jan Minkiewicz
Rotterdam: de eerste twee dagen
Ik ben pas zaterdag echt in Rotterdam aangekomen en bespreek dus even die films die ik heb
kunnen zien tussen mijn treinreizen Amsterdam-Rotterdam.
Ik ben begonnen met twee competitiefilms. 'Las Meninas' is een film van de Oekra*ense audiovisuele
http://www.naszapolonia.com/culture/27rot.htm
Page 1 of 2

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http://www.bsanna-news.ukrinform.ua/newsitem.php?id=3296&lang=ru
Page 1 of 1

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Póster e imágenes de "Las Meninas" de Ihor Podolchak - Cine Indie - Séptimo Vicio, noticias de cines y contenidos para gente inteligente.
05.10.08 16:57
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Portada Noticias Criticón Cult Cinema Especiales Indie Asia World Cinema Variedades Entrevistas Reportajes Fotos
Póster e imágenes de "Las Meninas" de Ihor Podolchak
30/01/2008 - 23:30
El artista ucraniano Ihor Podolchak y el director de videoclips Dean Karr dirigen "Las
Meninas", un experimento de vanguardia que promete todo un deleite para los sentidos.
Una historia centrada en una familia asediada por circunstancias claustrofóbicas. Un hijo
enfermo aterroriza a su padre, a su madre y a su hermana con sus caprichos. La
presencia del hijo es sólo latente pero el terror puede sentirse hasta límites
insospechados.
Como se afirma en la sinopsis oficial, "Las Meninas" no es una película narrativa sino
eminentemente visual y estética que requiere una implicación total por parte del
espectador.
Dean Karr dirige concretamente la parte musical del film. Mykola Veresen, Lyubov
Tymoshevska, Hanna Yarovenko, Dmytro Chernyavsky, Ilonna Arsentyeva, Stas
Arsentyev, Viktoriya Ulyanchenko y Valeriya Ulyanchenko conforman el reparto
esencialmente ucraniano de este proyecto.
Premiere mundial en Rotterdam.
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Más imágenes de "Otto; or up with dead people" de
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Trailer en castellano de "Los limoneros" de Eran Riklis
Trailer de "Hunger" de Steve McQueen
http://www.septimovicio.com/indie/30012008_poster_e_imagenes_de_las_meninas_de_ihor_podolchak_/
Page 1 of 3

Póster e imágenes de "Las Meninas" de Ihor Podolchak - Cine Indie - Séptimo Vicio, noticias de cines y contenidos para gente inteligente.
05.10.08 16:57
Marina Déak debuta en el terreno del largometraje con
"La Grand Vie"
Olivier Assayas dirigirá el biopic sobre el terrorista
venezolano Ilich Ramírez Sánchez
Otro póster para "Synecdoche, New York" de Charlie
Kaufman
Trailer de "Ballast" de Lance Hammer
Póster español de "Los limoneros" de Eran Riklis
Póster y decenas de imágenes de "Tôkyô" de Gondry,
Carax y Joon-ho
Fanny Ardant debutará como realizadora con "Cendres
et sang"
Póster de "Ballast" de Lance Hammer
Michael Winterbottom inicia el rodaje del documental
"The Shock Doctrine"
Manuel Pradal finaliza el rodaje de "La Blonde aux
seins nus"
Fuente: David López
www.ImperiaOnline.org
Comentarios: anuncios Google
http://www.septimovicio.com/indie/30012008_poster_e_imagenes_de_las_meninas_de_ihor_podolchak_/
Page 2 of 3

Ukrainian Film Commission - Igor Podolchak’s “Las Meninas” World Premiere at the IFF Rotterdam 2008
2/29/08 9:30 AM
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Igor Podolchak’s “Las Meninas” World Premiere at the IFF Rotterdam 2008
World premiere of Igor Podolchak’s debut movie LAS MENINAS will take place at the 37 International Film Festival Rotterdam on Jan. 25, 2008. This is the first time a
Ukrainian-made full-length feature film to contend the first prizes of the International Film Festival Rotterdam, the main international forum for avantgarde and art-house
cinema. The festival will take place from Jan. 23 to Feb. 3, 2008.
Besides Igor Podolchak’s movie, 14 more films are to contend the prizes, amongst them: 5 E-Asian, 4 European (Denmark, Sweden, Greece and the Netherlands) and 3
joint Latin American-European productions, and the USA and Kazakhstan 1 film each.
The jury board of the festival includes: Renata Litvinova, a Russian actress, director and producer Jafar Panahi, an Iranian director Titian Finci, deputy director of Locarno
festival Royston Tan, a Singaporean director and Riks Hadders, deputy director of the Museum of Cinema in the Netherlands.
The festival managers announce the movie as follows:
“Las Meninas is a work of a famous Ukrainian painter Igor Podolchak. You can feel his artistic experience in all scenes from the very first to the last. A virtually magical
visual part is full of reminiscences of still-life paintings of XVIII century the music and sound take up the viewer and make him feel present inside this visual experience.
Behind the insignificance of everyday routine there uncovers itself a claustrophobic situation in the family where a sick son terrorizes his father, mother and sister with his
whims. Although the presence of the son in covered, his influence is total. Watching this movie is a true and unknown experience.
Las Meninas is not a film about a story it is a film about senses - you see, you hear, you almost touch it and you certainly experience the full strength of its flow. It bears
a strong resemblance to scattered puzzle pieces, and the viewer is meant to put them together. That’s why it is one of those rare movies which give you a real interactive
sensation, and it is a risk, a modern vanguard experiment, a crossroad between a movie and a visual art”.
Igor Podolchak: “The premiere of our film in the framework of the Rotterdam movie festival is logical and important for us as this festival is focused on new trends of
cinema development as an art. It’s consonant to quite radical concept of Las Meninas project”.
Las Meninas is the first full-length film of Igor Podolchak, where he acted as a scenario author, director and producer. Co-director of musical part of the movie is a wellknown
American music video director and photographer Dean Karr, Photography director – well-known in cinema world Sergey Mikhalchuk. Aleksandr Shchetinsky
created the music for the film. The leading roles are played by Nikolay Veresen, Lyubov Timoshevskaya and Anna Yarovenko.
Hundreds of cinematographers present their films to wide audience in more than 20 showing rooms located in Rotterdam in course of 12 days of the Festival. Over 3000
representatives of world press and cinema business will attend the premieres of the Festival and the CineMart, the largest market of co-production for cinema projects in the
world.
Cinema Festival Feature film Prizes include:
VPRO Tiger Award
MovieSquad Award from the jury of young filmmakers
FIPRESCI (International Film Critics Jury) and others
Las Meninas:
Director, Producer, Scenario author: Igor Podolchak
Joint-Director: Dean Karr
Co-producers: Lilia Mlinarich, Oleg Kokhan
Creative producer: Igor Dyurich
Photography director: Svetlana Makarenko
Composer: Aleksandr Shchetinsky
Audio operator: Miroslav Kuvaldin
Featuring: Mykola Veresen, Lyubov Timoshevska, Anna Yarovenko, Dmitriy Chernyavsky, Ilona Arsentyeva, Stas Arsentyev, Viktoriya Ulyanchenko, Valeriya
Ulyanchenko.
Film length: 99 min.
Produced by MF FILMS studio, Ukraine, 2008.
Igor Podolchak – painter, laureate of 23 international exhibitions, organized 26 one-man exhibitions, took part in 150 group exhibitions. His paintings are displayed in
collections of 26 world museums.
< Prev Next >
Ukrainian Film Commission © 2008
http://www.filmcommission.org.ua/en/index.php?option=com_content&task=view&id=67&Itemid=1
Page 1 of 1

Video library to go wi-fi | IFFR | professionals.filmfestivalrotterdam.com
2/29/08 10:33 AM
Library to go wi-fi
Rob Duyser of the video library confirmed yesterday that IFFR is looking to go wi-fi for the 2009 event. !This year, we went partly wireless,
the idea being to spread the wi-fi zone and give video library access throughout the building," he said. !But because of the capacity of the
bandwidth, we had to restrict everything to the video library. But it"s something we"re looking to do next year, to have a similar service, or at
least a cut-down version of it throughout the building. So anybody with a badge and a lap-top will be able to sign on. It"s an on-going
process of evolving a system that is getting better and better."
As of Friday morning (1 February), the most viewed film at the videotheque was Jens Jonsson"s The King of Ping Pong. Next up were Liew
Seng Tat"s Flower in the Pocket, Las meninas (Ihor Podolchak and Dean Kar) and Abai Kulbai"s Strizh. José Luis Torres Leiva"s El Cielo,
la tierra y la lluvia completed the top five. Some of the most requested films for which videotheque screening permission was not granted
were Carlos Reygadas" Stellet Licht (Silent Light), Alexander Sokurov"s Alexandra and Noah Baumbach"s Margot at the Wedding.
Total film viewings on the server, video and DVD, amounted to 6,200, with an average daily total of 544. Thursday, 31 January saw the
highest number of viewings, at 740.
Information requests about titles from accredited guests numbered 526, with a daily average of 65.75. The total number of hits, including
log-ins, searches, catalogue reviews and film viewings was 340,948. NC
http://professionals.filmfestivalrotterdam.com/eng/the_festival/news/video_library_to_go_wifi.aspx
Page 1 of 1

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Meninas, Las (2008) Recensie - Movie 2 Movie
2/29/08 10:32 AM
0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Zoek erm
Zoeken
Regie hor Podolcak
Genre
drama
Tijdsduur
99 minu en
Jaar 2008
Acteurs
Mykola Veresen Lyubov Tymoshevska Hanna Yarovenko Dmy ro Chernyavsky
Links [ IFFR 2008 ]
Samenvatting
De ilm oon een vers ikkende gezinssi ua ie waarin een zieke zoon zijn ouders en zus er me zijn
grillen erroriseer Die zoon is alleen la en aanwezig de erreur is in ens voelbaar
Er zijn in de wereld van de filmhuisfilm of misschien be er gezegd de !ar house cinema' bepaalde grijze gebieden waarin
nie al ijd duidelijk is wa nog kan binnen de grenzen van de ilm Experimen is na uurlijk nodig om verder e komen in
iedere kuns vorm en cinema vorm hierop geen ui zondering !Las Meninas' de debuu film van beeldend kuns enaar hor
Podolchak is dan ook moeilijk e veroordelen op de gro e ma e van experimen Podolchak heef als kuns enaar al ruim
naam gemaak maar had hiervoor nog geen lange speelfilm gemaak
De ilm begin sympa hiek me een ouder ech paar in een bloeiende zomerse uin fan aserend over kinderen die ze nooi
hebben gehad grappend over de buren en genie end van he zonne je To zo ver enig aangenaam gevoel vanaf di
momen is he nie s dan ongemak en verwarring wa Podolchak ons voorscho el Als in he gelijknamige schilderij van
Velazquez zi en we gevangen in een oud huis waarin zich een onduidelijk gezinsleven afspeel Maar een film is geen
schilderij hoor da nie e zijn in elk geval en och doe deze ilm aan als een levend schilderij een s illeven een droom
een videoclip of een rip misschien maar geen film De 99 minu en voelen als dagen door de onduidelijkheid volledig
gebrek aan plo en cons an e herhalingen De personages over wiens onderlinge band slech s gegok kan worden pra en in
war aal door en langs elkaar heen en verrich en voor durend de vreemds e handelingen Sommige aspec en hiervan
hebben nog wel zekere es he ische waarde maar he ononderbroken geschraap ge ik gekras gezoem gebonk gesmak
en gesnerp is rondui irri an e noemen En hoeveel close-ups van een vork zijn er nu werkelijk nodig?
Na uurlijk zi er wel enig verhaal in en val ook ui de symboliek van alles e halen maar he doe er op een bepaald pun
eigenlijk nie meer oe en da is jammer De prach ige sound rack maak veel goed maar kan de film ook nie dragen Me
ie s minder pre en ie en ie s meer plo had de maker ie s heel speciaals kunnen neerze en Nu is hij zijn doel volledig
voorbij gescho en waardoor zijn film ondanks de première op he Ro erdam Filmfes ival geen lang leven beschoren zal zijn
Ruby Sanders
Alle informatie op www.movie2movie.nl, in welke vorm dan ook, is auteursrechtelijk beschermd en/of is verbonden aan intellectuele
eigendomsrechten. n verband hiermee is het niet toegestaan om zonder uitdrukkelijke schriftelijke toestemming van Movie 2 Movie informatie te
kopiëren.
http://www.movie2movie.nl/index.php?item=190&film=64068
Page 1 of 2

Ukrainian Cinema Foundation / Film Festivals
2/29/08 3:58 PM
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Film festivals
L tt e by tt e Ukra n an f ms appears at the prest ge European f m fest va s and won pr zes. In 2001 "Tyr" of
Taras Tomenko won at the Panoram of the Internat ona Ber n f m fest va . In 2003 n the ma n compet t on of
Ber na e Ukra n an an mator Stepan Kova won S ver Bear for h s f m "Yshov tramvay !9" ("The Tram !9 Was
Go ng"). In 2003 f m "Mamay" by O es San n represented Ukra ne for the f rst t me at the Oskar. In 2005 year
young Ukra n an d rector Ihor Stremb tsk y won Go d Pa m Pr ze for h s f m "Podorozhn " ("Wayfarers").
Th s year f rst t me Ukra n an feature f m took part n the ma n compet t on of Rotterdam nternat ona f m fest va
for the grand pr ze. Here on the 25 h of January 2008 took p ace the f rst n ght of debute f m of Ihor Podo chak
"Las Men nas" . That sn t the f rst Ukra n an f m presented n Rotterdam. Few years ear er there was screened
f m "At the r ver" of Eva Neymann n the nformat on program. Th s tape was shown a so at the London f m
fest va n 2007 and became f rst Ukra n an f m n t s h story.
In Ukra ne there are a so nternat ona fest va s. There are "Mo od st" - fest va of f ct on f ms, "Contact" - fest va of
documentar es and an mat on fest va "Krok". Bes des there are Irpen f m fest va ( nternat ona noncommerc a
fest va of a ternat ve c nematograph), "Stozhary" (fest va of actors art), f m fest va n Ya ta (common project of
Russ a and Ukra ne).
Edi ors Copyrigh s & condi ions of use Tu orial Prin er friendly version
vote
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New! The new stage of life at
Odessa Film Studio Read more
Want to know about Ukrainian
cinema more? Facts names dates
from Serhiy Trymbach!
The National Dovzhenko
Feature Film Studio the leader of
Ukrainian cinema is on the
http://ucf.org.ua/en/festivals
Page 1 of 2

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FILM WISH LIST FOR JAN 2008 « Limitless Cinema in Broken English
05.10.08 17:39
Limitless Cinema in Broken English
February 2, 2008
FILM WISH LIST FOR JAN 2008
Filed under: Uncategorized — celinejulie @ 12:46 am
I think I should make a film wish list once every month. So here is my film wish list for January 2008. I
copied the reviews of some films from the website of the Rotterdam International Film Festival.
1.ELLI MAKRA — 42277 WUPPERTAL (2007, Athanasios Karanikolas, Germany, 82 min)
Produced by unafilm
http://www.unafilm.de/flokati.html
2.LISTENER’S TALE (2007, Arghya Basu, India, 76 min)
Produced by Seasongray
http://www.filmfestivalrotterdam.com/eng/programme/film_az/film.aspx?ID=a412e7fc-8aeb-4400-
b884-e55b5b8816ab
“A meditative, non-fiction visual poem shot over a period of three years among the people of Sikkim in
this north-eastern state in India. Formerly, Sikkim was a Tibetan monarchy established in the 18th
century. Structured as a contemplative, magical ode with elements of pure cinema vérité, it expresses the
spirit of the Buddhist struggle to survive, and maintain the ancient values.
Almost like melodious Buddhist chanting, the film, in a very fitting slow pace, depicts the life of the
various ethnic groups: the Bhutias - Tibetan immigrants who came as settlers to Sikkim as early as the
12th century; the Lepchas - the aboriginals of Sikkim; and the modern, mixed Sikkimese population.
The fascinating choreography of the dance featured in the film was received, as believed, in a trance and
was enacted to reinforce interracial brotherhood at a very crucial juncture of Sikkimese history. The
young Bengali director for many years focused his work on Lamas, traditional music and art forms from
Sikkim as well as today’s reality. His non-narrative, lyrical and meditative form of story telling offers
the viewer his/her own tale. (RS) ”
3.LITTLE MOTH (2007, Tao Peng, China, 99 min)
http://www.varietyasiaonline.com/content/view/4727/
4.LAS MENINAS (2008, Ihor Podolchak + Dean Karr, Ukraine, 99 min)
Produced by MF Films
http://www.filmfestivalrotterdam.com/eng/programme/programme_per_country/film.aspx?
ID=ca4faf17-6daf-4e1a-9e44-6b76f21fc46b
“Feature debut by the Ukrainian visual artist Podolchak. He brings to life a claustrophobic and
dysfunctional family life as if it were a painting in motion. Avant-garde and demanding, but worthwhile
and enchanting, with an especially fine soundtrack.Las meninas is a work by the Ukrainian visual artist
Ihor Podolchak. One musical part is co-directed by the well-known music video director Dean Karr.
Podolchak’s visual arts background can be felt from the film’s very first scene to its very last. The
almost magical visual part bears reminiscences of 17th century still lifes. The music and the sound added
to it absorb the viewers and give them the feeling of being a part of this visual experience.
The minimal plot reveals a claustrophobic situation in a family. A son who is ill terrorizes his father,
mother and sister with his whims. The presence of the son is only latent; the terror can be felt intensely.
Watching this film is a true and unknown experience.
Las meninas is not a film about a story; it is a film about senses - you see, you hear, you almost touch it
and you certainly experience the full strength of its flow. It resembles the scattered pieces of a puzzle
and it is the task of the audience to put the pieces together. It is one of those rare films that invite you to
a sort of interactive screening experience. It can be said that it is a daring, modern avant-garde
experiment, a cross between film and visual arts. (LC) ”
5.MUSICA NOCTURNA (2007, Rafael Filipelli, Argentina, 83 min)
http://filmjourney.weblogger.com/2007/04/06
6.A NOCTURNE (2007, Bill Mousoulis, Australia, 70 min)
http://www.anocturne.com/
http://www.afc.gov.au/filmsandawards/recentfilms/cannes07/feature_242.aspx
“Z and X are a vampire couple, living in an old warehouse in inner-city Melbourne. Over the course of
http://celinejulie.wordpress.com/2008/02/02/film-wish-list-for-jan-2008/
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— [6

Agenda LiterNet | Lucian Maier: Cî!tig"torii - TIFF 007 (9)
05.10.08 17:14
D, 5 oct. 2008
CRONICI FESTIVALUL TIFF 2008
FOTO
Prima pagin!
Cele mai noi art cole
Autori publica"i
Cronici filme
Cronici teatru
Cronici diverse
Cronici muzic!
Galerii foto teatru
Eclect c
Cî!tig"torii - TIFF 007 (9)
Lucian Maier
iunie 2008
Dup! o s!pt!mîn! în care am v!zut patru filme pe zi # i am scris cîte un text noaptea, ast!zi mi-am f!cut un
program de recuperare, cu o plimbare lung!, ni#te m ci cump!r!turi, o vizit! la un prieten. M-am întors la
cinema abia seara, la proiec"ia omagial! Catherine Deneuve, apoi la un film ucrainean, Las Meninas
(Doamnele de onoare), dup! care a# fi aflat cine-s laurea"ii acestei edi"ii a festivalului Transilvania.
Vizitele mele la cinema s-au încheiat rap d ast!zi. M-a# fi bucurat s! o v!d pe Catherine Deneuve dedicînd
spectatorilor români Les parapluies de Cherbourg sau Belle de Jour, Repulsion sau Tristana; astfel,
întîlnirea cu domnia sa putea deveni o lec"ie de cinema. Nu a fost s! fie de data asta. Am a#teptat o or! s! o
z!resc pe Catherine Deneuve în jur de un minut. A urcat pe scen!, a mul"umit publ cului care aplauda încîntat de
a#a vizit!, a spus c! vom urm!ri un film despre iubire - Les temps qui changent, pe care l-a ales fiindc! îl
stimeaz! pe André Téchiné. A men" onat c! va lucra din nou cu acest regizor # i c! a#tepta aceast! ocazie cu
mare interes. Apoi a plecat. A început filmul, m-am pl ctis t o vreme, apoi am tul t-o spre Arta. Am intrat la
filmul lui Igor Podolchak, Las meninas. Dou! personaje, so" #i so"ie, rosteau cîte un monolog imens în care era
vorba despre re"ete de mîncare, detaliate atent # i derulate vizual pe ecran. Dar nu v! gîndi"i la Babette's
Feast, nu a fost vorba de bucate alese, în#irate laolalt!, ci de un periplu în con#tiin"a personajelor, roase de
cerin"ele fiului lor bolnav. În ceea ce spun a ci filmul începe s! îmi plac!, în realitate nu s-a întîmplat a#a ceva.
Am plecat #i de la acesta.
Duminic! vreau s! v!d Tejut (Calea Lactee), un film de Benedek Filegauf, un tip despre care, ca artist, am
auz t multe lucruri bune. Apoi a# vrea s! ajung la C"l"toria lui Gruber (c! sâmb!t! am ales proiec"ia
"Deneuve") # i la Ploy al lui Pen-Ek Ratanaruang sau la Cassandra's Dream al lui Woody Allen (acestea se
suprapun). Ce mai sper eu e c! va fi reluat documentarul Intimidades de Shakespeare y Victor Hugo fiindc!
în timpul proiec"iilor din festival - dou! la num!r - am ales cîte un film românesc, Elevator mai întîi, Nunta
mut" apoi. Am fost neinspirat, n c care din cele dou! filme nu sînt str!lucite, iar Intimidades a cî#tigat trofeul
Transilvania.
A#adar, trofeul Transilvania (10.000 de euro) a r!mas pe continent american, doar c! a urcat mai la nord, în
Mexic. L-a cî#tigat Yulene Olaizula #i, dup! încîntarea vizibil! în ochii unor prieteni care au zis c! m! las! pe mine
s! încerc Nunta mut" #i c! ei îl vor c!uta în toamn!, dac! e ceva de capul s!u, apoi au intrat la Intimidades,
documentarul a meritat premiul din plin. Sper c! va fi reluat în ultima sear! a festivalului. Spre bucuria mea,
trofeul a fost înmînat de Catherine Deneuve, nu de Traian B!sescu. El a fost mai discret de data asta, a înmînat
(doar) un Premiu de Excelen"! actorului Radu Beligan.
Favoritul meu, Lake Tahoe - care, cu rezerva c! nu am v!zut Intimidades, a fost cel mai bun film din tot
festivalul - a primit Premiul special al juriului. Am vorbit despre el în a doua relatare de la TIFF. Premiul pentru
regie l-a prim t Omar Shargawi pentru produc"ia danez! Ma salama Jamil (Jamil, mergi în pace). Un film
construit pe zicala "dinte pentru dinte", în care se confrunt! dou! clanuri arabe din Copenhaga. La ora vizion!rii
(relatarea trei) am considerat c! argumenteaz! bine ceea ce î#i propune la nivel tematic, doar c! într-un mod
cam #col! resc. Poate c! tocmai lucrul dup! carte (#colar, schematic) face evident! regia. În ce m! prive#te,
singurul film cu viziune regizoral! autentic! a fost Lake Tahoe. Cum Fernando Eimbcke a luat Premiul juriului,
cel de regie a mers în alt! direc"ie. $ i munca lui Veiko Ounpuu (regie) la Sügisball (Balul de toamn" -
prezentat în relatarea doi) cred c! este mai consistent! decît cea a lui Shargawi. Or cum, #i Sügisball a luat un
premiu, cel pentru imagine. Premiul pentru cea mai bun! interpretare pleac! spre trio-ul Peter Haumann, Peter
Rudolf, Milan Schruff, protagoni#tii plictis toarei comedii Kalandorok (Aventurierii). Premiul publ cului pleac!
spre J'ai toujours révé d'être un gangster, un film care, dup! cum spuneam # i în relatarea # ase, putea fi
foarte bun dac! Jim Jarmush, fra"ii Délepine sau Aki Kaurismaki nu existau dinaintea lui. A#a e doar un film lipsit
de originalitate, care poate relaxa la ceas de sear!. Premiul FIPRESCI i-a fost acordat filmului argentinian La
Rabia.
Premiul pentru debut în film românesc l-a prim t Elevator. Am vorbit despre el în relatarea # apte. E un film
meritoriu, avînd în vedere c! a fost realizat din pasiune, de amatori. Dar din punct de vedere al reu# tei artistice
propriu-zise, numai cu indulgen"! filmul prime#te un a"a " i a"a. Rateaz! partea esen"ial!, aceea de a crea o
senza"ie de disconfort, de claustrofobie, legat! de ideea de a intra într-un lift. Actorii sînt neconving!tori cînd
trebuie s! exprime furie #i disperare, iar epilogul filmului (cadrul de dup! generic) cam stric! meciul, prin faptul
c! anuleaz! pl!cerea spectatorului de a crea un deznod!mînt dup! propria judecat!. Premiul pentru scurtmetraj
l-a primit Igor Cobileanski pentru (Plictis ! i) Inspira#ie, iar cel pentru lungmetraj l-a primit Thomas Ciulei,
pentru Podul de flori, un alt documentar pe care l-am ratat, dar pe care sper s! îl reg!sesc undeva, la
Festivalul Astra sau, poate, la televiziune.
Top între filmele proiectate în festival #i v!zute de mine pîn! acum:
1. Lake Tahoe
2. Paranoid Park
3. Boogie
4. Joe Strummer: The Future is Unwritten
5. El Espiritu de la colmena
6. Control
7. Testimony
Nu mi-au pl!cut:
RESURSE
Alte art cole de Lucian
Maier
SCRIE$I LA LITERNET
Scrie"i o cron c! (cu
diacritice) a unui eveniment
cultural la care a"i
part cipat #i trimite"i-o la
cron ci@liternet.ro. Dac! ne
place, o public!m
Teren retrocedat
recent
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http://agenda.liternet.ro/articol/7131/Lucian-Maier/Cistigatorii-TIFF-0079.html
Page 1 of 2

Agenda LiterNet | Lucian Maier: Cî!tig"torii - TIFF 007 (9)
05.10.08 17:14
6. Tache
5. Kalandorok
4. Istoria 52
3. Russian Ark
2. Sakli Yuzler (Fe#e acoperite)
1. Marilena - un film care nu merita o proiec"ie în festival!
Proiecte interesante, care merit! aten"ie:
1. Funny Games U.S. (nu l-am pus în top fiindc! e un proiect special - despre consisten"a lui am vorbit în
prima relatare).
2. I'm Not There
3. Delta
4. Lou Reed's Berlin
5. Shine a Light
6. Sügisball
7. Întîlniri încruci!ate
Vota"i acest film/eveniment:
Vota"i acest articol:
Anun"a"i un prieten
Media: 4.1/5 (47 voturi)
Detalii
Media: 4.7/5 (3 voturi)
Detalii
Versiune imprimabil!
Comentarii cititori Ad"ugare comentariu
ALTE ARTICOLE FESTIVALUL TIFF 2008
Cum s-a v"zut TIFF 2008 de la AperiTIFF, Autori diver#i (Media: 4.5/5 - 6 voturi)
Filme care nu exist" (dar cost") - TIFF 2008, Anca Gr!dinariu (Media: 3.6/5 - 10 voturi)
De la TIFF 2008 adunate (VIII), Miruna Vasilescu, Mark Ratz, Radu Meza, Cristi M!rculescu (Media: 4.7/5 -
3 voturi)
L"z": The Sequel - TIFF 2008, Anca Gr!dinariu (Media: 3.7/5 - 6 voturi)
Filmele au fost excesul , Anca Gr!dinariu (Media: 4.5/5 - 4 voturi)
Toate cronicile
© 2001-2008 Asocia"ia LiterNet®. Toate drepturile rezervate.
Termeni legali | Declara"ie de conf den"ialitate | Contact | Oferta de publicitate
http://agenda.liternet.ro/articol/7131/Lucian-Maier/Cistigatorii-TIFF-0079.html
Page 2 of 2

http://www.jigsawlounge.co.uk/film/content/view/812/1/
25.10.09 16:54
7th TRANSILVANIA INTERNATIONAL FILM FESTIVAL (CLUJ, Romania): Sheila
Seacroft's dispatches
Saturday, 07 June 2008
films reviewed below
WED : The Man Who Walked
THU : The Village Called Sands; Tackey; Football Undercover; Las Meninas
FRI : Go With Peace Jamil; Nothing Personal; Tale 52; Shakespeare and Victor Hugo's Intimacies; Seven
Days Sunday
SAT : The Flower Bridge; Boogie; Gruber's Journey; Import/Export
SUN : Milky Way
~~~~~~~~~~~~~~~~~~~~~~~~~~
Wednesday 4th June
Hot and sticky Cluj after a hot and sticky Rome and a long and late flight from Fiumicino - the passengers
actually applauded as we came in to land, so relieved were they it was all over. Goodness the city's looking
smarter, only a year on. More chic clothes shops, a mall, coffee bars, a cycle lane down the wide main
boulevard which was under some serious reconstruction last year...much nicer for the people who live here, of
course, but I do hope it doesn't lose its raffish charms entirely. Already I'm mourning the disappearance of the
little hole-in-the-wall doughnut shop where I used to snatch a quick lunch en route between cinemas. A hot
dog outlet stands next to its derelict premises, painted flowers still cheerfully decorating the windows. Late
arrival though it was, I was in time to take advantage of the goulash party: hot stew, mamaliga (the buttercupyellow
maizey national stodge of Romania), and sour cream. Nice. Then to my favourite cinema, the Arta, to
get a first film under my belt...
Page 1 of 6

http://www.jigsawlounge.co.uk/film/content/view/812/1/
25.10.09 16:54
THE MAN WHO WALKED 5/10
L'homme qui marche : France 2007 : Aurelia Georges : 82mins : seen at Cinema Arta
Based on the true story of a Russian emigre, Vladimir Slepian, it follows the life from 1974 to the nineties of
oddball Victor Atemian, a translator who is taken up by the smart bohemian set in Paris in the 70s, both for his
odd looks and his dada-esque writing. In his one published work, which he performs, he imagines himself as a
dog, and this motif carries on throughout to his final demise on the pavement, oh so symbolically, outside leftwing
intellectuals' watering hole Les deux magots. Atemian is played by Cesar Saracho, (The Piano Tuner of
Earthquakes), an actor who looks as if he has strayed out of a Cocteau movie. Times change, Mitterand gets
in, the Wall comes down, but none of these things touch Atemian, whose graceless and unworldly
manner leads to him being gradually dropped by his 'friends' until he ends up destitute on the streets, eating
left-overs from a college dining hall, then nothing. His weird winsome ways and soulful skinniness soon begin
to pall, as do the mannered and terribly French clichés ('I was 18 before I saw the sea - is that not strange?'
asks a girl soulfully and inconsequentially in a bar). It's oddly unengaging, and full of froideur and self
importance.
Thursday 4th June
THE VILLAGE CALLED SANDS 8/10
Nisipuri : Romania 2008 : Claudiu Mitcu : 78 mins : seen at Cinema Victoria
This utterly charming film, made by team with no training or experience in filming, looks at a scruffy little fair in
an impoverished corner of south western Romania. The picture builds up with interviews with local children,
inhabitants, and the sometimes jaundiced stall holders, as the area is prepared. Opinons vary as to how long
the fair has been coming to town, but it's been here every 29th August for as long as anyone can remember.
Basic, shoddy affair though it is, with its lucky wheel made of nails and its boxing booth with the most ancient
and misshapen punchball you've ever seen, with dodgy meatballs (horse? donkey??) and tawdry prizes ('what
will I do with a mobile camera strap?' asks a bemused little boy) it's the fair everyone remembers from their
childhood, and it makes people happy - sunburnt lads getting tipsy and showing off, kids getting sweets from
indulgent grandads, girls eyeing up the glittery jewellery stall. 'There is no fair without a merry-go-round' (or
rather 'marry-go-round', as the subtitles happily have it), declares the merry-go-round man, and the most
beautiful and joyous image of all is a slow take of the simple machine as it starts up and whirls its customers
up and around against an afternoon sky. As the sun sets the punters turn homeward on their various vehicles
(' I come on the tractor, but I've got an Opel at home.'). A delight.
TACKEY 6/10
Tache : Romania 2008 : Igor Cobileanschi : 76 min : seen at Cinema Victoria
A broad comedy about death and the fear of death. Tache ia a gravedigger who responds to the news that he
has cancer by planning himself the most sumptuous funeral he can, with pride of place on a hummock in his
own cemetery. A tart with a heart who picks up clients at the graveside, the local undertaker with his 'Princess
Di's very own hearse', a best friend with a liking for the girls, a philandering cemetery owner, his wife and
several children, form a comedy of errors which constantly frustrates his aims, until a surprising development
alters the outcome altogether. Great ensemble playing, warmth, and many tiny incidental pleasures.
FOOTBALL UNDERCOVER 6/10
Germany 2008 : David Assmann, Ayat Najafi : 86 mins : seen at Cinema Arta
Marlena, member of Berlin women's football team BSV AL Dersimspor, whose partner is Iranian, gets to know
about women's football in Iran and determines to take her team over there to play the Iranian national team.
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They, plus their Manager (who is Turkish) are keen, and we watch the hoops they have to jump through to fix it
up and eventually arrive in Iran, where of course they will have to play in scarves and long trousers. The
authorities blow hot and cold, partly depending on the international situation, but eventually against all the odds
the match takes place. After rather too long exposition, with somewhat staged-looking discussions between the
women to carry along the narrative, the film takes off and becomes thoroughly engaging when we get inside
the ground (via camerawomen only, of course) during the match and see the reality of what iranian women
supporters have to put up with, including a loudspeaker harangue from the morality police at half time not to be
indecorous - 'if you want to sing and dance, go to the disco.' Ironically the manager and the film's directors
(one of whom has been the major fixer of the trip) are not allowed inside to watch, putting them in the position
of women outside male matches. Along the way we meet characters on either side, from Susi the German
striker, a strong, wild spirit who l kes to play with men because women aren't competitive enough, to two
Iranian players, one of whom, very outspoken, is inexplicably dropped from the team. Like Offside, also on the
theme of women and football in Iran, it's both a shocking look at gender discrimination, and a testament to
female spirit.
LAS MENINAS 7?/10
Ukraine 2008 : Ihor Podolchak : 99 mins : seen at Cinema Victoria
"Las Meninas is not a film about a story; it is a film about senses.... It is one of those rare films that invite you
to a sort of interactive screening experience. It can be said that it is a daring, modern avant-garde experiment,
a cross between film and visual arts."
Thus speaks the Rotterdam Film Festival catalogue, about this first film by Podolchak, a visual artist. It's a
difficult film which demands a second look, and a film which tantalises the viewer to make interpretations of
and connections between images which are never resolved. The human tendency to look for a plot is
constantly thwarted, which would make this considerably difficult viewing, were it not that the film itself is so
utterly beautiful. A troubled family occupy an idyllic country house, full of memories, or things that never were,
or desires. Sadness, sexuality and yearning, household routines and horror, combine and are overlaid to
present the most exquisite yet troubling images, with an exhilarating, terrifying soundtrack by Oleksandr
Schetynsky. Baffling, disturbing, but totally mesmerising.
Friday 6th June
GO WITH PEACE, JAMIL 8/10
Ma salama Jamil : Denmark 2008 : Omar Shargawi : 87 mins : seen at Cinema Republica
A searing look at Arab immigrant experience in Europe from the inside, this terrific first feature is set in a
Copenhagen which scarcely ever looks l ke a northern European city, where vengeance and hatred are turned,
not, as a western viewer first, perhaps, imagines, on the non-Islamic community in the form of terrorism, but on
fellow Moslems, in an uncontrolled cycle of vengeance and violence between Shia and Sunni. Jamil, good
father and son, but with a murky history himself, is inextricably caught up in duties to friends, family, and his
religion. Sheer heart-in-mouth elements of thriller plus individual moral anguish have tremendous power, as
swirling, violent chases down the mean streets of the city carry us along with the action, while stark use of
close-up express individual anguish and palpable rage. The storytelling may be at times muddled, but in the
end that doesn't really matter much, nor do the occasional almost Hardy-esque plot contrivances. From the
House of Atreus down to the Corleone clan, how to stop a cycle of vengeance has been a moral dilemma at
the heart of drama, and here it is presented in stunning new shape.
NOTHING PERSONAL 7/10
Nichego lichnogo : Russia 2007 : Larisa Sadilova : 92 mins : seen at Cinema Republica
While on the one hand this film has the dark political texture of surveillance and intrusion into individual lives,
with overtones of Coppola's The Conversation, it is first and foremost a personal tale of obsession, loneliness
and of what it means to come close to another. Zimin, a phlegmatic private detective who specialises in
surveillance, never wants to know the background of the jobs he is given. A certain fastidiousness makes him
want to keep a distance from the often sordid or avaricious motives of the paying customers. But when he bugs
the flat of Irina, a lonely, unglamorous single woman, he finds himself unintentionally becoming drawn in to her
problems. An unexpected plot development reveals to him and to us that his interest goes beyond the
professional, and he allows himself to become more entangled in her life than he knows he should. Watching
and listening to her private emotions and piecing together her life becomes important beyond reason to him,
pointing up his own emptinesses. Valeri Barinov' superb understated performance as the flawed but
sympathetic Zimin takes us along as co-witnesses through the grimy anonymous suburbs and the banal but
passionate lives lived there.
TALE 52 6!/10
Istoria 52 : Greece 2008 : Alexis Alexiou : 98 mins : seen at Cinema Republica
From one obsession to another. Next film up was a flawed but intriguing attempt at showing inside the mind of
an unstable obsessive trying to make sense of a relationship break-up. Iasonas is a quiet professional who
one night meets and is instantly attracted to Penelope. The build up of their relationship is sketchy, as it's the
breakdown that counts. Suddenly, she is no longer there, and with a series of time shifts we begin to inhabit
Iasonas' skewed perception of what might have happened. Most of the action is in the claustrophobic flat the
couple come to share, but we are really inside his troubled head, and different ‘versions' crowd in, edging each
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other out of the way, some innocent and positive, others very dark indeed. Ominous sinister manifestions, like
the mould that grows on the walls, together with simple objects - a pair of shoes in a box, a picture of a beach,
or a real beach, clingfilm, a spot of toothpaste on a shirt, heave with significance. Where did it start to go bad,
at what point was the wrong path taken, the wrong reaction given, and to what terrible depths, exactly, has it
gone wrong? - are some of the questions from which Iasonas tries to construct his skewed versions of reality.
Everything is open to many often overlapping interpretations. A pity the whole is rather overwrought and there
are somewhat too many iterations of poss bilities - but for the most part it compels attention, and there are real
shocks and a powerful mood of dread.
SHAKESPEARE AND VICTOR HUGO'S INTIMACIES 8/10
Intimidades de Shakespeare y Victor Hugo aka Intimacies of Shakespeare and Victor Hugo : Mexico 2008 :
Yulene Olaizola : 80 mins : seen at Cinema Victoria
Hard to believe that this accomplished and assured documentary was a film school exercise. But Yulene
Olaizola had had its conception in mind for years, from the stories her grandmother Rosa told of the handsome
young lodger who lived at the top of her house in the 80s, painted the strange pictures on the walls, and
played such an important role in her emotional life. Always mysterious and almost certainly gay,(not easy at
that time and in that place), he was a poet and musician as well as an artist, and a strong relationship
developed between him and Rosa, whom he called his muse. Still strikingly beautiful and with a face the
camera loves, Rosa tells her tale imperiously and not without humour, pacing through the house where she still
lives that is full of memories. The director's intimate knowledge of her location allows it almost to become a
character in its own right, and we drift through it like invited guests, Rosa holding court, always aware of the
camera yet totally at ease, lively and composed, as a she tells her stories, often joined by the more phlegmatic
long-time servant Florencia with her own more down to earth memories. The fabric of the house, mirrors,
drapes, fine old lived-in furniture are l ke witnesses to their stories. But the general feeling of a pleasant,
harmless and creative young man slowly and almost imperceptibly leads on to something maybe more sinister
(but then again maybe not), and a shocking end confounds the amiable picture we first felt drawn to. Winner
of prizes at Buenos Aires and Mexico City, this film went on to be awarded the Transilvanian Jury prize here at
the end of the Festival.
SEVEN DAYS SUNDAY 6/10
Sieben tage sonntag : Germany 2007 : Niels Laupert : 79 mins : seen at Cinema Victoria
Another film in the main competition and very much fancied, this is based on the story of two notorious Polish
teenage killers-for-kicks. Relocated in this version to a grim housing complex in Leipzig, we meet choirboy
Adam who lives alone with his weary grandmother, (we later learn his father is in prison) and his wild friend
Tommek, for whom he clearly nurses feelings of more than friendship, so that he is unmoved by the pretty
blonde neighbour who longs for a relationship with him. Tommek is clearly the more full of rage and amoral of
the two, so when it's Adam who, on a bad night of drunkenness and frustration, suddenly declares that he is
going to kill someone, why does it not become more interesting? The young, late night, audience actually
laughed, and not in a nervous way. Laupert goes out of his way to point out how he does not attempt to show
why these two's lives take such a dark course, but he really needs to give us more than the usual thwarted
‘forbidden' love, boredom, and poverty of expectation, to make anything really engaging about these
characters. There is a difference between ciphers and unknowable minds. When the final violence comes, I
was surprised how un-chilled I felt, though Laupert's sharp editing and dark palette of a grim loveless
landscape promises good work to come
Saturday 6th June
In my hotel on the outskirts of town I get awakened by a crowing cock each morning, then it's a brisk walk in,
through a different side of Cluj. Calea Motilor, one of the main arteries leading from the west into the city, is
busy with crammed trolley buses, a tree-lined street where ordinary life goes on, a children's hospital, a
butchers, glimpses of gardens and smart or ramshackle buildings through broad gateways, a university
department, small food shops, ‘Second Hand' clothes
emporiums, bars, the ubiquitous copying shops, in a range of
building styles with traditional solid one-storey C19th houses
nestling beside their upstart crumbling concrete 60s
neighbours. Many show signs of former glory, the aspirations
of earlier optimistic times, plaster decorations, carved
wooden doors, the wear and tear of over a hundred years of
use stuck over with modern keep clear signs and tattered
flyers, elaborate tiled roofs and ornamental wooden or
ceramic mouldings along eaves, often bedraped with an array
of electrical wires of dubious safety. It's in a city's ordinary
streets like these that you get its real flavour and history. One
evening I passed my turn and on the next corner, beside a
modest bar, found a plain black marble memorial to four
people killed on that spot in the uprising of December 1989.
THE FLOWER BRIDGE 9/10
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Podul de flori : Romania 2008 : Thomas Ciulei : 87 mins :
seen at Cinema Arta
In a shabby living room a small boy is having vivid blue dots
painted all over his face. He has chickenpox, and his father is
painting the spots with a medication to stop them itching.
Shades of blue play their part in the intense beauty of this
film, from the summer skies to the winter mists to the paint on
the walls, a beauty that only underlines the sadness of the
situation. Costica is raising his three children alone on their
small farm in Moldova, while his wife is away in Italy working
to pay off their debts and put the children through school, a
situation that currently affects almost half the population of
the country. An eccentric, likeable man, three bright children,
they are happy against the odds, in a life of hard drudgery
with little time for childhood or teenage pleasures, a life of
coping with bitter cold and ever-present mud, and the battle
to keep their ramshackle house clean. Phonecalls, letters and
presents arrive from the absent mother, but she is still no
nearer returning home. The Bridge of Flowers was an event
in 1990 when Moldovans and Romanians linked across the
Prut river which had been an enforced boundary since WW2
between Romanian and Soviet Moldavia, a Berlin Wall of the
East. It is here also in the flower seeds which the mother sends to her family, a poignant token of their
togetherness. There's plenty of humour, but this is the saddest film of any I had so far seen at the festival. The
scene where the family all work cheerfully together sowing on the field, father digging the furrows, daughters
sowing, son covering, is indescribably poignant as the camera pulls away to show the vast field behind them.
Life is hard.
BOOGIE 6!/10
Romania 2008 : Radu Muntean : 102 mins : seen at Cinema Republica
One of Romania's most esteemed directors, an internationally known actress and a universal theme should
ensure this film's success beyond its native country and the art house circuit. Bogdan (‘Boogie' to his friends)
is on a seaside holiday with his little son and pregnant wife (Anamaria Marinca), he's doing well, working hard,
happy... and then he runs into two old friends from his ‘Boogie' days, and everything becomes confused.
Drinking, smoking and picking up women are things he's given up, but his wife's antipathy to his old friends
and all they represent provokes a reaction and a potential marriage-damaging night on the town. Boogie is a
kind of reasonable everyman trying to reconcile different compartments of his life and decide who he really is.
By the end of the film husband and wife have both grown up a little. It's naturalistic, contemporary, and as far
away from 4 Months..., 12.08 East of Bucharest, or Mr Lazarescu as can be - a portrait of normal middle class
married life, now, not great or exceptional but relevant and assured.
GRUBER'S JOURNEY 5/10
Calatoria lui Gruber : Radu Gabrea : Romania 2008 : 96 mins: seen at Cinema Victoria
Last year Gabrea brought us THE BEHEADED COCKEREL, a story of the rise of fascism and the persecution
of Jews in the Fagoras area of Romania, through the perspective of its young people. This film deals with the
pogrom of Iasi, a town in the north east of the country, through the eyes of an Italian journalist. Curzio
Malaparte, friend of Mussolini and war correspondent with the German army in Romania, has a problem - a
debilitating allergy which threatens to prevent him going to the Front. Given the name of a specialist, Dr Gruber
of Iasi, he travels there for a consultation. There he has to be put through the hoops of officialdom, increasingly
tragicomic and frustrating, and I'm afraid to me increasingly irritating to watch. The outcome is signalled from
the beginning, and I felt aggravated beyond belief by the buffoon-like characters and constant repetition of
situations. As in his previous film, the view of a relatively unknown aspect of WW2 is of interest to western
European audiences, but nothing new about persecution is really said, and I'm not really sure what the point of
the exercise is.
IMPORT/EXPORT 9/10
Ulrich Seidl : Austria 2007 : 135 mins : seen at Cinema Republica
The imports and exports in this devastating film are human, two powerless individuals travelling in different
directions between east and west. Olga, a nurse with a baby, cannot make ends meet in the Ukrainian hospital
where she works, and, after an unsatisfactory dalliance with the TV sex trade, she leaves her child with her
mother and moves to Austria, where, with no employment rights, after a series of unskilled jobs she becomes
a cleaner in a geriatric hospital. Paul, a failed security guard in Austria, travels with his scumbag stepfather to
deliver battered old gambling machines to the Ukraine. Both are good-hearted and willing, both meet with
temptation but keep their integrity, but the dice are loaded strongly against them. Uncomfortable subjects -the
sex trade, appalling living conditions and the horror of extreme old age, are confronted head on, the latter
particularly distressing, and the story becomes far more than that of a pair of vulnerable individuals who
deserve better than they will ever get, but a universal cry of despair. The mirroring of their travels is echoed by
Seidl's symmetrical framing which adds a grace and elegance to the most sordid scenes, and his use of sound
is compelling, particularly devastating in the final scene with the night time moans of the female patients, with
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the cry of death, death, death piercing through. Great performances throughout, and particularly from
Ekateryna Rak as the spirited Olga, who keeps a glow of innocence about her, and whose despair breaks your
heart.
Sunday 7th June
MILKY WAY 8/10
Tejut : Benedek Fliegauf : Hungary 2007 : 82 mins : seen at Cinema Arta
A perfect treat for a Sunday morning, Tejut is a set of 9 vignettes, each a static camera shot, before which
human figures move, shapes take on meaning and some mystery unfolds. The episodes encompass a day,
moving from windy dawn for two people in a tent, to a hill above a night-time city. Playfulness is uppermost, as
signalled in the opening sequence, and in the comic inflation of a bouncy castle against a bleak flat landscape.
Each has its moment of revelation, and those with a possible story to piece together, such as the harbour
scene, are less successful than the more gnomic, like the cyclists climbing and descending the heap of stones
under a tree which holds a huge menacing nest. Though classifiable as experimental art cinema, the observing
eye is warm and sympathetic, there are no words, only sounds, human, natural, mechanical. L ke poems, or,
say, enigmatic short stories from Borges, they tantalise, intrigue, or chill. The final sequence is full of joy.
Sunday morning and everyone's carrying flowers - elaborate lily concoctions, huge perfect roses, or homely
little bunches proffered by elderly Roma ladies on street corners. Church bells, and people dressed in their
Sunday best chatting outside churches, otherwise relatively quiet streets, but the tables along the Boulevard
Eroilor are filling up in the warm sun. What a pity one of the proprietors decides it's a good idea to turn on his
music (oh no, Mick Hucknall!) full blast. Most shops are shut, but the market's still busy, now in its new indoor
home round the corner from its old narrow pitch (now occupied, somewhat symbolically, by parked cars and
McDonalds tables). You can track it back to its new home via the procession of people with plastic bags
sagging with strawberries or cherries by the kilo. After my last film,there's a pleasant lunch for all those leaving
in a little corner of the oldest part of the city centre. Traditional fare - stuffed cabbage leaves, cold meats,
sharp salty cheese, the ubiquitous cucumber (a regular presence at the breakfast table - but how unlike our
dull watery English specimens) and huge spring onions. Pancakes are promised, but we have to leave too
soon for our flight, leaving Cluj to its sunshine for another year.
Sheila Seacroft
still online : Sheila's dispatches from Cluj 2006 and 2007
[ Back ]
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Movieblog » Jurnal de TIFF - 5.06 - “Las Meninas” / “Domnisoarele de onoare”
05.10.08 17:19
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« Jurnal de TIFF - 5.06 - “Sieben Tage Sonntag” / “In fiecare zi e duminica” | Main | Jurnal de TIFF -
5.06 - “When the Levees Broke: A Requiem in Four Acts” / “Katrina – Recviem în patru acte” »
Publicat de Laura June 8, 2008 in Festivaluri.
Jurnal de TIFF - 5.06 - “Las Meninas” / “Domnisoarele de onoare”
Filmul ucrainian a fost prezentat in premiera
mondiala anul acesta la festivalul de la Rotterdam si
este produsul asocierii dintre Ihor Podolchak (artist
grafic si, atentie, pictor interesat printre altele de
estetica psihedelica) si Dean Karr (regizor de
videoclipuri de tot felul, inclusiv de publicitate,
fotograf interesat de potentialul artistic al imaginilor
miscatoare).
Iata ce spune catalogul festivalului olandez despre
filmul acesta care, sincera sa fiu, m-a pus la grea
incercare : “Las Meninas is not a film about a story;
it is a film about senses…. It is one of those rare
films that invite you to a sort of interactive
screening experience. It can be said that it is a
daring, modern avant-garde experiment, a cross
between film and visual arts.” Nu am inteles nimic din cele aproape doua ore petrecute in sala, explicatiile pe
care am incercat sa mi le furnizez sint departe de ceea ce sugereaza Sheila Seacroft pe Jigsaw Lounge :” It’s a
difficult film which demands a second look, and a film which tantalises the viewer to make interpretations of
and connections between images which are never resolved. The human tendency to look for a plot is constantly
thwarted, which would make this considerably difficult viewing, were it not that the film itself is so utterly
beautiful. A troubled family occupy an idyllic country house, full of memories, or things that never were, or
desires. Sadness, sexuality and yearning, household routines and horror, combine and are overlaid to present
the most exquisite yet troubling images, with an exhilarating, terrifying soundtrack by Oleksandr Schetynsky.
Baffling, disturbing, but totally mesmerising.”
In ceea ce ma priveste, votez pentru “perturbant”. Frumusetea am gasit-o doar in unele secvente in care
interioarele sint filmate cumva din exterior, ca si cum o entitate fara nume si-ar lipi ochiul de sticla geamurilor
si ar inregistra cumva ceea ce se petrece dincolo, ceea ce poate ar explica dialogurile demente. Se pare ca
Podolchak are o pasiune pentru interioare incastrate unele in altele, oglinzi, cadrele usilor si mai ales pentru
obiecte, pentru lucirea metalului in penumbra si pentru felul in care lumina traverseaza un pahar de cristal.
In ceea ce priveste obstinatia autorului de a evita orice urma de coerenta narativa, am retinut urmatoarele :
“Unde este capul si unde este coada rimei ?- Capul este intr-acolo unde merge rima - Nu mai merge, am
zdrobit-o eu.”
De ce sa filmezi o fetita care recita “Les voyelles” al lui Rimbaud, laolalta cu citeva “comptines” copilaresti ?
De ce sa inregistrezi o emisiune despre viata insectelor si sa insisti pe un personaj care tot filmul maninca cu
un apetit vorace ? De ce sa pui in scena numeroasele dialoguri delirante care perturba efectul pe care trebuie
sa-l aiba imaginea asupra spectatorului ?
Sunday, 8 Jun 2008 @ 3:56 am
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05.10.08 16:43
THE MAN WHO WALKED 5/10
L'homme qui marche : France 2007 : Aurelia Georges : 82mins : seen at Cinema Arta
Based on the true story of a Russian emigre, Vladimir Slepian, it follows the life from 1974 to the nineties of
oddball Victor Atemian, a translator who is taken up by the smart bohemian set in Paris in the 70s, both for his
odd looks and his dada-esque writing. In his one published work, which he performs, he imagines himself as a
dog, and this motif carries on throughout to his final demise on the pavement, oh so symbolically, outside leftwing
intellectuals' watering hole Les deux magots. Atemian is played by Cesar Saracho, (The Piano Tuner of
Earthquakes), an actor who looks as if he has strayed out of a Cocteau movie. Times change, Mitterand gets
in, the Wall comes down, but none of these things touch Atemian, whose graceless and unworldly
manner leads to him being gradually dropped by his 'friends' until he ends up destitute on the streets, eating
left-overs from a college dining hall, then nothing. His weird winsome ways and soulful skinniness soon begin
to pall, as do the mannered and terribly French clichés ('I was 18 before I saw the sea - is that not strange?'
asks a girl soulfully and inconsequentially in a bar). It's oddly unengaging, and full of froideur and self
importance.
Thursday 4th June
THE VILLAGE CALLED SANDS 8/10
Nisipuri : Romania 2008 : Claudiu Mitcu : 78 mins : seen at Cinema Victoria
This utterly charming film, made by team with no training or experience in filming, looks at a scruffy little fair in
an impoverished corner of south western Romania. The picture builds up with interviews with local children,
inhabitants, and the sometimes jaundiced stall holders, as the area is prepared. Opinons vary as to how long
the fair has been coming to town, but it's been here every 29th August for as long as anyone can remember.
Basic, shoddy affair though it is, with its lucky wheel made of nails and its boxing booth with the most ancient
and misshapen punchball you've ever seen, with dodgy meatballs (horse? donkey??) and tawdry prizes ('what
will I do with a mobile camera strap?' asks a bemused little boy) it's the fair everyone remembers from their
childhood, and it makes people happy - sunburnt lads getting tipsy and showing off, kids getting sweets from
indulgent grandads, girls eyeing up the glittery jewellery stall. 'There is no fair without a merry-go-round' (or
rather 'marry-go-round', as the subtitles happily have it), declares the merry-go-round man, and the most
beautiful and joyous image of all is a slow take of the simple machine as it starts up and whirls its customers
up and around against an afternoon sky. As the sun sets the punters turn homeward on their various vehicles
(' I come on the tractor, but I've got an Opel at home.'). A delight.
TACKEY 6/10
Tache : Romania 2008 : Igor Cobileanschi : 76 min : seen at Cinema Victoria
A broad comedy about death and the fear of death. Tache ia a gravedigger who responds to the news that he
has cancer by planning himself the most sumptuous funeral he can, with pride of place on a hummock in his
own cemetery. A tart with a heart who picks up clients at the graveside, the local undertaker with his 'Princess
Di's very own hearse', a best friend with a liking for the girls, a philandering cemetery owner, his wife and
several children, form a comedy of errors which constantly frustrates his aims, until a surprising development
alters the outcome altogether. Great ensemble playing, warmth, and many tiny incidental pleasures.
FOOTBALL UNDERCOVER 6/10
Germany 2008 : David Assmann, Ayat Najafi : 86 mins : seen at Cinema Arta
Marlena, member of Berlin women's football team BSV AL Dersimspor, whose partner is Iranian, gets to know
about women's football in Iran and determines to take her team over there to play the Iranian national team.
They, plus their Manager (who is Turkish) are keen, and we watch the hoops they have to jump through to fix it
up and eventually arrive in Iran, where of course they will have to play in scarves and long trousers. The
authorities blow hot and cold, partly depending on the international situation, but eventually against all the odds
the match takes place. After rather too long exposition, with somewhat staged-looking discussions between the
women to carry along the narrative, the film takes off and becomes thoroughly engaging when we get inside
the ground (via camerawomen only, of course) during the match and see the reality of what iranian women
supporters have to put up with, including a loudspeaker harangue from the morality police at half time not to be
indecorous - 'if you want to sing and dance, go to the disco.' Ironically the manager and the film's directors
(one of whom has been the major fixer of the trip) are not allowed inside to watch, putting them in the position
of women outside male matches. Along the way we meet characters on either side, from Susi the German
striker, a strong, wild spirit who likes to play with men because women aren't competitive enough, to two
Iranian players, one of whom, very outspoken, is inexplicably dropped from the team. Like Offside, also on the
theme of women and football in Iran, it's both a shocking look at gender discrimination, and a testament to
female spirit.
LAS MENINAS 7?/10
Ukraine 2008 : Ihor Podolchak : 99 mins : seen at Cinema Victoria
"Las Meninas is not a film about a story; it is a film about senses.... It is one of those rare films that invite you
to a sort of interactive screening experience. It can be said that it is a daring, modern avant-garde experiment,
a cross between film and visual arts."
Thus speaks the Rotterdam Film Festival catalogue, about this first film by Podolchak, a visual artist. It's a
difficult film which demands a second look, and a film which tantalises the viewer to make interpretations of
and connections between images which are never resolved. The human tendency to look for a plot is
constantly thwarted, which would make this considerably difficult viewing, were it not that the film itself is so
utterly beautiful. A troubled family occupy an idyllic country house, full of memories, or things that never were,
or desires. Sadness, sexuality and yearning, household routines and horror, combine and are overlaid to
present the most exquisite yet troubling images, with an exhilarating, terrifying soundtrack by Oleksandr
Schetynsky. Baffling, disturbing, but totally mesmerising.
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Friday 6th June
GO WITH PEACE, JAMIL 8/10
Ma salama Jamil : Denmark 2008 : Omar Shargawi : 87 mins : seen at Cinema Republica
A searing look at Arab immigrant experience in Europe from the inside, this terrific first feature is set in a
Copenhagen which scarcely ever looks like a northern European city, where vengeance and hatred are turned,
not, as a western viewer first, perhaps, imagines, on the non-Islamic community in the form of terrorism, but on
fellow Moslems, in an uncontrolled cycle of vengeance and violence between Shia and Sunni. Jamil, good
father and son, but with a murky history himself, is inextricably caught up in duties to friends, family, and his
religion. Sheer heart-in-mouth elements of thriller plus individual moral anguish have tremendous power, as
swirling, violent chases down the mean streets of the city carry us along with the action, while stark use of
close-up express individual anguish and palpable rage. The storytelling may be at times muddled, but in the
end that doesn't really matter much, nor do the occasional almost Hardy-esque plot contrivances. From the
House of Atreus down to the Corleone clan, how to stop a cycle of vengeance has been a moral dilemma at
the heart of drama, and here it is presented in stunning new shape.
NOTHING PERSONAL 7/10
Nichego lichnogo : Russia 2007 : Larisa Sadilova : 92 mins : seen at Cinema Republica
While on the one hand this film has the dark political texture of surveillance and intrusion into individual lives,
with overtones of Coppola's The Conversation, it is first and foremost a personal tale of obsession, loneliness
and of what it means to come close to another. Zimin, a phlegmatic private detective who specialises in
surveillance, never wants to know the background of the jobs he is given. A certain fastidiousness makes him
want to keep a distance from the often sordid or avaricious motives of the paying customers. But when he bugs
the flat of Irina, a lonely, unglamorous single woman, he finds himself unintentionally becoming drawn in to her
problems. An unexpected plot development reveals to him and to us that his interest goes beyond the
professional, and he allows himself to become more entangled in her life than he knows he should. Watching
and listening to her private emotions and piecing together her life becomes important beyond reason to him,
pointing up his own emptinesses. Valeri Barinov' superb understated performance as the flawed but
sympathetic Zimin takes us along as co-witnesses through the grimy anonymous suburbs and the banal but
passionate lives lived there.
TALE 52 6!/10
Istoria 52 : Greece 2008 : Alexis Alexiou : 98 mins : seen at Cinema Republica
From one obsession to another. Next film up was a flawed but intriguing attempt at showing inside the mind of
an unstable obsessive trying to make sense of a relationship break-up. Iasonas is a quiet professional who
one night meets and is instantly attracted to Penelope. The build up of their relationship is sketchy, as it's the
breakdown that counts. Suddenly, she is no longer there, and with a series of time shifts we begin to inhabit
Iasonas' skewed perception of what might have happened. Most of the action is in the claustrophobic flat the
couple come to share, but we are really inside his troubled head, and different ‘versions' crowd in, edging each
other out of the way, some innocent and positive, others very dark indeed. Ominous sinister manifestions, like
the mould that grows on the walls, together with simple objects - a pair of shoes in a box, a picture of a beach,
or a real beach, clingfilm, a spot of toothpaste on a shirt, heave with significance. Where did it start to go bad,
at what point was the wrong path taken, the wrong reaction given, and to what terrible depths, exactly, has it
gone wrong? - are some of the questions from which Iasonas tries to construct his skewed versions of reality.
Everything is open to many often overlapping interpretations. A pity the whole is rather overwrought and there
are somewhat too many iterations of possibilities - but for the most part it compels attention, and there are real
shocks and a powerful mood of dread.
SHAKESPEARE AND VICTOR HUGO'S INTIMACIES 8/10
Intimidades de Shakespeare y Victor Hugo aka Intimacies of Shakespeare and Victor Hugo : Mexico 2008 :
Yulene Olaizola : 80 mins : seen at Cinema Victoria
Hard to believe that this accomplished and assured documentary was a film school exercise. But Yulene
Olaizola had had its conception in mind for years, from the stories her grandmother Rosa told of the handsome
young lodger who lived at the top of her house in the 80s, painted the strange pictures on the walls, and
played such an important role in her emotional life. Always mysterious and almost certainly gay,(not easy at
that time and in that place), he was a poet and musician as well as an artist, and a strong relationship
developed between him and Rosa, whom he called his muse. Still strikingly beautiful and with a face the
camera loves, Rosa tells her tale imperiously and not without humour, pacing through the house where she still
lives that is full of memories. The director's intimate knowledge of her location allows it almost to become a
character in its own right, and we drift through it like invited guests, Rosa holding court, always aware of the
camera yet totally at ease, lively and composed, as a she tells her stories, often joined by the more phlegmatic
long-time servant Florencia with her own more down to earth memories. The fabric of the house, mirrors,
drapes, fine old lived-in furniture are like witnesses to their stories. But the general feeling of a pleasant,
harmless and creative young man slowly and almost imperceptibly leads on to something maybe more sinister
(but then again maybe not), and a shocking end confounds the amiable picture we first felt drawn to. Winner
of prizes at Buenos Aires and Mexico City, this film went on to be awarded the Transilvanian Jury prize here at
the end of the Festival.
SEVEN DAYS SUNDAY 6/10
Sieben tage sonntag : Germany 2007 : Niels Laupert : 79 mins : seen at Cinema Victoria
Another film in the main competition and very much fancied, this is based on the story of two notorious Polish
teenage killers-for-kicks. Relocated in this version to a grim housing complex in Leipzig, we meet choirboy
Adam who lives alone with his weary grandmother, (we later learn his father is in prison) and his wild friend
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Tommek, for whom he clearly nurses feelings of more than friendship, so that he is unmoved by the pretty
blonde neighbour who longs for a relationship with him. Tommek is clearly the more full of rage and amoral of
the two, so when it's Adam who, on a bad night of drunkenness and frustration, suddenly declares that he is
going to kill someone, why does it not become more interesting? The young, late night, audience actually
laughed, and not in a nervous way. Laupert goes out of his way to point out how he does not attempt to show
why these two's lives take such a dark course, but he really needs to give us more than the usual thwarted
‘forbidden' love, boredom, and poverty of expectation, to make anything really engaging about these
characters. There is a difference between ciphers and unknowable minds. When the final violence comes, I
was surprised how un-chilled I felt, though Laupert's sharp editing and dark palette of a grim loveless
landscape promises good work to come
Saturday 6th June
In my hotel on the outskirts of town I get awakened by a crowing cock each morning, then it's a brisk walk in,
through a different side of Cluj. Calea Motilor, one of the main arteries leading from the west into the city, is
busy with crammed trolley buses, a tree-lined street where ordinary life goes on, a children's hospital, a
butchers, glimpses of gardens and smart or ramshackle buildings through broad gateways, a university
department, small food shops, ‘Second Hand' clothes
emporiums, bars, the ubiquitous copying shops, in a range of
building styles with traditional solid one-storey C19th houses
nestling beside their upstart crumbling concrete 60s
neighbours. Many show signs of former glory, the aspirations
of earlier optimistic times, plaster decorations, carved
wooden doors, the wear and tear of over a hundred years of
use stuck over with modern keep clear signs and tattered
flyers, elaborate tiled roofs and ornamental wooden or
ceramic mouldings along eaves, often bedraped with an array
of electrical wires of dubious safety. It's in a city's ordinary
streets like these that you get its real flavour and history. One
evening I passed my turn and on the next corner, beside a
modest bar, found a plain black marble memorial to four
people killed on that spot in the uprising of December 1989.
THE FLOWER BRIDGE 9/10
Podul de flori : Romania 2008 : Thomas Ciulei : 87 mins :
seen at Cinema Arta
In a shabby living room a small boy is having vivid blue dots
painted all over his face. He has chickenpox, and his father is
painting the spots with a medication to stop them itching.
Shades of blue play their part in the intense beauty of this
film, from the summer skies to the winter mists to the paint on
the walls, a beauty that only underlines the sadness of the
situation. Costica is raising his three children alone on their
small farm in Moldova, while his wife is away in Italy working
to pay off their debts and put the children through school, a
situation that currently affects almost half the population of
the country. An eccentric, likeable man, three bright children,
they are happy against the odds, in a life of hard drudgery
with little time for childhood or teenage pleasures, a life of
coping with bitter cold and ever-present mud, and the battle
to keep their ramshackle house clean. Phonecalls, letters and
presents arrive from the absent mother, but she is still no
nearer returning home. The Bridge of Flowers was an event
in 1990 when Moldovans and Romanians linked across the
Prut river which had been an enforced boundary since WW2
between Romanian and Soviet Moldavia, a Berlin Wall of the
East. It is here also in the flower seeds which the mother sends to her family, a poignant token of their
togetherness. There's plenty of humour, but this is the saddest film of any I had so far seen at the festival. The
scene where the family all work cheerfully together sowing on the field, father digging the furrows, daughters
sowing, son covering, is indescribably poignant as the camera pulls away to show the vast field behind them.
Life is hard.
BOOGIE 6!/10
Romania 2008 : Radu Muntean : 102 mins : seen at Cinema Republica
One of Romania's most esteemed directors, an internationally known actress and a universal theme should
ensure this film's success beyond its native country and the art house circuit. Bogdan (‘Boogie' to his friends)
is on a seaside holiday with his little son and pregnant wife (Anamaria Marinca), he's doing well, working hard,
happy... and then he runs into two old friends from his ‘Boogie' days, and everything becomes confused.
Drinking, smoking and picking up women are things he's given up, but his wife's antipathy to his old friends
and all they represent provokes a reaction and a potential marriage-damaging night on the town. Boogie is a
kind of reasonable everyman trying to reconcile different compartments of his life and decide who he really is.
By the end of the film husband and wife have both grown up a little. It's naturalistic, contemporary, and as far
away from 4 Months..., 12.08 East of Bucharest, or Mr Lazarescu as can be - a portrait of normal middle class
married life, now, not great or exceptional but relevant and assured.
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GRUBER'S JOURNEY 5/10
Calatoria lui Gruber : Radu Gabrea : Romania 2008 : 96 mins: seen at Cinema Victoria
Last year Gabrea brought us THE BEHEADED COCKEREL, a story of the rise of fascism and the persecution
of Jews in the Fagoras area of Romania, through the perspective of its young people. This film deals with the
pogrom of Iasi, a town in the north east of the country, through the eyes of an Italian journalist. Curzio
Malaparte, friend of Mussolini and war correspondent with the German army in Romania, has a problem - a
debilitating allergy which threatens to prevent him going to the Front. Given the name of a specialist, Dr Gruber
of Iasi, he travels there for a consultation. There he has to be put through the hoops of officialdom, increasingly
tragicomic and frustrating, and I'm afraid to me increasingly irritating to watch. The outcome is signalled from
the beginning, and I felt aggravated beyond belief by the buffoon-like characters and constant repetition of
situations. As in his previous film, the view of a relatively unknown aspect of WW2 is of interest to western
European audiences, but nothing new about persecution is really said, and I'm not really sure what the point of
the exercise is.
IMPORT/EXPORT 9/10
Ulrich Seidl : Austria 2007 : 135 mins : seen at Cinema Republica
The imports and exports in this devastating film are human, two powerless individuals travelling in different
directions between east and west. Olga, a nurse with a baby, cannot make ends meet in the Ukrainian hospital
where she works, and, after an unsatisfactory dalliance with the TV sex trade, she leaves her child with her
mother and moves to Austria, where, with no employment rights, after a series of unskilled jobs she becomes
a cleaner in a geriatric hospital. Paul, a failed security guard in Austria, travels with his scumbag stepfather to
deliver battered old gambling machines to the Ukraine. Both are good-hearted and willing, both meet with
temptation but keep their integrity, but the dice are loaded strongly against them. Uncomfortable subjects -the
sex trade, appalling living conditions and the horror of extreme old age, are confronted head on, the latter
particularly distressing, and the story becomes far more than that of a pair of vulnerable individuals who
deserve better than they will ever get, but a universal cry of despair. The mirroring of their travels is echoed by
Seidl's symmetrical framing which adds a grace and elegance to the most sordid scenes, and his use of sound
is compelling, particularly devastating in the final scene with the night time moans of the female patients, with
the cry of death, death, death piercing through. Great performances throughout, and particularly from
Ekateryna Rak as the spirited Olga, who keeps a glow of innocence about her, and whose despair breaks your
heart.
Sunday 7th June
MILKY WAY 8/10
Tejut : Benedek Fliegauf : Hungary 2007 : 82 mins : seen at Cinema Arta
A perfect treat for a Sunday morning, Tejut is a set of 9 vignettes, each a static camera shot, before which
human figures move, shapes take on meaning and some mystery unfolds. The episodes encompass a day,
moving from windy dawn for two people in a tent, to a hill above a night-time city. Playfulness is uppermost, as
signalled in the opening sequence, and in the comic inflation of a bouncy castle against a bleak flat landscape.
Each has its moment of revelation, and those with a possible story to piece together, such as the harbour
scene, are less successful than the more gnomic, like the cyclists climbing and descending the heap of stones
under a tree which holds a huge menacing nest. Though classifiable as experimental art cinema, the observing
eye is warm and sympathetic, there are no words, only sounds, human, natural, mechanical. Like poems, or,
say, enigmatic short stories from Borges, they tantalise, intrigue, or chill. The final sequence is full of joy.
Sunday morning and everyone's carrying flowers - elaborate lily concoctions, huge perfect roses, or homely
little bunches proffered by elderly Roma ladies on street corners. Church bells, and people dressed in their
Sunday best chatting outside churches, otherwise relatively quiet streets, but the tables along the Boulevard
Eroilor are filling up in the warm sun. What a pity one of the proprietors decides it's a good idea to turn on his
music (oh no, Mick Hucknall!) full blast. Most shops are shut, but the market's still busy, now in its new indoor
home round the corner from its old narrow pitch (now occupied, somewhat symbolically, by parked cars and
McDonalds tables). You can track it back to its new home via the procession of people with plastic bags
sagging with strawberries or cherries by the kilo. After my last film,there's a pleasant lunch for all those leaving
in a little corner of the oldest part of the city centre. Traditional fare - stuffed cabbage leaves, cold meats,
sharp salty cheese, the ubiquitous cucumber (a regular presence at the breakfast table - but how unlike our
dull watery English specimens) and huge spring onions. Pancakes are promised, but we have to leave too
soon for our flight, leaving Cluj to its sunshine for another year.
Sheila Seacroft
still online : Sheila's dispatches from Cluj 2006 and 2007
[ Back ]
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Transindex -- Multikult -- KAMERÁK ÁLTAL HOMÁNYOSAN
05.10.08 17:14
Kassay Réka
KAMERÁK ÁLTAL HOMÁNYOSAN
TIFF: amit eddig láttunk 4.
[6.6.2008]
Gyilkosság unalomból, a 70-es évek amerikai filmjeinek imitációja hatalmas m!mosollyal és egy dokfilm: iráni n"k mint
fociszurkolók.
Las Meninas (Ukrajna, 2008, R: Igor Podolchak)
Igor Podolchak vizuális m!vész és Dean Karr videoklipes-fotós találkozásából született a kísérleti film, mely leginkább Velasquez
Udvarhölgyek cím! festményét, illetve a holland csendéletfest"k képi világát gondolja tovább.
Az els" és az utolsó jelenetet kivéve a film egy bels" térben játszódik, barokkos berendezéssel, olyan kompozíciókkal, melyek többszint!
jelentésér"l filmelméleti tanulmányt lehetne írni: gyakoriak a tükröz"dések, a tér különös felosztása bels" keretekkel, az elemek ismétl"dése,
illetve mindezek különböz" kombinációi (például a tükörképnek csak az imitációja az elemek megsokszorozásával).
Másfel"l a látvány elemei szimbolikus jelentéssel bírnak. A családi asztal körül mindig a részletet
látjuk, de nem azt, ahova az aktuális történés irányítaná a figyelmet. Az ételek hol szép és kívánatos,
hol undorító látványként jelennek meg, a hangszerek erotikus fantáziák megtestesít"ivé válnak.
A párbeszédek töredékesek, sokszor semmit nem tesznek hozzá a képek által közvetített
jelentésekhez. Nincs igazi kommunikáció a szerepl"k között, csak be nem fejezett mondatok, hirtelen
támadt, de ki nem mondott, vagy csak részben kimondott gondolatok.
A hangok viszont annál beszédesebbek, a rádió duruzsolása, az edények ideges, monoton
csörömpölése és az egyéb, gyakran ritmikus, gyakran fülsért", máskor kellemes zörejek a képpel
együtt hozzák létre azt az er"teljes atmoszférát, amelyben szinte érezni az ízeket és illatokat, amiket
a szerepl"k id"nként emlegetnek.
Nem kell azonban felté lenül koncentrált és elemz" tekintettel nézni a filmet ahhoz, hogy jelentést
kapjon: a kamera annyira vezeti a tekintetet, a látvány annyira adja magát, hogy simán bele lehet
feledkezni, teret engedve a szabad asszociációknak.
Las Meninas
Vetítik még: június 7., szombat – 20:00 (M!vész mozi)
>> Paranoid Games. TIFF: amit eddig láttunk 3. >>
>> 4 film, semmi vér. TIFF: amit eddig láttunk 2. >>
>> A tojásos sör és társai. TIFF: amit láttunk eddig >>
Seven Days Sunday (Németország, 2007, R: Niels Laupert)
Megtörtént esetet dolgoz fel a két fiatalkorú b!nöz", Adam és Tommek története. A két srác egy lepattant lipcsei lakónegyedben él, idejét nem
tölti ki semmi konkrét tevékenység, csak a bulik, a csajok, a lógás a haverokkal. Unalmukban kitalálják, hogy milyen lenne megölni valakit.
Aztán az ötletet tett követi.
Niels Laupert, rendez" a vetítés után elmondja: a témát, melyet egy újságcikkben talált, és melyb"l végül els" nagyjátékfilmje (egyben
diplomamunkája) elkészült, eredetileg rövidfilmre javasolták, mondván, hogy senki sem kíváncsi arra, ahogy megölnek valakit kilencven
percben.
Seven Days Sunday
http://multikult.transindex.ro/?cikk=7512
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05.10.08 17:14
A végeredmény mégis megér egy nagyjátékfilmet, a konkrét cselekményen kívül a mellékszerepl"k, a részletelemek, az egész kontextus
leírása jelent"s szerepet kap a történetben. Ennek ellenére a szerepl"k motivációi bizonytalanok maradnak, mint ahogy az sem derül ki,
átmennek-e valamilyen változáson a gyilkosság, majd az azt követ" börtön után (amint nagykorúvá váltak, 25 év börtönbüntetésre ítélték
"ket, tudjuk meg a film végén).
Szándékosan nem törekedett arra, hogy megindokolja a szerepl"k cselekedeteit, mondja a rendez", mert a motivációk bemutatása valamilyen
szinten mindig mentséget is jelent, neki viszont nem ez volt a célja. Elárulja, dokumentumfilmet forgat a két igazi szerepl"vel, és még
hozzáteszi: talán jöv"re ezzel is találkozhatunk majd a TIFF-en.
Vetítik még: június 6., péntek – 22 00 (Gy"zelem mozi)
Football Undercover (Németország-Irán, 2008, R: Ayat Najafi, David Assmann)
Dokfilm arról, ahogy Marlene, a német n"i fociválogatott tagja eléri, hogy csapata az iráni n"i válogatottal mérk"zhessen meg. A vízum
megszerzése és többszöri halasztás után végül sikerül megszervezni a meccset, ráadásul Ázsia legnagyobb stadionjában, ahova ez
alkalommal csak n"ket engednek be.
Mindkét ország játékosai titokban egy ellenséges összecsapástól, még háború kitörését"l is tartanak, azonban a legsúlyosabb incidens, ami
történik, az az, hogy az iráni n"i szurkolótábor egy id" után már nem a “hajrá, lányok”-at skandálja, hanem azt: jogunk van itt lenni, jogunk
van a stadionba jönni.
Mindezt azután, hogy a hangosbemondón is felszólítják "ket: viselkedjenek szépen, a kend" viselete
kötelez", ha ugrálni, táncolni van kedvük, menjenek diszkóba, és utasítják a biztonságiakat, azonnal
lépjenek közbe, ha nem megfelel" viselkedést tapasztalnak.
Bezzeg egy férfi nyugodtan ordítózhat, köpködhet, káromkodhat, csak a n"ket kritizálják mindig –
panaszolják a lányok.
A végén azonban minden jól sül el, a játékosok kéz a kézben ünnepelnek. A film leginkább a témája
miatt érdekes, vannak benne jó interjúk és részletek, melyek számunkra újat mondhatnak. Azonban
valóban a dokumentumérték marad a f" erénye: az operat"ri munka nem annyira er"s, és a
vágásban elkövetett hatásvadász fogások sem igazán tesznek jót a végeredménynek.
Vetítik még: június 6., péntek – 21:30 (Echinox)
Viva (A. E. Á., 2007, R: Anna Biller)
Football Undercover
Rikító színek, hawaii-mintás drapériák, nyugágyak, úszómedence, Martini reggelire és hatalmas
m!mosoly: a 70-es évek amerikai filmjeinek világát imitálja a film, és jócskán rájátszik a szerepre.
Tipikus beállítások, tipikus szerepl"k, tipikus viselkedés, ami erre az id"szakra/m!fajra jellemz".
A f"szerepben két kirakatbavaló életet el" házaspár, két elégedetlen, elhanyagolt feleség, aki ki akar törni krízisbe jutott házasságának
kilátástalan helyzetéb"l. A két n" (háziasszonyhoz és feleséghez képest botrányosnak számító öltözékben) kiáll az utcára, hamarosan ki is
szúrja "ket egy közvetít" és elkezd"dik a nagy élet: vacsora milliomos öregemberrel, gyémántkarköt" ajándékba, nudista partik, drogok,
modellkedés.
Viva
http://multikult.transindex.ro/?cikk=7512
Page 2 of 3

Transindex -- Multikult -- KAMERÁK ÁLTAL HOMÁNYOSAN
05.10.08 17:14
A cselekmény, a félreértésen alapuló konfliktus utáni nagy egymásra találás és kibékülés, a boldog jöv" biztosítása (utód, illetve egy
erkölcsös karrier által) mind-mind a 30-40 évvel ezel"tti amerikai film legkiszámí hatóbb, legsablonosabb fajtájára mutat rá gúnyosan.
Az els" 10-20 perc tömény poénözön, a közönség hangosan kacag, kommentál – ameddig megszokja a giccsáradatot, a túljátszott színészi
alakítást. Ezután azonban kicsit leül a film és a kés"bbiekben sem tud már ehhez túl sokat hozzátenni. De azért újra meg újra derülünk rajta,
és jólesik, hogy nem az a fajta humor, ami az utóbbi id"ben népszer! az itthoni mozikban (meg egyáltalán). Viszont lehet, hogy másfél
órában jobb lenne, mint kett"ben.
Vetítik még: június 7., szombat – 10:15 (Köztársaság mozi)
Ügyeletes szerkesztõ: Bakk-Dávid Timea
(c) Média Index Egyesület 1999-2008
Impresszum | Médiaajánlat | Adatvédelmi záradék
http://multikult.transindex.ro/?cikk=7512
Page 3 of 3

http://www.jigsawlounge.co.uk/film/content/view/812/1/
05.10.08 16:43
7th TRANSILVANIA INTERNATIONAL FILM FESTIVAL (CLUJ, Romania): Sheila
Seacroft's dispatches
Saturday, 07 June 2008
films reviewed below
WED : The Man Who Walked
THU : The Village Called Sands; Tackey; Football Undercover; Las Meninas
FRI : Go With Peace Jamil; Nothing Personal; Tale 52; Shakespeare and Victor Hugo's Intimacies; Seven
Days Sunday
SAT : The Flower Bridge; Boogie; Gruber's Journey; Import/Export
SUN : Milky Way
~~~~~~~~~~~~~~~~~~~~~~~~~~
Wednesday 4th June
Hot and sticky Cluj after a hot and sticky Rome and a long and late flight from Fiumicino - the passengers
actually applauded as we came in to land, so relieved were they it was all over. Goodness the city's looking
smarter, only a year on. More chic clothes shops, a mall, coffee bars, a cycle lane down the wide main
boulevard which was under some serious reconstruction last year...much nicer for the people who live here, of
course, but I do hope it doesn't lose its raffish charms entirely. Already I'm mourning the disappearance of the
little hole-in-the-wall doughnut shop where I used to snatch a quick lunch en route between cinemas. A hot
dog outlet stands next to its derelict premises, painted flowers still cheerfully decorating the windows. Late
arrival though it was, I was in time to take advantage of the goulash party: hot stew, mamaliga (the buttercupyellow
maizey national stodge of Romania), and sour cream. Nice. Then to my favourite cinema, the Arta, to
get a first film under my belt...
Thanatology
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Page 1 of 6

Cinema TIFF 2008 CINEMA VICTORIA Cluj-Napoca ZILE SI NOPTI www.zilesinopti.ro
05.10.08 17:28
RESTAURANTE BARURI / CLUBURI HOTELURI / PENSIUNI CONCERTE / PARTY CINEMA TEATRU / OPERA
cuvantul cautat
----- selectati categoria ---
Zile si Nopti Cluj-Napoca Recomanda
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Articole
Index
Cafenele si ceainarii
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Cofetarii si Patiserii
Fast-food-uri
Pizzerii
Agentii de turism
Rent-a-car
Saloane de infrumusetare
Shopping
Servicii specializate
Expozitii
Filarmonica
CD-uri
TIFF 2008
Intre: 05-06-2008 - 05-06-2008
La: CINEMA VICTORIA
10.00 Nisipuri / The Village Called Sands (Romania, 2008) 78'
Regia: Claudiu Mitcu. In fiecare an pe 29 august („de cind
lumea si pamintul", vorba unui localnic din film), satul Nisipuri e
in sarbatoare: are loc un bilci caruia i s-a dus buhul in tot sudul
tarii. (ZFR) 621 Proiectie in cadrul Zilelor filmului romanesc.
12.00 Tache (Romania, 2008) 76' Regia: Igor Cobileanski. Cu:
Mircea Diaconu, Constantin Draganescu, Mara Nicolescu, Gabriel
Spahiu. Tache afla ca i se apropie sfirsitul dar, la cei 61 de ani
ai sai, batrinul nu are de ce sa se teama - a vazut moartea zi
de zi, chiar de mai multe ori pe zi: lucreaza ca gropar la
cimitirul „Odihna Tuturor". (ZFR) 622 Proiectie in cadrul Zilelor
filmului romanesc.
15.00 Intilniri incrucisate / Crossing Dates (Romania, 2008)
100' Regia: Anca Damian. Cu: Mimi Branescu, Andi Vasluianu,
Oxana Moravec, Dorian Boguta. Filmul intretese trei povesti
diferite care se desfasoara pe parcursul a doua zile. Destinele
personajelor se intersecteaza si sint afectate unele de altele.
Cele trei povesti nu sint unite numai de personaje, ci si de recitirea
acelorasi teme in registre diferite. (ZFR) 623 Proiectie in
cadrul Zilelor filmului romanesc.
17.15 Doamnele de onoare / Las meninas (Ucraina, 2008) 99'
Regia: Igor Podolchak. Cu: Mykola Veresen, Lyubov
Timoshevska, Anna Yarovenko. Cu un stil vizual puternic
influentat de estetica naturilor moarte din pictura secolului al
XVII-lea, filmul artistului ucrainean Podolchak descrie starea
unei familii asediate emotional si psihologic de cerintele
nenumarate si insistente cu care fiul bolnav isi tortureaza tatal,
sora si mama. (FL) 624
19.30 In fiecare zi e duminica / Sieben Tage Sonntag
(Germania, 2007) 79' Regia: Niels Laupert. Cu: Ludwig Trepte,
Martin Kiefer, Jil Funke. Adam si Tommek locuiesc intr-un
complex de locuinte darapanat din Leipzig. Adam e un inadaptat
social, iar Tommek e un rebel cu inclinatii spre vandalism.
Plictisiti, cei doi gasesc ceva ce le-ar colora cu adevarat vietile -
crima... (C) 625
22.00 Viva (SUA, 2007) 120' Regia: Anna Biller. Cu: Anna
Biller, Jared Sanford, Bridget Brno, Chad England. Los Angeles,
1972. O nevasta din suburbii neglijata de sot se cufunda in
tumultul revolutiei sexuale dezlantuite in epoca. Aflata in
cautarea dragostei si a aventurii, ea exploreaza totul, de la
coloniile de nudisti la orgii, prostitutie, bisexualitate si viata
boema. (C) 626
Download revista
Interviuri
Interviu cu SERGO /
GUEERRILLAS
Mihail Vakulovski
Interviuri
Interviu cu Radu
MUNTEAN
Mihail Vakulovski
Recomandari Video
Online
http://www.zilesinopti.ro/index.php?detalii=true&oras=8&cat=20&id=25769
Page 1 of 2

Flu - TIFF Reviews II
05.10.08 17:28
log-in membri: introdu utilizator
•••••••••••••• ok vreau sa ma inscriu mi-am uitat parola
Moda si Stil
esti aici: flu Tiff 2008 TIFF Reviews II
cauta:
ok
In Oglinda
introdu cuvantul
Cartile Flu
articole
bloguri
Job la feminin
Dragoste si Sex
Coltul Misoginului
Controverse
Hai Hui prin Lume
Sanatate
Casa Ta
Tech Diva
Magazine Chic
TIFF Reviews II
La zona (Spania-Mexic, 2007)
Regia: Rodrigo Pla.
Se pare ca anul acesta ne confruntam cu o
invazie de filme din America Latina, cel putin
in competitie. Deja Europa incepe sa fie
familiarizata prin intermediul cinematografiei
din aceasta arie a lumii cu un anumit tip de
peisaj si un anumit tip de conflicte.
bijuterii
Zig Zag Citadin
Tiff 2008
Concursuri
Garderoba ta
La Zona este un paradis imobiliar din Ciudad de
Mexico. Este locul unde cei instariti si-au creat
o enclava a lor, s-au separat printr-un zid, prin
garduri, camere de supraveghere, gardieni si
sarma ghimpata si au hotarat ca vor sa traiasca
in siguranta. De cealalta parte a zidului, se
ingramadesc mahalalele si cocioabele. Din
primele secvente ale filmului, simti deja cum
se imparte lumea si ce fel de razboi va avea
loc.
printeaza articolul
trimite pe Messenger
newsletter:
introdu e-mail
ok
Atunci cand un out-sider patrunde in La Zona si
ramane inchis acolo,
legile din afara vor fi total abolite, iar acestuia
nimic nu-i va mai veni
in ajutor. Locuitorii se organizeaza, isi creeaza
propria justitie si se
instaureaza o stare de urgenta. Uimitor este
modul in care nesiguranta si teama actioneaza
asupra oamenilor. O intreaga comunitate de
oameni presupusi a fi educati se hotaraste sa
ucida un "strain" fara sa clipeasca, fara sa
ezite. Putinele voci care protesteaza timid sunt
aduse rapid la tacere. Iar ce este si mai
socant este ca sentimentul de suspiciune se
raspandeste ca o plaga si in interiorul lor. Sotii
ajung sa-si spioneze sotiile si invers.
Sfarsitul vine in mod previzibil. Este interesant,
dar parca ii lipseste ceva. Are doza necesara
de social, spune multe, dar parca le spune in
mod superficial si intr-un mod mult prea
didactic pentru gustul meu. Chiar nu tineam sa
aud replici de genul "Razboiul se castiga prin
negocieri". Ceea ce nu se sfieste sa arate este
ca, si dupa ce ai participat la o linsare, poti
face in continuare linistit jogging. E bine de
stiut, pentru sanatate.
salveaza articolul
trimite pe e-mail
284 vizite · 0 comentarii
nota 10
1 2 3 4 5 6 7 8 9 10
cat de mult ti-a placut articolul TIFF
Reviews II?
Sugisbal/ Balul de toamna (Estonia, 2007)
Regia: Veiko Õunpuu.
Tu ce metoda
contraceptiva
folosesti?
Prezervativul
Pilula anticoceptionala
Steriletul
Gel pe baza de
spermicide
Diafragma vaginala
Metoda calendarului
Filmul, prezentat in cadrul competitiei, are la
baza un roman, semnat de Mati Unt. O alta
tema curenta a filmelor din acest an este
singuratatea. Singuratatea si ce stiu oamenii sa
faca cu ea. Cum nu exista manuale de
instructiuni, avem mai multe cai de rezolvare.
Mai multe personaje, locuind in acelasi cartier
de blocuri de beton din Talin, (ceea ce mi-a
adus aminte de "Decalogul" lui Kieslowski)
foarte asemanatoare cu ale noastre, cu povesti
si tristeti diferite, al caror destin se intretaie in
cateva puncte.
Mati, un tanar scriitor, isi bea mintile dupa ce
este parasit de sotie, pe care incearca s-o
regaseasca prin baruri, hartuind femei care-i
alte articole din Tiff
2008
film
TIFF si Realitatea va provoaca sa faceti
TIFF vine la Muzeul Taranului Roman
TIFF continu! la Sibiu!
Premiile TIFF
TIFF Reviews III
horoscop:
introdu e-mail
ok
Tu cum te porti cu patul
tau? ACTIV
O tfit de toamna Tara
http://www.flu.ro/articole/Tiff/TIFF_Reviews_II.html
Page 1 of 3

Flu - TIFF Reviews II
05.10.08 17:28
Atunci cand e nevoie,
pilula de a doua zi
Nimic
voteaza
stiri
rezultate
blog flu
O mare incercare 2
O mare incercare
Ratuste pe Dambovita
Bucuresti...
"Profesia" de amanta -
intre iubire si
prejudecata!
Banii sau dragostea?
Sexul anal –
perspective feminine
Sarcina nedorita. Cine
decide asta?
Sexul anal – variatiuni
medicale si nu numai
seamana. Theo este un autodidact, garderobier
si gardian, detinator al unei liste de cuceriri unde precizeaza si semnul zodiacal, insa singur si el. Maurer
este arhitectul metrosexual, care se incapataneaza sa locuiasca in acest cartier mizer pentru ca are
"printipii". Totodata, isi uraste sotia. Mai avem o mama singura care priveste cu religiozitate "Pasarea
spin" si care are grija sa goneasca orice posibil pretendent si un frizer, la varsta a doua, burlac, ce se
amuza cu o maimuta de jucarie care stie sa se dea peste cap.
Personajele in sine si mediile din care provin sunt bine create. La fel si imaginea, camera stie sa
patrunda prin carnea si prin chipurile lor.
Extrem de artificiale mi s-au parut dialogurile, pe alocuri, chiar
stridente: "Esti trista si singuratica, ai clasa" (compliment primit de
mama singura).Exista si ceva tuse de umor, mai mult sau mai putin reusite.
Las Meninas/ Doamnele de onoare (Ucraina, 2008)
Regia: Igor Podolchak.
Trebuie sa-mi trag respiratia si sa beau a zecea cafea azi inainte de a incepe sa vorbesc despre acest
film, prezentat in cadrul categoriei "Fara limita", pe care l-as incadra mai degraba in categoria extrem de
permisiva numita experiment vizual. Si nu numai.
Va previn de la bun inceput: daca mergeti la acest film, chiar daca veti rezista pana la sfarsit si nu veti
fugi in primul sfert de ora, cum au facut mai multi dintre spectatorii de azi de la cinema Victoria, sa nu
va asteptati sa puteti recompune vreo poveste. Sa nu aveti pretentii nici de logica, continuitate,
succesiune temporala etc. Pe acestea, sa le pastrati pentru alte pelicule.
Ce este de retinut? Multa natura moarta, cu tot ce cuprinde ea: fructe
(struguri, lamai), legume (spanac, varza de Bruxelles), pasari moarte, pesti, bijuterii. Personaje care
poarta conversatii nicicand finalizate in acelasi spatiu, un pitoresc living. Se repeta obsesiv "nu stiu", "am
uitat", "nu-mi amintesc". Uneori, scenele par sa se reia, cu diferenta ca sunt filmate din alte unghiuri.
Gesturi spasmodice, o bataie a unei furculite intr-o farfurie goala, o aranjare si rearanjare obsesiva a
tacamurilor pe aceeasi masa, o muzica de vioara prost acordata, tensioneaza regalul de imagini.
Caci, intr-adevar, la capitolul imagine, avem de-a face cu o sarbatoare, nu degeaba filmul purtand titlul
unuia dintre cele mai cunoscute tablouri realizate de Velasquez. Tempoul este lent, innebunitor pentru ca
apoi haosul sa puna stapanire pe
tot, cadrele se succed rapid, isi schimba coloratura si textura, replicile
se suprapun. Aceleasi si aceleasi obiecte (o rochie lila, un pantof, un
sal de pene, un arcus, un pian) ni se perinda in fata ochilor.
Se pare ca renponsabila de acest delir a fost intalnirea intre un artist
vizual (Igor Podolchak) si un fotograf si videoclipist american (Dean
Karr).
Succes!
Sieben Tage Sonntag/ In fiecare zi e duminica (Germania, 2007)
Regia: Niels Laupert
Film din competitie.
Se pare ca tinerii absolventi stiu sa-si faca treaba, avand de-a face si
in acest caz cu un proiect de absolvire (ca si Las intimidades de
Shakespeare y Victor Hugo). Si, din nou, avem de-a face cu un caz real. Niels Laupert isi bazeaza filmul
pe o crima ce a avut loc in Polonia, el alegand insa Germania, dat fiind gradul de universalitate al
povestii, dupa cum a afirmat in cadrul sesiunii de intrebari de dupa proiectia de asta-seara.
Doi adolescenti, Adam si Tommek, se afla intr-o stare de vacanta perpetua de cand au abandonat scoala.
Zilele si le petrec in hale parasite, pe alei laturalnice, punand la cale tot felul de jafuri pentru a-si
procura alcool, tigari si fete. Unul dintre ei, Adam, ajuta preotii la tinerea slujbei intr-o biserica din
zona. Din plictiseala, ajung sa comita o crima. Credeti-ma ca la cum decurge filmul pana in acest punct,
actul lor pare firesc si complet inchegat. Violenta este atat de adanc inradacinata in viata celor doi incat
momentul de climax vine in mod previzibil. Ceea ce surprinde este faptul ca, de aceasta data,
protagonistul, initiatorul si faptuitorul in plan concret, este Adam, cel care, dintre cei doi, parea sa aiba
ceva urme de umanitate. Pana in acel moment, pe Tommek il percepem ca fiind masculul alfa, Adam
fiind mereu cel supus, slab, predispus sa piarda orice competitie si orice disputa.
Regizorul a afirmat ca nu a dorit sa explice crima celor doi, mecanismele care i-au adus in acest punct, ci
doar sa ARATE, consecintele si modul cum s-au intamplat lucrurile. Se pare ca, pe parcursul muncii de
documentare pentru film, i-a vizitat pe cei doi in inchisoarea din Polonia, iar acestia au precizat clar si
raspicat ca nu regreta nimic, ca nu au remuscari.
Iar Niels Laupert a stiut sa le spuna povestea.
Outfit de toamna Tara
Fashion! ACTIV
De la nunti adunate!
ACTIV
Editura Nemira premiaza
blogul lunii! ACTIV
Hai la film! ACTIV
Vorbeste, memorie
Nabokov pare sa fi tra t acel
gen de viata harazita
l teraturii. Sau l teraturizarii,
cum preferati. In paginile
autob ografiei sale,
intitulate...
continuare
Bestial
despre pat
my bed
Tara Fashion
TARA FASHION
mai multe
forum
Autorul articolului TIFF Reviews II: Irina Serban
06 Iunie 2008
Vezi ce a mai scris autorul articolului TIFF Reviews II
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Page 2 of 3

http://www.senef.net/senef_2008en/program/program_view.php?cd=203&brano=44&brno=44
05.10.08 16:47
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05.10.08 17:23
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Page 2 of 2

FILMY.SK
05.10.08 17:29
>> Automobily | Filmy | Lady | Load | Infostav | !portextra | Drobnochov
Na artfilme tento rok uvidíte
Spracoval(a) : Richard Kubík
Datum a Dátum : 09.06.2008
16. Medzinárodn! filmov! festival v Tren"iansk!ch Teplociach sa uskuto"ní
tento rok od 27. júna do 6. júla. V jeho ponuje okrem iného uvidíte:
It´s Hard To Be Nice (2007), r.Srdjan Vuleti!
Film rozpráva príbeh taxikára, ktor! chce kvôli man"elke a malému die#a#u
zmeni# svoj " ivot. $ udia pohybujúci sa za hranicou zákona, ktorí ho
obklopujú a priatelia sa s ním, mu v%ak jeho snahu nijako neu&ah'ia.
Protagonista Sa%a Petrovi( si získal srdce Sarajeva. Doslovne. Na MFF
Sarajevo mu udelili cenu Heart of Sarajevo. Snímka bola tohtoro'n!m
národn!m kandidátom Bosny a Hercegoviny na Oscara pre najlep%í
cudzojazy'n! film.
!o by ste na na!om
portáli najrad!ej
videli?
Viac recenzií
Popisy osobností
Zaujímavosti zo
!ivota hviezd
!o sa chystá
Hlasuj
Flower in the Pocket (2007) r.Liew Seng Tat
Ví#aznou trofejou z festivalu v Rotterdame, ktor! je známy podporou
inovatívnych diel sa hrdí malajzijsk! film Flower in the Pocket .Jednoduch!
portrét dvoch mal!ch chlapcov, ktorí vyrastajú bez matky a otec sa im
nevenuje, zaujme svojou bezprostrednos#ou, nádhern!mi obrazmi a
v!born!mi hereck!mi v!konmi detsk!ch protagonistov. Re"isér svoj film
uvedie na festivale osobne.
Nothing Personal (2007) r.Larisa Sadilova.
Voyeuristickú drámu Nothing Personal nakrútila ruská re"isérka Larisa
Sadilova. Získala za )u cenu FIPRESCI na MFF v Moskve. Porotcovia film
prirovnali k Hitchcockovmu Vertigu. Nothing Personal rozpráva o "enatom
detektívovi, ktor! v*aka tajne nain%talovan!m kamerám sleduje dve "eny,
do jednej z nich sa zamiluje a drsne zasiahne do jej "ivota. Re"isérka
festival nav%tívi spolu s producentom filmu Rustamom Achadovom.
I Am From Titov Veles (2007) r. Teona Strugar Mitevska
Zvlá%tny príbeh troch sestier zasaden! do sú'asného Macedónska sa
premietal aj na festivale v Berlíne a z prehliadky v Sarajeve si odniesol
Zvlá%tnu cenu poroty. Sloganom filmu je: ,,Ke* "ijete pre druh!ch, 'o vám
zostane po tom, ako odídu?" Strugar Mitevska tvrdí, "e tento film je pod&a
nej o konci národa. ,,Identita sa u" nespája s miestom narodenia alebo
pôvodom, &udia jej definíciu h&adajú sami v sebe."
Kenedi Is Getting Married (2007), r. "elimir "ilnik
+elimir +ilnik. Tvorca známy svojím kritick!m postojom k b!valému re"imu
a následne aj k Slobodanovi Milo%evi'ovi.Film Kenedi Is Getting Married
(2007), polodokumentárny príbeh mladého Kennediho, ktor! sa potrebuje
zbavi# dlhov. Ako najjednoduch%ie rie%enie vidí sobá% s nemeck!m gayom,
ktorého náhodou stretne. Len"e veci sa ne'akane skomplikujú.
Las Meninas (2008) r. Ihor Podolchak
Experimentálna snímka viac ne" na príbehu stavia na divákovom vnímaní
a jeho zmysloch. Las Meninas je avantgardn!m portrétom rodiny, ktorú
terorizuje chor! syn.
Artfilm ponúkne aj najlep%í % panielsky krátky film minulého roka Salvador
V prípade !e máte
záujem pravidelne
odobera"
spravodajstvo z
na#eho servera,
prosím zadajte va#u
e-mailovú adresu a
stla$te tla$ítko
Prihlás.
Prihlás
http://www.filmy.sk/index.php?kategoria=99&id=2267&best=&PHPSESSID=c456f9a3df37e4d933abdb591d04fa62
Page 1 of 2

FILMY.SK
05.10.08 17:29
(r. Abdelatif Hwidar), nemeckú snímku Bende Sira (r. Ismet Erguen), ktorá
vlani na festivale v Locarne získala cenu Eastman Kodak alebo americko -
britsk! animovan! príbeh Yours Truly (r. Osbert Parker), ocenen! na
festivale v Chicagu.
www.artfilm.sk

ARTFILM - Program
05.10.08 17:20
Contact
Login
Home Festival Programme Service Press Artfilm´07 Archive Media H!ada"
Program
It´s Hard To Be Nice (2007), dir. Srdjan Vuleti!
This film tells the story of a cab driver who
wants to change his life for the sake of his
wife and their small child. He is surrounded
and befriended by borderline criminals who
do not aid his struggle. Star Sa!a Petrovi"
has literally won the heart of Sarajevo: at
the Sarajevo IFF, he was bestowed the Heart
of Sarajevo prize. This picture was Bosnia
and Herzegovina’s national Oscar nominee for best foreign-language film.
Flower in the Pocket (2007) dir. Liew Seng Tat
Trophy-winner at the Rotterdam festival,
which is famous for supporting innovative
work, the Malaysian film Flower in the
Pocket is a simple portrait of two young
boys with no mother and an indifferent
father, which compels with its immediacy,
gorgeous images, and the outstanding
performances of its young stars. The
director will introduce his film personally at the festival.
Online Catalog
Online Catalog Artfilm
2008
Artfilm IFF 2008
Catalogue
download the Artfilm
International Film Festival
catalogue here:
Artfilm Catalogue 2008.
Artfilm 2008 Programme
Artfilm 2008
Programme
Nothing Personal (2007) dir. Larisa Sadilova.
The voyeuristic drama Nothing Personal
(2007), shot by Russian director Larisa
Sadilova, received the FIPRESCI prize at the
Moscow IFF. Judges of the film compared it
to Hitchcock’s Vertigo. Nothing Personal
depicts a married detective who, with the
aid of installed cameras, follows two women,
eventually falling in love with one of them
and bluntly intervening in her life. The director will attend the festival along
with the film’s producer Rustam Achadov.
I Am From Titov Veles (2007) dir. Teona Strugar Mitevska
This peculiar story of three sisters, set in
present-day Macedonia, was screened at the
Berlin festival and won the Special Jury Prize
in Sarajevo. The film’s slogan is: “When
you have spent your life living for others,
what is left after they go?” Strugar Miteska
says that in her opinion this film is about
the end of nationality. “Identity isn’t bound
to one’s birthplace or origin: people look for the meaning of identity within
themselves.”
Kenedi Is Getting Married (2007), dir. "elimir "ilnik
Independent Serbian filmmaker #elimir
#ilnik is an artist known for his critical
attitude towards the former regime and
Slobodan Milo!evi" first achieved fame at
the end of the sixties with his film Early
http://www.artfilm.sk/index.php?id=23&option=com_content&task=view
Page 1 of 2

ARTFILM - Program
05.10.08 17:20
Works (1969), a portrayal of the aftermath
of the Soviet invasion of former
Czechoslovakia, which received the Golden
Bear at the Berlin IFF. Artfilm is presenting the latest #ilnik film, Kenedi Is
Getting Married (2007), the quasi-documentary story of young Kenedi, who
needs to pay off some debts. The simplest solution he sees is to marry a
German homosexual who he meets by chance. But things get unexpectedly
complicated.
Las Meninas (2008) dir. Ihor Podolchak
This experimental picture is less concerned with story and more with the
audience’s perceptions and feelings. Las Meninas is an avant-garde portrait
of a family who terrorizes their ill son.
This year, Artfilm features last year’s best Spanish short film Salvador (dir.
Abdelatif Hwidar), the German picture Bende Sira (dir. Ismet Erguen), which
won the Eastman Kodak award at last year’s Locarno festival, and American-
British animated story Yours Truly (dir. Osbert Parker), awarded at the
Chicago festival.
[ Back ]
© 2008 ARTFILM
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Kultúra - hnonline.sk
05.10.08 17:20
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!lánok: Artfilm INTERNATIONAL FILM FESTIVAL
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Odosla! správu o chybe
Artfilm INTERNATIONAL FILM FESTIVAL
In addition to stars likes Liv Ullmann, Omar Sharif, and Miroslav Ond&í%ek, who will receive the Actor’s
Mission Award and the Golden Camera Award, respectively, the festival will also welcome several other
guests from around the world, who will come to personally introduce their films between 27 June and 6
July.
Even the opening festival film will bring two interesting film personalities to Tre%ianske Teplice and
Tren%ín, director Christophe Van Rompaey and actor Jurgen Delnaet, who together shot the Belgian
film, Moscow, Belgium. The pleasant romantic comedy, which opens this year’s festival, is a hit with
audiences at home in Belgium. The Artfilm organizers were able to acquire this film at Cannes, where it
won three awards. The film, which takes place in Moscow – a working-class neighbourhood in Ghent,
Belgium –, is the story of Matty, mother of three, who thanks to a traffic accident meets the much
younger Johnny. But Matty’s almost ex-husband doesn’t like this…
práve sa stalo
V$ETKY EKONOMIKA SLOVENSKO SVET
Csáky: Obvi#ovanie z autonómie bol hlúpy provin%n"
proces
Etnické zrá!ky v Indii pokra%ujú
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Slota na odhalenie dvojkrí!a priletel vrtu)níkom
Postava Lexa Luthora sa objaví aj v (al$om
Supermanovi
Trvalé otvorenie II.piliera vníma Ma(ari% ako
priznanie rizika
(al$ie správy »
Guests from various parts of the world will also come to present films for the main competition, vying
for the Blue Angel award with its 15.000-euro monetary prize. Accompanied by her husband, Russian
director Larisa Sadilova’s voyeuristic drama Nothing Personal will compete at the festival. It won the
FIPRESCI award at Moscow. Sadilova was also bestowed with awards for the film at Rotterdam, Cottbus,
and Warsaw.
One of the trio of winning films at this year’s IFF Rotterdam is Flower in the Pocket from Malaysian
director Liew Seng Tat, who will also come to Artfilm to present his tender portrait of two motherless
boys. The film is one of the freshest examples of the so-called “Malaysian New Wave.”
Another festival guest will be Danish director Omar Shargawi, who also won the main award at the IFF
Rotterdam. He will compete for the Blue Angel with his feature-length debut about the endless cycle of
violence between rival Arab communities, Go with Peace, Jamil.
Several successful films from Bosnian director Srdjan Vuleti' have won awards at Berlin, Rotterdam,
Dresden, and Sofia. In the main competition, he will personally introduce his film It’s Hard to be Nice,
which was Bosnia and Herzegovina’s national Oscar nominee this year for the best foreign film
Anketa
Ste za navrátenie Slovensk"ch elektrární do úk
http://hnonline.sk/?p=k00000_nahlaschybu&article%5Bid%5D=25677130&article%5Barea_id%5D=
Page 1 of 2

Kultúra - hnonline.sk
05.10.08 17:20
category. This year’s best Turkish film, Summer Book, was from Seyfi Teoman, who will also appear at
the festival.
Interesting guests will also grace the other competition section, the Eastern Panorama, where films will
compete for the award in conjunction with a 7.000-euro monetary prize. Experimental fi m will be
represented by the Ukrainian film Ihor Podolchak’s Las Meninas, which was also screened at Rotterdam.
Another guest will be the independent Serbian filmmaker *elimir *ilnik, who first achieved fame at the
end of the sixties with his film Early Works, winner of the Golden Bear at the Berlin festival. *ilnik will
come with Kenedi is Getting Married, his semi-documentary story of a young man who needs to pay off
his debts.
Ste za navrátenie Slovensk"ch elektrární do rúk
$tátu?
nie, elektrárne by boli opä,
stratové 1205 (41%) a zad
áno, strategick" podnik by nemal
by, v súkromn"ch rukách
1765 (59%)
Tamás Tóth will arrive from Hungary to introduce his “film-ballad” Wolf, awarded for direction at the
European Independent Film Festival in Paris. He shot his shamanic Siberian tale in difficult conditions,
with temperatures plunging beyond thirty degrees below zero Celsius.
Slovenian director Damjan Kozole, well-known for his fi m Spare Parts, has also confirmed his
appearance at the festival. He will introduce his new married-couple drama, Forever.
Talented young filmmakers will introduce themselves at the third competition section, in which short
films will compete for a 5.000-euro prize. The hosts will include British director Simon Ellis, whose film
Soft won awards literally everywhere it went – at Edinburgh, St. Petersburg, Milan, Palm Springs, and
even at Sundance. Osbert Parker, director of the American-British animated film Yours Truly, bestowed
at the festival in Chicago, will also appear at the festival, as well as director Ivana +ebestová,
representing Slovak animation.
Among the many Slovak filmmakers who will visit the festival, there will also be a delegation from the
film Blind Loves. Juraj Lehotsk", director of the picture, which was the first Slovak film screened at
Cannes for many years, has promised to participate in the short film competition jury.
Film delegations will also appear at the New Chinese Film section.
The Artfilm International Film Festival is made possible through the financial support of the Ministry of
Culture of the Slovak Republic.
Organizers: ART FILM, n.o., FORZA Production House Co-Organizers: The Town of Tren%ianske Teplice,
The Town of Tren%ín, Health Spa Tren%ianske Teplice
General Sponsors: PPC Power, ECO-INVEST Main Sponsors: Tatra banka, Slovenské elektrárne, %len
skupiny Enel, AquaCity Poprad Official Transport Provider: Lancia Logistics Partner: DHL Sponsors:
Provimi Pet Food, HASS Official Suppliers: GUINNESS, HUBERT J.E., GS design, Hotel Most slávy, Philips,
K+K, A Briliant Sponsors: Hotel Praha, Hotel Slovakia, Hotel Flóra, Hotel Tatra Main Media Sponsors:
Slovenská televízia, Slovensk" rozhlas, Pravda, Zoznam.sk Media Sponsors: televízia Markíza, Plazma
media, FilmBox, televízia Central, Rádio Rádio Okey, Rádio GO Dee Jay, Rádio Hit FM, the weeklies
Markíza, *urnál, Pardon, and Tren%ianske Echo, port.sk, superobed.sk, SITA, ISPA, Q-EX, Recar
SITA, 10 24 26. 6. 2008 "ítané 54x Vytla%i& Ulo'i& Nahlási& chybu
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ARTFILM - Artfilm INTERNATIONAL FILM FESTIVAL
05.10.08 16:55
Contact
Login
Home Festival Programme Service Press Artfilm´07 Archive Media H!ada"
Artfilm INTERNATIONAL FILM FESTIVAL
In addition to stars likes Liv Ullmann, Omar Sharif,
and Miroslav Ond!í"ek, who will receive the Actor’s
Mission Award and the Golden Camera Award,
respectively, the festival will also welcome several
other guests from around the world, who will come
to personally introduce their films between 27 June
and 6 July. Even the opening festival film will bring
two interesting film personalities to Tre"ianske
Teplice and Tren"ín, director Christophe Van Rompaey and actor Jurgen
Delnaet, who together shot the Belgian film, Moscow, Belgium.
The pleasant romantic comedy, which opens this year’s festival, is a hit with
audiences at home in Belgium. The Artfilm organizers were able to acquire
this film at Cannes, where it won three awards. The film, which takes place in
Moscow – a working-class neighbourhood in Ghent, Belgium –, is the story of
Matty, mother of three, who thanks to a traffic accident meets the much
younger Johnny. But Matty’s almost ex-husband doesn’t like this…
Online Catalog
Online Catalog Artfilm
2008
Artfilm IFF 2008
Catalogue
download the Artfilm
International Film Festival
catalogue here:
Artfilm Catalogue 2008.
Artfilm 2008 Programme
Artfilm 2008
Programme
Guests from various parts of the world will also come to present films for the
main competition, vying for the Blue Angel award with its 15.000-euro
monetary prize. Accompanied by her husband, Russian director Larisa
Sadilova’s voyeuristic drama Nothing Personal will compete at the festival. It
won the FIPRESCI award at Moscow. Sadilova was also bestowed with awards
for the film at Rotterdam, Cottbus, and Warsaw.
One of the trio of winning films at this year’s IFF Rotterdam is Flower in the
Pocket from Malaysian director Liew Seng Tat, who will also come to Artfilm
to present his tender portrait of two motherless boys. The film is one of the
freshest examples of the so-called “Malaysian New Wave.”
Another festival guest will be Danish director Omar Shargawi, who also won
the main award at the IFF Rotterdam. He will compete for the Blue Angel with
his feature-length debut about the endless cycle of violence between rival
Arab communities, Go with Peace, Jamil.
Several successful films from Bosnian director Srdjan Vuleti# have won awards
at Berlin, Rotterdam, Dresden, and Sofia. In the main competition, he will
personally introduce his film It’s Hard to be Nice, which was Bosnia and
Herzegovina’s national Oscar nominee this year for the best foreign film
category. This year’s best Turkish film, Summer Book, was from Seyfi
Teoman, who will also appear at the festival.
Interesting guests will also grace the other competition section, the Eastern
Panorama, where films will compete for the award in conjunction with a
7.000-euro monetary prize. Experimental film will be represented by the
Ukrainian film Ihor Podolchak’s Las Meninas, which was also screened at
Rotterdam. Another guest will be the independent Serbian filmmaker $elimir
$ilnik, who first achieved fame at the end of the sixties with his film Early
Works, winner of the Golden Bear at the Berlin festival. $ilnik will come with
Kenedi is Getting Married, his semi-documentary story of a young man who
needs to pay off his debts.
Tamás Tóth will arrive from Hungary to introduce his “film-ballad” Wolf,
awarded for direction at the European Independent Film Festival in Paris. He
shot his shamanic Siberian tale in difficult conditions, with temperatures
plunging beyond thirty degrees below zero Celsius.
Slovenian director Damjan Kozole, well-known for his film Spare Parts, has
also confirmed his appearance at the festival. He will introduce his new
married-couple drama, Forever.
Talented young filmmakers will introduce themselves at the third competition
section, in which short films will compete for a 5.000-euro prize. The hosts
http://www.artfilm.sk/index.php?option=com_content&task=view&id=297&lang=en
Page 1 of 2

ARTFILM - Artfilm INTERNATIONAL FILM FESTIVAL
05.10.08 16:55
will include British director Simon Ellis, whose film Soft won awards literally
everywhere it went – at Edinburgh, St. Petersburg, Milan, Palm Springs, and
even at Sundance. Osbert Parker, director of the American-British animated
film Yours Truly, bestowed at the festival in Chicago, will also appear at the
festival, as well as director Ivana %ebestová, representing Slovak animation.
Among the many Slovak filmmakers who will visit the festival, there will also
be a delegation from the film Blind Loves. Juraj Lehotsk&, director of the
picture, which was the first Slovak film screened at Cannes for many years,
has promised to participate in the short film competition jury.
Film delegations will also appear at the New Chinese Film section.
© 2008 ARTFILM
Joomla! is Free Software released under the GNU/GPL License.
http://www.artfilm.sk/index.php?option=com_content&task=view&id=297&lang=en
Page 2 of 2

STRANA / PAGE 8
FESTIVALOVÝ DENÍK
OFICIÁLNÍ DENÍK 43. ROČNÍKU MEZINÁRODNÍHO FILMOVÉHO FESTIVALU KARLOVY VARY
ZVLÁŠTNÍ VYDÁNÍ DENÍKU PRÁVO
ČTVRTEK 10. ČERVENCE 2008
➧
NA ZÍTŘEK
PROGRAM
9:00
Velký sál 811
Lake Tahoe/Jezero Tahoe
Režie/Director: Fernando Eimbcke
Mexico, 2008, 85 min.
Z letošního Berlinale si Fernando Eimbcke
za vyprávění o mladíkovi, který se
v prachu yucatanské pouště pokouší najít
někoho, kdo by dokázal spravit jeho rozbitý
vůz, odnesl cenu Alfreda Bauera.
For his tale of a young man who tries to
find someone who could fix his car in the
dust of the Yucatan desert, Fernando
Eimbcke took away the Alfred Bauer prize
from this year’s Berlinale.
9:30
Malý sál 821
Gomorra/Gomorra
Režie/Director: Matteo Garrone
Italy, 2008, 135 min.
dí. Jsme ve světě, kde jediným zákonem
je násilí, jedinou hodnotou moc a jedinou
řečí štěkot zbraní.
This brutally raw fresco relates the ways in
which the Neapolitan Camorra controls
day-to-day life. We are in a world where
the only law is violence, the only value
power and the only language the roar of
gunfire.
10:00
Divadlo Husovka 8H1
Who's Afraid of Kathy Acker?/
Kdo se bojí Kathy Ackerové?
Režie/Director: Barbara Caspar
Germany, Austria, 2008, 87 min.
Vůbec první životopisný snímek
o legendární americké feministické spisovatelce,
která vzešla z newyorské undergroundové
scény.
The very first biographic film about the legendary
American feminist writer who rose
out of the New York underground scene.
10:00
Espace Dorleans 8E1
A nyomozó/Pátrání
Režie/Director: Attila Gigor
Hungary, Sweden, Ireland, 2008, 107 min.
An unconventional story about a man
who, in order to save his cancer-stricken
mother, agrees to carry out the assassination
of someone he’s never met.
10:00
Kino Čas 8C2
Občan Havel/Občan Havel
Režie/Director: Miroslav Janek,
Pavel Koutecký
Czech Republic, USA, 2008, 120 min.
Chcete vidět trápení Václava Havla při nácviku
prezidentské děkovací řeči nebo posoudit,
jak umí recitovat Šrámkův Stříbrný
vítr, či vědět, jak se podařilo Václavu Klausovi
proniknout do jazzového klubu na saxofonovou
produkci Billa Clintona?
Would you like to watch Václav Havel
practicing his acceptance speech as president,
judge how well he recites Šrámek’s
The Silver Wind or see how Václav Klaus
manages to talk his way into a jazz club to
hear Bill Clinton on the saxophone?
10:00
Kino Panasonic 8K1
Aanrijding in Moscou/
Moskva, Belgie
Režie/Director: Christophe van Rompaey
Belgium, 2008, 102 min.
kou v podobě o deset let mladšího řidiče
kamionu Johnnyho.
Embittered postwoman Matty is facing the
start of a middle-age crisis with the departure
of her husband for a younger woman,
the burden of three pubertal children, and
a new romance with Johnny, a truck driver
ten years her junior.
10:30
Divadlo Karlovy Vary 8D1
Dansen/Tanečnice
Režie/Director: Pernille Fischer Christensen
Denmark, 2008, 90 min.
Půvabná žena, která vede se svou matkou
rodinnou taneční školu, se vášnivě zamiluje
do uzavřeného a málomluvného elektrikáře.
An attractive woman who runs a dance
school with her mother falls passionately
in love with a withdrawn and taciturn electrician.
10:30
Lázně III 8L1
El imperio de la fortuna/
Říše bohatství
Režie/Director: Arturo Ripstein
Mexico, 1985, 135 min.
The youngest daughter of the celebrated
Makhmalbaf family of Iranian filmmakers
shows the journey a little Afghan girl takes
to get an education.
11:30
Velký sál 812
I'm Not There/I'm Not There
Režie/Director: Todd Haynes
USA, Germany, 2007, 135 min.
Originální kubistický portrét jedné
z kulturních ikon dvacátého století Boba
Dylana. Pod vedením režiséra Todda
Haynese, který roli Dylanovy postavy svěřil
hned šestici různých herců vznikla podmanivá
úvaha o tom, co určuje identitu
jednoho lidského života.
An original cubist portrait of one of the cultural
icons of the 20th century, Bob Dylan.
Under the direction of Todd Haynes, who
committed the singer’s portrayal to six different
actors at once comes a captivating
exploration of what determines the identity
of a single person’s life.
12:30
Kino Čas 8C4
Las Meninas/Las Meninas
Režie/Director: Dean Karr, Ihor Podolchak
Ukraine, 2008, 99 min.
a talented singer whose stormy love affair
in the age of swing is complicated not only
by their different natures, but primarily by
their artistic ambitions.
13:00
Divadlo Husovka 8H2
Videoklipy: Jiné tělo/
Videoklipy: Jiné tělo
Režie/Director: různí režiséři/
various directors
United Kingdom, USA, Iceland, Sweden,
2008, 75 min.
Mnoho hudebníků nezávislé scény dnes
odkládá jednoznačnou pohlavní identitu
a utíká z klece přidělených mužských
a ženských rolí.
Many musicians on the independent
scene today are casting off their clear-cut
sexual identity to escape the cage of allocated
male and female roles.
13:00
Espace Dorleans 8E2
Dixia de Tiankong/Šachta
Režie/Director: Zhang Chi
China, 2008, 98 min.
Brutálně syrová freska o cestách, jakými
neapolská camorra ovládá všední život li-
Netradiční kriminální příběh o muži, který
se pro záchranu své matky umírající na
rakovinu nechá najmout na zabití neznámého
člověka.
Zahořklá pošťačka Matty se potýká
s počínající krizí středního věku, odchodem
manžela za mladší partnerkou, se
třemi pubertálními potomky a s novou lás-
Filmová adaptace vzestupu a úpadku Dionisia
Pinzóna si zachovává atmosféru magického
realismu, kohoutích zápasů
i mexického venkova s jeho chudobou
a folklorem.
This film adaptation of the rise and fall of
Dionisio Pinzón captures the atmosphere
of magic realism, cockfighting and rural
Mexico with its life of poverty and folklore.
10:30
Pupp 8P1
Paris/Paříž
Film z rodu experimentálních děl je plně
podřízen vizuální představivosti autorů.
Přes hermetický svět rituálů zprostředkovává
prožitky rodiny, kterou svými rozmary
terorizuje dospělý syn, od dětství sužovaný
chorobami.
A piece from the experimental film genus
which succumbs entirely to the vivid imagination
of its authors. Through the hermetic
world of rituals, it mediates the experiences
of a family terrorized by the whims
of the adult son, who has suffered from illness
since his childhood.
12:30
Nenápadná oslava života se zaměřuje na
osudy příslušníků tříčlenné rodiny
v hornickém městě na západě Číny.
This subtle celebration of life traces the
lives of a family of three living in a mining
town in western China.
13:00
Kino Panasonic 8K2
Rain of the Children/Děti deště
Režie/Director: Vincent Ward
New Zealand, 2007, 101 min.
Režie/Director: Cédric Klapisch
France, 2008, 130 min.
Kinosál B 842
Dobře placená procházka '07/
Dobře placená procházka '07
Režie/Director: Olga Špátová
Czech Republic, 2007, 52 min.
Profesionální tanečník Pierre musí kvůli
hrozbě smrtelné choroby změnit svůj pohled
na svět. Na své nejbližší i na lidi, které
dosud jen lhostejně míjel v ulicích, se
začne dívat jinýma očima…
Pierre, a professional dancer, has to
change the way he views the world
around him as a fatal illness looms over
him. He begins to see both his nearest
and dearest and people he had previously
passed indifferently in the streets through
different eyes…
10:30
Richmond 8R1
Buda az sharm foru rikht/
Buddha padl hanbou
Dokument přibližuje přípravy a nové nastudování
jazzové opery Jiřího Šlitra
a Jiřího Suchého na jaře roku 2007. Původní
inscenace měla premiéru v roce
1965 v divadle Semafor a o rok později
získala i podobu televizního filmu.
This documentary details the preparations
for the new production of a jazz opera by
Jiří Šlitr and Jiří Suchý, held in the spring of
2007. The original performance premiered
in 1965 in the Semafor theatre and was
made into a television film a year later.
12:30
Na pozadí působivé rekonstrukce pohnutého
života maorské ženy Puhi ukazuje
známý novozélandský režisér Vincent
Ward těžký osud původních obyvatel
Nového Zélandu v první polovině
20. století.
Set against the compelling reconstruction
of the checkered history of the Maori
woman Puhi, well-known New Zealand director
Vincent Ward describes the challenges
facing the original inhabitants of
New Zealand during the first half of the
20th century.
13:00
Kongresový sál 834
La reina de la noche/
Královna noci
Režie/Director: Arturo Ripstein
Mexico, USA, France, 1993, 120 min.
Režie/Director: Hana Makhmalbaf
Iran, France, 2007, 81 min.
Malý sál 823
New York, New York/
New York, New York
Režie/Director: Martin Scorsese
USA, 1977, 136 min.
Nejmladší dcera z věhlasné íránské filmařské
rodiny Makhmalbafových ukazuje
cestu afghánské holčičky za vzděláním.
Brilantní Robert De Niro a Liza Minnelliová
ztělesňují svéhlavého saxofonistu
a talentovanou zpěvačku, jejichž bouřlivou
love story v éře swingu komplikují nejen
rozdílné povahy, ale především umělecké
ambice.
The brilliant Robert De Niro and Liza Minnelli
portray a headstrong saxophonist and
Rok 1939. Zpěvačka Lucha Reyesová se
vrací z nezdařeného operního turné po
Německu. Když překoná dočasnou ztrátu
hlasu, rozhodne se věnovat lidovým písním
– takzvaným rancheras.
pokračování na straně 13 ➟
denicek@kviff.com

Karlovy Vary International Film Festival | Las Meninas
05.10.08 16:40
Karlovy Vary International Film Festival
July 4 - 12, 2008
Las Meninas
Las Meninas
Discussion My Program
Cast
Colour, HD CAM
Ukraine, 2008, 99 min
Section: Another View
http://www.mf-films.com
Film screenings:
5E4 - 8.7., 19:00, Espace Dorleans Cinema
8C4 - 11.7., 12:30, !as Cinema
Director: Ihor Podolchak, Dean Karr
Screenplay: Ihor Podol!ak / Ihor Podolchak
Dir. of Photography: Serhij Mychal!uk / Serhiy Mykhalchuk
Music: Oleksandr "!etynskyj / Oleksandr Schetynsky
Designer: Svitlana Makarenko
Editor: Ihor Podol!ak / Ihor Podolchak
Producer: Ihor Podol!ak / Ihor Podolchak, Lilija Mlynary! / Liliya Mlynarych
Production: MF Films
Contact: MF Films
Mykola Verese# / Mykola Veresen, Ljubov Tymo$evska / Lyubov Tymoshevska, Hanna Jarovenko / Hanna Yarovenko, Dmytro
%ernjavskyj / Dmytro Chernyavsky, Ilona Arsentjeva / Ilona Arsentyeva, Stas Arsentjev / Stas Arsentyev, Viktorija Uljan!enko /
Viktoriya Ulyanchenko, Valerija Uljan!enko / Valeriya Ulyanchenko
Synopsis
http://www.kviff.com/en/film-detail/2317--las-meninas/
Page 1 of 3

Karlovy Vary International Film Festival | Las Meninas
05.10.08 16:40
Ihor Podolchak characterises his film (which he wrote, directed, edited and produced) as a work which proves that even a record of
everyday routine can capture the nature of intellect and the human psyche. This can be achieved in the reflection of the significance of
ordinary things and also sounds, which in this case form an important part of the music score (second director Dean Karr). The film traces
the life of a family of four living in the suburbs in an ancient Galician villa. The interiors mirror fragments of some kind of art installation
rather than a real home and, at the same time, evoke a vague, distant memory... The character who, with a sense of cruel urgency, agitates
the virtually immobile storyline is the 30-year-old son of aging parents and brother of an adult sister. Suffering from asthma and eczema
since childhood, he terrorises his infinitely tolerant family and drives them into a hermetic world of endless rituals – for them a refuge from
his whims and recurring fits… The film resembles the scattered pieces of a beautiful puzzle which the viewer can assemble to form his own
final picture.
About the director
Ihor Podolchak (b. 1962, Lviv) graduated from the Lviv Academy of Fine Arts (1984). As a creator of numerous visual art projects he has
been involved in 25 international exhibitions held in Canada, the USA, South Korea, Latvia, Poland, Norway, Spain and Ukraine. His book
Jacob Bohme was awarded the title Best Book at the Frankfurt Book Fair. One of his exhibitions in 1993 was held on the Mir space station.
Podolchak’s works are exhibited in 26 galleries and museums worldwide. His film debut Las Meninas (2008) had its world premiere at the
Rotterdam IFF.
Dean Karr (b. Seattle) studied art at Washington State University. Originally a photographer, he later made a name for himself making
television commercials and music videos, which earned him several nominations for MTV awards. He has made music videos for Marilyn
Manson, Ozzy Osbourne and Cypress Hill, among others.
Film Guests
Ihor Dyurych, Iryna Dyurych
Contacts
MF Films
Shovkovychna 5, Ap.4, 01021 Kiev
Ukraine
Tel: +380 44 253 8007
http://www.kviff.com/en/film-detail/2317--las-meninas/
Page 2 of 3

CSFD.cz - Las Meninas (2008) - Re!ie: Ihor Podolchak
05.10.08 16:42
Dnes je 05.10.2008, svátek má Eli'ka
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Film z rodu experimentálních d!l je pln! pod"ízen vizuální p"edstavivosti
autor#. P"es hermetick$ sv!t rituál# zpros "edkovává pro%itky rodiny, kterou
sv$mi rozmary terorizuje dosp!l$ syn, od d!tství su%ovan$ chorobami. Auto"i
zárove& o%ivují p#vab zaniklé kultury hali'ské provenience. [43. MFFKV
2008] (oficiální text distributora)
Las Meninas
Experimentální / Drama
Ukrajina, 2008, 99 min
Re!ie: Ihor Podolchak
Hledej
57%
Hodnocení u!ivatel#
hirnlego
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Komentá"e u!ivatel# k filmu
se"adit podle oblíbenosti (po#tu bod$) autora
hirnlego
profil / v(echny komentá"e u%ivatele
Jasn$ vrchol leto(ních Var#...
Dan9K
profil / v(echny komentá"e u%ivatele
Filmov$ festival v Karlov$ch Varech roku 2008 mi své nejlep(í dílo nabídl jako t"e(ni'ku na záv!r, vylo%enou ostudou je pak
odezva divák#. Neuv!"iteln$ snímek s tak p#sobivou stylizací, % e jsem se b!hem sledování filmu t"ásl po celém t!le. Souhra
hudby s vizuálem je tak dokonalá, % e se to ani nedá popsat. Nejlep(í scéna, kdy se n!kolik minut nepromluví a rozjí%dí se
nefal(ovan$ audiovizuální koncert kon'ící trhav$mi pohyby jedné z postav spolu se smyky violoncella, je prost! skvostná. B!hem
ní skladatel hudby geniálním zp#sobem b!há z mantinelu na mantinel, kde jednou rozjí%dí dodekafonní orgie a poté i
nefal(ovanou moderní vá%nou hudbu, aby po n!kolika minutách diváka a poslucha'e v jedné osob! na chvilku uvolnil tak"ka
'ajkovskovskou harmonií a melodikou a pak se zase rychle vrátil zp!t. Hudba je v(ak v$borná po celou dobu. M!l jsem p"ed
zhlédnutím trochu strach, ale tenhle surrealistick$ a% tak"ka dadaistick$ skvost s dokonale ulítlou pointou m! fakt dostal. Talí"e,
ryby, piáno...ne, já na tenhle film nezapomenu!
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av(ak jako celek se mi to zdálo fádní a nezajímavé. Mám smysl pro n!které surrealistické filmy ale tento (pokud ho m#%u nazvat
surrealistick$m) pro m! i nadále z#stane bez pov(imnutí. Navíc mi znechutil jezení p"íborem a chu) na rybí pokrmy, tak%e se na
m! nezlobte.
wipeout
v(echny komentá"e u%ivatele
Ur'ite najvä'(í umeleck$ zá%itok Artfilmu 2008. Tá divoká symfónia obrazu a zvuku vrhá diváka do vytr%enia pribli%ujúcemu sa
(ialenstvu. Budete mu'en$ racionalitou zúfalo h*adajúcou ' o i len najmen(í oporn$ bod v linearite rozprávania 'i plynutia 'asu.
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http://www.csfd.cz/film/243285-las-meninas/
Page 1 of 2

CSFD.cz - Las Meninas (2008) - Re!ie: Ihor Podolchak
05.10.08 16:42
ste tím plátnom, ktoré vymenil tento povolaním maliar za kanvas vrhajúc sa do filmového sveta. Pohltíte bezbranne v(etku farbu a
údery (tetca v 100 min. trvajúcom k,'i autonómne sebaukájajúceho sa tela. Toto je ten dôkaz, ktor$ h*adajú *udia, ke- sa p$tajú,
'i mo%no film pova%ova) za formu umenia(respektíve, 'i sa mô%e sta) celuloid in(trumentom v rukách umelca). A na koniec e(te
jedna poznámka pre fanú(ikov Lyncha: prí-te si pozrie) ako by to vyzeralo keby i(iel vo svojich podmaniv$ch (túdiach temn$ch
stránok *udskej du(e do extrému ba e(te -alej.
defagoo
profil / v(echny komentá"e u%ivatele
Absolutn! nevím co si o snímku myslet. Na jednu stranu m! vtáhla jeho originalita a zvlá(tnost, na druhou stranu m! vadily n!kdy
a% moc k$'ovité v$jevy a moje nemohoucnost zachytit alespo& drobounkou nitku, která by m! dokázala v tom (íleném sv!t!
zorientovat. Musím to vid!t je(t! jednou, nebo víckrát. Ale tentokrát to chce podp#rné prost"edky k pochopení (fet). A pak mo%ná
hodnocení zm!ním.
PATJA
profil / v(echny komentá"e u%ivatele
Okouzlující dadaisticko surrealistick$ film. Ojedin!lé splynutí hudby s vizuální slo%kou, mrazivá kakofonie a dodekafonie
podbarvující zkrocen$ chaos kamery. Hra s detaily, odrazy, pohyby, zvuky. Decentní, p"esto v(ak nic pro slabé %aludky.
bellicek
profil / v(echny komentá"e u%ivatele
Neuv!"iteln$ zá%itek, u kterého zále%í pouze na vás, jak moc vás bude fascinovat. Mnohdy mi p"ipom!l na první pohled
nesmyslné dialogy v Rabbits od mistra Lynche. Nádherná hra zrcadel a obraz# s emocionáln! psychopatickou hudbou a zvuky.
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Las Meninas | kfilmu.net
05.10.08 17:12
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Las Meninas - informace, obsah
Dal!í volby k filmu Las Meninas:
Informace
Hlá#ky
Názory
Poslední aktualizace: 4.8.2008 (p'ed 62 dny)
Obsah, d"j
Ihor Podol"ak charakterizuje sv%j autorsk( po"in (scéná', re!ie, st'ih, produkce) jako dílo dokazující, !e i
záznamem ka!dodenní !ivotní rutiny lze vystihnout povahu lidského intelektu a ps(chy. Je mo!né toho
docílit i reflektováním v(znamu oby"ejn(ch v$cí a také zvuk%, které tvo'í v(raznou sou"ást hudební
partitury (druh( re!isér Dean Karr). Film sleduje !ivot "ty'"lenné rodiny ve starobylé p'edm$stské vile
hali"ské provenience. Vybavení interiér% jakoby zrcadlí fragmenty spí# um$lecké instalace ne! reálného
obydlí a sou"asn$ evokuje i "as jakési nejasné vzpomínky... Osobou, která s krutou naléhavostí jit'í
tak'ka nehybn( d$j, je t'icetilet( syn star#ích rodi"% a bratr dosp$lé sestry. Od d$tství su!ovan( astmatem
a ekzémy terorizuje sv(mi v(st'elky bezmezn$ tolerantní rodinu a zahání ji do hermetického sv$ta
rituál%, v nich! na#la únik p'ed jeho rozmary a v$"n$ se opakujícími záchvaty... Snímek p'ipomíná
rozmetané zlomky krásného puzzle, z nich! si ka!d( m%!e vytvo'it sv%j vlastní, jedine"n( celek.
Tagy u#ivatel$ [Nejpopulárn"j!í tagy]
Zatím k tomuhle filmu nebyl p'i'azen !ádn( tag.
Hodnocení
Hodnotilo: 0 | Pr%m$rné hodnocení: 0.0% | Bez anonym%: 0.0%
http://www.kfilmu.net/filmy.php?sekce=informace&film=las-meninas
Page 1 of 4

Las Meninas | kfilmu.net
05.10.08 17:12
Va#e hodnocení: ??? Hodnotit
[Statistika]
Dal!í data k filmu
[Podobné filmy]
Základní informace
)esk( název: Las Meninas
Originální název: Las Meninas
)eská premiéra: Neznámo kdy, ale u! byla.
Nato"eno: Ukrajina 2008
Re!ie: Ihor Podolchak, Dean Karr
Scéná': Ihor Podolchak
Kamera: Serhiy Mykhalchuk
Hudba: Oleksandr Schetynsky
Hrají: Mykola Veresen, Lyubov Tymoshevska, Hanna Yarovenko, Dmytro Chernyavsky, Ilona Arsentyeva,
Stas Arsentyev, Viktoriya Ulyanchenko, Valeriya Ulyanchenko
Délka: 99 minut
&ánr: Experimentální / Drama
Mohlo by vás zajímat
V tuto chvíli není v na#í databázi !adn( podobn( film k filmu Las Meninas.
Odkazy
K dispozici nejsou !ádné odkazy pro film Las Meninas.
ETARGET odkazyP'idat inzerát
Obaly, sá%ky, po!etky na CD, e
V(roba obal% - sá"k% a fólií z materiál% PP a BOPP, sá"ky s eurozáv$...
V&TVS a VO& Palestra
Vysoká #kola t$lesné v(chovy a sportu, Akademie t$lesné v(chovy a sportu.
Skála spol. s r.o.
V(roba a prodej pytl% a fólií, v(roba hadic a polohadic.
QWEST CZ, s.r.o. - obalové mat
V(roba, import a export obalov(ch materiál%, samolepící obálky QPack,...
Masarykova S& chemická
Maturitní studijní obory aplikovaná chemie a technické lyceum v Praze.
Chcete-li, m%!ete nám poslat dal#í informace k tomuto filmu.
Vlo!eno: 4. srpna 2008 / Tento text zpracoval(a): 2mig1
Na úvodní stránku film% | Na v(pis film% od L
Hlavní menu:
Sout$!
)lánky
http://www.kfilmu.net/filmy.php?sekce=informace&film=las-meninas
Page 2 of 4

! "#$%&'() *#$#) !+$#,-# .&+#/0 12%34 «5#6 70-2-#6» - ForUm
04.01.09 20:43
20 39, -, 04 '%?) -4, @5("-#, -.).8%1%A '-"?8.5%14 | +.%;45-0% | @8#4".- | !183%
A.581,'B | '.;%C. | +.5-01-9-3 |

[8. MFF ENH] Las meninas. Czechow i zje!cza!a ryba - WYDARZENIA w Stopklatka.pl
05.10.08 16:55
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WYDARZENIE
[8. MFF ENH] "Las meninas". Czechow i
zje!cza!a ryba 20 lipca 2008
NAJWA!NIEJSZE WYDARZENIA
WIDEORELACJE
"Las meninas", eksperymentalny, debiutancki film ukrai%skiego
re"ysera Igora Podolchaka, zrealizowany przy pomocy
ameryka%skiego autora teledysków Dean Karr, zaczyna si# scen&
"ywcem wyj#t& z dramatów Czechowa.
OSTATNIE
NAJPOPULARNIEJSZE
WYDARZENIA
Bie"&ce wydarzenia
Archiwum wydarze'
NAWIGACJA
Wydarzenia
Wydarzenia kina
niezaleznego
Wydarzenia DVD
Wydarzenia bran!owe
KANA'Y RSS
W ogrodzie, nieopodal daczy siedzi dwójka staruszków. Przygl$daj$
malarskie albumy i wspominaj$ przesz%o"&, projekty zrealizowane i te
niezrealizowane. Chwil# potem senny i nostalgiczny pejza! rozwiewa si#
bezpowrotnie. Zaczyna si# ostra, psychodeliczna jazda. Wewn$trz domu
zaczynaj$ si# dzia& przykre rzeczy, zarówno dla bohaterów jak i dla widza.
Rodzina targana jest raz za razem k%ótniami, pretensjami i krzywdami. Nikt
z nikim nie rozmawia, nic tylko pyskówki i obelgi, w których przoduje
despotyczna matka. Drugim powracaj$cym motywem filmu s$ nieko'cz$ce
si# rodzinne obiadki, które sk%adaj$ si# wy%$cznie z da' rybnych. Ca%y dom
"mierdzi ryb$, nikt nie chce jej ju! je"&. I tak to si# by mo!e plot%o od
jednego posi%ku do drugiego, gdyby nie ukrai'ski re!yser, który, do czego
zreszt$ si# przyznawa% podczas spotkania przed filmem, zamiast rozrywki
wola% zaoferowa& ci#!k$ prac#. No i to ostatnie akurat mu wysz%o. Trzeba
si# nie(le natyra&, !eby dotrwa& do ko'ca.
wszystkie
najwa"niejsze
bran"owe
DVD
niezale"ne
MAM WIADOMO()
Wydarzenia:
Naszym partnerem jest
Wi#cej o kana$ach RSS >>
Je!eli masz informacj# filmow$ o której jeszcze nie
napisali"my - skorzystaj z formularza i wy"lij nam
wiadomo"&.
WYRA* SWOJ+ OPINI,
Wyra! swoj" opinie, to mo!liwo"& dodawania osobistych
komentarzy do tre"ci publikowanych na stronach serwisu
Stopklatka.pl. Mamy nadziej#, !e wasze opinie wzbogac$
informacje ze "wiata filmu, przygotowywane przez nasz
zespó% redakcyjny.
Zapraszamy do... wyra!ania swoich opinii.
Film powsta% z inspiracji s%ynnym XVII-wiecznym obrazem Las Meninas,
hiszpa'skiego malarza, Diego Velázqueza. Lecz jest to inspiracja trudna do
uchwycenia. Gdzie ci dworzanie? Gdzie ta infantka? Doprawdy dziwnymi
"cie!kami chadza umys% wznios%ego artysty, a takim bez w$tpienia jest
Podolchak.
http://www.stopklatka.pl/wydarzenia/wydarzenie.asp?wi=47357
Page 1 of 4

!SFD: U"ivatel wipeout
05.10.08 17:32
Dnes je 05.10.2008, svátek má Eli#ka
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Na CSFD aktivní od: 20.03.2005 - 10:03
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Profil
Hodnocení (1015)
Komentá+e (342)
Obsahy (2)
Filmotéka (634)
Oblíbení u%ivatelé
Moje komentá!e
od nejnov!j"ích podle abecedy podle hodnocení podle roku vzniku filmu
>
Delta (2008) 06.07.2008
Ozna#i$ toto dielo ako "film o inceste" nemô%e by$ &alej od pravdy. Ide v prvom rade o v'pove& o
(nielen)Ma&arskom vidieku a ( udí v ) om svojím vlastním rytmom % ijúcich, s ve(kou nevô(ou
nazerajúcich na # o i len sebe men"ie vybo#enie z nepísan'ch v"eobecne ustanoven'ch noriem
správania sa, na ktor'ch je postaven' cel' spolo#ensk' %ivot. Ten kto bude uznan' z naru"enia
t'chto pravidiel musí by$ nenávratne vytesnen' na okraj, no # asto i to je málo a samotná
existencia tohto devianta spôsobuje nekontrolovate(n' hnev a tú%bu po treste. Pritom akoko(vek
nemorálny prostriedok je prehliadan' so systematickou (ahostajnos$ ou, k'm uspokojí potrebu
formova$ svoje okolie na obraz vlastn'ch predstáv(nie ale seba, lebo ka%d' z nich je ur#it'm
spôsobom vo svojom vnútri jedn'm z t'chto naru"ite(ov pokoja, len je schopn' svoje správanie
navonok maskova$ dôsledn'm dodr%iavaním dohodnutého kódexu ke& sa niekto pozerá).
Mundruczó si vo svojom rozprávaní pomáha klasickou ma&arskou filmovou " kolou, ve& medzi
jeho spolupracovníkov patril i Bella Tarr. Zvolil prostredie Delty Dunaja, jedného z jeho m*tvych
ramien zásobujúceho svoje okolie neznesite(nou vlhkos$ou, otravn'm hmyzom a bahnom
svedomia obyvate(ov malej dedinky na jeho brehu. Striedajú sa prekrásne obrazy mo#arísk, ktoré
by mohli by$ k(udne dejiskom nasladnutej romantiky, tu ale skôr slú%ia ako symbol miesta
rozkladu morálnych hodnôt, pova%ovan'ch dedin#anmi za "posvätné", ale zárove) im ponúka
ospravedlnenie zlo#inov, ktoré tu páchajú a stávajú sa tak faticky sú#as$ou tohto mikrokozmu
rozkladu(patria k nemu u% dávno a ide tak skôr o premietnutie do ich vlastného stavu mysle).
Las Meninas (2008) 06.07.2008
Ur#ite najvä#"í umeleck' zá%itok Artfilmu 2008. Tá divoká symfónia obrazu a zvuku vrhá diváka
do vytr%enia pribli%ujúcemu sa "ialenstvu. Budete mu#en' racionalitou zúfalo h(adajúcou #o i len
najmen"í oporn' bod v linearite rozprávania # i plynutia # asu. Podolchak vás v"ak nenenechá
uniknú$ z pazúrov ni# netu"iacich zmyslov postupne preberajúcich kontrolu nad va"ím telom. Vy
ste tím plátnom, ktoré vymenil tento povolaním maliar za kanvas vrhajúc sa do filmového sveta.
Pohltíte bezbranne v"etku farbu a údery " tetca v 100 min. trvajúcom k*#i autonómne
sebaukájajúceho sa tela. Toto je ten dôkaz, ktor' h(adajú ( udia, ke& sa p'tajú, #i mo%no film
pova%ova$ za formu umenia(respektíve, #i sa mô%e sta$ celuloid in"trumentom v rukách umelca).
A na koniec e"te jedna poznámka pre fanú"ikov Lyncha: prí&te si pozrie$ ako by to vyzeralo keby
i"iel vo svojich podmaniv'ch "túdiach temn'ch stránok (udskej du"e do extrému ba e"te &alej.
Monstrum (2008) 23.06.2008
Ke& by si náhodou nejak' obyvate( zeme neobmedzene slobody za#al pod lakom agresívnej
zahrani#nej politiky myslie$, %e tá armáda a jej "tedré financovanie chráni viac záujmy po utrpení
ba%iacich cudzincov z tretieho sveta, ako samotn'ch ob#anov má sa tu kone#ne mo%nos$
informova$ o ich skuto#n'ch úlohách. A ke& u% sme pritom zi"lo by sa ten rozpo#et e"te
dramaticky nav'"i$, lebo tie raketky a iné explozívne hra#ky pre dospel'ch nejako degradovali na
svojej priebojnosti. A teraz vá%ne. Nie%eby som zaspával, ale stále si myslím, %e tomuto médiu
sved#í viac filmov' celuloid(aj ke& treba uzna$, % e i video má svoje svetlé stránky ako som bol
milo prekvapen' v prípade Inland Empire) a kladenie primárnej váhy na postavy, lebo ak by som
akceptoval premisu(princíp po la#enej sebaidentifikácie), ktorú vo svojom komente na#rtol
Shadwell tak vek virtuálnej reality bude koncom klasického stoto%)ovania sa s postavami, ktoré
tvorí hlavné murivo vz$ahu divák a film. Bez neho zostane len fúra digitálnych efektov a
adrenalínová jazda na #iernobielej húsenkovej dráhe. Aj ke& treba poveda$, %e u% dlh"iu dobu sú
hrdinovia len povinnou v'bavou(bez pridanej hodnoty) v nielen Americk'ch trhákoch. Ke& by som
aplikoval Zizekove nazeranie na film ako zrkadlo skuto#ného stavu spolo#nosti, tak by mi z tohto
trendu vzi"lo jasné potvrdenie atomizácie spolo#nosti na jednotlivca, ktor' u% nepotrebuje ani
http://78.24.9.30/uzivatel/9700-wipeout/komentare/?page=1&podle=roku
Page 1 of 6

!SFD: U"ivatel wipeout
05.10.08 17:32
hrdinov ale len záblesky oslepujúcich svetiel, ktoré ho v rau"i spotreby udr%ujú bdelého a na
nohách v prijate(nom stave najvy""ej mo%nej apatie.
Ná# v$dce (2008) 06.07.2008
Tento projekt, ktor' sa in"piroval kni%nou predlohou, zalo%enej na skuto#nej udalosti, ktorá sa
odohrala v USA si zvolil ve(mi svi%nú a dospievajúcim (u&om prístupnú formu, #o je pochopite(né
vzh(adom na cie(ovú skupinu, ktorej by mal sprostredkova$ riziko vzniku totalitného hnutia v
Nemecku, kde sa práve na "kolách kladie ve(mi ve(k' dôraz na osvetu vzh(adom na jeho históriu.
Nejde teda o umeleck' film s ambíciou prinies$ nie#o nové do sveta filmu, skôr chce vyvola$
polemiku. Svojím zov"eobec)ovaním a hádzaním v"etk'ch foriem kolektivity do jedného vreca,
pou%íva tú istú taktiku ako systém, ktor' kritizuje. Ve& práve v sú#asnej dobe fragmentovanej
silne individualizovanej spolo#nosti je potreba a tú%ba po kolektívnych zá%itkoch o to
silnej"ia(davy uniformne odet'ch fanú"ikov futbalu, zástupy (udí ochotn'ch zaplati$ astronomické
sumy za zna#kov' tovar, ktor' ich zaradí do skupiny poslu"n'ch kravi#iek pochodujúcich z a na
pastvinu spotreby,...). Ke& ale budú vznika$ len na základe rôznych pochybn'ch my"lienok ako to
nazna#uje aj tento film, budú ( udia stále veriaci vo ( udí navôkol "katu( kovaní ako prebytky
minulosti % ijúci v ilegalite(a to sa vonkoncom nesna%ím obhajova$ neonacistov a podobne, len
nazna#i$, % e sa práve oni stali ak'msi stra"iakom, ktor' sta#í spolu so zlyhaním komunizmu
vytiahnu$ kedyko(vek sa to liberálom hodí).
Slepé lásky (2008) 17.04.2008
To, %e dokumentaristika bola jednou z mála ostrov#ekov tvorivosti v inak finan#ne a podporou zo
strany verejnosti a in" itúcii poddimenzovanej slovenskej filmovej tvorby, sved#ia v'nimo#né diela
z 90 rokov a ich úspechy na medzinárodnej fes ivalovej scéne(napriek ignorácii zo strany STV a
Slovensk'ch distribu#n'ch kanálov). O tradícii dokumentu sved#í aj toto ve(mi "pecifické a nielen
na Slovenské pomery originálne dielo o nevidiacich pre nevidiacich(plánuje sa vydanie
"peciálneho DVD, ktoré bude obsahova$ i audiostopu pre nich) ako aj t'ch so zrakom ochotn'ch
vidie$ krásu a na#erpa$ z nej silu a pochopenie. K zá%itku ur#ite prispel aj fakt, %e samotn' re%isér
i scenárista merali cestu do kina spolu s nami divákmi a následne zaujímavo dotvorili mozaiku
zá%itku svojimi postrehmi a odpove&ami na otázky. A im patrí aj v&aka, za (udské a srde#né
spracovanie témy, ktorá patrí k be%ne ignorovan'm a tabuizovan'm.
Üc Maymun (2008) 06.07.2008
Po prekvapivom zá%itku pri filme Distant tohto istého re%iséra som u% dva dni pobehoval nervózne
po Artfilme(AF), pln' o#akávaní. A to # akanie nezostalo neodmenené. Ceylan svojím citom pre
tiché odha(ovanie pohnútok a my"lienok svojich charakterov, ktoré bolo tak fascinujúce v jeho
filme o dvoch bratoch a klaustrofobickom mikrokozme ich napät'ch vz$ahov, tu rozpráva príbeh 3
opi#iek - (udí, ktor' napriek vedomiu pravdy zostávajú dobrovo(ne vo voliére sebaklamu. Príbeh,
by sa k(udne mohol zaradi$ medzi tie tuctové, tak ako to hrozí ka%dému, ktor' nie je postaven'
na prekvapivosti, k*#ovitej fabulácii, # i divok'ch predstavách scenáristu bez kontaktu s realitou.
Tomu v"ak Ceylan svojou bravúrnou prácou s hercami úspe"ne zamedzuje. Ich v'kony sú
umocnené vo(bou polo detailov, niekedy a% nepríjemného rámovania obrazu s #as$ami tvár
sníman'ch z extrémnej blízkosti a ob#asn'ch efektn'ch prestihov na panoramatické zábery, ktoré
práve svojou sporadickos$ou pou%itia naberajú na prekvapivej sile. Zárove) ale táto technika
odha(uje na kos$ potrebu kina s jeho zvukom ale hlavne obrazom, kde a% naozaj vynikne pestros$
a ve(kolepos$ oby#ajn'ch vecí ako ( udská poko%ka # i vrásky. Tu u% kritizovan' zvolen' filter
vynikajúco podfarboval temnos$ príbehu a dodával ka%dej emócii na tvárach hercov na sile. Ur#ite
jeden z najlep"ích filmov AF 2008.
300: Bitva u Thermopyl (2007) 03.04.2007
-akanie sa nakoniec vyplatilo a nepotvrdilo sa postupne u% mnohonásobn'mi sklamaniami
potvrdené pravidlo, % e ve(kos$ reklamnej kampane a kvalita sú v nepriamej úmere. Toto
predstavenie je jednoducho stvorene pre kino! Za#nem od pozitív, ktor'mi sú jednozna#ne:
nedokonale mítovo originálna animácia, dynamika bojov, adrenalínom sr"iaci spar$ansk'
hrdinovia, po rozdrteni priam volajúca per%anská armáda a charizmatick' krá( Leonidas udávajúci
rytmus celej tejto neuverite(n'm hipom obdarenej pochú$ke. To # o ale necháva priestor na
negatívnej"iu kritiku je pod(a môjho názoru nevhodne zvolen' pomer medzi akciou a scénami zo
Sparty, ktore film len zbytocne predl%ujú a mohli byt e"te trochu zostrihané, dodali by tak celému
filmu e"te na sile. Ale aj napriek v"etkému ide zatia( o najlep"iu zábavu akú si v roku 2007
mo%ete za$ia( v kine dopria$. A e"te jedno upozornenie pred tím ako sa u% do toho kina vyberiete:
film vyvoláva nekontrolovate(né v'buchy násilia vezúc sa e"te aj po skon#ení filmu na tejto vlne
mô%e prís$ k nejakému tomu útoku, tak%e si naozaj vyberajte s k'm sa na 300vku vyberiete. :)
Aleksandra (2007) 06.07.2008
Sokurov pristupuje k politickej téme umiestnenia Rusk'ch vojsk v -e#ensku úplne neobvykle.
Vyh'ba sa barli#kám klasického filmového rozprávania o vojnov'ch konfliktoch(akcia, boj, priama
konfrontácia znepriatelen'ch strán...) a zalo%il svoj film na rozprávaní cez atmosféru, ktorej je
podriaden' aj samotn' dej: príchod Aleksadri starej mamy jedného z vojakov do tábora v ktorom
je umiestnen'. Od za#iatku divák sna%í pochopi$ #o je na jej zjave #i v'zname také fascinujúce,
%e zanecháva na v"etk'ch s ktor'mi sa stretne tak' hlbok' dojem pln' len $a%ko popísate(n'ch
emócii. Predstavuje ka%dou svojou vráskou, krehkos$ou no zárove) pevnos$ou stavby tela,
unavenos$ou a (útostiv' m materinsk'm citom personifikáciu Ruskej du"e a zárove) matky
v"e k'ch detí-vojakov, o ktor'ch dospelosti sved#í iba v"adeprítomná hrdza rozk(adajúcej sa
techniky, zbraní a prostredia, ktoré ich obklopuje. A tak jej prechádzky nie sú mentorskou
in"pekciou ale láskav'm, staros liv'm ale i morálnym a pochybova#n'm hlasom svedomia
ustráchanej matky, odtrhnutej od svojich detí.
Bourneovo ultimátum (2007) 25.11.2007
Ke&%e som mal mo%nos$ v pomerne krátkom #asovom slede zhliadnu$ celú trilógiu, prirodzene sa
mi naskytá mo%nos$ bezprostrednej komparácie. To, % e sa Greengrass podie(al na celej ceste
agenta bez mena cí i$ na nemeniacom sa rukopise(v prípade nepreru"ovaného pozerania celej
http://78.24.9.30/uzivatel/9700-wipeout/komentare/?page=1&podle=roku
Page 2 of 6

!SFD: U"ivatel wipeout
05.10.08 17:32
série vám po(ahky splynie dej do jedného filmu), aj ke& by sa dalo diskutova$ o absencii
originality s postupom zápletky vpred k svojmu finále, vezúcemu sa u% len na dobre na"tartovanej
série. Ne#akajú vás %iadne nepríjemné prekvapenia- Bourne ultimátum je v prvom rade hrou na
istotu a dôstojn'm ukon#ením(?). Základn'm problémom je ale scenár posúvajúci dej u% len
minimálne. Je tie% na " kodu, % e nezostalo odvahy na radikálnej"ie ukon#enie, ktoré by nadobro
uzatvorilo diskusie o mo%n'ch budúcich pokra#ovaniach, ako to u% v Hollywoode ovládanom
úradníkmy-mana%érmi u% raz b'va. 3,5*
Dagen zonder lief (2007) 06.07.2008
Takto si predstavujem komer#nú produkciu, ktorá nemusí urá%a$ intelek a doká%e zabavi$ ako aj
poskytnú$ # osi naviac. Musím sa len prida$ k Jordanovi a potvrdi$, % e " lo o ve(mi príjemné
odreagovanie sa od v"etkej tej nadnesenej vá%nosti a "umeleckosti" na Artfilme a utvrdil ma v
tom, %e stále sa dá rozpráva$ príbehy i "ir"iemu publiku, bez nutnosti zni%ovania nárokov, o #om
sved#ili i pozitívne reakcie publika v pomerne zaplnenej obrovskej sále ODA v Tren#íne. Humor
tu pôsobí ako katalyzátor, ktor' nám sprostredkováva príbeh star'ch priate(ov, ktor' sa po
dlh"om #ase zmenen' stretávajú na miestach z minulosti, ktoré v sebe nesú ve(a spomienok ale
taktie% sú zrkadlom plynutia #asu(v tomto prípade prechod od bezstarostného dospievania k svetu
zodpovednosti a vytriezvenia z ru%ového sna v"emocnosti). To v"etko na pozadí prekrásnej
jazzovej hudby od Jefa Neva a zaujímavo klipovito strihan'ch flashbackov.
Disturbia (2007) 12.10.2007
Bolo by naozaj zbyto#né rozpisova$ sa o symptómoch neskorej senility filmárov z Hollywoodu, ich
neschopnosti respektíve nevôle vyvarova$ sa v nekone#nom bludnom kruhu spotreby obvykl'm
chybám. Nu% zákony trhu ká%u jasne vyrába$ # o najviac, s najni%"ími nákladmi, za #o najkrat"í
#as a hlavne pre jasne chladn'mi "tatistikami popísanú cie(ovú skupinu.1,5*
Já, legenda (2007) 14.08.2008
Pôvodne som chcel pri príle%itos i môjho osobného mí(niku 1000ceho ohodnoteného filmu napísa$
osobnej"iu v'pove&, no priestorové obmedzenie pre komentáre ma na"$astie nepustilo, a tak pre
v"e k'ch t'ch, ktor' majú záujem nájdu t'ch pár viet na stránke môjho profilu. A teraz k
samotnému filmu. Skoro vo v"etk'ch kritériách ide o film priemern'. Pou%íva cel' arzenál
ve(korozpo#tovej produkcie, ktorej vbudované chyby sa sna%í skry$ pod masku ticha, decentnosti
hudobného sprievodu a nahradenia tzv. masov'ch scén víziou vy(udneného New Yourku.
Kopíruje dokonca, inak vo vynikajúco zvládnutej scéne s h(adaním stratenej su#ky v temn'ch
útrobách budovy bez osvetlenia, postupy zo survival hier ako napr. Silent hill. Hrdinsk' in
memoriam pátos na konci zá%itku taktie% nepridal.
Jas sum od Titov Veles (2007) 06.07.2008
Nepochopite(ne sa práve tento film z Macedónska stal ví$azom ceny Panoráma v'chodu na
Artfilme 2008. Pri#om sa tu nachádzali také klenoty ako experimentálna prvotina ukrajinského
maliara Las Meninas alebo strhujúci intímny príbeh domáceho násilia Za vedno zo Slovinska.
Oba ho pred#ili inven#nos$ou i spracovaním. Tento film z produkcie rodinnej spolo#nos i
súrodencov Mitevskych sa radí do kategórie obetí vlastnej formy. V'pove& je podriadená hraniu
sa na "umenie", ktoré # asto pôsobí samoú#elne. Príbeh troch sestier z b'valého pomaly
umierajúceho priemyselného meste#ka v Macedónsku síce zaujme ale pomalá forma rozprávania
ako i hlavná postava psychicky o#ividne naru"enej a prostredím v ktorom % ije pozna#enej
najmlad"ej zo ses ier, ktorá sa v mlados i rozhodla presta$ rozpráva$ ho utápajú v zbyto#nej
roz$ahanosti a prehnanej lyrike. Ur#ite v"ak ide o tip filmu, ktor' po(ahky zaujme porotu, preto%e
predstavuje archetyp festivalového filmu(u% menej diváckeho # i dokonca sa odvá%im tvrdi$
zaujímavého).
Julia (2007) 06.07.2008
Zaradenie tohto filmu na Artfilm mi pri"lo úplne scestné, preto%e toto je páni a dámy komer#n'
projekt na nerozoznanie od svojich bratov a sestri#iek z Hollywoodu. Jediné #o ich odli"uje je pár
detailov ako: 1. Krajina pôvodu(aj ke& sa spolupodie(alo USA ako koproducent), príbeh sa skoro
cel' taktie% odohráva v USA a% na poslednú "tvrtinu. 2. Zobrazenie odhaleného %enského prsníka
v jednom zábere s die$a$om na scéne(#o je zase nepísané pravidlo sa takejto kombinácie
vyvarova$). 3. Miesto jedného milióna dolárov na v'kupnom sa tu objaví suma 2 miliónov dolárov
:). Príbeh má skoro identick' spád ako ostatné road-movie thrilery na aké sme zvyknut'. Schéma
zúfalá situácia - spáchanie zlo#inu - zúfal' stále sa komplikujúci únik z v'konu trestu
spravodlivosti, respektíve k odmene zo zlo#inu plynúcej - nevyhnutn' kvázi tragick' koniec a
závere#né itulky s pekn'm songom na odchod z kina. Zase ale nie v"etko je a% také zlé. Tak
napríklad zo za#iatku ve(mi snubne sa rozvíjajúca snaha o ponorenie sa do psychiky navonok so
svojím pozlátkom zov)aj"ku atraktívne pôsobiacej alkoholi#ky- trosky s obsahovo prázdnym
%ivotom(v podaní vynikajúcej Tildy Swinton). Nane"tastie táto vetva bola rozprávaná len okrajovo
a ustúpila akcii, nahá)a#ke a %ivote o pre%itie na strane zlo#inu.
Katy% (2007) 06.07.2008
.udia postávajú pred kinom a sna%ia sa e"te nar'chlo kúpi$ lístky, tí "$astlivci s cinepassmi sa
predierajú do kinosály ako prv'. Hala sa ve(mi r'chlo zap/)a a po chvíli u% niet ani jedného
vo(ného miesta a (udia dychtivo za#ínajú obsadzova$ i podlahu v uli#kách a pri vchode do sály. Po
chvíli, ke& u% v"etci netrpezlivo za#ínajú listova$ programom alebo obzera$ sa po susedoch v
rade, zrazu pred publikum predstúpi po(sk' ve(vyslanec na Slovensku a za#ne svoj emotívny
prejav, objas)ujúc dôle%itos$ vo filme opisovanej udalosti pre Po(sk' národ i neho samotného. Sú
presne 4 hodiny v jedno teplé odpoludnie a o#akávania divákov Artfilmu sú naozaj vysoké(ve& ide
u% o 2h' screening a divácky záujem stále e"te neopadol). E"te posledn' potlesk pre o#ividne
rozru"ene si na svoje miesto sadajúceho hos$a a svetlá mô%u prenecha$ miesto %iarivkám
filmovej premieta#ky. Po skoro 2 hodinách sa po závere#n'ch vypät'ch scénach desivo rytmickej
stre(by v Katy)skom lese zrazu roz(ahne v kine hrobové ticho ako z plátna tak i publika
prikovaného k sedadlám, kde sa len tu ob#as oz'va smrkanie, # i tich' zvuk v*zgajúcich
dreven'ch sedadiel. To ticho je fascinujúce a v konfrontácii s poh(adom na mno%stvo nehybn'ch
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!SFD: U"ivatel wipeout
05.10.08 17:32
siluet navôkol priam desivé. Áno i takto kino stále dokazuje svoju magickú schopnos$ pohlti$
diváka a umocni$ kolektívny zá%itok. Jediná " koda je, % e som sa ocitol na strane takmer
nezaujatého pozorovate(a fascinovaného skôr tím # o sa dialo navôkol ako samotn'm filmom.
Stroskotal som na neprekonate(nej bariére roztrie"tenosti #asovej línie, príbehu i zvolenej formy.
Postavy odchádzali a prichádzali bez väzby so mnou a tak bolo na konci potrebné v záujme
aspo) akého takého emo#ného pnutia i exaktné zobrazenie samotného masakru, #o pova%ujem
za zlyhanie, lebo práve to # o zostáva nedopovedané a zahalené pod rú"kom bezprostrednosti
b'va to s najvä#"ou silou pohnú$ (udsk'mi mys(ami. 3,5*
Kenedi se "eni (2007) 06.07.2008
Naozaj ve(mi neortodoxne nato#ená komédia, ktorá kombinuje % ánre dokumentu ako i hraného
filmu. Unikli my prvé dve # asti trilógie, ale ke&%e ide len o vo(ne nadväzujúce príbehy nebolo
problémom sa hne& v úvode spriateli$ s postavou Kenediho, cigána s dlhmi, ochotného za ich
splatenie bez okolkov obetova$ svoje telo % enám i mu%om zo v"etk'ch kútov sveta. To #o robí
tento príbeh tak zaujímav'm je zámerne extrémne amatérske spracovanie s digitálnou kamerou a
(ne)hercami, ktor' pôsobia ako keby prv' krát videli kameru(#o v niektor'ch prípadoch mô%e by$
aj pravda). A tak nakoniec zistíte, % e napriek tomu, % e si stále opakujete aké je to "hovadina"
nemô%ete si pomôc$ a # asto sa schuti zasmia$. Na Artfilme tu bol e"te jeden podobn' kúsok z
tohto "%ánru", ktor' ale za kenedim o hlavu zaostával-Vlk ma&arského re%iséra Tomása Tótha.
3,5*
Muzika (2007) 17.04.2008
Muzika je jasnou odpove&ou na otázku Mira Ulmana "Kedy u% kone#ne príde Slovensk' divácky
film?" Odhliadnuc od filmov'ch kvalít(herecké obsadenie, v'borná literárna Pi"$ánkova predloha,
schopná ré%ia, zaujímavá a (u& om blízka téma, chyt(avé dialógy v hovorovej sloven#ine so
v"e k'mi svojimi humorn'mi zákutiami, ve(mi dobrá hudba a schopnos$ rozosmia$ publikum)
pova%ujem za kri ické pre úspech(dúfam, % e e"te vä#"í ako v prípade Pol#asu rozpadu) najmä
ú#as$ filmov v " irokej distribúcii Multiplexov, ktoré u% nezastupite(ne tvoria vä#"inu celkovej
diváckej náv"tevnos i na Slovensku. Taktie% treba poznamena$, %e propaga#né ak ivity boli u% od
za#iatku systematické(objavovali sa #lánky v novinách #asopisoch, rozhovory s hercami: vezúc sa
#iasto#ne na vlne Slovensk'ch filmov v roku 2008 a s tím spojeného "ir"ieho záujmu zo strany
médií o Slovensk' film). Objavovali sa plagáty a zintenzívnená kampa) pred príchodom do
samotn'ch kín, konali sa dokonca predpremiéri s prítomn'mi tvorcami a hlavn'mi hercami a to
v"e ko sa nádherne synergicky spojilo v na Slovensko zará%ajúcom poh(ade na plné kino(teda
mô%em hovori$ len za NR, ale pod(a komentárov in'ch u%ívate(ov usudzujem, %e to nebolo tak
len tu). Teraz u% len dúfam, % e práve Muzika sa stane tím (adoborcom, ktor' zbúra múr medzi
divákom a Slovensk'mi filmom budovan'm po#as obdobia predchádzajúcich rokov. 4,5*
Piráti z Karibiku - Na konci sv&ta (2007) 26.05.2007
To(ko nádejí, neoblomnej viery v schopnos$ tvorcov vyhnú$ sa strmému pádu na dno, ve& to sa
predsa pirátom nemô%e sta$, oni sú iní, nenechajú sa stiahnu$ prúdom nevydaren'ch
pokra#ovaní, ktoré sa v poslednej dobe hrozivo mno%ia. Dokonca som bol ochotn' po prvom
neúspe"nom pokuse(vypredané kino!!!) #aka $ &al" ie 4 hodiny aby som si nakoniec vychutnal to
jedno ve(ké nafúknuté ni#. Najvä#"í $ahú ) prv'ch dvoch dielov Jack Sparrow sa prekvapivo v
prvej pol hodine neobjavuje a aj potom mu nie je venované o#akávané mno%stvo #asu, aj ke&
treba jednozna#ne uzna$, %e mu cite(ne dochádzala para a táto inak vynikajúca postava dosiahla
svojho potenciálu v predchádzajúcej # asti. A to # o nám zostalo je len scenáristická zlátanina s
minimom akcie v prv'ch dvoch hodinách s následn'm predávkovaním v poslednej hodine, ktorá
na ukoléban'ch divákov nemá o#akávan' efekt. Takisto som sa nemohol ubráni$ pocitu, %e
vä#"ina humoru sa dostala do polohy ve(mi sileného napodob)ovania star'ch # asov. Ale aj
napriek tomu ob#as sa nejak' ten vtip vydaril, tak%e to a% také hrozné nie je. -o sa ale $a%ko
odpú"$a je pár scén bijúcich divákovi do o#í svojou primitívnos$ou a prestrelením pôvodne
zam'"(aného úmyslu(hyperzvä#"enie, svadobn' obrad, trápna milostná scéna na konci a v
neposlednej rade poh(ad ako by vyzeral Matrix keby bol zasaden' do pirátskeho prostredia pri
v'buchu najvä#"ej lode na screene) . Neby$ dlho#iznej stopá%e mo%no by sa tento preefektovan'
kúsok pozeral s vä#"ím odu"evnením. A tak ve(mi smutn' musím oznámi$, %e ni# netrvá ve#ne a
jeden z posledn'ch fenoménov ve(koprodukcie hollywoodu, spájajúcich ma s nad"ením
konzumom más je %ia(bohu pre#. :(2,5*
Psanec (2007) 28.10.2007
U% v úvode vás ovalí pulzujúca temná atmosféra vytváraná súzvukom roztrasenej(aj ke& mo%no
ob#as kontraproduktívne) kamery, tmav"ieho filtra a na diváka ako magnet pôsobiacej hudby,
ktorá vás úspe"ne sprevádza na ka%dom kroku pachom krvi a strachu napáchnutého Lond'na
riadiaceho sa základn'mi in"tinktami pre%itia. Excelujúci Sean Bean, ktor' ako vojak veterán
vracajúci sa do domova prekvapujúco pripomínajúceho miesto svojho b'valého pôsobiska, sa
stáva samozvan' "Zoro-agitátor" so zmyslom pre ur'chlen' v'kon práva spolu s &al"ími
spriaznen'mi du"ami tejto "Lond'nskej domobrany". To # o " liape na pedál surovosti, sú
naturalisticky prevedené bitky-r'chle no o to smrte(nej"ie. Jediné #o tejto fascinujúcej, mo%no a%
komixovej predstave odcudzenia ve(komesta meniaceho sa na jednu ve(kú arénu, v ktorej zabije"
alebo bude" zabit', je prepracovanej"í scenár, ktorému dochádza dych v momentoch najvä#"ieho
vypätia. 3,5*
Sigur Rós - Heima (2007) 04.01.2008
Heima je pre m)a zhmotnením nadprirodzeného, splnením sna o pre%ití plnosti atmosféry "%ivej
deformovanej dokonalosti" plynúcej v prirodzenom súlade s dobrovo(nou nedotknute(nos$ou
Islandskej scenérie. Je taktie% uistením o opodstatnení trpezlivého objavovania sveta okolo nás.
Citujúc Rawena "díky podobn'm zále%itostem jsem rád na sv!t!" mi pripadá ak'ko(vek komentár,
v komornej atmosfére mimoslovno utíchajúcej hladiny hudobného zá%itku, zúfalo nadbyto#n'. A
tak teda ako beznádejn' fanú"ik sa zdr%ím &al"ích ód a rad"ej pozvem vás zatia( neo#aren'ch k
in"piratívnemu úniku z rutiny konzumn'ch %ivotov.
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!SFD: U"ivatel wipeout
05.10.08 17:32
Sirot'inec (2007) 22.03.2008
U% je to nejak' ten # as, # o som naposledy písal komentár, a e"te viac # asu uplynulo od
posledného hororového príbehu, ktor' by mi v nejakú tú bezsennú noc robil spolo#nos$. A pre#o
to vôbec v"e spomínam? Úprimne sa musím prizna$, %e za tím je svedomie stále mi niekde tam z
h/bky zmyslu pre korektnos$ na"eptávajúce, %e to zase tak jednozna#ne na 4 nebolo. Ve& kto u%
aspo) raz nevidel ducharinu zo sirotinca, internátu alebo dokonca postar"ieho dom#eku s
históriou nejakej tej detskej tragédie nabádajúcej svojich "hmotnej"ích" kolegov k jej #o
najspektakulárnej"iemu vy"etreniu. - i u% to bolo mojou absenciou v rámci % ánru, o#arením
originálnym ukon#ením, umnou kamerou alebo prekrásne starnúcou Belén Rueada, jednoducho
som si to u%il a ponechal si "omranie na inokedy. 3,5*
Tussenstand (2007) 06.07.2008
Film sa zaoberá naraz hne& viacer'mi témami, ktoré sú ale navzájom prepojené jemn'mi
vláknami medzi(udsk'ch vz$ahov. Je to v prvom rade fenomén sú#asnos i: Hikikomori, ktor' je
najviac roz"íren' v Japonsku, kde zasahuje do zna#nej # asti mladej dospievajúcej populácie v
rôznych stup)och záva%nosti. Prejavuje sa utiahnutím sa jedincov do svojich izieb, odmietajúc
vychádza$ na verejnos$, #i komunikova$ inou ako virtuálnou cestou ako reakcia na ve(mi vysoké
nároky a o#akávania okolia v extrémne sú$a%ivom spolo#enskom prostredí. Tu je zasaden' do
sú#asného Belgicka, rozpadajúcej sa rodiny zlo%enej z otca spisovate(a hedonistu liberála,
%ivotom ranenej matky a %eny, ktorá vychováva sama syna, ktor' prepadol fascinácii v'chodn'mi
kultúrami a syndrómu Hikikomori. Táto disfunk#ná rodina, navonok pôsobiaca len ako pozitívny
produkt slobodnej spolo#nos i preferujúcej vz$ahy zalo%ené na pragmatickej obojstrannej
v'hodnosti a nie obete # i kompromise, materiálom s ktor'm pracuje Mijke de Jong. Nejde v"ak
iba o jej projekt, preto%e na celej produkcii sa podie(ali i samotn' herci a film vznikol ako ich
spolo#ná kolaborácia, # o sa ve(mi pozitívne prejavuje na fascinujúco anga%ovan'ch hereck'ch
v'konoch. Práve tie sú základn'm stavebn'm kame)om, ke&%e film pozostáva v'lu#ne z #asto a%
nezmyselnej kombinácie small talku a u"tipa#n'ch dialógov oboch rodi#ov v bohato zdoben'ch
re"tauráciach a kaviar)ach prekypujúcich dostatkom v"etkého. Tie sú v silnom kontraste s tich'm
svetom utiahnutého syna, pre ktorého ka%d' kontakt s okolím je bolestnou skúsenos$ou, ktorej sa
sna%í za ka%dú ceny vyvarova$ i náv"tevou cudzích bytov, ke& ich majitelia opustia v "t'le 3-iron.
Práve tieto 2 svety svojou vzdialenos$ou vyjadrujú bariéru medzi liberálne zm'"(ajúcimi neustále
sa hádajúcimi rodi#mi a v tejto atmosfére po$a%ky svoju vlastnú cestu k rebelovaniu si h(adajúcim
synom. U% spomínanú zbyto#nos$ ko"atej slovnej zásoby bez skuto#ného obsahu posil)uje dôraz
na neverbálnu komunikáciu vyjadrujúcu skuto#né pochody my"lienok, # asto v protiklade s
nepreru"ovan'm prúdom slov, ktor'mi sa ako keby sna%ia obaja rodi#ia vyhnú$ tak obávanému
v"eodha(ujúcemu nekompromisnému tichu. Jednoducho fascinujúci zá%itok z filmu vo svojej
naj#istej"ej forme.
Yumurta (2007) 05.07.2008
S ú%asom, e"te stále badate(n'm na tvári po screeningoch filmov iného Tureckého re%iséra: Nuri
Bilge Ceylan(filmy Distant a Tri opice) na Artfilme(AF) som sa s vervou náhlil do kina s ve(k'm
o#akávaním. Viem, % e pri filmoch je chybou prinies$ si so sebou i nejak' batô%tek akejko(vek
prí$a%e- # i u% pozitívnej alebo negatívnej. Ale toto pochybné dielo by ma nezaujalo pri
akomko(vek stave mysle. Prekypovalo priemernos$ou a monotónnos$ou. - i u% to bol triviálny
príbeh, v"edné pseudoartové spracovanie, takmer statickú kameru, nev'razné herecké v'kony,
nemotorn' lyrizmus, uspávajúcu atmosféru...Jednoducho jeden z filmov na ktor' sa ve(mi r'chlo
zabúda.
16 blok$ (2006) 31.08.2006
Nie%eby bol 16 blocks zase a% tak'm zl'm filmom no proste nemô%em si pomôc$ ale toto v"e
som u% niekde videl a nie len raz. Dej je predvídate(n' a cel' #as som vlastne len trávil tím, %e
som odhadoval ako to asi v &al"ej scéne dopadne a musím uzan$, %e som bol celkom úspe"n'.
Ale to by sa dalo e"te nejako prehltnú$. Najhor"ie je, %e mi cel' #as pripadalo pomerne nelogické
ako mô%e pre%i$ chrom', opit' a zdrogovan' policajt s existencionálnymi rpoblémami proti
regimentu motivovan'ch zabitiachtiv'ch po zuby ozbrojen'ch policajtov, ktor' v%dy zázra#ne
vypátrali jeho stopu. -o sa t'ka Bruca wilisa jeho v'kon ma vôbec nepresved#il, cel' #as k*#ovito
strúhal jednu a tú istú grimasu a tváril sa ako vyslú%ilí policajt s temnou minulos$ou, no mne a%
tak' presved#iv' nepripadal. Napriek v"etkej kritike je to oddychovka pre nenáro#n'ch v reto "t'le
na ve#ernú Tv podívanú. To$ v"e 2,5*
911 Mysteries Part 1: Demolitions (2006) 19.03.2007
Zmysel pre h(adanie kon"pira#n'ch teórií je hlboko zakorenen' v dne"nom "homo sapiensinternetikus",
# o platí ale takisto aj o (u& och z minulosti,len s tím rozdielom, %e v sú#astnosti je
mno%stvo informácií, ku ktor'm sa mô%eme dosta$ ohromujúce. A tak sa #lovek stretáva s naozaj
rôznymi teóriami, od rôznych nábo%ensk'ch kon"pirácii a% po iluminantov. A z toho plynie
základn' problém, % e v tejto d%ungli informácii triedi$ pravdivé od nepravdivého je zásadná a
#asto nezvládnute(ná úloha. A tak niet sa #o #udova$, %e som u% od za#ia ku k tomuto dokumentu
pristupoval skep icky. A v'sledok? Podarilo sa mu vo mne vyvola$ mno%stvo nezodpovedan'ch
otázok, ale % eby som teraz i"iel na ulicu demon"trova$ a by$ sa do p*s, %e to bolo v"etko
zinscenované? To teda nie. Dôkazy a vyjadrenia, ktoré uvádzajú sú len dohady, ktoré neznejú
dostato#ne presved#ivo. Fakty sú selektované a obvinenia a "pekulácie vá%nej"ieho charakteru
len v teore ickej rovine a nedostato#ne podlo%ené. Na dôverihodnosti nepridáva ani hlas
komentátorky , ktor' bol nev'razn' a otravn'. Mo%no sa uká%e, %e ve(a z vecí tu uvádzan'ch sú
pravdivé no ja sa na posúdenie tohto problému necítim vonkoncom kompetentn'.
Apocalypto (2006) 18.01.2007
Tématick'm spracovaním naprosto jedine#n' so svojím vlastn'm svetom na filmovom plátne
ve(mi málo prebádan'm. V sú#astnej dobe násilia a hroziv'ch obrazov " íriacich sa live na
spravodajsk'ch kanáloch vyznie kritika príli" ve(kého mno%stva násilia #i krvi naozaj komicky, a
pod(a m)a pohár znesite(nosti nebol zaplnen' ani do polovice. Najlep"ou #as$ou je jednozna#ne
pasá% mimo d%ungle v meste obety a hriechu. Nebudem sa tu hra$ na hystorika ale aspo) z
mojich doteraj"ích vedomostiach som si nebol vedomí nejakej tej krivdy na tieto dávne civilizácie.
No a teraz k mojim v'hradám: Príli" dlhá stopá%, ktorá mohla by$ bez ak'chko(vek v'#i iek
http://78.24.9.30/uzivatel/9700-wipeout/komentare/?page=1&podle=roku
Page 5 of 6

!SFD: U"ivatel wipeout
05.10.08 17:32
zredukovaná, neschopnos$, teda aspo) v mojom prípade, sa nejako viac zviaza$ s filmov'mi
postavami a cel' # as som mal pocit, % e sa pozerám na dokument s anonymn'mi postavami zo
vzdialeného sveta. A e"te jedna pripomienka musím #iasto# ne da$ za pravdu kri ikom v
namietaní, % e samotn' príchod kolonizátorov vyznel viac ako vykúpenie domorod'ch kme)ov z
kruhu násilia ako katastrofa a ich apokalypsa.
Asterix a Vikingové (2006) 28.10.2006
Aj ke& Asterix a Obelix nepatria ur#ite k mojim najob(úbenej"ím postavi#kám takéto sklamanie
som ne#akal vonkoncom. Humor, ktor' sa posunul do bezodnej dieri priemern'ch animákov,
trápne pou%itie coververzii viacerych znamych songov sprevádzan'ch e"te trápnej"ími tane#n'mi
kreáciami, ktoré u% dávno nie sú originálne. Krátka expozícia u% len potom vyjadrovala chabú
nápaditos$ autorov. Proste zase a raz sa podarilo, a to sa najviac obavam %e nie endopatrenim,
vyu%i$ osved#enú zna#ku za ka%dú cenu.1,5*
Auta (2006) 31.12.2006
Najlep"í animák tohto roku, teda ke& beriem do úvahy len Európu a USA. Hne& od za#iatku si
#lovek proste zamiluje autí#ka a u% ho ten hrejiv' pocit nepustí do konca na animovanú produkciu
neobvyklej 2hodinovej stopá%i. V"e ko to # o mi obvykle vadí sem zapadalo má. Skvelá zábava,
najmä ke& si uvedomím ko(ko ve(a priemern'ch animákov mám u% za sebou a v poslednom #ase
sa proste s nimi vrece roztrhlo. -o sa t'ka kvality technického spracovania, pokia( do oka naozaj
nebije tak to v tomto %ánri vôbec nie je podstatné, ako príklad uvediem Karcoolku. No ani v tomto
oh(ade nám Cars ni# nezostáva dl%n'. Dokonca sa ob#as aj na povrchu etjto pokojnej hladiny
vykri"talizuje aj nejaká tá my"lienka aj ke´d to vôbec primárnym cie(om nie je...tím najhlavnej"ím
je zabavi$ a doja$ a toho sa nám dostáva pln'mi priehr"tiami. 4,5*
Babel (2006) 01.03.2007
Technicky dokonale zvládnuté v "t' le Crashu. Viacero príbehov, ktoré sa svojimi zvlá"tnymi
spolo#n'mi nitkami osudu spájajú v jeden $a%ko formu naberajúci minisvet. Problém je v tom, %e
je tak' chladn' ako sám drsn' svet vôkol protagonistov. A stávate sa teda nezainteresovan'mi
svedkami ve(kého mno%stva problémov, ktoré sa sna%ia autori zahrnú$, no niekedy je naozaj
menej viac a zi"lo by sa zo"krta$ ve(ké mno%stvo v'povedí na jednu, ktorá by diváka zasiahla
priamo a plnou silou. Nebudem nikoho z hercov vyzdvihova$, lebo táto naozaj etnicky rôznorodá
skupinka sa nemusí hanbi$ za ani jedného # lena. Moja najob(úbenej"ia scéna je jednozna#ne v
disco, kde sa kameraman ú%asne pohráva s stroboskopom. Babel proste len pokra#uje v
nastavenom trende, nepriná"a revolu#n' náh(ad na stret kultúr a iné pál#ivé problémy
sú#astnos i, no aj tak je ur#ite hodn' pozrenia a strávenia va"ich 2 hodín #asu. 3,5*...Po druhom
pozrení som sa naplno tomuto filmu oddal, bez nejak'ch oscarov'ch predsudkov a bez mihnutia
oka a s k(udn'm svedomím upravujem na 5.
Bestiá! (2006) 14.10.2007
V rámci Dní # eskej kultúry sa do miestneho filmového klubu za neobvykle po#etnej
náv"tevnosti(absencia vstupného?) prezentoval ako jeden z viacer'ch kultúrnych podujatí práve
Bestiá+. Pre m)a osobne predstavoval ú#eln' kompromis pekne uhladenej komercie, ktorá u% bez
ak'chko(vek problémov zaujme vä#"inového diváka a umo%)uje vzrast záujmu a zápalu pre
domácu produkciu. To u% na"i západní susedia dávno pochopili, %e najprv musí za#a$ fungova$
zdrav' trh , ktor' umo%ní vzniku a distribúcii aj odvá%nej"ích #i progresívnej"ích itulov. Be"tiá+
nenudí, udr%í si pozornos$ diváka(o tej mu%skej # asti niet poch'b, ke&%e scén s lákav'm
rytmick'm zhadzovaním kusov "atstva si u%ijete dostatok:)) Humorná zlo%ka nepôsobí otrepane #i
umelo vykon"truovane, no sme hlavne svedkami %ivotn' ch peripetií hlavnej hrdinky , ktorá sa v
snahe o vyrovnanie sa s zlo%it'm vz$ahom, ktor' pre%ila(va), premení na "po%iva#n' harvester"
kapitalis ického tipu. Tento príbeh dr%í celkom úspe"ne pokope mini príbehy s umne
vymodelovan'mi partnermi zah*)ajúcimi okrem iného(politika, enviro-po(nohospodára...) V "ir"ej
perspektíve ide o krok vpred. S preh(adom nato#en' Bestiá+ diváka enurazí a poskytne
2hodinovú zábavu bez pridanej hodnoty. 3,5*
>
-esko-Slovenská filmová databáze © 2001-2008 POMO Media Group s.r.o. V"echna práva vyhrazena.
Provozovatel, Reklama, Redakce / FAQ / P!idej obsah / wap.csfd.cz
Server hosting zaji"$uje VSHosting s.r.o. / Optimalizaci pro vyhledáva#e zaji"$uje SEO Expert s.r.o.
Vyzkou"ejte: Prague apartments / (erm / Topení / Thajsko / Notebooky / Two bedroom apartments
http://78.24.9.30/uzivatel/9700-wipeout/komentare/?page=1&podle=roku
Page 6 of 6

Moscow International Film Festival
05.10.08 16:44
!"##$%& '()#*&
Las Meninas // Las Meninas
(Ukraine, 2008, 99 min.)
Director: Ihor Podolchak
Screenplay: Ihor
Podolchak
Cast: Mykola Veresen,
Lybov Tymoshevska,
Hanna Yarovenko
Las Meninas is not a film about a story; it is a film about
senses. It resembles the scattered pieces of a puzzle and it
is the task of the audience to put the pieces together. The
almost magical visual part bears reminiscences of 17th
century still lifes. The music and the sound added to it
absorb the viewers and give them the feeling of being a part
of this visual experience.
The plot evolves around a family of four. They live in the
suburbs, in a strange villa that appears, through a complex
game of mirrors, to be more like a piece of installation art
than a real house. The main character, who hardly appears
on screen, is the son, a man in his thirties. Suffering from
asthma and eczema since childhood, he uses his condition
to manipulate his parents and his sister. Thus the existence
of the terrorized family turns into an endless ritual of
attempting to satisfy his whims, and always on the alert for
yet another one of his «health crises»
Film Schedule
Film Catalogue
Cinema Halls
Regulations
Entry-form (.doc, 357 Kb)
Prizes
Jury
Sponsors and Partners
The MIFF Archives
Photographs
Manege on-line
Film is screened in the Moscow Euphoria
Screening shedule
– only for press
24 June
19:30
Multiplex Cinema October, Hall 6
Film catalogue
30th Moscow International Film Festival, © 2008
Site Layout — FlyNet
http://moscowfilmfestival.ru/eng/30/films/84/
Page 1 of 1

Movie On: 30th Moscow International Film Festival
05.10.08 16:45
MOVIE ON
THINKING ABOUT MOVIES - NOT YOUR USUAL REVIEWS
COUNTRY/THEME
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FRIDAY, JUNE 13, 2008
30th Moscow International Film Festival
The festival will run from June 19 to 28 and the festival President is none other than
Nikita Mikhalkov. Here are the films in the Main Competition.
Absurdistan, Veit Helmer, Germany and Azerbaijan, 2008
Amanecer de un Sueño (Awaking from a Dream), Freddy Mas Franqueza, Spain
and Poland, 2008
Be Hamin Sadegi (As Simple As That), Reza Mir Karimi, Iran, 2008
Der Mond Und Andere Liebhaber (The Moon and Other Lovers), Bernd
Boehlich, Germany, 2008
Duidande Zhangzheng (The War of the Shore), Li Xin, China, 2007
For My Father, Dror Zahavi, Israel, 2007
Giorni e Nuvole (Days and Clouds),. Silvio Soldini, Italy and Switzerland, 2007
Majdnem Szüz (Virtual Virgin), Péter Bacsó, Hungary, 2008
Mao Ce Dun (Mao Tse-tung), Besnik Bisha, Albania, 2007 (puzzling!)
Odnazhdy V Provintsii (Once Upon a Time in the Provinces), Katya Shagalova,
Russia, 2008
Raiskiye Ptitsy (Birds of Paradaise), Roman Balayan, Ukraine, 2008
Sad (The Cherry Orchard), Serguey Ovcharov, Russia, 2008 (yes, screen version of
Chekhov’s play)
Un Coeur Simple (The Simple Heart), Marion Laine, France, 2008 (based on Falubert… seems VERY interesting!)
Ve!ramót (A Quiet Storm), Gu!ny Halldórsdóttir, Iceland, 2007
The Visitor, Tom McCarthy, USA, 2007
Zift, Javor Gardev, Bulgaria, 2008 (a mixture of neo-noir and sots-art… have to see this!)
Opening Ceremony: Hancock, Peter Berg, USA, 2008
Closing Ceremony: Maradona By Kusturica, Emir Kusturica, Spain and France, 2006
In the Perspectives Program there are some interesting movies like the following.
Cumbia Callera (Cumbia Connection), Rene U. Villareal, Mexico, 2007
One Shot, Linda Wendel, Denmark, 2008 (yes is a one shot movie)
Nevando Voy (Under the Snow), Maitena Muruzabal and Candela Figueira, Spain and Argentina, 2007
Rerberg and Tarkovsky. Reverse side of Stalker, Igor Maiboroda, Russia, 2008 (a must be seen for me!)
Unrelated, Joanna Hogg, UK, 2007
In the Moscow Euphoria Program there is one movie that totally got my attention Las Meninas, Ihor Podolchak, Ukrain
2008 look at the description: Las Meninas is not a film about a story; it is a film about senses. It resembles the scattered
pieces of a puzzle and it is the task of the audience to put the pieces together. The almost magical visual part bears
reminiscences of 17th century still lifes. The music and the sound added to it absorb the viewers and give them the feeling of
being a part of this visual experience.
They are honoring great directors that passed away last year and recently and showing La Notte by Michelangelo Antonioni,
Cries and Wispers by Ingmar Bergman, and Three Days of the Condor by Sydney Pollack. Also there are homages to L
Ullman showing some of her movies where she acted and those that she directed; to Isabelle Hupert, to John Cassavettes, and
to Takeshi Kitano. Then there are so many good old Soviet Union and newer Russian movies that just gave me the chills and
wished I could revisit some and be able to watch many more that haven’t seen.
Also screening Sex: The Revolution, Harry Perry and Richard Lowe, USA, 2007 a documentary that I recently saw and I d
highly recommend.
To check all the programs and information about all the films go here.
Posted by Storyteller
Post a Comment
http://movie-on.blogspot.com/2008/06/30th-moscow-international-film-festival.html
Page 1 of 3

Живой блог ММКФ
10/31/09 1:13 PM
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"Менины", Игорь
Подольчак, 2008.
26 Июнь 2008 // 16:30
"Ма ая Москва" "Первый отряд" "Социа истический
авангардизм" "первый отряд" 1998 1999 2004 2006 2007
2008 2009 2009 Майк Манн 8 1/2 8 1/2 фи ьмов
85 administrative wall*e Адвокат террора Азиатский экстрим
Анимация Анонс Барнс Барсе она (карта) Бачо Бо гария
Бо ьше Бена Брази ия Броуди Бытие Ва ерия Гай
Германика Венгрия Вержес Видео Вне ринга Война на
другом берегу Вокруг света Вопросы зрите ей Все умрут а
я останусь Гай Мэддин Га а-показы Га а-премьеры Дзифт
Документа ьное кино Дом кино Еванге ие от Матфея Ежи
Ско имовский Жюри Забавные игры Занусси Изабе ь
Юппер Им Квон эк Интервью Ита ия Итоги Кади
Рекордз Ка атозов Кассаветис Катя Шага ова Кино
Кира Муратова К имов Конкурс Леди Джейн Лоуч Луна и
другие юбовники Лунгин ММКФ Мао Цзэ Дун Марадона
г азами Кустурицы Марчин Коша ка Медведкин Медиафорум
Менины Меня здесь нет Московская эйфория На
семи ветрах Никита Миха ков Новая Москва Новости Об
этом не знает никто Один день Один кадр Однажды в
провинции Озеро ахо Опрос Основной конкурс
Отражения Па ата№6 Панорама индийского кино Парк-
Шанхай Патти Смит Первая суббота мая Перспективы
Петр Шепотинник Петя по дороге в царствие небесное
Питер Берг Питер Гринуэй Победите и Подо ьчак
По езные ссы ки По ьша Посетите ь Пос е катастрофы
Пробуждение ото сна Прогнозы Программа Простая душа
Проще простого Расстройства же удка Рейтинг Рейтинги
Репортаж Рерберг Ретроспектива Российские программы
Роу ендс Рэйче выходит замуж Сад Свободная мысль
Секс Секс Рево юция Сергей Овчаров Сине Фантом
Ско имовский Скоро весна Соцавангард Список
Панфи ова Сто гвоздей Сто етние и сто етие Счаст ивая
дюжина Счастье айсон акеси Китано арковский ри
обезьяны риер Уи Смит У ьман Уоттс Феррери
Ф Ф Фото Ф
ак
Если бы режиссёр,
присутствовавший на показе, не
korchinskii
настаивал на том, что это - кино,
ищущее "новый киноязык" , то я бы для себя
определил сей опус как образчик полнометражного
видеоарта. Потому что если всё-таки вычесть из
картины сюжет, который она и сама, кажется, с
удовольствием, вытесняет на периферию, то
остаются логически бессмысленные и чисто аудиовизуальные
наработки, которые, на мой взгляд,
единственно и составляют ценность в опытах
такого рода. Сами по себе эти наработки не прорыв
и не переворот ни в видео, ни в арте, но в них есть
своя красота, которую даже не буду тщиться
передать словами (трейлера, увы, не нахожу).
Особенно хороши подстановки (когда парень играет
на пианино, при этом судорожно содрогаясь, и
вдруг оказывается, что он занят мастурбацией, а
потом, вроде бы, снова фортепьянной игрой - читай:
одновременно и тем, и другим) и игры с зеркалами,
в которых порой появляются невозможные
отражения. Ну и проч., и проч.
Сюжет, как и объявлено в анонсе, составленном,
очевидно, самим автором, действительно ребус,
паззл. Поэтому приведу лишь свою версию, не
претендуя на многое (если у кого иная - прошу,
пишите!). В начале речь идёт о семье из 4 (или 5?)
человек: мать, двое детей - молодая рыжая
женщина и её брат, никогда не показывающийся на
свет из-за экземы и астмы, их отец. Но вот с отцом
уже проблема. На его счёт у меня 2 версии: 1) либо
он "един в двух лицах" (это - одновременно - седой
человек с какой-никакой шевелюрой и человек
абсолютно лысый); 2) либо лысый - это, собственно,
отец, а седой - это дед, о котором в фильме всё
время упоминается в связи с тем, что он построил
дом, в котором происходят события фильма.
Собственно, весь фильм герои ничего не делают,
только ведут бессвязные диалоги и почти
бессмысленно передвигают предметы, имитируя,
http://community.livejournal.com/mmkf_ru/tag/Подольчак
Page 1 of 2

Живой блог ММКФ
10/31/09 1:13 PM
Фестива ьная жизнь Фи ьм закрытия Фото Франция
Ханеке Цай Мин Лян Царь Цитаты Чадов Чап ин Черное
со нце Что смотреть Чудо в Бер ине Шабро ь Шар из
ерон Шахназаров Шредер Шу ьтес аккредитация
анге опу ос антихрист арабов бе ая ента би еты
биография броуди вампиры венгрия видео вокруг света
выходка га а-показы га а-премьеры документа ьное кино
дом кино дорогуша доста ь драма другая ирина измена
исторический ита ия итоги как ве ит Бог касса кино
кинодневник комедия конкурс короткий метр уна ма ая
москва медиа-форум миха ков ммкф муратова наушники
нуар основной конкурс па ата№6 перспективы петя по
дороге в царствие небесное пос едний разговор программа
ретроспектива российские программы румыния свободная
мыс ь секьюрити событие социа истический авангардизм
сп етенные пара е и те ефон три ер ужасы фантастика
феррери фи ьм закрытия фото франция ханеке чудо
шахназаров шувалов эшпай
например, приготовление пищи. В какой-то момент
какое-никакое "киноповествование" исчезает и
начинается очень длинный клип на замечательную
музыку, который и занимает всю среднюю часть
фильма. Вот тут имеют место всякие
"хореографические" находки и операции с
зеркалами. И я подозреваю, что в этом месте
фильма смешиваются/смещаются временные
планы, потому что мать вдруг замещается дочерью
и появляются двое детей, мальчик и девочка,
призванные, видимо, изобразить брата и сестру в
детстве... Затем вновь возвращается "рассказ", но
речь уже идёт о (я так думаю) о прошлом, потому
что тут действуют как раз эти найденные на дне
зеркал мальчик и девочка, девочка учит
французский (по которому, а также по рыжей копне
волос, можно её идентифицировать с взрослой
героиней, фигурирующей в начале). Вот примерно
такой представилась мне расстановка сил. Но чем,
собственно, живут герои, к чему стремятся и т.д.
мне установить не удалось. Но наличие этого
зыбкого, невнятного мирка в фильме, вероятно,
единственное, что позволяет отнести его всё-таки
фактам киноискусства.
Метки: 2008, Менины, Московская эйфория,
Подольчак
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05.10.08 17:18
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Filmoteka >> Aktualno!ci

Filmoteka Narodowa - Serwis www - Aktualno!ci
05.10.08 17:18
Odb#dzie si# tak&e konkurs POLSKIE FILMY KRÓTKOMETRA%OWE - pozwalaj'cy
festiwalowej publiczno(ci
na bie&'co (ledzi% polsk' produkcj# krótko- i (redniometra&ow'. Filmy b#d' podzielone
na trzy cz#(ci - dokumenty, animacje i fabu!y. Cykl ten organizowany jest we
wspó!pracy ze Stowarzyszeniem Filmowców Polskich.
________________________________________
POZOSTA&E FESTIWALOWE CYKLE
Panorama kina wspó#czesnego to prezentacja 40 filmów nagradzanych na
najbardziej presti&owych mi#dzynarodowych festiwalach filmowych. W tej sekcji jest
miejsce zarówno na prezentacj# wielkich mistrzów, jak i nowych talentów, pokazy
specjalne, pokazy na wroc!awskim rynku.
W cyklu Pokazy specjalne b#dzie mo&na zobaczy% m.in. filmy: Na imi$ ma Sabine
(Elle s`appelle Sabine/
Her Name Is Sabine, re&. Sandrine Bonnaire); W poszukiwaniu harmonii: podró% do
Azji (Trip to Asia - die Suche nach dem Einklang / Trip to Asia - the Quest for
Harmony re&. Thomas Grube) oraz Fala, re&. Piotr *azarkiewicz.
Po raz drugi odb#d' si# pokazy na wroc#awskim rynku daj'ce mo&liwo(%
obcowania z dobrym kinem w malowniczej scenerii miasta nie tylko uczestnikom
festiwalu, ale równie& mieszka)com Wroc!awia. W tym roku zobaczy% b#dzie mo&na
m.in. Niebo Suely (O céu de Suely / Suely in the Sky, re&. Karim Aïnouz); Pod
bombami (Sous les bombes /Under the Bombs re&. Philippe Aractingi,) oraz film
Prawdziwa historia (The World's Fastest Indian) w re&yserii Rogera Donaldsona. Wst#p
na te pokazy b#dzie bezp!atny.
W sekcji Filmy o muzyce zaprezentowane zostan' m.in. filmy Heima - rejestracja
trasy koncertowej najg!o(niejszego wspó!czesnego zespo!u islandzkiego Sigur Ros; Lou
Reed's Berlin - filmowy zapis koncertu, który odby! si# w 2007 roku w nowojorskim St.
Ann's Warehous, Joy Division, oraz Patti Smith: sen %ycia (Patti Smith: Dream of Life),
czyli efekt 11 lat obserwacji jednej z najbardziej wp!ywowych osób ameryka)skiego
rocka.
A bohaterem cyklu nocne szale'stwo, b#dzie w tym roku ekscentryczny w!oski
re&yser - Dario Argento.
Co roku festiwal prezentuje inn' kinematografi# narodow', w tym roku odb#dzie si#
retrospektywa kinematografii nowozelandzkiej i wspó#czesnego kina
brazylijskiego. W ramach przegl'du kina nowozelandzkiego pokazanych zostanie: 38
filmów d!ugometra&owych, w tym retrospektywa Vincenta Warda, 48 filmów (rednio i
krótkometra&owych. Kuratorem sekcji nowozelandzkiej jest dr Ian Conrich - brytyjski
krytyk filmowy, dyrektor Centrum Studiów o Nowej Zelandii na Uniwersytecie
Londy)skim, autor wspó!pracuj'cy mi#dzy innymi z BBC i miesi#cznikiem Sight &
Sound.
Przegl'd wspó!czesnego kina brazylijskiego skupi si# na najnowszych dokonaniach tej
kinematografii. Poczesne miejsce zajm' filmy retomady - renesansu, który kino znad
Amazonki prze&ywa!o w po!owie lat 90. Retomada zaowocowa!a niezwyk!' aktywno(ci'
twórców z tego kraju, a jej efekty wida% do dzi(. Sekcja wspó!czesne kino brazylijskie
obejmie 23 filmy pe!nometra&owe, oraz najnowsze filmy krótkometra&owe z tego
kraju. Selekcji sekcji brazylijskiej dokona! brazylijski krytyk filmowy Luiz Carlos
Merten.
Wa&n' pozycj' programu festiwalowego s' retrospektywy re(yserskie uznanych
zagranicznych i polskich twórców. Bohaterami tegorocznej edycji b#d': grecki re&yser
Theo Angelopoulos, brytyjski twórca Terence Davies, najciekawszy re&yser
nowozelandzki Vincent Ward oraz Polacy: Andrzej %u#awski , Witold Leszczy'ski,
Katarzyna Maciejko-Kowalczyk, oraz autor przepe!nionych czarnym humorem
animacji - Alexander Sroczy'ski (w ramach obchodów 60. lat animacji polskiej). Ju&
po zamkni#ciu kalendarza pokazów i katalogu, do programu festiwalu w!'czony zosta!
przegl'd filmów Piotra &azarkiewicza.
W ramach obchodów 60-lecia polskiej animacji pokazane zostan' równie& dwa
cykle: filmy Aliny Skiby
oraz TVP Kultura animuje.
Tradycj' festiwalu s' koncerty oraz pokazy filmów niemych z muzyk$ na (ywo. W
tym roku m.in. ( wiatowa premiera opery filmowej Csoma, w#gierskiego
eksperymentatora Tíbora Szemzö (w tym spektaklu w roli narratorki wyst'pi Krystyna
Janda), dwa koncerty brytyjskiego kompozytora Michaela Nymana i jego Michael
Nyman Band z nowym programem, oraz koncert muzyki filmowej skomponowanej
przez Greczynk#
Eleni Karaindrou do filmów Theo Angelopoulosa.
W klubie festiwalowym w Arsenale codziennie wieczorem b#d' odbywa!y si# koncerty
zespo!ów oraz sety
dj-ów. W Arsenale wyst'pi 20 zespo!ów z ca!ego (wiata.
________________________________________
http://www.fn.org.pl/page/index.php?str=53&id=176
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Filmoteka Narodowa - Serwis www - Aktualno!ci
05.10.08 17:18
8. MFF ERA NOWE HORYZONTY odwiedzi ponad stu twórców filmowych z ca!ego (wiata
m.in.:
- bohaterowie retrospektyw: Grek Theo Angelopoulos, Terence Davies z Wielkiej
Brytanii, Andrzej +u!awski, Alexander Sroczy)ski oraz Alina Skiba.
- re&yserzy filmów z mi#dzynarodowego konkursu Nowe Horyzonty m.in.: Peter Geyer
(Jezus Chrystus Zbawiciel/ Jesus Christus Erlöser / Jesus Christ Saviour), Aditya
Assarat (Cudowne miasto/Wonderful Town), José Luis Guérin (W mie"cie Sylvii/ En la
ciudad de Sylvia / In the City of Sylvia) Christian Petzold (Yella), Spiros
Stathoulopoulos (PVC-1), Lee Kang-Sheng (Pomó%, Erosie/ Bangbang wo aishen / Help
Me Eros), Ivan i Igor Buharov (Powolne zwierciad&o/ Slow Mirror), Cao Guimarães
(W&ócz$ga / O andarilho / The Drifter), Ihor Podolchak i Dean Karr (Las Meninas),
Kornél Mundruczó (Delta);
- re&yserzy i krytycy z Nowej Zelandii (kilkana(cie osób) m.in.: Vincent Ward i Roger
Donaldson; filmowcy
z Brazylii (kilkana(cie osób).
- polscy twórcy m.in.: Jerzy Skolimowski (re&yser filmu otwieraj'cego festiwal, Cztery
noce z Ann!), Krzysztof Zanussi (zrealizowany we W!oszech film Czarne s&o#ce / Il sole
nero /Black Sun, sekcja Panorama), Krystyna Janda (narratorka w operze filmowej
Tibora Szemzö Csoma), Robert Gli)ski (re&yser filmów Benek oraz homo.pl, sekcja
Nowe Filmy Polskie), Dariusz Jab!o)ski (re&yser filmu Wino truskawkowe, sekcja Nowe
Filmy Polskie), Andrzej Jakimowski (re&yser Sztuczki, sekcja Nowe Filmy Polskie),
Jolanta Dylewska (re&yserka filmu Po-Lin, sekcja Nowe Filmy Polskie), Grzegorz Pacek
(re&yser 'roda, czwartek rano, sekcja Nowe Filmy Polskie), Ewa Stankiewicz, Anna
Ferens (re&yserki Trzech kumpli, sekcja Nowe Filmy Polskie) oraz Izabela Szylko,
(re&yser Niezawodny system - sekcja Nowe Filmy Polskie) Artur Wi#cek "Baron"
(re&yser Tischner, ksi!dz na manowcach, sekcja Nowe Filmy Polskie).
________________________________________
RETROSPEKTYWY
Theo Angelopoulos (ur. 1936), grecki re&yser, bezsprzecznie nale&y do generacji
mistrzów kina. Jego styl nawi'zuje do wielkich nieobecnych – Felliniego czy
Tarkowskiego - a równocze(nie pozostaje bardzo rozpoznawalny, jedyny w swoim
rodzaju. Pupil mi#dzynarodowej krytyki i kolekcjoner festiwalowych nagród od wielu lat
konsekwentnie realizuje swoj' wizj# kina – pe!n' namaszczenia, symboliki i
kulturowych cytatów. Sporz'dzaj'c gorzki obrachunek z losami w!asnego kraju i
kondycj' duchow' swoich rodaków, Angelopoulos ca!y czas pozostaje zakorzeniony w
tradycji kultury europejskiej i opowiadanym przez siebie historiom nadaje wymiar
uniwersalny.
W ramach wydarze) towarzysz'cych retrospektywie greckiego re&ysera we Wroc!awiu
odb#dzie si# koncert muzyki Eleni Karaindrou (25 lipca, Filharmonia Wroc!awska)
pochodz'cej z filmów Theo Angelopoulosa. Przegl'dowi towarzyszy% b#dzie równie&
wystawa zdj#% fotografika Dimitrisa Sofikitisa z filmu Trylogia: P&acz!ca &!ka (Trilogia I:
To Livadi pou dakryzei, 2004).
Terence Davies (ur. 1945), re&yser brytyjski, zrealizowa! zaledwie trzy
krótkometra&ówki i cztery filmy pe!nometra&owe, jednak stworzy! jeden z najbardziej
spójnych i wyj'tkowych wizerunków filmowych w dziejach kina. Nazywany jest
Proustem kina - ca!a jego twórczo(% jest obsesyjnie autobiograficzna, zanurzona we
wspomnieniach, skupiona na rekonstrukcji ulotnych, ledwie zapami#tanych chwil z
przesz!o(ci. Daviesa fascynuje przede wszystkim fenomen pami#ci i to w kinie
odnajduje j#zyk, za pomoc' którego, potrafi dotrze% do w!asnej przesz!o(ci.
Vincent Ward (ur. 1956) nowozelandzki re&yser, który swoimi wizjonerskimi filmami,
takimi jak Dojrzewanie (Vigil, 1984) czy Nawigator: odyseja "redniowieczna (The
Navigator: A Mediaeval Odyssey, 1984) pokaza! (wiatu kino kiwi.
Andrzej %u#awski (ur. 1940) jest jednym z najbardziej kontrowersyjnych polskich
re&yserów. Od lat tworzy kino emocjonalne, gwa!towne, obsesyjne, balansuj'ce na
granicy obrazowej histerii. Ju& jako debiutant, twórca wizjonerskiej Trzeciej cz$"ci nocy
(1971), +u! awski wyra$nie odstawa! od peerelowskiego modelu kina i nigdy tak
naprawd# si# do niego nie dostosowa!. Po tym, jak cenzura zablokowa!a jego
ekstrawaganckie projekty postanowi! wyjecha% do Francji i zwi'za% swoje artystyczne
losy z kinem europejskim.
Witold Leszczy'ski (ur. 1933, zm. 2007), re&yser i operator, przedstawiciel z!otego
pokolenia pierwszych roczników ! ódzkiej Filmówki, zab!ysn'! ju& przy okazji swojego
d!ugometra&owego debiutu. W (ywocie Mateusza (1968) – obrazie, który do dzi(
pozostaje ewenementem na tle polskiej produkcji filmowej – udowodni! niezwyk!'
re&ysersk' wra&liwo(%, stylistyczn' odr#bno(% oraz niezwyk!' dba!o(% o ka&dy kadr,
który wychodzi! spod jego r#ki. Jego artystycznym credo by!o zdanie zapo&yczone od
du)skiego klasyka, Carla Theodore Dreyera - Interesuje mnie nie obraz akcji, lecz
akcja obrazu.
http://www.fn.org.pl/page/index.php?str=53&id=176
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Filmoteka Narodowa - Serwis www - Aktualno!ci
05.10.08 17:18
Alexander Sroczy'ski (ur. 1953) jest artyst' ekscentrycznym, twórc' filmów
animowanych, ilustratorem i autorem rysunków satyrycznych. Od 1981 roku tworzy
nagradzane w kraju i zagranic' filmy rysunkowe - mieszank# czarnego humoru,
makabreski i pastiszu ró&nych konwencji filmowych. Na sta!e wspó!pracuje z wieloma
periodykami - w Polsce z legendarnymi Szpilkami czy z Playboyem, a w USA, gdzie
mieszka od 1989, mi#dzy innymi z The New York Times.
Federico Fellini: aneks
Maestro Fellini to wystawa w Muzeum Sztuki Mieszcza)skiej (oddzia! Muzuem
Miejskiego) we wroc!awskim Starym Ratuszu, na której zaprezentowanych zostanie
ponad 300 eksponatów pochodz'cych ze zbiorów szwajcarskiej FONDATION FELLINI
pour le cinéma - zdj#%, rysunków, scenariuszy, dokumentów produkcyjnych, plakatów,
kostiumów itp. Uzupe!nieniem tego wydarzenia b#dzie przegl'd filmów
dokumentalnych o Fellinim oraz eksperymentalny, inspirowany La Strad! Felliniego
projekt multimedialny Witolda Liszkowskiego - Wspólna przestrze) – który b#dzie
mo&na obejrze% w Galerii na Solnym i na Placu Solnym oraz - Incontro con Fellini –
instalacja autorstwa rze$biarza Krzysztofa Bednarskiego.
________________________________________
ZAKO)CZENIE FESTIWALU:
Premierowym pokazem najnowszego filmu Braci Dardenne Milczenie Lorny/ Le silence
de Lorna / Lorna’s Silence (Belgia/ Francja /W!ochy 2008) 27 lipca zako)czy! si# 8.
Mi#dzynarodowy Festiwal Filmowy ERA NOWE HORYZONTY.
GRAND PRIX – NAGROD* G&ÓWN+ FESTIWALU (przyznawan' przez publiczno(%
jednemu z filmów konkursowych) – otrzyma! film Deszcz dzieci / Rain of the Children,
w re&yserii Vincenta Warda (Nowa Zelandia 2008). Na kolejnych miejscach znalaz!y
si# filmy Delta, re&. Kornel Mundruczó (Wegry / Niemcy 2008) oraz Derek re&. Isaac
Julien (Wlk. Brytania 2008). Na kolejnych miejscach znalaz!y si# : Moje Winnipeg / My
Winninpeg Guy’a Maddina (Kanada 2008) oraz Jezus Chrystus Zbawiciel / Jesus
Christus Erlöser/Jesus Christus Saviour w re&yserii Petera Geyera.
W zorganizowanym po raz trzeci konkursie NOWE FILMY POLSKIE, Wroc!awsk'
Nagrod# Filmow' w wys. 100 000 z! (60 tysi#cy dla re&ysera i 40 tysi#cy dla
producenta), ufundowan' przez Prezydenta Wroc!awia, Rafa!a Dutkiewicza otrzyma!
film Z!ota rybka / The Goldfish, re&yseria Tomasz Wolski, produkcja Anna Gawlita
(Polska 2008).
W tym roku po raz pierwszy przyznano nagrod# za najlepszy debiut re&yserski
ufundowan' przez Marsza!ka Województwa Dolno(l'skiego, Marka *api)skiego.
Otrzyma! j' film w re&yserii Andrzeja Dybczaka i Jacka Nag!owskiego – Gugara,
produkcja Agnieszka Janowska, Jacek Nag!owski (Polska 2008).
Nagrody przyzna!o 3-sobowe mi#dzynarodowe jury, w sk!adzie: ira)ski re&yser Majid
Majidi, rosyjska re&yserka Svetlana Proskurina oraz Ludmila Cvikova, selekcjonerka
Mi#dzynarodowego Festiwalu Filmowego w Rotterdamie.
W konkursie polskich filmów krótkometra&owych, w których g!osowa!a publiczno(%,
laureatami zostali:
W kategorii film fabularny nagrodzono Agnieszk# Smoczy)sk' za film Aria Diva (Polska
2007). Wyró&nienie przyznano filmowi: Nowe legendy miejskie / New Urban Legends w
re&. Leszek Dobrucki, Maciej Olbrycht, Marzena Pop!awska, Joanna Pawlu(kiewicz,
Wojciech Zieli)ski, Polska 2007,
W kategorii film dokumentalny zwyci#&y! Henio idziemy na Widzew/ The Football
Father w re&yserii Micha!a Jó$wiaka. Wyró&nienie otrzyma! film Maria i Anna / Mary
and Ann re&. Jacek Knopp, Polska 2008.
W kategorii film animowany nagrod# otrzyma! film Drzazga / The Sprinter w re&.
Wojtek Wawszczyk, (Polska 2008), a wyró&niono film Radostki / Joyest, re&.
Magdalena Osi)ska, Polska 2008.
Wspó!organizatorem konkursu i fundatorem nagród dla twórców jest Stowarzyszenie
Filmowców Polskich.
Wydarzeniami specjalnymi festiwalu by!y m.in. ( wiatowa prapremiera opery filmowej
Csoma, w#gierskiego eksperymentatora Tíbora Szemzö (w tym spektaklu w roli
narratorki wyst'pi!a Krystyna Janda), koncerty brytyjskiego kompozytora Michaela
Nymana i jego Michael Nyman Band z nowym programem, oraz koncert muzyki
filmowej skomponowanej przez Greczynk# Eleni Karaindrou do filmów Theo
Angelopoulosa.
Akredytowa!o si# 344 dziennikarzy z Polski i zagranicy.
W ramach wydarze) towarzysz'cych festiwalowi odby!y si# liczne wystawy min.
Maestro Fellini, na której zaprezentowano ponad 300 eksponatów pochodz'cych ze
zbiorów szwajcarskiej FONDATION FELLINI pour le Cinéma, Spotkanie z Fellinim,
prezentacja rze$by Krzysztofa Bednarskiego oraz inspirowany La Strad' Felliniego
multimedialny projekt Witolda Liszkowskiego Wspólna przestrze).
http://www.fn.org.pl/page/index.php?str=53&id=176
Page 4 of 5

Filmoteka Narodowa - Serwis www - Aktualno!ci
05.10.08 17:18
W klubie festiwalowym w Arsenale codziennie wieczorem odbywa!y si# koncerty oraz
sety
dj-ów. W Arsenale wyst'pi!o 20 zespo!ów z ca!ego ( wiata min. Matthew Herbert z
zespo!em, Jessie Evans oraz Coldcut presents Journeys By VJ.
wi#cej informacji: www.eranowehoryzonty.pl
Mecenasem g!ównym festiwalu ju& po raz trzeci by!o miasto Wroc!aw
Po raz szósty sponsorem g!ównym festiwalu by!a Polska Telefonia Cyfrowa, operator
sieci ERA
Partnerem G!ównym festiwalu by!a Telewizja Polska S.A.
9. edycja Mi#dzynarodowego Festiwalu Filmowego ERA NOWE HORYZONTY odb#dzie
si# w dniach 23 lipca – 2 sierpnia 2009 r. W trakcie festiwalu odb#dzie si# m.in.
retrospektywa kina kanadyjskiego, wspó!czesnego kina szwedzkiego oraz przegl'd
twórczo(ci kanadyjskiego re&ysera Guya Maddina i Krzysztofa Zanussiego.
zobacz pozosta!e wydarzenia
Filmoteka Narodowa 00-975 Warszawa, ul. Pu!awska 61, tel. + 48 22 845 50 74, fax + 48 22 646 53 73
Strona g!ówna Newsletter English Version Redakcja Kontakt Wykonanie: P®ESTO
http://www.fn.org.pl/page/index.php?str=53&id=176
Page 5 of 5

[8. MFF ENH] Las meninas. Czechow i zje!cza!a ryba - WYDARZENIA w Stopklatka.pl
05.10.08 16:55
R E K L A M A
Struktura dramaturgiczna rwie si# na strz#py, na scenie pojawiaj$ si# nie
widzie& czemu i nie wiedzie& po co kolejne postaci, które za chwil# znowu
znikaj$. Potem wchodz$ jakie" zamazane retrospekcje: naga kobieta gra na
wiolonczeli, m%ody ch%opiec próbuje si# onanizowa&, dziewczynka za"
zostaje seksualnie wykorzystana przez jakiego" starszego pana. Wszystko
jest jakie" nieprzyjemne, rozedrgane. Masturbacja wygl$da tu jak istna
udr#ka, a jedzenie posi%ków, jak po!eranie zwierz#cej paszy. Gdzie jest
sen, gdzie wspomnienie, a gdzie pragnienie i koszmar, trudno odgadn$&.
Podolchak jest bardzo tajemniczy, zwodzi, uwodzi, popisuje si#. W ca%ym
tym zgie%ku chodzi niestety jednak tylko o to, !eby zakrzycze& bana%.
Niech mi wi#c nikt nie wmawia, ! e jest to film o rozpadzie i pustce, o
dawnej, utraconej "wietno"ci, o czyhaj$cej w ciemnych komnatach "mierci,
o rodzinnym terrorze, który niszczy ka!d$ jednostk#. Na wszystkie te
interpretacyjne "cie!ki mam jedn$ odpowied(, zaczerpni#t$ z "Manhattanu"
Allena: "la di da, la di da". Te wszystkie zdeformowane, zaciemnione kadry,
atakuj$ca uszy kakofonia dziwnych, surowych d(wi#ków, oderwane od
siebie i abstrakcyjne dialogi tworz$ jeden wielki parodystyczny obraz arthause'owego
kina: napuszonego, niezrozumia%ego, obsesyjnie
przewiercaj$cego si# na drug$ stron# ekranu, gdzie na widza czeka ju!
wy%$cznie nuda. )miem twierdzi&, !e nie takie by%o za%o!enie artystów.
[Nasze relacje z festiwalu]
20 lipca 2008:
"Moje Winnipeg". )ni$c w poci$gu
"Czarne s%o'ce". Zanussi we W%oszech
"Najlepsza pora roku". Trudna mi%o"&
"Niezwyk%a energia". Chi'czycy i kiwi
"Z%ota rybka". Wolski o niepe%nosprawnych
"Uciekinier". Ojciec kina nowozelandzkiego
"Trzech kumpli". Maleszka, Wildstein, Pyjas
"Pami#tny rok 36". Dzie%o dla cierpliwych
"Mana Waka". Jedyny taki seans
"Martwi geje i !ywe lesbijki". Po bo!emu
"G%#boka Czerwie'". Dario Argento po raz drugi
19 lipca 2008:
"Jezus Chrystus Zbawiciel". Kinski jak Jezus
"Continental, film bez broni". Szaro-buro
"Odleg%e g%osy, martwe natury". T. Davies
"Tischner. Ksi$dz na manowcach"
"Lou Reed's Berlin". Schnabel na koncercie
"Mi%o"& Astrei i Celadona". Opowie"& Rohmera
http://www.stopklatka.pl/wydarzenia/wydarzenie.asp?wi=47357
Page 2 of 4

Polish culture: 8th International Film Festival "Era New Horizons"
05.10.08 16:48
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8TH ERA NEW HORIZONS
Wroc!aw, July 17 - July 27, 2008
From the 17 h to the 27th July 2008, the 8TH
NTERNATIONAL F LM FESTIVAL "ERA NEW
HORIZONS" will be held in Wroc!aw.
This year, during the festival more han 230 fulllength
films from 50 countries - more than 120 of
them will have their Polish premieres - and 340
short and medium-length films will be presented.
The festival's opening ceremony will feature the
language versions: polish english
latest film by Jerzy Skolimowski FOUR NIGHTS WITH ANNA (CZTERY NOCE Z ANN") about an
intimate love story (starring Artur Steranko and Kinga Preis). This will be the Polish premiere of this
film, which was the opening film of the prestigious "Quinzaine des Réalisateures" ("Directors'
Fortnight") at this year's festival in Cannes and the only one representative of the Polish cinema in
the official selec ion of Cannes festival which has been received very well by the audience and almost
all the critics.
The other opening film of the festival will be CLIENT (IL DIVO), made by the Italian Poalo Sorrentino: a
shrewd, al hough very ironic and sarcastic portrayal of the Italian prime minister, Giulio Andreotti,
accused of working for the Italian Mafia. This film obtained the special jury award at this year’s
festival in Cannes.
important links
Ministry of Culture and
National Heritage -
Ministerstwo Kultury i
Dziedzictwa
Narodowego
Ministry of Foreign
Affaires - Ministerstwo
Spraw Zagranicznych
Polish Cultural
Institutes
Berlin - Germany
Bratislava - Slovakia
Bucharest - Romania
Budapest - Hungary
Düsseldorf - Germany
Kiev - Ukraine
Leipzig - Germany
London - Un ted
Kingdom
Minsk - Belarus
Moscow - Russia
New York - USA
Paris - France
Prague - Czech
Republic
Rome - Italy
Saint Petersburg -
Russia
Sofia - Bulgaria
Stockholm - Sweden
Tel Aviv - Israel
At the closing ceremony, the Belgian and French LORNA'S SILENCE (LE SILENCE DE LORNA) - the
latest piece by the Dardenne brothers, two-time winners of the Cannes festival will be presented.
Their THE CH LD (L'ENFANT) opened the festival ERA NEW HORIZONS several years ago. LORNA'S
SILENCE (awarded in Cannes for the best screenplay) tells a story about a young Albanian
immigrant, searching for a chance to stay legally in Belgium through a fictitious marriage with a
ci izen of this country.
The most important competitive section of the festival - NEW HORIZONS International Competition -
will include, as always, 18 bold and original premieres, selected from among hundreds of works
presented at film festivals all over the world. And one of these films will receive the festival's main
prize - Grand Prix - awarded by the audience.
For the hird ime, the festival will organise THE NEW POLISH FILM Compe ition, presenting Polish
films, both features and documentaries. This year's competition will have a renewed form - in the
selection these films, which premiered after 29th July 2007, are considered to be both premieres and
works screened in Polish cinemas, at other fes ivals in Poland and abroad.
An international jury will grant The Wroc!aw Film Award to he winner. This year, for the first time, the
jury will also award the best directing debut, funded by the Marshal of Lower Silesia, Mr Marek
#api$ski.
The members of the jury will be: the Iranian director Majid Majidi, whose film THE SONG OF
SPARROWS (AVAZE GONJESHK - HA) will be presented in he section Panorama of Contemporary
Cinema, the Russian director Sve lana Proskurina, whose film THE BEST OF T MES (LUCHSHEE
VREMYA GODA) will also be shown to he fes ival audience in he Panorama of Contemporary
Cinema, and Ludmila Cvikova, selector at the INTERNATIONAL FILM FESTIVAL in Rotterdam.
There will also THE POLISH SHORT FILM Competition take place - allowing he fes ival audience to
http://www.culture.pl/en/culture/artykuly/wy_ff_nowe_horozonty_wroclaw_2008
Page 1 of 3

Polish culture: 8th International Film Festival "Era New Horizons"
05.10.08 16:48
el Aviv Is ael
Vienna - Austria
Vilnius - Lithuania
follow Polish short- and medium-leng h film produc ions. The films will be divided into three groups:
animation, documentaries and fiction. This section is co-organised by the Association of Polish
Filmmakers.
Panorama of Contemporary Cinema presents 40 films which have won awards at he most
prestigious interna ional film fes ivals. In this section, there are both the great masters and new
talents, and also special screenings at the Market Square.
The section Special Screenings will present such films as: HER NAME IS SAB NE (ELLE S'APPELLE
SABINE), directed by Sandrine Bonnaire; TR P TO ASIA - THE QUEST FOR HARMONY (TRIP TO ASIA -
DIE SUCHE NACH DEM EINKLANG), directed by Thomas Grube and Fala, directed by Piotr
#azarkiewicz.
For the second time, he fes ival will organise screenings at the Market Square, allowing not only the
festival participants but also inhabitants of Wroc!aw to experience the film art in the picturesque city
centre. This year this section will include SUELY N THE SKY (O CÉU DE SUELY), UNDER THE BOMBS
(SOUS LES BOMBES) and he film THE WORLD'S FASTEST INDIAN.
In he section Films about music, many interesting works will be shown, including HEIMA - a recording
of he concert tour of the most famous contemporary Icelandic band Sigur Ros; LOU REED'S BERL N -
a film record of the concert played in 2007 in St. Ann's Warehouse in New York; JOY DIVISION AND
PATTI SMITH: DREAM OF LIFE, he effect of an 11-year-long observation of one of the most
influential figures of the American rock scene.
The hero of this year's Midnight Madness sec ion will be the eccentric Italian director - Dario Argento.
Every year the festival presents another national cinematography and this year there will be a
retrospec ive of New Zealand cinema and a review of contemporary Brazilian cinema.
Wi hin the review of New Zealand cinematography, the festival will screen: 38 full-length films,
including the retrospective of Vincent Ward, and 48 medium-length and short films. The curator of the
New Zealand section is Ian Conrich, Ph. D. - he British film cri ic, Director of the Centre for New
Zealand Studies of the University of London, Birkbeck College and author, who cooperates with
BBC, Sight & Sound and o her ins itutions.
The review of the contemporary Brazilian cinema will focus on the latest achievements of this
country's cinematography. An important place will be given to the films of the retomada - renaissance
of he Amazon cinema experienced in the mid-1990s. The sec ion contemporary Brazilian cinema will
include 23 full-length films and he latest short films made in this country. The films for the Brazilian
section were selected by the Brazilian film critic Luiz Carlos Merten.
Other important elements of the festival's programme are directors' retrospectives, presenting
recognised Polish and foreign artists. This year's edition will be dedicated to: the Greek director Theo
Angelopoulos, the British creator Terence Davies, the most interesting New Zealand director Vincent
Ward and the Poles: Andrzej %u!awski, Witold Leszczy$ski, Katarzyna Maciejko-Kowalczyk, and the
creator of animations full of black humour - Alexander Sroczy$ski (part of the celebrations of the 60th
anniversary of the Polish animation). After closing the screenings’ calendar and the catalogue, a
review of films by Piotr #azarkiewicz will be added to the festival's programme.
The celebrations of he 60th anniversary of the Polish animation will also include two other sections:
films by Alina Skiba and TVP Kultura animates.
It is a tradi ion of our festival to organise concerts and screenings of silent films with live music. This
year, there will be the world premiere of the film opera Csoma, by the Hungarian experimenter Tíbor
Szemzö (in this spectacle we will see Krystyna Janda as he narrator), two concerts by the Bri ish
composer Michael Nyman and his Michael Nyman Band with their new programme, a concert of film
music composed by the Greek Eleni Karaindrou for the films by Theo Angelopoulos.
At the festival club in the Arsenal there will be concerts and DJs' sets every evening. 20 bands from
all over the world will perform in the Arsena!.
The 8TH ERA NEW HORIZONS will have more than 100 guests - filmmakers from all over he world,
and among them:
- The heroes of our retrospectives: the Greek Theo Angelopoulos, Terence Davies from Great Britain,
Andrzej %u!awski, Alexander Sroczy$ski and Alina Skiba;
- Directors of films presented in the New Horizons International Competition: Peter Geyer (JESUS
CHRIST SAVIOUR / JESUS CHRISTUS ERLÖSER), Aditya Assarat (WONDERFUL TOWN), José Luis
Guérin (IN THE CITY OF SYLVIA / EN LA CIUDAD DE SYLVIA) Christian Petzold (YELLA), Spiros
Stathoulopoulos (PVC-1), Lee Kang-Sheng (HELP ME EROS / BANGBANG WO AISHEN), Ivan and Igor
http://www.culture.pl/en/culture/artykuly/wy_ff_nowe_horozonty_wroclaw_2008
Page 2 of 3

Polish culture: 8th International Film Festival "Era New Horizons"
05.10.08 16:48
Buharov (SLOW M RROR / LASSÚ TÜKÖR), Cao Guimaraes (THE DRIFTER / O ANDARILHO), Ihor
Podolchak and Dean Karr (LAS MEN NAS), Kornél Mundruczó (DELTA);
- Directors and critics from New Zealand (more than 10 people) and among them: Vincent Ward and
Roger Donaldson; filmmakers from Brazil (more than 10 people);
- Polish ar ists including: Jerzy Skolimowski (director of the festival's opening film, FOUR NIGHTS
WITH ANNA), Krzysztof Zanussi (the film BLACK SUN / IL SOLE NERO made in Italy, section
Panorama), Krystyna Janda (narrator in Tibor Szemzö's film opera CSOMA), Robert Gli$ski (director
of films BENEK and HOMO.PL, section New Polish Film), Dariusz Jab!o$ski (director of WINO
TRUSKAWKOWE, section New Polish Film), Andrzej Jakimowski (director of TRICKS / SZTUCZKI,
section New Polish Film), Jolanta Dylewska (director of the film PO-LIN, section New Polish Film),
Grzegorz Pacek (director of &RODA, CZWARTEK RANO, section New Polish Film), Ewa Stankiewicz,
Anna Ferens (directors of TRZECH KUMPLI, section New Polish Film), Izabela Szylko (director of
NIEZAWODNY SYSTEM, section New Polish Film), Artur "Baron" Wi'cek (director of TISCHNER,
KSI"DZ NA MANOWCACH, section New Polish Film).
Source: http://8ff.eranowehoryzonty.pl
International Film Festival "Era New Horizons"
Director: Roman Gutek
Artistic Director: Joanna #api$ska
ul. Zamenhofa 1; 00-153 Warszawa
tel: (+48 22) 536 92 00
fax: (+48 22) 635 20 01
back to top
www.culture pl | about us
© Copyright by Adam Mickiewicz Institute | www iam.pl/en
Other sites managed by Adam Mickiewicz Institute: www diapozytyw pl/en
Website architecture and programming: www.ornak.pl/en
http://www.culture.pl/en/culture/artykuly/wy_ff_nowe_horozonty_wroclaw_2008
Page 3 of 3

THE INTERNATIONAL FESTIVAL OF NEW FILM - SPLIT
05.10.08 17:27
VIJESTI
AKREDITACIJA
VOLONTERI
NO SELECTION
SPONZORI
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DUGI KONKURENCIJA | KRATKI KONKURENCIJA | FOKUS | FRAME EXTENDED | FORUM | SLIKA | NOVI MEDIJ | POSEBNI PROGRAM
DUGOMETRA!NI KONKURENCIJA 2008.
REDATELJ NASLOV ZEMLJA TRAJANJE
min sek
Barbe Gene LE JOUR OÚ J'AI EU 100 ANS / DAN KADA SAM NAVR"IO STOTU FR 85
Fendrik Pablo EL ASLTANTE / PLJA#KA" AR 67
Jin, Guang-hao GUE-DO / TRA#NICE !IVOTA KR 99
Karakatsanis Dimitri SMALL GODS / MALI BOGOVI BE 90
McDonald Bruce THE TRACEY FRAGMENTS CA 80
Nachtergaele Matheus A FESTA DA MENINA MORTA / SVETKOVINA MRTVE DJEVOJKE BR 89
Pin Pin, Tan INVISIBLE CITY / NEVIDLJIVI GRAD SG 60
Podolchak Ihor LAS MENINAS UA 99
Quay Michelange MANGE, CECI EST MON CORPS / JEDITE, OVO JE TIJELO MOJE FR/HT 105
Serra Albert EL CANT DELS OCELLS / PJEV PTICA ES 98
http://www.splitfilmfestival.hr/dugi08.htm
Page 1 of 1

Croatian Villas & Apartments : News : Split film festival to host groundbreaking Ukrainian film
05.10.08 16:51
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News Feature
Split film festival to host groundbreaking
Ukrainian film
09 September 2008
Las Meninas, the first full-length movie from Ukraine to use all-digital
workflow, is to be showcased at the Split International Film Festival later this
month, it has been revealed.
Taking place from September 13th-20th, the event will be the latest such
gathering of the industry at which the movie will be shown, following
exhibitions from La Rochelle in France to Seoul in South Korea, Digital
Producer Magazine reports.
Directed, written and produced by performance artist Ihor Podolchak, Les
Meninas is also said to be the first film from Ukraine to have been nominated
for first prize at the Rotterdam Film Festival, the international arthouse
cinema awards.
Serhiy Mykhaldchuk was the cinematographer on the project, which used the
Konda 3 video capture and playback card - "an integral part of the Final Cut
Pro editing pipeline for the film", according to the news provider.
Visitors to Split during the film festival will be able to go to Shakespeare's
Club until the end of its summer run on 30th May.
Whatsonwhen describes the venue as having a "touch of glamour", with
revellers able to enjoy some "hard house sounds before tumbling out in time
for sunrise".
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http://www.croatianvillas.com/news/Split-film-festival-to-host-groundbreaking-Ukrainian-film-18772111.html
Page 1 of 1

SPLIT FILM FESTIVAL
05.10.08 17:15
DUGOMETRA!NI KONKURENCIJA
Ihor Podolchak
LAS MENINAS
Ukrajina, 2008, HD, 16:9, 99 min
LAS MENINAS
Ovaj film pokazuje !to rutina svakodnevnog "ivota mo"e u#initi ljudskom umu i psihi. Tako$er istra"uje
va"nost izbora koje donosimo i kako su ve% u samom po#etku ovi izbori ograni#eni.
Radnja prati #etvero#lanu obitelj koja "ivi u predgra$u, u neobi#noj vili koja se kroz kompleksnu igru
zrcala, #ini vi!e kao umjetni#ka instalacija nego kao prava ku%a. Glavni je lik tridesetogodi!nji sin, koji se
u filmu rijetko pojavljuje. Od djetinjstva pati od astme i ekcema, i svoje zdravstveno stanje koristi da bi
manipulirao roditeljima i sestrom. Tako se "ivot ugnjetavane obitelji pretvara u beskona#ni ritual u kojem
poku!avaju zadovoljiti njegove hirove, u vje#nom strahu od nove "zdravstvene krize".
"Las meninas" nalikuje razasutim djeli%ima slagalice. Na gledatelju je da ih poslo"i u svoju vlastitu sliku -
a to sam film #ini osobnim i jedinstvenim.
Ihor Podolchak
Ro$en 1962. godine u Lvivu, Ukrajina. Poznati umjetnik, diplomirao je na Akademiji likovnih umjetnosti u
Lvivu 1984. godine. Njegovi su radovi izlo"eni u postavama 26 muzeja i javnih kolekcija !irom svijeta.
Jedna je od njegovih izlo"bi postavljena u prostoru svemirske stanice Mir 1993. godine, kao prva izlo"ba
odr"ana u svemiru. "Las meninas"njegov je dugometra"ni prvijenac.
MF Films
+38 067 2324 507
masochfund@yahoo.com
http://www.splitfilmfestival.hr/arhive/2008/podol2.htm
Page 1 of 1

14! "#$%&'( )$*+#,-. /#&012+!34-5!6 +0( 7%8&2( - 9:;+$( 2*0 :: Film Festivals/Screenings
05.10.08 16:57
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)*+*) ,-./0/12 3/)4153)42 678)!9!/) SAFE SEX SHOPPING BEAUTY 0):/3/ -32!-4
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crítica « Le Champo
17.01.09 02:48
Textos categorizados 'crítica'
32ª Mostra - Crítica: “Como um homem sobre
a Terra”
Publicado Terça-feira, 21, Outubro, 08 A Caixa de Pandora 0 Comentários
Tags: 32ª Mostra Internacional de Cinema, África, cinema, crítica, documentário, Etiópia, Italia, Líbia, longa
O documentário denuncia a violenta trajetória enfrentada por imigrantes etíopes em busca de
melhores condições de vida na Itália.
Dirigido pelo italiano Andrea Segre e prelo etíope Dagmawi Yimer, o filme retrata ainda todo o
contexto político que não só permite como incentiva a prática de abusos cometidos contra estes
imigrantes. Segundo os diretores, em 2003 o presidente italiano Silvio Berlusconi assinou um acordo
com a Líbia concedendo àquele país dinheiro e equipamentos em troca da “contenção” de
estrangeiros ilegais no país.
Os relatos, sobretudo das mulheres, vítimas na maioria das vezes de violência sexual, são tocantes.
O único ponto fraco da sessão de hoje, na Reserva Cultural foi a enorme falha na legendagem para o
português, o que garantiu um filme quase todo sem legendas. Teríamos ficado bastante contentes se
alguma explicação nos fosse dada!
Avaliação Le Champo: Bom
também um refugiado etíope na Itália
O diretor do documentário é
32ª Mostra - Crítica: “Risco”
Publicado Terça-feira, 21, Outubro, 08 A Caixa de Pandora 0 Comentários
Tags: 32ª Mostra Internacional de Cinema, cineasta, cinema, crítica, Polônia
A produção polonesa dirigida por Michal Rosa ilustra como um segredo pode abalar um casamento
perfeito.
No passado, Jacek ajudou a Polícia Política polonesa, como informante. Este fato é descoberto por
sua esposa, Joanna, no dia do seu aniversário: um dos presentes que recebe é uma fita contendo um
trecho da entrevista de um historiador. Sem conseguir descobrir quem a presenteou, Joanna segue
atrás de informações sobre o episódio. Não encontrando evidências que confirmem suas dúvidas, a
mulher entra num estado de depressão profunda, o que culmina com o distanciamento cada vez maior
do seu devotado marido.
Para o diretor, trata-se de uma história simples, tradicional e não-política. Para o espectador, corre-se
o risco de ficar com aqula sensação de “sera que perdi alguma coisa?”. Talvez simplificar demais o
cotidiano pode não funcionar como esperamos…
Uma frase para “Risco”: calma, você não perdeu nada!
Avaliação Le Champo: Regular.
personagem central de “Risco”
Joanna (de vermelho) é a
32ª Mostra - Crítica: “Os Adultos”
Publicado Terça-feira, 21, Outubro, 08 A Caixa de Pandora 0 Comentários
http://lechampo.wordpress.com/tag/critica/page/3/
Page 1 of 7

crítica « Le Champo
17.01.09 02:48
Tags: 32ª Mostra Internacional de Cinema, cineasta, cinema, crítica, França, longa, Paris, Suécia
Como é difícil crescer! Mais difícil ainda, aos olhos da cineasta Anna Novion é ser uma dessas
“pessoas crescidas”, cheias de suas certezas e sempre tomando o caminho mais longo.
Jeanne e seu pai viajam à Suécia em busca dos lendários tesouros vikings. Seu pai, bibliotecário, em
Paris está certo de sua aventura. No entanto, quando chegam à casa que alugaram, se deparam com
as proprietárias ainda lá. Graças a confusão de datas, os quatro envolvidos no engano resolvem
partilhar os quinze dias de férias. Eles não sabem, mas é a oportunidade que precisam para que
possam repensar suas histórias de vida, partirem em busca de seus tesouros perdidos ou, no caso de
Jeanne, de viver intensas experiências.
Com uma belíssima fotografia, é um filme leve, divertido e despretensioso. Vale a pena ver e deixar
encantar-se com as belas imagens da Suécia!
Uma palavra para “Os Adultos”: Encantador.
Avaliação Le Champo: Bom!
Adultos”
Cena de “Os
32ª Mostra - Crítica: “Adoração”
Publicado Segunda-feira, 20, Outubro, 08 A Caixa de Pandora 0 Comentários
Tags: 32ª Mostra Internacional de Cinema, Canadá, cineasta, cinema, crítica, longa
O novo filme do diretor Atom Egoyam (de “Verdade Nua”) mostra até que ponto verdade e ficção
podem se misturar e quais os desdobramentos que esta mescla pode resultar.
Simon é um jovem estudante, criado pelo tio e que vê numa trágica notícia de jornal a oportunidade
para repensar a tragédia ocorrida anos antes em sua família. Apoiado pela professora de francês e
teatro do colégio, Simon reescreve os acontecimentos como sendo sua história de vida a, após
divulgá-la na internet, desperta a curiosidade, o apoio e até a ira de muitas pessoas.
Com estes elementos (que fraqueja nos seus momentos cruciais), o cineasta explora ainda questões
importantes como a da intolerância religiosa e étnica. É por isso que o filme não está de todo
perdido.
Uma frase para “Adoração”: um pouco menos, vai!
Avaliação Le Champo: Regular.
“Adoração”, filme de Atom Egoyam
Cena de
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Page 2 of 7

crítica « Le Champo
17.01.09 02:48
32ª Mostra - Crítica: “9mm”
Publicado Segunda-feira, 20, Outubro, 08 A Caixa de Pandora , Um Homem com uma Câmera 0 Comentários
Tags: 32ª Mostra Internacional de Cinema, Bélgica, cineasta, cinema, crítica, França, HSBC Belas Artes, longa, mostra
Existe certas circunstâncias que ultrapassam fronteiras e que podem ser vividas por qualquer um em
qualquer lugar. O desmoronamento de uma família cujos membros mal se falam ou sequer se olham
independe do contexto social onde esta familia está inserida.
É isso que mostra o longa do cineasta belga Taylan Barman. E só isso.
Não há mais nada a ser visto em seus 94 minutos quase torturantes. Um adolescente dando seus
primeiros passos rumo à marginalidade, um homem fracassado em todos os sentidos e uma mulher
que vive o suposto “dilema feminino dos novos tempos”, ou seja, envolta a problemas domésticos,
conjugais, profissionais e em crise diante de suas falhas. A narrativa desnecessariamente lenta faz
“pescar” os desavisados e um desfecho abusrdamente previsível.
Segundo o diretor, sua obra, filmada no norte da França busca analisar o olhar da sociedade sobre ela
mesma. Barman, que esteve presente na sessão de hoje, no HSBC Belas Artes, disse ainda que é a
estréia internacional de “9mm”.
Será que o caminho será longo?
Dica Le Champo: leve travesseiro ou beba café!
Avaliação Le Champo: Ruim.
interpreta o adolescente rebelde em “9mm”
Morgan Marinne (à esquerda)
32ª Mostra - Crítica: “Queime Depois de Ler”
Publicado Segunda-feira, 20, Outubro, 08 A Caixa de Pandora , Um Homem com uma Câmera 0 Comentários
Tags: cinema, longa, EUA, cineasta, crítica, ator, trailer, 32ª Mostra Internacional de Cinema, comédia, irmãos Coen, Joel e
Ethan Coen, Brad Pitt, John Malkovich
Eis aqui uma excelente comédia. E olha que nem sou fã desse gênero!
Mas o humor negro neste novo filme de Ethan e Joel Coen supera todas as expectativas…
O mote central da história é um CD que contém as memórias de um ex-agente da CIA. De posse
deste CD e acreditando no valor das informações contidas nele, dois funcionários de uma academia
de ginástica resolvem “negociá-lo” e assim, obter uma boa grana. A partir daí a trama fica cada vez
mais surpreendente, cômica e bizarra.
Destaque para a atuação de Brad Pitt, como o instrutor da academia e o sempre ótimo John
Malkovich no papel do ex-agente Osbourne Cox.
Uma palavra para “Queime Depois de Ler”: bizarro.
Avaliação Le Champo: Excelente!
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Page 3 of 7

crítica « Le Champo
17.01.09 02:48
32ª Mostra - Crítica: Representantes Polacos -
Varsóvia Sombria e Katyn
Publicado Domingo, 19, Outubro, 08 A Caixa de Pandora , Um Homem com uma Câmera 0 Comentários
Tags: 32ª Mostra Internacional de Cinema, Andrzej Wajda, cineasta, cinema, crítica, diretor, História, longa, mostra,
Polônia, Segunda Guerra Mundial, trailer
Um sábado dedicado a nova e velha Polônia.
Foram exibidas ontem as sessões de “Varsóvia Sombria”, de Christopher Doyle e de “Katyn”, de
Andrzej Wajda (lê-se Vaida).
“Varsóvia Sombria” mostra uma Polônia contemporânea, um país do leste europeu que não prosperou
como outros do continente. Varsóvia, sua capital, é cinzenta durante o dia e a noite, bares e clubs
servem de ponto de encontro a endinheirados e jovens prostitutas de todas as origens. Num desses
clubs está Ojka, personagem central da trama de Doyle. Ela é testumunha do assassinato de um
importante político e, mais do que isso, ela é a isca do seu assassinato. Envolvida numa trama cheia
de idas e vindas, Ojka, ou Mathilda (seu verdadeiro nome) encontra-se presa entre seu passado e
futuro, enquanto membros de uma estranha organização deixam revelar-se pouco a pouco.
Se o roteiro confunde e cansa, a bem trabalhada fotografia chama atenção, remetendo aos trabalhos
anteriores de Doyle, como “2046! ou “Anjos Caídos”, de Wong Kar-Wai (Doyle é o diretor de
fotografia de ambos). E mesmo não sendo polonês, o diretor australiano consegue, como último
respiro, dar mostras do humor tipicamente polaco.
Dica Le Champo: não saia no meio dos créditos!
De Varsóvia para Cracóvia. Da atualidade para a década de 1940. Aqui a Polônia é palco central da
Segunda Guerra Mundial, tendo seu território dividido entre os alemães e os soviéticos e milhares de
poloneses mortos por ambos. No meio do confronto a floresta de Katyn é testemunha do massacre de
oficiais poloneses à mando de Josef Stalin, fato que marcaria para sempre a vida das 4 famílias
retratadas na obra de Andrzej Wajda.
Obra-prima, diga-se de passagem. O sentimento nacionalista que existe por trás da intenção de
mostrar o episódio histórico de Katyn não torna o filme vulgar ou menos belo. Muito pelo contrário.
Cenas de puro lirismo mesclam-se com imagens da época, levando o filme para muito além de uma
simples narrativa. Destaque para as atuações de Maja Ostaszewska, que interpreta Anna, esposa de
um dos oficiais e de Andrzej Chyra, na pele do Tenente Jerzy. Veja o trailer aqui.
Gênios nascem grandes. Wajda é um deles.
Dica Le Champo: leve lenços…
—-
Avaliação Le Champo - “Varsóvia Sombria”: regular.
Avaliação La Champo - “Katyn”: Excelente!
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Page 4 of 7

crítica « Le Champo
17.01.09 02:48
“Varsóvia Sombria”…
Cena de
… e o pôster de Katyn.
32ª Mostra Internacional de Cinema - resumo
do dia
Publicado Sábado, 18, Outubro, 08 A Caixa de Pandora , Nouvelles du Cinéma 0 Comentários
Tags: 32ª Mostra Internacional de Cinema, cinema, Cinesesc, crítica, Espaço Unibanco, mostra
Boa noite, amigos,
É com uma certa dose de cansaço que escrevo este post. Isso porquê o primeiro dia da Mostra é
sempre o mais (ou um dos mais) caóticos do evento.
A correria começa na primeira sessão do dia, no caso a do Festival da Juventude, às 10h00 e vai até a
noite. Sempre muitas filas pessoas eufóricas (algumas até demais), uma certa tensão estampada no
rosto dos monitores, alguns atrasos e chatas demonstrações de protestos (como se vaias ou palavras
mal-educadas dirigidas aos funcionários pudessem curar a ansiedade de toda uma sala de cinéfilos).
Fora esses detalhes e em comparação à mostra anterior, esta me pareceu mais organizada. Menor
tempo de atraso nas salas onde estive (10 minutos nas sessões de vespertinas do Unibaco Arteplex 2)
e maior eficiência dos funcionários do evento.
Não sei se concordam comigo, mas tive a impressão que o público deste ano é menor que no
anterior…
O Louge da Mostra, antes no Shopping Frei Caneca, grande, espaçoso e com novidades a todo
instante não existe mais. O que existe é um micro espaço no anexo do Espaço Unibanco (onde estão
salas 4 e 5), com um deck servindo uma boa caipiroska aos visitantes.
A distribição das salas também sofreu alterações. Sai o Memorial da América Latina e entra o Espaço
Unibanco Pompéia e o Cinemark Cidade Jardim. Ou seja, cada vez mais elitizado. O Cinesesc deverá
perder público - a menos que vc goste de curtas…
Enfim, algumas mudanças, mas no geral tudo na mesma. E o Le Champo estará nessa cobrindo o
mais importante evento do cinema brasileiro!!!
32ª Mostra - Crítica: Las Meninas (Ucrânia)
Publicado Sábado, 18, Outubro, 08 A Caixa de Pandora 0 Comentários
Tags: cinema, crítica, 32ª Mostra Internacional de Cinema, Ucrânia
O filme de Ihor Podolchak tem como proposta mostrar o cotidiano de uma família, cujos membros
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Page 5 of 7

crítica « Le Champo
17.01.09 02:48
estão trancafiados tanto em casa como em si mesmos. Para narrar tal história, o diretor adotou a
estética de pinturas em movimento, com forte apelo visual.
Resultado: excesso de virtuosismo num filme que, aos olhos do espectador, roda, roda e não
desenrola.
É lógico que muito dessa sensação de estagnação é intencional e só por isso o filme não está de todo
perdido. Rostos desfocados, gestuais que se repetem, música demasiadamente dramática parecem
sufocar quem gloriosamente resiste ao fim da sessão (muitos cederam a tentação de sair da sala).
Soma-se a isso m enredo que caberia muito bem num curta, talvez funcionasse bem num média, mas
perde-se - e cedo – num longa.
Se for ver, abstraia os excessos de luz, som e imagens de impacto (quase clichés), características que
desviam a atenção do personagem central da história, o filho caçula da família. Com isso, é possível
aproveitar os 30% de filme bem pensado que se têm à frente.
—
Uma palavra para “Las meninas”: afetado!
Avaliação Le Champô: regular
claustrofóbico “Las Meninas”.
A mais bela cena do
32ª Mostra - Crítica: Café dos
Maestros (Argentina)
Publicado Sábado, 18, Outubro, 08 A Caixa de Pandora 0 Comentários
Tags: 32ª Mostra Internacional de Cinema, Argentina, cinema, crítica, música
“O tango é música, canto e dança”.
Este é o espírito do documentário de Miguel Kohan, que busca retratar a trajetória do tango através
da orquestra intitulada “Café de los Maestros”.
Composta por renomados artistas do género, Café de los Maestros reuniu, desde 1940 – o auge do
tango – músicos e cantores de múltiplos talentos, imbuídos de paixão e sentimentalismo. Destaque
para a cantora Virgínia Luque, capaz de cantar em outros idiomas, como em japonês, para
homenagear turistas que prestigiavam o grupo quando este se apresentava em cabarés.
Além de relatos dos artistas e uma memorável apesentação da Orquestra, em 2004, no Teatro Cólon,
o documentário traz belas imagens da cidade de Buenos Aires, capaz de despertar uma saudade
arrebatadora naqueles que conhecem de perto a Av. Corrientes, o Caminito de La Boca ou as ruas de
Palermo Viejo.
Sim, “Café dos Maestros” é uma viagem ao saudosismo e a nostalgia típica dos argentinos.
Sentimentos que não agridem a alma se tomados em moderadas doses.
___
Uma palavra para “Café dos Maestros”: Nostalgia.
Avaliação Le Champô: bom
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Page 6 of 7

Cinematoca: Las Meninas
11/5/08 9:08 PM
22/10/2008
Las Meninas
ESTRÉIA - 24/10
Quase Irmãos
EM CARTAZ (GRANDE SÃO
PAULO)
A Múmia: Tumba do
Imperador do Dragão
Ao Entardecer
As Duas Faces da Lei
Batman - O Cavaleiro
das Trevas
Busca Implacável
Controle Absoluto
Ensaio Sobre a Cegueira
Estômago
Kung Fu Panda
Linha de Passe
Mamma Mia!
Mandela - Luta Pela
Liberdade
Missão Babilônia
Na Mira do Chefe
O Procurado
Show de Bola
Star Wars - The Clone
Wars
Viagem ao Centro da
Terra - O Filme
Wall•E
LAS
MENINAS
(Las
Meninas,
Ucrânia,
2008) **
Dirigido
por Ihor
Podolchak.
Com:
Mykola
Veresen,
Lyubov
Tymoshevska, Hanna Yarovenko, Dmytro Chernyavsky, Stas
Arsentyev.
“Las Meninas” começa de fora para dentro. Num jardim, um
casal idoso lê livros, olha para as crianças brincando e solta
alguns diálogos. A seguir, durante os quase 99 minutos de
filme, a câmera entra numa casa e só sai para o desfecho,
voltando aos velhinhos.
Essa interiorização não é fácil. O espectador acompanha a
vida de personagens, em linhas narrativas distintas, sempre
numa reunião à mesa. Os diálogos são desconexos, muitas
vezes. Logo no princípio, uma garota manifesta seu desejo
em falar melhor a língua francesa (a história se desenvolve
na Galícia, entre a Ucrânia e o sul da Polônia). A seguir, o
roteiro passa para uma nova troca de idéias, que
rapidamente se interromperão para dar lugar a outras..
O que mais funciona no filme de Ihor Podolchak é o seu
caráter sensorial. Ele exibe rostos desfocados e dá atenção a
pequenos detalhes do ambiente, como os sons dos talheres,
da comida sobre a mesa ou da porta abrindo e fechando por
causa do vento. São características que pontuadas
excessivamente, através de eternas repetições.
ARQUIVO
! 2008 (188)
! Novembro (1)
Apenas o Fim
" Outubro (17)
" Setembro (30)
" Agosto (31)
" Julho (45)
Assim, o distanciamento com o público é imediato. Não
existem personagens; apenas pessoas que jogam idéias a
esmo, na tela. A parte imaterial até funciona, mas por curto
tempo. Logo, “As Meninas” é uma película que funcionaria
muito melhor como um curta-metragem, por fixar, em
poucos minutos, aquilo que consegue se estender a um
tempo maior, que demora a passar. O espectador
agradeceria.
POSTADO POR RAFAEL FERRAZ ÀS 13:06
MARCADORES: 32ª MOSTRA DE SP, CRÍTICAS
" Junho (5)
http://cinematoca.blogspot.com/2008/10/las-meninas.html
Page 1 of 3

Livro de Rituais: A Mostra e Eu
11/5/08 9:07 PM
./0123 / 45678 967!1:323 456;
!"#$%&'() *+,-»
Livro de Rituais
Assim como a data em que foi escrito, a identidade verdadeira do autor de O Livro de Rituais
permanece um mistério - imagina-se que o nome Bruno Weber seja um anagrama para "New O.
Rubber" ("Novo O. Rubber"), uma referência a Otto Rubber, fanático por Ocultismo e Alfajor do
século 12. O Livro de Rituais será publicado esporadicamente nesse blog, na ordem em que for
traduzido. Associação Histórica da Birmânia
Arquivo do blog
! 2008 (23)
! Novembro (1)
Exclusivamente aqui, o
Coelho Bucetinha se
revel...
" Outubro (11)
" Setembro (1)
" Agosto (1)
" Julho (9)
Quem sou eu
BRUNO WEBER
Visualizar meu perfil
completo
DOMINGO, 26 DE OUTUBRO DE 2008
A Mostra e Eu
Apenas para contribuir com a minha dor de cabeça, a tão
esperada Mostra Internacional de Cinema de São Paulo
começou na mesma semana em que eu iniciei um curso
intensivo de programação (que já deveria me dar dor de
cabeça o suficiente). O resultado é que eu não vi e nem
verei metade dos filmes que gostaria. Já no sétimo dia da
Mostra e eu compareci a apenas cinco filmes. Gostaria
mesmo de ter mais filmes para criticar e mais tempo para
criticá-los. Enfim, quem não tem cão... Vamos nessa.
Las Meninas (de Ihor Podolchak, Ucrânia, 2008) -
Primeira sessão do primeiro dia da Mostra. Me interessou
por causa da foto (essa aí mesmo, bela imagem) e pela
história, que parecia intrigante. Mas em apenas cinco
minutos de filme deu pra perceber que a trama não
importava tanto. Uma família, cujo número e identidade
dos membros não está muito clara, vivendo no ambiente
claustrofóbico de uma casa de campo, servindo apenas
para uma série de delírios de som e imagem (aliás, a
fotografia e a edição de som são impressionantes).
É um filme bem difícil e sem gênero, daqueles que você
sabe que são bons mesmo quando não te agradam
tanto. Foi descrito como uma pintura viva, e isso faz muito
sentido. E serve pra mostrar uma coisa típica da mostra,
que é a imprevisibilidade (isso é uma palavra?) da maioria
dos filmes que você vai ver. Baseado na foto e na sinopse,
eu jurava que ia assistir um feel-good movie do leste
europeu.
http://livroderituais.blogspot.com/2008/10/mostra-e-eu.html
Page 1 of 4

Livro de Rituais: A Mostra e Eu
11/5/08 9:07 PM
Quando
Você Viu
Seu Pai
Pela
Última
Vez? (de
Anand
Tucker,
Reino Unido, 2007) - Outra coisa típica da Mostra é a
correria. Mesmo vendo apenas dois filmes naquele dia,
acabei passando por isso. Marquei o tempo exato que
levava para correr do Shopping Frei Caneca até o
Espaço Unibanco na Rua Augusta (dez minutos
no máximo) e comprei o ingresso para ver esse filme logo
depois de "Las Meninas". Mas... a Imprevisibilidade!!
A projeção de "Las Meninas" deu defeito e a sessão atrasou
vinte minutos! E acabei perdendo as primeiras cenas de
"Quando Você Viu...", filme que adapta o livro de Blake
Morrison sobre sua juventude agüentando as manias de
galã e bon-vivant do pai, vivido pelo sempre bem-vindo
Jim Broadbent. Ou seja, eu perdi essa cena das bananas...
E olha, esse sim é um feel-good movie. Nada contra o tom
meio água-com-acúcar (tem até câmera girando ao redor
dos protagonistas). Boas interpretações, bem escrito, bem
dirigido e muito capaz de provocar umas lágrimas
verdadeiras na platéia. Melhor do que a maioria.
Love Life (de Maria Schrader, Alemanha e Israel, 2007) -
Eu devo ser muito burro, pois só agora descobri o maldito
Festival da Juventude. Esse tempo todo eu podia estar
vendo filmes de graça! O problema é acordar pra chegar no
cinema às dez da manhã. Cheguei lá e vi esse filme
bonitinho (caramba, eu sou bom de crítica) sobre uma
garota israelense insatisfeita com a vida, com os pais, com
o casamento e com o serviço de transporte público (é, eu
também ficaria com medo de pegar ônibus em Israel). Se a
soma de partes boas fez de Quando Você Viu Seu Pai..." um
filme um pouco acima da média, esse "Love Life" consegue
somando um bando de fatores desfavoráveis. O roteiro tem
momentos, mas nada surpreendente ou muito inspirado
(cheio de matáforas ou muito óbvias ou muito exageradas).
Os atores são a mesma coisa, com excessão da mulher que
interpreta a mãe da moça, e de Rade Sherbedgia (um tipo
de Billy Conolly galã e mal-humorado do Oriente Médio),
http://livroderituais.blogspot.com/2008/10/mostra-e-eu.html
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Livro de Rituais: A Mostra e Eu
11/5/08 9:07 PM
que interpreta o amigo do pai da moça e
a leva pro
mau
caminho, aos
poucos
revelando
segredos da
família. A
edição é
estranha - há um momento hilário em que esse velho
tarado, devidamente nu, se levanta da cama e um close
rápido estilo chicote prontamente nos esconde a bunda
dele (acho que ele dava um piti no set se mesmo o cofrinho
aparecesse).
Três Dias de Chuva ( de Michael Meredith, EUA, 2003) -
Um daqueles filmes com vários núcleos diferentes,
adaptando várias histórias do bom e velho russo Anton
Chekov para a contemporânea cidade de Cleveland. É meio
cansativo, um texto pobrezinho e uma edição terrível, mas
tem momentos - só não sei se valem tanto a pena.
Adoração
(de Atom Egoyan, Canadá, 2008) - Sempre ouvi falar de
Atom Egoyan, mas nunca vi um filme dele. Pois hoje me
arrependo e vou procurar mais do trabalho desse cara. A
história do rapaz que inventa uma trama de terrorismo
sobre os pais falecidos chega a ser assustadora em alguns
momentos e engraçada em outros. Cinema de qualidade
em todos os aspectos - nem preciso falar tanto delem. A
pequenos momentos duvidosos no decorrer, mas nada que
comprometa.
Essa foi a primeira semana da Mostra pra mim. Darei
http://livroderituais.blogspot.com/2008/10/mostra-e-eu.html
Page 3 of 4

32ª Mostra Internacional de Cinema
11/5/08 9:06 PM
Faça sua busca
Assine E-mail SAC Canais
PORTUGUÊS ENGLISH SEARCH Ok choose the year choose the mostra BLOG SPONSORS CONTACT
home filmes ordem alfabética letter l LAS MENINAS
# A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Competition - New Directors
LAS MENINAS (LAS MENINAS) - 2008 - Ukraine
SESSÃO DATA SALA
5
10/17 - Friday
13:30
Unibanco Arteplex 2
109
888
10/18 - Saturday
17:10
10/26 - Sunday
19:00
Unibanco Arteplex 4
Cine TAM
director
Ihor Podolchak
screenplay
Ihor Podolchak
cinematographer
Serhiy Mykhalchuk
ed t on
Ihor Podolchak
The film traces the life of a family of four living in the suburbs in an ancient Galician villa. The
interiors mirror fragments of some kind of art installation rather than a real home and, at the
same time, evoke a vague, distant memory... The character who, with a sense of cruel
urgency, agitates the virtually immobile storyline is the 30-year-old son of aging parents and
brother of an adult sister. Suffering from asthma and eczema since childhood, he terrorises
his infinitely tolerant family and drives them into a hermetic world of endless rituals – for
them a refuge from his whims and recurring fits… The film resembles the scattered pieces of
a beautiful puzzle which the viewer can assemble to form his own final picture. Ihor
Podolchak characterises his film as a work which proves that even a record of everyday
routine can capture the nature of intellect and the human psyche.
> send to a friend
> print this page
music
Oleksandr Schetynsky
cast
Mykola Veresen, Lyubov Tymoshevska, Hanna Yarovenko, Dmytro
Chernyavsky, Stas Arsentyev
producer
Ihor Podolchak
product on company
Mf Films
world sales
Mf Films
99 minutes
color, digital
© 2008 Associação Brasileira Mostra Internac onal de Cinema s te produzido por design e arqu tetura
http://www.mostra.org/32/exib_filme.php?filme=75&language=en
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Estou na 32a. Mostra Internacional de Cinema!!!: Las Meninas (Ucrânia, 2008)
11/5/08 9:10 PM
./0123 / 45678 967!1:323 456;
!"#$%&'() *+,-»
Estou na 32a. Mostra Internacional de
Cinema!!!
Arquivo do blog
! 2008 (34)
! Outubro (34)
! 31/10 (4)
Balanço
Vicky Cristina
Barcelona
(Espanha/EUA,
2008)
Dongxie Xidu (Cinzas
do Passado Redux -
China, 200...
Plus Tard (Mais Tarde
Você Entenderá -
França, 200...
" 30/10 (3)
" 29/10 (3)
" 28/10 (3)
" 25/10 (3)
SÁBADO, 18 DE OUTUBRO DE 2008
Las Meninas (Ucrânia, 2008)
Se a Mostra é uma oportunidade de experimentar filmes diferentes, esta
obra de Ihor Podolchak é uma interessante amostra de cinema
alternativo. O filme, que trata das relações entre os integrantes de
uma família, é experimental e não segue uma narrativa convencional,
procurando mais realizar um estímulo sensorial no espectador. E o
sentido mais explorado é a audição, com uma trilha sonora martelante
quase que ininterrupta. Há várias cenas bastante interessantes e
criativas, mas senti muita dificuldade de acompanhar 99 minutos de
seqüências experimentais, que em quase que sua totalidade refletem um
clima perturbador e constante de sombras e angústia, tanto sonoro
quanto visual.
Nota: 6
Postado por Davi Kikuchi às 1:59 PM
0 comentários:
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" 23/10 (3)
" 22/10 (3)
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" 18/10 (4)
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Quem sou eu
DAVI
KIKUCHI
Visualizar
meu perfil
completo
Meu outro blog
Cinema -
Memórias/Lembranças
Eagle Eye
(Controle
Absoluto -
2008)
3 semanas atrás
http://kestounamostrasp2008.blogspot.com/2008/10/las-meninas-ucrnia-2008.html
Page 1 of 2

Untitled Document
11/5/08 9:09 PM
LAS MENINAS
Por Cesar Zamberlan
Ficha Técnica: LAS MENINAS ,
de Ihor Podolchak (2008)Ucrânia
(40) (23/10)
Transitar pelo terreno do cinema não-narrativo é sempre um grande risco
quando se pensa num longa-metragem. Segurar a atenção do espectador
por mais tempo não tendo um fiapo mínimo de enredo requer por parte do
diretor uma habilidade gigantesca. Em “Las Meninas”, o diretor ucraniano
estreante Lhor Podolchak, egresso das artes plásticas e da literatura, mais
que uma história, cria texturas, imagens mais próximas das artes plásticas
do que da fotografia de cinema, daí o nome do filme, que evoca obviamente
o quadro de Velázquez.
O filme é visualmente interessante e instigante, mas pode, e certamente irá,
nocautear cinéfilos com sono atrasado - o que quase sempre acontece na
Mostra -, até porque as belas imagens, muitas vezes, são acompanhadas
por boa música e adquirem em certas passagens contornos oníricos que
podem embalar o espectador. Mas, nem tudo é deleite em “Las Meninas”,
Lhor cria cenas bastante desagradáveis também e acentua esse desconforto
das pessoas no quadro com a saturação do som direto, fechando o som, por
exemplo, na colher que raspa um prato durante uma das muitas refeições do
filme. Esse ruído ampliado e perturbador talvez sirva mais para irritar o
espectador do que para adicionar sentido à cena. Além do ruído que ganha o
primeiro plano sonoro, o diretor também mixa as vozes dos diálogos
embaralhando-as com pensamentos que derivam para um fluxo de
consciência. A soma de todas essas falas e pensamentos ampliam ainda
mais a cacofonia narrativa.
Confira outras matérias sobre a
Mostra
Voltar para a listagem de filmes
do A-Mostra
No entanto, é preciso dizer que “Las Meninas” é um filme diferenciado
daqueles que a gente só vê na Mostra. Não é bem sucedido nas suas
intenções - tanto é que o clichê: “Daria um bom curta” foi repetido por
várias pessoas ao final da sessão -, mas tem lá seus bons momentos como
nas cenas nas quais tudo se revela por um espelho colocado no quarto –
citação clara a obra de Velàzquez – e quando cria imagens fortes ainda que
sem uma relação orgânica com as demais que se amontoam durante o
filme.
Sessões
O filme será exibido ainda na sessão 888, dia 26/10 - domingo - às 19:00 no
Cine TAM.
http://www.cinequanon.art.br/filmefestival_detalhe32.php?id=497&id_festival=65
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32ª Mostra - Crítica: Las Meninas (Ucrânia) « Le Champo
11/5/08 9:06 PM
32ª Mostra - Crítica: Las Meninas (Ucrânia)
Publicado Sábado, 18, Outubro, 08 A Caixa de Pandora
Tags: 32ª Mostra Internacional de Cinema, cinema, crítica, Ucrânia
O filme de Ihor Podolchak tem como proposta mostrar o cotidiano de uma família, cujos membros
estão trancafiados tanto em casa como em si mesmos. Para narrar tal história, o diretor adotou a
estética de pinturas em movimento, com forte apelo visual.
Resultado: excesso de virtuosismo num filme que, aos olhos do espectador, roda, roda e não
desenrola.
É lógico que muito dessa sensação de estagnação é intencional e só por isso o filme não está de todo
perdido. Rostos desfocados, gestuais que se repetem, música demasiadamente dramática parecem
sufocar quem gloriosamente resiste ao fim da sessão (muitos cederam a tentação de sair da sala).
Soma-se a isso m enredo que caberia muito bem num curta, talvez funcionasse bem num média, mas
perde-se - e cedo – num longa.
Se for ver, abstraia os excessos de luz, som e imagens de impacto (quase clichés), características que
desviam a atenção do personagem central da história, o filho caçula da família. Com isso, é possível
aproveitar os 30% de filme bem pensado que se têm à frente.
—
Uma palavra para “Las meninas”: afetado!
Avaliação Le Champô: regular
claustrofóbico “Las Meninas”.
A mais bela cena do
0 Respostas para “32ª Mostra - Crítica: Las
Meninas (Ucrânia)”
Nenhum Comentário
http://lechampo.wordpress.com/2008/10/18/32ª-mostra-critica-las-meninas-ucrania/
Page 1 of 1

Cinefilia.com: São Paulo - Dia 3
11/5/08 9:11 PM
./0123 / 45678 967!1:323 456;
!"#$%&'() *+,-»
Sábado, 18 de Outubro de 2008
São Paulo - Dia 3
Após um ótimo primeiro dia de Mostra, fui infeliz na escolha dos
filmes de sábado. Nas cédulas de votação que recebemos para votar
nos filmes, marquei uma nota 1 (ruim), duas notas 2 (regular) e uma
nota 3 (bom), além de ter desistido de um pela metade.
7. Liverpool, de Lisandro Alonso - O dia começou com o pé
esquerdo. Um típico filme em que "nada acontece", só que aqui
realmente o "nada" é bastante improdutivo, com um homem
desinteressante regressando para sua terra em busca de notícias de
sua mãe. Mais da metade do filme é o personagem em atividades
prosaicas até chegar ao local de destino (jantando, caminhando,
pegando carona, indo a um clube, etc.), mas o tédio e a falta de
comunicação (temas do filme?) acaba afetando negativamente a
quem assiste. Se a idéia era nos colocar ao lado do personagem em
sua trajetória, realmente Alonso consegue cumprir o objetivo. O
problema é que estar ao lado deste personagem é uma coisa muito
chata, e o filme só consegue ganhar algum interesse e vida na sua
parte final, quando há uma mudança de perspectiva. Só que já era
tarde demais e só comprova que o que menos interessava ao diretor
era seu protagonista. (Nota 1)
8. O Menino do Pijama Listrado, de Mark Herman - Uma sessão
especial, por ter assistido com o amigo e crítico Pablo Villaça, pessoa
que conheço virtualmente há mais de dez anos, mas que só agora
foi possível nos conhecermos pessoalmente. Ele gostou muito mais
que eu deste filme de boas intenções que já ganha o espectador pela
explicação do título: o tal pijama listrado nada mais é que a roupa
que os judeus usam no campo de concentração, e o tal menino é
uma criança aprisionada que o protagonista de 8 anos de idade irá
conhecer quando sua família se muda para perto de um campo de
concentração supervisionado pelo seu pai. Como "A Vida é Bela",
veremos o horror do nazismo pelos olhos de uma criança, desta vez
do lado de fora dos guetos. O filme é bem produzido e certamente
arranca lágrimas do público. Mas é um drama convencional, com
mais do mesmo: nazistas malvados (enfatizados por closes, situações
malignas, elevação do som a cada maldade) e judeus sofridos (é
claro que tem que ter um judeu serviçal que antes era médico).
Tema assim só me desce com algum toque de originalidade. Não é o
caso. Mas vai ser um sucesso. (Nota 2)
Quem sou eu
HÉLIO
VITÓRIA DA CONQUISTA, BAHIA,
BRAZIL
27 anos, bancário, dono de
videolocadora, estudante de
psicologia, amor da vida de
Michele, apaixonado por cinema e
um vício moderado por séries de
tv. Não necessariamente nesta
ordem.
Visualizar meu perfil completo
Último Filme Visto:
Top 20 de 2008 (Parcial)
1. Não Estou Lá
2. Sangue Negro
3. Onde os Fracos Não Têm Vez
4. Cloverfield - Monstro
5. Fim dos Tempos
6. A Questão Humana
7. Wall-E
http://cinefiliapontocom.blogspot.com/2008/10/so-paulo-dia-3.html
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Cinefilia.com: São Paulo - Dia 3
11/5/08 9:11 PM
9. Las Meninas, de Ihor Podolchak - Numa maratona como esta,
em que às vezes não dá tempo nem de comprar uma água porque o
próximo filme já vai começar (especialmente porque os filmes
exibidos no Arteplex TODOS estão atrasando em média 15 minutos),
é melhor abandonar um filme que não vale a pena terminar e
abastecer as energias para os que virão. Provável campeão de
abandonos da platéia, desisti do ucraniano "Las Meninas" com quase
1 hora de projeção, após vários outros terem saído (alguns caíram
fora já com 15 minutos de filme). Pensem na sensação que é assistir
a "Inland Empire" de Lynch, só que com outra estética: uma família
dentro de uma casa com fotografia que torna a imagem uma
verdadeira pintura (o título deve ter sido retirado da famosa obra de
Velazquez, pois todo o filme lembra aquele uso de cores) falando
coisas aparentemente sem sentido e com uma incrível exacerbação
dos sons do ambiente. Eu poderia ter ido até o fim, porque a
experiência estava sendo curiosa (embora vazia), mas com fome e
sede, deixei pra lá. Nem é justo avaliar.
10. Gomorra, de Matteo Garrone - Sensação do Festival de
Cannes, traz várias histórias paralelas de personagens envolvidos
com a máfia italiana. É um filme painel dos mais chatos porque se
pretende fazer denúncia (é baseado em fatos, com direito a créditos
explicativos no final), então se apega a realidade, mas com
personagens sem muito espaço para um desenvolvimento mais rico.
Uma espécie de "Traffic italiano", com muitas seqüências
empolgantes de assassinato, o que deve render pontos com o público
geral. Mas o todo é muito frágil, tanto nas tramas isoladas (nem
sempre interessantes), quanto na costura entre elas. (Nota 2)
11. Feliz Natal, de Selton Mello - Tive o privilégio de ver o filme ao
lado da atriz, diretora e cantora Maria de Medeiros, mas na minha
timidez e falta de assunto, nem pedi um autógrafo. Ia falar o que, se
não conheço praticamente nada de seu trabalho? De Pulp Fiction, há
quase 15 anos? De jeito nenhum! Enfim, ela não deve ter gostado
desta estréia de Selton Mello na direção (que estava lá também
apresentando o filme), pois cochilou em vários momentos. Quanto a
mim, gostei da parte técnica e das escolhas de Mello como diretor na
encenação dos embates familiares. Como em "O Casamento de
Rachel", há uma pessoa visitando um irmão em época de festas e
isso vira motivo para lavagem de roupa entre a família, já que esta
pessoa é a ovelha negra com acontecimento trágico marcando o
passado. Mas a família aqui é extremamente disfuncional, com pais
que se odeiam, pai que odeia filho, nora que não suporta nada
daquilo, etc. A câmera de Selton Mello fica quase o tempo todo
colada no rosto dos personagens, o que torna tudo mais incômodo e
enervante, e isso é positivo. Há tambem uma montagem
interessante, alternando cortes rápidos com longos planos sequência,
e elipses que tornam tudo bem esquizofrênico. Do lado negativo,
Selton Mello como roteirista exagera no lero-lero "naturalista", que
faz com que os atores tenham conversinhas prosaicas e
engraçadinhas quase o filme todo, vindo do nada. É engraçado às
vezes (adorei a frase "Vamu parar com nostalgia, ploc monster?"),
mas na maior parte ficou foi um sorriso amarelo. Criança fazendo
graça também é um mal que pegou mesmo no cinema nacional. O
início e o final são bem mais interessantes que o miolo. Uma estréia
promissora, mas que exagera no exibicionismo. (Nota 3)
Postado por Hélio às 19:35
8. Antes que o Diabo Saiba Que
Você Está Morto
9. Juno
10. Zona do Crime
11. Sicko - S.O.S Saúde
12. Na Natureza Selvagem
13. Paranoid Park
14. 4 Meses, 3 Semanas e 2 Dias
15. Luz Silenciosa
16. Longe Dela
17. Senhores do Crime
18. Apenas uma Vez
19. A Espiã
20. O Nevoeiro
Top 10 de 2007
- A Família Soprano -
1. Jogo de Cena
2. Império dos Sonhos
3. Superbad - É Hoje
4. Em Paris
5. Possuídos
6. Cão Sem Dono
7. Baixio das Bestas
8. Os Donos da Noite
9. O Ultimato Bourne
10. Saneamento Básico
Arquivo do blog
! 2008 (54)
! Novembro (5)
Resumo da Mostra
São Paulo - Dia 15
São Paulo - Dia 14
São Paulo - Dia 13
São Paulo - Dia 12
" Outubro (13)
" Setembro (6)
5 comentários:
" Agosto (6)
http://cinefiliapontocom.blogspot.com/2008/10/so-paulo-dia-3.html
Page 2 of 4

Cinefilia.com: São Paulo - Dia 3
11/5/08 9:11 PM
mi do carmo disse...
È...como já era previsto pelas notas dadas, o filme que me
interessou mesmo ver depois de ler seus comentários foi o de Selton
Mello...
E eu ainda n acredito que vc n tirou uma foto da mulher dormindo...
to arrasada!
20 de Outubro de 2008 14:14
Alex Gonçalves disse...
Hélio, a primeira coisa que vi ao acessar o Cinefilia foi o seu
aguardado comentário sobre "O Casamento de Rachel". Gostei muito
do que você escreveu, apesar do aparente desapontamento com o
desfecho. E simplesmente adorei essa sua experiência ao assistir
"Feliz Natal". Poxa, além de boa atriz, Maria de Medeiros deve ser
super simpática ao ponto de cochilar durante a exibição do longa,
ehehehehehe. Eu pegava um autógrafo e, se possível, até tirava uma
foto!
" Julho (11)
" Maio (5)
" Março (2)
" Fevereiro (2)
" Janeiro (4)
" 2007 (1)
Canal 3 Videolocadora
Abraços!
21 de Outubro de 2008 00:01
Rafael Carvalho disse...
Ual, teve direito até à companhia da Maria de Medeiros, se fosse eu
pedia um autógrafo sim, nem que fosse só pela versão de O
Quereres, do Caetano Veloso, que ela gravou. E pensei nela esses
dias porque ela fez um documentário tematicamente igual a Crítico,
chamado Bem Me Quer, Mal Me Quer, em que ela contrapõe
cineastas e críticos.
E antes de ler aqui seu blog, vi lá no do Pablo que ele tinha
conhecido um amigo dele chamado Hélio lá de Vitória da Conquista.
Aí me perguntei se era o mesmo que eu tava pensando. Eu gosto
muito dos textos do Pablo, mas ele me parece um crítico um tanto
arrogante e auto-importante. Mas parece ser um cara legal.
E Feliz Natal é mais um filme brasileiro que devo demorar muito pra
ver. Desconfiei muito dessa incursão dele na direção porque o acho
um ator muito pop, seus personagens no cinema são sempre
descolados (e deslocados) e tal. Mas os comentários são animadores.
O Pablo mesmo deu 5 estrelas (ele também é exagerado às vezes).
E me lembrei de Os Desafinados, em que ele interpreta um cineasta,
e o próprio Selton rodou umas cenas do filme. São os melhores
momentos do longa do Walter Lima Jr.
Não conheço nada do Lisandro Alonso e esse tédio vindo do filme já
me distancia dele, O Menino do Pijama Listrado me soou bem
interessante e Gomorra é sensação desde Cannes.
21 de Outubro de 2008 02:00
Marcio Claesen disse...
Oi Hélio.
Bacana vc ter vindo até SP só pra acompanhar a Mostra. Apesar de
morar aqui, nos últimos estava conseguindo ver poucos filmes, então,
neste ano tirei férias ppor duias semanas para poder ver mais.
Eu também vi a Maria de Medeiros, mas não foi do meu lado, na
sessão de Próxima Parada 174. Quem sentou perto de mim foi a
Galiesteu. Arrgh. rs
Favoritos
Blog do Vinícius
Canto do Inácio
Cine Vita
Cinema em Cena
CinemaScópio
Cinéfila por Natureza
Cinética
Comentários em Série
Contracampo
Hollywood Elsewhere
Moviola Digital
My Glory Box
O Monolito
Porra, Bicho!
Porta Curtas
Tédio Criativo
Vinte e poucos anos
Enfim, não concordo com suas opiniões sobre Gomorra e O Silêncio
http://cinefiliapontocom.blogspot.com/2008/10/so-paulo-dia-3.html
Page 3 of 4

Cinefilia.com: São Paulo - Dia 3
11/5/08 9:11 PM
de Lorna. Não vi nada de muito distante deste para com os outros
filmes dos Dardenne. Gostei bastante. Não sáo filmes que eu escolho
entre os 10 do ano, mas são muito bons. Sobre Gomorra, achei-o
impactante e urgente, tudo o que o 174 não conseguiu ser.
E sobre Cegueira, eu o vi na cabine para os jornalistas - e tive a
honra de entrevistar Julianne Moore - e gostei muitíssimo. Esperava
me decepcionar, mas me enganei.
Sobre O Casamento de Rachel, concordo em parte. Ele é superior à
Margot sim, mas muito irregular e com cenas desnecessárias.
Bom, nossos outros filmes não bateram ainda, mas a gente se
esbarra pela Augusta.
Bacana o seu blog.
Abração.
23 de Outubro de 2008 00:36
Rafael Carvalho disse...
Só não me esranha tanto esse tratamento mais leve e soft no filme
do Bergman porque dessa fase inicial eu já vi justamente o primeiro
fime dirigido por ele, Crise, e sei que essa sua fase é um tanto light
(Chove em Nosso Amor, se não me engano, é o segundo dele).
E imagino a sesação de se assistir a O Poderoso Chefão no cinema
em cópia restaurada. Nem posso pensar nisso que fico todo
arrepiado.
E eu nunca vi nada do Sokurov. Nem os filmes da série sobre
estadistas importantes, nem a trilogia sobre família (parece que se
fecha com Alexandra), nem A Arca Russa, todo em plano-sequência.
Talvez comece por esse Alexandra.
25 de Outubro de 2008 18:58
Postar um comentário
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Page 4 of 4

Las Meninas : Programação da 32ª Mostra Internacional de Cinema de São Paulo – UOL Cinema
17.01.09 02:27
Vídeos DVD Web BUSCAR
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Competição Novos Diretores
Las Meninas
Divulgação
Sinopse
A vida claustrofóbica de uma família de quatro pessoas que
vive no subúrbio de um antigo vilarejo da Galícia. Em vez de
um lar comum, o interior da casa espelha fragmentos de algum
tipo de instalação artística que evoca uma memória vaga e
distante. Quem agita a narrativa quase imóvel com um sentido
de urgência cruel é o filho caçula de 30 anos. Sofrendo de
asma e eczema desde a infância, ele aterroriza sua família
sempre tolerante e a conduz a um mundo hermético de rituais
intermináveis – o que para eles é um modo de fugir de suas
extravagâncias e acessos recorrentes. O filme lembra os
pedaços perdidos de um quebra-cabeça de sensações que o
espectador monta para formar sua imagem final. Ihor Podolchak
o caracteriza como uma obra que prova que mesmo um registro
de uma rotina diária pode capturar a natureza do intelecto e da
psique humana.
Ficha Técnica
Título original: Las Meninas
Diretor: Ihor Podolchak
Ano de produção: 2008
País: Ucrânia
ASSISTA AO FILME
DATA HORARIO CINEMA
Sexta-feira,
17/10
13 30 Unibanco Arteplex 2
Sábado, 18/10 17 10 Unibanco Arteplex 4
Domingo,
26/10
19 00 Cine TAM
* a programação é de responsabilidade da organização do festival e está sujeita a alterações
http://cinema.uol.com.br/mostra/2008/filme-las-meninas.jhtm
Page 1 of 2

Las Meninas - 28th Cambridge Film Festival, 2008
05.10.08 16:42
Las Meninas
/ UK PREMIERE
Director: Ihor Podolchak. Starring: Mykola Veresen, Liubov Tymoshevsha, Hanna Yarovenko, Dmytro
Cherniavsky.
Ukraine, 2008. 99 mins. French with English subtitles.
In a strange suburban villa which resembles more an art installation than a house, live a family of four;
parents, daughter and son. The family’s existence is terrorized, not by any external party, but by the son
who has suffered from asthma and eczema since childhood, and uses his “health crises” to manipulate
and command. Their life is characterized by the endless ritual of unsuccessfully attempting to satisfy his
whims. Resembling the scattered pieces of a puzzle, LAS MENINAS invites the viewer to see what he
wants in this investigation of daily routine and its effect on the human mind and psyche. Life is full of
decisions and choices, but when we set about seeing what choice we have, it turns out to be very little.
Screenings (select one to book tickets)
Arts Picturehouse
Saturday 27 September, 8:15PM
Reviews
Las Meninas by Crtique Benedictus
28 Sep 2008
It helps to be familiar with the painting! Definitely a film for those who...
Read more
Reviews are currently closed for this film
Las Meninas by Festival Daily
http://www.cambridgefilmfestival.org.uk/films/2008/las-meninas
Page 2 of 3

Las Meninas review - 28th Cambridge Film Festival, 2008
05.10.08 16:53
Las Meninas reviews
Review by Festival Daily on 1 Oct 2008
Taking its name and inspiration from the painting
of the same name by Diego Velázquez, LAS MENINAS is a fabulously visual debut. Pushing the
boundary of what an art movie can be, the film leaves behind narrative in favour of sequences of
meticulously assembled dioramas and images which can be gradually sorted in the mind afterwards for
coherence. Or not. Based around a family in a country house, all is not well as is gradually revealed.
The highs in LAS MENINAS are suitably impressive but so too are the lows. Ukrainian director Igor
Podolchak absolutely captures a vignette style of painting in the camerawork. Notably a bowl of fruit is
presented like an oil painting. A visual artist, Podolchak infuses his film with his background to the
extent that LAS MENINAS can feel like an installation. The film’s climax (to this reviewer) is a
standout scene where characters move around a bedroom. The shot is fixed but it has a mirror in it where
most of the action can be spied. This activity then spills off the mirror in the rest of the shot giving the
impression of people walking in and out of shot with a dreamlike logic. It’s an unforgettable sequence.
Unfortunately much of the film makes no conventional sense whatsoever, making the experience a taxing
one for an audience unwilling or unprepared to go the distance. Long scenes of characters discussing
inscrutable matters ensue. It’s all bound up with a compelling sense of familial confinement and social
dread but it never seems to end. Give LAS MENINAS some time and space and be prepared to be
rewarded.
David Perilli, Festival Daily
Review by Crtique Benedictus on 28 Sep 2008
It helps to be familiar with the painting!
Definitely a film for those who like to puzzle their way through - and not for those who want narrative
and seqential dialogue.
Film details
Las Meninas
Director: Ihor Podolchak
Actor: Mykola Veresen
Actor: Liubov Tymoshevsha
Actor: Hanna Yarovenko
Actor: Dmytro Cherniavsky
Ukraine, 2008. 99 mins. French with English subtitles.
http://www.cambridgefilmfestival.org.uk/films/2008/las-meninas/reviews/
Page 2 of 3

St. George BIFF -
05.10.08 16:41
Movie Details and Booking
Las Meninas
Although it follows in the footsteps of Tarkovsky and Sokurov, Ukrainian feature Las Meninas seems to be described by many
today as experimental. Created and captured by hor Podolchak, a multi-disciplinary artist, the film's beautifully composed
tableaux are like 17th-century still-life paintings; they form the basis of a visually and aurally exceptional film, with layers,
reflection, and repetition used to great effect. The thin narrative thread examines family dynamics, describing the
mother!father!daughter relationship in a playful and humourous way, followed by an over-the-top, very Freudian second half with
the mother-son dynamic as its focus. The controlling, often-absent son's terrorising of his family underlies the film.
Running Time:
99 mins.
Year of Production:
2007
Directed by:
Dean Karr (one musical part), Ihor Podolchak
Produced by:
Oleh Kokhan, Liliya Mlynarych, Ihor Podolchak
Lead Actor:
Mykola Veresen
Cast:
Stas Arsentyev, Ilona Arsentyeva, Dmytro Chernyavsky, Lyubov Tymoshevska, Valeriya Ulyanchenko, Viktoriya Ulyanchenko, Hanna Yarovenko
Country:
Festivals & Awards:
Rotterdam 2008
Session Times
6 August 2008 12 00 PM Australian Cinematheque, GoMA - GoMA Cinema B
Including shorts: Spilt
8 August 2008 12 00 PM
Australian Cinematheque, GoMA - GoMA Cinema B Including shorts: Spilt
http://www.stgeorgebiff.com.au/films/FilmDetails.aspx?id=1151
Page 1 of 1

Las Meninas (Brisbane International Film Festival) | ourbrisbane.com
05.10.08 16:44
Home » What's On » Movies
Las Meninas (Brisbane International Film Festival)
Release date: Sunday, October 5, 2008
R Ukraine 99 mins
Movie details
Although it follows in the footsteps of Tarkovsky and Sokurov, Ukrainian
feature "Las Meninas" seems to be described by many today as
experimental. Created and captured by Ihor Podolchak, a multi-disciplinary
artist, the film's beautifully composed tableaux are like 17th-century still-life
paintings; they form the basis of a visually and aurally exceptional film, with
layers, reflection, and repetition used to great effect.
Director Dean Karr, Ihor Podolchak
Stars Stas Arsentyev, Ilona Arsentyeva, Dmytro Chernyavsky
© Copyright 2007 yourTime | Disclaimer
Comments
http://www.ourbrisbane.com/node/1226287
Page 1 of 1

Noticias | elcultural.es. El cine independiente se cita en Barcelona
17.01.09 02:32
Buscar Web El Cultural
libros | arte | escenarios | cine | ciencia | opinión
Sábado, 17 de Enero 2009
www.elcultural es
Inicio Blogs Agenda Citas del día Exposiciones Libros más vendidos Premios Galería de arte Estrenos de cine Discos Vídeos Arte internacional Subastas
Conectar Suscríbete Mi suscripción Archivo Buscar Búsqueda | Números anteriores | Descarga El Cultural en PDF | Quiénes somos | Mapa | Publicidad
Edición impresa
16-22 de enero de 2009
PUBLICIDAD
Publicado el 14/11/2008 Enviar a un amigo Version imprimir Opine
El cine independiente se cita en Barcelona
El festival L'Alternativa reúne en el CCCB 80 títulos procedentes de 34 países
Helena Almeida
Fundación Telefónica
prorroga la muestra
hasta el 22 de febrero
www.fundacion.telefonica com
Hotel Rey Don
Jaime I
Cheap hotel in center
of Barcelona Atrium
Hotels official site
www.atriumhotels com
300 Hoteles en
Barcelona
Reservar un hotel en
Barcelona. ¡Con
ofertas especiales!
www.booking.com/Barcel
ESCENA DE 'LAS MENINAS', DE IHOR
PODOLCHAK (UCRANIA)
EFE
La decimoquinta edición del Festival de Cine
Independiente de Barcelona arranca esta viernes en el
CCCB con un total de 80 títulos procedentes de 34
países de todo el mundo y con los homenajes previstos
al polifacético argelino Tony Gatlif y a los hermanos
Paolo y Vittorio Taviani.
Margarita Maguregui, de la organización del evento,
explicó a Efe que Gatlif no podrá desplazarse hasta la
capital catalana porque se encuentra rodando un nuevo
filme, mientras que los Taviani, que han agradecido el
homenaje, son muy mayores para viajar de Italia a
Barcelona.
El ciclo dedicado a Gatlif -director, guionista, músico,
productor y actor, nacido en Argelia en 1948 y exiliado
en Francia- servirá para conocer una selección de su
obra, diferentes películas de ficción que rozan los
límites del género documental, puesto que suelen
aparecer en ellas actores no profesionales que reflejan
la heterogeneidad del pueblo gitano.
Los Taviani serán homenajeados con el pase de los títulos más representativos de su trayectoria:
Allosanfan, Padre Padrone, Il prato, La notte di San Lorenzo y Good morning Babilonia.
Como en otras ediciones, la programación se iniciará en el CCCB y conducirá al espectador que
quiera conocer filmes ajenos a los circuitos comerciales hasta las diferentes sedes: los cines
Maldà, la FNAC-Triangle, el Instituto Francés, la Casa América y, por primera vez, el auditorio
del MACBA.
La dotación de los premios se incrementa de los 11.000 euros del año pasado a los 14.000
actuales, a la vez que se crea un nuevo galardón: el TeleSur al mejor documental que trate
alguna temática la inoamericana, dotado con 5 000 dólares.
Maguregui destaca el alto nivel de las películas presentadas a concurso, con temáticas muy
diversas, aunque predominan las centradas en temas como la emigración o el género de terror.
La sección "L'Alternativa", por otra parte, dedica una de sus retrospectivas al director alemán
Andres Veiel, autor de documentales como Balagan o Die Spielwütigen/El furor de actuar.
Además, con la colaboración del Instituto Goethe, el cineasta ofrecerá el próximo lunes una clase
magistral en la que tratará sobre las fronteras y el mestizaje del documental y la ficción, a la vez
que reivindicará una mirada subjetiva de este género, que cree contaminado por el formato
televisivo.
últimas noticias
El Thyssen no exhibirá las obras de arte contemporáneo de la
colección de Francesca Von Habsburg
El museo explica que la hija del barón no se ajustó a lo acordado,
mientras ella plasma su enfado en un comunicado
Publicado el 16/01/2009
Muere el pintor estadounidense Andrew Wyeth a los 91 años
de edad
Hijo del prestigioso ilustrador N. C. Wye h, era uno de los artistas
más reconocidos y cotizados de Norteamérica
Publicado el 16/01/2009
http://www.elcultural.es/noticias/CINE/503447/El_cine_independiente_se_cita_en_Barcelona
Page 1 of 2

Official Sections » l'Alternativa 2008
26.12.08 23:07
català castellano english
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Official
Sections
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FEATURE
L Alternativa
Las meninas
Ihor Podolchak
Ukraine, 2008
Betacam SP (PAL) (HD). 99min. Color. VOSE
Wednesday 19th » 20:30h. / Cine Maldà
Production: Ihor Podolchak , masochfund@yahoo.com,
+38 044 2538007
Photography: Serhiy Mykhalchuk
Editor: Ihor Podolchak
Screenplay: Ihor Podolchak
Music: Oleksandr Shchetynsky
Actors: Mykola Veresen, Lyubov Tymoshevska, Hanna
Yarovenko, Dmytro Chernyavsky
Sinopsis:
Las meninas is about what the routine of everyday life can do to the human mind and psyche. It also reflects on the
importance of the choices we make and how limited these choices are in the first place. Revolving around a family of
four, living in a strange villa, whose lives are manipulated by the only son, Las meninas resembles the scattered pieces of
a puzzle. It is up to the viewer to assemble them in order to form their own picture - a kind of modern interactive filmic
experience.
Venues / Tickets
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Downloads
Bio: Ihor Podolchak (Lviv, 1962) studied fine art at Lviv Art Academy. Artist and creator of numerous projects in the field
of visual art, his work can be found in over twenty museums and public collections worldwide. His artist's book Jacob
Böhme was awarded the World's Best Book prize at the International Frankfurt Book Fair. Las meninas is his first film.
http://alternativa.cccb.org/2008/en/_fichaFilms/fichaSO.php?_film=00910
Page 1 of 1

Miradas de Cine nº 81 [diciembre08] - Actualidad - L'Alternativa. Por Carles Matamoros
17.01.09 02:33
L'ALTERNATIVA 15º Festival de Cine Independiente de Barcelona
Por Carles Matamoros
¡Viva el cine de los márgenes! (que no su marginalidad)
N
o es nunca fácil dar con las claves que definen y justifican una nueva
edición de un festival de cine. Y menos cuando éste no ofrece al cinéfilo
un itinerario definido (una suerte de “línea editorial”) sino una
programación heterodoxa, inabarcable y algo desaprovechada. En esa tesitura
número 81 • diciembre 2008
Gijón Barcelona
Busca vuelos baratos desde Gijón.
Aerolíneas de bajo coste.
portada actualidad estudio cinemascope dvd bso topcine cuadernos
presupuesto y de la inalcanzable competencia (¿Gijón?)? Son demasiadas
dudas como para caer en lo temerario y atreverme a dar aquí con un
diagnóstico sólido de un festival que, eso sí, me resultó cercano y arriesgado.
Algo de lo que no pueden presumir —doy fe de ello— otras muestras
estatales demasiado preocupadas por el politiqueo, el glamour y las finanzas.
¿Qué vimos entonces en esta decimoquinta edición de l’Alternativa? ¿Qué
quedará de ella en nuestra arbitraria memoria? Pues, sobre todo, un
considerable número de propuestas que —en el limitado lenguaje de los
críticos— solemos calificar de interesantes. Es decir, una serie de filmes que,
aun siendo imperfectos o directamente fallidos, justifican su visionado por
razones que van de lo temático a lo estético, de lo mitómano a lo sensorial.
Obviando apreciables títulos ya vistos anteriormente en España —Cochochi
(Israel Cárdenas y Laura Amelia Guzmán, 2007) Night Train/Yu Che (Diao Yi
Nan, 2007), Pas a nivell (Pere Vilà, 2007)—, la sección de largometrajes a
concurso nos deparó una grata sorpresa y un considerable fiasco. Empecemos
por lo bueno y refirámonos a Huanggua (Pepino, Yaowu Zhou, 2008), un
auténtico sleeper que pasó sin pena ni gloria en la última Mostra de Venecia
(allí se nos escapó por las inevitables solapaciones) y que tampoco arrastró a
demasiados espectadores en el único pase [1] al que asistimos. Alejándose
tanto del costumbrismo chino (a lo Zhang Yang) y del “realismo tímido”
(Àngel Quintana dixit) como de las historias cruzadas (a lo Iñarritu) y de la
poética de las ruinas (a lo Jia Zhang Ke), el director esboza aquí tres relatos
familiares que apenas se tocan y que, de algún modo, ofrecen una mirada
limpia —ligera, austera, con una captura de la cotidianedad bien entendida—
de una serie de pequeños conflictos que atañen tanto a la China
contemporánea como a cualquier individuo del presente. Formalmente
rigurosa —es reseñable el constante trabajo con los planos fijos generales y
el acertado uso del fuera de campo—, Huanggua es una película que va
calando lentamente en el espectador y que, gracias en parte a un finísimo
sentido del humor (en el que, en ocasiones, los pepinos se revelan como
objetos cómicos y simbólicos al modo de Tsai Ming Liang y sus sandías),
consigue sorprender por su honestidad y osadía. Ligeros apuntes en exceso
melodramáticos impiden que Zhou consiga una pieza redonda, pero sólo por
su habilidad en la construcción de ciertos ambientes enrarecidos —tres
instantes hay, al menos en su filme, en los que el espectador asiste perplejo
a un completo “extrañamiento” visual— ya merece la pena recuperar esta
obra modesta que, si nadie lo remedia, pasará a engrosar la lista de
pequeñas joyas que nunca verán la luz en las salas comerciales españolas.
recursos
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gijón: epílogo
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seminci (mdc nº 80)
valencia (mdc nº 80)
in-edit (mdc nº 80)
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Tampoco (esperemos) se estrenará nunca Las Meninas del ucraniano Ihor
Podolchak. Quizás la única película verdaderamente irritante entre todas los
que tuvimos la ocasión de ver en esta edición. Nada tengo, en principio,
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Miradas de Cine nº 81 [diciembre08] - Actualidad - L'Alternativa. Por Carles Matamoros
17.01.09 02:33
contra el amplio campo de las artes visuales, pero enfrentarse al debut
cinematográfico de uno de sus más prestigiosos artistas no es siempre
motivo de alborozo. Más si éste nos presenta un filme relamido y fatigoso que
pretende ser transgresor e “interactivo”, pero que se limita a ser caduco en
su concepción y pomposo en su plasmación estética. Otros pensarán lo
contrario, pero el salto de Podolchack al largometraje apenas nos interesó por
momentos y vino a demostrar que las tan cacareadas transfusiones entre
distintas disciplinas artísticas no siempre llegan a buen puerto y, en
demasiadas ocasiones, nos dejan platos de difícil digestión. Más bien nos
sentó en el paladar, en cambio, la juguetona Año Uña, sorprendente ópera
prima de Jonás Cuarón, hijo del responsable de Children of Men. Escrita,
montada y fotografiada por su director, la película llegaba a l’Alternativa tras
un largo recorrido en festivales internacionales e incluso se había proyectado
en una sección paralela de la última edición de San Sebastián. De ella, sin
embargo, yo sólo conocía su argumento y la sorpresa fue mayúscula al
descubrir que se trataba de un ejercicio formal concebido a partir del uso
único de fotos fijas en blanco y negro —aunque, a veces, haya zooms para
dar sensación de movimiento— que inmediatamente me remitieron a La Jetée
de Chris Marker y al reciente filme ensayístico de José Luis Guerín. Tras el
efecto inicial, uno pronto se da cuenta que Año Uña juega en otra liga menor
y que, en ningún momento, pretende ser un diario filmado o una poesía
visual. Pero poco importa porque el filme resulta un ágil y agradecido relato
de (des)amor adolescente que, si bien peca de cierta ingenuidad en la
concepción de los roles femeninos y masculinos, consigue transpasarnos a
aquella compleja edad que es la pubertad; a aquel lugar espacio-temporal
donde algunos instantes —para bien y para mal— quedan congelados en
nuestro recuerdo como fotografías difusas imposibles de revelar.
En las antípodas de la propuesta de Cuarón se encuentra Yumurta (Huevo,
2007), segundo trabajo del cineasta turco Semih Kaplanoglu que ya compitió
(y ganó) en l’Alternativa 2006 con su anterior —y para mí desconocida—
Angel’s Fall. No sé como sería su debut, pero su calculado filme de esta
edición parecía concebido para cumplir los requisitos de lo que debe ser (para
algunos) una respetable “cinta festivalera”. A saber: bajo presupuesto,
producción exótica, escasos diálogos y personajes, parsimonia narrativa,
bellos paisajes, planos largos, historia mínima y un cierto exhibicionismo
autoral. Es bien sabido que existen directores singulares capaces de sacar
jugo a muchos de los elementos anteriormente citados —ahí están, entre
otros, Michelangelo Antonioni, Bela Tarr o Tsai Ming Liang—, pero también es
conocida la existencia de realizadores que se limitan a repetir una fórmula
estética —pensada para un espectador más curtido— que, sin un aliento
personal, se demuestra rígida, agotada. Es lo que le está sucediendo
últimamente al otrora interesante Nuri Bilge Ceylan y es el gran problema de
una propuesta —por lo demás, correcta— como Yumurta. Ciertos apuntes
auto-irónicos, una secuencia fantasmal con un perro y un final de inesperada
sencillez redimen ligeramente una película que inicia una trilogía que ya
cuenta con una segunda parte completada: Süt (Leche, 2008), un filme que
—cosas de la vida y de la distribución— tuve la ocasión de ver hace unos
meses en la última Mostra de Venecia y que reincide en los errores de la
propuesta que nos ocupa. Confirmándose así que, aun sin hacer un cine
desdeñable, Kaplanoglu sigue sin imprimir vida y fulgor en un nuevo relato
(aquí me refiero a Süt) que, por más inri, se aleja de la ligereza y se acerca a
un molesto tremendismo. Y todo con los excesivos aplausos de un
considerable sector de la crítica que, mucho me temo, no ayudarán
demasiado a mejorar la futura carrera de este realizador turco.
Despidiendo la breve sección oficial de largomentrajes —y ya que no vimos
Dah be alaveh Chahar... (Mania Akbari, 2007), una de las dos ganadoras del
certamen junto a Ye Che (ya comentada en el reportaje publicado en Miradas
del último BAFF)—, toca hablar de Momma’s Man, quizás uno de los filmes
que mayor curiosidad despertaban entre la comunidad cinéfila. ¿El motivo?
Pues que la película cuenta con la presencia actoral del matrimonio artístico
formado por Ken y Flo Jacobs y está dirigida por el hijo de ambos, Azazel.
Esto permite asistir al espectador —dentro de los límites de una ficción— al
hogar real (donde se rodó la película) de dos figuras reconocidas del cine de
vanguardia y de la pintura. Un indagamiento, por tanto, decididamente
autobiográfico y entrañable —el relato, protagonizado por un estupendo Matt
Boren, es un claro homenaje a la relación del director con sus padres— que
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Miradas de Cine nº 81 [diciembre08] - Actualidad - L'Alternativa. Por Carles Matamoros
17.01.09 02:33
afortunadamente no cae en el sentimentalismo y que, sin apenas grandes
recursos técnicos, consigue retratar un retorno transitorio y peterpanesco al
hogar de un adulto asustado por la inevitable llegada de la madurez. No es
una gran película, pero cumple con lo que promete. Lo cual no es poco en
tiempos de más buenas intenciones que resultados.
Fuera ya de las secciones competitivas, el espectador de l'Alternativa tenía
la ocasión de elegir entre cinco retrospectivas bastante diferentes entre sí.
Decidimos dejar para otra ocasión las dedicadas a Tony Gatlif, los hermanos
Taviani y Sonia Herman Dolz, y apostamos por un valor seguro: el cineasta
brasileño Glauber Rocha y una verdadera incógnita de la que teníamos, sin
embargo, buenas referencias: el documentalista alemán Andres Veiel. Del
primero tuvimos la ocasión de visionar cuatro copias restauradas en 35 mm
de algunos de sus primeros filmes [2] y el impacto, no por esperado, fue
enorme. No es éste quizás el lugar para referirse en profundidad a una de las
figuras más complejas de la historia del cine (del que hablaremos, más a
fondo, en un próximo especial en Miradas); al director que fue, sin duda,
estandarte de lo que se vino a conocer como el Cinema Novo. Pero sirva, al
menos, este comentario para advertir de la completa vigencia de su obra. Es
cierto que sus excesos experimentales nos resultaron un tanto demodé y
reiterativos en una propuesta tan fallida como la película (¡filmada y
producida en Cataluña!) Cabeças Cortadas, pero fue esa misma incontenible
locura cinéfilia la que nos fascinó en la alucinógena Terra en transe, quizás
una de las piezas más ricas y marcianas —el uso de todo tipo de recursos
estilísticos va mucho más de toda lógica autoral—que este cronista haya
tenido nunca la ocasión de contemplar —extasiado— en una sala de cine. Por
lo demás, Barravento, su seductora ópera prima, nos pareció —en su gran
trabajo con la música, los ritos y los rostros— algo más que una reescritura
de los principios neorrealistas y Deus e Diabo na Terra do Sol, su segundo
trabajo, nos confirmó que estábamos ante un cineasta revolucionario en
todos los sentidos del término. Alguien que, en su prosa fílmica, puede
recordarnos tanto a Godard como a Jodorowsky, pero que, por encima de
todo, supo apostar por un cine imperfecto, sin ataduras, político y radical.
Tan vivo que, a día de hoy, uno sigue saliendo afectado físicamente del
visionado de sus películas.
Otro tipo de efectos nos producieron, en cambio, los documentales de
Andres Veiel que, más que a una experiencia sensorial, nos invitaban a un
sano debate ideológico post-sesión. La más controvertida de sus películas —
presentada in situ por el propio realizador alemán— fue Black Box BRD (Caja
Negra RFA, 2000), un filme que indaga y equipara las vidas de dos
personajes aparentemente opuestos: Alfred Herrhausen, expresidente del
Deutsche Bank, que murió en 1989 al explotar una bomba en un atentado,
probablemente cometido por el grupo terrorista RAF, y Wolfgang Grams,
presunto miembro de la banda armada en cuestión y que falleció, en un
tiroteo de circunstancias no esclarecidas, cuando debía ser detenido —cuatro
años más tarde— en la estación de ferrocarril de Bad Kleinen. La osada
jugada de Veiel —que, en el montaje, da los mismos minutos de metraje a
los familiares y conocidos de una y otra víctima— invita a la especulación y
reflexión del espectador sobre unos hechos aparentemente vinculados, pero
que no son tan sencillos como la historia oficial nos los ha querido contar. La
experiencia cinematográfica —que incluye pequeños elementos de ficción; la
constante presencia de unos coches que evocan el día del atentado— es
ciertamente estimulante y resulta, dentro de sus límites locales, equiparable
a la que proporciona un documental tan ambiguo como El abogado del Terror
(Barbet Schroeder, 2007). Una pequeña trampa argumental que se desvela al
final del filme no resta fuerza a una historia que, días después de su
visionado, seguía resonando aún en mi memoria.
No tan potente me resultó, en cambio, Balagan (1993), un acercamiento
deslavazado al conflicto palestino —con instantes, eso sí, propios del direct
cinema y ciertamente aterradores— que interesaba más por su atractiva
temática —tratada a partir de un grupo de artistas trangresores que
aseguran, entre otras cosas, que “el holocausto es el opio del pueblo israelí”—
que por su rudimentaria plasmación formal. Más conseguidas me parecieron
Die Überlebenden (Los supervivientes, 1996) —que indaga, 16 años después
de los hechos, en los extraños (y no probados) suicidios de tres estudiantes
de la misma promoción escolar que Veiel— y, sobre todo, Die Spielwütigen (El
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Miradas de Cine nº 81 [diciembre08] - Actualidad - L'Alternativa. Por Carles Matamoros
17.01.09 02:33
furor de actuar, 2003), un documental que sigue durante varios años el
recorrido de cuatro futuros estudiantes de arte dramático que —observados
respetuosamente por la cámara del realizador alemán— adoptan caminos
muy dispares en sus vidas. Por último, se proyectó la última obra del cineasta
germano, Der Kick (El golpe, 2006), que no tuvimos la ocasión de ver.
Aunque, a esas alturas, ya teníamos una idea aproximada de lo que puede
representar en el mundo del cine la figura de Veiel. Un documentalista no tan
sobresaliente como nos vendió la organización, pero sí atrevido y honesto.
Tanto como para afrontar temas controvertidos preocupándose más por las
ideas y el sentir de las personas anónimas que por exhibirse como autor. Algo
que, de vez en cuando, es de agradecer entre tanto cineasta pretencioso.
A modo de despedida, permítame el lector un breve retorno a las dudas
que me planteaba en el primer párrafo de esta crónica. Pues me temo que,
habiéndome limitado al comentario crítico de ciertas películas proyectadas, no
he conseguido transmitir el verdadero sentir de un evento que —al menos en
esta edición; era mi primera visita al certamen— supo reunir entorno al
céntrico Centro de Cultura Contemporánea de Barcelona a un público
heterogéneo y entregado. A unos espectadores que, mientras tomaban unas
cervezas sentados en el Hall del edificio, podían disfrutar gratuitamente en
pantalla grande de algunas de aquellas películas mal llamadas “invisibles”
que, al menos por diez días, salían de los márgenes y estaban al alcanze de
quien quisiera descubrirlas. Un esfuerzo loable por parte de la organización
que muchos pudieron aprovechar y que, más allá del nivel circunstancial de la
programación, sigue dando sentido y justificando a un festival que, por
ahora, no entiende de poses y de elitismos. Algo que —crucemos los dedos—
debería mantenerse en futuras ediciones de l’Alternativa; una muestra de
cine quizás pequeña y limitada, pero independiente, acogedora y abierta a
todos.
[1] Uno de los aspectos a mejorar de l’Alternativa es el escaso número de proyecciones de cada uno de los
filmes seleccionados. Pues, al incomprensible hecho de que no haya ninguna sesión matinal, cabe añadir que la
mayoría de las películas sólo se proyectan en un solo pase. En ocasiones ése se da, además, a altas horas de
la noche y entre semana, cuando el transporte público de Barcelona ya es ciertamente limitado.
[2] Vimos Barravento (1961), Deus e o Diabo na Terra do Sol (1964), Terra em transe (1967) y Cabeças
Cortadas (1970), pero, en total, se proyectaron gratuitamente hasta seis filmes de Glauber Rocha.
Lamentablemente, una solapación impedía al espectador ver toda la representativa retrospectiva completa.
Asimismo, un par de las películas se programaron en la Casa América de Catalunya, un lugar acogedor que, sin
embargo, no cuenta con una sala de cine en unas mínimas condiciones aceptables. Hasta el punto que, para
leer los subtítulos de la pantalla, uno debía ponerse en primera fila o sentarse literalmente en el suelo.
Condiciones que no ayudaron demasiado al disfrute de las —ya de por sí complejas— obras del realizador
brasileño.
redacción • contactar • publicidad • tecnología • legal
© miradas de cine, 2008 - ISSN: 1699-4930
http://www.miradas.net/2008/n81/actualidad/lalternativa.html
Page 4 of 4

Festival international du film de La Rochelle - Las Meninas
05.10.08 17:14
Festival 2008
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Accueil > Festival 2008 > Programme > Ici et ailleurs : Longs métrages > Las Meninas
http://www.festival-larochelle.org/html/film.asp?id=2747
Page 1 of 3

Festival international du film de La Rochelle - Las Meninas
05.10.08 17:14
Séances
Dragon 2 Lundi 30 Juin 17:30
Dragon 2 Jeudi 3 Juillet 14:30
Dragon 2 Samedi 5 Juillet 22:00
Las Meninas
Réalisation
Ihor Podolchak
Ukraine - 2007 - 99 min - Beta SP - couleur
Résumé
Las Meninas est un film mis en scène par l'artiste ukrainien Ihor
Podolchak. La partie musicale a été composée en co-direction
avec le réalisateur de vidéo-clip musicaux Dean Karr. La partie
visuelle, presque magique, fait penser à des natures mortes du
XVIIe siècle. La musique et le son qui y sont ajoutés ont pour
effet de donner au spectateur le sentiment de faire partie de
cette expérience visuelle. L'intrigue minimale révèle une
situation de famille étouffante: un fils malade qui terrorise son
père, sa mère et sa soeur par ses caprices. Regarder ce film est
une réelle expérience vers l'inconnu.
Générique
Scénario : Ihor Podolchak
Image : Serhiy Mykhalchuk
Musique : Oleksandr Schetynsky
Montage : Ihor Podolchak
Décors : Svitlana Makarenko
Son : Myroslav Kuvaldin
Production : MF Films
Interprétation : Mykola Veresen, Lyubov Tymoshevska, Hanna
Yarovenko, Dmytro Chernyavsky, Ilonna Arsentyeva, Stas
http://www.festival-larochelle.org/html/film.asp?id=2747
Page 2 of 3

XXIV FESTIVAL DE CINE DEBOGOTA
05.10.08 17:23
español
english
home afiches y palmares noticias patrocinadores
English contacto alucine cine.colombia
Producciones
2008
DOCUMENTAL SOBRE
ARTE ENRIQUE GRAU
MUESTRA
DOCUMENTAL SOBRE
MEDIO AMBIENTE
MUESTRA
VIDEO MUESTRA
INTERNACIONAL
MUESTRA
CORTOMETRAJE
MUESTRA ANIMACION
MUESTRA INFANTIL
CINE DIGITAL
50 AÑOS DEL ICAIC
DOCUMENTAL
MUESTRA
CINE MUJER
PREMIO ALEXIS
VIDEO COMPETENCIA
COMPETENCIA
INTERNACIONAL
DOCUMENTAL
COMPETENCIA
DOCUMENTAL SOBRE
ARTE ENRIQUE GRAU
COMPETENCIA
TROPICO CINE ALEMAN
DOCUMENTAL MEDIO
AMBIENTE
COMPETENCIA
CLASICOS DEL CINE
MUESTRA
INTERNACIONAL
15 AÑOS DE CINEPLEX
COLOMBIA
CINE DIGITAL
DEBERES ABURRIDOS
DEBERES ABURRIDOS - COLOMBIA
DOCTOR INFIERNO
PACO LIMON - ESPAÑA
DOS MIL METROS SOBRE EL NIVEL DEL MAR
MARCELO TOBAR - MEXICO
EL CUARTO
GUSTAVO TORRES GIL - COLOMBIA
EXTERIORES
ANDRES BELTRAN PARDO - COLOMBIA
FANGO
ROBERTO TROBAJO HERNANDEZ - COLOMBIA
FRATERNALMENTE
JAVIER GORLERI - ARGENTINA
LA TENGO, NO LA TENGO
LEON KLEIN - VENEZUELA
LA TRINCHERA LUMINOSA DEL PRESIDENTE GONZALO
JIM FINN - ESTADOS UNIDOS
LAS MENINAS
IHOR PODOLCHAK - UCRANIA
LIMBO
HORACIO RIVERA - MEXICO
MEXICAN DREAM
DAVID MICHAN - MEXICO
NUMERO 8
SERGIO ESQUENAZI - ARGENTINA
http://www.bogocine.com/xxv/producciones.shtml?conds%5B1%5D%5Bcategory........%5D=d746d706f5535584118ebd560fa453a7
Page 1 of 3

XXIV FESTIVAL DE CINE DEBOGOTA
05.10.08 16:52
español
english
home afiches y palmares noticias patrocinadores
English contacto alucine cine.colombia
Producciones
2008
DOCUMENTAL SOBRE
MEDIO AMBIENTE
MUESTRA
VIDEO MUESTRA
INTERNACIONAL
MUESTRA
CORTOMETRAJE
MUESTRA ANIMACION
MUESTRA INFANTIL
DOCUMENTAL SOBRE
ARTE ENRIQUE GRAU
MUESTRA
VIDEO COMPETENCIA
COMPETENCIA
INTERNACIONAL
DOCUMENTAL
COMPETENCIA
DOCUMENTAL SOBRE
ARTE ENRIQUE GRAU
COMPETENCIA
TROPICO CINE ALEMAN
DOCUMENTAL MEDIO
AMBIENTE
COMPETENCIA
CLASICOS DEL CINE
MUESTRA
INTERNACIONAL
15 AÑOS DE CINEPLEX
CINE DIGITAL
50 AÑOS DEL ICAIC
DOCUMENTAL
MUESTRA
CINE MUJER
PREMIO ALEXIS
COLOMBIA
CINE DIGITAL
LAS MENINAS
Una producción de IHOR PODOLCHAK
UCRANIA
Director
IHOR PODOLCHAK
Elenco
La trama se desarrolla en torno a una familia de cuatro. Esta familia vive en los
suburbios.
El personaje principal, que apenas aparece en pantalla, es el hijo, un hombre
de unos treinta
años. El hombre quien sufre de asma y de eccema desde su niñez, usa su
enfermedad para manipular
a sus padres y a su hermana. Así, la existencia de los aterrorizados familiares
se convierte en
un ritual interminable para tratar de satisfacer sus caprichos y estar siempre
alerta para atender
una más de sus crisis.
Guión IHOR PODOLCHAK
Fotografía SERHIY MYKHALCHUK
Director de Arte
Música OLEKSANDR SCHCHETYNSKY
Edición -
Funciones:
Fecha(dma): 05/10/2008
Volver
Sala: SKANDIA
Hora: 8:00 PM
http://www.bogocine.com/xxv/producciones.shtml?x=20159638&cmd%5B747%5D=c-1-'LAS%20MENINAS'
Page 1 of 3

www.mediawavefestival.hu
26.12.08 23:03
www.mediawave.hu | www.romerhaz.eu | www.passportcontrol.eu | www.filmfundgyor.eu
www.mediawavefestival.hu magyar | english
MENU
Filmek
SEARCH
MEDIAWAVE MAIN PAGE
FESTIVAL MAIN PAGE
Entry Regulations
Entry Form
Las Meninas
Pro Forma Invoice
Films submitted
Films arrived
MAIN SUPPORTERS
STAFF
ACCOMMODATION
MEDIAWAVE 2008
ARTICLES ABOUT US
Director: Ihor Podolchak, Dean Karr
99 min. 2008 BetacamSP, Colour,
with words, Ukrainian, English subtitled
Distributor: Ihor Podolchak
E-mail: masochfund@yahoo.com
Screenplay: Ihor Podolchak
Cinematography: Serhiy Mykhalchuk
Music: Oleksandr Shchetynsky
Editor: Ihor Podolchak
Ukraine
EVENT CALENDAR
2008. December
Mo Tu We Th Fr Sa Su
01 02 03 04 05 06 07
08 09 10 11 12 13 14
15 16 17 18 19 20 21
22 23 24 25 26 27 28
29 30 31
Actual program:
2008-12-26
MEDIAWAVE FESTIVAL
1991-2007
Newsletter
Cast:
Mykola Veresen
Lyubov Tymoshevska
Dmytro Chernyavsky
Stas & Ilona Arsentyev
Valeriya & Victoriya Ulyanchenko
MEMBERSHIPS
HUNGARIAN FESTIVAL
ASSOCIATION
Name:
E-mail address:
I subscribe for the
following newsletters:
MEDIAWAVE
Hrabal Cinema
MEDIAWAVE webTV
This film is about what the routine of everyday life can do to the
human mind and psyche. It also reflects on the importance of the
choices we make and how limited these choices are in the first place.
The plot evolves around a family of four. They live in the suburbs, in a
strange villa that appears, through a complex game of mirrors, to be
more like a piece of installation art than a real house. The main
character, who hardly appears on screen, is the son, a man in his
thirties. Suffering from asthma and eczema since childhood, he uses
his condition to manipulate his parents and his sister. Thus the
existence of the terrorized family turns into an endless ritual of
JEN! HARTYÁNDI
Member of Board
EUROPE JAZZ NETWORK
http://mwave.irq.hu/mediawavefestival/index.php?modul=filmek&kod=1923&nyelv=eng
Page 1 of 3

www.mediawavefestival.hu
26.12.08 23:03
Passport Control
I subscribe
Modifying datas,
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attempting to satisfy his whims, and always on the alert for yet
another one of his “health crises”.
Las Meninas resembles the scattered pieces of a puzzle. It is up to the
viewer to assemble them in order to form his very own picture –
something that makes the film itself personal and unique.
Major screenings, presentations:
• 37th Int'l Film Festival Rotterdam, Netherlands;
• goEast - 8th Festival of Central and Eastern European Film,
Wiesbaden, Germany;
• 7th Transilvania Int'l Film Festival, Romania;
• 9th Seoul Int'L Film Festival, South Korea;
• 30th Moscow Int'l Film Festival, Russia;
• 16th Artfilm International Film Festival, Slovakia;
• 36th La Rochelle International Film Festival, France;
• 43rd Karlovy Vary Int'l Film Festival, Czech Republic;
• 8th Int'l Film Festival Era New Horizons, Poland;
• Brisbane International Film Festival, Australia;
• Split Int'l Festival of New Film, Croatia;
• 14th Athens International Film Festival, Greece;
• 28th Cambridge Film Festival, UK;
• XXV Festival de Cine de Bogotá, Colombia;
• 32th Mostra Internacional de Cinema Sao Pãulo, Brazil;
ILDIKÓ NAGY
Member of Board
PARTNERS:
GY!R
város honlapja
BLUESVAN
online blues magazin
Ihor Podolchak, Dean Karr
Ihor Podolchak was born in 1962 in Lviv, Ukraine. Graduated in Lviv
Academy of Fine Art in 1984 with distinction. Artist, creator of
numerous projects in the field of visual art, winner of 25 international
art exhibitions in Canada, USA, South Korea, Latvia, Poland, Norway,
Spain, Ukraine. The artist’s book “Jacob Bohme” was awarded as
World’s Best Book at International Frankfurt Book Fair. One of his 24
personal exhibitions was the first art exhibition ever to be held in
space, at space station Mir in 1993. Artworks of Podolchak can be
found in 26 museums and public collections worldwide.
Contact: Ihor PODOLCHAK
MF Films
E-mail: masochfund@yahoo.com
RANDOM PICTURE
PHOTOS OF ATTILA
NAG… »
comments, judgements
Click here to see all galleries
Back to previous page
Printable version
http://mwave.irq.hu/mediawavefestival/index.php?modul=filmek&kod=1923&nyelv=eng
Page 2 of 3

What Is This Light: Sant Fe: Las Meninas
26.12.08 23:00
./0123 / 45678 967!1:323 456;
!"#$%&'() *+,-»
WHAT IS THIS LIGHT
I'M TALKING ABOUT MOVIES HERE
FRIDAY, DECEMBER 12, 2008
Sant Fe: Las Meninas
BLOG ARCHIVE
! 2008 (17)
! December (6)
Santa Fe: Some Highlights
http://whatisthislight.blogspot.com/2008/12/sant-fe-las-meninas.html
Page 1 of 3

What Is This Light: Sant Fe: Las Meninas
26.12.08 23:00
Santa Fe: Guerrilla
Santa Fe: Kassim the Dream
Sant Fe: Las Meninas
Santa Fe: The Argentine
Santa Fe: Waltz With Bashir
and the Fog of War
" November (6)
" October (2)
Yesterday was wild fun. My afternoon started with Las Meninas, a
film that hails from Ukraine and, more specifically, from the mind of
painter Igor Podolchak and cinematographer Svetlana Makarenko. It's
a disturbing poem that communicates a world of immense
claustrophobia, darkness, anxiety, and hyper-aurality inspired, it
seems, by both Andrei Tarkovsky's Mirror and 18th-century still-life
painting. While I can't speak much for the latter--except for the
film's fascination with food on plates, grapes and other fruit in
bowls, table-settings and especially silverware, clothing, fabrics,
and the stylized lounging of women--I can comment on a few of the
ways this film evokes Tarkovsky's vision in Mirror.
" September (3)
IT'S JUST ME!
MARTHA
VIEW MY COMPLETE
PROFILE
For one, Las Meninas takes an interest in how sound and images
constitute one another. The sound of a fork scratching a plate is
pushed to unbearable heights; voices and words layer and repeat;
falling sugar cubes hit the ground with the sound of shattering glass;
the sounds of opening a cabinet or closing a door are just amiss from
their corresponding visual component. Through such an active and
unpredictable auditory world, Podolchak not only gives us the
chance to examine the relationship between sound and image but
also meditates on the idea of silence and how it breaks.
This film also moves like Mirror in its constant linking of ideas and
people through very physical substances and elements--water, urine,
hair, metals, grapes--and more abstract threads--words, camera
angles, colors. Further, these people live in a house of mirrors,
windows, and other framing devices. They are perpetually not only
themselves, but their reflection, the reflection of their reflections,
reflections of objects in the house, and of each other. The most
enjoyable part of this film for me was the commitment of the
camera to interact with these mirror images in ever more clever
ways. For about 10 minutes, all of the action takes place in a mirror
on a far wall. We see people move in and out of this frame but the
large and luxurious room around it remains inanimate. After a time,
we begin to see only this mirror; even though it is reduced to about
http://whatisthislight.blogspot.com/2008/12/sant-fe-las-meninas.html
Page 2 of 3

What Is This Light: Sant Fe: Las Meninas
26.12.08 23:00
1/16th of the "real" cinema screen, it holds the moving images and
so we start to conceive of it as the movie. We fall into this illusion
of these mirror images so deeply that it's a bit startling when the
outer world of the "real life" room begins to interact with the
mirror/mini-cinema screen. These moments (of which there are
many) when the house of mirrors, or the clever drift and zoom of
the camera, or a play with light and darkness create insightful
illusions, but the film never reaches the dramatic heights and
beauty that make something like Mirror so utterly mind-blowing
(see the kind of strange poem-y things I have to scream out every
time I see the movie in this older post). But, I realize that's like
saying this review doesn't quite hit the mark André Bazin, or Pauline
Kael, or J. Hoberman would have.
My only real complaint with Las Meninas was its rather grotesque
treatment of the female body. The film renders all sexuality rather
disgusting, a choice which adds to the effective and well-crafted
discomfort of a lot of this film, but the men seem to at least be in
charge of their grotesque behavior whereas the women are subject
to A TON of skirt lifting and physical violation by male figures,
including a difficult-to-stomach fetishization of the straps and
girdles that keep them all locked up. Not to mention that many of
the (crotch) shots put the viewer in a voyeuristic position, leaving
me feeling both violated and predatory. One woman leaving the
theater exclaimed, "I just kept crossing my legs!" But do go see this
movie if you're willing to abandon any taste for narrative in order to
check out how Tarkovsky's ideas live on through Podolchak,
Makarchak, and contemporary Ukrainian cinema
POSTED BY MARTHA AT 8:12 PM
LABELS: LAS MENINAS, MAKARCHAK, PODOLCHAK, SANTA FE, UKRAINE
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Page 3 of 3

Santa Fe Film Festival 2008 : Las Meninas
26.12.08 23:00
Santa Fe Film Festival 2008
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Rated 0 0/5 Stars 0.0 | 0
Las Meninas
Dean Karr, Ihor Podolchak 2008
Categories: Eye on the World
Pictures
3 pictures
Run time: 99 min. | aka: Meniny | Ukraine | Language: Ukrainian | Subtitled
Las Meninas is a film about what the routine of everyday life can do to the human mind
and psyche. It reflects on the importance of the choices we make and how limited these
choices are in the first place. The plot evolves around a family of four. They live in he
suburbs in a strange villa that appears, through a complex game of mirrors, to be more like
a piece of installation art han a real house. The main character who hardly ever appears
on screen, is the son, a man in his thirties. Suffering from asthma and eczema since
childhood he uses his condition to manipulate his parents and sister. Thus the life of a
terrorized family turns into a ritual of attempting to satisfy his whims, while everybody is
always on the lookout for yet another of his ‘health crises’. Las Meninas resembles a
puzzle whose pieces have been scattered. It is up to the viewer to assemble hem in order
to form one’s own picture – something that makes the film personal and unique.
related links
official film site
>>
film details
screenings
reviews
screenings
time venue calendar
1:30 PM Thu, Dec 04 The Screen -
College of SF
3:45 PM Sun, Dec 07 The Screen -
College of SF
http://santafe.bside.com/2008/films/lasmeninas_santafe2008;jsessionid=A2308C9FD67330573EEFE10C955B2445
Page 1 of 3

Santa Fe Film Festival 2008 : Las Meninas
26.12.08 23:00
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Dmytro Chernyavsky
Hanna Yarovenko
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p30-31.qxd 23.01.2008 17:26 Page 2
30
новая газета
четверг 24 января 2008
Любимый торгует Бритни
■
ЗА КУЛИСАМИ
Ходят слухи, что Бритни Спирс бросила
своего любовника-папарацци Аднана
Халиба и даже добилась cудебного запрета
входить с ней в контакт, сообщает The
Sun. 26-летняя певица якобы обвиняет 35-
летнего Халиба в том, что он использует
свою близость с ней для того, чтобы
продавать эксклюзивные фотографии.
Близкий к Бритни источник говорит:
«Она думала, что Аднан — это ее рыцарь
в сияющих доспехах. Он добился ее доверия,
оберегая от фотографов и будучи
другом в самые сложные моменты ее
жизни. Но сейчас Бритни подозревает,
что он зарабатывает на ней деньги».
Действительно, во время совместных похождений
Бритни и ее дружок Аднан позволили
здорово заработать на себе
«желтым» СМИ. Недавно, к примеру, их
поймали в магазине за выбором теста на
беременность. Все встали на уши: неужели
Спирс и от него родит? Но Бритни разочаровала
народ: оказывается, они с Аднаном
подшутили над фотографами.
Затем Брит стала щеголять обручальным
кольцом с огромным бриллиантом,чем
подогрела лавину слухов о свадьбе
с еще женатым Халибом. Избранник
певицы старательно демонстрировал
преданность и даже сломал пару стульев
в одном из ресторанов, где папарацци в
очередной раз пытались заснять его с
Бритни. А вот теперь, вроде, роману пришел
конец. Однако Халиб утверждает,
что по-прежнему встречается с Бритни.
Новость о судебном запрете стала для
него шоком. Между тем Бритни якобы показала
копию судебного запрета двум фотографам
из агентства X17, которых сама
пригласила к себе домой. Один из папарацци
рассказывает: «Бритни сказала:
Заходите, давайте повеселимся». Она открыла
бутылку шампанского. Позже в беседе
пожаловалась на разочарование и
злость, которые испытывает по отношению
к Аднану за то, что он «подставил»
ее на фотографиях, которые потом
продавали он и его агентство».
1
2 Милявская ответила за тайный брак бывшего
мужа с неизвестно чьей сестрой
Недавнее известие о тайном браке Александра
Цекало с некой 23-летней Викторией стало сенсационной
новостью этой недели. Шоумен ухитрился
не только прятать свою невесту от СМИ на
протяжении довольно длительного времени, но
даже втайне жениться на ней. Свадьба стала неожиданностью
даже для самых близких. Церемония
бракосочетания состоялась накануне Нового
года, и новобрачные сразу отправились в медовый
месяц на Маврикий. Цекало, занимающий
должность директора развлекательного вещания
Первого канала, попросил у руководства
дополнительную неделю отдыха к праздничным
дням. Роман между Александром и Викой
вспыхнул давно. Однако когда между влюбленными
случались разногласия, телеведущий появлялся
на публике с Яной Антоновой — именно ее
считали новой возлюбленной Цекало. После
3
На свой день рождения Волочкова получила
фамильные украшения от любимого мужа
Украина — в Роттердаме,
а Вересень — в кино
Второй раз за всю историю Международного кинофестиваля
в Роттердаме, одного из самых престижных
смотров авторского кино, в конкурсную
программу включен украинский фильм.
Напомним, что в прошлом году Украину впервые
представляла лента Евы Нейман, столь упорно
отрицающей влияние на нее Киры Муратовой,
«У реки». На этот раз в конкурсной программе
— первый полнометражный фильм Игоря
Подольчака Las Meninas («Проект Менины»). В
центре сюжета — семья, живущая на окраине города
в странной вилле, и герой, болеющий астмой
и экземой, терроризирующий этим свою семью.
«На самом деле, в моем фильме нет ярко
выраженного сюжета, — признался «Новой» режиссер.
— Это скорее архетипное кино, кино о
свободе и человеческих ценностях». В «Проекте
Менины» сыграли Мыкола Вересень, Дмитрий
Чернявский и Любовь Тимошевская. «Новая»
связалась с Вереснем. Оказалось, что Мыкола
посетит Роттердам вместе с Подольчаком, однако
на реплику, что лента, в которой он выступил
Известная балерина Анастасия Волочкова в
этом году умышленно не стала устраивать серьезных
увеселений и отпраздновала свой 32-й
день рождения в кругу проверенных друзей и
близких. Праздник отмечали в одном из самых
помпезных ресторанов Москвы. На огонек к Волочковой
заглянуло 50 человек. Среди гостей —
семья балерины в полном составе: любимый
муж Игорь, который в этот вечер облачился в
черный стильный фрак с бабочкой, дочка Ариша
и, конечно, родители Насти. Из именитых
гостей пожаловали художник-декоратор Борис
Краснов, Саша Савельева из группы «Фабрика»
и Анна Семенович, с ней Анастасия сдружилась
на проекте «Ледниковый период».
Вечер начался с торжественной церемонии, на
которой имениннице вручили бронзовую статуэтку
Тамары Карсавиной. Как потом выяснилось,
Волочкова оказалась четвертой в мире балериной,
удостоившейся столь серьезной награды.
Но большой неожиданностью для самой Насти
это не стало, поэтому, скорее всего, событие хорошо
подготовили и отрепетировали.
Cупруг балерины Игорь Вдовин вручил любимой
набор фамильных украшений с дорогими камнями.
При виде бриллиантов Волочкова растрогалась
до слез. Остальные гости не стали «светить»
свои подарки, упаковав их в огромные коробки.
— Коробок было так много, что я до сих пор не
успела все посмотреть, — призналась Настя «Новой»
газете. — Но я люблю растягивать удовольствие,
поэтому не спешу их вскрывать.
Больше всего обрадовал Волочкову подарок отца,
который впервые в жизни сыграл для нее на баяне.
А дочь Ариша, несмотря на юный возраст,
станцевала для мамы.
Сама именинница блистала в облегающих брюках
и белоснежном корсете, расшитом стразами.
Наряд заказывали тому же дизайнеру, который
трудился над свадебным платьем. Потчевали гостей
легкими, некалорийными закусками, свежими
фруктами и огромным праздничным тортом в
три яруса. Настя сама задула на нем 32 свечи и загадала
желание.
в качестве актера, представляет в Роттердаме Украину,
отреагировал весьма своеобразно: «Игорь
Подольчак на фестивале представляет сам себя, а
не Украину. Это его режиссерская работа, его
сценарий, его продюсерская работа». Оказалось,
что отношение Вересня к фестивалю весьма своеобразное,
может быть, он даже знает НЕЧТО,
простым смертным неведомое. К слову, сейчас
телеведущий близок к кино, как никогда — он
дал согласие на сотрудничество с компанией
«Амедиа» в качестве сценариста. Но опять же, в
разговоре с «Новой» убеждал, что в данный момент
«не работает ни над чем», в том числе над сценарием…
«Да, действительно, — поддержал Вересня
Подольчак. — Кинофестиваль — это не
Олимпийские игры, в которых спортсмен представляет
страну. Режиссер прежде всего представляет
свою картину». Стоит отметить, что роттердамский
смотр — один из немногих фестивалей,
открывающих новые имена: по статуту, в
нем могут участвовать только молодые режиссеры,
снявшие не более двух картин.
3
В кино Вересень
дебютировал
с главной роли, но
Подольчак уверен:
«Мыкола —
профессиональный
актер»
Теперь Цекало
и Милявская посылают
прессу. Правда,Саша
более лаконичен
скандального развода с Лолитой Милявской Цекало
долгое время жил в гражданском браке с
Яной Самойловой. У него были многочисленные
романы. Счастливое событие в жизни Цекало
стало настоящим несчастьем для Лолиты:
«Послушайте, если вы по поводу брака моего
бывшего мужа, то звоните ему. Я к этому не
имею никакого отношения, на свадьбе не была, о
его невесте и где он сейчас, ничего не знаю. И вообще
— меня с этим вопросом уже достали», —
выпалила певица, не дожидаясь вопроса, в разговоре с
«Новой». Выходит, ему — остров Маврикий, а ей
— перед прессой отдуваться.
Сам Цекало, уставший от назойливых поздравлений
прессы, «Новой» ответил коротко и ясно, но
не злобно: «Отстаньте от меня!» Так что подтвердить
слух о том, что Вика — родная сестра Веры
Брежневой, пока некому.
2
1
Самым дорогим
подарком на
день рождения
Волочковой
стала бронзовая
статуэтка
Тамары
Карсавиной
Стали известны причины развода
Ирины Дубцовой и учас-
■
тника группы «Плазма» Романа
Черницына, сообщают dni.ru. И это
— вовсе не роман с Аленой Водонаевой,
который отрицает как Дубцова,
так и сам Роман. Его слова
подтверждает мама Алла Александровна:
«Это неправда, Рома очень
переживает, только что со мной
поговорил по телефону. Он прямо
сказал: «Ни о какой измене не может
быть и речи. Иру люблю и всегда
был ей верен!» Так что же послужило
причиной крушения семейного
счастья? «Они действительно
конфликтовали, но причина — не
личные отношения, а, как это ни
печально, деньги, — рассказала мама
Романа. — Ира в последнее время
стала хорошо зарабатывать.
Она пишет тексты песен. За одну
песню ей платят от 10 тысяч долларов,
а Киркоров за хит «Сердце в
1000 свечей» отсчитал 25 тысяч.
Роме это не понравилось, его-то доходы
гораздо скромнее. Честно, я
до конца не знаю, что у них произошло.
Знаю только, что инициатором
разрыва была Ира. Она подала
заявление на развод
и уехала от Ромы».
Дубцову «развели» деньги
Эдди Мерфи и Трэйси
■ расстаются спустя всего
две недели после свадьбы.
1 января влюбленные
провели символическую церемонию
на острове Бора-
Бора, где поклялись друг
другу в вечной любви, и собирались
узаконить свой союз
в США. Но их планы резко
поменялись. «После долгих
раздумий и споров мы
решили, что не будем проводить
официальную церемонию
по законам США, поскольку
необязательно каклибо
определять наши
дальнейшие отношения, —
заявили Мерфи и Эдмондс
журналу People. — Хотя наша
недавняя символическая
свадьба на Бора-Бора выразила
нашу глубокую взаимную
любовь, дружбу и уважение,
мы решили остаться
друзьями». Говорят,
проблемы у пары начались
во время медового месяца.
Один из гостей на свадьбе
Мерфи и Эдмондс утверждает,
что Эдди не раз кричал
на жену при посторонних.

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Loveblind - Las Meninas
2/29/08 10:24 AM
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Loveblind - Las Meninas
2/29/08 10:24 AM
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Las Meninas (2008) - Synopsis - MSN Movies
3/23/08 12:30 PM
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1hr 39min
Genre: Drama
Release: ease: 2008
Directors: Dean Karr, Ihor Podolchak
Starring: Mykola Veresen, Lyubov Tymoshevska,
Hanna Yarovenko ...more
Synopsisp i
Critics' Rating:
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With a visual axis influenced heavily by the aesthetic of 17th century still
life painters, Ukrainian performance artist Ihor Podolchak's Las Meninas
observes the situation in an emotionally and psychologically beleaguered
family - beleaguered because the ailing son continually torments his
father, sister and mother with a myriad of insistent demands.
Podolchak's idiosyncratic approach involves heavily fracturing the
narrative and asking each viewer to connect the elements of the story
and experience in his or her mind. Oleksandr Schetynsky composed the
unusual score. ~ Nathan Southern, All Movie Guide
Movie data provided by:
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Page 1 of 1

Film : Las meninas : Overzicht - filmLounge.nl
2/29/08 10:31 AM
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Las meninas
home | nieuws | films | sterren | lounge |
zoek
Login • Aanmelden • Wachtwoord vergeten
Ukraïne 2008 99 min
Regie: Dean Karr hor Podolchak
Met: Stas Arsentyev lonna Arsentyeva Dmytro Chernyavsky Lyubov Tymoshevska
Viktoriya Ulyanchenko Valeriya Ulyanchenko Mykola Veresen Hanna Yarovenko
Overzicht Sterren Nieuws Recensies FilmForum (0)
Pitch: Las meninas gaat over een verstikkende
gezinssituatie waarin een zieke zoon zijn ouders en
zuster met zijn grillen terroriseert Die zoon is alleen
latent aanwezig; de terreur is intens voelbaar
Bijzonderheden: Een gedurfd modern en avant
gardistisch experiment een kruising tussen film en
beeldende kunst
Film fan?
Kijk op www ilmforum nl en wissel van
gedach en me andere fans
www ilm orum nl
Les bonnes affaires
ache ez ele hi fi video ous simplemen
universducommerce blogspot com
Aanloop: Las meninas is gemaakt door de Oekraïense
beeldende kunstenaar hor Podolchak Een muzikaal
deel is medegeregisseerd door de bekende
videoclipmaker Dean Karr
Star Wars posters
Only original S ar Wars movie pos ers from all
over he world
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Still Las meninas iffr nl
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Las Meninas
2/29/08 9:58 AM
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http://comments.com.ua/?art=1201796375
Page 2 of 2

Film : Las meninas (2008) : Bioscoopagenda Nederland
2/29/08 10:05 AM
(ingezonden mededeling)
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Ukraïne 2008 99 min
Scenario hor Podolchak Camera Serhiy Mykhalchuk
Mon age hor Podolchak Muziek Oleksandr Sche ynsky
Geluid Myroslav Kuvaldin
Regie: Dean Karr hor Podolchak
Met: Stas Arsentyev lonna Arsentyeva Dmytro
Chernyavsky Lyubov Tymoshevska Viktoriya
Ulyanchenko Valeriya Ulyanchenko Mykola
Veresen Hanna Yarovenko
S ill Las meninas - iffr nl
Laas e meningen ( o aal 0)
Geef je mening
Tip!
Filmposters online bestellen!
S ree s
2 Jumper
3 Alibi
4 Alvin and he
Chipmunks (NL)
5 The Ki e Runner
Meer Kassakrakers
Wachtwoord
Pitch: Las meninas gaat over een verstikkende
gezinssituatie waarin een zieke zoon zijn ouders en
zuster met zijn grillen terroriseert Die zoon is alleen
http://www.biosagenda.nl/film_las-meninas_16542.html
Page 1 of 4

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05.10.08 17:33
./0123 / 45678 967!1:323 456;
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MAGGISWORLD
ESPACIO LIBRE DONDE VAMOS A HABLAR DE LA ESTÉTICA EN LA PUBLICIDAD
LUNES 7 DE ABRIL DE 2008
Homer and Family
DATOS PERSONALES
MAGGIE
VER TODO MI PERFIL
Cuando Matt Groening pasaba las horas de instituto
dibujando personajes al estilo Simpson,no podía imaginar
que, primero una tira cómica “Life in Hell” y después su obra
maestra, Los Simpson, lo elevarían a la gloria de la
popularidad que hoy goza. Fue un productor de TV, James L.
Brooks, quién se fijó en la tira cómica “Life in Hell” y
provocó que Matt Groening diera a luz la serie que ha
revolucionado al mundo de los dibujos animados: Los
Simpson. James L. Brooks llamó a Matt Groening y éste creó
a la familia Simpson en la sala de espera de la entrevista.
http://maggisworld.blogspot.com/
Page 1 of 13

maggisworld
05.10.08 17:33
Fue todo tan deprisa que los nombres de los nombres de los
personajes los tomó de su propia familia: Homer, como su
padre, Marge, como su madre, y Lisa y Maggie como sus
hermanas.El nombre de Bart , sin embargo, es una
anagrama de la palabra inglesa Brat(mocoso), porque no
quiso ponerle su propio nombre:Matt.
Homer de Vitruvio
“Homer de Vitruvio” es una estatización de “El hombre de
Vitruvio” de Leonardo Da Vinci, 1485-1490,que se encuentra
en La Galleria dell¨Accademia en Venecia.Es un dibujo hecho
con pluma mojada en tinta sobre papel.Comentando el
original, diré que los estudios de anatomía de Leonardo
impresionan por los trabajos pictóricos que los acompañan,
y entre estos ocupa lugar preferente “El hombre de Vitruvio”
que analiza las proporciones humanas basándose en un
tratado recién descubierto del arquitecto romano Marco
Vitruvio. Cuando Matt Groening dibujó su “Homer de
Vitruvio”, lo hizo, sustituyendo el círculo del dibujo de
Leonardo por un donut, el cuerpo musculoso y
proporcionado de su dibujo por el cuerpo obeso y barrigudo
de Homer, y además nos comunicó los vicios de Homer
colocando en esas cuatro manos un mando a distancia(le
encanta la Tv),una jarra de cerveza(le encanta esa bebida),y
dos hot dog, que con el donut del círculo resaltan el apetito
descontrolado de Homer. Si su idea fue la de impresionarnos
http://maggisworld.blogspot.com/
Page 2 of 13

maggisworld
05.10.08 17:33
con este dibujo, de lo que estoy seguro, lo ha conseguido
con creces con esta concepción de su obra(efectismo). El
dibujo está hipertrofiado: la línea del círculo se ha
convertido en el grosor de un donut y el cuerpo musculoso
se ha convertido en un cuerpo obeso y barrigudo. Las reglas
y los símbolos (códigos culturales) que nos comunicaba
Leonardo sobre las proporciones humanas en su “Hombre de
Vitruvio” han pasado a mejor vida con el dibujo de Matt
Groening: no hay proporciones en el cuerpo de Homer.
Evidentemente el dibujo de Matt Groenig tiene un significado
totalmente diferente al dibujo de Leonardo. Si en éste se
“comunican” las virtudes de las proporciones humanas como
forma de belleza del cuerpo, en aquel se “comunican” los
vicios del ser humano capaces de transformar una bella
figura en una figura fea y antiestética: comer
desmesuradamente,sentarse a ver Tv y beber cerveza. Por
tanto la obre primitiva se ha descontextualizado. Además, el
dibujo de Matt Groening es autoreferencial. No cabe duda de
que al dibujar a Homer dentro de un donut, con los hot dog,
el mando y la cerveza, está haciendo referencia a la forma
de vivir y comportarse de Homer. La imagen de “Homer de
Vitruvio” ha perdido el carácter de admiración que tenía el
dibujo de Leonardo. La miramos y sonreímos, pero no la
admiramos (estetización).
The Simpson in Abbey Road
http://maggisworld.blogspot.com/
Page 3 of 13

maggisworld
05.10.08 17:33
“The Simpson in Abbey Road” es una estatización de la
histórica portada del LP de despedida de los Vétales: Abbey
Road. Cada 8 de agosto una multitud cruza el paso de cebra
que atraviesa la calle londinense de Abbey Road hasta la
esquina de Grove End Road. Hace ya casi 35 años que John
Lennon, Paul Mccartney, George Harrison y Ringo Starr la
cruzaron, en es orden, en una sesión de fotos. Esta portada
de Abbey Road puede ser la más famosa de cuantas
acompañen a cualquier disco: es una imagen para la
historia. The Simpson in Abbey Road es un dibujo de esa
foto. En la foto original, el paso de cebra lo cruzan John
Lennon, Paul Mccartney, George Harrison y Ringo Starr, por
ese orden, y Matt Groening en su dibujo elije el orden de
Homer, Marge, Bart y Lisa. ¿Es casualidad?. No,
evidentemente no lo es. John Lennon era el cabeza de
grupo, y Homer es el cabeza de familia. Paul Mccartney era
el compositor que mas aportaba y sostenía al grupo, y
Marge es la que sostiene a la familia. George Harrison era el
mas informal del grupo y Bart es el gamberro de la familia.
Ringo Starr era el batería perfecto y Lisa es una
perfeccionista. Cuando vi el dibujo de Matt Groening y
mentalmente hice esta comparativa, no dudé que Matt nos
ha querido impresionar con este dibujo al emparejar cada
personaje con cada uno de los componentes de los Vétales.
Es decir, ha emparejado al grupo con la familia
Simpson(efectismo). La hipertrofia formal del dibujo es
evidente, John Lennon ha engordado en el cuerpo de Homer
y el pelo de Paul Mccartney se ha vuelto más voluminoso en
el pelo de Marge. Pero hay algo que agradecer a Matt
Groening en este dibujo, y es que ha salvado el código de la
circulación. Podía haber hecho pasar a la revolucionaria
familia Simpson por fuera del paso de cebra, y sin embargo
los ha hecho respetar esta regla. Pero ha sacado a la familia
Simpson fuera de sun contexto. Los ha trasladado de su
mundo irreal de dibujos animados a una calle real (Abbey
Road) de una ciudad real (Londres). Resulta anacrónico y
fuera de lugar el verlos pasear por el mundo real
(descontextualización). Además, cuando observamos el
dibujo, sin querer, se nos viene a la mente la jerarquía
familiar. Primero el padre, después la madre, y por último
los hijos por orden de edad. El dibujo es el de una familia
que se nos muestra haciéndonos referencia a su
estructura(autoreferencialidad). Viendo la foto de Abbey
http://maggisworld.blogspot.com/
Page 4 of 13

maggisworld
05.10.08 17:33
Road, nos emocionamos y sentimos admiración por el,
posiblemente, mejor grupo de música pop de todos los
tiempos, y viendo el dibujo de Matt Groening desaparece
toda nuestra admiración(estatización). Finalmente, como
colofón a los dos análisis, podemos afirmar que cuando una
imagen se rige solo por la estatización, el resultado es “algo”
carente de significado, porque la estatización ha
transformado el trasfondo social en un objeto abstracto.
PUBLICADO POR MAGGIE EN 13:07 0 COMENTARIOS
MARTES 25 DE MARZO DE 2008
My life in Second life
Cuando me puse a trabajar sobre este ejercicio, primero estuve
documentándome sobre el propio programa, leí muchas críticas,
tanto positivas como negativas. Información sobre las personas que
lo crearon…y la verdad que me frenó mucho lo que leí.
Ayer fue mi primera toma de contacto con el programa en sí. En
principio, estaba algo perdida. La creación del personaje tiene
limitaciones…algo que yo cambiaria del programa. Si es cierto que
el programa se creó no con el propósito de ser un espacio más para
conocer gente, y chatear. Second Life es un mundo paralelo que se
creó con el propósito de poder “crecer” dentro de un mundo
bastante parecido al mundo real, pero sin tantas complicaciones a la
hora de “montar” tu negocio o “x”.
Bajo mi punto de vista tiene varias cosas positivas que son las
posibilidades que te da el programa para la creación de negocio
(como he dicho antes), y las similitudes que he podido encontrar
respecto al mundo de la web. Como una marca se puede dar a
conocer y “vender” productos/servicios y aumentar su credibilidad.
Sobre lo negativo, tengo que destacar, que es un programa que da
problemas a la hora de cargar, de formar los propios mundos (se van
http://maggisworld.blogspot.com/
Page 5 of 13

maggisworld
05.10.08 17:33
formando con cada paso que vas dando), es muy lento. También,
creo que le falta mas movilidad al propio “personaje”, aunque las
opciones de bucear sin necesitar una botella de oxígeno y volar por
los aires son opciones "irreales" que le dan "vida" al juego. Me he
fijado que no puedes mirar como te queda la ropa por delante (o
por lo menos yo no puedo).
Retomando mi experiencia, ha sido bastante positiva. Ayer le
dediqué un par de horas. Conocí a tres personas de las cuales, una
fue muy amable y me estuvo explicando como iba el programa. Me
invitó a diferentes mundos, donde podía comprar ropa gratis!!, algo
que pensé que no iba a ser posible por lo escuchado en clase.
Aunque al principio, no sabía muy bien como cambiarme de ropa, le
fui “cogiendo el tranquillo”. Empecé a viajar por los diferentes
mundos que me invitaron. Hay mucha gente que lo único que hace
es pasar tiempo, y hablar con gente como si fuera un Chat, pero
también te encuentras con verdaderos “comerciantes atosigadores”
que lo único que quieren es sacarte dinero.
Mi “amigo” de Second Life es de México, y la verdad que sin su
ayuda, no hubiese logrado entender muchas cosas del propio
programa, como las diferentes pestañas que te muestra para ver
toda la ropa, las acciones que puedes hacer, etc.
Lo que vi bastante real, es el “tiempo”, me refiero a que
dependiendo de donde estés, es de día o de noche. Hubo un rato
que me dediqué a buscar en el buscador (valga la redundancia)
lugares para visitar. Fui a Miami Beach, y todo eran casas privadas
donde no podía entrar, me restringían la entrada y me daban un
tiempo para irme. Algo que no me gustó…por que, te pone
limitaciones que veo no son necesarias.
El programa, en verdad, es muy innovador, pero pienso que
deberían de pulirlo en algunos aspectos. Creo que los espacios
necesitarían mas mobiliario, hay zonas muy desiertas…y a la vez hay
lugares de compra que te “ atosigan” de ver tantas cosas
juntas.
Para terminar he de decir que no me transmite seguridad, quizás el
motivo sea, la falta de conocimiento respecto al programa.
En conclusión, creo que para la gente que le gusta el mundo
“cibernético” es un medio para darse a conocer bastante positiva,
pero a la vez, la mentira juega un papel importante y no creo que
llevar una vida paralela sea lo mejor para invertir tu tiempo.
PUBLICADO POR MAGGIE EN 15:50 0 COMENTARIOS
LUNES 18 DE FEBRERO DE 2008
Segunda Práctica
http://maggisworld.blogspot.com/
Page 6 of 13

maggisworld
05.10.08 17:33
Este es el cuadro de Las Meninas, que fue pintado por Diego
Velásquez en 1656, donde está la princesa Margarita y sus dos damas
de compañía. Ellas son las meninas. Menina es un término portugués
empelado para llamar así a las damas de compañía. Este cuadro fue
catalogado en 1843 por el entonces director del museo del Prado,
Pedro Madrazo, que le dio este nombre. Hasta entonces se había
llamado “cuadro de familia”. Es de perspectiva atmosférica y quizás
sea el cuadro más representativo del Barroco español.
Este cuadro se ha utilizado como icono cultural y publicitario en
infinidad de ocasiones, situaciones y lugares, hasta tal punto que
casi no ha habido un “rincón” social que no lo haya usado.
Pablo Picasso, quiso, en 1957 pintar su versión de Las Meninas. No
es una copia, como se puede ver a simple vista, pero si es su forma
de versionar este cuadro.
Se ha utilizado el nombre de Las Meninas para
llamar así a hoteles, como el de Madrid de la calle Campomanes, y
el de Guanajuato en Mexico, y a restaurantes como el de Sevilla de
la calle Santo Tomas.
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maggisworld
05.10.08 17:33
Esta es una versión de dEmo, con el título “Meninas, Infantas de
Hojalata” que se encuentra en la Diputación Provincial de Cuenca.
En Internet hay una tienda on line que ofrece camisetas, sudaderas,
chapas y bolsos que se llama “Las Meninas by Breaking the pana”.
Esta foto es la que anuncia la película del director ucraniano Ihor
Podolchak y del director de videoclips Dean Karr, “Las Meninas”,
que tendrá su estreno mundial en Rótterdam. Como se puede
observar emplea a dos mujeres desnudas, en similitud con las dos
meninas y el reflejo en el espejo como el cuadro de Velásquez.
En teatro, nuestro dramaturgo Buero Vallejo, escribió “Las
Meninas”, que se estrenó el dia 9 de diciembre de 1960 en el teatro
Español de Madrid.
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Page 8 of 13

maggisworld
05.10.08 17:33
Así mismo, inspirado por cartoneros argentinos, Fulgencio Valares,
escribió la obra de teatro “Las Meninas duermen en la rúa” como
denuncia social de los que hurgan en la basura para tratar de vivir
de las sobras de los demás.
Los Ballets Russes de Diaghilev,
estrenaron en San Sebastián, el 21
de agosto de 1916, con
coreografía de Massine y en
homenaje a Alfonso XIII, en el
teatro Victoria Eugenia
“Las Meninas”.
Los alumnos del aula de Arte del
colegio español, Federico Garcia
Lorca de Paris, hicieron esta
cerámica de una Menina.
En 1998, en los carnavales
de Cádiz, actuó la
Chirigota “ Las Meninas”.
En 1987, Joel-Peter Witkin, versionó con este cuadro a Las Meninas,
llamándolo con el mismo título.
Durante el año pasado, el escultor Manolo Valdés paseó por
diferentes ciudades de España su exposición itinerante de “Las
Meninas de Valdés”, constituida por 26 Meninas , con el objeto de
que fueran adquiridas por empresas que las donaran a la ciudad.
Y también este año, Banco Madrid, ha lanzado una campaña
publicitaria con el slogan “existe una banca privada diferente” sobre
impresionado sobre una parte del lienzo de Las Meninas de
Velásquez.
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Page 9 of 13

maggisworld
05.10.08 17:33
PUBLICADO POR MAGGIE EN 7:23 0 COMENTARIOS
LUNES 4 DE FEBRERO DE 2008
Primera Práctica: Sharbat Gula y Jackie
Kennedy
http://maggisworld.blogspot.com/
Page 10 of 13

maggisworld
05.10.08 17:33
Steve McCurry, nació en Philadelphia en 1950 y esta
considerado como uno de los fotógrafos mejores del mundo.
El reconocimiento mundial le llego en 1984 con su mejor
foto que se publicó en la portada del National Geographic: El
rostro de una muchacha afgana en el campamento de
refugiados de Nasir Bagh en Peshawar , Pakistan. Los ojos
de la chica dieron la vuelta al mundo con la portada del
National Geographic mas sonada de la historia de la revista.
Esta foto hizo que ganara en ese año de 1984 el premio al
mejor fotógrafo concedido por la Asociación de fotógrafos de
prensa. Diecisiete años después volvió para saber que había
sido de la chica antes de que cerraran el campo de
refugiados. Le acompañaba Raimullah un periodista del país.
Le costo mucho encontrarla, pero a través de un hermano de
la muchacha logran permiso del marido para hablar con ella
, aunque con un velo en la cara. Su nombre era Sharbat
Gula, nombre desconocido por todo el mundo que admiro su
foto y la convirtió en un icono. A través del iris se autentificó
que era ella y Mccurry fue autorizado a fotografiarla de
nuevo. En su rostro denota el desgaste del paso del tiempo
y la marginación a que se ven sometidas la mujeres en
Pakistan. Es curioso que la persona cuya foto dio la vuelta al
mundo, que se convirtió en un icono como enseña de la
marginación de la mujer, fuera la que menos pudo notar el
impacto que había producido en todo el mundo. Con solo su
mirada nos comunica su desespero y su marginación. La foto
habla por si sola, transmite y proyecta un miedo
escalofriante. Sin conocerla se compadece uno del
sufrimiento de su pueblo y principalmente de las mujeres
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Page 11 of 13

maggisworld
05.10.08 17:33
que son las afectadas por su propia cultura. Creo que junto
a la foto del Che Guevara, son las fotos que representan los
iconos de la especie humana...son irrepetibles. La foto es la
historia de toda una vida. Steve McCurry es un autentico
reportero grafico. Con solo la imagen hace que las palabras
del que la ve se pronuncien y formen el articulo periodístico
completo. Lo increíble de esta foto y de otras suyas esta en
la capacidad de captar un instante lo mas casual posible,
pero con unos niveles muy altos de composición, luz , color
y texturas. Es difícil encontrar a alguien a quien no halla
impactado, cautivado o conmovido esa penetrante
mirada.....a cuanta gente cambio la vida esa foto....desde su
forma de pensar a su forma de actuar......desde esa
foto....fuimos mas solidarios. La foto res como un
lienzo...juega con la luz y el color a la perfección. La calidad
cromática de los colores complementarios es prodigiosa, por
eso...quizás estemos ante la foto mejor de la historia de la
fotografía.....hasta ahora.
Es de Jackie Kennedy en el funeral de su esposo en el
cementerio de Arlington cuando encendió la llama de la
tumba de J.F.Kennedy. Lo mataron en Dallas en plena
campaña presidencial el 22 de noviembre de 1963. La foto
se capto en día 28 de Noviembre de 1963 en los funerales,
cuando encendió la llama de la tumba de su esposo en el
cementerio de Arlington. Cuando Andy Warhol decide dedicar
una serie al acontecimiento, no se fija en ninguna de las
fotos del presidente, ni en ninguna foto del asesinato, sino
que elige esta foto de la otra protagonista del suceso, Jackie
Kenndey. Ella no ha resultado muerta, pero lleva la muerte
en la cara. La tristeza y la dolorosa dignidad que porta en
esta foto hicieron comentar al The London Evening Standar
que ella le había dado al pueblo norteamericano lo que
habían deseado siempre: majestuosidad.
Si la palabra consumo es la mejor que define la obra de
Warhol, no podríamos hallar una imagen mas consumida
que esta de Jackie. Cuando Andy la elige para la serie de
sus cuadros esta ya desgastada por los medios de
comunicación. Ya había dado la vuelta al mundo y había sido
publicada en todos los medios de comunicación conocidos en
la época. Entre esos medios se encontraba ya la televisión, y
eso dio lugar a que fuera la primera estrella de Warhol que
se hiciera famosa por la televisión. Ella se había visto antes
con otras imágenes, pero curiosamente, esta foto hace que
las anteriores se olviden y que la imagen del dolor, la
http://maggisworld.blogspot.com/
Page 12 of 13

maggisworld
05.10.08 17:33
prestancia, la majestuosidad, se conviertan en un icono que
va a persistir por siempre. Es una imagen única, en blanco y
negro sobre fondo marrón y sin ningún retoque posterior. La
foto está descentrada con respecto al fondo, y el granulado
de la foto representa con mucha eficacia el retrato de una
mujer consumida dos veces: por el dolor y por la necesidad
de representarlo ante los medios.
PUBLICADO POR MAGGIE EN 13:34 0 COMENTARIOS
MARTES 29 DE ENERO DE 2008
New step
Bienvenido a mi espacio!! Te deseo un buen viaje dentro de este
espacio, donde trataremos de disfrutar con lo que hacemos....por
nuestro futuro.
Gracias, que disfruten.
maggie.
PUBLICADO POR MAGGIE EN 7:41 0 COMENTARIOS
Suscribirse a: Entradas (Atom)
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Page 13 of 13

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Chronique des Appalaches: mai 2008
05.10.08 17:34
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Chronique des Appalaches
jeudi 29 mai 2008
Le président Iouchtchenko au Canada
Le président ukrainian, Victor
Iouchtchenko, vient de passer trois jours
au Canada. À son arrivée, le
gouvernement canadien était en plein
émoi : le ministre des Affaires étrangères,
Maxime Bernier, venait de démissionner.
Qu'à celà ne tienne, M. Iouchtchenko a
fait un voyage profitable, ne serait-ce que
d'avoir reçu des appuis : le gouvernement
du Canada s'est engagé à faire reconnaître
la grande famine des années 1932-33 en
Ukraine et orchestrée par Staline, comme un génocide.
Le Canada, où réside une importante diaspora ukrainienne, a
longtemps hébergé le siège mondial des Ukrainiens libres, alors que
l'Ukraine, devenue république socialiste soviétique était soumise à
une importante campagne de russification.
Au début des années 1930, les Ukrainiens ont ainsi été affamés, de
façon artificielle. Les gens mouraient par million... Staline voulait
financer ses plans d'industrialisation en vendant à l'étranger des
grains... même ceux destinés aux semances. Les gens à bout de
ressource ne pouvaient quitter leur village car il leur était interdit de
se déplacer, le gouvernement soviétiquer ayant institué un passeport
"interne". Un enfant trouvant quelques grains de blé sur le sol était
accusé de vol de la propriété de l'état.
Archive de blog
! 2008 (14)
! août (1)
Alexandre Soljénitsyne
(1918-2008)
" juillet (2)
" mai (7)
" avril (4)
Qui êtes-vous ?
Francine Boulet
Produisant depuis 2005 une revue de
presse de médias québécois, français
et internationaux sur les technologies
de l'information, le développement
économique et des collectivités, j'ai
décidé d'en élargir la diffusion en
créant ce blogue.
Afficher mon profil complet
Il faut dire que les paysans ukrainiens avaient offert une résistance
farouche à la collectivisation de l'agriculture. Ils préféraient tuer
leurs animaux plutôt que de les voir s'en aller vers les fermes
collectives. Pour celà, ils furent punis et déportés en Sibérie....
Le président Iouchtchenko, héros de la Révolution orange, est aussi
venu chercher l'appui du Canada pour l'entrée de l'Ukraine au sein
de l'OTAN. Ce que lui a accordé le Canada sans équivoque. Ce ci ne
manquera pas d'irriter les autorités russes.
Publié par Francine Boulet à l'adresse 12:39 0 commentaires
Libellés : Ukraine
mardi 13 mai 2008
http://chroniquedesappalaches.blogspot.com/2008_05_01_archive.html
Page 1 of 8

Chronique des Appalaches: mai 2008
05.10.08 17:34
En mai, à Kiev, ta vie peut changer en cinq
minutes
"En mai, tout peut changer". Voici ce
que me disait l'artiste ukrainien Oleg
Tistol. Selon lui, mai est le mois de tous
les dangers, des changements,
mutations, transformations. Mai, avec
ses soudaines chaleurs, le vert tendre
frémissant de la végétation, le retour des
oiseaux transforment les gens en les
rendant plus perceptifs, plus sensuels...
instillant le goût du renouveau et du
changement.
Mai, le mois où en une heure, on peut avoir un coup de foudre
"froudroyant". Kiev est une ville dont la température ressemble un
peu à celle de Québec ou Montréal. Lorsque mai arrive, tous sortent
de leur léthargie hivernale. On range les manteaux sombres pour les
vestes colorées. Les filles se font belles et les hommes en éveil. Et
comme la population vie dans les parcs, cette fébrilité devient
tangile et communicative.
Oleg Tistol aime la vie. Il aime aussi sa ville d'adoption Kiev. Il a
déjà vécu à l'étranger. Sa femme a accouché en Suisse, mais bien
vite Oleg est revenu à Kiev. Il peint d'immense tableaux qui sont
achetés par les collectionneurs ukrainiens et internationaux. C'est un
des artistes les plus en vue dans ce pays et il a ouvert le chemin
aux jeunes générations d'artistes qui n'ont pas connu ce que ce
pouvait être de défier le réalisme soviétique...
Publié par Francine Boulet à l'adresse 12:30 0 commentaires
mercredi 7 mai 2008
Oleh Skripka et VV
Oleh Skipka, chanteur du groupe rock Vopli
Vidopliassova, mieux connu sous
l'appellation "VV" est un homme intelligent,
talentueux, courageux et vraiment très
populaire en Ukraine. Alors que je
travaillais à la pige pour l'Agence France-
Presse à Kiev, j'ai eu la chance de faire un
reportage sur lui. Il m'avait donné rendezvous
à la sortie d'une station de métro, au
pied d'une statue, dans le Podol, le quartier donnant sur le fleuve
Dneiper.
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Page 2 of 8

Chronique des Appalaches: mai 2008
05.10.08 17:34
Il était habillé de façon très discrète, un grand foulard de laine
autour du cou, pour protéger sa voix. J'avais bien sûr vu des photos
de lui... mais si ce n'avait été du fait que nous avions rendez-vous à
cet endroit, possible que je ne l'aurais pas reconnu...
Nous sommes allés chez lui, en arrêtant dans une boulangerie,
chercher des brioches. Son appartement, où nous attendait sa
copine, une jolie brunette, était le plus lumineux, propre et zen qu'il
m'aura été donné de voir au cours de mes trois séjours en Ukraine.
Je dois tout de suite mentionner qu'Oleh Skripka et son band ont
déjà vécu en France, quelques années. Ce séjour les a
profondément marqués.
Oleh Skripka raconte qu'en France ils ont tout appris du show
business. Sa gérante était elle-même Française. Mais au bout de
quelques années, il manquait quelque chose aux musiciens....
Impossible à définir d'ailleurs. Oleh Skripka explique qu'il n'arrivait
pas à communiquer "réellement"avec sa gérante/amante et il ne
s'agissait pas d'un problème de vocabulaire. C'était intangible, plus
profond (l'âme slave?).... Et puis tout lui manquait, la couleur de
l'herbe, les arbres, la façon de vivre en Ukraine!
Il faut savoir que la vie dans ce pays, encore fortement marquée par
l'ère soviétique, diffère à bien des points de vue de celle que l'on
mène en Europe ou dans les Amériques.
En Ukraine, le mode de vie communiste faisait en sorte que les gens
possédaient peu de choses. Oublier les maisons individuelles... il y a
encore des appartements communautaires où les locataires
partagent la cuisine et la salle de bain. Peu d'autos (bien qu'il y en
ait davantage maintenant). Par contre, tout le monde à un lopin de
terre à l'extérieur de la ville... leur seule façon de survivre, même
encore, car l'argent est difficile à gagner.
Un exemple : À Kiev j'habitais chez deux professeurs d'université qui
recevaient leur salaire sporadiquement. Dans de telles conditions, la
famille et les amis sont importants, essentiels. Contrairement à
l'Occident où règne l'individualisme, le chacun pour soi et la loi de la
jungle... Bref Oleh Skripka est revenu à Kiev.
Aujourd'hui, sur le site UNIAN, Oleh est photographié parmi des
femmes et jeunes filles habillées dans les costumes traditionels
ukrainiens. Oleh est très nationaliste. Il aime son pays. Lors de la
Révolution Orange il avait pris la parole devant les foules
gigantesques réunies sur la place de l'Indépendance au centre-ville
de Kiev. Une première, car il s'était toujours refusé à intervenir
publiquement et les textes de ses chansons n'étaient pas
explicitement politiques. D'ailleurs, mon amie Natalia m'avait appelée
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Page 3 of 8

Chronique des Appalaches: mai 2008
05.10.08 17:34
directement de Kiev en me disant : "Ton ami Oleh a parle
aujourd'hui devant les manifestants.". Je ne la croyais pas!!!!
J'ai pu mesurer la popularité d'Oleh Skripka et de son groupe VV
lors d'un gala. Il y avait toutes sortes de prestations : dances
traditionelles et ballet classique, musique de chambre et chorale
accapella. Soudain, alors qu'un groupe de danseurs venait de
terminer une chorégraphie, les premières mesures de la chanson
Vesna (Printemps) de VV se fait entendre. Un grand frisson parcourt
l'assistance. Ce chant représentait tous les espoirs des Ukrainiens de
s'affranchir de la domination russophone et des politiciens verreux.
Toutes les personnes présentes se sont mises à entonner Vesna,
véritable hymne national!
Publié par Francine Boulet à l'adresse 11:02 0 commentaires
Libellés : Musique, Nationalisme, Ukraine
mardi 6 mai 2008
Paul est parti
Il parlait fort, blindé de
certitudes, fier. C'était un
sportif, imbattable en
tennis, excellent partenaire
au golf ainsi qu'au bridge. Il
s'était impliqué en politique
municipale à Montréal, à
l'époque de Jean Drapeau
et de Sarto Fournier. Il a
été directeur du Club de
réforme de Montréal et un
grand militant du Parti
libéral du Québec. Quand il
a été atteint de la maladie
d'Alzheimer, parfois on se
disait, en blague, que si on
lui annonçait que le Québec
était devenu indépendant,
le choc le sortirait peut-être de son brouillard...
Il a été un homme d'affaires puis un fonctionnaire. Il a fait de
fabuleux voyages en Amérique latine et en Europe. Il adorait
danser, raconter des histoires, faire le paon! Il était beau et
charmant. En Floride, où il résidait l'hiver, c'était un ami recherché.
Tous l'appréciait.
Il est décédé hier, paisiblement.
Publié par Francine Boulet à l'adresse 13:11 0 commentaires
lundi 5 mai 2008
http://chroniquedesappalaches.blogspot.com/2008_05_01_archive.html
Page 4 of 8

Chronique des Appalaches: mai 2008
05.10.08 17:34
Ubisoft à Kiev
Quelle bonne nouvelle
que cette d'annonce de la
création d'une centaine
d'emploi à Kiev, chez le
fabricant de jeu vidéo,
Ubisoft qui ouvre ainsi un
troisième bureau en
Europe de l'Est. Enfin, les
jeunes créateurs
talentueux d'Ukraine
pourront mettre en valeur
leur savoir-faire!
Lors de mes voyages en
Ukraine, j'ai rencontre
une quantité incroyable
de jeunes informaticiens
ne demandant qu'a travailler dans leur domaine. Ils sont capables à
la fois de monter des ordinateurs et de développer des logiciels.
Par exemple, Denis Sadoshenko de Dneipropetrovsk (dans l'est de
l'Ukraine) a créé sa propre compagnie et il planche depuis des
années à développer des jeux vidéo en ligne avec sa bande de
copains tous aussi passionnés que lui. Vous pouvez aller voir des
démos de leurs jeux au http://www.fd.com.ua/
Publié par Francine Boulet à l'adresse 12:47 0 commentaires
Libellés : Ukraine
vendredi 2 mai 2008
Lviv, ville natale d'Igor Podolchak
Lviv est une
ville que
l'on
compare à
Cracovie
pour sa
beauté.
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Chronique des Appalaches: mai 2008
05.10.08 17:34
Évidemment on parle de la vieille ville car comme partout en ex-
Union soviétique, Lviv est ceinturée d'horrible complexes résidentiels
constitués de tours à logements identiques et non-entretenues.
Plantées en rangées, ces tours à logement faites de ces briques
toutes de la même couleur jaune-crème-sale étaient numérotées
avec de grands chiffres peints en blanc au rouleau de façon
horriblement inesthétique... Par ailleurs, il y a de fortes chances
pour que la porte d'entrée principale, autrefois vitrée, soit
maintenant remplacée par du contreplaqué se défaisant par tranche,
comme des pelures d'iognons.
Ces tours ont quelques particularités pouvant surprendre. Par
exemple, là où je logeais, il y avait de l'eau chaude uniquement le
soir. Les locataires emplissait donc la baignoire d'eau chaude. Mais
je ne peux vous dire comment les cinq membres de la famille se
lavaient.
Pour l'eau froide, l'administration était plus généreuse. Si je me
souviens bien il y en avait aussi le matin et on faisait des provisions
avec des seaux pour la cuisine et les toilettes.
Dès que les jeunes revenaient de l'école ils se revêtaient de short, t-
shirt et sandales car on crevait dans le logement... Le chauffage
était fourni par l'administration et il était impossible de contrôler la
température maintenue à hauteur tropicale.
Je logeais au 14e étage. Et bien, une fois sur deux l'ascenceur
arrêtait au 13e et il était impossible de le faire monter d'un étage.
Alors il n'y avait d'autre choix que d'emprunter les escaliers pour
terminer l'ascension.
Le vieux Lviv est superbe. Il y a encore des immeubles datant du
Moyen-Âge. L'opéra et la place centrale et la cathédrale St-Georges
valent le détour. Je suis allée au conservatoire de musique où les
marches d'escaliers ont été foulées durant des siècles par des
générations d'étudiants au point qu'elles creusaient au milieu...
Lviv fait partie de la Galicie une région de l'ouest de l'Ukraine, le
chateaufort du nationalisme ukrainien. Ici on parle ukrainien et vous
n'entendrez pas beaucoup de russe. C'est que l'Ukraine de l'Ouest a
été incorporée tardivement à l'Union soviétique et soumise moins
longtemps à la campagne de russification. Lviv est aussi la ville d'où
provient l'artiste Igor Podolchak créateur du Fonds Masoch en
l'honneur du compte Masoch (né à Lviv et père du masochisme).
Podolchak crée des oeuvres iconoclastes. Par exemple, il a déjà fait
http://chroniquedesappalaches.blogspot.com/2008_05_01_archive.html
Page 6 of 8

Chronique des Appalaches: mai 2008
05.10.08 17:34
une performance dans laquelle il placait une jarre remplie de graisse
de porc sur un réchaud. À mesure que la graisse fondait on voyait
apparaître la photo du président Kuchma, associé aux oligarques qui
ont détourné des coffres de l'état ukrainien de sommes colossales.
Podolchak vient également de lancer son film intitulé "Las
Minenas.
“Las Meninas is a work of a famous Ukrainian painter
Igor Podolchak. You
can feel his artistic experience in all scenes from the
very first to the last.
A virtually magical visual part is full of reminiscences
of still-life paintings
of XVIII century; the music and sound take up the
viewer and make him feel
present inside this visual experience. Behind the
insignificance of everyday
routine there uncovers itself a claustrophobic situation
in the family where a
sick son terrorizes his father, mother and sister with
his whims. Although the
presence of the son in covered, his influence is total.
Watching this movie is a
true and unknown experience.
Publié par Francine Boulet à l'adresse 11:22 0 commentaires
Libellés : Ukarine
jeudi 1 mai 2008
Manif d'art 4, Frank Zappa et 1er mai
La Manif
d'art 4
débute
aujourd'hui
à Québec
avec, entre
autre, une performance de Richard Martel intitulée Déambulation.
Cet artiste co-fondateur de la revue Inter et du Centre en art actuel
Le Lieu, se déplacera entre Les Espaces GM 509 et GM 840, rue
Saint-Joseph de 18h à 22h.
http://chroniquedesappalaches.blogspot.com/2008_05_01_archive.html
Page 7 of 8

Chronique des Appalaches: mai 2008
05.10.08 17:34
Claude Bélanger, l'initiateur de cet événement biennal, offre pour
cette quatrième édition un programme d'activités diverses et
surprenantes. À ne pas manquer l'exposition centrale intitulée
Toi/You la rencontre à laquelle participent des artistes du Québec,
de la France, du Mexique, de la Bulgarie, d'Italie, des États-Unis, de
la Colombie, d'Allemagne, des Pays-Bas et du Canada.
Aussi, une exposition internationale d'art postal La rencontre/400e
anniversaire de la ville de Québec présentée du 1er mai au 28 mai
par l'Institut Canadien de Québec, le Collectif Réparation de Poésie
et la bibliothèque Saint-Jean-Baptiste. Il y aura rencontre eavec
l'artiste Jean-Claude Gagnon le 8 mai à 15h.
Pour information sur la Manif d'art 4 : www.manifdart.org
Au sujet de Frank Zappa : Rencontré cette semaine à la
Bibliothèque Gabrielle-Roy à Québec un fan inconditionnel de Frank
Zappa, qui selon lui, serait le créateur qui aura le plus ébranlé la
culture américaine... J'avais eu l'occasion de voir Zappa en spectacle
avec The Mother of Invention et il est vrai que ça m'avait
complètement chavirée! Comment ne pas être bousculé par tant
d'audace...
1er mai : À part les employés des groupes communautaires et Luc
Leblanc, un avocat de Québec non-conformiste, on est tous au
travail aujourd'hui. Car ici, au Québec et au Canada, on ne fête pas
les travailleurs... mais plutôt le travail. Une autre influence étatsunienne...
Publié par Francine Boulet à l'adresse 06:56 0 commentaires
juillet 2008 Accueil
avril 2008
Inscription à : Messages (Atom)
http://chroniquedesappalaches.blogspot.com/2008_05_01_archive.html
Page 8 of 8

“I’m just learning the ropes” — film produce Oleh Kokhan /!"#$/
05.10.08 16:46
To Europe!
Second capital of Kyivan Rus’
17th-century breakthrough into
Europe
Why is Brussels
getting cold feet
about Ukraine so
quickly?
Chernihiv is 1,101
years old
350th annivarsary
of the Treaty of
Hadiach
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“I’m just learning the ropes” — film produce Oleh Kokhan
His filmmaking company will produce six Ukrainian films in 2008
By Svitlana AHREST-KOROTKOVA, special to The Day. Photos courtesy of SOTA Cinema
Group
Ukrainians can moan and groan
about the absence of a national
cinema until the cows come home.
They can champion its national
essence by banning all languages but
their own on movie theater screens.
They can lobby at conventions and
plenary meetings and gather in studio
corridors, trying to topple former
idols while lashing out at today’s
vassals. None of this will help revive
Ukrainian cinematography whose
glorious achievements — the films of
Alexander Dovzhenko, Serhii
Paradzhanov, Ihor Savchenko,
Roman Balaian, Leonid Osyka, and
the Ilienko brothers — are recorded in
the annals of film.
OLEH KOKHAN AND RENATA LYTVYNOVA
AT THE UKRAINIAN PREMIERE OF TWO IN
ONE
I don’t want to sound banal, but
filmmaking means that films have to
be made, regardless of the ministerial
leap-frogging, the general dissension
in the country, and the passionate
quests for the national idea, which
are separate from the interests of an
individual. And it is the individual
that craves a serious discussion of
his/her own problems that
http://www.day.kiev.ua/202233/
Page 1 of 5

“I’m just learning the ropes” — film produce Oleh Kokhan /!"#$/
05.10.08 16:46
BOHDAN STUPKA, AS THE OLIGARCH
KOSTIANTYN, PREPARES FOR A TAKE IN
KRZYSZTOF ZANUSSI’S UKRAINIAN-
POLISH CO-PRODUCTION SERCE NA
DLONI
occasionally acquire a universal
scope. Films are not supposed to
impose their revisionist versions of
history. They are supposed to tell us
stories that can help people who are
united by the screen understand
themselves and their times.
Oleh KOKHAN, the general producer
of the SOTA Cinema Group, is a young man who has amassed quite a few
achievements in Ukrainian cinematography. He rarely agrees to give
interviews, saying: “There’s work to do!” After I talked him into granting
me an interview, I was surprised to learn that his company will premiere
six Ukrainian films in 2008.
The profession of producer is something entirely new in Ukraine, although a variety of bureaucrats
responsible for culture have tried to act in this capacity, along with specialists and graduates of our
drama institutes or other schools of higher education. In the Ukrainian film business a producer is an
“unidentified flying object.” Can we talk about producers in Ukraine today, and how did you end up
in this profession?
If we’re talking about producing as a new profession in the filmmaking industry, it is just being
mastered in Ukraine and Russia. Our older colleagues, like Vladimir Dostal and Nikita Mikhalkov,
are referred to as the first generation of producers. They were the trailblazers in this field, and now
we are adding new options, like co-producers, to this experience. I’m not sure that at this point we
can shape a full package of knowledge and notions about the producer’s profession. If you recall the
history of this profession in Hollywood, a producer first had to go through all the phases: production,
shoots, screenings, and ticket sales. It was a totally closed cycle.
Then various other models started taking form. With our Soviet heritage, we are using a trial-anderror
approach, attempting to access the world market with our obsolete economic model, unable to
acquire theoretical knowledge or an idea of the process. This profession is multifaceted; you have to
be a financier, promoter, and distributor; you have to see, understand, and coordinate the entire
process. The general producer, in my opinion, has to work on an idea, the footage, take part in
casting, and analyze people’s reactions and the expressions in their eyes during the premiere. A
producer must be at the core of the project and keep a sensitive finger on the pulse of everything
that guarantees the project’s viability.
Today we are dismantling stereotypes and switching from the stage-directed to the producersupervised
filmmaking process. There is always a question of who is more important. Of course, the
producer is responsible for the entire project, but every production must have a film director, and in
many respects this is a definitive position. I have always treated film directors with the greatest
respect, and long years of work won’t change my attitude. At the same time, making a movie is team
work.
I’m prepared to argue this point. Whether we like it or not, creative people are usually — there
are rare exceptions — too flighty and ready to sit around waiting for good weather or
inspiration, whereas a producer has a clearly formulated production schedule, and any
delays spell a loss of money. Does a producer need an iron hand?
People often ask questions with a built-in conflict between the director and the entire creative group
on one side — one world perception and one organization — and the producer on the other. The
crux of the matter lies elsewhere. What they have in common is the creative process. Should a
producer attempt to influence or alter the world outlooks of a Roman Balaian or a Zanussi? In the
future, once a market is formed, when tasks, functions, and positions are clearly defined, there will
be a film director developing the idea, another director will be doing the editing, and the story will be
written by a team of script writers.
Are you talking about the commercial film industry?
I was fortunate to work with such celebrated film directors as Kira Muratova, Roman Balaian, and
Krzysztof Zanussi. This is a very high professional standard, with differing world outlooks and
creative approaches. But to return to your question about producing and commercial film, I think that
the profession of producer is gradually taking shape. At this stage it is still too early to talk about fullcycle
producers, professionals who know how to deal with the world market, work at festivals, and
get involved in international productions.
What about Selianov and Tolstunov, who are the top Russian film producers?
That’s exactly what I mean; these people represent a generation that has maintained filmmaking
contacts from Soviet times.
Russia has a powerful organization of producers, who reached the conclusion that they had
http://www.day.kiev.ua/202233/
Page 2 of 5

“I’m just learning the ropes” — film produce Oleh Kokhan /!"#$/
05.10.08 16:46
to unite. What is happening in Ukraine?
So far there have been only attempts at uniting. What we need is not a formal organization but a
structure that could get market operators together. In order for there to be good reasons for this, our
producers, who at the moment are friends and competitors, have to go through the whole cycle of a
project because it takes four or five films before you understand all the cause and effect linkages
and the reefs. I think that this process will take another few years and a number of stages. While
defending your interests on the financial, creative, and other levels, you have to comprehend the
role, meaning, and importance of a joint promotion campaign in the international arena.
It is common knowledge that Ukraine’s filmmaking industry lacks attention and funding, and
that this is why there is no film industry in our country. Russia still has the lion’s share of
projects that are supported by the state. What about Ukraine? How do you find working here?
The key issue that is preventing us from getting the green light in terms of large investments in films
is the government contract, where the state retains all rights to a production. In the film industries of
every country, including Russia, even where the state provides financing, the film rights pass to
those who made the film, regardless of the producer’s financial contribution.
If I understand you correctly, in Ukraine a producer doesn’t benefit from cooperating with the
government?
Right. Investors are ready to finance our productions, but the first thing they want to know is where
they will be making their investments. In the film industry! Who owns it? The state. But if a
government contract is replaced with government financing, we’ll need government support for the
next five to seven years, until our industry is fully established, especially in children’s and debut
films.
Let’s talk about Two in One , the film that you produced. What were some of your victories
and defeats?
This was Kira Muratova’s first production that was screened nationwide. Neither she, nor Roman
Balaian, nor any other living directors ever had such a wide release, especially considering it was an
art house film. We had 10 copies of the film and we screened them in every city with a population of
one million, and finally there was a huge world premiere in Kyiv.
So far I haven’t used investment money. I rely on my holding company’s resources. The SOTA
Cinema Group can already afford up to 12 productions a year. When the government contract
system turns into one that is financially supported by the government, when the producer can
exercise his legal rights, then we’ll able to enlist the help of financial institutions.
I’ve heard that the films that were made by your company and submitted to international
festivals will be represented by the Ukrainian Cinema Foundation. Are you transferring your
rights to it or is this a joint endeavor?
We haven’t reached a 100 percent understanding with this foundation. I welcome the creation of this
organization; its objectives are dear and understandable to me, but there are no official relations
between us. This is an issue that requires a clear- cut program of cooperation. One of our plans is to
set up a subdivision that will be in charge of distributing and promoting our productions. After we
passed a certain stage of the Two in One project, having transferred international distribution rights
to certain distributors, I realized the expediency of creating a structure to promote my own
productions.
The lack of civilized financing patterns, the low domestic potential of making and screening
Ukrainian motion pictures — is this art for the sake of art? Why make films that won’t earn
profits or even allow you to recoup your investment?
In order to launch a project, you have to sign a contract, buy a script. But in view of the proximity of
the Russian market, which is capable of increasing your royalties, there is no alternative except to
invest your own funds. This has been the only configuration in which film projects have become
possible. A closer look at the pattern of financing a film shows that the bulk of the money invested
by the producer bounces back. With state support, by which I mean when your risks are ensured by
the state, you can invest exactly as much as you can return from the market, whereas the second
part — 40-50-60 percent — constitutes the state’s investment. This “cream” is what helps the
producer get back his money and return the rest to the central budget if the project goes well.
Someone must do something at this stage. Someone has to invest and find the configurations of
financial participation that will make it possible to keep the filmmaking process ticking while looking
for opportunities to advance it. The fact that we are planning six premieres this year is proof that
we’re on the right track, even if we don’t have a solution to this problem, which will allow us to have
financing and invest our own money.
But the Ukrainian producer should operate with an eye to other markets, not only the
domestic one. Russia will hardly open its arms.
At the moment there are no bans or restricting factors on the Russian market, and none are likely to
materialize in the nearest future. Russia is interested in quality productions. Its market does not
require protection. It is just evolving, but once it establishes itself, then protection will become an
http://www.day.kiev.ua/202233/
Page 3 of 5

“I’m just learning the ropes” — film produce Oleh Kokhan /!"#$/
05.10.08 16:46
issue.
All over the world big channels and television companies provide a big chunk of investments.
Are any Ukrainian television companies prepared to produce and commission films? I don’t
mean TV series but motion pictures, something they can own later, the way Ernst, Valerii
Todorovsky, and others have been doing?
I think that such financing opportunities are emerging. We are starting to see the first signs indicating
that our channels are getting to this point.
The many TV series that are made in Ukraine are proof of this, even though most of them are
meant for the Russian market. The successful screening of Sappho is another positive indicator.
From what I know, a big channel is negotiating the creation of a structure that will specialize in largescale
filmmaking projects.
How do you find projects? How do you select them?
We don’t have the Hollywood pattern of a special department that only selects film scripts. Muratova
or Zanussi came up with ready material. Our young director Ihor Podolchak also joined the project.
Your reference to Zanussi indicates that you’re following the same path as the rest of the
world’s filmmakers, the one leading to co-production. This is something new for Ukraine.
What is helping or impeding your progress? Is our legislation helpful?
This is a classical co-production pattern, where several countries and companies combine their
efforts to raise funds and provide equipment and a cast to make a film. This pattern has far more
advantages than disadvantages; it has been effectively used all over the world for a number of
years. First, the financial risks can be distributed. Second, the production is promoted by a number of
interested parties in the countries concerned. Our first attempts along these lines are being slowed
down by our legislation, which is not adjusted to this cooperation format. For example, after we
struck a deal with Philippe Bober of France in 2007, we only found an optimal way to sign the
agreement with him about The Summer of 1953 (directed by Shirin Neshat) in 2008. There are also
concurrent problems of deadlines, payments, taxes, etc. There are quite a few questions like this.
All countries have encountered these problems in the initial phase, but there must be some
legislation somewhere that we could use.
We definitely have to take advantage of this experience, but first we have to study it and then adjust
it to our conditions. So we are proposing to set up a working group of people from various state and
commercial institutions to develop co-production legislation that will help us carry out projects and
solve other problems. Why should we re-invent the wheel? All these procedures have been tested in
a civilized manner, so why should we start from scratch when we can get recommendations on how
to avoid this or that problem? There is an objective dimension of the situation that exists right now,
and there are similar models. In other words, we shouldn’t do things like in Russia. We should do
things as they must be done in Ukraine because they have a money surplus, while we are short of
cash. Once we study the Polish, French, British, and German models, we will be able to develop our
own.
You have painted an ideal picture, but translating it into life will take time, whereas our
legislation allows full-fledged cooperation with foreign producers. Is our legislation not
suitable in principle?
It is not. It’s medieval. Instead of working with the director or on the script, or shooting the film, a
great deal of energy and time is spent on looking for financial and legal schemes that can secure
cooperation. So, I would like to share my seven years of knowledge and experience with my
colleagues. We have to decide on the optimal algorithm of finding solutions to all these complex
problems, so that we can spend the bulk of our time working on projects and making sure that our
movies are top quality, the way producers do all over the world.
You mentioned that you will be premiering six films this year. What are they about, and what
are your plans for releasing them?
One of them is Roman Balaian’s Birds of Paradise. The script was written by Rustam Ibragimbekov,
based on Dmytro Savytsky’s short stories. The film stars Oleg Yankovsky, Andrei Kuzichev, Oksana
Akynshyna, Yehor Pazenko, and Serhii Romaniuk. The film will be submitted to the Moscow Film
Festival this June. Then we will have the premiere. Muratova’s new production, Melody for a Hand
Organ , is done in the style of a holiday story, which is not germane to this director. The cast
includes her favorite actors: Renata Lytvynova, Oleg Tabakov, Nina Ruslanova, Natalia Buzko, and
Jean Daniel. Although young unknowns are playing the leading roles, Muratova has this to say
about the movie: “The plot has no puzzling psychological or formal twists and turns, except one
funny mystery of human nature: the need for games.”
Muratova also made a film with you at the same time. Will it also be released this year?
The Doll is a 30-minute sparkling farce about whether you can make someone happy while ignoring
moral dictates. Since it doesn’t fit the screening format, we plan to show it in film clubs because
every one of our cities with a million residents has a network of such clubs. This film will be
screened in digital format.
http://www.day.kiev.ua/202233/
Page 4 of 5

“I’m just learning the ropes” — film produce Oleh Kokhan /!"#$/
05.10.08 16:46
Is Ihor Podolchak’s experiment one of your films?
Yes. Lidia Mlynarych and I are co-producers of Ihor Podolchak’s Las Meninas. It’s a bold project, a
film rooted in perception, an experiment where visual references to 17th-century paintings are
placed in avant- garde style alongside the eternal and contemporary problems of human
relationships.
You also have two more projects in your portfolio.
Yes, I do. Zanussi’s Serce na dloni is an invitation to a nontrivial discussion of human values and the
importance of listening to each other. It stars Bohdan Stupka, Marek Kudelko, Nina Andricz, and
Ostap Stupka. The other film is Shirin Neshtat’s directorial debut. She is a rebel in her own country
because she is oriented toward Western values. Her film is about the 1953 coup in Iran, which led to
the strengthening of fanaticism in the country. It is a joint project with the French producers Philippe
Bober and Susanne Marian.
There is another project underway. If we can finish it on time, it will be our seventh premiere this
year. Our company is maturing and is prepared to make Ukrainian films and show them to both
domestic and foreign audiences.
#18, Tuesday, 3 June 2008 print comment
The others articles:
Unfinished Ukrainization: the roots of an historical drama
How Ivan Franko lived and died
Music in the park
Ukrainian
Russian
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..... >> VFXWorld / News

News: AJA KONA 3 Enables Post Production for 'Las Meninas' : News & Press Releases
05.10.08 16:41
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News: AJA KONA 3 Enables Post Production for 'Las Meninas'
by Cow News Droid on Sep 9, 2008 at 7:34:30 pm
Video Capture and Playback Card Boosts All-Digital Workflow
(Grass Valley, California--September 9, 2008) AJA Video Systems, a leading manufacturer of professional video
interface and conversion solutions, announced today that the KONA 3 video capture and playback card was
used on "Las Meninas," the first full-length feature film from the Ukraine to employ an all-digital workflow.
KONA 3 is AJA's top-of-the-line uncompressed capture card for SD, HD, Dual Link HD and 2K for PCI Express
(PCIe) Apple Mac Pro systems, and was an integral part of the Final Cut Pro editing pipeline for the film, which
premiered in Tiger Awards Competition at the 37th Rotterdam International Film Festival on January 25, 2008.
Written, directed and produced by Ukrainian painter and performance artist Ihor Podolchak, and shot by
cinematographer Serhiy Mykhalchuk, "Las Meninas" is the first feature-length film from the Ukraine to contend for
first prize in he Rotterdam International Film Festival, the main international forum for avant-garde and art-house
cinema. The film has been widely exhibited since its premiere, also appearing at these international film festivals:
goEast Film Festival (Wiesbaden, Germany)
Transylvania International Film Festival (Romania)
Seoul International Film Festival (South Korea)
Moscow International Film Festival (Russia)
Artfilm International Film Festival (Slovakia)
La Rochelle International Film Festival (France)
Karlovy Vary International Film Festival (Czech Republic)
International "Era New Horizons" Film Festival (Wroclaw, Poland)
Athens International Film Festival (Greece)
Brisbane International Film Festival (Australia)
"Las Meninas" will be exhibited again this month at the Split International Film Festival in Croatia (September 13-
20, 2008) and he and the UK's Cambridge International Film Festival (September 18-28), and later this year at
the Festival de Cine de Bogotá (October 1-9) and the Sao Paulo International Film Festival (October 17-30).
Shot with the Thomson Viper Filmstream and recorded to HD CAM SR tape, footage for "Las Meninas" was
captured with AJA's KONA 3 video capture and playback card at 4:4:4 Log RGB. The film was edited on an
Apple Mac Pro using Final Cut Pro, and color corrected with Color, all of which was processed using the KONA
3.
"The KONA 3 was the backbone of our editing pipeline," commented Podolchak. "It did everything we needed.
Not only was the KONA 3 extremely stable and easy to use, it also allowed us to develop the first fully digital
production and post produc ion workflow ever for a feature film in he Ukraine. We couldn't have done that
without it."
KONA 3 is the ultimate uncompressed capture card for seamless operation wi h PCI Express (PCIe) Mac Pro
systems and Apple Final Cut Pro. Supporting any uncompressed SD or HD format, including Dual Link HD and
2K, KONA 3 captures and plays back uncompressed 10-bit and 8-bit digital video and 24-bit digital audio,
providing unparalleled power and workflow efficiency. KONA 3 also includes a variety of 10-bit broadcast-quality
http://forums.creativecow.net/readpost/105/860554
Page 1 of 3

News: AJA KONA 3 Enables Post Production for 'Las Meninas' : News & Press Releases
05.10.08 16:41
features, such as hardware-based up-, down-, and cross-conversion to and from HD, and adds a live hardware
HD/SD keyer for compositing bugs, live clips, and other elements over video.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of high-quality and cost-effective digital video interface,
conversion and Desktop solutions supporting the professional broadcast and post- production markets. With
headquarters in Grass Valley, California, AJA maintains an extensive sales channel of dealers and systems
integrators around the world. For further information, please see our website http://www.aja.com.
###
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Kyiv Post. Independence. Community. Trust. » The Guide » General » Where to go this fall
05.10.08 16:51
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NATION BUSINESS CITY OPINION WORLD THE GUIDE
General
WHERE TO GO THIS FALL
25 September, 00:12 | Olga Kovalenko, Kyiv Post Staff Writer
Print E-mail to a friend E-mail to an editorial
Autumn has arrived, and the city’s cultural scene
is getting busier by the week. Many of this
season's events have already been confirmed, so
you might as well start planning your leisure right
now. Just check out our schedule for the next two
months and start booking those tickets!
Music
The Jazz In Kyiv festival will please local jazz
lovers Oct. 18-19. The program includes master
classes in the afternoon and evening concerts at
Zhovtneviy Palats with world-class jazz musicians:
www moskva.fm
New Tango Orchestra, base player and composer
Dave Holland, drummer Aleks Fantaev, United
Quintet, Avishai Cohen, guitarist Charlie Hunter, and holder of seven Grammy awards, vocalist Al
Jarreau.
The jazz musicians will barely have enough time to pack their stuff and leave before pop star
Christina Aguilera will take the stage to sing for Kyivans on Oct. 21. With her outstanding voice
and three albums already under her belt, as well as duos with opera singer Andrea Bocelli, jazz
keyboard player Herbie Hancock and rock star Mick Jagger, Christina clearly stands out among
fellow female pop singers. Her live performances are praised for professionalism, they are
magnificent and glamorous, and – best of all – you can check it out for yourself at Palats Ukraina,
if you’re willing to pay Hr 250 to Hr 9,500. But hurry – the cheapest tickets are, of course, the first
ones to go.
Rock veteran Nazareth, whose members used to give smashing shows in the days of their youth,
will play in Kyiv once again on Oct. 10. This time the group is visiting Ukraine as a part of their
jubilee world tour to commemorate twenty years of their stage career. Five days later they will be
followed by another hard-rock legend, Deep Purple. The latter will perform in Palats Sportu and
then move further into the country to Odesa, Cherkasy and Dnipropetrovsk.
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TAGS:
Ballet movie music
theater
On Nov. 24 the German band Haggard will demonstrate their craft of combining classic, folk,
renaissance, medieval and rock music into a style called “symphonic metal” at the Center for
Culture and Arts of the National Aviation University. Haggard, in fact, started out as a death metal
band in 1991, but altered its style after the first release. In Kyiv, the band will promote their fourth
studio album with a V king name “Tales of Ithiria.”
The city’s clubbers won’t have to be bored either. On Oct. 11 Xlib Club is going to host deejay
Tim Sweeney, author and creator of the New York radio program “Beats in Space,” who is also
an official deejay of the independent record label DFA Records. So, prepare for a hot disco-rock
night.
Movies
http://www.kyivpost.com/guide/general/29893
Page 1 of 3

Kyiv Post. Independence. Community. Trust. » The Guide » General » Where to go this fall
05.10.08 16:51
The biggest event on the Kyiv movie scene will be Molodist (Youth), an international annual film
festival that has been around for 38 years. It starts on Oct. 18. It specializes in young directors'
movies, but also spoils movie lovers with wonderful retrospectives and art-house hits. So film
buffs won’t have a minute to sleep for a whole week – films usually run non-stop in several
cinemas from dawn till dusk and sometimes even at night.
The festival has competitive and non-competitive programs. This year the competition program
includes student works, shorts and features from around the world. This year, the list of young
directors presenting their work includes Vitaly Potrukh with his short “Zakon” (“Law”), Dmytro
Sukholytsky-Sobchuk and Maryna Vroda with their student works “Otrotstvo” (“Teenage”) and
“Doshch” (“Rain”), and Ihor Podolchak with a feature “Las Meninas.”
The non-competition program includes “The Night of Short Movies,” a retrospective made up of
German, British, French and Italian short movies; and the “Molodist Against Totalitarism”
anthology, which is basically Ukrainian movies shot between 2007-2008, Polish films from
Andrzej Wajda’s school, and retrospectives of movies with Alain Delon and Joanna Moro. You
can also see films by Andre Delvaux, the Serbian “New Wave,” the New French Cinema, the
“Oriental Express” program of Asian movies, a wide animation anthology, and documentaries on
the Holodomor.
The most popular part of the program is called “The Festival of Festivals,” showing the winners
and nominees of world-famous film festivals. This year the program includes “Nightwatching”
directed by Peter Greenaway, “Bumazhny Soldat” (“Paper Soldier”) by Aleksei German Jr., “The
Palermo Shooting” by Wim Wenders, “Zhivi i Pomni” (“Live and Remember”) by Aleksandr
Proshkin, “O’Horten” by Bent Hamer, “Three Monkeys” by Nuri Bilge Ceylan, and “Lorna’s
Silence” by Luc and Jean-Pierre Dardenne.
Fortunately the ticket policy of Molodist has changed in the last two years and now it is possible
to attend all events by simply buying a ticket. For years, you needed special invitations to attend
certain screenings.
In case you miss one of the movies you wanted to see, you will be able to catch it throughout the
year – they are rotated in cinemas throughout the year until the next Molodist arrives.
Naturally, there are non-festival movies to expect his fall. Probably the most anticipated premiere
is “Quantum of Solace,” a new James Bond movie, scheduled to start on Nov. 6. Its main star is
Daniel Craig, dubbed “The Blond Bond”. But it’s not him that makes the film especially welcome
in Ukraine. It's the new Bond Babe – Camille – played by Ukrainian actress and model Olga
Kurylenko. She was also the one who dubbed Camille in Ukrainian.
Also look out for a new film by Joel and Ethan Coens “Burn After Reading,” with a whole
constellation of stars: George Clooney, Brad Pitt, and John Malkovich among others.
Theater
Theater aficionados and ballet lovers should get ready for mega- excitement, since their
schedules will be stuffed. For a start, Katerina Tomas, the leading dancer of the Spanish Tomas
de Madrid Flamenco Theater will give a performance at Zhovtneviy Palats on Oct. 21. Soon after
that, on Nov. 10-12 you will be able to admire the National Georgian ballet Sukhishvili with their
new program. Despite the fact that the Georgian dancers are frequent guests in Kyiv, it’s hard not
to be fascinated by their stunning plastics and rhythm every time you see them onstage. For
dessert, on Nov. 23-24 the National Opera Theater will host a performance by the four “kings” of
ballet: lead dancer of the English Royal Ballet Johan Kobborg, star of American Ballet Theater
Angel Corella, former dancer of American Ballet Theater and current leader of his personal studio
in California Ethan Stiefel, and lead dancer of the Big Russian Ballet Theater Nikolay Tsiskaridze.
Each one of the four dancers will present their separate dance program and take part in one
general performance with an appropriate name, “For 4.”
If you were to choose a play, make sure you visit the touring Roman Viktyuk Theater. It’s going to
show two plays – “Sluzhanki” (“The Maids”) based on the play by Jean Genet and scheduled for
show on Sept. 30 (Zhovtneviy Palats), and “Sestry” (“Sisters”) based on the letters of Fyodor
Dostoevsky’s wife and excerpts from his novels. The latter is actually going to be a benefit
performance by the actress Ekaterina Vasilieva and will take place on Oct. 21 in Tsentralniy Dim
Ofitseriv.
If you want to see a premiere show in one of Kyiv’s theatres, go for “Richard the Third” that will be
on at the Left Bank Drama Theater in November, or “Konotopska Vidma” ("Konotop Witch"),
scheduled to premier on the last days of September in the Kyiv Academic Youth Theater.
"Richard the Third" is a Shakespeare play staged in the traditional style by young theater director
Andriy Bilous. "The Witch" is a mixture of musical and burlesque performances by Mykola
http://www.kyivpost.com/guide/general/29893
Page 2 of 3

Videography - Industry News
05.10.08 16:41
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Sep 26, 2008
Email this article
AJA KONA 3 Enables Ukraine's Las Meninas Postproduction
by Staff
AJA Video's KONA 3 video
capture and playback card
was used on Las Meninas,
the first full-length feature film
from the Ukraine to employ
an all-digital workflow. KONA
3 is AJA's top-of-the-line
uncompressed capture card
for SD, HD, Dual Link HD and
2K for PCI Express Apple
Mac Pro systems. It was an
integral part of the Final Cut
Pro editing pipeline for the
film, which premiered at the
37th Rotterdam International
Film Festival.
Written, directed and
produced by Ukrainian painter and performance artist Ihor Podolchak and shot by
Cinematographer Serhiy Mykhalchuk, Las Meninas is the first feature-length film from the Ukraine
to contend for first prize in the Rotterdam International Film Festival, the main international forum
for avant-garde and art-house cinema. The film has been widely exhibited since its premiere, also
appearing at several other international film festivals.
Shot with the Thomson Grass Valley Viper
FilmStream camera and recorded to HDCAM
SR tape, footage for Las Meninas was
captured with AJA's KONA 3 video capture
and playback card at 4:4:4 log RGB. The film
was edited on an Apple Mac Pro using Final
Cut Pro and color corrected with Color, all of
which was processed using the KONA 3.
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"The KONA 3 was the backbone of our edi ing
pipeline," commented Podolchak. "It did
everything we needed. Not only was the
Click for Large Image
KONA 3 extremely stable and easy to use, it
also allowed us to develop the first fully digital production and postproduction workflow ever for a
feature film in the Ukraine. We couldn't have done that without it."
http://www.videography.com/articles/article_16111.shtml
Page 1 of 2

Videography - Industry News
05.10.08 16:41
Click for Large Image Click for Large Image Click for Large Image
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Other recent projects that made use of AJA's KONA 3:
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AJA Helps Fuel FCP Edit Platform for Burn After Reading, Aug. 27, 2008
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http://www.videography.com/articles/article_16111.shtml
Page 2 of 2

VH1.com : Person: Ihor Podolchak : Main
05.10.08 16:42
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Occupations: Editor, Director, Producer
Birth Name: Ihor Podolchak
Genre(s): Drama, Avant-garde / Experimental
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Ihor Podolchak - filmLounge.nl
05.10.08 17:13
home | nieuws | films | sterren | lounge |
In de lounge vandaag: 0 reacties, 0 meningen, 1 top/flop
Ihor Podolchak
montageman, regisseur, scenarioschrijver
zoek
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Recent films of Ihor
Podolchak:
• Las meninas
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Films van Ihor Podolchak
2008
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Las meninas (2008)
Ihor Podolchak (montageman)
Las meninas gaat over een verstikkende gezinssituatie, waarin
een zieke zoon zijn ouders en zuster met zijn gr...
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Doamnele de onoare - Las meninas - CineMagia
05.10.08 17:15
Home | Cautare | Program cinema | Programe TV | Login | Inregistrare
Actiune Animatie Aventuri Comedie Crima Documentar Drama
Erotic Familie Fantastic Film noir Horror Istoric Mister
Muzical Razboi Romantic Scurt metraj SF Thriller Western
Doamnele de onoare (2008)
Las meninas
Calificativ (din 1 voturi)
Mai putin de 5 voturi
Regia
Igor Podolchak
In rolurile principale
Anna Yarovenko, Lyubov Timoshevska, Stas Arsentyev
Gen
Drama
Durata
99 minute
Produs de
MF FILMS Studio
Sinopsis
Absolvent al artelor vizuale, Igor Podolchak imprima pe pelicula
viata unei familii claustrofobe si disfunctionale... totul parand o
pictura animata. Avangardist si aparent pretentios, dar merituos si
incantator, Las meninas se prezinta acompaniat de o coloana
sonora exceptionala.
Articole
Participant la sectiunea non-competitiva Another View, Karlovy
Vary Film Festival, 2008.
Acum la TV - Programe TV - Program cinema - Program Cinema Hollywood Multiplex - Program Cinema Movieplex
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Film : Las meninas : Sterren - filmLounge.nl
05.10.08 17:29
In de lounge vandaag: 0 reacties, 0 meningen, 1 top/flop
Las meninas
home | nieuws | films | sterren | lounge |
zoek
Login • Aanmelden • Wachtwoord vergeten
Ukraïne 2008, 99 min
Regie: Dean Karr, Ihor Podolchak
Met: Stas Arsentyev, Ilonna Arsentyeva, Dmytro Chernyavsky, Lyubov Tymoshevska,
Viktoriya Ulyanchenko, Valeriya Ulyanchenko, Mykola Veresen, Hanna Yarovenko
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Sterren van Las meninas
Acteurs
Stas Arsentyev
Ilonna Arsentyeva
Dmytro Chernyavsky
Lyubov Tymoshevska
Viktoriya Ulyanchenko
Valeriya Ulyanchenko
Mykola Veresen
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allmovie ((( Las Meninas > Overview )))
05.10.08 16:43
» In Theaters » Quick Browse
» Essays » Glossary
» New Releases » Movie Trailers
» The Final Take » Spotlight Archive
Louise Dresser (10/05/1878)
Shell Kepler (10/05/1958)
John Alton (10/05/1901)
Jeff Conaway (10/05/1950)
Overview Review Cast Production Credits Awards Buy
Las Meninas
Send to
Friend
Plot Synopsis
by Nathan Southern
With a visual axis influenced heavily by the aesthetic of 17th century still life painters,
Ukrainian performance artist Ihor Podolchak's Las Meninas observes the situation in an
emotionally and psychologically beleaguered family - beleaguered because the ailing son
continually torments his father, sister and mother with a myriad of insistent demands.
Podolchak's idiosyncratic approach involves heavily fracturing the narrative and asking
each viewer to connect the elements of the story and experience in his or her mind.
Oleksandr Schetynsky composed the unusual score.
Year
Run Time
2008 99 min.
Countries
Ukraine
Category
Feature
Director
Dean Karr, Ihor Podolchak
Genre / Type
MPAA Rating
Color Type
Color
Avant-garde / Experimental
Drama
Family Drama
Period Film
Similar Movies
The Grandmother (1970, David Lynch)
Paperhouse (1989, Bernard Rose)
Artistic / Production Styles
Non-linear
Themes
Mischievous Children
Dysfunctional Families
Tones
Atmospheric
Stylized
Disturbing
AMG Video ID
V 432416
Corrections to this Entry?
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Page 1 of 1

Ihor Podolchak
05.10.08 16:55
Dnes je 05.10.2008, svátek má Eli$ka
U!ivatelská zóna
P"ihlásit
Registrovat
Ztracené heslo
Televize Kino DVD Novinky Filmotéky Bazar U!ivatelé Diskuze "eb!í"ky Tabulky
Hledej
Ihor Podolchak
nar. 1962
Lvov, Sov!tsk" svaz
Re!ijní filmografie
2008 Las Meninas
se!adit podle hodnocení
Photo © MFF KV 2008
biografie
Biografie
Ihor Podol#ak (1962, Lvov) absolvoval lvovskou Akademii krásn"ch um!ní
(1984). Jako tv$rce nes#etn"ch projekt$ v oblasti vizuálních um!ní se
zú#astnil celkem p!tadvaceti mezinárodních v"stav v Kanad!, USA, Ji%ní
Koreji, Loty&sku, Polsku, Norsku, ve 'pan!lsku a na Ukrajin!. Na
mezinárodním kni%ním veletrhu ve Frankfurtu nad Mohanem byla jeho
publikace Jacob Bohme vyhodnocena jako nejlep&í sv!tové dílo. Jedna z
jeho expozicí se v roce 1993 konala v prostorách kosmické lodi Mir.
Podol#akova díla jsou vystavena v & estadvaceti galeriích. Jeho filmov"
debut Las Meninas (2008) m!l sv!tovou premiéru na MFF v Rotterdamu.
Zdroj: MFF Karlovy Vary 2008
gsmobil.cz - mobily, mp3 p(ehráva#e
GPS navigace s p(ehráváním videa
pam!)ové karty pro filmy do mobilu a PDA
Videorent - zásilková p$j#ovna film$
*esko-Slovenská filmová databáze © 2001-2008 POMO Media Group s.r.o. V&echna práva vyhrazena.
Provozovatel, Reklama, Redakce / FAQ / P"idej obsah / wap.csfd.cz
Server hosting zaji&)uje VSHosting s.r.o. / Optimalizaci pro vyhledáva#e zaji&)uje SEO Expert s.r.o.
Vyzkou&ejte: Sklady / Kávovary / Chalupy v #R / SEO / Seznamka / Stavby
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Page 1 of 1

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Podolchak, Igor (1962-....)
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Masoch fund
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Podolchak, Igor (1962-.... )
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Podolchak, Igor (1962-.... )
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1987
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1988
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1989
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1989
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Title:
Jakob Böhme / [Auswahl d. Textabschnitte u. Übers.: Jan Tomkowski
unter Mitw. von ... Radierungen:] Igor Podolczak
Author: Böhme, Jakob (Philosoph) *1575-1624*
Other persons: Podolczak, Igor ; Tomkowski, Jan
Published: Lodz : Correspondance des Arts II, 1993
Extent:
30 Bl. in Leporellofaltung. : Ill.
Note:
Nebent.: Offenbarungen über den Gott, das Nichts und die Natur,
sowie die Menschenseele und den Menschenleib
Subject heading:Podolczak, Igor
Künstlerbuch
Shelf mark: Malerbücher 43.4° 566
Note:
Ex. Nr 32, sign. von Igor Podolczak u. Jan Tomkowski. - Benutzung
nach Voranfrage.
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(SK, 2008, 35mm, col., 77’)
v.o. slovacca SOTT. IT/ENG. SUBT.
anteprima italiana
concorso cortometraggi
SARDUNYA (Geranio)
di Mustafa Emin Büyükco"un
(TR, 2008, DigiBeta, col., 18’)
v.o. turca SOTT. IT./ENG. SUBT.
17:00
concorso doc
BAM - RAUDTEE EI-KUHUGI
(Bam - Una ferrovia verso il nulla)
di Jouni Hiltunen
(FIN/EST, 2008, DigiBeta, b-n & col., 73’)
v.o. finnica/russa SOTT. IT/ENG. SUBT.
anteprima italiana
18:15
concorso doc
MOSTAR UNITED (Id.)
di Claudia Tosi
(I/SLO, 2008, Beta SP, col., 74’)
v.o. bosniaca - inglese SOTT. IT/ENG. SUBT.
anteprima italiana
20:00
concorso cortometraggi
TOLERANTIA (Id.)
di Ivan Ramadan
(BiH, 2008, 35mm, col., 7’)
senza dialoghi
concorso lungometraggi
LAS MENINAS (Id.)
di Ihor Podol#k
(UA, 2008, DigiBeta, col., 99’)
v.o. ucraina SOTT. IT./SUBT. ENG.
anteprima italiana
22:00
concorso cortometraggi
I DON’T FEEL LIKE DANCING
(Non ho voglia di ballare)
di Evi Goldbrunner, Joachim Dollhopf
(D, 2008, 35mm, col., 7’)
v.o. inglese SOTT. IT./ENG. SUBT.
concorso lungometraggi
TURNEJA (La tournée)
SALA AZZURRA
15:30
giacomo gentilomo
I FRATELLI KARAMAZOFF
(I, 1947, Beta SP, b-n, 112’)
v.o. italiana
17:45
james joyce
ULIISSES (Ulisse)
di Werner Nekes
(D, 1980-82, 35mm, col., 94’)
v.o. inglese/tedesca SOTT. IT.
20:30
concorso doc
SRE!" PRI AIFELOVATA KULA
(Ci vediamo alla Torre Eiffel)
di Valentin Val#v
(BG, 2008, DigiBeta, b-n & col., 96’)
v.o. bul./ing./fran./pol./it./rus. SOTT. IT/ENG. SUBT.
anteprima italiana
22:30
walls of sound
GLASBA JE "SOVNA UMETNOST,
f0 LP FILM PANKRTI-DOLGcAJT
(La musica come arte del tempo,
f0 LP film Pankrti-Dolgcajt)
di Igor Zupe
(SLO, 2006, Beta SP, col., 47’)
v o slovena/croata/serba SOTT IT/ENG SUBT
http://www.triestefilmfestival.it/
Page 1 of 2

FvgNews.net | Manifestazioni | Penultima giornata al Trieste Film Festival: attesa per il documentario “Mostar United” | Trieste
27.01.09 01:29
Oggi Notizie Cultura
Cinema Mostre Spettacoli Appuntamenti
Cerca in Calendario
Cerca in Notizie
oggi in friuli venezia giulia
Pordenone (PN): 8a Rassegna regionale di
Teatro popolare
Trieste (TS): Casi de cose de casa
Trieste (TS): III° Concorso Internazionale di
Scrittura Femminile
Tolmezzo (UD): Horacio Garcia Rossi /
Francesco Sobrino
Trieste (TS): Mostra di primavera
San Daniele del Friuli (UD): LeggerMente -
Incontri di resistenza letteraria
Tutti gli avvenimenti di oggi in fvg
in evidenza
Rossana Longo: opere 1995-
2008
BNL e Biblioteca Statale di
Trieste
Trieste
Dal 12/12/08
al 31/01/09
Stefano Bollani –
piano solo
Teatro Nuovo
“Giovanni da Udine”
Udine
Il 12/02/09
FRANKIE HI-NRG
New Age Club
Roncade
Il 31/01/09
NOTIZIE > MANIFESTAZIONI > 21 GENNAIO 2009
> Segnala il tuo avvenimento
Penultima giornata al Trieste Film
Festival: attesa per il documentario
“Mostar United”
Trieste (TS) - Penultima giornata
per la 20ª edizione di Trieste Film
Festival: mercoledì 21 gennaio
ancora spazio ai concorsi con ben
quattro, importanti documentari
della sezione. Alle ore 15 in Sala
Azzurra con il documentario in
concorso “SLEPE LASKY” di Juraj
Lehotsky, toccante riflessione sui
sentimenti e le emozioni delle
persone non vedenti. Sarà poi la
volta di “BAM-RAUDTEE EI-KUHUGI” (BAM-Una Ferrovia verso il nulla), di Jouni
Hiltunen, sul fallimento del progetto della linea ferroviaria Baikal-Amur Magistral,
voluta da Breznev nel ’74 come sogno pionieristico della gioventù comunista e, a
seguire, “MOSTAR UNITED”, di Claudia Tosi, immagine di com’è Mostar oggi e
del tentativo di un uomo di trasmettere alle nuove generazioni il senso perduto
dell’unità.
Ultimo documentario in concorso, ma non per questo meno importante, “SRESCA
AIFELOVATA KULA” (Ci vediamo alla Torre Eiffel) di Valentin Valcev, riflessione
sul “fare cinema” attraverso le immagini raccolte nella Bulgaria di oggi sulle
tracce del film “De eerste jaren” girato nel 1947 da Marion Koblitz e Joris Ivens.
Una promessa,quella di Valentin: quella di portare queste immagini alla stessa
Marion a Parigi, prima che lei muoia.
nightlife
MANOMANOUCHE
Teatro Comunale Palamostre
Udine (UD)
Il 27/01/09
THE ELECTRIC FREAKTONES
Etnoblog
Trieste (TS)
Il 27/01/09
MELLOW MOOD – Release
PARTY
Etnoblog
Sempre per le sezioni competitive, ultimi due lungometraggi in concorso, a
partire da “LAS MENINAS”, opera prima dell’artista visionario ucraino Ihor
Podolcak, in Sala Excelsior alle ore 20. Una riflessione sugli effetti che la routine
quotidiana può produrre su mente e psiche, un film molto visivo, un puzzle che lo
spettatore viene chiamato a ricomporre in un quadro unitario.
A seguire “TURNEJA”, del serbo Goran Marcovic, in programma alle ore 22,
racconta le avventure nel 1993 di un gruppo di attori di Belgrado che, in cerca di
facili guadagni, partono inconsapevoli di ciò che li attende per la Krajina serba, a
quel tempo devastata dai combattimenti. Sarà l’ingenuità di questo gruppo di
attori a metterli in qualche modo in salvo dalla guerra.
Ultima giornata di concorso anche per i cortometraggi con tre lavori: la
produzione turca “SARDUNYA”, di Mustafa Emin Büyüco&#351;cun (ore 15, in
http://www.fvgnews.net/view.php?t=n&k=2489
Page 1 of 2

FvgNews.net | Manifestazioni | Penultima giornata al Trieste Film Festival: attesa per il documentario “Mostar United” | Trieste
27.01.09 01:29
Trieste (TS)
Il 28/01/09
vedi nightlife
enogastronomia
Le tipiche Osmize triestine
provincia di Trieste (TS)
Dal 01/01/08
al 31/12/09
Sapori autentici della Carnia
Sauris (UD)
Dal 20/12/08
al 27/02/09
Magnemo fora de Casa
Monfalcone (GO)
Dal 10/01/09
al 01/03/09
vedi enogastronomia
sala Excelsior) e le due opere proiettate la sera prima dei lungometraggi,
“TOLERANTIA” di Ivan Ramadan e “I DON’T FEEL LIKE DANCING” di Evi
Goldbrunner e Joachim Dollhopf.
Ultimo appuntamento anche con “Giacomo Gentilomo-Un protagonista nel cinema
di genere”. A chiudere questa sezione sarà, alle ore 15.30 in Sala Azzurra, “I
FRATELLI KARAMAZOFF”, pellicola del 1947.
Sempre nella giornata odierna sarà “ULISSES” di Werner Nekes, in programma
alle ore 17.45 in Sala Azzurra, a concludere la sezione dedicata a James Joyce.
Esempio di sperimentazione cinematografica attraverso ciò che Nekes chiama
“lighterature”, ossia della “scrittura fatta con la luce”, il film si ispira liberamente
all’Odissea di Omero, all’Ulisse di Joyce, mentre Telemaco proviene dalla piece
teatrale “The Warp” di Neil Oram.
Per gli amanti della Musica e delle “geografie alternative”, la sezione Walls of
Sound ci regala ancora due chicche. Alle ore 22:30 in Sala Azzurra verranno
proiettati, infatti, “GLASBA JE CASOVNA UMETNOST; LP FILM
PANKRTI_DOLGCAJT” (LA MUSICA COME ARTE DEL TEMPO, LP FILM
PANKRTI_DOLGCAJT) di Igor Zupe, storia della Jugoslavia a partire dal 1977, con
il primo concerto della band Pankrti (“I bastardi), fino al 1980, anno in cui la
band ha pubblicato il suo primo LP “Dolgcajt”. Questo documentaria fa parte di
una serie dedicata ai dischi che hanno fatto la storia della musica pop slovena,
intitolata “La musica come arte del tempo”.
A seguire, sempre in Sala Azzurra sarà la volta di “DIVIDED STATES OF
AMERICA-LAIBACH 2004 TOUR”, di Saso Podgorsek, in cui le riprese del tour
americano dei Leibach nel 2004, “Sympathy for the Devil tour”,diventano un
pretesto per ritrarre un paese culturalmente e politicamente diviso, nel difficile
periodo post-elettorale che vide il trionfo di Bush.
Miela dalla rassegna Catodica con i Port Royal.
Grande attesa, infine, nella
mattinata di domani, giovedì 22
gennaio, per il responso delle
giurie e la successiva cerimonia
di premiazione dei vincitori di
questa edizione, in programma
alle ore 20 al Cinema Exclesior.
Per l’ultima giornata di festival,
inoltre, attesa per i due eventi
speciali di chiusura e per il
concerto organizzato al Teatro
Leggi le Ultime Notizie >>>
> Contatta la Redazione > Mappa del sito > Realizzazione: Interfase
Testata giornalistica registrata al Tribunale di Trieste n.1106 del 22/04/2005 - Editore ProgettoCultura - Direttore Paolo Radivo
Pubblicazione con aggiornamento quotidiano - © copyright ProgettoCultura - tutti i diritti riservati - condizioni di utilizzo
http://www.fvgnews.net/view.php?t=n&k=2489
Page 2 of 2

La penultima giornata in attesa dei responsi | MessaggeroVeneto
27.01.09 01:28
Ricerca: MessaggeroVeneto dal 2003
MessaggeroVeneto dal 20
Mappe
Meteo
Network
REGIONE UD NE PORDENONE GORIZIA
HOME ATTUALITÀ SPORT PERSONE SPECIALI PARTECIPA MULT MEDIA GU DA UTILE ANNUNCI ASTE-APPALTI LAVORO MOTORI NEGOZI MOBILE
Martedì 27.01.2009 Ore 00.26
IN EDICOLA
Le altre edizioni
LOGIN
Leggi
il quotidiano
Per abbonarsi
Prezzi
Consulta una copia
Sul cellulare notizie
italiane ed estere del tuo
giornale
La penultima giornata
in attesa dei responsi
VERSIONE STAMPABILE
INVIA
TRIESTE. Penultima giornata per la 20.ma edizione di Trieste Film Festival: mercoledì
21 gennaio ancora spazio ai concorsi con quattro documentari della sezione. Alle 15 in
Sala Azzurra il documentario in concorso Slepé Lasky di Juraj Lehotsk!, toccante
riflessione sui sentimenti e le emozioni delle persone non vedenti. Sarà poi la volta di
Bam-Raudtee ei-kuhugi (Bam - Una ferrovia verso il nulla), di Jouni Hiltunen, sul
fallimento del progetto della linea ferroviaria Baikal-Amur Magistral, voluta da Brezev
nel ’74 come sogno pionieristico della gioventù comunista e, a seguire, Mostar United,
di Claudia Tosi, immagine di com’è Mostar oggi e del tentativo di un uomo di
trasmettere alle nuove generazioni il senso perduto dell’unità. Ultimo documentario in
concorso, ma non per questo meno importante, Sresca Aifelovata kula (Ci vediamo
alla Torre Eiffel) di Valentin Valcev, riflessione sul “fare cinema” attraverso le immagini
raccolte nella Bulgaria di oggi sulle tracce del film De eerste jaren girato nel 1947 da
Marion Koblitz e Joris Ivens. Una promessa,quella di Valentin: quella di portare queste
immagini alla stessa Marion a Parigi, prima che lei muoia.
Sempre per le sezioni competitive, ultimi due lungometraggi in concorso, a partire da
Las meninas, opera prima dell’artista visionario ucraino Ihor Podolcak, in Sala
Excelsior alle 20. Una riflessione sugli effetti che la routine quotidiana può produrre su
mente e psiche, un film molto visivo, un puzzle che lo spettatore viene chiamato a
ricomporre in un quadro unitario. A seguire Turneja, del serbo Goran Marcovic, in
programma alle 22, racconta le avventure nel 1993 di un gruppo di attori di Belgrado
che, in cerca di facili guadagni, partono inconsapevoli di ciò che li attende per la
Krajina serba, a quel tempo devastata dai combattimenti. Sarà l’i ngenuità di questo
gruppo di attori a metterli in qualche modo in salvo dalla guerra.
Ultima giornata di concorso anche per i cortometraggi con tre lavori: la produzione turca
Sarduya, di Mustafa Emin Büyüco"cun (alle 15 sala Excelsior) e le due opere
proiettate la sera prima dei lungometraggi, Tolerantia, di Ivan Ramadan, e I don’t feel
like dancing, di Evi Goldbrunner e Joachim Dollhopf.
Ultimo appuntamento anche con Giacomo Gentilomo-Un protagonista nel cinema di
genere. A chiudere questa sezione sarà, alle 15.30 in Sala Azzurra, I fratelli
Karamazoff, del 1947.
Sempre nella giornata di mercoledì, sarà Uliisses di Werner Nekes, in programma alle
17.45 in Sala Azzurra, a concludere la sezione dedicata a James Joyce. Esempio di
sperimentazione cinematografica attraverso ciò che Nekes chiama “lighterature”, ossia
della “scrittura fatta con la luce”, il film si ispira liberamente all’< strong>Odissea di
Omero, all’< strong>Ulisse di Joyce, mentre Telemaco proviene dalla piece teatrale
The Warp di Neil Oram.
Per gli amanti della musica e delle “geografie alternative”, la sezione Walls of Sound
ci regala ancora due chicche. Alle 22.30 in Sala Azzurra verranno proiettati, infatti,
Glasba je casovnaumetnost (La musica come arte del tempo) di Igor Zupe, storia
della Jugoslavia a partire dal 1977, con il primo concerto della band Pankrti (I bastardi),
fino al 1980, anno in cui la band ha pubblicato il suo primo LP Dolgcajt. Questo
documentaria fa parte di una serie dedicata ai dischi che hanno fatto la storia della
musica pop slovena, intitolata “La musica come arte del tempo” .
A seguire, sempre in Sala Azzurra sarà la volta di Divided States o America - Laibach
2004 Tour, di Sa#o Podgor#ek, in cui le riprese del tour americano dei Leibach nel
2004, Sympathy for the Devil tour, diventano un pretesto per ritrarre un paese
culturalmente e politicamente diviso, nel difficile periodo post-elettorale che vide il
trionfo di Bush.
ULTIM'ORA
Roma, 23 02
C NEMA: "SCUSA MA TI VOGLIO SPOSARE" TERZO
FILM DI MOCCIA
New York, 22 45
WALL STREET: DOW JONES +0,48%, NASDAQ +0,82%
New York, 22 44
TEATRO: "THR LLER" DI MICHAEL JACKSON DIVENTA
UN MUSICAL
MULTIMEDIA
TESTATE LOCALI
Quotidiani locali
Repubblica edizioni locali
Le altre notizie
De Benedetti lascia le presidenze
ANNUNCI (UDINE E FRIULI VENEZIA GIULIA)
Appartamenti
Udine (UD) Ag. Immobiliare RAB NO -
OSOPPO graziosa villetta indipendente
recentemente ristrutturata tricamere sala
cucina taverna giardino mq. 500. Solo ?
160. 000.
Appartamenti
Udine (UD) Ag. Immobiliare SAVOIA -
FAUGLIS - ?Borgo Orsaria? A soli 4 km da
Palmanova villette bifamiliari
semindipendenti con belle porzioni di
giardino ottime metrature finiture
prestigiose. . ....
Appartamenti
Udine (UD) Ag. Immobiliare ERATO2 -
UDINE ? CENTRO STORICO Bellissimo e
luminoso attico bilivello con terrazza
abitabile vista castello ampia metratura
palazzina recentemente ristrutturata tutti i.
....
Appartamenti
di Toppo 21 Via Udine (UD) UDINE viale
Ledra. Recentissimo prestigioso mini (55
mq) : sala - cottura camera matrimoniale
bagno finestrato terrazza abitabile cantina
posto auto. Autonomo. Finiture di. ....
ANNUNCI DI LAVORO (UDINE E FRIULI VENEZIA
GIULIA)
ENI
desidera incrementare collaborazioni con Società di
Agenzia
AZIENDA LEADER PROPRIO SETTORE
ricerca profilo tecnico commerciale
INGEGNERE ELETTRONICO
anche prima esperienza per azienda in forte espansione
Grande attesa, nella mattinata di giovedì 22, per il responso delle giurie e la
successiva cerimonia di premiazione dei vincitori di questa edizione, in programma alle
20 al Cinema Exclesior. Per l’ ultima giornata di festival, inoltre, attesa per i due eventi
speciali di chiusura e per il concerto organizzato al Teatro Miela dalla rassegna
Catodica con i Port Royal.
(20 gennaio 2009)
ENTI E TRIBUNALI (UDINE E FRIULI VENEZIA GIULIA)
Tipologia: Vendite
http://messaggeroveneto.repubblica.it/dettaglio/La-penultima-giornata-in-attesa-dei-responsi/1578152?edizione=EdRegionale
Page 1 of 2

http://telekritika.ua/telekino/print/46138
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Стр. 1 из 1 25.10.09 14:15

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Page 3 of 5

News - AJA Video - Serial Digital Video Interface and Conversion
9/2/09 4:53 PM
TOP STORIES EVENTS USER STORIES
LATEST AJA NEWS
RELATED PRODUCTS
AJA KONA 3 Enables Post Production for 'Las
Meninas'
KONA
September 04, 2008
Video Capture and Playback Card Boosts All-Digital Workflow.
AJA Video Systems, a leading manufacturer of professional video interface and conversion
solutions, announced today that the KONA 3 video capture and playback card was used on “Las
Meninas,” the first full-length feature film from the Ukraine to employ an all-digital workflow. KONA
3 is AJA’s top-of-the-line uncompressed capture card for SD, HD, Dual Link HD and 2K for PCI
Express (PCIe) Apple Mac Pro systems, and was an integral part of the Final Cut Pro editing
pipeline for the film, which premiered in Tiger Awards Competition at the 37th Rotterdam
International Film Festival on January 25, 2008.
Written, directed and produced by Ukrainian painter and performance artist Ihor Podolchak, and
shot by cinematographer Serhiy Mykhalchuk, “Las Meninas” is the first feature-length film from the
Ukraine to contend for first prize in the Rotterdam International Film Festival, the main international
forum for avant-garde and art-house cinema. The film has been widely exhibited since its
premiere, also appearing at these international film festivals:
goEast Film Festival (Wiesbaden, Germany)
Transylvania International Film Festival (Romania)
Seoul International Film Festival (South Korea)
Moscow International Film Festival (Russia)
Artfilm International Film Festival (Slovakia)
La Rochelle International Film Festival (France)
Karlovy Vary International Film Festival (Czech Republic)
International “Era New Horizons” Film Festival (Wroclaw, Poland)
Athens International Film Festival (Greece)
Brisbane International Film Festival (Australia)
“Las Meninas” will be exh bited again this month at the Split International Film Festival in Croatia
(September 13-20, 2008) and the and the UK’s Cambridge International Film Festival (September
18-28), and later this year at the Festival de Cine de Bogotá (October 1-9) and the Sao Paulo
International Film Festival (October 17-30).
Shot with the Thomson Viper Filmstream and recorded to HD CAM SR tape, footage for “Las
http://www.aja.com/news/index_article.php?id=33
Page 1 of 2

News - AJA Video - Serial Digital Video Interface and Conversion
9/2/09 4:53 PM
Meninas” was captured with AJA’s KONA 3 video capture and playback card at 4:4:4 Log RGB.
The film was edited on an Apple Mac Pro using Final Cut Pro, and color corrected with Color, all
of which was processed using the KONA 3.
“The KONA 3 was the backbone of our editing pipeline,” commented Podolchak. “It did everything
we needed. Not only was the KONA 3 extremely stable and easy to use, it also allowed us to
develop the first fully digital production and post production workflow ever for a feature film in the
Ukraine. We couldn’t have done that without it.”
About KONA 3
KONA 3 is the ultimate uncompressed capture card for seamless operation with PCI Express
(PCIe) Mac Pro systems and Apple Final Cut Pro. Supporting any uncompressed SD or HD
format, including Dual Link HD and 2K, KONA 3 captures and plays back uncompressed 10-bit
and 8-bit digital video and 24-bit digital audio, providing unparalleled power and workflow
efficiency. KONA 3 also includes a variety of 10-bit broadcast-quality features, such as hardwarebased
up-, down-, and cross-conversion to and from HD, and adds a live hardware HD/SD keyer
for compositing bugs, live clips, and other elements over video.
Back to News
Site Map | About Us | News | Events | Contact Us
Telephone: +1-530-274-2048 | Request more information
© 2009 AJA Video Systems.
http://www.aja.com/news/index_article.php?id=33
Page 2 of 2

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Художній фільм - Сумно?Ком
07.10.09 20:09
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Українська "Las meninas": кілька мотивів Веласкеса | Українська правда _Життя
07.10.09 19:38
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Українська "Las meninas": кілька мотивів Веласкеса | Українська правда _Життя
07.10.09 19:38
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07.10.09 19:38
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kultura enter miesięcznik wymiany idei
http://www.kulturaenter.pl/12dw01.html#sdfootnote7anc
Janina Prudenko
Wspó!czesna sztuka ukrai"ska i nowe technologie
kultura enter
miesi!cznik wymiany idei
sierpie"/wrzesie" 2009
Najbardziej aktualnym tematem wspó!czesnej teorii sztuki jest zagadnienie: sztuka wspó!czesna a
nowoczesna technologia. Dzisiejszy Ukrainiec, a tym bardziej Europejczyk, odczuwa ogromny brak
informacji odno"nie genealogii ukrai#skiej sztuki mediów. Przyczyn zaistnienia takiej sytuacji jest kilka: po
pierwsze jest ona spowodowana chaotycznym i niejednorodnym rozwojem owej ga!$zi sztuki w warunkach
postradzieckich. Ponadto stan ten jest wynikiem zadziwiaj%co ma!ej aktywno"ci m!odych artystów
zajmuj%cych si$ sztuk% mediów, poniewa& na Ukrainie nie ma takich o"rodków jak Centrum Sztuki
Wspó!czesnej i Technologii Medialnych w Karlsruhe czy Instytutu Nowych Mediów we Frankfurcie. Z drugiej
strony – wspó!czesny odbiorca ukrai#ski zupe!nie nie jest przygotowany na taki rodzaj sztuki, co równie&
ma swoje przyczyny: pod poj$ciem sztuki nowoczesnej rozumie on jedynie sztuk$ drugiej po!owy XX wieku.
Sztuka mediów cz$sto w ogóle nie jest traktowana tutaj jak sztuka, podczas gdy w Europie czy USA
utworzono ju& specjalne muzea i galerie skierowane wy!%cznie na te nowoczesne formy sztuki.
Chocia# nale#y zaznaczy$, #e sztuka mediów na Ukrainie ma do%$ ugruntowan& histori!, powi&zan& z
dzia'alno%ci& ”Instytutu Goethego” w Kijowie. W 1997 r. dzi!ki wsparciu Info Media Banku, Centrum Sztuki
Wspó'czesnej oraz Instytutu Goethego1 zaproszony zosta' dyrektor Festiwalu Sztuki Mediów w Osnabrück'u –
Стр. 1 из 8 25.10.09 15:45

kultura enter miesięcznik wymiany idei
http://www.kulturaenter.pl/12dw01.html#sdfootnote7anc
Herman Nöring – który zapozna' ukrai"skich artystów oraz wszystkich zainteresowanych z zagadnieniami z
dziedziny zarówno teorii jak i praktyki sztuki mediów. Celem owego spotkania by'a nauka zastosowania
nowoczesnych technologii w sztuce. W ramach tego przedsi!wzi!cia odbywa'y si! seminaria z animacji
komputerowej, prezentacja dzie' sztuki mediów, oraz wystawa «Rze(ba-video w Niemczech»2.
Rezultatem tych wyk'adów, seminariów i wystaw sta' si! festiwal «KIMAF»3, odbywaj&cy si! przez trzy lata z
rz!du (2000-2002). Festiwal wypromowa' artystów sztuki mediów takich jak: Natalia Holibroda, Iwan Ciupka,
Illa Isupow, Olga Kaszymbekowa, Gleb Katczuk, Anna Artemenko, Oleksandr Wereszczak, Margaryta Zinec,
Kyry' Procenko4 i innych. Z czasem utworzy'a si! grupa artystów %ci%le zajmuj&cych si! t& dziedzin& -
«Instytucja niestabilnych my%li»5. W 2005 r. PinchukArtCentr zorganizowa'o wystaw! «Sprawdzian
rzeczywisto"ci»6, której tematem sta'y si! «post medialne» (O.So'owiow) dzie'a ukrai"skiej sztuki.
Jednak za dat! narodzin ukrai"skiej sztuki mediów nie mo#na przyj&$ roku 1997, poniewa# epoka rodzimych
artystów medialnych si!ga swoj& genez& do pocz&tku lat 90-tych XX wieku. Pierwsi arty%ci sztuki mediów to
najcz!%ciej malarze eksperymentuj&cy z nowym materia'em, czyli nowoczesnymi technologiami. Pracuj& oni
nad obrazami, wideo, instalacjami, performancami, rze(b&, fotografi& – cz!sto '&cz&c ze sob& ich ró#ne
elementy. Lwowscy arty%ci Igor Podolczak i Igor Diurycz7, cz'onkowie Fundacji Mazocha8, wed'ug
po%wiadcze" ukrai"skiego kuratora i znawcy sztuki Oleksandra So'owiowa – s& uznani za pierwszych twórców
ukrai"skiego video-artu. Arty%ci na pocz&tku lat 90-tych jako pierwsi zacz!li nagrywa$ na wideo swoje
performance i happeningi.
Z pocz&tkiem lat 90-tych zwi&zany jest równie# pocz&tek dzia'alno%ci jednego z najbardziej znanych oraz bez
w&tpienia najbardziej utalentowanych artystów ukrai"skich. B!d&c prawdziwym artyst&-wynalazc&, swoistym
cz'owiekiem renesansu, który nie eksploatuje «modnych trendów», Aleksander Hnilicki9 jako jeden z
pierwszych zaczyna %wiadomie pracowa$ z nowoczesnymi technologiami. Wa#ne jest to, #e artysta od
pocz&tku lat 90-tych nie zaprzestawa' pracy ze sztuk&, która 'amie ramy malarstwa, czy jakichkolwiek innych
klasycznych dziedzin sztuki.
W 1992 roku, po podró#y do Monachium, zmieni' si! styl twórcy. Zaczyna on szuka$ nowych %rodków
artystycznego wyrazu. By' to czas kiedy malarze odchodzili od malarstwa, pracowali nad nietypowymi stylami,
stosowali nowe techniki. W marcu owego roku Hnilicki tworzy trwaj&cy 25 minut video-art, w trakcie trwania
którego dziewczyna zamkni!ta w przeszklonej trumnie le#a'a i masturbowa'a si!. Paralelnie do emisji obrazu
czytany by' tekst poematu «'pi%ca królewna w szklanej trumnie»10 autorstwa Hnilickiego. Tekst by' ironiczn&
parafraz& poematu Puszkina «)pi&ca królewna»11.
Tego te# roku artysta wraz z Maksymem Mamsikowem i Natali& Filonenko12 nakr!ci' wideo «Krzywe
zwierciad!a – &ywe obrazy»13. W pracowni powiesili pi!$ krzywych zwierciade', kupionych za grosze od
by'ego dozorcy gabinetu luster. Hnilicki nakr!ci' uj!cia stosunków p'ciowych, w trakcie których w krzywych
zwierciad'ach ukazywa'y si! m!skie i kobiece cia'a. Przenika'y si! one surrealistycznie jedno w drugie, a organy
p'ciowe zwi!ksza'y si! do absurdalnych rozmiarów. Ogl&daj&c poszczególne kadry tego filmu mo#na by
odnie%$ wra#enie, #e by'y zrobione w Photoshopie. To dzie'o ukazuje, #e ukrai"scy arty%ci nie posiadaj&c
potrzebnej technologii i narz!dzi dla tworzenia «powa#nej» sztuki mediów, eksperymentowali z nowymi
artystycznymi metodami korzystaj&c z tego co mieli pod r!k&.
Po podró#y do Monachium Hnilicki poznaje si! z Lesi& Zajac i wspó'pracuj&c z ni& rozpoczyna swoj&
dzia'alno%$ jako artysta medialny. Ich twórczy tandem zrodzi' i wci&# rodzi projekty multimedialne. Na przyk'ad
ich projekt POKÓJ (2007)14 przedstawiony na 52-im Biennale w Wenecji. Z'o#ony by' z 4 projekcji
przedstawiaj&cych wn!trze pokoju. Obserwatorzy znajduj&cy si! wewn&trz tego pokoju, mog& dostrzec
post!puj&c& zmian! wygl&du wn!trza. Temat przedstawiania rzeczy p'ynnych, które istniej& wokó' nas, staje
si! temat przewodnim u artystów. Tak te# ich wspólny projekt MEDIA-KOMFORT (2007)15 z'o#ony jest z
kanapy, lampy stoj&cej i ozdobnego talerza wisz&cego na %cianie. Kanapa dla artystów nie jest jedynie
wygodnym miejscem do sp!dzania czasu, ale równie# powierzchni& dla projekcji na niej abstrakcyjnych
obrazów. Lampa tak naprawd! jest jakby zjaw&, tak jak w'a%ciwie wszystkie rzeczy, którymi siebie otaczamy –
jest %wietlnym obiektem, na który sk'ada si! p'ótno przedstawiaj&ce wizerunek lampy i (ród'o realnego %wiat'a,
które przebija si! przez powierzchni! rysunku do %wiata zewn!trznego. Ozdobny talerz na %cianie jest tak
naprawd! tabula rasa dla «talerzowych» projekcji wideo niesko"czonego zbioru wzorów ozdób ze wszystkich
epok i stylów.
W kanonie problematyki materializmu w spo'ecze"stwie konsumpcyjnym, stworzona zosta'a instalacja wideo
MEDIA-T(USZCZ (2007)16 - projekcja wideo przedstawiaj&ca bur#ujski kominek, w którym zamiast drewna
palone s& markowe rzeczy.
Стр. 2 из 8 25.10.09 15:45

kultura enter miesięcznik wymiany idei
http://www.kulturaenter.pl/12dw01.html#sdfootnote7anc
Hnilicki i Zajec zostali jednymi z za'o#ycieli grupy twórców pracuj&cych z multimediami - «Instytucji
niestabilnych my"li». Podczas gdy Hnilicki jako artysta medialny pracuje przewa#nie z Lesi& Zajec, to sama
artystka wspó'pracuje równie# z innymi twórcami sztuki mediów. W ramach «Instytucji niestabilnych my%li»
wraz z Oleksandrem Wereszczakiem i Margaryt& Zinec tworzy instalacj! audiowizualn& chernichivska !
bahnhof zoo (2001), prezentowan& w Kijowskiej galerii RA. Audialna cz!%$ instalacji prezentuje d(wi!k poci&gu
metra, który jedzie i zatrzymuje si!, g'osy pasa#erów, którzy wchodz& i wychodz& z wagonów, g'osy
sprzedawców gazet, czy #ebraków oraz znane w kijowskim metro: «Uwaga! Drzwi si! zamykaj&, nast!pna
stacja...17». Wizualna cz!%$ prezentuje imitacj! widoku z okna wagonu metro, która porusza si!, ale w
przeciwie"stwie do normalnych widoków znanych z ukrai"skiego metra, widz podziwia krajobrazy berli"skie.
Wracaj&c do genealogii sztuki mediów na Ukrainie, nie mo#na nie wspomnie$ o roli jak& odegra'y pierwsze
festiwale. Na przyk'ad festiwal Dreamcatcher stworzony zosta' w 1998 roku jako pierwsze forum dla
prezentacji nowych dzie' sztuki wspó'czesnych artystów ukrai"skich, zajmuj&cych si! ruchomym obrazem.
G'ównie po%wi!cony by' eksperymentom wideo i kinowym. Na festiwalu prezentowane by'y tak znakomite
dzie'a jak: «Milies-2000» i «Apokalipso» Gleba Katczuka, «Pragnienie»18 Illi Isupowa i inne.
Wa#nym wydarzeniem, które stworzy'o kontekst kulturalny dooko'a sztuki mediów w Kijowie sta' si! Kijowski
Mi$dzynarodowy Festiwal Sztuki Multimedialnej – KIMAF19, dzi!ki któremu ukrai"scy twórcy mogli zaistnie$
jako arty%ci medialni. Idea festiwalu dojrzewa'a przez trzy lata po znamienitej wizycie dyrektora Festiwalu Sztuk
Mediów Hermana Nöringa, która umo#liwi'a artystom zaznajomienie si! z podstawami tworzenia dzie'a
medialnego. Ju# w dniach 4-28 pa(dziernika 2000 r. odby'a si! pierwsza edycja festiwalu. Pocz&tkowo wraz z
projektami zagranicznymi, na do%$ wa#nym stopniu by'y prezentowane ukrai"skie projekty stworzone przy
u#yciu nowoczesnych technologii. Interaktywna instalacja CHOD) DO MNIE20 Natalii Golibrody i Iwana Ciupki
demonstrowa'a iluzoryczny obraz, pod którego wp'yw wpadali widzowie. Stworzony przez artystów obraz
wydawa' si! w zasi!gu r!ki, ale znika' przy ka#dej próbie zbli#enia si! do niego. W multimedialnych pracach
WIDEO MEBLE i DZIURY21 autor – Illa Isupow zwróci' si! do tworzenia trójwymiarowych obiektów b!d&cych
%rodowiskiem, w których kluczow& rol! odgrywaj& projekcje wideo.
Olga Kaszymbekowa i Gleb Katczuk przedstawili multimedialn& instalacj! CIEMNA STRONA 'WIAT(A22 która
z'o#ona by'a z dwufazowego hologramu przedstawiaj&cego zapalaj&c& si! i gasn&c& #arówk!, na któr&
na'o#ona by'a projekcja wideo ukazuj&ca $my lataj&ce wokó' #arówki i kieruj&ce si! na jej %wiat'o. Instalacja
na%ladowa'a realny %wiat – kiedy #arówka zapala'a si! owady «od razu zlatywa'y si!» do %wiat'a.
Na festiwalu projektem najciekawszym, odznaczaj&cym si! najwi!ksz& wirtuozeri& wykonania bezsprzecznie
by' projekt DO'WIADCZENIE LUDZKIEGO SERCA23 Iwana Ciupki. Praca dotyczy'a reakcji ludzkiego serca na
impulsy z zewn&trz – jest to reakcja wirtualnego serca na ludzi przechodz&cych obok niego. *yj&c w epoce
kultury wizualnej, która wizualizuje dowolne procesy wcze%niej podlegaj&ce jedynie mo#liwo%ciom wyobra#ania
ich sobie w my%lach, widz za po%rednictwem wirtualnego %wiata by' w stanie obejrze$ przybli#ony wygl&d
swojego serca, które reaguje na %wiat zewn!trzny.
Drugi festiwal KIMAF odby' si! w dniach 1-28 pa(dziernika 2001r., a najciekawszymi projektami na nim okaza'y
si! prace Olgi Kaszymbekowej i Gleba Katczuka. W interaktywnej instalacji ANTY-KARAOKE24 Olgi
Kaszymbekowej widzowi znajduj&cemu si! obok pustej kabiny prysznicowej proponuje si! za%piewanie
karaoke do mikrofonu. Kiedy widz zaczyna %piewa$, opada pó'przezroczysta firanka i widzi on myj&c& si!
osob! – m!#czy(ni widz& kobiet!, a kobiety m!#czyzn!. Do akompaniamentu muzyki do'&cza si! d(wi!k wody
p'yn&cej z kranu. Kiedy widz przestaje %piewa$, woda przestaje p'yn&$, a cz'owiek pod prysznicem zaczyna
zamarza$ szcz!kaj&c przy tym z!bami. Je%li widz po chwili znowu zaczyna %piewa$ proces mycia si!
powtarza, je%li nie – oburzona osoba bior&ca k&piel opuszcza kabin!.
Projekt KARMAGEDDON-KARAOKE25 Gleba Katchuka bazuje na kultowej grze «Carmageddon», która
oskar#ana by'a o nadmiern& brutalno%$, a w niektórych krajach zosta'a nawet zakazana. Gracz bierze udzia' w
wy%cigu po wirtualnym mie%cie. Jego celem jest uzyskanie jak najwi!kszej ilo%ci punktów niszcz&c swoich
przeciwników - niewinnych przechodniów. W zaproponowanej, «z'amanej» przez artyst! wersji gry, do
normalnych regu' zosta' dodany element karaoke. Na pocz&tku ka#dej misji zaczyna gra$ jaka% popularna
piosenka, na ekranie pojawiaj& si! wersy jej tekstu jak w zwyczajnym karaoke. Pr!dko%$ odtwarzania s'ów i
muzyki jest zale#na od pr!dko%ci jak& rozwija samochód gracza. W zwi&zku z tym musi on równocze%nie
stara$ si! utrzymywa$ potrzebn& mu wysok& pr!dko%$ i nad&#a$ ze %piewaniem piosenki.
Trzeci i ostatni festiwal KIMAF odby' si! w dniach 9-15 listopada 2002 r. i prezentowa' projekty znanych ju#
artystów medialnych, ale dawa' tak#e mo#liwo%$ zaistnienia nowym nazwiskom. )wie#ymi dla festiwalu sta'y
si! imiona twórców: Oleksandra Wereszczaka i Margaryty Zinec, którzy na starcie zaprezentowali mocny
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kultura enter miesięcznik wymiany idei
http://www.kulturaenter.pl/12dw01.html#sdfootnote7anc
artystycznie projekt. Ich interaktywna instalacja BEZ NAZWY26 daje mo#liwo%$ kontaktu z wirtualnymi
postaciami. Widz obserwuje solidnie zbudowanych m!#czyzn w garniturach, stoj&cych plecami do
publiczno%ci. Ale je%li kto% z publiki powie cokolwiek, jeden z m!#czyzn odwraca si! i zaczyna przedrze(nia$ t&
osob!.
W
Znani ju# na festiwalu autorzy – Gleb Katczuk i Olga Kaszymbekowa – zaprezentowali instalacj! interaktywn&,
która kontynuowa'a tematyk! karaoke – ANTYKARAOKE-327. *eby uczestniczy$ w tym interaktywnym
wydarzeniu wystarczy widzowi wypowiedzie$ jakiekolwiek s'owo do mikrofonu. Rol! mikrofonu pe'ni zwyczajna
#arówka elektryczna umocowana na statywie. Si'a g'osu widza jest wielokrotnie zwi!kszana, a jego twarz
zostaje od do'u pod%wietlona przez #arówk! – daje to efekt przypominaj&cy kadry starych horrorów albo
ekspresjonistycznych niemych filmów, który by' wykorzystywany do ukazywania bohaterów negatywnych.
Jeszcze jeden projekt, jaki zaprezentowa' twórczy duet – KASETA SZCZ*'CIA28. Kaset!, na której nagrane
by'y wizerunki talizmanów szcz!%cia ró#nych kultur, nale#a'o skopiowa$ (w tym wypadku 7 razy) i rozes'a$
siedmiu osobom. Wed'ug autorów, orygina' kasety zosta' po%wi!cony w Jerozolimie na Grobie Pa"skim 25
grudnia i dotar' poczt& na Ukrain! 7 stycznia. Jak zaznaczali sami twórcy, projekt ten mia' na celu – wbrew
popularnej opinii, #e wspó'czesna sztuka jest no%nikiem negatywnych my%li, energii czy %wiadomo%ci –
przynie%$ ludziom szcz!%cie za po%rednictwem wideoartu. Jednak nie jest to jedyny cel tego projektu – autorzy
pos'uguj&c si! nie nachaln& postmodernistyczn& ironi& demonstruj& proces mitotwórczy, który codziennie
odbywa si! w realiach kultury mass mediów.
Iwan Ciupka tym razem '&czy swoje dzia'ania artystyczne z Ann& Artemenko, tworz&c projekt SZUM29.
Wszystkim wiadomo, #e kiedy na ekranie telewizora ko"czy si! transmisja, pojawia si! charakterystyczny szum
i %nie#enie. Autorzy zapewniaj&, #e je%li si! przyjrze$, w tym chaotycznym, monotonnym obrazie mo#na
dostrzec wizje sfer nadprzyrodzonych.
Multimedialna instalacja 3D POWIADOMIENIA30, stworzona przez duet Kyry' Procenko i DJ Derbastler,
zbudowana jest ze zwyczajnych fotografii i ich stereoskopowych odzwierciedle", które oddzia'uj& na widza
jedynie wtedy, gdy znajduje si! on w ci&g'ym ruchu. Pomaga mu w tym muzyka, która jest trzecim elementem
tego dzie'a.
Po festiwalu KIMAF, nast!pnym wa#nym wydarzeniem w dziedzinie sztuki mediów by'a wystawa Sprawdzian
rzeczywisto"ci (2005) która odby'a si! w Artystycznym Arsenale31 (Kijów). Kurator wystawy, Oleksandr
So'owiow, jako g'ówny temat ekspozycji okre%li' «post medialne» dzie'a, przedstawione w ca'ej swojej
ró#norodno%ci – od wideoartu do instalacji multimedialnych. Autorka wideo HIPODROM32 Wiktoria
Begalska33 przedstawi'a codzienno%$ hipodromu, gdzie na wy%cigi przychodz& ludzie na skraju n!dzy i
zostawiaj& tam swoje ostatnie pieni&dze. Realistyczny obraz zako"czony jest chimerycznymi snami bohaterki,
która zasn!'a na jednej z 'awek na obszarze hipodromu.
NIEWIDOCZNY ARSENA(34 Illi Cziczkana35 i Kyry!a Procenko jest przyk'adem ewolucji wspó'czesnej sztuki
ukrai"skiej od wideoartu do instalacji multimedialnej. Projekt stanowi prób! nadania nowego sensu
dziedzictwu kinematograficznemu O'eksandra Dow#enko36, jego niememu filmowi «Arsena'», przy u#yciu
technologii cyfrowej. Oleksandr Rojtburd37 za pomoc& sprz!tu VJ'a przerabia telewizyjne wywiady z
politykami, gdzie obraz albo zastyga, albo powtarza si! w g'upi sposób.
Multimedialna instalacja KIBERNAIV38Ihora Gusieva39 pokazana na wystawie, sk'ada'a si! z wideo
zmontowanego z psychotycznych ci&gów skojarze" po'&czonych z wydrukami cyfrowych obrazów. W ramach
Instytucji Niestabilnych My"li zosta' zaprezentowany projekt POKÓJ40Oleksandra Wereszczaka i Margaryty
Zinec – czterokana'owa instalacja medialna, «animacja eksperymentalna». Zaciemniony boks reagowa' na
widzów fosforyzuj&cymi ko'ami, które rozchodzi'y si! po pod'odze od nóg osoby która tam wesz'a i mog'a si!
ona poczu$ jak kamie" rzucony w wod!.
Wp'yw nowoczesnych technologii na klasyczne dziedziny sztuki przedstawi'a Oleha Tisto!a41 «Telerealizm»42
- «pikselizowana» faktura obrazu imituje w swojej stylistyce mechaniczny wygl&d obrazów wideo.
Hermafrodytyczne tandemy artystyczne Hnilicki-Zajec, Wereszczak-Zinec, Katchuk-Kaszymbekowa, Ciupka-
Artemenko – stanowi& udany schemat ukrai"skiej sztuki mediów: Jurij Kruczak43 i Julia Kostieriewa44
rozpoczynaj& swoj& dzia'alno%$ w1996 r. w Charkowie. Cech& wyró#niaj&c& owych artystów od samego
pocz&tku ich twórczo%ci by'o to, #e uwa#aj& oni siebie w pierwszej kolejno%ci za naukowców, badaczy.
Ich pierwszy projekt O.T.S.E., zrealizowany we wrze%niu 1999 r. - to dwumiesi!czne «%ledztwo artystyczne»
procesu przeciw seryjnemu mordercy Anatolijowi Onoprijenko45. Autorzy projektu stan!li przed pytaniem: sk&d
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kultura enter miesięcznik wymiany idei
http://www.kulturaenter.pl/12dw01.html#sdfootnote7anc
wzi!'o si! tak wielkie zainteresowanie mass mediów postaci& seryjnego mordercy? Twórcy snuj& wniosek, #e
jest to gra mediów, by przetworzy$ spraw! kryminaln& w oper! mydlan&, spekuluj&c na temat brutalno%ci we
wspó'czesnym spo'ecze"stwie. Od policjanta nabyli materia'y wideo, które bardzo nimi wstrz&sn!'y, w zwi&zku
z czym arty%ci wybieraj& niezwyk'& form! wyra#enia swoich prze#y$: organizuj&c «stypy» po osobach zabitych
przez morderc!. Wed'ug nich, dzia'anie nie mog'o przyj&$ formy performancu czy happeningu, poniewa#
materia' artystyczny by' zbyt powa#ny i zbyt trudny w odbiorze. Pod czas «styp» cztery projektory wy%wietla'y
zakupione materia'y wideo. Widzowie - uczestnicy «styp», zgadzali si!, #e by' to najbardziej stosowny sposób
poruszenia tego problemu. Jednak dalsza reakcja spo'ecze"stwa nie by'a ju# tak adekwatna – artystów
zacz!to przyrównywa$ do samego mordercy.
Projekt BABY (2002r.) jest pierwszym powa#nym, multimedialnym dzie'em artystycznym w którym artystom
uda'o si! zi%ci$ marzenia o po'&czeniu sztuki i nowoczesnych technologii. Celem twórców by'o danie ludziom
mo#liwo%ci by sami mogli tworzy$ sztuk!, w tym wypadku sami mogli tworzy$ swoje w'asne dzieci. W czasie
trwania projektu na Ukrainie wspó'czynnik zgonów by' znacznie wy#szy ni# narodzin, dlatego autorzy
postanowili stworzy$ projekt internetowy, dla którego przygotowana by'a specjalna strona www, gdzie ka#dy
móg' stworzy$ sobie swoje w'asne dziecko i rozwija$ je przez 9 miesi!cy. Pod uwag! wzi!to nawet kwesti!
podobie"stwa wirtualnego dziecka do rodziców – specjalnie w tym celu transponowano aur! cz'owieka na
wirtualne dziecko. Kilka prezentacji tego projektu mia'o miejsce w Charkowie. Podczas nich przeprowadzone
zosta'y badania i okaza'o si!, #e 90% ankietowanych nie chcia'aby, #eby ich dzieci #y'y w prawdziwym %wiecie.
Projekt wywo'a' ogromn& dyskusj!, szczególnie po zaproszeniu jego autorów do talk show, w którym udzia'
brali równie# przedstawiciele Instytutu Sztucznego Zap'odnienia, przedstawiciele struktur religijnych i matki
zast!pcze. Projekt artystyczny Kruczaka i Kostieriewej uznano za jeden z mo#liwych sposobów na poruszenie
problemu demograficznego na Ukrainie, pad'a nawet propozycja by uczyni$ go komercyjnym, ale arty%ci
odmówili.
Projekt COCA-COLA I 'WI*TA WOJNA46 dzia' si! w latach 2000-2004, na terenach galerii «Arsena'» (Pozna",
Polska) i galerii «Majsternia»47 (Kijów, Ukraina). Od pocz&tku lat 90tych reklama wkracza w nasz& codzienno%$
w coraz bardziej agresywny sposób, arty%ci twierdz&, #e poch'on!'a ona ca'& woln& przestrze". Ulotka
Lufthansy, która trafi'a w ich r!ce wyda'a im si! w swojej istocie podobna do faszystowskich plakatów
agitacyjnych. Z owych plakatów wyci!li oni zatem faszystowskie slogany i na ich miejsce wstawili tekst z
reklamówki linii lotniczych. W Polsce, w przestrzeni publicznej, projekt realizowany by' w formie wirtualnych
banerów, na Ukrainie przyj&' form! plakatów reklamowych.
W 2002 r. J.Kruczak i J.Kostieriewa stworzyli w Centrum Sztuki Wspó'czesnej «NAUKMA»48 (Kijów)
interaktywn& instalacj! medialn& SIE+ MARZENIA49. Tym razem przedmiotem bada" sta' si! wspó'czesny
cz'owiek i jego zdolno%$ do przezwyci!#ania sprzeczno%ci wspó'czesnej kultury – projekt realizuje now&
strategi! wspó'istnienia spo'ecze"stwa z nowoczesnymi technologiami elektronicznymi. Stosuj&c nowe media,
arty%ci w swojej pracy tworz& kompletne miejsce dla dialogu widza z dzie'em, gdzie autor jest nie tylko twórc&
ale i uczestnikiem komunikacji. Sedno projektu tkwi w tym, #e autorzy badali media elektroniczne i to jak
cz'owiek mo#e si! w nich zatraci$. Kamera w ciemnym boksie nagrywa'a cz'owieka, a komputer zachowywa'
na ekranie jego wygl&d, nawet wtedy, kiedy dana osoba stamt&d wysz'a. Nast!pny uczestnik wchodz&c do
boksu widzia' na ekranie zarówno wizerunek osoby, która dopiero co wysz'a jak i swój w'asny.
M'oda generacja artystów, którzy z 'atwo%ci& opanowuj& nowoczesne technologie posuwa si! dalej w swoich
eksperymentach medialnych. Masza Szubina50 w 2007 r. realizuje projekt CYFROWY NARCYZM51
(PinchukArtCenter; Generetion UsA). W tym przedsi!wzi!ciu m'oda ukrai"ska artystka, która za pole swojej
pracy twórczej obra'a Internet, a szczególnie portale spo'eczno%ciowe, postawi'a sobie za cel poznanie si! z
kuratorami, w'a%cicielami galerii, dyrektorami muzeów. Wedle s'ów Maszy, odpowied( otrzyma'a wy'&cznie od
jakiego% kuratora z Australii, w wi!kszo%ci za% na jej propozycje reagowali m!#czy(ni, sk'adaj&c jej intymne
propozycje.
Równoleg'ym celem projektu by'o popularyzowanie w'asnej sztuki na ró#nych kra"cach kuli ziemskiej,
nawi&zanie kontaktu z widzami poprzez sta'& korespondencj! – pó(niej rozwiesza'a te listy wokó' swoich
obrazów w galeriach, gdzie by' prezentowany jej projekt. Masza podkre%la, #e jej zamierzeniem by'o
«po'&czenie tradycyjnego malarstwa z multimediami». Oprócz Ukrainy projekt prezentowany by' równie# w
Rosji, Niemczech, W'oszech i Wielkiej Brytanii.
Niezwykle ciekawym przedsi!wzi!ciem, stworzonym na granicy sztuki klasycznej i nowoczesnej (teatru i sztuki
mediów) jest projekt S(OWNIK CHOZARSKI albo Requiem dla teatru52 (re#.:Anna Saminina53) zrealizowany
w grudniu 2007r. w Pa"stwowym Centrum Teatralnym im. +esia Kurbasa.
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kultura enter miesięcznik wymiany idei
http://www.kulturaenter.pl/12dw01.html#sdfootnote7anc
Spektakl teatralny «S'ownika chozarskiego» Milorda Pawycza54, który jako pierwszy na Ukrainie by'
transmitowany na #ywo online na stronie www.hazary.com.ua zosta' zrealizowany nie tylko w formie
przedstawienia, ale równie# jako projekt medialny. Hipertekst Pawycza by' uzupe'niany podczas widowiska
komentarzami widzów, które by'y wy%wietlane na frontowej %cianie sali teatralnej. Jedna osoba przysz'a nawet
na spektakl ze swoim w'asnym laptopem i w zwi&zku z tym by'a jednocze%nie widzem realnym i wirtualnym.
Oprócz tego sami aktorzy siadali przy komputerze ustawionym na scenie i mogli kontaktowa$ si! z widzami
online, co równie# ukazywa'o si! na %cianie.
Ta ciekawa forma artystyczna, nawi&zuj&ca do wspó'czesnej zagranicznej sztuki mediów, ma swoj& histori!.
Re#yser Anna Saminina korespondowa'a z autorem chc&c umówi$ si! na konsultacje odno%nie takiego
z'o#onego dzie'a literackiego, ale Pawycz odpisa' jej, #e nie ciekawi go historia jakiego% kolejnego spektaklu
opartego na jego utworze. W'a%nie wtedy pojawi'a si! idea by zrealizowa$ sztuk! teatraln& po'&czon& z
multimediami, szczególnie bior&c pod uwag! fakt, #e teksty Pawycza same w sobie s& wielowarstwowe.
Pocz&tkowo pomys' polega' na tym, by zrobi$ spektakl, który cz!%ciowo dzia'by si! na scenie, a cz!%ciowo
by'oby to nagrane wcze%niej wideo – za plecami aktorów odbywa'aby si! cz!%$ przedstawienia. Pó(niej
pojawi'a si! idea stworzenia strony internetowej i transmisji spektaklu online, aby wirtualni widzowie mogli bra$
bezpo%redni udzia' w spektaklu, komunikuj&c si! z aktorami i publik& na widowni.
Obecno%$ m'odej sztuki mediów na Ukrainie wymaga równie# istnienia wspó'czesnych festiwali sztuki
medialnej, które artystom da'yby mo#liwo%$ prezentowania swoich prac. NON STOP MEDIA –
Mi!dzynarodowy Festiwal Projektów M'odzie#owych jest organizowany przez Charkowsk& Komunaln& Galeri!
Artystyczn&. W dniach 12 maja – 7 czerwca 2008 r. odby'a si! ju# czwarta edycja tego festiwalu. Gatunki i
dziedziny sztuki prezentowane na imprezie by'y bardzo zró#nicowane: malarstwo, grafika, rze(ba, plakat, teatr,
literatura, muzyka, body art, fotografia, kino, animacje flash, instalacje, SMS Art, wideoart itp. Jednak osnow&
festiwalu jest bezapelacyjnie sztuka wizualna. Projekty wizualne prezentowali ukrai"scy twórcy z Charkowa
(grupa SOSka), Kijowa (grupa REP) 55, Odessy, Lwowa, Chersonia, Dniepropetrowska, ale równie# z Samary,
Nalczyka (Rosja) i Poznania (Polska). W projekcie wideo «Obywatele ukrai"scy, s&siedzi i nieznajomi» wzi!li
udzia' arty%ci z USA, Bia'orusi, Mo'dawii i Ukrainy (ich prace skompilowa' Jurij Kruczak).
W tym roku w programie przewidziane by'o spotkanie ze sztuk& SMS Art. Przedstawiona ona zosta'a w ramach
pracy «Mobilna samotno%$» autorstwa dwóch charkowskich artystów – Hamleta Zinkiwskiego56 i Romana
Minina57. Hamlet przygotowa' na festiwal 15 obrazów, na których przedstawieni s& ludzie rozmawiaj&cy przez
telefony komórkowe. Prace Minina, wykonane w technice SMS Artu - dowodz&, #e nawet pos'uguj&c si!
«komórk&» mo#na tworzy$ wspó'czesn& sztuk!.
Festiwal Tydzie# sztuki aktualnej 7 58, który odby' si! we Lwowie w dniach 14-21 wrze%nia 2008 r.
przewidywa' specjalny program medialny: MediaDEPO. Wiktor (awny59 zaprezentowa' w Centrum Historii
Sztuki projekt medialny '&cz&cy malarstwo z wideo: na %cianach powieszone by'y p'ótna z troch!
surrealistycznymi wizerunkami pseudo ukrzy#owa" (dok'adniej przedstawia'y zawis'ych w powietrzu ludzi z
rozpi!tymi r!koma), a na laptopach prezentowane by'o wideo. W Centrum Historii Miasta Jewhen Rawski60
stworzy' wystaw! fotograficzn&, gdzie metod& fotomonta#u na zdj!ciach Lwowa umie%ci' «obce» obiekty
architektoniczne: oper! z Sydney , piramid! sprzed Luwru itp.
Hlib Wyszes!awski61 razem z DJ-ami: Markianem Wysockim62, Myko'& Pipko63, LAWrin, INSANE, stworzy'
projekt wideoart CINEMUZYKA64 – podczas wyst!pu DJ-ów muzyka towarzyszy'a emisji filmu archiwalnego
(«Metropolis», re#. Fritz Lang).
Nie b!dzie bezpodstawnym stwierdzenie, #e sztuka mediów nie istnieje jedynie w sferze wspó'czesnej kultury
Ukrainy, ale ma równie# ca'kiem powa#n& histori! oraz wyj&tkowe festiwale medialne. Co do stworzenia
muzeum – jest to nast!pny wa#ny krok, który b!dzie musia' zosta$ zrealizowany.
T'umaczenie: Dariusz Figura
1W oryginale: ,-./ 01234 54-6, 71-89 :;?:81@8A4, B181-3-:8?8;8 – przyp.t'um.
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kultura enter miesięcznik wymiany idei
http://www.kulturaenter.pl/12dw01.html#sdfootnote7anc
Vereshchak), 049=49?84 P3-1@K (Margarita Zinets), L?9?DD Q9/@1-6/ (Kyryl Protsenko) – obok niektórych
nazwisk w j!zyku ukrai"skim w nawiasie podane s& warianty pisowni w j!zyku angielskim – w wypadku gdy ich
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5W oryginale: ,-:8?8;@3G -1:84H3DK-?R 2;>/6 - przyp.t'um.
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kultura enter miesięcznik wymiany idei
http://www.kulturaenter.pl/12dw01.html#sdfootnote7anc
36 O'eksandr Dow#enko – ukrai"ski re#yser, scenarzysta i producent filmowy, jeden z pionierów kina
ukrai"skiego, pisarz - przyp.t'um.
37W oryginale: JD16:4-29 [/V8H;92 - przyp.t'um.
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Стр. 8 из 8 25.10.09 15:45

В украинский прокат вышли четыре новых фильма » Афиша – Корреспондент
10/10/09 11:38 AM
Сде ать стартовой Текстовая версия ;

В украинский прокат вышли четыре новых фильма » Афиша – Корреспондент
10/10/09 11:38 AM
По сюже у, секре арь Джули Пауэлл пос авила перед
собой цель: за 365 дней при о ови ь 524 блюда,
kino-teatr.ua
описанных в знамени ой кулинарной кни е Джулии Чайлд
F:%0 % GH2:%0
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победы и поражения на кулинарном фрон е девушка
описывала в бло е. Очень скоро жизнь Джули изменилась
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Ак еры: Мерил Стрип, Эми Адамс, С енли Туччи, Линда Эмонд.
Запрещенная реальность - российский фан ас ический
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роману СМЕРШ-2 Василия Головачева.
А ен военной разведки Ма вей Соболев счи ае ся
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коро ае дни за ородом.
film.ru
I$6#)J)&&$0 #)$:4&/*74
8K/ *6/"/C&2Q H%(&4 ,3$:% /7 =/:4D%E 3): &$#2D$)7
%(,)*7%) / 7/?, >7/ /#2H%) 6/E%J)&/ )K/ =

Las Meninas: еда, секс, семья, смерть
10/17/09 2:06 PM
Суббота, 17 Октября 2009 v·2
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!"#$ " %& | 06 '()*+,- 2009, 21:47 | .$)$: 9
Las Meninas: еда, секс, семья, смерть
В ограниченный прокат вышел фильм Las Meninas известного
мазохиста Игоря Подольчака: в определенной степени - шедевр,
посмотреть и треть которого - подвиг.
Шуша Премьеры недели
Наши звезды Кино
Рецензии
Фото
!"#$%&% '% (%)*"
Рейтинг материала: 4 Отдать голос +
Режиссерский дебют пиарщика,
художника, фотографа Подольчака
крайне необычен. Условно фильм
можно разделить на две части. В
первой семейство сидит за столом
собственного дома; главными
героинями кадра становятся вилки,
постукивающие о тарелки с разной
наполненностью едой. Все остальное -
незримо: отношения стареющей
супружеской пары между с собой и с
дочерью, прошлые обиды и актуальные
во все времена паранойи.
Эротические фотосесии
Отличное качестно
фотографий смотрим
бесплатно
most.ua
39'%:1%7 0:=C17 C6D7:71
Пандорум: мордобой в космосе
Анджелина Джоли заменила
Шарлиз Терон
Влюбленным вход разрешен
Мел Гибсон и Джоди Фостер вывели
Бобра в люди
Терпение и труд Анну Винтур
перетрут
Формула паранормальности
Ольга Куриленко откроет
Молодость
Че Гевара за 79 дней
Шиа ЛаБеф и Майкл Дуглас
штурмуют Уолл Стрит
Амели не хочет замуж
+,'- , ./
Вторая часть - более эскпрессивная, и посвящена не еде, а сексу,
причем главным эротическим фетишем становится не сама виолончель,
а канифоль, смычок и т.д. Несмотря на то, что с первого взгляда Las
Meninas (назван фильм так в честь картины Веласкеса) кажется
бессмысленным набором видеоарта, густая атмосфера происходящего
завораживает.
Режиссер использует обычные и необычные методы с целью ее
подчеркнуть, заговорить собственным, пусть и экзотическим
киноязыком, - освещение, отражения, тени, громкость причмокиваний.
Звук в Менинах значит не меньше, чем изображение, но, к сожалению,
по качеству не дотягивает до западного артхауса.
К слову, команда над фильм трудилась уникальная - оператор Сергей
Михальчук, звукорежиссер Мирослав Кувалдин, актеры Николай
Вересень, Анна Яровенко, Любовь Тимошевская.
/'0/12134 56 5'&'3%1
E-mail:
подписаться
3&7817 !'9975%6:11
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Page 1 of 3

Las Meninas: еда, секс, семья, смерть
10/17/09 2:06 PM
По синопсису, Las Meninas рассказывают о семье, подстраивающейся
под капризы больного экземой сына, а история основана на практике
львовского невролога. Сказать честно - фильм ни разу не опускается
до конкретики. Хорошо хоть - ясно, что он о семье. Размытость
трактовок добавляет картине дополнительного очарования. Основное
же обеспечивает невероятная физиологичность действа.
В целом, Las Meninas оставляет в равной мере радостные и гнетущие
впечатления. Впрочем, размышляя о том, что это украинский фильм,
все же преобладают первые.
Шуша
Ваш комментарий
Ваше имя:
Ваш E-mail:
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G>*L#"($B
Сергей: "Кошка драная,
страхотка-Скарлетт!!!"
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sasho: "самоне смешное,что
4-ре часа это мелочи в..."
S; C;B

Фильм: Las Meninas - лучшие фильмы на e-movie.com.ua
http://e-movie.com.ua/film/47263.html
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Кинодайджест — все о кино в одном журнале Кин...
http://kinodigest.com.ua/?page=afisha&afisha_cinema...
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UKRAINE | 309
Kira Muratova’s Melody for a Barrel Organ
Serhiy Bukovskiy’s The Living
IFG_2009_pages.indb 309 22/12/08 17:41:04

310 | UKRAINE
Ihor Podol’chak’s Las Meninas
Oles Yanchuk’s Metropolitan Andrey
‘The crisis can hardly influence the Ukrainian
film industry, which is in its embryonic state.
One fact is obvious: the one who would find
now resources and ideas for creation of highquality
film product and would overcome
crisis difficulties, in two years will lay a claim
to leadership in the whole domestic film
industry and will be able to easily enter the
international market.’ Producer OLEH KOKHAN
discussing the world economic crisis.
IFG_2009_pages.indb 310 22/12/08 17:41:06

Лариса Денисенко - Документ, 19.10.09
http://larysa.com.ua/content/view/180/1/
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2010

European Film Festival Main Selection
01.02.10 17:29
This is the html version of the file http://www.lyff.org.uk/EFF2009.doc.
Google automatically generates html versions of documents as we crawl the web.
European Film Festival Main Selection
Feature Films
Las Meninas (99m, Ukraine)
Dir. by Ihor Podolchak
A family of four live in the suburbs in a strange villa that appears, through a complex game of mirrors, to be more like a piece of installation
art than a real house. The son, a man in his thirties. suffering from asthma and eczema since childhood, uses his condition to manipulate his
parents and his sister. Thus the existence of the terrorized family turns into an endless ritual of attempting to satisfy his whims, and always on
the alert for yet another one of his “health crises”.
The Rat Thing (99m, U S A)
Dir. by Kevin Keresey
Two down and out friends living in Venice, California, struggle in social and economic deprivation. They reach the point where they can’t go
on. Escalating pressures force them to hatch a wild, get-rich-quick scheme in a last ditch attempt to solve “all of their problems”. The farfetched
scheme involves one of them being bitten by a rat in a major supermarket with the fantastical hopes of winning an outrageously huge
settlement. What transpires is a perfect example of “the best laid plans of mice and men” where reality trumps delusion and, in one comic
turn after another, depravity gives way to humanity.
The Vicious Kind (92m, U S A)
Dir. by Lee Krieger
Meet Caleb Sinclaire, a wry malcontent of a construction worker who uses his world-weary wit as a protective shield. Estranged from his
family and living alone after his girlfriend cheated on him, Caleb's droll contempt of others is tested when he meets Emma, his younger
brother Peter’s new girlfriend who comes home for Thanksgiving. Drawn to her but distrustful of women, Caleb warns Peter that Emma will
end up hurting him. Over the next few days, however, Caleb and Emma keeping running into each other in his small hometown, and despite
his best attempts, Caleb's attraction to Emma grows, as does his desire to see her. Eventually seduced by Emma's effect on him, Caleb’s
unexpected feelings force him to confront the heartbreak he has long struggled to conceal.
The Burial (91m, France)
Dir. by David Mills and Danielle Boucher
When three estranged brothers gather for their mother’s funeral the last thing they expected was a family road trip. Mother’s final wish was
clear: “Take me to the river and bury me with your Father”. The reluctant sons, a girlfriend and a coffin squash into a vintage hearse, bumble
their way from France to England, and realise that to bury the past there’s some digging up to do.
Seven Sisters (82m, Denmark)
Dir. by Asa Tillanger
A mockumentary. From over two hundred applicants, Fredde need to select seven that will become the new faces of Gambro products.
Through the courses of the interviews Fredde gets to know each of them, their lives, their dreams, and fears. But at the end of the day, is it
really Fredde’s life which is being laid bare?
Paul Foote (87m, Greece)
Dir. by Aristo Papadeio
http://209.85.135.132/search?q=cache:hk4F27Bt2doJ:www.lyff.org.uk/EFF2009.doc+podolchak&cd=7&hl=en&ct=clnk&client=safari
Page 1 of 6

European Film Festival Main Selection
01.02.10 17:29
A clash of cultures wreaks havoc when an American military man decides to establish a boot camp for overweight desk jockeys on a remote
Greek Island. Sergeant Foote bumblingly attempts to head off the the anger of the local community, fired up by Aletia, an anti-globalisation
activist fresh from university.
Feature Documentaries
Al Hansen - The Matchstick Traveller (55m, Germany)
Dir. by Mareike Wegener
Al Hansen – The Matchstick Traveller' portrays an artist who was everything at once: beat poet, pop artist, performer, Fluxus artist, author, porn
editor, actor, composer, punk band manager - an axis for all post war movements, and still an outcast. The film looks back at his chaotic life,
and examines the notion of failure.
Bigfoot: A Beast On The Run (54m, Switzerland, U S A)
Dir. by David Thayer
Late at night, deep in the woods of Washington State, Todd Limberg made an audio recording of some eerie howling. He thinks it might be
Bigfoot. Is it? Let's ask the experts.
Blue Gold: World Water Wars (90m, U S A)
Dir. by Sam Bozzo
Wars of the future will be fought over water, as they today over oil, as the source of all life enters the global marketplace and political arena.
Corporate giants, private investors, and corrupt governments vie for control of our dwindling fresh water supply, prompting protests, lawsuits,
and revolutions from citizens fighting for the right to survive. Past civilizations have collapsed from poor water management. Can the human
race survive?
Garbage Dreams (79m, Egypt)
Dir. by Mai Iskander
Garbage Dreams follows three teenage boys born into the trash trade and growing up in the world's largest garbage village, on the outskirts of
Cairo. It is the home to 60,000 Zaballeen, Arabic for 'garbage people.' Far ahead of any modern 'Green' initiatives, the Zaballeen survive by
recycling 80 percent of the garbage they collect. When their community is suddenly faced with the globalization of its trade, each of the
teenage boys is forced to make choices that will impact his future and the survival of his community.
The Day After Peace (81m, United Kingdom)
Dir. by Jeremy Gilley
The Day After Peace charts the remarkable 10-year journey taken by award winning filmmaker Jeremy Gilley to establish a day of Peace on
September 21st. During the course of his mission the camera follows Gilley as he galvanizes the countries of the world to recognize this as an
official day of ceasefire and non-violence.
The Last Days Of Shishmaref (93m, Netherlands)
Dir. by Jan Louter
Shishmaref is a community of about 600 Inupiat Eskimo's, located on an island just off the west coast of Alaska. The effects of global warming
threaten the very existence of these people- so much that the entire population needs to be relocated off the island within 10 years. They have
become the first tangible victims of the worldwide climate changes.
Short Films
Drumhead (4m, UK)
http://209.85.135.132/search?q=cache:hk4F27Bt2doJ:www.lyff.org.uk/EFF2009.doc+podolchak&cd=7&hl=en&ct=clnk&client=safari
Page 2 of 6

European Film Festival Main Selection
01.02.10 17:29
Dir by Alan Coltman
An anti-war poem using archived footage from WWII
Larry And Roz (4m, Italy)
Dir. by Kristen Palana
Larry, a 93 year-old widower confined to a Nursing Home, remembers a time when he had more spring
in his step. Based on real audio recordings from 2002, animator Kristen Palana uses individually painted
digital images to imagine and recreate her grandfather's first attempts to woo his beloved Roz.
Milbe (6m, Germany)
Dir. by Karl Tebbe
A short animation film about a grandmother, Oma Grete, and gigantic house dust mites that threaten to
destroy the world.
Shuttle T-42 (3m, U S A)
Dir. by Joon Hyung Kim
Shuttle T42 crash lands on an unknown planet leaving young Jay and his mother stranded. While trying
to help his mother, Jay?s good intentions turn bad and throw the two into further irreversible danger. A
danger that could only be resolved by heroic actions and sacrifice.
Skylight (5m, Canada)
Dir. by David Baas
An animated mock documentary about the ecological plight of penguins in the Antarctic, possibly
foretelling cataclysmic results for the rest of the world.
Hot Afternoons Have Been In Montana (15m, U S A)
Dir. by Ken Kimmelman
Based on the Prize-winning poem by Eli Siegel. Recorded by the poet, 'Hot Afternoons' is a dramatic and
colorful montage combining photographs, computer art, and live-action to show how a hot afternoon in
Montana is related to the whole world. It so deeply honors the earth--its land, its history, its people, as it
takes us on a wonderfully, meaningful odyssey through the world of time and space.
Ikwe (5m, Canada)
Dir. by Caroline Monnet
KWE is an experimental film that weaves the narritive of one woman`s IKWE, intimate thoughts with
the teachings of her grandmother, the Moon, creating a surreal narrtive experience that communicates the
power of thoughts and personal reflection.
Severing The Soul (18m, U S A)
Dir. by Barbara Klutinis
Found footage interweaves an account of Rosemary Kennedy’s lobotomy procedure in 1941 with an
overview of the psychosurgery movement of the 1930’s-1960’s in the US.
Homoworld (17m, United Kingdom)
Dir. by Max Barber
In a 'flip-side' gay world, a straight couple struggle with their relationship and their life in the closet.
James (17m, Ireland, United Kingdom)
Dir. by Connor Clements
When James, played by realises long buried secrets can lead to poor family relations, he feels it's time to
confide with his only friend a secret of his own.
Bijna Blind (6m, Netherlands)
http://209.85.135.132/search?q=cache:hk4F27Bt2doJ:www.lyff.org.uk/EFF2009.doc+podolchak&cd=7&hl=en&ct=clnk&client=safari
Page 3 of 6

European Film Festival Main Selection
01.02.10 17:29
Dir. by Willem Baptist
A man collects images in his head for the day he needs them.
Crossing Midnight (29m, U S A)
Dir. by Kim Snyder
The story of an unparalleled health care crisis in the jungles of Eastern Burma and a community of
refugees from Burma that united against all odds to help their own when few others could.
Finding Home (26m, Belgium)
Dir. by Christopher Daley
A 1st Sergeant in the US Marine Corps, is nearing retirement after 19 years of active duty, which
included three tours in Iraq. He returns to the town where he was born, stopping to visit family and
reflecting upon his troubled youth and his broken marriage along the way. Slowly, the effects of the war
come to the surface.
A Xinecóloga (10m, Spain)
Dir. by Alfonso Camarero
A gynecologist is working at her hospital. But the next patient.... is a boy!
Ciao Tesoro (11m, Italy)
Dir. by Amedeo Procopio
A nightclub with mysterious logos... a belly dancer playing with some golden veils... two acrobatic
barmen...: a man, who looks very nervous, makes a proposal to a woman who’s watching the show with
a girlfriend: she will go to bed with him in an hour...
Leaving (21m, United Kingdom)
Dir. by Richard Penfold
Helen fears for her life. She knows that her husband Jim will kill her if she stays. One night, following
another vicious attack, she finds the courage to leave.
Most (The Bridge) (33m, Czech Republic)
Dir. by Bobby Garabedien
The story of a close relationship between a bridge operator and his young son and the fateful day when
both try to head off an impending rail disaster.
Mannen Med Kulorna (15m, Sweden)
Dir. by Hans Montelius
Two thirty-something brothers play marbles for their inheritance.
O Dia M (15m, Brazil)
Dir. by Paulo Leierer
Almeida, a regular 30-year-old man, is forced to make arrangements for his death.
Pop Foul (20m, U S A)
Dir. by Moon Molson
When a young boy heading home from Little League game sees his father take a “beat down” from a
local thug, the pair enters into a secretive pact designed to hide the disturbing incident from the boy's
mother.
Surprise ! (18m, France)
Dir. by Fabrice Maruca
http://209.85.135.132/search?q=cache:hk4F27Bt2doJ:www.lyff.org.uk/EFF2009.doc+podolchak&cd=7&hl=en&ct=clnk&client=safari
Page 4 of 6

European Film Festival Main Selection
01.02.10 17:29
As an attentive husband, Pierre has prepared a surprise for his wife Brigitte’s birthday. But a series of
harmless incidents (like a draft and a sun beam reflected off a window) brings the young next-door
neighbour into his bed just as Brigitte walks through the door…
True Beauty This Night (10m, U S A)
Dir. by Peter Besson
Last night, Rhett Somers met the love of his life. Now all he has to do is convince her she's the one. Not
an easy feat considering how they met..
Un Café Pour L'amérique (20m, Luxembourg)
Dir. by Jossy Mayor
Pierre is a very shy man in his sixties, with no family or friends and who just retired. What will he do
now?
Voor Een Dubbeltje... (9m, Netherlands)
Dir. by Eric Wobma
Time stops for no one, or does it ? A gentleman tramp, more confused than decayed, tries to find his way
through the streets of Amsterdam ... and time.
Ken: Story Of A Western Drifter (4m, U S A)
Dir. by Laura Stewart
Ken once again has to pack up his few possessions and head out into the vast western range in search of
another temporary home as the police are clearing the runaways, drifters and dropouts out of the area.
Drugs are a daily reprieve for Ken as he contemplates his plans for the future before winter sets in on
Colorado's Front Range.
You're Outa Here (3m, U S A)
Dir. by George Griffin
A spunky descendant of Betty Boop tells her no-good boyfriend to hit the road
Music Videos
Berndsen - Supertime (3m, Iceland)
Dir. by Helgi Johannsson
City Of Noise (4m, Canada)
Dir. by Mitch Barany
Czyste Szale!stwo (3m, Poland)
Dir. by Michal Jaskulski
Disremembering Echo / Barbara De Dominicis (4m, Italy)
Dir. by Davide Lonardi
Hard To Love What You Kill (4m, U S A)
Dir. by Henry Crum
Her Morning Elegance (3m, Israel)
Sub. by Kristen Hrabcsak
Hometown Fantasy (3m, U S A)
Dir. by Leslie Sisson
Inflatable You (2m, Netherlands)
http://209.85.135.132/search?q=cache:hk4F27Bt2doJ:www.lyff.org.uk/EFF2009.doc+podolchak&cd=7&hl=en&ct=clnk&client=safari
Page 5 of 6

European Film Festival Main Selection
01.02.10 17:29
Sub. by Eric Wobma
L1fe (One Life) (4m, U S A)
Dir. by Aarin Burch
Little Heart Attacks (3m, U S A)
Sub. by Laura Evans
Michael Jackson Shining (5m, U S A)
Dir. by Trevor Parham
Mojo's Back (3m, France)
Dir. by Azra Deniz Okyay
Suzie (4m, U S A)
Dir. by Gairo Cuevas
Thaumatrope (4m, U S A)
Dir. by Nicole Triche
http://209.85.135.132/search?q=cache:hk4F27Bt2doJ:www.lyff.org.uk/EFF2009.doc+podolchak&cd=7&hl=en&ct=clnk&client=safari
Page 6 of 6

GALLERY – New Must-see European Movies | HIJACK HOLLYWOOD
01.02.10 17:30
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Monday, February 01, 2010
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GALLERY – New Must-see European Movies
Posted by Christian Sellers on Jan 1st, 2010 and filed under Gallery. You can follow any responses
to this entry through the RSS 2.0. You can leave a response or trackback to this entry
There is something about European cinema that is so offbeat and unique that often American productions
fail to interest in much the same way. Avoiding the generic Hollywood approach to both visuals and
storytelling, many Euro filmmakers have a distinct and memorable style, which often results in
American studios drafting them in.
http://hijackhollywood.com/gallery/new-must-see-european-movies/
Page 1 of 6

European Film Festival
01.02.10 17:36
OFFICIAL SELECTION 2009
Feature Films
Las Meninas (99m, Ukraine)
Dir. by Ihor Podolchak
A family of four live in the suburbs in a strange villa that appears, through a complex game of mirrors,
to be more like a piece of installation art than a real house. The son, a man in his thirties. suffering from
asthma and eczema since childhood, uses his condition to manipulate his parents and his sister. Thus the
existence of the terrorized family turns into an endless ritual of attempting to satisfy his whims, and
always on the alert for yet another one of his “health crises”.
The Rat Thing (99m, U S A)
Dir. by Kevin Keresey
http://www.film-festival.eu/os2009.htm
Page 2 of 12

European Film Festival
01.02.10 17:36
Two down and out friends living in Venice, California, struggle in social and economic deprivation.
They reach the point where they can’t go on. Escalating pressures force them to hatch a wild, get-richquick
scheme in a last ditch attempt to solve “all of their problems”. The far-fetched scheme involves
one of them being bitten by a rat in a major supermarket with the fantastical hopes of winning an
outrageously huge settlement. What transpires is a perfect example of “the best laid plans of mice and
men” where reality trumps delusion and, in one comic turn after another, depravity gives way to
humanity.
The Vicious Kind (92m, U S A)
Dir. by Lee Krieger
Meet Caleb Sinclaire, a wry malcontent of a construction worker who uses his world-weary wit as a
protective shield. Estranged from his family and living alone after his girlfriend cheated on him, Caleb's
droll contempt of others is tested when he meets Emma, his younger brother Peter’s new girlfriend who
comes home for Thanksgiving. Drawn to her but distrustful of women, Caleb warns Peter that Emma will
end up hurting him. Over the next few days, however, Caleb and Emma keeping running into each other
in his small hometown, and despite his best attempts, Caleb's attraction to Emma grows, as does his
desire to see her. Eventually seduced by Emma's effect on him, Caleb’s unexpected feelings force him to
confront the heartbreak he has long struggled to conceal.
http://www.film-festival.eu/os2009.htm
Page 3 of 12

European Film Festival
01.02.10 17:36
The Burial (91m, France)
Dir. by David Mills and Danielle Boucher
When three estranged brothers gather for their mother’s funeral the last thing they expected was a family
road trip. Mother’s final wish was clear: “Take me to the river and bury me with your Father”. The
reluctant sons, a girlfriend and a coffin squash into a vintage hearse, bumble their way from France to
England, and realise that to bury the past there’s some digging up to do.
Seven Sisters (82m, Denmark)
Dir. by Asa Tillanger
A mockumentary. From over two hundred applicants, Fredde need to select seven that will become the
new faces of Gambro products. Through the courses of the interviews Fredde gets to know each of them,
their lives, their dreams, and fears. But at the end of the day, is it really Fredde’s life which is being laid
bare?
Paul Foote (87m, Greece)
Dir. by Aristo Papadeio
http://www.film-festival.eu/os2009.htm
Page 4 of 12

European Film Festival
01.02.10 17:36
A clash of cultures wreaks havoc when an American military man decides to establish a boot camp for
overweight desk jockeys on a remote Greek Island. Sergeant Foote bumblingly attempts to head off the
the anger of the local community, fired up by Aletia, an anti-globalisation activist fresh from university.
Feature Documentaries
Al Hansen - The Matchstick Traveller (55m, Germany)
Dir. by Mareike Wegener
Al Hansen – The Matchstick Traveller' portrays an artist who was everything at once: beat poet, pop
artist, performer, Fluxus artist, author, porn editor, actor, composer, punk band manager - an axis for all
post war movements, and still an outcast. The film looks back at his chaotic life, and examines the
notion of failure.
http://www.film-festival.eu/os2009.htm
Page 5 of 12

European Film Festival
01.02.10 17:36
Bigfoot: A Beast On The Run (54m, Switzerland, U S A)
Dir. by David Thayer
Late at night, deep in the woods of Washington State, Todd Limberg made an audio recording of some
eerie howling. He thinks it might be Bigfoot. Is it? Let's ask the experts.
Blue Gold: World Water Wars (90m, U S A)
Dir. by Sam Bozzo
Wars of the future will be fought over water, as they today over oil, as the source of all life enters the
global marketplace and political arena. Corporate giants, private investors, and corrupt governments vie
for control of our dwindling fresh water supply, prompting protests, lawsuits, and revolutions from
citizens fighting for the right to survive. Past civilizations have collapsed from poor water management.
Can the human race survive?
Garbage Dreams (79m, Egypt)
http://www.film-festival.eu/os2009.htm
Page 6 of 12

European Film Festival
01.02.10 17:36
Dir. by Mai Iskander
Garbage Dreams follows three teenage boys born into the trash trade and growing up in the world's
largest garbage village, on the outskirts of Cairo. It is the home to 60,000 Zaballeen, Arabic for 'garbage
people.' Far ahead of any modern 'Green' initiatives, the Zaballeen survive by recycling 80 percent of the
garbage they collect. When their community is suddenly faced with the globalization of its trade, each of
the teenage boys is forced to make choices that will impact his future and the survival of his community.
The Day After Peace (81m, United Kingdom)
Dir. by Jeremy Gilley
The Day After Peace charts the remarkable 10-year journey taken by award winning filmmaker Jeremy
Gilley to establish a day of Peace on September 21st. During the course of his mission the camera
http://www.film-festival.eu/os2009.htm
Page 7 of 12

European Film Festival
01.02.10 17:36
follows Gilley as he galvanizes the countries of the world to recognize this as an official day of ceasefire
and non-violence.
The Last Days Of Shishmaref (93m, Netherlands)
Dir. by Jan Louter
Shishmaref is a community of about 600 Inupiat Eskimo's, located on an island just off the west coast of
Alaska. The effects of global warming threaten the very existence of these people- so much that the
entire population needs to be relocated off the island within 10 years. They have become the first
tangible victims of the worldwide climate changes.
Short Films
Drumhead (4m, UK)
Dir by Alan Coltman
An anti-war poem using archived footage from WWII
Larry And Roz (4m, Italy)
Dir. by Kristen Palana
Larry, a 93 year-old widower confined to a Nursing Home, remembers a time when he had more spring
in his step. Based on real audio recordings from 2002, animator Kristen Palana uses individually painted
digital images to imagine and recreate her grandfather's first attempts to woo his beloved Roz.
Milbe (6m, Germany)
Dir. by Karl Tebbe
A short animation film about a grandmother, Oma Grete, and gigantic house dust mites that threaten to
destroy the world.
Shuttle T-42 (3m, U S A)
Dir. by Joon Hyung Kim
Shuttle T42 crash lands on an unknown planet leaving young Jay and his mother stranded. While trying
http://www.film-festival.eu/os2009.htm
Page 8 of 12

European Film Festival
01.02.10 17:36
to help his mother, Jay?s good intentions turn bad and throw the two into further irreversible danger. A
danger that could only be resolved by heroic actions and sacrifice.
Skylight (5m, Canada)
Dir. by David Baas
An animated mock documentary about the ecological plight of penguins in the Antarctic, possibly
foretelling cataclysmic results for the rest of the world.
Hot Afternoons Have Been In Montana (15m, U S A)
Dir. by Ken Kimmelman
Based on the Prize-winning poem by Eli Siegel. Recorded by the poet, 'Hot Afternoons' is a dramatic and
colorful montage combining photographs, computer art, and live-action to show how a hot afternoon in
Montana is related to the whole world. It so deeply honors the earth--its land, its history, its people, as it
takes us on a wonderfully, meaningful odyssey through the world of time and space.
Tom of Nevada (5m, USA)
Dir. by Jesse Filkon
Tom lives a very different sort of life.
Ikwe (5m, Canada)
Dir. by Caroline Monnet
KWE is an experimental film that weaves the narritive of one woman`s IKWE, intimate thoughts with
the teachings of her grandmother, the Moon, creating a surreal narrtive experience that communicates the
power of thoughts and personal reflection.
Severing The Soul (18m, U S A)
Dir. by Barbara Klutinis
Found footage interweaves an account of Rosemary Kennedy’s lobotomy procedure in 1941 with an
overview of the psychosurgery movement of the 1930’s-1960’s in the US.
Homoworld (17m, United Kingdom)
Dir. by Max Barber
In a 'flip-side' gay world, a straight couple struggle with their relationship and their life in the closet.
James (17m, Ireland, United Kingdom)
Dir. by Connor Clements
When James, played by realises long buried secrets can lead to poor family relations, he feels it's time to
confide with his only friend a secret of his own.
Bijna Blind (6m, Netherlands)
Dir. by Willem Baptist
A man collects images in his head for the day he needs them.
Crossing Midnight (29m, U S A)
Dir. by Kim Snyder
The story of an unparalleled health care crisis in the jungles of Eastern Burma and a community of
refugees from Burma that united against all odds to help their own when few others could.
Finding Home (26m, Belgium)
Dir. by Christopher Daley
A 1st Sergeant in the US Marine Corps, is nearing retirement after 19 years of active duty, which
http://www.film-festival.eu/os2009.htm
Page 9 of 12

European Film Festival
01.02.10 17:36
included three tours in Iraq. He returns to the town where he was born, stopping to visit family and
reflecting upon his troubled youth and his broken marriage along the way. Slowly, the effects of the war
come to the surface.
A Xinecóloga (10m, Spain)
Dir. by Alfonso Camarero
A gynecologist is working at her hospital. But the next patient.... is a boy!
Ciao Tesoro (11m, Italy)
Dir. by Amedeo Procopio
A nightclub with mysterious logos... a belly dancer playing with some golden veils... two acrobatic
barmen...: a man, who looks very nervous, makes a proposal to a woman who’s watching the show with
a girlfriend: she will go to bed with him in an hour...
Leaving (21m, United Kingdom)
Dir. by Richard Penfold
Helen fears for her life. She knows that her husband Jim will kill her if she stays. One night, following
another vicious attack, she finds the courage to leave.
Most (The Bridge) (33m, Czech Republic)
Dir. by Bobby Garabedien
The story of a close relationship between a bridge operator and his young son and the fateful day when
both try to head off an impending rail disaster.
Mannen Med Kulorna (15m, Sweden)
Dir. by Hans Montelius
Two thirty-something brothers play marbles for their inheritance.
O Dia M (15m, Brazil)
Dir. by Paulo Leierer
Almeida, a regular 30-year-old man, is forced to make arrangements for his death.
Pop Foul (20m, U S A)
Dir. by Moon Molson
When a young boy heading home from Little League game sees his father take a “beat down” from a
local thug, the pair enters into a secretive pact designed to hide the disturbing incident from the boy's
mother.
Surprise ! (18m, France)
Dir. by Fabrice Maruca
As an attentive husband, Pierre has prepared a surprise for his wife Brigitte’s birthday. But a series of
harmless incidents (like a draft and a sun beam reflected off a window) brings the young next-door
neighbour into his bed just as Brigitte walks through the door…
True Beauty This Night (10m, U S A)
Dir. by Peter Besson
Last night, Rhett Somers met the love of his life. Now all he has to do is convince her she's the one. Not
an easy feat considering how they met..
Un Café Pour L'amérique (20m, Luxembourg)
Dir. by Jossy Mayor
http://www.film-festival.eu/os2009.htm
Page 10 of 12

European Film Festival
01.02.10 17:36
Pierre is a very shy man in his sixties, with no family or friends and who just retired. What will he do
now?
Voor Een Dubbeltje... (9m, Netherlands)
Dir. by Eric Wobma
Time stops for no one, or does it ? A gentleman tramp, more confused than decayed, tries to find his way
through the streets of Amsterdam ... and time.
Ken: Story Of A Western Drifter (4m, U S A)
Dir. by Laura Stewart
Ken once again has to pack up his few possessions and head out into the vast western range in search of
another temporary home as the police are clearing the runaways, drifters and dropouts out of the area.
Drugs are a daily reprieve for Ken as he contemplates his plans for the future before winter sets in on
Colorado's Front Range.
You're Outa Here (3m, U S A)
Dir. by George Griffin
A spunky descendant of Betty Boop tells her no-good boyfriend to hit the road
Music Videos
Berndsen - Supertime (3m, Iceland)
Dir. by Helgi Johannsson
City Of Noise (4m, Canada)
Dir. by Mitch Barany
Czyste Szale!stwo (3m, Poland)
Dir. by Michal Jaskulski
Disremembering Echo / Barbara De Dominicis (4m, Italy)
Dir. by Davide Lonardi
Hard To Love What You Kill (4m, U S A)
Dir. by Henry Crum
Her Morning Elegance (3m, Israel)
Sub. by Kristen Hrabcsak
Hometown Fantasy (3m, U S A)
Dir. by Leslie Sisson
Inflatable You (2m, Netherlands)
Sub. by Eric Wobma
L1fe (One Life) (4m, U S A)
Dir. by Aarin Burch
Go Go (4m, Canada)
Dir. by Zip Taylor
http://www.film-festival.eu/os2009.htm
Page 11 of 12

European Film Festival
01.02.10 17:36
Little Heart Attacks (3m, U S A)
Dir. by Rob Hauer
Michael Jackson Shining (5m, U S A)
Dir. by Trevor Parham
Mojo's Back (3m, France)
Dir. by Azra Deniz Okyay
Suzie (4m, U S A)
Dir. by Gairo Cuevas
Thaumatrope (4m, U S A)
Dir. by Nicole Triche
** Individual festival sites will also programme 5-10 local films each. These films will be updated
locally.
http://www.film-festival.eu/os2009.htm
Page 12 of 12

GALLERY – New Must-see European Movies | HIJACK HOLLYWOOD
01.02.10 17:30
Here’s a selection of movies from the last few years that showcases an array of underrated European
talent.
Movies featured in this gallery:
- Bloedbroeders/Blood Brothers (dir: Arno Dierickx)
- Intalniri incrucisate/Crossing Dates (dir: Anca Damian)
- Desierto sur/South Desert (dir: Shawn Garry)
- Frantisek je devkar/Frankie, the Womanizer (dir: Jan Prusinovsky)
- Sing for Darfur (dir: Johan Kramer)
- Appuntamento a ora insolitaItaly/An Unusual Time to Meet (dir: Stefano Coletta)
- Las Meninas (dir: Ihor Podolchak)
- The Burial (dir: David Mills, Danielle Boucher)
- Seven Sisters (dir: Asa Tillanger)
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Page 2 of 6

GALLERY – New Must-see European Movies Las Meninas – HIJACK HOLLYWOOD
01.02.10 17:31
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Page 1 of 5

Inner Worlds / Outer Space
01.02.10 17:03
A filmmaker’s guide to freaking out your audience – Part 1:
sound design
Posted in Cinema, Moving image techniques, sound design on November 23, 2009 by melaniemenardarts
During research, I randomly found out theories concerned with creating a sense of disquiet in the viewer
of moving image.
At Cambridge Film Festival, I saw the film Cuckoo about a young woman, Polly, suffering from
auditory hallucinations (or not ?) in her flat, a film which reminded me a lot of Polanski’s Repulsion.
The director commented on how the sound design was made to cause the viewer to physically experience
the same hallucinations as Polly, and share the ensuing distress. The key to that was to disconnect the
sound from the visual, so as to cause sensory and space confusion in the viewer. In traditional film
sound design, foley effects are made to match what is being shown on the images. The two sources of
information (visual and auditory) are coherent and support each other, so that the viewer can feel
confident about understanding the information. One could almost say that the information is
“surdetermined” since the same concept is presented in several ways (i.e. the image of somebody putting
a glass on a table and the sound the glass makes when it touches the surface). If you drop the
surdetermination, the viewer starts to be confused, feels unable to trust their senses and starts
experimenting anxiety. The Cuckoo team did that in different ways. Polly hears sounds that are coming
from out of the image field and not easily identifiable, for example because they are muffled or
intermittent. Although they come from outside her flat, these sounds are quite loud so as to suggest an
invisible presence in her flat. Comparatively, the sounds from her flat seem low, which cause a feeling
of space distortion: one does not know anymore what is far or near, foreign or familiar. These sounds
have no obvious directionality, so Polly feels lost. Some of the sounds from her flat are also too loud, for
example a dripping tap. The director explained that the idea came from a real life experience of his wife,
who started hearing specific sounds much louder when she was pregnant. Some of these sounds were
imperceptible to other people.
I thought of it and it reminded me of a family dinner scene in “Las Meninas” (Ihor Podolchak, 2008)
where the sound of a fork on a plate gets more and more intrusive as the family atmosphere gets more
and more oppressing. In Stalker, Andrei Tarkovsky also extensively used the disconnection between
sound and images in order to blur the line between reality and illusion. The sound could be either
completely disconnected to the images (one hears things without ever seeing the visual equivalent, like in
Polly’s hallucinations) or, more perversely, the sound could be related to the images but wrongly
synchronised in time (a very slow visual transition accompanied by a harsh sound transition). This last
technique gives the illusion of time-space distortion, which may or may not be due to the mysterious
events that created the Zone.
Leave A Comment »
Project Proposal (final version)
Posted in Research Project on November 8, 2009 by melaniemenardarts
Working title
http://melaniemenardarts.wordpress.com/
Page 9 of 18

Inner Worlds / Outer Space
01.02.10 17:03
Outer space/inner worlds : borders, invasions, warfare tactics.
Aims and objectives
I am interested in exploring the various dynamics, of both creation and aggression, between the outer
world and the individual’s inner world. I will use photography and video, media ironically considered
documentary and objective, to capture and reproduce the way our mind reacts to and reinvents reality
and our surroundings.
The following are different angles under which to explore this problematic:
1) visually document the way imagination reinvents physical space.
2) exploring the possibilities of moving image to make dreams/inner worlds “real” and share them with
others. Especially, immersive video installations may create a more “real” feelings than images projected
on a screen. I hope this may make it possible to engage in a deeper level of communication with the
audience.
3) researching the importance of the house and more generally private space in the development of a
person’s individuality, and how a house may become a physical projection of its occupier’s inner world.
4) researching the way individuals may project their anxieties onto the physical space.
5) researching tactics employed by authorities to control individuals’ thoughts and behaviours by
manipulating the private space available to them. For example, madness as a “political illness” used to
make undesirable people disappear.
6) researching coping tactics developed by individuals in response to this attempted control. This may
take the form of retreating to one’s inner world, or reclaiming public space.
Context
Historical
My main inspiration is Surrealism and its aim to reconcile the accepted reality with the individual’s
imagination, in order to reach a superior reality(“surreality”), encompassing more levels of perception. In
particular: dreamscapes (Dorothea Tanning, Paul Delvaux, Max Ernst), wandering and Aragon’s concept
of “metaphysics of space”, simulation of madness.
Visionary artists (William Blake) and their aim to physically present a self contained imaginary world.
Dada and its critic of the absurdity of modern life.
German expressionist cinema, and its interest in madness.
Urban exploration and psychogeography within situationnism and beyond.
Cinema that blurs the line between a character’s imagined vision and “real events” (Ingmar Bergman’s
“Hour of the Wolf”, “Persona”, “Though a glass darkly” , Polanski’s “Repulsion”, Resnais’ “Last year in
Marienbad” etc …)
Contemporary
http://melaniemenardarts.wordpress.com/
Page 10 of 18

Inner Worlds / Outer Space
01.02.10 17:03
Contemporary art aiming to reclaim/subvert public space, such as Simon Poulter’s projections on
government buildings and art galleries (http://www.artcritic.co.uk/).
Modern psychogeographers such as Iain Sinclair.
Filmmakers: David Lynch, Ihor Podolchak.
Video Artist Markus Schinwald.
Urban exploration subculture.
“Outsider” Art, as it offers a representation of the maker’s mind “unfiltered” by the current conventions
of established art.
Critical theory
I want to make Art that can be enjoyed on different levels and is open to interpretation. I hope the
audience will be able to relate my work to their own concerns and experiences, rewrite their own version
it, and make it part of their inner worlds. This attitude is shared, among others, by Paul Valéry who wrote
“Once the work has been published, the author’s interpretation of it is no more valuable than any other
by anyone else” and by David Lynch who consistently refuses to explain his movies and said “one thing
can be different for different people […] depending on where [they] are”. This attitude may be related to
Nicolas Bourriaud’s Relationnal Aesthetics, with the reserve that I do not involve the audience in the
physical production of the actual piece, but rather in the collective elaboration of its meaning. As
Lautréamont once said “Poetry will be made by all, not by one.”
The practical consequence is that I will not provide textual explanation of “what a piece is about”. When
a commentary is required within the context of academia, I will explain how the original idea came to
me and evolved: in fact, I will explain how the piece relates to my own inner world, leaving the audience
free to relate it to their own inner world in any other way they judge appropriate.
This attitude relates to the Surrealists’ view that Art should refer to “Life”, as opposed to Art forming a
self contained world/language where pieces refer to each others via a set of increasingly obscure
references only understandable by the Initiated. In the postmodern era, contemporary art tends to become
increasingly self referential, while in cinema, as pointed out by Michael Richardson, the French
“Nouvelle Vague” “instituted a sensibility that exalted film above life”, a language where films relate
“not [to] lived experience but [to] other films”, an attitude still strong in contemporary cinema via
directors like Tarantino. I am not advocating a dumbing down of Art in the attempt to make it
“artificially accessible” (such as Social realism, or art with an “educational purpose”), nor am I saying
that it is not acceptable to reference others’ artworks within one’s own. Obviously, work made by others
is a very important part of an artist’s world. Rather, I am saying that references to other work should
stem from the desire to share the appreciation of it with the audience. They should be an invitation to
discover it and make it part of their inner world, rather than prerequisite knowledge necessary to the
understanding of one’s own work. To borrow André Breton’s words, references “as a form of love”
rather than as a tool for exclusion.
Parallel theory
Freud (in particular research on dream images and the concept of the Uncanny).
Michel Foucault, especially his concept of “institution disciplinaire” (“disciplinary institution”) and
“normalization”. Antipsychiatry movement.
http://melaniemenardarts.wordpress.com/
Page 11 of 18

Inner Worlds / Outer Space
01.02.10 17:03
Interdisplinary Psychology/Architecture research into perception of space by individuals, especially
Anthony Vidler’s research about anxiety, phobias and the Uncanny in the built environment.
Generative Theory
Automatism: use of found unstaged compositions and dream visions without attempting to interpret them
and without modifying them artificially in order to make them fit a predefined concept.
Dérive: exploration of a place guided by strategic reactions to the characteristics of this place.
Methodology
I continuously gather 2 types of raw material:
1) I collect photographs and video footage from derelict places, and more generally strange “uncanny”
places. I try to enter these places without preconceptions, let them tell me their story and react to them
rather then impose a model on them that would taint my perception of them (outer space).
2) I keep a record of my own dreams with a visionary content and/or containing interesting images
(inner world).
I then look for intersections between “outer space” and “inner world” that can be materialised into an
artwork. This is where the theoretical research come into play. By studying theoretical research (in
psychology, philosophy, architecture), I gain better understanding of my own subconscious and am more
able to identify the various ways I relate to the “outer world”. By studying both theoretical research and
artworks by others, I gain better understanding of how other individuals relate to the “outer world”. I can
use this knowledge to make artworks that will “resonate” with the audience and create connections
between their own inner world and mine using images as an interface.
There are various ways in which “outer space” and “inner world” may interplay within an artwork:
1) for some pieces, the collected images (after processing and editing) are the artwork in itself. The final
piece presents the self contained world of the images, that aims to infect the inner world of the viewer.
2) for other pieces, gathered images strike a chord and cause an idea association with a part of my inner
world. I then need to create images from scratch to make a physical representation of my inner world
and mix them in with the outside images. This type of piece shows the ambiguous, fluctuating border
where the outer world invades the inner world as the same time as the inner world reinvents the outer
world, so that the line between dream and reality becomes increasingly blurred and possibly eventually
dissolves.
3) for other pieces, I aim to make real an inner vision (i.e. dream). I either go out and find real things that
fit the vision or, if they don’t exist, I create artificial images from scratch.
The final piece reflects how my inner world invades the outer world, claims to be more real than it, and
possibly aims to invade the audience’s inner world as well.
In all cases, the physical presentation of the images (for example processing, editing, immersive
installations, design of a soundtrack to go with the images) is designed so as to facilitate the viewer’s
entering the world of the images.
Outcome
Photographs (as prints and online).
http://melaniemenardarts.wordpress.com/
Page 12 of 18

KinoKultura
01.02.10 17:29
Reviews :: New Films :: KinoNovosti :: Articles :: Guidelines :: Books&Biblio :: KiKu-Kinotavr ::
KinoKultura:Home
Ihor Podol'chak: Las Meninas (2008)
reviewed by Joshua First© 2009
Las Meninas is not really a film, just as its
director, Ihor Podol'chak, is not really a
filmmaker. Rather, it might be described better
as a feature-length piece of video art by a
graphic artist desiring to work with new media.
A native of Lviv, Podol'chak has achieved
fame for his numerous international
exhibitions, and has the distinction of being
the first artist to exhibit his work in space,
although the latter consisted of two postcardsized
woodcuts that two Russian cosmonauts
brought to the Mir Space Station in 1993. His
various paintings, woodcuts and multi-media
installations generally feature masochistic
scenes, such as tortured and dismembered
female bodies, placed within dark and unrecognizable spaces. Podol'chak’s photographic
work similarly frames nude females twisted, writhing in pain, or otherwise obscuring their
limbs and heads.
While his cinematic debut dispenses with
much of the violence evident in his earlier
work, there are several familiar motifs in Las
Meninas: Most notably, we rarely see whole
bodies in the film, as cinematographer Serhii
Mykhal'chuk shoots most of the scenes in
close-up, moving his camera from hands to
legs to breasts, to a back, and occasionally to
a darkened face. The interior location, in
which most of the action is set, is barely lit,
destabilizing the space that the characters
inhabit. Also unsettling is the limited dialogue,
which is pushed to the background of the
film’s soundscape, with Las Meninas emphasizing instead a fork raking against a plate, the
plop of pureed spinach on the same plate, a buzzing fly, the hum of electricity, scratching
an itch, etc. While such counter-realist use of exaggerated sound has been used—from
http://www.kinokultura.com/specials/9/lasmeninas.shtml
Page 1 of 5

KinoKultura
01.02.10 17:29
an itch, etc. While such counter-realist use of exaggerated sound has been used—from
Jan !vankmajer to Walt Disney—for comedic effect, Podol'chak establishes the ominous
presence of the mundane through this technique.
Podol'chak titled his film after the
seventeenth-century Diego Velázquez
painting of the InfantaMargarita and her
chambermaids, but what exactly constituted
this allusion is rather complex. Rutger
Wolfson, the director of the Rotterdam
International Film Festival, introduced the
association with the painting during the Las
Meninas premier: “The film is rooted in the
traditions of seventeenth-century painting. I
am sure that the director loves and deeply
understands the art of this period. But at the
same time, he combines this tradition with
contemporary video art and [the style of] music videos” (see Beiker). Several other reviews
and press about the film mention the painting, but none can specify what these “traditions”
are and how Podol'chak combines them with “contemporary” means. In fact, as many art
historians have argued, there is little that is “traditional” about Las Meninas, and its unusual
quality stems not from the historical context under which Velázquez painted it or, indeed,
from its very subject matter, but in its thematization of viewing positions. The mirror in the
background of the painting reveals the figures of King Philip IV and Queen Mariana, and
the artist himself stares from his easel in the direction of the viewer. Thus, what we see in
the painting is not simply a scene from Margarita’s court, but the onlookers of a second
painting in production. We, as the viewers of Velázquez’s Las Meninas, are consequently
positioned as the subjects of this second painting. We might interpolate that Podol'chak
employs the title to explore similar problems of representation, especially given the long
history of critical discourse in film studies on scopophilic pleasure and symbolic
identification. Yet, here we have only vague allusions to such themes, such as the
director’s statement that 70-75% of the film was shot through mirrors, and a press release
on the film that emphasized the viewer’s participation in unraveling the complex “puzzle
[rebus]” on screen (see Voropaiev, Mel'nyk).That is, the film becomes an exercise, on the
one hand, in overcoming technical difficulties, and, on the other, in confounding the
audience. In this respect, perhaps Podol'chak’s use of visual style at times approaches the
realm of a gimmick.
And despite the beautiful still-life
compositions of fruit and porcelain that
punctuate Las Meninas, Podol'chak’s film is
no way an enjoyable viewing experience. Few
spectators could make this claim, honestly,
even accepting the truism that taste is
subjective. According to the press release, the
film revolves around an older couple terrorized
by their sick, but manipulative son. While such
a theme appears at times throughout the film,
it is overshadowed by discussions of how to
prepare fish, the lateness of a dinner guest,
and other non-sensical and unfinished
sentences and interactions. Most of the action takes place around the dinner table, with the
http://www.kinokultura.com/specials/9/lasmeninas.shtml
Page 2 of 5

KinoKultura
01.02.10 17:29
sentences and interactions. Most of the action takes place around the dinner table, with the
camera slowly panning over the objects and the miserable humans that surround it.
Podol'chak presents an elaborate mise-en-scène, which perhaps draws influence from
scenes in Tarkovsky’s Stalker and Solaris or Sokurov’s Mother and Son.
The middle of Las Meninas, however, breaks
stylistically from the beginning with a
sequence, appearing in rapid montage, of
mirrors, body parts and cellos, evoking
themes of incest (a boy appears several times
on the verge of unbuckling his mother’s
garter), missed opportunity or squandered
talent (a woman, nude except for a corset,
plays a cello, with the boy appearing in place
of the instrument toward the end of the
sequence), aging and the decline of the
human body (the nude woman views herself
as either older or younger through the
countless mirrors in the shot, with the lighting emphasizing her sagging breasts and
increasingly obese body). This middle sequence, so different from the first and final third of
Las Meninas, was in fact made by American music video director Dean Karr, who had
worked most notably on the intentionally bizarre, but award-winning video for Marilyn
Manson’s cover of “Sweet Dreams (Are Made of This).”
Because this review appears in a journal
issue explicitly on the subject of Ukrainian
cinema, one might justifiably ask how
Podol'chak’s highly unusual, and indeed
international, work fits into a broader canon
outlined herein. For what this reviewer could
tell, there were no explicitly Ukrainian themes
explored in Las Meninas. In interviews,
moreover, Podol'chak constantly reiterated
that he strove toward the “universal” (see
Voropaiev), rather than something based on
local or national material. This fact alone
distinguishes Las Meninas from the most
prominent films made during the two “golden ages” of Ukrainian cinema, the late 1920s-
1930s and the 1960s. Yet, Podol'chak shot the film in his native Galicia, with local, nonprofessional
actors, and his characters speak Ukrainian, a not insignificant fact considering
that most films made in Ukraine during the 1970s-90s were shot in Russian. Perhaps most
importantly, the Ukrainian press, and in particular the Lviv press, promoted Podol'chak as a
cultural representative of “contemporary” Ukraine to Western Europe and North America.
While there was predictably little attempt to engage with the textuality of Las Meninas in
the mainstream Ukrainian press, its presence at Rotterdam, Trieste, and Karlovy Vary
served to justify Ukraine’s position within a European cultural space (see Kosmolins'ka). As
with Sergei Paradjanov’s Shadows of Forgotten Ancestors (Tini zabutykh predkiv, 1965),
reviewers may not have understood what the film was accomplishing on an aesthetic level,
but they praised it for placing Ukraine on the international stage.
This is not to say I “understood” the aesthetic
principles at work in Podol'chak’s Las
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KinoKultura
01.02.10 17:29
principles at work in Podol'chak’s Las
Meninas. In fact, I found myself frequently
taking the position of a Soviet-era film critic,
who saw the “necessity for youthful
experimentation,” but felt the need to warn the
filmmaker not to “alienate the spectator.” I’m
trying to avoid such clichés in this review.
After all, there is a lot of beauty contained in
the film—the oversaturated colors and its
slight lack of sharpness makes for some truly
exquisite imagery for the most part. Yet, the
infinite and perhaps meaningless abstraction,
masked with the language of “universality,” reduces Podol'chak’s debut film to an aesthetic
exercise. In this respect, we might agree with one Dutch reviewer, who wrote after seeing
its premier in Rotterdam, that the life of Las Meninas began and ended on that screen (see
Sanders).
Joshua First, Miami University (Ohio)
Works Cited
Beiker, Mariia. “Rotterdam smotrit kino iz Ukrainy i Kazakhstana,” BBCRussian.com, 28
January 2008.
Kosmolins'ka, Natalka. “Ihor Podol'chak, Ihor Diurych: U tomu, shcho Ukrainu
predstavliatymut' halychany, ie istorychna spravedlyvist',” Brama: Postup.
Mel'nyk, Lidiia. “Pratsiuiu z klasychnymy elementamy, iak iz vlasnymy,” interview with
Oleksandr Shchetyns'kyi, L'vivs'ka hazeta on-line, 30 January 2008.
Sanders, Ruby. Review of Las Meninas, movie2movie.nl.
Voropaiev, Serhii. “Ukraintsi na Rotterdams'komu festyvali: pochyn dorozhchyi za hroshi,”
interview with Ihor Podol'chak, UNIAN—Kul'tura.
Las Meninas, Ukraine, 2008
Color, 99 minutes
Director: Ihor Podol'chak
Script: Ihor Podol'chak
Cinematography: Serhii Mykhal'chuk
Art Direction: Svitlana Makarenko
Music: Oleksandr Shchetyns'kyi
Cast: Mykola Veresen', Liubov Tymoshevs'ka, Hanna Iarovenko, Dmytro Cherniavs'kyi,
Ilona Arsent'ieva, Stas Arsent'iev
Producers: Ihor Diurych and Ihor Podol'chak
http://www.kinokultura.com/specials/9/lasmeninas.shtml
Page 4 of 5

BRAMA Community Calendar Home Page
2/9/10 7:07 PM
NY-NJ-Metro
Thursday
Feb 18 2010
UKRAINIAN FILM CLUB OF COLUMBIA UNIVERSITY
FEBRUARY 2010 EVENT ON CAMPUS. NYC & NYS
PREMIERE OF LAS MENINAS.
The Ukrainian Film Club of Columbia University announces the
New York City and New York State premier
of a controversial art house feature by Ihor Podolchak
L A S M E N I N A S, 2008.
One of a handful of independent Ukrainian films made over the last two decades Las
Meninas was funded by the director himself. It was conceived as a step on the way of
revival of Ukrainian national cinema with Ukrainian talent, story, and language. In its
author’s words “it is a film about what the routine of everyday life can do to the human
mind and psyche. It reflects on the importance of the choices we make and how limited
these choices are in the first place. The plot evolves around a family of four. They live
in the suburbs in a strange villa that appears, through a complex game of mirrors, to be
more like a piece of installation art than a real house. … Meninas resembles a puzzle
whose pieces have been scattered. It is up to the viewer to assemble them in order to
form one’s own picture – something that makes the film personal and unique.” Las
Meninas is the directorial debut of Mr. Podolchak who is an accomplished artist,
recognized in his home country and abroad.
When: Thursday, February 18, 2010, at 7:30 PM
Where: Room 702, Hamilton Hall, Columbia Morningside Campus.
The film will be screened in its original Ukrainian language version with English
subtitles. Free and open to the public.
http://ihor-podolchak.livejournal.com/
E-mail SY2165@columbia.edu
URL http://columbia.edu/cu/ufc
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Посольство України у Федеративній Республіці Німеччина - Анонси
27.02.10 09:23
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«LAS MENINAS»: Что видно в Зазеркалье
7/3/10 11:50 PM
Минск, Беларусь
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В кинопрограмме «Славянского базара в Витебске» – украинский
фильм «Las Meninas».
Авторы не случайно заимствовали название у известной картины
Веласкеса. Система зеркал, которую для съемок использует
режиссер Игорь Подольчак, можно сказать, – продолжение
небольшого зеркальца на полотне Веласкеса: в них зритель видит
самого себя, со своими страхами и влечениями. Это попытка
бескомпромиссного разговора о проблемах самой жизни, свободы,
личностного выбора, счастья. Фильм о том, во что рутина
повседневной жизни может превратить человека, его сознание и
душу. Это также попытка осмысления выбора, который каждый из
нас совершает и который формирует нашу жизнь.
За основу киноленты взята реальная история одной львовской семьи,
рассказанная известным доктором. Но она могла произойти в любом
другом городе, любой стране. Постановщики картины выводят
повествование за рамки стандартного языка кино. Фильм не
рассказывает историю. Это многоуровневая экспликация-углубление
в мир странной семьи, где нет имен, а есть образы – Мать, Отец, Сын
и Дочь. Жизнь этой семьи напоминает навязчивую мелодию шарманки
и все, что происходит, возведено в статус бесконечного ритуала обслуживания хронических заболеваний Сына,
удовлетворения его капризов и боязливого ожидания очередного астматического кризиса.
Семья из четырех человек живет в пригородной вилле, больше похожей на инсталляцию из зеркальных предметов,
нежели на реальный дом. Главный герой – 30-летний сын едва появляется в кадре, но его присутствие чувствуется
постоянно. С детства он страдает экземой и астмой, и использует свои заболевания, чтобы манипулировать
родителями и сестрой. Метафора тотальной добровольной человеческой несвободы раскрывается на фоне
абсолютно тошнотворной рутины повседневной жизни.
Как рассказала сопродюсер киноленты Лилия Млирович, изначально возникла музыка Александра Щетинского и
Юрия Яремчука, а затем уже зрительный ряд. Первый музыкант входит в десятку лучших современных
симфонических композиторов, а второй – классик авангардного джаза в Украине. Они совместно написали саундтрек.
А затем режиссер начал создавать образы. Получилась абсолютно джазовая импровизация.
Игорь Подольчак известен как автор ряда виртуозных социально-эстетических провокаций, осуществленных им
совместно с другом, единомышленником Игорем Дюричем – креативным продюсером. Среди самых памятных из
них: "Беспредел гуманизма", с розыгрышем гробов в лотерею, "Лучшие художники ХХ века", где таковыми были
объявлены ученые и политики от Фрейда и Эйнштейна до Гитлера и Мао Цзэдуна.
Фильм участвовал в 23 крупнейших кинофестивалях в Роттердаме, Москве, Карловых Варах, Сеуле и других
городах мира.
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Кiевскiй ТелеграфЪ :: Витебск в предвкушении форума
7/3/10 11:45 PM
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электронная версия общественно-политического еженедельника
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Мир - общество
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Культура
Право
Спорт
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1. Жертва радикала?
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победим вместе!
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конституционного
процесса вписывается в
каденцию Президента»
поиск
весь рейтинг...
MarketGid
Поиск
!"#"$%&'(%"
)*&#+"(," -,.,/0%
%1*$*1"+% #23 ...
Культура
!"#$%&' ( )*$+(',-$."" /0*,12
Торжественное открытие XVII Международного фестиваля
искусств "Славянский базар в Витебске" запланировано на
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Второй раз подряд форум посетит Раймонд Паулс. Также
выступят: Александр Песков, Юрий Антонов, Елена Ваенга,
Александр Серов, Николай Басков, Лариса Долина, Стас
Михайлов. По традиции состоятся концерты мастеров
искусств России, Украины и Беларуси.
В этом году Украину на Международном конкурсе эстрадных исполнителей "Витебск-2010",
который традиционно проходит в рамках Международного фестиваля искусств "Славянский базар
в Витебске", будет представлять молодая украинская певица, победительница восьмого сезона
телепроекта "Шанс" Инна Воронова. После двух отборочных туров ее из более чем 20
претендентов выбрало жюри.
На конкурсе в Витебске Инна представит три песни: в день жеребьевки и знакомства с жюри (12
июля) — мировой хит певицы Селин Дион Surrender. В первый конкурсный день (13 июля), когда
по условиям конкурса исполняется хит страны, которую представляет участник, Инна споет
кавер-версию песни Ани Лорак "Не кажи про любов" (слова Марьяны Савки, музыка Риммы
Гоменюк). Во второй конкурсный день (14 июля) в сопровождении Национального концертного
оркестра Беларуси под управлением Михаила Финберга Инна исполнит лирическую песню,
которую молодой автор Римма Гоменюк написала специально для этого события. Для каждого
выступления Инна готовит специальные сценические наряды, соответствующие духу и смыслу
каждой песни.
10 июля в Доме кино традиционную кинопрограмму "Славянского базара в Витебске" откроет
художественный фильм "Одна война" Веры Глаголевой (Россия). Эта картина — премьера 2009
года — удостоена Гран-при кинофестиваля "Московская премьера" и II кинофестиваля "Золотой
феникс" в Смоленске.
4#%5,'2& (*+%. (*
6,+7" - /% 20 .$(.
)* 0#*5$*'(89 ...
11 июля 2010 года белорусский кинематограф познакомит фестивальный Витебск с новинкой,
вышедшей на большой экран в декабре 2009 года. В психологической драме "Волки" Александра
Колбышева снялись народный артист Беларуси Владимир Гостюхин и заслуженный артист России
Андрей Панин. Этот фильм получил высокую оценку кинокритиков.
В рамках фестивального кинопроекта будут представлены и работы украинских
кинематографистов —Las Meninas режиссера Игоря Подольчака и "Отторжение" режиссера
Владимира Лерта (показ 12 июля).
Плдготовила Марта Романова
:;:< 2"$7")(%
(*0*6"' =$,1',*(>
партнеры
удовлетворительно Оценить статью Версия для печати
www.bonprix.ua
Реклама от Google
http://telegrafua.com/529/culture/11140/
Page 1 of 2

«Las Meninas» - українська кіно-симфонія - Сумно?Ком
20.08.10 22:31
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Cineuropa - News - Production – Europe - Works in progress pitched at Karlovy Vary
12.07.10 12:03
About us
News
Film Focus
Interviews
Europanet Making Of
Trailers
Videos
Industry Reports
Country Focus
Feature Films and
Industry Database
Online Screenplay
Training Course
Guided course for
feature film writing
Film Financing
Legal advice
Script analysis
Translation service
Case Study
Calendar
Newsletter
Vod: video on demand
Cineuropa's blogs
July 9, 2010
Production – Europe
Works in progress pitched at Karlovy Vary
Producers presented 17 new projects from Central and Eastern Europe at the traditional East of the West
Works in Progress panel, within the framework of the recent Karlovy Vary International Film Festival.
Children of the Green Dragon (working title) tells the story of an unlikely friendship between a Hungarian real
estate agent and a Chinese security guard. The film, directed by Bence Miklauzic and produced by Jozsef
Berger of Mythberg Films (Hungary), should be released this October.
(The article continues below - Commercial information)
Production – UK
Future uncertain for Bond 23
Production – UK
Working Title launches Tinker, Tailor
and Little Mermaid
Production – France
Mihaileanu goes to The Source
Production – Italy/France/Ireland
Historical bank investment in
Sorrentino’s latest film, starring Sean
Penn
Production – Hungary
After The Camera Murderer, Pejo
prepares Paw
Festivals – Czech Republic
Crystal Globe goes to The Mosquito
Net
Events – Germany
Just Temptation looking to lure film
professionals at 2010 Popkomm
Industry – Italy
RAI Cinema elects new heads
Industry – Italy
Tatò leaves Mikado Film
Institutions – Germany
Culture budget upheld
Links
www.bonprix.ua
Ads by Google
Advertise on
Cineuropa
Download logos and
banners
Wonderful Summer, a drama-comedy from Ryszard Brylski, recently screened at the 35th Polish Film Festival
in Gdynia. Producers Opus Film (Poland) are looking for sales outside Poland, where the film will be released
this fall.
rss feed
House is a drama about a teenage girl who resist her father's plan to build a house for her. Director Zuzana
Liova's script has already won several international awards. The film is produced by Fog’n’Desire Films
(Slovakia) with Film Europe (Czech Republic).
Erratum, a drama from director Marek Lechki, follows a man on a emotional journey to his home town. It is
produced by Harmony Film Production (Poland) and will be released in October.
Head - Hands - Heart depicts a woman's relationship with three army officers, set against the backdrop of World
War I. The film is directed David Jarab and producer Viktor Schwarcz of Cineart TV Prague (Czech Republic).
Release is scheduled for November.
Kajinek is a true-crime thriller from director-producer Petr Jakl of J.B.J. Films (Czech Republic) and producer
Igor Konyukov of Hollywood Classic Entertainment (Czech Republic) due to be released in August.
Love.net, a drama from director Ilian Djevelekov, produced by Miramar Film (Bulgaria), is currently in post
production. The film tells several parallel stories about its characters' interactions on line.
Apricot Island, from Slovak director Peter Bebjak, tells the story of a woman who inspires passion and rage in
a pair of brothers. The film is produced by Rasto Sestak and will feature performances by Gyory Cserhalmi,
Attlia Mokos and Szidi Tobias.
The Greatest Czech, from director Robert Sedlacek, follows a crew of frustrated filmmakers as they pursue
various and unusual records. Produced by Radim Prochazka, the film will be released in August.
http://cineuropa.org/newsdetail.aspx?lang=en&documentID=148547
Page 1 of 2

Cineuropa - News - Production – Europe - Works in progress pitched at Karlovy Vary
12.07.10 12:03
80 Letters (working title), a drama from director-producer Vaclav Kadrnka, is a personal look at a the
correspondence between a Czech emigre to England and the wife he left behind.
Panoptican is a thriller set in a small town where all is not as it seem. Directed by Barbara Kurzaj and
Slawomir Shuty, the film is produced by TVP (Poland) and will be released in September.
The Show Must Go On, a drama-thriller from director Nevio Marasovic, is set in a near future when the
contestants of a reality show are not aware of the war that rages outside the set. Produced by Copycat
(Croatia), the film will be released later this month.
Adalbert's Dream (working title) is a black comedy based on a true story of coincidences that took place in
Romania in 1986. The film is directed by Gabriel Achim and produced by Dan Burlac. Visitors to the panel also
had the chance to see footage from the set of Leaving, a drama from debut director (and former Czech
president) Vaclav Havel, currently in production.
Other works in progress presented at the panel included Balkan Bazaar (working title), a comedy from Albanian
director Edmond Budina; Delirium, a drama from Ukrainian director Ihor Podolchak; and Gulf Stream Under
the Iceberg, a drama from Russian director Yegeny Pashkevich.
Theodore Schwinke
http://cineuropa.org/newsdetail.aspx?lang=en&documentID=148547
Page 2 of 2

Cineuropa - News - Production – Europe - Works in progress pitched at Karlovy Vary
12.07.10 12:03
About us
News
Film Focus
Interviews
Europanet Making Of
Trailers
Videos
Industry Reports
Country Focus
Feature Films and
Industry Database
Online Screenplay
Training Course
Guided course for
feature film writing
Film Financing
Legal advice
Script analysis
Translation service
Case Study
Calendar
Newsletter
Vod: video on demand
Cineuropa's blogs
July 9, 2010
Production – Europe
Works in progress pitched at Karlovy Vary
Producers presented 17 new projects from Central and Eastern Europe at the traditional East of the West
Works in Progress panel, within the framework of the recent Karlovy Vary International Film Festival.
Children of the Green Dragon (working title) tells the story of an unlikely friendship between a Hungarian real
estate agent and a Chinese security guard. The film, directed by Bence Miklauzic and produced by Jozsef
Berger of Mythberg Films (Hungary), should be released this October.
(The article continues below - Commercial information)
Production – UK
Future uncertain for Bond 23
Production – UK
Working Title launches Tinker, Tailor
and Little Mermaid
Production – France
Mihaileanu goes to The Source
Production – Italy/France/Ireland
Historical bank investment in
Sorrentino’s latest film, starring Sean
Penn
Production – Hungary
After The Camera Murderer, Pejo
prepares Paw
Festivals – Czech Republic
Crystal Globe goes to The Mosquito
Net
Events – Germany
Just Temptation looking to lure film
professionals at 2010 Popkomm
Industry – Italy
RAI Cinema elects new heads
Industry – Italy
Tatò leaves Mikado Film
Institutions – Germany
Culture budget upheld
Links
www.bonprix.ua
Ads by Google
Advertise on
Cineuropa
Download logos and
banners
Wonderful Summer, a drama-comedy from Ryszard Brylski, recently screened at the 35th Polish Film Festival
in Gdynia. Producers Opus Film (Poland) are looking for sales outside Poland, where the film will be released
this fall.
rss feed
House is a drama about a teenage girl who resist her father's plan to build a house for her. Director Zuzana
Liova's script has already won several international awards. The film is produced by Fog’n’Desire Films
(Slovakia) with Film Europe (Czech Republic).
Erratum, a drama from director Marek Lechki, follows a man on a emotional journey to his home town. It is
produced by Harmony Film Production (Poland) and will be released in October.
Head - Hands - Heart depicts a woman's relationship with three army officers, set against the backdrop of World
War I. The film is directed David Jarab and producer Viktor Schwarcz of Cineart TV Prague (Czech Republic).
Release is scheduled for November.
Kajinek is a true-crime thriller from director-producer Petr Jakl of J.B.J. Films (Czech Republic) and producer
Igor Konyukov of Hollywood Classic Entertainment (Czech Republic) due to be released in August.
Love.net, a drama from director Ilian Djevelekov, produced by Miramar Film (Bulgaria), is currently in post
production. The film tells several parallel stories about its characters' interactions on line.
Apricot Island, from Slovak director Peter Bebjak, tells the story of a woman who inspires passion and rage in
a pair of brothers. The film is produced by Rasto Sestak and will feature performances by Gyory Cserhalmi,
Attlia Mokos and Szidi Tobias.
The Greatest Czech, from director Robert Sedlacek, follows a crew of frustrated filmmakers as they pursue
various and unusual records. Produced by Radim Prochazka, the film will be released in August.
http://cineuropa.org/newsdetail.aspx?lang=en&documentID=148547
Page 1 of 2

Cineuropa - News - Production – Europe - Works in progress pitched at Karlovy Vary
12.07.10 12:03
80 Letters (working title), a drama from director-producer Vaclav Kadrnka, is a personal look at a the
correspondence between a Czech emigre to England and the wife he left behind.
Panoptican is a thriller set in a small town where all is not as it seem. Directed by Barbara Kurzaj and
Slawomir Shuty, the film is produced by TVP (Poland) and will be released in September.
The Show Must Go On, a drama-thriller from director Nevio Marasovic, is set in a near future when the
contestants of a reality show are not aware of the war that rages outside the set. Produced by Copycat
(Croatia), the film will be released later this month.
Adalbert's Dream (working title) is a black comedy based on a true story of coincidences that took place in
Romania in 1986. The film is directed by Gabriel Achim and produced by Dan Burlac. Visitors to the panel also
had the chance to see footage from the set of Leaving, a drama from debut director (and former Czech
president) Vaclav Havel, currently in production.
Other works in progress presented at the panel included Balkan Bazaar (working title), a comedy from Albanian
director Edmond Budina; Delirium, a drama from Ukrainian director Ihor Podolchak; and Gulf Stream Under
the Iceberg, a drama from Russian director Yegeny Pashkevich.
Theodore Schwinke
http://cineuropa.org/newsdetail.aspx?lang=en&documentID=148547
Page 2 of 2

Ігри з відеокамерою. Перший український відео-арт / KORYDOR
20.08.10 22:49
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http://korydor.in.ua/url/Igri-z-videokameroyu-Pershiy-ukrainskiy-video-art--p100.html
Page 1 of 3

Ігри з відеокамерою. Перший український відео-арт / KORYDOR
20.08.10 22:49
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Page 2 of 3

Ігри з відеокамерою. Перший український відео-арт / KORYDOR
20.08.10 22:49
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http://korydor.in.ua/url/Igri-z-videokameroyu-Pershiy-ukrainskiy-video-art--p100.html
Page 3 of 3

Український не-блокбастер: інцест, екзема й мастурбація. Фільм Las Meninas
20.08.10 22:23
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http://telekritika.ua/daidzhest/2009-10-29/48901?theme_page=90&
Page 3 of 3

Slavianski Bazaar News/2010/06/29/“LAS MENINAS”: What is seen Through the Looking Glass
12.07.10 12:05
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News »» 2010 »» 06 »» 29 »» “LAS MENINAS”: What is seen Through the Looking Glass print
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«LAS MENINAS»: !"#
$%&'# $ ()*+,-)./+
In the cinema programme of the “Slavianski Bazaar
in Vitebsk” we can find Ukrainian film of the same
name as the famous painting by Velasquez - “Las
Meninas”. The director of the film uses a special
system of mirrors, which is a kind of continuation of
Velasquez’s mirror where viewers can see themselves
with their fears and attractions. The film is about the
influence of everyday routine on one’s life, spirit,
sense and happiness. It is an attempt to understand
one’s personal choice, which moulds our lives.
The film is based on the real story of a family from
Lvov. But it could have happened in any town and in
any country. “Las Meninas” goes beyond the scope of
standards; there is no particular story with names but
just images – the Mother, the Father, the Son and
the Daughter. Their life is a kind of infinite ritual.
The family lives in a suburban cottage, which looks
more like mirror installation than a real building. The
main character of the film is a 30-year-old son, who almost does not appear on the
screen but we feel his presence all the time. He has been suffering from eczema and
asthma since childhood and he takes the advantage of his illnesses and exploits his
parents and sister. It is a kind of metaphor of human unfreedom which is displayed
through the repulsive everyday routine.
According to Lilia Mlirovich, the co-producer of the film, first the music by Alexander
Schetinsky and Yury Yaremchuk appeared and only then the video. Alexander
Schetinsky is one of the ten best modern symphonic composers and Yury Yaremchuk
is a classic of avant-garde Ukrainian jazz. Their soundtrack became the basis for the
images and as a result the film became a kind of jazz improvisation.
Igor Podolchak together with his creative producer Igor Durich are known as the
authors of a number of provocative works. Among them: the “Unlimited Humanism”,
where one was able to win a coffin in the lottery; and “The Best Artists of the 20th
Century” where politicians and scientists such as Freid, Einstein, Hitler and 0)#
Zedong were announced to be artists.
“Las Meninas” took part in 23 prominent film festivals in Rotterdam, Moscow,
Karlovy Vary, Seoul, etc.
Leave your comments (Attention! The comments are first
More news
http://festival.vitebsk.by/en/news/2010/06/29/140900.html
Page 1 of 2

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Ігри з відеокамерою. Перший український відео-арт - Новини - АртВертеп - Найбільший on-line центр сучасної культури України
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EXPIFF - INTERNATIONAL EXPERIMENTAL FILM FESTIVAL - EXPERIMENTAL EYE: UNIQUE VISIONS IN EUROPEAN CINEMA
23.11.10 20:38
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DU LEVANDE / YOU, THE LIVING (SWEDEN-GERMANY-FRANCE-DENMARK-NORWAY, 2007, 94ʼ)
MORE ABOUT THE MOVIE
director: Roy Andersson
“YOU, THE LIVING is about the human being, about its greatness and baseness, its joy and sorrow, its self-confidence and anxiety. A
being at whom we want to laugh and also cry for. It is simply a tragic comedy or a comic tragedy about us.” (Roy Andersson)
Shot in an unconventional manner, the film consists of a fluent succession of exactly 50 short sketches, most of them with a tragicomic
undertone. Among the characters of these life scenes are an overweight woman, a disgruntled psychiatrist, a heartbroken groupie, a
carpenter, a business consultant, an elementary school teacher with emotional issues and her rug selling husband.
The title comes from a quote in “Roman Elegies” by Goethe, which appears as a title card in the beginning of the film: “Be pleased
then, you the living, in your delightfully warmed bed, before Letheʼs ice-cold wave will lick your escaping foot.”
LAS MENINAS (UKRAINE, 2007, 99ʼ)
MORE ABOUT THE MOVIE
director: Ihor Podolchak
This film is about what the routine of everyday life can do to the human mind and psyche. It also reflects on the importance of the
choices we make and how limited these choices are in the first place.
The plot evolves around a family of four. They live in the suburbs, in a strange villa that appears, through a complex game of mirrors,
to be more like a piece of installation art than a real house. The main character, who hardly appears on screen, is the son, a man in
his thirties. Suffering from asthma and eczema since childhood, he uses his condition to manipulate his parents and his sister. Thus,
the existence of the terrorized family turns into an endless ritual of attempting to satisfy his whims, and always on the alert for yet
another one of his “health crises”.
LAS MENINAS resembles the scattered pieces of a puzzle. It is up to the viewer to assemble them in order to form his very own
picture – something that makes the film itself personal and unique
TAXIDERMIA (HUNGARY-AUSTRIA-FRANCE, 2006, 91ʼ)
MORE ABOUT THE MOVIE
director: Pálfi György
Three stories. Three ages. Three men. Grandfather, father, son. One is an orderly, one is a leading sportsman, and one is a master
taxidermist. One desires love, the other success, and the third immortality.
The grandfather lives in his fantasies and on cold winter evenings he warms up his freezing little shed with his feverish dreams.
Nothing can stop his fertile imagination.
The father stuffs himself. For four years he was the first in his section in the Confectionary Industry. He is still unbeatable in chocolate
wafers with an individual record of 2.98 (just as a comparison, Igor Vostongonoff was the European champion in Sophia with 3.21).
The son stuffs animals. He was born one and a half kilos. Now he has less than one and a half minutes left. He goes in for something
that nobody has ever imagined before.
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EXPIFF
11/23/10 8:07 PM
Blog
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24-28 NOVEMBER 2010
BUCHAREST
FIRST EDITION
Cinema SCALA / free entrance
HOME ABOUT US NEWS FILMS PROGRAM INFO FESTIVAL PARTNERS VOLUNTEERING
EXPERIMENTAL EYE
LAS MENINAS (UKRAINE, 2007, 99ʼ)
DU LEVANDE / YOU, THE LIVING
(SWEDEN-GERMANY-FRANCE-
DENMARK-NORWAY, 2007, 94ʼ)
LAS MENINAS (UKRAINE, 2007, 99ʼ)
TAXIDERMIA (HUNGARY-AUSTRIA-
FRANCE, 2006, 91ʼ)
The movie Director Awards Statement Media
CAST: Mykola Veresen, Lyubov Tymoshevska, Hanna
Yarovenko, Dmytro Chernyavsky, Ilona Arsentyeva,
Stas Arsentyev, Viktoriya Ulyanchenko, Valeriya
Ulyanchenko
DIRECTOR: Ihor Podolchak
CO-DIRECTOR: Dean Karr (the musical part)
SCRIPTWRITER/EDITING: Ihor Podolchak
CINEMATOGRAPHY: Serhiy Mykhalchuk
SOUND: Myrоslav Kuvaldin
PRODUCERS: Ihor Podolchak, Liliya Mlynarych
PRODUCTION: Mf Films
WORLD SALES:
Adinda Arian
Ihor Podolchak for Ukraine; Insomnia (Paris) for the
rest of the world (http://www.insomniasales.com/pro/news_pro.php)
– Luc Ntonga, Managing
Director
E: i.podolchak [at] yahoo.com / luc [at] insomniasales.com
This film is about what the routine of everyday life can
do to the human mind and psyche. It also reflects on
the importance of the choices we make and how limited
these choices are in the first place.
The plot evolves around a family of four. They live in
the suburbs, in a strange villa that appears, through a
complex game of mirrors, to be more like a piece of
installation art than a real house. The main character,
who hardly appears on screen, is the son, a man in his
thirties. Suffering from asthma and eczema since
childhood, he uses his condition to manipulate his
parents and his sister. Thus, the existence of the
terrorized family turns into an endless ritual of
attempting to satisfy his whims, and always on the alert
for yet another one of his “health crises”.
LAS MENINAS resembles the scattered pieces of a
puzzle. It is up to the viewer to assemble them in order
to form his very own picture – something that makes
the film itself personal and unique
FILM'S WEBSITE
INTERNATIONAL EXPERIMENTAL FILM FESTIVAL
CONTACT
SITEMAP
Copyright © 2010 EXPIFF - INTERNATIONAL EXPERIMENTAL FILM FESTIVAL
web design & development artground
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http://www.expiff.ro/las-meninas-ukraine-2007-99.html
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14 листопада в історії | Історична правда
12/10/10 7:00 PM
ПОЛІТИКА
ЕКОНОМІКА
ФОРУМ
БЛОГИ
ІСТОРІЯ
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СПОРТ
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Авторизуватись
П'ятниця, 10 грудня 2010, 18:57
ЗНАЙТИ
ГОЛОВНА ТЕКСТИ КОРОТКО КНИЖКИ АРТЕФАКТИ КОЛОНКИ ВІДЕО ДАЙДЖЕСТ ІНТЕРВ'Ю ДЖЕРЕЛА СТУДІЇ КАЛЕНДАР ЕКСКУРСІЇ БЛОГОСФЕРА
! Раніше Пізніше "
14 !"#$%&'(' ) *#$%+*,
1263 - застудившись під час повернення із дипломатичного візиту в Орду, помер
Олександр Невський, князь Новгородський, Київський і Владимирський
1533 - іспанські конкістадори на чолі з Франсіско Пісарро прибули до Кахамарки, імперія
Інка
1650 - народився Вільгельм III Оранський, штатгальтер (правитель) Нідерландів у 1674-
1702 рр., король Англії з 1689 р.
Був закликаний на англійський престол у період «Славної революції» і до 1694 р. правив
разом із дружиною Марією II Стюарт.
При Вільгельмі ухвалено Білль про права, Англія стала конституційною монархією
1765 - народився Роберт Фултон, американський винахідник першого у світі колісного
пароплава «Клермонт» (1807), що знайшов практичне застосування
1770 - шотландський дослідник Джеймс Брюс виявив витік Блакитного Нілу на північному
заході Ефіопії - початок річки Ніл, найдовшої у світі
1840 - народився Клод Моне, французький живописець, один з основоположників
імпресіонізму
1860 - Пекінський трактат між Росією і Китаєм: до Росії приєднано Уссурійській край
1870 - підписано статут російського Товариства пересувних художніх виставок
1877 - народився Дмитро Антонович, український громадсько-політичний і державний
діяч, один із засновників Революційної української партії, був також членом УСДРП.
Міністр морських справ Центральної Ради, міністр мистецтва часів Директорії; у 1918 р. -
головний консул Української держави у Швеції, у 1919 р. - голова дипломатичної місії УНР
у Римі.
Один із засновників, а тривалий час - ректор Українського вільного університету у Відні й
Празі; історик мистецтва
1885 - Сербія оголосила війну Болгарії (причина - незгода з об'єднанням Болгарії).
Війна тривала два тижні; загинуло близько двох тисяч осіб - майже порівну з кожного
боку
1889 - одна з піонерок жіночої журналістики американка Неллі Блай (Елізабет Кохран)
почала спробу об'їхати навколо світу швидше ніж за 80 днів.
Мандрівка буде успішною - представниця газети «Нью-Йорк ворлд» повернеться через 72
дні, подолавши 24 900 миль (через Англію, Францію, Бріндізі, Суец, Цейлон, Гонконг і
Японію)
1889 - народився Джавахарлал Неру, один із лідерів лівого крила індійського
національно-визвольного руху, перший прем'єр-міністр Індії після здобуття країною
незалежності
Артефакти
Нацистський агітпроп. Ч.2
- зворотня сторона
листівок
Усі галереї
Останні тексти
Радянські черги. "Що
дають?" і "Більше двох
штук в одні руки не
відпускати!"
-$.# * /%01!2. 314*#$"5*6'7*8 4*5.
10.12.2010 _ 9':$';< =*&*';*
31$16$"). -&+')>;*?
(1$16$") - @ .0")#$)%4
;'&+"6*;7*. A'6 )""$$B)"? .6!'( #1!'
09.12.2010 _ Олеся Стасюк
D()%6'$ J';(1+" K%4'; G+B:%): "L.:1)"F * J';(1+'
$1&1+ %@(%+%)!CC$2 #.(%). #"#$14."
08.12.2010 _ Марина Ткачук, "Україна Молода"
M2)*)#26' &'#*%;'+*8. 3% C)*!1C N+";" ='!";172
06.12.2010 _ Вікторія Садова
Коротко
1896 - обмеження швидкості для автомашин у Британії піднято з 4 до 14 миль/год
http://www.istpravda.com.ua/dates/2010/11/14/4526/
Історію ОУН тепер можна повісити на стіну (+
карта) 18:10
Історію Львівського університету замовчують через
Page 1 of 5

14 листопада в історії | Історична правда
12/10/10 7:00 PM
1908 - Альберт Ейнштейн представив квантову теорію світла
1904 - народився Кузьма Дерев'янко, українець, радянський генерал-лейтенант, який 2
вересня 1945 р. від імені радянського Верховного Головнокомандування приймав
капітуляцію Японії.
У 2007 р. президент Віктор Ющенко підписав указ про надання Дерев'янку посмертно
звання Герой України
1907 - народилася Астрід Ліндгрен, шведська дитяча письменниця, видатна казкарка
Історію Львівського університету замовчують через
конфлікти в минулому - польський професор 17:33
Інститут національної пам'яті фактично ліквідовано -
думка Центру досліджень визвольного руху 15:01
Британські студенти напали на статую Черчілля і
символічну могилу бійців Першої світової 12:30
ЯНУКОВИЧ ПЕРЕДАВ ІНСТИТУТ НАЦІОНАЛЬНОЇ
ПАМ'ЯТІ УРЯДУ 01:18
1910 - у Норфолку (США) перший аероплан злетів із палуби крейсера
1912 - народився Андрій Малишко, український радянський поет, автор текстів відомих
пісень («Пісня про рушник», «Знову цвітуть каштани», «Пісня про Київ», «Вчителька»)
1918 - намагаючись зберегти владу, гетьман Павло Скоропадський проголосив
федерацію Української держави з майбутньою небільшовицькою Росією, що стало
приводом до антигетьманського повстання. Голова гетьманського уряду Федір Лизогуб
через такий крок Скоропадського склав повноваження.
Уранці цього дня на засіданні Українського національного союзу для керівництва
повстанням проти гетьмана проголошено Директорію - тимчасовий революційній орган,
після перемоги - верховний державний орган УНР.
Директорія сформована у складі п'яти членів - представників різних політичних напрямів:
від українських есдеків були Винниченко (голова), Петлюра та Макаренко; від українських
есерів - Швець; від соціалістів-самостійніків - Андрієвський
1918 - з ініціативи провідних українських вчених декретом гетьмана Павла
Скоропадського засновано Українську Академію наук та визначено її офіційний статус.
Першими дійсними членами УАН затверджені: по відділу історично-філологічних наук - Д.
Багалій, А. Кримський, М. Петров, С. Смаль-Стоцький; по відділу фізично-математичних
наук - В. Вернадський, С. Тимошенко, М. Кащенко , П. Тутковський; по відділу соціальних
наук - М. Туган-Барановський, Ф. Тарановський, В. Косинський, О. Левицький
1918 - відкриття Тимчасових національних зборів Чехословаччини.
Томаш Масарик обраний президентом Чехословаччини (заочно, перебуваючи в США)
1918 - народився Павло Морозов, російський піонер, оголошений офіційною пропагандою
героєм - за те, що видав свого батька, який співпрацював із куркулями, котрі
приховували свій врожай від більшовиків
1920 - уряд Української народної республіки у зв'язку зі складним становищем на фронті
змушений залишити Кам'янець-Подільський.
http://www.istpravda.com.ua/dates/2010/11/14/4526/
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14 листопада в історії | Історична правда
12/10/10 7:00 PM
Червона армія зайняла Севастополь
1920 - у підмосковному селі Кашино засвітилася електрична лампочка - перша в
російських селах. На відкриття дрібної електростанції прибув Володимир Ленін
Лампочка Ілліча в руках російських селян.
1922 - початок мовлення британського радіо Бі-Бі-Сі (з радіостанції «2LO», хоча ліцензія
була отримана тільки 18 січня 1923 р.)
1922 - сейм Латвійської Республіки обрав громадського діяча Яніса Чаксте першим
президентом Латвії
1922 - уряд прорадянської Далекосхідної республіки звернувся до ВЦВК Росії з
проханням включити республіку до складу РРФСР.
Прохання буде задоволене вже наступного дня
1928 - народився Віталій Масол, голова Ради міністрів УРСР у 1987-1990 рр. (скинутий
студентським голодуванням), прем'єр-міністр України у 1994-1995 рр.
1939 - Верховна Рада УРСР на позачерговій 3-й сесії одностайно затвердила закон про
возз'єднання Західної України з УРСР. Перед цим відповідний закон ухвалила V
позачергова сесія Верховної Ради СРСР.
Відтак у складі УРСР з'явилося шість нових областей - Волинська, Дрогобицька (у
1959 р. об'єдналася зі Львівською), Львівська, Рівненська, Станіславська (тепер Івано-
Франківська) та Тернопільська
http://www.istpravda.com.ua/dates/2010/11/14/4526/
Page 3 of 5

14 листопада в історії | Історична правда
12/10/10 7:00 PM
Радянський плакат 1939 р. на тему "визволення"
Західної України.
1939 - на вулицях Москви відбувся великий автопробіг, присвячений випуску
мільйонного радянського автомобіля
1940 - закінчилися невдачею радянсько-німецькі переговори про приєднання СРСР до
альянсу фашистських держав. Глава МЗС СРСР Молотов повернувся з Берліна до
Москви
1940 - внаслідок нальоту 500 німецьких бомбардувальників на місто Ковентрі в
Центральній Англії загинули 568 осіб, зруйновано центральну частину міста й собор,
завдано значної шкоди промисловим підприємствам.
Англійці до того часу розшифрували німецькі коди, і прем'єр Черчілль стояв перед
дилемою: рятувати місто та його мешканців чи принести їх у жертву, але не дати
зрозуміти Гітлерові, що союзники розкрили стратегічну таємницю Німеччини
1944 - генерала Андрія Власова, який перейшов на бік гітлерівців, у Празі обрали
головою Комітету визволення народів Росії. Він проголосив маніфест комітету із
закликом до боротьби зі Сталіним і комунізмом
(див. відео проголошення маніфесту)
1952 - в англійській газеті «Нью мюзикл експрес» публікується перший хіт-парад -
список найбільш продаваних синглів (платівки із записом шлягерів)
1970 - вступ СРСР до Міжнародної організації цивільної авіації (ІКАО)
1982 - у Польщі звільнено з ув'язнення лідера «Солідарності» Леха Валенсу
http://www.istpravda.com.ua/dates/2010/11/14/4526/
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14 листопада в історії | Історична правда
12/10/10 7:00 PM
1983 - британський міністр оборони Хезлтайн оголосив про прибуття на військову базу в
Грінем-Коммоні перших крилатих ракет.
Фактичне розгортання в Західній Європі американських ядерних ракет середньої
дальності
1985 - полковник зовнішньої розвідки КДБ Олег Гордієвський - найбільш
високопоставлений співробітник радянських органів, котрий співпрацював із британською
розвідкою, - заочно засуджений в СРСР до смертної кари з конфіскацією майна
1989 - Декларація Верховної Ради СРСР про репресовані народи
1991 - указом президiї Верховної Ради України ухвалений текст Вiйськової присяги та
тимчасове положення про порядок її прийняття
1991 - принц Нородом Сіанук повернувся в Камбоджу після 13-річного вигнання як голова
тимчасового уряду країни
1992 - у Росії письменник Едуард Лимонов разом із Сергієм Жариковим заснував
Національно-радикальну партію
1999 - Леонід Кучма повторно переміг на президентських виборах, набравши в другому
турі 56,25% голосів (у Петра Симоненка - 37,80%)
Плакат роботи Ігоря Подольчака - один із
пропагандистських засобів, який довів перевагу
"демократа" Кучми над Симоненком із його
червоною загрозою.
Автори: Дмитро Лиховій і Леся Шовкун (ledilid.livejournal.com)
© 2010, Українська правда, Історична правда
Використання матеріалів сайту дозволено лише з посиланням (для інтернет-видань - гіперпосиланням) на "Історичну правду".
ПРО ПРОЕКТ ЗВОРОТНІЙ ЗВ'ЯЗОК РЕКЛАМА НА САЙТІ АРХІВ
ТЕКСТИ КОРОТКО КНИЖКИ АРТЕФАКТИ КОЛОНКИ ВІДЕО ДАЙДЖЕСТ ІНТЕРВ'Ю СТУДІЇ КАЛЕНДАР ЕКСКУРСІЇ БЛОГОСФЕРА
bigmir)net
2669 10605
http://www.istpravda.com.ua/dates/2010/11/14/4526/
Page 5 of 5

Ukrainian Video Art « cca
12/13/10 1:04 AM
Exhibitions
News & Events
Videozone
Blurrr
About us
Catalogs
Video Art Fund
Archive
Education
Curatorial Studies
Ukrainian Video Art
Curated by Olesia Ostrowska-Luta and Anna !azar
Osreowska-Luta is an independent curator and writer based in Kiev
!azar is an art critic and curator. She currently works as Deputy Director of the Polish Institute, Kiev
(Total: 57:00 min.)
http://cca.org.il/?post_type=vz5&p=2575&lang=en
Page 1 of 5

Ukrainian Video Art « cca
12/13/10 1:04 AM
The video works featured in this program reveal how Ukrainian artists regard the newly created Ukrainian
state and the community to which it has given rise. Our selection includes both topics that figure
significantly in the history of the Ukraine, as well as ones that are unlikely to find their way into the national
pantheon, yet which capture the sleepy charm of the provinces and the refuge found in small apartments that
reveal the truth about the country’s average living conditions. The medium of video is especially appropriate
for dealing with these themes, since it unintentionally records those details of everyday life that grow more
attractive as time passes. The works created during the 1990s document the struggle with the myths of the
USSR, Freed suddenly from the duty to illustrate propaganda slogans, artists felt the need to deconstruct the
existing representational canon in works where men in ballet skirts turn up aboard a warship, and art is
presented to astronauts aboard a spacecraft. The generation of artists that came of age during the Orange
Revolution was also searching for new answers to questions concerning the role of art. Social inequalities
came to constitute an important point of reference, while migrant workers seem to their favorite subject thus
far. Young artists started began once again to represent the problems of peripheral group, as if untouched by
the crisis of faith in utopia, and driven by the belief that they are taking an active part in making this world a
better place.
Ukrainian video works during this period took two main forms: the treatment of existing, often classical
cinematographic materials, and works produced by painters experimenting with new artistic media. These
latter works were often created as staged, theatrical forms of action or as documentation of such actions,
and in many cases had an absurdist quality. As artists questioned the very basis of the reality examined in
their videos, they also contested cinematographic clichés and the social norms of the first post-totalitarian
years. Similarly contested were the artistic standards represented by the Art Academy and the Artists’
Union, which were founded in the 1930s with the aim of controlling all creative communities. Art videos
created in the early 1990s were a way of transgressing the limits of the permissible both in the world of art,
and in the realm of society at large. Over the past decade, however, artists have grown less interested in
video as a means of gaining a critical distance from reality and examining it from an ironic perspective;
instead, they have increasingly turned to creating works that may be described as a form of artistic
reportage or research.
O.O.L
Arsen Savadov and Georgiy Senchenko
Savadov b. in Ukraine, 1962; Senchenko b. in Ukraine, 1962; live and work in Kiev.
Voices of Love, 1994, 5:00 min.
This work was shot in Sevastopol on the warship Hetman Sahaidachnyi, and was first presented in the
exhibition “Alchemical Capitulation,” which was curated by Marta Kuzma in 1994. Like Arsen Savadov’s
subsequent series “Donbas-Chocolate,” “Voices of Love” questions conventional conceptions of
masculinity. Real sailors dressed in ballet dancers’ skirts – an attribute associated with the most “feminine”
of art forms – perform puzzling actions that appear simultaneously as a series of ritual acts and as a form of
madness. This video offers a commentary on the rapid collapse of a familiar reality and the transgression of
seemingly impossible barriers. This complex artistic gesture, which was performed at a defense facility that
just a few years earlier could be accessed solely by authorized military personnel, constituted precisely such
a transgressive act. (O.O.L.)
Alexander Hnylytsky, Maksym Mamasikov and Natalia Filonenko
All live and work in Kiev
Carrying the Coffin, 1992, 3:00 min. (excerpt from a 15:00 min. film)
This video documents the transportation of various objects in preparation for the shooting of Alexander
http://cca.org.il/?post_type=vz5&p=2575&lang=en
Page 2 of 5

Ukrainian Video Art « cca
12/13/10 1:04 AM
Gnylytsky’s video Sleeping Beauty. The documentation of these practical preparations is transformed into a
work in its own right, in which the transportation of an empty, transparent glass coffin along the streets of
Kiev acquires an absurd resonance, while alluding to the overall sense of the collapse of everything familiar,
the readiness to reject outdated values and practices, and the fear of a hazy future. This video constituted a
subversive act performed by group of artists that was, at the time, a marginal presence in Kiev’s cultural
landscape. This landscape was still dominated at the time by traditional social-realist conventions, which
eschewed the absurd and the non-illustrative.
Taras Polataiko
B. Chernovitz, Ukraine, 1966; lives and works in Vancouver, Canada
Kyiv Classical, 2000, 20:17 min.
In the context of the Ukrainian art scene, Polataiko may be described as a paradoxical artist: for despite his
unique position in the Ukrainian art world (Polataiko lives in Canada, and his work is not often addressed by
Ukrainian critics or curators), his are among the very few artworks that comment on important “Ukrainian”
issues, such as Chernobyl or the history of the ban on the public usage of the Ukrainian language.
Polataiko’s video Kiev Classical addresses the decree issued by the Russian tsar Alexander II in the late 19 th
century, during a stay in the German town of Bad Ems. The decree banned the publication and import of
Ukrainian language books in the Russian Empire, the translation of foreign literature into Ukrainian, the
performance of plays and the organization of literary readings in Ukrainian, and even the publication of
Ukrainian lyrics. Polataiko researched this event, which is of marginal importance in the history of the small
German city where it took place, yet is highly significant in the context of Ukrainian history. (O.O.L)
Ivan Bazak
B. Kolomyya, West Ukraine, 1980; lives and works in Kiev and Berlin
Ukrainians –Via Tiburtina, 2006, 3:25 min.
This video was shot in Rome, one of the centers of Ukrainian labor migration in Europe. It is concerned
with the life of migrant workers, which appears fairly ordinary until we realize that what we are viewing is a
self-organized labor market, where cleaning women, cooks and builders come to be recruited for work. This
archaic process of selecting workers is imbued with disturbing connotations, such as those that come to mind
when we notice the stretched rope used to separate those who have come to offer their labor from those who
buy it. Nevertheless, the images still appear strikingly conventional, exuding the kind of relaxed atmosphere
associated with activities at a community center or church function. This deceptive sense of comforts
subverted by the sound of a hymn sung in St. Peter’s Cathedral. The unfamiliar Latin words dramatically
punctuate the scene, introducing notes of sorrow into the fabric of ordinariness captured in Bazak’s video.
Revolutionary Experimental Space
REP (Revolutionary Experimental Space): Lada Nakonechna, Olesia Khomenko, Nikita Kadan, Zhanna
Kadyrova, Ksenia Hnylytska, Volodymyr Kuznetsov. The members of this group, which was formed during
the Orange Revolution in 2004, live and work in Kiev.
Superproposition, 2008, 1:00 min.
This “commercial” presents an ideal solution for Polish business women who have no time to run their
households: cheap, illegal domestic help from the Ukraine, an option that entails no social security expenses
and which enables the employer to fire her maid at any time, because she is not protected by labor laws. In
this video, REP employs a light tone to address a problem that extends far beyond Poland and the Ukraine.
The global provision of caretaking and domestic services has created a continuum between the private and
http://cca.org.il/?post_type=vz5&p=2575&lang=en
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Ukrainian Video Art « cca
12/13/10 1:04 AM
the public spheres, as high-earning women pay others to care for their homes. As a result, the women from
economically poorer regions who deliver these services become absent from their own homes. This REP
“commercial” similarly reveals how the employment of migrant laborers revives the old relations between
“masters” and “servants.” The female employers and workers who appear in the commercial do not differ
significantly from one another in terms of their looks, race, or education, and there are no gender differences
between them. Rather, their relations are determined by macroeconomic processes in two countries that
coped differently with the collapse of the communist bloc. (A.!.)
Volodymyr Kuzniecov
B. Lutsk, West Ukraine, 1976; lives and works in Kiev
Lullaby, 2008/2009, 8:00 min.
This poetic work by Volodymyr Kuzniecov is actually a record of a performance that took place in
Connewitz, a post-socialist suburb of Leipzig, where both nationalist and left-wing manifestations have
been quite common. A small car with a tape recorder fastened to its roof moves through the quiet dark
streets of what appears to be a contented Western city. As the cry of a baby is suddenly heard, the tape
recorder starts playing Ukrainian lullabies. This intimate gesture of singing a lullaby for a sleeping city
reaches a beautiful finale when a woman with a child appears in a window. As in the video created by REP,
here too the public and the private meet; rather than a gesture of exploitation, however, what is at stake here
is the creation of a bond born of time spent together. (A.!.)
Zhanna Kadyrova
B. Brovary, Ukraine, 1981; Lives and works in Kiev
Road Signs, 2010, 3:00 min.
This work documents an action performed by Kadyrova in a Ukrainian village – one of a series of absurdist
gestures performed in public spaces, such as transforming an “old monument” into a “new monument,”
placing a speed bump along a road rather than across it, or oddly perforating various road signs. In each of
these cases, the artist’s action is met by a total lack of reaction on behalf of the villagers and of travelers
along the road. This manifestation of indifference and endless patience, born of the need to accustom
oneself to rapid changes, is an essential component of the work. Each of Kadyrova’s nonsensical gestures is
perceived as yet another change that one must simply get accustomed to it and imbue with some kind of
sense. (O.O.L.)
Stas Voliaz"owski
B. Cherson, 1971; lives and works in Cherson
Toilet Stories, 2008, 6:00 min.
A toilet bowl provides the scenery for this series of anti-aesthetic short films, whose protagonists are horrid
plastic animals (made in China) and sweet cookies, while money and actual actors also make an
appearance. There are various battle scenes, including one in which ladybugs, although superior in number,
are defeated by a small duck; a scene featuring a meal consumed by an animal resembling excrement, who
is seen eating raw dumplings; colorful cookies that form beautiful ornaments on a toilet seat; and genre
scenes set in and out of doors. These scenes all make use of ugly, disposable objects from the artist’s
everyday environment. Most of these short films end with the appearance of an abominable-looking toilet
brush. Although it is easiest to reduce the work of Volaz"owski to fecal humor, there is something more to
these films, which address the disintegration of illusion and the inability of reality to make up for it.
Everything, in this world, seems to be a cheap, self-satisfied imitation free of any sort of complexes. (A.!.)
http://cca.org.il/?post_type=vz5&p=2575&lang=en
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Ukrainian Video Art « cca
12/13/10 1:04 AM
Masoch Fund
Founded in 1991 by Roman Viktiuk, Ihor Podolchak, Ihor Diurych; based in Kiev.
Art in Space, 1993, 4:44 min.
This work is styled as an experiment in which astronauts must, in addition to their normal duties and rest,
also respond to art. The work thus brings together two grand narratives, which meet in a cosmic space: the
conquest of space, which is presented as the ultimate triumph of the human mind, an Enlightenment idea
incarnate is contrasted with art, which depends on inspiration, intuition, self-examination, the irrational,
emotions and psychoanalysis. Where two great myths meet, banality is born. The astronauts, trying to
express themselves, revert to clichés such as “Art is deep and makes you think.” The work includes original
images from the Mir station. (A.!.)
Aleksandr Salmanov
B. Rostov-on-Don, 1976; lives and works in Kiev
Photographed 146 times, 2010, 1:49 min.
This video by Aleksandr Salmanov is actually an animation work based on two almost identical photographs
of the Ukraine’s High Court of Justice. One picture shows the entrance to the court when lit, the other when
dark. The light is switched on and off 146 times. The number 146 indicates the Ukraine’s ranking on a 2009
list composed by Transparency International, which reveals each country’s level of corruption as assessed
by its own citizens. The act of switching the light on 146 times is presented as a magical act, with each
switch designed to move the Ukraine one place up on this list. After 146 flicks of the light switch, according
to this form of magical thinking, the dark forces of corruption shall disappear. (A.!.)
http://cca.org.il/?post_type=vz5&p=2575&lang=en
Page 5 of 5

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2011

UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik
6/23/13 2:55 PM
84 2012
UKRAINA 2012:
DWIE DEKADY
KRYZYSU
Jakub Majmurek
Kino niepodleg!ej Ukrainy ma ju" ponad dwie dekady. I od dwóch
dekad ci#gle znajduje si$ w kryzysie: produkcyjnym, artystycznym,
to"samo%ciowym. Ukrai&ska kinematografia ci#gle nie mo"e si$
wymy%li'
Od upadku Zwi!zku Radzieckiego i uzyskania przez Ukrain" niepodleg#o$ci, tamtejsze kino
znajduje si" w ci!g#ym kryzysie. Dowodem jest chocia%by liczba produkowanych nad Dnieprem
filmów. Ukraina, kraj z 45 milionami ludno$ci, rocznie produkuje oko#o czterech (!) filmów;
w najlepszych latach po roku 1991 liczba ta nie przekracza#a kilkunastu. Wi"kszo$& pozosta#ej po
czasach Zwi!zku Radzieckiego infrastruktury filmowej nastawiona jest na produkcyjn! obs#ug"
rosyjskiego rynku telewizyjnego. Wiele rosyjskich seriali kr"conych jest na Ukrainie (z rosyjskim
aktorami graj!cymi po rosyjsku) ze wzgl"du na ni%sze koszty produkcji. Ale problem z ukrai'sk!
kinematografi! nie polega tylko na ilo$ciowej zapa$ci. Kino ukrai'skie ma te% wyra(ny problem
z tym, w jaki sposób okre$li& si" jako kino narodowe, kinematografia odr"bna od pozosta#ych
kinematografii dawnego Zwi!zku Radzieckiego. Z jednej strony w tematach podejmowanych po
uzyskaniu przez Kijów niepodleg#o$ci wyra(nie wida& pragnienie zdefiniowania kina
ukrai'skiego jako kina „narodowego”, buduj!cego to%samo$& narodu wyra(nie osobnego od
wielkiego s!siada ze wschodu. Z drugiej, najwa%niejsi, najbardziej rozpoznawalni na $wiecie
ukrai'scy autorzy (Kira Muratowa, Siergiej )o(nica) w ogóle niespecjalnie funkcjonuj! jako
„twórcy ukrai'scy”, postrzegani s! przez mi"dzynarodow! widowni" (jej festiwalowo-
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UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik
6/23/13 2:55 PM
arthousowy segement) jako cz"$& kina poradzieckiego, czy mi"dzynarodowego „kina
autorskiego”.
Na radzieckiej Ukrainie
W czasach Zwi!zku Radzieckiego kinematografia Ukrai'skiej SRR by#a cz"$ci! szerszej,
radzieckiej kinematografii. Cz"$ci! wa%n! – powsta#e na Ukrainie studia filmowej (w Kijowie,
Ja#cie i Odessie) stanowi#y wa%ne centra przemys#u kinematograficznego Kraju Rad. To w studio
w Odessie powstaje „Cz#owiek z kamer!” Wiertowa, studio w Kijowie jako jedno z pierwszych
w ca#ym ZSRR zaczyna produkowa& filmy w kolorze. Nie zmienia to jednak faktu, %e kino
powstaj!ce w tamtym okresie na Ukrainie mia#o przede wszystkim mie& radziecki, nie
„ukrai'ski” (narodowy) charakter.
To napi"cie mi"dzy „radzieckim” a „narodowym” najlepiej by#o wida& w twórczo$ci Alekandra
Dow%enki. Dow%enk" (którego nazwisko do dzi$ nosi wytwórnia filmowa w Kijowie) mo%na
uzna& za figur" fundacyjn! dla kina ukrai'skiego. Jego twórczo$&, która zaczyna si" w latach 20.
ubieg#ego wieku, przez historyków kina cz"sto bywa przedstawiana jako cz"$& wielkiego ruchu
radzieckiego kina z jego pionierskiego, artystycznie najbardziej innowacyjnego okresu.
Dow%enko tworzy kino po$wi"cone g#oszeniu chwa#y spe#nionej rewolucji – nie sposób jednak
nie zauwa%y&, %e jego dzie#o stoi daleko zarówno od Eisensteina, jak i Wiertowa, których – przy
wszystkich dziel!cych ich ró%nicach – w kinie interesowa#y przede wszystkim obrazy „miasta,
masy, maszyny”.
Autor „Ziemi” przedstawia, jak efekty rewolucji (mechanizacja, kolektywizacja) przybywaj! na
ukrai'sk! wie$. Kamera Dow%enki przygl!da si" jej z uwag!, jego filmy pe#ne s! przepe#nionych
lirycznym pietyzmem obrazów ukrai'skiej przyrody, wiejskiego %ycia, ludowych zwyczajów.
W#a$nie „ludowo$&”, liryzm i estetyzacja ukrai'skiego pejza%u stan! si" w pó(niejszym okresie
Ukrai'skiej SRR podstawowymi kodami, w jakich wyra%a& si" b"dzie „ukrai'sko$&” kina
powstaj!cego w Kijowie czy Ja#cie, jego dystans wobec dominuj!cego w Zwi!zku Radzieckim
modelu widowiska filmowego i „powinowactwo z wyboru” ukrai'skich autorów z dziedzictwem
europejskiego modernizmu (nie tylko filmowego).
Kino ze studni
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UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik
6/23/13 2:55 PM
Ten kod swoje apogeum osi!gn!# w latach 60., gdy swoje najwi"ksze sukcesy $wi"ci#o tzw.
ukrai'skie kino poetyckie. Za jego prekursora uzna& mo%na pochodz!cego z Gruzji Siergieja
Parad%anowa, który w latach 60. pracowa# w Studio im. Dow%enki w Kijowie. Tam w 1964 roku
Parad%anow zrealizowa# „Cienie zapomnianych przodków” – poetycki film, osadzony w $wiecie
ukrai'skich, karpackich górali, czerpi!cy z huculskiego folkloru i tradycji, a zarazem wpisuj!cy
si" w $wiatowy filmowy modernizm. Operatorem „Cieni…” by# Jurij Ilienko, który wkrótce sam
mia# zadebiutowa& jako re%yser.
Je$li wspó#czesne kino ukrai'skie ma jedn!, ojcowsk! figur", to jest ni! w#a$nie Ilienko. W 1965
roku debiutuje on poetyckim, skrajnie zdedramatyzowanym, praktycznie pozbawionym
dialogów filmem: „Studni! dla spragnionych”. Jest to portret starca mieszkaj!cego samotnie
po$rodku pustyni, przy studni, która kiedy$ s#u%y#a jako (ród#o wody dla spragnionych
w"drowców, a dzi$ kurzy si" nieu%ywana. Starzec wspomina w#asne %ycie, przegl!da
nagromadzone w domu zdj"cia z m#odo$ci, kopie sobie sam grób, usuwa si" ze $wiata
i przygotowuje na $mier&. Film, powszechnie uwa%any przez ludzi z bran%y za wybitny
artystyczny eksperyment, zosta# zatrzymany przez w#adze na ponad dwie dekady. Sekretarz
Komunistycznej Partii Ukrainy, Andrij Skaba mia# powiedzie& o „Studni”: „to arcydzie#o, ale
obra%a ukrai'ski naród”. Film Ilienki wszed# do kin dopiero w 1988 roku. Gdy trzy lata pó(niej
upad# Zwi!zek Radziecki film zosta# uznany za kamie' w"gielny nowego, ukrai'skiego kina:
opartego na liryzmie, pejza%u, poetyckiej metaforze, obrazach prowincji, artyku#uj!cego
specyficznie „ukrai'skie” („nie-rosyjskie”) do$wiadczenie historyczne.
Szukaj#c to"samo%ci
W latach 90. kino ukrai'skie próbowa#o zdefiniowa& si" jako „kino narodowe”, podejmuj!c
tematy z ukrai'skiej historii, które nie mog#y znale(& artykulacji w ramach kina sowieckiego.
„Ukrai'skie kino poetyckie”, próbuj!c przedstawia& najnowsz! histori" z ukrai'skiego punktu
widzenia, ci!gle musia#o jeszcze „negocjowa&” z radzieck! (a wi"c silnie rosyjsko-centryczn!)
polityk! historyczn!. Dobrym przyk#adem jest kolejny film Ilienki, „Bia#y ptak z czarnym
znamieniem”(1971) – portret wiejskiej rodziny z ukrai'skich Karpatów, podzielonych przez
wewn!trzukrai'ski konflikt w okresie II wojny $wiatowej. Z pi"ciu braci, którzy s! bohaterami
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UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik
6/23/13 2:55 PM
filmu, jeden przy#!cza si" do UPA i partyzanckiej walki z now! radzieck! w#adz!, drugi pracuje
na rzecz jej umocnienia. Ilienko nie pozostawia widzom w!tpliwo$ci, jaki wybór by# jedynym
s#usznym, ale jednocze$nie pokazuje cz"$& ukrai'skiego do$wiadczenia, jakiego produkowane
w tym samym czasie w Moskwie kino z pewno$ci! by nie pokaza#o.
„Studnia dla spragnionych”, re". Jurij Ilienko
Po 1991 roku kino ukrai'skie, wolne od radzieckiej cenzury, zacz"#o nie tylko si"ga& po dot!d
zakazane w niej tematy, ale tak%e aktywnie pozycjonowa& ukrai'sk! to%samo$& i ukrai'skie
do$wiadczenie historyczne jako przeciwstawne rosyjskiemu. Wida& to w takich filmach jak
nakr"cony w pierwszym roku wolnej Ukrainy „G#ód ’33” Olesia Janczuka. „G#ód” to epicki fresk,
przedstawiaj!cy kl"sk" g#odu na Ukrainie wywo#an! przez bezwzgl"dnie wdra%an! przez
stalinowskie w#adze kolektywizacj".
Najbardziej oryginalnym przejawem tego kina jest jednak „Modlitwa za Mazep"” (2002), pó(ne
dzie#o Ilienki. Oniryczny, wizyjny, barokowy, miejscami balansuj!cy na granicy kostiumowej
pornografii film, opowiadaj!c histori" legendarnego kozackiego hetmana, jednocze$nie
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UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik
6/23/13 2:55 PM
charakteryzuje ukrai'sk! to%samo$& w opozycji zarówno do Polski, jak i Rosji – dwóch
s!siednich pot"g przedstawianych jako sta#e zagro%enie dla ukrai'skiej niezale%no$ci
i to%samo$ci. To, co w filmach Ilienki z lat 60. by#o odwa%nym eksperymentem, poetyck! prac!
na formie filmowej, tu jest przede wszystkim krzykliw!, kiczowat! manier!.
Jak si" mo%na spodziewa&, tak%e pomara'czowa rewolucja, jako jedno z najbardziej
formacyjnych do$wiadcze' politycznych Ukrainy po roku 1989, znalaz#a swój wyraz w kinie.
Po$wi"cony jest jej film „Pomara'czowe niebo”, w którym historia rewolucji (przedstawianej
jako narodziny nowego, dojrza#ego politycznie narodu) zosta#a wt#oczona w melodramatyczny
schemat fabularny.
Mi$dzynarodówka autorów
Wszystkie te próby zbudowania nowego ukrai'skiego kina jako kina narodowego, nie spotka#y
si" uznaniem $wiatowej publiczno$ci i krytyki. Towarzyszy#y im dodatkowo procesy za#amania
produkcji filmowej. Nowa ukrai'ska kinematografia nie by#a w stanie nawet wygenerowa& do$&
$rodków i energii, by w pe#ni wykorzysta& pozostawion! po Zwi!zku Radzieckim filmow!
infrastruktur".
Jedynym silnym punktem na mapie ukrai'skiej kinematografii pozostaj! mocne, wyraziste,
autorskie osobowo$ci. Jednak poza Ilienk!, najbardziej znani i doceniani w mi"dzynarodowym
obiegu kina autorskiego twórcy ukrai'scy funkcjonuj! zupe#nie poza paradygmatem „kina
narodowego”. Najbardziej doceniona „ukrai'ska” re%yserka, Kira Muratowa, urodzi#a si" na
terenie dzisiejszej Mo#dawii. Cho& od pocz!tków swojej kariery filmy kr"ci g#ównie w studio
w Odessie, to wszystkie one mówione s! w j"zyku rosyjskim, nie ukrai'skim. Mimo, %e to jej
dzie#a (jak pokazywane w Berlinie „Trzy historie”) reprezentuj! Ukrain" na mi"dzynarodowych
festiwalach, Muratowa cz"sto oskar%ana jest o „nie-ukrai'sko$&” i kontestowana przez cz"$&
ukrai'skiej krytyki.
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UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik
6/23/13 2:55 PM
Siergiej )o(nica, drugi znany w $wiecie ukrai'ski filmowiec, od lat mieszka i tworzy swoje filmy
w Niemczech. Pokazywany tak%e w polskich kinach jego debiut fabularny „Szcz"$cie ty moje”
kr"cony by# co prawda na Ukrainie, powszechnie odczytywany by# jednak w kluczu kina posowieckiego,
obrazuj!cego rozpad spo#ecze'stwa w zdzicza#ej, zdegenerowanej rzeczywisto$ci,
pró%ni jaka powsta#a po upadku imperium.
Tak%e tworz!cy we Lwowie Igor Podolczak wpisuje si" przede wszystkim w kontekst
mi"dzynarodowego kina autorskiego i $wiata sztuki, a nie ukrai'skiego kina narodowego.
Podolczak zaczyna# jako artysta wizualny, swój pierwszy film „Las Meninas” nakr"ci# w 2008
roku. To wymy$lony, bardzo sztuczny obraz: w ca#o$ci rozgrywaj!cy si" w tajemniczej willi,
wygl!daj!cej troch" jak dzie#o sztuki wspó#czesnej, troch" jak sceneria taniego horroru. W jej
wn"trzach ogl!damy sadystyczno-masochistyczny spektakl m#odego cz#owieka, który u%ywa
swojej ci"%kiej choroby do tego, by moralnie szanta%owa& swoich najbli%szych (ojca, matk",
siostr") i psychicznie nimi manipulowa&. Po obejrzeniu filmu nikogo nie zdziwi fakt, %e
Podolczak kieruje za#o%on! przez siebie Fundacj! im. Sacher-Masocha, po$wi"con!
kultywowaniu pami"ci Leopolda Sacher-Masocha – ekscentrycznego pisarza, syna prefekta
policji w habsburskim Lwowie, od którego nazwiska wywodzi si" termin masochizm.
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UKRAINA 2012: Dwie dekady kryzysu | Film | Dwutygodnik | Dwutygodnik
6/23/13 2:55 PM
„Las Meninas” , re". Igor Podolczak
***
Kino niepodleg#ej Ukrainy ma ju% ponad dwie dekady. I od dwóch dekad ci!gle znajduje si"
w kryzysie: produkcyjnym, artystycznym, to%samo$ciowym. Ukrai'ska kinematografia ci!gle nie
mo%e si" wymy$li&, ci!gle wydaje si" by& tak naprawd" nie gotowa. A mimo to, niektóre jej
produkty (dzie#a Muratowej, )o(nicy, czy nawet „Modlitwa za Mazep"”) stanowi! fascynuj!c!
lektur" – nawet je$li s! $wiadectwem pewnej kl"ski.
UKRAINA 2012
Cykl tekstów przygotowanych przez dwutygodnik.com specjalnie z okazji EURO 2012, we
wspó!pracy z Narodowym Centrum Kultury (http://www.nck.pl/) w ramach polskoukrai"skiego
projektu kulturalnego pod nazw# „Europejski Stadion Kultury”
http://www.dwutygodnik.com/artykul/3622-ukraina-2012-dwie-dekady-kryzysu.html
Page 7 of 8

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современного искусства
Ася Баздырева
НОВОСТИ
16
МАРТ
2011
Дарина Жолдак и
Александр Соловьёв
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90 people like this.
Кунстхаус не готов к слиянию с уличным
искусством
Мир – это хаос, а я хочу в космос! Аноним
Скоро в Киеве произойдет арт-событие «космических» масштабов»: 5-17
апреля в «Мыстецком Арсенале» откроется Неделя современного искусства
под названием «Космическая Одиссея 2011».
В проекте уже принимают участие около 130 украинских и зарубежных
художников, будет задействована выставочная площадь комплекса в 16 000
кв.м. С уверенностью можно сказать, что грядущее событие станет знаковым
для современного украинского искусства. Проект претендует на то, чтобы
стать некой точкой отсчёта и платформой, вокруг которой в дальнейшем
выстроится система организации масштабных художественных проектов в
«Арсенале».
О том, что нас ожидает в апреле и каким видят событие его организаторы,
нам в подробностях рассказали куратор «Мыстецького арсенала» и
«Космической Одиссеи 2011» Александр Соловьёв и координатор проекта
Дарина Жолдак.
Кунстхаус в Цюрихе – один из главных музеев
Швейцарии, построенный национальным...
16
МАРТ
2011
Два главных японских музея не
пострадали от природных катаклизмов
Экспонаты крупнейших музеев Японии -
Токийского национального музея и
http://www.artukraine.com.ua/articles/338.html
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Статьи — ART UKRAINE
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Художественного...
15
МАРТ
2011
Китайский арт-рынок обогнал Британию
и занял второе место по объему продаж
Согласно исследованиям Британской федерации
рынка искусств (British Art Market Federation),
китайский...
15
МАРТ
2011
НА ПІДЛОЗІ приглашает на новую
дискуссию на тему искусства и денег
Дарина Жолдак и Александр Соловьёв
Расскажите нам о проекте «Космическая Одиссея»: что он собой
представляет и как возникла идея космоса.
Александр Соловьёв: Я рассматриваю это как коллективную
мегаинсталляцию. Это будет выставка в формате Недели актуального
искусства, который инициирован «Арсеналом» и будет проводиться в Киеве
первый раз - что-то вроде биеннале, но только не в таком развернутом
объеме, в частности биеннале подразумевает наличие большего количества
площадок. А с возникновением идеи всё просто - в этом году юбилей первого
полёта человека в космос - ровно пятьдесят лет назад. Помню, я учился в
школе в Ростове-на-Дону, во втором классе, и тут по радио голос Левитана:
«Внимание, работают все радиостанции Советского Союза…» Мы ведь еще
даже не понимали, что такое космос… всех выпустили из класса, и мы бегом
ринулись на школьный стадион, орали «Человек на Луне!». Для меня это как
раз было время постижения, как сказали бы сейчас, детского бестселлера
Николая Носова «Незнайка на Луне». А за четыре года до этого все искали
на небе огонек первого спутника. Такие детские воспоминания – самые
сильные, хотя тот космос, который мы видели чёрно-белой картинкой
телевизора, был лишён спецэффектов космоса современного… Потом пошла
целая череда событий: полёт Титова, Терешковой, первый выход человека в
открытый космос, началось и космическое соревнование сверхдержав, и был
действительно полет на Луну американцев. Происходили трагедии, гибли
космонавты, разбился Гагарин – главный символ эпохи. У Александра
Ройтбурда, к слову, была инсталляция «В детстве мне было жаль погибших
космонавтов», которую мы сейчас хотим восстановить. Но, если говорить о
выборе темы, здесь, конечно, есть опасность, что «Космическая Одиссея»
может быть воспринята как выставка «на тему», например, как раньше были
милицейские выставки - сплошной баскервилизм: милиционеры в фуражках, с
собаками… Кстати, о собаках. Помню, уже в перестройку запечатлелась
картина питерского художника Африки (псевдоним Сергея Бугаева) «Русские
народные космонавты Белка и Стрелка», решённая в стебовом ключе вокруг
«основного инстинкта»… Словом, и в космической выставке есть риск
утонуть во внешнем: скафандрах, всяких там фракталах, астралах…
Программа неформальных дискуссий НА
ПІДЛОЗІ/ON THE FLOOR приглашает на новую
дискуссию...
15
МАРТ
2011
Похвальная инициатива: повышаем
культуру чтения в... автобусе
В Москве появилась инициатива, опыт которой
мог бы быть весьма полезным для украинской...
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Фонд Мазоха, проект "Art in Space", 1991, видео
Дарина Жолдак: Но есть большой плюс, поскольку это не просто «тема», а
целый философский пласт, который позволяет художнику проявить себя
очень емко. Еще Аристотель говорил о космосе, как о самом грандиозном и
совершенном произведении искусства. Работы, которые мы собрали для
проекта, отвечают чрезвычайно широкому, если не бесконечному диапазону
трактовки: противостояние хаоса и космоса, например, как попытка человека
упорядочить свое бытие. Или как внутренний космос каждого человека, как
развитие цивилизации или как желание заглянуть в будущее... От мифа до
извечного вопроса - куда мы идём и откуда. По сути, вся история искусства
вокруг этих вопросов и стоит.
А.С.: Прочитал на каком-то форуме: «Мир - это хаос, а я хочу в космос». Нас
действительно интересует не выставка «на тему», а нечто более
мировоззренческое…
Дмитрий Орешников, Полуночная песня, 2011
Д.Ж.: И тема космонавтики здесь, как ни странно, вторична. Нас больше
волнует, как тема космоса осмыслялась в художественном контексте.
А.С.: Конечно, технологической компоненты всё равно не избежать, и будут
присутствовать скафандры и прочее…
Д.Ж.: И спасибо Национальному космическому агенству Украины за
возможность получить уникальные экспонаты из космических музеев. Не все
мы знаем, что Украина - это родина самых уникальных разработок, без
которых космическая отрасль не состоялась бы в мире. И продолжает
удерживать эти позиции.
А.С.: Но задача у нас - не иллюстрация этого величия. Счастливая накладка,
что космические масштабы «Арсенала», такого себе Соляриса, диктуют
форму огромной коллективной инсталляции, провоцируют симультанное
высказывание художников. Это специфическая выставка и у нас есть фокусгруппа,
которая занимается отбором работ, но жёсткого критерия
«соответствия космосу» или табу нет.
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Александр Гнилицкий. Челунашка, 2002, бумага, акварель
Д.Ж.: Первичных ассоциаций с космосом мы стараемся избегать. Нет в
космосе границ - и здесь не будет!
А.С.: Допустим, есть в работе какое-то ощущение внутреннего космоса,
микромира… Регистр чрезвычайно широкий: это могут быть
профессиональные художники, которые задают тон по разряду contemporary
art, со всеми концептуальными ухищрениями, изысками, и до художниковнаивистов,
у них тоже свой космос и очень искреннее ощущение космизма - и
это тоже нам интересно. Задача - посмотреть на это больше, чем на просто
выставку. То есть, мы не гнушаемся тем, что ездим по местам Украины, где
есть космические музеи. Особо впечатлила поездка на Южмаш – главный
ракетный комплекс бывшего СССР, а ныне, естественно, Украины – там мы
увидели очень много интересных объектов: спутники, ракеты, какие-то
макеты, питание космическое…
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Игорь Гусев. Юра, 2007, холст, масло
Д.Ж.: Да, больше всего нас потряс этот «город в городе», завод при КБ
«Южмаш», с музеем 30-летней давности, все экспонаты которого когда-то
демострировали мощь индустрии, а сегодня буквально покрыты толстым
слоем пыли. Выцветшие фото сотни сотрудников завода, запыленные
космические вымпелы и значки, статуи бывших вождей страны, товары
народного спроса от вилок до детских велосипедов, тоже производимых
«Южмашем», документация быта 50 000 сотрудников закрытого завода,
недостроенная бетонная церковь на територии и ядерные ракеты... Мы
поняли, что Илья Кабаков, кстати, уроженец Днепропетровска, по уровню
«тотальной инсталяции» нервно курит в сторонке. Но перенесённые из того
контекста объекты музея сильно обогатят нашу выставку. К тому же нам
предоставят новейшие, совершенно уникальные космические аппараты,
аналогов которых нет в мире.
Аэрокосмический музей Днепропетровска
Расскажите о составляющих компонентах проекта.
Д.Ж.: У нас уже есть около 130 участников и с каждым днём, когда мы
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думаем, что уже финализировали список, их становится все больше. Каждый
день мы говорим фразу – «так, пора ставить точку», но на следующий
находим новую работу или проект. Мы, если честно, даже не представляли,
что тема найдет такой живой отклик у художников со всей Украины и не
только. Запланирована большая международная программа, мы надеемся,
что большинство этих проектов будут осуществлены.
А какие страны будут представлены?
А.С.: Сейчас уже можно точно говорить о Польше (это будет видео Павла
Альтхаммера и перформанс Иованны Варжи), России (будет представлена
одна из версий «Космонавта» Олега Кулика), может, осуществится «проект в
проекте» с корейскими художниками, в сотрудничестве с известным
куратором Ману Парком. Из Белоруси будут художники, хотим привлечь
Алисию Фрэмис из Испании, Юлиуса Поппа и группу Rochus Aust – из
Германии. Нам дает фотографии НАСА, ведём также переговоры с
российским космонавтом Юрием Лончаковым, который, находясь в открытом
космосе, вел фотосъёмку. Нам интересны эти фотографии и в
художественном плане, и как документ.
Д.Ж.: Кстати, в программе проекта у нас будет лекторий, в котором проведем
ряд интересных встреч с очевидцами из космоса, в том числе и с Каденюком.
Планируем приезд Валентины Терешковой, например.
А.С.: Тема космоса может показаться избитой, в ней очень легко оказаться
банальным и это самое страшное. Когда возникла идея делать проект, сразу
пришло в голову название «Космическая Одиссея 2011», которое мы
апроприировали у Стенли Кубрика, заменив только дату. Эта тема освоена
всеми видами искусства, в частности кинематографом, начиная с «Полёта на
Луну» Мельеса, «Аэлиты», лент Фрица Ланга до «Звездных войн» Лукаса и
«Туманности Андромеды», снятой в Киеве на студии Довженко…
Д.Ж.: Кстати, эти фильмы можно будет увидеть в кинопрограмме проекта,
сейчас активно занимаемся их отбором.
А.С.: Да, такой себе «науч-поп»! Всё будет переплетено - это не узкий
интеллектуальный проект, ориентированный только на технологию или
исключительно на космос. Многие из отобранных работ были созданы давно,
из внутренней необходимости художника, а не к проекту. Я вспомнил, к
примеру, и проект «Art in Space» Фонда Мазоха ( дуэт Игоря Подольчака и
Игоря Дюрича) - одно из первых украинских арт-видео. Некоторые работы
будем брать у коллекционеров: «Спутник» Арсена Савадова, «Белка и
Стрелка» Олега Тистола, «Алконавт» Василия Цаголова… Будет очень много
разного видео, связанного как с пресловутыми фракталами (куда ж без
них!?), так и повседневностью, обыденностью, но пронзенных, используя
название известного фильма, «космосом как предчувствием».
Стас Волязловский, Максим Афанасьев. Без названия, 2011 (Видео)
Д.Ж.: Вот Стасу Волязловскому, например, удалось посмотреть на Майдан
Незалежности как на поверхность другой планеты, где все мы на фоне этой
архитектуры настоящие пришельцы. У Сергея Браткова потрясающее видео
об украинском «марсианине». Николай Ридный сделал отличное
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документальное видео об екстремальном желании почувствовать полет,
вплоть до преодоления телесной боли.
Также будет проект, посвящённый легендарному Фёдору Тетяничу или
Фрипульи - мы покажем фильм о его жизни, представим его чертежи,
живописные работы, тексты и, конечно, его уникальные «биотехносферы».
В «Космической Одиссее» будет также несколько личных историй…
А.С.: Экзистенциальных моментов, связанных с рождением художника.
Музей «Южного машиностроительного завода имени А. М. Макарова»
(Южмаш)
Д.Ж.: Олег Кулик, например, родился в день полета Гагарина в космос, 12
апреля 1961 г, и буквально с роддома его преследовало созвучие «человексобака»,
обсуждаемое всеми, потому что в те дни было непонятно, кто же
первым полетел в космос. И это, по его признанию, повлияло на его
творческую жизнь самым кардинальным образом.
А.С.: У Маши Павленко мама - астроном, и пока носила её, писала
диссертацию по небесным красным телам. Мы представим эту диссертацию в
так называемом «экзистенциальном» разделе. Будет и раздел, связанный с
картографией - googlmaps со своим спутниково-сателлитным видением.
Способы работы художника: от компьютерных технологий до мануальных.
Например, Никита Кадан будет делать специальную монументальную
роспись. Среди других векторов: космос как полёт, человек и крылья - от
гоголевского, языческого, мифического видения, от архаических до
утопических аппаратов. Большой пласт - это космос как миф. Подобно серии
Цаголова «Украинские Х-files», с инопланетянами и попсовой мистикой,
работе Сергея Зарвы, с фотографией космонавта на обложке журнала, но в
виде иконы – новой иконы сегодня. Вообще, мы не ожидали, что художники
так активно откликнутся на эту тему.
То есть, с одной стороны, выставка будет своего рода отображением
микрокосмоса художников, поскольку работы апеллируют к их
внутреннему состоянию и пониманию, но, с другой стороны, она также
охватывает более глобальные масштабы и станет документацией
современного технократичного мира. Можно сказать, что «Космическая
Одиссея» станет прорывом…
Д.Ж.: Скорее попыткой опробовать в полном масштабе уникальное
выставочное пространство «Арсенала». Кстати, именно потому, что работы
художников в пространстве являют собой некую «коллективную
инсталяцию», мы решили не делать каталог к открытию, а дождаться съемок
экспозиции, и уже издать его до конца проекта.
Вы упомянули художников Новой волны, которые будут представлены,
и самое молодое поколение - Никиту Кадана, Ладу Наконечную и других.
Будет ли нарратив на то, как менялось «космическое сознание»
художника девяностых, например, и до сегодня?
А.С.: Думал я на эту тему, но пока, скорее, будет хороший микс. Некоторые
узлы в этом вопросе мы постараемся обозначить, но жёстко высветлить не
получится.
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Д.Ж.: C 90-х мало что изменилось в понимании темы, скорее, сильно
изменились технологии как часть информационного общества или как
инструмент для художника. Интересней брать больший временной отрезок,
тогда проект будет разрастаться, это уже другая глобальная задача и тема
для отдельного «музейного» проекта, который готовят несколько лет:
проследить развитие «космической» темы в искусстве! Тогда нужно начинать
с первых космических календарей на ритуальной посуде.
Тогда проект может служить основанием для дальнейшего развития
темы…
Д.Ж.: И дальнейшего развития «Арсенала», открытого к современному
искусству. А в рамках развития Недели современного искусства - каждый год
будет новая тема, согласно кураторскому решению.
А.С.: То есть, в этом году проект такой, в следующем году – другой. Так или
иначе, это своего рода мотиватор художественной среды. И я не зря
обозначил опасность неправильного внешнего прочтения идеи и провёл
параллель с милицейскими выставками. Это не иллюстрация и раздел ВДНХ,
а толчок к размышлению, к пониманию, выход в пограничия или касания. Тот
же скафандр может восприниматься и прочитываться в разном контексте, не
только космическом. Это будет очень любопытный опыт.
Ася Баздырева
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180°
Brazil 2010
85 minutes
Director: Eduardo Vaisman
Cast: Eduardo Moscovis, Malu Galli, Felib Abib.
Language: Portuguese, with English subtitles.
BRAZILIAN FOCUS AND IN COMPETITION
Awards: Audience Award at Festival Latino-Americano de Cinema de Gramado, Brazil.
Print source: Limite Filmes, Rio de Janeiro.
180° is an unusual Brazilian film. It is not about drug dealers or corruption, or about the misery
endured across the country. The film tells the story of Anna, Russell and Bernardo, three
members of the urban intellectual middle class in Rio de Janeiro. They risk it all in a game of
passion involving the authorship of a book. The non-linear narrative invites the audience to piece
together an elaborate puzzle, the solution of which can be found in the charactersʼ past as well
as their present. The film is an universal drama about human relationships and ambitions.
Director Eduardo Vaisman has a degree in film production. His short film Dadá was screened at
more than 40 film festivals and won over ten international awards. 180° is his first feature film
and has received the Ministry of Cultureʼs Award for Low Budget Films.
2 FROGS IN THE WEST
2 Frogs dans lʼQuest
Canada 2010
97 minutes
Director: Dany Papineau
Cast: Mirianne Brûlé, Dany Papineau, Jessica Malka.
Language: French and English, with English subtitles.
IN COMPETITION
Print source: Charlie David, Border to Border Entertainment, Montreal.
2 Frogs in the West tells the simple yet universal story of finding oneself through the experience
of travelling. This cross country, coming-of-age, Y Generation film follows the story of a 20-yearold
college girl from Quebec who travels to the West Coast to learn English and explore life.
Landing in Whistler, she meets a group of friends living life fast and easy in North Americaʼs
premiere ski and snowboard resort. Pushing the boundaries on modern sexuality and on the
slopes, they will soon find out if they have what it takes to survive life in the mountains.
Dany Papineau is a bilingual actor-filmmaker who was born in Quebec into a French-speaking
family. At the age of 21, Dany took a summer off from his civil engineering University studies to
travel and improve his English in Western Canada. He never returned to his studies. Instead,
after two years of extensive travelling, Dany moved back to Montreal to start an acting career.
His acting coach referred him to several casting agencies and he starts landing a few parts while
taking up various jobs on film sets. In 2000, Dany moved back west to Vancouver, to study
Acting for Film at the Vancouver Film School. After his studies, he was involved both in many
professional and independent film projects. Fortunately, the National Film Board accepted his
proposal and provided a grant to shoot 2 Frogs in the West, a 21 minute short film inspired from
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his adventures in the West. 2 Frogs was shown in several film festivals.
After spending six years in Vancouver, Dany returned to Montreal to continue his acting career in
Quebec and to further develop the feature film version of 2 Frogs in the West.
9:06
Slovenia 2009
71 minutes
Director: Igor Sterk
Cast: Labina Mitevska, Igor Samobor, Silva Cusin.
Language: Slovene, with English subtitles.
IN COMPETITION
Awards: 15 international awards including Best Filmmaker at the Alexandria Film Festival and
Best Film at the Slovenian Film Festival.
Sloveniaʼs official entry for the 2011 Best Foreign Language Oscar.
Print source: Insomnia, Paris.
A police inspector Dusan investigates an unusual case, the death of Marjan Ozim. The inspector
develops an obsession with the case, especially when he realises it was suicide. He starts to live
in the deceased's apartment, digging through his life, getting involved with people Marjan Ozim
knew, gradually taking over his identity. As the story progress, the reasons for the inspector's
obsession are revealed step by step.
9:06 is a fascinating and compelling study of psychological transformation, brilliantly represented
in the movieʼs title, which at first glance may appear to be a sort of numerical half palindrome,
but in actuality is a kind of upside down, twisted reflection of itself – and in this case, a potent
symbol of how, under certain circumstances, one individual can be drawn into another. 9:06 is
ostensibly a fairly simple police mystery story – a man is dead, foul play? -- which director/writer
Igor Sterk has dressed up with a complete wardrobe of cool and clever ideas that transforms a
death into a study of the amiss and suicide-seeking mind. As well as the absorbing story, 9:06
should also be commended for some outstanding cinematography by Simon Tansek, and some
very imaginative, artistic direction by Sterk. Tansek is wonderful, conjuring up some incredible
lightplay in what must have been some difficult situations. Sterk's direction is amazing, with
endlessly amusing camera angles, some superb architectural set shots, great pacing and the
kind of slo-mo, brief conversations that gives all that elusive artistic sheen – Rick McGarth.
AHMED GASSAIAUX
Morocco/Belgium 2010
80 minutes
Director: Ismael Saidi
Cast: Rabie Kati, Sanae Akroud, Marc Duret.
Language: Arabic and French, with English subtitles.
Print source: D3 Films, Tangier.
This biopic is based on the memoires of Ahmed Guessous, who was orphaned during the Taza
war of 1924 and subsequently adopted and educated by a prominent French family. A beautiful
reconstruction of an era with a haunting musical score.
BLACK GOD WHITE DEVIL (Deus e o Diabo
na Terra do Sol)
Brazil 1964
120 minutes
0-16 VS
Director: Glauber Rocha
Cast: Geraldo Del Rey, Maurício do Valle
Language: Portuguese, with English subtitles.
BRAZILIAN FOCUS
Awards: Nominated for the Golden Palm, Cannes Film Festival.
Print source: Courtesy of the Brazilian Consulate in Cape Town.
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Widely considered to be the greatest Brazilian film of all time, Black God, White Devil (Deus e O
Diabo Na Terra Do Sol) influenced such major filmmakers as Martin Scorsese and Sergio Leone
and is maestro Glauber Rochaʼs finest and most moving work. An epic and moving work, Black
God, White Devil blends mysticism, religion, and popular culture, into a powerful, bleak and cruel
epic, that unashamedly expresses its frustration with many of the major institutions of Brazilian
life – government, Church and corrupt landowners. Set in the 1940s, the picture follows Manuel,
who kills his employer after he tries to cheat him of his wages. From then on Manuel and his
wife, Rosa, move around the country, robbing and killing as they go, listening to the words of
religious mystics and self-proclaimed saints as try to find their place in a ruthless land of
corruption, anguish and violence. What makes this film all the more remarkable is the fact that
director Glauber Rocha was only 25 years old when he wrote and began filming this masterwork,
a film which cries out for man to determine his own path. The picture was nominated for the 1964
Golden Palm award at the Cannes Film Festival and is considered to be a seminal piece of the
Brazilian Cinema Novo movement.
CARANDIRU
Brazil/Argentina 2003
145 minutes
0-16 VSNL
Director: Hector Babenco
Cast: Luiz Carlos Vasconcelos, Milton Gonçalves
Language: Portuguese, with English subtitles.
BRAZILIAN FOCUS
Awards: Twelve international awards including Cinema Brazil Grand Prize for Best Director and
Screenplay.
Print source: Courtesy of the Brazilian Consulate in Cape Town.
Prisons don't come much meaner than the São Paulo Carandiru Penitentiary, a decrepit cell
block overcrowded with Brazil's most violent criminals. It's a tinderbox just waiting for a spark to
ignite it, which is exactly what happened one fateful day in 1992 when riot police stormed the
building. Based on the bestseller by real-life prison doctor Dráuzio Varella (played by Luiz Carlos
Vasconcelos), the sprawling Carandiru is funny, violent, and shocking. Filmed on location in the
actual penitentiary, with a huge cast of novice actors - some of whom are former inmates -
playing the prisoners, Carandiru is a rich tapestry of stories woven together with a masterful air.
Letting each prisoner tell the tale of his crimes, arrest and imprisonment, director Hector
Babenco (Kiss Of The Spiderwoman) discovers an unexpected warmth within the grim prison
walls as tales of love, jealousy, failed escaped attempts, and the on-going AIDS epidemic grab
us by the throat. Amidst the squalor there's dignity and humanity, though, and Babenco takes
pains to show us that even criminals can have honour. "The only reason this place doesn't
explode is because they don't want it to," whispers one of the outnumbered jailors. Survival in
such overcrowded circumstances means living by a code of ethics few would ever have
entertained in the world outside. – Jamie Russell (BBC Films)
CENTRAL STATION
Central do Brasil
Brazil/France 1998
113 minutes
PG LVM
Director: Walter Salles
Cast: Fernanda Montenegro, Vinícius de Oliveira.
Language: Portuguese, with English subtitles.
BRAZILIAN FOCUS
Awards: 29 international awards including the BAFTA for Best Film not in the English language
and the Golden Bear for Best Film at the Berlin International Film Festival.
Print source: Courtesy of the Brazilian Consulate in Cape Town.
Dora (Fernanda Montenegro) is a former school teacher who makes a living by writing letters for
illiterate people passing through Rio de Janeiroʼs main train station, Central do Brasil.
Commuting to the city from impoverished suburbs, workers flock to her, hoping to contact lost
family members, send love letters, or simply relate the details of their lives. Dora charges the
equivalent of a dollar per letter she writes and a dollar more if she is asked to mail it. Among her
clients are Ana (Sôia Lira) and her nine-year-old son Josué (Vinicius de Oliveira), who has a
fierce desire to meet his father, whom he has never seen. When leaving the station afterwards,
the woman is struck by a bus and killed. Josué, with nowhere to go, begins to loiter around the
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station, acting pugnacious and withdrawn. His plight stirs something in Dora (she has seen the
fate of shoplifters, who are shot, and she reasons that, without her intervention, a similar fate
awaits Josué), who brings him home, then sells him to an adoption agency. However, when her
best friend notes that Josué is too old to be adopted and that the organization may be a front for
organ thieves, Dora kidnaps the boy from the agency, then goes on a journey with him,
searching for his father. Director Walter Salles has created more than a road picture; he tells a
poignant story about two characters and their destinies. The emotional richness of Central
Station is reflected in its vivid colours and cinematography. The camera captures the heat and
oppression of the busy, harsh city, and it illuminates the simple roughness of the countryside and
small villages. The curve of the train rails turns into the curving architecture of the overgrown
apartments. The packed rail station, the transport trucks, small roadside stops, religious
pilgrimage spots and urban development add to the texture of Brazilian society. The musical
score, which follows the pair from station to station, is equally eloquent.
DAYS OF HARVEST
I giorni della vendemmia
Italy 2010
75 minutes
0-13 MS
Director: Marco Righi
Cast: Lavinia Longhi, Marco DʼAgostin, Gian Marco Tavani.
Language: Italian, with English subtitles.
IN COMPETITION
Print Source: IERA, Italy.
1984 was a very fertile year for the province of Reggio Emilia. Young Elia is working in the heat
gathering ripe grapes and thinking about his future, which is still connected with a peaceful rural
life that moves lazily to the rhythm of the summer weather. He doesn't even notice the quiet
disputes of his parents anymore. His father, Claudio, is an avid supporter of Marxism, while his
wife Maddalena is fully committed to Christ. In a short time Elia's life issues become true
sorrows: the beautiful and experienced Emilia comes to their house and thus significantly
disrupts his quiet contemplations about his own fate. Debuting director Marco Righi has shot a
powerfully intimate story about growing up, showing not only the life experience of the "golden"
Italian youth, but also how the historic feud between two powerful trends in Italian politics affects
them. The formal style of the film also pays homage to classic Italian film.
Director Righi studied directing and editing, then worked for several years as an editor at a
production company. Since 2009 he's been working on his own project "stanza505", a video
studio located in the Italian city of Reggio Emilia. He has made several short films and the
documentary Down With Mussolini (Abbasso il Duce, 2007, together with Cosimo Bizzarrim). His
first feature film is Days of Harvest (I giorno della vendemmia).
DO ELEPHANTS PRAY?
United Kingdom 2010
105 minutes
0-13 LSM
Director: Paul Hills
Cast: Jonnie Hurn, Julie Dray, Marc Warren.
Language: English, French and Breton.
IN COMPETITION
Awards: Six international awards including the Grand Jury Prize for Best Narrative Feature at
the Santa Cruz Film Festival.
Print Source: Elephant Features Ltd.
Frustrated by the soulless routine world he is shackled to the life of fastidious advertising
executive Callum (Jonnie Hurn) decends into poetic chaos when he meets the free-spirited
French seductress Malika (Julie Dray) who promises to change his life forever, providing he
keeps her identity a secret.
Whilst his employees, lead by the boisterous Marrlen (Marc Warren) mutiny over a make-orbreak
campaign Callum abandons everything to rough it in a forest in her native France where
he is subjected to increasingly demoralising trials that challenge his perceptions, revealing not
only the hidden meaning to his unfulfilled life but also the perfect way to sell the unsellable
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product.
Director Paul Hills was born in London in 1969 and moved to Stevenage in 1975. It wasn't long
before he was shooting Super 8 films, becoming by the age of 15 a prolific maker of short films.
After leaving school he immediately began making music videos for local bands. Over the
following years he shot promo's for Fire Records, Bluebeat Records, Unicorn Records, P.M.I.,
culminating in 1987 with the 60 minute concert video The Legendary Laurel Aitken live at Gaz's
Rockin' Blues. Paul went on to make another four short films before producing, in 1990, Danny
Cannon's Play Dead at the National Film and Television School. When the 55 minute film was
screened on Channel Four it received an audience of 3 million - the highest ever achieved by a
U.K. student film. Danny Cannon later remade Play Dead as the feature film The Young
Americans. In January 1991 Paul embarked on the feature film The Frontline - a crazy
endeavour, shot at weekends over a period of six months on a budget of £8,000. Although nearly
destroying Paul financially and mentally, upon its release in 1993, it received much acclaim.
Boston Kickout , Paul's award winning autobiographical 1996 film, was his first budgeted feature.
Screened at over 50 international film festivals, including Cairo and Tokyo, the film was runner up
in audience votes at the London and San Sebastian Film Festivals, the Bermuda Film Festival
making it the winner. At the Valencia Cinema Jove Film Festival it won "Best Film" and the lead
actor, John Simm "Best Actor".
GLENN, THE FLYING ROBOT
Belgium 2010
80 minutes
Director: Marc Goldstein
Cast: Billy Boyd, Dominic Gould, Gérard Depardieu
Language: English
IN COMPETITION
Print Source: Marc Goldstein, House of Film, Bruxelles.
Henry and Jack are two famous and talented pianists: They are rivals and try to outdo each
other in the various music events where they regularly compete. They have known each other
since their days at the music academy and developed a very strong friendship. They met Lana
there and Jack had an affair with her then. This friendship deteriorated along the years and Lana
left Jack for Henry. Jack's resentment towards Henry will increase even further when he realises
that although his talent as a pianist is as great a talent as Henry's, he always ended up second...
behind Henry. Simultaneously, Lana slowly realised that the only thing Henry cares about is his
job. When she gets pregnant, he tells her he doesn't want the child and she leaves him, taking
refuge with Jack who thus finds a way to get back at Henry. From that point, the former friends
will clash with no mercy, from contest to contest until the day a domestic robot, GLENN, enters
their lives…
Glenn: The Flying Robot is a Sci-fi film that has a lot going for it: The two male leads, Dominic
Gould and Billy Boyd are terrific together. It is their chemistry that makes the characters
believable and realistic. The robot effects are top-notch and the settings and music both add to
the over-all atmosphere of the film. The story is ultimately about two men who are forced to dig
deep within themselves to find what is really important in life while trying to stop Glenn before he
ends it all for the both of them. Thought-provoking in the human sense as well as in the technical
sense, it makes you wonder how far is too far when creating machines and giving them power.
GOD IS BRAZILIAN (Deus É Brasileiro)
Brazil 2003
110 minutes
Director: Carlos Diegues
Cast: Antônio Fagundes, Wagner Moura, Paloma Duarte
Language: Portuguese, with English subtitles.
BRAZILIAN FOCUS
Awards: APCA Trophy from São Paulo Association of Art Critics Awards
Print source: Courtesy of the Brazilian Consulate in Cape Town.
Of the small number of actors I can think of whoʼve played God over the years, my favourite is
probably still Rex Ingram in The Green Pastures (1936). But having seen Antônio Fagundes as
the Crafty But Benign Old Gentleman Upstairs, I think Iʼve encountered His most believable
screen incarnation. Fagundesʼ God is an interesting mix of philosophical pragmatist and lonely—
and somewhat petulant—old man. Not that God in Carlos Dieguesʼ 2003 film God Is Brazilian
ever admits to loneliness, but itʼs at the core of this charming, thoughtful, admittedly meandering
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film. The premise is that God is tired and stressed. Heʼs simply burnt out on people wanting
things from Him (“God, get me this or that”) or blaming him for things. Heʼd like a holiday, but first
he must find a saint to put in charge of things while He floats around the universe and watches
the supernovas. To this end, He appears in Brazil (standing on a pole in a river like a waterbound
Simon of the desert) and enlists the aid of a charming young scoundrel, Taoca (Wagner
Moura), to take him to find the elusive Quinca of the Mules (Bruce Gomlevsky), who Heʼs
convinced is the man for the job. The problem is that Quinca always seems to have just left
wherever God and Taoca go to look for him. Thatʼs the workable premise of Dieguesʼ fanciful
movie, which is at bottom a kind of ecclesiastical buddy/road picture that uses its journey to
explore both the nature of God and humankind. Funny and frequently perceptive, it raises most
of the right questions—some of which have been raised over the years in films as diverse as the
aforementioned Green Pastures and Peter Medakʼs The Ruling Class (1972) —and often puts
forth strangely satisfying, if not always comfortable, answers. – Ken Hanke.
HOMELAND
Hora Proelefsis
Greece 2010
111 minutes
Director: Syllas Tzoumerkas
Cast: Amalia Moutoussi, Thanos Samaras, Ioanna Tsirigouli
Language: Greek, with English subtitles
IN COMPETITION
Print source: Marinos Kritikos, Athens.
Greek director Syllas Tzoumerkas' Homeland is an explosive parable of Greece coming apart at
the seams, shown through the spectrum of a very dysfunctional family. In Homeland Tzoumerkas
and co-writer Youla Boudali, who also stars in the movie, follows a family over three generations:
growing up in the 50's after the restoration of democracy in Greece, then their lives during the
70's, and finally a look at the current generation. Dysfunctional at best, the characters are torn
apart over an adoption issue within the family and resentment and secrets and lies define their
relationships. Stergios in particular (Thanos Samaras) is full of hatred. His mother gives his
brother up for an adoption within the family, leaving him to deal with his unstable mother, Gena.
At the same time the family is also forced to deal with a grandfather who has taken sick and is
unlikely to recover, as arguments erupt about who should care for him. Years later, both brothers
are grown up and, as the family tensions threaten to explode, the country itself is coming apart at
the seams. Riots erupt in the streets, marking the beginning of a profound crisis in Greece not
only financially but also psychologically.
HOPEVILLE
South Africa 2010
91 minutes
Director: John Trengrove
Cast: Desmond Dube, Leleti Khumalo, Paul Luckhoff, Themba Ndaba, Terry Pheto, Junior
Singo, Jody Abrahams
Language: English subtitles.
IN COMPETITION
Print source: Humble Pie Entertainment.
Hopeville tells the story of Amos, a reformed alcoholic on a mission to forge a relationship with
his estranged son, Themba. When father and son arrive in the dusty town of Hopeville, they
discover a mean little community where apathy, fear and suspicion are the order of the day.
When Amos decides to restore the public swimming pool so that his son can pursue a swimming
career, he is met with scepticism and resistance from the town's authorities and its inhabitants.
Through patience, determination and above all courage, Amos' selfless act ripples through
Hopeville, inspiring others to take action and to do what they know is right. Slowly but surely,
good ripples through Hopeville, transforming the town and its inhabitants for good.
IMPOSSIBLE LYRICS
El idioma imposible
Spain 2010
93 minutes
Director: Rodrigo Rodero
Cast: Andres Gertrudix, Irene Escolar, Helena Miquel
Language: Spanish, with English subtitles.
IN COMPETITION
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Awards: Best First Film at Toulouse Film festival and Best Actor Award at Madrid Film Festival.
Print source: Rodrigo Rodero, Spain
Fernando lives in the heart of Barcelona in the early 1980s. He is involved with sinister charcters
whom he sells amphetamines in order to get by. One morning, after one of his many sleepless
nights, Fernando meets Elsa, a young, vital and sweet woman, completely different from anyone
he has ever met. Elsa, who turns out to have a strangely self-destructive personality, will become
Fernandoʼs worst addiction. Together they will try to survive in a dark and bleak Barcelona that is
taken over by the renegades of society after night falls.
LAS MENINAS
Ukraine 2008
99 minutes
Director: Ihor Podolchak
Cast: Mykola Veresen, Lyubov Tymoshevska, Hanna Yarovenko, Dvytro Chernyavsky.
Language: Ukrainian, with English subtitles.
Print Source: Ihor Podolchak.
This visually stunning film is about what the routine of everyday life can do to the human mind
and psyche. It also reflects on the importance of the choices we make and how limited these
choices are in the first place. The plot evolves around a family of four. They live in the suburbs,
in a strange villa that appears, through a complex game of mirrors, to be more like a piece of
installation art than a real house. The main character, who hardly appears on screen, is the son,
a man in his thirties. Suffering from asthma and eczema since childhood, he uses his condition
to manipulate his parents and his sister. Thus the existence of the terrorized family turns into an
endless ritual of attempting to satisfy his whims, and always on the alert for yet another one of
his health crises. Las Meninas resembles the scattered pieces of a puzzle. It is up to the viewer
to assemble them in order to form his very own picture something that makes the film itself
personal and unique.
Taking its name and inspiration from the painting of the same name by Diego Velázquez, Las
Meninas is a fabulously visual debut. Pushing the boundary of what an art movie can be, the film
leaves behind narrative in favour of sequences of meticulously assembled dioramas and images
which can be gradually sorted in the mind afterwards for coherence. Based around a family in a
country house, all is not well as is gradually revealed. Ukrainian director Igor Podolchak
absolutely captures a vignette style of painting in the camerawork. Notably a bowl of fruit is
presented like an oil painting. A visual artist, Podolchak infuses his film with his background to
the extent that Las Meninas can feel like an installation. The filmʼs climax is a standout scene
where characters move around a bedroom. The shot is fixed but it has a mirror in it where most
of the action can be spied. This activity then spills off the mirror in the rest of the shot giving the
impression of people walking in and out of shot with a dreamlike logic. Itʼs an unforgettable
sequence. Give Las Meninas some time and space and be prepared to be rewarded. - David
Perilli, Festival Daily
KOSMOS
Turkey/Bulgaria 2010
122 minutes
0-16 S
Director: Reha Erdem
Cast: Türkü Turan, Secret Yesil, Saygin Soysal
Language: Turkish, with English subtitles
IN COMPETITION
Awards: Four international awards including Best Film and Director at the Antalya Golden
Orange Film Festival.
Print Source: Atlantik Film
Reha Erdemʼs award-winning Kosmos taking us on a journey devoid of a sense of time and
place. In this magnificent fairy tale, a strange man drifts into a border town, disrupting the stoic
and conservative existence of the townʼs inhabitants. Kosmos wowed audiences and critics at
last yearʼs Golden Orange Film Festival, and won four awards, including best film and best
director. The story is hard to pin down – or, rather, the story on paper hardly reflects what the film
is about. A stranger drifts into a snow-laden border town. Even though he could easily be run out
of town given his appearance as a deranged or homeless man, he makes a grand entrance. He
jumps into the cold river to save a drowning boy. In fact, he brings the boy to life right in front of
his older sister. The stranger begins his bizarre journey in the town with the admiration and
respect of the townfolk, even if it does not necessarily mean he has won over their hearts. He
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tells the town that his name is Battal. But for the object of his affection, the little boyʼs sister, he
becomes Kosmos. Florent Herry takes the credit for the stunning cinematography, an integral
part of the haunting atmosphere of the film. Meanwhile, the relatively unknown Sermet Yeşil
portrays Kosmos as wise and primal at the same time. Kosmos is a powerful movie, appealing to
the senses. There is not much use in trying to dissect the film rationally; and that, in the end, is
the beauty of the film.
MALU ON THE BICYCLE
Malu De Bicicleta
Brazil 2010
96 minutes
Director: Flavio Amos Tambellini
Cast: Fernanda De Freitas, Mercallo Serrado
Language: Portuguese, with English subtitles.
BRAZILIAN FOCUS AND IN COMPETITION
Print source: Courtesy of the Brazilian Consulate in Cape Town.
This film is a breezy romantic drama that is enjoyably fresh and certainly very watchable. It opens
in Sao Paolo where serial womanizer Luiz Mario (Mercallo Serrado) opens a new nightclub
called Espacofabrica, but after success and more than a few inconsequential affairs he starts
hearing voices and needs to take break. He heads off to Rio de Janeiro, and after wandering
down the Copacabana beach he accidentally bumps into Malu, who is cycling along the beach.
They start a passionate love affair and try to make their romance work, with Malu regularly
travelling to Sao Paulo to be with Luiz. But she is a free-spirited Carioca and he is a Paulista,
and despite their best intentions their relationship falters and a misunderstanding about a love
letter causes even more trouble. Marcello Serrado is suitably charming and confused as Luiz,
though the real revelation is the fresh and sexy Fernanda De Freitas who dominates the film with
an innate charm and fresh style. As a romantic drama Malu On A Bicycle is delightfully romantic
and set against impressive Rio de Janeiro and Sao Paulo locations.
MICROPHONE
Egypt 2010
120 minutes
Director: Ahmad Abdalla
Cast: Khaled Abol Naga, Menna Shalabi
Language: Arabic, with English subtitles
IN COMPETITION
Print Source:
Khaled returns from USA to his mother's funeral at his hometown: Alexandria, Egypt. He decides
to make it a fresh new start even if it meant mending his first love story yet it proved a horrific
failure. Khaled clashed big time with a changing more conservative Alexandria but He also
stumbles upon fresh youth struggling for their under-ground music bands, art and ideas. in the
middle of all the confusion, Will it ever all makes sense at the end? A question for the youth and
the city to answer.
MESSAGES FROM THE SEA (Rassayel El
Bahr)
Egypt 2010
133 minutes
Director: Daoud Abd El-Sayed
Cast: Asser Yassin, Basma Ahmed
Language: Arabic, with English subtitles
IN COMPETITION
Print Source: Arabia Cinema
After the death of his mother, Yehia moves back to his Alexandria apartment, where he grew up.
He revives his old love to the sea, to his former neighbourhood and to his Italian childhood
girlfriend. The film portrays a varied set of characters and their multiple interactions and
diversified cultures of the cosmopolitan city. Daoud Abd El-Sayed is one of the very few Egyptian
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auteur directors, who is able to combine popularity at the box-office with high artistic and
intellectual standards. He is also one of the few Egyptian directors, who has been nominated and
received various international and Pan Arab awards.
MOTEL NANA
Serbia/Bosnia and Herzegovina 2010
92 minutes
Director: Pedrag Velinovic
Cast: Dragan Micanovic, Nikolina Djordjevic.
Language: Serbian, with English subtitles.
IN COMPETITION
Print Source: Sirius Production, Serbia.
Ivan teaches history in a Belgrade high school. In his class, Ivan is provoked by a student and
ends up slapping him on the face. In Serbia, in the heat of transitional changes, Ivanʼs presence
in school is no longer welcomed. He finds a temporary job opportunity in a war-scarred mountain
village in Bosnia. On his way there, he meets Yasmina, a young Muslim woman, back from
Germany to her homeland after the war and after being invited by an old friend – Hazim - who
now runs a motel. A lone kiss in a stormy night, in a village still lying in ruins, will bring Yasmina
and Ivan closer together in a joint escape from reality and to a ride on a dusty bus, where neither
one of them wants to sit next to the window.
Pedrag Velinovic was born on 24 January 1966 in Novi Pazar. He graduated in film and
television directing at the Belgrade Faculty of Drama Arts in 1991. He has directed over a
hundred television shows and commercials. He directed his first full-length film Shadows of
memories during 2000/2001. The film participated in the official competition of international film
festivals at Moscow, Riga, Alexandria, Trieste and many more. Motel Nana is his third feature
film. He currently works as a professor at the Belgrade Faculty of Drama Arts - The Department
for Film and Television Directing and is preparing his next feature film Nowhere.
MULLIGANS
Canada 2008
88 minutes
Director: Chip Hale
Cast: Dan Payne, Charlie David, Thea Gill.
Language: English.
Awards: Several international awards including the Best Gay Film Award and Audience Award
at the Fort Worth Gay and Lesbian International Film Festival.
Print source: Charlie David Border2Border Entertainment Inc.
Tyler Davidson invites his college buddy Chase home for the summer holidays and a secret is
revealed that threatens to tear his perfect family apart. When Tyler's mother, Stacey discovers
her husband Nathan in an unspeakable affair, the Davidson family's world begins to collapse.
The summer is ripe with adventure, revelations, and betrayal as this family learns how to laugh,
cry and love again.
Set amid the casual, polite homophobia of the upper middle class, Mulligans is a fresh and multilayered
take on the coming-out genre. With grace and sensitivity, director Chip Dale shows that a
confession of queerness doesnʼt have to end relationships, even if it changes things forever –
Philadelphia Film Society.
NDOBINE
Senegal 2010
68 minutes
0-13 V
Director: Amadou Saalam Seck
Cast: Masse Ndiaye, Aminata Kâ, Thierno Ndiaye Doss
Language: French and Wolof
Print source: Azanie Films, Dakar
Sakhir, a young pupil disappears after the end of the classes. The police search ends in the
discovery of a burnt child body that is presumed to be the missing person. According to the
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autopsy the victim was sexual abused before the crime. The existence of a free-running
murderous pedophile shows itself in all its monstrousness.The suspicions turn immediately to
Massata, Sakhirʼs primary school teacher who had held him on the day of the discovery after
class...
PRINCESS
Finland 2010
104 minutes
Director: Arto Halonen
Cast: Katja Kukkola, Krista Kosonen, Samuli Edelmann
Language: Finnish, with English subtitles.
IN COMPETITION AND FINNISH FILM FOCUS
Awards: Several awards for director Arto Halonen and actress Katja Küttner by the Tallinn Black
Nights Film Festival and the Finnish Actors' Guild.
Print Source: Courtesy of the Finnish Film Foundation
Princess is based on real-life events and a real person. Cabaret dancer Anna Lappalainen,
drifting from one foster home to another, ends up in psychiatric care. She claims to be
"Princess", a member of the English royal family. Although Princess herself numbers among the
patients, helping others becomes her life mission. Her court is comprised of her lady-in-waiting
Christina von Heyroth, and a group of fellow patients. From the psychiatric hospital, this broken
woman finds her true home and builds a new family, bringing a greater sense of community to
the other patients and to people in the local village. The film stars the cream of Finlandʼs leading
actors, and is the fiction film debut of the award-winning documentary filmmaker Arto Halonen,
director of Shadow of the Holy Book, Pavlovʼs Dogs and The Magnetic Man. He has won a
series of social and cultural awards since the film's release. He has been awarded the City of
Helsinki Culture Prize for 2010, and the Civil Action Prize of the Finnish Federation for Social
Welfare and Health, which has never before been given to a cultural representative as opposed
to a political or social figure. Also, in recognition of Princess' discussion of mental health issues,
Halonen has received The Finnish National Mental Health Prize.
SCHEHERAZADE TELL ME A STORY (Ehky
ya Scheherazade)
Egypt 2009
134 minutes
Director: Yousry Nasrallah
Cast: Mona Zaki, Mahmoud Hemida, Hassan El Raddad
Language: Arabic, with English subtitles.
IN COMPETITION
Awards: Lina Mangiacapre Award at the Venice Film Festival
Print Source: Misr Cinema Company
Karim and Hebba are a young married and loving couple. Both have great careers. Karim is just
about to be appointed as editor-in-chief of the greatest governmental newspaper. Hebba is the
hostess of much appreciated TV programs about female victims, e.g. daughters who are buried
alive because of improper behaviour and people drowning when attempting illegal immigration to
Europe. Karim is told that he will only be appointed if his wife avoids political topics. He does
persuade her to make programmes on ordinary people instead. But her "non-political"
programmes will become even more repugnant to the authorities. The film won widespread
praise for its scathing criticism of male chauvinism. Yousry Nasrallah cleverly re-imagines the
Arabian Nights for the age of post-modernism, exhaustive politics, and female rights in
Scheherazade Tell Me a Story. Utilizing conventions of soap operas and the flamboyant look but
cunningly uncertain tone of Almodóvarian melodrama, Nasrallah and screenwriter Wahid Hamid
fold three stories of female oppression into the meta-story of a highly polemic talk show hostess
(Mona Zaki) being bullied by her husband's need to please the government in order to get a high
level promotion. Like the most famous delayed-ending story in literary history, Scheherazade
Tell Me a Story subsumes and postpones the hostess's inner turmoil of ethics and love by
dramatizing the supposedly apolitical stories of “real women” as the hostess tries to steer her
television show away from the unwanted attention and general misery of political commentary.
SONGS OF LOVE AND HATE
Switzerland 2010
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90 minutes
0-13 M
Director: Katalin Gödrös
Cast: Jeroen Willems, Ursina Lardi, Sarah Horvath, Luisa Sappelt.
Language: German, with English subtitles.
IN COMPETITION
Print source: Cobra Film AG, Zürich.
In an idyllic wine region at the foot of the Swiss Alps lives Rico with his two daughters and his
wife Anna. The charming daughter, Lili, brings turbulence into the so far harmonious family life
because of the awakening of her sexuality. Her father sees her with new eyes and starts to
distance himself from her. Lili feels rejected from her father and reacts with aggression and power
games. These developmental changes confuse Lilli as she vacillates emotionally between a need
for love and aggression. Intuitively, she realises that the profound family bonds have irrevocably
changed. She resorts to ever more drastic measures in her struggle against the inevitable
departure from childhood paradise. The film tells of the power that children have over their
parents – and the power of parents over their children. A universal story about temptation, lying,
persuasion and truth.
THE HEIR Lʼerede
Italy 2010
85 minutes
0-16 V
Director: Michael Zampino
Cast: Alessandro Roja, Gvia Jelo, Davide Lorino.
Language: Italian, with English subtitles.
IN COMPETITION
Print source: Panoramic Film, Rome.
After the death of his father, Bruno, a doctor from Milan, comes into possession of an old house
in a remote region of Central Italy. This inheritance will prove to be a curse however. When he
meets his rude and disturbing neighbours, he becomes entangled in a web of suspicions that will
dramatically change his life forever…
After graduating in Business in France and studying Cinema at New York Film Academy and
New York University (Tisch School), Michael Zampino dedicated himself to writing and directing.
Since 2001, he has made five short films and written three feature-length scripts. The Heir is his
first feature as writer/director.
THE LEGEND OF THE FLYING CYPRIAN
(Legenda o Lietajúcom Cypriánovi )
Slovakia 2010
108 minutes
0-16 VS
Director: Mariana Čengel Solčanská
Cast: Marko Igonda, Pawel Malaszynski, Alexander Domogarov
Language: Slovak and Polish, with English subtitles.
IN COMPETITION
Print source:
Magic Seven Slovakia LTD.
An old legend has it that, in a time long past, a mysterious monk, a scholar of thousand sciences
and master of thousand crafts, doctor and herbalist lived in a monastery hidden deep in the
mountains. His name was Cyprián. People say he had built a flying machine for himself, and one
day flew to God. That legend just might be true. Červený Kláštor (The Red Monastery) is a
magical place. Time had ceased to pass here long ago, and it has been ages since someone
last stumbled upon it. It is the 18th century, and the Camaldolese hermit monks live their quite,
stereotypical lives in the monastery, oblivious to the fact that the surrounding world is changing.
One day, they find a half-dead man in front of their gate. They save him and he decides to stay
with them. They name him Cyprián. Who is this taciturn young man with blood on his hands,
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whose mysterious past, full of love and death, has led him to a place where sins are redeemed
through miracles? Visually very impressive with a glorious soundtrack!
Mariana Čengel Solčanská (1978) was born in Nitra. She studied at the Charles University in
Prague, and at the Constantine the Philosopher University in Nitra, earning a degree in Political
Science and Cultural Studies. Since 2003, she has been a student of the Film and Television
Faculty at The Academy of Music and Dramatic Arts, in Bratislava, studying Film and TV
Directing led by director Martin Šulík. She has directed several short student films, including
Mlčanie (Silence), List pána Levického (Mr. Levicky's Letter), Šimijé, Monštrancia (Monstrance)
and others. Her most recent mid-length movie Ábelov čierny pes (Abels Black Dog), which was
co-produced by the Czech national TV, was premiered at the Bratislava International Film
Festival in 2006. The Legend of Flying Cyprian is her feature-length debut.
THE MAN WITHOUT A PAST
Finland 2002
97 minutes
PG13
Director: Aki Kaurismäki
Cast: Markku Peltola, Kati Outinen, Annikki Tähti
Language: Finnish, with English subtitles
FINNISH FILM FOCUS
Awards: Twenty international awards including the Grand Price of the Jury at the Cannes Film
Festival.
Source Print: Courtesy of the Finnish Film Foundation
The film-making style of Aki Kaurismäki - gentle, charming, quirky and utterly unique - could
hardly be seen to better effect than in this deadpan comedy. A welder, played by Markku Peltola,
turns up in Helsinki looking for work, dies in hospital after getting savagely beaten by muggers
but is then reborn as a man with no memory and joins a community of homeless folk living in
genteel contentment in empty container units. From here, the nameless man embarks on a
diffident courtship of the Salvation Army lady, Irma (Kati Outinen), who won an acting award at
Cannes for this performance. Kaurismaki's compassion for the dispossessed is all more the
engaging because of his lack of brow-furrowing seriousness; his movie is like a cork bobbing
amiably on waves of lightness and unforced gaiety - always on the edge of surreality but never
quite going further. I found myself giggling at loads of Kaurismäki's dialogue long after the final
credits. Accused of being fat, a security guard deadpans: "Keep my metabolism out of this." An
electrician surreptitiously hooks up our hero to the main power supply. "What do I owe you?" he
asks. "If you see me face down in the gutter, turn me on to my back," the electrician replies with a
shrug. – Peter Bradshaw
THE SNOW QUEEN (Lumekuninganna)
Estonia/Norway 2010
99 minutes
Director: Marko Raat
Cast: Helena Merzin, Artur Tedremägi
Language: Estonian, with English subtitles.
IN COMPETITION
Print source: F-Seitse, Pomor Film
Marko Raat's film The Snow Queen is a wintry fairytale for adults. The unusual love story is
based on the motifs of Hans Christian Andersen's well-known fairytale. A woman (Helena
Merzin) living in an ice castle lures a boy (Artur Tedremägi, an acting student at the Estonian
Academy of Music and Theatre) to her. He becomes so spellbound by the woman and her land
of ice that he forgets the real world. The woman hides the secret of why she is living in the cold
from the boy. The film is a romantic drama about budding love between two people. Those, who
remember H.C. Andersen's fairytale, will also remember that only a few lines spoke of the
relationship between the boy and the Snow Queen. The question remained unanswered: what
did the boy and the Snow Queen do in the ice castle for all of the time that the girl spent looking
for the lost boy? This film talks about what Andersen didn't. In The Snow Queen the environment
is extravagant and the relationships psychological and realistic. The visually stunning story was
mostly filmed in the storage freezer of an ice cream depot. A special interior was built, flooded
with a lot of water and then frozen. Shooting took place in very extreme conditions with
temperatures as cold as -20 degrees Celsius.
Marko Raat has made many successful films. His documentary For Aesthetic Reasons (1999)
screened at over thirty film festivals and art exhibitions and won the Estonian Association of Film
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Journalists' prize for Best Film of the Year. His first feature film, Agent Wild Duck (2002), won the
prizes for Best Film of the Year from the Estonian Association of Film Journalists' and the
Estonian Cultural Endowment and for Best Debut from the Estonian National Culture Foundation.
Knife (2007) received a Special Mention at the Deboshir Film Festival in St. Petersburg and the
Estonian Cultural Endowment prize for Best Film. His documentary Toomik's Movie (2008)
received a Special Mention at the Black Nights Film Festival and the National Culture Prize.
THE TENANTS (Os Inquilinos)
Brazil 2009
103 minutes
0-16 V
Director: Sergio Banchi
Cast: Fernando Alves Pinto, Zezeh Barbosa, Caio Blat
Language: Portuguese, with English subtitles.
BRAZILIAN FOCUS AND IN COMPETITION
Awards: Several international awards including two Première Brazil Awards at the Rio de
Janeiro International Film Festival.
Print source: Courtesy of the Brazilian Consulate in Cape Town.
Despite a recent wave of violent crime in the city, manual laborer and night student Valter lives a
relatively content life with his family in working-class São Paulo. But when three young men
move in next door, a bunker mentality sets in and Valter soon discovers he is not the only one
perversely affected by the mounting chaos of a city under siege, or the unsettling presence of his
new neighbours. Building tension throughout with stylish sequences that blend reality and
fevered imagination, Sérgio Bianchiʼs gripping domestic thriller offers a shrewd portrait of the
social and psychological impact of urban violence, depicting a community beset yet also aroused
by a permeating atmosphere of destruction. Bianchiʼs richly detailed film also excavates societyʼs
fear of and fascination with violence—from televisionʼs constant stream of mayhem to suspicion
between neighbours, petty feuds within married couples, and quarreling among children. Director
Sérgio Bianchi was born in Ponta Grossa, Paraná, Brazil, in 1945. A resident of São Paulo since
1968, he graduated from the Communications and Arts School at the University of São Paulo
and began his career in film and photography in 1972. In addition to several short films, his
features include Romance, The Secret Cause and Chronically Unfeasible.
VISA/VIE
South Africa 2010
74 minutes
PG 13
Director: Elan Gamaker
Cast: Mélodie Abad, David Isaacs, Keren Tahor, Charles Tertiens.
Language: English, French and isiXhosa.
IN COMPETITION
Print Source: Big World Cinema.
Anna Ronquillo (29), a French-Moroccan émigré working illegally in a trendy Cape Town
restaurant, is busted by Home Affairs in the middle of a shift. They tell her she has 48 hours in
which to gather her possessions and return to France. In an ironic twist of colonial fate, this child
of the First World is now not allowed to stay in the Third World. For Anna this is a living
nightmare. Having fled a terrible domestic situation she has nothing to go back to in France.
Desperate, she has one option: she must get married. Trouble is she is somewhat of a loner, so
knows no-one prepared to tie the knot even in the case of a 'visa marriage'. With her bags halfpacked,
she makes a drastic decision. She makes a personal announcement on a local radio
station to Cape Town's bachelors: anyone interested in marrying her should meet at the
restaurant the following day. There they will have five minutes in which to charm her, and at the
end of the day she will make her decision. Visa Vie, a comedy-drama that enjoys the support of
the Cape Film Commission and the French Embassy of South Africa, is a collaboration between
Big World Cinema and And Nu?, in association with Johannesburg-based Brave Bunny. Shot in
two heart stopping weeks in Cape Town, the film was a low budget exercise that included several
deals, favours and gifts from equipment companies. It uses innovative techniques and modes of
narrative storytelling, plus a groundbreaking, highly stylised aesthetic approach untypical of
South African films.
Director Elan Gamaker was born in Johannesburg, South Africa in 1974. Following bachelor
degrees in English, Linguistics and Drama & Film, he worked in the film industry in Cape Town
and London between 1998 and 2003, before forming And Nu?, a creative collective specialising
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in scriptwriting, copywriting, and video art. He twice attended the prestigious Binger Filmlab in
Amsterdam, where he is now based. His recently completed first novel, Wayward Nature, was
short listed for the 2008/9 European Union Literary Award, and his second feature-length script,
Swart Gevaar, is being supported by the Development Fund of the National Film and Video
Foundation. Visa/Vie is his first feature film.
WHITE GOLD
South Africa 2010
120 minutes
PG 13
Director: Jayan Moodley, Paul Railton.
Cast: Madhushan Singh, Dean OʼBrian Chetty, Mishqah Parthiephal.
Language: Tamil, Hindi and English, with English subtitles.
IN COMPETITION
Print Source: African Lotus Productions, Jayan Moodley
White Gold is a poignant and captivating tale of love and friendship, perseverance and betrayal.
Set in the early 1900s, it tells the story of Shankar and his friends who were lured from their rural
village in South India, by the promise of a better life in the then Natal, South Africa, where gold
was as abundant as their heavily-laden chilly trees back home. The authenticity of the first part of
the movie that was shot in various locations in Tamil Nadu, India is incredible as viewers journey
back in time to the turn of the 20th century, reliving both the joys and hardships of typical rural
life. The treachery of the long and arduous journey of indentured labourers, crammed together
on a vessel on the Indian Ocean is masterfully re-enacted before an expose of the realities of life
in the canefields of then Natal. Shankar Naidu learns to deal not only with the brutality of the
plantation owners, but a betrayal of one of his own. It is tale of passion and love, of the dangers
of daring to love beyond the boundaries of ownʼs religion, a tale of struggle, perseverance, of
betrayal and atonement.
Director Jayan Moodley, an educator by profession, and BSC graduate in computer science and
mathematics, joined the corporate world of IT after being the first black teacher at Northwood
Boys and Queensburgh Girls High Schools. She realised however that her passion really lay in
the creative arts and so she partnered with a friend, Suda Sing to open up the Durban-based
production house African Lotus Productions. Firm in their resolve to “grow good through media”,
she involved herself in projects that she thought, would appeal to the soul. Ela Gandhiʼs life
story, Buddhism, The Shembe way of life and John Dube are some of the many documentaries
that she has produced for the SABC over the last five years. Her directorial feature debut, White
Gold which she wrote and produced, was a dream realised as it afforded her unique opportunity
to pay tribute to her Indian South African forebears whose struggles have inspired many and still
continue to do so. Jayan Moodley who is married and a mother of two daughters, lives Durban.
Paul Railton has worked in the industry for over 20 years and after completing matric in 1987 he
went on to finish a Diploma in Video Technology and has since worked in many countries around
the world. when in London he edited programmes and documentaries for the BBC, including City
Hospital, Cash in the Attic and Escape to the Country. Returning to South Africa in 2006, he
worked on a variety of projects, Producing, filming and editing corporate videos, Commercials
and Documentaries. In 2010 he embarked on his first feature film, White Gold. In the film he Co-
Directed with Jayan Moodley, was DOP and Editor. In the same year he also went into
partnership with Shelly Nel and launched Make My Day Pictures in Durban.
WHO AM I? (Kto ya?)
Russia 2010
98 minutes
13 V
Director: Klim Shipenko
Cast: Alexander Yatsenko, Zhanna Friske.
Language: Russian, with English subtitles.
IN COMPETITION
Print Source: WeiT Media, Teimur Guzairov.
This fascinating story begins at the Sevastopol train station early on a rainy morning. On the
platform near the Moscow-Sevastopol train the police find a young man without documents, who
has lost his memory. He still remembers a lot of facts such as historical dates, as well as songs
of his favourite band “Serga“, but he canʼt recollect his name or say where he is from. The
investigator Sergey Shumov and psychiatrist doctor Trofimov have never encountered such a
case. The psychiatrist defines the patientʼs state as dissociative amnesia -- when a person
forgets the facts of his private life, but remembers the details of many external events. The
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personal belongings of the young man could be helpful but they only confuse the investigator
even more. Shumov decides to turn to the journalist Oksana…
Director Klim Shipenko was born on 16 June 1983. After studying film production at California
University in Northridge he returned to Moscow and worked at The First Channel. In 2005
Shipenko shot the short film Belaya noch/White Night and in 2006 Night Express. Both short
films participated in various international film festivals. In the fall of 2009 Shipenko completed the
feature film Neproshchennye, that participated at the Kinotavr Film Festival during 2009. It was
chosen for the Russian program of the 31th Moscow International Film Festival. In 2009 he
received the Bold Debut Award at the Amurskaya Osen Film Festival.
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Page 15 of 15

Олег Голосий “Нежность”, 1988
«ЗОЛОТОЕ СЕЧЕНИЕ», ПЕРВЫЙ И ЕДИНСТВЕННЫЙ НА СЕГОДНЯ
АУКЦИОННЫЙ ДОМ В УКРАИНЕ, СПЕЦИАЛИЗИРУЮЩИЙСЯ НА
СОВРЕМЕННОМ ИСКУССТВЕ, ОТКРЫВАЕТ ОЧЕРЕДНУЮ, УЖЕ
4-Й ПО СЧЕТУ ПРЕДАУКЦИОННУЮ ВЫСТАВКУ CONTEMPORARY ART.
Игорь Подольчак “0-182-1994”, 1994
Спрос на украинское современное
искусство как никогда велик,
и подтверждением тому стали
результаты недавних торгов
международного аукционного
дома Phillips de Pury. Работа
впервые представленного на
международных торгах классика
абстрактной живописи Анатолия
Криволапа была продана за $48
415. Произведение другого ключевого
украинского художника современности,
Олега Тистола, ушла
с молотка за $26 225 и стала седьмой
работой художника, представленной
на международном
аукционе.
Отечественный арт-рынок не отстает.
1 апреля «Золотое сечение»,
первый и единственный на сегодня
аукционный дом в Украине, специализирующийся
на современном
искусстве, открывает очередную,
уже 4 по счету предаукционную
выставку Contemporary Art.
Отобранная экспертами коллекция
предстоящего аукциона
насчитывает около 120 лотов общей
стоимостью более 500 000$
и включает работы как мэтров
украинской и российской артсцены,
так и молодых художников.
В основе коллекции – собрание
произведений художников “Новой
волны”, феномена украинского искусства
второй половины 1980х –
начала 1990х годов.
Среди топ-лотов – картина
лидера движения Олега Голосия
«Нежность» 1988 года, работы
украинских «пластиков» Марко
Гейко и Василия Бажая 1990-х годов,
уникальное трёхметровое полотно
Павла Керестея 1989 года,
редкий автопортрет патриарха
украинского трансавангарда
Александра Ройтбурда 1988 года,
некогда входивший в коллекцию
Джорджа Сороса, а также. работа
из наиболее известной серии
Олега Тистола.
Еще одной особенностью предаукционной
выставки станут
работы российских и украинских
концептуалистов, впервые
представленные на украинском
арт-рынке Среди авторов – звезды
1980х-1990х годов К. Звездочетов,
Ю. Лейдерман, Л.Войцехов, группы
«Перцы» и «Мартынчики».
Одним из наиболее интересных
авторов предаукционной выставки
также является художник
и режиссер Игорь Подольчак.
Сооснователь творческого
объединения «Фонд Мазоха»
(вместе с Романом Виктюком
и Игорем Дюричем), Подольчак
известен своими произведениями
в уникальной авторской технике.
Также, на предаукционной
выставке будет показано наиболее
полное собрание украинского молодого
искусства. Представленны
все актуальные направления и техники
сontemporary art– фотография,
коллаж, street art, video art
и digital art. Кроме того, на торги
впервые будет выставлена живописная
работа в формате 3D,
«Торт с черносливом» Татьяны
Гершуни. Оценить работу можно
при помощи 3D-очков, доступных
посетителям выставки.
1 апреля «Золотое сечение» представит
коллекцию на закрытом показе
в ЦСМ М17, а уже со 2 апреля
выставка будет открыта для широкой
публики.
Аукционные торги состоятся
9 апреля. Информация на сайте
аукционного дома:
www. gs-art.com

Аукцион №17
3/31/11 5:53 PM
поиск...
ГЛАВНАЯ АУКЦИОНЫ КАТЕГОРИИ ВЫСТАВКИ ART-BOUTIQUE УСЛУГИ ДОПОЛНИТЕЛЬНО О НАС
Аукцион №17
Лоты 61-80
Лоты 61-80
ПОСЛЕДНИЕ КАТАЛОГИ
Лот № 61
Олена Некрасова Н. 1959
Без назви, 1990
Полотно, олія
147 х 198 см
Підпис і дата на звороті
Біографія Народилася у 1959 р. Український художник, письменниця.
Починала в команді одеських трансавангардистів разом зі своїм першим
чоловіком С.Ликовим та художником О.Ройтбурдом. Веде активну
письменницьку діяльність, видала 4 романи. Номінована на премію «Малий
букер». Живе та працює у Росії та Німеччині.
ПАРТНЕРЫ
Интернет каталог
Заказать
6 000 – 8 000
Лот № 62
Перці (Олег Петренко, Людмила Скрипкіна)
Параметри генераторів туману, 1993
Оргаліт, олія, емаль, колаж
101 х 77 см
Підпис і дата на звороті
Біографія Художники, графіки, автори численних обʼєктів, інсталяцій. З 1983
почали працювати разом. Олег Петренко народився у 1965 році в м.Одеса.
Художню діяльність розпочав з 1983 р. Людмила Скрипкіна народилася у
1964 році в м.Єкатеринбург. Разом з С.Ануфрієвим, Ю.Лейдерманом,
І.Чацкіним, Л.Войцеховим, приймали участь у квартирних виставках.
Заснували групу «Перці» (1984). Переїхали до Москви, брали участь у
мистецькому обʼєднанні «Фурманний провулок» (1987-1990). Роботи
знаходяться в колекціях музеїв: Centro per lʼarte contemporanea Luigi Pecci,
Прато, Італія; Jewish Museum, Нью-Йорк, США; Музей Джейн Вурхіс
Зіммерлі, колекція Нортона и Ненсі Додж, Рутгерський університет, Нью-
Джерсі, США; Muse de La Poste, Париж, Франція; Музей МАНМ (Московський
архів нового мистецтва); Арт-центр Пінчука, Київ, Україна; також у
приватних колекціях Італії, США, Франції, Росії, Австралії, України. Учасники
http://gs-art.com/auctions/ecatalogues/auction-17?start=3
Page 1 of 6

Аукцион №17
3/31/11 5:53 PM
приватних колекціях Італії, США, Франції, Росії, Австралії, України. Учасники
виставок та проектів по усьому світу (з 1984). Зараз працюють окремо, група
«Перці» розпалась (у 1999).
7 000 – 10 000
Лот № 63
Олег Голосій 1963-1993
Ніжність, 1988
Полотно, олія
67 х 106 см
Підпис знизу праворуч
Біографія Український художник. Закінчив Київський художній інститут
(1990). Входив до Київського мистецького угрупування «Паризька комуна»
(1990-1993). Один з найяскравіших представників хвилі українського
трансавангарду.
17 000 – 22 000
Лот № 64
Костянтин Рудешко Н. 1971
Casimir, 2010
Із проекту «Марки 2.0»
Папір, мішана техніка
100 х 100 см
Підпис і дата знизу праворуч
Біографія Народився у 1971 р. Художник, фотограф. Довгий час жив та
працював в м.Москва. Професійно займається фотографією (з 1995). Роботи
Костянтина неодноразово експонувались на виставках у Великобританії,
Швейцарії, Польщі. Співпрацює з видавничими домами: Hachette Filipacchi
Presse, SPN Media, Condé Nast. Учасник численних фестивалів фотографії та
візуального мистецтва. Розробив серію робіт з використанням перфорації в
контексті програми «Марки».
РОБОТА ЕКСПОНУВАЛАСЬ Виставка «Perforomania», Київ, 2010
2 500 – 3 500
Лот № 65
Костянтин Рудешко
Black Cross, 2010
Із проекту «Марки 2.0»
Папір, мішана техніка
100 х 100 см
Підпис на звороті
2 500 – 3 500
Лот № 66
Юрій Пікуль Н. 1983
RUBAE FOZI, 2010
Полотно, олія
80 х 130 см
Підпис і дата на звороті
Біографія Народився у 1983 р. в м.Київ. Український художник. У 2005
вступив до Національної академії образотворчого мистецтва та архітектури.
В тому ж році добровільно покинув навчання. Живе та працює у м.Київ.
3000 – 4000
Лот № 67
Олександр Сухоліт Н. 1960
Оголена, 2003
Картон, пастель
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Аукцион №17
3/31/11 5:53 PM
70 х 100 см
Підпис і дата знизу праворуч
Біографія Народився у 1960 р. в Чернігівській обл. Український скульптор,
художник, графік, автор інсталяцій. Закінчив Ужгородське училище
декоративно-прикладного мистецтва (1979); Київський державний художній
інститут (1986). Живе та працює у м.Київ.
3 500 – 4 500
Лот № 68
Зоя Орлова Н. 1981
Ципа, 2010
Із серії «Дитяча веранда»
Полотно, олія
199 х 125 см
Підпис і дата знизу праворуч
БІОГРАФІЯ Народилась у 1981 р. в м.Черкаси. Закінчила РХСШ (2000).
Навчалась в НАОМА і згодом покинула навчання (2006). Член НСХУ (2008).
Персональні виставки (2004, 2010). Живе та працює в м.Київ.
Публікації роботи «ART Ukraine», журнал, обкладинка, 3 (3) 2010
5 000 – 7 000
Лот № 69
Ярослав Присяжнюк Н. 1973
Виникнення міражу: enter, 2010
Полотно, олія
110 х 220 см
Підпис знизу праворуч
Біографія Український художник. Народився в 1973 р. в м.Київ. Закінчив
НАОМА (1999). Стипендіант програми «Gaude Polonia» міністерства культури
Польщі (2003). Учасник чисельних виставок та проектів (з 2002) в Україні та
закордоном (Польща, Німеччина). Живе та працює в м. Київ.
6 000 – 8 000
Лот № 70
Ігор Зайдель Н. 1966
Чужа перемога, 1990
Полотно, олія
150 х 200 см
Підпис на звороті
Біографія Народився у 1966 р. Культова постать в Москві в часи перебудови.
Входив до мистецького угрупування «Нічні красунчики» разом з В.Фішкіним.
Автор абсолютного хіта 1989-1990 рр. «Містер, купите мою картину!».
Емігрував у м.Париж (1990). Живе та працює у м.Берлін.
7 000 – 9 000
Лот № 71
Олександр Клименко Н. 1963
Індія. Гоа. Повнота буття та мандри долі заради здобуття справжності в
собі, 2009
Із проекту «Солярний гедонізм»
Полотно, акрил
160 х 150 см
Підпис знизу праворуч
Біографія Народився у 1963 р. в м.Луганськ. Український художник. Закінчив
Київський художній інститут (1989) за фахом монументальний живопис.
Входив до творчого угрупування «Паризька комуна». Живе та працює у
м.Київ. Роботи художника неодноразово продавались з аукціону «Phillips de
Pury & Co».
14 000 – 17 000
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Аукцион №17
3/31/11 5:53 PM
Лот № 72
Андрій Дудченко Н. 1983
З вікна майстерні, 2009
Із серії «Нова майстерня»
Полотно, олія
93 х 72 см
Підпис знизу ліворуч
БІОГРАФІЯ Народився у 1983 р. в м.Євпаторія. Закінчив Кримське художнє
училище ім. М.Самокиша (2002), факультет живопису; НАОМА (2009),
вступив до аспірантури. Постійний учасник всеукраїнських пленерів та
виставок.
1 500 – 2 000
Лот № 73
Аліна Якубенко Н. 1984
Купальщики №2, 2009
Полотно, олія
140 х 170 см
Підпис і дата на звороті
БІОГРАФІЯ Народилась у 1984 р. Навчалась в НАОМА на факультеті кіно та
театру. Член групи Р.Е.П. (2005). Учасник виставок, проектів, фестивалів (з
2005). Член групи ubik. (з 2009).
2 000 – 3 000
Лот № 74
Володимир Кузнєцов Н. 1976
Із серії «Дрімота», 2010
Полотно, акрил
154 х 200 см
Підпис і дата на звороті
Біографія Народився у 1976 р. в м.Луцьк. Закінчив Львівську академію
мистецтв (2005), кафедра художнього текстилю. Учасник групи «Р.Е.П.» та
«Худради». Живе і працює в м.Київ.
4 000 – 6 000
Лот № 75
CH&P Junior (Олександра Чичкан, Аліна Півненко)
Police, 2009
Глянцевий папір, колаж, полімерна основа
178 х 145 см
Підпис на звороті
БІОГРАФІЯ Олександра Чичкан та Аліна Півненко живуть та працюють у
Києві. Учасники виставок, проектів, фестивалів (2008).
3 000 – 4 000
Лот № 76
Ігор Подольчак Н. 1962
0-182-1994, 1994
Картон, полотно, олія мішана техніка
95 х 69 см
Підпис і дата знизу праворуч
БІОГРАФІЯ Народився у 1962 р. в м.Львів. Український режисер, сценарист,
кінопродюсер, художник, графік, фотограф, куратор сучасного мистецтва.
Закінчив факультет «Інтерʼєр та обладнання» Львівського Державного
інституту прикладного та декоративного мистецтва (1984). Вчився разом з
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Page 4 of 6

Аукцион №17
3/31/11 5:53 PM
О.Тістолом, П.Керестеєм та М.Маценко. З початку 1990-х років активно
долучає до своєї діяльності практично всі жанри образотворчого мистецтва,
з середини 90-х мистецькі акції та перформанси, з кінця 90-х відеоарт.
Співзасновник творчого обʼєднання «Фонд Мазоха», яке відзначилось
низкою провокаційних мистецьких акцій в Україні та Росії (1994-2004).
Російська критика відносить артистичну творчість галичанина Подольчака
до «Південноросійської хвилі», інші до акціонізму. Живе та працює у м.Київ
та м.Львів.
5 500 – 7 500
Лот № 77
Олег Тістол Н. 1960
Гомер Сімпсон, 2007
Із серії «Телереалізм»
Полотно, олія
120 х 150 см
Підпис знизу ліворуч, дата праворуч
Біографія Народився у 1960 р. у Миколаївській обл. Український художник,
графік, скульптор, автор обʼєктів та інсталяцій. Закінчив Львівський
державний інститут декоративного мистецтва (1984). Став співзасновником
і лідером мистецького угрупування «Вольова грань національного
постеклектизму» (1988). Працював у Москві, брав участь у мистецьких
утвореннях «Фурманний провулок» та «Трьохпрудний провулок» (1989-
1993). Разом з М.Маценко створив творче угрупування дослідження та
консервації національних стереотипів «Нацпром». Живе та працює у м.Київ.
9 000 – 12 000
Лот № 78
Лариса Звєздочотова Н. 1958
SO PRETTY DE Cartier, 2003
Полотно, акрил
120 х 177 см
БІОГРАФІЯ Народилась у 1958 р. у м.Одеса. Навчалась у Одеському
педагогічному інституті ім. Ушинського (1975-1982). Учасник чисельних
персональних та групових виставок (з 1983) в Україні та закордоном (Росія,
Німеччина, Швейцарія, Франція, Швеція, Італія, Фінляндія, США, Нідерланди
та ін.).
10 000 – 12 000
Лот № 79
Євген Матвєєв Н. 1950
Євро 2012, 2008
Полотно, олія
200 х 300 см
Підпис знизу праворуч
БІОГРАФІЯ Концептуальний український художник. Працює в галузі
живопису, графіки, фотографії, відеоарту, компʼютерного мистецтва,
інсталяції. Народився у 1950 р. Заслужений художник України. Лауреат
срібної медалі Академії мистецтв СРСР. Лауреат Державної премії України
ім. Т.Г.Шевченка. Навчався в Українському поліграфічному інституті ім.
І.Федорова (1966–1972). Один з провідних художників книги України. Член
НСХУ (1978). Член правління Асоціації арт-галерей України. Учасник
багатьох міжнародних і республіканських виставок, конкурсів, бієнале.
Твори художника находяться в музейних колекціях та приватних збірках
світу.
20 000 – 25 000
Лот № 80
Олексій Салманов Н. 1976
146 разів, 2010
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Page 5 of 6

Аукцион №17
3/31/11 5:53 PM
Відео
Тираж №1 з 3
БІОГРАФІЯ Народився у 1976 р. в м.Ростов на Дону, Росія. Фотограф, автор
відеотворів. Приймав участь у Московській бієнале актуального мистецтва
(2009), виставках The fall of the wall (Нью-Йорк), Dance/Trash/Glamour (Нью-
Йорк), Eclipse-China (Москва), PinchukArtCentre Short listed Exhibition (Київ,
2009). Володар спеціального призу від PinchukArtCentre на виставці 20
номінантів премії молодих художників. Живе і працює в м.Київ.
500 – 700
Все цены указаны в у.е. 1 у.е. = 1 доллар США.
Оплата в гривнах по курсу НБУ на день оплаты.
« Первая Предыдущая 1 2 3 4 5 6 7 8 Следующая Последняя »
Страница 4 из 8
ФЕВРАЛЬ - МАРТ 2011
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The Festival Jury Wiz-Art 2011
14.05.11 22:50
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Just not so long we need to wait till the time, when in Lviv Palace of Arts will be held Festival of Short Films WIZ-ART. On May
26-29 th the audience from Lviv, other cities and from abroad will enjoy the compilation of short films, attend workshops, and
hang out at cool parties. And the honorable jury composed of Ruth Paxton (Scotland), David Lindner (Germany) and Igor
Podolchak (Ukraine) will decide the fate of the winners. We decided to tell you more about these unusual personalities in the
world of cinematograph.
Ruth Paxton
Ruth Paxton is an impassioned young Scottish filmmaker and visual artist.
Her work is heavily influenced by popular culture and has been celebrated for
its surreal, unique and often humorous style. In 2007, Ruth graduated with a
diploma in Film at Screen Academy Scotland having gained her honours
degree at Edinburgh College of Art. She is a director of 9 short films, which
have been shooting since 2004. Her film “SHE WANTED TO BE BURNT”
2009 was chosen into the competition program of fiction films of the Festival
Wiz-Art 2009, also with the film PARIS/SEXY 2011 she won the Best Film
Award at the London Short Film Festival in 2010. This film will be presented
by the director to the guests of this year Festival.
David Lindner
David Lindner is the producer of several films that were selected into
BERLINALE competition program and also won the other international film
festivals awards. Born in 1979 in Berlin, grew up in Potsdam, currently is
living in Munich. David was acting in one of the last DEFA films when he
discovered his passion for the film industry. Starting 2000 he worked in film
shootings in the production department and later as an assistant to film
producer Christoph Müller. In 2006 he founded his own company
FILMALLEE. Since 2009, David has been occasionally teaching at different
venues e.g. the University of Television and Film in Munich. David Lindner is
a member of the European Film Academy.
Ihor Podolchak
Ihor Podolchak is a Ukrainian film director, scriptwriter, film producer,
painter, graphic artist, photographer and curator of contemporary art. He
is a co-founder of creative association “Masoch Fund”. Since 2006 he has
been engaged in cinematograph. Las Meninas – his debut full-length
movie had a world premiere at the International Film Festival Rotterdam
competition program Tiger Awards Competition. In this project he
appeared as a producer, scriptwriter and a director. “Delirium” – a new
feature-length movie by Mr.Podolchak, its scenario is based on the story
“Inductor” of Ukrainian writer and journalist Dmytro Belyanskyy.
!"#$%&'&()
http://wiz-art.com.ua/en/component/content/article/134--wiz-art-2011
Page 1 of 2

Україна Молода :.: Видання | «Майбутнє мистецтво відбувається тут і зараз»
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http://www.umoloda.kiev.ua/number/1885/164/67013/
Page 1 of 2

Україна Молода :.: Видання | «Майбутнє мистецтво відбувається тут і зараз»
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http://www.umoloda.kiev.ua/number/1885/164/67013/
Page 2 of 2

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Page 7 of 9

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28.08.11 14:26
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Sunday, September 4, 2011, from Noon
!
A gourmet brunch in the garden of the exhibition space Re-evolution,
With the presentation of works by Alberto La Tassa and Igor Podolchak
as an avant-premiere of the exhibition „La veste di Adamo”
Concert
Start of the Regata Storica at 16:00
!
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In the center of Venice, after the Vedova House and a short walk from the Punta
della Dogana, the new exhibition space (XI century) that offers one of
the most beautiful views of the San Marco basin where at the 16:00 starts the
sumptuous processions of boats of Venetian Regata Storica.
(program on the official website www.regatastoricavenezia.it)
Waiting for the historic start of the race, you can profit from a brunch, accompanied
by music, admiring the works of artists Alberto La Tassa and Igor Podolchak, as a
"preface" to the major exhibition entitled "La Veste di Adamo"
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!
!!!!!!!!!!
In collaboration with the www.unrestodansmonsalon.com
&&&&&
&

Новости :: art-republic.kiev.ua
10/23/11 11:04 AM
in english
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Укр-Кино-Арт - Киев
10/23/11 11:05 AM
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Статьи — ART UKRAINE
10/23/11 11:02 AM
укр
5(24)
вересень-жовтень
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СТАТЬИ
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ОКТЯБРЬ
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Вернуться к статьям
СМОТРИ ВНИМАТЕЛЬНО:
Кинематографисты-художники
Анна Цыба
НОВОСТИ
21
ОКТЯБРЬ
2011
Like
47
2 10
Коллаж Сергея
Параджанова
Выставка световых скульптур Отто Пиене
Сегодня кинотеатр «Жовтень» и галерея ArtRepublic открывают выставку
художественных работ кинематографистов: Сергея Параджанова, Юрия
Ильенко, Алексея Левченко, Анатоля Степаненко, Игоря Подольчака, Сергея
Маслобойщикова, Эммы Бегляровой и других. В связи с этим мы предлагаем
вам поговорить об этих персоналиях, об их творчестве и о том, что творчество
не имеет границ.
Талантливый человек талантлив во всем – это выражение непосредственно
иллюстрируется творчеством участников данной выставки. Художники в кино,
они творят и вне его, а иногда становятся режиссерами, в свою очередь
режиссеры создают не только фильмы, но и живопись, скульптуру, коллажи,
играют как актеры, снимают как операторы. Эту цепочку можно продолжать
достаточно долго, вспомним хотя бы о фотографах-режиссерах, но вывод один
– все искусства связаны между собой, а кино все их абсорбирует.
В Центре изобразительных искусств
Массачусетского технологического института
проходит...
21
ОКТЯБРЬ
2011
Объявлено имя нового директора
Далласского музея искусств
Максвелл Андерсон был назначен на должность
директора Далласского музея искусств. ...
21
ОКТЯБРЬ
2011
Фонд Энди Уорхола отказывается от
Совета по установлению подлинности
Юрий Ильенко и Сергей Параджанов
Юрий Ильенко широко известен как кинорежиссер, но также он актер,
художник - и оператор. Он не только получил образование по этой
специальности, но и начал с нее карьеру в кино. Мировую славу Ильенко
принесла именно операторская работа в легендарном фильме Сергея
Параджанова «Тени забытых предков» (1964). Она же определила дальнейшее
режиссерское видение Юрия Ильенко – он продолжал линию украинского
Фонд Энди Уорхола объявил в среду, 19 октября,
что Совет по установлению подлинности в...
21
ОКТЯБРЬ
2011
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Статьи — ART UKRAINE
10/23/11 11:02 AM
поэтического кино, начатую «Тенями...», в режиссерских работах. Это фильмы
«Колодец для жаждущих» (1965); «Вечер накануне Ивана Купалы» (1968);
«Белая птица с черной отметиной» (1971) и многие другие. Впрочем, усидеть в
режиссерском кресле он не мог – и все жизнь продолжал работать как
оператор, сниматься как актер, а также снимал в своих фильмах участников
съемочной группы, поскольку всегда был убежден, что творчество не имеет
границ. Влияние первой жены Ларисы Кадочниковой, которая была не только
актрисой, но и художницей, да и собственный художественный взгляд
стимулировали Юрия Ильенко рисовать.
В парижском музее дʼОрсе закончилось
двухлетнее обновление
После двухлетнего обновления, которое
обошлось в 27 миллионов долларов, в музее
дʼОрсе...
21
ОКТЯБРЬ
2011
Пикассо в двух цветах
Творчество Пикассо, вероятно, никогда не
перестанет удивлять зрителей своей...
Анатоль Степаненко
Анатоль Степаненко - живописец, скандальный акционист, график,
фотохудожник, инсталлятор, стихийный перформансист, куратор,
кинорежиссер, поэт. Его творчество до 2000 года – взгляд на современный мир
сквозь призму слившихся воедино культур Киева и Львова. Последнее
десятилетие мастер принимает активное участие в художественной жизни
Базеля (Швейцария). По собственному признанию Анатоля, он «абсолютный
реалист как художник». Но это новая реальность, вписавшаяся в рамки нашей
повседневной жизни, изменяющая ее не столько внешне, сколько внутренне.
Именно здесь можно скорее почувствовать, чем увидеть, те новые
возможности, к которым автор, порой неосознанно, прокладывает пути своим
искусством. Его фильмы: «Полнолуние. Ноктюрн» (1986, по мотивам прозы В.
Шевчука), «Часовщик и курица» (1987, по мотивам пьесы И. Кочерги),
авторское видео «Коллаж» (1992), «Подземные танцы» (1998) в свое время
получили высокую оценку специалистов.
Степаненко А. Дома напротив автовокзала
Игорь Подольчак – известный художник, который стал режиссером, но кроме
того, он также сценарист, продюсер, живописец, график, иллюстратор,
фотограф, куратор современного искусства и сооснователь творческого
объединения «Фонд Мазоха» (вместе с Романом Виктюком и Игорем Дюричем).
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Статьи — ART UKRAINE
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Он дебютировал в кино полнометражным фильмом «Las Meninas» (2008), при
создании которого выступил как продюсер, сценарист и режиссёрпостановщик.
В главных ролях снялись телеведущий Мыкола Вересень и
театральная актриса Любовь Тимошевская. Фильм стал заметным событием в
украинском кино, невзирая на его ограниченный прокат, фестивальную
направленность, эстетско-экспериментальный язык, подтексты и
безжалостную критику за непрофессионализм. В то же время это был первый
в Украине полнометражный фильм для кинотеатров, созданный с помощью
цифровых технологий. «Delirium» (2010) — второй полнометражный фильм
Игоря Подольчака по повести «Индуктор» украинского писателя и журналиста
Дмитрия Белянского. Характерная живопись и фильмы Подольчака эпатируют
психосексуальной направленностью.
Игорь Подольчак
Подольчак И. Смешанная техника
Сергей Маслобойщиков – театральный художник, ставший режиссером театра
и кино. В 1994-м году он блестяще дебютировал в кино как режиссер, создав
по произведениям Франца Кафки художественный фильм «Певица Жозефина
и мышиный народ». Эта лента, отличавшаяся оригинальным пластическим
решением, получила множество премий на кинофестивалях. В дальнейшем
Маслобойщиков снимал короткометражные фильмы «Сельский врач» по
рассказу Франца Кафки (1988), «Иной» (1989), документальные фильмы «Мир
Саши Шумовича» (1997), «От Булгакова» (1999), в котором объединил
документалистику и игровое кино; «Две семьи» (2000), «Лидер» (2000),
«Nevseremosʼ» (2005); а также полнометражные игровые фильмы «Шум ветра»
(2002) и другие.
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Сергей Маслобойщиков
Сергей Маслобойщиков поставил также значительное количество выдающихся
театральных спектаклей. Из последних в Украине – «Буря» по одноименной
пьесе Уильяма Шекспира в Национальном академическом драматическом
театре им. Ивана Франко (2010), примечательная оригинальной и удачной
сценографической постановкой. В целом Сергей Маслобойщиков не боится
сложных для постановки произведений и блестяще с ними справляется, будь
то кино или театр. Маслобойщиков много работает за границей, а на вопрос о
своем многогранном творчестве отвечает, что ему интересно заниматься и
театром, и кино, и живописью, и он никак не может сосредоточиться на чем-то
одном, чтобы добиться такого уровня, какой ему самому нравился бы.
Эмма Беглярова
Эмма Беглярова – художник в кино, но кроме того оригинальный живописец и
человек. Будучи из семьи военных инженеров, она родилась в Японии, училась
во Львовском художественном институте и уже студенткой персонально
выставлялась в Варшаве. С 1975 года Беглярова стала художником и
дизайнером одежды на киностудии им. Довженко. Ее работу можно видеть в
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Статьи — ART UKRAINE
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известном и многими любимом фильме «Одинокая женщина желает
познакомиться» (1986) Вячеслава Криштофовича с Ириной Купченко и
Александром Збруевым в главных ролях, а также в фильме «Филер» (1987)
Романа Балаяна с Олегом Янковским и Еленой Сафоновой. В обоих лентах
удачные костюмы персонажей играют далеко не последнюю роль, передавая
атмосферу и настроение изображаемого времени – перестройки и начала XX
века. Эмма Беглярова получила российскую кинопремию «Золотой Орел» в
номинации «Лучший художник по костюмам» за фильм «Далеко от Сансетбульвара»
Игоря Минаева. Неоднократно Беглярова выступала и художникомпостановщиком.
Ее живописные работы успешно продаются на Западе. Эмма Беглярова питает
особое пристрастие к большим полотнам – картин размером свыше двух
метров у художницы больше всего. Хорошо известна ее серия портретов
обнаженных женщин «Фемины» 2007 года. Но, к сожалению, имя Эммы
Бегляровой ассоциируется не только с ее творчеством, но также с
нашумевшим прискорбным событием, когда в 2007 чиновники Шевченковской
районной администрации выгнали художницу из собственной мастерской и в
прямом смысле выбросили на улицу ее работы и уникальную коллекцию
исторических костюмов.
Алексей Левченко
Алексей Левченко – художник-постановщик киностудии им. Довженка,
который также стал режиссером. Он выступил художником-постановщиком во
множестве фильмов, в частности, в таких популярных и горячо любимых в
народе, как упомянутый выше фильм Вячеслава Криштофовича «Одинокая
женщина желает познакомиться» (1986), а также «День рождения Буржуя»
(1999) и «День рождения Буржуя 2» (2001) Анатолия Матешко. В 1993 году как
режиссер Алексей Левченко поставил фильм «Елисейские поля». Но, работая
в кино, Алексей Левченко не оставлял живопись.
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Статьи — ART UKRAINE
10/23/11 11:02 AM
Сергей Параджанов
Сергей Параджанов – легендарный кинорежиссер, сценарист и художник.
Экранизировав в 1964 году пьесу М. Коцюбинского «Тени забытых предков»,
он создал новую кинореальность, глубоко эстетичную, магическую, красочную,
которая впоследствии стала называться украинским поэтическим кино.
Очарованный Украиной, армянин Параджанов изобразил ее красоту
поэтически, как влюбленный. Его художественный взгляд определил
необыкновенную визуальность фильма, на которую до сих пор равняются
кинематографисты всего мира. Следующая его работа «Цвет граната» (1968)
продолжила новаторскую линию режиссера в оформлении изобразительного
ряда. Живописность визуальности фильма определялась его сюжетом,
состоящим из нескольких миниатюр, воссоздающих биографию тбилисского
армянского поэта Саят-Новы на колоритном историческом фоне
средневекового Кавказа. Советская власть помешала активной работе
Параджанова в кино, спасением и отдушиной для него стали коллажи, в
которых проявилась его неуемная фантазия, колорит его творческого видения
и скрытые, порой и по сей день неразгаданные послания современникам и
наследникам.
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Статьи — ART UKRAINE
10/23/11 11:02 AM
Коллаж Сергея Параджанова
Иван Миколайчук в фильме Сергея Параджанова «Тени забытых предков»
Анна Цыба
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В кинотеатре «Жовтень» открылась выставка знаменитых украинских кинорежиссеров «УКР-КИНО-АРТ»
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Page 9 of 10

Мертвый Сириус попадает в вечность. Об отношениях кино и искусства
04.11.11 20:36
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Искусство
В своей классической лекции «Что такое современное искусство» философ искусства Борис Гройс когда-то описывал несколько важных этапов
становления представления о том, что мы можем называть «искусством» после Дюшана. То есть в эпоху, когда искусство материального создания
начало превращаться в искусство символического создания (реди-мейды), в искусство интерпретации. Первый этап – институциональная теория –
возведение института в верховный домен. Музей определяет, что такое хорошо и что такое искусство. Его пространство превращается в храм, его
стены – в границу сакрального. Подобная модель убедительна, но не очень вписывается в драматическую этику демократической эпохи. Гройс
резюмирует ее кризис вопросом: «почему эти люди могут решать, что такое искусство, а я не могу и Иван Иванович не может?». Назревает второй
этап – «художественный протестантизм». Гройс упоминает книгу «Кант после Дюшана» и рассказывает о популярной демократической версии,
согласно которой, каждый человек волен решать, что есть искусство. Возникшая лояльность все же создает следующий теоретический тупик:
«искусство» начинает отождествляться с «прекрасным» и становится неотличимым от китча. Наконец третий этап – конвенция сведения
искусства к механизму «аутопоэзиса», то есть самовоспроизводства. Теперь искусство, мол, является иррациональным чем-то, аналитической
субстанцией, живущей по своим законам, которые оказываются где-то изоморфными к законам рынка. Соответственно, идентифицируют
искусство не субъекты, а скорее их отношения – дискурс, порядок авторитетов, биржа мнений. Поэтому сохраняют свою функцию институты:
музеи, критики и кураторы, но не всякие институты, а только легитимизованные в порядке дискурса. Дальше стоит следить за движением этого
дискурса, который имеет активное отношению к собственной истории, к тому, что уже было, и соответственно к тому, чего больше быть уже не
может. Как говорил тот же Дюшан: «Нет смысла делать то, что делал твой родной отец. Нет смысла быть еще одним Сезанном». Тайное правило
искусства: историю запрещено пересматривать в негативном смысле – с нее нельзя ничего вычитать. Историю запрещено повторять или даже:
историю невозможно повторять. Например, обладательница одного из «Золотых Львов» последней Венецианской биеннале Элен Стюртевант,
хоть и пишет репродукции Уорхола и Гонзалес-Торреса, но рассматривается уже не в контексте проблематики этих художников, а через
исторический индекс актуальности проблемы копии и оригинала. Так арт-дискурс копается в собственной исторической негативности и осторожно
ведет искусство тропой табу, аскез и минимализма. Перманентной популярностью пользуется тема «отсутствия», считается, что пустоту труднее
выдать за товар. Так арт-дискурс пытается занимать позицию «слева», но одновременно для сохранения собственной легитимности в пестрой
картине мира он же определяет коэффициенты рыночной стоимости произведений. Каждый раз, создавая прецедент отрицания, расширяя грани
недозволенного в искусстве, арт-дискурс неизбежно создает известность, потребительский эффект, моду. Так арт-дискурс одновременно
критичен и лоялен к современности, остро и нейтрально переживая ее, часто довольствуясь лишь определением ее вкуса.
В данной схеме говорим «искусство» – подразумеваем скорее наследие живописи. Это живопись покинула сначала тело архитектуры, а позже
нарушила презумпцию плоскости и синтезировала объём, затем темпоральность и человеческое тело. Мотив этого движения понятен. И как
говорил в 60-е Дональд Джадд: «Более половины из всего лучшего, что было создано за последние несколько лет, не относится ни к живописи, ни
к скульптуре».
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Page 1 of 4

Мертвый Сириус попадает в вечность. Об отношениях кино и искусства
04.11.11 20:36
Кадр из фильма Slow Action (2010), реж. Бен Риверс
Кино
А что же кино? Кино все это время существовало где-то рядом, как эгоистическая синтетическая альтернатива, как удобный субжанр, как
технологически удачный клон. Само собой понятно, что кинематограф не оправдал ожидания ни энтузиазма третьего десятилетия прошлого века,
ни базеновской иллюзии. При этом кино игралось, взрослело, начинало мыслиться «искусством», решало свои собственные задачи, также
приходило к самоотрицанию, имело свой импрессионизм, свой экспрессионизм, своего Малевича (Дебор) и своего Дюшана (Уорхол), но ни из чего,
кажется, не делало окончательных выводов, топталось на месте. В финальном подражании своей юности силами прошлого поколения критиков и
режиссеров, «кино» огласило дату собственной смерти, и в отличие от «искусства», которое перманентно питается своей смертью свою смерть,
оно ее пережило успешно и безболезненно.
По идее, искусство должно ревностно относиться к кино. Повод для ревности – онтологически кино является эквивалентом музея. К примеру,
Эмпайр-стейт-билдинг в классическом фильме Уорхола, аналогично дюшановскому писсуару, перестает быть просто небоскрёбом, но
превращается в экспонат. Уорхол производит перформативный акт. Другой, более ранний, пример – Sirius Remembered (1959) Брэкиджа. Брэкидж
некоторое время снимал на заднем дворе труп своего дохлого пса Сириуса. Так в экспонат превращается уже мертвый Сириус, мертвый Сириус
попадает в архив, мертвый Сириус попадает в вечность. Кино подобно музею 1.) осуществляет перформативность; 2.) архивизирует предметы; 3.)
лишает права вмешательства. Последнее особенно важно в свете философских разговоров о репрессивной сущности классического киносеанса,
которая так напоминает репрессивную функцию классического музея, где главное условие: смотреть, но ничего не трогать. Можно также
вспомнить, как художник Даниель Бюрен определял музей как привилегированное место с тройной функцией: эстетической, экономической и
мистической. Можно сказать, что кино, рассматриваемое как идеалистический музей, замечательно справляется с мистической функцией, но
только коммерческое кино влияет на экономическое положение своих «предметов».
То есть в самом обобщенном смысле любое кино придает объектам новый статус, более того любое «видео» обладает такой природой (об
идентификации галактики «кино» в пределах вселенной «видео» необходим отдельный разговор). С тем же успехом, что и Брекидж, Иван
Иванович снимет на телефон свое барбекю и тоже наделит его особым статусом, то же самое сделает анонимная реклама с пастой «Колордент»,
а репортаж вечерних новостей – с речью министра юстиции. Это пример кризиса «институциональной теории». Видео как «онтологический»
институт, подобно плохим музеям, хоть и наделяет предметы особым статусом, но редко достигает статуса искусства. Дискурс же – не мнения
отдельных институтов, а поле их отношений, полемическая эстафета в решении, какие из предметов есть искусство. Дискурс – это тайная победа
меньшинства, это безверие в регрессивный потенциал элит.
Кадр из 24-х часового фильма The Clock (2010). Реж Кристиан Марклей
Любимым экспонатом кино является человек. Если следовать за Гройсом до конца, встречаем мнение: «человек не интересен для искусства, и
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Мертвый Сириус попадает в вечность. Об отношениях кино и искусства
04.11.11 20:36
его жизнь и смерть тоже не интересны, человек интересен только для массовой культуры». Доверие к этой позиции не ставит все кино в ранг
масскульта, но скорее наталкивает на различие. Масскульт-кино больше интересуется человеком, тогда как арт-кино интересуется мумией, то
есть осознает, что имеет дело не с человеком, а с кремированным отпечатком, с экспонатом. Самыми честными фильмами оказываются фильмы
о зомби.
Масскульт имеет дело с нарративом, арт-кино – с языком. Самым очевидным, но уже исчерпавшим себя видом арт-кино можно считать видео-арт,
в базовых методах которого рефлексия над самой природой изображения. Видеоарт – это опыт деконструкции изображения, это стремление к
музыке, к чистым рукам. Видеоарт утверждает мемуарную природу увиденного. Хрупкость, шершавость, луп-эффект изображения в видеоарте
напоминает нам о том, что перед нами всего лишь «изображение», а не «жизнь». Тогда как голливудская презумпция утверждает реальность
фильма не просто настоящей, но еще и более настоящей, чем реальность смотрящего.
Георг Эльбен, куратор Боннского видеоннале, рассказывал в своей киевской лекции о том, что видеоарт с самого начала своего появления в 60-х
был в своем роде идеологическим выбором его создателей. Фильмы видео-артистов делались в эффектных лабораториях гаражного типа и
предназначались для трансляции на каких-то эксклюзивных ретро-мониторах, считалось, что только так они создадут нужный эффект, в
противовес унификации и ориентированности на все штучно новое у голливудского кино. Видеоарт становится приемником и модификацией
кино-авангарда с его оппозицией к «иллюзионизму» Голливуда, которую замечательно описывал в своем исследовании «Утраченные иллюзии
невидимого кино» Андрей Хренов.
То есть возникает такая обобщенная преувеличенная дихотомия: левое искусство авангард, видеоарт, film (фильм-искусство), film artist –
Голливуд, традиционное кино, movie (фильм-товар), filmmakers. И ее гибрид – «арт-хаус» – арт-товар.
Ни в коем случае, понятие «искусство» не стоит считать здесь ценностным суждением, это всего лишь модель восприятия в пределах данной
культурной ситуации!
Кадр из фильма Filz-TV (1970). Реж. Йозеф Бойс
Искусство кино
Начиная с синтетических теорий Риччото Канудо кино не переставало мыслиться именно как искусство. Другое дело, что сегодня искусство
мыслит себя иначе, чем в 20-е годы прошлого столетия. Если угодно, искусство или представление о том, что есть искусство, изменилось
колоссально, тогда как представление о том, что есть кино давно застыло в неловкой позе.
В принципе разницу между кино и современным искусством можно свести к разнице между их дискурсами. Первый – параноидально открытый
монолитный и самоуверенный. Второй – хлюпкий, слоеный и сепаратный. Кино-дискурс непозволительно часто потешается архаическими
культами: темным залом, прямоугольником и финальными титрами.
Кино-дискурс не стесняется своей массовости и видит в ней свой политический вес. Пульсирующим эпицентром продвинутого кино-дискурса
мыслится фестивальное движение, стандартом качества – диски компании Criterion. Кино-дискурс существует как множественность дискурсов,
как конфедерация сект с их частными интересами. Фанаты джалло обычно не смотрят британское социального кино, поклонники хмурых драм
Рона Ховарда не готовы узнать, кто такой Артавазд Пелешян, а любители сериала Lost часто слышать не слышали, кто такие Монти Пайтон.
Ровно как и наоборот. Кино-дискурс истощен и ненадежен. Замечание Лотмана: семиотика кино располагает каждого зрителя считать, что
понимание кино есть врожденное свойство характера. Замечание Беньямина: технику кино с техникой спорта связывает то обстоятельство, что
каждый зритель в оценке их достижений ощущает себя полупрофессионалом.
И все же сейчас заметны два направления сближения «кино» и «искусства». Первое направление – административное. Это политика аннексии
арт-институций по отношению к форме кино. В лучшем случае это свободное обращение к кино как одной из наиболее удачных медийных форм,
когда кино принципиально мыслится не как отдельный порядок, а как один из многих инструментов искусства, наделенный своими правилами.
Кино даже перестает называться «кино» и щедро понимается как «видео». В худшем же случае происходит банальная смена демонстрационных
площадок, когда кино традиционного репертуара транслируют не в темных кинозалах, а в темных галереях с важными лозунгами о новых опытах
созерцания. Такой подход скорее создает фикцию реформы.
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Page 3 of 4

Мертвый Сириус попадает в вечность. Об отношениях кино и искусства
04.11.11 20:36
Кадр из фильма Empire (1964). Реж. Энди Уорхол
Рассмотрим, к примеру, фигуру одного из самых авторитетных музеев современного искусства нью-йоркского МоMA. Административно музей
разделен на четкие департаменты по рубрикам искусства с кураторами во главе, такие как департамент фотографии, концептуального искусства,
дизайна, иллюстраций к книгам, скульптуры, среди них есть место и департаменту кино, это на территории институции современного искусства.
Куратор кино-департамента МоMA – Раджендра Рой, работавший раньше в команде Берлинале. После его назначения куратором МоMA его
первыми музейными кино-выставками были неоднозначно понятые ретроспективы Майка Николса и Тима Бёртона. И хоть эти выставки и вызвали
огромный интерес у публики наравне, как писала пресса, с экспозициями Дали или Ван Гога, мы хорошо понимаем место Тима Бёртона в
прогрессивном кино-дискурсе. То есть выходит, что мнение о месте кино в контексте современного искусства с позиции такой мощной фигуры как
МоMA сводится к экстравагантному персональному вкусу куратора Роя. В одном из интервью у Роя как-то спрашивали, видит ли он разницу
между movie и film, между Майклом Бейем и Акирой Куросавой или они для него часть одного спектра. На что Рой отвечал вполне в духе
индустрии развлечений: «чтобы была Майя Дерен, должна существовать и Николь Кидман».
Очень важно заметить, что в то же время в 2006 году, то есть совсем недавно, у МоMA появился отдельный родственный кино-департамент –
Media and Performance Art под началом немца Клауса Бисенбаха, одного из первых в мире кураторов искусства, который начал наравне с
традиционными выставками формальных или концептуальных искусств проводить экспонирование кино – ретроспективу Уорхола или музейный
показ «Берлин, Александерплац» Фассбиндера.
То есть ощутимым следствием интеграции кино в искусство, а кино-дискурса в арт-дискурс, есть увеличение значения кураторов. И часто именно
вкус кураторов оказывается крайней инстанцией в вопросе дискурса.
Второе направление сближения кино с искусством – художественное. Это движение самого кино, это азарт и открытость его лучших
представителей в предательстве привычных технологий кино, это их поиски в пределах языка репрезентации реальности. Это и мекасовская
интерпретация хоум-видео как жанра авангарда, это и полиэкраная традиция Ганса – Уорхола, это и стирание архаической черты между
«документальным» и «художественным», и даже интерактивность «чемоданов» Гринуэя, и эксперименты с темпоральностью в «медленном» кино,
и демистификация нарратора. То есть суть этого движения в постановке вопроса, что есть кино, с территории самого кино. Сама постановка
такого вопроса созвучна эгоистической проблематике современного искусства, что позволяет мыслить такое кино как часть современного
искусства, забывая о его привычной «генетической» ограниченности.
Вообще ситуация путанная. Заметно, что искусство куда охотней и грамотней рефлектирует «кино» как «искусство», чем оно само. Фестивальный
успех фильма художника Стива МакКуина выглядит как подсознательное стремление «кино» быть «искусством». Канонического документалиста
Харуна Фароки в музеях, кажется, показывают чаще, чем в кинотеатрах. MoMA вместе с выставками Пабло Пикассо или Макса Бекмана проводит
ретроспективы не только Бёртона или Питера Джексона, но и Питера Хаттона или Южан Пэлси. Но превращает ли участие MoMA работы Южан
Пэлси в искусство или для этого нужна санкция от людей из кино? Куда отнести многоголосое травести-караоке Кендис Брайтс? Стоит ли
считаться с модернистской адоб-магией Жюльена Валле или настенной мультипликацией проекта blu? Игорь Подольчак художник или режиссер?
Чем были галерейные эксперименты Мэри Эллен Бьют по симуляции звука изображением? И кто лучший режиссер Теренс Малик или Бен Риверс?
Самой выгодной позицией в данном символическом конфликте может оказаться принятие единых критериев или согласие с Брехтом о
необходимости избавления от понятия «произведение искусства», если оно превращается в товар.
главная | о нас | архив | режиссеры | блог
Copyright © 2010 - 2011 Cineticle. All rights reserved. | Design by GreenArtProject
http://www.cineticle.com/component/content/article/61-tema/439-relations-cinema-and-art.html
Page 4 of 4

Antiretro
08.12.11 18:38
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http://www.wiz-art.com.ua/en/component/content/article/170-antiretro
Page 1 of 4

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08.12.11 18:38
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http://www.wiz-art.com.ua/en/component/content/article/170-antiretro
Page 3 of 4

Ukrainian Film Club of Columbia University
31.12.11 12:12
Cinenews
December 25, 2011. Lviv - New York City
Podolchak's Delirium to Be Released in 2012
Delirium, the much-awaited second narrative feature film by Ihor Podolchak is all but ready for
its world premier. According to Mr. Podolchak, his new picture was offered for official
competition at the Tribeca International Film Festival which is take place in April of 2012. The
film lineup of that festival is to be announced in early March. The author of these lines was
granted a rare opportunity to be among the first to see the film in Mr. Podolchak's own
production studio in Lviv last August. The film examines the inner world of humans stuck in
mundane circumstances that become a stark background for emotions that grow in intesity,
progressively lose connection with a recognizable reality and quickly start bordering on the
psychotic. This quitessentially art-house picture has no plotline in the traditional sense of the
word. It does not need one to do what is seems to want to do - explore the dark areas of human
psyche, the innermost motivations of our actions. Outward events depicted in the film are only
pretexts for such an exploration and this is evidenced by the director's synopsis:
" ... an ordinary funeral procession moves along its path from church to cemetery. Observing it,
you slip from reality into a place where time has lost its linearity, looping through the odd
images thrown off by a distorted reality. Images of things that do not exist, of varying
reflections of death emanating from both past and future, concrete yet abstract, horrible yet desirable.
"A family asks a young psychiatrist to be their guest for a while to untangle the circumstances of their father’s illness. He develops
a suicidal fixation on ropes and knots, among other things. While deeply involved in analyzing the patient’s delirium, the doctor
begins to lose track of events around him. His initial mission to help is relegated to the background by the question that overtakes
his thoughts “Who am I, doctor or patient? A chance guest, member of this suffering family, or a Catholic priest who dreamed this
all up?” In order to get a handle on it all, it’s best to start from the beginning, but why do things keep shifting, changing…?"
What is clear is Podolchak's fascination with the camera and, in a wider sense, with the most cutting-edge filmmaking
technologies he uses in Delirium. He actively, almost with abandon, manipulates space, time, shapes, colors, sounds, and even
moods, taking the cinematic expression to new limits and revealing to the eye strangely beautiful frames, so far never
experienced in Ukrainian cinema. In that sense, his new film is both innovative and self-referential, it is as much about the viewer
exposed to a barrage of impressions that in turn provoke, puzzle, and unsettle, as it is about a new approach to the very
filmmaking that is demonstrated but not yet fully verbalized.
Now that the film is, in Ihor Podolchak's words, "almost completed," its producers are strategizing for its world premier to take
place at one of major, so far unknown, international film festivals. Once the film has run the usual festival circuit, the Ukrainian
Film Club will screen it at one of its own events.
Yuri Shevchuk
DELIRIUM / CAST & CREDIT LIST
Written, directed, and edited by Ihor Podolchak
Based on the novel "Inductor" by Dmytro Beliansky
Producers: Ihor Diurych and Tamara Podolchak
Co-producer: Liliya Mlynarych
Director of photography: Mykola Yefymenko
Art director: Svitlana Makarenko
Music by: Oleksandr Schetynsky
Sound directing and sound design by: Myr!slav Kuvaldin
Cast: Volodymyr Khimiak as Guest / Psychiatrist
Lesya Voinevych as Mother
Petro Rybka as Father / Professor
Olha Horbach as Daughter
Olha Bakus as Maid
http://www.columbia.edu/cu/ufc/news/2011_12_25.html
Page 1 of 2

Ukrainian Film Club of Columbia University
31.12.11 12:12
Olha Bakus as Maid
Ivan Kostenko as Son / Son-in-law
Vasyl Kostenko as Priest
Script & project development was financed by Hubert Bals Fund / International Film Festival Rotterdam / The Netherlands.
Ukrainian Film Club of Columbia University© 2011. For more information please contact Yuri Shevchuk
http://www.columbia.edu/cu/ufc/news/2011_12_25.html
Page 2 of 2

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Ukrainian Cinema. Making It Real - Culture - The Ukrainian Week
2/18/12 11:14 AM
Saturday, February 18, 2012 !"# Eng Log In Register
search
Politics Neighbours Economics Investigation Society Science History
Culture & Arts Navigator Opinions Persona Archive Special
February 13, 2012 ! Yaroslav Pidhora-Hviazdovsky
Ukrainian Cinema. Making It
Real
The Ukrainian Week launched the Cinema
Project column 18 months ago to talk about
Ukrainian films at different stages of production. It
is time now to check in and see how they are
doing
Of all the films we wrote about, Mykhailo Illienko’s
Firecrosser was released first. We have decided to see
how the others are doing and what prospects they have.
Remarkably, Illienko’s film had significant government
financing and is a purely Ukrainian product without coproduction
with other countries. Can we say that the
Ukrainian cinema is coming back? We will see in a minute.
Firecrosser
(feature-length film)
Genre: historical drama
Director: Mykhailo Illienko
http://ukrainianweek.com/Culture/42188
Page 1 of 6

Ukrainian Cinema. Making It Real - Culture - The Ukrainian Week
2/18/12 11:14 AM
Status: completed
The film is based on the life story of the outstanding pilot in
the Second World War, Ivan Datsenko. The film went into
production in 2007 but was delayed for 18 months due to
serious problems with financing. The budget of nearly $2
million was filled by the state and the Insight-Media
Production Centre.
Release: released in Ukraine on January 19 with 12
copies and drew largely positive reviews. The distributing
company B&H started film screenings from Kyiv, Kharkiv
and Ivano-Frankivsk. The film will be shown in 13
Ukrainian cities in January-February 2012. It is scheduled
for television broadcast in 2013, and DVD and Blu-ray
releases will come later.
Delirium
(feature-length film)
Genre: experimental avant-garde drama
Director: Ihor Podolchak
Status: completed
The film went into production in 2008, but it took Podolchak
three long years to complete it. Meanwhile, he debuted
with Las Meninas. On the good side, he had neither
deadlines nor pressure from the producers to deal with. He
invested his own money and used help from his friends
and businessmen and eventually reached a budget of
$900,000. Delirium delivered the goods – just like Las
Meninas, it strikes the audience with its formal complexity,
combinations of visuals and sounds and undeniable
ambiguity.
Release: undetermined.
Podolchak is now looking into festival participation. He did
not make it in time for the Berlinale, so he is now waiting
for a reply from the organizers of New York-based Tribeca
Film Festival.
My country is Ukraine
(an animation series)
Genre: adventure, history and comedy
http://ukrainianweek.com/Culture/42188
Page 2 of 6

Ukrainian Cinema. Making It Real - Culture - The Ukrainian Week
2/18/12 11:14 AM
Directors: Stepan Koval, Oksana Pryshchepa, Serhiy
Rudenko, Andriy Sliesarevsky, Kostiantyn Chepik, Yevhen
Alokhin, Oleh Tsurikov and Natalia Skriabina
Status: in production
As of October 2008, 12 of the 26 instalments were
completed. According to the State Agency for Cinema, the
series must be finished by the end of 2013. These threeminute
pieces are being made in the Novatorfilm
production studio headed by animator Stepan Koval and
are based on the concept “comic stories about cities.”
Release: undetermined
According to Koval, the artistic director of the project, the
Ministry of Culture is supposed to take care of the film’s
distribution. Sources in the ministry say that he also has
the right to determine the future of his product.
In Love with Kyiv
(an almanac of short films)
Genre: comedy, drama and melodrama
Director: Illia Vlasov, Taras Tkachenko, Valeriy Bebko,
Denys Hamzinov, Olha Hibelynda, Oleh Borshchevsky and
Artem Semakin
Status: completed
The almanac was launched in 2010; 10 short films were
shot of which eight were included in the final collection.
Each story is about Kyiv only. The shooting started in June
and ended in December 2011. The $800,000 film did not
use any government money, relying exclusively on private
investments. It was part of the Ukrainian stand at the
Cannes Film Festival.
Release: the world premiere took place on February 9,
2012. The production company inQ signed an agreement
with a large distributor, Top Film Distribution, on
distributing the almanac in the CIS countries and the Baltic
states.
Who is afraid of Uncle Babai?
(feature-length animation)
Genre: adventure and mystique
http://ukrainianweek.com/Culture/42188
Page 3 of 6

Ukrainian Cinema. Making It Real - Culture - The Ukrainian Week
2/18/12 11:14 AM
Director: Maria Medvid
Status: in production
After starting in the spring of 2008 with a budget of UAH
10.5 million, the picture cartoon, which was fully financed
from the state budget, went into hibernation in 2009 due to
a lack of funds. In 2011, after a video was produced using
material shot in Ukranimafilm, the State Agency for
Cinema decided to replace director Natalia Marchenkova
with Maria Medvid. The new deadline is January 25, 2013.
Release: undetermined
Sherlock Holmes and Dr. Watson
(short animation)
Genre: ironic detective story
Director: Oleksandr Bubnov
Status: close to completion
A multilayer computer animation technique with painted
inserts was used for the film which went into production in
2008 as a continuation of an 18-minute-long cartoon under
the same title. The sequel was designed as a half-an-hour
one-piece short animation film, but it later turned into a
mini-series with six parts, each running 6.5 minutes.
Director Oleksandr Bubnov intends to complete shooting
by May 2012.
Release: undetermined
The world premiere is planned to take place in Ukraine
after which the cartoon will be shown at festivals.
The Demons
(feature-length film)
Genre: drama with elements of comedy
Director: Varvara Faier
Status: search of financing
The project kicked off in 2010 and successfully went
through the pre-production stages: preliminary financing (a
tentative budget of $420,000; financing from Ukrainian and
http://ukrainianweek.com/Culture/42188
Page 4 of 6

Ukrainian Cinema. Making It Real - Culture - The Ukrainian Week
2/18/12 11:14 AM
Russian private investors), deciding on locations (Poltava
Region) and casting (Ukrainian and Russian actors). The
project was frozen after several autumn scenes were shot.
Pitching at the Odesa Film Festival in July 2011 failed to
attract investors. The film was not submitted to two
government-organized competitions for financial support.
Release: undetermined
Ursus, the Caucasian Brown Bear
(feature-length film)
Genre: road movie, drama
Director: Otar Shamatava
Status: preproduction
This is a Ukrainian-Georgian-German production that was
started in 2011 and is scheduled for completion in the
summer of 2013. While the team is working on the
director’s version of the script, the producers are waiting
for responses from several actors they invited. As far as
financing is concerned, there is still no answer from
Ukraine’s State Agency for Cinema (the film successfully
passed the first competition) or Georgia’s Cinema Centre.
Instead, the project acquired a new partner in the German
company Ma.Ja.De Filmproduktion, which earlier financed
two Serhiy Loznytsia films. The project will be presented
for the first time at the Berlin International Film Festival on
February 14, 2012.
Release: 2014
The Brothers
(feature-length film)
Genre: psychological drama
Director: Viktoria Trofymenko
Status: preproduction
The project was launched in 2011 and then stopped due to
a lack of financing. The film was chosen by the
government for financial support. The production company,
ProntoFilm, has received money and resumed work on the
film. Locations have been picked, and casting trials have
continued since December 2011. The first shooting period
http://ukrainianweek.com/Culture/42188
Page 5 of 6

Ukrainian Cinema. Making It Real - Culture - The Ukrainian Week
2/18/12 11:14 AM
is scheduled to take place in late February 2012 in the
Carpathians (the “winter story”). Then, in April and May,
when the snow has melted, more shooting will be done in
the mountains (the “summer story”). Producer Ihor
Savychenko plans to complete the film by January 2013.
Release: autumn of 2013
Related articles
Silent Dialogs With Film
Dovzhenko: The Last Utopian
Molodist 41
Financing Ukrainian Cinema: To Have One’s Cake and Eat It
Too?
Dissident Despite Death
Shadows of the unforgettable
The Cinema Poet
The Iliad of Ilienko
No Special Effects
cinema, film
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Page 6 of 6

Телепрограмма на 21 февраля, вторник канала "Киносоюз" , программа передач ТВ на неделю - Афиша@Mail.Ru
2/22/12 12:23 PM
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Dom Aukcyjny i Antykwariat Wysyłkowy - VERSO
2/22/12 12:52 PM
OFERTA I AUKCJA LAS RZECZY KONTAKT HOME KONTO
OFERTA II OFERTA III EXLIBRIS
Böhme Jakob, Podolczak Igor.
Jakuba Böhmego objawienia dotycz!ce Boga, nico"ci i natury, tak#e duszy
ludzkiej i cz$owieczego cia$a
cena: 2500 z$
Jakob Böhmes Offenbarungen über den Gott, das Nichts und die Natur, sowie die
Menschenseele und den Menschenleib. Na podstawie: Schriften, Ausgewählt von
Hans Kayser. Leipzig 1923; Schriften. Ausgewählt von F. Schulze-Mazier. Leipzig
1938; Glaube und Tat. Eine Auswahl aus dem Gesamtwerk. Berlin 1976. Wybór
tekstów i przek!ad: Jan Tomkowski w konsultacji ze S!aw" Lisieck", Jolant" Najdeck" i
Petje Schröder. Akwaforty: Igor Podolczak. Projekt graficzny: Igor Podolczak i Janusz
Tryzno. Komputerowy sk!ad tekstu: Krzysztof Srebrzy#ski; chemigraficzne
przygotowanie matryc: Andrzej Jacel; druk Janusz Tryzno; r$czne czerpanie papieru i
oprawa: Lech Huniewicz i Janusz Tryzno. - %ód& : Correspondance des Arts II, 1993. -
[15] k. tekst, [13] k. akwafort, k. tyt. suchy t!ok. - Opr. p!. + ochronne etuis z czarnego
kartonu ; 25 x 25 cm Tekst z!o'ono czcionk" Fette Fraktur 12 pkt. i wydrukowano na
papierze r$cznie czerpanym w nak!adzie 100 egzemplarzy numerowanych od 0 do
100 i 10 egzemplarzy autorskich numerowanych od I do X. Wszystkie egzemplarze s"
sygnowane przez Jana Tomkowskiego i Igora Podolczaka. - Tekst w j$z. polskim i
niemieckim Fragment dzie!ka Jakoba Böhme (1575-1624), niemieckiego mistyka,
którego pogl"dy wywar!y wp!yw na Schellinga i Hegla. T!umaczy! go m.in. Mickiewicz.
Artystyczne przeniesienie tekstu Böhmego w nowoczesn" form$ grafiki i druku przez
!ódzkie wydawnictwo Correspondance des Arts zyska!o uznanie krytyki artystycznej i
br"zowy medal w konkursie "Najpi$kniejsze ksi"'ki (wiata" w Lipsku i presti'ow"
nagrod$ Walter Tiemann Preis. Ksi"'ki opublikowane staraniem Correspondance des
Arts znajduj" si$ w najwa'niejszych (wiatowych kolekcjach, m.in. w British Library,
Gutenberg Museum, Staatsbibliothek zu Berlin, Museum of Modern Art, Bibliotece
Narodowej w Warszawie i w Muzeum Narodowym we Wroc!awiu Ciekawostk" jest, i'
oferowana ksi"'ka po roz!o'eniu liczy 8 m
Wizytówki z przed 1939 roku.
http://www.antykwariat-verso.pl/index.php?menu=3
Page 1 of 2

Dom Aukcyjny i Antykwariat Wysyłkowy - VERSO
2/22/12 12:52 PM
Tutaj zbiór wizytówek
http://www.antykwariat-verso.pl/index.php?menu=3
Page 2 of 2

Лучшие украинские фильмы времён независимости — oKino.ua
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Лучшие украинские фильмы времён независимости — oKino.ua
3/19/12 3:15 PM
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Игорь Подольчак: «Я хотел сделать фильм-бред» — oKino.ua
4/8/12 2:28 PM
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Page 1 of 6

Игорь Подольчак: «Я хотел сделать фильм-бред» — oKino.ua
4/8/12 2:28 PM
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Игорь Подольчак: «Я хотел сделать фильм-бред» — oKino.ua
4/8/12 2:28 PM
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http://www.okino.ua/article/interview/113/
Page 3 of 6

Игорь Подольчак: «Я хотел сделать фильм-бред» — oKino.ua
4/8/12 2:28 PM
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Игорь Подольчак: «Я хотел сделать фильм-бред» — oKino.ua
4/8/12 2:28 PM
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Дмитрий Белянский: Лучший способ укрепить патриотизм — прослушать русскую версию украинской истории | polittech
6/6/12 12:50 PM
Все о политических технологиях, политтехнологах и
политконсультантах, выборах, мажоритарных
кампаниях, политическом, антикризисном и "черном"
PR, управлении имиджем и репутацией,
информационных войнах и политической рекламе.
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Дмитрий Белянский: Лучший способ укрепить патриотизм — прослушать русскую версию украинской истории | polittech
6/6/12 12:50 PM
международных организаций, и знает, что выборы придется проводить в стерильном режиме – под
пристальным наблюдением наблюдательных миссий, мониторингов гражданских свобод и прочих
демократических аттракционов. Им на этом фоне еще не хватало обоснованных обвинений в тотальном
контроле над СМИ!
Поэтому все идет к тому, что ТВ на этих выборах заработает меньше, чем ожидалось, а пресса соберет
больше, чем рассчитывала. Интернет как обычно будет недооценен, что очень печально. Просто год от
года политическая реклама на ТВ и прессе становится все более заметна невооруженному взгляду, что
делает эти носители непригодными для разворачивания тонких политических игрищ. В отличие от
Интернет-среды, о которой все говорят, но одновременно пытаются сэкономить на работе с ней.
Можете ли назвать цифру “медийного” бюджета основных политических сил на предстоящих
выборах? Предположительно.
К сожалению, нет, поскольку для основных политических сил эта цифра совпадает с рыночной
стоимостью основных украинских медиа, которыми они владеют, к чему необходимо прибавить стоимость
инвестиций и многолетнего содержания. Большинство украинских медиа, увы, устроено как специальный
ресурс – их же для того и держат, чтобы использовать на выборах. Обратные примеры, когда медиа
устроено как бизнес, единичны. Из крупных, пожалуй, можно вспомнить только UMH Group Бориса
Ложкина.
&'( #)*, +#$ ,-#.)#/( ,$0$1#2 + 3#24 %)/5%/.4 /$ /#$%$6- –
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Что преобладает сегодня в политическом информационном пространстве Украины — пропаганда,
манипуляция или более-менее адекватная коммуникация? Останется ли такой инструмент, как
прямая пропаганда, действенным в условиях отсутствия монополии на информацию.
Преобладает пустота и глупость, поскольку в стремительно меняющемся мире многое становится
слишком заметным и белые нитки до неприличия начинают торчать наружу. Увы, тенденция оглупления
медиа носит общемировой характер – слово «таблоидизация», употребленное уволенным главредом
Александром Харченко и Олегом Наливайко применительно к конфликту вокруг УНИАН, очень точное.
Но оно – тренд.
Медиа в ХХI веке будут развлекать, а не информировать. Из конвейера по производству фактажа и
фактов они превращаются в конвейер по производству ярких упаковок, привлекающих читателя. Медиа
перестают быть серьезными, а власть не привыкла сама о себе информировать, вследствие чего и
выглядит в медиа достаточно странно – медиа никак иначе не могут самостоятельно упоминать ее
деятельность, кроме как для развлечения читателей. Более того, на фоне реформы медиа под новые
запросы изменившегося общества, бездеятельность власти в области информационной политики
действительно воспринимается как изощренная форма цензуры – дескать, Банковая помогает оглуплять
медиа, чтобы заткнуть рот гражданским свободам.
- &?CC

Дмитрий Белянский: Лучший способ укрепить патриотизм — прослушать русскую версию украинской истории | polittech
6/6/12 12:50 PM
Но, во-первых, достойного противника его класса в Украине нет, а без оппонента Медведчук не
воспринимается иначе как угроза. А, во-вторых, есть проблема людей, с которыми Медведчук вынужден
реализовывать свои политические проекты – впрочем, это вечная проблема исполнителей и Титанов.
A 4$85 $9B(/62#

Дмитрий Белянский: Лучший способ укрепить патриотизм — прослушать русскую версию украинской истории | polittech
6/6/12 12:50 PM
освещая устройство их политической жизни для «Сегодня Мультимедиа», и, честно говоря, решил дать
себе передышку в смысле – как русские видят современную Украину, нашу общую историю и возможные
сценарии будущего. Что до медийных скандалов вокруг «Матча», то меня расстроили попытки сорвать
показ фильма в Украине – я считаю, что, напротив, подобного рода фильмы надо показывать всем,
причем некоторым насильно. Нет лучшего способа укрепить в сознательных гражданах украинский
патриотизм, чем заставить их прослушать русскую версию украинской истории!
С другой стороны, будучи по образованию филологом и по самоопределению художником, я чрезмерно
уважаю понятие художественной целостности, предполагающей, что любое произведение имеет право на
восприятие вне какого-либо контекста. Поэтому мой комментарий касается в данном случае не фильма
«Матч», но произнесенных о нем слов.
Почему, на Ваш взгляд, в Украине не стали успешными политические интернет-проекты по типу
“Ідеальної країни” Тимошенко, и ее же “України третього тисячоліття”? Насколько вообще
оправданы и целесообразны такие масштабные, в большой степени идеологические сетевые
проекты?
J.+ "/) =6.:#, 6.D. %$06.( E+%.26. – 6) #$'

Ukrainian Media Art: Twenty Years of Experience — Ianina Prudenko — 3/4
6/7/12 3:52 PM
rýchle menu
everything is new but 3/4. http://34.sk english
Ukrainian Media Art: Twenty Years of
Experience
Ianina Prudenko
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Ianina Prudenko is an associate professor of the Department of Cultural Studies on
the National Pedagogical University in Kiev, curator of media arts forum New
Media 2011 and also curator of unconventional educational program "Curves
Mirror: History of Ukrainian media art in words and moving pictures." She briefly
described actual topics and problems of young Ukrainian art in her text for Media
Art Biennale WRO-2011. We present the Slovak version of this article in the
magazine 3/4.
Sergiy Petluk, Dreams
Media art in Ukraine begun with video art. It was formed by the
presence of TV (Vasil Tsagolov, Andriy Kazandzhiy, Glib Katchuk,
Ilya Chichkan) and by post-modernist quotations of heritage of silent
films (Alexander Roytburd, Glib Katchuk, Glib and Olga
Kashymbekova, Ilya Chichkan and Kirilo Protsenko). Another
important theme was corporeality (Alexander Hnilitsky, Natalia
Filonenko, Alexander Roitburd, Anna Artemenko and Ivan Tsupka),
simulacrum and illusory of the material world (Ilya Isupov, Alexander
Gnilitsky, Lesia Zaiats), and for more example, situation of disabled
http://www.34.sk/text.php?text=3-237
Page 1 of 6

Ukrainian Media Art: Twenty Years of Experience — Ianina Prudenko — 3/4
6/7/12 3:52 PM
people in Ukrainian society is an object of art investigation in videos
of Glib and Olga Kashymbekova. A special place in the history of
Ukrainian video art belongs to project of the independent art
company Fund of Masoch called "Art in Space" (1993). It belongs to
one of the first art works of the independent Ukraine, which was
presented at the Biennale of Art in Sao Paulo (Brazil) in 1994. The
video depicts a documentation of a project of the same name that
took place on 25 January 1993, when, for the first time in outer
space, the astronauts Sergei Avdeev and Andrey Soloviev displayed
graphic works of Igor Podolchak on the board of the Russian space
station Mir. Concept of this project was to bring to the outer space
not only technological, but also artistic value of humanity.
KIMAF, 2002.
Existence of the interactive art in Ukraine has a very interesting
history associated with the activities of Soros Center for
Contemporary Art in Kyiv and German cultural center Goethe
Institute in Kyiv. In 1997 they invited Noering Hermann, the Director
of EMAF (Electronic Media Art Festival) from Osnabruck, to
Kyiv. Besides his lecture, seminars on computer animation took
place, as well as presentation of works of German new media art
and the exhibition Video sculpture in Germany. This visit resulted in
establishment of Ukrainian institutions of media art – Info Media
http://www.34.sk/text.php?text=3-237
Page 2 of 6

Ukrainian Media Art: Twenty Years of Experience — Ianina Prudenko — 3/4
6/7/12 3:52 PM
Bank and the festival KIMAF (Kyiv International Media Art
Festival). Thanks to this institution and the festival, new media
artists, such as Natalia Holibroda, Iliya Isupov, Olga Kashymbekova,
Glib Katchuk, Anna Artemenko, Alexander Vereshchak, Margarita
Zinets, Kirilo Protsenko, appeared in Ukraine. "Institution of
Unstable Thoughts" was created here as well.
One of the most crucial representatives of Ukrainian net.art is the
group Akuvido. It consists of two artists - Victor Dovhalyuk and
Hanna Kutz, who began their art studies in Lviv Academy of
Art (Ukraine) and continued in L4 Institut fuer Neue
Medien (Berlin, Germany). Their first interactive project was Esse
(1998), presented in Berlin. Later on, there were net.art projects
City_interactive, Stand sound station, Decode, Jokonde XP, Web
Wuerfel Werkstatt, Are you net-voyeur? All the works are available
on the site www.akuvido.de. Akuvido are probably the world's most
famous Ukrainian media artists, although they operate outside the
Ukraine.
Jurij Kruchak a Julie Kostyeryeva, Baby, net.art, 2002.
The first net.art project, which was created directly in Ukraine, is the
project BABY (2002) by Yuri Kruchak and Julia Kostyeryeva. the time
of its creation the mortality rate in Ukraine was prevailing over the
birth rate. Therefore the authors developed a web site, where
anyone could "give birth" to their own child and support it and
develop it for a period of 9 months.
In 2007 the net.art project The of the Khazars, or requiem for
the theater was created by the director Anna Aleksandrovich. It was
a first theatre performance in Ukraine, which was broadcasted online
on the web site www.hazary.com.ua. During the performance,
hypertext of Milorad Pavich was amended by comments of the
http://www.34.sk/text.php?text=3-237
Page 3 of 6

Ukrainian Media Art: Twenty Years of Experience — Ianina Prudenko — 3/4
6/7/12 3:52 PM
audience, which were projected on the front wall of the theater
hall. One of the spectators even came to the theatre with a
notebook, so he became both a real and a virtual spectator at the
same time. Besides that, all actors could use a notebook set on the
stage to chat online with the audience, what was also displayed on
the wall.
Masha Shubina, Digital narcissism, net.art, 2007.
Young Ukrainian artist Masha Shubina created a net.art project
Digital narcissism (2007), where in order to present her artworks,
she chose internet dating sites. She was interested in combining
traditional painting and multimedia. Her goal was to meet curators,
gallery owners, and museum directors thereby. But the only one,
who responded, was a curator from Australia, most of the men and
women responded with intimate suggestions. Masha’s parallel goal
was to also promote her art in various parts of the world,
establishing communication with the audience. She communicated
with anyone who wrote her and saw her paintings at
galleries. Digital narcissism can be still found today, originally it was
created for an exhibition in a traditional exhibition space. It was
presented in Ukraine in the Pinchuk Art Centre, in galleries in Russia,
Germany, Italy and Great Britain.
http://www.34.sk/text.php?text=3-237
Page 4 of 6

Ukrainian Media Art: Twenty Years of Experience — Ianina Prudenko — 3/4
6/7/12 3:52 PM
Roman Minin
In Kharkiv festival NonStopMedia in 2008, the project Mobile
loneliness of the artists Hamlet Zinkivsky and Roman Minin was
presented. The project consisted of the sms-art of Minin and 15
paintings of Zinkivsky, which portrayed people talking on mobile
phone.
!amara Hridyayeva, Representation, 2010.
The most difficult genres of new media art in Ukraine are nowadays
occupied mostly by young artists from Lvov. It is possible mostly
thanks to internships in Polish media institutions. At Biennale of
Media Arts in Poznan 2010 the young artist !amara Hridyayeva
http://www.34.sk/text.php?text=3-237
Page 5 of 6

Ukrainian Media Art: Twenty Years of Experience — Ianina Prudenko — 3/4
6/7/12 3:52 PM
presented her project Representation. During the perception of this
interactive work, the recipient was identified with an arrow that
responded to the viewer by gaining gigantic dimensions. The
Biennale of Media Arts in Wroclaw year on WRO was attended for
example by Sergey Petlyuk; while another Ukrainian media artist
from Lvov Andriy Linik presented himself at the festival „Mindware.
Technologies of Dialogue" in Poland (Lublin). His intermediary work
Aiolos would be very hard to create in Ukraine due to lack of media
art institutions in the country, lack of finances and the unwillingness
of galleries and art centers to work with such kind of contemporary
art.
poznámky a odkazy k !lánku
wro2011.wrocenter.pl/site/en/
wroreader/reader_prudenko
www.monoskop.org/Kiev
www.shubinamasha.com/projectmydearcurator.php
mininsms.blogspot.com
"al#ie !lánky autora
Ukrajinské mediálne umenie: dvadsa$ rokov
histórie 27-28
In Ukraine today, there is no profiled institution that would deal with
education and support for young media artists. However, there is a
number of festivals focusing on media art – NonStopMedia
(Kharkov), Terra Futura (Kherson), Week of Contemporary Art (Lvov).
In 2011, to celebrate the twentieth anniversary of media art in
Ukraine, a media art forum New Media Ukrainetook place in Kyiv.
Activities of Czech and Slovak media art were presented by Barbora
"edivá (The Brno House of Arts). The most important result of this
meeting was the possibility to publish information about the
Ukrainian media art through the collaborative research project and
internet database Monoskop.
Despite all these problems today, a new generation of young media
artists who grew up on a computer keyboard works in Ukraine. And
there are also young curators and art theoreticians ready to interpret
such a modern art form.
>>
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Фільм про лікаря-психіатра знімали у костелі | Культура | Новини на Gazeta.ua
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Кіно без зірок | Український тижневик Міст
8/3/12 11:58 PM
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Igor Podolchak
8/4/12 12:11 AM
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home (/en) / experts (/en/experts) / igor podolchak
IGOR PODOLCHAK
Reference
Occupation: a photographer, a graphic artist, a painter, a curator of modern art exhibitions
Titles and positions: graduated from the faculty «Interior and furniture» of Lviv State Institute of Applied and Decorative Art; a
participant and a laureate of numerous international exhibitions, organized and conducted several international exhibitions in
Ukraine, Russia, USA, Norway; he is a co-founder of the creative association «Masoch Fund» (together with Roman Viktyuk and
Igor Dyurich)
The most famous projects: In 1989—2011 he made 25 personal exhibitions in Venice, London, Mainz, Kyiv, Munich, Lodz,
Bayreuth, Braidwood (Australia), Seoul, Cefad (Israel), Lviv, Hobart, Cadaqués, Paris, Konin, Pozna!, Gross-Gerau
(Germany).
Igor Podolchak
a photographer, a graphic artist, a
painter, an organizer and a curator
of modern art exhibitions
The photos by Podolchak were printed in different specialized publications: elite («Scenario, The Art Photography Magazine»,
the UK), fetish («Secret», Belgium) and almost pornographic («Nu», Italy). The works of Podolchak are stored in 26 museums
and public collections;
He is a curator of the charity exhibition and an auction «Time of a philanthropist». For the money received from the auction were
purchased works of modern Ukrainian artists and then transferred to the collection of the National Art Museum of Ukraine, as
the «Public collection of modern Ukrainian art».
Additional information: he filmed movies «Meniny» (2008) and «Delirium» (2012), where he acted as a director, a producer, a
script writer and a film cutter.
Since 1997 he dealt with preparation of election campaigns. He is the author (in cooperation with Igor Dyurich) of the image
component design of the political election campaigns in Ukraine (in 1999 – elections of the President of Ukraine (L.Kuchma), in
2002 – elections to Verkhovna Rada of Ukraine ( «For united Ukraine»), in 2004 – elections of the President of Ukraine
(V.Yanukovich («Because…), in 2006 – to Verkhovna Rada of Ukraine («The People’s Block of Lytvyn («WE»), in 2008 –
elections of the Kyiv mayor (Viktor Pilipshin).
The classics of political poster genre includes his works «It’s going to be all right» («Wedding» (1999)), «Do you buy Ukrainian
products?» (1999), « It’s going to be positive», «Kuchma Punk»(1999)). In 2002 at the elections to Verkhovna Rada (the block
«For united Ukraine!») Podolchak and Durich for the first time in political advertisement were used homosexual motives (a series
of posters «Love unites us»). (http://www.okino.ua/article/interview/113/)
Links:
http://www.okino.ua/article/interview/113/ (http://www.okino.ua/article/interview/113/)
http://www.okino.ua/article/interview/113/ (http://www.okino.ua/article/interview/113/)
http://www.okino.ua/article/interview/113/ (http://www.okino.ua/article/interview/113/)
http://ru.wikipedia.org/wiki/"#$#%&'(),_*+#,&_-%($./.,#0.'
(http://ru.wikipedia.org/wiki/%D0%9F%D0%BE%D0%B4%D0%BE%D0%BB%D1%8C%D1%87%D0%B0%D0%BA,
Interview
It is difficult to talk about the function of the former factory’s territory. An actor will tell you about a theatre. A gallery owner -
http://www.junost.org.ua/en/experts/igor-podolchak#references
Page 1 of 2

Igor Podolchak
8/4/12 12:11 AM
about a gallery. Everyone will speak and propose what is convenient for them. And of course formation of expert councils is a
serious problem. No matter what kind of council is formed - nobody will trust it. Because the common problem of Ukrainian
situation is the absence of influential people. No matter what experts are elected to the council, there will be a great number of
dissatisfied people anyway. That’s why frankly speaking it doesn’t matter who shall form the expert council. If you want to solve
the problem of the expert council correctly you should remember about seven muses. The expert council shall include seven
representatives of different professions and then two more positions are left vacant. To feel these vacant positions they need a
financial administrator and a manager who knows how to implement such projects. I do not exclude the possibility of solution of
this problem with the help of international specialists. When the function is defined we should just look who of the world
professionals can implement it in the best way.
Why not import some good architectural projects in Ukraine and construct worthy buildings? I really like the idea of the multidisciplinary
centre. Some centre offering the possibility to satisfy the need of all seven muses and attract many people interested
in art. Basically, the multi-functionality idea can satisfy the majority. There will be people who wouldn’t like it anyway because in
the whole world such projects are discussed and there are always people who don’t like them. In Ukraine this discontent can be
multiplied by two or by three or more. You should be ready for this because this is a normal reaction. For the expert council I
recommend Viktor Marushchenko and Vladimir Voytenko.
If you find an error on this site, please email what exactly it is: support.junost@rambler.ru (mailto:support.junost@rambler.ru) (http://www.memo.ua/)
http://www.junost.org.ua/en/experts/igor-podolchak#references
Page 2 of 2

Кіновечори українського сучасного фільму в Гостиному дворі
8/4/12 12:29 AM
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8/4/12 12:29 AM
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У Львові скоєно напад на автора плакатів Януковича Тому що
8/3/12 11:55 PM
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Page 1 of 3

У Львові невідомі побили Ігора Подольчака та його дружину - Новини Львова і Львівщини. Варіанти.
8/4/12 12:07 AM
(http://www.varianty.net)
(http://vk.com/public37665489) (https:/plus.google.com/105397509873573641935/posts)
(http://www.facebook.com/pages/%D0%92%D0%B0%D1%80%D1%96%D0%B0%D0%BD%D1%82%D0%B8/395042887186680)
(http://www.youtube.com/user/variantylviv?feature=guide) (https://twitter.com/#!/VariantyLviv) (/rss)
Акценти дня (/index.php/aktsenty-dnia)
(/novyny/item/3785-u-lvovi-
nevidomi-pobili-igora-
podolchaka-ta-yogo-druzhinu)
19:08 П'ятниця, 03 серп.
У Львові невідомі побили
Ігора Подольчака та його
дружину (/novyny/item/3785-ulvovi-nevidomi-pobili-igorapodolchaka-ta-yogo-druzhinu)
(/novyny/item/3783-konkurs-
pʼes-drama-ua-2012-otrimav-
ponad-100-robit-molodih-
dramaturgiv)
Конкурс пʼєс «Драма. UA-
2012» отримав понад 100
робіт молодих драматургів
(/novyny/item/3783-konkurspʼes-drama-ua-2012-otrimavponad-100-robit-molodihdramaturgiv)
(/novyny/item/3776-v-den-
nezalezhnosti-ukrayini-nad-
lvovom-kruzhlyatime-aerostat)
17:08 П'ятниця, 03 серп.
В День Незалежності України
над Львовом кружлятиме
аеростат (/novyny/item/3776-vden-nezalezhnosti-ukrayininad-lvovom-kruzhlyatimeaerostat)
(/novyny/item/3773-martin-
pollak-priyide-na-19-forum-
vidavtsiv-u-lvovi)
16:08 П'ятниця, 03 серп.
Мартін Поллак приїде на 19.
Форум видавців у Львові
(/novyny/item/3773-martinpollak-priyide-na-19-forumvidavtsiv-u-lvovi)
(/novyny/item/3770-grabizhniki-
kvartir-aktivizuvali-svoyu-
diyalnist-u-vidpuskniy-period)
Грабіжники квартир
активізували свою діяльність
у відпускний період
(/novyny/item/3770-grabizhnikikvartir-aktivizuvali-svoyudiyalnist-u-vidpuskniy-period)
15:08 П'ятниця, 03 серп.
18:08 П'ятниця, 03 серп.
Головна (/) Новини (/
новини)
Статті
(/statti)
Фото (/
фото)
Відео (/
відео)
Вибори
(/vybory)
3 Aug 2012
30°C 18°C
4 Aug 2012
27°C 16°C
!"#$%& &'()*&+,, $(# -+./ 0/,1/&# 22 ,
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4")5% 67#,' 7','"/&% .#$")(8&#9 (:;?@;)
A8&#,&8*8 B#,#C8(83+(D +*C'E&FD*#9
Пошук
(http://ua.redtram.com/go/458655961/n4p/22248?
(http://ua.redtram.com/go/463742786/n4p/22248?
(http://ua.redtram.com/go/477558370/n4p/22248?
Новини (/index.php/новини)
q=70f49d40bca958741d8784a3c6c2f517&page=3&pos=1)
q=70f49d40bca958741d8784a3c6c2f517&page=3&pos=2)
q=70f49d40bca958741d8784a3c6c2f517&page=3&pos=3)
П'ятниця, 03 серпня 2012 19:22
! "#$%$& '($&)%*& +%,-.- /0%12 3%)%.#4252 62 7%0%
)189-'8
Подольчак госпіталізований у відділення нейрохірургії з діагнозом: струс мозку і черепно-мозкова
травма.
Сьогоднішній напад Подольчак з політикою не пов'язує. «Я підозрюю, що це моя сусідка по будинку
найняла бандитів. У нас застарілий побутовий конфлікт. А політикою я давно вже не займаюся», -
сказав постраждалий.
Ігор Подольчак - український режисер, сценарист, продюсер, художник та куратор сучасного
мистецтва. Учасник та лауреат численних художніх міжнародних виставок в Україні та за кордоном.
Співзасновник творчого об'єднання «Фонд Мазоха» та співавтор всіх його мистецьких акцій та
проектів. Живе і працює у Києві та Львові.
СВІЖІ ПОПУЛЯРНІ
У Львові невідомі побили Ігора
Подольчака та його дружину
19:22, 03 серпня
Друк (/novyny/item/3785-u-lvovi-nevidomi-pobili-igora-podolchaka-ta-yogo-druzhinu?tmpl=component&print=1) Email
Конкурс пʼєс «Драма. UA-2012» отримав
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понад 100 робіт молодих драматургів
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%20%D0%9D%D0%BE%D0%B2%D0%B8%D0%BD%D0%B8%20%D0%9B%D1%8C%D0%B2%D0%BE%D0%B2%D0%B0%20%D1%96%20%D0%9B%D1%8C%D0%B2%D1%96%D0%B2%D1%
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18:47, 03 серпня
%20%D0%9D%D0%BE%D0%B2%D0%B8%D0%BD%D0%B8%20%D0%9B%D1%8C%D0%B2%D0%BE%D0%B2%D0%B0%20%D1%96%20%D0%9B%D1%8C%D0%B2%D1%96%D0%B2%D1%
(http://share.yandex.ru/go.xml?service=facebook&url=http%3A%2F%2Fwww.varianty.net%2Fnovyny%2Fitem%2F3785-u-lvovi-nevidomi-pobili-igora-podolchaka-ta-yogodruzhinu&title=%D0%A3%20%D0%9B%D1%8C%D0%B2%D0%BE%D0%B2%D1%96%20%D0%BD%D0%B5%D0%B2%D1%96%D0%B4%D0%BE%D0%BC%D1%96%20%D0%BF%D0%BE%D0%
Екологічна ситуація в Бориславі
%20%D0%9D%D0%BE%D0%B2%D0%B8%D0%BD%D0%B8%20%D0%9B%D1%8C%D0%B2%D0%BE%D0%B2%D0%B0%20%D1%96%20%D0%9B%D1%8C%D0%B2%D1%96%D0%B2%D1%
(http://share.yandex.ru/go.xml?service=twitter&url=http%3A%2F%2Fwww.varianty.net%2Fnovyny%2Fitem%2F3785-u-lvovi-nevidomi-pobili-igora-podolchaka-ta-yogodruzhinu&title=%D0%A3%20%D0%9B%D1%8C%D0%B2%D0%BE%D0%B2%D1%96%20%D0%BD%D0%B5%D0%B2%D1%96%D0%B4%D0%BE%D0%BC%D1%96%20%D0%BF%D0%BE%D0%
потребує негайного втручання –
%20%D0%9D%D0%BE%D0%B2%D0%B8%D0%BD%D0%B8%20%D0%9B%D1%8C%D0%B2%D0%BE%D0%B2%D0%B0%20%D1%96%20%D0%9B%D1%8C%D0%B2%D1%96%D0%B2%D1%
(http://share.yandex.ru/go.xml?service=odnoklassniki&url=http%3A%2F%2Fwww.varianty.net%2Fnovyny%2Fitem%2F3785-u-lvovi-nevidomi-pobili-igora-podolchaka-ta-yogodruzhinu&title=%D0%A3%20%D0%9B%D1%8C%D0%B2%D0%BE%D0%B2%D1%96%20%D0%BD%D0%B5%D0%B2%D1%96%D0%B4%D0%BE%D0%BC%D1%96%20%D0%BF%D0%BE%D0%
облради (/novyny/item/3784-ekologichna-
депутати профільної комісії Львівської
%20%D0%9D%D0%BE%D0%B2%D0%B8%D0%BD%D0%B8%20%D0%9B%D1%8C%D0%B2%D0%BE%D0%B2%D0%B0%20%D1%96%20%D0%9B%D1%8C%D0%B2%D1%96%D0%B2%D1%
(http://share.yandex.ru/go.xml?service=gplus&url=http%3A%2F%2Fwww.varianty.net%2Fnovyny%2Fitem%2F3785-u-lvovi-nevidomi-pobili-igora-podolchaka-ta-yogodruzhinu&title=%D0%A3%20%D0%9B%D1%8C%D0%B2%D0%BE%D0%B2%D1%96%20%D0%BD%D0%B5%D0%B2%D1%96%D0%B4%D0%BE%D0%BC%D1%96%20%D0%BF%D0%BE%D0situatsiya-v-borislavi-potrebue-negaynogo-
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vtruchannya-deputati-profilnoyi-komisiyi-
Відомий український художник Ігор
lvivskoyi-oblradi)
Подольчак сьогодні ранком зазнав нападу
18:40, 03 серпня
www.rudata.ru
біля свого будинку у Львові, внаслідок чого Для українського виборця у політиці
його було госпіталізовано.
повинна бути присутня певна
офіційність, солідність – Юрій Шведа
Двоє чоловіків вранці у дворі будинку спочатку напали на його дружину, а коли він кинувся на
(/novyny/item/3782-dlya-ukrayinskogo-
допомогу, нападники почали бити вже самого Подольчака, розповів Ігор Подольчак.
vibortsya-u-polititsi-povinna-buti-prisutnya-
(/novyny/item/3785-u-lvovi-nevidomi-pobiliigora-podolchaka-ta-yogo-druzhinu)
pevna-ofitsiynist-solidnist-–-yuriy-shveda)
18:35, 03 серпня
Державні контролюючі органи у Львові
"замучили" підприємців – прокуратура
вирішила втрутитися (/novyny/item/3781-
derzhavni-kontrolyuyuchi-organi-u-lvovi-
zamuchili-pidpriemtsiv-prokuratura-virishila-
vtrutitisya)
18:06, 03 серпня
Міськрада не дозволила оформити
право державної власності Львівському
державному університету внутрішніх
справ (/novyny/item/3780-miska-rada-ne-
http://www.varianty.net/novyny/item/3785-u-lvovi-nevidomi-pobili-igora-podolchaka-ta-yogo-druzhinu
Page 1 of 2

Кіновечори українського сучасного фільму в Гостиному дворі « МАЙДАН
9/8/12 1:29 PM
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Кіновечори українського сучасного фільму в Гостиному дворі « МАЙДАН
9/8/12 1:29 PM
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Игорь Подольчак: “В современном кинематографе понятие “наци…олее размытым” | ТОП10 — модные люди, места и события Киева
12/27/12 10:16 PM
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Page 1 of 4

Игорь Подольчак: “В современном кинематографе понятие “наци…олее размытым” | ТОП10 — модные люди, места и события Киева
12/27/12 10:16 PM
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http://top10.ua/cinema/igor-podolchak-v-sovremennom-kinematografe-ponyatie-natsionalnogo-stanovitsya-vse-bolee-razmyityim/
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Игорь Подольчак: “В современном кинематографе понятие “наци…олее размытым” | ТОП10 — модные люди, места и события Киева
12/27/12 10:16 PM
ihor_podolchak
"Dies Irae" for "Delirium" (film)
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Игорь Подольчак: “В современном кинематографе понятие “наци…олее размытым” | ТОП10 — модные люди, места и события Киева
12/27/12 10:16 PM
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Fantasporto 2013: Os destaques (II)
2/20/13 5:21 PM
Início Estreias Arquivo de Críticas Fantasporto Passatempos Ficha Técnica Termos e condições
terça-feira, 19 de fevereiro de 2013
Fantasporto 2013: Os destaques (II)
Pesquisa
Search
Conexão
Continuamos com os destaques para a próxima edição do Fantasporto, que decorrerá no
Teatro Rivoli, no Porto, de 25 de Fevereiro a 10 de Março. A primeira parte do artigo pode
ainda ser consultada aqui.
O Apóstolo (2012), de Fernando Cortizo
Produção espanhola de animação e nomeada ao prémio Goya 2013 de Melhor Filme de
Animação. Primeiro filme europeu em animação stop-motion estereoscópica (criado através
de uma plataforma de financiamento colectivo), onde trabalharam com actores de carne e
osso, para adaptar os gestos e interpretações às personagens animadas. De atmosfera
sombria, que oscila entre terror e comédia, o filme segue a história de um prisioneiro que
escapou da prisão de forma a tentar recuperar o tesouro que escondeu uns anos antes numa
aldeia remota da Galiza.
Thale (2012), de Aleksander Nordaas
Estreia da Semana
Trabalhando o folclore e os mitos da cultura norueguesa, Thale traz-nos uma história à volta
de uma huldra, um espírito sedutor da floresta com aspecto de uma jovem mulher, mas que
possui uma cauda de vaca e cujas costas se assemelham a um tronco oco de uma árvore
velha.
Vanishing Waves (2012), de Kristina Buozyte
Séries
http://splitscreen-blog.blogspot.com/2013/02/fantasporto-2013-os-destaques-ii.html
Page 1 of 11

Fantasporto 2013: Os destaques (II)
2/20/13 5:21 PM
Produção lituana de ficção-científica multi-premiada em festivais internacionais, entre os
quais o prémio Méliès de Ouro como Melhor Filme Europeu de Fantasia do ano. No filme um
cientista realiza experiências com os pensamentos de uma jovem paciente em coma. Uma
das principais apostas da secção oficial de Cinema Fantástico.
Aglaja (2012), de Krisztina Deák
A competir na Semana dos Realizadores, o filme centra-se na relação de uma mulher com
a sua filha. Baseada em eventos reais, esta produção oriunda da Hungria segue uma família
húngaro-romena de artistas circenses que foge à ditadura de Ceausescu, na Roménia do
início dos anos 80, em busca de uma vida melhor.
Delirium (2013), de Ihor Podolchak
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Fantasporto 2013: Os destaques (II)
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Новини | Український фільм "Деліріум"потрапив у конкурсну програму фестивалю у Португалії | 5 канал
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Фильм украинца будет соревноваться с Ким Ки Дуком в Португалии [Видео] - Шоу-биз - Новости - Телеканал новостей 24::
2/20/13 5:12 PM
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Український фільм позмагається зі стрічкою Кім Кі Дука у Португалії | Культура | Новини на Gazeta.ua
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Page 2 of 15

Український фільм позмагається зі стрічкою Кім Кі Дука у Португалії | Культура | Новини на Gazeta.ua
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Артхаусное кино в Украине продюсируют "бизнес-ангелы", - прод…юсеры артхауса должны находить соратников режиссерам - LB.ua
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2/21/13 5:46 PM
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Page 2 of 3

У Португалії презентують український психоделічний фільм
2/20/13 10:21 PM
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2/20/13 10:21 PM
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Український фільм позмагається зі стрічкою Кім-Кі-Дука у Португалії - Культура - dt.ua
2/21/13 12:40 PM
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Světová premiéra česko-ukrajinského filmu v Portugalsku | Protext - PR služby ČTK
2/22/13 1:57 PM
Česky | English (http://www.protext.cz/english/?lng=en)
ČTK Protext (/)
PR servis České tiskové kanceláře
Světová premiéra česko-ukrajinského filmu v Portugalsku
Praha 22. února (PROTEXT)
V Porto začíná 25. února 33. mezinárodní filmový festival Fantasporto. V rámci
soutěžního programu "týden režisérů" se bude konat premiéra česko-ukrajinského
filmu "Delirium" (režisér Ihor Podolchak).
Mezi účastníky soutěže se v letošním roce najdou i hvězdy světové kinematografie
Kim Ki-duk a Takashi Miike. Festival Fantasporto každý rok přiláká fanoušky
záhadných a neobvyklých filmů. V minulosti si ceny ze soutěže odnesli např. Lars von
Trier, Pedro Almodóvar a Danny Boyle a promítány byly filmy jako "Zrcadlo" Andreje
Tarkovského, "Scanners" Davida Cronenberga, "Faunův labyrint" Guillerma del Toro
nebo "Kostka" Vincenza Nataliho.
Film Ihora Podolchaka ideálně zapadá do rámcového konceptu "záhadného filmu". V
"Deliriu" divák zažije detektivní příběh, bloudění nekonečným labyrintem, záhadné
úmrtí a hraniční stavy vědomí.
Kontakt:
Pavel Dyurych
+420777664434
(http://i3.cn.cz/1361523631_22.2.paulus.jpg)
http://www.ingvarpaulus.com (http://www.ingvarpaulus.com)
ČTK ke zprávě vydává obrazovou přílohu, která je k dispozici na adrese
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Page 1 of 2

Světová premiéra česko-ukrajinského filmu v Portugalsku
2/22/13 1:57 PM
Hledat
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Nep!ehlédn"te: 18/02/13 M"J TIP: Barbara Maria Willi uvádí (po desáté)
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!"#$%"&'()*+,-).'/*01%231).4,501-6%
7,8+3'"'9%)$3:.8013
PÁTEK, 22 ÚNOR 2013 11:58 PAVEL DYURYCH UDÁLOSTI Z KULTURY
V Porto za#íná 25. února 33. mezinárodní filmov$ festival Fantasporto. V rámci
sout%&ního programu "t$den re&isér'" se bude konat premiéra #esko-ukrajinského
filmu "Delirium"(re&isér Ihor Podolchak).
Mezi ú#astníky sout%&e se v leto(ním roce najdou i hv%zdy sv%tové kinematografie
Kim Ki-duk a Takashi Miike. Festival Fantasporto ka&d$ rok p)iláká fanou(ky
záhadn$ch a neobvykl$ch film'. V minulosti si ceny ze sout%&e odnesli nap). Lars
von Trier, Pedro Almodóvar a Danny Boyle a promítány byly filmy jako "Zrcadlo"
Andreje Tarkovského, "Scanners" Davida Cronenberga, "Faun'v labyrint" Guillerma
del Toro nebo "Kostka" Vincenza Nataliho.
Film Ihora Podolchaka ideáln% zapadá do rámcového konceptu "záhadného filmu".
V "Deliriu" divák za&ije detektivní p)íb%h, bloud%ní nekone#n$m labyrintem,
záhadné úmrtí a hrani#ní stavyv%domí.
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http://www.literarky.cz/kultura/udalosti-z-kultury/13581-svtova-premiera-esko-ukrajinskeho-filmu-v-portugalsku
Page 1 of 4

На фестивале фантастического кино покажут украинский «странный фильм» | Newsoboz
2/22/13 9:19 AM
21.02.2013 13:51 | !"#$%"&' | (&)*+)%&),: 20
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http://newsoboz.org/kultura/na-festivale-fantasticheskogo-kino-pokazhut-ukrainskiy-strannyy-21022013135100
Page 3 of 11

На фестивале фантастического кино покажут украинский «странный фильм» | Newsoboz
2/22/13 9:19 AM
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33-5 +-B2"4'&)2475 904)/-*%0,'#$ Fantasporto 6&)52-% , >)&)2- ()&%" * 25 /-,&'#A 6) 10 +'&%'
2013 >)2'.
!"#"$%& '()*% (+,& "-.&/0+/" "# 1460 1.2.
http://newsoboz.org/kultura/na-festivale-fantasticheskogo-kino-pokazhut-ukrainskiy-strannyy-21022013135100
Page 4 of 11

Украинский режиссер посоревнуется с Ким-Ки-Дуком в Порту
2/22/13 9:23 AM
7+8 e-mail
3)4$% (*5 6"&$4+
-1 ... 1 - o' 9"(-"02)) Киевская обл. Киев :+6";2&%, &+*,2". 6-);,)-@
B$6)* 6-&"0-)$%& $%+%B$ 4B*,%"#". 4+-%&2@ # $-)() "%)?)$%#)22@G
4&2";+2"#. 7 6-"8*"; ) =)#-+*5 "Delirium" 0B()% 6-)($%+#*)2 ;&-"#";B 1-&%)*I 2+
)C)#-"FA,$)"
;%#44*(7, + # 4+%)*%,174%#"*-(*>* & +#E*,%#")%58 -,FK,8
>*%28#(,4#*%5 =&*,; "Las Meninas" #"8)* # (#+(>+%4B "HB?8&) "%)?)$%#)22@) =&*,;@ 1992-2011

Украинский фильм посоревнуется с лентой Ким-Ки-Дука в Португалии - svodka.net
2/22/13 9:22 AM
ГЛАВНАЯ НОВОСТИ ПОЛИТИКА МИР ЭКОНОМИКА ИНОПРЕССА АНАЛИТИКА СОБЫТИЯ ПОИСК
Украинский фильм посоревнуется с лентой Ким-Ки-Дука
в Португалии
Поделитесь статьей с друзьями
Яндекс.Директ
21.02.2013 12:43
Все объявления
Полочные Стеллажи Металлические стеллажи от 280грн. Высокое
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В конце февраля фильм украинского режиссера Игоря Подольчака Delirium будет представлен
мировому зрителю на ежегодном фестивале фантастического кино в городе Порту.
Кадр из фильма Delirium
Кадр из фильма Delirium На 33-м
международном кинофестивале
Fantasporto в Португалии состоится
мировая премьера фильма украинского
режиссера Игоря Подольчака Delirium. Этот
фильм еще до официальной премьеры
успел приобрести статус культовой
картины в среде отечественных киноманов.
В прошлом году было проведено два
закрытых предварительных показа Delirium
в Киеве и во Львове для журналистов и
кинокритиков, после чего фильм
Подольчака вошел в рейтинг "Топ-10
украинских фильмов 2012 года".
В конце февраля Delirium будет представлен мировому зрителю на ежегодном фестивале
фантастического кино в городе Порту в конкурсной программе "Неделя режиссеров", где
"соседями" Игоря Подольчака по конкурсу будут такие корифеи как Такаси Миике и Ким-Ки-Дук.
Fantasporto - необычный кинофестиваль. Каждый год со только мира на него стекаются фанаты
странного и необычного кино, которое по сложившейся на первом фестивале в 1981 году
традиции продолжают именовать "фантастическим", но при этом трактуют это понятие
предельно широко. Достаточно отметить, что в свое время на Fantasporto были представлены
такие фильмы как "Зеркало" Тарковского, "Сканнеры" Кроненберга, "Лабиринт фавна" Гильермо
дель Торо, "Куб" Винченцо Натали и "Сука-любовь" Инарриту, а в категории "Лучший режиссер"
награды получали Ларс фон Триер, Педро Альмодовар и Дэнни Бойл.
Фильм Игоря Подольчака идеально вписывается в фестивальную идею "странного кино". В
Delirium есть и детективная интрига, и лабиринты загадочного дома, и таинственные смерти, и
пограничные состояния сознания.
Гимнастика для глаз избавит Вас
от очков. Делайте простые
упражнения
Дедушкин метод избавления от
межпозвоночной грыжи
Как быстро "сбить" высокое
давление?
Пять советов тем, у кого болят
суставы
!"#$%&'(%)"$*& • +%,)-.,%&
Как развлекаются
заключенные в колонии
Главное ДОКАЗАТЕЛЬСТВО
того, что на Челябинск
упал... НЕ МЕТЕОРИТ
Не ешьте 4 продукта, и
живот уйдет за неделю
Хабенский вновь стал отцом
Предыдущий фильм Подольчака "Las Meninas" в свое время также не был обойден вниманием
международных кинофестивалей — его мировая премьера состоялась на Роттердамском
кинофестивале в конкурсной программе, а в последующий период фильм принял участие в 23
фестивалях, в том числе и в официальной программе Московского кинофестиваля. После
триумфального шествия по международным фестивалям Игорь Подольчак был назван
зарубежной критикой "открытием современного европейского кинематографа", а в рейтинге
"Итоги украинского кинопроцесса — 2011", проведенного Бюро украинской киножурналистики и
Национальным союзом кинематографистов Украины фильм "Las Meninas" вошел в двадцатку
"Лучшие отечественные фильмы 1992 — 2011 годов".
Можно быть уверенным в том, что после мировой премьеры нового фильма Подольчака на
Fantasporto, Delirium не менее активно, чем предыдущий фильм режиссера, начнет свою
Direct/ADVERT /%)0 '12*3$"-4"
ЖК "Загородный Квартал"!
Квартиры с террасами от 65 000
р/м2
http://svodka.net/index.php?option=com_content&view=article&id=495…m-posorevnuetsya-s-lentoy-kim-ki-duka-v-portugalii&catid=1:svodki
Page 1 of 4

Украинский фильм посоревнуется с лентой Ким-Ки-Дука в Португалии - svodka.net
Fantasporto, Delirium не менее активно, чем предыдущий фильм режиссера, начнет свою
"одиссею" по другим кинофестивалям, тем самым интегрируя современное украинское кино в
мировой культурный процесс.
33-й международный кинофестиваль Fantasporto пройдет в городе Порту с 25 февраля — 10
марта 2013 года.
Сводка.нет - Новости Украины и Мира
Теги: культура последние сводки сводки фильм подольчака delirium кино игоря
Яндекс.Директ
Все объявления
Киношкола имени МакГаффина Система кинокурсов и мастер-классов
для тех, кто любит кино и делает кино!
Адрес и телефон mcguffin.ru
2/22/13 9:22 AM
Воры в законе приговорили 16
человек за убийство Деда Хасана
Это выводит все вредное из
организма, даже алкоголь
Как определить, есть ли у Вас
простатит?
Полочные стеллажи недорого. Проектирование, доставка, монтаж. Более
7 лет отличного сервиса!
ssk.ua
!"#$%&'(%)"$*& • +%,)-.,%&
Фильмы не для всех. Что показывают в киноклубах Киева? Читайте
в обзоре на The Village!
the‐village.ru
Алла сбросила 32 кг за
последние 2 месяца, метод в
блоге...
Добавить комментарий
+), (&-,.$#/%'0&/)
Сумасшедшая скидка на
наушники Monster BEATS! Только
сегодня!
В Челябинске упал НЕ
МЕТЕОРИТ, а…
!"#$%&"': 1000 "()*&%&*
Direct/ADVERT /%)0 '12*3$"-4"
!-0&*(#'
!"#$%&'"(
!"#$%&'((#) "*$$+#)
,%-(#$.+#
О метеорите выяснилось коечто
странное
Ксению Собчак стесняется
собственный муж
От проекта Медведева решили
отказаться
Врачи не знали как легко
исцелить суставы, простой
народный метод
/0%123 4'"0#() ,5.5&%6%
75+*8'(%' (# 9%(#.#
:;-'.5&#, -
?@' $'-A *0%1$.&
"#$$-#."%&#B. & C'6'
56%-7%1$+5,5 D'-7%5(# -
*0%123
Ленина похоронили по
православным обычаям
Древнейший способ понизить
сахар в крови
Популярные новости
Луганчанка получила серьезные ожоги во
время взрыва в киевском ресторане
«Апрель» (+3)
По словам представителя Следственного
управления: Алексей Осипов, звезда
«Бандитского Петербурга», мог покончить с
собой (+1)
Последние комментарии
!"#$%&'(%)"$*& • +%,)-.,%&
По словам представителя Следственного
управления: Алексей Осипов, звезда
«Бандитского Петербурга», мог покончить с
собой (1)
Янукович и Азаров помогут
металлургическим олигархам (1)
!#+ "#$75E(#.A 0%.*B
-#8%(*?
F5E5" G'"-#(
7"5,"'-'6 (# &$B
/+"#%(*!
F5$6' +"*8'(%)
$#-56'.# &3)$(%6%$A
http://svodka.net/index.php?option=com_content&view=article&id=495…m-posorevnuetsya-s-lentoy-kim-ki-duka-v-portugalii&catid=1:svodki
Page 2 of 4

Film by Ukrainian Director Debuts at Fantasporto Festival | Theatre / Cinema | Worldwide News Ukraine
2/25/13 9:00 PM
March 1-10, 2013
Film by Ukrainian Director Debuts at Fantasporto Festival
The 33-rd edition of the Fantasporto international fantasy film festival in Portugal will feature the world premiere of Ihor
Podolchak’s Delirium. The film is a combination of a detective story, intrigue, covert labyrinth, mysterious death, and
borderline states of consciousness.
Delirium has already debuted in Ukraine and was highly evaluated by the national critics. Following the three closed
viewing of the video work, the film was included into the list of Top 10 Ukrainian Films of 2012.
Ukrainian film will compete in the Fantasporto’s Director’s Week program, the section for new feature films on any
subject other than fantasy, unreleased in Portugal and produced between 2012 and 2013. Together with Ihor
Podolchak, Director’s Week will feature the entries by the world famous Japanese Takashi Miike and Korean Kim Kiduk.
The world premiere of Podolchak’s previous work – Las Meninas – took place at the Rotterdam Film Festival in the
competitive program, and thereafter the film participated in 23 festivals, including the official program of the Moscow
Film Festival. Following such impressive success, Podolchak was nominated for the Foreign Critics' Discovery of
Contemporary European Cinema award.
When: March 1-10, 2013
Where: 84 Rua Aníbal Cunha, hall 1.6, Porto, Portugal
http://wnu-ukraine.com/today/theatre-cinema/?id=2703
Page 1 of 1

SVĚTOVÁ PREMIÉRA ČESKO-UKRAJINSKÉHO FILMU V PORTUGALSKU
2/24/13 10:59 AM
« hledat
ned%le 24. února 2013, svátek má Mat%j
¤ Politika%ení ¤ Zajímavé projekty ¤ Pozvánky ¤ Ze zahrani)í ¤ Kauzy ¤ Vzkazy a oznámení ¤ P%i"lo e-mailem ¤ Emporium ¤ Byli jsme tam ¤
Magazín ¤ Lé)ebné metody ¤ Tajemno ¤ Fytoterapie ¤ Snové symboly ¤ Du"evno ¤ Zaslechli jsme ¤ Osobnosti ¤ Zdrav( styl ¤ Novelizace
SV-TOVÁ PREMIÉRA .ESKO-UKRAJINSKÉHO
FILMU V PORTUGALSKU
22.02.2013
V Porto za&íná 25. února 33. mezinárodní filmov( festival
Fantasporto. V rámci sout%'ního programu "t(den re'isér+"
se bude konat premiéra &esko-ukrajinského filmu "Delirium"
(re'isér Ihor Podolchak). Mezi ú&astníky sout%'e se v
leto)ním roce najdou i hv%zdy sv%tové kinematografie Kim
Ki-duk a Takashi Miike.
více celebrit
!íká": miluji dé"#,
kdy$ v"ak pr"í, jde" se
schovat, abys
nezmokl. !íká": miluji
slunce, kdy$ v"ak
svítí, jde" se schovat
do stínu. Mám strach,
$e mi jednoho dne
%ekne": miluji t&.
Láska je nejkrásn&j"í
trápení, které tkví v
poní$ení lidské
hrdosti...
John Lennon
ÚNOROVÉ
PRANOSTIKY
Na Hromnice jasná noc -
bude je"t& mraz' moc.
Na Hromnice zima s létem
potkala se.
Svítí-li slunce na
Hromnice, hojnost $ita i
p"enice.
Zelené Hromnice - bílé
velikonoce.
Na Hromnice zimy
polovice.
Svítí-li slunce na
Hromnice, bude zimy o
"est ned&l více.
Na svatého Valent(na
zima sílit po)íná.
Svat( Valent(nek - jara
tatínek.
Na svatého Valentina
zamrzne i kolo ml(na.
Kdy$ mrzne na Petra
nastolení, mrznout bude
40 dní bez prodlení.
Festival Fantasporto ka'd( rok p*iláká fanou)ky záhadn(ch a neobvykl(ch film+. V
minulosti si ceny ze sout%'e odnesli nap*. Lars von Trier, Pedro Almodóvar a Danny
Boyle a promítány byly filmy jako "Zrcadlo" Andreje Tarkovského, "Scanners" Davida
Cronenberga, "Faun+v labyrint" Guillerma del Toro nebo "Kostka" Vincenza Nataliho.
Film Ihora Podolchaka ideáln% zapadá do rámcového konceptu "záhadného filmu". V
"Deliriu" divák za'ije detektivní p*íb%h, bloud%ní nekone&n(m labyrintem, záhadné
úmrtí a hrani&ní stavy v%domí.
Zdroj: http://www.ingvarpaulus.com
¤ Vzkazy a oznámení
Dal"í )lánky z rubriky
JAK JI NALADIT NOVOU TELEVIZI TELKU
KNIHA P"ÁNÍ A STÍ,NOSTÍ: ZIMNÍ DOVOLENÁ V #ESKÉ REPUBLICE
TISKOVÉ PROHLÁ-ENÍ #ESKÉ PR$MYSLOVÉ ZDRAVOTNÍ POJI-.OVNY
ACERT: EXISTENCE POMATURITNÍHO STUDIA JAZYK$ STÁLE OHRO,ENA
AKTUÁLNÍ EPIDEMIOLOGICKÁ SITUACE VE V/SKYTU AKUTNÍCH RESPIRA#NÍCH INFEKCÍ A
CH"IPKY
More Sdílej | Share Share Share Share
SANEP: TÉM!" DV! T"ETINY
#ECH$ PRO OBNOVENÍ
PROCESU S KAJÍNKEM
MARPHYHO ZÁKONY -
TENTOKRÁTE O MORÁLCE
Ú!EDNÍK*
Zákon doc. Payoly
Jak(mkoli dárk'm pro
ú%edníky, o nich$ se dozví
t%etí osoba, se %íká
korupce.
Besiege'v zákon
Obléhat ú%ad je v dne"ní
dob& tak%ka zbyte)ná
)innost.
Hunger'v zákon
St%edov&cí vále)ní
stratégové ob)as
nechávali oble$en( hrad
vyhladov&t.
CO SI MYSLÍTE, +E
P!INESE
"PREZIDENTOVÁNÍ"
MILO,E ZEMANA? (v(b&r
jediné mo$nosti)
Obraz #eské republiky posílí
33 x [10%]
Obraz #eské republiky se
nijak nezm%ní
37 x [11%]
Obraz #eské republiky
„ztratí“ ze své sou&asné ceny
39 x [12%]
Sní'ení zadlu'ení státu
40 x [12%]
Zv()ené zadlu'ení státu
31 x [9%]
V(znamné potírání
„kmotrovství“
30 x [9%]
Nedoká'i si nic pozitivního
p*edstavit
44 x [13%]
Nedoká'i si nic negativního
p*edstavit
36 x [11%]
Nic
39 x [12%]
Celkem hlasovalo : 329
http://www.elitaajelita.cz/clanek/4895-svetova-premiera-cesko-ukrajinskeho-filmu-v-portugalsku/
Page 1 of 2

Режиссер Игорь Подольчак представит картину «Delirium» на португальськом кинофестивале | Экономические известия
2/22/13 6:09 PM
!"#$%&'"!( )*&+!
!"#$ %&'()*+ «Delirium» *& ,(#- %)*#.#'+-/ 0'/12(&")( '/3)22/'
45#'6 7#1#869&%.
:& 2/5#1*;= 0'#"#%&?)#**>= #(/9/2("/**>=
.)86--/=%/', %#(#'>= " 2"#)@ .)86-&@ ">@#1)( A& '&-%)
%)*/-&(#5'&.& %&% (&%#"#5#. B5# %&'()*> *&0#8*/*> )A>2%&**>-)
")A+&86*>-) )5'&-), 5)0*#()9/2%#= &(-#2./'#= ) 2-/8>- ")1/#&'(#-.
:&%&*+*/ -)'#"#= 0'/-6/'> .)86-& «Delirium», Gazeta.ua 2";A&8&26 0#
2%&=0+ 2 45#'/- 7#1#869&%#-, 9(#C> '&220'#2)(6 /5# # (#-, %&%
2#A1&"&8&26 ,(& 02)@#1/8)9/2%&; %&'()*&, 2%#86%# C>8# "8#3/*# " *// )
-#3*# 8) "##CD/ '&A#C'&(62; " // 28#3*#= -&(/')), */ "@#1; "
2#2(#;*)/ )A-/*/**#5# 2#A*&*);.
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0#%&A>"&$(2; "0/'">/. :# 2'/1) +%'&)*2%)@ ./2(#" */( (&%)@, %#(#'>/
C> 0#A)?)#*)'#"&8)26 *&2(#86%# ">2#%#. I+-&$, 9(# "0/'">/ " J%'&)*/
«Delirium» C+1/( 0#%&A&*# *& K1/22%#- L/31+*&'#1*#- H)*#./2()"&8/
(12-20 )$8; 2013 – Gazeta.ua). 7#28/ ,(#5# -> 08&*)'+/- #'5&*)A#"&(6
#5'&*)9/**>= 0'#%&(.
- H&%#= C$13/( 8/*(>?
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*/"#A-#3*#. E/16 ; 2&- ) /D/ */%#(#'>/ 8$1) '&C#(&8) C/208&(*#. H&%
) -#= 0'/1>1+D)= .)86- «Las Meninas» – ,(#( .)86- 2*;( C/A
5#20#11/'3%). :# ; 0#*)-&$, 9(# ,(# */()0)9*# 18; +%'&)*2%#5# %)*#.
J3/ ('/(6; -#; %&'()*& C+1/( 2*;(& 0') 0#11/'3%/ M#2%)*#. N 1# ,(#5#
C$13/( 2"#)@ .)86-#" ; 2#C)'&8 9&2()9*# 0# 1'+A6;-. K(2+(2(")/ 1/*/5
0') 2#A1&*)) «Delirium» %#-0/*2)'#"&8&26 *&8)9)/- "'/-/*). O# /2(6 ;
2&- 2)1/8 ) A&*)-&82; 0#2(0'#1&%@ 0#-#5&8 */
1/*65&-), & 2"#)-) 2)8&-). :&0')-/', %#-0#A)(#' C/208&(*# *&0)2&8
-+A>%+.
- L#3*# 8) "##CD/ "/'*+(6 1/*65), "8#3/**>/ " (&%+$ P8/*(+, %&%
«Delirium»?
- Q #0()-)2( ) 1+-&$, 9(# " A*&9)(/86*# C#8// 1#85#= 0/'20/%()"/ – 50-
100 8/( – "#A-#3*# .)86- ) #%+0)(2;. K1*&%# 1/*65) "/'*+(2; 2#"2/- */
0# (#-+ 0')*?)0+, 0# %#(#'#-+ #%+0&/(2; #C>9*#/ %)*#. L*/ 0#"/A8#,
9(# 0'#1$2/'#" "##CD/ */ )*(/'/2#"&8# (#, %&% -#3*# "/'*+(6 1/*65) A&
,(#( .)86-. 7#,(#-+ ; */ 9+"2("#"&8 0'/22)*5& 2 )@ 2(#'#*>. K*)
#(*#2)8)26 % .)86-+ – )2%8$9)(/86*# %&% % 0'#)A"/1/*)$ )2%+22("&.
http://news.eizvestia.com/news-culture/full/rezhisser-igor-podolchak-predstavit-kartinu-delirium-na-portugalskom-kinofestivale
Page 5 of 13

Режиссер Игорь Подольчак представит картину «Delirium» на португальськом кинофестивале | Экономические известия
2/22/13 6:09 PM
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http://news.eizvestia.com/news-culture/full/rezhisser-igor-podolchak-predstavit-kartinu-delirium-na-portugalskom-kinofestivale
Page 6 of 13

Режиссер Игорь Подольчак представит картину «Delirium» на португальськом кинофестивале | Экономические известия
2/22/13 6:09 PM
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Український режисер віддає стрічку Delirium на суд журі | Український тижневик Міст
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Fantasporto 2013 Director's Week Competition
by Afinso created 19 hours ago | last updated - 19 hours ago
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1.
Aglaja (2012)
6.2/10
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Quiz: Fantasporto 2013 Director's Week
Competition
This film is about the relationship of a mother and her daughter,
the split-up of their family, the...
Director: Krisztina Deák
Stars: Eszter Ónodi, Babett Jávor, Piroska Móga, Zsolt Bogdán
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2.
Delirium (2013)
10/10
A family asks a young psychiatrists to be their guest for a while
and help look after their father who's...
Director: Ihor Podolchak
Stars: Volodymyr Khimyak, Lesya Voynevych, Petro Rybka, Olha Horbach
! Watchlist
3. Face to Face (2011)
Face to Face is adapted from David Williamson's play of the
same name which is in turn based on the transcripts from real
conflict resolution sessions...
Director: Michael Rymer
Stars: Vince Colosimo, Luke Ford, Matthew Newton, Sigrid Thornton
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4. Feed Me with Your Words (2012)
The disappearance of the younger son, forces a family to look
into the past and confront the reasons of why the present has
become as it is.
Director: Martin Turk
Stars: Jure Henigman, Sebastian Cavazza, Boris Cavazza, Franco Korosec
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5.8/10
7.5/10
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Kauwboy (2012)
http://uk.imdb.com/list/7MM0eMKIv7Q?sort=listorian%3Aasc&view=detail&start=1
Page 1 of 4

IMDb: Fantasporto 2013 Director's Week Competition - a list by Afinso
3/8/13 3:10 AM
5.
Jojo, a lively 10-year-old with a difficult home life marked by a
volatile father & an absent mother... (81 mins.)
Director: Boudewijn Koole
Stars: Rick Lens, Loek Peters, Cahit Ölmez, Susan Radder
Add to Watchlist
7.1/10
Other Lists By Afinso
FantasPorto 2013 PA
a list of 31 titles
FantasPorto 2013 GA
a list of 48 titles
6.
Otro verano (2012)
0.0/10
Fantasporto 2013
Première&Panorama
Section
a list of 7 titles
Cano, an obsessed man, comes back to the summer house
where his girlfriend Sara disappeared, to recreate the last week
they spent together. (88 mins.)
Director: Jorge Arenillas
Stars: Pablo Chiapella, Veronica Perona, Enrique Urbizu, Ángela Villar
Add to Watchlist
Fantasporto 2013
Orient Express
Competition
a list of 6 titles
Fantasporto 2013
Fantasy Film
Competition
a list of 12 titles
7. Pieta (2012)
7.0/10
A loan shark is forced to reconsider his violent lifestyle after the
arrival of a mysterious woman claiming to be his long-lost
mother. (104 mins.)
See all lists by Afinso »
Feedback? Tell us what you think about
this feature.
Director: Ki-duk Kim
Stars: Min-soo Jo, Eunjin Kang, Jae-rok Kim, Jeong-jin Lee
Add to Watchlist
8.
10th Day (2012)
2.4/10
(83 mins.)
Director: Vasilis Mazomenos
Stars: Ali Haidari, Ioli Demetriou, Hosin Ahmadi, Nicos Arvanitis
Add to Watchlist
9.
The Deep Blue Sea (2011)
6.2/10
The wife of a British Judge is caught in a self-destructive love
affair with a Royal Air Force pilot. (98 mins.)
Director: Terence Davies
Stars: Rachel Weisz, Tom Hiddleston, Ann Mitchell, Jolyon Coy
Add to Watchlist
A vizsga (2011)
7.2/10
1957, Budapest. A young defense officer's loyalty is tested by his
mentor in a highly deceptive spy game. (89 mins.)
http://uk.imdb.com/list/7MM0eMKIv7Q?sort=listorian%3Aasc&view=detail&start=1
Page 2 of 4

IMDb: Fantasporto 2013 Director's Week Competition - a list by Afinso
3/8/13 3:10 AM
Director: Péter Bergendy
10.
Stars: Zsolt Nagy, János Kulka, Péter Scherer, András Balogh
Add to Watchlist
11.
The Seasoning House (2012)
6.9/10
The Seasoning House - where young girls are prostituted to the
military. An orphaned deaf mute is enslaved to care for them.
She moves between the walls and crawlspaces, planning her
escape. Planning her ingenious and brutal revenge.
Director: Paul Hyett
Stars: Rosie Day, Sean Pertwee, Kevin Howarth, Anna Walton
Add to Watchlist
12.
The Weight (2012)
5.9/10
(107 mins.)
Director: Kyu-hwan Jeon
Stars: Jae-hyeon Jo, Zia
Add to Watchlist
13.
White Tiger (2012)
5.8/10
Great Patriotic War, early 1940s. After barely surviving a battle
with a mysterious, ghostly-white Tiger tank, Red Army Sergeant
Ivan Naydenov becomes obsessed with its destruction. (104
mins.)
Director: Karen Shakhnazarov
Stars: Aleksey Vertkov, Vitaliy Kishchenko, Valeriy Grishko, Dmitriy
Bykovskiy-Romashov
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Page 3 of 4

O Cinéfilo Invertebrado: Fantasporto 2013 - dia 4
3/22/13 8:15 AM
!"#$%&'&() 0 !" #$%&'()*+ ,-./» 0&1.2*&* ,-./ 3456
O Cinéfilo Invertebrado
notes of a festival hopper and impressions of a movie buff in general
5.3.13
Fantasporto 2013 - dia 4
FILM FESTIVALS
Rotterdam
Fantasporto
IndieLisboa
Bologna
Locarno
Venezia
Lisboa/Estoril
3 continents
CINÉASTES
FAVORIS
A passagem de outros meios de expressão artística para o cinema é frequente e são muitos os
exemplos de grandes realizadores que começaram como escritores, fotógrafos ou encenadores
teatrais. Porém, curiosamente, os artistas plásticos não têm sido muito bem sucedidos no cinema:
verifica-se muitas vezes uma tendência para fazer Arte com elaboradas composições de imagens e
um deliberado afastamento (desprezo?) da narrativa que quase nunca dá bons resultados. Delirium,
do artiste ucraniano Ihor Podolchak parece feito para demonstrar estas minhas considerações.
Robbe-Grillet e Pedro Costa têm sido citados como influências diretas a propósito de Podolchak, mas
parece-me que visualmente (pelo menos este seu segundo filme, já que não vi o primeiro, "Las
Meninas", apresentado em 2008 no Festival de Roterdão) se situa mais próximo de Aleksandr
Sokurov: ângulos inabituais, cores esbatidas (por vezes próximo do monocromatismo), formas
distorcidas, zonas da imagem desfocadas. Só que não é Sokurov quem quer e no caso de Podolchak
todas estas características surgem acopoladas a um ténue fio narrativo (descrito pelo próprio
realizador da seguinte forma: "um cortejo fúnebre percorre o caminho entre a igreja e o cemitério; ao
observá-lo, desliza-se da realidade para um lugar em que o tempo perdeu a sua linearidade,
circulando através de estranhas imagens saídas de uma realidade distorcida. Imagens de coisas que
não existem, de vários reflexos da morte emanando tanto do passado como do futuro, concretas e
simultaneamente abstratas, horríveis e simultaneamente atraentes.") mais ou menos incompreensível
(soit disant surrealista mas aparentemente vazio de sentido) e, sobretudo, muito pretencioso.​
Bergman
Bresson
Buñuel
Dreyer
Ford
Hawks
Hitchcock
Mizoguchi
Murnau
Renoir
FAVOURITE BLOGS
Chris Fujiwara
Dave Kehr
David Bordwell
Giuviv Russian Film
J. Hoberman
Jean-Michel Frodon
Jonathan Rosenbaum
Michael J. Anderson
Peter Bogdanovich
POPULAR POSTS
O milagre da multiplicação
dos prémios
Depois do vazio narrativo (ou vazio, tout court) de "Delirium", qualquer filme com uma pontinha de
intriga seria bem vindo... Daí o ver-se com muito agrado o filme alemão Du hast es versprochen
(cujo título internacional é "Forgotten") de Alex Schmidt, do qual emana um genuíno prazer em contar
uma história (à semelhança da sua protagonista Hanna, que desde miúda inventa histórias de terror
com as quais assusta as amigas). O filme começa precisamente num bosque coberto de neve numa
ilha, quando na sequência de uma dessas histórias que Hanna conta a Clarissa, as duas miúdas de 9
anos decidem entrar numa gruta da qual fogem aterrorizadas e ensanguentadas depois de verem
uma outra miúda por entre a escuridão. Reencontrando-se 25 anos depois, Hanna e Clarissa decidem
regressar a essa mesma ilha, onde sem grande surpresa são assombradas por aquele incidente do
passado... O que se segue é um despretencioso thriller à moda antiga, com uma atmosfera densa e
assustadora bem criada e uma excelente interpretação de Mina Tander.˜˜
And the Oscar goes to...
Repescados de Veneza
A caminho de Roterdão
http://cinefiloinvertebrado2.blogspot.com/2013/03/fantasporto-2013-dia-4.html
Page 1 of 3

Delirium (Ihor Podolchak) | FILMaFOTO
3/23/13 3:15 PM
FILMaFOTO | 23.3.2013 Podmínky a pravidla Ná! t%m Kontakt
Úvod FILM FOTO KULTURA MÉDIA Databáze Konference – )IV"!
Napi!te n"co a stiskn"te enter...
Drama FILM Ostatní
(ádné komentá&e
Delirium (Ihor Podolchak)
Napi!te n"co a stiskn"te enter...
TRAILER T*DNE
POSLEDNÍ P!ÍSP"VKY
Gambit | Premiéra u nás 21.3.2013 | Více o filmu...
Gambit Oblíbené (Gambit) - #esk% Poslední trailer
Facebook
Prima Zoom u# p$í%tí t&den
477
Zhlédnutí
Facebook
Switch
Kandidáti na Oscary® 2013
365 Zhlédnutí
Trojdílná série na HBO – Ho$ící ke$
357 Zhlédnutí
Bídníci (Les Miesérables) –
recenze
351
Zhlédnutí
V Porto za#íná 25. února 2013 33. mezinárodní filmov&
Luká% !ezník
festival Fantasporto. V rámci sout"$ního programu „t!den
K 23.2.2013
re"isér#” se bude konat premiéra #esko-ukrajinského filmu
http://www.lukasreznik.eu
Delirium (re"ie: Ihor Podolchak).
Mezi ú#astníky sout"$e se v leto!ním roce najdou i hv"zdy
sv"tové kinematografie Kim Ki-duk a Takashi Miike.
Festival Fantasporto ka$d% rok p&iláká fanou!ky záhadn%ch a neobvykl%ch film'. V minulosti si ceny ze sout"$e odnesli nap&.
Lars von Trier, Pedro Almodóvar a Danny Boyle a promítány byly filmy jako „Zrcadlo” od Andreje Tarkovského,
„Scanners” re$iséra Davida Cronenberga nebo „Kostka” od Vincenza Nataliho.
SPONZOR
Telka spou%tí 22.2.
330 Zhlédnutí
Film Ihora Podolchaka ideáln" zapadá do rámcového konceptu záhadného filmu. V Deliriu divák za$ije detektivní p&íb"h,
bloud"ní nekone#n%m labyrintem, záhadné úmrtí a hrani#ní stavy v"domí.
Zdroj: TZ
'TÍTKY delirium fantasporto film delirium Ihor Podolchak
P!EDCHOZÍ (LÁNEK
Telka dnes startuje
DAL'Í (LÁNEK
Nespoutan%
http://filmafoto.eu/2013/delirium/
Page 1 of 2

"Своїм фільмом "Delirium" хочу роздратувати глядача" - режисер Ігор Подольчак | Культура | Новини на Gazeta.ua
2/22/13 6:00 PM
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"Своїм фільмом "Delirium" хочу роздратувати глядача" - режисер Ігор Подольчак | Культура | Новини на Gazeta.ua
2/22/13 6:00 PM
W6 . ?.: @,@272&3.: J."(? "Las Meninas" – 4I $'7.

"Своїм фільмом "Delirium" хочу роздратувати глядача" - режисер Ігор Подольчак | Культура | Новини на Gazeta.ua
2/22/13 6:00 PM

Centre for Contemporary Art Ujazdowski Castle announces Ukrainian News
3/9/13 12:35 PM
HOME ABOUT CONTRIBUTORS PRIVACY TERMS SUBMIT NEWS CONTACT US
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Centre for Contemporary Art Ujazdowski
Castle announces Ukrainian News
Publish your Museum News
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SUBMIT NEWS Link above. No site
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Submitted by Editor on March 9, 2013 – 8:24 am
Centre for Contemporary Art Ujazdowski Castle announces
Ukrainian News an exhibition on view 16 March–2 June 2013.
Gostinnyi Dvir,
January 2013,
fot. Oleksandr
Burlaka.
Courtesy of the
artist.
The exhibition
Ukrainian News
at the Centre for
Contemporary
Art Zamek
Ujazdowski in
Warsaw brings
together for the
first time a
variety of
engaged artistic
practices from
contemporary
Ukraine.
Focusing on the
work of activist
Promote your Museum Event
Post your event FREE on the Event Calendar
at EventsPublicity.com No site registration
required.
Latest News
Middelheim Museum presents Antony
Gormley Exhibition
http://museumpublicity.com/2013/03/09/centre-for-contemporary-art…-for-contemporary-art-ujazdowski-castle-announces-ukrainian-news
Page 1 of 4

Centre for Contemporary Art Ujazdowski Castle announces Ukrainian News
3/9/13 12:35 PM
groups as well as individual artists, the exhibition shows
conventions that transcend the accustomed artistic approaches.
The Post-Soviet condition of Ukrainian society is represented
through the work of various sorts—from street artists to intellectual
communities involved in current social struggles.
In recent years, the contemporary art scene of Eastern Europe has
seen an outburst of artistic engagement into social and political
agendas of the Post-Communist Societies marked with the
advance of neocapitalism. In particular, the context of Ukraine had
experienced a proliferation of politically engaged artistic practices
and approaches. This process was triggered, on the one hand, by
the multitude of movements and groups that emerged in the
aftermath of the Orange Revolution of 2004, and on the other hand
by the advent of private capital into the local art scene, coupled
with the drastic privatization of the public space. In this situation,
various cultural and artistic initiatives had taken up a role of civic
agents or merely activist groups, forming political demands and
carrying out the functions of “civil society,” largely absent in the
post-Soviet context. Numerous artists and groups undertook
attempts to engage with the harsh social conditions and transform
them by means available through their practice. Artistic methods
became the important actors in the fight for urban space, as well as
in the struggles for minority rights and in counteracting the
discriminative policies of the state. The field of art has become the
laboratory for the strictly social phenomena like grassroots
movements, self-organized communities and anti-hierarchical
organizations.
The exhibition, curated by Marek Go!dziewski, presents works
from artists such as Yevgenia Belorusets, Anatolii Byelov, Ihor
Diurych, Grupa Predmetiv, Ksenia Hnylycka, Hnylyckyi O"eksandr,
Oleh Holosyi, Hudrada, Nikita Kadan, Zhanna Kadyrova, Alevtyna
Kakhidze, Lesia Khomenko, Oleksandr Kurmaz, Volodymyr
Kuznestov, Vasyl Lozynskyi, Maksym Mamsikow, Viktor
Marushchenko, Boris Mikhailov, Roman Minin, Lada Nakonechna,
Ihor Podolchak, Taras Polataiko, R.E.P., Mykola Ridnyi, Andriy
Sahaydakovskyi, Arsen Savadov, SOSka Group, Visual Culture
Research Centre, Volodymyr Vorotnov, and Anna Zvyagintseva.
The exhibition is accompanied by a program of lectures curated by
Oleksander Soloviov, and a series of films.
Ukrainian News is organized by the Centre for Contemporary Art
Ujazdowski Castle. It is supported by the Beaurau of Culture of the
City of Warsaw, with contributions from the Polish Institute Kyiv;
Chatsworth House Trust presents William
Turnbull exhibition
Centre for Contemporary Art Ujazdowski
Castle announces Ukrainian News
Arizona State Museum appoints Patrick D.
Lyons as new director
San Francisco Museum of Modern Art opens
retrospective by artist Garry Winogrand
Museu d’Art Contemporani de Barcelona
(MACBA) opens Written on the Wind
Lawrence Weiner Drawings
National Museum of Contemporary Art
(MNAC), Bucharest presents Lettrists, Isou &
Co
Parc Saint Leger announces Clemence
Seilles La vie est un songe (Life is a Dream)
Museum Abteiberg announces lonelyfingers
Konversationsstücke (Conversation Pieces)
Warner Bros Donates Movie Artifacts to the
National Museum of American History
Michener Art Museum Celebrates 25 Years
of Art at the HeART of Bucks County
National Museum of the American Indian and
the Smithsonian Latino Center announce
Ceramica de los Ancestros. Central
America’s Past Revealed
The Queen’s Gallery opens The Prince of
Wales Journal – Cairo to Constantinople
New Mexico Museum of Space History
Welcomes Visitor Five Million
Portland Museum of Art presents Voices of
Design. 25 Years of Architalx
Kansas City Museum Open To The Public
World Monuments Fund Announces
$250,000 Grant to Support Restoration of
Kesennuma Cultural Heritage
Spring Studio Art Classes at the Erie Art
Museum
Peggy Guggenheim Collection presents
Postwar. Italian Protagonists
Erie Art Museum Presents Gabriel Alegria
Afro-Peruvian Sextet in Concert
Latest Video
Peggy Guggenheim
Collection presents
Postwar. Italian
Protagonists
POSTWAR. Protagonisti italiani / Italian Prota
http://museumpublicity.com/2013/03/09/centre-for-contemporary-art…-for-contemporary-art-ujazdowski-castle-announces-ukrainian-news
Page 2 of 4

WARSZAWA. UKRAINIAN NEWS w CSW - Teatr dla Was
3/8/13 7:23 PM
Start Teatralne newsy WARSZAWA. UKRAINIAN NEWS w CSW
OG!OSZENIA
MENU SERWISU
Start
Teatralne newsy
Recenzje
Wywiady
Przemy"lenia
Nasze patronaty
Historia i teoria
Prezentacje
Warsztat aktora
Dramaty
Konkursy
Forum
Tablica og#osze$
Redakcja
Wspó#praca
Kontakt
Linki
SZUKAJ W SERWISIE
Szukaj
Reklama
WARSZAWA. UKRAINIAN NEWS w CSW
UKRAINIAN NEWS
Arty!ci: Jewhenija Bie#oruse% / Evgenia Belorusets /
"#$%&'( )*+,-./%01; Anatolij Be#ow / Anatolii Byelov
/ 2&34,+'5 )%+,#; !esia Chomenko / Lesia
Khomenko / 6%/( 7,8%&9,; Ihor Diurycz / Ihor
Diurych / :$,- ;; Grupa Predmetiw / Grupa
Predmetiv; Ksenija Hny#ycka / Ksenia Hnylycka /
?/%&'( @&=+=0193; O#eksandr Hny#ycki / Oleksandr
Hnylyckyi / A+%9/3&B- @&=+=019=5; O#eh Ho#osij /
Oleh Holosyi / A+%$ @,+,/'5; Hudrada; A#ewtyna
Kachidze / Alevtyna Kakhidze / 2+%#4=&3 ?3C'BD%;
Nikita Kadan / Nikita Kadan / E'9'43 ?3B3&; &anna
Kadyrowa / Zhanna Kadyrova / F3&&3 ?3B=-,#3;
O#eksandr Kurmaz / Oleksandr Kurmaz / A+%9/3&B-
?.-83D; Wo#odymyr Kuzniecow / Volodymyr
Kuznetsov / G,+,B=8=- ?.D&*0,#; Wasyl !ozynski /
Vasyl Lozynskyi / G3/=+1 6,D=&/19=5; Maksym
Mamsikow / Maksym Mamsikow / H39/=8 H38/'9,#;
Wiktor Maruszczenko / Viktor Marushchenko / G'94,-
H3-.I%&9,; Boris Michaj#ow / Boris Mikhailov /
),-=/ H=C35+,#; Roman Minin / Roman Minin /
J,83& H'&'&; !ada Nakoneczna / Lada Nakonechna /
63B3 E39,&%>&3; Ihor Podolczak / Ihor Podolchak /
:$,- K,B,+1>39; Taras Po#atajko / Taras Polataiko /
L3-3/ K,+34359,; R.E.P.; Myko#a Ridny / Mykola
Ridnyi / H=9,+3 J'B&=5; Andrij Sahajdakowski / Andriy Sahaydakovskyi / 2&B-'5 M3$35B39,#/19=5;
Arsen Sawadow / Arsen Savadov / 2-/%& M3#3B,#; SOSka Group; Visual Culture Research;
Wo#odymyr Worotniow / Volodymyr Vorotniov / G,+,B=8=- G,-,4&1,#; Anna Zwiahincewa / Anna
Zvyagintseva / 2&&3 N#($'&0%#3.
Kurator: Marek GoOdziewski
Otwarcie wystawy: pi'tek 15 marca 2013, godz. 18.00
Wystawa trwa do 26 maja 2013
Wystawa UKRAINIAN NEWS w Centrum Sztuki WspóPczesnej Zamek Ujazdowski jest pierwszQ w Polsce
tak obszernQ prezentacjQ najnowszych artystycznych dziaPaR na Ukrainie, zarówno prac artystów
indywidualnych, jak i grup aktywistów, w obu przypadkach wychodzQcych poza konwencjonalne metody
artystyczne. KondycjS ukraiRskiego spoPeczeRstwa ilustrujQ dziaPania róTnych inicjatyw kulturalnych, od
street-artu po spoPeczno!ci intelektualistów zaangaTowanych w obecne konflikty spoPeczne.
W ostatnich latach scenie sztuki wspóPczesnej w Europie Wschodniej towarzyszy prawdziwy wybuch
artystycznego zaangaTowania w spoPeczne i polityczne kwestie postkomunistycznego spoPeczeRstwa
naznaczonego postSpujQcym neokapitalizmem. W szczególno!ci na Ukrainie artystyczny kontekst
do!wiadczyP silnego rozprzestrzenienia siS politycznie twórczych poglQdów i praktyk.
Proces ten wywoPaPa z jednej strony mnogo!U grup i ruchów, jakie wyPoniPy siS w nastSpstwie
PomaraRczowej Rewolucji z roku 2004, a z drugiej – wkroczenie w lokalny !wiat sztuki prywatnego kapitaPu
wraz z drastycznQ prywatyzacjQ sfery publicznej. Wobec tej sytuacji wiele inicjatyw kulturalnych i
artystycznych przyjSPo na siebie rolS przedstawicieli obywatelskich czy grup aktywistów, formuPujQc TQdania
polityczne na miarS spoPeczeRstwa obywatelskiego, do niedawna nieobecnego w porzQdku postsowieckim.
http://teatrdlawas.pl/teatr/tdw/index.php?option=com_content&task=view&id=31160&Itemid=70
Page 1 of 2

WARSZAWA. UKRAINIAN NEWS w CSW - Teatr dla Was
3/8/13 7:23 PM
Liczni arty!ci i grupy artystyczne podjSPy próbS poruszenia rygorystycznych warunków spoPecznych i
przeksztaPcenia ich sposobami dostSpnymi dla sztuki. DziaPania artystyczne staPy siS waTnym elementem
walk o przestrzeR miejskQ i prawa dla mniejszo!ci, jak równieT przeciwdziaPania dyskryminujQcej polityce
paRstwa. Sztuka staPa siS laboratorium !ci!le spoPecznych zjawisk jak ruchy oddolne, samoorganizujQce siS
spoPeczno!ci czy organizacje antyhierarchiczne, oparte na otwarto!ci na odmienne postawy i sposoby
my!lenia oraz inkluzywno!ci. Prezentacja w CSW odzwierciedla róTnorodno!U wspóPczesnej sceny
ukraiRskiej, w mnogo!ci jej praktyk artystycznych i poglQdów.
Wystawie towarzyszy cykl wykPadów, którego kuratorem jest O#eksandr So#owjow (Oleksandr Soloviov)
oraz (od marca do maja) program filmowy - pod tytuPem UKRAINFILM nawiQzujQcym do nazwy studia
filmowego w Kijowie, gdzie powstaPy arcydziePa filmowej awangardy – który zaprezentuje historiS filmu
ukraiRskiego jako integralnQ czS!U klasycznego kina sowieckiego, skupiajQc siS na dziePach uznanych na
!wiecie reTyserów tworzQcych na Ukrainie (od Dzigi Wiertowa
i O#eksandra Dow(enki, przez Sergieja Parad(anowa i Kir) Muratow', po Sergieja !o*nic)).
Organizator: Centrum Sztuki WspóPczesnej Zamek Ujazdowski
Projekt zosta# zrealizowany dzi)ki wsparciu finansowemu Miasta StoPecznego Warszawy
Partnerzy: Instytut Polski w Kijowie, Mystetskyi Arsenal w Kijowie, Narodowe Muzeum Sztuki Ukrainy
Partner artystyczny: Ya Gallery Art Centre
Partner techniczny: Epson
Patroni medialni CSW: Aktivist, Exklusiv, Stolica, Elle Decoration
« wstecz dalej »
«« wróU
Serwis Teatralny "Teatr dla Was" || Wszelkie prawa zastrzeTone
Redakcja: WiesPaw Kowalski
http://teatrdlawas.pl/teatr/tdw/index.php?option=com_content&task=view&id=31160&Itemid=70
Page 2 of 2

Centre for Contemporary Art Ujazdowski Castle announces Ukrainian News
Mystetskyi Arsenal in Kyiv, National Art Museum of Ukraine and Ya
Gallery Art Centre.
Centre for Contemporary Art
Ujazdowski Castle
ul. Jazdów 2
00-467 Warsaw, Poland
Hours: Tuesday–Sunday 12–7pm, Friday 12–9pm
Thursday free admission
T +48 22#628 12 -71-3
www.csw.art.pl
3/9/13 12:35 PM
POSTWAR. Protagonisti italiani / Italian Prota
0:00 / 2:41
Peggy Guggenheim Collection presents
Postwar. Italian Protagonists
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http://museumpublicity.com/2013/03/09/centre-for-contemporary-art…-for-contemporary-art-ujazdowski-castle-announces-ukrainian-news
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kultura enter miesięcznik wymiany idei
3/16/13 5:09 PM
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The Caucus-Race
KATERYNA BOTANOVA
!52 - A REPORT ON THE CONDITION OF CULTURE AND NGOS IN UKRAINE
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Painters and the artistic milieu as a whole persisted in their quiet hatred and
contempt for the state – now known under a different name – and gladly forgave
the representatives of its pseudo-democratic neo-liberal elites any abuses of
power and money, so long as they stayed out of art.
They were indeed a queer-looking party that assembled on the bank – the birds with
draggled feathers, the animals with their fur clinging close to them, and all dripping
wet, cross, and uncomfortable.
Lewis Carroll, Alice’s Adventures in Wonderland
In my second year of university, when I was a young and naïve provincial girl with my
head in various philosophy and cultural anthropology books, an arts curator friend
invited me to an exhibition opening. It was a real extensive exhibition of real
contemporary art, little-known (and even less-seen) in this part of the world at the
time. The Soros Center for Contemporary Art – part of the large Soros-funded CCA
network in East-Central Europe – had just opened; just like the “Brama” Modern Art
Center, and the “Blanc-art” Gallery, all of which were to become landmarks on the
cultural map of mid-1990s Kyiv.
However, the exhibition entitled “Kyiv Art Meeting: New Art from Poland, Ukraine, and
Russia” opened at a different venue – on the top floor of the Ukrainian House, the late-
Socialist white monstrosity, which towered over downtown Kyiv, and was known
through 1993 as “the V. I. Lenin Museum” (which in fact it was). The museum was built
in the 1970s and 1980s, and part of the slope of the Volodymyrska Hill, one of the
oldest parts of the old town, was torn off to accommodate construction. Soon after
the proclamation of Ukrainian independence, in 1993, the many meter-high Lenin
statue carved from a unique single slab of marble was carted off never to be seen
again, and the museum itself was renamed, by decree of the Cabinet of Ministers, the
“Ukrainian House” Center for Culture.
The idea of this state-run center for culture, as it turned out at the exhibition opening,
meant that taking place alongside the exhibition of works by Oleh Kulyk, the Masoch
Foundation (or Katarzyna Kozyra, and Vasyl Tsaholov, whose names still meant little
to me then), was a jamboree of the National Guard in parade uniforms. The
contemporary art of Ukraine, Poland, and Russia, made such a radical impression on
the party-addled brains of the National Guardsmen, that, thirty minutes after the
opening, they (still in parade white gloves) took it upon themselves to tear down the
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kultura enter miesięcznik wymiany idei
3/16/13 5:09 PM
works from the walls, essentially closing down the exhibition.
No description or documentation of this project survives, as the history (or histories?)
or modern art in Ukraine from the late 1980s and through today is still undescribed,
undocumented, and relies mostly on the personal memory of the members of narrow
artistic circles – a memory that is predominantly conflicted and contradictory, selective
and uncritical (as individual memory should be). As for the very fact of this brutal
voluntarist intrusion into the artistic process, it only began to be remembered in critical
reflections on the state of Ukraine’s art in recent years, when the same sort of
voluntarism suddenly made a comeback.
In 2009, Valentyna Myzghina, Director of the Kharkiv Art Museum, closed down “New
History,” a young artists’ exhibition (curated by Mykola Ridnyi) in its second day as
indecent and unworthy of the museum. In the winter of 2012, the President of the Kyiv
Mohyla Academy – once the most progressive institutions of higher learning in Ukraine
– closed the “Ukrainian Body” exhibition, arguing that “it [wasn’t] art, but shit.” In the
summer of 2012, Tetiana Liuta, branch director of the Russian Museum “Chocolate
House,” closed down the exhibition “Apocalypse and Rebirth” because it contained
pornographic elements.
Arguments of this kind – if they may be considered arguments – an emotional and
knee-jerk reaction from the side of the powers-that-be in each of these cases, and the
absurdity of the overall picture – demonstrate a certain trend, and move us
to conclude that the case of the “Kyiv Art Meeting” in 1995 turned out to be
a prototype – if not an archetype – that, after a decade-long break, began repeating
itself exponentially.
What, then, happened during the break? It was a time when (as Jerzy Onuch, one of
the directors of the Soros Center for Contemporary Art, noted) “you could
do anything, and nobody took notice.”
It appears that history – at least the history of contemporary Ukrainian art – has come
full circle, and is back to starting point again.
Independence. A History of Mistrust
The separation of independent unofficial Ukrainian culture from the state and its
“official” culture was immediate – as soon as the state found “more important things
to do” in the early 1990s. In this regard, Ukraine is no different from its colleagues
from the recently-decased Soviet Bloc: as soon as independence directed all the
efforts of the recently-Communist (Communist Party, Komsomol, etc.) elites towards
the struggle for power and money, artists, and particularly visual artists, happily broke
through to freedom.
Unlike, say, writers, visual artists cannot “create for the drawer” or “publish in
samizdat” (or abroad). The work of a painter in the Soviet Union (and for a long time in
the post-Soviet states) was very physical and very material: the painter needed
a studio, materials, exhibitions. And to have all this, the painter had to serve the
system by painting countless leaders, Taras Shevchenkos, and happy throngs.
Concurrently, in the silence of system-provided studios or in state-funded open airs,
the artist could muck about in abstracts, or practice “non-realist” painting.
This practice taught the artistic milieu at least two things: to hate the state
passionately, and to accept the double game as a norm in artistic life. So when the
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3/16/13 5:09 PM
state changed its name and (at least in theory) its ideology, for most painters – who,
far from dreaming of independence and “a Ukrainian Ukraine,” had mostly been
eyeing Moscow as the locus of the most extensive artistic licence, and the only
possible path to the West – this changed little or nothing in the relationship between
the artist and the state.
Painters and the artistic milieu as a whole persisted in their quiet hatred and contempt
for the state – now known under a different name – and gladly forgave the
representatives of its pseudo-democratic neo-liberal elites any abuses of power and
money, so long as they stayed out of art. And such was the efficient social contract,
tacitly “ratified” by both sides.
The main consequence of this temporary non-aggression pact was the lasting and
complete separation of the artistic and political fields, which manifested in the lack of
any sort of state policy with regard to culture in general, and visual arts in particular;
as well as in the conscious de-politization of even the fairly political art. And so it was
that, as mentioned earlier, anything could be done, and no notice was taken, even
when it simply had to be.
Invisible Art
The incident of the removal of artworks at the “Ukrainian House” is instructive
precisely as an instance of this sort of paradoxical lack of notice, coupled with depolitization.
Aggression and denial on the part of the National Guardsmen were
caused not by the works’ political content – for “The Last Jewish Pogrom” by the
Masoch Foundation (Ihor Diurych, Ihor Podolchak), or “Criminal Weekly” by Vasyl
Tsaholov, or “Blood Ties” by Katarzyna Kozyra undoubtedly demonstrated political
engagement – but merely by an esthetic rejection of their visual appearance, as well
as by the obvious possibility of impunity to “bring order” to something that had
supposedly gotten out of hand. If this exhibition had taken place, for instance, at the
Artist’s House – still belonging to the Union of Artists of Ukraine (an ultra-Soviet
organization) and occasionally hosting a contemporary art exhibition – or in the
actually artistic territory of the Soros CCA, nobody (outside the fairly narrow artistic
circle) would have even noticed the project, much less removed it from the walls.
After all, in spite of the opinion that the 1990s Ukrainian art was totally hermetic and
apolitical (widespread today even among the experts), the overwhelming majority of
projects implemented at the aforementioned venues (as well as at the Soros CCA in
Odessa, or at the “Impreza” Biennale in Ivano-Frankivsk), or initiated by artists and
curators (with the artist and curator frequently being the same person) somehow
connected to these institutions, were not only visually-deviant with regard to the
dominant esthetic system, but also overtly political. Artists worked in all available
media, compensating in a way for all the things they could not have for many years,
but also sinking their teeth with relish into the very juicy social and political reality of
the 1990s, where suddenly everything was allowed with no consequences – so long
as one remained in the domain of art.
The 1990s have seen perhaps the most radical artistic projects in the history of
contemporary Ukrainian art. With the exception of the “Kyiv Arts Meeting,” none of
these projects ever met with any significant opposition, counteraction, or prohibition.
The Masoch Foundation exhibited “A Mausoleum for the President” (1994) on the
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stairs of the National Art Museum in Kyiv: a three-litre glass jar of lard was being
heated up on an electric stove, slowly releasing an image of the then-President Leonid
Kravchuk. Arsen Zavadov created his now classic cycles: “Donbass-Chocolate” (1997)
– a series of photographs of nude and semi-nude miners just off their shifts, dressed
in ballet tutus; “Fashion in the Cemetery” (1997) – a quasi-glamour photoshoot, with
models being shot against the background of tombstones and burial processions –
a marvelous, prescient insight into the very heart of the advertising industry (where the
majority of Ukrainian painters would soon find themselves in search of income) 10
years ahead; and “Collective Red” (1998-1999) – a series of staged photographs shot
at a slaughterhouse. “Alchemical Capitulation” (1994) was a curating project by Marta
Kuzma (the first director of the Soros CCA). The project took place on the Hetman
Sahaidachnyi, the flagship of the Ukrainian Black Sea Fleet, then at the center of
political strife between Ukraine and Russia. It not only introduced an essential “who’s
who” of Ukrainian art for the next few decades, but also touched upon all possible hot
topics for the early 1990s Ukraine – language and identity, violence and the
subversion of human relations and feelings, historical memory, and the sense of being
lost in the present.
The high wall that surrounds new art is paralleled by a very real metal fence which
divided the territory of the Soros CCA from the rest of the Kyiv Mohyla Academy, thus
separating the most thriving arts center from the youngest Ukrainian university, whose
baroque building was home to the CCA from 1994 through2008. Inthe 14 years of the
Center’s existence in the immediate grounds of the (formerly) most progressive
university in Ukraine, mere dozens of feet from its main buildings, the majority of the
university’s students never suspected it was there. Nor did they suspect that it
exhibited legends of contemporary art – the likes of Jannis Kounellis, Joseph Kosuth,
Ilya Kabakov, Andy Warhol, Josef Boys, Bill Viola, Bruce Nauman – literally under their
noses. In spite of the sustained and repeated attempts by the CCA leadership
to integrate the Center’s activities into the curriculum (at least for the cultural
anthropology department), the Scholarly Council and administration of the humanities
department defended steadfastly.
As private as private can be
In February 2012, Kyiv Mohyla Academy President, Dr. Serhii Kvit made an executive
decision to close down “Ukrainian Body,” an exhibition organized by the Center for
Visual Culture. His initial, and clearly very sincere reaction to the several nude penises
and vaginas he saw on the walls of the Old Academy Building itself (which, until 2008,
had been home of the CCA), was: “This isn’t art, it’s shit!” Eventually, he quietly
retracted these words, arguing instead that the exhibition contained pornographic
elements not to be shown at a university that taught underage students. He also
secured the support of the University’s Academic Council, which closed the Center for
Visual Culture (CVC) itself along with the exhibition. But the doors of the exhibition
rooms, which he himself locked, never opened again – either for “Ukrainian Body”
(except for a few press tours), or for contemporary art as such. Today the building
houses a library.
Kvit’s motives were hardly different from the motives of the national guardsmen. Much
like the members of the military seventeen years before, the president of a university
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suddenly, almost by accident, saw a certain visual irritant that clashed with his private
value system. And, as someone with sufficient public authority/power, he used this
authority – just like the guardsmen – to remove the irritant.
This voluntarism and substitution of the private for the public (or the emotional for the
professional) are the actual principles of cultural policy in Ukraine, and not only in the
field of visual culture. The two-decade-long lack of public pressure or participation in
the creation of local and national policies, the absence of public control or any
potential mechanism that would enable this control behind decision making and
implementation at every level – from public museums or “Culture Houses”
to local/regional culture administations, or the Ministry of Culture – have borne rich
fruit. Decisions at all levels are based on private whims or a personal belief in their
correctness, which is essentially the same thing. This goes equally for who gets the
premises of the capital’s theater rented out for their use, what sculptures are placed in
the public space of the city, who can receive funding from the city and/or state budget
(and how), and who can be the director of a national museum.
Because of the Soviet past, when “public” meant “collective,” i. e. “nobody’s,” as well
as because of the quasi-capitalist present, which leaves no room for “public” in the
sense of “common,” the concept of “public” today is a hollow term. The appointment
of the director of the National Museum of Ukraine – a key public arts institution in
Ukraine – is a case in point of how everything that in a democratic system of
coordinates ought to be public, is private and privatized. After the scandalous
dismissal of the former director of the National Museum (who was himself an artist) in
the spring of 2012, Mykhailo Kulyniak, current Minister for Culture, appointed Tetiana
Myronova, the owner of a private gallery and his own adviser and friend, acting
director. Subsequent sustained pressure of museum employees and the artistic
community (who insisted that, according to ICOM standards, a person with no
professional qualifications, no sort of museum experience, and in active pursuit of
commercial interests in the artistic sphere, cannot head a museum) brought about
what was essentially a revolution. The Ministry agreed (!) to create and hold to a
competitive procedure that would present the candidate with a number of professional
demands, and require them to have a development plan for the institution.
Admittedly, the competition stalled immediately it was launched, and bearing in mind
the mass reappointments of directors of other national museums and heritage parks
which began last December, the chances of a professionally held competition seem
low.
However, the fact that this time Ukrainian artists did not simply go to the Minister of
Culture or President to resolve their own specific, almost private problems – but
instead attempted to lobby the procedure, i. e. to initiate not temporary, but systemic
change – is deserving of respect. Most previous attempts to push for or lobby any
interests of the visual arts field were attempts to “get at” personal money, power, or
prestige.
Worth mentioning here is Ukraine’s first Venice Biennale. Participation in this
important (but hardly unique) world-level event has been a real bone of contention for
most post-Soviet countries (Belarus, Moldova, Georgia, and Armenia all have a history
of strife, surrounding the question of their representation in Venice). In 2001, agroup of
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artists, headed by (now late) Valentyn Rayevskyi, and Arsen Savadov expressed
strong protest against Ukraine’s participation in the (49th) Venice Biennale. In their
opinion, the appointment of curator (the then-director of the CCA Jerzy Onuch), and
his choice of artists (the Masoch Foundation with their project “Greatest Artists of the
Twentieth Century,” which pertained to the history of the greatest dictators of the said
century) were undemocratic. Their protest took on every form: from putting active
pressure on the Ministry of Culture (blisfully ignorant of the very idea of a Biennale,
until Onuch told them of Venice and offered to present a pavilion in the next event in
the fall of 2000), mostly through the moribund Union of Artists of Ukraine, to throwing
cake in Onuch’s face at some opening or other.
The artists won the right to exhibit in Venice in an army tent (this last circumstance is
due to the fact that, when the smoke had finally cleared over who would represent
Ukraine, there was no time left to rent a space and stage a project in Venice).
However, nobody even considered fighting for a procedure of inviting curators and
artists to represent Ukraine in Venice that would establish a public and transparent
mechanism with no room for cake-slinging, rather than for their personal participation
in the biennale.
Similarly, the Center for Visual Culture’s struggle against the Mohyla Academy
to reopen “Ukrainian Body” and win autonomy for the university’s departments and
centers (one of which the CVC then was) concentrated strictly around fighting for
themselves and their exhibition. And, in spite of the noise this incident made
internationally, and of the fairly unprecendented levels of support from the intellectual
and artistic community, the CVC never managed to broaden their demands and
compel support from their colleagues within the university. This resulted in its closing
after an almost unanimous (!) vote by the university’s Academic Council.
Institutional Disbalance
The categorical exclusion of artistic figures from the sphere of public policy, and from
the lobbying of basic system-creating mechanisms, coupled with the unstoppable
growth of the market (as the imagined panacea against all the pains of the Soviet past
in the European territories of the former USSR) have created a model of privatized and
personalized cultural policy. Until the early 2010s, all things public (both in the sense
of “common,” and in the sense of “state-owned”) were seen as a nuisance, and any
contact with the authorities was anathema (with the exception of private contacts,
yielding financial results). The watershed between official and “unofficial,” state and
independent culture and arts ran precisely along the lines of state support – not to be
confused with state funding, which was welcomed, but only when officials kept their
hands away from the final product. At the same time, private money, private initiative,
and the market (however underdeveloped) were enthusiastically encouraged.
In the early 2010s, the results of two decades of this model – a disbalanced
institutional core, on which artistic and creative initiatives were supposed to somehow
develop – suddenly began to manifest. When, back in the early 2000s, after studying
in Moscow and working in one of Russia’s most famous and most exciting theatrical
projects, the Piotr Fomenko Workshop, the young Ukrainian director Andrii Prykhodko
returned to work in Kyiv and had to abide accusatory questions of why he chose
to support “official culture” (by working at the Ivan Franko National Theater of
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Ukrainian Drama), he said: in order to subvert or fight the system, you have first
to build it.
The centralized Soviet system of managing the cultural sphere was demolished, and
never became truly public. The Union of Artists never functioned as a trade union,
instead only attempting to hold on to its financial and property privileges (small-scale
state grants, free studios allocated from non-residential municipal real estate,
managing larger property – such as a few exhibition premises – through the pockets of
the Union’s leadership). Municipal galleries were privatized either de facto, or even de
iure. Museums, which for a long time struggeld to pay their bills and salaries, learned,
by the 2000s, to receive small project funding from European foundations that
financed cultural and museum projects (or the Foundation for Development of Ukraine,
the only Ukrainian institution that does the same). However, acquisitions stopped,
academic work was minimized (due, in part, to the very hermetic nature of the
museum milieu); and as for world innovation trends in museums, one could hardly find
somebody to discuss them with. A state-funded contemporary art museum is
essentially out of the question at the moment – the only halfway representative
collection of post-1990 Ukrainian art remains at the National Art Museum, but it is
highly unsystematic, and consists mostly of gifts from artists. Education in art remains
at the level of the mid-1980s at best.
An alternative public system of NGOs that would serve the artistic development of
local communities, education and/or support and development of non-commercial art,
has not emerged. When in 2003 George Soros put a final stop to the financing of the
cultural sphere (which he had actively supported through the International
Renaissance Foundation, the Ukrainian branch of his Open Society Foundation
network), the entire structure of culture-related NGOs, which had just begun to get up
on their feet all over the country (as opposed to only the biggest cities), started
to close down at the speed of light. One such institution was the Soros CCA in Odesa;
the CCA in Kyiv valiantly fought on until 2008, when it, too, had to close. Soros’
arguments appeared logical and correct: you’ve been given a fishing-rod, and now
you have to feed youselves. True, so far as it goes, but what is the use of fishing in
a dead sea? The lack of tradition of private sponsorship (which is at the heart of the
American system for NGO support), or a system of an open and flexible support for
independent institutions from public (budget) funds (European system) has plunged
local independent initiatives into a “dead sea.” This is quite possibly beneficial for their
health, in moderation, but ultimately inconsistent with survival.
At the same time, the 2000s saw the beginnings of a true “gallery boom” in Ukraine.
Today, the country has several hundred galleries, of which several dozen are very
active, although the number of those participating in international fairs still remains at
only two or three. The gallery-related activity of wealthy art lovers continued with the
opening of private not-for-profit institutions – the Pinchuk Art Centre in Kyiv is the
biggest of this group, which also includes “Isolation – Cultural Initiatives Platform” in
Donetsk, the Eidos Foundation (no longer existant, but very active and influential in its
day), and others. Kyiv is home to several large auction houses – among other things,
these sell contemporary Ukrainian art. At least two collectors – Viktor Pinchuk and Ihor
Voronov – are taking active steps towards establishing private museums of
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contemporary art.
Private institutions and private interest thus not only dominate in the sphere of art
(both quantitatively and in terms of investment). To an extent, it is also true, that, often
consciously, they attempt to close down the lacunae of the public sphere. Thus, the
Pinchuk Art Centre remains the only permanent international exhibition platform in
Ukraine, “Isolation” remains the only permanent international residency program
(along with the private residency of the artist Alevtyna Kakhidze, organized with the
help and support of her husband Volodymyr Babiuk in their house near Kyiv), the
Bottega Gallery holds the only competition for young artists (MUKHi), and the “Culture
Project” is the only (commercial) initiative for an interested audience.
Nevertheless, after the initial (and subsequent) delight at how good the market is at
covering for what the corrupt and uninterested state cannot do dies down, we arrive at
the understanding that as far as the visual arts in Ukraine are concerned, private
preferences (frequently with neither education, nor competence behind them),
commercial interest (though all participants of the market will bemoan its weakness
and underdevelopment), and political interest reign supreme. These interests
effectively bring about a (“soft” and indirect) censorship of the field, when the striking,
the popular, the saleable, the trendy is held up, while the experimental, the new, the
laboratory, the chamber, the political, the critical, etc., remains without support. Also
in low demand on the market are professional educational projects, and/or a reform of
the artistic education system in general.
A notable phenomenon here is the Mystetskyi Arsenal. This is a state-run institution
that administers a territory of10 hectaresin the historical part of Kyiv and the building
of the old Arsenal, with the general area of 50,000 square meters. Conceptually, the
Arsenal occupies the place between a museum complex and an art center, balancing
between insufficient state and non-transparent private funding. Along with the slow
reconstruction and renovation processes taking place there, the venue hosts fashion
shows, luxury car shows, contemporary art fairs (Kyiv Contemporary), and overview
expos similar to “Exhibitions of the Achievements of People’s Economy” (“Space
Odissey,” “The Independent,” 2011). In 2012, the Mystetskyi Arsenal hosted the first
Kyiv Contemporary Art Biennale (Arsenale 2012), held on the occasion of Euro 2012.
The Arsenal has a public status, and public funding, but functions essentially as
a private institution.
This late-stage “scoliosis” of the institutional system provokes “overproduction”
(a familiar term from a different field), when the number of arts events, even only in the
field of visual art, tops any real human capacity. But, in addition to audience
exhaustion – the numbers of viewers/listeners/participants of events has dropped
substantially over the past year – this inefficient management actually forestalls
development.
When the state fails to perform its chief function in the field of arts – supporting what
the market cannot or will not support – and surrenders this function totally either
to quixotic types, prepared to dedicate their lives to fighting more or less real
windmills, or else to “sponsors” who, in the Ukrainian context, base their decisions
upon private sympathies, whims, and fantasies, then, of course, the “sponsors” will
win. After all, they have behind them the power of money, which is the power most
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highly regarded in Ukrainian society today.
The problem can be combatted with extra-financial means – volunteer activism
(partially practiced by the Center for Visual Culture) or crowdfunding, which is
becoming increasingly popular in Ukraine. Crowdfunding (the financing of art projects
through small private donations from those who are interested in these projects) has
been used for several years by the Garage Gang Collective through “Huge Idea,” their
online platform. The power of the small steps Policy should certainly not be
underestimated; however, unfortunately, it definitely loses to the policy of big (and
very big) money. Especially when at work here is the same type of policy.
For all the attractiveness and nonconformism offered by this model, the policy of small
steps will not resolve the main problem affecting the artistic and, more widely, cultural
situation in Ukraine – i. e., it will not create opportunities for sustainable development,
for building, rather than crisis management, for consistent movement, rather then
endless, relentless running to stay in place. No artistic institution in Ukraine not
financed personally by a moneybag can plan its work even a year ahead. Most
Ukrainian painters, especially the ones that are younger and not in demand
by galleries, do not have the least idea of what they will be doing tomorrow. Most
Ukrainian painters have never in their lives taken part in an international
residency/project/exhibition.
To this day, the artistic sphere in Ukraine remains reasonably hermetic, closed in upon
its own development problems and growing pains, and quite isolated even from
European processes. As I am writing this, I am experiencing a throwback to at least
a decade ago. This is reminiscent of the caucus-race from Lewis Carrol’s Alice’s
Adventures in Wonderland, when the participant is forced to run merely to warm up.
However, unlike ten (not to mention fifteen) years ago, today we are in the presence of
a critical mass of artists, producers, critics, viewers, gallery owners, managers,
sponsors, and Quixotes (the list can be extended) quite tired of this exercise, and well
aware of the fact that the caucus-race has no winners.
Kateryna Botanova is an art critic, curator, contemporary culture researcher and
cultural producer. She holds MA in Cultural Studies from the National University of
Kyiv-Mohyla Academy (Kyiv, Ukraine). Since 2009, Director of CSM ! Foundation
Center for Contemporary Art (Kyiv, Ukraine), chief editor of the online journal of
discussion on contemporary art KORYDOR. Member of the Board of the FLOW
festival (2009) and European Cultural Parliament (2007). In 2010 she was on the expert
team developing the EC Eastern Partnership Cultural Program. As cultural journalist
and cultural section editor she worked for most major magazines and TV channels
in Ukraine. She lectures on contemporary art and culture.
Translated by Pavlo Hrytsak
Polish, Ukrainian
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Wystawa wspó!czesnej sztuki ukrai"skiej
w Centrum Sztuki Wspó!czesnej Zamek
Ujazdowski. W wystawie uczestnicz#
cz!onkowie Klubu KP z Kijowa.
Arty$ci: Jewhenija Bie!oruse" / Evgenia Belorusets /
%&'()*+ ,-./012(34; Anatolij Be!ow / Anatolii Byelov / 5)67/.*8 ,(./&; #esia
Chomenko / Lesia Khomenko / 9(2+ :/;()

Krytyka Polityczna | Kluby i Świetlice | Ukrainian News - wernisaż
3/14/13 4:41 AM
ukrai"skiego spo!ecze"stwa ilustruj# dzia!ania róTnych inicjatyw kulturalnych, od
street-artu po spo!eczno$ci intelektualistów zaangaTowanych w obecne konflikty
spo!eczne.
W ostatnich latach scenie sztuki wspó!czesnej w Europie Wschodniej towarzyszy
prawdziwy wybuch artystycznego zaangaTowania w spo!eczne i polityczne kwestie
postkomunistycznego spo!ecze"stwa naznaczonego postSpuj#cym neokapitalizmem.
W szczególno$ci na Ukrainie artystyczny kontekst do$wiadczy! silnego
rozprzestrzenienia siS politycznie twórczych pogl#dów i praktyk.
Proces ten wywo!a!a z jednej strony mnogo$U grup i ruchów, jakie wy!oni!y siS w
nastSpstwie Pomara"czowej Rewolucji z roku 2004, a z drugiej – wkroczenie w
lokalny $wiat sztuki prywatnego kapita!u wraz z drastyczn# prywatyzacj# sfery
publicznej. Wobec tej sytuacji wiele inicjatyw kulturalnych i artystycznych przyjS!o
na siebie rolS przedstawicieli obywatelskich czy grup aktywistów, formu!uj#c T#dania
polityczne na miarS spo!ecze"stwa obywatelskiego, do niedawna nieobecnego w
porz#dku postsowieckim.
Liczni arty$ci i grupy artystyczne podjS!y próbS poruszenia rygorystycznych
warunków spo!ecznych i przekszta!cenia ich sposobami dostSpnymi dla sztuki.
Dzia!ania artystyczne sta!y siS waTnym elementem walk o przestrze" miejsk# i prawa
dla mniejszo$ci, jak równieT przeciwdzia!ania dyskryminuj#cej polityce pa"stwa.
Sztuka sta!a siS laboratorium $ci$le spo!ecznych zjawisk jak ruchy oddolne,
samoorganizuj#ce siS spo!eczno$ci czy organizacje antyhierarchiczne, oparte na
otwarto$ci na odmienne postawy i sposoby my$lenia oraz inkluzywno$ci. Prezentacja
w CSW odzwierciedla róTnorodno$U wspó!czesnej sceny ukrai"skiej, w mnogo$ci jej
praktyk artystycznych i pogl#dów.
Wystawie towarzyszy cykl wyk!adów, którego kuratorem jest O!eksandr So!owjow
(Oleksandr Soloviov) oraz (od marca do maja) program filmowy - pod tytu!em
Ukrainfilm nawi#zuj#cym do nazwy studia filmowego w Kijowie, gdzie powsta!y
arcydzie!a filmowej awangardy – który zaprezentuje historiS filmu ukrai"skiego jako
integraln# czS$U klasycznego kina sowieckiego, skupiaj#c siS na dzie!ach uznanych na
$wiecie reTyserów tworz#cych na Ukrainie (od Dzigi Wiertowa
i O!eksandra DowTenki, przez Sergieja ParadTanowa i KirS Muratow#, po Sergieja
VoRnicS).
---
Organizator: Centrum Sztuki Wspó!czesnej Zamek Ujazdowski
Projekt zosta! zrealizowany dzi"ki wsparciu finansowemu Miasta Sto!ecznego
Warszawy
Partnerzy: Instytut Polski w Kijowie, Mystetskyi Arsenal w Kijowie, Narodowe
Muzeum Sztuki Ukrainy
Partner artystyczny: Ya Gallery Art Centre
Partner techniczny: Epson
Patroni medialni CSW: Aktivist, Exklusiv, Stolica, Elle Decoration
MULTIMEDIA
VISUAL CULTURE RESEARCH CENTER
Ukrainian News
BREAKING THE NEWS
Europejska Wiosna
ROZMOWA KP
Franco 'Bifo' Berardi o
dyktaturze finansowej
NARKOPOLITYKA.PL
Kto wygrywa na „wojnie z
narkotykami”?
Trailer filmu pokazywanego na
wystawie 'Ukrainian News' w CSW
Zamek Ujazdowski (otwarcie 15 marca
13 i 14 marca 2013 - dni akcji na rzecz
Europejskiej Wiosny
W!oski filozof o finansach, mafii i
wyborach we W!oszech
Debata o polityce narkotykowej z
udzia!em Transnational Institute.
http://www.krytykapolityczna.pl/wydarzenia/ukrainian-news-wernisaz
Page 2 of 3

«Украинские новости» в варшавском Центре современного искусства - Новости - творческое объединение Спокуса
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INICIO · CALENDARIO · INSTITUCIONAL · ESTRENOS · FESTIVALES · ECU ·
PLUS · DOCUMENTOS · CONTACTO
2-A: Panorama Internacional de Largometrajes
Boletín Mensual en
PDF
ARGENTINA
Alfabeta, marzo 24, domingo a las 20.05hs.
Cinemateca 18, abril 3, miércoles a las 17.30hs.
Life Costa Urbana, abril 3, miércoles a las 18 hs.
EL RASCACIELOS LATINO
Dir: Sebastián Schindel
Argentina 2012 - 62 min. (HD)
La historia del Palacio Barolo (Buenos Aires, Avenida de Mayo), algo así como el equivalente porteño de
nuestro Salvo. La leyenda lo rodea (símbolos masónicos, la afirmación de que los restos de Dante Alighieri
podrían estar enterrados en el lugar), y el film acumula documentos y testimonios para intentar descifrar
algunos de esos misterios.
Sala 2, marzo 24 domingo a las 21.30hs.
Pocitos, abril 4 jueves a las 20hs.
Descargar PDF Boletín
Marzo / Abril 2013
LA FORMA EXACTA DE LAS ISLAS
Dir: Edgardo Dieleke, Daniel Casabé
Argentina 2012 – 84 min. (HD)
Con: Julieta Vitullo, Dacio Agretti, Carlos Enriori.
En 2006, la investigadora argentina, Julieta Vitullo, viajó a las Malvinas para terminar su tesis doctoral
sobre la literatura y el cine sobre la guerra de 1982, y conoció a dos veteranos de aquel conflicto. Y los
filmó. Cuatro años más tarde regresó para redondear sus pensamientos y dar forma definitiva a esta
película que es toda una experiencia personal.
Sala 2, marzo 26 martes a las 18.25hs.
Pocitos, abril 3, miércoles a las 19hs.
TIERRA DE LOS PADRES
Dir: Nicolás Prividera
Argentina, 2012 – 100 min. (HD)
Con:Maricel Alvarez, Martin Kohan, Susana Pampín
Desde el cementerio de la Recoleta, que reúne (o enfrenta) los restos de Sarmiento con los de Evita y a
Rosas con Aramburu, este documental poemático repasa las dos versiones (igualmente sesgadas,
http://www.cinemateca.org.uy/pil.htm
LLAMADO A VOLUNTARIOS PARA
EL 31º FESTIVAL .
Valor de las entradas:
Cinemateca 18
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incompletas, insuficientes) de la historia argentina a lo largo de dos siglos. El cementerio es el país, y el
pasado confronta también al presente. Por el director de la polémica M.
Casablanca, abril 4, jueves a las 17.30hs.
Life Costa Urbana, abril 5, viernes a las 18hs.
Sala 2, abril 6, sábado a las 17hs.
VENIMOS DE MUY LEJOS
Dir: Ricardo Piterbag
Argentina 2012 – 105 min. (HD)
Con: Grupo de Teatro Comunitario Catalinas Sur, Nino Matto, Mario Mahler
Catalinas del Sur es un teatro comunitario de la Boca, con una experiencia de años representando una
obra de creación colectiva (del mismo título que esta película) sobre la inmigración a la Argentina,
uruguayos incluidos. La película improvisa la historia del barrio, y mezcla actores y público, ficción y
documento.
BANGLADESH
Life Costa Urbana, marzo 23, sábado a las 20hs.
Pocitos, marzo 31, domingoa las 17.30 hs.
Sala 2, abril 4, jueves a las 21.50 hs.
MEHERJAAN
(Meherjaan)
Dir: Rubaiyat Hossain
Bangladesh 2011 – 119 min. ST. (HD)
Con Jaya Bachchan, Victor Banerjee, Humayun Faridi
La Guerra de Independencia de Bangladesh de 1971 con respecto a Pakistán (tres millones de muertos,
ochocientas mil violaciones), revisitada en clave crítica y desde una perspectiva femenina. Un film
polémico (historia de amor entre enemigos) que generó indignaciones bangladeshíes.
BÉLGICA
Life Costa Urbana, marzo 23, sábado a las 22hs.
Casablanca, marzo 28, jueves a las 19hs.
Sala Cinemateca, abril 3, miércoles a las 18.05hs.
LA VIDA QUE SIGUE
(De leur vivant)
Dir: Géraldine Doignon
Bélgica 2011- 95 min. ST. (HD)
Con: Joanne Blanc, Raphaele Gërmser, Christian Crahay
Padre e hijos se reúnen para el funeral de la madre y la venta del hotel familiar. El decorado ayuda a la
evocación, y los personajes confrontan el pasado. Primer largo de su directora, presentación oficial belga
en el festival de Montréal.
Pocitos, marzo 23 sábado a las 17.30hs.
Life Costa Urbana, abril 1, lunes a las 18.00 hs
Sala 2, abril 4, juevesa las 17.30hs.
HIMSELF HE COOKS
Dir: Valérie Berteau & Philippe Witjes
Bélgica 2011 – 65 min. ST. (HD)
En el Templo Dorado de Amritsar, cientos de voluntarios preparan cien mil comidas gratis al día. La acción
de esos benefactores es el tema de este documental que capta la atmósfera, los personajes y el ambiente
de un lugar fascinante. El codirector Witjes es también cocinero.
Cinemateca 18
* Socios • $ 20
* No Socios • $ 120
* Tarjeta Joven • $ 60
Sala Cinemateca y Sala 2
* Socios • No pagan entrada
* No Socios en ambas salas • $ 120
* Acompañantes de Socios • $ 90
Sala Pocitos
* Socios • No pagan entrada
* Alumnos de Escuelas de Cine • No
pagan entrada
* No Socios • $ 120
* Acompañantes de Socios • $ 90
Programación por
Salas
Cinemateca 18
Sala Pocitos
Sala Cinemateca
Sala 2
Tenga la programación en su Mail.
Haga Click Aquí
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Este mes de Febrero beneficios en:
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BRASIL
Pocitos, abril 3, miércoles a las 17.15hs.
Sala 2, abril 5, viernes a las 17hs.
CARTAS PARA ANGOLA
(Cartas para Angola)
Dir : Coraci Ruiz, Julio Matos
Brasil 2012 - 75min. ST. (HD)
Dos países separados por un océano, y con mucho en común (el mismo idioma, un pasado colonial). La
correspondencia entre gente de uno y otro lado acerca dos mundos, descubre historias de vida, migración
y nostalgia,y establece hilos de afecto y memoria. Un documental enriquecedor.
Campaña "Como seas,
hay un cine que te
entiende"
Sala 2, marzo 24, domingoa las 19 hs.
Pocitos, marzo 28, jueves a las 17.15 hs.
SINFONIA PAULISTANA
(Sinfonia Paulistana)
Dir: Rogério Zagallo
Brasil 2012 – 84 min. ST. (HD)
Campaña Via Pública
Un ensayo visual y musical, un himno a la metrópoli paulista, inspirado y tematizado por la Sinfonía
Paulistana del músico y compositor Billy Blanco. Un mosaico documental, construido a partir de imágenes
contemporáneas de la ciudad de São Paulo, entrecruzando diferentes puntos de vista.
Casablanca, marzo 26, martes a las 19.30 hs.
Life Costa Urbana, abril 1, lunes a las 20 hs.
Cinemateca 18, abril 4, jueves 21.30 hs.
ÉRASE UNA VEZ YO, VERÓNICA
(Era uma vez eu Verônica)
Dir: Marcelo Gomes
Brasil 2012 -109 min. ST. (HD)
Con: Hermila Guedes, Maeve Jinkings, João Miguel, W.J. Solha.
Seguinos en
Cinemateca Uruguaya en Facebook:
Médica flamante, con vida profesional y personal agitada, la protagonista demora en asimilar el consejo de
su padre enfermo de encontrar al “amor de su vida”. Un retrato de incertidumbres femeninas, un cuadro
existencialista y existencial, con el sólido respaldo de una espléndida actriz (Guedes) que carga con el film
sobre sus hombros.
Sala Cinemateca, marzo 25, lunes a las 17.15hs.
Sala 2,abril 1, lunes a las 21.35hs.
LOS MONSTRUOS
(Os monstros)
Dir: Pedro Diogenes, Guto Parente, Luiz Pretti, Ricardo Pretti
Brasil 2011 – 81 min. ST (HD).
Con Pedro Diogenes, Guto Parente, Luiz Pretti, Ricardo Pretti.
Cuatro amigos, interpretados por los cuatro directores, perdieron recientemente a un quinto compañero.
Tras una noche de borrachera salen en pos de la mítica Itaca, menos un lugar físico que el recipiente del
sueño o la utopía, punteado por citas de Kavafis al principio y al final.
BANGLADESH
Sala Cinemateca, abril 3, miércoles a las 21.30hs.
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3/25/13 1:25 PM
Alfabeta, abril 4, jueves a las 18.10hs.
JARDS
(Jards)
Dir: Eryk Rocha
Brasil 2012 – 93 min. ST. (HD)
Con: Jards Macalé, Adriana Calcanhoto, Luiz Melodía
Un retrato del cantante, músico y actor Jards Macalé, pretextado por la presentación de su más reciente
álbum. El nuevo documental del hijo de Glauber Rocha atiende a la vez la preparación del disco y el
carácter del artista carioca, un nombre clave de la música popular brasileña.
Pocitos, marzo 24 domingo a las 17.15hs.
Sala Cinemateca, abril 1 lunes a las 19.40 hs.
EN TORNO DE LA BELLEZA
Dir: Dácia Ibiapina
Brasil2012 - 70 min. ST. (HD)
Una incursiónirreverente en el universo de los concursos de belleza (para el caso concreto, Miss Brasilia
y otros en el Distrito Federal). Una reflexión sobre “mujeres objeto” y obsesiones patriarcales, en el que la
directora Ibiapina evita empero el discurso o el sermón. Su película muestra en lugar de empeñarse en
demostrar.
Pocitos, abril 1, lunes a las 22.15hs.
Sala 2, abril 3, miércoles a las 17.15hs.
O UIVO DA GAITA
Dir: Bruno Safadi
Brasil 2013 - 75 min. ST. (HD)
ConMariana Ximenes, Leandra Leal, Jiddu Pinheiro
Triángulo amoroso con un vértice que es toda una vuelta de tuerca. Una pareja estable ve interferida su
relación por la aparición de una tercera persona, pero la ruptura se produce porque son las dos
mujereslas que se enamoran. Elegante drama lésbico que podía derivar a la baratura pero no lo hace.
Premio Hubert Bals en Rotterdam.
Cinemateca 18, abril 1, lunes a las 21.35hs.
Casablanca, abril 3, miércoles a las 19.15hs.
AVANTI POPOLO
(Avanti Popolo)
Dir: Michael Wahrmann
Brasil 2012 – 72 min. ST. (HD)
Con André Gatti, Carlos Reichenbach, Eduardo Valente
Ejercicio de la memoria de este cineasta uruguayo-israelí residente en San Pablo. Las imágenes en
Super 8 captadas por su hermano durante los dictatoriales años setenta, disparan una catarata de
recuerdos y emociones.
BULGARIA
Sala Cinemateca, marzo 23, sábado, a las 19.30hs.
Pocitos, marzo 28 jueves, a las 19.45hs.
CIUDAD DE SUEÑOS
(City of Dreams)
Dir: Svetoslav Draganov
Bulgaria 2012 - 85 min. ST. (HD)
Documental sobre Dimitrovgrad, “ciudad-modelo” de los tiempos estalinistas, forjada con esclavitud y
sangre. La historia de una joven aspirante a cantante rockera conecta pasado y presente. La dureza del
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“socialismo real” confrontada con una actualidad no muy estimulante. Lírica y sugestiva.
CANADÁ/FRANCIA/PORTUGAL/ITALIA
Cinemateca 18, marzo 29, viernes a las 22.10hs.
Alfabeta, marzo 31, domingo a las 22hs.
Alfabeta, abril 3, miércoles a las 21.25h.
COSMÓPOLIS
(Cosmopolis)
Dir: David Cronenberg
Estados Unidos2012 108 min. (35mm.)
Con: Robert Pattinson, Juliette Binoche, Sarah Gadon, Mathieu Amalric.
U n millonario busca un corte de pelo en una gran ciudad moderna, y su tránsito revela un universo que
sugiere el Apocalipsis. Cronenberg, basándose en DeLillo, insiste con su obsesión por losmundos
inquietantes y las pulsiones del inconsciente, e incorpora a su universo al héroe de Crepúsculo.
CANADÁ/URUGUAY
Cinemateca 18, marzo 30, sábado a las 19.15hs.
Alfabeta, abril 3, miércoles a las 19.35hs.
Life Costa Urbana, marzo 31, domingo a las 20hs.
DOS DIAS Y MEDIO
(Two Days and a Half)
Dir: Pablo Diconca
Canada/Uruguay 2012 – 75 min. ST. (HD)
Un padre divorciado y su hijo, que solo pueden compartir un fin de semana cada quince días. El uruguayo
Diconca, radicado en Québec, examina esa relación que trata de reconstruirse en el escaso tiempo que le
conceden las circunstancias.
COLOMBIA/ARGENTINA/URUGUAY/ESPAÑA
SalaCinemateca, marzo 26, martes a las 19.35hs.
Alfabeta, marzo 30, sábado a las 20.05 hs.
Life Costa Urbana, abril 4, jueves a las 18hs.
PORFIRIO
(Porfirio)
Dir: Alejandro Landes
Colombia/Argentina/Uruguay/España 2011 – 101 min. (HD)
Con: Porfirio Ramírez, Jarlinssen Ramírez
Hombre en pañales secuestra un avión. Tras ese titular hay una historia real de demanda insatisfecha de
justicia, violencia que deja secuelas, la lucha contra un apparato burocrático que pudo ser imaginado por
Kafka. Los protagonistas reales ficcionalizan su historia, con emoción y ternura.
COREA DEL SUR
Casablanca, marzo 23, sábado a las 15.30hs
Sala Cinemateca, marzo 27, miércoles a las 21.45hs
Life Costa Urbana, marzo 28, jueves a las 20hs.
EN OTRO PAIS
(In Another country/Da-reun na-ra-e-suh)
Dir: Hong sang soo
Corea 2012 – 89 min. ST. (Digital)
Con: Isabelle Huppert, Yu Jun-Sang
Una joven y su madre huyen a la ciudad costera de Mohang para eludir las deudas que han contraído. La
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joven empieza a escribir un guión para un cortometraje. Una comedia costumbrista y un comentario sobre
el poder del cine para exponer y alterar la realidad.
CUBA
Pocitos, marzo 30, sábado a las 23.25hs.
Sala 2, abril 5, viernes a las 21.10hs.
VERDE-VERDE
Dir : Enrique Pineda Barnet
Cuba, 2011 – 90 min. (HD)
Con: Héctor Noas, Farh María, Waldo Franco, Rocío García
Un hombre recorre un laberinto, buscando una inencontrable salida. En su tránsito se cruza con
apariciones que le estorban: una dama seductora, algunos personajes escapados de un bar singular: una
pintora, un barman armado, un stripper, una anciana turista, un estibador. ¿La metáfora de una sociedad
sin salidas?
Sala 2, marzo 28 jueves a las 21.40hs.
Life Costa Urbana, marzo 28 jueves a las 22 hs.
Pocitos, abril 2, martes a las 19.40hs.
Y SIN EMBARGO…
Dir: Rudy Mora
Cuba, 2012 - 86 min. (HD)
Con: Laura de la Uz, Larisa Vega, Manuel Porto, Eslinda Núñez y el grupo teatral La Colmenita
Un niño llega tarde al examen de matemáticas e inventando una historia para justificar el faltazo. Lo que
sigue es el desorden y la necesidad de doblegarse para evitar un castigo mayor, con dudas sobre lo que
realmentre ocurrió. No hay que creer en todo lo que se ve y oye, parece decir sibilinamente el film.
CHILE
Pocitos, marzo 23, sábado 20.45hs.
Sala Cinemateca, marzo 31, domingo a las 17.30 hs.
LA MUERTE DE PINOCHET
Dir: Bettina Perut, Iván Osnovikoff
Chile 2011 – 67 min. (HD)
Una exploración de la reacción de la gente en la calle, al conocerse la noticia de la muerte de Augusto
Pinochet. El documental se centra fundamentalmente en cuatro testimonios (a favor y en contra) acerca del
difunto dictador, jugando con habilidad en el filo de la tragedia y la sátira. Premiada en los festivales de
Santiago y CineB.
Sala 2, marzo 25 lunes a las 19.15hs.
Pocitos, marzo 29 viernes a las 17.30hs.
LAS COSAS COMO SON
Dir: Fernando Lavanderos
Chile 2012 – 93 min. (HD)
Con: Ragni Orsal Skogsrod, Cristóbal Palma, Isaac Arriagada
Una pensión para extranjeros en Chile. Una joven nórdica irrumpe de pronto y trastorna la vida del huraño
encargado. Pero hay un secreto en esos personajes, y el film explora conductas, climas, oscuridades y
sospechas.
Cinemateca 18, marzo 29, viernes a las 17.30hs
Alfabeta, marzo 31, domingo a las 20hs.
SOY MUCHO MEJOR QUE VOS
Dir. José Manuel (“Che”) Sandoval
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Chile 2012 – 83 min. (HD)
Con Sebastián Brahm, Cristóbal Froolich, Antonella Costa
Tras arruinar el planeado viaje familiar a España, el protagonista se esconde de su mujer por cuatro días. El
film es, en clave de comedia, la crónica de la cuarta noche de esa odisea, con el hombre que busca a una
mujer para que le restaure el ego, y algunos desconciertos que subsisten.
CHILE/FRANCIA
Cinemateca 18, marzo 24 domingo a las 21.30hs.
Casablanca, abril 3 miércoles a las 21hs.
Alfabeta, abril 6, sábado a las 16hs.
LA NOCHE DE ENFRENTE
Dir: Raúl Ruiz
Chile/Francia 2011-2012 – 107 min. (35 mm)
Con Sergio Hernández, Christian Vadim, Marcial Edwards
Un viejo jubilado que espera su muerte inminente, a medias temida, a medias provocada, se pasea por una
ciudad a medias real, a medias soñada. Reviviendo escenas de su infancia, a veces reales, a veces
inventada, el trashumante Ruiz cuenta el paso del ensueño a la pesadilla.
ESTADOS UNIDOS
Alfabeta, marzo 29, viernes a las 21.45hs.
Life Costa Urbana, abril 5, viernes a las 20 hs.
GIMME THE LOOT
(Gimme the loot)
Dir: Adam Leon
Estados Unidos 2012 - 79 min. ST. (HD)
Con: Tashiana Washington, Ty Hickson, Meeko Gattuso
Enfrentamiento entre grupos rivales de graffiteros en ambiente, con destrucción de obra y desquite. El
desquite, concretamente, elige un camino peculiar: no seguir rompiendo cosas sino crear la mejor obra
posible. Crónica deun Nueva York afroamericano que recuerda al mejor cine de Spike Lee.
Sala Cinemateca, marzo 29, viernes a las 22.10hs.
Casablanca, abril 1, lunes a las 22.15hs.
Alfabeta, abril 6, sábado a las 20.25hs.
HELLO I MUST BE GOING
Dir: Todd Louiso
Estados Unidos 2012 - 95 min. ST. (HD)
Con: Melanie Lynskey, Blythe Danner, Cristopher Abbott.
Divorciada y casi cuarentona, en el camino de la protagonista se cruza un atractivo veinteañero. Amor a
primera vista, o algo así. Fresca y simpática, sin la “depre” de mucho cine indie, con buen elenco, en
particular Linskey.
ESTADOS UNIDOS/REINO UNIDO
Life Costa Urbana, abril 2, martes a las 20hs.
Cinemateca 18, abril 5, viernes a las 19.25hs
Casablanca, abril 6, sábado a las 21.40hs.
EL MAR PROFUNDO Y AZUL
(The deep blue sea)
Dir: Terence Davies
Reino Unido 2011 – 98 min. ST. (HD)
Con: Rachel Weisz, Tom Hiddleston, Simon Russell Beale.
La clásica pieza de Terence Rattigan (ya filmada en 1955 por Anatole Litvak, con Vivien Leigh y Kenneth
More) sobre el amor prohibido entre la esposa de unjuez y un piloto de la Royal Air Force. Una opción
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inesperadamente “tradicional” para el más grande de los directores británicos contemporáneos, jugada sobre
todo a su elenco.
ESPAÑA
Sala 2, marzo 26, martes a las 22.10 hs-
Pocitos, abril 1, lunes a las 17.30 hs.
ARRAIANOS
Dir: Eloy Enciso Cachafeiro
España, 2012 - 70 min. (HD)
Un aislado pueblecito rodeado por el bosque, entre Galicia y Portugal. Un extraño llega. Entre la realidad
y el cuento, los habitantes del lugar crean una fábula sobre el mundo rural y su obstinada resistencia a
desaparecer.
Sala 2, marzo 23, sábado a las 20.15hs.
Pocitos, abril 3, miércoles a las 21.10hs.
LA CASA EMAK BAKIA
Dir: Oskar Alegría
España, 2012 - 83 min. (HD)
Ocho décadas después de que el fotógrafo, músico y cineasta surrealista norteamericano Man Ray rodara
su “cinepoema” Emak Bakia, el documentalista Alegría busca la casa específica en que se filmó. Es una
búsqueda imposible, pero que da lugar a toda clase de reflexiones y hallazgos colaterales.
Sala 2, marzo 23, sábado a las 17hs.
Pocitos, marzo 27, miércoles a las 19.40hs.
LA ROCA
Dir: Raúl Santos
España, 2011 – 85 min. (HD)
Con: ciudadanos del Campo de Gibraltar.
En 1969, Francisco Franco cerró la frontera de Gibraltar, aislando a 30.000 personas sin comida, agua o
líneas telefónicas. Franco quería razonablemente que un territorio español volviera a soberanía española,
pero dividió a dos ciudades (Gibraltar y La Línea) inextricablemente vinculadas. Este documental es la
crónica de una separación forzada.
Sala 2, marzo 23, sábado a las 18.50hs.
Sala 2, abril 2, martes a las 18.40hs.
NAO YIK
Dir: David Aguilar
España, 2011 – 58 min. (HD)
Documental de creación. Una mujer que vivió en China hace más de medio siglo dejó una serie de cartas en
las que narró sus experiencias. Su hija lee esas cartas que evocan un pasado convulso, y la imagen
contrasta lo leído con la actualidad de la China del poscomunismo.
Sala 2, marzo 23 sábado 22.05 hs.
Pocitos, marzo 30 sábado 21.45hs.
ON VAMPYRES AND OTHER SYMPTOMS
Dir: Celia Novis
España, 2011 – 74 min. (Digital)
Con: José Ramón Larraz, Anulka, Marianne Morris
Un homenaje a José Ramón Larraz, cineasta de películas de terror clase B, que tiene sus seguidores,
especialmente en el festival de Sitges que coprodujo esta película. Historietas, citas cinéfilas, filmaciones
para el propio film y testimonios redondean el acercamiento a una personalidad pintoresca.
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Sala 2, abril 2, martes a las 17hs.
Cinemateca 18, abril 9, martes a las 21.20hs.
PIEDAD
Dir: Otto Roca
España, 2012 – 73 min. (Digital)
Piedad vivió gran parte de su vida en un pequeño pueblo, aislada del mundo urbano. Junto a su marido
decidieron quedarse allí, aun cuando sus hijos y vecinos fueron abandonando el lugar. A los 76 años
aparece el Alzheimer. En su nueva vida no se sabe qué es verdad, recuerdo o producto de su enfermedad.
Un documento conmovedor.
FINLANDIA
Life Costa Urbana, marzo 29, viernes a las 22hs.
Cinemateca 18, marzo 31, domingo a las 21.40hs.
Casablanca, abril 5, viernes a las 19.45hs.
SILENCIO
(Hiljaisuus)
Dir: Sakari Kirjavainen
Finlandia 2011 - 110 min. ST (Digital)
Con: Joonas Saartamo, Lauri Tilkanen, Joanna Haartt
Finlandia no suele recordar en cine que peleó junto a los nazis (legítimamente) para enfrentar al invasor
soviético. Esta película no trata sobre la guerra misma sino sobre quienes se ocupan en volver
“presentables”
a los cadáveres, entre el realismo, lo mítico y hasta una cuota de humor negro.
Alfabeta, marzo 23, sábado a las 20.20hs.
Cinemateca 18, marzo 25, lunes a las 17.15hs.
Life Costa Urbana, marzo 25, lunes a las 22 hs.
ESTRELLAS SOBRE NOSOTROS
(Tahtitaivas talon yllä)
Dir: Saara Cantell.
Finlandia 2012 -95 min. ST (HD)
Con: Irina Björklund, Meri Nenonen, Elin Petersdottir.
Tres momentos en la vida de las habitantes de una casa de campo en Francia de tres generaciones
distintas. Como en Intolerancia de Griffith o El padrino II de Coppola, el entrecruzamiento de las cronologías
permite que las historias se comenten entre sí, destacando continuidades y rupturas.
FRANCIA
inemateca 18, marzo 25, lunes a las 22hs.
Life Costa Urbana, marzo 31, domingo a las 18hs.
Casablanca, marzo 5 viernes, a las 22.05hs
¿Y SI VIVIMOS TODOS JUNTOS?
(Et si on vivait tous ensemble?)
Dir: Stephane Robelin
Francia 2011 – 96 min. ST.
Con: Guy Bedos, Daniel Brühl, Geraldine Chaplin.
Amigos desde hace cuarenta años, los protagonistas (envejecidos, achacosos) deciden mudarse a vivir
juntos. La convivencia no es fácil, claro, pero el film destila una dosis de optimismo mientras despliega a un
buen elenco al servicio de esta comedia de la tercera edad.
Cinemateca 18, marzo 30, sábado a las 0.15 hs.
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Q (DESEO)
(Q)
Dir: Laurent Bouhnik
Francia 2011 – 103 min. ST. (HD)
Con: Déborah Révy, Helene Zimmer, Gowan Didi.
La crisis económica deprime no solamente la capacidad adquisitiva de la gente. Algo le pasa también a su
moral. En medio de la catástrofe de la economía, varios personajes se tropiezan con una enigmática mujer
que encarna el deseo. Hay sexo, pero no se trata solo de eso.
Alfabeta, marzo 30, sábado a las 22.25hs.
Cinemateca 18, abril 1, lunes a las 19.40hs.
LA PANDILLA DE LAS JOTAS
(La bande des jotas)
Dir: Marjane Satrapi
Francia 2012 – 74 min. ST. (HD)
Con Marjane Satrapi, Mattias Ripa, Stéphane Roche, Maria de Medeiros
España, un campeonato de badminton, una pareja, una mujer manipuladora y un cambio de valijas en el
aeropuerto que genera algunos equívocos. Una comedia policial a cargo de la directora iraní (exiliada)
responsable del espléndido film de animación Persépolis.
Pocitos, marzo 25 lunes a las 17.30hs.
Sala 2, marzo 28 jueves a las 17.30hs.
Life Costa Urbana, marzo 30 sábado a las 18hs.
EL JURAMENTO DE TOBRUK
(Le serment de Tobruk)
Dir: Bernard-Henri Levy
Francia 2012 – 110 min. ST. (HD)
B.H. Levy, se define como filósofo y como sionista (ya ha filmado sobre Bosnia y otros temas polémicos) y
se ocupa en este documental de la guerra de Libia, recoge testimonios de quienes participaron en ella y
aporta también su punto de vista personal. Muy polémico film que ha sido acusado de manipulación de la
información.
Life Costa Urbana, marzo 25, lunes a las 20hs.
Sala Cinemateca. Marzo 28, jueves a las 21.40 hs.
Casablanca, abril 2, martes a las 20 hs.
LOS INVISIBLES
(Les invisibles)
Dir: Sebastien Lifshitz
Francia 2012 -115 min. ST. (HD)
Varios homosexuales, hombres y mujeres, ofrecen a la cámara los testimonios de su a menudo problemática
experiencia. Se trata de los pioneros, los ahora veteranos que en su momento fueron los primeros que se
atrevieron a salir del armario. Su experiencia puede resultar hoy menos inusual, pero este documental
constata que el camino fue largo.
Pocitos, abril 1, lunes a las 19.10hs
Sala 2, abril 3, miércoles a las 19.40hs.
LLUVIA, LA PLUIE
Dir: Bénédicte Dupin, Giacomo Marchetti .
Francia/Uruguay 2011 – 70 min. (HD)
Punta Arenas, sur de Chile. Una mujer es invadida por las imágenes (¿los espíritus?) de los habitantes
originarios. Un decorado impresionante de cordilleras, fiordos y glaciares encierra un misterio ancestral.
Cinemateca 18, marzo 29, viernes a las 19.55hs.
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3/25/13 1:25 PM
Life Costa Urbana, abril 1, lunes a las 22hs.
MOBILE HOME
(Mobile Home)
Dir: Francois Pirot
Bélgica/Francia/Luxemburgo 2012 - 95 min. ST. (HD)
Con: Arthur Dupont, Guillaume Gouix, Jean-Paul Bonnaire
Tras romper con su pareja, el protagonista reencuentra a un amigo y deciden cumplir un viejo sueño:
comprar una casa rodante y lanzarse a la aventura. La serie de dificultades con que se tropiezan en el
camino implica también una confrontación consigo mismo. Una road movie en clave de comedia dramática.
Cinemateca 18, marzo 25, lunes a las 19.25hs
Casablanca, marzo 30 sábado a las 17.10hs.
TODOS AL LARZAC
(Tous au Larzac)
Dir: Christian Rouaud
Francia 2011 - 120 min. ST. (HD)
Un día de octubre de 1971, el ministro de defensa francés Michel Debré decidió que los terrenos de Larzac
estaban despoblados, y servían para extender un campamento militar. Sin embargo, la gente no estuvo de
acuerdo. Ese fue el comienzo de una asombrosa resistencia de diez años que este documental recupera con
abundancia de testimonios y calidad fílmica.
IRÁN
Pocitos, marzo 25, lunes a las 19.35hs.
Life Costa Urbana, marzo 26, martes a las 20 hs.
Alfabeta, marzo 27, miércoles a las 16hs.
BESANDO LA CARA DE LUNA
(Kissing the Moon – Like Face)
Dir: Homayoun Assadian
Irán 2012 – 96 min. ST. (HD)
Con Saber Abbar, Lida Abbasi, Shahroukh Foroutanian.
La cotidianeidad de dos vecinas en Irán, a lo largo de los últimos cuarenta años. La Historia con mayúscula
corre por atrás, sin que la película la enfatice (excepto el dato de la guerra con Irak que se llevó a los hijos).
Un retrato humano de personas corrientes.
ISRAEL
Alfabeta, marzo 26, martes a las 16hs.
Pocitos, marzo 30, sábado a las 19.50hs.
EPILOGO
(Epilogue)
Dir: Ami Manor
Israel 2012 – 96 min. ST. (HD)
Con: Yosef Carmon, Rivka Gur, Efrat Ben Zur
El desencanto de una veterana pareja israelí que soñó con construir el “estado perfecto” y ha descubierto
que el mundo es más complicado. En una noche de desconcierto y dolor, abandonan su departamento para
un último viaje. Premios de actuación en el festival de Jerusalén, y un saludable espíritu autocrítico, por
cierto muy judío.
Casablanca, marzo 27 miércoles a las 19.25hs.
Pocitos, marzo 28 jueves a las 21.50hs
Alfabeta, abril 5, viernes a las 16hs.
THE CUTOFF MAN
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3/25/13 1:25 PM
(Menatek ha-main)
Dir: Idan Hubel
Israel 2012 – 76 min. ST. (HD)
Con Moshe Ivgy, Tom Yefet, Naama Shapira.
El protagonista tiene un empleo desagradable: cortar el agua corriente a quienes se atrasan con los pagos.
La gente lo odia, claro, pero de algo hay que vivir. Una “historia mínima” que genera alguna reflexión sobre
la condición humana.
ITALIA
Life Costa Urbana, marzo 28, jueves a las 18hs.
Casablanca, marzo, viernes a las 20.30hs.
Cinemateca 18, abril 4, jueves a las 19.30hs.
CESAR DEBE MORIR
(Cesare devve morire)
Dir: Paolo y Vittorio Taviani
Italia 2012 – 76 min. ST. (Digital)
Con: Cosimo Rega, Salvatore Striano, Giovanni Arcuri, Antonio Frasca.
Los presos de una cárcel de alta seguridad ensayan una puesta en escena del Julio César de Shakespeare.
Las cámaras de los hermanos Taviani recorren celdas y pasillos, asisten a ensayos y representaciones,
detectan tensiones dentro y fuera de la ficción. La venganza shakespereana deriva en vendetta napolitana.
Pocitos, marzo 26, martes a las 17.30hs.
Sala 2, marzo 31, domingo a las 17.15hs.
EL VALLE DEL JATO
(La valle dello Jato)
Dir: Caterina Monzani & Sergio Vega Borrego
Reino Unido/Italia 2012 - 67 min. ST. (HD)
Sicilia bajo el dominio de la Mafia. Una estación de televisión familiar, Telejato, conducida por el peleador
periodista Pino Maniaci, enfrenta, casi solitariamente, la corrupción política y el crimen organizado. El retrato
de un personaje enérgico y contradictorio, y el testimonio de una dramática situación social y política.
ITALIA/FRANCIA
Life Costa Urbana, marzo 26, martes a las 18hs.
Cinemateca 18, marzo 28, jueves a las 19.30hs.
Alfabeta, abril 2, martes a las 17.50 hs.
LA ESPERANZA DE UNA NUEVA VIDA
(Io sono Li)
Dir: Andrea Segre
Italia/Francia 2011 – 92 min. ST. (HD)
Con Zhao Tao, Rade Serbedgia, Marco Paolini
Una inmigrante china en Italia cambia de trabajo e intenta obtener el dinero para poder traer consigo a su
hijo. La relación con un pueblerino italiano despierta alguna esperanza, y un giro final menos grato, Salto a la
ficción del director Segre, quien mantiene la dosis de “atención social” que caracterizara a su documentales
previos.
ITALIA/FRANCIA/ BÉLGICA
Sala Cinemateca, marzo 30, sábado a las 19.20hs.
Alfabeta, abril 3, miércoles a las 17.45hs.
EL VERANO DE GIACOMO
(L’estate di Giacomo)
Dir: Alessandro Comodin
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Italia/Bélgica/Francia/Italia/Bélgica/ Francia, 2011 - 79 min. ST. (HD)
Con: Giacomo Zulian, Stefania Comodin, Barbara Colombo.i
Dos jóvenes amigos (un muchacho y una chica) pasean por el bosque un día de verano, en el norte de Italia.
La anécdota se reduce al mínimo, con tensiones subterráneas que no llegan a aflorar, y que la cámara
recoge sobria y austeramente. Opera prima de su director, ganadora del Leopardo de Oro en el festival de
Locarno. También, premios en Belfort y Cannes.
ITALIA/REINO UNIDO/FRANCIA
Pocitos, marzo 26, martes a las 19.30 hs.
Sala 2, marzo 29, viernes a las 19.15 hs.
THE GOLDEN TEMPLE –
OLYMPIC REGENERATION OF EAST LONDON
Dir: Enrico Masi
Italia/Reino Unido/Francia, 2012 – 70 min. ST. (HD)
Con: Mike Wells, Osita Madu, Iain Sinclair
Un intento de capturar la atmósfera del período previo a los Juegos Olímpicos de Londres. El film percibe el
evento como una metáfora del capitalismo y de las características de una era postcolonial. La exploración
examina el paisaje urbano y reflexiona sobre el cine como herramienta e instrumento de conocimiento.
ITALIA/SUIZA
Casablanca, marzo 27, miércoles a las 15.30hs.
Sala 2, marzo 30, sábado a las 17.30hs.
AMORE CARNE
Dir: Pippo Delbono
Italia/Suiza 2011 - 80 min. ST. (HD)
Con: Bobò, Marie-Agnès Gillot, Irène Jacob, Sophie Calle
A lo largo de sus viajes, el documentalista Delbono recogió con sus cámaras de bolsillo gente, lugares y
momentos reveladores, de París a Budapest y de Estambul a Bucarest. También se encontró con gente muy
variada y a menudo importante. Los numerosos testigos de la danza del universo.
JAPÓN
Sala Cinemateca, marzo 30, sábado a las 21.30hs.
Casablanca, abril 4, jueves a las 22hs.
SAYA ZAMURAI
(Saya Zamurai)
Dir: Hitoshi Matsumoto
Japón 2011 – 103 min. ST. (HD)
Con Jun Kunimura, Masato Ibu
Samurai caído en desgracia tiene un plazo perentorio para hacer reír a un príncipe deprimido. La alternativa
es la ejecución. Entre el dramay la comedia, con puntas críticas y una visión un tanto bizarra de un mundo
que el cine japonés ha pintado otras veces con acentos más heroicos.
Sala 2, marzo 31, domingo a las 19.20 hs.
Alfabeta, abril 3, miércoles 16hs.
SHOUT OF SUMMER
Dir: Hiroshi Toda
Japón 2012 – 76 min. ST. (Digital)
El anciano protagonista trabaja duramente para vivir y mantener a su esposa, mentalmente perturbada. Y
luego las cosas empeoran. Un extraño encuentro en el bosque introduce de pronto, sin embargo, una
dimensión de misterio que este film resuelve con sensibilidad e inteligencia.
KOSOVO
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3/25/13 1:25 PM
Pocitos, marzo 30, sábado a las 17.30hs.
Life Costa Urbana, marzo 31, domingo a las 22hs.
Casablanca, abril 2, martes a las 15.30 hs.
AGNUS DEI
(Agnus Dei)
(Io sono Li)
Dir: Agim Sopi
Kosovo 2012 – 111 min. ST. (HD)
Con: Astrit Alihajdaraj, Dafina Berisha, Zaklina Ostir
Drama basado en hechos reales, una suerte de Edipo en tiempos modernos. Al fondo corren las violencias
entre serbios y kosovares, otro capítulo del infinito drama balcánico. Al frente, una historia de amor prohibido
y muerte. El director viene de la televisión y el documental, y ha realizado otros dos largos.
KENIA/ARMENIA
Pocitos, marzo 27, miércoles a las 18.20hs.
Sala 2, abril 1, lunes a las 19.10hs.
DONKEYMENTARY
Dir: Arman Yeritsyan, Vardan Hovhannisyan
Kenia/Armenia, 2012 – 52 min. ST. (Digital)
Un documental sobre la isla de Lamu, frente a las costas de Kenya, habitada por 24.000 personas, y 6.000
mulas. Shee Famao tiene 14 años y su sueño es tener su propia mula para ganar la carrera anual que se
celebra en la isla y así ayudar económicamente a su familia.
MÉXICO
Cinemateca 18, marzo 23 sábado a las 17hs.
Pocitos, marzo 25 lunes a las 21.40hs
Life Costa Urbana, marzo 27, miércoles a las 18hs.
EL FANTASTICO MUNDO DE JUAN OROL
Dir: Sebastián del Amo
México 2012 – 94 min. (HD)
Con: Roberto Sosa, Juan Manuel Bernal, Juan Carlos Bonet
Fantástico, de veras. Esta seudobiografía del cineasta mexicano (nacido en Galicia) Juan Orol se toma
enormes libertades con los hechos reales, incorpora figuras auténticas (del indio Fernández a Tongolele)
como personajes secundarios, y transmite algo de lo que era el cine de su biografiado, algo así como el Ed
Wood mexicano.
Pocitos, marzo 29, viernes a las 21.50hs.
Sala Cinemateca, abril 2, martes a las 22.15hs.
TODO EL MUNDO TIENE A ALGUIEN MENOS
YO
Dir: Raúl Fuentes
México 2012 – 90 min.
Con: Isabel Aerenlund, Luis Andree Arias, Naian Daeva
La relación lésbica entre una treintañera y una adolescente. Hay un conflicto añadido: uno de los extremos
de la pareja quiere manipular al otro para convertirlo en su imagen en el espejo. La más joven tiene empuje,
sin embargo, y estalla el conflicto.
Sala 2, marzo 27, miércoles a las 22hs
Pocitos, abril 6, sábado a las 22.30 hs.
FLOR DE FANGO
Dir: Guillermo González Montes
México, 2011 – 100 min.
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Con: Odiseo Bichir, Claudia Ramírez, Claudia Zepeda
Investigador bioquímico intenta rescatar de la prostitución a una adolescente, y se interna en un submundo
violento. Película originada en el programa Opera Prima del Centro Universitario de Estudios
Cinematográficos. Melodrama y atención social.
MÉXICO/FRANCIA/ PAÍSES BAJOS/ ALEMANIA
Alfabeta, marzo 24, domingo a las 21.40hs.
Cinemateca 18 marzo 26, martes a las 22hs.
POST TENEBRAS LUX
Dir: Carlos Reygadas
México/Francia/Países Bajos/Alemania 2012 - 115 min. ST.
Con: Adolfo Jiménez Castro, Nathalia Acevedo, Willebaldo Torres
¿El Tarkovski mexicano? Así ha sido llamado a veces el director Reygadas (Japón, Luz Silenciosa). Un
experimento con elementos autobiográficos (su carácter trotamundos, con rodaje en España, Inglaterra y
Bélgica, repite el de su director) y un experimento que entremezcla historias, formas y fantasía. Mejor
director en Cannes.
PAÍSES BAJOS
Pocitos, marzo 27, miércoles a las 17hs.
Cinemateca 18, abril 10, miércoles a las 18.30hs.
OVULOS PARA DESPUÉS
(Ei voor later)
Dir: Marieke Schellart
Países Bajos 2011 – 50 min. ST.
La lucha de la propia directora por tener un hijo mediante fertilización asistida, utilizando procedimientos que
la ley holandesa no admite. La cineasta (y el film) enfrentan la legislación, debaten sus dudas y compromisos
con parientes y amigos, y aportan un punto de vista valioso sobre un tema polémico. Opera prima de su
autora.
POLONIA
Pocitos, marzo 24, domingo, a las 21.20hs.
Casablanca, marzo 26, martes, a las 15.30hs.
Casablanca, marzo 29, viernes a las 18.50 hs.
Cinemateca 18, abril, 9 martes a las 19.30 hs.
ROSA
(Rósa)
Dir: Wojciech Smarzowski
Polonia, 2011 – 90 min. ST. (Digital)
Dir: Marcin Dorocinski, Agata Kulesza, Malwina Buss
Una brutal historia de supervivencia en el marco de la posguerra. Rosa es viuda de un soldado alemán y
debe cuidarse no solamente de las violaciones de los soldados rusos sino de los saqueos de los polacos. La
salvación es Tadeusz, un antiguo oficial del ejército polaco que llega a la granja de Rosa, intentando ocultar
su identidad.
PORTUGAL
Cinemateca 18, abril 4, jueves a las 17.10hs.
Casablanca, abril 6, sábado a las 19.50hs.
CENTRO HISTÓRICO
(Histories)
Dir: Manoel de Oliveira, Aki Kaurismäki, Victor Erice, Pedro Costa
Portugal 2012 – 96 min. ST. (HD)
Con: Ilkka Koivula, Ventura, António Santos, Manuel ‘Tito’ Furtado, Valdemar Santos
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Cuatro directores de prestigio internacional (incluyendo el ermitaño Erice) narran cuatro historias a través de
las cuales proporcionan sus diversas y personales visiones de la ciudad de Guimarães, cuna de la nación
portuguesa. El pretexto es su designación como Capital Europea de la Cultura en 2012.
Casablanca, marzo 29, viernes a las 17.10hs.
Cinemateca 18, marzo 31, domingo a las 17.15 hs.
JESÚS POR UN DÍA
(Jesús por um dia)
Dir: Verónica Castro, Helena Inverno.
Portugal 2012 - 71 min. ST. (HD)
En un pueblito del portugués, los presos de una cárcel preparan la representación anual del Via Crucis. Este
documental describe ese mundo campesino, los ensayos, y varias historias individuales entrecruzadas con
la evocación de la Pasión de Cristo, con algún toque casi surrealista. La ceremonia religiosa es también una
metáfora de la unidad de una comunidad.
PORTUGAL/ FRANCIA/MACAO
Alfabeta marzo 27, miércoles a las 22.15hs.
Pocitos, abril 6, sábado a las 21.30hs.
LA ÚLTIMA VEZ QUE VI MACAO
(A última vez que vì Macao)
Dir: João Pedro Rodrigues, João Rui
Guerra da Mata. Portugal/Francia/ Macao 2012 – 85 min. ST.
Con: Lydie Barbara, João Pedro Rodrigues, João Rui Guerra da Mata
¿Un documental? El protagonista, nunca mostrado, identificado con una cámara subjetiva, viaja a la ciudad
del título en pos de una mujer que ha desaparecido y puede estar muerta. El registro de la realidad se
combina con citas cinéfilas (von Sternberg es la más obvia) y recursos de películas de género, en particular
el policial negro.
PORTUGAL/ NICARAGUA
Casablanca, abril 5, viernes a las 15.30hs.
Cinemateca 18, abril 6, sábado a las 17.15hs.
LA TOMA
Dir: Marcos Ferreira
Portugal/Nicaragua, 2011 - 89 min. (BD)
Con: Cándida Tinoco, José Ramón Palacio, Fátima María Blandón
La vida cotidiana en un asentamiento en los alrededores de Estelí, Nicaragua, donde un grupo de
desplazados erigió sus viviendas e inició la lucha en pos de servicios públicos y títulos de propiedad. El
documentalista Ferreira respeta a sus personajes, observa sus contradicciones, sus esfuerzos y sus miedos,
y logra un testimonio vigoroso y auténtico.
REINO UNIDO/ FRANCIA/BÉLGICA/ ITALIA
Casablanca, marzo 26, martes a las 21.20hs.
Sala Cinemateca, abril 4, jueves a las 21.15 hs.
LA PARTE DE LOS ÁNGELES
(The Angel’s Share)
Dir: Ken Loach
Reino Unido/Francia/Bélgica/Italia, 2012 - 106 min. ST.
Con Paul Brannigan, Jonh Henshaw, Gary Maitland, Jasmine Riggins.
Otra crónica del director Loach (Vida de familia, Tierra y libertad, Mi nombre es todo lo que tengo) sobre los
sectores más desfavorecidos de la sociedad británica. El protagonista intenta dejar atrás un pasado criminal,
pero el medio (familias disfuncionales, alcoholismo) estorba. Loach añade incluso una dosis de humor.
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REPÚBLICA CHECA/ ESLOVAQUIA
Sala Cinemateca, abril 5, viernes 19.40hs.
Sala 2, abril 6, sábado a las 21.30hs.
Cinemateca, 18, abril 10, miércoles a las 21.15hs.
LIDICE
(Lidice)
Dir: Petri Nikolaev
República Checa/Eslovaquia, 2011 – 126 min. ST. (HD)
Con: Karel Roden, Suzana Fialová, Roman Luknár
Como represalia por la ejecución por parte de comandos checos del líder nazi Reinhard Heydrich, el pueblo
de Lidice fue arrasado por las tropas alemanas el 10 de junio de 1942. Sobre novela de Zdenek Mahler, este
film ficcionaliza ese trágico episodio real, entrecruzando las historias personales de varios habitantes. Tensa
y sugerente.
REPÚBLICA CHECA/ ESLOVAQUIA/EEUU/ REINO UNIDO
Cinemateca 18, abril 1, lunes a las 17.30hs.
Pocitos, abril 6, sábado a las 19.25 hs.
LA FAMILIA DE NICKY
(Nickyho rodina)
Dir: Matej Miná!
República Checa/Eslovaquia/ EEUU/Reino Unido, 2011 - 96 min. ST. (HD)
Con: Michal Slan", Klára Issová, Marta Richterová, Aneta Faitová.
La extraordinaria figura de Sir Nicholas Winton, financista que salvó a 700 niños polacos de los nazis en
territorio checoslovaco. Material documental y escenas dramatizadas se entrecruzan con notable eficacia,
para volcar una historia que parece novelesca pero es real.
SUIZA
Alfabeta, marzo 30, sábado a las 16hs.
Casablanca, marzo 31, domingo a las 15.30hs.
UN HOGAR LEJANO
( A HOME FAR AWAY)
Dir: Peter Entell
Suiza, 2012 - 100 min. ST. (HD)
Con: Lois Wheeler Snow, Edgar Snow, Mao Zedong, Chou En-lai, Richard Nixon
Un acercamiento documental al periodista Edgar Snow y su esposa Lois, su fascinación con China y con
Mao Zedong, sus conflictos con las “listas negras” por probable comunismo, sus vaivenes entre los Estados
Unidos, China y Suiza. Un testimonio sobre la utopía y el desencanto.
UCRANIA
Alfabeta, marzo 23, sábado a las 22.35 hs.
Casablanca, marzo 26, martes a las 20.50 hs.
DELIRIUM
Dir: Ihor Podolchak
Ucrania, 2013 – 96 min. (HD)
Con: Volodymyr Khimyak, Lesya Voynevych, Petro Rybka
Una familia recurre a la ayuda de un joven psiquiatra cuando el padre misteriosamente desarrolla tendencias
suicidas. Lentamente se siembra la duda sobre la salud mental de todos los involucrados.
http://www.cinemateca.org.uy/pil.htm
Page 17 of 18

3/25/13 1:25 PM
INICIO · INSTITUCIONAL · CALENDARIO · ESTRENOS FESTIVALES · ECU · PLUS
· DOCUMENTOS · CONTACTO
© 2011 Cinemateca Uruguaya · Lorenzo Carnelli 1311 - 11200 Montevideo - Contacto
http://www.cinemateca.org.uy/pil.htm
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Festival 2013 / FIRST-PRESS CONFERENCE OF THE 4th ODESSA INTE…AS HELD TODAY IN KIEV - Одесский Международный Кинофестиваль
3/18/13 5:38 PM
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Main > Festival 2013> News > FIRST-PRESS CONFERENCE OF THE 4th ODESSA INTERNATIONAL FILM FESTIVAL WAS HELD TODAY IN KIEV
FIRST-PRESS CONFERENCE OF THE 4th ODESSA INTERNATIONAL FILM FESTIVAL WAS HELD TODAY IN KIEV
18.03.2013
In July Serbian director Emir Kusturica and his NO SMOKING ORCHESTRA will visit Odessa with their music performance to be held at Potemkin Stairs, where a 'film poem' by Friedrich Murnau - ‘Sunrise: A
Song of Two Humans’(1927) will be also screened; The Ukrainian National Film Award of the OIFF will be given out in two categories; producer Alexander Rodnyansky ('Cloud Atlas', 'Sin City: A Dame to Kill
for') will become the Head of the OIFF-2013 International Jury.
On Monday, March 18, the first press-conference of the 4th Odessa International Film Festival (July 12-20) was held in Kiev, where the organizers – festival president Victoria Tigipko, director Denis Ivanov and
art director Alik Shpiluk - announced the first OIFF-2013 news. The Head of the Ukrainian State Film Agency Ekaterina Kopylova shared the plans of the OIFF-2013 professional sections and informed
about the latest achievements in the Ukrainian film industry.
The films of the International Competition of the 4th OIFF will be evaluated by the International Jury and for the first time the Ukrainian - one of the most
successful film producers of the former Soviet Union, the director of the Russian festival ‘Kinotavr’ and media-manager Alexander Rodnyansky - will become
its Head. 'Alexander Rodnyansky is a man, who knows what cinematography is – as an art, as a business, as a cultural politics. He is probably the most successful producer from the former Soviet Union – he’s
equally good with both festival hits and blockbusters. As a man, who has found in his work the right place between art and mainstream cinema, Rodnyansky is the perfect candidate for the position of the Head of
OIFF’ International Competition Jury, where the films in the genre of art-mainstream are selected’ – said the OIFF president Victoria Tigipko.
The Serbian film director Emir Kusturica will be the honoured guest of the OIFF- 2013. During the Opening ceremony he will be awarded ‘The Golden Duke’
for his life-time achievement in the motion picture arts. As a present for OIFF audience and Odessa residents, Emir Kusturica and his punk-folk band No
Smoking Orchestra will give a concert on the Festival’s opening day, July 12, on the Potemkin stairs.
Besides, by OIFF tradition, a huge live film performance, accompanied by the symphony orchestra, will take place on the Potemkin stairs – screening of the
grand film poem ‘Sunrise: A Song of Two Humans’ (1927), directed in Hollywood by the influential German expressionist Friedrich Wilhelm Murnau. This
film marked the ‘sunrise’ of the sound films era and won 3 Oscars at the first Academy Awards ceremony.
Since this year the Ukrainian National Film Award, which shortlist is made from all the films, created in Ukraine or in the co-production with Ukraine in the
previous to the next festival's edition time period, will be given out in two categories - Best Ukrainian Feature Film and Best Ukrainian Short Film.
Consequently, the Award's prize fund has increased: ‘The Golden Duke’ will be awarded for the Best Feature Film (monetary award of 50 000 UAH to the film
director ) as well as Prize for the Best Short Film (monetary award of 10 000 UAH to the film director).
At the OIFF press-conference the first nominees for the OIFF-2013 Ukrainian National Film Award were announced: psychological drama ‘Delirium’, directed
by Ihor Podolchak, in the Feature film section; ‘Nuclear Waste’ (directed by Myroslav Slaboshpitskiy, Silver Leopard at Locarno IFF (Switzerland), Grand-
Prix at ‘Kinoshok’ IFF (Anapa, Russia), ‘Spectrum Shorts’ program of the IFFR (The Netherlands)), ‘A Date’ (directed by Yevhen Matvienko, the contest of
the Clermont-Ferrand International Short Film Festival (France)), ‘The Way', directed by Maksim Ksenda and ‘Lessons of Ukrainian’ (directed by Ruslan
Batitsky, !" International Short Film Festival Dr.Mabuse (Spain)) in the Short film section. The Head of the International Jury of the Ukrainian National Film
Award will be British documentary filmmaker, author and curator Mark Cousins.
It was also announced at the press-conference that the Dutch film director Jos Stelling, the Head of the International Jury of the first OIFF in 2010, will visit the
http://oiff.com.ua/en/2013/news/segodnja-v-kieve-sostojalas-pervaja-press-konferencija-4-go-odesskogo-kinofestivalja-.htm
Page 1 of 3

Festival 2013 / FIRST-PRESS CONFERENCE OF THE 4th ODESSA INTE…AS HELD TODAY IN KIEV - Одесский Международный Кинофестиваль
3/18/13 5:38 PM
festival again. The director will present his new film ‘The Girl and Death’, starring Renata Litvinova and Sergei Makovetsky. Jos Stelling as well as other
honoured guests of OIFF 2013, American ‘King of cult films’ Roger Corman, ‘Czech national treasure’ Jiri Menzel and the director of the Munich Film
Museum Stefan Drössler, will conduct workshops for the students of the OIFF Summer Film School.
OIFF continues to develop platforms for the professional communication and film industry support: Film Market, Film Critics School, Summer Film School,
Work-in-Progress presentations and Pitching sessions. 'OIFF professional section, which partner from the very first festival is the Ukrainian State Film
Agency, will expand significantly – the Heads of the major European film funds are expected – from the UK, France, Germany, Poland, Hungary, Israel and
other countries. Special program will be devoted to the development of the co-production in the former Soviet countries' - informed Ekaterina Kopilova at the
press-conference.
Application forms for participation in the projects Film Critics School, Work-in-Progress and Pitching are already opened on the OIFF website until May 15,
2013.
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Page 2 of 3

Фестиваль 2013 / СЬОГОДНІ У КИЄВІ ВІДБУЛАСЯ ПЕРША ПРЕС-КО…КОГО КІНОФЕСТИВАЛЮ - Одесский Международный Кинофестиваль
3/18/13 5:38 PM
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Delirium - Одесский Международный Кинофестиваль
5/18/13 9:57 PM
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PROGRAM - Одесский Международный Кинофестиваль
6/13/13 10:37 PM
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Search
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PROGRAM
– +
Opening Film
With fanfare and great expectations, the curtain will be raised and the gilded figurines of the Odessa Opera will join the audiences in joy and excitement of the
first festival screening.
– +
International Competition
The international competition program will include the latest in art-mainstream films. These artistically inspired and soulful films are accessible to a wide
audience. They are full of gracefully told stories which will appeal both to proponents of traditional cinema and lovers of conceptual film.
– +
DOMESTIC director Adrian Sitaru
Romania, 2012, 85 min
EAGLES director Dror Sabo
Israel, 2012, 99 min
IN BLOOM directors Nana Ekvtimishvili, Simon Groß
Georgia, Germany, France, 2013, 102 min
OH BOY director Jan Ole Gerster
Germany, 2012, 88 min
PARADJANOV co-directors Serge Avedikian, Olena Fetisova
Ukraine, France, Armenia, Georgia, 2013, 95 min
THE FUTURE director Alicia Scherson
Chile, Germany, Italy, Spain, 2013, 95 min
THE GEOGRAPHER DRANK HIS GLOBE AWAY director Alexander Veledinsky
Russia, 2013, 100 min
THE LIABILITY director Craig Viveiros
United Kingdom, 2012, 95 min
THE LUNCHBOX director Ritesh Batra
India, France, Germany, 2013, 104 min
THE NECESSARY DEATH OF CHARLIE COUNTRYMAN director Fredrik Bond
United States, 2013, 107 min
TRAFFIC DEPARTMENT director Wojtek Smarzowski
Poland, 2013, 117 min
Ukrainian National Film Award. Features
Ukrainian feature films are worth their film-reel weight in gold. Each of them is intimate. Each of them struggles to balance the echoing voices of its ancestors
with personal stories. Each of these films is filled with hope and vision.
CREDENZA director Valentyn Vasyanovych
Ukraine, 2013, 81 min
DELIRIUM director Ihor Podolchak
Ukraine, Czech Republic, 2012, 96 min
I DON'T WANNA DIE director Alisa Pavlovskaya
http://oiff.com.ua/en/2013/program/
Page 1 of 6

PROGRAM - Одесский Международный Кинофестиваль
6/13/13 10:37 PM
Ukraine, Russia, 2013, 70 min
PARADJANOV co-directors Serge Avedikian, Olena Fetisova
Ukraine, France, Armenia, Georgia, 2013, 95 min
– +
Ukrainian National Film Award. Shorts
These determined sprouts breaking into the forest of cinema are varied in both style and genre. The sometimes scathing, often touching stories of Ukrainian
good guys and bad guys are always attuned to the pulse of our time.
– +
– +
A DATE director Yevhen Matviyenko
Ukraine, 2012, 10 min
CINEMA UKRAINE director Maksym Madonov
Ukraine, 2013, 13 min
COMMEMORATION director Iryna Tsilyk
Ukraine, 2012, 24 min
HELEN director Lesya Kalynska
United States, Ukraine, 2013, 20 min
HUG director Philip Sotnychenko
Ukraine, 2013, 30 min
JUNK director Dmytro Glukhenky
Ukraine, 2012, 12 min
NUCLEAR WASTE director Myroslav Slaboshpytskiy
Ukraine, 2012, 29 min
NYMPHO director Oleg Borshchevsky
Ukraine, 2013, 20 min
SIRS AND MISTERS director Olexandr Techyns'kyy
Ukraine, 2013, 35 min
THE FIRST STEP IN THE CLOUDS director Alina Gorlova
Ukraine, 2012, 15 min
THE WAY director Maxim Ksjonda
Ukraine, 2013, 20 min
UKRAINIAN LESSONS director Ruslan Batytsky
Ukraine, 2012, 30 min
Special Event: !inema_live
These programs include films made by jury members and honored festival guests. Many of them are being screened in Ukraine for the first time.
SUNRISE: A SONG OF TWO HUMANS director Friedrich Wilhelm Murnau
United States, 1927, 95 min
Gala Premieres
As a special treat, we become the very first audiences to see premier films before they make their wide-release appearance. These fresh works make us look at
the world a little differently. Even the red carpet looks a little brighter when we emerge from the darkness of the theater.
– +
AS I LAY DYING director James Franco
United States, 2012, 110 min
BEFORE MIDNIGHT director Richard Linklater
United States, 2013, 108 min
MOOD INDIGO director Michel Gondry
France, Belgium, 2013, 125 min
STOKER director Park Chan-Wook
United States, United Kingdom, 2012, 98 min
THE BEST OFFER director Giuseppe Tornatore
Italy, United States, 2013, 124 min
THE BLING RING director Sofia Coppola
United States, 2013, 90 min
THE GIRL AND DEATH director Jos Stelling
Netherlands, Russia, Germany, 2013, 127 min
THE GREAT BEAUTY director Paolo Sorrentino
Italy, France, 2013, 142 min
THE LOOK OF LOVE director Michael Winterbottom
United Kingdom, United States, 2013, 101 min
YOUNG AND BEAUTIFUL director François Ozon
France, 2013, 90 min
Festival of Festivals
http://oiff.com.ua/en/2013/program/
Page 2 of 6

PROGRAM - Одесский Международный Кинофестиваль
6/13/13 10:37 PM
Lions, Tigers, and Bears, hailing from Venice, Rotterdam, and Berlin attend the Odessa Film Festivals along with many other winning films from the previous
year. From Sundance to Cannes, our festival hunters brought back a varied and impressive crop of winners, now all on display for us in Odessa.
– +
– +
FAT SHAKER director Mohammad Shirvani
Iran, Islamic Republic of, 2013, 85 min
FINAL CUT: LADIES AND GENTLEMEN director György Pálfi
Hungary, 2012, 84 min
JISEUL director Muel O
Korea, Republic of, 2012, 108 min
PUSSY RIOT: A PUNK PRAYER directors Mike Lerner, Maxim Pozdorovkin
Russia, United Kingdom, 2013, 86 min
New Russian Films
Sergei Paradjanov Retrospective
A genius often struggles with his muse. He is volatile, whimsical, and piercing. This year we will look with fresh eyes upon both the acclaimed masterpieces
of Sergei Parajanov, as well as the master’s lesser known, often unfinished or experimental works.
– +
– +
– +
ANDRIESH directors Ya. Bazelyan, S. Paradjanov
USSR, 1954, 63 min
SHADOWS OF FORGOTTEN ANCESTORS director S. Paradjanov
USSR, 1964, 97 min
KIEV FRESCOES director S. Paradjanov
USSR, 1966, 15 min
HAKOP HOVNATANYAN director S. Paradjanov
USSR, 1967, 8 min
SAYAT NOVA director S. Paradjanov
USSR, 1968, 79 min
THE LEGEND OF SURAM FORTRESS directors S. Paradjanov, D. Abashidze
USSR, 1984, 88 min
ARABESQUES ON THE PIROSMANI THEME director S. Paradjanov
USSR, 1985, 20 min
MAESTRO director Alexander Kaidanovsky
Russia, 1993, 53 min
Tribute to Michael Winterbottom
Special Screenings
This program includes films made by jury members and honored festival guests. Many of them are being screened in Ukraine for the first time.
A STORY OF CHILDREN AND FILM director Mark Cousins
United Kingdom, 2013, 101 min
BETRAYAL director Kirill Serebrennikov
Russia, 2012, 115 min
CLOSELY WATCHED TRAINS director Ji!í Menzel
Czechoslovakia, 1966, 93 min
CORMAN'S WORLD: EXPLOITS OF A HOLLYWOOD REBEL director Alex Stapleton
United States, 2011, 95 min
FIDELITY director Petr Todorovsky
USSR, 1965, 87 min
JAYNE MANSFIELD'S CAR director Billy Bob Thornton
United States, 2012, 122 min
MY SUMMER OF LOVE director Pawel Pawlikowski
United Kingdom, 2004, 86 min
PARADISE: HOPE director Ulrich Seidl
Austria, France, Germany, 2013, 91 min
PRIMORSKY BOULEVARD director Aleksandr Polynnikov
USSR, 1988, 128 min
Master Classes
The Summer Film School is a venue for master classes with leaders in the field of cinema as well as for opportunities for creative meetings with virtuosos.
This aspect of the festival is an opportunity for professional development and creative networking. It gives film-makers and fans alike a point of contact with
http://oiff.com.ua/en/2013/program/
Page 3 of 6

"У каждого фильма есть что-то сюрреалистическое" - победитель ук…а в Одессе получит 50 000 грн | Культура | Новости на Gazeta.ua
6/19/13 5:01 PM
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6/19/13 5:01 PM
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"У каждого фильма есть что-то сюрреалистическое" - победитель ук…а в Одессе получит 50 000 грн | Культура | Новости на Gazeta.ua
6/19/13 5:01 PM
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2'3&"('. T4

Украинское кино на Одесском кинофестивале, Buro 24/7
7/22/13 10:22 AM
Голосования
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Page 2 of 8

Украинское кино на Одесском кинофестивале, Buro 24/7
7/22/13 10:22 AM
Buro 24/7 продолжает знакомить читателей с событиями 4-го Одесского международного кинофестиваля. На этот раз мы предлагаем взглянуть
по-новому на современный отечественный кинематограф. На ОМКФ-2013 украинское кино выделено в отдельную программу: это Украинская
национальная премия - полный и короткий метр, а также гала-премьеры.
Delirium - вторая полнометражная кинолента львовского режиссера Игоря Подольчака по мотивам повести Дмитрия Белянского «Индуктор».
Жанр картины не так просто определить, но, скорее, это история про дом, откуда нет выхода: молодой психиатр поселяется в семье, чтобы
наблюдать за больным главой семейства с суицидальным стремлением к веревкам и узлам. С развитием событий оказывается, что проблемы с
психикой возникают уже у самого гостя.
«Креденс» Валентина Васяновича - это рождественская сказка во Львове. Только вот доброй эту сказку сложно назвать: красивые дома
скрывают неубранные дворы и обшарпанные помещения, а люди, с виду добрые и приветливые, на поверку оказываются «дикими» и лишенными
морали. Главный герой картины - виолончелист, который должен отстоять право на свое пространство, на воздух в этом мире, чтобы просто
дышать. Предыдущая работа режиссера - «Обычное дело» - уже была отмечена международным жюри Одесского кинофестиваля как «шаг
к возрождению украинского кино».
http://buro247.com.ua/cinema/collections/ukrainskoe-kino-na-odesskom-kinofestivale.html
Page 4 of 8

Украинское кино на Одесском кинофестивале, Buro 24/7
7/22/13 10:22 AM
«Не хочу умирать» Алисы Павловской - это погружение в одесский андеграунд, ту сторону города, о которой не знают и не хотят знать ни
туристы, ни даже местные жители. В главной роли - рок-звезда одесского андеграунда Стас Подлипский. Он сам и стал инициатором создания
фильма, рассказав режиссеру историю своей жизни. «Не хочу умирать» - классическое фестивальное кино, так как немногие сейчас захотят
знакомиться с антисанитарией коммунальных квартир, местными забегаловками, дешевым алкоголем и полным галлюцинаций сознанием
главного героя.
В обзоре лучших фильмов ОМКФ-2013 Buro 24/7 уже писало о картине «Параджанов» Сержа Аведикяна и Елены Фетисовой о жизни
знаменитого украинского режиссера Сергея Параджанова, чья любовь к красоте и искусству оказалась сильнее запрета работы в кино со
стороны советской власти и даже заключения в тюрьму.
http://buro247.com.ua/cinema/collections/ukrainskoe-kino-na-odesskom-kinofestivale.html
Page 5 of 8

Украинское кино на Одесском кинофестивале, Buro 24/7
7/22/13 10:22 AM
На премию короткого метра претендуют 12 фильмов украинских режиссеров, среди которых лента украинца Мирослава Слабошпицкого
«Ядерные отходы» о мужчине и женщине, работающих в зоне отчуждения. Картина стала первой лентой в истории украинского кинематографа,
получившей номинацию на приз Европейской киноакадемии в категории «Лучший короткометражный фильм».
Среди гала-премьер украинского кинематографа выделены три фильма. Первый - Lombard режиссера Любомира Левицкого, ранее снявшего
первый украинский триллер «Штольня». Это история двух братьев, получивших в наследство известный в городе ломбард и пытающихся
завладеть им любым путем.
http://buro247.com.ua/cinema/collections/ukrainskoe-kino-na-odesskom-kinofestivale.html
Page 6 of 8

Украинское кино на Одесском кинофестивале, Buro 24/7
7/22/13 10:22 AM
Действие в фильме ужасов «Синевир» Александра и Вячеслава Алешечкиных начинается в Киеве 70-х. Герой по имени Егор участвует в
экскурсии по Софии Киевской и всматривается в жуткое изображение существа с телом человека и головой пса. Затем действие переносится в
советские Карпаты. Дети - брат и сестра, живущие в небольшом хуторке возле горного озера Синевир, - тайком убегают на рыбалку и слышат из
лесу крик: «Ау!»...
«Лоли кали шуба» - так на Закарпатье ромские дети называют божью коровку, и именно так - «Табор (Лоли кали шуба)» - режиссер Александр
Балагура назвал свой фильм. Критики определили картину как эссе про путешествие двадцать лет спустя в старые места в надежде встретить
кого-то из персонажей своего фильма двадцатилетней давности.
http://buro247.com.ua/cinema/collections/ukrainskoe-kino-na-odesskom-kinofestivale.html
Page 7 of 8

Украинское кино на Одесском кинофестивале, Buro 24/7
7/22/13 10:22 AM
15 июля 2013 12:00
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Теги: ОМКФ-2013, Мирослав Слабошпицкий, Сергей Параджанов, Любомир Левицкий
Текст: Александра Кривуля
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Page 8 of 8

Новости. ОМКФ 2013. ОМКФ-2013. День 8-9: прошлое и будущее украинского кино
7/23/13 8:22 AM
ОДЕССКИЙ 12-20 ИЮЛЯ 2013
МЕЖДУНАРОДНЫЙ КИНОФЕСТИВАЛЬ
НОВОСТИ
—
ГЛАВНАЯ
О ФЕСТИВАЛЕ
НОВОСТИ
ЖЮРИ ФЕСТИВАЛЯ
ПРОГРАММА
ОЦЕНКИ ЭКСПЕРТОВ
ОМКФ-2013. День 8-9: прошлое
и будущее украинского кино
Последние дни в Одессе прошли под знаком украинского кино — и это, нужно признать, были
одни из самых интересных событий фестиваля.
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В пятницу показали новый фильм Киры Муратовой «Вечное возвращение». Это серия
повторяющихся сценок о том, как мужчина приходит к своей бывшей однокласснице
и рассказывает ей, что разрывается между двумя женщинами (женой и любовницей).
В каждой из сценок подобная новость вызывает совершенно разную реакцию
одноклассницы — от злости до признания в любви.
Если первую половину картины в кадре появляются актеры меньшего калибра,
то во второй — солируют гранды вроде Олега Табакова, Сергея Маковецкого и Ренаты
Литвиновой. Однако в какой-то момент становится очевидным: все, что показывается
на экране, — кинопробы для фильма режиссера, который уже умер. Именно в этом
и заключается подсказка к пониманию фильма Муратовой. Ее лента — это прежде всего
http://www.okino.ua/special/omkf2013/news/6754/
Page 1 of 3

Новости. ОМКФ 2013. ОМКФ-2013. День 8-9: прошлое и будущее украинского кино
7/23/13 8:22 AM
рассуждение о том, чем является кино сегодня, и о том, что снимать кино сейчас все
сложнее и сложнее из-за бюрократии и финансовых причин.
Интересно, что другой украинский фильм дня — «Делириум» — полностью опровергает эту
теорию. Бывший львовский арт-художник Игорь Подольчак получил для этой ленты грант
Роттердамского кинофестиваля (ранее подобной помощи удостаивался Мирослав
Слабошпицкий), добавил своих денег и снял очень необычный украинский фильм последних
лет. «Делириум» — это безумная фантазия, история о странных людях, пребывающих
в одном особняке. Здесь есть врач, приехавший лечить дочь хозяйки дома, есть эта самая
хозяйка, ее глухонемая дочь и ее молодой муж. В фильме хватает отсылок к Мазоху, и сам
он скорее напоминает безумный сон.
При этом в украинском кино «Делириум» — это действительно что-то новое и невиданное.
Это кино европейского уровня. Последнее особенно символично: там, где Муратова
фактически говорит о трудностях и невозможности кино, Подольчак, наоборот, снимает очень
важный фильм вопреки всему. Именно это позволяет некоторым сегодня утверждать, что
время Муратовой уже ушло, а пришло время Игоря Подольчака.
И наконец, третий важный украинский фильм последних дней — это победитель
национального короткого метра, фильм «Дорога» Максима Ксёнды. Говорят, эта работа очень
впечатлила жюри украинского конкурса; еще известно, что именно она была снята на грант
фонда Ахметова. По сюжету, несколько подростков привязывают к грузовику инвалидную
коляску, чтобы в ней один из них смог добраться до Полтавы, к своему отцу. Поначалу все
идет удачно, грузовик тащит коляску с парнем. А режиссер снимает все это в лучших
традициях американских фильмов про гонки (с напряжением и драйвом). Потом, правда,
подростка наконец-от замечает водитель — и начинается уже совсем другая история:
с небольшими проблемами в драматургии и не очень удачными моментами. Но даже несмотря
на них, «Дорога» — выглядит довольно крепкой работой и в какой-то мере превосходит
по уровню нашумевшие «Уроки украинского» и «Ядерные отходы».
http://www.okino.ua/special/omkf2013/news/6754/
Page 2 of 3

Новости. ОМКФ 2013. ОМКФ-2013. День 8-9: прошлое и будущее украинского кино
7/23/13 8:22 AM
Фильмом закрытия фестиваля, показанным в субботу, стала картина сестры Карлы Бруни —
Валерии Бруни-Тедески «Замок в Италии». Это биографическая лента, где рассказывается
о семействе Бруни и трагической смерти брата Валерии, умершего от СПИДа. Кроме того,
сама Бруни-Тедески играет здесь главную роль, а ее нынешний бойфренд Луи Гаррель —
ее возлюбленного. Однако, несмотря на все личностные мотивы, «Замок в Италии» оказался
обычной французской мелодрамой, в которой есть любовная история, юмор, грусть,
человеческие драмы. В этом выборе даже есть свой символизм. Открывался ОМКФ фильмом
о борьбе со стихией (борьба с трудностями по организации фестиваля), а закрывается —
историей о семейном кризисе (конец смотра, все покидают Одессу, прощай новая-старая
семья).
ЕЩЁ НОВОСТЕЙ ОМКФ 2013
СПЕЦПРОЕКТ ОМКФ 2013
ПОДГОТОВЛЕН И ПОДДЕРЖИВАЕТСЯ
ПОРТАЛОМ OKINO.UA
ЧЕТВЕРТЫЙ ОДЕССКИЙ МЕЖДУНАРОДНЫЙ
КИНОФЕСТИВАЛЬ 12-20 ИЮЛЯ 2013
http://www.okino.ua/special/omkf2013/news/6754/
Page 3 of 3

Ігор Подольчак: «Я в принципі знімаю нове кіно» | УКРІНФОРМ
7/23/13 8:20 AM
Ігор Подольчак: «Я в принципі знімаю нове кіно»
Українська прем’єра вітчизняного фільму «Delirium» (у перекладі "марення") режисера Ігора Подольчака відбулася на 4-му Одеському
кінофестивалі.
За сюжетом молодого психіатра запрошують пожити в сім'ї, щоб постежити за батьком, який одержимий суїцидальним потягом до
мотузок і вузлів. Але цілком можливо, що все навпаки і, власне, психічне здоров'я гостя викликає серйозне занепокоєння.
Ігор Подольчак – режисер, продюсер, автор численних художніх проектів. «Delirium» - це другий його кінопроект після Las Meninas.
Який було знято в 2008 році. Про свою нову роботу режисер розповів на кінофестивалі, передає кореспондент Укрінформу.
- Як було створено кіно?
- Фільм знятий за мотивами повісті Дмитра Бєлянського. Я досить далеко від самої повісті відійшов. Писав сценарій рік. Знімальний період
становив приблизно 30-35 днів. Але був довгий шлях завершення кіно, зумовлений фінансовими обставинами. Багато чого ми були змушені
робити самостійно. Тому повний обсяг роботи над кіно становив три роки.
- Де проходили зйомки?
- Основні зйомки проходили у Брюховичах під Львовом. Ще з австро-угорських часів це є курорт. Зйомки проходили в місцевому будинку, де
також були встановлені декорації.
- Як підбирали акторів?
- Так сталося, що всі жінки в кіно – професіонали, а всі чоловіки – аматори. Так склалося. Але не з фінансових причин.
- Чи важлива для Вас участь саме в Одеському кінофестивалі?
- Це мій перший досвід участі в українському кінофестивалі. До цього разів тридцять я брав участь у закордонних кінофорумах. А перший
досвід – він завжди важливий.
- Над чим Ви працюєте зараз?
- Зараз я працюю над третім фільмом. Він вже знаходиться в просунутій стадії. Фільм базується на романі Андрія Бєлого «Петербург». Як і в
випадку із картиною «Delirium», я досить далеко відійшов від першоджерела. Я спробував відокремити тематику, яка мене цікавить. Там буде
багато соціальних моментів. Зокрема, проблема тероризму. Як ця проблема накладає відбиток на родинні відносини. Я гадаю, що він буде більш
широким за географією. Натуру ми будемо знімати в Петербурзі та Венеції, а також працювати в павільйонах.
- Чи вважаєте Ви, що знімаєте нове українське кіно?
- Я в принципі знімаю нове кіно. А воно може бути українським.
Спілкувався Богдан Димовський, Укрінформ
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У разі використання цього матеріалу посилатися на сторінку джерела
Код посилання: Укрінформ
14:23 22.07.2013
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В Україні зняли 3D трилер з карпатськими краєвидами
20.07.2013 | 05:54
Режисер фільму «Москва-Півники» готується до нової прем'єри
http://www.ukrinform.ua/ukr/news/igor_podolchak_ya_v_printsipi_znimayu_nove_kino_1847033
Page 2 of 7

ОМКФ инфицирован | kievreport - arts, letters, noise, pain
7/24/13 6:42 AM
22 июля 2013, 19:20 Константин Дорошенко
ОМКФ инфицирован
Инфицирован визуальным искусством. Уже второй год подряд его программа
сопровождается выставками: в 2012-м — Александра Ройтбурда, чья работа была
репродуцирована на постере одесского кинофорума, нынче — Сергея Параджанова,
которому в следующем году исполнилось бы 90. Но дело не в вернисажах.
В демонстрируемом на фестивале кино художественный акцент, от живописи до видеоарта,
очевиден.
Разумеется, зритель выбирает другое. Именно он определяет судьбу гран-при на ОМКФ.
Постсоветскому зрителю нужны диалоги, жизненность, шутки и гэги, которые можно потом
цитировать десятилетиями — как в фильме Александра Велединского «Георгаф глобус
пропил». Он получил гран-при и будет любимым в народе не меньше, чем «Любовь
и голуби» или перманентный Рязанов. Наградой «Лучший фильм фестиваля» картину
отметило и международное жюри. Его председатель, создатель «1+1» и вообще славный
телепродюсер, то есть эксперт во вкусах обывателя, Александр Роднянский отметил
«полноценность характеров» ленты.
27 июня 2013, 12:30
М'ясистість влаштовує ніч наївної ретрофантастики
26 июня 2013, 13:13
Объявлены номинанты премии
PinchukArtCentre 2013
14 июня 2013, 15:25
В Киеве состоялся Конгресс
рисовальщиков
10 июня 2013, 15:42
В Киеве покажут живопись по шелку
Русудан Петвиашвили
10 июня 2013, 15:39
В Киеве пройдет выставка Маши
Шубиной "LOSTandFOUND/adaptation"
Switch
Не обошли и снятый к юбилею байопик «Параджанов» Елены Фетисовой и Сержа
Аведикяна, исполнившего, к тому же, в нем главную роль. В номинации «Лучший
украинский полнометражный фильм» жюри предпочло его «Креденсу» Валентина
Васяновича, с точки зрения полноценности характеров, да и способности вести нить
киноповествования, куда более убедительному.
То, что эту награду не получит «Delirium» Игоря Подольчака, стало понятно после
просмотра. Один из громких украинских художников 90-х, создатель «Фонда Мазоха»
и серии художественных провокаций в духе политического цинизма, снял фильм,
проваливающийся между артхаусом и видеоартом. Авторское любование расфокусом кадра
и повторяющимися картинами монотонного бытового помешательства убаюкивает. Фильм
оставляет впечатление монолога увлеченного психологическими девиациями
интеллектуала, любующегося круговоротом собственной мысли-наблюдения-формулы.
Чужой поток сознания может увлечь. Но самодовольная зацикленность в зрителе
не нуждается. Впрочем, клинической картине одного из вариантов вынесенного в название
фильма диагноза, delirium tremens, свойственно постоянное возвращение к тем же темам
на протяжении одного разговора, всегда — с одинаковым возбуждением.
Йос Стеллинг, мастер отнюдь не массового кино и также во многом инспирированного
искусством, все же ориентирован на зрителя. Конечно, своего — терпеливого,
образованного и ироничного. Его фильмы построены на красках, игре света, картинных
мизансценах, но герои всегда выразительны. Стеллинг использует ту или иную эпоху,
а соответственно — изобразительный ряд, физиогномику типажей, построение кадра, чтобы
наиболее четко отобразить интересующую его грань психологии героя. Историческое время
и его визуальные коды для Стеллинга — инструменты убедительности. «Девушка и смерть»,
представленная в Одессе, разворачивается в начале ХХ века, посредине между Россией
и Парижем, символом тогдашнего европейского мира, в Германии. Фильм превращается
в путешествие художественными стилями — от Передвижников к немецкому романтизму,
а затем — помрачениям fin de siècle. Образный переворот в сторону берлинского
символизма, породившего Пшибышевского и Мунка, происходит в финале столь быстро
и неожиданно, что создает эффект иронический, сколько бы сам Стеллинг ни заверял, что
в этот раз отказался от иронии принципиально. И заставляет задуматься о мягкой
отстраненности режиссера от внутреннего напряжения изображенных им характеров
и их взаимодействия с роком. Зрителю Стеллинг из потребителя предлагает стать
собеседником.
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Ретроспектива фильмов Параджанова, включая «Арабески на тему Пиросмани» и киноэтюд
«Акоп Овнатанян», заставляет задуматься о нем в первую очередь, как о художнике,
а не кинорежиссере. Собственно, последним кино Параджанова стали «Тени забытых
предков», о которых сам он спустя семь лет после премьеры отзывался резко: «Я ушел
http://kievreport.com/cinema/823
Page 1 of 3

ОМКФ инфицирован | kievreport - arts, letters, noise, pain
7/24/13 6:42 AM
абсолютно в сторону от этого этнографического, такого колониального фильма, и считаю,
что это колоссальное заболевание юноши...». Фактически, Параджанов ушел тогда от кино
вообще, ушел в визуальное искусство. «Саят-Нова» («Цвет граната») можно рассматривать
с точки зрения фиксированного на пленку даже не перфоманса, но кинетического
искусства, где в роли мобилей использованы живые люди. Животные, утварь, аксессуары
в его произведениях, где он становится и художником-постановщиком или художником
по костюмам, превращаются в ready-made-объекты в масштабной экспозиции авторского
музея красоты. «Искусство изобразить в жизни, а не жизнь изобразить в искусстве», —
credo Параджанова, сполна воплощенное им, от лагерных рисунков до причудливых
коллажей, созданных из журнальных ли вырезок и бижутерии на картоне,
из византийского ли совершенства внешности Софико Чиаурели, фактур курдских ковров,
армянской архитектуры, плодов и кавказских парней — на экране.
«Диссидент ли он? Безусловно! Только не в политике, а в искусстве», — писала
о Параджанове французская Le Monde. Как раз этого и нет в фильме «Параджанов»,
наполненном плоскими иллюстрациями биографических гипербол и исторических анекдотов
из мемуаров друзей и приятелей мастера, которых, как и в случае с Уорхолом в США,
с каждым десятилетием после смерти художника становится все больше. В основном
экранизирована книжка Василия Катаняна, автора фильмов «У нас в Кабарде», «Москвичи
одобряют и поддерживают курс КПСС», «Н. Булганин и Н. Хрущёв в дружественной
Финляндии» и другой подобной кинодокументалистики. Использовали режиссеры и прием
коллажа — разделяя изображение реальности и параджановских фантазий. Эффекта
достигли карикатурного.
У выставки коллажей маэстро в Литературном музее Одессы эффекта и вовсе не вышло.
Развешенные на белых стенах, вместе с фотопортретами Параджанова и кадрами из его
фильмов, небольшие произведения потерялись, превратившись в экспозицию районного
дома культуры. При том, что эти коллажи — сложный, цельный, визуально
и интеллектуально изысканный мир. Достойный вписаться яркой главой
в «Энциклопедический дворец» нынешней Венецианской биеннале. И стать самоценным
художественным высказыванием, а вовсе не документальным приложением к личности
режиссера, подобно старым ботам или продавленным топчанам в советских музеяхквартирах.
Но деликатные, технологически и эмоционально хрупкие работы требуют
другого экспонирования. Инсталлированные с продуманным освещением, в осмысленных
конструкциях, они станут когда-нибудь открытием для современного искусства.
То же, что принято называть кино Параджанова, преломляется в современном искусстве
сегодня. Вадим Скуратовский видел в последних трех оконченных фильмах Параджанова
(«Саят-Нова», «Легенда о Сурамской крепости», «Ашик-Кериб») воплощение
общекавказского взгляда на противостояние света и тьмы, идущего от зороастрийского
корня, идеи похищения материального из-под власти зла ценой жертвы, вдохновлявшей
и Жоржа Батая. «На мировую культуру действительно можно посмотреть с горных вершин.
Ведь «горные цивилизации», в отличие от «равнинных», — верно, вследствие своих
особенных взаимоотношений с гравитацией, с земным притяжением — куда более
внимательны к «материальному», непрерывно требующему тут особой заботы, особого
"внимания и уважения«...И само человеческое тело, и «природное», и созданное
человеческой рукой — все это здесь, в грозной тени неизбежной и всеохватывающей
гравитации, ценится больше, чем где бы то ни было«, — пишет киевский культуролог.
Подобное восприятие материального, грандиозное без приземленности, а через это —
сакрального, — свойственно творчеству Арсена Савадова, в чьей ментальности также
пульсирует острая дихотомия Кавказа. Созвучия Параджанову встречаются в его
произведениях от эпических «Донбасс-Шоколад» и «Коллективное красное» до акции 1995-
го в галерее «Бланк-арт», представившей видео с обнаженными людьми на раскопках
храмов времен Киевской Руси и перфоманс сидящего в прозрачном стеклянном кубе,
на стеклянном кубе поменьше, голого парня, читающего Омара Хайяма и бреющего лобок.
Короткометражка Ивана Батицкого «Уроки украинского», получившая, как и «Креденс»
Валентина Васяновича, награду FIPRESCI Одесского кинофестиваля, — социализированный
и упрощенный оммаж творчеству Савадова. Вирус современного искусства вступил с
организмом ОМКФ в симбиоз. Используй это организаторы в будущем концептуально, у
кинофорума появится уникальное лицо.
Теги: Арсен Савадов, Йос Стеллинг, Константин Дорошенко, ОМКФ, Параджанов,
Роднянский
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http://kievreport.com/cinema/823
Page 2 of 3

Сьомий день Одеського фестивалю: перші підсумки, непрості фільми Кіри Муратової та Ігоря Подольчака | Українська правда _Життя
7/22/13 10:17 AM
ПОЛІТИКА
ЕКОНОМІКА
ФОРУМ
БЛОГИ
ІСТОРИЧНА ПРАВДА
ЖИТТЯ
СПОРТ
КИЇВ
ТАБЛОID
НАРОДНІ БЛОГИ
RSS
ЗНАЙТИ
Понеділок, 22 липня 2013, 10:15
Новини Публікації Колонки Афіша Фото/відео Інтерв'ю Рейтинги Опитування Архів Авторизуватись
ГОЛОВНА КУЛЬТУРА НАУКА І ТЕХНОЛОГІЇ СУСПІЛЬСТВО ОСОБИСТОСТІ ЗДОРОВ'Я ПОДОРОЖІ МОДА ЇЖА ТА ВИНО КНИГА РОКУ BBC
Культура
Настоятель хоче
виселити з Лаври музеї
та інститут
Культура
Щоденний діалог про
Одеський
кінофестиваль. День
перший
Суспільство
Американський
фотограф "втілює в
життя" дитячі страхи
Сьомий день Одеського фестивалю:
перші підсумки, непрості фільми
Кіри Муратової та Ігоря Подольчака
Версія для друку Коментарі 2
20.07.2013
Анна Купінська, Ігор Грабович
Рекомендувати 27
КОЛОНКИ
Нелли Вернер
Живая правда
"Есть две правды - о себе и правда о других. Человек
прежде всего должен быть честен сам перед собой, а та
правда, которую совесть позволит рассказывать ему по
отношению к другим, пусть будет на его совести", - эти
слова Куценко, пожалуй, выражают идею фильма.
Ігор Грабович: Анно, вітаю з останнім
конкурсним днем фестивалю! Вже підбиті
перші результати фестивалю. Можеш про
них повідомити?
Анна Купінська: Переможцем
короткометражного національного конкурсу
став фільм "Дорога" Максима Ксьонди,
історія про хлопчика, який вирушає у сусіднє
місто на пошуки батька. Призи журі
Міжнародної федерації кінопреси FIPRESCI
отримали фільми "Креденс" Валентина Васяновича та "Уроки української" Руслана
Батицького. На пітчингу отримав схвалення проект Марини Вроди "Степне".
Але ми з тобою ще не обговорили українську програму загалом. Мені було приємно зустріти у
конкурсі дві мої улюблені короткометражки з альманаху "Україно, гудбай!" - "Ядерні відходи"
та "Побачення", а також гіт фестивалю "Докудейс" "Сери та сеньйори".
Із фільмів, які я вперше побачила саме на Одеському фестивалі, мені найбільше припав до
душі "Кінотеатр Україна" Максима Радонова. Це документальна стрічка, дія якої відбувається
у галицькому містечку Радехів. Група студентів інституту ім. Карпенка-Карого вирішує
повернути до життя місцевий кінотеатр "Україна", відкритий 1990 року та занедбаний вже за
часів незалежності.
Юні кіношники планують показувати в кінотеатрі українські фільми, і місцеві жителі, а також
мер міста радо підтримують їхню ініціативу. Проте на шляху ідеалістам встають інтереси
великого бізнесу.
Ця коротка, але сповнена гіркоти і сарказму картина, яка влучно коментує українське
сьогодення. Мадонов, який був і сценаристом картини, вдало обрамлює свою роботу
"оптимістичними" заявами українських чиновників від кіно про сенсаційне відродження
національного кінематографу. Проте реальність, вкладена у цю "потьомкінську" інформаційну
рамку, виявляється значно менш оптимістичною і для українського кіно, і для глядачів.
І.Г.: Як на мене, українська програма засвідчила, що кіно в Україні існує, проте для свого
розвитку воно вимагає додаткового імпульсу, інтелектуального насамперед. Більшість
фільмів, які творяться у нас, видаються мені необов’язковими. Те, що ми побачили у
короткому метрі, по-суті, найкраще із зафільмованого за рік.
"Уроки української", "Кінотеатр "Україна", "Ядерні відходи", "Металобрухт", "Сери та сеньйори"
– кожен з тих фільмів бачить одну і ту саму Україну, регіональну відмінну, проте однаково
занедбану.
"Креденс" з повнометражного конкурсу пропонує такий-сякий вихід з цієї ситуації, проте він
радше містить загальний імпульс, ніж хоч якусь програму. Зрештою, вимагати її від фільмів
Новости bigmir)net
Политика
При восхождении на Говерлу
травмировалась туристка из
Беларуси
В Крыму самолет Ан-2 совершил
аварийную посадку и
перевернулся
Нападение на мэра Львова:
задержанному грозит до пяти лет
тюрьмы
БЛОГИ
Андрій Окара:
Окара готов на спор за полгода
воспитать "украинского
Навального" (КОНТРАКТЫ)
1/5
http://life.pravda.com.ua/culture/2013/07/20/134289/
Page 1 of 7

Сьомий день Одеського фестивалю: перші підсумки, непрості фільми Кіри Муратової та Ігоря Подольчака | Українська правда _Життя
7/22/13 10:17 AM
було б досить дивним. Поряд з соціальним кіно існують спроби фільмувати кіно жанрове, як
на мене, малоуспішні через відсутність школи та досвіду.
Сьогодні ж були показані два найскладніші українські стрічки фестивалю: "Вічне повернення"
Кіри Муратової та "Деліріум" Ігоря Подольчака. Обидві картини я зараховую до радикальних
авторських фільмів. Йдеться про штучний товар, ручну роботу, яка, до певної міри,
протистоїть кіноіндустрії, як сфері розваг та глядачеві, як пошуковцеві комфорту. Обидві
картини спираються на індивідуальну поетику, а не якісь загальні кіношні правила чи
конвенції.
Найпоказовішою з цього погляду є картина Кіри Маратової, дивитися яку, з одного боку,
непросто, а з, іншого, доволі легко. Від фільму досить швидко втомлюєшся, він видається
одноманітним, надуманим і здатен приспати.
КУЛЬТУРА
Ірина Славінська
Світові новинки липня:
Зміни в головах
Анна Купінська
Підсумки Одеського
кінофестивалю –
Золотий Дюк у
грузинів, росіян,
індійців та українців
Анна Купінська, Ігор Грабович
Сьомий день
Одеського фестивалю:
перші підсумки,
непрості фільми Кіри
Муратової та Ігоря
Подольчака
Анна Купінська
Новий фільм Мішеля
Ґондрі та мультик про
швидкісного равлика
Анна Купінська, Ігор Грабович
Шостий день
Одеського фестивалю:
російське кіно,
міжнародні лузери та
еротика
Анна Купінська, Ігор Грабович
П’ятий день Одеського
кінофестивалю:
корманівськоукраїнський
Ігор Грабович, Анна Купінська
Четвертий день
Одеського фестивалю:
фільм про Pussy Riot
НОВИНИ
Настоятель хоче
виселити з Лаври музеї
та інститут
19.07.2013 11:19
Кадр із фільму "Вічне повернення"
Проте якщо дивитися його як сучасний серіал, краєм ока та краєм вуха, не боячись чогось
пропусти і не особливо вдумуючись у побачене, то фільм здатен розвеселити і водночас
розтривожити.
Помер відомий літературознавець
У прихожанки Лаври не взяли подання на
молитву українською мовою
У стрічці йдеться про кінопроби трьох сцен. У першій до певної жінки у двері стукає чоловік.
Виявляється, колись вони були однокласниками, проте не бачилися дуже багато років.
Чоловік прибув сюди у відрядження і вирішив відвідати однокурсницю, аби отримати пораду.
Річ у тім, що він вже десять років одружений з Людмилою, проте три місяці тому зустрів Люсі,
яку також покохав. Чоловік запитує, як йому бути. Жінка починає давати поради, які чоловікові
різко не подобаються. Він звинувачує однокурсницю у черствості, цинізмі, бездушності і ще
чомусь дуже схожому. Співрозмовники сваряться та розходяться, проте згодом чоловік
приходить ще двічі.
Ці три сцени повторюються у картині добрий десяток разів. Його грають різні актори, інколи
одні і ті самі актори повторюються у різних комбінаціях.
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Сьомий день Одеського фестивалю: перші підсумки, непрості фільми Кіри Муратової та Ігоря Подольчака | Українська правда _Життя
7/22/13 10:17 AM
Кадр із фільму "Вічне повернення"
Актори часто не дотримуються тексту діалогу, виголошують щось від себе, змінюють
послідовність тем та предмету обговорення. Незмінним залишається тільки спроба героїні
вгадати ім’я чоловіка, бо на паралельному потоці вчився і його брат-близнюк, а також чотири
поради, які вона йому дає.
І ці три уривки, повторювані одне за одним, не просто контрастують одне з одним, а ще й
збивають глядача з пантелику.
"Вічне повернення" не тільки руйнує звичний сюжет, він демонструє умовність кіносюжету як
такого, показує не просто поліваріантність його розвитку, але також усю непристойну механіку
акторства Аматори тут відтіняють техніку професіоналів, демонструючи їхні прийоми,
оголяючи усю фальш лицедійства.
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Сьомий день Одеського фестивалю: перші підсумки, непрості фільми Кіри Муратової та Ігоря Подольчака | Українська правда _Життя
7/22/13 10:17 AM
Кадр із фільму "Вічне повернення"
Мені здається, Кіра Муратова зняла найрадикальніший фільм про кінематограф, який уміло
деконструює низку його прийомів. Але і це ще не все. Як і будь-який фільм Кіри Муратової,
"Вічне повернення" також бере тебе у полон своєю неповторною манерою оповіді, тому після
перегляду весь час хочеться повторювати репліки його героїв, як певну езотеричну мову, як
водночас нічого не означає і означає усе на світі.
Скажи щось про "Деліріум" Ігоря Подольчака як давня шанувальниця цього
кінематографіста.
А.К.: На жаль, не встигла на початок фільму, тому можу тільки поділитися своїми неповними
враженнями від картини. Перше, що мені впало в око, Подольчак знову звернувся до образів
української буржуазії, проте не сучасної, а схоже, що довоєнної. Пригадую, що у рецензії на
дебютний фільм Подольчака "Меніни" я знаходила витоки його любові до побутових дрібниць
у рідному Львові, де довгий час зберігалася українсько-європейська культура буржуазії та
інтелігенції.
Кадр із фільму "Деліріум"
Саму ж назву стрічки можна прочитати по-різному. У субтитрах до фільму слово "деліріум"
перекладалося як "маячня". Головного героя картини підозрюють у розпаді особистості. Він
зав’язує вузли і весь час говорить про них. Втім, стрічка ставить просте запитання – як можна
відрізнити "маячню" від "норми"? Колір об’єктів – це відображені сонячні промені, звук – це
відбиті від слухових перетинок хвилі. Ми ніколи не можемо бути певні того, що даний звук чи
колір є атрибутом певного предмету. Ми знаємо лише те, що дають нам органи відчуттів.
Наша свідомість структурує непевний і хаотичний потік звуків, запахів, кольорів. Вона формує
уявлення про час та простір. Фільм же каже, що час – це лише петля, де майбутнє та минуле
з’єднані воєдино. Подольчак створює образ такої неструктурованої реальності. Його фільм
змонтований нелінійно, часом звуки навмисне підібрані "неправильно", а усі сцени
зафільмовані у розфокусі.
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Сьомий день Одеського фестивалю: перші підсумки, непрості фільми Кіри Муратової та Ігоря Подольчака | Українська правда _Життя
7/22/13 10:17 AM
Кадр із фільму "Деліріум"
З іншого боку, "деліріум" означає білу гарячку – галюцинаційний стан, який виникає після
довгої пиятики. Змінена свідомість перестає упорядковувати інформацію, і довколишня
реальність знову перетворюється на хаос. Цікаво, що у деяких сценах фокус навмисне
зосереджується на неважливих для сюжету предметах, залишаючи головних героїв на
периферії кадру.
Взагалі, стрічка дуже клаустрофобічна та болісна, вона як чорна діра затягує глядача у себе.
Думаю, це візуальне рішення може бути метафорою для улюбленої Подольчаком української
інтелігенції та буржуазії, яку так само затягнуло у чорну діру часу, і замість її безпосередньої
присутності, ми можемо бачити лише сліди її існування – предмети побуту, які назавжди
втратили своє місце та хазяїв.
Ти побачив усю стрічку Подольчака. Скажи, чи поділяєш ти мої думки про "Деліріум"?
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Сьомий день Одеського фестивалю: перші підсумки, непрості фільми Кіри Муратової та Ігоря Подольчака | Українська правда _Життя
7/22/13 10:17 AM
Кадр із фільму "Деліріум"
І.Г.: Ти сказала багато з того, що відчувалося мені, додам тільки своє розуміння
кінематографічного контексту. Для мене "Деліріум" опинився десь між "Звіром" Валеріана
Боровчика, "Одержимістю" Анджея Жулавського та "Відразою" Романа Полянського. Себто, як
на мене, це кіно знаходиться за крок від жанру.
Не знаю, чи зробить Подольчак цей крок, проте він вміло розмічає територію для людей, які
насміляться піти слідом. Уся пропрацьовано ним фактура, створена атмосфера не можуть
довго залишатися на території арт-гаузу, вони неодмінно повинні перейти до жанрового кіно.
Наприклад, до горора, якого в Україні ніяк не навчаться знімати.
А.К: Завершити нашу розмову мені хочеться одним із фільмів українських-гала прем’єр. Це
"Табір" Олександра Балагури, який також знімає непрості для сприйняття стрічки, проте
зовсім іншого спрямування, аніж філософ Подольчак та руйнівниця канонів Муратова. Думаю,
Балагура намагається передати у своїх фільмах напівусвідомлені переживання, з штибу тих,
які спонукають нас піти гуляти незнайомими вулицями, чи годинами сидіти на лавці та
милуватися пейзажем.
Стрічка "Табір" народилася із бажання режисера повернутися у закарпатський ромський табір,
де він двадцять років тому знімав кіно, і знайти героїв своєї картини. Проте він починає свій
фільм зі слів "Доля нас занесла у табір", а далі показує кількох ромів, із якими його „звела
доля". Балагура – поет спонтанності, і його стрічка цілком складається із вихоплених кадрів з
життя ромів. Ось вони співають і танцюють, займаються господарством, готуються до Нового
року, навіть ходять у туалет.
По-суті, режисер не має засобів для комунікації з ромами. Єдине його запитання – "розкажи
про своє життя", і різні люди по-різному дають на нього відповідь. Він таки стрічається із
героями попередньої картини, але не стає до них ближчим, а просто демонструє їхні портрети
"сьогодні" та "двадцять років тому". "Табір" – це медитативна подорож чужинця загадковими
землями дикунів, і він робить спонтанні дорожні записки, проте не намагається пройнятися
переживаннями своїх героїв.
Зрештою, "Табір" дає цікавий етнографічний зріз, проте нічого не відкриває нам з життя ромів.
Це радше фільм "для настрою", аніж повноцінний наратив, і Балагура створює цей настрій
тонко та майстерно.
Усі фото http://oiff.com.ua
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І неправильні поїзди іноді приходять вчасно | Газета «День»
7/24/13 6:40 AM
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Деякі&підсумки&Одеського&міжнародного&кінофестивалю
Сергій'Тримбач
22'липня,'2013'H'17:29
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ГРАНHПРІ'ОМКФ'—'СТАТУЕТКУ
«ЗОЛОТИЙ'ДЮК»'ТА'ГРОШОВУ
ВИНАГОРОДУ'РОЗМІРОМ'12'ТИС.
ЄВРО'ОТРИМАВ'РОСІЙСЬКИЙ'ФІЛЬМ
«ГЕОГРАФ'ГЛОБУС'ПРОПИВ»,'У
ЯКОМУ'ГОЛОВНУ'РОЛЬ'ВИКОНАВ
КОСТЯНТИН'ХАБЕНСЬКИЙ'/'ФОТО'З
САЙТА'FILMPRO.RU
«ПАРАДЖАНОВ»'—'КРАЩИЙ
УКРАЇНСЬКИЙ'ПОВНОМЕТРАЖНИЙ
ФІЛЬМ'(НА'ФОТО:'СЕРЖ'АВЕДИКЯН
—'ВИКОНАВЕЦЬ'ГОЛОВНОЇ'РОЛІ'І
СПІВРЕЖИСЕР'СТРІЧКИ)'/'ФОТО'З
САЙТА'KINOPOISK.RU
Головний'приз'—'ГранHпрі'«Золотий'Дюк»'за'підсумками
глядацького'голосування'отримав'російський'фільм'«Географ
глобус'пропив»'режисера'Олександра'Велединського.'Ця'ж
стрічка'визнана'кращою'і'журі'на'чолі'з'продюсером
Олександром'Роднянським.
Журі'визначилось'і'з'призами'за'кращу'режисуру'(«Ланчбокс»
індійського'режисера'Рітеша'Батра)'та'за'кращий'акторський
ансамбль'(юні'грузинські'акторки'Ліка'Баблуані'та'Маріам
Бокерія'з'фільму'«У'цвіті»).
Окремо'проводився'конкурс'українських'фільмів'(або
велемовніше'—'«Українська'національна'кінопремія»).'Тут
«Золотого'Дюка»'за'кращу'повнометражну'картину'міжнародне
журі,'очолюване'британцем'Марком'Казінсом,'присудило
фільмові'«Параджанов»'режисерів'Олени'Фетисової'та'Сержа
Аведикяна.'В'конкурсі'наших'короткометражних'стрічок'переміг
фільм'«Дорога»'Максима'Ксенди.'А'журі'Міжнародної
федерації'кінопреси'(FIPRESCI)'серед'українських'робіт'визнало
кращими'повнометражний'«Креденс»'Валентина'Васяновича'та
короткометражні'«Уроки'української»'Руслана'Батицького,
відзначивши,'що'картина'«вразила'журі'своєю'жахливою
красою'та'кінематографічною'могутністю».'І,'нарешті,
переможцем'в'конкурсі'проектів,'що'проводився'в'рамках
продюсерського'пітчінгу,'стала'режисер'Марина'Врода'з
проектом'«Степове».
НАДМІР&СВІТЛОCСІРОГО
Останнім'фільмом,'який'я'бачив'на'фестивалі,'був'Delirium
українського'режисера'Ігоря'Подольчака,'що'брав'участь'в
конкурсі'«Українська'національна'кінопремія».'Перед'початком
сеансу'поспілкувався,'за'кавою,'з'відомим'кінознавцем'і
критиком,'програмним'директором'Московського'кінофестивалю'Кірілом'Разлоговим.'«А'я'тут'тільки
українські'фільми'й'дивлюся»,—'сказав'він'мені.
БЛОГИ
Катерина'Яковленко
Олексій&–&вчитель,&або&в
пошуках&Маріо
Нещодавні'події'в'Москві'змусили
заговорити'про'те,'чому'в'Україні
такого'не'буде.'Не'буде'таких'мітингів,'не'буде'такого
лідера,'не'буде'такого'дивного'судового'рішення.
Людмила'Засєда
«Кіно»&плюс&«а».&Ось&і&все&кіC
ноCа
Мене'заводять'нові'слова.'Буває,
чомусь'не'запам’ятовується'з
першого'разу'—'пусте.'Завжди'під'рукою'знайома
процедура'—'розчленування.'Пограєш'словом'і'так'і'сяк,
знайдеш'його'слабке'місце.
Олександр'Прилипко
Cтарі&пісні&про&головне
Жіночка,'яку'«посадили»'приймати
замовлення'в'солідній'компанії,
відповідає'роздратовано'по
телефону:'«Я'одна,'а'вас'багато!»
Продавці'в'магазинах'раптом'пригадали'лексику
радянської'торгівлі.
Абсолютно'нормальна'логіка'—'приїздити'на'фестиваль,'який'проводиться'в'Україні,'головним'чином
задля'того,'щоб'познайомитися'з'новими'українськими'кінострічками.'Досі'це'було'проблемою'—
приїхавши'до'Києва'чи'Одеси'ви'могли'познайомитись'з'новими'російськими'чи'німецькими
картинами,'а'про'українські'знали'тільки'те,'що'їх'майже'не'продукують.'Ще'рік'тому'в'Одесі'вітчиняне
хоч'і'«наливали»,'але'тільки'краплями'—'так,'щоб'скуштувати.'Цьогоріч'уперше'вітчизняна'програма
зайняла'справді'помітне'місце.'І'в'ній'було'все'і'всі'—'від'класика'Кіри'Муратової,'чий'фільм'«Вічне
повернення»'чомусь'не'включили'до'конкурсної'програми'(він'демонструвався'в'рубриці'ГалаH
http://www.day.kiev.ua/uk/article/kultura/i-nepravilni-poyizdi-inodi-prihodyat-vchasno
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І неправильні поїзди іноді приходять вчасно | Газета «День»
7/24/13 6:40 AM
прем’єри),'до'початківців.
І'це'все'викликало'ентузіастичне'ставлення'фестивальної'аудиторії,'в'якій'спостерігалася'очевидна
домінація'людей'від'20'до'30'років.'Коли'прийшов'на'програму'короткометражних'українських
фільмів,'я'був'приємно'вражений:'зал'на'півтисячі'місць'був'заповнений'вщерть!'А'зацікавлене
обговорення'після'показу...'Це,'може,'найважливіший'підсумок'Одеського'фестивалю'(уже'четвертого)
—'українські'режисери'майже'неочікувано'відчули'інтерес'публіки'(щоправда,'специфічної,
фестивальної,'та'все'ж...)'до'того,'що'вони'роблять.
Відтак'нині'на'порядку'денному'просте'запитання'щодо'якості,'мистецького'рівня'фільмів,'і'тактики'та
стратегії'подальшого'розвитку.'Зокрема,'багато'що'буде'залежати'від'того,'як'підуть'справи'у'прокаті.
Відомо'ж,'що'смаки'й'реакції'фестивальної'публіки'далеко'не'завжди'збігаються'з'масовими
уподобаннями.
Після'перегляду'Deliriumu'Разлогов'пробурчав:'«Вам'не'кажется,'что'здесь'избыток'светлоHсерого»?'А
ще'надмір'деструктивності...'Відповідаючи'—'під'час'розмови'з'глядачами'після'перегляду'—'на
запитання'щодо'свого'режисерського'методу,'Подольчак'відповів'коротко:'«Деструкція'конструкції».
Тобто,'спершу'хатку'вибудовую,'а'потім'її'нищу'—'для'задоволення'свого'і'глядацького.
Delirium'—'це'маячня,'марення,'екстаз,'кілька'разів'це'звучить'у'фільмі,'в'якому'домінує'чорноHбіле
зображення,'насправді'надто'вибілене,'сіре.'А'історія'ніби'ж'проста.'Психіатр'приходить'до'сім’ї,'де
старий'подає'ознаки'схильності'до'самогубства.'Здавалося'б,'це'та'фабула,'яка'дозволяє'оповісти
історію'цілком'конкретну,'наповнену'психологічними'(а'чи'й'психіатричними)'нюансами.'Та'бачте,
«деконструкція».'Тобто,'все'робиться'для'того,'аби,'що'називається,'збити'нас'з'пантелику.
Довгі'плани,'розмите'зображення,'слабка'диференціація'персонажів,'фабула'витікає'всюдибіч,
глядачеві'украй'важко'зібрати'її'докупи.'Нас'заколисують'снодійними'засобами,'а'для'чого?'П’ять'літ
тому'художник'Подольчак'дебютував'фільмом'«Las'Meninas»'і'видавалось,'що'народився'цікавий
режисер,'який'промовляє'до'світу'насамперед'мовою'пластики.'Одначе,'в'новій'картині'все'працює'на
гальмування'контакту'з'глядачем...
Погода 24.07.13, ранок
+14°
Погода у Києві
вологість: 96% тиск: 740 мм
вітер: 4 м/с, північно-західний
Погода у Львові Погода у Донецьку
КОНСТРУКЦІЯ&ДЕСТРУКЦІЇ
А'от'«Параджанов»'Олени'Фетисової'та'Сержа'Аведикяна'(копродукція'України,'Франції,'Грузії,
Вірменії)'зроблено'в'жанрі'байопіку,'себто'біографічного'фільму,'з'дотриманням'усіх'вимог'цієї
загалом'непростої'жанрової'сполуки.'Життєпис'знаменитого'режисера'та'художника'починається'від
початків'1960Hх,'років'найвищого'мистецького'злету,'коли'робилися'«Тіні'забутих'предків».'По'тому'—
тиск'влади'і'тиск'обставин,'за'яких'забраковували'всі'задуми'режисера,'робота'над'стрічкою'«СаятH
Нова»'в'Єревані,'арешт'і'відбуття'покарання'в'таборах,'звільнення'і'фінал,'де'Параджанов'нарешті
виїздить'за'кордон,'на'Захід,'що'сприймається'ним'як'досягнення'свободи...
Тут,'напевноHщо,'неточність,'оскільки'митець'тим'і'відзначався,'що'був'внутрішньо'вільним'незалежно
від'обставин.'Режисер'Михайло'Бєліков'колись'розповідав,'як'вони'з'Романом'Балаяном'одвідували
Параджанова'в'таборі.'«Уже'через'кілька'хвилин'з’явилось'відчуття,'що'це'ми'сидимо'в'таборі,'а
Сергій'прийшов'до'нас'у'гості...».
Фільм'мене'особисто'розчарував.'Можливо'тому,'що'я'надто'багато'знаю'про'Параджанова'і'навіть
працюю'над'книгою'про'нього.'Відтак'зрозуміло,'що'картина'робилася'не'для'такого'глядача,'як'я.
Одначе'ж'трапилося'те,'що'часто'трапляється'у'подібних'випадках,'коли'фільм'про'генія'—'а'самого
генія'в'кадрі'якось'не'видко!'Хіба'що'в'епізоді'про'відвідини'Марчелло'Мастроянні'—'ось'тут
проблискує'та'карнавальність,'майстром'якої'був'митець.'Який'умів'перетворити'на'свято,'на'обрядову
виставу'будьHяку'подію...'Втім,'з'моєю'оцінкою'фестивальні'глядачі'не'погодились,'поставивши'картину
на'третє'місце'в'глядацькому'рейтингу.'І'прекрасно'—'попри'все'хочеться,'аби'наші'фільми'якомога
активніше'йшли'в'прокат.
На'відміну'від'«правильного»'фільму'Фетисової'та'Аведикяна'картина'«Вічне'повернення»'Кіри
Муратової'всуціль'—'«неправильна'«.'Впродовж'всього'перегляду'нас'змушують'дивитися'один'і'той
же'епізод'у'виконанні'різних'акторів.'Одначе'малоHпомалу'з’ясовується,'що'дивитися'це'надзвичайно
цікаво.'Чому?'Бо'кожен'такий'собі'повтор'несе'нову'інформацію'—'історія'та'сама,'фабула
повторюється,'та'сюжетика,'внутрішня'історія'виявляє'свою'інакшість.
ЗАГІРНЕ&ЩАСТЯ
Головні'призи'від'публіки'та'професійного'журі'картині'російського'режисера'Олександра
Веледінського'«Географ'глобус'пропив»'були'очікуваними.'Такий'собі'сучасний'парафраз'знаменитих
«Польотів'уві'сні'і'наяву»'Романа'Балаяна.'Типологічно'дуже'подібний'герой,'тільки'тридцять'літ
потому.'Живе'він'у'наші'дні,'в'Пермі,'у'нього'є'дружина'й'донька,'а'от'грошей'катма.'То'ж'він'і'йде
вчителювати'—'географом'у'звичайнісіньку'школу...
Сіяти'добре'й'вічне'герой'Костянтина'Хабенського'не'дужеHто'схильний.'Та'й'покинути'зазирати'у
пляшку'так'само'йому'не'під'силу.'Як'і'багато'чого'іншого.'Весь'він'неправильний,'але'чомусь'жінки'до
нього'тягнуться.'Закохана'в'нього'школярка'Маша'пояснює:'«Овечкін'(закоханий'в'неї'однокласник)
все'робить'правильно,'але'я'його'не'люблю.'А'без'вас'—'жити'не'можу».
Та'все'життя'російського'провінційного'міста'якесь'схиблене.'Заледве'не'перший'план'відкриває'нам
великий'напис'над'рікою:'ЩАСТЯ'ЗА'ГОРАМИ.'По'тому'від’їжджає'авто,'і'ми'бачимо'посередині'фрази
слово'НЕ,'доти'закрите.'Одначе'ж'щастя'тут'ні'в'кого'немає'—'і'воно'навіть'не'світить'якось.'Ні
«ДЕНЬ»&У&СОЦІАЛЬНИХ&МЕРЕЖАХ
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Україну?
'Україна'є'спадкоємицею'Київської'Русі'і'традиції
української'державності'триваліші'ніж'російської
'Незалежність'1991'–'не'випадковість,'а'результат
зусиль'багатьох'поколінь'українців
http://www.day.kiev.ua/uk/article/kultura/i-nepravilni-poyizdi-inodi-prihodyat-vchasno
Page 2 of 4

І неправильні поїзди іноді приходять вчасно | Газета «День»
7/24/13 6:40 AM
старшим,'ні'молодшим...'Чому?'Може'тому,'що'хтось'перекрив'—'у'свідомості'—'оте'саме'коротке'НЕ,
й'ніхто'не'вірить'у'присутність'щастя'на'берегах'Ками,'в'отих'обшарпаних'будинках,'побіля
проіржавлених'суден,'які'намертво'вмерзли'в'кригу?
Спроба'подолати'мертвотний'плин'життя'не'вдасться,'і'все'вернеться'на'круги'своя.'А'спроба'полягала
в'тому,'що'учитель'повіз'своїх'учнів'на'живу'природу'і'буквально'кинув'у'вир'випробувань.'Тут'події
закручуються'—'дещо'штучно,'видається'мені'—'аж'надто...'Одначе,'в'підсумку'зрозуміло,'про'що
йдеться:'життя'це'запліснявіле'треба'ламати,'інакше'воно'зламає'тебе.
'Навальний'просто'має'позбутися'імперського
синдрому
'Йому'б'у'російських'проблемах'розібратися…
Голосувати
Старі'опитування
Результати
У'чомусь'схожа,'до'речі,'колізія'і'в'українському'фільмі'«Креденс»'Валентина'Васяновича.'Герой,
львівський'віолончеліст,'занурений'в'обставини'родинного'та'громадського'побутування.'Більшість'з
них'сприймаються'ним'як'ідіотські,'хоча'він'терпить'—'як'це'відбувається,'власне,'з'кожним'із
нас.Терпить,'аби'ближче'до'фіналу'обрушити'всю'конструкцію'цього'ніби'злагодженого'життя.'Тільки
на'відміну'від'фільму'Подольчака,'тут'деструкція'є'пружиною'фабули,'а'не'стильовим'маркером.
У'кращому,'на'мій'смак,'фільмі'Одеського'фестивалю'«Ланчбокс»'індійського'режисера'Рітеша'Батра
звучить'сентенція'про'те,'що'навіть'неправильний'поїзд'іноді'приходить'вчасно'і'в'заданий'пункт
призначення.'Сучасна'цивілізація'призвела'до'надто'високого'ступеню'стандартизації'життя.'От'і
хочеться'ламати'ті'стандарти,'допоки'ми'не'опинилися'під'їх'цілковитим'гнітом...
Сергій'ТРИМБАЧ,'Одеса'—'Київ
Рубрика: Культура
Газета: №127,'(2013)
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ГОЛОВНІ&НОВИНИ
Одинадцятий
«Маршрут'№1»'H'уже
в'редакції'«Дня»!
ОБСЄ'закликає'владу
України'підвищити
безпеку'журналістів
Учасники
"Врадіївської'ходи"
звинувачують
політиків'у
дискредитації'руху
Новини'партнерів
Що творить Тягнибок у
Раді?
"Тимчасовий" прем''єр
України знову здивував
українців
Янукович почав жорсткі
чистки в регіонах
Цены на квартиры с 1
августа упадут в
десятки раз
РЕКЛАМА
ВАКАНСІЇ
http://www.day.kiev.ua/uk/article/kultura/i-nepravilni-poyizdi-inodi-prihodyat-vchasno
Page 3 of 4

5 лучших и худших фильмов ОМКФ-2013 — oKino.ua
7/27/13 3:14 PM
НОВОСТИ ФИЛЬМЫ КИНОТЕАТРЫ СЕРИАЛЫ ГАЛЕРЕИ КОНКУРСЫ
oKino.ua Статьи Обзоры
5 лучших и худших фильмов ОМКФ-2013
Станислав Битюцкий. 23 июля, 2013 2 1
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4
Победой российской ленты «Географ глобус пропил» завершился 4-
й Одесский кинофестиваль. В этом году на ОМКФ показали
множество разнообразных фильмов. Среди них хватало как
запоминающихся работ, так и тех, о которых многие предпочли бы
забыть. Подводя свои итоги фестиваля, oKino.ua вспоминает
лучшие и худшие фильмы Одессы: о некоторых из них мы уже
писали, о других самое время вспомнить сейчас в первый
и последний раз.
Лучшие
Статьи о кино
Новости недели:
интрига «Шерлока»,
Бэтмен знакомится с
Суперменом и новые
экранизации романов
Джорджа Р.Р. Мартина
Ревизия: прошлое и
будущее актеров
«Прослушки»
5 мыслей о
заманчивости
«Элитного общества»
Хью Джекман о лаке
для волос,
оскорблениях и йо-йо
За что мы любим
«Госпиталь Мэш»
http://www.okino.ua/article/reviews/310/
Page 1 of 9

5 лучших и худших фильмов ОМКФ-2013 — oKino.ua
7/27/13 3:14 PM
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Фрэнсис Ха
Реж. Ноа Баумбах
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от 200 грн
Ноа Баумбаха и Грету Гервиг в США часто сравнивают с молодыми
Годаром и Анной Кариной. Все это, правда, говорится скорее в контексте
их союза, чем из-за схожести фильмов. Как и легендарная французская
пара, Баумбах и Гервиг живут и работают вместе. Сначала их союз
подарил нам трогательный фильм «Гринберг», теперь — «Фрэнсис Ха».
Последняя картина — это еще и оммаж французской «новой волне»:
черно-белая лента, с остроумными диалогами и переосмыслением
обычной мелодрамы. «Фрэнсис Ха» — это любовная история, вывернутая
наизнанку: вместо пары влюбленных здесь рассказывается о двух
подругах, которые дружат, ссорятся, расстаются, ищут свое место
в жизни и снова оказываются вместе. Кроме того, это и история о том,
что каждому необходимо прежде всего найти свое предназначение.
И только когда подобное произойдет — тогда и будет возможно личное
счастье.
Сегодня на экранах
КИНОТЕАТРОВ
Элитное общество
Университет Монстров 3D
Девственники, берегитесь!
Великий Гэтсби
Однажды эта боль принесет тебе пользу
АФИША КИНОТЕАТРОВ
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КИНОТЕАТРАХ
Богиня
Смурфики 2
Вооружены и опасны
Элизиум
С кем переспать?
СКОРО В КИНО
Топ 250 IMDB
ЛУЧШИЕ ФИЛЬМЫ
106. Развод Надера и Симин
107. Телохранитель
В цвету
Реж. Нана Эквтимишвили, Саймон Гросс
108. Бесславные ублюдки
109. Большой куш
110. На несколько долларов больше
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5 лучших и худших фильмов ОМКФ-2013 — oKino.ua
7/27/13 3:14 PM
Реж. Нана Эквтимишвили, Саймон Гросс
«В цвету» — очень личный фильм для режиссера Наны Эквтимишвили.
Как и ее главные героини, две девушки, живущие в Тбилиси в начале
войны, Эквтимишвили в 1992 сама заканчивала школу. Отсюда и эта
грусть, и чувство ностальгии по юности, пронизывающие фильм.
«В цвету» напоминает «Мне двадцать лет» Марлена Хуциева и другие
ленты советской оттепели. Взросление, любовные переживания здесь
заслоняют весь ужас происходящего вокруг. В фильме мы практически
не слышим звуков войны, но ее присутствие ощущается незримо.
«В цвету» казался главным фаворитом фестиваля, уж больно
он выделялся на фоне фильмов конкурса, но жюри и зрители решили
иначе.
250 ЛУЧШИХ ФИЛЬМОВ
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Вечное возвращение
Реж. Кира Муратова
Как это ни печально, но «Вечное возвращение» выглядит как фильмпрощание
великого режиссера. Сейчас очень хочется верить, что это
все же не так. Новый фильм Муратовой состоит из серии повторяющихся
сценок о том, как мужчина приходит к своей бывшей однокурснице
и рассказывает ей, что разрывается между двумя женщинами (женой
и любовницей). В каждой из сценок подобная новость вызывает
совершенно разную реакцию. Однако важнее то, что «Вечное
возвращение» — это прежде всего рассуждение Муратовой
о сегодняшнем кино. А также своеобразное признание режиссера. Ведь
за серией повторяющихся эпизодов оказывается история
о произведении искусства без автора, где всем заправляют нелепые
продюсеры, одержимые деньгами. Мысль, конечно, не новая,
но довольно парадоксальная для Муратовой, которая всю жизнь
умудрялась делать кино независимо ни от кого.
http://www.okino.ua/article/reviews/310/
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5 лучших и худших фильмов ОМКФ-2013 — oKino.ua
7/27/13 3:14 PM
Элитное общество
Реж. София Коппола
От ленты Копполы вряд ли ждали какого-то большого прорыва. Так
скорее и произошло. Однако, «Элитное общество» — это одна
из немногих киноработ, которые простым и доходчивым языком говорят
о современном мире и влиянии СМИ. Причем Копполе не пришлось
изобретать для этого велосипед, а стоило только рассказать известную
газетную историю о подростках, грабивших знаменитостей. После этих
ограблений, благодаря прессе и Интернету, каждый из них обрел свой
кусочек славы. И один из вопросов, который задает картина, мог бы
звучать так: «На что сегодня готовы люди ради популярности?». После
этого мы можем вспомнить миллионы реалити-шоу, заполонивших
сегодняшнее ТВ, а также довольно проходной фильм «Реальность»
Маттео Гарроне, который в прошлом году уже пытался говорить на эту
тему и нашу всеобщую одержимость фейсбуком.
Делириум
Реж. Игорь Подольчак
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5 лучших и худших фильмов ОМКФ-2013 — oKino.ua
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Подольчак сегодня — это главный арт-режиссер Украины. Бывший
художник, в какой-то момент он понял, что ему тесно в рамках
современного искусства. Следующим шагом для себя он выбрал кино.
Первый фильм Подольчака «Менины» — настораживал, восхищал,
будоражил. Второй — «Делириум», — повторяя все это, дополняется
множеством загадок. Такого кино в независимой Украине точно еще
никто не снимал. И, возможно, нужно совсем немного времени, чтобы
у нас признали гениальность этого режиссера.
Худшие
Не хочу умирать
Реж. Алиса Павловская
Нынешний Одесский кинофестиваль показал, что уровень украинского
кино действительно вырос. Помимо «Делириума», также был довольно
крепкий «Креденс» Валентина Васяновича и неплохие короткометражки.
Но хватало и совершенно необязательных фильмов, среди которых
особенно выделялась лента Алисы Павловской. «Не хочу умирать» — это
фильм в стилистике Александра Шапиро, но снятый без каких-либо
подготовок и репетиций. Здесь собрано практически все худшее, что
есть в нашем кино: от чернухи до бестолковых актерских работ.
Единственный плюс ленты — участие в ней знаковых андеграундных
персон. Но на них, впрочем, можно посмотреть и так, просто побывав
в Одессе.
http://www.okino.ua/article/reviews/310/
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5 лучших и худших фильмов ОМКФ-2013 — oKino.ua
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Великая красота
Реж. Паоло Соррентино
В Каннах из года в год шутят по поводу участия в конкурсе картин
итальянца Паоло Соррентино, называя их не иначе как «традиционной
нелепостью». Независимо от их качества, они каждый раз борются
за «Золотую пальмовую ветвь», получают порцию критики, но и находят
своих почитателей, готовых с пеной у рта защищать их художественную
ценность. Новый фильм Соррентино уже поспешили назвать вершиной
режиссера. И в этом есть своя истина. «Великая красота» — это
совершенно пустой фильм, снятый о пустоте и во имя пустоты. При этом
здесь все вторично, многое повторяет «Сладкую жизнь» Феллини,
а в качестве приманки используются открыточные виды Рима
и вырванные из контекста умные цитаты из классики. Так, герой
то и дело цитирует Флобера, вспоминает Толстого. А в эпиграфе ленты
значится цитата из Луи-Фердинанда Селина — писателя, которому
и в страшном сне не могло присниться, что его имя будет стоять перед
фильмом об итальянских аристократах.
Параджанов
Реж. Серж Аведикян, Елена Фетисова
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5 лучших и худших фильмов ОМКФ-2013 — oKino.ua
7/27/13 3:14 PM
Реж. Серж Аведикян, Елена Фетисова
Главный провал фестиваля, который неожиданно получил приз как
лучший украинский фильм года. Возможно, все это было просчитано
заранее. И даже ретроспектива Параджанова была сделана всего лишь
в качестве бонуса к нему. Однако киноработа Сержа Аведикяна и Елены
Фетисовой — это стерильная биография о некоем известном человеке,
где вместо Параджанова мог быть кто угодно, включая как некоего
творца Х, так и самого Сталина или Брежнева.
Майор
Реж. Юрий Быков
В этом году российское кино больше разочаровывало, чем удивляло.
И «Майор» здесь скорее один из несколько подобных примеров. В мае
фильм неожиданно показали в Каннах; ранее сам режиссер признавался
в интервью, что любит крепкое мужское кино и Мэла Гибсона. Как
связано первое со вторым — не известно, но его «Майор» — это
довольно слабый и спекулятивный фильм, который скорее подтверждает
тот факт, что участие в Каннском кинофестивале сегодня — уже далеко
не знак качества.
http://www.okino.ua/article/reviews/310/
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Все пропало
Реж. Джей Си Чендор
Еще один участник Канн и фильм открытия Одесского кинофестиваля.
О нем мы достаточно писали в нашем дайджесте. Но главный вопрос
к работе Чендора как был, так и остается — что же все-таки случилось
с бородой Роберта Редфорда?
1
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Комментарии (2)
Войдите на сайт чтобы оставить отзыв.
robocup 24 июля в 14:11 #
0
Отличная статья! Заинтересовал после такого отзыва фильм Софии Копполы, потому что
http://www.okino.ua/article/reviews/310/
Page 8 of 9

5 лучших и худших фильмов ОМКФ-2013 — oKino.ua
7/27/13 3:14 PM
думал, что будет что-то банальное и серенькое. а вот от фильма "Все пропало" с великолепным
Робертом Редфордом ожидал большего. Да и "Параджанов" расстроил. Премию скорее всего
дали просто из уважения к режиссеру)
MaxJoker 25 июля в 17:59 #
0
Ну, я "Элитное общество" и так хотел глянуть, но теперь уж точно не пропущу его, тем
более, фильм сегодня наконец стартовал у нас.
«oKino.ua» ежедневное интернет издание — все о кино.
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— все о кино, киноафиша Киева, кинотеатры Киева разрешается
при условии ссылки на портал oKino.ua, для интернет-сайтов —
гиперссылки http://www.okino.ua
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http://www.okino.ua/article/reviews/310/
Page 9 of 9

Герои безгеройного времени - О последних конкурсных фильмах м…«Должник» британца Крэйга Вивейроса - чёрная комедия - LB.ua
7/29/13 6:48 PM
Авторизироваться
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23 июля 2013, 16:00
Добавить комментарий
О последних конкурсных фильмах могу сказать не слишком много. «Должник»
британца Крэйга Вивейроса - чёрная комедия о молодом бездельнике, которого
ненавистный отчим в наказание за разбитую машину отправляет подручным к
подозрительному субъекту. Как выясняется, отчим промышляет работорговлей, а
нанятый им субъект- наёмный убийца. Лента изобилует весьма утомительными
шутками с абсурдистским налётом, но всё же представляет некоторый интерес
благодаря оригинальной трактовке образа главного героя. Юноша, который по всем
жанровым канонам обязан пройти инициацию в кровавых перипетиях, так и
остаётся неуклюжим и нерешительным простофилей, слишком добросердечным
для участия в преступлениях и слишком трусливым, чтобы противостоять
бандитам.
Топ-тема
Посольство РФ объявило
святотатством кражу доски
Столыпину 7
МИД отреагировал на заявление России по
поводу доски Столыпина 2
Милиция занялась исчезновением мемориальной
доски Столыпину
Фоторепортаж
Фото: ОМКФ
Кадр из фильма Delirium
Национальный конкурс завершила картина Игоря Подольчака «Delirium», отличающаяся куда
меньшей визуальной пышностью, чем его дебютные «Las Meninas», но способная похвалиться
ещё большей сюжетной невнятностью. По комнатам особняка и близлежащему саду слоняются
несколько мужчин и женщин с расплывающимися контурами, которые, еле ворочая языком,
бормочут что-то про аберрацию, индукцию и галстуки. Больше всего они похожи на печальные
души умерших, застрявших где-то у переправы Харона, забыв о своей земной жизни и
практически утратив человеческую речь. Кто из них были упомянутыми в титрах Гостем, Отцом
или Зятем, я не ответил бы даже под страхом пересмотреть этот фильм снова. Тем, кто скажет,
что лента Подольчака полна поэтических образов и является тонким исследованием нашего
подсознания или завораживающим путешествием в мир снов и символов, я готов поверить на
Патриарх Кирилл прибыл в Киев на
спецпоезде
Блоги
Сергій Каплін
Вновь Николаев, вновь
милиция, жертва - студентсирота.
Защитим? 1
Несмотря на обещание министра внутренних дел и
резонанса вокруг событий во Врадиевке, в Николеве
продолжается милицейский беспредел. Привожу
письмо и просьбы о помощи избитого
милиционерами молодого человека
Микола Даневич
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Page 1 of 5

Герои безгеройного времени - О последних конкурсных фильмах м…«Должник» британца Крэйга Вивейроса - чёрная комедия - LB.ua
7/29/13 6:48 PM
слово.
Новая картина Киры Муратовой «Вечное возвращение» воспринимается апофеозом столь
часто поднимавшейся в фильмах нынешнего фестиваля темы людей, своей собственной
пассивностью и малодушием замкнутых в удушливо скучной, нестерпимо жалкой
повседневности.
«Нам, разнесчастным, деяний дано и не будет, Только в свидетели и в ожидатели мы
обреченны».
О персонажах фильма, оставшихся без деяний, мужчине и женщине, трудно сказать что-нибудь
определённое, кроме того, что они- бывшие сокурсники, не видевшиеся много лет, и что
мужчина, которого зовут Олегом или Юрием (и у которого есть брат-близнец, соответственно,
Юрий или Олег), влюблён в двух женщин по имени Людмила, Людмилу-жену и Людмилулюбовницу.
Герой, отправленный в командировку в город, где живёт героиня, приходит к ней как
раз затем, чтобы попросить совета, как разобраться с этим любовным треугольником. Героиня,
постепенно теряя терпение, перебирает варианты- развестись с одной Людмилой, расстаться с
другой, ничего не менять, бросить обеих. Каждый совет вызывает у гостя недовольство- как,
разбить сердце нежно любимой жене, как, оставить возлюбленную, которая дороже жизни? «Вот
ты, оказывается, какая чёрствая. Думал, как она скажет, так и поступлю, а ты… Не ожидал от
тебя таких советов».
Киянам пропонують послуги
манікюру в МАФіях 1
У спальних районах столиці
встановлено МАФи, які пропонують
послуги манікюру та педикюру. Цікаво, а дружини
можновладців скористалися б послугами в таких
закладах?
Олександр Солонько
«Тіхарі» ФСБ на мітингу
проти приїзду Гундяєва
Що роблять працівники російських
спецслужб на зібраннях українців? Схоже, вже
остаточно взято курс та повернення України в
«совок» з усіма, як то кажуть, наслідками.
Володимир Кузнецов
Відповідь на заяву Наталії
Заболотної 4
Жахливо стикатися с людьми, котрі
оперують цінностями гроші-влада, не знаючи інших
шляхів та відносин. Вони навіть не уявляють, що
існують люди, готові відстоювати свої свободи та
принципи.
Like
Принц Гарри пообещал племяннику
веселую жизнь
Собчак показала ужасный торт
Волочкова сообщила любовнику о расставании
через соцсеть
Оксана Федорова во второй раз стала мамой
Общество
Фото: ОМКФ
Кадр из фильма Вечное возвращение
Рассерженный бесчувственностью собеседницы, Олег/Юрий покидает её квартиру, но потом
навещает её ещё дважды, и каждый раз общение снова заканчивается пустопорожними
разговорами о том, как быть с Людмилами. Эти три диалога повторяются раз за разом, подчас
меняясь очерёдностью. Вставляются новые фразы, варьируется отношение героев друг к другу,
от растущего раздражения до намёка на любовное томление, меняются исполнители- в роли
каждого из персонажей появляется не меньше полудюжины исполнителей, от Натальи Бузько до
Аллы Демидовой, от Виталия Линецкого до Олега Табакова. Неизменной остаётся ситуация
неспособности к выбору с попытками переложить на другого бремя личной свободы и
ответственности, сомнениями и колебаниями, заменившими поступки.
Эти навязчиво повторяющиеся сцены оказываются пробами к фильму, неснятому из-за смерти
режиссёра. Автор умер («чтобы не становиться на пути у интерпретаций»), а его идеальный
зритель угодил в тот круг чистилища для киноманов, обитатели которого заняты бесконечным
просмотром неоконченных произведений своих кумиров, пытаясь понять их замысел по
подготовительным материалам, сценарным наброскам и дублям. Впрочем, в качестве
безропотно предающегося утомительному просмотру кинопроб идеального зрителя- и вместо
спешащей покинуть кинозал обескураженной публики из «Астенического синдрома»,
недоумевающей, «зачем снимать такое кино про грустное, мне и без того неважно», - в «Вечном
возвращении» представлены одиноко сидящие в просмотровой продюсер проекта и
приглашённый им сахарозаводчик.
Жители Врадиевки подозревают:
Дрыжака решили подменить
"двойником" 21
Папа Римский высказался за толерантность к
священникам-гомосексуалистам
Погоревшему на взятке ректору в суд вызвали
скорую
Российским женщинам могут дать два выходных в
«критические дни» 2
Экономика
Металлурги против "копанок" 5
Дыру в бюджете закроют эмиссией гривны, -
Concorde Capital
Россия готовится к консультациям с Украиной по
утилизационному сбору
Позиции Nokia на рынке телефонов падают все
больше
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Page 2 of 5

Герои безгеройного времени - О последних конкурсных фильмах м…«Должник» британца Крэйга Вивейроса - чёрная комедия - LB.ua
7/29/13 6:48 PM
Читайте: Олег Кохан: "Украинскому кино не нужно делать скидок"
Разговор между ними о возможном значении происходящего на экране быстро сходит на нет -
сахарозаводчик, мечтающий о приобщении к миру искусства, полон наивного уважения к
«серьёзному кино» и признаёт право художника быть неясным, продюсер пытается убедить его
выделить деньги на возобновление съёмочного процесса, при этом очевидно не придавая
большого значения ни идеям умершего режиссёра, ни подбору кандидатуры того, кто может его
заменить. Похоже, не больше интереса к судьбе «творческого наследия» у партнёра продюсера,
помогающего дурачить сахарозаводчика, и у сценаристки, которую новоявленный «инвестор»
ведёт в обувной магазин. Участь последнего проекта постановщика, которого даже далёкий от
кинематографа сахарозаводчик знает как гения режиссуры, представляется туманной, но в
любом случае печальной. Осуществлённые покойным кинопробы- единственной внятной
реакцией на просмотр которых становится предложение задействовать в сценах «первую
женщину с третьим мужчиной и вторую- с пятым», -оказываются зыбкой, призрачной тенью
искусства, оправдывающего мелочность и будничные подлости его служителей. Внеэкранное
пространство, в котором обитают продюсер и его коллеги, показано Муратовой как мир, длящий
суетливое, никчёмное существование после ухода кого-то или чего-то, придававшего ему
смысл.
Гораздо с большей симпатией к обречённому миру относится Валерия Бруни-Тедески в
картине «Замок в Италии», ставшей фильмом-закрытием Одесского кинофестиваля.
Меланхоличное и забавное повествование, в котором влияние Чехова было бы очевидно и без
сюжетных аллюзий на «Вишнёвый сад», посвящено угасающему семейству промышленных
аристократов, трогательных в своей бесполезности. Родовое поместье и картины Босха идут с
молотка, заплаканная вдова пытается обвинить в своих несчастьях семейного счетовода и
Господа Бога, её сын умирает от СПИДа, а над личной жизнью 45-летней дочери, отчаянно
мечтающей о ребёнке, довлеет влечение к брату, отягощённое мазохистскими наклонностями.
Когда дочь увлекается молодым актёром, тот, увы, оказывается не садистом, а капризным,
истеричным ничтожеством. Однако счастливая любовь, как известно- искусство возможного, в
котором не следует проявлять излишнюю требовательность, особенно когда рычащие
бензопилы уже занесены над фамильным садом.
Фото: ОМКФ
Как вы уже знаете, фестиваль завершился двойным триумфом картины Александра
Велединского, получившей, помимо Гран-При, вручающегося по результатам зрительского
голосования, награду за лучший фильм от жюри международного конкурса под руководством
Александра Роднянского (являющегося, кстати сказать, президентом «Кинотавра», на котором
«Географ глобус пропил» также получил в этом году главный приз). При этом «Ланчбокс»,
занявший в зрительском рейтинге второе место- отстав от «Географа» на 0,024 балла, - получил
от жюри приз за лучшую режиссуру, «В цвету» удостоили наградой за лучшее актёрское
исполнение, отметив Лику Баблуани и Мириам Бокерия, а «Автоинспекция», упомянутая
Роднянским как фильм, обсуждавшийся как претендент на звание лучшего фильма, осталась
вовсе без наград, хотя жюри в соответствии с регламентом имело право вручить два
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Герои безгеройного времени - О последних конкурсных фильмах м…«Должник» британца Крэйга Вивейроса - чёрная комедия - LB.ua
7/29/13 6:48 PM
поощрительных диплома.
Читайте: ОМКФ: Старикам здесь место
Это примечательное единодушие зрителей и профессиональных судей, одних восхитившее,
других возмутившее, после украсившей афтепати дегустации «Glenmorangie» (проводивший её
молодой человек, облачённый в килт, со знанием дела рассуждал о достоверности
прошлогоднего фильма-закрытия, «Доли ангелов» Кена Лоуча) уже не казалось мне столь
удручающим. Учитывая, что комедийная интонация, характерная для конкурсных программ в
первые годы фестиваля, теперь уже не является критерием для отбора, и при этом общий
уровень конкурса существенно вырос, вручение главной награды жюри «Географу» при наличии
куда более серьёзных картин можно считать вполне оправданным соблюдением
концептуального для ОМКФ компромисса между «фестивальным» кино и «зрительским».
Куда более досадным представляется решение жюри национального конкурса. Четвёртый
Одесский кинофестиваль, в разных программах которого прошли премьеры восьми украинских
полнометражных фильмов, чуть ли не впервые в истории независимой Украины
продемонстрировал, что, помимо Киры Георгиевны - творчество которой воспринимается как
отдельный феномен, прославляющий скорее человеческий гений, чем национальный
кинематограф, -в отечественном кино есть и другие поводы если не для гордости, то для
обсуждения. Достойно всяческого сожаления, что наградой за лучший украинский фильм был
отмечен не «Креденс», который, при всех своих недостатках, вполне соответствовал
зрительским чаяниям наших сограждан, а «Параджанов», бесцветный кинопанегирик,
неуклюжая мешанина цитат и произвольно искажённых фактов, оторванная от
современности и исторической реальности и существующая в безвоздушном пространстве
госзаказов и школьных сочинений. При этом по словам члена жюри Вадима Храпачёва
«Параджанов» был избран победителем «благодаря или вопреки прессе- мы были готовы к
гораздо более худшему. Фильм был настолько ужасно описан, что было счастьем, когда он
оказался хорошим». Своеобразное, но убедительное признание роли критики в отечественном
кинопроцессе.
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Александра Александра
Гусева Гусева
И Парам-
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Дюком" Параджанов
награждается... Блог
Александра
Гусева
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и
наказания
Блог
Александра
Гусева
Призраки
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оперы
Тэги
Одесский кинофестиваль, дневники, украинское кино
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Начальник Херсонской милиции: провокациям
"Дорожного контроля" придет конец
Сенсационные фотографии спутницы Адольфа
Гитлера Евы Браун (ФОТО)
Четвертая вспышка на Солнце приведет к
В Москве найден мертвым известный
телеведущий России
Смерть Березовского: вскрытие показало
страшную правду. Видео
УМЕРЛА знаменитая советская
Мужчина, переживший клиническую смерть,
удивил весь мир
Мехрибан Алиева ужаснула своего мужа
Первое ФОТО ребенка герцогини Кейт и принца
Уильяма
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Page 4 of 5

Украинское кино: перейдет ли количество в качество? - BBC Ukrainian - Новини російською
8/1/13 9:21 AM
Лінки Бі-Бі-Сі
Пошук
Мобільна версія
Головна Світ Україна Відео і фото Learning English Спецпроекти
РУС
СЕГОДНЯ НА САЙТЕ В Зимбабве выбирают президента
Украинское кино: перейдет ли
количество в качество?
Новости
Обновляется автоматически
Тарас Сасс
для ВВС Украина, Одесса
Последнее обновление: Четверг, 25 июля, 2013 p., 14:39 по Киеву
13 минут
назад
35 минут
назад
31.07.13
Парламент Уругвая поддержал
легализацию марихуаны
Протестующие в Египте
пренебрегают предупреждениями
о разгоне демонстраций
Грищенко заверили в
безопасности украинцев в Ливии
31.07.13
31.07.13
Министра в правительстве
Каддафи суд приговорил к
смертной казни
Арбузов в Берлине заверил в
готовности подписать ассоциацию
с ЕС
На Одесском кинофестивале состоялась едва ли не
самая массовая презентация украинского кино в истории
независимости: десять полнометражных фильмов.
Видео
1 2 3 4
Четыре из них - "Креденс", "Delirium", "Не хочу умирать",
"Параджанов" - участвовали в конкурсной программе, а последний
получил награду.
По мнению кинокритиков, это - хороший момент для
перехода от количества к качеству.
Особенности национального кино
Общий художественный и технический уровень
украинских лент кинокритики признают довольно низким.
В этом году в адрес организаторов поступило около 200
заявок на участие в национальном конкурсе,
подавляющее большинство этих фильмов -
короткометражки.
В различных программах четвертого кинофорума в
Одессе было и десять полнометражных фильмов,
созданных в Украине.
В конкурсе принимали участие четыре ленты - "Креденс",
"Delirium", "Не хочу умирать", "Параджанов".
Статьи
Например, два представителя программы "Одесские
кинематографисты представляют" - "Волшебные истории: Эликсир
доброты" и "Садом" - это любительские постановки, которые
демонстрировали в наименее популярной локации фестиваля.
Культура,
Украина
Еще одна одесская работа - конкурсный фильм "Не хочу умирать"
документалиста Алисы Павловской - о жизни одесского андеграунда.
Эта лента скорее "для своих", чем для массового зрителя, и ее
критики называли одной из самых слабых на фестивале.
Доход от украинского кино - дело
пока не обычное
Арт-кино в Украине:
продолжение следует
На "Молодости" наградили
победителей
Материалы по теме
Тэги
Водопровод
затопил жилой
квартал в Рио
Подробно
Фото дня
"Реактивный
человек" летает с
бомбардировщиком
Генконсул РФ в
Симферополе: В России
никто не будет оправдывать
Сталина
Эксперт: бензпирен есть
везде, но в разных
концентрациях
С 1 августа недвижимость
будут оценивать по-новому
Чем грозит Украине дело о
"кнопкодавстве"?
Над Мила
пронесся
есть пост
Другая "географическая" группа украинского кино имеет отношение к
http://www.bbc.co.uk/ukrainian/ukraine_in_russian/2013/07/130725_ru_s_odesa_ukrainian_films.shtml
Page 1 of 4

Украинское кино: перейдет ли количество в качество? - BBC Ukrainian - Новини російською
8/1/13 9:21 AM
западному региону Украины - сразу пять картин связаны со Львовом
или Карпатами.
Например, "Табор" Александра Балагуры является своеобразным
продолжением одной из первых его картин об общине цыган в
Закарпатье и демонстрирует фрагменты неизвестной для украинцев
Украины.
Жизнь соотечественников и их проблемы изобразил и Валентин
Васянович, чей второй полнометражный фильм "Креденс" стал
фаворитом зрителей фестиваля и получил специальный приз от
международной организации кинопрессы.
Киевской телебашне исполнилось 40
лет
По сюжету, драма виолончелиста Львовской оперы Ореста и его
семьи разворачивается в зимнем Львове накануне Рождества. В ней
есть место юмору, семейным распрям, сексу и конфликту поколений,
что делает ленту типичным кино для зрителя.
3D по-украински
О новой тенденции национального кино побудили заговорить две
жанровые картины, представленные братьями Алешечкиными и
создателем противоречивого фильма "Штольня" Любомиром
Левицким (Кобыльчуком).
"Ломбард" последнего - это попытка дать
украинский ответ британской криминальной
комедии. В работе режиссера
прослеживается стилистика первых фильмов
Гая Ричи и продолжение попыток переносить
чужой материал на украинские реалии.
А вот проект "Синевир", по словам
кинокритика Антона Филатова, можно считать
первым полноценным отечественным 3Dфильмом.
Авторы ленты, говорит он, не
только копируют голливудские молодежные
хорроры, но и пытаются придать работе
местный колорит.
Отличия ОМКФ-2013
Гран-при/Лучший фильм - "Географ глобус
пропил" (Александр Велединский)
Лучший украинский полнометражный
фильм - "Параджанов" (Серж Аведикян,
Елена Фетисова)
Лучшая актерская работа - Лика Баблуани,
Мариам Бокерия, фильм "В цвете"
Лучшая режиссура - "Ланчбокс" (Ритеш
Батра)
Мода оглядываться на Запад вряд ли много даст для развития
собственно национального кино, считает британский кинокритик и
журналист Йен Смит.
"Меня удивляет, что в Украине не хотят делать собственный
мейнстрим. Важным и нужным является кино различной тематики.
Вашим кинематографистам надо искать собственное видение. Зачем
создавать бледные копии Голливуда? Темы новых фильмов - в
окружающем мире. Надо найти свой способ, а затем развивать его", -
считает эксперт.
Муратовское ницшеанство
Иной была реакция на фильм хорошо
известной кинематографистка родом из
Одессы - Киры Муратовой. Название ее
нового фильма "Вечное возвращение"
отсылает к творчеству Фридриха Ницше. По
замыслу режиссера, актеры разыгрывают
одинаковые сцены в различных вариациях и
стилистике.
Ранее фильм был представлен на Римском
фестивале, также он получил в России
премию "Ника" за лучший фильм СНГ и
Балтии.
Кира Муратова - признанный классик советской
школы
Критики отмечают, что Киру Муратову трудно рассматривать в
контексте современного украинского кино, поскольку как мастер она
сформировалась еще в советские времена и продолжает снимать
типичное для себя кино.
http://www.bbc.co.uk/ukrainian/ukraine_in_russian/2013/07/130725_ru_s_odesa_ukrainian_films.shtml
Page 2 of 4

Украинское кино: перейдет ли количество в качество? - BBC Ukrainian - Новини російською
8/1/13 9:21 AM
"Delirium" и "Параджанов"
Едва ли не самый большой раскол по линии зрители-критики вызвала
новая картина художника и режиссера Игоря Подольчака "Delirium".
Бессюжетный фильм о таинственном доме, в котором все медленно
сходят с ума, смогли досмотреть далеко не все пришедшие на показ.
Критики же, наоборот, остались в восторге от операторской работы и
созданного режиссером мира.
По их мнению, фильм, снятый в
сотрудничестве с Чехией и частично на
деньги гранта Роттердамского фестиваля,
доказывает, что украинцы способны
создавать что-то действительно
оригинальное и самобытное.
Но самым громким событием украинской
части ОМКФ считают проект "Параджанов",
созданный в сотрудничестве с Францией,
Арменией и Грузией.
По словам авторов, они хотели подать
фигуру Сергея Параджанова доступно для молодой аудитории. И
именно поэтому в фильме так активно используют клиповую
стилистику, стоп-кадры, а реалии советского Киева 1960-х переданы
неправдоподобно.
Знатоки творчества Сергея Параджанова остались недовольны тем,
как в фильме трактуют личность режиссера и особенности его
творческого процесса.
Хотя в целом публика одобрительно восприняла фильм, получивший
третье место в народном голосовании в международной программе, а
также главный приз жюри в национальной программе. Теперь фильм
ожидает прокат в четырех странах, причастных к его созданию.
Без новых имен, но с надеждой
Как заявил на лекции для молодых
кинокритиков член жюри ФИПРЕССИ Гуннар
Бергдал, из десяти снятых фильмов в мире
семь являются плохими, два нормальными и
только один - хорошим.
Важным и нужным является кино
различной тематики. Вашим
кинематографистам надо искать
собственное видение. Зачем
создавать бледные копии
Голливуда? "
Йен Смит, британский кинокритик
На Одесском кинофестивале украинское кино
постоянно вызывало ажиотаж у публики.
Например, во время показа "Синевир" в
зрительном зале не хватило мест, и публика
сидела даже в проходах. Это - хороший знак, Режиссеры часто пытаются ориентироваться на
молодого зрителя
считают отечественные кинематографисты:
зритель, по их мнению, давно готов к своему кино.
Однако фестиваль не открыл новых имен -
большинство фильмов были сделаны уже не
дебютантами, что, по мнению председателя
союза кинематографистов Украины Сергея
Трымбача, можно объяснить спецификой
кинопроцесса.
"В коротком метре молодой режиссер
свободен от обязательств перед инвестором
и зрителем. Но когда он начинает делать
полный метр, хочется, чтобы у фильма
появилась аудитория", - считает он.
Плохо не то, что социальное кино
акцентировано на теневых вещах,
плохо, когда только такое и будут
снимать "
Сергей Тримбач, председатель союза
кинематографистов
Он убежден, что Украине необходимо делать как можно больше
качественного жанрового кино, а не "социальной чернухи".
"Плохо не то, что социальное кино акцентировано на теневых вещах,
плохо, когда только такое и будут снимать", - пояснил он.
http://www.bbc.co.uk/ukrainian/ukraine_in_russian/2013/07/130725_ru_s_odesa_ukrainian_films.shtml
Page 3 of 4

90-ті: життя як мистецтво
4/4/13 11:34 AM
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4/4/13 11:34 AM
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IMDb: Ukraine
4/27/13 3:31 PM
IMDb
Find Movies, TV shows, Celebrities and more... All Register | Login | Help
Movies TV News Showtimes Community IMDbPro Apps Your Watchlist
Ukraine
Most Popular Titles With Country of Origin Ukraine
1. Delirium (2013)
4.0/10
Add to Watchlist
A family asks a young psychiatrists to be their guest and look after their father who's
developed a suicidal fixation for ropes and knots. It is also entirely possible that the
mental health of the guest is the real cause for concern.
Dir: Ihor Podolchak With: Volodymyr Khimyak, Lesya Voynevych, Petro Rybka
Drama | Thriller
100 mins.
2. 9th Company (2005)
Add to Watchlist
Young Soviet Army recruits are stuck in the bloody war in Afghanistan, that was started
by politicians.
Dir: Fedor Bondarchuk With: Artur Smolyaninov, Aleksey Chadov, Konstantin Kryukov
Action | Drama | History | War
139 mins.
3. Land of Oblivion (2011)
Add to Watchlist
Tchernobyl, 1986, a few hours before the disaster. Piotr and Anya's wedding is
interrupted by a fire at the power station.
Dir: Michale Boganim With: Olga Kurylenko, Andrzej Chyra, Ilya Iosifov
Drama
108 mins.
4. Sappho (2008)
Add to Watchlist
Sappho, a newly wed American wife, with her husband on the Greek island Lesbos, goes
through the pain of unrequited love to a young woman, very much like the namesake
poet in ancient times.
Dir: Robert Crombie With: Avalon Barrie, Todd Soley, Lyudmila Shiryaeva
Drama | Romance
88 mins.
5. Hava Nagila: The Movie (2012 Documentary)
Add to Watchlist
A documentary on the history, mystery, and meaning of the ubiquitous Jewish standard
that follows the around-the-world journey of the song from Ukraine to Youtube. of the
song "Hava Nagila."
Dir: Roberta Grossman With: Harry Belafonte, Regina Spektor, Glen Campbell
Documentary | Comedy | History | Music
75 mins.
6. Women Without Men (2009)
Add to Watchlist
Against the tumultuous backdrop of Iran's 1953 CIA-backed coup d'état, the destinies of
four women converge in a beautiful orchard garden, where they find independence,
solace and companionship.
Dir: Shirin Neshat, Shoja Azari With: Shabnam Toloui, Pegah Ferydoni, Arita Shahrzad
Drama
95 mins.
7. Ballada o bombere (2011 Video)
Add to Watchlist
The Bomber (2011) / (Russian language title: Ballada o Bombere) Storyline During World
War II, a soviet aircraft crashes on Nazi-occupied territory...
Dir: Vitaliy Vorobyov With: Nikita Efremov, Ekaterina Astakhova, Aleksandr Davydov
Action | Drama | War
181 mins.
8. My Joy (2010)
Add to Watchlist
The story about a few days in the life of truck driver Georgi seems to be a never-ending
nightmare, a spiral of violence and abuses of power...
Dir: Sergei Loznitsa With: Viktor Nemets, Vladimir Golovin, Aleksey Vertkov
Adventure | Drama
127 mins.
9. Est - Ouest (1999)
7.1/10
6.4/10
4.5/10
3.3/10
6.2/10
6.0/10
6.7/10
Add to Watchlist
Refine By:
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Highest Rated Feature Films
With At Least 10,000 Votes and
Country of Origin Ukraine
1. 9th Company 7.1/10
show more »
Top-US-Grossing Titles With
Country of Origin Ukraine
1. Est - Ouest $2.78M
2. A Chef in Love $604K
3. Hava Nagila: The Movie $257K
4. Women Without Men $176K
5. A Friend of the
Deceased
show more »
Lowest Rated Titles With
Country of Origin Ukraine
$145K
1. Khochu rebenka 1.3/10
2. Moya mama -
Snegurochka
3. Koroleva benzokolonki
2
1.5/10
1.6/10
4. Feathered Dreams 1.6/10
http://www.imdb.com/country/ua
Page 1 of 2

IMDb: Ukraine
4/27/13 3:31 PM
7.1/10
June 1946: Stalin invites Russian emigres to return to the motherland. It's a trap: when
a ship-load from France arrives in Odessa...
Dir: Régis Wargnier With: Oleg Menshikov, Sandrine Bonnaire, Catherine Deneuve
Drama | History | Romance
121 mins.
5. Zemna styhija 1.7/10
show more »
10. Rzhevskiy protiv Napoleona (2012)
Add to Watchlist
2.9/10
Dir: Marius Balchunas With: Viktor Andrienko, Aleksandr Bashirov, Aleksey Buldakov
Comedy
show more »
Recently Viewed
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Page 2 of 2

IMDb: Most Popular "Independent Film" Drama Titles
4/27/13 3:32 PM
IMDb
Find Movies, TV shows, Celebrities and more... All Register | Login | Help
Movies TV News Showtimes Community IMDbPro Apps Your Watchlist
Most Popular "Independent Film" Drama Titles
1-50 of 12,760 titles. Next »
Sort by: MOVIEmeter! | A-Z | User Rating | Num Votes | US Box Office | Runtime | Year | US Release Date
1. The Breakfast Club (1985)
7.9/10
Add to Watchlist
Five high school students, all different stereotypes, meet in detention, where they pour their
hearts out to each other, and discover how they have a lot more in common than they
thought.
Dir: John Hughes With: Emilio Estevez, Judd Nelson, Molly Ringwald
Comedy | Drama
97 mins.
2. Not Fade Away (2012)
5.9/10
Add to Watchlist
Set in suburban New Jersey the 1960s, a group of friends form a rock band and try to make it
big.
Dir: David Chase With: John Magaro, Jack Huston, Will Brill
Drama
112 mins.
3. American Beauty (1999)
8.5/10
Add to Watchlist
Lester Burnham, a depressed suburban father in a mid-life crisis, decides to turn his hectic life
around after developing an infatuation for his daughter's attractive friend.
Dir: Sam Mendes With: Kevin Spacey, Annette Bening, Thora Birch
Drama
122 mins.
ad feedback
Feedback? Tell us what you think about
this feature.
4. Juno (2007)
7.6/10
Add to Watchlist
Faced with an unplanned pregnancy, an offbeat young woman makes an unusual decision
regarding her unborn child.
Dir: Jason Reitman With: Ellen Page, Michael Cera, Jennifer Garner
Comedy | Drama | Romance
96 mins.
5. Into the Wild (2007)
8.2/10
Add to Watchlist
After graduating from Emory University, top student and athlete Christopher McCandless
abandons his possessions, gives his entire $24,000 savings account to charity and hitchhikes
to Alaska to live in the wilderness. Along the way, Christopher encounters a series of
characters that shape his life.
Dir: Sean Penn With: Emile Hirsch, Vince Vaughn, Catherine Keener
Adventure | Biography | Drama
148 mins.
6. American History X (1998)
8.6/10
Add to Watchlist
A former neo-nazi skinhead tries to prevent his younger brother from going down the same
wrong path that he did.
Dir: Tony Kaye With: Edward Norton, Edward Furlong, Beverly D'Angelo
Crime | Drama
119 mins.
7. Eternal Sunshine of the Spotless Mind (2004)
8.4/10
Add to Watchlist
A couple undergo a procedure to erase each other from their memories when their relationship
turns sour, but it is only through the process of loss that they discover what they had to begin
with.
Dir: Michel Gondry With: Jim Carrey, Kate Winslet, Tom Wilkinson
Drama | Romance | Sci-Fi
108 mins.
8. Crash (2004)
7.9/10
Add to Watchlist
Los Angeles citizens with vastly separate lives collide in interweaving stories of race, loss and
redemption.
Dir: Paul Haggis With: Don Cheadle, Sandra Bullock, Thandie Newton
Drama
112 mins.
http://www.imdb.com/search/title?genres=drama&keywords=independent-film&sort=moviemeter,asc
Page 1 of 6

IMDb: Most Popular "Independent Film" Drama Titles
4/27/13 3:32 PM
9. Donnie Darko (2001)
8.1/10
Add to Watchlist
A troubled teenager is plagued by visions of a large bunny rabbit that manipulates him to
commit a series of crimes, after narrowly escaping a bizarre accident.
Dir: Richard Kelly With: Jake Gyllenhaal, Jena Malone, Mary McDonnell
Drama | Mystery | Sci-Fi
113 mins.
10. Requiem for a Dream (2000)
8.4/10
Add to Watchlist
The drug-induced utopias of four Coney Island individuals are shattered when their addictions
become stronger.
Dir: Darren Aronofsky With: Ellen Burstyn, Jared Leto, Jennifer Connelly
Drama
102 mins.
11. One Flew Over the Cuckoo's Nest (1975)
8.8/10
Add to Watchlist
Upon admittance to a mental institution, a brash rebel rallies the patients to take on the
oppressive head nurse, a woman he views as more dictator than nurse.
Dir: Milos Forman With: Jack Nicholson, Louise Fletcher, Michael Berryman
Drama
133 mins.
12. American Psycho (2000)
7.6/10
Add to Watchlist
A wealthy New York investment banking executive hides his alternate psychopathic ego from
his co-workers and friends as he escalates deeper into his illogical, gratuitous fantasies.
Dir: Mary Harron With: Christian Bale, Justin Theroux, Josh Lucas
Crime | Drama
102 mins.
13.
Delirium (2013)
4.0/10
Add to Watchlist
A family asks a young psychiatrists to be their guest and look after their father who's
developed a suicidal fixation for ropes and knots. It is also entirely possible that the mental
health of the guest is the real cause for concern.
Dir: Ihor Podolchak With: Volodymyr Khimyak, Lesya Voynevych, Petro Rybka
Drama | Thriller
100 mins.
14. Léon: The Professional (1994)
Add to Watchlist
8.6/10
A professional assassin rescues a teenage girl whose parents were killed in a police raid.
Dir: Luc Besson With: Jean Reno, Gary Oldman, Natalie Portman
Crime | Drama | Thriller
110 mins.
15. Beasts of the Southern Wild (2012)
7.3/10
Add to Watchlist
Faced with both her hot-tempered father's fading health and melting ice-caps that flood her
ramshackle bayou community and unleash ancient aurochs, six-year-old Hushpuppy must
learn the ways of courage and love.
Dir: Benh Zeitlin With: Quvenzhané Wallis, Dwight Henry, Levy Easterly
Drama | Fantasy
93 mins.
16. Big Daddy (1999)
6.2/10
Add to Watchlist
A lazy law school grad adopts a kid to impress his girlfriend, but everything doesn't go as
planned and he becomes the unlikely foster father.
Dir: Dennis Dugan With: Adam Sandler, Joey Lauren Adams, Jon Stewart
Comedy | Drama
93 mins.
17. Apocalypse Now (1979)
8.6/10
Add to Watchlist
During the U.S.-Viet Nam War, Captain Willard is sent on a dangerous mission into Cambodia
to assassinate a renegade colonel who has set himself up as a god among a local tribe.
Dir: Francis Ford Coppola With: Martin Sheen, Marlon Brando, Robert Duvall
Drama | War
153 mins.
18. Trainspotting (1996)
8.2/10
Add to Watchlist
Renton, deeply immersed in the Edinburgh drug scene, tries to clean up and get out, despite
the allure of the drugs and influence of friends.
Dir: Danny Boyle With: Ewan McGregor, Ewen Bremner, Jonny Lee Miller
Crime | Drama
94 mins.
19. Moon (2009)
Add to Watchlist
8.0/10
Astronaut Sam Bell has a quintessentially personal encounter toward the end of his three-year
http://www.imdb.com/search/title?genres=drama&keywords=independent-film&sort=moviemeter,asc
Page 2 of 6

.
.
.
.
Новости - Центральный федеральный Округ - interfax-russia.ru
4/27/13 2:43 PM
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DELIRIUM / Director: Ihor Podolchak
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13.06.2013
10:30
The hall "Shalyapin"
DELIRIUM / Director: Ihor Podolchak
(/2013/nominees/61.html)
Germany – Norway / 2012 / 132 min. / languages –
German, Norwegian, English / color
Dolby Digital
Competition
!Director & scriptwriter: Ihor Podolchak
Camera: Mykola Yefymenko
Design: Svitlana Makarenko
Music: Oleksandr Schetynsky
Cast: Volodymyr Khimyak, Lesya Voynevych, Petro Rybka, Olha Horbach, Olha Bakus,
Ivan Kostenko, Vasyl Kostenko
Producers: Ihor Podolchak, Ihor Dyurych, Tamara Podolchak, Liliya Mlynarych
Production: Podolchak Films, MF Films, Paulus von Lember
Based on the novel “Inductor” by Dmytro Belyansky. A family asks a young psychiatrist to
be their guest for a while and help look after their father who’s developed a suicidal
fixation for ropes and knots among other things. It is also entirely possible that the mental
health of the guest that is the real cause for concern.
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IHOR PODOLCHAK
Born in 1962 in Lviv, Ukraine. Graduated with distinction from the Lviv Academy of Fine
Arts (1984). Filmmaker, artist, creator of extensive projects in the field of visual art,
laureate at 25 international art exhibitions in Canada, the United States, South Korea,
Latvia, Poland, Norway, Spain, and Ukraine. Among 24 personal exhibitions, one bears
the distinction of being the first art exhibit ever to be held in space, aboard the Space
Station Mir, in 1993. His artwork is housed in 26 museums and public collections
worldwide. His feature film, “Las Meninas”, premiered at the Rotterdam IFF in 2008.
“Delirium” is his second feature film.
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DELIRIUM / Director: Ihor Podolchak - Nominees - Festival 2013 - Tarkovskyfest.ru
6/10/13 2:09 PM
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Page 4 of 4

На Каннському кіноринку відбулась презентація українських проектів початкової стадії розробки
5/22/13 10:03 PM
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Архив «Гаража» : Письма Монастырского, приглашение на выставку в Сандунах и другие артефакты — Город — Журнал — Афиша
7/7/13 7:58 AM
Расписание
Кино
cегодня, вс 7 июля
Показать
Город
Архив «Гаража» Письма Монастырского,
приглашение на выставку в Сандунах и
другие артефакты
В архиве научного отдела «Гаража» хранятся редкие книги и документы по истории
российского современного искусства. С недавних пор с ними могут работать все
желающие, правда, пока только по предварительной записи. «Афиша» попросила
хранителей архива рассказать про 10 самых примечательных артефактов.
Текст: Александра Новоженова
5 июля
Письмо Андрея Монастырского Игорю Шелковскому. Сентябрь 1984 года
(ксерокопия)
Фотография: Марк Боярский
http://www.afisha.ru/article/garage-archive/
Page 1 of 12

Архив «Гаража» : Письма Монастырского, приглашение на выставку в Сандунах и другие артефакты — Город — Журнал — Афиша
7/7/13 7:58 AM
Максим Крекотнев (хранитель архива): «Художник Игорь Шелковский, находясь в Париже, издавал
единственный эмигрантский интеллектуальный журнал о неофициальном советском искусстве «А–Я». В
записке Монастырский просит Шелковского не публиковать в журнале материалы о нем. Когда журнал
задумывался, подразумевалось, что он будет посвящен только искусству и авторы не станут лезть в политику.
Никто из тогдашних неофициальных художников не собирался становиться диссидентом. Тем не менее
составители журнала постепенно добавляли антисоветского перца в новые номера, в связи с чем у
художников из СССР начали возникать проблемы с искусствоведами в штатском. В итоге им было
предложено отказаться от публикаций в журнале, что все и сделали. В сентябре 1984 года художники в
разных интонациях написали Шелковскому письма с просьбой не публиковать никаких статей о них. Кабаков,
например, отправил очень холодное и жесткое письмо, а Монастырский — извиняющееся и мягкое. Копии
этих писем нам передал Игорь Шелковский в 2003 году. Но это далеко не полный архив журнала «А–Я».
Целиком он хранится в музее Zimmerli при университете Рутгерс».
Приглашение «Клуба авангардистов» на выставку в Сандуновских банях.
1988 год
Фотография: Марк Боярский
Саша Обухова (искусствовед, руководитель архива): «В конце 1980-х интенсивно шла
институционализация круга московских концептуалистов, и одним из первых таких институтов был «Клуб
авангардистов», или КЛАВА. Когда советская власть разрешила гражданам группироваться не только по
партийному признаку, но и по признаку увлечений — клуб любителей макраме или клуб кинологов,
например, — художники зарегистрировали «Клуб авангардистов». Это дало им возможность арендовать
площади, подписывать договоры с разными организациями, выступать субъектами на нарождающемся
рынке. Таким образом, КЛАВА смог снять для выставки помещение высшего мужского разряда в
Cандуновских банях — главный зал с бассейном, опоясанный колоннадой. В колоннаде развесили работы, а
сам бассейн и его окрестности стали в день открытия площадкой для колоссального фестиваля. «Выставка-
http://www.afisha.ru/article/garage-archive/
Page 2 of 12

Архив «Гаража» : Письма Монастырского, приглашение на выставку в Сандунах и другие артефакты — Город — Журнал — Афиша
7/7/13 7:58 AM
акция» — так тогда это называли. Поэты, в том числе Д.А.Пригов и дуэт «Квас заказан», читали стихи.
Произносились речи и манифесты, в воду было сброшено несколько десятков надувных крокодильчиков.
Женщин было мало, они сидели в пальто в закутке при входе — по крайней мере, на видеозаписи этой
выставки ни одной женщины не заметно. Такое вот шовинистическое у нас было художественное сообщество.
Выставки проводили в необычных местах — в кафе, в Доме культуры табачной фабрики «Дукат», в клубе
«Метелица», в Доме медика, в зоопарке. Часто выставку сопровождал рок-концерт — события делали
синтетическими, с участием авангардных модельеров, а по стенам картинки висели».
Каталог выставки «ИсKUNSTво». 1988 год
Фотография: Марк Боярский
Саша Обухова: «Это была первая большая зарубежная выставка молодого поколения московской школы
концептуализма. Проходила она в Западном Берлине, участников туда действительно вывезли — для многих
это была первая поездка за границу. Придумала выставку Лиза Шмитц при помощи самих художников и
Иосифа Бакштейна. Представьте себе такую вещь в Москве в 1988 году: книга с дыркой посредине, в дырке
игрушечный телевизор, а если заглянуть внутрь него — увидишь слайд-шоу про немецко-русскую дружбу. На
этих слайдах запечатлена документация концептуалистских выставок — «выставка-акция» в Cандунах,
например, или частные фото — вот Юра Альберт в плавках».
«ЭТИкетки» движения «Э.Т.И.». 1989–1990 годы
http://www.afisha.ru/article/garage-archive/
Page 3 of 12

Архив «Гаража» : Письма Монастырского, приглашение на выставку в Сандунах и другие артефакты — Город — Журнал — Афиша
7/7/13 7:58 AM
Фотография: Марк Боярский
Саша Обухова: «ЭТИкетки» делались коллективными усилиями участников движения «Э.Т.И.
(Экспроприация территории искусства)» (художественная группа радикальных московских акционистов, в
которую входили Анатолий Осмоловский, Дмитрий Пименов и Григорий Гусаров. — Прим. ред.) как
заготовки — такие тиражируемые поэтические микроформулы, сами по себе мало что значащие, но
привлекающие внимание. Неслучайно, что у группы «Радек» (группа акционистов младшего поколения
конца 1990-х — начала 2000-х. — Прим. ред.) на акции «Демонстрация» одним из лозунгов была вот эта
самая ЭТИкетка «Sex Marx Karl Pistols». В нашем архиве — ксерокопии оригиналов, которые мне передал в
1992 году Григорий Гусаров. Он скопировал все документы, которые у него были, и отдал мне. Можно сказать,
это везение, потому что потом весь его архив пропал. А сам Григорий погиб. Он был человек бездомный и
потерял много вещей, когда скрывался от судебного преследования летом 1991 года после акции, когда
участники группы выложили на Красной площади слово из трех букв своими телами. Поэтому фотографий
акции существует ничтожное количество — штуки две, наверное.
Каталог выставки «Каталог». 1990 год
http://www.afisha.ru/article/garage-archive/
Page 4 of 12

Архив «Гаража» : Письма Монастырского, приглашение на выставку в Сандунах и другие артефакты — Город — Журнал — Афиша
7/7/13 7:58 AM
Фотография: Марк Боярский
Саша Обухова: «Один из первых кураторских проектов Владимира Левашова и Екатерины Деготь — посвоему
тоже памятник эпохи. Экспозиция открылась в 1990 году во Дворце молодежи, и это была одна из
первых внятных выставок московской школы концептуализма, сделанных именно в Москве. До того крупные
выставки проходили за рубежом. На обложке каталога указаны все участники, но с некоторыми странными
вкраплениями — тут объединены и так называемые младоконцептуалисты, и старшее поколение, плюс
немного «Детского сада». Но главное — сам факт, что к выставке издан каталог! Это тогда была большая
редкость, был страшный голод печатной продукции — «Клуб авангардистов», к примеру, свои выставки
проводил без каталогов. Здесь же все очень академично: вводные статьи, авторские тексты художников,
например, текст Ильи Кабакова «Два железнодорожника». И еще уникальный документ, который не найдешь
в интернете: «Иерархия аэромонаха Cергия» 1986 года. К нему предисловие о средах обитания «гнилых
буратин», написанное Андреем Монастырским и Владимиром Сорокиным».
Ксерокопия статьи Саши Киселева «Ах, вернисаж» (рецензия на выставку
Сергея Шутова «Неликвиды» в Первой галерее) из архива галереи
«Школа». 1992 год
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Архив «Гаража» : Письма Монастырского, приглашение на выставку в Сандунах и другие артефакты — Город — Журнал — Афиша
7/7/13 7:58 AM
Фотография: Марк Боярский
Максим Крекотнев: «Ярчайший пример творческого беспредела арт-журналистики начала 1990-х. Статья
проиллюстрирована паспортной фотографией автора. Журналисты и писатели того времени с энтузиазмом
наверстывали традицию западной авангардной литературы и позволяли себе немыслимые сегодня
формалистические эксперименты в жанре рецензии на выставку. В стиле, напоминающем обрывочные
ощущения наркомана из романа Берроуза, автор (видимо, нетрезвый) подробно рассказывает о своей долгой
дороге в галерею, о потоке переживаний, который на него там обрушивается: вот он утыкается в чью-то шубу,
замечает чьи-то туфли, критикует вкус подаваемых напитков. Упоминает нескольких посетителей вернисажа
— среди них Ценципера и Николаевича, но тут же заявляет, что не собирается об этом ничего больше
говорить, как и о том, что на выставке экспонируется. Статья снабжена множеством сносок, бессмысленных и
абсурдных. Заканчивается она очередным заявлением о том, что описывать выставку автор не намерен —
короче, развитой постмодернизм как он есть. Архив галереи «Школа» нам подарила Ирина Меглинская
летом 2012 года».
Раскрашенная фотография Владислава Мамышева-Монро; лист верстки
титульного листа журнала «Радек» с «правкой» Мамышева-Монро. Около
1994 года
http://www.afisha.ru/article/garage-archive/
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Архив «Гаража» : Письма Монастырского, приглашение на выставку в Сандунах и другие артефакты — Город — Журнал — Афиша
7/7/13 7:58 AM
Фотография: Марк Боярский
Саша Обухова: «В 1990-е, когда мы довольно тесно общались с Владиком, он часто приходил ко мне в
Институт современного искусства, в котором я работала. В 1993–1994-х годах институт занимал комнату в
сквоте на Чистых прудах, где располагались мастерские художников-концептуалистов. Когда Бакштейна
(директор и основатель ИПСИ. — Прим. ред.) не было — а не было его часто, — начиналась тусовка и
распитие чая: водку особо никто не пил. Тогда Владик мне и подарил эту раскрашенную фотокарточку. Потом
тусовка переместилась на чердак в бывшую мастерскую Ильи Кабакова, куда ИПСИ переехал летом 1994 года.
Туда ко мне в гости ходили и акционисты, и молодые концептуалисты, с которыми я подружилась как раз на
Чистых. И из-за того, что там встречались такие разные художники, получались такие вот странные вещи. Я в
то время была ответственным редактором журнала «Радек» (лево-радикальный художественный журнал,
который издавал Осмоловский и участники движения «Э.Т.И.». — Прим. ред.), и мне принесли полосы
вычитывать. Они лежали у меня на столе, пришел Владик Монро и из журнала «Радек» сделал журнал
«Владек». А вообще, когда Осмоловский и Владик пересекались, они прекрасно ладили, никаких конфликтов
не возникало, потому что, как говорил Бакштейн, Толик — «интеллигентный московский мальчик».
Пригласительный билет на выставку Игоря Дюрича и Игоря Подольчака
«Последний еврейский погром» в галерее Гельмана. 1995 год
http://www.afisha.ru/article/garage-archive/
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Архив «Гаража» : Письма Монастырского, приглашение на выставку в Сандунах и другие артефакты — Город — Журнал — Афиша
7/7/13 7:58 AM
Фотография: Марк Боярский
Максим Крекотнев: «Я заносил в базу данных старые пригласительные и наткнулся на этот «Погром». Это
было потрясающее напоминание о том, насколько в 1990-е годы никого не волновала политкорректность.
Начиная с самой идеи выставки и заканчивая ее рекламой. Впечатляет сочетание названия проекта и
названия художественной группы — «Фонд Мазоха», при том что художники из Львова, когда-то печально
известного своим антисемитизмом. К тому же указано, что спонсор мероприятия — Lufthansa (что
напоминает бесшабашную привычку тех лет: публиковать рекламу крупных брендов без их ведома). Сам
«Последний еврейский погром» был редким примером перформанса, где в отношении зрителей
производилось реальное физическое насилие. В сущности, был повторен Cтэнфордский эксперимент. Всем
пришедшим предложили разделиться на погромщиков и евреев. Публика была интеллигентная, многие
выбрали роль жертв. Была определена территория погрома, за которую жертвам нельзя было выходить, зато
погромщики на входе получали рюмку водки. Соблюдение правил честно контролировал специально
нанятый молодцеватый охранник в черном. Важно, что и туалет находился за границей погрома, так что в
течение четырех часов, которые длился эксперимент, «евреи» попасть туда не могли. Вскоре начался
аукцион, на котором можно было выкупать жертв. В результате всех освободили и полные четыре часа никто
там не просидел. Судя по реакциям в прессе, перформанс особого фурора не произвел — что характерно для
1990-х, когда насилие было настолько легитимно в повседневности, что совершенно органично смотрелось в
искусстве и воспринималось как одно из множества равно возможных форм».
Две версии журнала «Декоративное искусство» №№1–2 за 1997 год
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Архив «Гаража» : Письма Монастырского, приглашение на выставку в Сандунах и другие артефакты — Город — Журнал — Афиша
7/7/13 7:58 AM
Фотография: Марк Боярский
Настя Тарасова (хранитель архива): «Журнал «Декоративное искусство» (бывшее «Декоративное
искусство СССР») был одним из первых журналов, который начал писать о современном искусстве, еще в
конце 1980-х. С 1989 года там был вкладыш под названием «Ракурс», в котором печаталось много важного. К
началу 1990-х журнал радикализовался. А зимой 1997 года в редакции произошел раскол: главного редактора
Айдера Куркчи «свергли» и №№1–2 этого журнала за 1997 год вышел в двух версиях: каждая половина
редакции по-своему представляла, о чем журнал должен писать. Точно не известно, почему они поссорились,
ходят слухи, что причины были финансовые. Учредителем «ДИ» был Союз художников СССР, и борьба за
имущество и деньги шла не на уровне редакций, а на уровне дележа наследства Cоюза художников. Один
журнал вышел под руководством члена старой редакции с комментарием, что редакция настоящего «ДИ» c
другой версией «ДИ» ничего общего не имеет и ответственности за них не несет. Отколовшаяся,
«прогрессивная» версия журнала почти целиком посвящена необходимости создания в Москве музея
современного искусства — при этом даже высказываются опасения, что время упущено. В дискуссии на эту
тему участвуют Деготь, Мизиано, Бакштейн, Ерофеев и другие. Через два года после этого как раз открылся
церетелиевский ММСИ, которому теперь и принадлежит, между прочим, возрожденный журнал «ДИ».
Баллончик спрей-краски. 2012 год
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Архив «Гаража» : Письма Монастырского, приглашение на выставку в Сандунах и другие артефакты — Город — Журнал — Афиша
7/7/13 7:58 AM
Фотография: Марк Боярский
Саша Обухова: «Это из новых поступлений — баллон краски, закамуфлированный под слабоалкогольный
напиток «Алко». Рабочий инструмент стрит-артиста. Исключительно функционален, потому что маскировка
сосуда не позволяла силам правопорядка задержать автора известных надписей. Объект подарен в архив
автором знаменитых граффити Кириллом Кто в 2012 году».
Попасть в архив «Гаража» можно уже сейчас, заполнив перед этим форму на сайте культурного центра.
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Page 10 of 12

5 самых перспективных украинских режиссеров — oKino.ua
7/29/13 6:11 PM
ФИЛЬМЫ КИНОТЕАТРЫ СЕРИАЛЫ ГАЛЕРЕИ КОНКУРСЫ
oKino.ua Статьи Обзоры
5 самых перспективных украинских
режиссеров
Юлия Кузнецова. 29 июля, 2013 0 1
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44 пользователям это
нравится. Будьте первыми
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2
Украинское кино давно существует в состоянии пациента, чье
состояние то улучшается, то ухудшается, но которому до выписки
очень далеко. Тем не менее каждый год дает нам свои надежды
на будущее. Так, на последний ОМКФ в национальный конкурс
пришло рекордное число заявок — около двухсот, из которых
фестивальный зритель увидел почти тридцать полнометражных
и короткометражных украинских фильмов. Причем среди
множества проходных работ, были и весьма достойные картины.
В oKino.ua, отсмотрев украинские ленты в Одессе, отметили для
себя пять режиссеров, уже сегодня готовых творить дальнейшую
историю нашего кинематографа.
Статьи о кино
5 самых перспективных
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Премьеры недели:
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Ревизия: прошлое и
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«Прослушки»
5 мыслей о
заманчивости
«Элитного общества»
http://www.okino.ua/article/reviews/318/
Page 1 of 6

5 самых перспективных украинских режиссеров — oKino.ua
7/29/13 6:11 PM
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вторую картину «Делириум» — фильм-галлюцинацию, запутанную
историю сумасшествия в чопорной галицкой семье. Возможно, сюжет
и идея фильма «Делириум» покажется многим излишне сложными,
но эта лента, безусловно, обладает высокими художественными
достоинствами. Кинодебют Подольчака «Менины» был первым
украинским фильмом в конкурсе Роттердамского кинофестиваля и хоть
ничего и не выиграл, но режиссер получил поддержку от голландского
Фонда Хуберта Балса для своей следующей киноработы. Фильмы
Подольчака невозможно поместить в местный киноконтекст: он стоит
особняком от самопровозглашенных «украинских злых»
и от конъюнктурщиков вроде авторов «Параджанова». Подольчаку
и не надо ни к кому примыкать: он признанный художник, сделавший
себе имя еще двадцать лет назад, когда его графику показали
на первой в истории арт-выставке в космосе.
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http://www.okino.ua/article/reviews/318/
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7/29/13 6:11 PM
Впервые выпускник Киевского киноинститута Васянович заявил о себе
почти десять лет назад благодаря снятой на потертую черно-белую
пленку короткометражной документалке «Проти сонця». Фильм о герое,
который постиг смысл жизни, занимаясь гончарством, завоевал
симпатии на нескольких западных кинофестивалях. На сегодня
Васянович снял уже два больших метра — «Обычное дело» и «Креденс».
Режиссера интересует современный украинец — безвольный
разочарованный мужчина средних лет, окруженный унылым бытом
и сластолюбивыми женщинами. Картины Васяновича не лишены
горького юмора и социальной сатиры. Фильму «Обычное дело» удалось
прорваться в украинский прокат и предсказуемо провалиться. «Креденс»
пока что успел отхватить в Одессе награду Международной федерации
кинопрессы и вполне теплые отзывы публики.
250 ЛУЧШИХ ФИЛЬМОВ
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Руслан Батицкий
Недавний выпускник университета имени Карпенко-Карого обратил
на себя внимание своей дипломной работой «Очерет». Реалистическая
история о неизлечимо больном отце, пытающемся найти того, кто
позаботится о его дочери-инвалиде, вошла в проект «Украина гудбай».
Следующий фильм Батицкого — «Уроки украинского» — расхвалили
заочно, когда был готов лишь сценарий. Получившееся в итоге кино —
жесткая символическая история о шахтерском городке, чьи жители
деградировали до уровня звериной жестокости. Главный герой
побеждает зло аналогичным насилием. Батицкий создал морально
спорный и щепетильный по отношению к Донбассу фильм, который тем
не менее завораживает фантастически снятыми туманными
терриконами и гиперреальной мрачной атмосферой. На ОМКФ «Уроки
украинского», как и «Креденс», были отмечены Международной
федерацией кинопрессы.
http://www.okino.ua/article/reviews/318/
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5 самых перспективных украинских режиссеров — oKino.ua
7/29/13 6:11 PM
Евгений Матвиенко
Как и многие его коллеги, Матвиенко годами работал в рекламе. Тем
более удивляет, насколько его фильмы контрастируют с лоском
коммерческих видео. Сразу две работы Матвиенко — «Как казаки
в космос полетели» и «Свидание» — вошли в альманах «Украина
гудбай», выпущенный в прокат осенью прошлого года. «Свидание» было
снято всего за $800. Фильм открывал киноподборку, шокируя зрителей
обилием украинской непристойной лексики: главная героиня ленты
подрабатывает в службе секса по телефону. Самый преданный клиент
звонит ей прямо из зоны боевых действий где-то на Востоке. Помимо
участия в национальном конкурсе ОМКФ, фильм «Свидание»
представлял Украину на крупнейшем в мире фестивале
короткометражного кино во французском городе Клермон-Ферран.
Напряжение и максимализм в сочетании с лаконичностью
и эмоциональной отстраненностью — основные черты режиссерского
стиля Матвиенко.
Максим Ксёнда
http://www.okino.ua/article/reviews/318/
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5 самых перспективных украинских режиссеров — oKino.ua
7/29/13 6:11 PM
Его «Дорога» стала лучшей украинской короткометражкой на ОМКФ. Это
драма о мальчике, который сбегает от матери к живущему в другом
городе отцу. Ради этого, он прикидывается парализованным и цепляет
инвалидное кресло к первому попавшемуся грузовику. Чтобы найти
деньги на опасный эпизод с залитой ливнем магистралью, создатели
фильма обратились в Фонд Рината Ахметова. Подростков сыграли
воспитанники интерната, исполнителя главной роли позже усыновили
американцы. За плечами у постановщика «Дороги» — множество
рекламных роликов, участие в конкурсе кинофестиваля в Локарно
и клипы для ТНМК и Джамалы. Признание его последней киноработы —
значительный аванс для автора, учитывая, что часть из того, что Ксёнда
рассказывал журналистам о содержании фильма, на экране не особо
читается.
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Українська компанія SOTA підтримає новий фільм Олександра Міндадзе
8/1/13 12:28 PM
Телекритика ДУСЯ ВідеоТеКа MediaSapiens Суспільне мовлення Медіафільтр Broadcast Порушення прав журналістів Журнал
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Головна > Контекст > Культура і мистецтво
Українська компанія SOTA підтримає новий фільм
Олександра Міндадзе
01.08.2013 10:55
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Українська кінокомпанія
SOTA Cinema Group
(продюсер Олег Кохан)
виділить 350 тис. євро на
новий повнометражний
художній фільм режисера
Олександра Міндадзе
«Милий Ханс, дорогий
Петро» (копродукція: Росія,
Німеччина, Україна). Про це
повідомили «Телекритиці»
автори проекту.
За їх словами, загальний
бюджет картини - 3,350 млн.
євро, 33% від цієї суми
виділить німецька сторона, а
57% - російська. Продюсери з російської сторони - Ліза Антонова, з німецької - Хейно Декерт. В
даний час проект знаходиться на фінальній стадії девелопменту, в серпні 2013 планувалося почати
зйомки.
Як повідомляв ряд російських ЗМІ, фільм «Милий Ханс, дорогий Петро» був представлений 26 червня
на пітчінгу кінопроектів в Міністерстві культури РФ, але незважаючи на високі оцінки експертів,
підтримки не отримав. «Ми серйозно готувалися до пітчингу і представили на суд експертів не тільки
художню частину проекту, а й досконально пророблений бізнес-план його реалізації та просування:
творчу групу, відібрану натуру, затверджений кастинг німецьких акторів, дрім-каст російських,
листи великих міжнародних фестивалів щодо зацікавленості в проекті, підписаний договір про
копродукцію, гарантії німецьких прокатників, обгрунтування бюджету з чітко прописаним
співвідношенням копродукційних вкладень сторін », - заявила російський продюсер проекту Ліза
Антонова («Студія «Пассажир»»).
Незважаючи на те, що «Милий Ханс, дорогий Петро» не увійшов до числа 12 проектів,
рекомендованих до отримання держфінансування Мінкультом Росії, у фінальний протокол було
внесено особливу думку експертів, в якому говорилося, що проект Олександра Міндадзе є одним з
найяскравіших проектів, представлених на пітчингу. У колективному листі експерти також просили
керівника відомства знайти кошти на фінансування фільму. Міністерство культури Росії запевнило
продюсерів картини, що проект буде переданий до Фонду кіно і наприкінці серпня буде розглянутий
на засіданні Опікунської ради. Поки Мінкульт РФ очікує позитивного рішення Фонду кіно.
У жовтні 2012 року «Милий Ханс, дорогий Петро» на засіданні Німецько-російського фонду розвитку
проектів спільного виробництва отримав грант 20 тис. євро на девелопмент. У березні 2013 року в
Берліні завершилися переговори про спільне виробництво між главою загальногерманського
ЧИТАЙТЕ
ТАКОЖ:
05.04.2013
Олег Кохан: лауреат премії «Ніка» фільм
«Вічне повернення» Кіри Муратової
невдовзі вийде в український прокат
28.01.2012
Міндадзе і Ступка здобули «Золоті орли»
24.12.2011
Фільм Міндадзе відзначили «Білим слоном»
30.06.2011
Фільм Міндадзе «У суботу» здобув гран-прі
у Брюсселі
15.02.2011
Берлінале: В понеділок була субота (за
Міндадзе)
НОВЕ НА «ТЕЛЕКРИТИЦІ»
12:00 01.08.2013
Діана Дуцик
Олексій Хаб’юк: «У порівнянні з показниками
рекламних ринків Німеччини, Польщі та Росії
Україна на дуже низькому рівні розвитку»
11:57 01.08.2013
Блогеру-атеїсту з Бангладеш загрожує 14-
річне ув’язнення
11:52 01.08.2013
Сноб, Esquire і «Русский пионер» – лідери з
використання лайки серед російських ЗМІ
11:43 01.08.2013
Акименко та Мусаєва залишають
«Forbes.Україна» через розслідування
про Курченка
10:55 01.08.2013
Українська компанія SOTA підтримає новий
фільм Олександра Міндадзе
10:30 01.08.2013
Борис Бахтеев для «Телекритики»
http://www.telekritika.ua/culture/2013-08-01/83774
Page 1 of 4

Українська компанія SOTA підтримає новий фільм Олександра Міндадзе
8/1/13 12:28 PM
авторського фонду Петером Дінгесом (German Federal Filmboard, FFA) і художнім керівником
«Студії « Пассажир»» Олександром Міндадзе, що виступає автором сценарію і режисером картини. За
словами авторів проекту, це перший випадок, коли общегерманский фонд FFA, що займається в
основному підтримкою національного комерційного кіно, має намір приєднатися до проекту і брати
участь у копродукції.
У фільмі «Милий Ханс, дорогий Петро» розповідається історія радянського інженера Петра М. і його
німецького колеги Ханса Ф., прибулого у відрядження в Радянський Союз на скловарної завод перед
початком війни. Сюжет заснований на реальних подіях передгрозового часу, спогадах їхніх
безпосередніх учасників. На роль Ханса затверджений німецький актор Якоб Діль. Жіночу роль
зіграє німецька актриса Біргіт Мініхмайер, в чиєму послужному списку значаться «Парфумер:
історія одного вбивці» Тома Тиквера та «Біла стрічка» Міхаеля Ханеке. Ще одну роль виконуватиме
Марк Вашке («Будденброки» Генріха Брелер, «Барбара» Крістіана Петцольда). З німецької сторони
стрічку продюсує Хейно Декерт («Щастя моє» і «В тумані» Сергія Лозниці, «Віват, антиподи!»
Віктора Косаківського).
Пітчинг кінопроектів - нова форма одержання держфінансування в Росії. Цьогоріч на ньому
український режисер Ігор Подольчак представляв свій новий проект - повнометражний художній
фільм «Доміно» (за романом Андрія Білого «Петербург»). Проект не отримав підтримки. Варто
відзначити, що «Доміно» (продюсер від України - Максим Асадчий, компанія PRONTO FILM)
переміг на 4-му пітчингу Держкіно в Україні. Загальний бюджет фільму - трохи більше 22,537 млн.
грн. Частка Держкіно України - трохи більше 11,268 млн.грн. Фільм показує проблему тероризму
крізь призму архетипних відносин: батько-син, особистість-влада. Розповідає, як ідеологічні химери
ведуть до насильницьких дій і призводять до деструкції особистості, сімейних і суспільних відносин.
Олеся Анастасьєва для «Телекритики»
«Новая волна» и «русский мир»
09:00 01.08.2013
Тетяна Котюжинська для «Відеотеки»
Плагіатори, геть з професії!
19:22 31.07.2013
Українську версію «Давай одружимося» на
«Інтері» дивились краще за російську
18:26 31.07.2013
ТВА відновив мовлення в кабельних мережах
17:24 31.07.2013
Саудівського блогера засудили до 7 років
ув’язнення і 600 ударів батогом за критику
ісламу
17:05 31.07.2013
«Право TV» отримав попередження Нацради
16:43 31.07.2013
Оселедчик вестиме кулінарне шоу на каналі
«Україна»
16:22 31.07.2013
Андрій Шевченко: «Для запуску суспільного
телебачення в Україні бракує лише
політичної волі»
16:19 31.07.2013
Міжнародні організації закликають ЄС
захистити європейців від урядових
шпигунських програм
16:09 31.07.2013
Волинська ОДА відмовила в наданні
інформації про ремонт площі у
Нововолинську
16:01 31.07.2013
«Воля-кабель» отримала попередження
Нацради за порушення в Дніпропетровську
15:52 31.07.2013
Нацрада йде у відпустку
кіно кіновиробництво кінодистрибуція копродукція
Версія для друку
* Знайшовши помилку, виділіть її та натисніть Ctrl+Enter.
15:41 31.07.2013
Депутат міськради від Партії регіонів
погрожувала журналісту, що знайде
бандитів для його вбивства
15:40 31.07.2013
Канал UBR поміняв директора і власника, але
поки ще не став «Вести TV»
15:22 31.07.2013
Група «1+1 медіа» створила департамент
онлайн-відеоконтенту, який очолив Анатолій
Савін
Бюстгальтер
мечты!
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slimmer!
ЛЕГКО устранит второй
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Плагіатори, геть з професії!
КОМЕНТАРІ НАШИХ ВІДВІДУВАЧІВ:
ЧИТАЙТЕ
ТАКОЖ:
+ Додати
КУЛЬТУРА І МИСТЕЦТВО
10:55 01.08.2013
Українська компанія SOTA підтримає новий
фільм Олександра Міндадзе
12:54 30.07.2013
Гран-прі Львівського кінофестивалю Wiz-Art-
2013 отримав австрійський фільм «Можливо»
14:25 29.07.2013
Уряд схвалив призначення грантів молодим
діячам у галузі кінематографії
17:10 26.07.2013
http://www.telekritika.ua/culture/2013-08-01/83774
Page 2 of 4

Американские художники создали дизайн для космического спутника — Мария Новоселова — Российская газета
8/14/13 4:47 PM
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Американские художники создали дизайн для космического спутника — Мария Новоселова — Российская газета
8/14/13 4:47 PM
-%()%+& % )#,(,@& W+,3& LX-#. A.& 7,'

У День незалежності на «КіноЛеві» – українське кіно - Новини Львова ZAXID.NET
8/15/13 8:12 PM
Вхід
Селяни погрожують перекрити дорогу Львів-Луцьк
Археологи знайшли у Львові гребінець, якому понад 500 років Мої теми
Пошук
20:07, 15 серпня
Головна Новини Публікації Блоги Проекти Чат Анонси Колонки Відео Фото Архів
Всі новини Новини Львова Новини України Новини світу Погляд Радіо 24
Актуально: Борги казначейства Ремонти доріг Конфліктні будівництва у Львові Україна і ЄС Євробаскет-2015 Митний союз
Новини за темою
У Сокальському районі ситуація з
дорогами катастрофічна, –
голова райради
Археологи знайшли у Львові
гребінець, якому понад 500 років
Селяни погрожують перекрити
дорогу Львів-Луцьк
Дії Росії треба сприймати як
безпрецедентну загрозу, –
Ющенко
У День незалежності на
«КіноЛеві» – українське кіно
Новини / Новини Львова вчора, 20:09
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Новини Львова від
ZAXID.NET на Радіо 24
У Львові на площі Галицькій
встановили лавки з деревцями
Фото: Ілюстрація
Джерело: maptour.com.ua
Ми у соцмережах
Традиційно 24 серпня фестиваль «КіноЛев» присвячує українському кіно. До програми
«Незалежна кінокухня українського кіна», окрім стрічок молодих режисерів, увійде фільм
«Delirium» Ігоря Подольчака – друга стрічка художника та режисера, повідомили в Музеї ідей.
Теглайн картини: «Поглянь туди, куди не наважуєшся дивитись – побачиш своє віддзеркалення, яке
спостерігає за тобою».
Цю тему підтримають і фільми про Україну. Зокрема, стрічка «Александр Ґранах» німецької режисерки
Анґеліки Віттліх. Разом з українською письменницею Галиною Петросаняк, яка переклала автобіографію
Ґранаха «Ось іде людина» українською мовою, режисерка Анґеліка Віттліх натрапляє на слід
Александра Ґранаха, актора та режисера, учня Рейнхардта. Стрічку презентуватиме письменник Тарас
Прохасько.
Французька документальна стрічка Домініка Еннекена «Провал пам’яті» розповість про забуті сторінки
історії. Кому сьогодні відомо, що 1942 року в Мозелі функціонувало близько 250 таборів, де серед інших
працювало багато українців.
Також продемонструють фантастичний фільм «Загублене місто» молодого режисера Віталія Потруха –
це історія про Чорнобильську АЕС і паралельні світи. Наслідки аварії не вивчені, темні й загадкові. У
центрі зони, як і колись, існує місто, але зараз абсолютно безлюдне, якщо не враховувати мародерів. У
картині знімалися: Ірина Новак, Андрій Джеджула та Сергій Романюк.
Нагадаємо, ретроспективну частину показів «КіноЛева» цьогоріч присвятять режисеру Андрію
Тарковському.
Гостями цьогорічного фестивалю будуть: Ігор Сукманов, білоруський кінознавець, директор
Міжнародного фестивалю «Лістапад»; Діляра Тасбулатова, російський кінокритик; Тарас Ткаченко,
український режисер; Мацєй Столярчик, виконавець головної ролі у фільмі «Фелікс, Нет і Ніка»
(Польща); Агнєшка Борова, режисерка мультфільму «Leaves» (Польща); Татіaна Каучор, продюсер
Міжнародного фестивалю молодого глядача AleKino! (Польща).
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У День незалежності на «КіноЛеві» – українське кіно - Новини Львова ZAXID.NET
8/15/13 8:12 PM
Міжнародного фестивалю молодого глядача AleKino! (Польща).
Фестивальні покази пройдуть у Музеї ідей та Бернарденгардені (вул. Валова, 18а), кінопалаці «Копернік»
(вул. Коперника, 9), а також частина програми буде показана в музеї-меморіалі жертв окупаційних
режимів «Тюрма на Лонцького» (вул. Бандери, 1).
Афіша
Львів на вихідні
Вхід на покази в Музеї ідей та музеї-меморіалі «Тюрма на Лонцького» вільний. Вхід на покази в
БернарденГардені та кінопалаці «Коперник» за запрошеннями, за інформацією звертайтесь за тел.: 295-
69-68, 067-915-59-76.
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Ігор Подольчак: "Деліріум" - музейне кіно | KORYDOR
8/21/13 2:46 PM
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Ігор Подольчак: "Деліріум" - музейне кіно
© gazeta.dt.ua
Олександр Телюк
21.08.2013
86
Ігор Подольчак прийшов у кінематограф у віці 46 років. До того, як почати знімати
Подобається! 13
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фільми, він ствердився як художник. Він став відомим завдяки експресіоністичному живопису та участі в
скандальному концептуальному угрупуванні “Фонд Мазоха”. На Одеському кінофестивалі 2013 року в рамках
конкурсної програми Ігор Подольчак представив свій новий фільм “Деліріум”. Стрічка створена за мотивами
повісті Дмитра Бєлянського “Індуктор”, знімалася піді Львовом, у Брюховичах. Світова прем’єра цієї стрічки
відбулася у березні цього року на фестивалі в Порто.
Як і в своєму першому фільмі “Меніни”, в “Деліріумі” Подольчак зображує родину, що заблукала у власних
секретах та психічних розладах. Проте на відміну від “Менін”, у “Деліріумі” є зовнішній персонаж – лікарпсихіатр.
Він прийшов у родину за анонімним викликом досліджувати загадкову поведінку батька. Однак
хвороблива сомнамбулічна атмосфера сім’ї руйнує його власну свідомість та доводить до межі, де він не
здатний розпізнати різниці між собою та іншими.
Це лише одне з можливих трактувань моторошного та енігматичного фільму Подольчака. Режисер підкреслює
багатозначність, абстрактність свого твору і дозволяє глядачеві повну свободу інтерпретацій. У своєму інтерв’ю
Ігор Подольчак зауважує, що сучасному кінематографу шкодить мода на антропологію, та пояснює, чому його
фільм буде важко побачити в Україні.
Олександр Телюк: Ваш фільм радикально відрізнявся від всіх українських фільмів, показаних цього року в
Одесі.
Ігор Подольчак: В Одесі мене на прес-конференції багато питали про “історію”, драматургію, про що цей
фільм. Я завжди казав, що кіно – це новий вид мистецтва, якщо його можна назвати видом мистецтва і тому
варто було б поділити його як, наприклад, у мистецтві: декоративно-прикладне мистецтво – кіно повчальне і
розважальне та станкове – власне кіномистецтво. Я роблю “станкове кіно” й усвідомлюю, що частка такого
кіна надзвичайно мала. Це закономірно, оскільки і його глядача також небагато.
Чи можна собі уявити, щоб навіть у тридцятих роках на виставці тодішнього сучасного мистецтва критик
підійшов до абстрактної картини і запитав, а “що художник хотів цим сказати?”, або “якось воно на пейзаж не
подібно”. Сучасні українські кінокритики не можуть говорити про кіно в категоріях “не-реалізму”. В моїх
фільмах не треба шукати “історії”, я їх не оповідаю і, мабуть тому, воні стоять дещо осторонь інших
українських фільмів.
О.Т.: У будь-якому разі, у вас є літературне джерело – повість Дмитра Бєлянського “Індуктор”, після
прочитання якої при бажанні можна скласти сюжет до купи.
І.П.: Тоді треба б було і дивитись, і читати. Гадаю це зайве. У фільмі кожен може скласти свою версію, яка
може не збігатись із версією іншого глядача і навіть автора фільму. Фільм не пропонує однозначного чи
двозначного прочитання. Навіть для мене.
Від літературного джерела я лише відштовхнувся. Це була певна інтенція, яка захопила мене і повела...
Безпосереднього зв’язку немає, є хіба що метафізичний. Це в жодному разі не екранізація, а якщо за
мотивами, то чим більше я працював зі сценарієм, знімав і монтував, тим далі йшов від тих мотивів.
О.Т.: У мене склалося враження, що замість традиційних героїв у фільмі ми маємо гомогенний простір
перетікання ідентичностей персонажів.
І.П.: Абсолютно вірно. Я люблю гратись у такі речі, коли персонаж може бути тим або іншим, і ще інколи –
собою. В „Деліріумі” я продовжив розвивати ці прийоми, а в наступному фільмі, я думаю, доведу їх до ще
глибшої взаємозамінності, або, точніше, однаковості.
О.Т.: А чи не це є джерелом відсутності класичного саспенсу у вашому фільмі. Бо кожен його герой діє
одночасно як лікар і як пацієнт, як слідчий і як жертва.
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І.П.: Як побудований класичний саспенс? Глядач знає про загрозу, наприклад, годинникову бомбу під столом.
Він бачить, як стрілка рухається до фатальної позначки. Персонажі, що сидять за столом, й гадки не мають про
цю загрозу. Напруга, яка виникає між знанням глядача і незнанням персонажів і формує саспенс.
Звичайно, такого саспенсу у мене немає. Мій фільм ближче до детективу, де є певна загадка. Власне, вона
створює напругу. Але, водночас, є значна відмінність від детективу, який, в решті-решт, дає відповідь на
питання “Хто?” і “Чому?”, а я залишаю ці питання без відповіді. Або глядач сам відповість, або буде сприймати
все як певну даність. Моя конструкція замкнена на собі й водночас вона може безкінечно множитися і сама
себе структурувати відповідно до закладених правил.
О.Т.: Ваші персонажі перетікають один в одного, але при цьому залишається структура близнюків або
віддзеркалень – Прислуга і Донька, Зять і його брат Священик, Психіатр і Батько. Це є простою грою
драматургічної симетрії чи психологічною диспозицією?
І.П.: І те і інше, але це не центральна чи осьова симетрія, а радше “багатодзеркальна”, калейдоскопічна. Тут
діє і проекція себе на іншого, й іншого – на себе.
Близнюки Іван та Висиль Костенко - в ролі священика та сина голови родини.
О.Т.: Повість Дмитра Бєлянського відсилає до “юнгіанства”. Чи перетекла тінь Юнга у ваш фільм?
І.П.: Звичайно, але з певним математичним та психіатричним акцентом. Якщо ви помітили, я користувався
теорією вузлів, це досить складна математична теорія. Для фільму було достатньо зупинитися на простих
вузлах, які швидко затягуються і добре розв’язуються. А зацикленість – це психіатричний елемент, певна
обсесивність і неможливість вирватися з уявного простору. Взагалі, простір фільму досить клаустрофобічний і
герметичний, в якому не так багато елементів. Наприклад, я свідомо себе обмежував у звуці.
О.Т.: У ваших фільмах, “Менінах” і “Деліріумі”, дуже експресивний звуковий дизайн, який відсилає до
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раннього горору, де звук для стимулювання уяви та страху відігравав не меншу роль, ніж зображення.
І.П.: Музика у “Деліріумі” є лише на титрах – початок і кінець фільму, весь інший час побудований лише на
побутових звуках, кількість яких свідомо обмежена і за характером їх можна назвати “штучними”. Звук із
майданчика у фільмі не використовувався. Ми працювали з “бібліотечними” звуками, будували з них
композиції, стосунок яких до реальності дуже відносний. Також ми використовували повну відсутність звуку,
тобто інтегрували звук кінозалу у фільм. Мені видається, що така обмежена звукова палітра дала можливість
створити цікаву стилістичну єдність, гомогенізувати образ, звук і, можливо, час.
О.Т.: Образ шраму, що “продовжує” рот жінки, у світовому кіно за останні роки зустрічається вдруге. Вперше я
його бачив на обличчі повії у фільмі француза Бертрана Бонелло “Аполоніда”, вдруге – у “Деліріумі”.
Використання фізичних вад нерідко можна зустріти у ваших картинах. Вони є метафорою психологічних травм
чи вираженням естетики провокації?
І.П.: Мене менше цікавлять актори, мене цікавлять персонажі, а це завжди якась характерність.
Використовуючи “неестетичні” елементи, я не ставив за мету “естетичну провокацію”. Може, там є щось від
“емоційної” провокації. Крім цього, шрам відіграє роль “символу загадки”. Ми не знаємо, результатом якої події
став шрам, але він унаочнює “реальність” події. Водночас, навіть я не знаю, що це була за подія і з ким з
персонажів (Донькою чи Служницею) вона трапилась.
О.Т.: Батько в фільмі весь час повторює мантру про “коло” і “вісімку”, мені здалося, що ви граєтесь з цими
образами в самій структурі твору. По-перше, герой стрічки ходить по колу, ніби стираючи себе, по-друге,
“спіральний” сюжету фільму закінчується там, де і починається.
І.П.: Як це було і в “Менінах”. Герой себе не лише стирає, але і нарощує, подібно до того, як фізіологічно
нарощуються м’язи.
О.Т.: В якомусь інтерв’ю ви, здається, казали, що ваше кіно варто віднести до кінематографу 30-60-х, а не
сучасного.
І.П.: Можливо, в сенсі внутрішніх уподобань. Взагалі я не розумію сучасне кіно, для мене це антропологія – чи
культурна, чи етнічна, чи соціальна. Воно подібне на ілюстрацію, чи додаток до соціологічних досліджень.
“Дискавері”, за великим рахунком. Знову ж таки, ми повертаємося до того, що є мистецтво. Мистецтво не
займається антропологією, воно лише використовує якісь знахідки, як свого часу кубізм використовував
африканську скульптуру. Для мене соціо-антропологічні дослідження не можуть бути предметом мистецтва.
О.Т.: Тобто можна сказати, ви – проти реалізму?
І.П.: Категорично.
О.Т.: Ваш фільм гармонійно б виглядав у контексті кінематографу початку 60-х, коли почали з’являтися
фільми Алена Рене, Алена Роб-Грійє, Алєксандра Астрюка.
І.П.: Думаю, він би випадав з цього ряду візуально. Я дуже люблю Рене, хоча якщо взяти “Минулого року в
Марієнбаді”, він шикарно знятий, але інакше. В той ряд ще треба поставити ранні фільми Жулавскього і
Полянського. Я шалено люблю Полянського – “Ніж в воді” і “Відразу”, але не те, що відбувалося з ним після
80-х, починаючи з “Тесс”.
О.Т.: Якщо продовжити розглядати ваші фільми в контексті старого кінематографу, в ваших фільмах немає
мобільних пристроїв, технологічних винаходів, а панує ретро-антураж.
І.П.: Я не спеціально це роблю. Мені швидше йдеться про позачасовість. Сучасні девайси вносять певну
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конкретику, а мені хотілося б її уникнути. Хоча в наступному фільмі я, можливо, розширю палітру реквізиту. З
іншого боку, я просто люблю, в “естетичному” розумінні, старі речі.
О.Т.: Мені сподобалася фраза з фільму “усвідомлені дії вибудовуються в систему значень, неусвідомлені – в
систему ритуалів”. Я не зустрічав її в Бєлянського. Чи можна ваш фільм сприймати як критику ритуалів –
несвідомих побутових чи сакральних дій?
І.П.: Таке прочитання можливе. Володимир Войтенко взагалі сказав, що це є те кіно, яке найбільшою мірою
віддзеркалює теперішній стан українського суспільства. Повернемося до сакраментальної фрази Енгельса
“жити в суспільстві і бути вільним від нього неможливо”. Мабуть, це якось впливає. Хоча таких завдань я собі
не ставив. Ми свого часу, маючи досвід наших соціально-політичних акцій, сміялися ще над “Менінами”, що це
взагалі політична сатира.
О.Т.: Ваше кіно зачіпає тему релігії. В “Деліріумі” початок і кінець відбуваються у церкві, а ваші герої належать
до галицької інтелігенції – достатньо релігійного прошарку. Чи справді цей рівень дослідження наявний у
вашому фільмі?
І.П.: Я атеїст. Тож яка може бути релігійність? Хоча... Колись, мабуть, Саша Ройтбурд розповідав, що по
приїзді до Нью-Йорка на зустрічі з рабі він сказав: “Я атеїст”. На що рабі заявив: “У нас є синагога для
атеїстів”. Може, моя релігійність –це релігійність атеїста. У фільмі для мене це антураж.
О.Т.: Сучасний іспанський режисер Альберт Серра протиставляє кіно як релігійну практику сучасному
мистецтву як атеїстичній практиці. Чи згодні ви з таким визначенням?
І.П.: Гадаю, не варто робити таких узагальнень стосовно цілого виду мистецтва. Релігійність чи її відсутність у
творах, як на мене, повністю залежить від світогляду художника. Кіно може бути антирелігійним чи
антиклерикальним, згадаємо Бунюеля.
О.Т.: Ваш перший фільм символічно виходить з Веласкеса і його гри дзеркал, при цьому він мав
експресіоністичну картинку. Які візуальні джерела “Деліріуму”?
І.П.: В “Менінах” Веласкес – лише мотив. Цей фильм стилістично, в побудові картинки, ближчий до Рібери та
Караваджо. В “Деліріумі” це була моя особиста фантазія. В сенсі колористики, побудови кадру, використання
tilt-&-shift, які дають можливість регулювати різкість певних частин кадру, геометричні деформації.
О.Т.: Є вже певна нова тенденція використання подібних елементів. Олександр Сокуров їх використовував у
“Матері і синові” та “Фаустові”, Карлос Рейгадас в “Після мороку світло”.
І.П.: Я вбачаю інші тенденції – соціальне і антропологічне кіно. Це і тренд, і мода, і, навіть, обов’язок.
О.Т.: Чи можна сказати, що “Деліріум” ближче до вашого живопису, ніж до концептуалізму та політичного
сарказму “Фонду Мазоха”?
І.П.: Те, що робив “Фонд Мазоха”, було чітко вписане в час та контекст. 90-ті відзначались надзвичайно
високим рівнем соціально-політичної активності, яка нас індукувала та провокувала, тоді і фідбек був іншим. У
своїх фільмах я свідомо уникаю соціальних, політичних, національних, інтернаціональних актуальностей.
О.Т.: Якою була реакція на ваш фільм під час прем’єри в Порто?
І.П.: Я не був у Порто, був продюсер Ігор Дюрич. Глядач прихильно поставився (той, що досидів). Було цікаво
в Росії на фестивалі Тарковського. Там були проблеми з субтитрами і один показ ішов українською мовою без
субтитрів. Значна частина зала досиділа. І було емоційне обговорення. Спрацювали картинки, ритми, стани,
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Ігор Подольчак: "Деліріум" - музейне кіно | KORYDOR
8/21/13 2:46 PM
атмосфера.
О.Т.: Ви задоволені фестивальною долею “Деліріума”?
І.П.: Вона звичайно бідніша, ніж у “Менін”, в сенсі кількості і уваги відбірників і критиків, але я розумію чому.
Там потужний поштовх дала участь у конкурсі Роттердамського кінофестивалю. Фестивальна система
влаштована примітивно – був на Роттердамі і автоматично маєш запрошення, а часто і конкурс, на інших
фестивалях. Важливою для фестивальної долі фільму є прем’єра на якомусь значимому фестивалі. А далі
просто потрапляєш у пул і катаєшся.
З “Деліріумом” вийшло складніше, в Роттердам нас запрошували лише в програму, бо у них є неписане
правило, що один і той самий режисер не може двічі брати участь у конкурсі. Ми відмовились і, відповідно,
фільм сам без авторитетного першого копняка торує собі шлях по фестивалях.
Звичайно, це фестивалі цікаві, але не гранди. Водночас “Деліріум” складніший, як на мене, за “Меніни”, а я
знаю, як фестивальні відбірники дивляться кіно: або на п’яти моніторах одразу, або на перемотці. Це кіно
неможливо дивитися таким чином, бо якщо дивишся його на перемотці, то потрапляєш лише на ноги, які
ходять, а це сумно.
О.Т.: Як в Україні та світі робити прокат таких фільмів, як “Меніни” та “Деліріум”? Як таким фільмам знайти
свого глядача?
І.П.: Прокат не залежить від мене, пропозицій від дистриб’юторів я поки що не отримував. Щоправда,
запросили показати фільм у Харкові в найстарішому кінотеатрі “Боммер”, а також у Львові на фестивалі
“КіноЛев”. Я радо даю, якщо технічні можливості мене задовольняють. Фільм треба показувати в зовсім
темному залі, через низьку контрастність та у високій роздільній здатності. Для цього вистачає FullHD
проектора і Blu-Ray програвача.
Як знайти свого глядача – я не знаю. Пірати викладуть, хтось буде дивитись. Кінотеатральна дистрибуція
практично неможлива, це взагалі “музейне” кіно.
Кошти на такий фільм можуть відбиватися й 50 років. В інтернет-дистрибуцію я також мало вірю, я вішав
оголошення, що “Меніни” можна скачати в форматі mp4 за 2-4 долари, ніхто не відгукнувся.
О.Т.: Розкажіть про “Доміно”, на якому етапі цей проект, хто в ньому буде задіяний, які джерела натхнення ви
використовуєте цього разу?
І.П.: Джерелом був роман Андрія Бєлого “Петербург”, від якого я вже дуже далеко пішов. Щодо фінансування,
ми виграли конкурс Держкіно, 50% дає держава, 50% шукає продюсер.
У фільмі буде тема тероризму, “вживлена” в сім’ю, також будуть дихотомічні пари персонажів: Батько-Син,
Організатор-Терорист... Хоча це буде не соціально-політичне кіно. Знімати, сподіваюсь, у вересні-жовтні.
Фільм запланований на наступний рік, однак плани щодо кіно завжди виглядають надто оптимістичними.
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Делириум (Delirium)
Реж. Игорь Подольчак
Украина, Чехия 100 мин. 2012 год
«Делириум» – второй фильм Игоря Подольчака, в прошлом известного украинского
живописца и создателя концептуального хулиганского проекта «Фонд Мазоха». Это
психологический детектив, точнее анти-детектив, поскольку вся его интрига постепенно тает
и теряется в когнитивных процессах персонажей.
Молодой психиатр-юнгианец подселяется к буржуазной семье, пытаясь подпольно помочь
ей разобраться с ее психологическими травмами и расстройствами. Психиатр действует
подобно детективу, пытаясь понять, кто его сюда вызвал и что происходит со склонным к
суициду отцом семейства. Но в какой-то момент вся интрига этого поиска растворяется в
душевных болезнях семьи, а персонажи как будто превращаются в лунатиков и начинают
меняться телами.
Сюжетной архитектурой «Делириум» напоминает ранние фильмы Алена Рене, вниманием к
деталям – поздние картины Луиса Бунюэля, а перегруженным визуальным стилем –
некоторые работы Александра Сокурова.
Но в то же время «Делириум» – герметичное произведение, и узнавание кино-аллюзий
фактически не помогает понять его должным образом. Немного больше проясняет связи
фильма его литературный первоисточник – повесть Дмитрия Белянского «Индуктор». Но
«Делириум» идет дальше, математически умножая структуру «Индуктора», завязывая ее на
узел виде знака бесконечности или «ленты Мёбиуса».
Возможно, именно поэтому в фильме Подольчака не стоит искать стабильные и твердые
отгадки. «Делириум» создан скорее для эмоций и игры свободных интерпретаций. Этот
фильм выглядит белой вороной в контексте как фестивального, так и коммерческого или
украинского кино. Сам режиссер называет свой фильм «музейным кино». Не случайно,
«Делириум» постигла не очень удачная фестивальная судьба. Если дебютный фильм
Подольчака «Менины» принимал участие в конкурсе Роттердамского кинофестиваля, то
премьера «Делириума» состоялась на не самом престижном фестивале в Порту. Но в такой
участи есть момент восстания против модных фестивальных тенденций, которые сам
режиссер осуждает, называя антропологическими. (Олександр Телюк)
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Только бог простит (Only God Forgives)
Реж. Николас Виндинг Рефн
Франция, Таиланд, США, 90 мин., 2013 год
В разные годы в Каннах освистывали и джармушевского «Мертвеца» и «Вход в пустоту»
Гаспара Ноэ - и все за пресловутую претенциозность. Невольно подумаешь, что опус Рефна
оказался в показательной компании. При этом, восторги по поводу прошлого фильма
датчанина – «Драйв» – уже тогда выглядели излишними (тем более каннский приз за
режиссуру). Тогда перед нами был не более чем милый гиковский фильм, который, кажется,
не особо и заслуживал столь эмоционального критического отзыва, удостоенного
Тарантино. На этот раз каннские снобы оказались чересчур принципиальными в
противоположном - в своем свисте. Но если это и неудача Рефна, то она, безусловно,
интересней его удачи с «Драйвом».
«Только бог простит» - из тех формальных экспериментов, скорее даже аудиовизуального
искусства, который требует больше внимания и чутья от зрителя. Смелость Рефна как раз в
том, что он явно упивался своим мнимым творческим кризисом, снимая эту греческую
трагедию в неоновом Бангкоке. Он не соблюдает никаких принятых современных
фестивальных понятий о киноязыке или форме, и на полном серьезе делает свой фильм за
гранью вкуса. Греческая трагедия в стиле медитативного комикса или даже паназиатского
спагетти-вестерна. И то что фильм посвящен Алехандро Ходоровскому - тоже неслучайно и
показательно: латинский маг всегда снимал свое кино вразрез общественных понятий и
течений.
С другой стороны, Рефн не заслуживает высоких похвал только за одно это намерение
сделать strained pulp вопреки всем приличиям и условно хорошему вкусу. Его очередная
игра в чистую форму немного сыровата, нарочито претенциозна и не всегда убедительна в
своем псевдо-бессознательном развитии истории. Но главная проблема фильма все же не в
этом. Картина Рефна напрочь лишена любого намека на самоиронию автора, и это её и
губит. Без юмора исчезает чувство дистанции, как писал Брехт. Показательный пример
здесь – «Стокер» корейца Пак Чхан-ука, в котором было идеальное сочетание между
юмором и игрой в форму. Но ирония в том, что фильм Пака полностью провалился в
прокате, а «Только бог простит», кажется, имеет все шансы на культовость. (Сергей Дёшин)
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Заклятие (The Conjuring)
Реж. Джеймс Ван
США, 112 мин., 2013 год
Есть три причины, почему «Заклятие» – важный фильм, о котором необходимо говорить.
1. Это Джеймс Ван, который сегодня, наряду с Ти Уэстом, является одним из самым
интересных хоррор-режиссеров США. Как и Уэст, Ван сделал многое для жанра, оставаясь
при этом формально автором фильмов категории B. Как и эзотерические режиссеры
Золотого Голливуда, Ван, работая на давно открытых землях, умудряется находить там
неизведанные тропы, каждая из которых могла бы носить его имя.
2. «Заклятие» – это фильм в духе 70-х, сделанный режиссером, не забывающем в каком
времени он живет. Так, Вану мало одной стилизации. Относясь с большим пиететом к
истории (визуальная стилистика, настроение фильмов того периода и кино-остылки), он
делает тот же дерзкий ход, что и Бонелло в «Аполлониде»: вставляет в фильм элементы
другой эпохи. Причем вместо музыки у Вана подобным «инородным» телом оказывается
работа с камерой. Кроме того, Ван не использует спец-эффектов или большого обилия
крови и насилия. Его фильм, являясь по-настоящему страшным, не только пугает, но и
рассказывает историю. А «страшное» здесь не столько в действии, сколько в его
предвкушении. В этом смысле, Ван кажется прилежным учеником не только Кубрика, но и
Хичкока. Еще из особенностей стиля Вана отмечаем его трепетное отношение к своими
персонажам; довольно редкое сегодня исследование вопросов веры; экономная режиссура;
загадочная страсть к куклам (они появляются в трех из четырех его фильмов) и регулярное
обращение к одной и той же теме с домом с призраками как возможности последующих
поисков.
3. «Заклятие» по завязке перекликается с первым сезоном «Американской истории ужасов».
Это сравнение позволяет порассуждать о противостоянии кино и сериалов. Так можно
резюмировать, к примеру, что «Заклятие», являясь, в общем-то, не лучшим фильмом
Джеймса Вана – пример того, чего сериалам никогда не достичь. Речь идет об экономности
и взвешенности в рассказывании истории и свободе интерпретаций. Вот только маленький
пример: сериалы хвалят за то, что они дают возможность раскрыть все характеры героев и
перипетии сюжета. Но так ли это необходимо? В «Заклятии» нам рассказывают о героях
лишь самую малость – в остальном же мы имеем право рассчитывать только на наше
воображение. «Заклятие», с его черными дырами в сюжете, открыто ко множеству
трактовок, «Американская история…» – каждой новой серией отрицает подобное. Т.е. если
перефразировать это, то герои сериала так и норовят стать членами нашей семьи, герои
фильма же – не скрывают, что остаются только попутчиками в некоем кинопутешествии.
Первое – выглядит ложью, которая удобна всем, второе – кажется довольно честным
соглашением. (Станислав Битюцкий)
http://www.cineticle.com/reviews-/924-august-digest.html
Page 3 of 7

Дайджест августа
9/6/13 4:51 AM
Киногид извращенца: Идеология (The Pervert's Guide to Ideology)
Реж. Софи Файнс.
Великобритания, Ирландия, 136 мин., 2012
Новый фильм о психоаналитических трактовках киноклассики от популярного философа
Славоя Жижека ждали многие: от академических поклонников философских извращений до
юных неомарксистов. Однако все, что их ждет после фильма – как минимум, недоумение.
Жижек снова продолжает искать в мейнстриме и классических хитах скрытые желания,
авторитарную логику капитализма и всевозможное зло, которое превращает людей в
бездумных марионеток постмодернистского мира. Все это прекрасно, но до того
неоднозначно, что вызывает скорее раздражение. Когда Жижек начинает очередной раз
сморкаться, повторяя по десятому кругу перекрученного до неузнаваемости Маркса («а
действительно ли Титаник продырявил айсберг, а не латентные желания Запада?») или
повторяет как мантру «желание желать» – его хочется просто убить. Дело даже не в вопросе:
«можно ли верить критику кока-колы, который обожает кока-колу?», а в том, что все это
превращается в жуткий зеркальный спектакль одного актера. Кроме того, выбор фильмов
для «психоаналитического сеанса» оказывается еще слабее, чем это было в первом
«Киногиде», который смотрится сегодня практически как идеальный фильм. Понятно, что
многие критики Жижека давно с этим разобрались, но на уровне серьезной
документалистики подобное выглядит уже чем-то неуместным (в этом смысле куда лучше
смотреть того же Ричарда Докинза). Впрочем, следует отметить, что Софи Файнс сделала
все верно на уровне режиссуры, и о чем ей следует задуматься в дальнейшем, так это
героях своих будущих картин. В современном мире хватает интересных персонажей – от
Джудит Батлер до Ханса-Ульриха Гумбрехта. Другое дело, что Жижек очень выгодный герой
«общества спектакля», в чем тоже прослеживается бесспорная логика капитализма. (Максим
Карповец)
http://www.cineticle.com/reviews-/924-august-digest.html
Page 4 of 7

Дайджест августа
9/6/13 4:51 AM
Повелитель лавин (Prince Avalanche)
Реж. Дэвид Гордон Грин
США, 94 мин., 2013 год
«Повелитель лавин» Дэвида Гордона Грина – это римейк исландского фильма двухгодичной
давности. Грин очень скурпулезно подошел к повторной экранизации ленты, практически
слово в слово воспроизведя диалоги и выстроив идентичные сцены. В «Повелителе лавин»
точно указано время и место действия – лето 1988, Техасские выжженные леса, и это нужно
для внутренней атмосферы и возможности проникнуться эстетикой тех лет. Элвин (Пол
Радд) и Лэнс (Эмиль Хирш) под звуки рок-музыки 80-х, звучащей из разбитого магнитофона,
перекрашивают дорожную разметку на бесконечной проселочной дороге. Лэнс – 25-летний
инфантильный бабник, который на каждые выходные сбегает в родной город на местную
дискотеку. Элвин влюблён в старшую сестру Лэнса, хранит верность, перечитывает письма
возлюбленной и регулярно отсылает ей заработанные деньги. Дальше следует совместное
пьянство, немного драк, футбол на полянке и ночные разговоры в палатке. Как итог: плохой
парень становится немного лучше, хороший парень – чуть развязней. Однако эта
задушевная бадди-комедия вряд ли достигнет культового статуса того же «Ананасового
экспресса» или фильмов Аппатоу, с которым Грин успел поработать. Одна из главных
проблем фильма – экономность, и даже обделенность, во всем: от затраченных средств до
художественной составляющей. Ее герои правдивы, но скучны в своей обыденности.
Подобное можно было бы сказать и о самом фильме. И если это скромное инди –
своеобразное возвращение к истокам для режиссера, то возможно ему, действительно,
стоило и дальше оставаться на не менее знакомом поле мэйнстрима. (Наталья Серебрякова)
Собутыльники (Drinking Buddies)
http://www.cineticle.com/reviews-/924-august-digest.html
Page 5 of 7

Дайджест августа
9/6/13 4:51 AM
Реж. Джо Сванберг
США, 90 мин., 2013 год
Drinking Buddies это даже не фильм, это целый жанр современного кино, вроде давно
устоявшихся buddy cop или guy-cry. Другими словами, этот жанр можно назвать
«дринксплуатейшн» и провозгласить его благородным королем корейца Хон Сансу, а
дешевой изнанкой – твердолобые экземпляры «нового русского кино».
Особенности жанра очевидны: начинающийся средний возраст, встреча бывших
одноклассников или нынешних коллег и их скучное алкогольное восстание против
засасывающей пролетарской монотонности. Алкоголь – душевный антисептик и стол как
картезианская модель. В мире, где запрещены наркотики, святые глупости связанные с
алко-приключениями всегда умиляют инфантильным хамством и чувством легкого фола.
Более того, в таких этюдах часто получается находить экзистенциальную широту, хотя с тем
же успехом ее лучше искать, например, в фильмах с Адамом Сэндлером.
Также дринксплуатейшн легко делить на субжанры: виски-эксплуатейшн, in kino veritas, или
пивное кино. К последнему как раз и относятся «Собутыльники» американского стахановца
«мамблкор»-поколения Джо Сванберга.
Еще Базен писал, что нет смысла показывать в кино секс и смерть, ну не может кино
предоставить зрителю адекватного им чувственного эквивалента. С алкоголем, конечно,
попроще, фильмы не редко пьянят и сбивают с толку. Но к такому кино точно не относится
фильм «Собутыльники», душевная банальность которого понравится разве что зрителям,
которым не достает личных барных посиделок под романтическим соусом.
В общем, вместо того, чтобы смотреть «Собутыльников», лучше сходите в кабак. (Олександр
Телюк)
Учитель (A Teacher)
Реж. Ханна Фиделль
США, 75 мин., 2013 год
Сандэнс – прекрасная площадка для независимых дебютов. Другое дело, что очень часто
инди-дебюты похожи между собой как две капли воды. Работа Ханны Фиделль продолжает
неизменную традицию камерных жизненных историй, с обязательной трагической
концовкой. В этот раз перед нами история любви школьной учительницы Дайаны
(филигранная работа Линдсей Бердж) к ученику старшего класса Эрику (Уилл Бритейн) в
предместье Техаса со всеми соответствующими декорациями. Любовники тайно
встречаются в машине подростка, но однажды они решают выехать за город в небольшой
дом отца Эрика, где их едва не ловят с поличным. После этого Дайана начинает жутко
нервничать, переживая за свою роботу и жизнь, но еще больше – о моральной стороне ее
отношений с учеником. Вскоре она окончательно теряет контрольно над собой.
Фильм Ханны Фиделль очень умело отходит от клише и стереотипов жанра, отсылая при
этом к картине Ричарда Эйра «Скандальный дневник». Так в «Учителе» идет речь не столько
о табуированных отношениях, сколько о невозможности сопротивляться собственному
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Page 6 of 7

Дайджест августа
9/6/13 4:51 AM
безумию и влечению, беспомощности отдельной личности перед хаосом чувств и любовных
наваждений. Фиделль очень грамотно расставляет акценты: здесь и хорошая закадровая
музыка, и уместная нервная камера, что еще больше погружает нас в мир Дайаны. Может
быть, еще рано говорить об авторском голосе Ханны Фиделль, но ждать новых
перформансов от Линдсей Бердж все же стоит. (Максим Карповец)
Акт убийства (The Act of Killing)
Реж. Джошуа Оппенгеймер
Дания, Норвегия, 115 мин., 2012 год
Джошуа Оппенгеймер – поистине герой нашего времени, и недаром его фильм занимает
самые верхние позиции всех инди-топов этого года. Это режиссер, который заставил
реальных убийц снять на камеру их собственные преступления. Персонажи его
документального фильма – настоящие гангстеры, убивавшие коммунистов в Индонезии в
середине 60-х после прихода к власти военного диктатора Сухарто. Узнав, что про них хотят
снять фильм, бывшие палачи и головорезы настолько вдохновились идеей, что с радостью
сами взялись за дело. Измазавшись в бутафорской крови, они с удовольствием
демонстрируют, как правильно душить проволокой и пересказывают все пытки, которые
применялись против коммунистов. При этом, в фильме то и дело повторяются сцены, когда
они просят Оппенгеймера переснять кадр: «Мы выглядим слишком кровожадными. Это
негативный имидж для нашего государства». Так «Акт убийства» становится не только
документом эпохи, но и важным разоблачением, сделанным по неожиданному согласию всех
сторон. Не случайно, спродюсировавший фильм Вернер Херцог, заявил после увиденного:
«Это самое грандиозное из всего, что я когда-либо видел». (Наталья Серебрякова)
Теги: джеймс ван джо сванберг джошуа оппенгеймер дэвид гордон грин игорь
подольчак николас виндинг рефн ханна фиделль
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Page 7 of 7

Игорь Подольчак : БОММЕР
9/6/13 4:58 AM
Главная
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Игорь Подольчак
Страна: Украина
Жанры: драма, триллер
Карьера: режиссер, сценарист, продюсер, монтажер
Родился 1962 года во Львове. Закончил Львовскую Академию Искусств (Львовский
государственный институт прикладного и декоративного искусства) с отличием 1984 года.
Художник, режиссер, продюсер. Автор многочисленных художественных проектов, лауреат 25
международных выставок в Украине, Канаде, США, Южной Корее, Польши, Латвии, Норвегии,
Испании. Одна из 24 персональных выставок была первой в истории художественной выставкой в
космосе, состоялась на российской космической станции «Мир» 1993 года. Произведения
Подольчака находятся в 26 музеях и публичных коллекциях многих стран мира.
Премьера дебютного фильма «Las Meninas» состоялась в конкурсной программе Роттердамського
международного кинофестиваля 2008 года. Лента «Las Meninas» была номинантом в конкурсах 10
международных кинофестивалей в Италии, Польши, Румынии, Хорватии, Бразилии, Словакии,
Венгрии, Испании, России. Была показана в официальных программах других 18 международных
фестивалей.
http://bommer.org.ua/2013/09/igor-podolchak
Page 1 of 4

Игорь Подольчак : БОММЕР
9/6/13 4:58 AM
Премьера второго фильма «Delirium» состоялась в конкурсной программе «Неделя Режиссеров» на
Международному кинофестивале «Фанташпорту — 2013», Порту, Португалия.
Полное CV тут.
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Делириум ( Delirium ) : БОММЕР
9/6/13 4:57 AM
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Делириум ( Delirium )
Фильм Делириум ( Delirium )
Смотрите 12-15 сентября 2013 года в 17:00 и 19:00
Взгляни туда, куда не отваживаешься смотреть — увидишь свое отражение, которое наблюдает за
тобой.
Расписание показов
Оригинальное название: Delirium
Год: 2012
Страна: Украина, Чехия
Жанр: триллер, драма
Режиссер: Игорь Подольчак
Сценарий: Игорь Подольчак, Дмитро Белянский (сценарий создан по мотивами повести Дмитрия
Белянского «Индуктор»)
Композитор: Олександр Щетинский
Актеры: Владимир Химяк, Леся Войневич, Петр Рыбка, Ольга Горбаш, Ольга Бакус, Иван
Костенко, Василь Костенко, Виталий Линецкий
Продолжительность: 96 мин.
Фильм демонстрируется на украинском языке.
http://bommer.org.ua/2013/08/delirium
Page 1 of 7

Делириум ( Delirium ) : БОММЕР
9/6/13 4:57 AM
Фестивали и награды:
Участие в международных кинофестивалях, 2013
- Конкурс «Неделя режиссеров» — Фанташпорту. Международный кинофестиваль в Порту,
Португалия;
- Международный кинофестиваль, Монтевидео, Уругвай;
- Номинация на Национальную кинопремию — Одесский Международный кинофестиваль;
- “Кинолев”. Фестиваль независимого кино, Львов;
- Каунасский Международный кинофестиваль, Литва;
- Индийский международный кинофестиваль, Гоа
Трейлер к фильму :
Delirium Трейлер
0:14 / 2:30 3D
Описание фильма :
Возможно, достаточно встретить банальную похоронную процессию, которая движется с церковь
на кладбище, чтобы выпасть из реальности в пространство, где время, которое потеряло свою
линейность, петляет среди странных образов обезображенной реальности, образов небытие –
разных отражений смерти в смертях прошлых и будущих, конкретных и абстрактных, ужасных и
желательных…
Молодого психиатра приглашают к семье выяснить обстоятельства возможной болезни Отца,
одержимого суицидальным стремлением к веревочкам и узлам. Анализируя бред пациента,
психиатр сам перестает понимать, что происходит. Вопрос « как помочь пациенту?» уступает
местом вопросу « кто я?» – врач или пациент; случайный гость или член семьи, а может,
католический священник, которому все это наснилося?
Чтобы выяснить, надо каждый раз начинать с начала, но каждого раза все происходит иначе… и
ничего не меняется.
http://bommer.org.ua/2013/08/delirium
Page 2 of 7

Делириум ( Delirium ) : БОММЕР
9/6/13 4:57 AM
Кадры фильма :
DELIRIUM @ IMDb
DELIRIUM @ uk.WIKIPEDIA
DELIRIUM @ Facebook
Отзывы о фильме:
«Delirium» украинского режиссера Игоря Подольчака — черно-белый фильм о клаустрофобии и
безумии, разыгранный в традициях галицийского искусства, впитавшего импульсы австровенгерской,
польской и украинской культур.
Андрей Плахов “Артхаус на три города”
Журнал «Коммерсантъ Weekend», №21 (315), 07.06.2013
http://www.kommersant.ru/doc/2200374
***
Цей фільм для мене як метафора стану сучасної України – й достатньо прозора; ключ дається вже
самою назвою: це очевидна втрата орієнтації в просторі й часі (невідповідність часові). Інакше
кажучи, коли б мене запитали, чи є в українському кінематографі фільм, який найточніше передає
суспільний дух сучасної України, як не парадоксально, я назвав би саме “Delirium”.
Володимир Войтенко (кінознавець)
***
В украинском кино «Делириум» — это действительно что-то новое и невиданное. Это кино
европейского уровня. Последнее особенно символично: там, где Муратова фактически говорит о
трудностях и невозможности кино, Подольчак, наоборот, снимает очень важныий фильм вопреки
всему. Именно это позволяет некоторым сегодня утверждать, что время Муратовой уже ушло, а
пришло время Игоря Подольчака.
okino.ua
http://bommer.org.ua/2013/08/delirium
Page 3 of 7

Делириум ( Delirium ) : БОММЕР
9/6/13 4:57 AM
ОМКФ-2013. День 8-9: прошлое и будущее украинского кино
http://www.okino.ua/special/omkf2013/news/6754/
***
Один из громких украинских художников 90-х, создатель «Фонда Мазоха» и серии художественных
провокаций в духе политического цинизма, снял фильм, проваливающийся между артхаусом и
видеоартом. Авторское любование расфокусом кадра и повторяющимися картинами монотонного
бытового помешательства убаюкивает. Фильм оставляет впечатление монолога увлеченного
психологическими девиациями интеллектуала, любующегося круговоротом собственной мыслинаблюдения-формулы.
Чужой поток сознания может увлечь.
22 июля 2013, 19:20 Константин Дорошенко
ОМКФ инфицирован
http://kievreport.com/cinema/823
***
Для мене «Деліріум» опинився десь між «Звіром» Валеріана Боровчика, «Одержимістю» Анджея
Жулавського та «Відразою» Романа Полянського. Себто, як на мене, це кіно знаходиться за крок
від жанру.
20.07.2013 Ігор Грабович
Сьомий день Одеського фестивалю: перші підсумки, непрості фільми Кіри Муратової та Ігоря
Подольчака
http://life.pravda.com.ua/culture/2013/07/20/134289/
***
Загалом, візуальне переживання фільму, як не дивно, посилає мене до фільму Довженка “Земля”.
Видається виправданою ідея, що весь цей фільм від першої сцени і тексту: “Помираєш, Василю”, до
останньої сцени, особливо танок молодого чоловіка на сільській вулиці – це блукання свідомості
після смерті. Певна монохромність Delirium тільки підтримує цю ідею.
Сергій Нєдзєльський (кінопродюсер)
***
Час не просто має різні модифікації, які так майстерно показані у фільмі, який можна називати
суб’єктивним (як переживання), чи об’єктивним (як час на атомному годиннику), всі ці інверсії
ітерації транспозиції зображені для того, щоб натякнути на існування абсолютного часу який
відрізняється від відносного тим що в ньому щось відбувається, але відбувається без будь-яких змін.
У фільмі — багато складних подій, але нічого істотно не міняється.
Янош Саноцький (доктор філософії)
Событие на ФБ
Событие на ВК
http://bommer.org.ua/2013/08/delirium
Page 4 of 7

Слідами «КіноЛева»-2013: чому Тарковський? | Збруч
9/11/13 12:22 AM
11 вересня 2013
галичина
в(уkраїні
у(світі
штуkа
науkа
дисkурси
минуле
1888
1913
Сучасна українська драма
на папері
Андріана Стахів
Найкращі(молоді(українські
драматурги(виходять(під(однією
обкладинкою(і(торують(шлях(до
глядачів(та(сцени(через(тексти.
10.09
На сцені – Юрій
Андрухович!
Василь Карп'юк
Проект(Werwolf(Sutra(досягає(цілком
нового(ступеня(спільної(мистецької
якості,(коли(слова(і(музика(стають(вже
цілком(нерозривними...
06.09
Порятунок давнього
Львова: місія нездійсненна?
Сергій Романенко
Здебільшого(про(археологію(говорять
тоді,(коли(археологи(знайшли(щось
цікавеньке.(Сам(процес(розкопок,(ба
навіть(боротьби(за(них,(не(такий(вже(й
цікавий(для(загалу.
05.09
«Пси святого Луки»-4: Ігор
ПАНЧИШИН
Розмовляв Анатолій Звіжинський
Знайомий(широкому(загалу(як(один(з
«батьків»(вже(міфічної(міжнародної
бієнале(«Імпреза»((1989,(1991,(1993,
1995,(1997(в(Івано]Франківську),(в
більш(вузьких(колах(–(як(художник,
фотограф,(громадський(діяч...
04.09
Фанерна халабуда у
Львівській опері
Тома ЯВОРСЬКИЙ
На(урочистостях(з(нагоди
Незалежності(усе(було(«як(треба»(від
а(до(я.(Навіть(Ніна(Матвієнко(вправно
(аж(випереджаючи)(відкривала(рота
під(фонограму.
04.09
«Проклятий поет, Джим
Моррісон...»
Розмовляла Богдана Неборак
Три(поетичні(збірки(лідера(The(Doors
зазвичай(цікавлять(широкий(загал
значно(менше,(ніж(скандальна
біографія(рок]зірки.(У(світі(його(вірші
перекладають(давно,(в(Україні(–(лиш
віднедавна.(Про(особливості
українського(видання(розповідає
один(з(перекладачів(Олександр
Фразе]Фразенко.
03.09
Медіатека: втілення у
реальність
Софія Оліферчук
Сучасний(мультимедійний(освітній
громадський(простір,(дискусійний
клуб(і(відкритий(майданчик(для
зустрічей(та(обговорень(–(і(усе(це(на
вулиці(Мулярській,(2а,(у(будівлі(1931
року(забудови.(Можливо?
02.09
«Лувр» - виклик гри
Наталія Космолінська
Проект(Воло​дими​ра(Ко​стир​ка(і(Єв​гена
Рав​сь​ко​го(«Лувр»(був(ство​ре​ний(са​ме
під(Львів,(орі​єн​то​ва​ний(на(діа​лог(са​ме
з(цим(містом.(
30.08
Замки Львівщини кинули
напризволяще?
Сергій Романенко
Наразі(склалася(ситуація,(коли
доглядати(за(стародавніми
фортифікаціями(фактично(нема(кому
–(в(держави(немає(ані(грошей,(ані
механізмів,(ані(натхнення(це(робити.(
29.08
З Гуцульщини: Тарас
Мельничук
СЛІДАМИ «КІНОЛЕВА»-2013: ЧОМУ
ТАРКОВСЬКИЙ?
Катерина Сліпченко
Для чого Львову потрібен Тарковський? Таке питання не стояло
двадцять п'ять років тому, коли львівські кіноклуби об'єднали зусилля, щоб
позначити цю особистість на кінокарті тоді ще сущого Радянського
Союзу. У квітні 1988-го саме з ініціативи львів'ян вперше організовано
Всесоюзний Круглий стіл «Погляд», присвячений творчості А.
Тарковського. Його результатом стало створення в місті «Товариства
Андрія Тарковського» та виданння першої(!) наукової збірки про творчість
митця.
Проте кругла дата не була головним чинником для того, аби заініціювати
цьогорічний «КіноЛев» під патронатом Тарковського, — просто доречно
згадалася. Тож відтепер на львівській кіно-вулиці до табличок з іменами
Берґмана-Фелліні-Трюффо-Параджанова-Іллєнка додалася й нова, з іменем
Тарковського. Фестваль минув, а вона залишиться як згадка про культурний
спротив, який супроводжував режисера усе його життя.
Патронат Тарковського над «КіноЛевом» виник з
внутрішньої потреби. «Цілком можливо, що в
Тарковського саме тому увесь час були проблеми з
можновладцями: ці малограмотні дикуни, мабуть,
відчували, що саме він і ніхто інший здатен претендувати
на владу духовного лідера для інтеліґенції, зневажаючи
тим самим владу земну. Alter ego Тарковського, Андрій
Рубльов, до речі, перебуває у схожій ситуації: дурість,
жорстокість, неуцтво стали випробуванням для його
таланту, привели до сумнівів», — пише кінознавець Діляра
Тасбулатова. Шкода, що ця ситуація від Рубольова і через
Тарковського не втратила своєї актуальності й досі.
Директор «Музею Ідей» Олесь Дзиндра демонструє актуальність
Наблизитися до літерат
Навесні(у(львівському(літературн
просторі(утворилося(два(нових
молодих(проекти(–
(«Прокидання(поезії»(та
літтусівка(«Берег».
05.06
Берлін за закритою заві
63]й(берлінський(фестиваль(ще(
декілька(днів(до(закриття(та(роз
«ведмедів»,(так(виглядає,(уже(н
основних(лідерів.((Мабуть,(мало
зможе(позмагатися(із(безжальни
безкомпромісним(Брюно(Дюмо
його(стрічкою(«Камілла(Клодель
1915».
13.02
http://zbruc.eu/node/12554
Page 1 of 4

Слідами «КіноЛева»-2013: чому Тарковський? | Збруч
9/11/13 12:22 AM
Василь Карп'юк
«Тут(що(не(хата(—(то(цимбали,
Гуцулка(й(перстень(на(руці.(Боги(з(ікон
шамтять(губами(На(запах(тмину(й
чебреців...»
28.08
Тарковського.
Стрижнем цьогорічного «КіноЛева» стала не лише ретроспектива фільмів
Тарковського «7 слів» (до речі, чотири стрічки спеціально для «КіноЛева»
поновлено у Львівській обласній конторі кінопрокату, установі, що містить
безцінні архіви на 35-міліметрових плівках, ностальгійних і вже мало не
унікальних у наш цифровй час). Ориґінальною пропозицією фестивалю стала
програма «Приголомшені Тарковським», в якій організатори спробували
дослідити той відголос, що його мало (і має) у світовому авторському кіно
«кінослово» режисера. Коли в Каннах на рутинній прес-конференції раз у раз
звучить його ім'я — з вуст і данця Ларса фон Трієра, і турка Нурі Більге
Джейлана, і мексиканця Карлоса Рейгадаса, — починаєш мало не фізично
відчувати, що Тарковський продовжує ментальне існування, свій повсюдний
вплив на думки. І якщо вже ним заворожені такі різні автори...
Той самий Трієр, один з найскандальніших і найрадикальніших режисерів
світу, стверджує, що дивився «Дзеркало» мало не 20 разів — і щоразу
відкривав у фільмі щось нове. Це й не дивно: потаємна суть картин
Тарковського така, що розкривається поступово, подібно до того, як у процесі
друку проявляється фотографія. Захоплений спершу формальною
досконалістю його фільмів, їхньою містичною аурою, починаєш їх
нескінченно переглядати, і з кожним переглядом осягаєш щось більше, ніж
побачив спочатку. По суті, вся світова течія так званого «повільного кіно»
дихає в унісон Тарковському.
Щодо такої поважної складової «КіноЛева», як українське кіно, то і тут не
минулося без потаємних і не завжди читабельних впливів Тарковського.
Навіть такий жанровий, глядацький фільм, як «Загублене місто» Віталія
Потруха, апелює поняттям Зони, хоча й перекроюючи її на зовсім інший,
популярний лад.
Важливою подією став показ стрічки Ігоря Подольчака «Деліріум» (за
мотивами повісті Дмитра Белянського «Індуктор»). Друга робота львівського
художника та кінематографіста демонструє водночас і продовження його
мистецьких пошуків, розпочатих у «Менінах», і кристалізацію художнього
письма.
«Як і у своєму першому фільмі "Меніни", в
"Деліріумі" Подольчак зображує родину, що заблукала у
власних секретах і психічних розладах. На відміну від
"Менін", у "Деліріумі" маємо зовнішнього персонажа —
лікаря-психіатра, який прийшов у родину за анонімним
викликом досліджувати загадкову поведінку батька.
Однак хвороблива сомнамбулічна атмосфера сім'ї руйнує
його свідомість і доводить до межі, де він не здатний
розпізнати різниці між собою та іншими. Це лише одна з
гіпотез моторошного й енігматичного фільму
Подольчака. Режисер підкреслює багатозначність,
абстрактність свого твору і дозволяє глядачеві повну
свободу інтерпретацій», — пише кінокритик Олександр
Телюк.
Ось таким різним і водночас монолітним, сформованим довкола постаті
Андрія Тарковського вийшов цьогорічний «КіноЛев». Яким він буде
наступного року? Побачимо за рік.
Довідка «Z»
«Наприкінці 1987 року один із найактивніших членів Ради кіноклубу
Юрій Кузін (неймовірний фанат творчості А. Тарковського) подав ідею
проведення всесоюзної конференції, присвяченої творчості кінорежисера
Андрія Тарковського, якого тоді посмертно реабілітувала радянська влада.
http://zbruc.eu/node/12554
Page 2 of 4

Слідами «КіноЛева»-2013: чому Тарковський? | Збруч
9/11/13 12:22 AM
Активісти кіноклубу написали листа у
Спілку кінематографістів СРСР, але
тодішній голова Спілки Е. Клімов
поставився до цього задуму прохолодно. У
відчаї Ю. Кузін закидав депешами
посольства Франції, Італії і ФРН з
проханням про допомогу. Про акцію
заговорило "Радіо Свобода". Залишатися
осторонь цієї акції якось вже не випадало,
і Спілка кінематографістів СРСР дала
добро. Однак на місцевому рівні "палиці в колеса" почав вставляти обком
партії, але, дізнавшись про високих московських покровителів, відступив,
та й часи вже були не ті, партія втрачала свій вплив.
І ось з 8 по 10 квітня 1988 року у Львові на базі обласної профспілки (нині
готель "Гетьман", вул. Володимира Великого, 50) таки проходить
Всесоюзний Круглий стіл "Погляд", присвячений творчості А.
Тарковського. Це було перше в СРСР суспільно-культурне визнання
мистецтва Андрія Тарковського з моменту його еміграції в Італію.
На Круглий стіл приїхали представники десятків кіноклубів СРСР: від
Новосибірська до Таллінна (всього біля 200 осіб). Прибули до Львова й такі
відомі мистецтвознавці, як О. Мусієнко, В. Михальов (Київ), А. Плахов, Н.
Зоркая, А. Гербер, В. Божович, В. Михалкович, І. Геращенко, голова
Федерації кіноклубів СРСР (Москва), представники періодичних видань
"Новини кіноекрану", "На екранах України", "Культура і життя",
"Ранок" (Київ), "Литературное обозрение", "Философские науки", "Сельская
молодёжь" (Москва), "Кино" (Латвія), прийшли за спецзапрошеннями
десятки львів’ян, кіноманів-естетів. Число гостей перевищило 300 осіб.
(Один львівський партійний чиновник, який був на відкритті Круглого
столу, позаочі назвав цей форум "з'їздом сіоністів".) Такого кіно-Львів ще
не бачив. Виступи іменитих гостей та основні кіноперегляди проходили у
кіноконференцзалі профспілкового закладу. Кінопокази фільмів А.
Тарковського для львів'ян — у кінотеатрі "Київ" (базовий кінотеатр
кіноклубу). Фотовиставка "Наш сучасник Андрій Тарковський" —
документи, фотографії, альбоми, книги про Тарковського, видані за
кордоном, — у приміщенні Львівського музею фотографії у церкві Марії
Сніжної.
Результатом львівського Круглого столу стали: створення цього ж
року "Товариства Андрія Тарковського" з широкою програмою заходів як
наукового, так і просвітницького характеру, і видання Першої наукової
збірки про творчість А. Тарковського (за матеріалами Круглого столу у
Львові) на базі Філософського товариства СРСР. Чудовий плакат Круглого
столу поїхав у Францію до вдови режисера».
http://zbruc.eu/node/12554
Page 3 of 4

Слідами «КіноЛева»-2013: чому Тарковський? | Збруч
9/11/13 12:22 AM
Роман Давид. Дещо з історії кіно Львова: Радянська доба. Роки
незалежності. — «Галицька брама», 2011 р., № 11–12 (203–204).
09.09.13
http://zbruc.eu/node/12554
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5 на 5 или лучшие прорывы украинского кинематографа XXI века - MJoy Radio Портал Онлайн Радио
9/14/13 11:18 PM
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5 на 5 или лучшие прорывы украинского кинематографа
XXI века
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Почти каждый из нас считает украинский кинематограф темной территории, но
никто не будет отрицать, что он имеет свои прорывы. И хотя это заслуга не
индустрии, а конкретных людей, однако кто, если не они, создают историю
украинского кино. Существует также закономерность – фильмы, которые
заслуживают звания «культовых», получают признание и награды за рубежом и
малоизвестные у нас на Родине.
14-го сентября мы празднуем день украинского кино, поэтому сегодняшний вечер
и выходные предлагаем Вам посвятить просмотру этих фильмов, а также
ознакомиться с будущими премьерами, которые ожидает украинский зритель.
Итак, Вашему вниманию лучшая пятерка лент украинского кинематографа XXI
века, а также пятерка самых ожидаемых премьер по мнению MJoy Radio.
Первым в нашем списке является драма «Las Meninas» Игоря Подольчака,
котороя увидела свет в 2008 году.
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Виктор Новосёлов и Олесь Целюх
представляют группу «Kompas»
1 коментарий
Дарк кабаре или прощаясь с
ирокезами и булавками
3 коментарии
ПОСЛЕДНИЕ КОММЕНТАРИИ
Корпорація Майбутнє: Кольорові IPhone та
Семья из четырех человек (мать, отец, дочь и сын) живут в пригородной вилле,
напоминающей лабиринт комнат с зеркальным отражением. Главной и
тотальной является роль сына, с детства болеет астмой и экземой. Будучи уже
взрослым человеком, он и дальше использует свои болезни, чтобы
манипулировать членами своей семьи, а те в свою очередь живут выполняя все
его прихоти, боясь нового астматического кризиса.
Как и другие фильмы этого режиссера «Las Meninas» является примером
экспериментального кино, концептуального видео-арта. Игорь Подольчак
выступил здесь не только как режиссер, но и продюсер и сценарист .
Это первый украинский фильм, который принял участие в конкурсе «Tiger Awards
Competition» Международного кинофестивалю в Роттердаме. В течение 2008—
2011 годов фильм принял участие в конкурсных программах международных
фестивалей в Бразилии, Хорватии, России, Польши, Словакии, Испании,
Румынии, Италии, Венгрии, у программах в Германии, Южной Кореи, Франции,
Австралии, Греции, Великобритании, Колумбии, Эстонии, США, Швеции, Южной
Африке, а также в официальной селекции Московского Международного
кинофестиваля и Международного кинофестиваля в Карловых Варах.
Украинская премьера состоялась 9 июня 2009 года в рамках Фестиваля
европейского кино в Киеве.
Следующим в нашем списке является драма «Аврора» Оксаны Байрак 2006
года.
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5 на 5 или лучшие прорывы украинского кинематографа XXI века - MJoy Radio Портал Онлайн Радио
9/14/13 11:18 PM
сканер відбитків пальців
Давайте оперативніше. Подкасти про
технологічні новинки мають бути вчасні!
Патрисія Кац, 14:2
Корпорація Майбутнє: Apple покаже кольорові
iPhone
Ні, не назвали кіткат - це реклама :)
Volodymyr Dmbr, 12:21
Виктор Новосёлов и Олесь Целюх
представляют группу «Kompas»
хороший матеріал)
Олька, 18:1
Аврора — воспитанница детдома на окраине Припяти. Она мечтает стать
балериной, но катастрофа на Чернобыльской АЭС нанесла ей большого вреда
здоровью. Чтобы выжить, нужна дорогостоящая операция в США. Находясь в
больнице в Америке она встречает своего кумира — звезду советского, а затем и
американского балета Ника Астахова. Тот в свою очередь глубоко переживает
творческий кризис. Их знакомство впоследствии меняет жизнь известного
артиста.
Для роли Авроры молодая актриса Анастасия Зюркалова постриглась налысо.
Фильм был номинирован от Украины на премию «Оскар» в номинации «Лучший
фильм на иностранном языке». В 2007 году Оксана Байрак получила за этот
фильм премии в трех номинациях: «Лучший отечественный прокатный фильм»,
«Лучший сайт к фильму» и «Человек года в кинобизнесе».
Третьим в списке — приключенческая драма «Тот, кто прошел сквозь огонь»
Михаила Ильенко, вышедший на экраны в 2012 году.
Эта история об украинском парне Иване Додока, советском летчике, герои
СССР. Из-за пребывания в немецком плену его обвинили в государственной
измене и отправили в сталинские лагеря. Парень убегает оттуда в Канаду, где
становится вождем местного племени. Там он получает новое имя, которое и
стало названием фильма.
Главный герой своего реального прототипа — летчик-ас времен Второй мировой
войны Герой Советского Союза, гвардии старший лейтенант Иван Даценко.
Фильм был номинирован от Украины на премию «Оскар» в номинации «Лучший
фильм на иностранном языке».
Четвертым в списке является психоделическая драма «Delirium» Игоря
Подольчака, премьера которой состоялась в 2013 году.
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5 на 5 или лучшие прорывы украинского кинематографа XXI века - MJoy Radio Портал Онлайн Радио
9/14/13 11:18 PM
Во время отпуска молодого психиатра в провинциальном городке звучит
странный телефонный гудок. Неизвестный голос просит его поселится в доме 55-
летнего главы семьи, который на гране самоубийства. Решив, что это розыгрыш
коллег, он отправляется в указанный дом. Но там на него ожидают события,
которые мало чем отличаются от галлюцинаций. Молодому психиатру нужно
разобраться со своим психическим состоянием как врачу, а также с окружающим
миром как человеку. Під час відпустки молодого психіатра у провінційному
містечку лунає дивний телефонний дзвінок. Невідомий голос просить його
оселитися у будинку 55-річного глави сім’ї, що на грані самогубства. Подумавши,
що це розіграш колег, він відправляється у вказаний будинок. Але там на нього
очікують події, що мало чим відрізняються від галюцинацій. Молодому психіатру
потрібно буде розібратися із своїм психічним станом як доктор, а також із
навколишнім світом як людина.
Киноленту снято по мотивам повести «Индуктор» Дмитрия Белянского.
Кінострічку знято за мотивами повісті «Індуктор» Дмитра Бєлянського.
Фильм был представлен в конкурсной программе «Неделя режиссеров» на
международному кинофестивале «Фанатшпорту-2013» в Португалии, а также в
«Международной панораме» на Урогвайском международном кинофестивале в
Монтэвидео, на Международному кинофестивале им. А. Тарковского в России.
Фільм був представлений на конкурсній програмі «Тиждень режисерів» на
міжнародному кінофестивалі «Фанташпорту — 2013» у Португалії, а також у
«Міжнародній панорамі» на Уругвайському міжнародному кінофестивалі в
Монтевідео, на Міжнародному кінофестивалі ім. А. Тарковського у Росії.
Кинолента была номинирована на Украинскую национальную кинопремию в
Одесском международном кинофестивале. Кінострічка була номінована на
Українську національну кіно премію в Одеському міжнародному кінофестивалі.
И закрывает нашу пятерку еще один шедевр украинского кинематографа –
мелодрама «ORANGELOVE» Алана Бадоєва, премьера которой состоялась в
2007 году. І закриває нашу п’ятірку ще один шедевр українського
кінематографу — мелодрама «ORANGELOVE» Алана Бадоєва, прем’єра якого
відбулася у 2007 році.
Два героя – Катя и Роман, влюблены друг в друга, решили сыграть в странную
игру. Если они проведут все время наедине, запертыми в квартире в центре
Киев, пока хозяин этого помещения (в инвалидном кресле) не умрет , то получат
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5 на 5 или лучшие прорывы украинского кинематографа XXI века - MJoy Radio Портал Онлайн Радио
9/14/13 11:18 PM
в приз квартиру и 200 тысяч евро. Запрещена всякая связь с внешним миром ,
кроме писем. В одном из таких конвертов – результаты анализов на СПИД,
сдавших их героями еще до начала игры. Этот конверт меняет их жизнь.
Фильм получил большую популярность среди молодежи и получил приз за
лучшую режиссуру на XV Международном фестивале «Киношок» в Анапе
(Россия).
А теперь предлагаем Вашему вниманию пятерку самых ожидаемых
кинопремьер по мнению MJoy Radio.
Открывает наш список украинский молодежный триллер «Тени незабытых
предков » Любомира Левицкого, премьера которого ожидается осенью 2013
года.
Тіні незабутих предків - Офіційний трейлер (201...
0:00 / 2:33
Главный герой картины — парень Иван, который ворует из коллекции родного
университета гуцульский медальон (згарда), не подозревая о его магических
свойствах.
Этим проектом заинтересовались и в Голливуде. Триллер снимали в течение 2
месяцев в украинских Карпатах, а также на территории Национального
Черновицкого университета имени Юрия Федьковича .
Вторым в списке есть биографический фильм «Параджанов» Елены Фетисовой
и Сержа Аведикян, премьера которого в Украине тоже ожидается осенью 2013
года.
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Page 4 of 7

5 на 5 или лучшие прорывы украинского кинематографа XXI века - MJoy Radio Портал Онлайн Радио
9/14/13 11:18 PM
Параджанов. Офіційний український трейлер (2013...
0:00 / 2:34
Интересно, что мировая премьера фильма уже состоялась в июле 2013 года.
Фильм был уже представлен на нескольких кинофестивалях , среди которых
Международный кинофестиваль в Карловых Варах.
Следующим в списке является приключенческий фильм « Иван Сила » Виктора
Андриенко, премьера которого ожидается осенью 2013 года.
Іван Сила. Офіційний трейлер (2013) HD
0:00 / 2:02
В фильме рассказывается об украинском цирковом силаче Иване Фирцаке,
который на пике своей карьеры , после того как в 1928 году его признали самым
сильным человеком планеты , прекратил выступать за границей и вернулся на
родину.
Фильм создан по мотивам книги Александра Гавроша «Невероятные
приключения Ивана Силы» . Авторы сценария Виктор Андриенко и Игорь
Андриенки победители «Коронации слова» 2012 года ( первое место в
номинации «Киносценарии для детей») за киносценарий фильма «Иван Сила» .
Еще одним ожиданием является исторический фильм «Толока» Михаила
Ильенко, премьера которого ожидается в 2014 году .
http://mjoy.ua/ru/5-na-5-abo-kraschi-proryvy-ukrajinskoho-kinematohrafu-xxi-stolittya.html
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5 на 5 или лучшие прорывы украинского кинематографа XXI века - MJoy Radio Портал Онлайн Радио
9/14/13 11:18 PM
Тізер фільму «Толока»
0:00 / 3:01
Этот фильм — своеобразная экранизация стихотворения Шевченко «В той
Екатерины дом на помосте ... » .
И закрывает нашу пятерку ожиданий украинский детский фильм « Трубач »
Анатолия Матешко , премьера которого ожидается в 2013 году.
История повествует о юном музыканте Коле Соколове , столкнувшимся с
происками взрослой жизни — завистью, конкуренцией и др. .
Итак, желаем приятного просмотра.
Автор: Зоряна Грыс
Поделиться в:
http://mjoy.ua/ru/5-na-5-abo-kraschi-proryvy-ukrajinskoho-kinematohrafu-xxi-stolittya.html
Page 6 of 7

Kaunas International Film Festival
9/19/13 3:06 PM
Home
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Film Sections
Wide Angle »
Araf - Somewhere In Between
Araf
Vote for film
dir. Brendan Muldowney, Turkey, drama, 2012, 124 min., turkish with english and lithuanian
subtitles, n-13
Bestiary
Bestiaire
Vote for film
dir. Denis Côté, Canada, France, documentary, 2012, 72 min, without text, v
http://www.kinofestivalis.lt/en/Film-sections/Wide-Angle-2013
Page 1 of 7

Kaunas International Film Festival
9/19/13 3:06 PM
Computer Chess
Computer Chess
Vote for film
dir. Andrew Bujalski, USA, comedy, 2013, 92 min, english with lithuanian subtitles, v
Derilium
Derilium
Vote for film
dir. Ihor Podolchak, Czech Republic, Ukraine, drama, thriller, 2013, 96 min, ukrainian with english
and lithuanian subtitles, n-18
Frances Ha
Frances Ha
Vote for film
dir. Noah Baumbach, USA, comedy, drama, 2012, 86 min, english with lithuanian subtitles, v
Hide Your Smiling Faces
Hide Your Smiling Faces
Vote for film
dir. Daniel Patrick Carbone, USA, drama, 2012, 81 min, english with lithuanian subtitles, v
In Bloom
Grzeli nateli dgeebi
Vote for film
http://www.kinofestivalis.lt/en/Film-sections/Wide-Angle-2013
Page 2 of 7

Kaunas International Film Festival
9/19/13 3:06 PM
dir. Nana Ekvtimishvili, Simon Gross, Germany, France, Georgia, drama, 2013, 102 min, georgian
with english and lithuanian subtitles, n-13
Lasting
Nieulotne
Vote for film
dir. Jacek Borcuch, Spain, Poland, romantic drama, 2013, 95 min, polish and spanish with english
and lithuanian subtitles, n-13
Leviathan
Leviathan
Vote for film
dir. Lucien Castaing-Taylor, Verena Paravel, France, USA, United Kingdom, documentary, 2012,
87 min, english with lithuanian subtitles, n-7
Lions
Leones
Vote for film
dir. Jazmín López, France, Netherlands, Argentina, drama, 2012, 82 min, spanish with english and
lithuanian subtitles, v
Love Eternal
Love Eternal
Vote for film
dir. Brendan Muldowney, Ireland, drama, 2013, 94 min., english with lithuanian subtitles, n-18
http://www.kinofestivalis.lt/en/Film-sections/Wide-Angle-2013
Page 3 of 7

Kaunas International Film Festival
9/19/13 3:06 PM
Mekong Hotel
Mekong Hotel
Vote for film
dir. Apichatpong Weerasethakul, United Kingdom, Thailand, drama documentary, 2012, 61 min,
thai with english and lithuanian subtitles, n-13
Night
Noche
Vote for film
dir. Leonardo Brzezicki, Italy, Argentina, drama, 2013, 85 min, spanish with english and lithuanian
subtitles, n-13
Stray Dogs
Jiao you
Vote for film
dir. Tsai Ming-liang, France, Taiwan, drama, 2013, 138 min, chineese with english and lithuanian
subtitles, n-13
Tenderness
La tendresse
Vote for film
dir. Marion Hänsel, Germany, France, Belgium, comedy, 2013, 80 min, french with english and
lithuanian subtitles, v
http://www.kinofestivalis.lt/en/Film-sections/Wide-Angle-2013
Page 4 of 7

Kaunas International Film Festival
9/19/13 3:06 PM
The Cosmonaut
El cosmonauta
Vote for film
dir. Nicolás Alcalá, Spain, science fiction, 2013, 99 min, english with lithuanian subtitles, n-16
The Last Time I Saw Macao
A última vez que vi Macau
Vote for film
dir. João Pedro Rodrigues, João Rui Guerra da Mata, France, Portugal, Macau, drama, 2012, 85
min, portuguese and canton chineese with english and lithuanian subtitles, v
The Persian Crocodile
Das persische Krokodil
Vote for film
dir. Houchang Allahyari, Maziyar Moshtagh Gohary, Austria, documentary, 2012, 58 min, persian
with english and lithuanian subtitles, v
The Silent Ones
A Csendesek
Vote for film
dir. Ricky Rijneke, Hungary, Netherlands, drama, 2013, 97 min, hungarian with english and
lithuanian subtitles, n-16
The Strange Little Cat
Das merkwürdige Kätzchen
Vote for film
dir. Ramon Zürcher, Germany, drama, 2013, 72 min, german with english and lithuanian subtitles, v
http://www.kinofestivalis.lt/en/Film-sections/Wide-Angle-2013
Page 5 of 7

Kaunas International Film Festival
9/19/13 3:06 PM
Vic + Flo Saw A Bear
Vic + Flo ont vu un ours
Vote for film
dir. Denis Côté, Canada, France, drama, 2013, 95 min, french with english and lithuanian subtitles,
n-16
Festival video
Kino turizmas
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Page 6 of 7

Derilium - Kaunas International Film Festival
9/19/13 3:07 PM
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Page 1 of 4

Derilium - Kaunas International Film Festival
9/19/13 3:07 PM
Derilium
Vote for film
Director: Ihor Podolchak
Ukraine, Czech Republic, drama, thriller, 2013, 96 min, ukrainian with english and lithuanian subtitles, n-
18
A family asks a young psychiatrist to betheir guest for a while to untangle the circumstances of their
father’s illness. He’s developed a suicidal fixation for ropes and knots among other things. While deeply
involved in analyzing the patient’s delirium, the doctor begins to lose track of what is taking place. The
task of “how to help” is twisted into “who am I - doctor or patient? Chance guest, member of this
suffering family, or a catholic priest who has dreamed this all up?” In order to get a handle on it all, it’s
best to start from the beginning, but why do things keep shifting, changing?.. Ihor Padolchak‘s film
„Delirium” - like an funeral procession moving along it‘s path from church to cemetery, leading us into a
place where time has lost its linearity, looping through the odd images thrown off by a distorted reality.
Film based of the novel “Inductor“ by the ukrainian writer and journalist Dmytro Belyanskyi.
About the director:
Ihor Podolchak – was born in 1962 in Lviv, Ukraine. Graduated in Lviv Academy of Fine Art in 1984
with distinction. Artist, creator of numerous projects in the field of visual art, winner of 25 international
art exhibitions in Canada,USA, South Korea, Latvia, Poland, Norway, Spain, Ukraine. The artist’s book
“Jacob Bohme” was awarded as World’s BestBook at International Frankfurt Book Fair. One of his 24
personal exhibitions was the first art exhibition ever to be held in space, at space station Mir in 1993. The
premiere of the feature film “Las Meninas” took place in the competition at International Film Festival
Rotterdam (2008). The film has participated at 26 International film festivals worldwide in ten of them in
the competition.
Section: Wide Angle
Screenplay: Ihor Podolchak, Tamara Podolchak, Dmytro Belyansky
Dir. of Photography: Mykola Yefymenko
Music: Oleksandr Schetynsky
Cast:
Volodymyr Khimyak, Petro Rybka, Lesya Voynevych , Olha Horbach, lha Bakus, Ivan Kostenko, Vasyl
Kostenko
Screenings:
Kaunas
September 25 20:00, M. K. Žilinskas art gallery
http://www.kinofestivalis.lt/en/films/Derilium
Page 2 of 4

SELECTIONS | Baghdad International Film Festival
9/6/13 5:05 AM
5th. baghdad
international film
festival 2013
6th. to 10th. October
مو)ع&د م#مة
Key Dates
1st. March : Open submissions
1st. June : Close Submissions
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5 BIFF 2013 OFFICIAL SELECTIONS
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Short drama Official Competition
Title Director Country
Year or
Pro.
Length AWP
1 After Shave Nail Pelivan Turkey 2013 30 mint Yes
2 Covariance Dawn Westlake USA 2011 13 mint No
3 HoFuNeM Katsura Yamauchi Japan 2012 40 mint Yes
4 Home
Ruslan Magomadov
Russia 2012 26 mint Yes
5
King John Act IV
Scene I
John Last & Jonnie Hurn UK 2012 9 mint Yes
6 km Christos Nikou Greece 2012 11 mint Yes
7 Raffael's way Alessandro Falco Italy / Spain 2013 24 mint Yes
8 THE RIVER FLOWS
KHANJAN KISHORE
NATH
INDIA 2013 13 mint Yes
9 yes or no Qada abdellah Algeria 2012 05 mint Yes
10 And me! El Houssain CHANI Morocco 2013 6 mint No
11
A Picture and a
Frame
Mohamed Saadoun Egypt 2013 7 mint Yes
12 Baghdad Messi Sahim Omar Kalifa Belgium - Iraq
2013
16 mint No
13 Death of a shadow Tom Van Avermaet Belgium 2012 20 mint Yes
14 My Shoes Anis Lassoued Tunisia 2012 30 mint No
15 Normal people Piotr Zlotorowicz Poland 2011 24 mint Yes
16
THE SILENCE OF
THE PONDS
FATEMEH DASTMARD IRAN 2011 6 mint Yes
17
The Things my father
Buleigh Smith
never taught me
Australia 2012 7mint Yes
18 The Butterfly Charm Romany Saad Egypt 2013 17 mint No
‏)لعر‎5‎ ‏)لأ‎23‎ في ‏)لعالم ‏)لعربي:‏ *AWP :Arab world premier
OUR GUESTS
a special programs from :
Long Fiction Official Competition
Title Director Country
Year or
Pro.
Length
1 Beyond the Grave Davi de Oliveira Pinheiro Brazil 2011 89 mint Yes
Ihor Podolchak
Ukraine, Czech
AWP
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Page 1 of 3

SELECTIONS | Baghdad International Film Festival
9/6/13 5:05 AM
a special programs from :
Seattle International Film
Festival -USA
م#رجا>‏ س&اتل ‏)لس&نمائي ‏)لد‎3‎لي
2 Delirium
Ihor Podolchak
Ukraine, Czech
Republic
2012 96 mint Yes
3 Istanbul AkuDatang Bernard Chauly Malaysia 2012 90 mint Yes
4 Latch Zagros Manuchar Finland 2013 107 mint Yes
5
TARA... THE
JOURNEY OF LOVE
KUMAR RAJ (
RAJENDRAKUMAR M. INDIA 2012 105 mint Yes
OF PASSION RANEY )
6 Romancing Sydney Anmol Mishra Australia 2013 100 mint Yes
7 Sujet Geoff Norris Canada 2013 88 mint Yes
8 The dumb Mountain Ran Bir Limbu Serma Nepal 2012 97 mint Yes
9 THE LAST WINTER SALEM SALAVATI IRAN 2013 77 mint Yes
10 DEATH TRIANGLE
Adnan osman
IRAQ 2012 87 mint No
clermont ferrand international
short film festival - France
م#رجا>‏ كل&رمو>‏ ف&ر)>‏ ‏)لد‎3‎لي
للف&لم ‏)لقص&ر - فرنسا
ARTE
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IRAQI CINEMA
In brief..
Mesopotamia Media pro. IRAQ
Documentary Films Official Competition
Title Director Country
Year of
Length
Pro.
1 Apples of the Golan
Keith Walsh & Jill Beard
Ireland/Austria
sworth
2012 82 mint No
2
Daughters of the Niger
Ilse VanL amoen
Delta
Nigeria 2013 55:30 mint Yes
3 Eniba Mohanad Diab Egypt 2012 10 mint No
4 Love. Love. Love
Sandhya Daisy
Sundaram
Russia 2013 10:35 mint Yes
5 Night, Peace Eva Weber United Kingdom 2012 10 mint Yes
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A LOOK TOWARDS
THE SKY
HADI MOHAGHEGH IRAN 2012 40 mint Yes
7 On the bridge Olivier Morel France 2011 96 mint No
8 Sea Boundary Rossella Schillaci Italy 2012 55 mint Yes
9 Spring Summer Fall Piotr Zlotorowicz Poland 2012 15 mint Yes
10 TXIKI Sergio San Martin Spain 2012 27 mint Yes
11
What If Red Riding Tulin Tezel , Arzu
Hood Enters Forest Senses
Turkey 2012 28 mint Yes
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Which way to Johannes Gulde& Germany, Lebanon,
Palestine, please? Stefanie Landgraf Palestine
2011 100 mint Yes
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Witness a Peace
USA
Roger Hill
Movement
2013 54 mint Yes
14 Wounds of War Prina Raj Joshi Nepal 2011 45 mint Yes
15 The Bitter Dates Jehad Sharkawi Palestine
2012
26 mint No
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Iraqi National
Symphony Orchestra
Firas Sameer Iraq 2012 107 mint Yes
17 The Enigma Nidal Mohammed Krunz Palestine 2013 20 mint Yes
18 Fetnas " Siwa Osis" Ahmed Moh. TWFIK Egypt 2013 30 mint Yes
19 The river people
Martin Benchimol&
Pablo Aparo
Argentina 2012 62 mint Yes
Human Images Official Competition
Title Director Country
Year or
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Length AWP
1 Secrets and doubts Zelimir Gvardiol Serbia 2011 14 mint YES
2 Small Small Thing Jessica Vale United States 2013 85 mint YES
3
Wild Life
TRABELSI Marwen and
Arbia Abbassi
Tunisia 2012 20 mint YES
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Pomegranate is the
fruit of paradise
Teimour Ghaderi Iran 2012 14 mint YES
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6 Flying Paper
Nitin Sawhney and Roger Gaza Strip,
Hill
Palestine
2013 71 mint No
7 Fidai Damien Ounouri France 2012 82 mint No
8 Struggle Roger Hill Usa 2012 60 mint Yes
9
THE KOREAN
DREAM
ASHOK THAPA Nepal 2012 27 mint Yes
10 The Opponent Anis Lassoued Tunisia 2012 78 mint No
11 SPOON JALAL VAISI Iran 2013 15 mint Yes
12 POETS GOKHAN EVECEN Turkey 2012 60 mint Yes
13 The Difference Tommaso Cotronei Italy 2012 52 mint No
14 Amazigh masr) Dawoud hassan
Egypt
2010 24
No
15
Beirut road –
molhland 150 km
Fajr Jacob Lebanon - Palestine 2013 50 mint yes
Arab Women Filmmakers Official Competition
Title Director Country
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Length AWP
1 Abu Rami Sabah Haider Lebanon 2012 18 mint No
2
Stampedes, April 9th Sawssen SAYA and
, 1938
TarakKhalladi
Tunisia 2012 15 mint No
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Fear, Anger and
USA, Canada, 2011
Nadia Zouaoui
Politics
Algeria, Qatar
90 mint Yes
4 He SajaBasem Iraq 2012 11 mint no
5 Mollement Sofia DJAMA Algeria/France 2011 28 mint No
6 Mariam's Chance HanadiElyan Jordan 2012 14 mint No
7 The Cup Reader SuhaAraj Palestine 2012 12 mint No
AWP
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Page 2 of 3

SELECTIONS | Baghdad International Film Festival
9/6/13 5:05 AM
Mesopotamia Media pro. IRAQ
7 The Cup Reader SuhaAraj Palestine 2012 12 mint No
8 Wahdon (Alone) Norma Marcos France 2012 11 mint No
9 Djinn Yasmine Chouikh Algeria 2011 21 mint No
10 Ony Sally Abo Basha Egypt 2013 20 mint Yes
11 We will stand up Hajer Ben Nasr Tunisia 2013 65 mint Yes
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Page 3 of 3

Delirium - Festival 2013 | Baghdad International Film Festival
10/3/13 12:46 AM
5th. baghdad
international film
festival 2013
6th. to 10th. October
THE FESTIVAL
RULES
JURY
SPONSORS
SCHEDULE
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WINNERS
SUBMIT FILM
2013
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Delirium
Program: Long Fiction competition
Synopsis: * Arab world premier ‏&لأ+*‏ في ‏&لعالم ‏&لعربي ‏&لعر-‏ ...................................... An ordinary funeral
procession moves along its path from church to cemetery. Observing, you slip from reality into a
place where time has lost its linearity, looping through the odd images thrown off by a distorted
reality. Images of non-existence, of varying reflections of death issuing from both past and future,
concrete yet abstract, horrible yet desirable. A family asks a young psychiatrist to be their guest
for a while to untangle the circumstances of their father’s illness. He’s developed a suicidal
fixation for ropes and knots among other things. While deeply involved in analyzing the patient’s
delirium, the doctor begins to lose track of what is taking place. The task of “how to help” is
twisted into “who am I? Doctor or patient? Chance guest, member of this suffering family, or a
catholic priest who has dreamed this all up?” In order to get a handle on it all, it’s best to start
from the beginning, but why do things keep shifting, changing?
Director: Ihor Podolchak
Producer: Ihor Podolchak, Ihor Dyurych, Tamara Podolchak, Liliya Mlynarych
Country: Ukraine, Czech Republic
Year of Production: 2012
Length: 96 mins
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Page 1 of 4

2nd day | Baghdad International Film Festival
10/3/13 1:13 AM
5th. baghdad
international film
festival 2013
6th. to 10th. October
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SCREENING SCHEDULE
2 nd day Monday 7th October 2013
no Time The film`s title Director Country Genre
Running
time
program
1 9.00 Eniba Mohanad Diab Egypt Documentary 10 mint OCD
2 9.10 TXIKI
Sergio San
Martin
Spain Documentary 27 mint OCD
3 9.37 Abu Rami Sabah Haider Lebanon Short drama
18 mint
AWFM
4 9.55 fight
Muhammad
Samer
Iraq Short drama 5 mint NHC
5 10.00 vatreina
Asaad
Abdelmajed
Iraq Short drama 4 mint NHC
6 10.04 frames Ammar Adab Iraq Short Drama 10 mint NHC
7 10.14 yes or no Qada abdellah Algeria Short Drama 05 mint OCS
8 10.19 km Christos Nikou Greece Short Drama 11 mint OCS
9 10.30 Covariance Dawn Westlake USA Short Drama 13 mint OCS
10 10.43 case number hussen koole Iraq Short Drama 9 mint NHC
11 10.52
The Things my
father never Buleigh Smith Australia Short Drama 7mint OCS
taught me
12 11.00
Secrets and
doubts
Zelimir Gvardiol Serbia Documentary 14 mint HM
13 11.14
Pomegranate is
the fruit of Teimour Ghaderi Iran Documentary 14 mint HM
paradise
TRABELSI
Wild Life
14 11.28
Marwen and Tunisia Documentary 20 mint HM
Arbia Abbassi
15 11.48
Daughters of the
Ilse VanL amoen
Niger Delta
Nigeria Documentary 56 mint OCD
16 12.44
DEATH Adnan osman
IRAQ Long Fictopn 87 mint OCF
17 15.00
TRIANGLE
Beyond the
Grave
Davi de Oliveira
Pinheiro
18 16.29 Future leaders Malik ALLWAI
19 16.34 Perseverance Omar Yassine
20 16.38 The great loss
Ahmed Taleb
al-Sultan
21 16.42
Poverty and the
price of oil
Ali al Hadithy
22 16.46
Marathon to
Karbala
Ahmed Alhejjaj
Brazil Long Fiction 89 mint
France –
Iraq
France -
Iraq
France -
Iraq
France -
Iraq
France -
Iraq
OCF
Documentary 5 mint ARTE
Documentary 4 mint ARTE
Documentary 4 mint ARTE
Documentary 4 mint ARTE
Documentary 5 mint ARTE
11.00 – 12.30
BIFF PANEL DISCUSSION: The 3 rd
eye, reporting a changing Arab
world (Middle East and North
Africa).
Panelists:
Laura Silvia Battaglia & Angela
Boskovitch
Organizer & moderator:
Dr. Taher ALWAN
Iraqi orphaned children
workshop: 7 th & 8 th Oct.
Where: children protection
association – Palestine street
14.00 PAUSE
17.00:
Panel discussion
Participants:
Young filmmakers in ARTE project in Baghdad: Malik ALLWAI, Omar Yassine. Ahmed Taleb al-Sultan, Ali al Hadithy, Ahmed
Alhejjaj and the supervisor of the project: Katia JARJOUA
Moderator: Taher ALWAN
23 16.51 Boonrerm
Sorayos
Prapapan
Thailand Documentary 17 mint HM
24 17.08 zahra Husien Altaj Iraq Documentary 15 mint NHC
25 17.23
Cinema with no
Thamir Alshamari
action
Iraq Documentary 9 mint NHC
26 17.32
DECIMATION
Wade Jackson USA Short Drama 30 min (SIFF)
27 18.02
FORA
Ayuub Kasasa
Mago
Rwanda Short Drama 7 min (SIFF)
http://www.baghdadfilmfest.com/pages/2ndayprog7oct
Page 1 of 4

2nd day | Baghdad International Film Festival
10/3/13 1:13 AM
IRAQI ORPHANED
CHILDREN WORKSHOP
........................................................
OUR GUESTS
a special programs from :
Mago
28 18.09
LISTEN Zelalem
Woldemariam
Ethiopia Short Drama 19 min (SIFF)
29 18.30
THE KOREAN
DREAM
ASHOK THAPA Nepal Documentary 27 mint HM
30 18.57 The House Husam Alruabie Iraq Short Drama 8 mint NHC
31 19.05 Second world Imad Swar Iraq Short Drama 7 mint NHC
Ukraine,
Ihor Podolchak
32 19.12 Delirium
Czech Long fiction 96 mint OCF
Republic
‏%لبرنامج ‏%لعاQ – ‏%ل*وQ ‏%لثاني : ‏%لأثن*ن 2013-10-7
Seattle International Film
Festival -USA
Z ‏%لوقت ‏%لف*لم ‏%لمخرV ‏%لبلد ‏%لنوU ‏%لطوK ‏%لقسم
م‎2‎رجا/‏ س*اتل ‏%لس*نمائي ‏%لد#لي
9.00 1 عن*بة محمد ‏\يا[‏ مصر ‏#ثائقي \ 10 > Q [ #
س*رج*و سا/‏
ما Q [ #
U Q 18\
9.10 2 تكس*كي
‏%بو 9.37 3 ‏

2nd day | Baghdad International Film Festival
10/3/13 1:13 AM
IRAQI MEDIA NET : THE MAIN
MEDIA SPONSOR
‏'لر'عي ‏'لأعلامي ‏'لرئ"س : شبكة
‏'لأعلاh ‏'لعر'قي
IRAQI CINEMA
In brief..
‏.‏‎9‎ئ"س ‏'لجلسة:‏ sاrر W. علو%/‏ مدير ‏'لمIرجا‎6‎
% Å
\ 17 ‏+ثائقي تايلند سو‎9‎‏'يوi بر'بابا‎6‎ بونريم 16.51 23 cفاI 15 \ ‎9‎‏+'ئي قص"ر ‏'لعر'/‏ حس"ن ‏'لتاd Fرr~ 17.08 24
cفاI
\ 9 ‎9‎‏+'ئي قص"ر ‏'لعر'/‏ ثامر ‏'لشمرY س*نما مع ‏#قف
‏%لتنف*ذ
17.23 25
[ g 30 \ قص"ر ‎9‎‏+'ئي ‏'لمتحدK جاكسو‎6‎ ‏'لولاياj ‏+يد tلاr 17.32 26
18.02 27 خرV ‏'يوe ماغو ‎9‎‏'+ند'‏ ‎9‎‏+'ئي قص"ر \ 7 [ g
‏'ث"وب"ا ‎9‎‏+'ئي قص"ر \ 19 [ g
‏'خر'‏d Xيلايل"م ‏+لد
مرياh
‏%ستمع 18.09 28
‏%لحلم 18.30 29 ‏%لكو

Home | Baghdad International Film Festival
10/12/13 9:02 PM
6th. baghdad
international film
festival 2014
BIFF 2013 FORUM
KEY DATES
open submissions : 1st
March
Close submissions : 1st
june
مو)ع&د م#مة
‏)لد‎01‎‏/‏ ‏)لسا+سة 2014
يفتح با‎9‎ ‏)لتسج&ل في 23)0 1
ما‎0‎‏

Home | Baghdad International Film Festival
10/12/13 9:02 PM
Ihor Podolchak Anmol Mishra adnan osman
JURY PRIZE
press release :5 BIFFannounced
the completion of its
preparations
THE LAST WINTER
SALEM SALAVATI
Short drama competition
IRAQI ORPHANED
CHILDREN WORKSHOP
........................................................
OUR GUESTS
a special programs from :
FIRST PRIZE
Baghdad Messi
Sahim Omar Kalifa
SECOND PRIZE
Home
Ruslan Magomadov
SECOND PRIZE
My Shoes
Anis Lassoued
Submissions opened for (BIFF)
2013
The 2013 Baghdad International Film
Festival (BIFF) fifth edition accepts
free submissions (a completed
electronic submission form and two
(2) DVD screener copies) through the
final deadline of June 1,
2013(postmark date).
JURY PRIZE
‏+عو/‏ للمشا‎0‎كة في ‏)لد‎01‎‏/‏
‏)لخامسة لم#رجا?‏ بغد)+‏
‏)لس&نمائي ‏)لد‎1‎لي
Seattle International Film
Festival -USA
م#رجا?‏ س&اتل ‏)لس&نمائي ‏)لد‎1‎لي
Death of a shadow
Tom Van Avermaet
Documentaries Competition
FIRST PRIZE
SECOND PRIZE
JURY PRIZE
‏"ستعد"!"‏ للد‎123‎ ‏"لخامسة لم*رجا&‏ بغد"!‏
‏"لس

Home | Baghdad International Film Festival
10/12/13 9:02 PM
‏)لند‎1‎‏/‏ ‏)لد‎1‎ل&ة ‏)لثاني للن#وT
بالس&نما في ‏)لعر)‏V ‎8‎‏-)كتوبر
تشرين ‏)لأX1‎ 2013
SPONSORS
djinn
Yasmine Chouikkh
The Cup Reader
Suha Araj
JURY PRIZE
Abu Rami
Sabah Haider
‏)لأعلا?‏ عن تفاص&ل ‏)لمسابقة
‏)لرسم&ة للمخرجاa ‏)لعرب&اa في
م#رجا?‏ بغد)+‏ ‏)لس&نمائي ‏)لد‎1‎لي
‏)لر)بع
IRAQI MEDIA NET : THE MAIN
MEDIA SPONSOR
‏"لر"عي ‏"لأعلامي ‏"لرئ

Home | Baghdad International Film Festival
Long Fiction competition
Beyond the Grave
Davi de Oliveira Pinheiro
DEATH TRIANGLE
adnan osman
10/12/13 9:02 PM
‎3‎حق*م ‏"لمشرe3‎ "& يخصص جزء من
م

Home | Baghdad International Film Festival
10/12/13 9:02 PM
Human Images competition
amazigh masr (egyptian amazigh)
dawoud hassan
Beirut Road - Molholand 150
thousand Km
Fajr Jacob
obout the egyption minority of amazigh in
sewa osis.
‏"لعرv ‏"لأM3‎ في ‏"لعالم ‏"لعربي Arab world premier
.................................. A dramatic and docum...
New Horizons competition
Baghdad:The capital of the forgotten
cultures
Mahmoud Agha , Fadhil Mohamed
balloones
khaled albayati
‏"لعرv ‏"لأM3‎ في ‏"لعالم *Arab world premier
A... " ......................................... ‏"لعربي
Balloons\" tells the suffering experienced by a
lot of children around the world through the
story of the seller who is seeki...
BIFF
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Connect
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http://www.baghdadfilmfest.com/
Page 5 of 5

Delirium - Festival 2013 | Baghdad International Film Festival
10/12/13 9:03 PM
6th. baghdad
international film
festival 2014
THE FESTIVAL
RULES
JURY
SPONSORS
SCHEDULE
SUBMISSIONS
WINNERS
SUBMIT FILM
2013
KEY DATES
open submissions : 1st
March
Close submissions : 1st
june
Delirium
FIRST PRIZE WINNER
مو)ع&د م#مة
‏)لد‎01‎‏/‏ ‏)لسا+سة 2014
يفتح با‎9‎ ‏)لتسج&ل في 23)0 1
ما‎0‎‏

Украинский фильм получил главный приз на кинофестивале в Баг…чака признан лучшим среди 50 фильмов, представленных - LB.ua
10/14/13 7:08 PM
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Украинский фильм получил главный приз на
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14 октября 2013, 16:27
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Фильм "Delirium" Игоря Подольчака
признан лучшим среди 50 фильмов,
представленных на киносмотре
Кадр из фильма Delirium
Фото: ОМКФ
Новости по теме:
Мировая премьера украинского фильма
DELIRIUM
Артхаусное кино в Украине продюсируют "бизнесангелы",
- продюсер Лилия Млинарич
Полнометражный фильм украинского
режиссера Игоря Подольчака "Delirium"
получил первый приз на кинофестивале в
Багдаде (Ирак). Об этом сообщается на
официальном сайте киносмотра.
Кинофестиваль в Багдаде был основан в 2005
году с целью поддерживать молодое кино Ирака.
На сайте кинофестиваля отмечается, что
основным интересом является кино,
"ориентирующееся на ценности свободы,
демократии, прав человека и справедливости".
В основе сюжета "Делириума" - повесть
украинского журналиста и писателя Дмитрия
Белянского "Индуктор", история о психиатре, попадающем в загадочный дом, где живет
странная семья, глава которой находится на грани самоубийства. Как и в предыдущей работе
Подольчака, фильме "Las Meninas", здесь также стираются грани между реальностью и
галлюцинацией, что является своего рода проекцией психических переживаний главного героя.
Мировая премьера "Делириума" состоялась на кинофестивале в португальском Порту в
феврале 2013 года. Фильм также был отобран в национальный конкурс Одесского
международного кинофестиваля, где состоялась его украинская премьера в июле этого года. Он
также принимал участие в кинофестивале имени Тарковского в России.
Читайте: Артхаусного кино в Украине практически не существует, - режиссер Игорь
Подольчак
Фильм снимался четыре года - с 2008 по 2012: работа над картиной постоянно
приостанавливалась из-за нехватки финансирования. Отметим, что "Делириум" не получил
государственного финансирования, а снимался исключительно за счет частных инвестиций.
Вместе с этим, Игорь Подольчак на пресс-конференции, посвященной премьере его
фильма, рассказал, что его следующая работа - "Домино", будет частично профинансирована
за счет государства. Проект фильма был подан на конкурс в Госкино, съемки планируются на
2014 год.
В этом году украинские фильмы все чаще попадают в основные конкурсы международных
кинофестивалей: так, на кинофестивале в Варшаве, который открылся 2 октября, будет
представлена полнометражная работа Владимира Тихого, "Зеленая кофта".
Новости Читают Комментируют
В Киеве антикварный салон выставит
работы ярких художников 20 века 18:24
Житомирская мэрия подарила детям
футбольное поле с канализационными
люками 3 17:34
В Киеве отравились четверо посетителей
ТРЦ 17:27
Украинский фильм получил главный приз на
кинофестивале в Багдаде 16:27
Экологическая комиссия заверяет, что добыча
песка на мысе Фиолент не ведется 16:11
68-летний Николай Караченцов вернулся к
съемкам в кино 2 15:52
В Киеве уничтожают Музей Шевченко, чтобы
построить на его месте ресторан 1 15:36
Львовского чиновника, виновного в смерти
ребенка в коллекторе, посадили под домашний
арест 2 14:09
Жуткое ДТП в Броварах: при столкновении
авто случайно погиб велосипедист 14:07
Усадьбу Мурашко должны законсервировать
до конца года 14:01
Завтра в Киеве обещают небольшой дождь 14:00
Топ-тема
В Киеве начался митинг по случаю
71-й годовщины УПА 10
http://society.lb.ua/culture/2013/10/14/233438_ukrainskiy_film_poluchil_glavniy.html
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Украинский фильм "Делириум" стал победителем на кинофестивале в Багдаде - TRUST.UA
10/14/13 7:12 PM
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НОВОСТИ
2013-10-14 16:35:19
Украинский фильм
"Делириум" стал
победителем на
кинофестивале в
Багдаде
Полнометражный фильм
украинского режиссера Игоря
Подольчака "Делириум" (Delirium)
признан лучшим среди 50 фильмов на кинофестивале в Багдаде (Ирак).
Об этом сообщается на официальном сайте киносмотра.
В фильме "Делириум" рассказывается история о психиатре, попадающем в загадочный дом,
где живет странная семья, глава которой находится на грани самоубийства. Фильм снят на
основе повести украинского писателя Дмитрия Белянского "Индуктор".
Музыку к фильму написал композитор Александр Щетинский. При этом музыка в фильме
звучит только в начале и в конце, в середине картины закадровая музыка практически
отсутствует.
Объявлены короткометражки-претенденты на Оскар. Список
Как и в предыдущей работе Подольчака, фильме "Las Meninas", в "Делириуме" также
стираются грани между реальностью и галлюцинацией, что является своего рода проекцией
психических переживаний главного героя.
"Делириум" был снят исключительно за счет частных инвестиций. Съемки проходили во
Львовской области и в Киеве.
Мировая премьера "Делириума" состоялась на кинофестивале в португальском Порту в
феврале 2013 года. Фильм также принимал участие в кинофестивале имени Тарковского в
России.
Игорь Подольчак признался, что не рассчитывает на успех у широкой публики, поскольку,
создавая свои фильмы, "не ориентируется на зрителя".
Тем не менее фильмы Подольчака сравнивают с фильмами Питера Гринуэя, Дэвида Линча и
раннего Романа Поланского, также интересовавшегося пограничными психическими
состояниями.
Кинофестиваль в Багдаде был основан в 2005 году с целью поддерживать молодое кино
Ирака. На сайте кинофестиваля отмечается, что основным интересом является кино,
"ориентирующееся на ценности свободы, демократии, прав человека и справедливости".
Открылся юбилейный Венецианский кинофестиваль. ФОТО
Теги: кино, багдад, фильм, фестиваль, Делириум, Delirium
17:54:51 Правительство Норвегии подало в
отставку
17:30:24 Люкс-епископу придется отчитаться за
потраченный 31 млн евро
17:20:00 Теннис. Рейтинги АТР и WTA от
14.10.2013
17:10:34 Москва - вторая в рейтинге самых
дорогих городов мира по стоимости найма квартир
16:55:48 Украине могут доверить подготовку
миротворцев
16:40:38 Украина получила грант 1,45 млн евро
на освоение космоса
16:35:19 Украинский фильм "Делириум" стал
победителем на кинофестивале в Багдаде
16:20:57 Тимошенко отказали о пересмотре
приговора
16:10:12 Навальный назвал Путина крайним в
беспорядках в Бирюлево
15:50:44 Суд завернул иски о незаконности указа
о помиловании Луценко
15:40:56 За Roshen замолвят слово перед
Медведевым
15:30:19 Владимир Кличко: рефери помогал
Поветкину
15:20:50 Янукович подписал закон об отправке
миротворцев на борьбу с пиратами
15:10:29 Армия по контракту, внутренние войска
по призыву
14:50:09 Янукович едет в Эстонию поговорить о
транспорте
СВОБОДНАЯ ТРИБУНА НА TRUST.UA
Ежедневно банк «Надра» принимает около 10 млн
гривен депозитов физических лиц
Покрова Пресвятой Богородицы. Традиции, приметы и
обычаи
Нужны ли вам восемь кружек воды в день?
Продолжительность жизни людей связали с
количеством исчезающих животных
США и Вьетнам подписали соглашение о передаче
ядерной технологии
live journal мой мир в контакте friend feed facebook
google linkedin одноклассники
Еще по теме
Правительство Норвегии подало в отставку
Люкс-епископу придется отчитаться за потраченный 31 млн евро
Голландских полицейских не накажут за избиение
российского дипломата
В Евросоюзе живет 50 миллионов психов
Одним из погибших в терракте в Найроби оказался
племянник президента Кении
Ассоциация Защиты Активов: защита инвестиций в
Украине требует согласованных усилий
http://www.trust.ua/news/86020-ukrainskij-film-delirium-stal-pobeditelem-na-kinofestivale-v-bagdade.html
Page 1 of 3

Украинское кино взорвало кинофестиваль в Ираке - Общество | KP.UA
10/14/13 7:48 PM
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Фильм Игоря Подольчака DELIRIUM признан лучшим на
Багдадском кинофоруме
— 14.10.2013
Прошлая неделя доказала, что из Багдада могут приходить и хорошие новости. Жюри
кинофестиваля в Багдаде единогласно признало украинский фильм лучшим среди 50-ти
картин, представленных зрителям. DELIRIUM, снятый известным в мире режиссером,
художником и политтехнологом Игорем Подольчаком – передовое по киноязыку и
концепции авторское высказывание.
DELIRIUM Игоря Подольчака – сложное экспериментальное кинополотно, способное дать
пищу к размышлениям и интеллектуалам, и ценителям поисков в киноязыке, и просто
людям, способным восхищаться новизной кадров, каждый из которых в этой ленте –
радикально-новаторский, ранее не встречавшийся в киноопыте зрителя. В этой истории
сюжет играет не главную роль, медитативное течение кадров может загипнотизировать
зрителя – но Подольчак отнюдь не ставит целью развлечь аудиторию. Потому людям,
ищущим в кино аттракциона, кино может показаться нарочитым видеоартом, а вот тем, кто
открыт к новому опыту и настроен к диалогу – DELIRIUM способен подарить эстетическое
удовольствие. Очевидно, члены жюри кинофестиваля в Багдаде относятся ко второй
категории зрителей.
У BIFF – кинофестиваля в Багдаде – сложная история. Несмотря на то, что его история
началась в начале 2000-ых, в нынешнем году он состоялся только в 5-ый раз. Многие годы
выпали из истории фестиваля из-за военных действий, проходящих на территории Ирака.
Но жители страны со сложной судьбой истосковались по киноискусству, потому каждый
раз фестиваль буквально возрождается из пепла. Его программа сосредоточена на
ценностях свободы, справедливости, демократии, прав человека, правосудия. Не зря в
этом году главным кинотриумфом стал украинский фильм. Лента Подольчака, несомненно,
новое и важное высказывание как раз о свободе человека, она предлагает абсолютно
новаторское отношение между зрителем и экраном, и шире: между человеком и миром, в
который он попадает.
DELIRIUM ранее был номинирован на Национальную Кинопремию (Одесский
международный кинофестиваль), на главные награды Международного кинофестиваля в
Порту, Португалия, Международного кинофестиваля Тарковского, Россия.
Официальный сайт Багдадского кинофестиваля:
http://www.baghdadfilmfest.com/festival/2013/winners
Страницы фильма DELIRIUM:
https://www.facebook.com/delirium.m
http://uk.wikipedia.org/wiki/Delirium_(фільм)
Прес-кит:
http://www.adrive.com/public/HKuPRd/DELIRIUM_Film_Press_Kit_uk.zip
Трейлеры:
http://www.adrive.com/public/F3wH3R/DELIRIUM_Film_Trailers_uk_mp4.zip
Версия для печати
Копия в блог
Все новости Киев Спорт Звезды
Руководитель шоу "Один за
всех" считает, что ведущий
не виноват в самоубийстве
героя программы
3
Наталья Франчук прокомментировала скандал.
19:37 Украинское кино взорвало кинофестиваль в
Ираке 11
19:26 На Закарпатье вспыхнула школа 23
19:11 Главный тренер сборной Англии: "Я волнуюсь
– вряд ли усну этой ночью" 151
19:08 Очередной конец света назначен на 16 марта
2880 года 117
18:53 Союзпечать: в наших киосках не продается
алкоголь 79
18:49 Марш националистов в Киеве закончился
концертом 208
18:45 Башар Асад: "Нобелевская премия мира
должна была достаться мне" 88
18:31 Мэр Житомира подарил жителям площадку с
канализационными люками на футбольном поле
240
18:26 Колонна националистов прошла по Крещатику
– туристы в ужасе 882 1
Общество : читайте также
Союзпечать: в наших киосках не продается
алкоголь 74
Все Новости
Мэр Житомира подарил жителям площадку с
канализационными люками на футбольном
поле 229
Жители Полтавщины травятся поганками и
пластинчатыми грибами 274
Янукович: "У нас замечательные врачи, но их
не хватает" 155
На флагштоках Львовского облсовета
вывесили бандеровские флаги [Фото] 354
Погода
Вера Брежнева показала
младшую дочь Сару
Новости от партнеров
Погода 14.10.13, вечер
+10°
Погода в Киеве
влажность: 90%
давление: 752 мм
ветер: 1 м/с,
на сегодня завтра 10 дней в других городах
Никита Пресняков
задумывается о том,
чтобы сделать Аллу
http://kp.ua/daily/141013/418455/
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Відео - Фільм Ігоря Подольчака став найкращим на міжнародному кінофестивалі в Багдаді - Відео ТСН онлайн, архів відео - ТСН.ua
10/15/13 12:25 PM
УКP
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Вибір
РЕДАКЦІЇ
Допоможіть одужати 3-
річному Тимуру!
1/12 Тимошенко мають звільнити
до 21 жовтня, бо угоди з ЄС
не буде – євродепутат
Фільм Ігоря Подольчака став найкращим на міжнародному
кінофестивалі в Багдаді
2/12 В Індії оголосили червоний
рівень небезпеки через
наближення супертайфуну
"Файлінь"
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В стрічці «Деліріум», з латинської це перекладається як марення, йдеться про історію психіатра. Він
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Украинский фильм стал сенсацией на международном кинофестивале -
10/15/13 12:28 PM
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Украинский фильм стал сенсацией на международном
кинофестивале
15 октябрь 2013 12:05 Шрифт:
Темы: DELIRIUM | кинофестиваль в багдаде
НОВОСТИ ПО ТЕМЕ
— В Украину впервые едет Адриано Челентано
— Тарантино назвал 10 лучших фильмов 2013 года
Фильм Игоря Подольчака DELIRIUM
признан лучшим на Багдадском
кинофоруме.
Прошлая неделя доказала, что из
Багдада могут приходить и хорошие
новости. Жюри кинофестиваля в
Багдаде единогласно признало
украинский фильм лучшим среди 50-
ти картин, представленных зрителям.
DELIRIUM, снятый известным в мире
режиссером, художником и
политтехнологом Игорем
Подольчаком - передовое по
киноязыку и концепции авторское
высказывание.
— 19 октября в Киеве стартует кинофестиваль
«Молодость»
DELIRIUM Игоря Подольчака -
— Мультик 11-летней украинки покажут по детским сложное экспериментальное
телеканалам Европы
кинополотно, способное дать пищу к
размышлениям и интеллектуалам, и
ценителям поисков в киноязыке, и
просто людям, способным восхищаться новизной кадров, каждый из которых в этой ленте -
радикально-новаторский, ранее не встречавшийся в киноопыте зрителя. В этой истории
сюжет играет не главную роль, медитативное течение кадров может загипнотизировать
зрителя - но Подольчак отнюдь не ставит целью развлечь аудиторию. Потому людям,
ищущим в кино аттракциона, кино может показаться нарочитым видеоартом, а вот тем, кто
открыт к новому опыту и настроен к диалогу - DELIRIUM способен подарить эстетическое
удовольствие. Очевидно, члены жюри кинофестиваля в Багдаде относятся ко второй
категории зрителей.
Читайте также: Тарантино назвал 10 лучших фильмов 2013 года
У BIFF - кинофестиваля в Багдаде - сложная история. Несмотря на то, что его история
началась в начале 2000-ых, в нынешнем году он состоялся только в 5-ый раз. Многие годы
выпали из истории фестиваля из-за военных действий, проходящих на территории Ирака. Но
жители страны со сложной судьбой истосковались по киноискусству, потому каждый раз
фестиваль буквально возрождается из пепла. Его программа сосредоточена на ценностях
свободы, справедливости, демократии, прав человека, правосудия. Не зря в этом году
главным кинотриумфом стал украинский фильм. Лента Подольчака, несомненно, новое и
важное высказывание как раз о свободе человека, она предлагает абсолютно новаторское
НОВОСТИ РАЗДЕЛА
ПОСЛЕДНИЕ ПОПУЛЯРНОЕ КОММЕНТИРУЮТ
Украинский фильм стал
сенсацией на международном
кинофестивале
В столице появится концертный
зал Аллы Пугачевой
http://www.delfi.ua/news/daily/foreign/ukrainskij-film-stal-sensaciej-na-mezhdunarodnom-kinofestivale.d?id=2022079
Page 1 of 6

Украинский фильм стал сенсацией на международном кинофестивале -
10/15/13 12:28 PM
отношение между зрителем и экраном, и шире: между человеком и миром, в который он
попадает.
DELIRIUM ранее был номинирован на Национальную Кинопремию (Одесский международный
кинофестиваль), на главные награды Международного кинофестиваля в Порту, Португалия,
Международного кинофестиваля Тарковского, Россия.
В столице пройдет фестиваль
бандуристов и лирников
Киевлянка содержит дома 17 коз
ТОП-10 фильмов на Хэллоуин
Украинец научился играть на 20
музыкальных инструментах
В Киеве открыли памятник
Покрове Богородицы
Все новости »
DELFI Shop
Модная обувь SLAM
Ноутбуки и компьютеры Mac на
webstore.com.ua
Читайте также: Украинский фильм потряс фестиваль «Киношок»
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Page 2 of 6

Украинский фильм стал сенсацией на международном кинофестивале -
10/15/13 12:28 PM
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TAGS: DELIRIUM, кинофестиваль в багдаде, фильм DELIRIUM, фильм Игоря Подольчака DELIRIUM
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Украинский фильм
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Лента украинского режиссера победила на
кинофестивале в Багдаде
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Delirium победил на Международном кинофестивале
в Багдаде
kinopoisk.ru
Фильм украинского режиссера Игоря
Подольчака Delirium победил на
Международном кинофестивале в Багдаде
(Ирак).
Delirium был признан лучшим среди 50 фильмов
кинофорума, сообщается на Facebook-странице
фестиваля Джаз Коктебель, президент которого
Лилия Млинарич выступила в качестве
продюсера ленты.
Фильм Подольчака ранее был номинирован на
Национальную Кинопремию Одесского международного кинофестиваля, на главные награды
Международного кинофестиваля в Порту и Международного кинофестиваля имени Тарковского
в России.
По сюжету Делириума, отпуск молодого психиатра в маленьком провинциальном городке
прерывается анонимным телефонным звонком. Таинственный голос просит его поселиться
в доме 55-летнего главы семейства, который находится на грани самоубийства. Психиатр,
думая, что это розыгрыш коллег, отправляется по адресу. События, которые происходят с ним
в самом доме сложно отличить от галлюцинаций.
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Украинский фильм победил на кинофестивале в Багдаде Последние события в мире киноиндустрии
10/15/13 2:49 PM
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Рецепт самых вкусных блинов!
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Кернес заявил такое о Тимошенко, что
- это насторожило всех!
Кинолента украинского режиссера
Игоря Подольчака "Delirium" признана
лучшей среди 50 фильмов на
Международном кинофестивале в
Багдаде (Ирак), сообщается на
официальном сайте киносмотра.
То, что заявил Шойгу насчет
Сердюкова, заставило застыть всю
страну! ...
С ума сойти! Вот кого уволил Ахметов
Ранее фильм номинировался на Национальную Кинопремию Одесского
международного кинофестиваля, на главные награды Международного кинофестиваля
в Порту и Международного кинофестиваля имени Тарковского в России.
ПОСЛЕДНИЕ НОВОСТИ
Сюжет "Делириума" основан на повести украинского журналиста и писателя Дмитрия
Белянского "Индуктор". Это история о молодом психиатре, который попадает в
загадочный дом, глава которой находится на грани самоубийства. События, которые
происходят с психиатром в самом доме сложно отличить от галлюцинаций.
Интересно, что "Делириум" не получил госфинансирования, а снимался исключительно
за счет частных инвестиций. Однако следующая работа
Подольчака - "Домино" - будет частично
профинансирована за счет государства.
Кинофестиваль в Багдаде был основан в 2005 году и
делает акценты на фильмах, которые "ориентируются на
ценности свободы, демократии, прав человека и
справедливости".
Korrespondent
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Ukrainian Film Takes First Prize at Baghdad Film Festival | Kiev business and leisure guide - GoKiev.info
10/24/13 2:24 PM
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October 18, 2013 admin Culture / Lifestyle
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Ukrainian thriller Delirium (2013) has been named the best in the long fiction competition at the Baghdad International
Film Festival (BIFF), Iraq. The 92-minute film is a joint Ukraine – Czech Republic production directed by prize-winning
Ukrainian director Ihor Podolchak. The second prize of the competition went to Australian romcom Romancing Sydney
by Anmol Mishra.
Two other winning films at BIFF 2013 received the jury prize – Iraqi Death Triangle by Adnan Osman and Iranian
production The Last Winter by Salem Salavati.
Delirium is based on a 2008 book Induktor by Ukrainian author Dmytro Belianskyi. The story begins with a family inviting
a young psychiatrist to “untangle the circumstances of their father’s illness… [who has] developed a suicidal fixation for
ropes and knots among other things.” Analyzing his patient’s delirium, the doctor himself loses track of reality. Suddenly,
“the task of ‘how to help’ is twisted into ‘who am I? Doctor or patient? Chance guest, member of this suffering family, or
a catholic priest who has dreamed this all up?’
Interestingly, the two title roles in the production went to amateur actors who never have starred in a film before.
Ukrainian actor Volodymyr Khimyak plays the Guest (young psychiatrist) and Petro Rybka portrays the suicidal Father.
The lead female role – that of the Mother – went to Lesya Voynevych, a professional Ukrainian actress working at a Lviv
theater.
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In order to recreate the state of delirium, the director used special Tilt & Shift lens, which allows to record a distorted,
oddly focused picture. Virtually no audio was used from the actual set, Kyiv actor Vitali Linetskyi lent his voice to the
characters of the Guest, Father, and Son.
Delirium belongs to the genre of claustrophobic productions that create the illusion of being trapped in a house with no
exits. Podolchak puts his characters in a loop where they can’t know whether anything outside their immediate
environment even exists.
The film was received quite warmly by the critics who appreciated the director’s experimental attempt. During the Odesa
International Film Festival in July of 2013 the film was described as a painful and scary black hole that still pulls the
audience in.
Source: WNU-Ukraine
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Украинский фильм покорил Ирак (ФОТО,ВИДЕО) | КОММЕНТАРИИ
10/15/13 2:50 PM
Украинский фильм покорил Ирак
(ФОТО,ВИДЕО)
15/10/2013 13:56
0
Автор:
материалы по теме:
В Варшаве открылся Международный кинофестиваль
В Украину приехал медведь-актер (ВИДЕО)
В украинском фильме снимутся настоящий и замаскированный медведи (ФОТО)
«Иван-Сила» - в десятке отечественного проката
Лента Delirium Игоря Подольчака победила на кинофестивале в Багдаде
Об этом сообщается на странице фильма в Facebook.
Арт-хаусная Лента Delirium стала лучшей из 50-ти претендентов на первое место
5 Багдадского международного кинофестиваля.
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Украинский фильм покорил Ирак (ФОТО,ВИДЕО) | КОММЕНТАРИИ
10/15/13 2:50 PM
0
Как отмечают создатели фильма, в основе сюжета - повесть украинского журналиста и писателя
Дмитрия Белянского «Индуктор». Это история о психиатре, попадающем в загадочный дом, где живет
странная семья, глава которой находится на грани самоубийства.
http://comments.ua/life/430445-ukrainskiy-film-pokoril-irak-fotovideo.html
Page 3 of 10

Украинский фильм покорил Ирак (ФОТО,ВИДЕО) | КОММЕНТАРИИ
10/15/13 2:50 PM
«Может быть достаточно встретить похоронную процессию, чтобы провалиться из реальности в бред,
где время, потеряв свой линейный бег, петляет среди непредсказуемо возникающих образов небытия –
всевозможных отражений Смерти в смертях предшествующих и предстоящих, ужасающих и желанных...
Гость - молодой психиатр - приглашен пожить в семье, в связи с предполагаемым сумасшествием Отца,
одержимого болезненной суицидальной тягой к веревкам, узлам и удушью. Но вполне возможно что все
обстоит наоборот и именно его – Гостя - психическое здоровье требует медицинского вмешательства…»,
- отмечается в синопсисе фильма.
Лента снималась с 2008 по 2012. Работа над фильмом время от времени приостанавливалась из-за
нехватки финансирования. Отметим, что картина создавалась исключительно на средства частных
инвестиций.
http://comments.ua/life/430445-ukrainskiy-film-pokoril-irak-fotovideo.html
Page 4 of 10

Украинский фильм покорил Ирак (ФОТО,ВИДЕО) | КОММЕНТАРИИ
10/15/13 2:50 PM
Мировая премьера Delirium состоялась на кинофестивале в португальском Порту в феврале 2013 года.
Фильм также был отобран в национальный конкурс Одесского МКФ, где состоялась его украинская
премьера в июле 2013 года. Кроме того, лента принимала участие в кинофестивале им. Тарковского в
России.
Как сообщали «Комментарии», в начале октября 2013 года в Киеве стартовали съемки художественного
фильма «Урсус», который будет создаваться усилиями Украины, Грузии, Германии и Болгарии. В
приключенческой трагикомедии снимутся актеры из 7 европейских стран и один медведь.
Читайте новости Comments.UA в социальных сетях facebook и twitter.
Источник: Comments.UA
Источник фото: Facebook фильма
Теги: кинофестиваль, украинское кино, кино
Версия для печати
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Украинский фильм покорил Ирак (ФОТО,ВИДЕО) | КОММЕНТАРИИ
10/15/13 2:50 PM
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Российский чиновник обозвал
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Путин уничтожает бизнес
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Page 6 of 10

Український фільм переміг на міжнародному фестивалі. ФОТО. ВІДЕО | ВолиньPost
10/15/13 3:51 PM
головна вхід реєстрація
пошук...
Новини Статті Відео Колонка автора Стіна Архів Онлайн-конференції Фотовиставка Історія Гаряча лінія
Український фільм переміг на міжнародному
фестивалі. ФОТО. ВІДЕО
Сьогодні, 15:00
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+1
Стрічка Delirium Ігоря Подольчака перемогла на кінофестивалі в Багдаді.
Про це повідомляється на сторінці фільму в Facebook, ‒ пишуть Коментарі.
Арт-хаусна Стрічка Delirium стала кращою з 50-ти претендентів на перше місце 5 Багдадського
міжнародного кінофестивалю. Як відзначають творці фільму, в основі сюжету ‒ повість українського
журналіста та письменника Дмитра Белянського «Індуктор». Це історія про психіатра, який потрапляє в
загадковий будинок, де живе дивна сім’я, глава якої знаходиться на межі самогубства.
«Можливо достатньо зустріти похоронну процесію, щоб провалитися з реальності в марення, де час,
втративши свій лінійний біг, петляє серед образів небуття, що непередбачувано виникають, ‒ всіляких
віддзеркалень смерті в смертях попередніх і майбутніх, страхітливих і бажаних ... Гість ‒ молодий
психіатр ‒ запрошений пожити в сім’ї у зв’язку з передбачуваним божевіллям Батька, одержимого
болючою суїцидальною тягою до мотузок, вузлів і задухи. Але цілком можливо що все навпаки і саме
його ‒ Гостя ‒ психічне здоров’я вимагає медичного втручання... », ‒ наголошується в описі фільму.
http://www.volynpost.com/news/21384-ukrainskyj-film-peremig-na-mizhnarodnomu-festyvali-foto-video
Page 1 of 7

Український фільм переміг на міжнародному фестивалі. ФОТО. ВІДЕО | ВолиньPost
10/15/13 3:51 PM
Стрічка знімалася з 2008 по 2012 рік. Робота над фільмом час від часу припинялася через брак
фінансування. Зазначимо, що стрічка створювалась виключно на кошти приватних інвестицій. Світова
прем’єра Delirium відбулася на кінофестивалі у португальському Порту в лютому 2013 року. Фільм
також був відібраний в національний конкурс Одеського МКФ, де відбулася його українська прем’єра в
липні 2013 року. Крім того, стрічка брала участь у кінофестивалі ім. Тарковського в Росії.
http://www.volynpost.com/news/21384-ukrainskyj-film-peremig-na-mizhnarodnomu-festyvali-foto-video
Page 2 of 7

Український фільм переміг на міжнародному фестивалі. ФОТО. ВІДЕО | ВолиньPost
10/15/13 3:51 PM
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Лента украинского режиссера победила на кинофестивале в Багдаде
10/15/13 12:31 PM
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Фильм украинского режиссера Игоря Подольчака Delirium победил на Международном
кинофестивале в Багдаде (Ирак).
/ kinopoisk.ru
Delirium был признан лучшим среди 50
фильмов кинофорума, сообщается на
Facebook-странице фестиваля Джаз Коктебель,
президент которого Лилия Млинарич выступила
в качестве продюсера ленты.
Фильм Подольчака ранее был номинирован на
Национальную Кинопремию Одесского
международного кинофестиваля, на главные
награды Международного кинофестиваля в
Порту и Международного кинофестиваля имени
Тарковского в России.
По сюжету Делириума, отпуск молодого психиатра в маленьком провинциальном городке
прерывается анонимным телефонным звонком. Таинственный голос просит его поселиться
в доме 55-летнего главы семейства, который находится на грани самоубийства. Психиатр,
думая, что это розыгрыш коллег, отправляется по адресу. События, которые происходят с ним
в самом доме сложно отличить от галлюцинаций.
Новости: Шоу-биз и культура
Все новости
В мае в столице пройдет фестиваль
Kyiv Sculpture Project Вчера, 17:05
Лента украинского режиссера победила
на кинофестивале в Багдаде
Сегодня, 11:59
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Теги: кинофестиваль, Багдад, украинское кино
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Page 1 of 4

5th Baghdad International Film Festival draws warm welcome | Al-Shorfa
10/23/13 4:54 PM
5th Baghdad International Film Festival draws warm
welcome
2013-10-21 By Mahmoud al-Mulhim in Baghdad
The fifth edition of the Baghdad International Film Festival on October 6th-10th celebrated artists from more than 50
countries through more than 100 films screened during the five days of the festival.
The closing ceremony paid tribute to top films across the globe, featuring artistic and musical performances that
received a warm response from the large audience that filled the screening room at the Palestine Hotel.
The films that won awards in the six international competition categories sponsored by the festival included
Czech/Ukrainian film "Delirium", directed by Ihor Podolchak, which won the long feature film award.
The international film competition prize went to "Small Small Thing" by Jessica Vale of the United States, while
Algerian director Yasmine Chouikh won the Arab women filmmakers award for her film "El-Djinn".
Meanwhile, Iraqi director Khaled al-Bayyati's short animated film "Balloons" won in the "new horizons" category for
Iraqi films.
A 'GREAT SUCCESS'
"I think we achieved a great success with the festival, judging by the broad international participation, in addition to
the [vote of] confidence the festival received from major international [film] festivals," festival director Taher Alwan
told Al-Shorfa.
"The festival gained a good reputation worldwide and has been selected to participate in the annual international film
festival forum organised by the city of Jihlava, in the Czech Republic," he added.
Since the launch of its first edition in 2005, the Baghdad International Film Festival has "taken steps to foster
relations with international festivals and attract the most important films to participate in it", Alwan said.
Young Iraqi filmmakers who participated in the festival expressed their happiness over the opportunity the festival
gave them to showcase their energies and talents.
"I participated in the festival with the film 'The Summer of Departure' which looks at university students and their
attachment to education, the evolution of their relationships and how they overcome the difficulties they face in
[pursuing] an education," said director Murtada al-Rubaie, a student at the Institute of Fine Arts.
This participation "means a lot to me", he told Al-Shorfa. "I care about conveying a useful message to others through
my film."
Young artist Ahmed Tareq, a student at the College of Fine Arts, wrote the screenplay for the film "Profit and Loss",
which was screened during the festival.
Tareq said the Baghdad International Film Festival has become the place "to showcase our talents and the [quality]
level of our films", which is why "we strive to produce quality work that stands out among the large number of Iraqi
and international films".
Participation in the festival is in itself more important than anything else, said Mehdi al-Tamimi, a student at the
Institute of Fine Arts.
"What matters is that [young filmmakers] have an opportunity to showcase their films here amid this important
http://al-shorfa.com/en_GB/articles/meii/features/2013/10/21/feature-03
Page 1 of 2

5th Baghdad International Film Festival draws warm welcome | Al-Shorfa
10/23/13 4:54 PM
participation of films from countries that have a long history in cinema, such as the United States, France, Japan,
Canada, India, Australia, Spain, Italy, Egypt, Tunisia and others," al-Tamimi told Al-Shorfa.
http://al-shorfa.com/en_GB/articles/meii/features/2013/10/21/feature-03
Page 2 of 2

Ukrainian Film Takes First Prize at Baghdad Film Festival | Kiev business and leisure guide - GoKiev.info
10/24/13 2:24 PM
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October 18, 2013 admin Culture / Lifestyle
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Ukrainian thriller Delirium (2013) has been named the best in the long fiction competition at the Baghdad International
Film Festival (BIFF), Iraq. The 92-minute film is a joint Ukraine – Czech Republic production directed by prize-winning
Ukrainian director Ihor Podolchak. The second prize of the competition went to Australian romcom Romancing Sydney
by Anmol Mishra.
Two other winning films at BIFF 2013 received the jury prize – Iraqi Death Triangle by Adnan Osman and Iranian
production The Last Winter by Salem Salavati.
Delirium is based on a 2008 book Induktor by Ukrainian author Dmytro Belianskyi. The story begins with a family inviting
a young psychiatrist to “untangle the circumstances of their father’s illness… [who has] developed a suicidal fixation for
ropes and knots among other things.” Analyzing his patient’s delirium, the doctor himself loses track of reality. Suddenly,
“the task of ‘how to help’ is twisted into ‘who am I? Doctor or patient? Chance guest, member of this suffering family, or
a catholic priest who has dreamed this all up?’
Interestingly, the two title roles in the production went to amateur actors who never have starred in a film before.
Ukrainian actor Volodymyr Khimyak plays the Guest (young psychiatrist) and Petro Rybka portrays the suicidal Father.
The lead female role – that of the Mother – went to Lesya Voynevych, a professional Ukrainian actress working at a Lviv
theater.
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In order to recreate the state of delirium, the director used special Tilt & Shift lens, which allows to record a distorted,
oddly focused picture. Virtually no audio was used from the actual set, Kyiv actor Vitali Linetskyi lent his voice to the
characters of the Guest, Father, and Son.
Delirium belongs to the genre of claustrophobic productions that create the illusion of being trapped in a house with no
exits. Podolchak puts his characters in a loop where they can’t know whether anything outside their immediate
environment even exists.
The film was received quite warmly by the critics who appreciated the director’s experimental attempt. During the Odesa
International Film Festival in July of 2013 the film was described as a painful and scary black hole that still pulls the
audience in.
Source: WNU-Ukraine
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Delirium at Baghdad International Film Festival
Press links
http://wnu-ukraine.com/news/culture-lifestyle/?id=3541
http://society.lb.ua/culture/2013/10/14/233438_ukrainskiy_film_poluchil_glavniy.html
http://www.trust.ua/news/86020-ukrainskij-film-delirium-stal-pobeditelem-na-kinofestivalev-bagdade.html
http://say.tv/talk_show/topic/3313?category=video
http://tvi.ua/program/2013/10/14/ihor_podolchak_ta_ihor_dyurych_u_okremiy_dumci
http://tsn.ua/video/video-novini/film-igorya-podolchaka-stav-naykraschim-namizhnarodnomu-kinofestivali-v-bagdadi.html
http://ua.news.mail.ru/culture/15205711/
http://www.delfi.ua/news/daily/foreign/ukrainskij-film-stal-sensaciej-na-mezhdunarodnomkinofestivale.d?id=2022079
http://www.youtube.com/watch?v=6ixC_oG5vZY
http://society.lb.ua/culture/2013/10/14/233438_ukrainskiy_film_poluchil_glavniy.html
http://polit.ua/news/2013/10/14/kino.html
http://provolyn.com/news_2013-10-15/55110-strichka-ukrayinskogo-rezhisera-peremoglana-kinofestivali-v-bagdadi.html
http://ivona.bigmir.net/showbiz/stars/369134-Lenta-ykrainskogo-rejissera-pobedila-nakinofestivale-v-Bagdade
http://zavison.ru/news/253809.html
http://korrespondent.net/showbiz/cinema/1614910-lenta-ukrainskogo-rezhissera-pobedilana-kinofestivale-v-bagdade
http://spletni.biz/showbiz/382555-lenta-ukraynskoho-rezhyssera-pobedyla-nakynofestyvale-v-bahdade
http://balabolka.net/showbiz/111692-lenta-ukrainskogo-rezhissera-pobedila-nakinofestivale-v-bagdade.html
http://www.newsfiber.com/p/s/h?v=EEI4W39F9bn0%3D+LxttP74%2B5Gk%3D
http://kino.siteua.org/Новости_кино/515737/Украинский_фильм_победил_на_кинофес
тивале_в_Багдаде
http://showbiz.memax.com.ua/kino/2227055/
http://comments.ua/life/430445-ukrainskiy-film-pokoril-irak-fotovideo.html
http://news.volyninfo.com/shoybiz-kyltyra/223729-strichka-ukrayinskogo-rezhiseraperemogla-na-kinofestivali-v-bagdadi
http://zhitomir-online.com/kultura/18470-strchka-ukrayinskogo-rezhisera-peremogla-naknofestival-v-bagdad.html
http://vinnitsaok.com.ua/ukraynskyj-fylm-pobedyl-na-mezhdunarodnom-kynofestyvale-
132796.html
http://galnet.org/news/52061-ukrajinskyj-kinorezhyser-peremih-na-kinofestyvali-v-bahadadi
http://vchaspik.ua/zhizn/205120ukrainskiy-film-pobedil-na-mezhdunarodnom-kinofestivalev-bagdade
http://korrespondent.eu/mir/mir/1066578
http://www.volynpost.com/news/21384-ukrainskyj-film-peremig-na-mizhnarodnomufestyvali-foto-video
http://nikvesti.com/news/culture/46290
http://bestworldnews.ru/kultura_ua/lenta_ukrainskogo_rezhissera_pobedila_na_kinofestiva
le_v_bagdade
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http://www.cupol.lviv.ua/index.php?&id=28&backPID=28&tt_news=88860&cHash=4e7b5c
e43f
http://vsenovosti.in.ua/news/1032713
http://tv.ua/news/lenta-ukrainskogo-rezhissera-pobedila-na-kinofestivale-v-bagdade-
41797.html
http://grim.in.ua/life/2013/10/15/2878
http://www.wz.lviv.ua/news/43645
http://gigamir.net/news/kyiv/regions/pub321293
http://nowyny.eu/news/na_mezhdunarodnom_kinofestivale_pobedil_ukrainskij_film/2013-
10-15-10482
http://vesti.ua/kultura/21021-ukrainskij-film-pobedila-na-mezhdunarodnom-kinofestivale
http://www.aif.ua/culture/news/63434
http://www.ukrinform.ua/rus/news/ukrainskiy_film_pobedil_na_kinofestivale_v_bagdade_1
567003
http://www.unn.com.ua/uk/news/1261256-film-ukrayinskogo-rezhisera-na-kinofestivali-ubagdadi
http://www.buro247.ua/cinema/news/ukrainskiy-film-delirium-pobedil-na-kinofestivale.html
http://fakty.ictv.ua/public/ru/index/read-news/id/1490333
http://joinfo.com/news/view/719321_Ukrainskiy-film-pobedil-na-kinofestivale-v-
Bagdade.html
http://mytime.net.ua/news/2013/10/2013-10-15-29.htm
http://svetiteni.com.ua/ukrainskiy-film-pokoril-irak-fotovideo
http://paralleli.if.ua/news/36433.html
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http://v-variant.lg.ua/society/66759-ukrainskiy-psihologicheskiy-triller-pobedil-namezhdunarodnom-kinofestivale.html
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http://www.ipnews.in.ua/index.php/2013/10/15/fil-m-ukrainskogo-rezhissera-pobedil-nakinofestivale-v-bagdade/
http://www.muzznews.com/2013/10/15/украинский-фильм-победил-на-кинофест/
http://www.rbc.ua/ukr/digests/other/film-ukrainskogo-rezhissera-pobedil-namezhdunarodnom-kinofestivale-15102013123800/
http://lenta.newsper.net/ru/news?id=235239667&date=2013-10-15
http://video.newsme.com.ua/video/4069/
http://acoona.net/ua/ru/news/top/3301764
http://arena.in.ua/kultura/122024-Lenta-ukrainskogo-rezhissera-pobedila-na-kinofestivalev-Bagdade.html
http://paralleli.if.ua/news/36433.html
http://ukr24.ru/showbiz/news_2013-10-15-18-44-02-209.html
! 2!

! 3!
http://www.beta.times.if.ua/science-and-culture/ukrainskii-film-stav-kraszim-namizhnarodnomu-kinofestivali.html
http://v-variant.lg.ua/society/66759-ukrainskiy-psihologicheskiy-triller-pobedil-namezhdunarodnom-kinofestivale.html
http://arena.in.ua/kultura/122024-Lenta-ukrainskogo-rezhissera-pobedila-na-kinofestivalev-Bagdade.html
http://niklife.com.ua/focus/39500
http://yagazeta.com/news.php?extend.42312.4
http://zhitomir-online.com/kultura/18470-strchka-ukrayinskogo-rezhisera-peremogla-naknofestival-v-bagdad.html
http://m-ns.org/culture/ukrainskij-film-pobedil-na-kinofestivale-v-bagdade-0032539
http://www.ukrinform.ua/rus/news/ukrainskiy_film_pobedil_na_kinofestivale_v_bagdade_1
567003
http://lenta.lviv.ua/other/2013/10/16/20571.html
http://photoshock.com.ua/n/4320-lenta-ykrainskogo-rejissera-pobedila-na-kinofestivale-vbagdade
http://www.kinoodessa.com/kr/news/23427.html
http://www.unn.com.ua/uk/news/1261256-film-ukrayinskogo-rezhisera-na-kinofestivali-ubagdadi
http://www.gazeta.lviv.ua/news/2013/10/16/16948
http://vsenovosti.in.ua/news/1032713
http://intv.ua/news/68454-flm-z-ukrayini-peremg-na-mzhnarodnomu-knofestival.html
http://novosti-n.mk.ua/ukraine/read/53959.html
http://uman.info/news/ukrayinskyy-film-peremig-na-mizhnarodnomu-kinofestyvali---
6540.html
http://inspirationinbox.com/lenta_ukrainskogo_rezhissera_pobedila_na_kinofestivale_v_bagdade.html
http://www.vp.donetsk.ua/life-style/cinema/7960-lenta-ukrainskogo-rezhissera-pobedilana-kinofestivale-v-bagdade.html
http://sverhnews.ru/lenta-ukrainskogo-rezhissera-pobedila-na-kinofestivale-v-bagdade-2/
http://mydim.ua/news/ukraine/?id=8495
http://vsiknygy.net.ua/news/31631/
http://teleprostir.com/cinema/show-21596-film-ukrayinskogho-rezhisera-peremigh-nakinofesti-v-baghdadi
http://www.koktebel.info/ru/#!team
http://politikan.com.ua/1/0/0/71959.htm
http://mediananny.com/novosti/2301690
http://7days-ua.com/news/ukrajinskyj-film-peremih-na-mizhnarodnomu-kinofestyvali/
http://www.vp.donetsk.ua/life-style/cinema/7960-lenta-ukrainskogo-rezhissera-pobedilana-kinofestivale-v-bagdade.html
http://cineast.com.ua/news/2013-10-17-5646-.html
http://artvertep.com/news/23724_Strichka+ukrainskogo+rezhisera+Іgorya+Podolchaka+pe
remogla+na+kinofestivali+v+Bagdadi.html
http://www.svidomo.org/defend_article/20575
http://www.ukrinform.ua/ukr/news/ukraiinskiy_film_peremig_na_kinofestivali_u_bagdadi_1
873251
http://www.muzznews.com/2013/10/15/украинский-фильм-победил-на-кинофест/
http://ukkb.wordpress.com/2013/10/16/украинский-фильм-получил-главный-при/

http://vybor.ua/news/film_iz_ukrainy_pobedil_na_mejdunarodnom_kinofestivale.html
http://radiokultura.org/news/item.html?item_id=1582
http://www.tehrantimes.com/arts-and-culture/111559-iranian-films-honored-at-baghdadfestival
http://www.kinoreview.com/news/filmId1634632
http://gokiev.info/news/culture/ukrainian-film-takes-first-prize-at-baghdad-film-festival/
http://www.ipnews.in.ua/index.php/2013/10/15/fil-m-ukrainskogo-rezhissera-pobedil-nakinofestivale-v-bagdade/
http://informator.in.ua/obschestvo/49301-lenta-ykrainskogo-rejissera-pobedila-nakinofestivale-v-bagdade.html
http://kinote.info/articles/11167-ukrainskiy-film-stal-sensatsiey-na-mezhdunarodnomkinofestivale
http://ter-a.com/index.php?nma=news&fla=stat&page=1&nums=38944
http://regionews.ua/node/116894
http://uapress.info/uk/news/show/9285
http://kinomaster.org/news/172-ukrainskiy-film-delirium-pobedil-na-kinofestivale-virake.html
http://spanish.irib.ir/radioculture/arte/artes/cine/item/79843-honran-3-pel%C3%ADculasiran%C3%ADes-en-festival-de-baghdad
http://i-pro.kiev.ua/content/ukrayinskii-film-lombard-pokazhut-u-afritsi
http://www.svidomo.org/defend_article/20575
http://inforotor.ru/news/29150189
http://www.rbc.ua/ukr/newsline/show/film-ukrainskogo-rezhissera-pobedil-namezhdunarodnom-kinofestivale-15102013123800
http://www.mediacentr.info/socio/ukrainskij-film-pobedil-na-festivale-v-irake__105488
http://rflegend.ru/15/Фильм+украинского+режиссера+Игоря+Подольчака+Delirium+победил+
на+Международном+кинофестивале+в+Багдаде/!
http://thekievtimes.ua/lifestyle/262375-film-iz-ukrainy-pobedil-na-mezhdunarodnomkinofestivale.html!
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http://gokiev.info/culture/ukrainian-film-takes-first-prize-at-baghdad-film-festival/!
http://grim.in.ua/life/2013/10/15/2878
http://thekievtimes.ua/lifestyle/262375-film-iz-ukrainy-pobedil-na-mezhdunarodnomkinofestivale.html!
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! 4!

DELIRIUM. А БРЕД ЛИ? | Palindrome Луганск
10/12/13 2:31 PM
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АФИША НОВОСТИ КМЧ ЛИЧНОСТИ МОДА ОБЩЕСТВО ТЕХНО ЭКСТРА
DELIRIUM. А БРЕД ЛИ?
Валерия Головань
Кинотеатр "Боммер" решил ко дню
украинского кино, который отмечается
во вторую субботу сентября,
приурочить весь сентябрьский
репертуар.
С 12 по 18 сентября в кинозале
представляют фильм украинского
режиссера Игоря Подольчака «Delirium»
(лат. «бред»).
Сюжет вертится вокруг семьи, в которую для
наблюдения за Отцом, подозреваемым в
психическом расстройстве, приглашают
Психиатра. С самого начала создается
впечатление, что с ним в дом приходит еще один
абстрактный герой - Зритель, от чьего имени идет
повествование и чье лицо не показывается. Но
позднее мы понимаем, что никакого Зрителя не
существует, а этот неизвестный, с которым все время разговаривает Психиатр – всего лишь
плод его воображения. И уже становится понятно, что болезнь главы семейства
второстепенна, на передний план выходит больной Психиатр. Какая ирония – психпсихиатр.
Сапожник без сапог.
Концепция фильма неожиданна. Речь все время идет об обхватывании реальности уже
обхваченным ей же бытием. Тема веревок – главный мотив, связующая нить, проходящая
белым через черное фильма, начинающая и завершающая его же, смыкающая петлей
начало и концовку. У Отца обсессивно-компульсивное расстройство, связанное с
болезненной суицидальной тягой к веревкам, петлям и узлам. «Я ему шнурки по три раза в
день гладила», – говорит Мать.
Психиатр все время выпадает из реальности, видя окружающее его в зеркальном
отражении – полнейшая симметрия во всем. Шрамы на лице у служанки и Дочери,
Священник и Сын Два-в-одном (эти роли исполнили братья Костенко), постоянные
флешбеки. Порой кажется, что этот фильм можно было бы смотреть задом наперед. Все
закончится тем же, чем и началось – похоронами. Смерть – тамада на этом празднике, она
накидывает петлю не только на суицидника-Отца – на этих людей, на этот дом, на эту
реальность в общем.
Обои
Видео
Подписка на
рассылку
Вашe имя
Ваш email-адрес
Подписаться
Добавить свое объявление
Врач Кличко подтвердил
страшный диагноз?
livetv.ru
http://palindrome.lg.ua/kmch/kino/11995
Page 1 of 4

DELIRIUM. А БРЕД ЛИ? | Palindrome Луганск
10/12/13 2:31 PM
Константин Цзю высказал свои
впечатления после боя Кличко
и ...
livetv.ru
Избитый Владимиром Кличко
Поветкин поступил ПОДЛО
после боя
o2.abc-news.ru
К слову, «Делириум» – не единственная лента, в которой режиссер играет со временем и
пространством. Предыдущая работа Подольчака «Las Meninas» построена похожим
образом: все начинается и заканчивается одной и той же сценой, можно заметить
«множественную личность», отмечу повторяющуюся любовь режиссера к зеркалам и
http://palindrome.lg.ua/kmch/kino/11995
Page 2 of 4

DELIRIUM. А БРЕД ЛИ? | Palindrome Луганск
10/12/13 2:31 PM
вариациям на тему оных. Также идея семейной шизофрении есть ведущей: в обоих случаях
Подольчак показывает нам сложные родственные взаимоотношения, еще более
усложненные искажениями временно-пространственного континуума и постоянным
выпадением из него главных героев.
Не рекомендовано к просмотру детям, беременным и противникам всего артхаусного и
необычного. Если вы склонны к рефлексии и самокопанию, «Делириум» для вас. Авось
найдете в себе Второго.
Последние материалы
Осенне-зимние тенденции:
нежность и бесформенность
Бумага, тень, музыка. «Малый
Театр Марионеток» начинает
новый сезон
BEVZA - будущее украинской моды
по версии Vogue
http://palindrome.lg.ua/kmch/kino/11995
Page 3 of 4

Feature (official selection - TIFF 2013)
10/21/13 7:34 PM
search...
HOME TIFF 2013 FESTIVAL ARCHIVE PROGRAMME NEWS GALLERY TV SUBMIT 2013 RETROSPECTIFF CONTACT US
TIFF NEWS MONDAY, 21 OCTOBER 2013
SELECTED FEATURE FILMS TIFF 2013 » SELECTED FEATURE FILMS TIFF 2013 1. Delirium by Ihor Podolchak / Feature / Ukraine / 2012/ 96’ 2. Humus by Frederic Labonde / Experimental / Fra
0
Feature (official selection - TIFF 2013)
Delirium
Humus
Director: Ihor Podolchak
Englisht title: Delirium
Original title: Delirium
2012/ Ukraine/ HD/ 96’/ Fiction/ Colour
Read more...
Director: Frederic Labonde
Englisht title: Humus
Original title: Humus
2013/ France/ HD/ 70’/ Experimental/ Colour
Read more...
Love Building
Mauro is busy
Director: Iulia Rugina
Englisht title: Love Building
Original title: Love Building
2013/ Romania/ Fiction/ 83/ Fiction/ Colour – Black&White
Read more...
Director: Alessandro di Robilant
Englisht title: Mauro is busy
Original title: Mauro c'ha da fare
2013/ Italy/ HD/ 87’/ Fiction/ Colour
Read more...
http://www.tiranafilmfest.com/index.php?option=com_content&view=category&layout=blog&id=136&Itemid=301
Page 1 of 3

Feature (official selection - TIFF 2013)
10/21/13 7:34 PM
Seven lucky gods
Sunrise
Director: Jamil Dehlavi
Englisht title: Seven lucky gods
Original title: Seven lucky gods
2013/ UK/ HD/ 102’/ Fiction/ Colour
Read more...
Director: Robert Budina
Englisht title: Sunrise
Original title: Agon
2012/ Albania/ 35mm/ 104’/ Fiction/ Colour
Read more...
The daughter
The kids from the port
Director: Thanos Anastopoulos
Englisht title: The daughter
Original title: I kori
2012/ Greece/ HD/ 87’/ Fiction/ Colour
Read more...
Director: Alberto Morais
Englisht title: The kids from the port
Original title: Los chicos del puerto
2013/ Spain/ 35mm/ 78’/ Fiction/ Colour
Read more...
FESTIVAL EVENTS
FESTIVAL GUESTS
FESTIVALS PARTNER
TIFF LINKS
FESTIVAL RETROSPECTIVES
SCANDINAVIAN SHORT
PANORAMA
SHORTS ATTACK - BY
INTERFILM BERLIN
APULIAN CINEMA DAYS
ISTITUTO LUCE, with
the best directors of short
film
"KOSOVA FILM" the
retrospective of best
feature films from Kosova
"TIME OF GYPSIES" -
feature & documentary
Aleksandar Manic
Alessandro Piva
Alexandre Rockwell
Andrea Barzin
Angeliki Antoniou
Carl Henrik Svenstedt
Caveh Zahedi
Edoardo Winspeare
Fatmir Koci
Franko Nero
Goran Paskaljevic
www.briff.it
www.corkfilmfest.org
www.cortoitaliacinema.com
www.dokufest.com
www.europecinefestival.org
www.genovafilmfestival.it
www.interfilm.de
www.levantefilmfest.com
www.maremetraggio.com
www.salentofinibusterrae.com
www.tranifilmfestival.it
albaniaartinstitute.org
artdhe.blogspot.com
albaniafilmcommission.com
anagnosti.com
fannolifound.org
ska-ndal.com
shortfilmdb.com
shortfilmelite.com
group/festivalpeople
shortfilmfest.blogspot.com
youtube.com/TiranaFilmFest
Alexandre Rockwell
Cassavetes "American
Dreaming"
Dusan Makavejev
Gianni Amelio
Jos Stelling - Erotic Tales
http://www.tiranafilmfest.com/index.php?option=com_content&view=category&layout=blog&id=136&Itemid=301
Page 2 of 3

Delirium
10/20/13 9:27 PM
search...
HOME TIFF 2013 FESTIVAL ARCHIVE PROGRAMME NEWS GALLERY TV SUBMIT 2013 RETROSPECTIFF CONTACT US
TIFF NEWS SUNDAY, 20 OCTOBER 2013
0
Delirium
Director: Ihor Podolchak
Englisht title: Delirium
Original title: Delirium
2012/ Ukraine/ HD/ 96’/ Fiction/ Colour
CREDITS
Script: Ihor Podolchak; Photography: Mykola Yefymenko; Editing: Ihor Podolchak; Music: Oleksandr Shchetynsky; Sound: Myroslav Kuvaldin; Leading actors:
Volodymyr Khimyak, Lesya Voynevych, Petro Rybka, Olha Horbach, Olha Bakus, Ivan Kostenko, Vasyl Kostenko; Producer: Ihor Podolchak
SYNOPSIS
A family asks a young psychiatrist to be their guest for a while and help look after their father who’s developed a suicidal fixation for ropes and knots among other things. It is
also entirely possible that the mental health of the guest that is the real cause for concern.
FILMOGRAPHY
Born, 1962 in Lviv, Ukraine. Graduated with distinction from the Lviv Academy of Fine Arts, 1984. Filmmaker, artist, creator of extensive projects in the field of visual art, laureate
at 25 international art exhibitions. Among 24 personal exhibitions, one bears the distinction of being the first art exhibit ever to be held in space, aboard the Space Station Mir, in
1993. The artwork of Ihor Podolchak is housed in 26 museums and public collections worldwide. His feature film, “Las Meninas”, premiered at the “Tiger Award Competition” at
the Rotterdam International Film Festival (2008).
Next >
FESTIVAL EVENTS
FESTIVAL GUESTS
FESTIVALS PARTNER
TIFF LINKS
FESTIVAL RETROSPECTIVES
SCANDINAVIAN SHORT
PANORAMA
SHORTS ATTACK - BY
INTERFILM BERLIN
APULIAN CINEMA DAYS
ISTITUTO LUCE, with
the best directors of short
film
"KOSOVA FILM" the
retrospective of best
feature films from Kosova
"TIME OF GYPSIES" -
feature & documentary
films from balkan
filmmakers
"ACADEMY OF ARTS"
film school works from:
denmark, israel, kosova
and finland
Aleksandar Manic
Alessandro Piva
Alexandre Rockwell
Andrea Barzin
Angeliki Antoniou
Carl Henrik Svenstedt
Caveh Zahedi
Edoardo Winspeare
Fatmir Koci
Franko Nero
Goran Paskaljevic
Ken Loach
Miguel Hermoso
Niko Xhirasola
Phil Parmet
Sam Green
www.briff.it
www.corkfilmfest.org
www.cortoitaliacinema.com
www.dokufest.com
www.europecinefestival.org
www.genovafilmfestival.it
www.interfilm.de
www.levantefilmfest.com
www.maremetraggio.com
www.salentofinibusterrae.com
www.tranifilmfestival.it
www.venice-days.com
www.aqshf.gov.al
www.altcine.com
albaniaartinstitute.org
artdhe.blogspot.com
albaniafilmcommission.com
anagnosti.com
fannolifound.org
ska-ndal.com
shortfilmdb.com
shortfilmelite.com
group/festivalpeople
shortfilmfest.blogspot.com
youtube.com/TiranaFilmFest
youtube.com/1artinstitute
tiranafilmfest Facebook
livestream.com/tiff
livestream.com/infofilmfest
Alexandre Rockwell
Cassavetes "American
Dreaming"
Dusan Makavejev
Gianni Amelio
Jos Stelling - Erotic Tales
Mary Jordan
http://www.tiranafilmfest.com/index.php?option=com_content&view=ar…rium&catid=136:documentary-official-selection-tiff-2013&Itemid=301
Page 1 of 2

Художники Украины: от живописи — к кино - Статьи / ФРАЗА
10/30/13 2:33 PM
30.10.2013 Текстовая версия Версия для iphone Реклама RSS Написать Архив
поиск
Кредитная карта на все
случаи жизни,
оформление онлайн
Армяне рассказали, как
их "приглашали" в ТС
По всей Украине
наводится порядок
Саакашвили
потратил все
деньги
государства
Новости Фото Видео Статьи Интервью Колонка Письмо Фразы Дайджест Опрос Авторы
перед уходом
Спецтемы: ГЛАВНОЕ экономИКС ФРАЗАология спортМЫСЛИ НЕпопса ИСТОРИЯ ПираМММида ПОТРЯСЕНИЯ ТЕНДЕНЦИИ РАЗМЫШЛЕНИЯ еще
архив
ГЛАВНАЯ НОВОСТЬ
СТАТЬИ
КОЛОНКА АВТОРА
30.10.13 10:59
По данным СМИ, Обама
приказал АНБ срочно
прекратить
прослушивание ООН
30.10.13 13:04
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Художники Украины: от живописи —
к кино
Обвал гривни: 30.10.13 09:30
дата уже Автор: Василий Тепляков
назначена
Не плюйте в колодец,
Мистер
СТАТЬИ
Автор: Антон Филатов
Журналист, кинокритик
«фрАза»
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30.10.13 13:04
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Автор: Антон Филатов
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Художники Украины:
от живописи — к кино
Обычно художники начинают заниматься кинематографом, когда в их стране
достаточно сильно развита киноиндустрия. В таком случае возможность
снимать фильмы получают не только профессионалы, талант которых
ограничивается рамками кино, но и люди из смежных профессий.
Все новости Фото Видео
30.10.13 13:31
Янукович занялся кадровыми перестановками
в СБУ
30.10.13 13:30
В Польше уже намекают на то, что
подписать Соглашение об
ассоциации можно будет и в
следующем году
30.10.13 13:24
В Миндоходов планируют использовать в
работе детектор лжи. К вам,
налогоплательщики, это не относится
30.10.13 13:20
Медведчук: Заявленное реформирование —
это очередной передел энергорынка в
30.10.13 13:13
«Парк Киевская Русь» приглашает взрослых и
детей на познавательно-развлекательную
программу о... полку Игореве
30.10.13 13:12
Наши тесные отношения с ЕС будут
включать Украину
/Госдепартамент США/
30.10.13 13:10
Под конец года Кабмин решил
подремонтировать свои автомобили еще почти
на 1 млн гривен
30.10.13 13:05
НБУ: Прирост гривневых депозитов в 10 раз
превышает прирост вкладов в инвалюте
Если бы во Франции или США кинематограф не был развит настолько сильно,
мы бы, наверняка, никогда не увидели прекрасные фильмы художника
Джулиана Шнабеля («Скафандр и бабочка», «Баския») или авангардные ленты
Энди Уорхола.
Каждый раз, когда художник меняет кисть на кинокамеру, в кинематографе
происходит маленькая революция. Кино в таком случае, словно блудный сын
после долгих мытарств, возвращается к своему родителю — живописи, дабы
получить ответ на вопрос: «Как жить дальше?»
Даже в лучшие времена существования украинского кинематографа его
уровень не достигал величия, скажем, даже польского кино. Однако всегда
на территории нашей страны находились живописцы, которые осваивали
кинематограф, дабы расширить рамки своего творчества.
Одним из первых украинских мастеров, перешедших из изобразительного
искусства в кинематограф стал Иван Кавалеридзе. Бурный экспериментатор
и неутомимый труженик, он установил целый ряд памятников по всей Украине.
Длинный список его монументов венчают «Артём» в Святогорске и памятник
княгине Ольге на Михайловской площади в Киеве. Однако в результате диких
политических пертурбаций 20-х годов многие его работы были снесены. Тогдато
Кавалеридзе и решил взяться за кинематограф.
Правда, целлулоидная плёнка оказалась не прочнее мрамора или бронзы, и его
первый фильм «Ливень» (1929) был уничтожен. Однако те, кому в своё время
удалось посмотреть эту картину, отмечают, что режиссёру удалось уникальным
художественным образом пересказать сюжет поэмы Тараса Шевченко
«Гайдамаки». Изысканно-эстетский язык этой ленты балансировал где-то
между скульптурой и кинематографом.
Акцент на пластических решениях встречается и во многих других его лентах.
Однако в те годы кино только-только обрело голос. А экранные герои тогда
в большинстве своём перемещались словно на ходулях, а не летали
в киберпространствах. Так что излишняя картинность киноязыка Кавалеридзе
выглядела гармонично.
ИНТЕРВЬЮ
29.10.13 13:44
Автор: Дмитрий
Колисниченко, специально
для «фрАзы»
Олег Саленко: В
противостояние
Украины и Франции
может вмешаться
политика
ПИСЬМО ЧИТАТЕЛЯ
30.10.13 10:24
Автор: Мария Лебедевич
В Ирпене идет
незаконная вырубка
столетних дубов!
30.10.13 12:59
Подписание Соглашения об ассоциации с ЕС
позволит власти и бизнесу вместе создать в
Украине комфортный бизнес-климат
/Пятницкий/
ОПРОС
http://fraza.ua/analitics/30.10.13/178199/hudozhniki_ukrainy_…177161772485643%2C%22602274353162707%22%3A436959506404305%7D
Page 1 of 5

Художники Украины: от живописи — к кино - Статьи / ФРАЗА
10/30/13 2:33 PM
/Пятницкий/
30.10.13 12:58
Боксеры показали, как готовятся к
победам на вечере бокса 9 ноября
Читайте также другие Новости Украины
НОВОСТИ ПАРТНЕРОВ
Фото
А Вы знали, что Максим Галкин
гей? (фото)
Врачи открыли неожиданную
правду о любимой диете
«ВИА Гра» показала новые тела
Открытие на Антарктиде
ошеломило планету
Неизведанное
Загадка Майя раскрыта: от
чего погибла цивилизация
Неизведанное
Из царства смерти нет
обратной дороги
Неизведанное
В этом отрывке из его фильма «Колиивщина» (1932) видно, что режиссёр
сделал акцент на освещении героев ленты. Связанный крестьянин «перегрет»
белым цветом, в то время как священник освещён плохо. Так художник
подчёркнул праведность первого и нечестивость второго. Сегодня этот приём
стал для кинематографистов хрестоматийным. Тогда же это был ещё сугубо
живописный ход.
Часто к кинематографу обращались и другие художники, работавшие
на территории Украины. Одним из первых в этом плане стал Василий
Кричевский, который оформлял фильмы ключевых для Украины режиссёров
Петра Чардынина и Александра Довженко. Кстати, показ фильмов, для которых
он создавал декорации и костюмы, продлится в столичном Национальном
художественном музее до 11 ноября.
Отрывок из фильма Довженко «Звенигора» (1928), в создании которого
принимал участие Василий Кричевский:
ОПРОС
Сборная Украины за право
сыграть на Чемпионате
мира-2014 поборется в плейофф
со сборной Франции. Что
вы думаете о нашем
сопернике?
Нашим ребятам да с таким
тренером никакая Франция не
страшна
Французы сейчас не те, играют
нестабильно, так что соперник
вполне по силам
Конечно, хотелось Румынию
или Исландию… В общем, шансы
пройти – 50 на 50
Боюсь, что французов будут
«тянуть» на ЧМ арбитры
Это самый ужасный жребий,
это кошмар
Щоб перемогти будь-кого,
потрібно принести на стадіон
побільше червоно-чорних прапорів
та портретів Бандери
Да не интересуюсь я футболом!
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НОВОСТИ ПАРТНЕРОВ
Из ныне живущих украинских художников наиболее активно занимаются
кинематографом Игорь Подольчак, Оксана Чепелик и Юлия
Лазаревская. Современная украинская киноиндустрия даёт возможность
снимать фильмы далеко не всем профессиональным режиссёрам — не то, что
людям из смежных профессий. Однако творчество, по крайней мере, этих трёх
художников создаёт видимость, что в нашем кинематографе найдётся место
даже экспериментаторам. Неудивительно, что вместе с премьерой каждой
новой ленты этих украинских художников в публике проносится удивлённое:
«Как ИМ удалось снять ТАКОЙ фильм в Украине?»
Фраза.ua
355 followers
Украинцев ждет
новый налог — 7%
Украина страна
без будущего
Свой творческий путь Игорь Подольчак начал с живописи, но уже вскоре начал
работать во многих других жанрах изобразительного искусства. Так что после
освоения видеоарта, фотографии и перформанса он взялся и за покорение
кинематографа.
Alexey Yaroslav Alexey
Немецкие врачи в
сговоре с
Тимошенко
Дорогая Юлия
Владимировна
В 2008 году вышла его дебютная полнометражная лента «Las Meninas».
Некоторые критики назвали этот эстетско-экспериментальный фильм «новым
словом в кинематографе». Эта картина участвовала в 27 международных
кинофестивалях и, судя по тому, что ни на одном из них так и не получила
ключевой награды, — вряд ли является действительно «новым словом
в кинематографе». Сегодня приходишь к мнению, что это, скорее, новое слово
для видеоарта, в котором практически каждое удачное творение является
в некотором смысле «новым словом».
Alla Vitaliy Gennady
Follow on VK
МАРКЕТ
"Рубин"
неожиданно
проиграл клубу из
первого
дивизиона
Эксперты назвали
самые
ненадежные
марки: будьте
внимательны
Мужчины БОЯТСЯ
этого, как огня...
Сенсация!
Простатит как
рукой снимет!
Главное......
ОДОБРЕНО и
ПРОВЕРЕНО
лучшими
специалистами
страны!
http://fraza.ua/analitics/30.10.13/178199/hudozhniki_ukrainy_…177161772485643%2C%22602274353162707%22%3A436959506404305%7D
Page 2 of 5

Художники Украины: от живописи — к кино - Статьи / ФРАЗА
10/30/13 2:33 PM
страны!
Надоел несносный
ПРОСТАТИТ? Это
Вам поможет!...
РЕКЛАМА
работа в тернополе
Эпатаж в фильмах Подольчака тесно переплетается с философствованием.
А откровенность граничит с патологией. Нередко в своих лентах Подольчак
эксплуатирует приём «оживших картин». Статичные, скрупулёзно выстроенные
композиции кадров в таком случае выглядят красноречивее, чем любой экшн.
«В каком бы жанре ты ни работал — ты продолжаешь красить одну и ту же
картину... Кино открывает большие возможности, чем живопись, ведь оно
динамичное и существует во времени», — размышляет Игорь Подольчак.
В 2012 году вышла его вторая, не менее провокационная, экспериментальная,
вызывающая, экстравагантная и, наконец, прекрасная полнометражная лента
«Delirium»:
Кинематограф и видеоарт открывают дополнительные пространства и для
творчества Оксаны Чепелик. Её смелые видеоработы — это поиск новой
творческой реальности и, вместе с тем, критика упаренного мрака украинских
реалий. Это фейерверки образов и чётко продуманные матрицы смыслов.
На сегодняшний день в её фильмографии около 20 лент, а также целый ряд
работ, выходящих за рамки традиционного кинематографа.
Контурное представление о видеотворчестве Чепелик можно сформировать
по этим пяти фрагментам из разных её проектов.
Художница свободно путешествует как по самым разнообразным жанрам
и стилям, так и по самым неожиданным темам. Акцент же в её работах сделан,
прежде всего, на философских, социальных и этических вопросах.
В творчестве вышеупомянутых художников кино существует отдельно
http://fraza.ua/analitics/30.10.13/178199/hudozhniki_ukrainy_…177161772485643%2C%22602274353162707%22%3A436959506404305%7D
Page 3 of 5

Художники Украины: от живописи — к кино - Статьи / ФРАЗА
10/30/13 2:33 PM
В творчестве вышеупомянутых художников кино существует отдельно
от остальных жанров, которыми они занимаются. А вот Юлия Лазаревская
иногда использует фильмы для того, чтобы в какой-то мере расширить
пространства её живописных полотен и фотографий.
Её произведения создаются словно под действием невыносимой лёгкости
бытия. Калейдоскопические ассоциации в её фильмах расширяют внутренний
космос зрительского сознания до бесконечности. Например, короткометражка
«Меандр» (2011):
В меньшей мере, но кинематографом занимаются и такие украинские
художники, как Анатолий Степаненко, Ирина Смирнова и другие.
История отечественного кинематографа — это летопись, созданная
личностями, а не поколениями. Нередко этими личностями становились
чиновники, ухудшавшие или улучшавшие положение дел в киноиндустрии.
Актёры, сумевшие гармонично перенести стиль нашего легендарного театра
на широкие экраны. Режиссёры, не отступавшие от своих творческих замыслов,
несмотря на перманентно-неблагоприятные обстоятельства...
И, конечно же, — художники, провозглашавшие свободу творчества, когда для
этого в кинематографе не существовало, по сути, никаких условий,
и прививавшие прогрессивный авангард к дичке местечкового украинского
кино.
Теги: художник, живопись, кино
СБУшник на Вольво сбил в
лепешку 8 человек (видео)
Украину ожидают ураганы и
дожди
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Россия должна ввести визовый режим с Украиной, - кинорежиссер …ает, что Украина может стать культурным интегратором. - LB.ua
10/30/13 2:57 PM
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“Почему я выбираю
Европу” 85
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Россия должна ввести визовый режим с
Украиной, - кинорежиссер Подольчак
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29 октября 2013, 14:35
Добавить комментарий
Он считает, что Украина может стать
культурным интегратором.
Фото: Макс Левин
Горшенина.
Теоретически Украина может стать центром
культурной интеграции для стран бывшего
Советского Союза, но сегодня об этом не
представляется возможным говорить, считает
художник и кинорежиссер Игорь Подольчак.
Об этом он сказал на III Национальном
экспертном форуме "Украина после
Вильнюса", организованном Институтом
"Украина может стать культурным интегратором стран бывшего Советского Союза, но мне
тяжело это сейчас представить", - отметил он, отвечая на вопрос участников форума.
Кроме того, Подольчак назвал себя сторонником визового режима с Россией.
"Я за то, чтобы Россия ввела визы для Украины", - отметил он.
Онлайн-трансляцию Экспертного форума смотрите по ссылке.
This is interesting +1
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Березовского и Ходорковского 11:46
На Закарпатье неизвестные угрозами отбирают
землю у местных жителей 1 11:16
В Днепропетровске возле супермаркета
подорвались два подростка 10:34
Туман не пустил футболистов "Днепра" в
Одессу 1 22:41
В Донецкой области таксисты задержали
грабителя магазина 21:44
Херсонского пастуха приговорили к пяти годам
тюрьмы за поджог леса 19:58
В Киеве на следующей неделе появится новая
станция метро 19:29
ГАИ предупреждает водителей о сильном
тумане 18:48
Топ-тема
Если вы заметили ошибку, выделите необходимый текст новости и нажмите Ctrl+Enter, чтобы сообщить об этом редакции.
Оставить комментарий
Азаров сообщил о шансах Украины
стать экспортером газа 10
Фоторепортаж
http://society.lb.ua/position/2013/10/29/236766_forum.html
Page 1 of 2

Евроинтеграция Украины - это малоосознанный шаг, - кинорежиссе…ака, граждане могут оказаться не готовы идти в Европу - LB.ua
10/30/13 2:57 PM
Авторизироваться
LB.ua и Юрий Луценко
объявляют совместный конкурс
“Почему я выбираю
Европу” 85
Главная Политика Экономика Общество Спорт Мир Блоги LIKE Фото / Видео Авторы
Здоровье Образование Собес Позиция Культура Религия Жизнь Происшествия Наука
Подготовка Украины к подписанию СА с ЕС Торговая "война" с Россией Борьба киевлян с незаконной застройкой Система координат. Диалоги
Спецтема
Национальный экспертный форум
Евроинтеграция Украины - это
малоосознанный шаг, - кинорежиссер
Реклама
29 октября 2013, 13:16
Добавить комментарий
По мнению Игоря Подольчака, граждане
могут оказаться не готовы идти в Европу.
Фото: Макс Левин
Новости по теме:
Украина нуждается в культурной реформе, -
режиссер Сергей Проскурня
В Европе наконец-то перестали путать Украину с
Угандой, - эксперт
Украинское общество антагонистично
европейскому, - Юрий Издрык
Евроинтеграционные стремления Украины - это
малосоознанный шаг. Об этом сегодня на III
Национальном экспертном форуме "Украина
после Вильнюса", организованном Институтом
Горшенина, заявил художник и кинорежиссер
Игорь Подольчак.
"Я боюсь того, что евроинтеграция окажется еще
одной пустой формой, как это обычно
происходит в Украине, - говорит Подольчак. - То
есть будет создана форма, наполнения для
которой мы создать не сможем".
"Мы можем принять европейские нормы, но
будем ли мы им следовать? Это огромная
работа общества, - заявил Подольчак. - Мы
говорим об интенциях евроинтеграции, о какихто
вызовах. Я не вижу этих вызовов. У меня больше вопросов вызывает законопослушность
украинских граждан, способность их решать вместе какие-то вопросы. Это могло бы наполнить
создающуюся форму".
По словам Подольчака, он не видит ресурсов для консалидации, "ресурсов общего действия",
но, возможно, перспектива евроинтеграции будет способствовать их появлению.
Онлайн-трансляцию Экспертного форума смотрите по ссылке.
This is interesting +1
Твитнуть 0 0 Я рекомендую 0
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Читайте также
Глузман: "Я хотел бы, чтобы меня в Европу вел Светличный, а не Янукович" - 29.10.2013
Россия должна ввести визовый режим с Украиной, - кинорежиссер Подольчак - 29.10.2013
Представители искусства не дорабатывают для решения проблем в этой сфере, - Геращенко
- 29.10.2013
Новости Читают Комментируют
На украинский язык переведено меньше
трети лучших романов ХХ века 12:48
Работникам херсонского военного завода почти
год не платят зарплату 12:47
Центр Львова на три дня отключили от
водоснабжения 12:42
Мэр Ужгорода пожаловался на школьников в
милицию 1 12:29
В Украине создан прецедент оправдания
обвиняемого судом присяжных 3 12:04
В Малой опере в Киеве выступят SunSay, Друзья
Гагарина и Tesla Boy 12:01
Из российских учебников истории убрали имена
Березовского и Ходорковского 11:46
На Закарпатье неизвестные угрозами отбирают
землю у местных жителей 1 11:16
В Днепропетровске возле супермаркета
подорвались два подростка 10:34
Туман не пустил футболистов "Днепра" в
Одессу 1 22:41
В Донецкой области таксисты задержали
грабителя магазина 21:44
Топ-тема
В Украине пропаганда активно подогревает запрос на ценности ТС, - режиссер Подольчак -
29.10.2013
Тэги
Институт Горшенина, форум, Национальный экспертный форум
Если вы заметили ошибку, выделите необходимый текст новости и нажмите Ctrl+Enter, чтобы сообщить об этом редакции.
Азаров сообщил о шансах Украины
стать экспортером газа 10
Фоторепортаж
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http://society.lb.ua/position/2013/10/29/236720_evrointegratsiya_ukraini_.html
Page 1 of 2

В Украине пропаганда активно подогревает запрос на ценности Т…ию философа Дацюка, украинцам не хватает европейских - LB.ua
10/30/13 2:56 PM
Авторизироваться
LB.ua и Юрий Луценко
объявляют совместный конкурс
“Почему я выбираю
Европу” 85
Главная Политика Экономика Общество Спорт Мир Блоги LIKE Фото / Видео Авторы
Здоровье Образование Собес Позиция Культура Религия Жизнь Происшествия Наука
Подготовка Украины к подписанию СА с ЕС Торговая "война" с Россией Борьба киевлян с незаконной застройкой Система координат. Диалоги
Спецтема
Национальный экспертный форум
В Украине пропаганда активно подогревает
запрос на ценности ТС, - режиссер
Подольчак
Реклама
29 октября 2013, 14:00
Комментариев: 6
По мнению философа Дацюка, украинцам
не хватает европейских новостей.
Запрос на возвращение к ценностям
Таможенного союза в Украине существует и
"подогревается" пропагандой, уверен режиссер
Игорь Подольчак.
Об этом он сказал на III Национальном
экспертном форуме "Украина после
Фото: Макс Левин
Вильнюса", отвечая на вопрос эксперта
Института Горшенина Владимира Заставы о том,
как быстро украинское общество станет субъектным и как быстро появится запрос на
возвращение в Таможенный союз.
«Я считаю, что запрос на такое "анти" уже существует и даже уже реализуется, пропагандистски
в том числе. У сознательных украинцев таких антизапросов не появится. Лично я принимаю
эвтаназию, однополые браки и т.д.», - отметил Подольчак.
В свою очередь, философ Сергей Дацюк считает, что украинскому обществу не хватает
европейских новостей на телеканалах, так как без этого идти в ЕС невозможно.
Онлайн-трансляцию Экспертного форума смотрите по ссылке.
This is interesting +1
Твитнуть 2 0 Я рекомендую 0
Печать
Новости Читают Комментируют
Мэр Ужгорода пожаловался на
школьников в милицию 12:29
В Украине создан прецедент оправдания
обвиняемого судом присяжных 2 12:04
В Малой опере в Киеве выступят SunSay, Друзья
Гагарина и Tesla Boy 12:01
Из российских учебников истории убрали имена
Березовского и Ходорковского 11:46
На Закарпатье неизвестные угрозами отбирают
землю у местных жителей 1 11:16
В Днепропетровске возле супермаркета
подорвались два подростка 10:34
Туман не пустил футболистов "Днепра" в
Одессу 1 22:41
В Донецкой области таксисты задержали
грабителя магазина 21:44
Херсонского пастуха приговорили к пяти годам
тюрьмы за поджог леса 19:58
В Киеве на следующей неделе появится новая
станция метро 19:29
Новости по теме
Россия должна ввести визовый режим с Украиной, - кинорежиссер Подольчак - 29.10.2013
Представители искусства не дорабатывают для решения проблем в этой сфере, - Геращенко
- 29.10.2013
ГАИ предупреждает водителей о сильном
тумане 18:48
Топ-тема
Украина нуждается в культурной реформе, - режиссер Сергей Проскурня - 29.10.2013
Украинское общество антагонистично европейскому, - Юрий Издрык - 29.10.2013
56% украинцев считают уровень морали в Украине низким - 29.10.2013
Тэги
Институт Горшенина, форум, Таможенный союз, Национальный экспертный форум
Если вы заметили ошибку, выделите необходимый текст новости и нажмите Ctrl+Enter, чтобы сообщить об этом редакции.
Азаров сообщил о шансах Украины
стать экспортером газа 9
Фоторепортаж
Оставить комментарий (6)
Сортировка: новые сверху
http://society.lb.ua/position/2013/10/29/236704_forum.html
Page 1 of 3

Інтеграційні орієнтації: переважає рівень економічних та політичних вигод
10/30/13 3:00 PM
EN
Новини Анонси Бібліотека Каталог Ініціативи Теми пошук по сайту
Суспільство
Експерти
Організації
Пропозиції
Стажування
Стипендії
Конкурси
Вакансії
Про Проект
Опис проекту
Редакційна політика
Партнери
Зворотній зв'язок
Кнопки та банери
Розсилка
Медіа архів
Останні публікації
Д. Ґрібаускайте : Тиск Росії
на Україну впливає на
громадську думку в Європі
Моніторинг виконання
пунктів Європлану (21-28
жовтня 2013 року)
Оцінки та перспективи
трансформації ЄС:
стратегічні пріоритети для
центрально-Східної Європи
та України
Резолюція Європейського
Парламенту щодо України
Моніторинг виконання
пунктів Європлану (14-20
жовтня 2013 року)
Головна / Новини
30-10-2013
Гуманітарні та соціальні питання | Україна
Інтеграційні орієнтації: переважає рівень економічних та
політичних вигод
Європейський Простір
Додати
ІІІ Національний експертний форум «Україна після
Вільнюса», який відбувся у Києві 29 жовтня, окрім
питань економічного контексту євроінтеграції, викликів
та можливостей підписання Угоди, також став
майданчиком для обговорення низки гуманітарних
аспектів європоступу України.
До Вашої уваги, певні цікаві, на наш погляд, думки й оцінки, що звучали на панелі
«Гуманітарні аспекти європейської інтеграції України».
Євроінтеграційні устремління України - це швидше "малоусвідомлені кроки" в ситуації,
що вимагає вибору. Таку думку висловив художник та кінорежисер Ігор
Подольчак. "Звичайно, хай би яким він не був, я радий, що він саме західний, -
зауважив він. - Водночас я боюсь, що, як завжди, в Україні буде створена нова пуста
форма, яка ввійде у суперечність зі змістом. Адже ми вже бачимо, що європейське
законодавство приймається але воно абсолютно чи майже не працює в Україні. І
невідомо, коли цей зміст стане відповідати формі. Так, ми на кожному кроці
стикаємося з інтенціями, які упаковуються в євроінтеграційні чи цивілізаційні форми,
проте їхнє свідоме функціонування в суспільстві не відбувається".
Анонси
30-10-2013 Презентація розширеного
міграційного профілю України
29-10-2013 Лекція Кшиштофа
Чижевського у Львові
29-10-2013 У Львові екс-чиновник
Єврокомісії прочитає лекцію про
Україну та ЄС
Опитування
додати більше анонсів
Чого очікувати від майбутнього
саміту Україна-ЄС?
Поступу у питанні підписання Угоди про
асоціацію
—112
Оголошення про завершення першої фази
Плану дій з лібералізації візового режиму
Різкої критики та санкцій з боку ЄС
Усього вищезазначеного
Нічого важливого
—29
—48
—426
Останні веб-ресурси
Всього голосів: 988
—373
Веб-сайт Асоціації
випускників програми
Ерасмус Мундус
capacity4dev
Веб‐сайт
Європейського року громадян
Нова веб-сторінка Угоди про
Асоціацію між ЄС та Україною
Індекс візової лібералізації
Східного партнерства
На переконання філософа та теоретика Сергія Дацюка, ринки прямують за
цінностями, а не навпаки. "Що нам не подобається у ціннісному аспекті відносин з
Росією? Нам не подобається, що не відбулася секуляризація, і православні, перш за
все, Московського патріархату протестують проти НАТО", - зауважив він. - Росія
зробила ставку на православ'я традиційного зразка, і в цьому сенсі стерла різницю
між політикою та релігією. Те, що Росія використовує ціни на енергетичні носії в
політичних цілях, влаштовує? Ні. Те, що вона в принципі не може бути рівноправним
партнером? Також ні".
Як зауважив філософ, цінності - це дуже "прагматична річ". Тож коли в Україні
йде мова про інтеграційні орієнтації, ведеться вона зазвичай на "першому рівні" - рівні
економічних та політичних вигод. І дуже рідко, за його словами, ця розмова
переходить на другий нормативно-інституційний рівень.
Ініціативи
Архів опитувань
Запропонувати тему
Всеукраїнська мережа центрів
європейської інформації
Європейська програма
Міжнародного фонду "Відродження"
Мережа представників Програми
"Молодь в дії"
Мережа проєвропейських
організацій України
Мережа тренерів з рольових ігор з
європейської інтеграції
Мережева програма Схід-Схід
Інституту Відкритого Суспільства
Українська асоціація Європейських
студій
Українська мережа європейських
клубів
http://eu.prostir.ua/news/260232.html
Page 1 of 2

Інтеграційні орієнтації: переважає рівень економічних та політичних вигод
10/30/13 3:00 PM
Проекти
"Є третій метафізичний рівень, на якому сьогодні говорить європейська еліта, що
визначає яким чином формувати європейську ідентичність. Це мова Юрґена
Габермаса (німецький філософ і соціолог - ред.).
І є четвертий онтологічний рівень, на якому сьогодні не говорить ніхто у світі. Хоча
спроби є, коли ми починаємо обговорювати, якими є нові горизонти цивілізації, в
якому напрямку змінювати цінності. Адже є специфічні європейські цінності -
секуляризація, недіяння з позиції сили, розуміння парадоксів прогресу, наполягання
на єдності навіть з урахуванням певного негативного історичного досвіду", - відзначив
С. Дацюк.
Коментувати
Версія для друку
Новини Анонси Пропозиції Бібліотека Каталог ресурсів Ініціативи Про проект
© 2007 – 2009 Портал "Європейський простір". Використання матеріалів вітається за умови гіперпосилання: http://eu.prostir.ua
bigmir)net
http://eu.prostir.ua/news/260232.html
Page 2 of 2

ЮЖНОРУССКАЯ ВОЛНА — искусство украинского постмодерна 80-х — 90-х гг.
11/6/13 9:52 PM
Альтернативная культура
энциклопедия
Содержание Клубы Театры Арт-площадки Музыка Библиотека Ссылки Новости
ЮЖНОРУССКАЯ ВОЛНА — условный термин российской критики, обозначающий
искусство украинского постмодерна 1980-х — 1990-х годов (по аналогии с
передвижнической группировкой «Товарищество южнорусских художников»). Иначе —
«новая (украинская) волна», «южная альтернатива», «горячий постмодерн»,
«трансавангардное необарокко», «новые нежные». Очаг Южнорусской волны — Киев,
где в начале 1990-х годов активно работала группа «Парижская Коммуна», по названию
улицы, на которой размещался сквот мастерских, и Одессы (СМ.: далее). Порой
присовокупляют и авторов из других регионов — Львова (Роман Жук, Андрей
Сагайдаковский, Булеца, Биба, Фонд Мазоха [Игорь Подольчак, Игорь Дюрич]), Ужгорода
(Павел Керестей), даже из стран сопредельных — Молдавии (Юрий Хоровский, Валерий
Кошляков, Сырбу, Бахчеван), России (Авдей Тер-Оганян из Ростова).
Олег Голосий
(1965, Днепропетровск — 1993, Киев)—украинский живописец. Окончил
Государственное художественное училище, учился в Киевском художественном
институте. Трагически погиб. По его полотнам братья Алейниковы сняли
мультфильм "История любви Николая Березкина» (1994) http://femfo.com . Одна
из особенностей картин — особая психоделическая атмосфера. Среди работ:
"Выход к морю», «Тайная вечеря" (1988), «Желтая комната», «Томление
Эдипа» (1989), «Психоделическая атака голубых кроликов», «24
определенных состояния и их кенгуру», «Да» (1990), «Сергей», -Выстрел»,
«Гости», «Исследователи глубин» (1991), «Киты», «Пальмы», «Летящая
лодка» (1992) и др.
В Киеве первоначальными лидерами Южнорусской волны были Арсен Савадов и
Георгий Сенченко (прославившиеся картиной «Печаль Клеопатры» в 1987 году), Олег
Голосий, Сергей Панич, Василий Цаголов, Валерия Трубина, Александр Гнилицкий, позже
— Максим Мамсиков, Кирилл Проценко, Дмитрий Кавсан, Леонид Вартыванов, Илья
Исупов и др. Несколько обособленное положение заняли члены «волевой грани
национального постэклектизма» (Олег Тистол, Константин Реунов, Александр Харченко,
Марина Скугарева, Яна Быстрова, Николай Маценко). К ним стоит добавить
имена Анатолия Степаненко, Глеба Вышеславского. Представители Южнорусской
волны в Одессе — Александр Ройтбурд, Василий Рябченко, Сергей Лыков, Дмитрий
Дульфан; здесь размах движения был обусловлен предыдущей генерацией
концептуалистов, переехавших в Москву: Сергей Ануфриев, Леонид Войцехов, Юрий
Лейдерман и др. Для консолидации Южнорусской волны большую роль сыграла
выставка «Вавилон» (Москва, 1990).
Выросшая на острие бинарной оппозиции «горячий Юг» — «холодный Север»
(московский концептуализм и соц-арт), Южнорусская волна поразила всех барочным
размахом и пышностью, дикой смесью иронии и пылкой наивности, «повышенной
температурой пафоса и гротесковой квазиакадемической содержательной программой»
(Вл http://www.pc-dom.com . http://ateneux.info/ . Левашов), и, практически,
способствовала возрождению жанра Большой Картины. Однако многие деятели
Южнорусской волны стали на Украине едва ли не пионерами перформанса,
инсталляции, видео-арта, успешно приобщились к новым технологиям, дигитальным
практикам. В конце 1990-х годов успешным является творчество одесситов (Игорь Гусев,
Глеб Катчук, Филипп Перловский, Мирослав Кульчицкий, Вадим Чекорский, Эдуард
Колодий, Игорь Ходзинский, Анатолий Ганкевич, Александр Панасенко, Владимир
Кожухарь). Увы, новых интересных имен за последнее время не появилось. Да и
признание Южнорусской волны на родине до сих пор остается половинчатым,
несмотря на активную выставочную деятельность, определенные международные успехи,
вереницу отличных каталогов и т. п. Некоторая часть авторов Южнорусской волны
живет и работает за рубежом (Трубина, Реунов, Керестей, Быстрова), наиболее сильное
ответвление в диаспоре (Канада) - творчество Тараса Полатайко, уроженца Черновиц.
Южнорусская волна, несомненно, вернула вкус к хорошему живописанию, но и в
модные технологии привнесла неведомую доселе эмоциональность. Что должно сказаться
уже в следующем поколении постсоветских художников. [О. Сидор-Гибелинда]
СМ.: Галерея, Инсталляция, Концептуализм, Минимализм, Соц-арт.
http://www.altermond.ru/south_russian_wave.html
Page 1 of 2

Голь на выдумку хитра, или Как найти деньги на украинский фильм? - Статьи / ФРАЗА
11/13/13 2:19 AM
13.11.2013 Текстовая версия Версия для iphone Реклама RSS Написать Архив
поиск
Путина умоляют
ввести войска в
Украину
Корпорацию
"Roshen" продали
норвежцам, - СМИ
Ольга Янукович
ОТЛИЧИЛАСЬ своей
неземной красотой
(Фото)
Новости Фото Видео Статьи Интервью Колонка Письмо Фразы Дайджест Опрос Авторы
Спецтемы: ГЛАВНОЕ экономИКС ФРАЗАология спортМЫСЛИ НЕпопса ИСТОРИЯ ПираМММида ПОТРЯСЕНИЯ ТЕНДЕНЦИИ РАЗМЫШЛЕНИЯ еще
архив
ГЛАВНАЯ НОВОСТЬ
СТАТЬИ
КОЛОНКА АВТОРА
12.11.13 17:24
Суд огласил
окончательное решение
по «пресечению»
Власенко
12.11.13 13:19
Версия для печати
НЕпопса
Голь на выдумку хитра, или Как
найти деньги на украинский фильм?
12.11.13 12:49
Автор: Егор Стружкин
Украине не нужен
свой Ассанж.
Сноудена тоже не
предлагать
Все новости Фото Видео
13.11.13 00:20
В Сумах несовершеннолетний зарубил топором
своего старшего товарища
Автор: Антон Филатов
Журналист, кинокритик
«фрАза»
Like 30 Like 2
Tweet 1 1
«Кино — самое несчастное из искусств», — говорил Андрей Тарковский,
отмечая, что в кинематографе буквально и шагу не ступишь без
финансирования. По этой самой причине украинский кинематограф времён
независимости долгое время и топтался на одном месте. И лишь в последние
два-три года наметились небольшие сдвиги.
Причиной тому стало изменение стратегии развития нашей киноиндустрии.
С 2010 года, когда на пост главы Государственного агентства по вопросам
кинематографа Украины (Госкино) пришла Екатерина Копылова,
в отечественную киноиндустрию начали поступать значительно большие суммы
из госбюджета. Так, если на развитие нашего кинематографа в 2010 году
из казны было выделено всего 24 млн грн., то уже в 2011 — 111 млн грн.,
в 2012 — 176 млн грн., а в 2013 — 135 млн грн.
СТАТЬИ
12.11.13 23:53
Автор: Елена Коваленко
Власенко «пресекли»,
Тимошенко сочинила
очередное письмо, а
депутаты так и не
смогли сочинить
компромиссный закон
о Тимошенко.
Картина дня (12
ноября 2013)
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13.11.13 00:10
Для того, чтобы построить уютный
особняк в лесу, совсем не обязательно
вырубать гектары деревьев
12.11.13 23:30
Азаров заверил инвалидов, что они с
Януковичем делают все возможное, чтобы
восстановить отношения с Россией
Фото
12.11.13 23:05
Фото
В Киеве «Шкода» мощным пинком
развернула скромный ЗАЗ на 180 градусов.
Благо, никто не пострадал
12.11.13 22:56
Приобретение Курченко херсонской
нефтеперевалки эксперты оценили от 120 до
200 млн долларов
12.11.13 22:30
Теперь ученые точно знают, почему у
некоторых людей отсутствует поджелудочная
железа
12.11.13 21:50
Допрос сорвал встречу Власенко с миссией
Кокса-Квасьневского
12.11.13 21:35
13 ноября в Доме МК выступит Аду
12.11.13 21:30
Фото
В Киеве отчисленный из института
студент-фармацевт организовал
нарколабораторию прямо у себя в квартире
12.11.13 20:24
Госбюджет сегодня стал основным источником финансирования украинского
кинематографа. Одна из главных на то причин — Госкино не обязывает
создателей фильмов возвращать средства, полученные из госбюджета.
Частные же инвесторы заинтересованы в том, чтобы не просто вернуть
вложенные в фильм деньги, но и получить некую прибыль. Однако
на сегодняшний день ни одна украинская лента даже не окупилась в прокате.
Так что у инвестора нет абсолютно никаких гарантий, что он сможет
заработать на отечественном кинематографе.
«Найти в Украине частного инвестора нереально», — практически в один голос
заявляют многие отечественные кинематографисты.
Так что подавляющее большинство из них вынуждено подстраиваться под
не всегда удобные условия госфинансирования.
Но, несмотря на это, в Украине постепенно появляются фильмы, снятые
исключительно за приватные средства. Ведь есть целый ряд режиссёров,
которые не ждут милостей от природы, тем более, если речь идёт об убогой
природе украинской киноиндустрии. И то, как они умудряются отыскать
средства для своих фильмов, вызывает если не восхищение, то, по крайней
мере, уважение.
На волне популяризации в Украине краудфаундинга (англ. crowd — толпа,
funding — финансирование) этот способ коллективного сбора денег начали
осваивать и кинематографисты.
Пока что в нашей стране таким образом собрали необходимые суммы лишь для
нескольких неполнометражных фильмов. А в Европе таким путем уже больше
десяти лет находят средства на съемку полных метров. Из последних —
«Железное небо» (2012, реж. Тимо Вуоренсола) и «Космонавт» (2013, Николас
Алькала). Обе эти картины шли в украинских кинотеатрах.
В январе этого года в ограниченный прокат вышла украинская анимация
Александра Бубнова «Шерлок Холмс и чёрные человечки». Несмотря на то, что
хронометраж фильма не превышает и пятидесяти минут, работа над ним
длилась долгие три с половиной года. На начальном этапе аниматор создавал
ленту своими силами. А чтобы привлечь начальный бюджет — выкладывал
готовые отрывки фильма в Интернет, чтобы люди могли посмотреть и, если
возникнет желание, помочь проекту, перечислив какие-то деньги.
«Так у нас появлялась возможность продолжить работу над картиной. Каждый
давал, сколько мог. Всего на просьбу помочь откликнулись 63 человека,
большинство из которых — совершенно незнакомые мне люди», —
ИНТЕРВЬЮ
09.11.13 21:00
Автор: Василий Тепляков
Дмитро Шурхало:
Кучма — это такой
победивший гетман
Скоропадский
ПИСЬМО ЧИТАТЕЛЯ
30.10.13 10:24
Автор: Мария Лебедевич
В Ирпене идет
незаконная вырубка
столетних дубов!
http://fraza.ua/analitics/12.11.13/174899/gol_na_vydumku_hitra_ili_kak_najti_dengi_na_ukrainskij_film.html
Page 1 of 5

Голь на выдумку хитра, или Как найти деньги на украинский фильм? - Статьи / ФРАЗА
11/13/13 2:19 AM
12.11.13 20:24
Президент провел встречу с представителями
УСПП и Федерации профсоюзов Украины
большинство из которых — совершенно незнакомые мне люди», —
рассказывает Александр Бубнов. Позже у фильма появился частный инвестор,
который профинансировал львиную долю его бюджета.
Читайте также другие Новости Украины
НОВОСТИ ПАРТНЕРОВ
«У нас в Одессе это не
едят!»: «Ликвидация»
продолжается!
Чтобы не болели суставы
НУЖНО...
Россия и Сирия:
неожиданный сценарий
Курскую битву помог
выиграть НЛО
Неизведанное
«Тысячу человек мы убили,
танками их давили, головы
резали»
Происшествия
Казнь корейцев собрала
рекордное количество
зрителей
Происшествия
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Обмен новостями
Вторая серия «Шерлока Холмса и чёрных человечков»
Сейчас деньги для своих новых фильмов подобным образом собирают сразу
несколько украинских режиссёров. Например, на создание сериала «Хасидские
Цадики. Украина» Александра Шапиро сбросилось уже больше сорока человек.
В копилке будущего фильма уже собралось $17,6 тыс. Всего же на проект
необходимо $100 тыс.
«Каждый кто внесет в проект $100 — будет указан в финальных титрах фильма
под титром: „благодарим за оказанную поддержку, пусть Всевышний во много
раз восполнит Ваши затраты на благие дела“... Каждый, кто внесет в проект
$1 тыс. будет обозначен в начале фильма под титром „Фильм
представляет“», — говорится в обращении авторов фильма.
ОПРОС
Год назад прошли выборы в
Верховную Раду Украины.
Какая партия за это время вас
больше всего разочаровала?
Партия регионов
«Батькивщина»
«УДАР»
КПУ
«Свобода»
Все партии – молодцы,
принимают умные, полезные
законы, отстаивают права граждан
Голосовать
посмотреть результаты
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2,249 people like Фраза.ua.
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371 followers
Alexander Yana Max
В Нью-Йорке с
самолета
ссадили сотню
неуправляемых
еврейских
школяров. Они
уже обиделись
Лукашенко
раскритиковал
Таможенный союз
Yaroslav Alexander Sergey
Follow on VK
Главную угрозу
Roshen несут
действия не
России, а
налоговых
органов
Украины,
заявил
Порошенко
(фото)
"Высокопоставленным
чиновникам Украины
поставляют
"мальчиков" на заказ
Видео в поддержку проекта «Хасидские Цадики. Украина»
Александр Шапиро — один из немногих режиссёров, которые принципиально
не просят государственного финансирования для своих фильмов. И при этом
он умудряется практически ежегодно выпускать по полнометражному фильму.
В недавний День Независимости состоялась премьера его новой картины
«Не знаю». Её тизер начинается с красноречивого титра: «Независимо
от Государственного фонда поддержки кинематографа».
Лишь отдельным отечественным режиссёрам удаётся убеждать продюсеров
в том, что в фильм необходимо вложить около миллиона долларов, который
никогда не вернется. Яркие тому примеры — два полнометражных фильма
львовского художника Игоря Подольчака «Las Meninas» и «Delirium».
Последний, по словам режиссёра, обошёлся приблизительно в 850 тыс. евро.
МАРКЕТ
Потрясающая
фотоподборка
девчонок
Насладитесь
красотой этих
очаровательных
девушек......
Вы будете очень
удивлены
увиденным!
Вот это так
"слабый пол"...
(фото)...
РЕКЛАМА
http://fraza.ua/analitics/12.11.13/174899/gol_na_vydumku_hitra_ili_kak_najti_dengi_na_ukrainskij_film.html
Page 2 of 5

Голь на выдумку хитра, или Как найти деньги на украинский фильм? - Статьи / ФРАЗА
11/13/13 2:19 AM
Новинка от "УАЗ"а
покорила
абсолютно всех
Без пропусков
ешьте 10 дней
морковь, и
результат вас
удивит
продажа недвижимости в сфере
обслуживания в Полтаве
Трейлер фильма «Delirium»
«Но точно посчитать стоимость его создания невозможно. Ведь я сам и еще
некоторые люди работали бесплатно... бюджет своих фильмов я собирал
частично по друзьям. Отсутствие денег при создании „Delirium“
компенсировалось наличием времени. То есть, я сам сидел и занимался
постпродакшеном. Кто-то из знакомых помогал не деньгами, а своими силами.
Например, композитор бесплатно написал музыку...» — рассказывает Игорь
Подольчак.
Однако далеко не у каждого режиссёра художественный талант столь же
силен, как и талант менеджера. Многим приходится попросту работать
за двоих.
Например, один из мощнейших украинских аниматоров Степан Коваль
подрабатывает на рекламе и телевизионных роликах, чтобы потом заниматься
творчеством. Отчасти таким образом он создал сериал «Моя країна Україна».
Его учитель Евгений Сивоконь в одном из интервью отметил: «Чтобы
рассчитаться со своими работниками, Степа сделал рекламу для детского
Евровидения. Эти деньги отдал людям на зарплату».
Трейлер анимации «Моя країна Україна»
Несмотря на всемирное признание творчества Степана Коваля и «Серебряного
Медведя» Берлинале, которого он получил за анимацию «Шёл трамвай
девятый номер», привлечь европейского продюсера для своих фильмов ему
не удаётся. «За бугром мы всех интересуем как рабочие лошадки... Ни одна
страна не примет к себе режиссера-чужестранца и уж тем более не даст ему
деньги на его фильмы», — говорит аниматор.
Действующие в нашей стране благотворительные фонды лишь частично
поддерживают создание фильмов. Например, фонд Рината Ахметова «Розвиток
України» выделил средства на музыку к фильму «Брати. Остання сповідь»,
профинансировал завершение работы над короткометражкой Марии
Пономарёвой «Эскимо», а также помог на некоторых этапах создания
нескольких других фильмов.
Отдельные же кинематографисты снимают фильмы исключительно своими
силами. Например, Дмитрий Захаревич сегодня заканчивает свой дебютный
полный метр «Дорога на Запад». Работу над картиной он начал в 2009 году,
когда ещё не работала сегодняшняя система господдержки кино.
«Единственная возможность снимать кино в те годы — это идти
на телевидение. Но судя по опыту режиссёров, которые ушли снимать
„телемувики“, я понял, что ничего из этого не выйдет. Ведь телефильмы
создаются на потоке: свет выставляется банально, а большинство сцен
снимают в павильонах, чтобы меньше напрягаться...» — рассказывает
http://fraza.ua/analitics/12.11.13/174899/gol_na_vydumku_hitra_ili_kak_najti_dengi_na_ukrainskij_film.html
Page 3 of 5

Голь на выдумку хитра, или Как найти деньги на украинский фильм? - Статьи / ФРАЗА
11/13/13 2:19 AM
снимают в павильонах, чтобы меньше напрягаться...» — рассказывает
режиссёр.
«На телевидении бытует такое мнение: „Не надо тратить свои деньги на кино“.
Но я считаю, что наоборот. Ведь если тратишь на кино свои деньги —
ты никогда не останавливаешься. Это тебя заставляет постоянно работать», —
говорит Дмитрий Захаревич.
Общий бюджет «Дороги на Запад» составил около $15 тыс. Режиссёр вложил
в эту ленту все свои сбережения, а также оформил два кредита, которые
со временем постепенно погасил. В целом деньгу ушли только на съёмки,
многие участники которых работали бесплатно.
Во время съёмок «Дороги на Запад»
«В Украине должно быть несколько путей финансирования кино.
И зацикливаться только на госсредствах неправильно. Ведь когда государство
финансирует фильм — оно забирает права на него, и вся прибыль от проката
пойдёт в казну... В 50-60-е годы в Японии окрепли большие киностудии,
которые по сути монополизировали кинопроизводство страны. И в противовес
им тогда появилось поколение режиссёров, которые вскладчину покупали
плёнку 16 мм и снимали кино, которое сегодня считается классикой. У них
были такие неписанные правила: бюджет фильма не должен превышать $20-
25 тыс., и он должен окупиться», — рассказывает Дмитрий Захаревич.
Поступки всех вышеупомянутых кинематографистов — задел для
формирования в украинской киноиндустрии продюсерской системы, которая
будет опираться на частные, а не государственные инвестиции.
«В современном мире именно продюсеры отвечают за развитие
кинематографа. Спрогнозировать формирование и развитие продюсерской
системы в Украине достаточно трудно, ведь на это влияют многие факторы...
на протяжении многих лет в силу разных причин условий для полноценного
формирования этой системы не было. Активно её развивать мы начали только
сейчас. Думаю, в ближайшие два-три года она сделает мощный шаг вперёд,
и появятся продюсерские бренды», — оптимистично отмечает глава Госкино
Екатерина Копылова.
Теги: кинематограф
В армию начнут
отправлять юношей с
энцефалитом и гепатитом
Почему нынешнее
поколение выбирает
Гитлера?
Ссылки по теме:
Исполнитель роли Человека-паука предложил изменить своему герою
ориентацию. И совсем не в пространстве
Немое кино в исполнении Альфреда Хичкока стало всемирным
культурным наследием
Вы будете смеяться, но Сильвестр Сталлоне скоро в очередной раз
сыграет Рокки
Бортко очень хочет снять фильм о крещении князем Владимиром Руси.
Жалко, Ступки не будет...
Герои фильма «За двумя зайцами» заговорят по-украински. А вы знали,
что изначально фильм так и был озвучен?
КОММЕНТАРИИ:
Добавить комментарий...
http://fraza.ua/analitics/12.11.13/174899/gol_na_vydumku_hitra_ili_kak_najti_dengi_na_ukrainskij_film.html
Page 4 of 5

Сразу два украинских фильма едут на Гоа | Медианяня
11/13/13 7:09 PM
НОВОСТИ
Гоа, Индийский международный кинофе, фестиваль,
Виктория Трофименко, «Братья. Последняя исповедь»,
Игорь Подольчак, Delirium
тексты телепроекты видео радио блоги новости подписка реклама поиск
САМОЕ ЧИТАЕМОЕ ОБСУЖДАЕМОЕ
«Х-Фактор-4»: Кондратюк лишился
половины своих подопечных
// МЕДИАНЯНЯ / 10.11.2013
С кем развлекается Татьяна
Денисова? ФОТО
// МЕДИАНЯНЯ / 07.11.2013
МЕДИАНЯНЯ, 13.11.2013
Звезда «Х-Фактора» едет на
«Евровидение»
// МЕДИАНЯНЯ / 12.11.2013
Сразу два украинских фильма едут на Гоа
С 20 по 30 ноября на Гоа замечательная погода. Индийские кинематографисты, чтобы не
прохлопать золотые деньки, как раз в такие райские условия созывают коллег на Индийский
международный кинофестиваль. Именно этим мероприятием, кстати, закрывается «сезон»​
кинофестивалей класса А.
В этом году строгий отбор жюри прошли две украинские ленты. В международном конкурсе за
главный приз «Золотой петух»​ будет бороться фильм Виктории Трофименко « Братья. Последняя
исповедь»​ (это станет и мировой премьерой фильма). А вне конкурса в программе «Мировое кино»​
покажут фильм Игоря Подольчака Delirium, который уже отхватил победу на кинофестивале в
Ираке​.​
НОВОСТИ
Холостячка Танюха теперь работает
на СТБ. ФОТО
// МЕДИАНЯНЯ / 13.11.2013
Новоиспеченная звезда «ВИА Гры»
Эрика Герцег пела в церковном хоре
// МЕДИАНЯНЯ / 06.11.2013
МЕДИАНЯНЯ
По материалам mpaua.org
Фото - iffi.nic.in
Максим Ковальский рассказал о
возвращении в «Коммерсантъ»
// МЕДИАНЯНЯ / 13.11.2013
Реформы нового руководства УМХ:
зачем платить больше, если
журналистов может быть меньше?
// МЕДИАНЯНЯ / 13.11.2013
Версия для печати
* Найдя ошибку, выделите ее и нажмите Ctrl + Enter
Журналисты НТВ снова устроили
скандал
// МЕДИАНЯНЯ / 13.11.2013
Like 0 Follow @mediananny
Похожие новости:
853 followers
Кто работает на канале Николая
Княжицкого? ФОТО
// МЕДИАНЯНЯ / 13.11.2013
А ты прошел кастинг в «Звездные
войны»?
http://mediananny.com/novosti/2302100
Page 1 of 4

Muestra Largos Resto del Mundo | Cine//B
12/1/13 10:23 PM
HOME
EL FESTIVAL
No seas gil, revisa toda la
programación!
BIENVENIDO AL SPAM!
ULTIMOS TWEETS
Nombre:
Enviar
Hoy Sebastián Lelio estará presentando
+Efecto Kuleshov +Ross-Marciano. #milp
17.15 en #Radicales. #FocoLelio!
http://www.festivalcineb.com/proyecto/muestra-largos-resto-del-mundo/
Page 1 of 2

Украинские независимые
12/10/13, 3:16 PM
Главная О Нас Архив Режиссеры Журнал
Украинские независимые
АВТОР: СТАНИСЛАВ БИТЮЦКИЙ
Тексты
Рецензии
Интервью
Новости
Кинофестивали
За кадром
Арт
Видео
Украинские независимые
Cineticle открывает специальный раздел, посвященный новому украинскому кино.
Этот шаг мы планировали давно, но сейчас он действительно стал важной
необходимостью. Главный итог последнего года – в украинском кино есть
талантливые режиссеры, но у нас никто не хочет и не умеет работать с ними. По
идее, это должно быть задачей национальной кинокритики. Но украинская критика
сегодня полностью сконцентрирована на обслуживании проката (довольного
скудного, нужно признать) и все, что туда не попадает, попросту предпочитает не
замечать.
Из этого вытекает и вторая важная проблема – отсутствие кураторской работы с
украинским кино. Для любого режиссера сегодня в Украине есть два самых очевидных
варианта быть услышанным. Можно, сразу ориентироваться на Запад, как это делает,
скажем, Мирослав Слабошпицкий. Его работы заведомо конъюнктурны и очень умело
попадают в фестивальную струю. Их показывают в Берлине и Локарно, и для многих это
становится куда более весомым аргументом, чем любая качественная составляющая. Второй
путь – стать «мудаком», «украинским злым» и так далее – то есть влиться в уже
сформировавшуюся группу режиссеров, которая имеет свои четкие рамки, стилистические и
тематические границы. В этом случае, жертвуя личными режиссерскими амбициями, можно
рассчитывать на попадание во всевозможные прогосударственные показы и даже на выход
в прокат.
Помимо этих двух направлений есть и другие варианты, но все это уже удел режиссероводиночек.
Причем, именно от них, как правило, и следует ожидать неожиданных откровений
или важных работ. Ведь мы прекрасно знаем, что самое интересное в кино происходит за
рамками общепринятых трендов, веяний и конъюнктур. Мы также знаем, что сегодня, когда
есть телевидение, задачей режиссера является не обслуживание реальности, а поиск новых
способов ее репрезентации – через собственный опыт и видение, через знание истории и
осмысление настоящего. Именно о таких фильмах мы и стараемся писать в Cineticle,
разыскивая новые имена и новые проявления свободы в кино. При этом мы рассуждали о
режиссерах со всего мира, но не говорили ни слова о кинематографе страны, из которой
родом половина наших авторов. Сейчас проще всего сказать, что причиной подобного был
низкий уровень украинских картин и их пребывание в некоем вакууме поэтического кино и
мотивов, давно покрытых пылью. В какой-то мере это так. Но с другой стороны, за
последние пять лет в нашем кино то и дело появлялись самобытные картины, которые,
теряясь за десятками бездарных работ, так и не находили своего зрителя.
http://cineticle.com/ukrainian/985-ukrainian-independents.html
Page 1 of 3

Украинские независимые
12/10/13, 3:16 PM
Кадр из фильма «Между нами»
За примером не стоит далеко ходить, достаточно просто взглянуть на 2013 год. Так на
кинофестивале «Молодость» показали две короткометражки – «Каникулы» Марины
Степанской и «Между нами» Катерины Горностай – и это были два лучших
короткометражных фильма, которые сняли на территории Украины, как минимум, в этом
году. После их показа мы с коллегами звонили друг другу, и, делясь впечатлениями, едва ли
не впервые в разговоре о новом украинском кино вспоминали важные мировые имена: от
Наоми Кавасе и Алена Кавалье до режиссеров движения «мамблкор». Затем была статья в
журнале «Сеанс» – и это было первое и единственное упоминание об этих фильмах. Чуть
позже один абзац им посвятит украинский критик Игорь Грабович. Все! Если убрать эти
десятки слов, несколько восторженных устных отзывов – выйдет, что этих работ фактически
не существовало. И одна эта мысль вызывает ужас.
С главным полнометражным фильмом года в украинском арт-кино все было немного лучше.
Речь о «Делириуме» Игоря Подольчака, напомнившем некоторым из нас о магии просмотра
на большом экране. С Подольчаком была целая серия интервью, были разовые показы в
ряде украинских городов. Но все это было весьма архаично, и напоминало скорее
обращение к какому-то невиданному чуду, о котором на деле никто не знал как говорить.
При этом «Делириум» как ни один другой наш фильм нуждался в поддержке или, как
минимум, во вступительном слове, которое должно было стать некой путеводной звездой в
знакомстве с ним. Тем более, что Подольчак избрал для себя очень сложный путь в кино.
Еще будучи художником, он в какой-то момент осознал, что ему тесно в рамках живописи
или современного искусства. Кино стало для него следующим этапом, совмещающим весь
предыдущий опыт. Подольчака в первую очередь интересует человеческое сознание, отчего
его работы напоминают болезненные сновидения, с юнгианскими мотивами и
доминированием образа над словом. Причем сам режиссер предпочитает сравнивать свои
ленты с абстракцией в живописи и сторонится каких-либо однозначных трактовок.
Последнее оставлено на волю зрителя, который, как это было в Одессе, оказывался
попросту не готов к какой-либо работе по осмыслению фильма.
http://cineticle.com/ukrainian/985-ukrainian-independents.html
Page 2 of 3

Украинские независимые
12/10/13, 3:16 PM
Кадр из фильма «Делириум»
В этом смысле проблема Подольчака может быть схожа со многими авторами арт-кино
2000-х, которых Оливье Пер однажды назвал «режиссерами без зрителей». Но Пер долгие
годы собственноручно пытался исправить эту ситуацию – сначала в рамках каннского
«Двухнедельника режиссеров», потом в Локарно. Подольчак же, в каком-то смысле, своего
Пера все еще лишен. И, пожалуй, самое опасное, что может произойти сегодня с ним – это
повторение пути Александра Шапиро. Шапиро – главная икона украинского независимого
кино, режиссер, который долгие годы боролся за свое право снимать фильмы, интересные
ему самому. В результате он одержал победу в этой войне, но как-то незаметно превратился
в достопримечательность для избранных и маленькую вселенную имени самого себя.
Однако, есть важная черта, объединяющая всех этих режиссеров – от Шапиро до Горностай
– и это их независимость: от обязательной нарративной составляющей, традиционной
формы, национальных трендов, группировок, а зачастую и государственного
финансирования. С разным опытом и еще разными путями, каждый из них понимает, что
сегодня кино как никогда свободно, что свои фильмы можно создавать буквально из
подручных средств и в компании таких же безумцев-единомышленников. Но вместе с тем
это и то, что все еще оставляет их в стороне, делая своеобразными аутсайдерами
украинского кино, где все подчинено стандартным кодам и требованиям поэтического
реализма-натурализма. Отсюда и проблемы с прокатом «Делириума», скромная судьба
картин документалиста Александра Балагуры, локальная культовость Шапиро,
избирательные упоминания Евы Нейман, совершенно необоснованное непопадание
«Каникул» на Одесский кинофестиваль и неучастие «Между нами» в альманахах украинского
короткого метра. Отсюда и наше желание говорить об этих фильмах и их режиссерах. В
какой-то мере это наш шаг в сторону кураторской работы, и что важнее – наша попытка
создать живой дискурс вокруг украинского кино и новых независимых режиссеров,
количество которых явно не должно ограничиваться только этими именами.
Теги: александр балагура александр шапиро ева нейман игорь подольчак катеринка
горностай марина степанская
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Copyright © 2010 - 2013 Cineticle. All rights reserved | Design by GreenArtProject
http://cineticle.com/ukrainian/985-ukrainian-independents.html
Page 3 of 3

Українці 2013 року отримували міжнародне визнання у науці, літературі, музиці й дизайні - Новини - Український тиждень
12/31/13, 8:09 PM
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Українці 2013 року отримували міжнародне
визнання у науці, літературі, музиці й дизайні
За 2013-й рік українські режисери, письменники, науковці, ілюстратори
й дизайнери стали переможцями багатьох престижних міжнародних
конкурсів.
На початку 2013 року український письменник Михайло Прудник став переможцем
міжнародного гумористичного конкурсу "Алеко" за 2012 рік, що проводиться в
Болгарії. Українець випередив 78 авторів з 20 країн.
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Курйози року: індіанці в гостях у
Януковича,"єврей" Ахметов,
екскаваторник Ющенко та інше
Януковіч маладєц…
Китайські інновації в Україні:
Тітушки - хунвейбіни ХХІ
століття
У січні 2013 року марка «Українське подвір’я» перемогла в номінації «Найкращий друк» у
11-му щорічному китайському конкурсі на найкрасивішу іноземну марку. Участь у конкурсі
взяли десятки поштових адміністрацій Європи та світу.
Інші новини
Популярні
Scorpions і Квінсі Джонс підтримали Майдан і
привітали Україну з Новим роком (ВІДЕО)
Юрій Макаров: Українська журналістика
виявилася не настільки продажною, як дехто
уявляє у владних кабінетах
Перший день нового року буде хмарним і
теплим
На Херсонщині вбили депутата райради від
Партії регіонів
У Захарченка фіксують крадіжки, бійки й
зґвалтування на Майдані
КМДА привітала працівників "Київпастрансу"
погашенням боргів із зарплат
Український
друкований
часопис «Тиждень»
№ 52 (320)
уже в продажу
У лютому Євген Мотурнак, учитель інформатики та економіки з Дніпропетровська здобув
«золото» у конкурсі з інформатики Microsoft Appathon, що пройшов у Лондоні. Євген
розробив віртуальний конструктор електричних ланцюгів для учнів старших класів та
студентів технічних спеціальностей. Його можна використовувати для віртуальних
експериментів з побудовою електричних схем, додаток пропонує короткі підказки,
посилання на теоретичний матеріал тощо.
У лютому київський школяр Ілля Ковалевський став одним із 20 переможців конкурсу з
розроблення програмного забезпечення із відкритим кодом для школярів Google Code-in
2012. У цьому списку Ілля став єдиним представником з регіону СНД.
Окрім того, п'єса «Деталізація» українського драматурга Дмитра Тернового перемогла на
міжнародному конкурсі драматургів "Говорити про кордони" в Австрії. П'єсу визнали
найкращою серед понад 50 творів. Згідно з умовами, її поставлять ​на сцені державного
німецького театру в Карлсруе.
У березні 2013 року український туристичний стенд посів п’яте місце на Міжнародній
туристичній виставці ІТВ-Берлін. Загалом було оцінено більше, ніж десять тисяч стендів з
180 країн.
http://tyzhden.ua/News/97779
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Українці 2013 року отримували міжнародне визнання у науці, літературі, музиці й дизайні - Новини - Український тиждень
12/31/13, 8:09 PM
Еквілібристка Валерія Давиденко здобула золоту медаль на сьомому Міжнародному
фестивалі дитячих та молодіжних циркових колективів, шкіл та виконавців "Циркове
майбутнє". 8-річна дівчинка виступала в молодшій категорії конкурсу (до 12 років). У
конкурсі змагалися учасники з різних країн, зокрема з Росії, Франції, Латвії, Німеччини,
Америки, Білорусі, Швеції та інших.
Третє місце в міжнародному пісенному конкурсі«Євробачення-2013» посіла українка
Злата Огнєвич з піснею «Gravity».
У червні 26-річна українка Олена Токар опинилась у четвірці найкращих молодих оперних
співаків світу в конкурсі BBC Cardiff Singer. BBC Cardiff Singer проводиться раз на два роки
в уельському Кардіффі і збирає близько тисячі претендентів на перемогу.
http://tyzhden.ua/News/97779
Page 2 of 7

Українці 2013 року отримували міжнародне визнання у науці, літературі, музиці й дизайні - Новини - Український тиждень
12/31/13, 8:09 PM
А переможцем 14-го Міжнародного конкурсу піаністів ім. Вана Кліберна став українець
Вадим Холоденко. Холоденко також отримав призи за найкраще виконання камерної
музики і за найкраще виконання нового твору. Переможець конкурсу Кліберна отримує
грошовий приз у розмірі $ 50 тисяч, а також концертний ангажемент у США на три сезони і
можливість випуску студійних і концертних записів американським відділенням фірми
Harmonia Mundi.
Цього року письменниця Оксана Забужко стала лауреатом міжнародної літературної
премії Angelus-2013. Переможним для Забужко став роман "Музей покинутих секретів".
Призом літпремії, яку традиційно проводять у Вроцлаві, стала статуетка вроцлавського
скульптора Єви Россано та 150 тис. 000 злотих.
http://tyzhden.ua/News/97779
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​
Українці 2013 року отримували міжнародне визнання у науці, літературі, музиці й дизайні - Новини - Український тиждень
12/31/13, 8:09 PM
На Міжнародному дитячому кінофестивалі анімаційного мультфільму, що відбувся у
Дрездені, перемогла короткометражна стрічка "Оля-ля" Дарини Котелянець з села
Петрик Літинського району Вінницької області. Дівчинка, якій 11 років, створила мультик
про свою корову Зірку.
У жовтні стрічка «Індуктор» Ігоря Подольчака перемогла на кінофестивалі в Багдаді. Артхаусний
фільм став найкращим із 50-ти претендентів на перше місце на 5 Багдадському
міжнародному кінофестивалі.
http://tyzhden.ua/News/97779
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Українці 2013 року отримували міжнародне визнання у науці, літературі, музиці й дизайні - Новини - Український тиждень
12/31/13, 8:09 PM
Тим часом маріуполець Кирило Чуйко став переможцем міжнародного конкурсу з
китайської мови для іноземців. Всього у конкурсі брало участь 180 осіб із різних країн світу.
Чуйкові запропонували оплачене навчання у магістратурі будь-якого китайського
університету тривалістю до трьох років.
Також цього року українські школярі здобули перемогу на міжнародних олімпіадах із
екології, інформатики, фізики, математики, хімії, біології, а українські студенти - з
математики та інформаційних технологій.
Тиждень.ua
золота медаль, конкурс, перемога, підсумки-2013
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Page 5 of 7

2014

От туалета до станции «Мир»: 10 художественных выставок в самых неожиданных местах | Искусство, арт | Арт
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От туалета до станции «Мир»: 10 художественных выставок в самых неожиданных местах | Искусство, арт | Арт
1/28/14, 11:07 AM
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Page 11 of 13

Люстрация невыгодна ни старой, ни новой власти | Информационный портал Re:plika
3/6/14, 8:21 PM
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Игорь Подольчак "Delirium": Это фильм не о бреде, это сам бред | Информационный портал Re:plika
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Игорь Подольчак "Delirium": Это фильм не о бреде, это сам бред | Информационный портал Re:plika
4/2/14, 12:34 AM
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Page 2 of 2

Margaret McCann on Diego Velazquez’s ‘Las Meninas’ | Painters On Paintings
4/2/14, 12:12 AM
Margaret McCann on
Diego Velazquez’s
‘Las Meninas’
! March 27, 2014
Diego Velázquez, Las Meninas, 1656, Oil on canvas,
125.2 in ! 108.7 inches
Sphinx-like, Diego Velazquez’s Las Meninas
(1656) questions more than it answers.
Whether the picture is about the painter with
a brush in the mirror, or the princess with her
parents in the picture gallery, clues endlessly
divert through ingenious compositional pacing.
Straying from the period’s conventional
tableau format, its genre-bending iconography
blends portraiture’s fixity and genre
painting’s randomness, while its large scale
suggests the significant content of history
http://paintersonpaintings.wordpress.com/2014/03/27/margaret-mccann-on-diego-velasquez/
Page 1 of 7

Margaret McCann on Diego Velazquez’s ‘Las Meninas’ | Painters On Paintings
4/2/14, 12:12 AM
painting. Aside from the painter painting, we
don’t know why these people are gathered
here. Most appear as in a film still, or like actors
assuming positions before the curtain
goes up, prequelly. Eve Sussman’s video 89
Seconds at Alcázar (2004) enacts this expectant
temporality, improvising action around
the moment depicted.
The recognizable Infanta Margarita at center
stage draws focus, yet the title suggests that
her demure, encircling “ladies-in-waiting”
(las meninas) have more than supporting
roles. They seem no more to be protagonists
here, however, than do Shakespeare’s Rozencratz
and Gildenstern in Hamlet, a notion
Tom Stoppard toyed with in his play starring
those minor characters. One attendant’s ample
skirt, which generates a palpable passage
diagonally into space, deferentially curtsies
and curves to activate a volumizing aura
around the princess’s small, serious form.
Margarita looks the part of a leading lady. Her
momentous countenance within the work’s
theatrical grandeur suggests she could grasp
the import of a soliloquy—though hardly its
content. Alas, she is too young to even know
she doesn’t know; she is “not Prince Hamlet,
nor was meant to be”.
Our wonder moves on, meeting the cautious
gaze of the dwarf and the thoughtful one of
the artist to either side of her. Brush and palette
ready, even the attendant crouching too
near the canvas can’t disturb his dispassionate
regard. Could he be painting himself as
though from a large mirror facing away from
us at the picture plane? Or has he been painting
the princess, who has momentarily
turned around to view herself in that mirror?
Would Velazquez have painted her this way—
her poise is quite posed—reversed as we all
see ourselves in reflections, trying to see how
others see us? Our eyes may mingle among
the room’s other near occupants—dog, jester
—but a back-lit man in black, starkly framed,
demands attention. While his small scale
http://paintersonpaintings.wordpress.com/2014/03/27/margaret-mccann-on-diego-velasquez/
Page 2 of 7

Margaret McCann on Diego Velazquez’s ‘Las Meninas’ | Painters On Paintings
4/2/14, 12:12 AM
pushes him deep into this perspectival space,
his geometrical sharpness and tonal boldness
belie the atmospheric perspective clouding
its recesses, and pull him to the picture plane.
This drama distracts us from the hazy couple
in the adjacent mirror entering our vision surreptitiously.
Since the vanishing point positions
viewers across from the bottom of the
door, could this apparition reflect the painting
we can’t see on the easel? But, if so, since
the angle of the canvas is diagonal (not parallel)
to the back wall, wouldn’t their figures
appear more foreshortened?
Awareness dawns that the royal pair must be
outside of and facing the painting, “looking
in” as the painter portrays them. The contemporary
viewer can assume the position of the
king and queen (or if s/he is a stickler for perspective
stand to their right) while viewing
Las Meninas. This painting heightens the
viewer’s self-consciousness, who as Foucault
wrote, “…sees his invisibility made visible to
the painter and transposed into an image forever
invisible to himself…” Yet you’d have to
have seen the king and queen before (or to
now be familiar with Velazquez’s oeuvre) to
even know the people in the mirror are royals,
as little indication of their public personas
is described. The image appears painted
principally for private consumption. Not
only, in Baroque Spain, were painters considered
cra!smen, but the Inquisition church did
not embrace visual art as the Roman clergy
did. Velazquez was not truly discovered by
European art lovers until over a century a!er
his death.
Nonetheless, the uncertainties of Las Meninas’s
imagery feel modern, and resound with
postmodern ambiguity. Yet Velazquez’s doubt
is not the existential crisis of Prufrock, anxiously
asking, “Do I dare disturb the universe?
In a minute there is time for decisions and revisions
which a minute will reverse.” Velazquez’s
perception seems closer to the cerebral,
searching, whimsical one of Cervantes’s
http://paintersonpaintings.wordpress.com/2014/03/27/margaret-mccann-on-diego-velasquez/
Page 3 of 7

Margaret McCann on Diego Velazquez’s ‘Las Meninas’ | Painters On Paintings
4/2/14, 12:12 AM
Don Quixote—“Too much sanity may be madness.
And maddest of all, to see life as it is
and not as it should be”—a Spanish Golden
Age hit Velazquez would have known. In Ihor
Podolchak’s film Las Meninas (2008), the
viewer is presented with a puzzling picture of
a family, whose pieces s/he must arrange to
form meaning. Velasquez places the viewer in
a similar quixotic position, where appearances
deceive and meaning gestates without
securely delivering.
Despite the gravity of its chiaroscuro, Las
Meninas imparts a graceful albeit mysterious
levity. The evocative illusions and illuminations
realized through Velazquez’s sensitivity
to light, despite the economy of paint that
dissolves representation into abstract brushwork
upon close viewing, make it all believably
nebulous—delightfully clearly unclear.
Early admirers compared the work’s striking
naturalism to a camera obscura’s casual,
clear vision. Velazquez most likely used this
machine, which made illusion portable
through manipulating lenses and mirrors.
The painting was originally wider, cropped
perhaps a!er a fire, so more of the window
and the canvas would have been included. If
so, the resulting more proscenium-like shape
of the design and a more dynamic, detailed
foreground may have delayed our excursion
into the pictorial space, suppressing the
shadowy presence of the artist, ensconcing
him more deeply in his work, literally and figuratively.
Should this painting be read primarily as a
self-portrait? The scene does take place in the
artist’s studio, as would the self-portrait of
Courbet (who admired Velazquez, as did
Manet), The Painter’s Studio: A Real Allegory…
(1855). The huge room had been Prince Balthazar’s,
whose death as a young man devastated
his father, King Phillip IV. Despite being
widely admired for his austere regal comportment,
“o" camera” Phillip was genial and intellectually
curious. He had Velazquez paint
http://paintersonpaintings.wordpress.com/2014/03/27/margaret-mccann-on-diego-velasquez/
Page 4 of 7

Margaret McCann on Diego Velazquez’s ‘Las Meninas’ | Painters On Paintings
4/2/14, 12:12 AM
his portrait many times over the years and
liked to watch him paint. Unlike Goya’s sour
rapport with his patron, this painter and king
enjoyed each other’s company. Phillip is even
thought to have painted the knight symbol,
indicating high status, on Velazquez’s chest in
Las Meninas a!er the painter’s death. Of his
passing Phillip wrote, “I am crushed”.
In his almost forty years in the king’s employ
Velazquez played many parts. In addition to
court painter, he was curator of the royal art
collection, and through palace visitors or Italian
journeys to study the Venetians, Caravaggio,
etc., he befriended Rubens and Ribera
and became a respected connoisseur. (His selections
were foundational to the Prado’s collection.)
Velazquez was eventually appointed
palace chamberlain, a time-consuming job
overseeing the royal household. Like the butler
in The Remains of the Day, he would have
been the head if not the heart of the place,
with intimate knowledge of its inner workings
and outward appearances. The various points
of view Velazquez experienced seem conveyed
in his Spinners—where behind-thescenes
workers are foregrounded and the
presentation of tapestries is backgrounded—
and in his Rockeby Venus. In each, figures are
depicted both frontally and voyeuristically
from behind. (As Cervantes wrote, “[N]ot
everyone is su"iciently intelligent to be able
to see things from the right point of view.”)
Las Meninas similarly conflates, fuses, and
plays with the shi!ing formal and informal
realities of Velazquez’s life at court, where his
professional, social and creative roles intertwined.
Velazquez was the man behind the
curtain in Phillip IV’s court, as he is the man
behind the canvas in Las Meninas.
No large painting of the royal couple was ever
painted by Velazquez, and the scale of the
painting on the easel resembles that of Las
Meninas. Perhaps the painting is primarily
about the painter painting this painting. If
Phillip had not followed its progress he must
http://paintersonpaintings.wordpress.com/2014/03/27/margaret-mccann-on-diego-velasquez/
Page 5 of 7

Margaret McCann on Diego Velazquez’s ‘Las Meninas’ | Painters On Paintings
4/2/14, 12:12 AM
have been as amused as he was impressed
when it was unveiled. Did Velazquez mean to
paint Phillip’s point of view, beholding court
members, his functional family—Las Meninas
was in fact called La Familia for its first two
hundred years—at ease, doing what they normally
do? Each figure stirs to attention only
as the royal presence is noticed; Margarita enjoys
her parents’ appraisal, one lady extends
a greeting. The man in back—the only person
the viewer/king sees that the others cannot—
closes the curtain to the outside world of o!icial
royal responsibilities, placing all within
the artist’s world and under his encompassing
gaze.
Margaret McCann, Follow The Money, 2010, Oil on
canvas, 48 x 60 inches
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http://paintersonpaintings.wordpress.com/2014/03/27/margaret-mccann-on-diego-velasquez/
Page 6 of 7

Russia Intends To Reboot Ukraine’s Film Industry
4/2/14, 12:05 AM
Russia Intends To Reboot Ukraine’s Film Industry
Russia has made plans to
establish a film festival in Gurzuf, a town in Crimea, and a children’s film festival in Yalta; Vladimir Medinsky,
culture minister and loyalist of President Vladimir Putin has expressed interest in relaunching the Yalta film
festival.
Medinsky also indicated that there are plans to relaunch the Yalta film studio which was privatized after the
collapse of the Soviet Union. It has been announced that Bitva za Sevastopol (Battle of Sevastopol) will be the
first major co-production between Russia and Ukraine. Production began last fall in Crimea but after filming
was completed Ukraine’s national film agency found itself without the funds to complete post production.
Mdvinsky has indicated that Russia will pay to complete the World War I film.
Ukraine has an established place in Soviet cinematic history. Directors Alexander Dovzhenko, Kira
Muratova, Larisa Shepitko, Sergei Bondarchuk, Leonid Bykov, Yuri Ilyenko, Leonid Osyka, Ihor
Podolchak and Maryna Vroda are all considered to be international figures, and actors Milla Jovovich, Olga
Kurylenko, Renata Litvinova, Mila Kunis, Vera Kholodnaya and Bohdan Stupka have attained international and
critical success. In addition, numerous films dealing with the land, people and history of Ukraine are considered
classics: Battleship Potemkin, Man with a Movie Camera and Everything Is Illuminated.
At CinemaCon this week, Hollywood film executives and foreign theater owners were concerned by a request
for Russian-dubbed films. A recent law in Ukraine had required films to be dubbed in Ukranian, although
Russian subtitles are allowed. Avatar is the highest grossing film in the history of Ukraine, taking in $8,691,
077.
Other People Also Viewed:
http://filmrise.com/russia-intends-to-reboot-ukraines-film-industry/
Page 2 of 8

Nationalizing Sacher-Masoch: A Curious Case of Cultural Reception
in Russia and Ukraine
Vitaly Chernetsky
Comparative Literature Studies, Volume 45, Number 4, 2008, pp. 471-490
(Article)
Published by Penn State University Press
For additional information about this article
http://muse.jhu.edu/journals/cls/summary/v045/45.4.chernetsky.html
Access provided by University of Kansas Libraries (25 Apr 2014 17:18 GMT)

nationalizing sacher-masoch: a curious case
of cultural reception in russia and ukraine
Vitaly Chernetsky
Few writers can rival Leopold von Sacher-Masoch in the degree of notoriety
that has accompanied his name. To an even greater degree than the Marquis
de Sade, Sacher-Masoch’s legacy is inextricably bound with the psychosexual
condition that has received a designation derived from his surname. For more
than a century now, the overwhelming majority of Sacher-Masoch’s readers,
especially in the West, have been primarily attracted to the depiction of
unorthodox sexual practices that frequently appear on the pages of his texts.
As Fernanda Savage noted in the introduction to her 1921 English translation
of what is probably the writer’s best-known work, Venus im Pelz (1870)
[ Venus in Furs ], “Sacher-Masoch was the poet of the anomaly now generally
known as masochism . By this is meant the desire on the part of the individual
affected of desiring himself completely and unconditionally subject to the will
of [another] person . . . and being treated by this person as by a master, to be
humiliated, abused, and tormented, even to the verge of death. This motive
is treated in all its innumerable variations.” 1 The readers who associate the
writer’s name exclusively with the themes of erotic gratification linked to the
experience of submission to the will of another person, and even those who
are more attracted to the non-psychoanalytic view of the writing of Sade
and Sacher-Masoch as part of a discourse of political freedom and slavery
in which philosophy and sexually explicit narrative frequently overlap, might
be surprised to learn that there were historical periods and national cultures
that saw Sacher-Masoch very differently—as a realist-leaning author notable
first and foremost for bringing little-known ethnographic facts to the broader
reading public. 2 Moreover, this approach to the writer’s work at times made
it possible for readers to accept these very psychosexual practices featured in
Sacher-Masoch’s writings as an essential part of the project of ethnographic
comparative literature studies, vol. 45, no. 4, 2008.
Copyright © 2008. The Pennsylvania State University, University Park, PA.
471

472 COMPARATIVE LITERATURE STUDIES
realism, and therefore, as “truth.” Two such national cultures, those of Russia
and Ukraine, offer a fascinating cautionary tale of spirited attempts to claim
Sacher-Masoch and his characters as “real” and “their own.”
In the opening lines of his 1967 study Coldness and Cruelty that has been
widely credited with restarting academic interest in the literary legacy of
Sacher-Masoch, Gilles Deleuze asks, “What are the uses of literature?” 3 However,
for all the insights contained in Deleuze’s book, this particular question
remains a rhetorical one in his text. In this essay I offer an attempt to investigate
an answer to this question—specifically, as it addresses the work and legacy
of Sacher-Masoch—in Russia and Ukraine, two countries that have in recent
years witnessed an unprecedented resurgence of attention to, and a proliferation
of uses of, Sacher-Masoch’s legacy as a writer and public figure.
The interest in Sacher-Masoch in Ukraine would appear more logical:
after all, L' viv (a.k.a. Lwów, a.k.a. Lemberg), the city where he was born in
1836, and Eastern Galicia, the area surrounding his home city where most
of his texts are set, are now part of Ukraine. However uncomfortable the
associations most people have with his name, Sacher-Masoch is among
Galicia’s best known sons. As I hope to demonstrate below, in Ukraine, the
projects drawing on the legacy of Sacher-Masoch, ranging from scholarly
to subversive, can be characterized as creative and critically informed, even
if consistently generating controversy.
In contrast, the twists and turns of the interest in Sacher-Masoch in
Russia, with extremely few exceptions, have taken an increasingly bizarre
trajectory, producing a peculiar amalgam of aggressive imperialist mythmaking,
along with a blindness to and disavowal of a wide range of features of
his work that is staggering and might indeed be labeled “perverse.” In the
guise of scholarly “expert discourse,” his texts have been frequently put to
a highly selective and manipulative use that, to paraphrase Deleuze, might
require both critical and clinical attention. 4 Naturally, it would be well-nigh
impossible to work through the various Russian syndromes and neuroses
associated with Sacher-Masoch’s name within the limited space of this essay;
therefore, what I attempt below is more of an outline of several known facts or
symptoms. I hope that this essay will generate responses that will contribute
to the diagnostic project. At the same time, I hope in the pages below to
give due acknowledgment to the more sober-minded and critically informed
readings of Sacher-Masoch that have also begun to appear in Russia.
I will begin my narrative by way of an anecdote. On June 4, 2000, the
entire city of Kyiv, Ukraine’s capital, was papered with posters depicting US
President William Jefferson Clinton playing a saxophone. The text of the

NATIONALIZING SACHER-MASOCH
473
poster read, in Ukrainian, “The Masoch Foundation Presents Bill Clinton’s
Final Performance in Ukraine.” Indeed, Clinton did arrive the next day for
his final visit to Kyiv in his capacity as the head of state. I do not know if
he noticed the posters or understood the caption, but the Kyivites and visitors
to the city were impressed. In a clever move, the posters were glued to
billboards exceedingly well, thus frustrating policemen’s efforts to tear them
down for several weeks.
This papering of downtown Kyiv was possibly the most successful project
to date of Fond Mazokha [The Masoch Foundation]. The brainchild of
the L' viv-based conceptualist artists Ihor Podol'chak and Ihor Diurych, the
“Foundation” has been the vehicle for a wide range of ironically subversive
projects. This time, the posters served as a prelude for the lavish opening,
on June 8, 2000, of the installation Podol'chak organized at a dank cavelike
underground bunker inside a hill in Kyiv’s main park. For the installation,
another famous son of L' viv, the theater director Roman Viktiuk, was
brought in from Moscow, where he has been working for the past twenty
years, to design a stage show. Several extremely corpulent models acted
in semi- and full dishabille, while a circus troupe of midgets was hired to
serve drinks and snacks to the bemused local beau monde, whose attention
was torn between the show, Podol'chak’s installation, and the free food and
drink. In a fitting turn of events, the midgets later joined the women onstage
and pelted the audience with pieces of raw meat, sausage, and vegetables.
Afterwards, the guests were invited to recover from this traumatic experience
at a rooftop restaurant reportedly run by one of the country’s regional
criminal clans.
To a degree, the use of Sacher-Masoch’s name on Podol'chak and
Diurych’s part is but a public relations ploy, albeit a very successful one.
However, they do take the commemoration of Sacher-Masoch seriously,
organizing a campaign (unsuccessful so far) to rename a street in his home
city in the writer’s honor and getting involved in other projects aimed
at promoting Sacher-Masoch’s work. In this endeavor, their aspirations
have been shared by other L' vivites, as evident, for example, from the 1994
production at the L' viv Opera and Ballet Theatre of the ballet Don Juan of
Kolomyia by the Kolomyia-born composer Oleksandr Kozarenko, based
upon the eponymous 1866 story by Sacher-Masoch, from the unveiling of
a statue of Sacher-Masoch in downtown L' viv in March 2008, and from
the 1999 release of a lavishly produced volume of Sacher-Masoch’s selected
writings in Ukrainian translation by one of the city’s publishing houses. The
content of that volume is indicative of the kind of treatment Sacher-Masoch
is receiving among the intellectuals in Ukraine. While the book does include

474 COMPARATIVE LITERATURE STUDIES
Venus in Furs , it also contains several other texts set in Galicia, “Don Juan
von Kolomea” [Don Juan of Kolomyia] among them, and it opens with a
non-fiction sketch penned by Sacher-Masoch entitled “Frauen-Gestalten
aus Galizien” [Women’s images from Galicia].
This text sets the tone for the entire volume. Sacher-Masoch begins
by describing the fair in the city of Kolomyia (then known in German as
Kolomea), stressing its extraordinarily diverse nature and describing it as
the hybrid of a Baghdad bazaar and a Schwarzwald town square. He then
proceeds to offer a gallery of portrait sketches of women one may encounter
there, distinguishing them through a combination of ethnic, class, and educational
features. Thus, we are introduced to a Ukrainian villager from the
mountains and a Ukrainian city woman, an aristocratic Pole, a German colonist
farmer, an orthodox Jewish woman and an assimilated Jewish woman,
an Armenian merchant’s daughter, a Karaite, and so forth. Sacher-Masoch
also stresses the diversity of physique: the women he describes come in all
shapes and sizes, with different hair and eye color, exhibiting features usually
thought of as Nordic, Mediterranean, and even central Asian. Nowhere
else in the Habsburg Empire, he stresses, not even in Dalmatia or Hungary,
can one find such a plethora of contrasting types. Sacher-Masoch, however,
seems to exhibit the greatest sympathy to the Ukrainians, evident from the
following passage:
If the Polish woman is sometimes called a Frenchwoman of the East,
then the Russian is the Englishwoman, and the Ukrainian one is
the Spanish woman of the East. The Polish woman wants to give
orders, while the Ukrainian one wants to be free. While the Polish
woman rules over her husband, the Russian one wants to submit to
him, just like the German one, and the Ukrainian woman demands
equality with him. At any opportunity her unrestrainable Cossack
spirit goes ablaze, recognizing no master and no servant. Between
the Don and the Carpathians live the natural born democrats;
neither the Byzantine emperor, nor the Vikings, nor any Polish
king or Russian tsar have broken their spirit, have suppressed their
consciousness. They are always ready to trade the plow for a spear,
they live in small republican communities as equals amongst equals;
for the Eastern Slavs, they are the sprouts of the future, the sprouts
of freedom. 5
It is certainly flattering for today’s Ukrainians to read this romanticized
description, as they recover from the combined legacy of totalitarian and

NATIONALIZING SACHER-MASOCH
475
colonial oppression and reflect on the contradictory legacy of the first decade
and a half of post-Soviet independence. Indeed, the biographers emphasize
that while Sacher-Masoch wrote exclusively in German, and came of a
mixed heritage where Germanic roots predominated, he considered himself
a Galician Ukrainian in terms of identity and recalled with fondness
his Ukrainian wet nurse, a peasant woman named Handzia. The songs she
sang and the tales she told, he later claimed, had made a strong impression
on the boy and laid the foundation for his fascination with Slavic cultures.
However, Sacher-Masoch’s allegiances were overwhelmingly regional, and
for his contemporaries he was above all the first German-language writer to
offer a captivating portrait of his native region; his early German-language
critics called him “the Columbus of the East.”
This point is stressed by Larysa Tsybenko in her afterword to the
Ukrainian-language volume:
His knowledge of many languages and the natural talent of a storyteller
helped the language in which Sacher-Masoch writes to shape
up, perhaps for the first time in Austrian literature, into a linguistic
phenomenon characteristic of multicultural spaces—a phenomenon
later manifested in the work of other writers of Galician background:
despite the meticulously controlled adherence to the literary norm
of the national language, one can hear through its structures the
melody of a multiethnic linguistic environment. Later on powerful
examples of this phenomenon can be found in the style of two
Galician authors writing in the first half of the twentieth century,
the German-language Joseph Roth and the Polish-language Bruno
Schulz. This phenomenon provided Sacher-Masoch’s individual
style with a particular expressiveness, endowing his language with a
characteristic polyphony. Other languages . . . saturate [his works]
with a peculiar aura. 6
Tsybenko goes on to stress that for Sacher-Masoch, Galicia has remained
throughout a supra-ethnic entity, with the German, Slavic, and Jewish elements
fusing into an indivisible amalgam. All attempts to clearly identify
the ethnic identity of most of his characters, as well as of Sacher-Masoch
himself, she asserts, are in vain. 7
The presentation of Galicia under Austrian rule (which lasted from
1772 to 1918) as a multicultural utopia of tolerance, is, of course, a product
of nostalgia that glosses over the various problems the region faced over
this time. Among the most traumatic of them were the events that made

476 COMPARATIVE LITERATURE STUDIES
a very powerful impression on the young Sacher-Masoch’s psyche, namely
the failed Polish aristocratic revolution of 1846 that provoked a Ukrainian
peasant rebellion that paradoxically allied the peasants and the imperial
government against the Polish insurgents and earned the Ukrainians the
nickname “ Tiroler des Ostens ” [Tyroleans of the East] for their supposed
loyalty to the emperor. Still, this part of Ukraine fared far better than the
rest of the nation, which found itself under Russian rule.
This perhaps would be the appropriate time to begin unraveling the
tangled knot of the Russian reception of the writings of Sacher-Masoch. As
it is clear from the earlier quote, he sees the Ukrainians living in Galicia and
in the Russian-ruled Ukraine as two parts of one people (stretching from
the Don to the Carpathians) and distinguishes quite clearly between the
Ukrainians and the Russians (referring to them, respectively, as the Spaniards
and the Britons of the East). However, it is not the ethnonym “Ukrainians”
that he uses in his writing. The term “Ukraine” does appear time and again
in Sacher-Masoch’s texts, but only in reference to the Russian-ruled part of
the country. However, neither in the Russian Empire nor in the Habsburg
Empire were “Ukraine” and “Ukrainian” an official designation at the time.
In Russia, the theory of the “tripartite Russian people” was officially promulgated,
where russkii [Russian, as both a noun and an adjective] referred
as a unifying designation for the three East Slavic nations that are now
known as the Russians, the Ukrainians, and the Belarusans. The ethnic
Russians, now known as russkie , were called, in Russian, velikorossy [Great
Russians]; the Ukrainians were called malorossy [Little Russians], and only
the Belarusans were called by the same designation under which they are
known today, belorusy [White Russians]. To confuse things further, while
many nineteenth-century Russian speakers maintained a distinction between
russkie and velikorossy , others used the two terms interchangeably; according
to the historian Aleksei Miller, “the adherents of the equivalence of the
notions ‘Russian’ [ russkii ] and ‘Great Russian’ [ velikorusskii ] up until the collapse
of the Russian Empire remained a minority; the idea of the all-Russian
nation uniting all the East Slavs continued to dominate.” 8 In the Habsburg
Empire, the official designation for the East Slavic population was “ die
Ruthenen ” [Ruthenians], and the self-designation among most Galician East
Slavs, in their vernacular speech, was “ rusyny ” (sometimes given in German
as die Russinen ); the self-designation ukraïntsi [Ukrainians; in German, die
Ukrainer ] came to be embraced by the majority of Galician East Slavs only
by the late-nineteenth or early twentieth century. However, Sacher-Masoch
uses neither the term Ruthenen nor Russinen in his writing, opting instead
for “Little Russian” or “Russian” tout court (the same text could include

NATIONALIZING SACHER-MASOCH
477
both designations, “ Kleinrussen ” [Little Russians] and “ Russen ” [Russians],
referring to the same persons). A telling example occurs on the first page
of “Don Juan von Kolomea”: in the fourth paragraph, the narrator’s phrase
“meine russischen Bauern” [my Russian peasants] is accompanied by the
following author’s footnote:
Das ganze östliche Galizien vom San an, ist vorwiegend von Kleinrussen,
drei Millionen, bewohnt, welche der unirten griechischen Kirche
angehören und mit der Bevölkerung des südlichen Rußlands und
den Kosaken ein großes Volk von etwa 20 Millionen bilden, welches
sich durch Schönheit der Körperbildung, Adel der Gesichtszüge,
geistige Anlagen, Wohlklang der Sprache und seinen Reichthum an
Volkspoesie vor allen slavischen Stämmen auszeichnet.
[The whole of eastern Galicia, beginning with the San River, is home
primarily to three million Little Russians who belong to the Greek
Uniate Church and who form along with the population of southern
Russia and the Cossacks a great nation of approximately 20 million.
The beauty of their physique, the nobility of their facial features, the
harmony of their language, and the richness of their folk poetry confers
upon them the greatest distinction among the Slavic tribes.] 9
The above lines exemplify the politics of identification practiced by the
East Slavic population of Austrian Galicia in the nineteenth century. Similar
to other ethnic groups in East Central Europe, over the course of the
nineteenth century the Ukrainians experienced a major national revival,
beginning in the Russian-ruled Ukraine in the late 1790s and spilling over
into the Austrian-ruled part in the 1820s. Although the majority of Austrian
Ruthenians eventually came to embrace the Ukrainian national revival,
there were other parties among them advocating a separate Ruthenian, or
Rusyn, identity distinct from the Ukrainians (this tendency came to dominate
only in the small Rusyn-populated region of the Hungarian part of
the Habsburg empire, corresponding to the present-day Transcarpathian
region of Ukraine and a portion of eastern Slovakia). Still others displayed
Moscophile tendencies, viewing themselves and fellow Galician East Slavs
as part of the “tripartite Russian nation.” The historian John-Paul Himka
succinctly describes the situation in the following terms:
From the 1830s through World War I two different constructions of
nationality existed and competed in Galician Rus' —the Ukrainian

478 COMPARATIVE LITERATURE STUDIES
and the all-Russian. Adherents of the Ukrainian orientation
maintained that they were of the same nationality as the Ukrainians
or Little Russians across the river Zbruch in the Russian empire.
Adherents of the all-Russian orientation . . . did not deny this, but
they minimized the differences between Little Russians and Great
Russians and saw all East Slavs, including the Ruthenians of Austria-
Hungary, as part of a single Russian nationality. . . . By the latter half
of the nineteenth century, they had generated different spellings for
the adjectival form “Ruthenian”: the Ukrainophiles wrote rus'kyi , the
Russophiles wrote russkii . 10
Additionally, a small minority of educated Galician Ruthenians, especially
in the first half of the nineteenth century, advocated assimilation into Polish
national identity. Prominent representatives of this trend included Kasper
Cięglewicz, an active figure in the Polish revolutionary movement in Galicia
in the 1840s and, paradoxically, also a Ruthenian delegate to the first all-
Slavic congress in Prague in 1848. Notoriously, Cięglewicz argued that “the
Ruthenian language was a mere dialect, unsuited to be a vehicle of higher
culture, incapable of expressing the needs of an educated community; the
vehicle to meet the needs of educated Galician Ruthenians was, naturally,
Polish” (Himka, 114).
In 1850s–1860s Galicia, as Himka notes, the Moscophiles constituted
“the stronger camp” in the “open intellectual war” between them and the
Ukrainophiles. The latter gained strength only after the introduction of the
Austrian constitution in 1867; however, the Ukrainophile party, in Himka’s
opinion, “did not begin to outpace the Russophiles until the mid-1880s at
the earliest.” From that time onwards, the Moscophiles “waned in popularity,
while Ukrainophilism made rapid and irreversible progress” (128). This
evolution also impacted the linguistic standards used in Galician East
Slavic printed media. For most of the nineteenth century, Ukrainophile
publications increasingly sought to adhere closely to the locally spoken East
Slavic vernacular and used the Ukrainian orthography, while Moscophile
publications used a hybrid standard known as iazychie , heavily influenced
by Church Slavonic and Russian, but also drawing on local vernacular forms
and Polonisms, rendered in an etymologically based orthography similar
to the Russian one. While, as we shall see shortly, both leading camps among
the Galician East Slavs eventually established ties with Sacher-Masoch,
the time of his university education and early forays into literature, the
1850s–1860s, fully coincides with the period of Moscophile dominance of

NATIONALIZING SACHER-MASOCH
479
Galicia’s East Slavic intellectual life. It should not therefore be surprising
that as a dutiful student who absorbed the then dominant views, Sacher-
Masoch adopted, in his German-language writing, the Moscophile tendency
to see rus'kyi and russkii [Ruthenian and Russian] as synonyms, while at
the same time maintaining that the particular “subspecies” of Russians with
which he identified was that of the “Little Russians,” i.e., Ukrainians. Larry
Wolff, in his introduction to the Penguin edition of Venus in Furs , sums up
the ethnic and regional contexts of Sacher-Masoch’s writings by arguing
that the writer “considered himself a Slav by origin, without actually clearly
distinguishing between Ruthenian and Little Russian on the one hand,
which would denominate modern Ukrainian, and Russian on the other
hand, which would certainly have been alien to the province of Galicia and
his Habsburg homeland.” 11 As I have argued above, although this intellectual
position may appear inconsistent and contradictory by the standards of
our era, it followed logically from the state of intellectual debates on East
Slavic ethnic and cultural identity in Austrian-ruled Galicia during Sacher-
Masoch’s university years, and can be viewed as a snapshot of practices of
identification by local intellectuals at a point on the vector that carried them
from grounding the self in local communities and religious affiliation to a
worldview stemming from an ethno-linguistically and culturally grounded
conception of Ukrainian identity.
Still, while in Austria, despite certain fits and starts, the Ukrainian
national revival continued uninterrupted and gathered strength, so that by
the end of the nineteenth century, Ukrainian intellectuals hoped that Galicia
would become the Piedmont of the Ukrainian Risorgimento, in Russia it
ran into the fierce opposition of the ruling power. 12 Beginning with the 1847
crackdown on the Panslavically oriented Cyrillo-Methodian Brotherhood,
which espoused an ideal of a confederacy of free and equal Slavic states, the
Russian Empire exhibited less and less tolerance of any Ukrainian activities.
The other two major crackdowns occurred in 1863 and 1876, namely the
so-called Valuev Circular and the Ems Edict: the first banned the publication
of religious and educational texts in Ukrainian, including primers, but permitted
the publication of belles-lettres; the second prohibited the printing of any
original works or translations in the Ukrainian language. The Ems Edict also
forbade the importation of Ukrainian-language publications from abroad,
the staging of plays and public readings in Ukrainian, and the printing of
Ukrainian lyrics to musical works. The very words “Ukraine” and “Ukrainian”
were forbidden for public use as well. 13 This ban was later partially relaxed
and finally lifted in 1905, but reimposed in 1914. Simultaneously, the Russian

480 COMPARATIVE LITERATURE STUDIES
government provided financial and other support for the activities of the
Moscophiles in the Austrian part of Ukraine. This politics of crackdowns
and short-lived “thaws” continued into the Soviet era, accompanied this time
by the purges of the intelligentsia in the 1930s and 1970s and the genocide
of the peasantry through a government-engineered famine in 1933.
The first notable response to Sacher-Masoch’s writing in a Galician Ruthenian
public forum dates to 1872. Overall, from 1872 through 1893, according to
archival sources, about fifteen translations of Sacher-Masoch’s work appeared
in local East Slavic periodicals, in addition to several critical essays about
him. 14 The overwhelming majority of these responses was strongly positive,
and, predictably, came primarily from the Moscophile camp. Writing in
Slovo , the leading Moscophile periodical of the time, in his preface to the 1872
publication of the translation of the novella “Die schwarze Zarin” (1866) [The
black tsarina], Stepan Labash argued that “for us Galicians, [Sacher-Masoch]
is interesting first of all because in his polemics with the Viennese journalist
Hieronymus Lorm (1866) he publicly acknowledged that he was a Galician
Ruthenian/Russian, and further because almost all the characters of his
stories are Galicians, Ruthenian/Russian types, indeed Ruthenian/Russian
patriots.” 15 Slovo ’s gesture was followed, during the next two decades, by
several other Moscophile periodicals, among them Rodimyi listok , Zviezda ,
Chervonaia Rus' , and Galichanin . The texts chosen for translation featured
plots including Galician characters both of East Slavic and other backgrounds
(among them the novels Der neue Hiob [The new Job] and Der Judenraphael
[The Jewish Raphael], the stories “Das Gespenst von Wranow” [The ghost
of Wranow] and “Vor dem Jahr 1848” [From the year 1848]).
Compared to the Moscophile enthusiasm, the reception of Sacher-
Masoch’s writing in Ukrainophile circles was more restrained. Only one
Ukrainophile periodical, the biweekly Zoria , consistently paid attention to
his work. In its pages, in an 1880 essay entitled “Sacher-Masoch and the
Ruthenians,” Levko Sapohivs' kyi (pen name of Lev Vasylovych, 1858–1883)
expressed regret that Sacher-Masoch was not receiving his due in the
Ukrainian community:
Sacher-Masoch . . . who depicted for the whole world the undeserved
fate of our oppressed but honest and loving people . . . has
acquired a bad reputation among us. Usually we accuse him of lying!
And why? Because the Poles, ashamed at the way in which they are
reflected in the mirror of Sacher-Masoch’s writing, have said that
this mirror was a false one, that the Poles were better than the way

NATIONALIZING SACHER-MASOCH
481
Sacher-Masoch portrayed them. So we too listened to this Polish
criticism and groundlessly followed it. It appears that our judgment
was completely unjust.
For Sapohivs' kyi, the key value of Sacher-Masoch’s writing was in its
verisimilitude:
Sacher-Masoch’s peasants are the persons we see daily, attached to
their homes, fields, villages, families, and cattle. Images of nature,
Ruthenian costumes, music, and dance—Sacher-Masoch paints
everything correctly, and all his depictions are colored by poetry. 16
It would not be an exaggeration to say that the debates regarding whether
Sacher-Masoch’s portrayal of Galician Ruthenians was true-to-life essentially
comprised the Galician East Slavic reception of his work during his
lifetime. The euphoria of responses mentioned above, culminating in the
exchange between the editors of Zoria and Sacher-Masoch in 1882–83, where
the former called him “a sincere friend and supporter of our people,” and he
responded with the statement, “For as long as God grants me life and good
health, I will continue fighting for our land and the Little Russian people,”
however, was short-lived. 17 The opinion of those Galician Ukrainian intellectuals
who saw Sacher-Masoch’s depiction of their homeland as “lies” came
to prevail, as is evident from the epistolary exchange between the leading
Galician Ukrainian writer of his generation, Ivan Franko, and his wife Ol' ha.
In a letter to her husband dated July 23, 1891, Ol' ha Franko noted that she
did not see any authentic Ukrainian types in “Don Juan of Kolomyia,” to
which her husband responded: “he [Sacher-Masoch] tells truly incredible
lies about Galicia.” 18 The name of Sacher-Masoch swiftly disappeared off
the pages of Ukrainian printed media for nearly a century, to reappear only
in post-Soviet Ukraine in the early 1990s, in a very different context.
The first Russian translation of Sacher-Masoch’s writing appeared in print
in 1869, in the midst of crackdowns on Ukrainian language and culture; it
was, appropriately enough, one of his Galician stories, “Ein Erntefest in
Ostgalizien” (1868) [A harvest festival in eastern Galicia] (the translation
was titled simply “Prazdnik zhatvy” [A harvest festival]); it was followed
in 1871 by renditions of the stories “Mondnacht” [Moonlight] and “Der
Capitulant” [Retired soldier] in the prominent journal Niva . Other publications
followed in abundance, and Russia emerged, along with France, as
the foreign country where his writing enjoyed the greatest success. While

482 COMPARATIVE LITERATURE STUDIES
the French critics, following the trend launched by the influential preface
to “Don Juan von Kolomea” by the Viennese writer Ferdinand Kürnberger,
dubbed him “the Little Russian Turgenev,” for the Russian critics (e.g. Nikolai
Mikhailovskii) he was “the Little Russian Schopenhauer.” 19 The abundant
flow of publications of Russian translations (numbering more than seventy)
suddenly stopped after 1890, most likely due to the uncomfortable associations
with the author’s name that began developing after Krafft-Ebing’s
coining of the term “masochism” in 1886, and also to the growing awareness
of Masoch’s cycle Russische Hofgeschichten (1873–74) [Russian court tales],
which portrayed the imperial family, in particular his favorite Catherine II,
in a far from flattering light by conventional standards. (Throughout the
period of his high popularity in Russia, only the Galician-themed works of
Sacher-Masoch were translated into Russian.) Afterwards, only a reprint
of the Russian translation of his cycle Judengeschichten [ Jewish tales] was
published in 1899. 20 Finally, Venus in Furs , not translated into Russian during
the author’s lifetime, came out in 1908, already in the context of the widespread
use of the term “masochism” and in the midst of the first boom of
literary erotica in Russia that followed the 1905 relaxation of censorship. The
publication of a short story collection, Demonicheskiia zhenshchiny [Demonic
women], in 1913 also owes its existence to the booming market for erotica. 21
Following that episode, new Russian translations of Sacher-Masoch’s work
appeared only following the collapse of the Soviet Union.
It comes then as little surprise that in the nineteenth-century Russian
translations all Galician East Slavs are continuously rendered as “Russians”;
likewise, the Russian critics of the time, such as one of Sacher-Masoch’s
translators, S. A. Katel'nikova, asserted that the character types he portrayed
are “our . . . Russian [ russkie ] types; in their moral and intellectual makeup
all of them are Russians.” 22 What is considerably more shocking is that after
the collapse of the USSR, this discourse was reembraced with a vengeance
by most contemporary Russian interpreters of Sacher-Masoch, creating an
impression that they simultaneously want to assert that masochism is indeed
something that Sacher-Masoch “discovered” by observing the Russians and
to write out of existence the Ukrainians as a distinct nation, apparently still
convinced that the Ukrainians are merely Russians who for some unexplainable
reason want to maintain a distinct identity and make this “amusingsounding”
dialect into a full-fledged language, although “everyone knows”
it is only fit for comic relief.
It would be easy to dismiss the authors of such statements as representing
the imperialist extremist fringe if their writings were not published by the
leading Russian scholarly venues (many of them with a liberal or progressive

NATIONALIZING SACHER-MASOCH
483
reputation), dressed in all the obligatory vestments of expert discourse. Below
I would like to offer some brief comments on several such texts.
The name of Sacher-Masoch was restored to Russian public discourse
in 1992, with the publication of a volume containing the Russian translation
of Deleuze’s Coldness and Cruelty , Venus in Furs , and selected essays on
masochism by Freud. This volume was the second book published by the
Ad Marginem Press, which has since then emerged as one of the leading
publishers of critical theory in Russia. Their first volume was a collection of
essays on the Marquis de Sade by twentieth-century French thinkers; the
publication of both was funded by the French government. Leaving aside the
fact that these were rather unusual harbingers of the arrival of French critical
theory in Russia, I commend these volumes for the high level of scholarly
standards they exhibit. A number of reprints of the pre-revolutionary Russian
editions of Venus in Furs and Demonic Women soon followed, with fairly
sizable print runs but without any scholarly apparatus, and their intellectual
impact was predictably limited.
The next major publication on Sacher-Masoch in Russia constitutes an
altogether different case. In 1995, Aleksandr Etkind, by then the author of a
bestselling history of psychoanalysis in Russia, published a lengthy essay in
the prominent journal Novoe literaturnoe obozrenie entitled “Pomnish' tam, v
Karpatakh?” [Remember there, in the Carpathians]. 23 An expanded version
of the same text reappeared next year as the first chapter of his book entitled
Sodom i Psikheia [Sodom and Psyche]. At the outset, Etkind states that the
task of his text is to provide an “historical sociology of Sacher-Masoch and
his Russian readers.” 24 Sacher-Masoch for him is first and foremost “one
among many in the series of admirers of the Russian culture and Russian
women” (20). However, instead of supporting this claim by referencing, for
example, one of Sacher-Masoch’s stories about the court of Catherine II,
Etkind offers as the proof of his assertion the fact that “one of [Sacher-
Masoch’s] heroes, educating his own serf into a mistress, translates for her
Faust into Little Russian.” He goes on to assert, also without any substantial
proof, that Wanda in Venus is a Russian as well, and that the name of the
novel’s protagonist, Severin, is “modeled on Russian last names and contains
an expressive Russian root” (20). The latter would be a fascinating discovery
were this name not a fairly common one among the Ukrainians and Poles at
the time (Severyn/Seweryn—for instance, the famous seventeenth-century
Cossack leader Severyn Nalyvaiko), and etymologically traceable to the
Latin severus [serious].
Egregious errors reappear with a depressing frequency in Etkind’s
text. Among the most glaring of them is his claim that “after the second

484 COMPARATIVE LITERATURE STUDIES
partition of Poland and several other events Galicia was transferred from
the Russian empire to Austria-Hungary” (25). 25 This puzzling statement,
however, in my opinion signals not merely Etkind’s unfamiliarity with the
major events in European history that he ought to have remembered from
the history curriculum from his days as a secondary school student in the
USSR; it is also a Freudian slip symptomatic of Etkind’s attempt to repaint
Sacher-Masoch’s Galicia as a phantasmatic Russia. Halfway through his
essay, Etkind proposes that Sacher-Masoch may have learned the pleasures
of flagellation from the Russian sect of khlysty [flagellants], despite the fact
that he never mentioned khlysty in his writings (30). Etkind believes that
the sect most resembling the khlysty is described in Sacher-Masoch’s novel
Die Gottesmutter (1882) [The godmother] , but in the text they are called the
Dukhobors. 26 Ergo, the Russians are the original masochists, especially, of
course, those Russians who live in the Carpathians.
Through this stream of erroneous statements and dubious assertions by
Etkind, one perceives glimpses of a potentially productive thesis, namely, that
some of Sacher-Masoch’s nineteenth-century Russian readers, in a peculiar
combination of populism fashionable among the intelligentsia with their
susceptibility to the official imperial discourse, identified themselves with the
characters designated as Slavs (especially East Slavs) in his works. In other
words, what for Sacher-Masoch’s Western readers was an exotic context for his
tales (easily brushed aside as disposable “window dressing,” as it were), for his
Russian readers became the core of the text itself, the condition of possibility
for all the unusual behavior in which his characters engage. Remarkably, Etkind
fails to maintain a critical distance towards these phantasmatic projections and
appears to be fully trapped in the rhetoric of Russian imperialist discourse.
While, for example, the Muslim minorities or the native population of Siberia
were posited in the Russian Empire as the barbarian radical Other, the non-
Russian Slavs, by contrast, were denied any claim to a distinct identity and
kept in check by the simultaneous colonial oppression, the purposeful stunting
of growth, and the provincializing brain drain into the imperial capitals. 27
Without perhaps the imperial power behind him, but with the full implications
of expert discourse, Etkind continuously turns Sacher-Masoch and the
Ukrainians into Russians. The terms “Ukraine” or “Ukrainians” never appear
in Etkind’s study; Ukrainian identity is fully erased. Sacher-Masoch’s wet
nurse sings “Russian” songs to him; as the son of the police chief of Galicia, he
saw the punishment of “Russian” peasants; “Russian” peasants rose up against
the Polish nobility in 1846 (21). Sacher-Masoch’s plots, according to Etkind,
almost always involve a German-speaking Austrian man and a “Russian” or

NATIONALIZING SACHER-MASOCH
485
“Russian-speaking” woman; the writer’s ideology was a “Carpathian variant
of the Russian narodnichestvo [populism]” (26). The capital of Ukraine, Kyiv,
and its immediate surroundings, constitute, according to Etkind, “an exotic
Russian setting” (35). Rather than subjecting the reader to a continuation of this
lengthy list, I will offer a final quote from Etkind: discussing one of Sacher-
Masoch’s Galician stories, “Der Hajdamak” (1877) [The Haidamak], a text full
of local historical and ethnographic information about Oleksa Dovbush, the
Carpathian Robin Hood, and the opryshky , his followers, he asserts, without
advancing any substantial proof, “Sacher-Masoch’s characteristic desire to
erase cultural boundaries between the Carpathians and Russia” (44). With a
depressing consistency, Etkind’s text seeks to present the author’s own phantasmatic
projections as a factual narrative.
Many of Etkind’s tendencies are also found in abundance in the volume
of Sacher-Masoch’s selected writings in the Russian translation that
appeared in early 2000. Brought out by the prestigious Akademicheskii
Proekt publishing house, it could be indicative to an extent of the current
state of Russian scholarly publishing. In his preface to the book, the
translator Evgenii Voropaev does use the terms “Ukraine” and “Ukrainian”
a couple of times at the outset, but only to present the erroneous claim that
the folk poetry collection Rusalka Dniestrovaia: Ruthenische Volks-Lieder [The
Dniester nymph: Ruthenian folksongs], which appeared in Austria in 1837,
shortly after Sacher-Masoch was born, was the first book to be published in
Ukrainian (even if he meant “modern Ukrainian,” the date needs to be set back
thirty-nine years to the publication of Ivan Kotliarevs' kyi’s Eneida in 1798). 28
Afterwards, Voropaev likewise abandons these terms and fills both the preface,
the footnotes, and the translations with “Russians” and “Little Russians,” for
example sending the characters of one of the stories to a “Russian theater in
Kolomeia” (142). In a particularly bizarre twist he retransliterates from the
nineteenth-century German spelling the various Slavic personal names and
toponyms, thus Kolomyia becomes Kolomeia, Handzia becomes Gandzha,
and so forth; when in one of his stories Sacher-Masoch quotes a Ukrainian
folk song, it is reproduced in the book in the German Latin transliteration
(113). In an unexpected twist, Voropaev expends considerable time and energy
to attack in his prefatory essay the persons he calls “pseudo-scholars”—the
individuals who supposedly try to provide “explanatory grounds” to various
“perversions” and “turn those perversions into the principle of freedom” (15).
Among such “pervert scholars” he lists a certain “V. Bul' ba from the University
of Toronto” who allegedly “writes about Jesus’s homosexuality,” along with
Karen Horney, “who turns the Maid of Orleans into a heroine and an example

486 COMPARATIVE LITERATURE STUDIES
for emulation,” and Elisabeth Moltmann-Wendel, who “presents God in the
image of a woman” (15). 29 Voropaev provides no supporting references, but it
seems unlikely that this outburst was intended to be a practical joke. A few
paragraphs later, he proceeds to mount a defense of Sacher-Masoch:
The clash of the rational and the soulful, of science and faith in the
life and creative work of the Austrian writer (especially against the
background of his personal fate and his peculiar, from the point of
view of society’s morals, relationships with women) was probably
rather dramatic, although he may not have confessed that to himself.
For his roots in the people were far too strong ( Uzh slishkom sil'ny v
nem byli narodnye korni ). His education, background and culture were
sown into the soil of traditions, bound unbreakably with faith and
superstition, with the mystical pantheism of his motherland, with
the yearnings and fears of the natural man, whom he understood as
few people did. (16)
Voropaev goes on to describe Sacher-Masoch as a “deeply religious person
. . . under a strong influence of folk mystical beliefs” (23). Finally,
Sacher-Masoch’s greatest accomplishment, for Voropaev, is that he became
“zhivopisets malorossiiskoi derevni, zhiteli kotoroi zhivut v neposredstvennom
soprikosnovenii s prirodoi” (25) [the painter of the Little Russian village,
the inhabitants of which live in direct contact with nature]. Thus if one
were to judge the current state of Russian literary scholarship by Voropaev’s
standards, one would have no choice but to conclude that it remains frozen
in time circa 1876.
Fortunately, contemporary Russian scholarship on Sacher-Masoch
did not stop with Etkind and Voropaev. The first decade of the twenty-first
century saw a series of new publications of Russian translations of Sacher-
Masoch’s writing (nearly twenty of them are currently in print, according to
the leading Russian online bookstore, Ozon.ru). In a refreshing turn of events,
most of these editions are accompanied by accessible and professional introductory
essays and explanatory notes by the St. Petersburg-based German
literature scholar, Larisa Poluboiarinova. Her long-standing interest in this
writer culminated in the 2006 publication of a more than 600-page tome,
Leopol'd fon Zakher-Mazokh: Avstriiskii pisatel' epokhi realizma [Leopold von
Sacher-Masoch: An Austrian writer of the era of realism]. 30 Poluboiarinova’s
book is marked by a measured tone, extensive familiarity with current literary
and cultural theory, as well as painstaking work with archival sources;
she focuses her attention primarily on the German-language contexts of

NATIONALIZING SACHER-MASOCH
487
Sacher-Masoch’s writing, and offers a fascinating reading of his work as a
proto-postmodernist subversion of realist fiction—in fact, a simulacrum of
realist writing, characterized by a “shimmering” authorial position. Her volume
contains an extensive comparatist consideration of Sacher-Masoch and
Turgenev, the author with whom the former was most frequently compared
during his lifetime by his Western European critics; however, the context
in which Poluboiarinova views these two writers stems from the reception
of Turgenev’s work by the French and German audiences of the second
half of the nineteenth century (as Turgenev became the first prominent
Russian writer to achieve renown in the West during his lifetime), rather
than the reception of the two authors by their Russian readers. Following
a psychoanalytic approach to negation, she subverts Turgenev’s vehement
and repeated denials of any similarity between his writing and that of his
Austrian colleague and uncovers many typological parallels that go far beyond
a view of Sacher-Masoch’s early work as an imitative following of Turgenev’s
Sportsman’s Sketches and other influential writings. Poluboiarinova’s book is an
outstanding accomplishment in many respects; but sadly she, too, stumbles,
like most of her Russian colleagues, on “the Ukrainian question.” In the section
of her book entitled “Zakher-Mazokh i slavianstvo” [Sacher-Masoch
and Slavdom], Poluboiarinova displays lack of familiarity with any sources
on the Galician East Slavs, their culture, identity, or the language politics
of the region. She mounts an argument about “the minuscule participation
of Ukrainians, in the nineteenth century, in the cultural discourse of the
Danubian monarchy,” offering as her only supporting evidence the extreme
case of Kasper Cięglewicz, a rare advocate of full polonization of educated
Ruthenians, and his notorious denial, in 1848, of the right of Galician
Ruthenians/Ukrainians to be considered “a separate nation” in view of their
language being “underdeveloped” (103). 31 In a questionable application of
the professional jargon of contemporary Russian advertising copywriters,
Poluboiarinova argues that Sacher-Masoch’s use of the terms “Russian” and
“Little Russian” can be explained by the fact that “Russian,” for the Western
European reading public of his time, was an attractive well-developed
“brand” [ raskruchenyi brend ] as opposed to the presumed “obscurity” of the
Ukrainians. She admits that the Slavic themes in Sacher-Masoch’s writings
are “fairly clearly divided into three parts: polonica , ukrainica , and rossica ,” but
does not attempt to reconcile this with her dismissal of actual nineteenthcentury
Ukrainian culture as worthy of more than passing attention (105).
In other words, Poluboiarinova’s book, otherwise an exemplar of scholarly
objectivity, shares with the majority of Russian academic work a persistent
ignorance and disrespect of Ukrainian history and culture. This threatens

488 COMPARATIVE LITERATURE STUDIES
to topple her elegant argument about a nineteenth-century Austrian writer
who cleverly uses his proto-postmodernist simulacra of Turgenevian texts
to advance his own peculiar agenda.
In conclusion, let us return to Gilles Deleuze’s seminal study of
Sacher-Masoch, Coldness and Cruelty . In its final pages, Deleuze emphatically
reasserts that “it is necessary to read Masoch. His work has suffered
from unfair neglect, when we consider that Sade has been the object of
such penetrating studies both in the field of literary criticism and in that of
psychoanalytic interpretation, to the benefit of both. . . . By his techniques
alone [Sacher-Masoch] is a great writer.” 32 I second Deleuze’s imperative,
even if I would qualify his statement by saying that Sacher-Masoch was an
uneven, if extraordinarily prolific author. Still, there are some truly powerful
and masterfully crafted texts among his œuvre. It is equally important,
in my opinion, to read carefully Sacher-Masoch’s interpreters, for the spin
to which his writing is at times subjected is often more indicative of the
state of the particular intellectual environment to which these interpreters
belong rather than of the original context of the writer they discuss. Thus,
refusing the tortured post-imperialist melancholic fantasies of Etkind and
Voropaev, I ally myself with Tsybenko, who presents Sacher-Masoch as a
proto- postmodernist, not of the quasi-Baudrillardian simulacra-producing
variety, but rather as an unusual and underappreciated pioneer of multiculturalism.
Tsybenko draws the reader’s attention to several peculiar features
of Sacher-Masoch’s writing. For example, she notes the announced reflexive
or potentially even critically subversive presence of the author in the text,
usually as the framing autobiographically-identified narrator (as in “Don Juan
of Kolomyia” or Venus in Furs ), and highlights the grotesque and parodic
aspect of much of his writing (as, for instance, the story “Die Toten sind
unersättlich” (1875) [The dead are insatiable] which parodically alludes not
only to the Gothic horror genre, but also to Sacher-Masoch’s own earlier
texts) (367, 379). Finally, there is the continuous discursive polyphony of his
writing. All of these features allow us to view Sacher-Masoch as a quintessentially
Galician author, and Galicia as a region that is somehow “organically
postmodernist” in its cultural makeup. Such at least is the view of most
Galician authors writing today, and the region is indeed the lively epicenter
of postmodernist experimentation in Ukrainian letters, as demonstrated by
the writings of Yuri Andrukhovych, Izdryk, Taras Prokhas' ko, and a number
of other authors.
Andrukhovych, arguably the contemporary Ukrainian author best
known internationally, entitled a playful recent essay “A Little Bit of Sisyphus,
a Little Bit of Sacher-Masoch. Ukrainian Writer: The 2007 Model.” 33

NATIONALIZING SACHER-MASOCH
489
This mixture of Sacher-Masoch and Sisyphus, for him, means “a sweet and
fascinating prospect of eternally starting from scratch”—a subversive and
refreshing take on the current predicament of Ukrainian literature in view
of the seemingly endless fits and starts of Ukraine as a cultural and political
entity on the world arena. Sacher-Masoch surely offers an outstanding
example of similar persistence. At the end of a somewhat disturbing narrative,
I, following the fashion of many of Sacher-Masoch’s own texts, would
like to conclude this essay on this optimistic note.
Miami University (Oxford, OH)
Notes
1. Fernanda Savage, introduction to Leopold von Sacher-Masoch, Venus in Furs (N.p.:
Private printing, 1921), http://www.gutenberg.org/dirs/etext04/8vnsf10h.htm.
2. For a detailed study of this approach to the writer’s legacy, see David A. Goldfarb, “Bondage
and the Frame,” (paper presentation, convention of the Modern Language Association of
America, Washington, DC, December 2000). See also Goldfarb’s other conference presentations
and his forthcoming monograph.
3. Gilles Deleuze, “Coldness and Cruelty,” in Masochism, Gilles Deleuze and Leopold von
Sacher-Masoch, trans. Jean McNeil (New York: Zone Books, 1991), 15.
4. See Gilles Deleuze, Essays Critical and Clinical , trans. Daniel Smith and Michael Greco
(Minneapolis: U of Minnesota P, 1997).
5. Leopold von Sacher-Masoch, “Zhinochi obrazky z Halychyny,” trans. Ivan Herasym, in
Vybrani tvory (L' viv: Litopys, 1999), 19, 21.
6. Larysa Tsybenko, “Pisliamova,” in Vybrani tvory , 366. Unless otherwise stated, translations
from the Ukrainian and Russian are mine.
7. Ibid., 374.
8. Aleksei Miller, Imperiia Romanovykh i natsionalizm (Moscow: Novoe literaturnoe obozrenie,
2006), 71.
9. Leopold von Sacher-Masoch, “Don Juan von Kolomea,” Projekt Gutenberg-DE , http://
gutenberg.spiegel.de, trans. Michael T. O’Pecko, “Don Juan of Kolomea,” in Love: The Legacy
of Cain (Riverside, CA: Ariadne Press, 2003), 66.
10. John-Paul Himka, “The Construction of Nationality in Galician Rus': Icarian Flights in
Almost All Directions,” in Intellectuals and the Articulation of the Nation , ed. Ronald G. Suny
and Michael D. Kennedy (Ann Arbor, MI: U of Michigan P, 1999), 124–5. Further citations
in text.
11. Larry Wolff, introduction to Leopold von Sacher-Masoch, Venus in Furs , trans. Joachim
Neugroschel (Harmondsworth: Penguin, 2000), xiv.
12. See Paul R. Magocsi, The Roots of Ukrainian Nationalism: Galicia as Ukraine’s Piedmont
(Toronto: U of Toronto P, 2002).
13. See Fedir Savchenko, The Suppression of the Ukrainian Activities in 1876 (Munich: W. Fink,
1970). The English translations of both the Valuev Circular and the Ems Edict are available
as appendices in Aleksei Miller, The Ukrainian Question: The Russian Empire and Nationalism
in the Nineteenth Century (Budapest: Central European UP, 2003).
14. See Mariia Val’o, “L. Zakher-Mazokh i Ukraïna,” Vsesvit 3 (1994): 152.
15. Stepan Labash, introduction to “Die schwarze Zarin” Slovo 83 (1872), quoted in Ievhen
Nakhlik, “Retseptsiia L. fon Zakher-Mazokha v zakhidnoukraïns' komu literaturnomu protsesi
XIX st.,” in Ukraïns'ka literatura v Avstriï, avstriis'ka—v Ukraïni: Materialy mizhnarodnoho

490 COMPARATIVE LITERATURE STUDIES
sympoziumu (Kyiv: Brama Ltd., 1994), 113. For more on Slovo , see ch. 12 of Miller’s The Ukrainian
Question , “The Subsidy for Slovo : Galician Rusyns in the Policy of St. Petersburg” 211–220.
16. Levko Sapohivs'kyi, “Sakher-Masokh a rusyny,” Zoria 23 (1880): 300, 302; quoted in
Nakhlik, 114–5.
17. Zoria , 1882, 23: 371; 1883, 4: 64.
18. Ivan Franko, Zibrannia tvoriv u 50 tomakh (Collected works in 50 volumes), vol. 49 (Kyiv:
Naukova dumka, 1986), 286.
19. See Nikolai Mikhailovskii, “Palka o dvukh kontsakh,” Otechestvennye zapiski 7 (1877): 284.
20. See Leopold von Sacher-Masoch, Sochineniia Zakher-Mazokha: Evreiskie razskazy , trans.
A. S. Razmadze (1887; Moscow: Tip. E. Gerbek, 1899).
21. Leopold von Sacher-Masoch, Demonicheskiia zhenshchiny (St. Petersburg: Tip. V.Ia.
Mil’shteina, 1913), an anonymous translation of a selection from Sacher-Masoch’s Hinterlassene
Novellen , posthumously published in 1901.
22. S. A. Katel'nikova, preface to Leopold von Sacher-Masoch, Zaveshchanie Kaina ,
trans. S. A. Katel'nikova (Moscow, 1877), 1: v.
23. See Aleksandr Etkind, Eros nevozmozhnogo: Istoriia psikhoanaliza v Rossii (St. Petersburg:
Meduza, 1993), trans. Noah and Maria Rubins, Eros of the Impossible: The History of Psychoanalysis
in Russia , (Boulder, CO: Westview Press, 1997).
24. Aleksandr Etkind, Sodom i Psikheia: Ocherki intellektual'noi istorii Serebrianogo veka
(Moscow: ITs-garant, 1996), 12. Further citations in text.
25. Galicia was never part of the Russian empire; it became part of the Austrian Empire—
known as Austria-Hungary only after the Ausgleich of 1867—following the first partition of
Poland in 1772, not the second one in 1793.
26. The censored Russian translation of the novel was published, in a serialized form, in
1880, preceding the German book edition. This fact provides additional testimony to the high
regard in which Sacher-Masoch’s writing was held in Russia at the time.
27. On the double oppression of Ukraine as a colony and as a province, see George Grabowicz,
“Ukrainian Studies: Framing the Contexts,” Slavic Review 54.3 (1995): 674–90, esp. 675–79.
28. Evgenii Voropaev, “Don Zhuan ili Don Kikhot?,” preface to Leopold von Sacher-Masoch,
Kolomeiskii Don Zhuan , trans. Evgenii Voropaev (St. Petersburg: Akademicheskii proekt, 2000),
5. Further citations in text.
29. It appears that Voropaev has in mind the noted psychoanalyst Karen Horney and the
German feminist theologian Elisabeth Moltmann-Wendel; I have not been able to ascertain
who V. Bul’ba might be.
30. See Larisa Poluboiarinova, Leopol'd fon Zakher-Mazokh: Avstriiskii pisatel' epokhi realizma
(St. Petersburg: Nauka, 2006).
31. Cf. John-Paul Himka’s discussion of Cięglewicz referenced above.
32. Deleuze, “Coldness and Cruelty,” 133.
33. See Yuri Andrukhovych, “Trokhy Sizifa, trokhy Zakher-Mazokha. Ukraïns' kyi
pys'mennyk: model’ 2007,” delivered at the conference Ukraine 2007: The Role of the Public in a
Society in the Process of “Opening Up,” organized by the Greens/European Free Alliance faction
of the European Parliament and the Heinrich Böll Foundation, held at the European Parliament
in Brussels, 7 February 2007; text available at http://maidanua.org/static/mai/1171534180.
html.

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To culturally and academicaly enrich the experience of HUSI students, on selected Fridays we will gather for a series of indepth,
3-hour workshops (with tea and sandwiches break) on topics related to the study of Ukraine.
Cinemas of Ukraine: A Global Perspective by Prof. Yulia Ladygina
Date: Friday, August 1
Time: 2-5pm
Place: Omeljan Pritsak Library at HURI
What is Ukrainian cinema? Who are its main characters? What could be possibly of any interest in its past, present, or
future to a foreign viewer? These are the key question we will address in our survey of films created over a hundred years
by Ukrainians, in Ukraine, expressing a Ukrainian point of view, and intended for a Ukrainian viewer. Using methods of
literary and film analysis, we will examine selected shots and iconic images from many significant works by Oleksander
Dovzhenko, Ihor Savchenko, Serhiy Bondarchuk, Grigorii Chukhraj, Yuri Illienko, Serhij Parajanov, Volodymyr Dakhno, Kira
Muratova, Jerzy Hoffman, Ihor Podolchak, Larysa Kondracki, Akhtem Seitablaev, and other prominent artists. Students will
come away with basic techniques in film analysis and coherent arguments on such complex issues as the relationship
between society and film in Soviet and post-Soviet Ukraine.
After completing her PhD in Comparative Literature at UC San Diego in 2013, Yuliya Ladygina took a
position at Williams College, where she teaches Russian and Comparative literature, Russian
Language, Film, and Rhetorical Writing. Yuliya's scholarly interests revolve around the intellectual
history of fin-de-siècle and interwar Europe and the state-sponsored informational warfare in
contemporary Russia. Her main research focuses on the literary oeuvre of Olha Kobylianska and the
complex evolution of cultural, social, and political discourses in her writings – feminism,
Nietzscheanism, elitism, nationalism, and fascism are only a few to name. Over the spring of 2014, Yuliya was a Mihaychuk
Research Fellow at the Harvard Ukrainian Research Institute, where she worked on developing her Kobylianska research
project into a book. Yuliya's latest article "The Early German Text of Olha Kobylianska's First Novel The Princess (Царівна,
1896): Transcription, Translation, Analysis" is forthcoming with Harvard Journal of Ukrainian Studies.
Copyright © 2014 The President and Fellows of Harvard College
http://www.huri.harvard.edu/husi/special-events.html
Page 1 of 1

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7/23/14, 8:01 PM
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Top 10 arti!ti ucraineni pe care trebuie s" îi
descoperi
de Veronica Enusca | in July 23rd, 2014 | 0 comentarii
CARTI
Integritatea Ucrainei e amenin!at" de separati#tii ru#i ai lui Putin, care nu pot respecta
independen!a unei !"ri surpinz"toare, uneori poetic" #i natural", cu mun!i #i o remarcabil" biodiversitate
#i alteori înc"p"!ânat" #i cosmopolit". Într-o !ar" unde primii oameni de stat ajung în închisoare, Ucraina
vrea s" î#i protejeze propria modalitate de a-#i g"si drumul, separat de Rusia, care o amenin!" cu
distrugere, moarte #i crim". Lista noastr" cuprinde 10 cei mai interesen!i arti#ti din cultura Ucrainei.
10. În filmul Foametea 33 (Holod 33, Famine 33), din 1991, regizorul Oles Yanchuk, explic" metodele
coercitive aplicate de ru#ii avizi de putere, când, în 1933, milioane de ucraineni au murit în foametea
artificial" din 1933.
9. Cu imaginea de b"iat r"u #i colaborarea cu popularul regizor Alan Badoev, Max Barskih a devenit
unul din juc"torii principali în insolita pia!a muzical" din Ucraina, de#i are numai 24 de ani #i este
celebru din 2010, dup" participarea la emisiunea Star Factory.
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Leticia Moisescu: ”Artist nu e cel
care apare la televizor, artist este cel
chemat la evenimente”
July 23rd, 2014
Bastille lanseaz! videoclipul Oblivion
cu trei s!pt!mâni înainte de
concertul de pe domeniul "tirbei
July 23rd, 2014
Top 10 arti#ti ucraineni pe care
trebuie s! îi descoperi
July 23rd, 2014
Newsletter
Email
Confirma
8. Capodopera lui Irene Nemirovsky, Suita francez", a fost publicat" în 2004, la zeci de ani dup" ce a
fost scris" #i dup" ce autoarea ei a murit la Auschwitz. Cele dou" p"r!i ale romanului-document sunt
exerci!ii de memorie #i refle!ie asupra Parisului ocupat de nazi#ti.
Reclama
7. Dac" în Rusia oamenii homosexuali sunt sechestra!i din casele lor #i uci#i, în Ucraina, comediantul #i
muzicianul travestit Verka Serduchka este unul din cei mai cunoscu!i arti#ti ai !"rii.
http://www.x-tremeradio.ro/top-10-artisti-ucraineni-pe-care-trebuie-sa-ii-descoperi/11342
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Top 10 artiști ucraineni pe care trebuie să îi descoperi | X-treme Radio
7/23/14, 8:01 PM
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6. Tribul, c!ruia X-treme Radio i-a dedicat o recenzie, este un film "ocant, p!trunz!tor, care, cu
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4. Intelectualii ucraineni o iubesc "i noi la fel: muzica lui Alloise este infuzat! cu motive clasice de blues
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X-treme TV
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http://www.x-tremeradio.ro/top-10-artisti-ucraineni-pe-care-trebuie-sa-ii-descoperi/11342
Page 2 of 4

Top 10 artiști ucraineni pe care trebuie să îi descoperi | X-treme Radio
7/23/14, 8:01 PM
3. Sergei Sviatchenko locui!te în Danemarca, îns" suprarealismul lui e imediat, a!a cum cultura sa o
cere, de!i succesul artistului este mixul acestuia cu arta pop: Roy Lichtenstein îl întâlne!te pe Rene
Magritte.
2. Quest Pistols !i-au descoperit succesul de ziua p"c"lelii, când au cântat live un cover la o emisiune
popular" din Ucraina. De atunci, trioul continu" s" lanseze piese, s" înregistreze muzic" !i s" fac" turnee.
1. Literatura puternic" a lui Nikolai Gogol înc" inspir" oamenii, poate de aceea Nabokov spunea c" „de
sub haina lui Gogol am ie!it to#i”. Suflete moarte vorbe!te despre birocra#ie, corup#ie politic" !i efectele
subtile ale unui vie#i f"r" valori interioare.
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Антін Мухарський. Майдан. (R)еволюція духу. Каталог-альманах. (подарункове видання). // www.UMKA.com.ua
7/29/14, 9:51 AM
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Antin Mukharsky. Maidan. (R)evolutsia dukhu. Catalogue Almanac. /deluxe edition/. (The (R)Evolution of the Spirit) // www.UMKA.com.ua
7/29/14, 9:51 AM
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NEW ITEMS BESTSELLERS REVIEWS CATALOGUE PAYMENT & SHIPPING SALE!!! MUSIC HOUSE "KRAYINA MRIY"
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DISC OF THE DAY
Maidan. Catalogue
Almanac. /deluxe edition/
Domestic: 256.14UAH
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gloomy romanticism
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Ukrainian Proverbs
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NEWSLETTER
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Antin Mukharsky. Maidan. (R)evolutsia
dukhu. Catalogue Almanac. /deluxe
edition/. (The (R)Evolution of the Spirit)
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"The publication is intended for
readers interested in the
controversial view of the
Ukrainian history, politics, and
culture. The large full-color
almanac (also, in parallel, a
black-and-white print book
has been released) is a
kaleidoscope combining candid
and critical perspectives of the
Ukrainian Revolution of 2013-
2014, emotions without cuts,
and the details that were left off
media screens. All of that is part
of a large-scale arts and cultural
project, which also includes the
same-name documentary on
exploits of ordinary fighters,
volunteers, physicians, and civil
society activists of Maidan.
Public intellectuals, social
activists, philosophers,
historians, writers, artists,
heroes and witnesses of the revolutionary days of the Ukrainian history have
in the diaries, essays, and exclusive interviews described the dark and light
sides of Maidan, versions of the causes and consequences, the "white spots"
and the mysterious coincidences in the events of November, 2013-February,
2014. And the summary to that is revolutionary poems by Serhiy Zhadan,
Dmytro Bykov, and other famous poets." (from materials of the press release)
The publication is illustrated with around 200 photographs by Ukrainian
photographers. The almanac is one of the first attempts at most complete
coverage, comprehension, understanding of historical, philosophical, and
cultural aspects and issues of the revolutionary days.
The style of speech and writing by the authors is preserved.
Good glossy paper has been used for the catalogue, its size is much larger
than standard books and, in contrast to the black and white illustrations of
"Maidan" book, the catalogue now contains color drawings and photos.
In Ukrainian.
Type of the edition: soft cover
Format: 235x315 mm
Number of pages: 304, illustrated
Publisher: Nash Format, Kyiv
Contents:
- Antin Mukharsky. Shchob pam’jataly!
- Inna Kornelyuk. (R)Evoljutsija tsinnostey
- Yelyzaveta Belska. Ljubov. Mrija. Ukrajina
1. KhRONIKA PODIY JeVROMAYDANU. VYBRANE
2. OChEVYDTsI. UChASNYKY MAYDANU:
- Mustafa Nayem. FB-shchodennyk ukrajins‘koji revoljutsiji
- Dmytro Bulatov. Hosudarstvo – eto my s vamy
- Mykhaylo Havrylyuk. Ja ne khotiv, shchob moja dytyna bua rabom
- Olesya Zhukovska. Pro Maydan
- Vladyslav Kyrychenko. Black side of the Maidan
- Serhiy Koba. Do shturma Mezhyhor‘ja bylo polshaha
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Page 1 of 11

Antin Mukharsky. Maidan. (R)evolutsia dukhu. Catalogue Almanac. /deluxe edition/. (The (R)Evolution of the Spirit) // www.UMKA.com.ua
7/29/14, 9:51 AM
- Volodymyr Parasyuk. Tsja natsija neperemozhna
- Serhiy Pojarkov. Revoljutsija. AvtoMaydan
- Yanholy Maydanu
3. MAYDAN. ANALITYKA:
- Taras Voznyak. Sens Maydanu
- Serhiy Datsyuk. Peredumovy ta sut‘ Maydanu 2013-2014
- Yaroslav Hrytsak. Ukrajina vytrymaje i tse vyprobuvannja
- Ihor Podolchak. Maydan jak VOLJa ABO SMERT‘
- Andriy Portnov. Ukrajins‘ka "Evrorevoljutsija". Dejaki sposterezhennja
- Yevhen Sverstiuk. Zminni vitry chasu
- Vadym Skurativsky. VIChE. Maydan
- Mykhayl Khodorkovskyy. Strana passyonaryev
4. LITERATURNYY MAYDAN:
- Yuriy Andrukhovych. Simsot ljutykh dniv, abo rol‘ kontrabasa v revoljutsiji
- Oleksandr Boychenko. Sutsil‘na zahadka Revoljutsiji
- Andriy Bondar. Revoljutsija Voli
- Yuriy Vynnychuk. Impers‘ka srachka
- Oksana Zabuzhko. Maydan. Nevyvcheni uroky istoriji
- Irena Karpa. Kil‘ka kart iz peremishanoji kolody
- Andriy Lyubka. Sizifova revoljutsija
- Taras Prokhasko. Kozhnomu svoje
5. MYSTETs‘KYY MAYDAN:
- Antin Mukharsky. Maydan. Mystetstvo sprotyvu
- Oleksandr Roytburd. FB-shchodennyk. Vybrane. MAYDAN 2013-2014
- Olesya Avramenko. Vohon‘ ljubovi
- Ivan Semesyuk. Gonzo-shchodennyk ljutoho ukrajinozhera
- Oleksa Mann. FB-shchodennyk hromadjanyna khudozhnyka
- Vlad Troitsky. Pravo na mechtu
- Les Podervyansky. U mene z’javylas‘ krajina
6. REVOLJuTsIYNA POEZIJa:
- Dmytryy Bykov
- Yuriy Vynnychuk
- Serhiy Zhadan
- Orest Lyuty
- Artem Polezhaka
!"#$%&'(
0
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Publisher: Nash Format
Catalogue number: ISBN 9789669742520
Year: 2014
See all albums and songs of the musician(s) on our site:
- Antin Mukharsky
Domestic price: 256.14UAH
International price: $56.92USD
1
See also:
Antin Mukharsky. Maidan. (R)evolutsia dukhu: the art
and culture project. (The (R)Evolution of the Spirit)
The publication is intended for readers interested in the
controversial view of the Ukrainian history, politics, and
culture. The book "Maidan" is a kaleidoscope combining
candid and critical perspectives of the Ukrainian Revolution
http://umka.com/eng/catalogue/gift-ideas/antin-mukharsky-maidan-r-…tsia-dukhu-catalogue-almanac-deluxe-edition-r-evolution-of-t.html
Page 2 of 11

Александр Ройтбурд: В российских фильмах ФСБшник – супергерой…ется жалким, хитрым и тупым | Информационный портал Re:plika
8/5/14, 4:32 PM
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Page 1 of 3

Александр Ройтбурд: В российских фильмах ФСБшник – супергерой…ется жалким, хитрым и тупым | Информационный портал Re:plika
8/5/14, 4:32 PM
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TV Republika POLSAT Romans TVP ABC FilmBox Arthouse
05:45
06:00
05:35
06:05
Polityczna
kawa
(magazyn)
prow.: Tomasz
Sakiewicz,
06:40
Za siódm# gór#
(program
publicystyczny)
prow.: Stefan
Czerniecki,
Marta
Je$ewska,
07:00
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dobry
(poranek w TV
Republika)
prow.: Piotr
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07:01
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07:35
Linia $ycia
(serial obyczajowy) odc. 9, re$.: Katarzyna
Jungowska, Micha" Kwieci!ski, Wojciech
Pacyna, Jacek So"tysiak, Micha" Kwieci!ski,
Jacek So"tysiak, Wojciech Pacyna, wyst.:
Polska, 2011
06:30
Linia $ycia
(serial obyczajowy) odc. 10, re$.: Katarzyna
Jungowska, Micha" Kwieci!ski, Wojciech
Pacyna, Jacek So"tysiak, Jacek So"tysiak,
Wojciech Pacyna, wyst.: Polska, 2011
07:00
Pierwsza mi"o%&
(serial obyczajowy) odc. 585, re$.: Oki"
Khamidow, Pawe" Chmielewski, wyst.: Aneta
Zaj#c, Miko"aj Krawczyk, Polska, 2007
07:45
Pierwsza mi"o%&
(serial obyczajowy) odc. 586, re$.: Oki"
Khamidow, Pawe" Chmielewski, wyst.: Aneta
Zaj#c, Miko"aj Krawczyk, Polska, 2007
08:30
Jeste% moim $yciem
(serial obyczajowy) odc. 154, re$.: Rodolfo
Antúnez, Jorge Bechara, wyst.: Natalia
Oreiro, Facundo Arana, Argentyna, 2006
09:30
Jeste% moim $yciem
(serial obyczajowy) odc. 155, re$.: Rodolfo
Antúnez, Jorge Bechara, wyst.: Natalia
Oreiro, Facundo Arana, Argentyna, 2006
10:30
Tylko mi"o%&
(serial obyczajowy) odc. 41, re$.: Przemys"aw
Angerman, wyst.: Ma"gorzata Ko$uchowska,
Bart"omiej 'widerski, Marysia (yszkowska,
Polska, 2008
11:30
Bolek i Lolek wyruszaj# w
%wiat
(serial animowany) odc. 13,
Na Dzikim Zachodzie,
Polska, 1968
05:50
Pampalini, "owca zwierz#t
(serial animowany)
Pampalini i grizzly, Polska,
1977
06:05
Smerfy
(serial animowany) odc. 43,
Pud"o brzydkich
sztuczek/Lunatykuj#ce
smerfy, re$.: Ray Patterson,
Jose Dutillieu, Belgia, 1988
06:35
Papierowy teatrzyk
(program dla dzieci) 'winka
morska, Polska, 1997
06:55
Tom and Keri
(serial animowany) odc. 7,
Five Cakes, Polska, 2012
07:05
Król Maciu% Pierwszy 2
(serial animowany) odc. 9,
Wielki magik, Niemcy,
Francja, Polska, 2007
07:25
Przygody Bolka i Lolka
(serial animowany) odc. 19,
Zielone %cie$ki, Polska, 1974
07:30
Literkowe ABC
(program dla dzieci)
Bia"y Kie" na Dzikim Zachodzie
(western) re$.: Vito Bruschini,
wyst.: Tony Kendall, Fabrizio
Mariani, Inga Alexandrova,
W"ochy, 1977
07:35
Glen czy Glenda
(film obyczajowy) re$.: Edward
D. Wood Jr., wyst.: Edward D.
Wood Jr., Bela Lugosi, USA,
1953
08:45
Historia Qiu Ju
(komediodramat) re$.: Yimou
Zhang, wyst.: Gong Li, Chiny,
Hongkong, 1992
10:30
Pojedynek w ciszy
(dramat obyczajowy) re$.: Akira
Kurosawa, wyst.: Toshirô Mifune,
Japonia, 1949
12:05
Jimmy della collina
(dramat obyczajowy) re$.: Enrico
Pau, wyst.: Nicola Adamo,
W"ochy, 2006
13:35
Paisan
(dramat obyczajowy) re$.:
Roberto Rossellini, wyst.:
Carmela Sazio, Robert Van Loon,
Benjamin Emanuel, W"ochy,
1946
15:35
Cztery noce marze!
(dramat obyczajowy) re$.: Robert
Bresson, wyst.: Isabelle
Weingarten, Guillaume des
Forets, Jean-Maurice Monnoyer,
Francja, W"ochy, 1971

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City in Ukraine Tied to Masochism Finds Link Painful, Sure, but Some Like It - NYTimes.com
11/17/14, 10:17 AM
http://nyti.ms/117FFgX
EUROPE | !NYT NOW
City in Ukraine Tied to Masochism Finds Link
Painful, Sure, but Some Like It
By ANDREW HIGGINS NOV. 14, 2014
LVIV, Ukraine — Taras Demlan was out for a quiet drink with friends in the
western Ukrainian city of Lviv, a beguiling jewel of Hapsburg architectural
splendor, and his companions persuaded him to try the specialty of the house.
A waitress took off his shirt, tethered his hands behind the back of a chair
and began dripping molten wax from a burning candle on Mr. Demlan’s chest.
Then came a rubdown with ice cubes followed by lashings of a whip across his
bare back.
“That,” said Mr. Demlan of his ordeal at Lviv’s Masoch Cafe, “was really
uncomfortable.”
Discomfort, however, is exactly what Leopold von Sacher-Masoch, the
19th-century writer from Lviv in whose honor the cafe is named, would have
wanted. His best known work, “Venus in Furs,” features lengthy philosophical
ruminations on and descriptions of sexual pleasure derived from pain, and led
a Viennese professor of psychology, Richard von Krafft-Ebing, to coin the
term “masochism” as a description of what he viewed as a deviant clinical
condition.
As a gimmick to attract attention, the writer’s legacy would seem
unbeatable for a city eager to attract foreign tourists to the western edge of
Ukraine, a former Soviet republic better known these days for its political
turmoil, struggles with President Vladimir V. Putin’s Kremlin and general
post-Communist angst.
“He is world famous; he put our city on the map,” said Yuri Nazuruk, the
creative director of the company that runs Masoch Cafe and a string of other
theme restaurants inspired by local history.
http://www.nytimes.com/2014/11/15/world/city-tied-to-masochism-…tml?emc=edit_th_20141115&nl=todaysheadlines&nlid=42705706&_r=1
Page 1 of 5

City in Ukraine Tied to Masochism Finds Link Painful, Sure, but Some Like It - NYTimes.com
11/17/14, 10:17 AM
But the link to masochism brings little pleasure to guardians of Lviv’s
image as a cradle of Ukrainian nationalism that survived the miseries of the
Soviet Union to reclaim its position as one of Europe’s great, inventive and
most seductively beautiful cities. They prefer to celebrate other aspects of
Lviv’s creative spirit, like the introduction, in 1853, of Europe’s first
streetlights.
“People here treat Sacher-Masoch as a joke, not as somebody serious,”
said Petro Kolodiy, the chairman of Lviv’s regional legislature and a local
leader of Svoboda, a dour nationalist party that bars atheists and promotes
nationhood built on common “blood and spirit.”
“I have never studied him myself,” Mr. Kolodiy added.
Lviv’s young have no such hang-ups and have turned the Masoch Cafe
into a popular spot for dates and group outings. On Friday evening the
whipping, which is free of charge, started hesitantly on a coy young woman
who was out for a drink with three girlfriends. A male waiter dressed all in
black stopped beating her after a few strokes when she complained of the
pain.
In general, however, female customers are far less squeamish than their
male counterparts, Sasha Bankovich, a waitress at the cafe said, cradling a
whip in her hands. “We’ve noticed that men scream a lot,” she said, adding
that requests from customers for a whipping had remained constant
throughout Ukraine’s months of tumult. “In this respect, things are very
stable in our country.”
Lviv’s mayor, Andriy Sadovyi, an open-minded former electronic
engineer, said he has nothing against Sacher-Masoch, but noted that the city
has had a “very long and complicated history” that needs to be celebrated as a
whole without undue attention to a writer of such narrowly idiosyncratic
tastes.
The city is dotted with monuments to more wholesome heroes, like Taras
Shevchenko, a poet hailed as the founder of modern Ukrainian literature, but
the local government has put up no tributes to Sacher-Masoch. The cafe
commissioned a bronze statue of the writer, but even that modest, privately
funded memorial, located at the cafe’s entrance, drew complaints from
members of the City Council.
“He is too provocative a figure for a place like Lviv,” said Ihor Podalchuk,
http://www.nytimes.com/2014/11/15/world/city-tied-to-masochism-…tml?emc=edit_th_20141115&nl=todaysheadlines&nlid=42705706&_r=1
Page 2 of 5

City in Ukraine Tied to Masochism Finds Link Painful, Sure, but Some Like It - NYTimes.com
11/17/14, 10:17 AM
a Ukrainian filmmaker from Lviv. “It is a conservative city by religion and
tradition.”
Mr. Podalchuk, a big fan of Sacher-Masoch, a writer he sees as standardbearer
for taboo-breaking artists, began lobbying for Lviv to embrace its most
famous native son soon after the 1991 collapse of the Soviet Union and
Ukraine’s emergence as an independent nation. He set up the International
Masoch Fund and campaigned to get a street named after the writer. His
efforts, however, got nowhere.
Even the Masoch Fund, added Mr. Podalchuk, does not bother much
these days with promoting Sacher-Masoch, and works instead simply to
encourage freethinking artists.
Taras Voznyak, the editor of Ji, a Lviv cultural journal, said he
understood why “Venus in Furs” is not required reading in local schools and
raises eyebrows in some quarters. But he says the city is missing out on a
lucrative branding opportunity by not making Sacher-Masoch the city’s
trademark, like Mozart is for Salzburg, Austria. “He was not Mozart, but then
practically every language in the world has the word ‘masochism,’ ” Mr.
Voznyak said.
Mr. Nazuruk, the Masoch Cafe’s creative director, said the hesitancy
toward Sacher-Masoch was a sign of Ukraine’s “difficult birth as a nation” and
the difficulties that a country caught between Russia and Europe has faced in
dealing with the sometimes uncomfortable nuances and complexity of its
history.
“Over the past 100 years, power, language and culture have changed
many, many times in Lviv,” he said. “For a society to talk about difficult
themes involving morality it needs to be secure and mature. We are still on
that road.”
Mr. Nuzuruk noted that Sacher-Masoch wrote about much more than
just painful sex and, in works like “Galician Tales,” provided “brilliant
descriptions of this small part of the world.” (The Masoch Cafe, of course,
focuses on the sex stuff, its walls strung with whips, chains and bras, its menu
a sophomoric compendium of double entendres.)
A big part of the problem with Sacher-Masoch, aside from the sex, is that
he wrote in German, a language that barely any of the city’s residents today
speak or read. “Venus in Furs” has now been translated into Ukrainian, but
http://www.nytimes.com/2014/11/15/world/city-tied-to-masochism-…tml?emc=edit_th_20141115&nl=todaysheadlines&nlid=42705706&_r=1
Page 3 of 5

City in Ukraine Tied to Masochism Finds Link Painful, Sure, but Some Like It - NYTimes.com
11/17/14, 10:17 AM
the work is still far better known in New York — thanks largely to the Velvet
Underground (“Venus in Furs” inspired the band’s 1967 classic song of the
same title, written by Lou Reed) and a 2011 Broadway production, “Venus in
Fur,” by David Ives — than in the author’s hometown.
“Venus in Furs” also has many fans in France, where Roman Polanski last
year made a film version of Ives’s play and a Paris theater this summer put on
a French version of the work.
Another problem is the confusion that has surrounded the identity of
Sacher-Masoch. “There are so many legends and myths about his background
that nobody really knew who he was,” said Halyna Svarnyk, a Lviv scholar and
librarian who has spent two decades digging into local archives for
information about the writer’s forbears.
His family has been described by other scholars as being of Jewish,
Ukrainian and Spanish aristocratic descent, but, said Ms. Svarnyk, such
claims “are all just legends.”
Sacher-Masoch spoke Ukrainian as well as German, and probably Polish
as a boy, but “was definitely not Ukrainian or Jewish,” or descended from an
ancient noble family, Ms. Svarnyk said.
His real origins, she added, are far more prosaic: Austrian bureaucrats.
His grandfather moved to Galicia, as the region around Lviv was known, as a
servant of the Hapsburg Empire, working there on tax reform and managing
salt works. His father headed the local police.
But for a family tragedy, she noted, the phenomenon known around the
world as “masochism” would have been “sacherism,” which doesn’t really
work, as that implies sugary sweetness like sacher-torte. The writer’s surname
at his birth in Lviv in 1836 was simply Sacher but this was changed to Sacher-
Masoch in 1838 after the brother of his mother died and her father, distraught
at losing his only son, asked the Sacher family to add his family name,
Masoch, to its own.
She said she had not studied how the writer’s family background might
have shaped Sacher-Masoch’s fascination with rough sexual practices, but
dismissed speculation that his father, the local police chief, had been a cruel
brute. “He was a very cultured man” with a keen interest in music and other
arts, she said, noting that his mother’s family was also deeply involved in local
culture and academia.
http://www.nytimes.com/2014/11/15/world/city-tied-to-masochism-…tml?emc=edit_th_20141115&nl=todaysheadlines&nlid=42705706&_r=1
Page 4 of 5

Podró!e› Na weekend Obserwuj 110
Brutalne przyjemno&ci Lwowa - dlaczego
Lwów wstydzi si# Leopolda von Sacher-
Masocha?
26 lis, 15:14
Lo!kal!ne w!a!dze nie chc" przy!zna# mu po!mni!ka, ani na!zwa# jego imie!niem jed!nej z ulic, cho# to w!a!$nie Le!-
opold von Sa!cher-Ma!soch móg !by sta# si% sku!tecz!nym wa!bi!kiem na tu!ry!stów. Sym!bo!lem mia!sta, jak Mo!zart
dla Sal!zbur!ga. Mo&e nie s!y!sze!li!$cie o Sa!cher-Ma!so!chu, za to o ma!so!chi!zmie s!y!sza! ka&dy.
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Lwów
Foto: De Visu / Shutterstock
Taras Dem!lan mia! w pla!nach spo!koj!ny wie!czór z przy!ja!ció !mi w jed!nym z lo!ka!li Lwowa, mia!sta za!chod!niej Ukra!iny uwa!"a!ne!go
za per!# ar!chi!tek!tu!ry au!striac!kiej. Nie spo!dzie!wa! si#, "e tym razem kum!ple na!mó!wi$ go do sko!rzy!sta!nia z pew!nej lo!kal!nej atrak!-
cji.
Naj!pierw kel!ner!ka zdj#!a mu ko!szu!l#, zwi$!za!a r#ce za opar!ciem krze!s!a, by na!st#p!nie skro!pi% mu go!r$!cym p!yn!nym wo!skiem
nag$ klat!k# pier!sio!w$. Potem dla Dem!la!na przy!sz!a pora na masa" kost!ka!mi lodu i wresz!cie – na wy!mie!rzo!n$ pej!czem ch!o!st#. –
To ju" by!o na!praw!d# nie!przy!jem!ne – "ali! si# na swoje nie!wy!go!dy go&% ka!wiar!ni Ma!soch-Ca!fe.
Ta!kich przy!kro!&ci "y!czy !by sobie jed!nak Le!opold von Sa!cher-Ma!soch, XIX-wiecz!ny pi!sarz, któ!re!go na!zwi!sko nosi lwow!ski
lokal. Jego naj!le!piej znane dzie!o, "Wenus w fu!trze" za!wie!ra fi!lo!zo!ficz!ne roz!wa!&a!nia nad sek!su!al!n" roz!ko!sz"
czer!pa!n" z bólu oraz opisy mi!o!snych tor!tur. Za!in!spi!ro!wa!ny tym dzie!em pro!fe!sor psy!cho!lo!gii z Wied!nia, Ri!chard von
Krafft-Ebing, uku! ter!min "ma!so!chizm", uzna!j$c opi!sy!wa!ne przez lwow!skie!go au!to!ra zja!wi!sko za ro!dzaj kli!nicz!ne!go za!bu!rze!nia.

Pomnik Sacher-Masocha przed Masoch-Cafe we Lwowie
Foto: Verkhovynets Taras / Shutterstock
S!awa Sa!cher-Ma!so!cha mo!g!a!by sta" si# cen!nym atu!tem Lwowa pra!gn$!ce!go przy!ci$!ga" za!gra!nicz!nych tu!ry!stów do by!ej ra!dziec!-
kiej re!pu!bli!ki, o któ!rej s!y!szy!my ostat!nio w kon!tek!%cie po!li!tycz!nej za!wie!ru!chy pod!sy!ca!nej przez Kreml Pu!ti!na. – Jest roz!po!zna!-
wal!ny, roz!s!a!wi! nasze mia!sto – uwa&a Jurij Na!zu!ruk, dy!rek!tor kre!atyw!ny firmy za!rz$!dza!j$!cej Ma!soch-Ca!fe oraz sze!re!giem
innym re!stau!ra!cji te!ma!tycz!nych za!in!spi!ro!wa!nych lo!kal!n$ hi!sto!ri$.
Sko!ja!rze!nia z ma!so!chi!zmem nie ura!du!j$ ra!czej tych z lwo!wian, któ!rzy wo!le!li!by
kul!ty!wo!wa$ wi!ze!ru!nek swo!je!go mia!sta jako ko!leb!ki ukra!i%!skie!go na!-
cjo!na!li!zmu, t#!pio!ne!go w cza!sach ZSRR, dum!nych z wy!j$t!ko!wej urody tego miej!-
sca.
Tra!dy!cjo!na!li!%ci chcie!li!by pod!kre!%la" inne atuty Lwowa, w tym ducha przed!si#!bior!-
czo!%ci jego miesz!ka'!ców, któ!rzy w 1853 roku jako pierw!si w Eu!ro!pie wpro!wa!dzi!li
o%wie!tle!nie ulicz!ne. – Tu!tej!si trak!tu!j& Ma!so!cha z przy!mru!'e!niem oka, a
nie jak po!wa'!ne!go bo!ha!te!ra – twier!dzi Petro Ko!o!dij, prze!wod!ni!cz$!cy lwow!-
skiej rady ob!wo!do!wej i miej!sco!wy lider par!tii Swo!bo!da, nie!prze!jed!na!ne!go ugru!po!-
wa!nia na!cjo!na!li!stów od!ma!wia!j$!cych praw ate!istom i go!to!wych bu!do!wa" ukra!i'!sk$
to&!sa!mo%" na wspól!nej "duszy i krwi". – Sam nigdy si# jego po!sta!ci$ nie in!te!re!so!-
wa!em – do!da!je dzia!acz.
!wi"to #elaznego Fallusa
Zobacz wi!cej
Jed!nak m(od!si lwo!wia!nie nie ro!zu!mie!j& tych obiek!cji, a z Ma!soch-Ca!fe
uczy!ni!li ulu!bio!ny punkt spo!tka%. W tam!ten pi$t!ko!wy wie!czór ok!a!da!nie batem, z któ!re!go go!%cie mog$ sko!rzy!sta" gra!tis,
nie spodo!ba!o si# co praw!da pew!nej m!o!dej i wsty!dli!wej damie ba!wi$!cej si# tutaj z trze!ma przy!ja!ció !ka!mi.

Lwów, wn!trze Masoch-Cafe
Foto: www.facebook.com/MasochCafe
Ubra!ny ca!y na czar!no kel!ner szyb!ko zre!zy!gno!wa! z tor!tur, gdy po paru ra!zach klient!ka za!cz"!a skar!#y$ si" na ból. Zwy!kle jed!-
nak to nie ko!bie!ty, lecz m"#!czy$!ni na!le!#% do ka!te!go!rii wra#!liw!ców, zdra!dza nam Sasza Ban!ko!wicz, kel!ner!ka, ko!y!sz%c
pej!czem. – Za!ob!ser!wo!wa!li!&my, #e to pa!no!wie krzy!cz% wi"!cej – stwier!dza, do!da!j%c, #e za!po!trze!bo!wa!nie na baty wcale nie zmniej!-
szy!o si" w mie!si%!cach ukra!i'!skie!go kry!zy!su po!li!tycz!ne!go. – Aku!rat pod tym wzgl"!dem je!ste!&my wy!j%t!ko!wo stali w uczu!ciach –
uwa#a Ban!ko!wicz.
Wol!no!my!&li!ciel!ski An!drij Iwa!no!wycz Sa!do!wy, z wy!kszta !ce!nia in!#y!nier elek!tro!nik
spra!wu!j%!cy dzi& urz%d mera Lwowa, mówi, #e nie ma nic do Sa!cher-Ma!so!cha, lecz
uwa#a, #e jego miasto ma "bar!dzo d!ug% i skom!pli!ko!wa!n% hi!sto!ri"", któr%
na!le!#a!o!by kul!ty!wo!wa& jako ca!o'&, nie prze!ce!nia!j%c roli, jak% ode!gra!
tutaj pe!wien pi!sarz o do'& spe!cy!ficz!nych upodo!ba!niach sek!su!al!nych.
Najlepsze festiwale dla doros!ych
Na pla!cach sta!n"!y prze!cie# po!mni!ki po!&wi"!co!ne pa!mi"!ci "pe !no!war!to!&cio!wych"
bo!ha!te!rów, jak Taras Szew!czen!ko, poeta uwa!#a!ny za twór!c" wspó!!cze!snej li!te!ra!tu!-
ry ukra!i'!skiej. Ta!kie!go wy!ró#!nie!nia nie do!cze!ka! si" od w!adz mia!sta Sa!cher-Ma!-
soch.
Ka!wiar!nia jego imie!nia za!mó!wi!a co praw!da na swoje po!trze!by fi!gu!r" z br%zu
przed!sta!wia!j%!c% pi!sa!rza, za!mie!rza!j%c po!sta!wi$ j% przy wej!&ciu do lo!ka!lu, ale nawet
to skrom!ne upa!mi"t!nie!nie od razu wy!wo!a!o skar!gi rady miej!skiej. – Jest zbyt pro!-
wo!ka!tor!skim bo!ha!te!rem dla Lwowa – po!dej!rze!wa fil!mo!wiec Ihor Po!dol!czak. –
Mó!wi!my o kon!ser!wa!tyw!nym mie!&cie, z po!wo!du re!li!gii i tra!dy!cji.
Zobacz wi!cej
Lwów, wn!trze Masoch-Cafe
Foto: www.facebook.com/MasochCafe

Po!dol!czak wy!so!ko ceni Sa!cher-Ma!so!cha i uwa!a go za pier!wo!wzór prze!"a!mu!j#!ce!go tabu ar!ty!sty. O uzna!nie za!s"ug tego pi!sa!rza
lwow!ski re!y!ser za!bie!ga od 1991 roku, odk#d na gru!zach ZSRR po!wsta!"a nie!za!le !na Ukra!ina. W tym celu za!"o!y" Mi$!dzy!na!ro!do!-
w# Fun!da!cj$ Ma!so!cha, agi!to!wa" te! na rzecz nada!nia na!zwi!ska Sa!cher-Ma!so!cha jed!nej z ulic – wszyst!ko na pró !no. Nawet wspo!-
mnia!na fun!da!cja zaj!mu!je si$ dzi% ra!czej pro!mo!wa!niem wol!no!my!%li!ciel!skich ar!ty!stów, za!miast kul!ty!wo!wa& pa!mi$& o swoim pa!-
tro!nie.
Taras Wo!zniak, re!dak!tor na!czel!ny "Ji", nie!za!le !ne!go cza!so!pi!sma kul!tu!ro!znaw!cze!go, do!brze ro!zu!mie po!wo!dy, dla któ!rych
"Wenus w fu!trze" nie jest szkol!n# lek!tu!r#, a miesz!ka'!com nie!któ!rych dziel!nic mo!e pod!no!si& ci!%nie!nie. S#dzi jed!nak, !e by!"a!by
szko!da, gdyby Lwów zre!zy!gno!wa" z po!ten!cjal!nie tak lu!kra!tyw!nej marki. Sa!cher-Ma!soch móg !by by" prze!cie# dla tego
mia!sta tym czym Mo!zart dla Sal!zbur!ga. – Mo!e nie by" kim% po!kro!ju Mo!zar!ta, ale w ka!!dym j$!zy!ku %wia!ta mamy teraz
okre!%le!nie "ma!so!chizm" – zwra!ca uwag$ Wo!zniak.
Na!zu!ruk z kie!row!nic!twa Ma!soch-Ca!fe s#dzi, !e pe"ne wa!ha!nia po!dej!%cie Ukra!i'!ców do au!to!ra "Wenus w fu!trze" %wiad!czy o
"trud!nych na!ro!dzi!nach ukra!i'!skie!go na!ro!du" oraz skom!pli!ko!wa!nych re!la!cjach z hi!sto!ri# tego ludu za!klesz!czo!ne!go mi$!dzy Rosj#
a Eu!ro!p#. – Przez ostat!nie sto lat Lwów wie!lo!krot!nie zmie!nia" w"a!dze, urz$!do!wy j$zyk i kul!tu!r$ – za!uwa!a. – Zanim spo!"e!cze'!-
stwo za!cznie dys!ku!to!wa& na te!ma!ty zwi#!za!ne z mo!ral!no!%ci# po!win!no sta& si$ wy!star!cza!j#!co doj!rza!"e. My jesz!cze tego sta!dium
nie osi#!gn$!li!%my.
Nie za!po!mi!naj!my przy tym, !e Sa!cher-Ma!soch pisa" nie tylko o bo!le!snym sek!sie, przy!po!mi!na dy!rek!tor kre!atyw!ny ka!wiar!ni.
Kon!tro!wer!syj!ny lwo!wia!nin jest jesz!cze au!to!rem "Opo!wie!$ci ga!li!cyj!skich", w któ!rych za!war! "$wiet!ne opisy
tego na!sze!go skraw!ka $wia!ta" (do!daj!my jed!nak, !e w Ma!soch-Ca!fe ak!cent po!"o!o!no wy!"#cz!nie na "ma!so!chi!stycz!n#" cz$%&
do!rob!ku pi!sa!rza, de!ko!ru!j#c %cia!ny pej!cza!mi i "a'!cu!cha!mi).
Po cz$!%ci pro!blem z Sa!cher-Ma!so!chem po!le!ga"!by te! na tym, !e jego twór!czo%& po!wsta!"a w ca!"o!%ci po nie!miec!ku, czyli w j$!zy!ku,
jakim nie po!s"u!gu!j# si$ dzi!siej!si miesz!ka'!cy Lwowa. "Wenus w fu!trze" zo!sta!"a co praw!da prze!"o!o!na na ukra!i'!ski, lecz mimo to
utwór wci#! jest le!piej roz!po!zna!wal!ny w Nowym Jorku (za spra!w# Ve!lvet Un!der!gro!und i jego hitu "Venus in Furs" z 1967 roku
na!pi!sa!ne!go przez Lou Reeda oraz przed!sta!wie!nia z Broad!wayu z 2011 roku "Venus in Fur" Da!vi!da Ivesa) ni! w ro!dzin!nym mie!-
%cie au!to!ra. "Wenus w fu!trze" zdo!by!"a rów!nie! wielu fanów we Fran!cji, gdzie Roman Po!la'!ski na!kr$!ci" w ze!sz"ym roku film na
pod!sta!wie sztu!ki Ivesa, a pe!wien pa!ry!ski teatr przed!sta!wi" latem jej w"a!sn# sce!nicz!n# ad!ap!ta!cj$.
Ko!lej!na spra!wa do!ty!czy kon!tro!wer!sji w zwi#z!ku z nie!ja!snych po!cho!dze!niem Sa!cher-Ma!so!cha. – Kr#!y tak wiele mitów i le!gend
na jego temat, !e dzi% nikt na!praw!d$ nie po!tra!fi po!wie!dzie&, kim on na!praw!d$ by" – za!uwa!a Ha!li!na Swar!nyk, lwow!ska ba!dacz!-
ka i bi!blio!te!kar!ka, która przez dwie de!ka!dy prze!dzie!ra!"a si$ przez lo!kal!ne ar!chi!wa w po!szu!ki!wa!niu in!for!ma!cji na temat przod!-
ków pi!sa!rza.
Nie!któ!rzy przy!pi!sy!wa!li mu po!cho!dze!nie !y!dow!skie, ukra!i'!skie lub hisz!pa'!skie, ale zda!niem Swar!nyk "to wszyst!ko tylko le!gen!-
dy". Sa!cher-Ma!soch mówi" po ukra!i'!sku, ale te! po nie!miec!ku, a jako ch"o!piec za!pew!ne po pol!sku, jed!nak "z ca"# pew!no!%ci# nie
by" Ukra!i'!cem ani (ydem", nie mia" te! ary!sto!kra!tycz!nych ko!rze!ni.
Zda!niem Swar!nyk praw!da o pi!sa!rzu jest znacz!nie bar!dziej pro!za!icz!na: po!cho!dzi" z ro!dzi!ny au!striac!kich biu!ro!kra!tów.
Jego dzia!dek prze!niós" si$ do Ga!li!cji, re!gio!nu, do któ!re!go na!le!a" Lwów, w cha!rak!te!rze urz$d!ni!ka pod roz!ka!za!mi im!pe!rium
habs!bur!skie!go. W nowym miej!scu za!miesz!ka!nia zaj!mo!wa" si$ re!for!m# sys!te!mu po!dat!ko!we!go i nad!zo!ro!wa" !upy solne. Z kolei
oj!ciec pi!sa!rza spra!wo!wa" funk!cj$ szefa lo!kal!nej po!li!cji.
Tylko ro!dzin!na tra!ge!dia za!de!cy!do!wa!"a o tym, !e ter!min "ma!so!chizm" w ogóle si$ na %wie!cie po!ja!wi". Gdyby nie przy!pa!dek, przy!-
jem!no%& sek!su!al!n# czer!pa!n# z bólu na!zwa!no by za!pew!ne "sa!che!ry!zmem", co ra!czej by si$ nie przy!j$!"o, cho&!by ze wzgl$!du na sko!-
ja!rze!nia z cu!dow!nie s"od!kim cze!ko!la!do!wym tor!tem Sa!che!ra.
Na!zwi!sko pi!sa!rza uro!dzo!ne!go w Lwo!wie w 1836 roku brzmia!"o po pro!stu Sa!cher, jed!nak zmie!nio!no je w 1838 roku na Sa!cher-
Ma!soch po %mier!ci je!dy!ne!go brata matki ch"op!ca. Dzia!dek Ma!soch zroz!pa!czo!ny fak!tem, !e z po!wo!du braku m$!skie!go po!tom!ka
nie prze!ka!e swego na!zwi!ska dalej, po!pro!si" ro!dzi!n$ córki o roz!sze!rze!nie na!zwi!ska wnuka o drugi cz"on.
Swar!nyk nie po!tra!fi jesz!cze od!po!wie!dzie& na py!ta!nie, w jaki spo!sób ro!dzin!ne do!%wiad!cze!nia mog"y wp"y!n#& na fa!scy!na!cj$ Sa!-
cher-Ma!so!cha bru!tal!ny!mi prak!ty!ka!mi sek!su!al!ny!mi, jed!nak sta!now!czo za!prze!cza po!dej!rze!niom, ja!ko!by oj!ciec pi!sa!rza, ko!men!-
dant po!li!cji, by" okrut!ni!kiem. Okre!%li!li!by!%my go ra!czej "cz"o!wie!kiem wy!so!kiej kul!tu!ry", za!in!te!re!so!wa!nym mu!zy!k# i sztu!k#. O
matce kon!tro!wer!syj!ne!go lwo!wia!ni!na wia!do!mo, !e an!ga!o!wa!"a si$ w !ycie lo!kal!nej spo!"ecz!no!%ci ar!ty!stycz!nej i aka!de!mic!kiej.
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6 2 18 tys.
Autor: Andrew Higgins, $ród%o: The New York Times
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2015

Pune International Film Festival At City Pride - Satara Road Screen-4 -…creen - 4, Pune on 09 Jan, 2015 | Buy tickets online for Film Festival
1/11/15, 2:27 PM
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Pune International Film Festival At City Pride - Satara Road
Screen-4 - Day 1
Jan 09, 2015
09:00 AM, Event duration: 13:00 hrs
VENUE INFORMATION
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City Pride - Satara Road Screen - 4
ADDRESS
Pune
City Pride - Satara Road Screen - 4
Pune
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Check out some candid clicks of
Karan Singh Grover with
estranged wife Jennifer Winget
Pune International Film Festival At City Pride - Satara Road Screen-4 - Day 1.
9.15 a.m.
Delirium. Dir.: Ihor Podolchak
Ukraine, Czech Republic|2013| 96|Blu Ray (Global Cinema).
11.15 a.m.
Measuring the World. Dir.: Detlev Buck
Germany| 2012|119'|Blu Ray (Global Cinema).
2.30 p.m.
Elementary Love. Dir.: Sergio Basso
Italy, Russia |2014|94'|Blu Ray (Global Cinema).
4.00 p.m.
Coming Out. Dir.: Denes Orosz
Hungary |2013|96'|Blu Ray (Global Cinema).
6.00 p.m.
The Constant Factor. Dir.: Krzysztof Zanussi
Poland| 1980|98'|DVD (Retro: Zanussi).
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Jan 10, 2015 | Music & Concerts
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http://www.buzzintown.com/pune/events/pune-international-film-festival-city-pride-satara/id--958821.html?ref=related-event
Page 1 of 3

YIFF 2015
ABOUT YIFF
th
5 Yashwant International Film Festival 2015
To be held between 17 to 23 January
th
rd
Mumbai: The Yashwantrao Chavan Pratishthan, Mumbai and Pune Film Festival, Pune in a collective
venture and in association with the Government of Maharashtra have organized the ‘5th
Yashwantrao International Film Festival 2015’ from 17th to 23rd January 2015 at Yashwantrao
Chavan Centre, Mumbai. This renowned film festival will be devoted to the senior music maestro
late Anand Modak.
th
The event will be inaugurated on Saturday 17 January 2015 at 5pm in the main auditorium of
Yashwantrao Chavan Center in Mumbai. On this occasion, two life time achievement awards, each
one in Marathi and Hindi cinema, will be presented. A super entertaining cultural program of 20
minutes will be performed here. The event will conclude on Friday, 23 January 2015 with ‘Yashwantrao
Chavan: Bakhar Eka Wadalachi’, a film based on the life of honourable Yashwantrao Chavan.
Other character films based on the lives of Sardar Vallabhbhai Patel, Chhatrapati Shivaji Maharaj
and Churchill will also be screened here.
rd
Five films will be screened in each the main auditorium, Rangswar auditorium and cultural auditorium
of Yashwantrao Chavan Centre on every day during this film festival through the technologies
like DCP, Blue ray, DVD, 35 MM, DG Beta. The film that was accolade by first rank in the Pune
Film Festival will be screened at the inauguration ceremony of this event in the main auditorium of
the centre. Overall, around 75 films including Yusuf Shania directed Arabic film ‘The Land’, Yusuf
Shahini directed ‘The Iron Gate/Caro Station’, Shahid Abdel Salam directed ‘The Mummy: The
Night of the Counting Years’, Jack Becker directed French film ‘Golden Mari’, Jack Tati directed
‘The Big Day’, Jean Renoir directed ‘The Grand Illusion’, Robert Bresson directed ‘Pickpocket’,
Ukrainian film ‘Delirium’ directed by Ihor Podolchak, Victoria Rampal Zurenko directed ‘Uncle
Victor’, Nino Jacusso directed English-German film ‘Shana-The Wolf’s Music’ and Adilkhan
Yerzhanov directed film ‘The Owners’ in Kazakh will be screened. The shows will include films in
various languages and based on variety of subjects in different stratums like global cinema, retrospective,
country focus, Indian cinema, Marathi cinema, student competition during this extravagant
film festival. The first show of every day will be screened at 10.30 am during the event. The

catalogue fee will be Rs 200 for Rangswar members, students, senior citizen and film society
members and Rs 400 for others.
For entry passes of 5 Yashwant International Film Festival, film lovers should present one passport
size photograph and any one document of licence, college id, membership card of film society,
senior citizen card as an identity proof. It is mandatory for each film viewer to be above the age of
th
th
18 years by 17 January 2015. The organizers have appealed film lovers to come forward in large
numbers to enjoy this treat of international cinema in this festival.

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10 українських режисерів, що знялися у чужих фільмах
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10 українських режисерів, що знялися у чужих фільмах
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10 українських режисерів, що знялися у чужих фільмах
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Ukrainian Film Club @ Columbia University presents a New York City premier of a film that is
sure to haunt you
Fedir Aleksandrovych (left) and
Artem Ryzhykov at Columbia
event.
Delirium
2013, director Ihor Podolchak, Ukraine & Czech Republic
Take a look at what you have always been afraid of beholding–
your own subconscious and deeply hidden motives of human
desires, stripped of posture and pretense. Or so the director
Ihor Podolchak would have you think in his latest psychological
thriller that is as fascinating as it is deeply disturbing. Delirium
is strangely beautiful in its marriage of image and sound that
makes human language superfluous. This innovative work by Mr. Podolchak, the enfant terrible
of the Ukrainian art-house cinema exposes new expressive capacities of film, sound, and human
speech–the media that many have taken too much for granted.
When: Thursday, March 26, 2015, 7:30 PM
Where: 702 Hamilton Hall, Columbia University
In Ukrainian with English subtitles.
Yuri Shevchuk will introduce film and lead the discussion.
The Zombie Woodpecker
February 24, 2014, New York, N.Y.
The Ukrainian Film Club at Columbia University held an event
with Fedir Aleksandrovych and Artem Ryzhykov, two Ukrainian
crew members of the feature documentary "The Russian
Woodpecker", dir. Chad Gracia, US-UK-Ukraine coproduction,
which has just been awarded the Grand Jury Prize in the World
Cinema Documentary category at the hugely prestigious
Sundance Film Festival and is headed for theatrical release and
distribution in the U.S. in the near future. Mr. Aleksandrovych
conceived the idea of the film and appear as the narrator in it.
Mr. Ryzhykov is its cinematographer.
In their most recent discussion of the critically-acclaimed The
Russian Woodpecker, filmmaker Fedir Aleksandrovich and
cinematographer Artem Ryzhykov wholeheartedly presented
the backstory to their impassioned art, becoming one step
closer to cementing their selves with their work forever as their
audience grows bigger. Their presence was anything but
pretentious, nor was it projected in controlled tempos of selfpromotion.
Both are young, and placidly believe that their "version of what happened" will
remain a mere version until the international community pursues an objective investigation.
Read >>>
Secrets of "The Russian Woodpecker": Columbia Discussion with Crew of the
Sundance Winner
February 22, 2015, New York, N.Y.
On February 19th, the Columbia University community had a
unique opportunity to talk with two members of the team
behind the winner of the 2015 Sundance Film Festival's
prestigious World Cinema Jury Prize for a documentary feature
- "The Russian Woodpecker." Fedir Aleksandrovych, a theatrical
artist and the documentary's main figure, and Artem Ryzhykov,
the cinematographer, were present to discuss the film's
conception, research, and other behind-the-scenes details.
Reflections on the Ukrainian Film
Club’s First Decade: Interview
with Yuri Shevchuk
The events are held on the
Columbia University campus,
usually in one of the lecture halls at
the Department of Slavic
Languages, Hamilton Hall, seventh
floor. There are also off-campus
lectures/presentations in other U.S.
cities and in other countries. The
UFCCU has held screenings at
Rutgers, Ohio State, and Harvard
universities, the University of
Toronto as well as at non-academic
venues in Philadelphia, Edmonton,
Toronto, Chicago, Hartford, CT,
Yonkers, NY, and other cities. The
Club offers its film collection and
expertise to facilitate film
presentations on invitation from
interested parties outside Columbia
University. Inquiries should be sent
to Yuri Shevchuk.
The on-campus events usually take
place every third Thursday of the
month at 7:30 PM during the
regular academic year with
Christmas and summer holiday
breaks. The events are announced
on this website as well as on various
internet mailing lists, Brama, in the
Ukrainian Weekly and at other New
York City universities such as New
York University, City University of
New York, the New School for Social
Research and, of course, Columbia.
Filmmakers from Kyiv sharing
insights on the mystery of
Chornobyl catastrophe at
Columbia.
"The Russian Woodpecker" follows Fedir's investigation into the
events of the Chornobyl nuclear accident, prompted by chatter
on Russian message-boards and social media about the real
cause of the disaster being tied up in some shadowy
conspiracy. These theories lead the documentary team to discover the existence of the enormous
"Duga-3" radar system--nicknamed the "Russian Woodpecker," for the tapping sounds it
generated--built by the Soviet Union within 7 kilometers of the Chornobyl reactor. Intriguingly,
the existence of the Duga-3, now inside the Chornobyl exclusion zone, is almost completely
unheard-of in Ukrainian society, and many people present at the discussion, including Dr.
Shevchuk, expressed their surprise at this revelation. Despite standing 150 meters tall and
spanning a full kilometer in length, the "Woodpecker," supposedly built as a first-warning system

BRAMA CALENDAR !"#$%&"'
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NY-NJ-Metro
Thursday
03/26/2015
UKRAINIAN FILM CLUB @ COLUMBIA UNIVERSITY MARCH
2015 EVENT. DELIRIUM, DIR. IHOR PODOLCHAK
Ukrainian Film Club @ Columbia University
presents a New York City premier of a film that is sure to haunt you:
Delirium
2012, director Ihor Podolchak, Ukraine & Czech Republic
Take a look at what you have always been afraid of beholding–your own subconscious
and deeply hidden motives of human desires, stripped of posture and pretense. Or so the
director Ihor Podolchak would have you think in his latest psychological thriller that is
as fascinating as it is deeply disturbing. Delirium is strangely beautiful in its marriage of
image and sound that makes human language superfluous. This innovative work by Mr.
Podolchak, the enfant terrible of the Ukrainian art-house cinema exposes new
expressive capacities of film, sound, and human speech–the media that many have taken
too much for granted.
When: Thursday, March 26, 2015, 7:30 PM
Where: 702 Hamilton Hall, Columbia University
Ukrainian with English subtitles
Yuri Shevchuk will introduce film and lead the discussion.
E-mail sy2165@columbia.edu
URL http://columbia.edu/cu/ufc
BACK
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Pozycja archiwalna
Poniedzia!ek, 30 marca, 23:55
Gatunek: Film dramat
Re"yser: Ihor Podolchak, Dean Karr
Scenariusz: Ihor Podolchak
Produkcja: Ukraina, 2008
Obsada: Mykola Veresen, Lyubov Tymoshevska,
Hanna Yarovenko
Ocena (2 g!osy ):
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zapalenie skóry. M%!czyzna wykorzystuje swój stan do manipulowania rodzicami i
siostr$. Nieoczekiwanie, !ycie trójki zdrowych domowników w oka mgnieniu zmienia si%
w nieko&cz$cy rytua' zaspokajania zachcianek trzydziestolatka i wspierania go podczas
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COMMEMORACIONS, ANIVERSARIS I
NECROLÒGIQUES
23 D'ABRIL 2015
SANT JORDI 2015. Museu Del Llibre Artístic de Lodz al Festival ILDE BOOK SEEDS
23 i 24.04.2015 presentació del projecte d'Ihor Podolchak i el Museu del Llibre Artístic de Lodz dins del marc
del Festival del Llibre Artístic. CENTRE CÍIVIC PATI LLIMONA.
SIMBOLS NACIONALS I LA
CONSTITUCIÓ
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RECOMAMADES
CONTRA "CAMPS POLONESOS"
8º Festival del Llibre d'Artista i la Petita Edició7
BOOK SEEDS
El llibre d'artista, llavor de noves edicions
Direcció Artística Elisa Pellacani
Associació ILDE (I Libri De ...)

http://www.book.art.pl/
Museu del Llibre d’Artista de Lodz
Creat l’any 1993, és un espai on es treballen i s’investiguen els processos de creació, realització i recepció del llibre d’artista. Conté una
important col·lecció de llibres d’artista polonesos i una àmplia biblioteca sobre el tema del llibre en general. Els llibres que produeix, fets amb
tècniques tradicionals i experimentals, es troben en fons d’arreu del món i han estat premiats en nombroses ocasions.
Ihor Podolchak
Gilgamesh de Igor Podolchak (foto: Laura Sassi)
Ihor Podolchak és un dels directors de cinema ucraïnesos actuals més rellevants. Artista polifacètic, a més de treballar en diverses disciplines
tals com la pintura, el disseny gràfic i la performance, s’ha dedicat també al llibre d’artista. Les seves obres han estat premiades en la Fira del
Llibre de Frankfurt y la Fira del Llibre de Leipzig, i per la Unió d’Editors Polonesos. En el Festival d’ILDE presenta el llibre Gilgamesh, editat
pel Museu del Llibre d’Artista de Lodz amb textos de Craig Raine
Per vuitè any consecutiu comença el Festival del Llibre d'Artista a la ciutat de Barcelona. Una iniciativa pionera, de 2007, quan encara no hi
havia propostes d'aquest tipus sobre el llibre d'artista, nascuda d'una idea d'Elisa Pellacani, il·lustradora i editora, i de l'Associació Ilde, amb la
intenció de crear una plataforma de trobada i investigació al voltant de les arts del Llibre. Des d'aleshores tots els 23 d'abril i els dies
posteriors el Festival presenta l'obra inèdita d'autors internacionals que, sota un lema comú, realitzen llibres únics i petits tiratges amb
llenguatges artístics molt diversos i sense límits ideològics o expressius. Juntament amb les obres el Festival convida també autors de diversos
països europeus i extra-europeus per a què a Barcelona, durant tres dies, presentin els seus treballs i facin demostracions de l'art de fer llibres.
Durant el festival també es realitzen workshops, presentacions de llibres, conferències, i una sèrie d'exposicions paral·leles amb les que es vol
obrir nous diàlegs i mostrar maneres artístiques de viure la producció editorial.
L'itinerari 2015 comença a l'Associació Ceramistes de Catalunya amb una mostra de llibres fets per ceramistes amb material ceràmic. A
continuació, a la Sala Perill se celebrarà una exposició de les obres de joiers que posen el seu art al servei de la realització de llibres. Per segon
any l'Institut Italià de Cultura dóna suport al treball de l'Associació organitzant a la seva seu una exposició de l'Arxiu d'ILDE en què
s'exhibiran, juntament amb llibres nous, els llibres d'artista d'edicions anteriors del Festival. Finalment, el dia 22, abans de la festa de Sant
Jordi, la Biblioteca de la Universitat Central de Barcelona de nou es convertirà en l'espai de trobada entre els llibres i els llibres d'artista
mitjançant una exposició d'alguns dels llibres participants, la taula rodona inaugural i el lliurament dels Premis del Festival. El 23 d'abril el
festival s'inaugura oficialment a la Plaça Sant Just, amb expositors, música i llibres creats especialment per a aquesta edició que, titulada
"Book Seeds" (llibres llavor), està dedicada al llibre d'artista com experiment editorial.
Els dies 24 i 25 d'abril el Festival segueix en el Centre Cívic Pati Llimona, amb workshops especials de l'Escola Itinerant del Llibre,
presentacions de llibres i ponències de representants europeus de festivals dedicats al llibre. El festival, abans d'emprendre la seva ruta
itinerant per diversos espais d'exposició que, com en els últims dos anys, culmina el setembre i octubre a Itàlia, conclourà aquesta primera
fase amb un homenatge a Emilio Sdun, cal·lígraf que ens va deixar a principis d'any i que va treballar activament amb l'Associació.
L'homenatge tindrà lloc la primera setmana de maig a la Llibreria Loring Art, que col·labora amb el Festival des dels seus inicis. El Festival
recordarà també els fets de París d'aquest hivern, on es van veure implicats els fundadors del Festival de Clermont Ferrand, que havien estat a
Barcelona en el nostre Festival, convidant il·lustradors de “carnet” a la Plaça Sant Just per a què dibuixin persones i llibres de l'esdeveniment

amb la intenció de publicar més tard un quadern de viatge. Així mateix, com altres anys, durant el festival es presentarà l'últim llibre sobre les
arts del llibre coordinat i il·lustrat per Elisa Pellacani, que recull intervencions de professionals i estudiosos del llibre i part de les obres del
Festival.
El itinerario expositivo del 8º Festival del Libro de Artista y la Pequeña Edición del 2015 sigue con esta programación:
-Jueves 16 de abril, 18 horas, Instituto Italiano de Cultura (Ptge Mendez Vigo), Book Seeds y libros del Archivo de ILDE desde 2008 hasta
2014.
-Miércoles 22 de abril, 19 horas, CRAI Biblioteca de Filosofía, Geografía e Historia, Universidad de Barcelona (c/ Montalegre,
Raval), Premios del Festival, mesa redonda y exposición.
-Jueves 23 de abril, de 12 a 20 horas, Plaça San Just (Plaza de los Libros Imaginados, Barrio Gòtico), expositores, exposición de libros,
actos.
-Jueves 23, viernes 24 y sábado 25 de abril, 11-14 hy 17-20 horas, Libros de joyero con semillas de creación, Sala Perill (C / Avinyó 46)
-Viernes 24 y sábado 25 de abril, todo el día, Centro Cívico Pati Llimona (c/ Regomir 3, Barrio Gòtico), exposición de Book Seeds,
expositores, workshops de la Escuela Itinerante del Libro, presentaciones y charlas sobre el libro.
-Miercoles 29 de abril, 18 horas, homenaje a Emilio Sdun, libros de artista en caligrafía e imprenta manual, librería Loring Art (c/ Gravina
8, Raval), con ediciones del Festival.
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3. DIADA DE SANT JORDI 2013
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!"#$%#"Ministerstwo Spraw Zagranicznych RP / Ministry of Foreign Affairs of the Republic of Poland

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Main page Exhibitions Future exhibitions «!" #$"%&. '($"&%)(*+ &)(,))-.* 1985–2004» - #$,//*."0 .1)-".("
,($"&%)(&2 2,3*4%&(*.
Current exhibitions
Future exhibitions
Past exhibitions
Catalogues
Vote
Artists
Future exhibitions
«!" #$"%&. '($"&%)(*+ &)(,))-.* 1985–2004» -
#$,//*."0 .1)-".(" ,($"&%)(&2 2,3*4%&(*.
30 May 2015 - 4 October 2015
The PinchukArtCentre presents “Borderline. Ukrainian Art 1985–2004” - a large scale group show
of Ukrainian artists exploring development of the Ukrainian contemporary art from early 1980s till
2004 when the Orange Revolution had happened in the country. The exhibition investigates driving
forces of socially and politically engaged art starting from “pre-perestroika” time. It presents more than
40 works by prominent Ukrainian artists and art groups whose practice has been defined during and
shortly after the collapse of the USSR.
The project includes works by Sergey Bratkov, Oksana Chepelyk, Illya Chichkan, Oleg Golosiy,
Yuri Leiderman, Pavlo Makov, Masoch Fund, Boris Mikhailov, Natsprom, Vlada Ralko,
Alexander Roitburd, Jury Rupin, Andriy Sagaidakovsky, Arsen Savadov, Georgiy Senchenko,
Oleg Tistol, Vasiliy Tsagolov, and Leonid Voitsekhov.
Search
Throughout the exhibition, three main themes are formulated: “Perestroika”, “search for identity” (both
personal and national) and “the corruption of morals”. These themes are traced through the different
artistic practices in Ukraine between 1985 and 2004. The exhibition attempts to formulate an
alternative view, away from a division into traditionally defined formal schools, in search for shared
artistic driving forces that reveal an engagement in, and reflection of a country in transition and a
social flux.
Opening hours
Tuesday through Sunday
from 12:00 until 21:00
Closed Monday
Admission is Free
The exhibition is curated by Bjorn Geldhof, Deputy Artistic Director of the PinchukArtCentre and cocurated
by the art centre’s junior curator Tatiana Kochubinska.
The exhibition is open from May 30 till October 4, 2015 in the PinchukArtCentre, Kyiv, Ukraine.
Opening hours: from Tuesday through Sunday from 12:00 to 21:00.
Admission is free.
Current exhibitions
8 May 2015 - 2 August 2015
“Hope!”, Pavilion of Ukraine at the 56th International Art Exhibition – la Biennale di Venezia
News
RSS
15 May 2015
PinchukArtCentre prolongs application process for
the PinchukArtCentre Prize 2015 till June 7
30 April 2015
Iconic Ukrainian rock band “Okean Elzy” to
perform free open-air concert at opening of
Ukrainian pavilion in Venice 9 pm Thursday 7th
May
16 April 2015
The Ukrainian national pavilion at the 56th International Art Exhibition – la Biennale di Venezia,
presents a group exhibition entitled “Hope!” featuring a young generation of Ukrainian artists,
including Yevgenia Belorusets,Nikita Kadan, Zhanna Kadyrova, Mykola
Ridnyi & Serhiy Zhadan, Artem Volokitin, Anna Zvyagintseva and Open Group. The project is
organized by the PinchukArtCentre with the support of the Victor Pinchuk Foundation.
the PinchukArtCentre is closed from April 20 until
May 29, 2015
More news

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&$8$0
11.06.2015 УКРАЇНСЬКЕ СУЧАСНЕ КІНО НА ART FILM FEST У СЛОВАЧЧИНІ
19 – 26 червня в Словацьких містах Тренчанське Тепліце і Тренчин відбудеться міжнародний фестиваль
сучасного кіно Art Film Fest. Національний центр Олександра Довженка представить на фестивалі 7 українських
фільмів 2013 – 2015 років, а також авангардну стрічку Дзиґи Вертова «Одинадцятий» (1928) та нещодавно
віднайдений трейлер до фільму, одним із імовірних авторів якого був Олександр Родченко.
В рамках програми «Фокус: Україна» покажуть художні фільми:
«Параджанов» (2013, Сєрж Авєдікян, Олена Фетісова)
«Зелена Кофта» (2013, Володимир Тихий)
«Деліріум» (2013, Ігор Подольчак)
«Поводир» (2014, Олесь Санін)
Глядачі фестивалю також матимуть можливість познайомитися з українською документалістикою. Крім згаданого
авангардного фільму «Одинадцятий» (1928, Дзиґа Вертов) в рамках програми «Фокус: Україна» будуть показані
два фільми присвячені темі Майдану і Революції Гідності: «Майдан» (2014, Сергій Лозниця) і «Все палає» (2014,
Олександр Течинський, Олексій Солодунов, Дмитро Стойков). Покажуть і фільм «Російський дятел» (2015, Чед
Гарсія) який отримав головний приз на цьогорічному Sundance Film Festival. Фільм пропонує альтернативний
погляд на причини аварії на Чорнобильській АЕС.
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FOCUS: UKRAJINA
FOCUS: UKRAINE
DELIRIUM
DELÍRIUM
DELIRIUM
Ukrajina, Česká republika/
Ukraine, Czech Republic
2013, DCP, far./col., 100 min.
Réžia/Director: Ihor Podolčak/Ihor Podolchak
Scenár/Screenplay: Ihor Podolčak/
Ihor Podolchak Kamera/Director of
Photo graphy: Mykola Jefymenko/Mykola
Yefymenko Hudba/Music: Oleksandr Sčetynskyj/Oleksandr
Schetynsky Strih/Editor:
Ihor Podolčak/Ihor Podolchak Hrajú/Cast:
Volodymyr Chimjak/Volodymyr Khimyak,
Lesja Vojnevyč/Lesya Voynevych, Petro Rybka,
Olha Horbach, Olha Bakus, Ivan Kostenko, Vasyl
Kostenko Výroba/Production: Podolchak
Films, MF Films, Paulus von Lemberg Predaj/
Sales: Podolchak Films
Pohrebný sprievod postupuje po
chodníku od kostola k cintorínu.
Sledujúc tento výjav sa divák
nenápadne presunie z reálneho
prostredia na miesto, kde čas stratil
svoju lineárnosť a točí sa okolo
podivných obrazov odvrhnutých
skreslenou realitou.
Rodina požiada mladého psychiatra,
aby bol chvíľu hosťom v ich dome
a pomohol vyjasniť okolnosti
otcovej choroby. Vypestoval si
samovražednú fixáciu na povrazy
a slučky. V priebehu hĺbkovej analýzy
pacientovho delíria začína doktor
strácať kontakt s tým, o čo v dome
ide. Jeho pozícia v dome sa mení.
Kým vlastne je: náhodným hosťom,
členom rodiny alebo kňazom, ktorý si
to celé vysníval?
Podolčakov prístup charakterizuje
spomalenie pohybu, rozklad
tradičného rozprávania i uhrančivosť
čiastočne rozostrených obrazov
– blúdenie úzkymi chodbami
domu i slučkami mysle. Jeho
experimentálne ladené Delírium
je adaptáciou románu Induktor
ukrajinského spisovateľa a novinára
Dmitrija Beljanského. Ukrajinskí
kritici film prirovnávajú aj k dielam
Alaina Robbe-Grilleta, Pedra Costu
a Nikosa Nikolaidisa.
A funeral procession advances along
the pavement from the church to
the cemetery. Subtly, the viewer
is transported from the real world
to a place where time has lost its
linearity, spinning between bizarre
images cast off by a distorted reality.
A family asks a young psychiatrist
to stay at their home and help them
to clarify what exactly has afflicted
their father, who has developed
a suicidal fixation on nooses.
During the in-depth analysis of
his patient’s delirium, the doctor
begins to lose touch with why he is
there, and his position in the house
changes. Who is he: a casual guest,
a member of the family, or a priest
who dreamt all this up?
Using slow motion, a fractured
narrative and bewitchingly powerful,
often out-of-focus images, Podolchak
sends the viewer wandering
blindly through the house’s narrow
corridors and mental trapdoors. This
experimentally tinged film is based
on the novel “Inductor” (Induktor)
by Ukrainian writer and journalist
Dmitry Belyansky. Ukrainian critics
have compared it to the work of
Alain Robbe-Grillet, Pedro Costa and
Nikos Nikolaidis.
Ihor Podolčak (1962, Ľvov, Ukrajina) – v roku
1984 absolvoval Akadémiu výtvarných umení
vo Ľvove. Pôsobí ako filmár a výtvarný umelec
(24 individuálnych výstav – jedna z nich sa
v roku 1993 prvýkrát v histórii konala vo vesmíre,
na vesmírnej stanici Mir). Jeho hraným
debutom je film Las Meninas (2008).
Ihor Podolchak (1962, Lviv, Ukraine) graduated
from the Lviv Academy of Fine Arts
in 1984. Since then he has had a successful
career as a filmmaker and a visual artist (with
24 individual exhibitions to his name, one of
which was the first in history to be held in
space, on the Mir Space Station in 1993). His
feature debut was 2008’s “Las Meninas”.
114

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В киевском PinchukArtCentre представили украинский совриск «На грани. Украинское искусство 1985–2004».
7/1/15, 4:25 PM
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В киевском PinchukArtCentre представили украинский совриск «На грани. Украинское искусство 1985–2004».
7/1/15, 4:25 PM
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В киевском PinchukArtCentre представили украинский совриск «На грани. Украинское искусство 1985–2004».
7/1/15, 4:25 PM
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В киевском PinchukArtCentre представили украинский совриск «На грани. Украинское искусство 1985–2004».
7/1/15, 4:25 PM
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7/1/15, 4:25 PM
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В киевском PinchukArtCentre представили украинский совриск «На грани. Украинское искусство 1985–2004».
7/1/15, 4:25 PM
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В киевском PinchukArtCentre представили украинский совриск «На грани. Украинское искусство 1985–2004».
7/1/15, 4:25 PM
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В киевском PinchukArtCentre представили украинский совриск «На грани. Украинское искусство 1985–2004».
7/1/15, 4:25 PM
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7/1/15, 4:25 PM
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Borderline - Ukrainian Art 1985–2004 - Mini Hostel Kiev
7/1/15, 4:25 PM
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Events
Borderline – Ukrainian Art 1985–2004
By Joachim ! June 27, 2015 ! Post a comment
Docudays UA, 20-27 March 2015
Borderline. Ukrainian Art 1985–2004 – a Group Exhibition of Ukrainian
Artist
The PinchukArtCentre presents “Borderline. Ukrainian Art 1985–2004” – a large scale group show of Ukrainian artists exploring development of
the Ukrainian contemporary art from early 1980s till 2004 when the Orange Revolution had happened in the country. The exhibition investigates
driving forces of socially and politically engaged art starting from “pre-perestroika” time. It presents more than 40 major group works by prominent
Ukrainian artists and art groups whose practice has been defined during and shortly after the collapse of the USSR.
http://www.minihostelkiev.com/borderline-ukrainian-art-1985-2004/
Page 1 of 2

Borderline - Ukrainian Art 1985–2004 - Mini Hostel Kiev
7/1/15, 4:25 PM
The project includes works by Sergey Bratkov, Oksana Chepelyk, Illya Chichkan, Oleg Golosiy, Yuri Leiderman, Pavlo Makov, Masoch Fund,
Boris Mikhailov, Natsprom, Vlada Ralko, Alexander Roitburd, Jury Rupin, Andriy Sagaidakovsky, Arsen Savadov, Georgiy Senchenko, Oleg
Tistol, Vasiliy Tsagolov, and Leonid Voitsekhov.
The artists in the exhibition have played a leading role to define the position of art in a post-soviet society and searched for ways to confront their
own history, regain artistic freedom and develop a critical artistic voice. Through their work they often reflected, mirrored or responded upon a
society that had to re-invent itself through instability, ideological shifts and social changes… Borderline. Ukrainian Art 1985–2004 .
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http://www.minihostelkiev.com/borderline-ukrainian-art-1985-2004/
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A film director Sergey Paradjanov creates brilliant films. His nonconformist behavior conflicts
with Soviet System...
Dir: Serge Avedikian, Olena Fetisova With: Serge Avedikian, Yuliya Peresild, Zaza Kashybadze
Drama | Romance
95 mins.
9. Cossacks in Exile (1939)
6.0/10
Dir: Edgar G. Ulmer With: Maria Sokil, L. Biberowich, F. Braznick
Drama
Add to Watchlist
82 mins.
10. Las Meninas (2008)
Add to Watchlist
7.0/10
Dir: Ihor Podolchak, Dean Karr With: Mykola Veresen, Lyubov Tymoshevska, Hanna Yarovenko
Drama
99 mins.
11. Ivan the Powerful (2013)
Add to Watchlist
7.6/10
"Ivan the Poweful" is a film telling an outstanding life story of Ivan Firtsak who was born in
June...

Dir: Viktor Andrienko, Igor Pismennyy With: Dmytro Khaladgi, Ivanna Sakhno, Vasyl Virastyuk
Adventure
12. Pawnshop (2013)
Add to Watchlist
8.2/10
Mark and Yasha (played by Denis Nekyforov and Paul Piskin) are street smart fellows who
have made their...
Dir: Lubomir Levitski With: Burym Andrey, Deni Dadaev, Valeriy Legin
Comedy | Crime
88 mins.
13. Ivan (1932)
Add to Watchlist
6.6/10
Dir: Aleksandr Dovzhenko With: K. Bondarevsky, Dmitri Golubinsky, Elena Golki
Drama
102 mins.
14. Za dvumya zaytsami (1963)
Add to Watchlist
8.0/10
Dir: Viktor Ivanov With: Oleg Borisov, Margarita Krinitsyna, Nikolay Yakovchenko
Comedy | Musical
77 mins.
15. Delirium (2013)
Add to Watchlist
7.5/10
A family asks a young psychiatrists to be their guest and look after their father who's
developed a suicidal fixation for ropes and knots. It is also entirely possible that the mental
health of the guest is the real cause for concern.
Dir: Ihor Podolchak With: Volodymyr Khimyak, Lesya Voynevych, Petro Rybka
Drama | Thriller
100 mins.
16. Mamay (2003)
7.0/10
Add to Watchlist
Mamay draws on traditional Ukranian and Tatar folktales for its Romeo and Juliet-like love
story and...
Dir: Oles Sanin With: Viktoria Spesivtseva, Andrij Bilous, Nazl Sejtablaeva
Drama
80 mins.
17. Holod 33 (1991)
Add to Watchlist
6.8/10
This film looks at the artificial famine of 1932-33 in Ukraine through the eyes of a single
family. The famine...
Dir: Oles Yanchuk With: Galina Sulima, Georgi Morozyuk, Aleksey Gorbunov
Drama | History
115 mins.
18. The White Bird Marked with Black (1971)
Add to Watchlist
7.1/10
Colourful 'optimistic tragedy' of a poor family in Ukraine, living in the Carpathian mountains
near the Romanian border...
Dir: Yuri Ilyenko With: Larisa Kadochnikova, Ivan Mykolaichuk, Bogdan Stupka
Drama | War
99 mins.
19. Ursus (2015)
Add to Watchlist
-/10
Tiflis, Georgia 1992: Nika, an unemployed film director gets the chance to escape Tiflis, the
Georgian capital raged by civil war...
Dir: Otar Shamatava With: Niko Tavadze, Joséphine de La Baume, Bogdan Benyuk
Drama
20. A Friend of the Deceased (1997)
Add to Watchlist
7.0/10
Tolla takes out a contract on himself and then changes his mind.
Dir: Leonid Boyko, Vyacheslav Krishtofovich With: Tetyana Kryvytska Stang Lund, Aleksandr
Lazarev, Anzhelika Nevolina
Comedy | Drama
100 mins.
21. Melody for a Street Organ (2009)
6.9/10
Dir: Kira Muratova With: Lena Kostyuk, Roma Burlaka, Natalya Buzko
Drama
Add to Watchlist
153 mins.
22. Khlib i sil (1970)
Add to Watchlist
6.9/10
A group of peasant farmers in turn-of-the-century Ukraine leaves home in search of better
luck in Siberia...
Dir: Grigori Kokhan, Nikolai Makarenko With: Lidiya Yaremchuk, Les Serdyuk, Ivan Gavrilyuk
Drama
81 mins.
23. The Undefeated (2000)
Add to Watchlist
6.9/10
Dir: Oles Yanchuk With: Gregory Hlady, Volodymyr Horiansky, Victoria Malektorovych

2016

Космоснаш: 10 фактов об украинца во внепланетном пространстве | Новое Время
2/12/16, 8:31 PM
12 февраля 2016, пятница 20:28 # $ % & ' )
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UA
Что замалчивают на
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Зачем Порошенко
Как Путин застрял в
(/ukr/publications/kosmosnash-
10- RU
Мюнхенской
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полетел в Мюнхен
проекте "Кадыров"
конференции
(/opinion/lloyd/soedinennyeshtaty-evropy-97104.htmlporoshenko-poletel-v-
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Роман Повзык
(/authors/a=518.html)
28 января, 14:40
" 729 , 5
-
комментировать
Космоснаш: 10 фактов об украинцах
во внепланетном пространстве
Этот материал можно прочитать и на украинском языке (/ukr/publications/kosmosnash-10-faktiv-pro-ukrajintsiv-upozaplanetnomu-prostori-93925.html
)
7
0
0
1
6
micto.cz
Экспедиция шаттла Columbia с участием украинца Леонида Каденюка (первый справа), 1997 год
Как украинцы причастны к высадке американцев на Луну и почему
погиб молодой украинский космонавт. НВ собрало 10 впечатляющих
фактов об украинцах в космической отрасли
Сегодня, 28 января, исполняется 65 лет первому и единственному космонавту
независимой Украины — Леониду Каденюку, участнику космической экспедиции шаттла
Columbia.
НВ собрало 10 интересных фактов, связанных с космосом и Украиной как участницей
небольшого клуба космических держав.
1
Первым и единственным космонавтом независимой Украины является
Леонид Каденюк. Его полет в составе международной экспедиции
состоялся в 1997 году и продолжался 17 дней.
Украинец летел на том самом шаттле, который в 2003 году сгорит,
возвращаясь на Землю. Этот самый корабль использовали для съемок в фильме
Армагеддон с Брюсом Уиллисом и Беном Аффлеком (кино снимали, как раз когда
Каденюк тренировался в NASA).
Каденюк захотел быть космонавтом после полета Юрия Гагарина. Тогда будущему
украинскому космонавту было 10 лет. В 1976 году его отобрали в отряд советских
космонавтов. Мечту жизни ему удалось осуществить через 21 год.
20:18
20:13
20:11
(/exec/bn/click.php?absnum=553)
ПОСЛЕДНИЕ НОВОСТИ
(/ALLNEWS.HTML)
Бандитское расформирование: Георгий
Тука — о том, как долго протянут
самопровозглашенные республики в
Донбассе (/publications/banditskoerasformirovanie-georgij-tuka-o-tom-kakdolgo-protjanut-samoprovozglashennyerespubliki-v-donbasse-97102.html)
Новая угроза. Что замалчивают на
Мюнхенской конференции, - эксперт
Сarnegie Еurope (/opinion/dempsi/chto-
zamalchivajut-na-mjunhenskoj-konferentsii-
97132.html) " 182
Четверых задержанных в Крыму
мусульман оккупационные власти
арестовали на два месяца
(/ukraine/events/chetveryh-zaderzhannyh-vkrymu-musulman-okkupatsionnye-vlastiarestovali-na-dva-mesjatsa-97145.html)
" 8
20:07
В МИД назвали число спасенных из
http://nv.ua/publications/kosmosnash-10-faktov-ob-ukraintsah-v-pozaplanetnomu-prostranstve-93925.html
Page 1 of 10

Космоснаш: 10 фактов об украинца во внепланетном пространстве | Новое Время
2/12/16, 8:31 PM
В космосе Каденюк исследовал влияние невесомости на три вида растений — репу, сою и
мох.
Для пробуждения космонавтов на корабле используются мелодии, которые выбирают
сами участники. Каденюк своей избрал гимн Украины. Поэтому дважды за время его
пребывания в космосе участники международного экипажа просыпались под музыку
Михаила Вербицкого.
19:59
Сирии украинцев (/ukraine/events/v-mid-
nazvali-chislo-spasennyh-iz-sirii-ukraintsev-
97144.html) " 27
В Киеве СБУ изъяла арсенал оружия из
зоны АТО (/ukraine/events/v-kieve-sbu-
izjala-arsenal-oruzhija-iz-zony-ato-
97142.html) . " 39
Все новости / (/allnews.html)
ТОП-3 БЛОГА (/OPINION.HTML) /
3 дня неделя месяц
2
Леонид Каденюк (фото — korrespondent.net)
Выдающимися деятелями советской космонавтики (главными и
генеральными конструкторами) были четверо украинцев.
Сергей Королев родился в Житомире. Под его руководством запущена
первая межконтинентальная баллистическая ракета, первый
искусственный спутник Земли (оба события в 1957 г.), состоялся первый полет человека,
Юрия Гагарина, в космос (1961 г.) и выход человека в космос — Алексея Леонова (1965 г.).
Александр Пасхавер
Кто может прийти
на смену Яценюку
и его Кабмину
(/opinion/paskhaver/kto-
mozhet-prijti-na-smenu-jatsenjuku-i-ego-kabminu-
96340.html) " 16541 , 37
Одним из крупнейших недостатков политики в
Украине является отсутствие фактической
преемственности
Моника Шмид
В каком возрасте
изучать
иностранный язык
уже поздно
(/opinion/shmid.html) " 13586 , 8
Способности к изучению языков с годами
действительно снижаются
(/opinion/shmid.html)
Сергей Королев (источник — kpi.ua)
Михаил Янгель был внуком украинца, которого выслали из Черниговской губернии за
бунтарство на каторгу и вечное поселение. Из-за происхождения всю жизнь его называли
«хохлом». Работал в Днепропетровске. Под его руководством были созданы несколько
классов и поколений стратегических боевых ракет армии СССР. Он был главным
руководителем советской космической программы.
Владимир Челомей стал одним из главных ученых-консультантов в области ракетных
двигателей в СССР, в основном военного назначения. А после Янгеля возглавил советскую
космическую программу.
Двигатели Владимира Глушко стали основой ракетных систем, с помощью которых СССР
достиг успехов в освоении космоса. На этих двигателях работали многоразовые ракетнокосмические
комплексы Энергия, Буран, космические корабли "Восток", ракеты-носители
Протон.
Леонид Радзиховский
Чего добивается
Кремль в Сирии
(/opinion/paskhaver/kto-mozhet-prijti-na-smenujatsenjuku-i-ego-kabminu-96340.html)
(/opinion/radzihovsky/chego-
dobivaetsja-kreml-v-sirii-
96396.html) " 7018 , 21
Если бы не война в Сирии, российскому президенту
грозило бы уйти с экранов и газетных заголовков
(/opinion/radzihovsky/chego-dobivaetsja-kreml-v-sirii-
96396.html)
АВТОРЫ
(/OPINION/AUTHORS/ALL.HTML)
ВСЕ МНЕНИЯ /
(/OPINION/AUTHORS.HTML)
Илья Пономаренко
(/opinion/ponomarenko.html)
СЕГОДНЯ 19:24
(/opinion/ponomarenko.html)
Кремлевский рецепт
перемирия
(/opinion/ponomarenko/kremlevskijretsept-peremirija-97119.html)
" 249 , 1
http://nv.ua/publications/kosmosnash-10-faktov-ob-ukraintsah-v-pozaplanetnomu-prostranstve-93925.html
Page 2 of 10

Космоснаш: 10 фактов об украинца во внепланетном пространстве | Новое Время
2/12/16, 8:31 PM
ФОТО (/PHOTO.HTML) /
ВИДЕО (/VIDEO.HTML) /
3
Первым украинцем, который побывал в космосе – еще до обретения
Украиной независимости – был Павел Попович. Его полет состоялся в
августе 1962 года. Политика советской верхушки не позволила ему стать
первым человеком в космосе
(http://www.istpravda.com.ua/articles/2012/08/15/91709/):
— Нас готовили к первому полету наравне с Юрой Гагариным. Правда, мы с Николаевым
[еще один кандидат на полет в космос — НВ] знали, что ни я, ни он первыми не полетим.
Пионером в космосе согласно тогдашней политики должен быть россиянин. От этого
никуда не денешься.
Известна история о том, как Попович исполнял в космосе украинскую песню. 24 года
прожил в Украине генеральный конструктор Сергей Королев, одной из любимых песен
которого была «Дивлюсь я на небо...». Так вот будучи на борту корабля, Попович исполнил
эту песню. Он знал, что в Центре управления полетами во время сеанса радиосвязи
присутствует Королев. Причем вторую фразу Попович перефразировал: «...вот я сокол, и
вот я летаю!» — вместо «почему я не сокол, почему не летаю?».
7. Бэнкси из Донбасса: автор скандальных
граффити на улицах оккупированного Донецка
бросает вызов своей малой родине
(/publications/benksi-iz-donbassa-sergej-zaharov-
avtor-skandalnyh-graffiti-na-ulitsah-okkupirovannogo-
(http://nv.ua/project/porsche-(/style/art/istinu-necayenne-gts.html)
propesh-stoit-li-smotret-
Зверская роскошь. 7
10-j-sezon-seriala-
фактов о Porsche
sekretnye-materialy-
Cayenne GTS
93598.html)
(http://nv.ua/project/porsche-Истину не пропьешь.
cayenne-gts.html)
6 февраля 10:07
/
Стоит ли смотреть 10-й
сезон сериала
Секретные материалы
(/style/art/istinu-ne-
propesh-stoit-li-smotret-
10-j-sezon-seriala-
sekretnye-materialy-
93598.html)
27 января 12:03
СТАТЬИ ТОП-10
Читают Обсуждают Делятся
Павел Попович (источник — istpravda.com.ua)
Второй раз Попович летал в космос через 12 лет — в июле 1974-го. За каждый из полетов
украинец получил звание Героя Советского Союза.
4
Благодаря украинцу стал возможен полет на Луну американца Нила
Армстронга.
В 1928 году Александр Шаргей (более известный как Юрий Кондратюк),
который родился в Полтаве, опубликовал работу «Завоевание
межпланетных пространств».
Во время подготовки программы Аполлон в Главном управлении пилотируемых полетов
NASA начался спор. Группа руководителя программы Аполлон Джона Губолта предлагала
вывести корабль на окололунную орбиту, затем отделить и спустить на Луну специальную
кабину. Именно эту идею, с которой впоследствии согласились все разработчики,
американец взял из книги Кондратюка, которая чудом оказалась в Библиотеке Конгресса
США.
Губолт вспоминал, что когда в 1968 году наблюдал за стартом ракеты, которая должна
была понести корабль Аполлон-9 по направлению к Луне, то думал об украинце Юрие
Кондратюке, рассчитавшем трассу, по которой должны были лететь трое астронавтов.
1. Казак-депутат Гаврилюк рассказал о
парламентских искушениях и собственном
бюджете (/publications/kazak-deputat-gavriljukrasskazal-o-parlamentskih-iskushenijah-isobstvennom-bjudzhete-96068.html)
" 10262
2. Кто борется с преступностью, тот ее и крышует.
Скандальный Илья Кива рассказывает, как
наркодилеры делают бизнес с депутатами,
милицией и прокурорами (/publications/kto-boretsjas-prestupnostju-tot-ee-i-kryshuet-skandalnyj-ilja-kivarasskazyvaet-kak-narkodilery-delajut-biznes-sdeputatami-militsiej-i-prokurorami-96841.html)
"
3. Нова Пошта наведет порядок
(/publications/novaja-pochta-navedet-porjadok-
96397.html) " 3648
4. Я пока не беру автомат и не иду с ним в
Генпрокуратуру. Семенченко рассказал, кто во
власти хочет сохранить свои кормушки
(/publications/malorossija-protiv-ukrainysemenchenko-rasskazal-ob-arestah-dobrovoltsev-i-otom-pochemu-prodolzhaetsja-vojna-96484.html)
" 3525
5. «Я тааааю!» Лидерство Хиллари Клинтон среди
демократов стремительно сокращается
(/publications/ja-taaaaju-liderstvo-hillari-klinton-sredidemokratov-stremitelno-sokrashchaetsja-96853.html)
" 3437
6. Кадровый голод. Валентин Наливайченко
собирается усилить команду Юлии Тимошенко
(/publications/kadrovyj-golod-nalivajchenkosobiraetsja-usilit-komandu-timoshenko-96838.html)
" 3219
http://nv.ua/publications/kosmosnash-10-faktov-ob-ukraintsah-v-pozaplanetnomu-prostranstve-93925.html
Page 3 of 10

Космоснаш: 10 фактов об украинца во внепланетном пространстве | Новое Время
2/12/16, 8:31 PM
donetska-96392.html) " 2471
8. UniCredit Bank рассчитывает завершить свою
украинскую историю с прибылью
(/publications/unicredit-bank-rasschityvaet-zavershitsvoju-ukrainskuju-istoriju-s-pribylju-96626.html)
9. На рынке морских перевозок коллапс. Что от
этого Украине? (/publications/na-rynke-morskihperevozok-kollaps-chto-ot-etogo-ukraine-96616.html)
" 1503
10. Точку можно поставить только
широкомасштабной военной операцией – ротный
Азова (/publications/tochku-mozhno-postavit-tolko-
shirokomasshtabnoj-voennoj-operatsiej-–-rotnyj-azova-
96548.html) " 1466
Юрий Кондратюк (источник — vecherniy.kharkov.ua)
ПОДПИСКА НА НОВОСТИ
Когда в СССР с визитом приехал Нил Армстронг, который стал первым человеком на
Луне, то возле дома в Новосибирске, где в свое время жил Кондратюк, астронавт
зачерпнул горсть земли и забрал с собой
(http://www.istpravda.com.ua/digest/2011/04/12/35683/).
5
4 астронавта украинского происхождения покорили космос в составе
экспедиций от США и Канады.
Роберта Линн Бондар родилась в Онтарио в семье этнических украинцев.
Она стала первой канадской женщиной-астронавтом и первым врачомневропатологом,
который побывал в космосе. Ее полет состоялся в январе 1992 года —
через 8 лет после зачисления Бондар к отряду астронавтов. В ее честь названы 4 школы
в Канаде.
Брюс Мельник совершил два полета в космос (в 1990 и 1992 годах), суммарно проведя
там более 300 часов.
Судьба астронавта Джудит Резник показывает, насколько опасными являются
космические полеты. Дочь еврейских эмигрантов из Украины, в январе 1978 года она
была отобрана в кандидаты на полет, который успешно состоялся в 1984 году. Однако
через 2 года во время старта корабля Challenger погибли все семеро членов экипажа,
включая ее.
Родители Гайдемари Стефанишин-Пайпер эмигрировали в США из Западной Украины.
Астронавт полетела в космос в 2006 году. В январе 2007 года американка прилетела в
Украину, где посетила родное село отца, где живут 16 двоюродных братьев и сестер
Стефанишин-Пайпер. Кстати, именно ее Леонид Каденюк выбрал как человека, который
должен был уведомить его семью, если бы он погиб во время полета в 1997 году.
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http://nv.ua/publications/kosmosnash-10-faktov-ob-ukraintsah-v-pozaplanetnomu-prostranstve-93925.html
Page 4 of 10

Космоснаш: 10 фактов об украинца во внепланетном пространстве | Новое Время
2/12/16, 8:31 PM
6
Очень мало известно о трагической истории молодого украинского
космонавта — участника первого отряда космонавтов, отобранных для
первых полетов в космос. Рядом с Гагариным, Леоновым и Поповичем
был и 23-летний Валентин Бондаренко из Харькова.
С 31 мая 1960 года он проходил подготовку к полету на космическом корабле Восток.
Во время одной из тренировок Бондаренко пришлось 10 дней пробыть в суднокамере —
это было испытание тишиной и одиночеством. В конце он снял с тела датчики, протер их
спиртом, но неосторожно бросил вату на спираль раскаленной электроплитки. В условиях
чистого кислорода огонь распространился по камере, которую невозможно было быстро
открыть.
Врачи 8 часов боролись за жизнь Бондаренко. Группа космонавтов во главе с Гагариным
несколько часов провела в больнице.
Через 19 дней после гибели молодого харьковчанина первый человек полетел в космос.
Валентин Бондаренко (фото — diit.cz)
В Советском Союзе о его смерти нигде не сообщалось. Первые упоминания об этой
истории на Западе появились в 1980 году, а в СССР аж в 1986 году — через 25 лет после
его смерти.
7
Был также большой шанс у украинской женщины стать космонавтом. Ею
едва не стала Надежда Адамчук (ныне — Адамчук-Чалая), на то время
сотрудник института ботаники имени Холодного Национальной академии
наук Украины.
В 1996 году ее включили в состав группы космонавтов Украины для прохождения
подготовки к полетам на кораблях системы Space Shuttle (кроме Адамчук там были
Каденюк, Вячеслав Мейтарчан и Ярослав Пустовой). В ноябре 1996 года она прибыла в
США для прохождения предполетной подготовки. Однако вскоре прервала подготовку и
вернулась в Украину.
Американские психологи считали (http://tyzhden.ua/Society/62052) негативом то, что
Адамчук не имела опыта борьбы с вредными привычками. В конце концов, в космос от
Украины отобрали Каденюка, который более 20 лет готовился к этому событию.
http://nv.ua/publications/kosmosnash-10-faktov-ob-ukraintsah-v-pozaplanetnomu-prostranstve-93925.html
Page 5 of 10

Космоснаш: 10 фактов об украинца во внепланетном пространстве | Новое Время
2/12/16, 8:31 PM
Надежда Адамчук (фото — tyzhden.ua)
Адамчук впоследствии обрабатывала и проверяла результаты экспериментов с
растениями, которые проводил в космосе украинский астронавт. А в 2003 году получила
премию президента Украины за работу Гравичувствительность растений на клеточном и
молекулярном уровнях.
8
Проект MarsOne — частная инициатива, цель которой — основание
человеческой колонии на Марсе. На данный момент первый запуск
космического корабля на Марс планируется на 2027 год.
Отбор будущих колонистов проходил среди 202.586 желающих из 140
стран мира. Несмотря на то, что данный полет будет «билетом в один конец», все эти
люди хотели вписать свое имя в историю.
После прохождения трех этапов отбора осталось 100 добровольцев. Среди них и 27-
летний инженер из Житомира Сергей Якымив. Шансы, что он попадет в список 24
колонистов Марса, — 1 к 4. А конкурс, который прошел Сергей, — 2.026 человек на место.
Сергей Якымив (источник — korrespondent.net)
Якимов работал в Киеве в Институте космических исследований. Однако из-за маленькой
зарплаты решил уволиться и посвятить себя мечте добраться до другой планеты.
Последний отбор, который определит имена 24 будущих колонизаторов, пройдет осенью
2016 года.
9
На первой в истории художественной выставке в космосе были
представлены работы львовского художника Игоря Подольчака.
Проходила она на российской орбитальной станции Мир 25 января 1993
года. В рамках выставки были представлены два офорта, которые
рассматривали двое российских космонавтов — Сергей Авдеев и Анатолий
Соловьев. Для подтверждения проведения мероприятия, они сняли процесс на видео.
http://nv.ua/publications/kosmosnash-10-faktov-ob-ukraintsah-v-pozaplanetnomu-prostranstve-93925.html
Page 6 of 10

Космоснаш: 10 фактов об украинца во внепланетном пространстве | Новое Время
2/12/16, 8:31 PM
— Произведения искусства живут не только на Земле, но и в космосе. Это необходимость,
поскольку, когда человек попадает в космическое пространство, работает в
экстремальных условиях, то возникает потребность в искусстве, возможно, даже в
необычном искусстве, — говорили космонавты, снимая видео
(https://www.youtube.com/watch?v=SnKcWWhj_hY).
Кадр из видео выставки Подольчака в космосе (источник — mediaartarchive.org.ua)
Выставка стала частью проекта Искусство в космосе. Данный проект впервые
представлял Украину на Биеннале искусства в Сан-Паулу (Бразилия) в 1994 году.
Космонавты вернули офорты на землю, поставив на них бортовую печать.
В 2014 году Подольчак, который начинал как художник и куратор современного
искусства, по рейтингу издания Forbes был признан одним из 10 самых выдающихся
кинорежиссеров Украины.
10
Украинской космической столицей считается Днепропетровск. Именно
здесь находится Южный машиностроительный завод, или Южмаш. Он был
основан в 1944 году как автомобилестроительный завод. Однако через 7
лет был перепрофилирован для серийног выпуск ракет разработки Сергея
Королева.
Уже в 1954 году здесь начинается производство баллистических ракет стратегического
назначения разработки конструкторского бюро Южное под руководством Янгеля. А с 60-х
годов ХХ века ПМЗ становится производителем ряда уникальных космических
носителей, а также космических аппаратов.
Одним из директоров завода с 1986 по 1992 год был бывший президент Украины Леонид
Кучма.
Цех Производственного объединения «Южный машиностроительный завод имени А.М. Макарова».
Днепропетровск, 2006 год (фото УНИАН)
http://nv.ua/publications/kosmosnash-10-faktov-ob-ukraintsah-v-pozaplanetnomu-prostranstve-93925.html
Page 7 of 10

Космоснаш: 10 фактов об украинца во внепланетном пространстве | Новое Время
2/12/16, 8:31 PM
Сейчас дела у космического центра Украины идут не лучшим образом. Госпредприятие
имеет долги за электроэнергию в размере 260 млн грн. В январе компания ДТЭК даже
отключила Южмашу электроэнергию, чем обесточила около 50 жилых домов, воинскую
часть и ряд коммерческих объектов, связанных с заводом общей инфраструктурой
(http://dniprograd.org/2016/01/20/boris-filatov-povidomiv-pro-chastkove-virishennya-pitannyapivdenmashu_43119).
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Слободянюк Григорий
Незаслуженно не упомянуто еще несколько имен:
1. Генерал Засядько - создал в 19веке первую РСЗО, мечтал о
космолсе и первым пришел к выводу о необходимости для этого
ЖРД
2. Кибальчич.
3. Циолковский - прямой потомок гетьмана Наливайко 4 Лозино-
Лозинский - разработчик БОРов, "Бурана" и системы МАКС. 5.
Сергей Хрущев, рангом пониже, но тоже работал на космос.
28.01.2016 | 15:25
5 1
Игорь Федотов
А Сергей Хрущёв каким боком к Украине?
28.01.2016 | 18:15
1 4
Oleg Ivanchenko
" У січні компанія ДТЕК навіть відключила Південмашу
електроенергію"
Це можна розцінити як теракт на СТРАТЕГІЧНОМУ
ПІДПРИЄМСТВІ...
28.01.2016 | 14:59
8 1
Игорь Федотов
А що робить коли нем а заказів. Пусті цеха гріти?
28.01.2016 | 18:17
1 3
Lev L
Свет ахмет отключил а не газ...ты глухой!
28.01.2016 | 19:45
1 2
http://nv.ua/publications/kosmosnash-10-faktov-ob-ukraintsah-v-pozaplanetnomu-prostranstve-93925.html
Page 8 of 10

IMDb: Most Popular "Neo Noir" Feature Films Released In 2013
2/29/16, 10:50 AM
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Most Popular "Neo Noir" Feature Films Released In 2013
43 titles.
Sort by: Popularity▲ | A-Z | User Rating | Num Votes | US Box Office | Runtime | Year | US Release Date
Feedback? Tell us what you think about
this feature.
1. Prisoners (2013)
8.1/10
Add to Watchlist
When Keller Dover's daughter and her friend go missing, he takes matters into his own hands
as the police pursue multiple leads and the pressure mounts. But just how far will this
desperate father go to protect his family?
Dir: Denis Villeneuve With: Hugh Jackman, Jake Gyllenhaal, Viola Davis
Crime | Drama | Mystery | Thriller
153 mins.
2. Safe Haven (2013)
6.7/10
Add to Watchlist
A young woman with a mysterious past lands in Southport, North Carolina where her bond
with a widower forces her to confront the dark secret that haunts her.
Dir: Lasse Hallström With: Julianne Hough, Josh Duhamel, Cobie Smulders
Drama | Romance | Thriller
115 mins.
3. Homefront (2013)
6.5/10
Add to Watchlist
A former DEA agent moves his family to a quiet town, where he soon tangles with a local
meth druglord.
Dir: Gary Fleder With: Jason Statham, James Franco, Winona Ryder
Action | Crime | Drama | Thriller
100 mins.
4. Oldboy (2013)
5.8/10
Add to Watchlist
Obsessed with vengeance, a man sets out to find out why he was kidnapped and locked into
solitary confinement for twenty years without reason.
Dir: Spike Lee With: Josh Brolin, Elizabeth Olsen, Samuel L. Jackson
Action | Drama | Mystery | Thriller
104 mins.
5. Locke (2013)
7.1/10
Add to Watchlist
Ivan Locke, a dedicated family man and successful construction manager, receives a phone
call on the eve of the biggest challenge of his career that sets in motion a series of events that
threaten his carefully cultivated existence.
Dir: Steven Knight With: Tom Hardy, Olivia Colman, Ruth Wilson
Drama
85 mins.
6. The Counselor (2013)
Add to Watchlist
5.4/10
A lawyer finds himself in over his head when he gets involved in drug trafficking.
Dir: Ridley Scott With: Michael Fassbender, Penélope Cruz, Cameron Diaz
Crime | Drama | Thriller
117 mins.
7. Gangster Squad (2013)
6.8/10
Add to Watchlist
It's 1949 Los Angeles, the city is run by gangsters and a malicious mobster, Mickey Cohen.
Determined to end the corruption, John O'Mara assembles a team of cops, ready to take down
the ruthless leader and restore peace to the city.
Dir: Ruben Fleischer With: Sean Penn, Ryan Gosling, Emma Stone
Action | Crime | Drama | Thriller
113 mins.
8. 2 Guns (2013)
6.7/10
Add to Watchlist
Two hardened criminals get into trouble with the US border patrol after meeting with a
Mexican drug lord, and then revelations start to unfold.
Dir: Baltasar Kormákur With: Denzel Washington, Mark Wahlberg, Paula Patton
Action | Comedy | Crime | Drama | Thriller
109 mins.
http://www.imdb.com/search/title?keywords=neo-noir&sort=moviemeter,asc&title_type=feature&year=2013,2013
Page 1 of 5

IMDb: Most Popular "Neo Noir" Feature Films Released In 2013
2/29/16, 10:50 AM
9. Out of the Furnace (2013)
6.8/10
Add to Watchlist
When Rodney Baze mysteriously disappears and law enforcement doesn't follow through fast
enough, his older brother, Russell, takes matters into his own hands to find justice.
Dir: Scott Cooper With: Christian Bale, Casey Affleck, Zoe Saldana
Crime | Drama | Thriller
116 mins.
10. Blue Ruin (2013)
7.1/10
Add to Watchlist
A mysterious outsider's quiet life is turned upside down when he returns to his childhood
home to carry out an act of vengeance. Proving himself an amateur assassin, he winds up in a
brutal fight to protect his estranged family.
Dir: Jeremy Saulnier With: Macon Blair, Devin Ratray, Amy Hargreaves
Crime | Drama | Thriller
90 mins.
11. Parker (2013)
6.2/10
Add to Watchlist
A thief with a unique code of professional ethics is double-crossed by his crew and left for
dead. Assuming a new disguise and forming an unlikely alliance with a woman on the inside,
he looks to hijack the score of the crew's latest heist.
Dir: Taylor Hackford With: Jason Statham, Jennifer Lopez, Michael Chiklis
Action | Crime | Thriller
118 mins.
12. Only God Forgives (2013)
5.7/10
Add to Watchlist
Julian, a drug-smuggler thriving in Bangkok's criminal underworld, sees his life get even more
complicated when his mother compels him to find and kill whoever is responsible for his
brother's recent death.
Dir: Nicolas Winding Refn With: Ryan Gosling, Kristin Scott Thomas, Vithaya Pansringarm
Crime | Drama
90 mins.
13. The Double (2013)
6.5/10
Add to Watchlist
A clerk in a government agency finds his unenviable life takes a turn for the horrific with the
arrival of a new co-worker who is both his exact physical double and his opposite - confident,
charismatic and seductive with women.
Dir: Richard Ayoade With: Jesse Eisenberg, Mia Wasikowska, Wallace Shawn
Comedy | Drama | Thriller
93 mins.
14. The Last Stand (2013)
6.4/10
Add to Watchlist
The leader of a drug cartel busts out of a courthouse and speeds to the Mexican border, where
the only thing in his path is a sheriff and his inexperienced staff.
Dir: Jee-woon Kim With: Arnold Schwarzenegger, Forest Whitaker, Johnny Knoxville
Action | Crime | Thriller
107 mins.
15. Redemption (2013)
6.2/10
Add to Watchlist
Homeless and on the run from a military court martial, a damaged ex-special forces soldier
navigating London's criminal underworld seizes an opportunity to assume another man's
identity -- transforming into an avenging angel in the process.
Dir: Steven Knight With: Jason Statham, Agata Buzek, Vicky McClure
Action | Crime | Drama
100 mins.
16. The East (2013)
6.9/10
Add to Watchlist
An operative for an elite private intelligence firm finds her priorities changing dramatically
after she is tasked with infiltrating an anarchist group known for executing covert attacks
upon major corporations.
Dir: Zal Batmanglij With: Brit Marling, Alexander Skarsgård, Ellen Page
Drama | Thriller
116 mins.
17. Trance (2013)
7.0/10
Add to Watchlist
An art auctioneer who has become mixed up with a group of criminals partners with a
hypnotherapist in order to recover a lost painting.
Dir: Danny Boyle With: James McAvoy, Rosario Dawson, Vincent Cassel
Crime | Drama | Mystery | Thriller
101 mins.
18. Broken City (2013)
6.2/10
Add to Watchlist
In a city rife with injustice, ex-cop Billy Taggart seeks redemption and revenge after being
double-crossed and then framed by its most powerful figure: Mayor Nicholas Hostetler.
Dir: Allen Hughes With: Mark Wahlberg, Russell Crowe, Catherine Zeta-Jones
Crime | Drama | Thriller
109 mins.
19. Snitch (2013)
Add to Watchlist
http://www.imdb.com/search/title?keywords=neo-noir&sort=moviemeter,asc&title_type=feature&year=2013,2013
Page 2 of 5

IMDb: Most Popular "Neo Noir" Feature Films Released In 2013
2/29/16, 10:50 AM
6.5/10
A father goes undercover for the DEA in order to free his son who was imprisoned after being
set up in drug deal.
Dir: Ric Roman Waugh With: Dwayne Johnson, Susan Sarandon, Jon Bernthal
Action | Drama | Thriller
112 mins.
20. Welcome to the Punch (2013)
6.1/10
Add to Watchlist
When a notorious criminal is forced to return to London, it gives a detective one last chance to
take down the man he's always been after.
Dir: Eran Creevy With: James McAvoy, Mark Strong, Andrea Riseborough
Action | Crime | Thriller
99 mins.
21. Empire State (2013)
5.2/10
Add to Watchlist
Two childhood friends plan to rob an armored car depository. An NYPD officer stands in their
way.
Dir: Dito Montiel With: Liam Hemsworth, Michael Angarano, Dwayne Johnson
Action | Crime | Drama | Thriller
94 mins.
22. Police Story: Lockdown (2013)
6.1/10
Add to Watchlist
A man looking for the release of a long-time prisoner takes a police officer, his daughter, and a
group of strangers hostage.
Dir: Sheng Ding With: Jackie Chan, Ye Liu, Tian Jing
Action | Crime | Drama | Thriller
110 mins.
23. Sparks (2013)
6.0/10
Add to Watchlist
A masked vigilante who discovers the dark side to heroism. Going after the nation's most
notorious super criminal leaves Sparks' life and reputation in ruins.
Dir: Todd Burrows, Christopher Folino With: Chase Williamson, Ashley Bell, Clancy Brown
Action | Thriller
97 mins.
24. Drishyam (2013)
9.0/10
Add to Watchlist
Desperate measures are taken by a man who tries to save his family from the dark side of the
law, after they commit an unexpected crime.
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A cop goes undercover into a gangster's family as his son. This sets in place a chain reaction
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Action | Drama | Thriller
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6.6/10
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Dir: Prince Bagdasarian With: Hunter Ives, Korrina Rico, Ken Davitian
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27. A New York Heartbeat (2013)
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Spider, a young gang leader, gets in over his head when he robs a notorious gangster. On the
run, he's taken in by a sheltered young woman and her reclusive uncle, a legendary mobster
gunned down by the same gangster now pursuing Spider.
Dir: Tjardus Greidanus With: Escher Holloway, Rachel Brosnahan, Eric Roberts
Crime | Drama | Romance
95 mins.
28. Discopathe (2013)
5.1/10
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The mid-70's: a timid young New Yorker leads an uneventful life until he is fatefully exposed
to the...
Dir: Renaud Gauthier With: Jérémie Earp-Lavergne, Sandrine Bisson, Ivan Freud
Crime | Fantasy | Horror
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29. Solomon Grundy (2013)
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8-year-old Jimmy finds comfort and protection in the form of his imaginary friend, Solomon
Grundy. Upon reaching adulthood, Jimmy finds that his invisible friend has not gone away.
Dir: Mattson Tomlin With: Christopher Birk, Neville Archambault, Makenzie Caine
Drama | Thriller
75 mins.
30. 2 Dead 2 Kill (2013)
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http://www.imdb.com/search/title?keywords=neo-noir&sort=moviemeter,asc&title_type=feature&year=2013,2013
Page 3 of 5

IMDb: Most Popular "Neo Noir" Feature Films Released In 2013
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A drug addict scrambles to track down $8 million of heroin while pursued by the city's rival
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Dir: Michael J. Hach, Neil Kinsella With: Jill Andre, Katherine Bailess, I. Elijah Baughman
Action
90 mins.
31. Delirium (2013)
10/10
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A family asks a young psychiatrists to be their guest and look after their father who's
developed a suicidal fixation for ropes and knots. It is also entirely possible that the mental
health of the guest is the real cause for concern.
Dir: Ihor Podolchak With: Volodymyr Khimyak, Lesya Voynevych, Petro Rybka
Drama | Thriller
100 mins.
32. Doctor Mabuse (2013)
6.8/10
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Criminal mastermind Dr. Mabuse returns from exile to begin a new reign of terror, and only
young Inspector Carl Lohemann stands in his way.
Dir: Ansel Faraj With: Jerry Lacy, Nathan Wilson, Kathryn Leigh Scott
Crime | Drama | Mystery | Thriller
95 mins.
33. Hellhounds (2013)
7.4/10
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A first person account of Ross Graves, an alcoholic drifter who is constantly hunted by
demonic bounty hunters and a spiritual being to whom he sold his soul.
Dir: Eric Widing With: Sonny Burnette, Rachel Carter, Joshua Collins
Adventure | Drama | Fantasy | Horror | Thriller
73 mins.
34. Cash Out (2013)
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CASH OUT is a sweeping emotional crime drama that powerfully explores the relationship
between two brothers of a mafia family, and a seemingly "easy job" that fuels the labyrinthine
plot filled with ambition, greed, passion and deception.
Dir: Simon D. Lorady With: Ed Aristone, Kim Carson, Shaun Paul Costello
Crime | Drama | History
80 mins.
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Blackout (2013)
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A man has lost his memory. He has no idea who is is, why he has woken up in a grungy motel
room, or why people are trying to kill him.
Dir: Douglas Monce With: Toby Ambrose, Katherine Stewart, Tracy Timm
Crime
90 mins.
36. Chances (2013)
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A young lovestruck couple in Nevada find themselves in a troublesome situation when their
spotted pasts are revealed through a mistaken online identity.
Dir: Han Rhyu With: Hunter Fite, Balbinka Korzeniowska, Jon Morgan Woodward
Drama | Romance | Thriller
91 mins.
37. Spontaneous Human Combustion (2013)
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-/10
Death looms on a group of individuals as they head down a path of self-destruction.
Dir: Zach Quinones With: Daniel Ballard, Miles Chumley, Robert Cisneros
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38. The Girl, the Gun, & Everything (2013)
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A razor-edged neo-noir set in the Rust Belt. When down and out Grand Rapids, MI
twentysomethings David C...
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A rookie P.I. gets in over his head when a murder case comes his way. It could be his ticket to
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Dir: Dylan Moore With: Callen Bouchard, Mandy Bouchard, Micheal Boucher
Animation | Comedy | Crime | Mystery
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40. Friends of Money (2013)
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8.4/10
Dir: Adam Lee Hamilton, Andrew London With: Scott McKenize, Gethin Alderman, Hugo Alyn
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http://www.imdb.com/search/title?keywords=neo-noir&sort=moviemeter,asc&title_type=feature&year=2013,2013
Page 4 of 5

IMDb: Most Popular "Neo Noir" Feature Films Released In 2013
2/29/16, 10:50 AM
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Dir: Miguelangelo Hexylvania With: Justin Hall, Rylie Richman, Bleach Whitney
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Page 5 of 5

Тіні забути предків: «МРТ» для шедевра / Музейний простір. Музеї України та світу
23/03/16 18:13
Управління музейної
справи(/ua/topic/%D0%A3%D0%BF%D1%80%D0%B0%D0%B2%D0%BB%D1%96%D0%BD%D0%BD%D1%8F+%D0%BC%D1%83%D0%B7%D0%B5%D0%B9%D0%BD%D0%BE%D1%97+
ProMuseum(/ua/topic/ProMuseum)
Дитячі програми в
музеях(/ua/topic/%D0%94%D0%B8%D1%82%D1%8F%D1%87%D1%96+%D0%BF%D1%80%D0%BE%D0%B3%D1%80%D0%B0%D0%BC%D0%B8+%D0%B2+%D0%BC%D1%83%D0%B7%
ICOM(/ua/topic/ICOM)
Музеї Львова(/ua/topic/%D0%9C%D1%83%D0%B7%D0%B5%D1%97+%D0%9B%D1%8C%D0%B2%D0%BE%D0%B2%D0%B0)
Конференції(/ua/topic/%D0%9A%D0%BE%D0%BD%D1%84%D0%B5%D1%80%D0%B5%D0%BD%D1%86%D1%96%D1%97)
Конкурси і гранти(/ua/topic/%D0%9A%D0%BE%D0%BD%D0%BA%D1%83%D1%80%D1%81%D0%B8+%D1%96+%D0%B3%D1%80%D0%B0%D0%BD%D1%82%D0%B8)
Тіні забутих предків: «МРТ» для шедевра
Автор: Леся Гасиджак(/ua/author/378) | 22 березня 2016 23:17 | (/ua/category)
Понад 100 артефактів з музейних та приватних колекцій, унікальні фото- та відеоматеріали з архівів, сучасне мистецтво і етнографія, «матісівські» розкадровки Сергія
Параджанова, вишукана сувенірна лінія(http://tiniproject.com.ua/), окремий веб-сайт проекту(http://tiniproject.com.ua/), стильний «спеціальний» шрифт, особливі римейки і
саундтреки – це все в комплексі є довгоочікуваним і інтригуючим проектом «Тіні забутих предків», над яким протягом 9 місяців працювала команда з 60 чоловік та 20
волонтерів.
У 2015-му році Україна зробила вигляд, що відзначила 50-річчя культового фільму «Тіні забутих предків», знятого одним з найгеніальніших режисерів ХХ століття Сергієм
Параджановим. 39 міжнародних нагород, 28 призів на кінофестивалях у 21 країні світу зібрала стрічка, яку Емір Кустуріца назвав найкращою картиною, знятою у світі. «Тіні…»
стали знаковими для дисидентського руху, бо саме на прем’єрі 4 вересня 1965 року Іван Дзюба, Василь Стус і В'ячеслав Чорновіл виступили з різкою критикою арештів
інтелігенції, за що усі троє зазнали переслідувань з боку влади. Згодом подібна доля не оминула й Сергія Параджанова.
І хоч стрічка довгий час була заборонена для показу в Україні і в СРСР, навіть через 50 років вона залишається актуальною. Розкласти на різні рівні, проаналізувати кожен,
показати її глибину і новаторство, спровокувати діалог у часі – таким є завдання, яке поставила перед собою кураторська група проекту – Павло Гудімов та Андрій Алферов. Чи
вдалося їм це – кожен зможе оцінити з 23 березня по 10 квітня 2016 року, ознайомившись у просторі Мистецького Арсеналу з проектом «Тіні забутих предків.
http://prostir.museum/ua/post/36862
Page 1 of 3

Тіні забути предків: «МРТ» для шедевра / Музейний простір. Музеї України та світу
23/03/16 18:13
Виставка»(http://artarsenal.in.ua/event183.html).
Куратори – Павло Гудімов, Андрій Алферов
Співкуратори – Борис Філоненко, Катерина Носко
Художник – Андрій Хір
Організатори проекту в Києві: арт-центр Я Галерея, FILM.UA Group, НКММК «Мистецький Арсенал»; за підтримки благодійного фонду Бориса Ложкіна.
Ідея виставки з’явилася у Івана Козленка і Андрія Алферова під час огляду виставки «Мікеланджело Антоніоні», що супроводжувала ретроспективу всіх його фільмів у
французькій Синематеці. Тоді було вирішено показати творчу лабораторію «Тіні забутих предків» - розкласти його на історії, на рівні, пригадати минуле, витягти назовні спогади,
і дослідити рефлексії сьогодення. Це хімічний аналіз фільму, який показує його живучість і надактуальність, осмислення і переосмислення. Куратори ставили завдання
деперсоналізувати фільм, що асоціюється перш за все з Параджановим, «дійти до дна», як каже Андрій Алферов, до початку ідеї – а наскільки це вдалося, можна зрозуміти з
виставки.
В першу чергу вражає підхід кураторів до проекту. Звичайно, дається взнаки їхній досвід і рівень мислення. Нам, музейникам, ще тільки осягати премудрості цієї професії… Тут і
поїздка до Риму, щоб у Галереї Боргезе подивитися на оригінал Тіціана Вечелліо «Любов небесна і Любов земна», якою так надихався Параджанов. І етнографічна експедиція
на Гуцульщину, щоб зафіксувати спогади мешканців сіл про той знімальний час, перекази їхніх нащадків, і зібрати покинуті артефакти. Це стильний брендбук, сувенірка
(футболки, торби і горнята), яку хочеться мати просто вже, і така ж поліграфічна продукція – каталог виставки, україномовний і англомовний буклети, стилістика яких також
детально продумана в кольорах всесвітньовідомих гуцульських кахлів. Спеціально для проекту митці Клубу ілюстраторів Pictoric створили комік-бук
(http://www.chytomo.com/book-art/tini-zabutix-predkiv-grafichni-istoriii-sproba-porozumitisya-zi-spogadami) – за допомогою мистецтва коміксу закарбували 17 спогадів, пов’язаних з
процесом зйомки фільму, серед яких історії про дуель між Параджановим і Іллєнком, про цирк з Леніним і пошматовану канадійцями сорочку Івана Миколайчука, про 13 гуцулів,
які вперше потрапили до Києва, проїхалися в метро і спробували мандарини тощо.
Проект розташований у дев’яти експозиційних залах, які є своєрідними окремими етапами створення фільму. Кожна зала має свій «фірмовий» голос: 8 композицій на основі
етніки, електронної музики та елементів оригінального саундтреку створив для проекту композитор Святослав Луньов. Режисери Ігор Подольчак та Кирило Сєрєбрєнніков
записали римейки до легендарної параджанівської сцени вінчання. Не обійшлося без доробку сучасників – Миколи Малишка та Тіберія Сільваші. Однією з концептуальних ідей
виставки є колір, адже «Тіні…» був першим кольоровим фільмом Параджанова. Тому у проекті багато червоного як символу крові, влади, агресії і краси. Спеціально для
інсталяції Антона Логова з Карпат приїхала 100-літня гуцульська хата, яку промаркували, розібрали і тимчасово «оселили» в Мистецькому Арсеналі.
Окрема зала – «Невидима сокира» - присвячена історії фільму після прем’єри у 1965-му році. Вона вводить нас в контекст часу згортання «Відлиги» після приходу до влади Л.
Брежнєва та початку нового етапу переслідування інтелігенції і інакомислячих у Радянському Союзі. Документи того часу, над якими у 2013-му році було знято гриф «секретно»,
свідчать про тотальний контроль спецслужб над всіма сферами життя знімальної групи і самого Параджанова, детально відтворюють історичну прем’єру фільму 4 вересня 1965
в кінотеатрі «Україна» в Києві.
Георгій Якутович, Юрій Іллєнко, Сергій Параджанов були пронизані любов’ю до Карпат, до людей, до звичаїв, тому етнографія складає вагому частину проекту. Але тут вона
вирізняється нестандартним експонуванням. Окрім музейних артефактів як то кераміка, графіка, дерев’яна сакральна скульптура, предмети побуту горян, на відвідувачів
очікують перформанси Андрія Хіра(http://artukraine.com.ua/a/pro-karpatski-zaboboni-u-suchasnomu-mistectvi-andriy-khir/#.VvG4gEDvFoI), що також мають міфологічно-фольклорне
коріння.
Одним з найунікальніших експонатів виставки є чотириметровий столітній сволок Данила Бокалюка з експозиції Національного музею народного мистецтва Гуцульщини та
Покуття імені Йосафата Кобринського в Коломиї. Як відомо, Сергій Параджанов страшенно любив цей музей, ставав на коліна, коли приходив до нього, казав, що тут черпає
наснагу для фільму. Сволок, на якому вирізьблені русалки, і церква з хрестами, і худоба, є доказом того, як поганські традиції були «одягнені» у християнство, пережили
реінкарнацію і продовжували процвітання. Крім коломийського музею до виставки залучені Національний художній музей України, Національний музей у Львові імені Андрея
http://prostir.museum/ua/post/36862
Page 2 of 3

Тіні забути предків: «МРТ» для шедевра / Музейний простір. Музеї України та світу
23/03/16 18:13
Шептицького, НЦНК «Музей Івана Гончара», Хмельницький обласний художній музей, Музей «Хата-Гражда» з с. Криворівня та Музей Сергія Параджанова у Єревані. Не менш
приємно, що частину текстів до каталогу також писали музейні науковці – Лідія Дубиківська-Кальненко (Музей Івана Гончара), Ірина Гуцуляк, Романна Баран (Національний
музей народного мистецтва Гуцульщини та Покуття) та інші.
Організатори кажуть, що на виставці буде багато сіна і дерева, експериментальна гуцульська кухня і лаунж-зона, а також цікаві зустрічі, лекції і перформанси. Тож не
відкладайте похід до Мистецького Арсеналу на кінець, бо відведені 17 днів пройдуть надзвичайно швидко.
Єдине, якщо ви забули чи ніколи не бачили, не забудьте подивитися перед виходом з дому шедевр, який дав життя цьому проекту,(https://www.youtube.com/watch?
v=cREQ9j6fEXI) щоб кожен авторський задум, кожна деталь, кожен елемент став для вашої душі особливо пізнаваним і зрозумілим.
Фото - Анни Войтенко з сайту проекту(http://tiniproject.com.ua/) та сторінки у Facebook(https://www.facebook.com/tiniproject/photos_stream)
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ВСЕ люди кино арт
22.03.2016 12:20 АРТ
ЗАЧЕМ ИДТИ НА ВЫСТАВКУ «ТІНІ ЗАБУТИХ ПРЕДКІВ»
В среду в Мистецьком Арсенале откроется выставка «Тіні
забутих предків», посвященная культовому фильму Сергея
Параджанова. Об идее, концепции и знаковых моментах мы
http://bit.ua/2016/03/shadows/
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Зачем идти на выставку «Тіні забути предків» -
23/03/16 18:13
пообщались с её кураторами – Андреем Алферовым и Павло
Гудимовым.
Андрей Алферов, куратор проекта, ки
Вот мы плохо умеем красить заборы в жовто-блакитний или руйнув
можем пройти мимо такого значительного произведения, как «Тіні забутих пр
бы показала «химический анализ» этого фильма, а с ним – и его живучесть.
Идея выставки родилась в апреле прошлого года в Париже, ведь
свои «тени» и на современность: как на отечественное, так и на западное кин
укладывается в термин «творческая лаборатория».
Для своего времени фильм был авантюрой, в которую мало кто верил
теперь выглядит дико современным, хоть и не до конца исследованным.
http://bit.ua/2016/03/shadows/
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Зачем идти на выставку «Тіні забути предків» -
23/03/16 18:13
Павел Гудимов, куратор проекта, основатель арт
Над выставкой работает 45 людей + техперсонал + волонтеры.
Уже возле входа в Арсенал гости погружаются в атмосферу гуцульс
зона, фудкорт с экспериментальной гуцульской кухней, дизайнерский магази
все будет пахнуть деревом и сеном. В кинотеатре на 50 мест будут беспреры
версию фильма «Тени забытых предков».
Залы Арсенала, как и сцены в фильме, носят свои названия: «Кра
небесная и Любовь земная» и другие. В зале «Невидима сокира», например,
фильма: после показа 4 сентября 1965 года на сцену кинотеатра вышел Иван
украинской интеллигенции. Его речь поддержали Василий Стус, Вячеслав Че
После этого события фильм был в шаге от запрета, его творцы и участники вы
в то же время заграницей лента получала награды и гармонично вписывалась
Я поехал в Италию, чтобы своими глазами увидеть картину Тициа
Параджанов очень ею вдохновлялся и я понял, почему. Это практически сино
земная» – Маричка и Палагна для Ивана.
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Зачем идти на выставку «Тіні забути предків» -
23/03/16 18:13
В рамках проекта издается 5 книг, которые компилируют проведенные
детальной информацией на 500 страниц, два маленьких буклета на английско
книга «Тіні забутих предків. Графічні історії» — исследование легенд вокруг фи
«Микола Сеньковський. Карпатські листівки 1925–1932», где собраны фотог
Выставка раскрывает связи фильма с современным искусством
современных художников (Николая Малышко, Тиберия Сильваши, Антона Лог
сотрудничеству режиссеров с короткометражками-рефлексиями (Кирилл Сер
режиссера Святослава Лунёва.
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Зачем идти на выставку «Тіні забути предків» -
23/03/16 18:13
Кураторы особенное внимание уделили отношениями творцов ф
попытка развенчать некоторые мифы (например, узнали, что лента хорошо фи
отзывы от киностудии им. А. Довженко). Кроме того, идет обращение к феном
украиноязычного фильма и показ сцены с оголенной Палагной. Фильм «успел
Брежневе его бы обязательно запретили.
Для описания того времени и раскрытия его сути используется т
события из политической, культурной, технической сфер периода 60-х, на фон
феномен.
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Зачем идти на выставку «Тіні забути предків» -
23/03/16 18:13
Кураторы демонстрируют незаурядность «творческой лаборатор
собралась во время киносъемок. С помощью интервью, воспоминаний, фото
режиссера Сергея Параджанова, оператора Юрия Ильенка, художника-поста
Мирослава Скорика, художника по костюмам Лидии Байковой, актеров Лари
Спартака Багашвили, Татьяны Бестаевой.
Материал выставки отошел от традиционной подачи, особенно, тек
которые передают легенды и неподтвержденные истории, повествующие о со
http://bit.ua/2016/03/shadows/
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Зачем идти на выставку «Тіні забути предків» -
23/03/16 18:13
Летом была проведена экспедиция на Гуцульщину, которая помогла
опросить свидетелей киносъемки.
В рамках проекта експонируются материалы из многих музеев
и декорации из фильма.
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Зачем идти на выставку «Тіні забути предків» -
23/03/16 18:13
Во время выставки можно заметить параллели с классическим ис
авторы фильма: например, образы Марички и Палагны перекликаются с карт
небесная».
Если вы нашли ошибку, пожалуйста, выделите фрагмент текста и нажмите
Автор: BIT.UA
Понравилась статья?
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Page 8 of 11

Арумент-Кіно у квітні’2016 - Арумент-Кіно - KINOKOLO.UA
05/04/16 20:08
"Вічне світло незаплямованого розуму"
"Богдан Ступка, актор"
Народився - с. Куликів,
Львівська обл. 1961 -
Закінчив студію при
Львівському театрі.
Кино на пьедестале.
«Оскар» и другие награды
Америки
Алєксєй Дунаєвський. Кино на
пьедестале. «Оскар» и другие
награды Америки. – ГЛОБУС-
ПРЕСС, 2006. – 864 с. –
Російською мовою.
Новини | Кіноклуби | Арґумент-Кіно
Статті | Інтерв'ю | Сценарії | Зйомки
Кінопрем'єри | Кінотеатри
Конференції | Форум
Пошук
05.04.2016 14:07
10 квітня – завершення приймання
заявок на Всеукраїнський конкурс
короткометражних фільмів «Україна:
шлях до миру»
05.04.2016 14:05
Започатковано програму тренінгу та
наставництва для молодих
документалістів DocWorks: UA/UK
Британська Рада в Україні, Sheffield Doc/Fest
та Docudays UA об’єдналися для організації
програми тренінгу та наставництва для
молодих документалістів – DocWorks:
UA/UK...
05.04.2016 13:09
Лист кінематографістів Петру Порошенку
Подаємо текст листа і перелік
кінематографістів, які підписали його...
01.04.2016 16:40
Андрій Кокотюха: Відповідь захиснику
моїх інтересів Ларисі Брюховецькій
25 березня 2016 року вийшла друком стаття
Лариси Брюховецької «Пітчинг, піар. Суєта»
про принципи державної підтримки
кінематографії та конкурсного добору
кінопроектів для формування Програми
виробництва і розповсюдження національних
фільмів, діяльність Державного агентства
України з питань кіно і функціонування
вітчизняної продюсерської системи
кіновиробництва. Міркування пані
Брюховецької викликали чималу кількість
реакцій у кінематографічному середовищі.
Подаємо відповідь Андрія Кокотюхи,
опублікована виданням «Детектор медіа»...
29.03.2016 17:16
«Чесно кажучи, люба, мені байдуже»
Ґавен О’Конор бере гарного оператора,
пейзажі американських долин, дає Наталі
Портмен зброю і з самого початку підстрелює
Ноа Еммеріха. Поки останній протягом всієї
стрічки вмирає, глядач дивиться красивий,
пастельний і вкрай нафталіновий вестерн
«Джейн бере рушницю»/ Jane Got a Gun
(2016)...
21.03.2016 16:34
«Зоотопія»: Томас Мор для малят і
чайників
Не геть зрозумілим видається переклад
ориґінальної назви Zootopia як «Зоотрополіс».
Здогадуюся про логіку перекладачів: йдеться
ж про зоо-місто, ба більше – тваринячий
мегаполіс, а не абищо. Але утопічність,
передана в початковій назві, резонує крізь
усю стрічку й дивно, що про це не подумали.
Але то нічого – пробачаємо, враховуючи вже
стару добру традицію неймовірних
українських перекладів анімаційних жартів...
30.03.2016 16:08
Арґумент-Кіно у квітні’2016
Протягом квітня в програмі демонструватимуться чотири
українські фільми: «Дід лівого крайнього», Las Meninas,
Delirium та «Голлівуд над Дніпром. Сни з Атлантиди»…
**
03.04
«Дід лівого крайнього»
1973, Україна
реж. Леонід Осика
**
10.04
Las Meninas
2008, Україна
реж. Ігор Подольчак
**
Дзеркало
кіномистецьких
шедеврів на каналі
«1+1» в авторській
програмі
Володимира
Войтенка АРҐУМЕНТ-
КІНО.
30.03.2016 16:08
Арґумент-Кіно у квітні’2016
Протягом квітня в програмі
демонструватимуться чотири українські
фільми: «Дід лівого крайнього», Las
Meninas, Delirium та «Голлівуд над Дніпром.
Сни з Атлантиди»…
30.03.2016 15:57
«Дід лівого крайнього», Леонід Осика
Вночі з 3 на 4 квітня о 00:30 у програмі –
фільм режисера Леоніда Осики «Дід лівого
крайнього», де головну роль зіграв
блискучий український комедійний актор
Микола Яковченко…
24.03.2016 18:06
«Які ж ми були молоді», Михайло
Бєліков
Вночі з 27 на 28 березня о 00:20 у програмі
– фільм українського режисера Михайла
Бєлікова «Які ж ми були молоді» (1985).
Також – розмова з виконавцем головної
ролі актором Тарасом Денисенком...
17.03.2016 20:03
«Цвітіння кульбаби», Олександр
Ігнатуша
Вночі з 20 на 21 березня о 00:20 у програмі
– дебютний фільм українського режисера
Олександра Ігнатуші «Цвітіння кульбаби»
та розмова з автором стрічки у студії...
10.03.2016 19:57
«Пісня пісень», Єва Нейман
Вночі з 13 на 14 березня о 00:20 у програмі
– третій ігровий повнометражний фільм Єви
Нейман «Пісня пісень» (2015). Також –
коментар авторки до картини...
01.03.2016 16:43
Арґумент-Кіно в березні’2016
Протягом березня у програмі
демонструватимуться чотири українські
фільми: «Тарас Шевченко. Ідентифікація»,
«Пісня пісень», «Цвітіння кульбаби», «Які ж
ми були молоді»…
01.03.2016 16:23
«Тарас Шевченко. ІDентифікація»,
Сергій Проскурня
Вночі з 6 на 7 березня о 00:20 у програмі –
неігровий повнометражний фільм режисера
Сергія Проскурні «Тарас Шевченко.
ІDентифікація» (2014). Також – розмова у
студії з автором стрічки…
25.02.2016 20:00
«ТойХтоПройшовКрізьВогонь»,
Михайло Іллєнко
Вночі з 28 на 29 лютого о 01:25 у програмі
– ігровий повнометражний фільм
українського режисера Михайла Іллєнка
«ТойХтоПройшовКрізьВогонь». Також –
розмова у студії з автором стрічки…
10.02.2016 17:36
«Cильніше, ніж зброя» від
«Вавилону’13»
Вночі з 21 на 22 лютого о 00:50 у програмі
– до другої річниці Революції Гідности
демонструватиметься документальний
фільм «Сильніше, ніж зброя», знята
учасниками Творчого об’єднання
«Вавилон’13». Також – розмова у студії з
одним із авторів картини Володимиром
Тихим…
10.02.2016 14:28
«Звичайна справа», Валентин
Васянович
Вночі з 14 на 15 лютого о 00:40 у програмі
- дебютний повнометражний ігровий фільм
Валентина Васяновича «Звичайна справа та
розмова з режисером...
06.02.2016 14:40
«Анничка», Борис Івченко
Вночі з 7 на 8 лютого о 00:50 на телеканалі
«1+1» в оновленій програмі: фільм Бориса
Івченка «Анничка», зустріч з режисероманіматором
Степаном Ковалем, розповідь
про кінотеатральні прем'єри та інше...
06.02.2016 14:17
http://kinokolo.ua/argument/
Page 1 of 3

Арумент-Кіно у квітні’2016 - Арумент-Кіно - KINOKOLO.UA
05/04/16 20:08
такси недорогое Киев
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«Арґумент-Кіно» оновлюється
Від лютого місяця програма «Арґумент-
Кіно» виходитиме в оновленому вигляді.
Окрім показу українського фільму, кожен
випуск стане щотижневим провідником до
світового та українського кінематографа…
21.12.2015 19:17
«Пропала грамота», Борис Івченко
Вночі з 27 на 28 грудня о 01:15 у програмі
українська класика – фільм режисера
Бориса Івченка «Пропала грамота» та
спеціальний сюжет про творчість Івана
Миколайчука…
17.12.2015 14:52
«Красна Маланка», Дмитро
Сухолиткий-Собчук
Вночі з 20 на 21 грудня о 00:50 у програмі
– повнометражний документальний фільм
молодого українського режисера Дмитра
Сухолиткого-Собчука «Красна Маланка»...
11.12.2015 14:22
«Мандрагора», «В деревах», Марися
Нікітюк; «Листопад», Марія Кондакова;
«Алкоголічка», Юлія Гонтарук
Вночі з 13 на 14 грудня о 00:35 у програмі
– дебютні короткометражні фільми
українських режисерів за сценаріями
Марисі Нікітюк: «Листопад», «Алкоголічка»,
«В деревах», «Мандрагора»…
Переглянути
17.04
Delirium
2013, Україна-Чехія
реж. Ігор Подольчак
**
24.04
«Голлівуд над Дніпром. Сни з Атлантиди»
2014, Україна
реж. Олег Чорний
http://kinokolo.ua/argument/
Page 2 of 3

Сценарна майстерня. «Арумент-Кіно»: Las Meninas Ігоря Подольчака
07/04/16 16:28
УВІЙТИ
ІСТОРІЯ ТЕОРІЯ СЛОВНИК ТЕКСТИ МЕТА ПРАВИЛА ВТІЛЕНЕ
СЦЕНАРІЇ
КАФА
Анатолій Єжик
НАЙКРАЩІ ПОДРУГИ
(варіант 2)
Богдан Козак
ЧЕРВОНОГРАД
Тетяна Гаркуша
ВИПАДКОВИЙ ПАСАЖИР
Олексій Тараненко, Ісмаїл
Іманов
СЕЛЯНИН І МАКС
Ігор Байбарза
ЛІКИ ДЛЯ ВЕРОНІКИ
Тетяна Гаркуша
МРІЯ
Остап Соколюк
КРИМІНАЛІСТИ-
КОНСУЛЬТАНТИ:
ВИПАДОК У РУСССКОМУ
КВАРТАЛІ
Віталій Райнюк
СЕАНС
Олексій Тараненко
ЛЮСТЕРКО
Тетяна Гаркуша
Всі сценарії
«Арґумент-Кіно»: Las Meninas
Ігоря Подольчака
Сюжети
07.04.2016
Твіт Подобається 0
тижня.
АРҐУМЕНТ-КІНО
Вночі з 10 на 11 ківтня о 00:20 у програмі
«Арґумент-Кіно» на телеканалі «1+1» –
ігровий повнометражний фільм
українського режисера Ігоря Подольчака
Las Meninas (2008) та розмова у студії з
виконавцем одразу трьох ролей у стрічці
Миколою Вереснем. Також у програмі –
кінотеатральні прем’єри та кінокалендар
«Меніни» / Las Meninas – дебютний повнометражний ігровий фільм
художника, одного з найвишуканіших українських графіків, відтак
кінорежисера Ігоря Подольчака. Правдиве арт-кіно у своєму
ориґінальному виданні.
АВТОРИ
Анатолій Єжик
Олексій Тараненко
Ігор Байбарза
Ісмаїл Іманов
Тетяна Гаркуша
Всі автори
СИНОПСИСИ
Час хризантем
Дмитро Мойсеєв
Кафа
Анатолій Єжик
Сестра
Марія Лепетан
Мрія
Остап Соколюк
Криміналістиконсультанти:
Випадок у
руссскому кварталі
Віталій Райнюк
І мене чекай… і мене люби
Костянтин Солов’єнко
Криміналістиконсультанти:
Таксист
Віталій Райнюк
Ангел із сумними очима
Володимир Коваль
Казка Партії (Частина 3):
Останній третій рівень. З
чого починалась Мос-
Сюжет розгортає історію про сім'ю з чотирьох осіб – батька, матір,
дочку та сина, що мешкають у приміському будинку, який є
лабіринтом із кімнат і дзеркальних відображень. Цей замкнений
простір вкрай заплутаний – навіть час тут нелінійний. Переплітається
теперішнє і майбутнє – немає різниці між напрямками “вперед” і
“назад”, як немає різниці між неясними спогадами та фактичними
подіями. Головний герой – хворий на астму та екзему 30-річний син
майже не з'являється на екрані, але він повсякчас маніпулює батьками
та сестрою. Життя родини перетворюється на нескінченний ритуал
задоволення його примх та тривожного очікування астматичної кризи.
http://screenplay.com.ua/plot/?id=1091
Page 1 of 4

Сценарна майстерня. «Арумент-Кіно»: Las Meninas Ігоря Подольчака
07/04/16 16:28
квазія?
Віталій Райнюк
Внутрішній ворог
Володимир Коваль
Всі синопсиси
ВТІЛЕНЕ
«Одкровення»
Короткометражний ігровий
фільм режисера Павла
Острікова «Одкровення» (2015)
за однойменним сценарієм…
«Дідочок»
Короткометражний ігровий
фільм режисера Володимира
Тихого «Дідочок» (2015) за
однойменним сценарієм…
«Кончєний»
Короткометражний ігровий
фільм режисерки Маргарити
Кузьміної «Кончєний» (2015) за
однойменним сценарієм
Катерини Бабкіної…
Все втілене
КОМЕНТАРІ
01.04.2016 20:53
П'єса "І мене чекай... і мене
люби" увійшла до лонг-листка
конкурсу драматургії
"Баденвайлер 2016", ...
Костянтин Солов’єнко
26.03.2016 20:29
Анатолію, гарний, інтригуючий
початок, може, аж надто
динамічний: на такому
контрасті подальші події
виглядають сповільн...
Федір Янько
19.03.2016 15:13
Ігоре, справді, щодо літери "с",
то не так вже й страшно, але
наші редактори та продюсери й
без того лінькува...
Федір Янько
18.03.2016 21:56
Дякую Федоре, що внесли до
моєї мови нове означення, бо
"чобіт-кирзяк" я чую вперше.
Перекладачем я не користу...
Ігор Байбарза
16.03.2016 19:19
Ігоре, щойно згадав: є там
діалог один, як чобіт-кирзяк
завбільшки)) Бажано б розбити
його, коли переробляти щось
буде...
Федір Янько
Ігор Подольчак пропонує нам, сказати б, дзеркальну драматургію або
ж драматургію замкненого кола, що ладна стерти межі поміж
рефлексією персонажів та глядачів. У цьому, власне, і криється зв’язок
фільму з однойменною картиною Дієґо Веласкеса Las Meninas.
Оператором картини виступив видатний майстер своєї справи, лавреат
Берлінського та Сан-Себастьянського МКФ, Сергій Михальчук.
Ігор Подольчак_Ігор Подольчак та Сергій Михальчук на фільмуванні
КОРИСТУВАЧІ
Володимир Войтенко
Максим Доброскок
Юлія Котляр
Всі користувачі
БЛОҐИ
Володимир
Войтенко
Львівська ОДА оголосила
конкурс на підтримку
регіонального кінематографа
15:47 07.04.2016
Сергій Тримбач
До 15 квітня – висунення
кандидатур і кінотворів на
Премію ім. О. Довженка
15:41 30.03.2016
Всі блоґи
ПАРТНЕРИ
http://screenplay.com.ua/plot/?id=1091
Page 2 of 4

Сценарна майстерня. «Арумент-Кіно»: Las Meninas Ігоря Подольчака
07/04/16 16:28
До речі, «Меніни» є першим українським фільмом, показаним у
конкурсній програмі впливового Роттердамського МКФ, що є меккою
мистецького та експериментального кіна.
Загалом бо стрічка взяла участь у 27 міжнародних кінофорумах та – за
фаховим опитуванням – увійшов до двадцятки найкращих кінокартин
перших 20 років української Незалежности.
**
Микола Вересень у фільмі та в студії АК
http://screenplay.com.ua/plot/?id=1091
Page 3 of 4

Сценарна майстерня. «Арумент-Кіно»: Las Meninas Ігоря Подольчака
07/04/16 16:28
Микола Вересень народився 5 січня 1960-го року. Журналіст, телета
радіовідник, актор… Має досвід громадської та політичної
діяльности. Закінчив Історичний факультет Київського університету
ім. Тараса Шевченка. Працював археологом-реставратором, був
моряком, викладав історію в педучилищі. Як журналіст або відник
програм працював на ВВС, радіо “Ера”, телеканалах СТБ, «1+1», “5-му
каналі”, “К1”, “Першому національному” та інших. Грає в театральних
виставах за п’єсами Леся Подерв’янського. Готується взяти участь у
фільмі жахів режисера Георгія Фоміна “Шлях мерця”.
Коментарі
2016 © Сценарна майстерня
Сайт створений і діє за підтримки компанії B&H
ukrfilm.com
http://screenplay.com.ua/plot/?id=1091
Page 4 of 4

Абсолютне мистецьке кіно | Газета «День»
10/04/16 15:17
Неділя, 10 квітня
Редакція Реклама Передплата Проекти/Ініціативи Сторінка головного редактора
Увійти
Українська Русский English
Нації вмирають не від інфаркту. Спочатку їм
відбирає мову
Ліна Костенко, українська письменниця-шістдесятниця
ГОЛОВНА НОВИНИ ГАЗЕТА ФОТО ВІДЕО МАГАЗИН АРХІВ УКРАЇНА INCOGNITA КОНТАКТИ ФОНД "ДНЯ"
ГАРЯЧІ ТЕМИ Інтервенція Росії Вони загинули за нас Повідомте про новину
Абсолютне мистецьке кіно
На «1+1» — телепрем’єра дебютного фільму Ігоря Подольчака «Меніни»
Володимир Войтенко
8 квітня, 2016 - 14:20
Share
Рубрика: Медіа
Газета: №62-63, (2016)
7
Твіт 0
ФОТО НАДАНО ПРОГРАМОЮ
«АРГУМЕНТ-КІНО»
Уночі з 10 на 11ківтня о 00.20 у програмі «Аргумент-
Кіно» на телеканалі «1+1» дивіться ігровий
повнометражний фільм українського режисера Ігоря
Подольчака «Меніни» (2008) та розмову в студії з
виконавцем одразу трьох ролей у стрічці — Миколою
Вереснем. Також у програмі — кінотеатральні прем’єри
та кінокалендар тижня.
«Меніни»/LasMeninas — дебютний повнометражний
ігровий фільм художника, одного з найвишуканіших
українських графіків, кінорежисера Ігоря Подольчака.
Правдиве арт-кіно у своєму оригінальному викладенні.
Сюжет розгортає історію про сім’ю з чотирьох осіб — батька, матір, дочку та сина, які
мешкають у приміському будинку, що є лабіринтом із кімнат і дзеркальних відображень.
Цей замкнений простір вкрай заплутаний — навіть час тут нелінійний. Переплітається
теперішнє і майбутнє — немає різниці між напрямками «вперед» і «назад», як немає
різниці між неясними спогадами та фактичними подіями.
Ігор Подольчак пропонує дзеркальну драматургію, що ладна стерти межі поміж
рефлексією персонажів та глядачів. У цьому, власне, і криється зв’язок фільму з
однойменною картиною Дієго Веласкеса LasMeninas.
«Меніни» — перший український фільм, показаний у конкурсній програмі впливового
Роттердамського МКФ, що є меккою мистецького та експериментального кіно. Загалом
стрічка взяла участь у 27 міжнародних кінофорумах та — за фаховим опитуванням —
увійшла до двадцятки найкращих кінокартин перших 20 років української незалежності.
Володимир ВОЙТЕНКО
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929 zł Sprawdź
Олександр Прилипко
У різних окупацій
однаковий фінал
Михайло Берг
Пальміра як маленький
Крим
Віктор Каспрук
«Пенсійна криза» в Україні
Наталя Крестовська
Офшори та тюльпани
Like
Сергій Грабовський
Результати референдуму 6
квітня: хто винен і що
http://day.kyiv.ua/uk/article/media/absolyutne-mystecke-kino
Page 1 of 4

Delirium, Ігор Подольчак - Арумент-Кіно - KINOKOLO.UA
14/04/16 20:45
"Вічне світло незаплямованого розуму"
"Богдан Ступка, актор"
Народився - с. Куликів,
Львівська обл. 1961 -
Закінчив студію при
Львівському театрі.
Кино на пьедестале.
«Оскар» и другие награды
Америки
Алєксєй Дунаєвський. Кино на
пьедестале. «Оскар» и другие
награды Америки. – ГЛОБУС-
ПРЕСС, 2006. – 864 с. –
Російською мовою.
Новини | Кіноклуби | Арґумент-Кіно
Статті | Інтерв'ю | Сценарії | Зйомки
Кінопрем'єри | Кінотеатри
Конференції | Форум
Пошук
12.04.2016 20:00
14 та 15 квітня – курс Skill Bill Pro
«Режисер монтажу – хто це»
14 та 15 квітня 2016 року відбудеться курс
Skill Bill Pro «Режисер монтажу – хто це.
Окрема творча одиниця чи руки режисера?».
Експерт курсу – Володимир Запрягалов...
11.04.2016 15:29
У Києві пройде V міжнародний
фестиваль короткометражних фільмів
KISFF
З 20 до 24 квітня 2016 року у Києві
відбудеться V Київський міжнародний
фестиваль короткометражних фільмів
#KISFF2016...
11.04.2016 15:27
Порошенко підписав «Список Савченко-
Сенцова-Кольченка»
Президент України Петро Порошенко підписав
Указ, який вводить в дію рішення РНБОУ...
14.04.2016 14:55
«Безодня» Марисі Нікітюк
Побачила світ прозова книжка учасниці
Сценарної Майстерні Марисі Нікітюк
«Безодня» – сума текстів, серед яких
сценарій фільму «Свині», що нині
екранізується… «Безодня» генерує в собі
десять оповідок-катастроф, пронизаних
відчаєм людського існування й пошуком
«елементарної любові» в передчутті
неминучого кінця світу…
01.04.2016 16:40
Андрій Кокотюха: Відповідь захиснику
моїх інтересів Ларисі Брюховецькій
25 березня 2016 року вийшла друком стаття
Лариси Брюховецької «Пітчинг, піар. Суєта»
про принципи державної підтримки
кінематографії та конкурсного добору
кінопроектів для формування Програми
виробництва і розповсюдження національних
фільмів, діяльність Державного агентства
України з питань кіно і функціонування
вітчизняної продюсерської системи
кіновиробництва. Міркування пані
Брюховецької викликали чималу кількість
реакцій у кінематографічному середовищі.
Подаємо відповідь Андрія Кокотюхи,
опублікована виданням «Детектор медіа»...
29.03.2016 17:16
«Чесно кажучи, люба, мені байдуже»
Ґавен О’Конор бере гарного оператора,
пейзажі американських долин, дає Наталі
Портмен зброю і з самого початку підстрелює
Ноа Еммеріха. Поки останній протягом всієї
стрічки вмирає, глядач дивиться красивий,
пастельний і вкрай нафталіновий вестерн
«Джейн бере рушницю»/ Jane Got a Gun
(2016)...
14.04.2016 18:27
Delirium, Ігор Подольчак
АРҐУМЕНТ-КІНО
Вночі з 17 на 18 квітня о 00:20 у програмі «Арґумент-Кіно» на
телеканалі «1+1» – другий ігровий повнометражний фільм
українського режисера Ігоря Подольчака Delirium (2013) та
розмова у студії з композитором стрічок Подольчака
Олександром Щетинським. Також у програмі – кінотеатральні
прем’єри й кінокалендар тижня.
Другий повнометражний фільм українського режисера, художника й
куратора сучасного мистецтва Ігоря Подольчака Delirium розгортає
фантасмагоричну історію молодого психіатра, котрого запрошують
пожити з родиною, в якій батько одержимий суїцидальними потягом
до мотузок, вузлів та задухи.
Ігор Подольчак під час фільмування
Аналізуючи деліріум – себто маячню – свого нового пацієнта,
психіатр сам починає втрачати розуміння ситуації. Замість допомагати
пацієнтові, починає сумніватися – чи не є він сам пацієнтом? Чи він
справді лише випадковий гість, а чи один із членів родини? Можливо,
він узагалі католицький священник, якому це сниться? Аби з’ясувати
що й до чого, потрібно щоразу все починати наново, але щоразу ж
події розгортаються інакше. І нічого не змінюється.
Дзеркало
кіномистецьких
шедеврів на каналі
«1+1» в авторській
програмі
Володимира
Войтенка АРҐУМЕНТ-
КІНО.
07.04.2016 16:00
Las Meninas, Ігор Подольчак
Вночі з 10 на 11 ківтня о 00:20 у програмі –
фільм Ігоря Подольчака Las Meninas (2008)
та розмова з виконавцем головної ролі
Миколою Вереснем. Також у програмі –
кінотеатральні прем’єри та кінокалендар
тижня…
30.03.2016 16:08
Арґумент-Кіно у квітні’2016
Протягом квітня в програмі
демонструватимуться чотири українські
фільми: «Дід лівого крайнього», Las
Meninas, Delirium та «Голлівуд над Дніпром.
Сни з Атлантиди»…
30.03.2016 15:57
«Дід лівого крайнього», Леонід Осика
Вночі з 3 на 4 квітня о 00:30 у програмі –
фільм режисера Леоніда Осики «Дід лівого
крайнього», де головну роль зіграв
блискучий український комедійний актор
Микола Яковченко…
24.03.2016 18:06
«Які ж ми були молоді», Михайло
Бєліков
Вночі з 27 на 28 березня о 00:20 у програмі
– фільм українського режисера Михайла
Бєлікова «Які ж ми були молоді» (1985).
Також – розмова з виконавцем головної
ролі актором Тарасом Денисенком...
17.03.2016 20:03
«Цвітіння кульбаби», Олександр
Ігнатуша
Вночі з 20 на 21 березня о 00:20 у програмі
– дебютний фільм українського режисера
Олександра Ігнатуші «Цвітіння кульбаби»
та розмова з автором стрічки у студії...
10.03.2016 19:57
«Пісня пісень», Єва Нейман
Вночі з 13 на 14 березня о 00:20 у програмі
– третій ігровий повнометражний фільм Єви
Нейман «Пісня пісень» (2015). Також –
коментар авторки до картини...
01.03.2016 16:43
Арґумент-Кіно в березні’2016
Протягом березня у програмі
демонструватимуться чотири українські
фільми: «Тарас Шевченко. Ідентифікація»,
«Пісня пісень», «Цвітіння кульбаби», «Які ж
ми були молоді»…
01.03.2016 16:23
«Тарас Шевченко. ІDентифікація»,
Сергій Проскурня
Вночі з 6 на 7 березня о 00:20 у програмі –
неігровий повнометражний фільм режисера
Сергія Проскурні «Тарас Шевченко.
ІDентифікація» (2014). Також – розмова у
студії з автором стрічки…
25.02.2016 20:00
«ТойХтоПройшовКрізьВогонь»,
Михайло Іллєнко
Вночі з 28 на 29 лютого о 01:25 у програмі
– ігровий повнометражний фільм
українського режисера Михайла Іллєнка
«ТойХтоПройшовКрізьВогонь». Також –
розмова у студії з автором стрічки…
10.02.2016 17:36
«Cильніше, ніж зброя» від
«Вавилону’13»
Вночі з 21 на 22 лютого о 00:50 у програмі
– до другої річниці Революції Гідности
демонструватиметься документальний
фільм «Сильніше, ніж зброя», знята
учасниками Творчого об’єднання
«Вавилон’13». Також – розмова у студії з
одним із авторів картини Володимиром
Тихим…
10.02.2016 14:28
«Звичайна справа», Валентин
Васянович
Вночі з 14 на 15 лютого о 00:40 у програмі
- дебютний повнометражний ігровий фільм
Валентина Васяновича «Звичайна справа та
http://kinokolo.ua/argument/2447/
Page 1 of 4

Delirium, Ігор Подольчак - Арумент-Кіно - KINOKOLO.UA
14/04/16 20:45
розмова з режисером...
06.02.2016 14:40
«Анничка», Борис Івченко
Вночі з 7 на 8 лютого о 00:50 на телеканалі
«1+1» в оновленій програмі: фільм Бориса
Івченка «Анничка», зустріч з режисероманіматором
Степаном Ковалем, розповідь
про кінотеатральні прем'єри та інше...
06.02.2016 14:17
«Арґумент-Кіно» оновлюється
Від лютого місяця програма «Арґумент-
Кіно» виходитиме в оновленому вигляді.
Окрім показу українського фільму, кожен
випуск стане щотижневим провідником до
світового та українського кінематографа…
21.12.2015 19:17
«Пропала грамота», Борис Івченко
Вночі з 27 на 28 грудня о 01:15 у програмі
українська класика – фільм режисера
Бориса Івченка «Пропала грамота» та
спеціальний сюжет про творчість Івана
Миколайчука…
17.12.2015 14:52
«Красна Маланка», Дмитро
Сухолиткий-Собчук
Вночі з 20 на 21 грудня о 00:50 у програмі
– повнометражний документальний фільм
молодого українського режисера Дмитра
Сухолиткого-Собчука «Красна Маланка»...
Переглянути
Стрічка Delirium гарно помандрувала світовими фестивалями,
зокрема, отримала Перший приз на МКФ у Багдаді.
Прикметно, що фільм Подольчака, що він побачив світ 2013 року,
своїм особливим мистецьким чином відбив тогочасну задуху
українського суспільного життя, яка передувала закономірним
революційним часам.
DELIRIUM / Божевілля / Марення / Лих…
Власне, саме це засвідчується тогочасним кінокритичним судженням
Анни Купінської: «Стрічка дуже клаустрофобічна та болісна. Вона,
як та чорна діра, затягує глядача в себе. Таке візуальне рішення
може бути метафорою для улюбленої Подольчаком української
інтелігенції та буржуазії, яку так само затягнуло до чорної діру часу, і
замість її безпосередньої присутности, ми можемо бачити лише сліди
її існування – предмети побуту, які назавжди втратили своє місце та
хазяїв».
**
http://kinokolo.ua/argument/2447/
Page 2 of 4

Delirium, Ігор Подольчак - Арумент-Кіно - KINOKOLO.UA
14/04/16 20:45
Композитор Олександр Щетинський народився 1960 року в
Харкові. Закінчив Харківський інститут мистецтв. Із 1982 року
викладає – спершу в музичні школі, згодом – у рідному інституті.
Читав лекції присвячені сучасній українській музиці, а також
презентував власні твори в Європі, Росії, США та Україні. Лавреат
шести міжнародних музичних конкурсів. Є автором музики до обох
фільмів кінорежисера Ігоря Подольчака – Las Meninas та Delirium.
http://kinokolo.ua/argument/2447/
Page 3 of 4

Сценарна майстерня. «Арумент-Кіно»: Delirium Ігоря Подольчака
14/04/16 20:46
УВІЙТИ
ІСТОРІЯ ТЕОРІЯ СЛОВНИК ТЕКСТИ МЕТА ПРАВИЛА ВТІЛЕНЕ
СЦЕНАРІЇ
ОПОЛОНКА
Вікторія Трофіменко
ВІРКА
Вікторія Трофіменко
КРІТ ХОВАВСЯ ЗА
ШТОРАМИ
Максим Доброскок
ЖИЛИ-БУЛИ
Влада Волошина
БАГАТСТВО
Тетяна Гаркуша
СКАЗ (варіант 2)
Марися Нікітюк, Дмитро
Сухолиткий-Собчук
РОЙ (варіант 2)
Дмитро Ворожко
ЧЕРВОНІ ТРУСИ (варіант
2)
Лілія Легостаєва
СЕСТРА
Марія Лепетан
ФАНТИК
Тетяна Гаркуша
Всі сценарії
«Арґумент-Кіно»: Delirium
Ігоря Подольчака
Сюжети
14.04.2016
Твіт Подобається 0
АРҐУМЕНТ-КІНО
Вночі з 17 на 18 квітня о 00:20 у програмі
«Арґумент-Кіно» на телеканалі «1+1» –
другий ігровий повнометражний фільм
українського режисера Ігоря Подольчака
Delirium (2013) та розмова у студії з
композитором стрічок Подольчака
Олександром Щетинським. Також у
програмі – кінотеатральні прем’єри й кінокалендар тижня.
Другий повнометражний фільм українського режисера, художника й
куратора сучасного мистецтва Ігоря Подольчака Delirium розгортає
фантасмагоричну історію молодого психіатра, котрого запрошують
пожити з родиною, в якій батько одержимий суїцидальними потягом
до мотузок, вузлів та задухи.
АВТОРИ
Влада Волошина
Максим Доброскок
Тетяна Гаркуша
Дмитро Ворожко
Олексій Тараненко
Всі автори
СИНОПСИСИ
Час хризантем
Дмитро Мойсеєв
Кафа
Анатолій Єжик
Сестра
Марія Лепетан
Мрія
Остап Соколюк
Криміналістиконсультанти:
Випадок у
руссскому кварталі
Віталій Райнюк
І мене чекай… і мене люби
Костянтин Солов’єнко
Криміналістиконсультанти:
Таксист
Віталій Райнюк
Ангел із сумними очима
Володимир Коваль
Казка Партії (Частина 3):
Останній третій рівень. З
чого починалась Москвазія?
Віталій Райнюк
Ігор Подольчак під час фільмування
http://screenplay.com.ua/plot/?id=1094
Page 1 of 4

Сценарна майстерня. «Арумент-Кіно»: Delirium Ігоря Подольчака
14/04/16 20:46
Внутрішній ворог
Володимир Коваль
Всі синопсиси
ВТІЛЕНЕ
«Одкровення»
Короткометражний ігровий
фільм режисера Павла
Острікова «Одкровення» (2015)
за однойменним сценарієм…
«Дідочок»
Короткометражний ігровий
фільм режисера Володимира
Тихого «Дідочок» (2015) за
однойменним сценарієм…
«Кончєний»
Короткометражний ігровий
фільм режисерки Маргарити
Кузьміної «Кончєний» (2015) за
однойменним сценарієм
Катерини Бабкіної…
Все втілене
КОМЕНТАРІ
01.04.2016 20:53
П'єса "І мене чекай... і мене
люби" увійшла до лонг-листка
конкурсу драматургії
"Баденвайлер 2016", ...
Костянтин Солов’єнко
Аналізуючи деліріум – себто маячню – свого нового пацієнта, психіатр
сам починає втрачати розуміння ситуації. Замість допомагати
пацієнтові, починає сумніватися – чи не є він сам пацієнтом? Чи він
справді лише випадковий гість, а чи один із членів родини? Можливо,
він узагалі католицький священник, якому це сниться? Аби з’ясувати
що й до чого, потрібно щоразу все починати наново, але щоразу ж
події розгортаються інакше. І нічого не змінюється.
КОРИСТУВАЧІ
Володимир Войтенко
Юлія Котляр
Віктор Глонь
Всі користувачі
БЛОҐИ
26.03.2016 20:29
Анатолію, гарний, інтригуючий
початок, може, аж надто
динамічний: на такому
контрасті подальші події
виглядають сповільн...
Федір Янько
19.03.2016 15:13
Ігоре, справді, щодо літери "с",
то не так вже й страшно, але
наші редактори та продюсери й
без того лінькува...
Федір Янько
18.03.2016 21:56
Дякую Федоре, що внесли до
моєї мови нове означення, бо
"чобіт-кирзяк" я чую вперше.
Перекладачем я не користу...
Ігор Байбарза
Сергій Тримбач
15 квітня на каналі «Культура»
у програмі «Територія кіно» –
кінорежисер Роман Балаян
14:08 13.04.2016
Володимир
Войтенко
Львівська ОДА оголосила
конкурс на підтримку
регіонального кінематографа
15:47 07.04.2016
Всі блоґи
16.03.2016 19:19
Ігоре, щойно згадав: є там
діалог один, як чобіт-кирзяк
завбільшки)) Бажано б розбити
його, коли переробляти щось
буде...
Федір Янько
Стрічка Delirium гарно помандрувала світовими фестивалями,
зокрема, отримала Перший приз на МКФ у Багдаді.
Прикметно, що фільм Подольчака, що він побачив світ 2013 року,
своїм особливим мистецьким чином відбив тогочасну задуху
українського суспільного життя, яка передувала закономірним
революційним часам.
ПАРТНЕРИ
http://screenplay.com.ua/plot/?id=1094
Page 2 of 4

Сценарна майстерня. «Арумент-Кіно»: Delirium Ігоря Подольчака
14/04/16 20:46
DELIRIUM / Божевілля / Марення / Лих…
Власне, саме це засвідчується тогочасним кінокритичним судженням
Анни Купінської: «Стрічка дуже клаустрофобічна та болісна. Вона,
як та чорна діра, затягує глядача в себе. Таке візуальне рішення
може бути метафорою для улюбленої Подольчаком української
інтелігенції та буржуазії, яку так само затягнуло до чорної діру
часу, і замість її безпосередньої присутности, ми можемо бачити
лише сліди її існування – предмети побуту, які назавжди втратили
своє місце та хазяїв».
**
Композитор Олександр Щетинський народився 1960 року в
Харкові. Закінчив Харківський інститут мистецтв. Із 1982 року
викладає – спершу в музичні школі, згодом – у рідному інституті.
Читав лекції присвячені сучасній українській музиці, а також
презентував власні твори в Європі, Росії, США та Україні. Лавреат
шести міжнародних музичних конкурсів. Є автором музики до обох
http://screenplay.com.ua/plot/?id=1094
Page 3 of 4

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Eksperyment
1 of 2 16/05/16 16:05

Виставка "Провина" в рамках Дослідницької Платформи /...
http://pinchukartcentre.org/ua/photo_and_video/photo/30079
укр рус eng
Головна Фото та відео Фото Виставка "Провина" в рамках Дослідницької Платформи
Про нас
Виставки
Новини
Дослідницька платформа
Освітня програма
Події та календар
Фото та відео
Фото
Відео
Преса про нас
Як нас знайти
Книгарня
Кав’ярня
Виставка "Провина" в рамках Дослідницької
Платформи
Фото на сторінці доступні для використання у ЗМІ.
Для того, щоб зберегти фото у високій якості, натисніть на превью, потім — на посилання у
правому нижньому куті «Зберегти у високій якості».
При використанні фото, будь ласка, вказуйте наступну інформацію.
Фотографії надані PinchukArtCentre © 2016. Фотограф: Сергій Іллін.
Виставка:
Дослідницька Платформа: Провина
Пошук
Години відвідування
Вівторок — Неділя з 12:00 до 21:00
Понеділок — вихідний
Вхід вільний
Група швидкого реагування (Сергій Братков, Борис
Михайлов, Сергій Солонський). Якби я був німцем,
1994 (за участі Віти Михайлової), срібний друк,
приватна колекція, Москва
Група швидкого реагування (Сергій Братков, Борис
Михайлов, Сергій Солонський). Якби я був німцем,
1994 (за участі Віти Михайлової), срібний друк,
приватна колекція, Москва
Фонд Мазоха (Ігор Дюрич, Ігор Подольчак). Останній
єврейський погром, 1994, габро, фотодокументація
акції. Надано художниками
Леся Хоменко. Після кінця. 2015, папір, акварель,
матове скло, рама, надано художницею
Новини
RSS
20 травня 2016
PinchukArtCentre представляє "Дослідницьку
платформу" – довгостроковий проект зі
сприяння розумінню українського мистецтва в
Україні та за її межами
Фонд Мазоха (Ігор Дюрич, Ігор Подольчак). З Днем
Перемоги, пане Мюллер! 1995, поштові листівки.
Надано Валерієм Сахаруком та Олександром
Соловйовим
Микола Рідний. Сліпа пляма. 2014–2015, кольоровий
друк, акриловий спрей, чорнила; папір, кулькова
ручка. Надано художником
19 травня 2016
Дослідницька платформа PinchukArtCentre
представляє три виставки, які стали
результатом дослідницької роботи: "Провина",
"Перетворення" і "Виставка"
19 травня 2016
PinchukArtCentre представляє міжнародну
групову виставку "Втрата. Спомин про Бабин
Яр"
Микита Кадан. Погром І. 2016, папір, вугілля. Надано
художником
Микита Кадан. Погром І. 2016, папір, вугілля. Надано
художником
Більше новин
Підписка
Юрій Лейдерман. Геопоетика I. 2003, дерев’яні
панелі, чорно-білі фотографії, перформанс. Надано
художником
Юрій Лейдерман. Геопоетика I. 2003, дерев’яні
панелі, чорно-білі фотографії, перформанс. Надано
художником
1 of 2 23/05/16 12:48

Виставка "Провина" в рамках Дослідницької Платформи /...
http://pinchukartcentre.org/ua/photo_and_video/photo/30079
Юрій Лейдерман. Геопоетика I. 2003, дерев’яні
панелі, чорно-білі фотографії, перформанс. Надано
художником
Юрій Лейдерман. Геопоетика I. 2003, дерев’яні
панелі, чорно-білі фотографії, перформанс. Надано
художником
Микита Кадан. Погром ІІ. 2016, папір, вугілля.
Надано художником
Сергій Братков. Перехрестя. Із серії “Ні війни, ні
миру”, 2009, кольоровий друк, виставкова копія
Сергій Братков. Гетто. 2015, полотно, кольоровий
друк, лак. Надано художником
Сергій Братков. Перехрестя. Із серії “Ні війни, ні
миру”, 2009, кольоровий друк, виставкова копія
Микита Кадан. Газелька, 2015, метал. Надано
художником
Микола Рідний. Сліпа пляма. 2014–2015, кольоровий
друк, акриловий спрей, чорнила; папір, кулькова
ручка. Надано художником
Алевтина Кахідзе. Дзвінки з кладовища. 2014
аудіозапис 16’53’’ Надано художницею
Мапа сайту F.A.Q. Корисні посилання
Розроблено в HATE!
© 2006-2016 The Victor Pinchuk
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Research Platform: Guilt exhibition / PinchukArtCentre
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Research Platform: Guilt exhibition
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Photographs provided by the PinchukArtCentre © 2016. Photographed by Sergey Illin.
Exhibiton:
Research Platform: Guilt
Search
Fast Reaction Group (Sergey Bratkov, Boris Mikhailov,
Serhiy Solonsky). If I were a German, 1994 (with
participation of Vita Mikhailov) silver print, private
collection, Moscow
Fast Reaction Group (Sergey Bratkov, Boris Mikhailov,
Serhiy Solonsky). If I were a German, 1994 (with
participation of Vita Mikhailov) silver print, private
collection, Moscow
Opening hours
Tuesday through Sunday
from 12:00 until 21:00
Closed Monday
Admission is Free
Masoch Fund (Ihor Dyurych, Ihor Podolchak). The Last
Jewish Pogrom, 1994, gabbro, action photo
documentation Courtesy of the artists
Lesia Khomenko. After the End. 2015, watercolour on
paper, satin glass, box frame. Courtesy of the artist
News
20 May 2016
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PinchukArtCentre presents “Research platform” –
a long-term commitment to foster understanding
of Ukrainian Art, in and outside of Ukraine
Masoch Fund (Ihor Dyurych, Ihor Podolchak). Happy
Victory Day, Herr Müller! 1995 postal cards. Courtesy of
Valeriy Sakharuk and Oleksandr Solovyov
Mykola Ridnyi. Blind spot, 2014–2015 paper, acrylic and
ink on c-print; pen on paper. Courtesy of the artist
19 May 2016
The Research Platform of PinchukArtCentre
presents 3 exhibitions, drawn from the research
activities: “Guilt”, “Transformation” and “Exhibition”
19 May 2016
PinchukArtCentre presents LOSS. In memory of
Babi Yar
Nikita Kadan. Pogrom I. 2016, charcoal on paper.
Courtesy of the artist
Nikita Kadan. Pogrom I. 2016, charcoal on paper.
Courtesy of the artist
More news
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Yuri Leiderman. Geopoetics I. 2003, black and white
photographs on wooden panels, performance. Courtesy
of the artist
Yuri Leiderman. Geopoetics I. 2003, black and white
photographs on wooden panels, performance. Courtesy
of the artist
1 of 2 23/05/16 12:48

Research Platform: Guilt exhibition / PinchukArtCentre
http://pinchukartcentre.org/en/photo_and_video/photo/30079
Yuri Leiderman. Geopoetics I. 2003, black and white
photographs on wooden panels, performance. Courtesy
of the artist
Yuri Leiderman. Geopoetics I. 2003, black and white
photographs on wooden panels, performance. Courtesy
of the artist
Nikita Kadan. Pogrom II. 2016, charcoal on paper.
Courtesy of the artist
Sergey Bratkov. Crossroad. From the "Neither War, Nor
Peace" series, 2009, c-print exhibition copy
Sergey Bratkov. Ghetto, 2015, c-print and lacquer on
canvas. Courtesy of the Artist
Sergey Bratkov. Crossroad. From the "Neither War, Nor
Peace" series, 2009, c-print exhibition copy
Nikita Kadan. Gazelka, 2015 metal. Courtesy of the
artist
Mykola Ridnyi. Blind spot, 2014–2015 paper, acrylic and
ink on c-print; pen on paper. Courtesy of the artist
Alevtina Kakhidze. Phone Calls from the Cemetery. 2014
audio piece 16’53’’ Courtesy of the artist
Sitemap F.A.Q. Useful links
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© 2006-2016 The Victor Pinchuk
Foundation
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Три по три у Пінчука - Культура - останні новини театру, ...
http://gazeta.dt.ua/CULTURE/tri-po-tri-u-pinchuka-_.html
ПО-РУССКИ
УКРАЇНСЬКОЮ
Новини Фото та Відео Газета
Пошук...
Внутрішня політика Фінанси Культура Соціум Історія
Три по три у Пінчука
Ганна Пароваткіна 27 травня, 00:01
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Слова МакДонаха, музика
Ніколаєва «Дзеркало
тижня. Україна» №19,
Вчора
Віталій Малахов:
Андріївський узвіз можна
перетворити на
театральний квартал
«Дзеркало тижня.
Україна» №19,
Вчора
Валентин Сильвестров:
"Не люблю ряджених"
«Дзеркало тижня.
Україна» №19,
Вчора
Три по три у Пінчука
«Дзеркало тижня.
Україна» №19,
Вчора
Канни обирають
вчорашній день
«Дзеркало тижня.
Україна» №19,
Вчора
У ПінчукАртЦентрі одночасно відкрилися виставки зірок світового й
українського контемпорарі-арту. Теми, які об'єднали митців Заходу і
вітчизняних, — війна та Голокост. А інтрига — нова спроба
арт-центру показати, "ху є ху" у вітчизняному сучасному мистецтві.
За версією самого Центру, звісно.
ПінчукАртЦентр останніми роками не зовсім той, до якого багато хто звик.
Війна в тому винна чи, вкупі з зовнішніми, ще й внутрішні причини...
Але, хоч як дивно, відмова від безмежних амбіцій пішла на користь арту,
який експонується в Пінчука. Зокрема українському арту. На Бессарабку
варто йти, щоб побачити багато хорошого вітчизняного контемпорарі. І не
тільки.
Три до одного — таке співвідношення українських і західних виставок, що
відкрилися днями в PinchukАrtСentrе. Розгромний рахунок, з яким "наші"
("Вина", "персоналка" Лади Наконечної "Виставка" в рамках "PAC-UA
переосмислення" і "Перетворення") перемогли "світ капіталу", вже точно
можна було б назвати українським проривом.
Якби не одне немаленьке "але". Масштаби проекту "Втрата. Пам'яті
Бабиного Яру" (Крістіан Болтанскі, Берлінде де Брьойкере і Дженні
Хольцер) цілком порівнянні з трьома іншими виставками. Дві з них
створені в рамках традиційної для Центру "Дослідницької платформи",
одне з завдань якої — вивчення українського сучасного мистецтва.
Фактично, LOSS — це зразу три виставки інсталяцій дуже різних, але
майже однаково іменитих авторів. Спеціально для "Пінчука" легендарний
француз Крістіан Болтанскі (його роботи виставляються в постійних
колекціях лондонського музею Тейт і Центру Жоржа Помпіду в Парижі,
Нью-Йоркського музею сучасного мистецтва) створив інсталяцію Le
Chemin de Babi Yar ("Шлях до Бабиного Яру", 2016). Нею й відкривається
огляд нинішньої експозиції в арт-центрі. "Шлях", попри мінімалізм і навіть
певну передбачуваність виражальних засобів, приголомшує.
Останні новини
Юристи Укрнафти докладно "інструктували"
представників "Нафтогазу", як голосувати за
санацію - джерело 28 мая 08:20
Ситуація в зоні АТО продовжує залишатися
напруженою: під Маріуполем бойовики
стріляли з "Градів" 28 мая 08:02
Екс-перший заступник голови СБУ передав
до НАБУ "чорну бухгалтерію" Партії регіонів
28 мая 07:07
Київ відзначає День міста: план святкових
заходів 28 мая 06:59
Аргентинського диктатора засудили до 20
років в'язниці 28 мая 06:11
Киев
20 °C
Курс валют
USD 25.10 EUR 28.03
автор
Ганна
Пароваткіна
1 of 4 28/05/16 09:55

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Ти просто йдеш — здається, що нескінченно — вузьким, погано
освітленим, звивистим коридором. Стіни якого складені з сотень залізних
ящиків, пронумерованих, як в архіві. "У таких зберігали документи й
цінності. З такими, на думку Болтанскі, євреї 75 років тому йшли під
конвоєм у Бабин Яр", — пояснює куратор виставки Бйорн Гельдхоф.
Три по три у Пінчука «Дзеркало тижня. Україна»
№19, 27 травня 2016
Повелителі МУХ «Дзеркало тижня. Україна»
№46, 5 грудня 2014
Арт-ринок під час війни: погляд Павла Гудімова
«Дзеркало тижня. Україна» №45, 28 листопада
2014
Театральна лабораторія, експеримент
"сканування" «Дзеркало тижня. Україна» №44, 21
листопада 2014
Future Generation Art Prize-2014: етюди з виставки
«Дзеркало тижня. Україна» №41, 7 листопада
2014
Всі матеріали автора
У фіналі подорожі — неосвітлена кімната. І гора з людського одягу. Вона
схожа на гору трупів. "Ящики — це постійний символ у творчості
Болтанскі. З їхньою допомогою він міркує про життя та пам'ять", —
пояснив п. Гельдхоф.
Третій поверх ПінчукАртЦентру поділили масштабні інсталяції знаменитої
нью-йоркської художниці Дженні Хольцер (лауреат Золотого лева на
Венеційській бієнале 1990 р.) і не менш легендарної бельгійки Берлінде
де Брьойкере. (У 2013 р. Берлінде разом з Дж.М.Кутзее представляла
Бельгію на Венеційській бієнале.)
TRY MUBI
Роботи Хольцер, які ввійшли до експозиції, хрестоматійні для творчості
художниці. Хоча центральну інсталяцію Lustmord Table ("Стіл
смертельного задоволення", 1994) Хольцер створила під враженням від
війни в Югославії, її роздуми про психологічне й соціальне коріння
насильства універсальні.
Твір включає два масивні столи з розкладеними людськими кістками.
Деякі з них позначені срібними смугами з вигравіюваними фрагментами
тексту на тему Lustmord ("схильність до вбивств на сексуальному ґрунті",
нім.). "Текст описує вбивство зі зґвалтуванням з трьох різних точок зору:
потерпілого, злочинця й спостерігача".
Темою інсталяції Under a Rock ("Під скелею", 1986) стало "застосування
насильства як політичного інструмента". Складається вона зі схожих на
надгробки кам'яних лав з викарбуваними фразами. І, нарешті, Living
Series ("Життєві серії", 1981) та Survival Series ("Виживання", 1984), що
виглядають як бронзові таблички з текстами, "присвячені окремим
психологічним реакціям на випадки надмірного насильства".
Презентувати свої дві масштабні інсталяції Vanwege een Tere Huid III
and IV (" Від чутливої шкіри III і IV", 2016) та Penthesilea IV ("Пентесілея
IV", 2016) Берлінде де Брьойкере прилетіла до Києва особисто. Чим
викликала чималий ажіотаж у лавах знавців сучасного мистецтва. Так, не
приховуючи емоцій, коментарі художниці про її роботи в Центрі слухав
український галерист і куратор Павло Гудимов. "Це ж легенда! Це таке
щастя, що є можливість особисто побачити й говорити з самою
Брьойкере!" — довірливо сказав п. Гудимов. Клацаючи при цьому
Берлінде "на камеру" зі спритністю папараці.
НОВОСТИ ДРУГИХ РЕСУРСОВ
Горбачеву запретили въезд в
Украину
Тему самотності і свободи, смерті групової й індивідуальної, Ероса й
2 of 4 28/05/16 09:55

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Танатоса епатажна бельгійка передала з допомогою муляжів звіриних
шкур, відлитих із воску. За її словами, поштовхом до створення робіт
стали сирі шкури, побачені на бійні. "Здерті з недавно ще живих істот,
вони в такому вигляді не мали жодної цінності", — розповідаючи,
продовжувала дивуватися художниця.
"Мені було дуже важливо, щоб друга інсталяція Vanwege een Tere Huid
("Від чутливої шкіри IV", 2016) виглядала масштабнішою, ніж "Від
чутливої шкіри III". Я задоволена тим, як її змонтували в
ПінчукАртЦентрі", — зазначила п. Берлінде, відповідаючи на запитання
про другу свою інсталяцію, розміщену в сусідньому залі. Як з'ясувалося,
конусоподібна воскова "шкура" з залишками вовни, натягнута на
металевий циліндр, символізує не Танатос у чистому вигляді, а, навпаки,
"чистий" Ерос...
На тлі робіт західних суперстар (з їхнім масштабом онтологічного й
соціального дослідження) три українські виставки спочатку здадуться
такою собі прогулянкою з війни прямо в упорядковану лабораторію. Де
відкритий Космос вивчають на крихітних безпечних моделях.
Кличко не смог выговорить слово
тоталитаризм (видео)
Unisex Red Star
Cotton Army Cadet M...
-22%
-33%
4pcs Anti-static
Tweezers Repair Nip...
"Дослідницька платформа. Вина" (куратор — Тетяна Кочубинська,
співкуратор — Бйорн Гельдхоф) присвячена "радикальним акціям і
перформансам 1990-тих, коли митці почали переосмислювати
післявоєнну історію". Про "Велику вітчизняну війну" та її міфологію у
хрестоматійному фотопроекті "Якби я був німцем" у 1994 р. тут не без
самоіронії згадує Група швидкого реагування (Сергій Братков, Борис
Михайлов, Сергій Солонський; з участю Віти Михайлової).
Unisex Men Stretch
Braided Elastic Wove...
220V Portable Electric
Sewing Machine Seal...
-11%
Поруч — покреслений свастикою єврейський надгробок: документація
знаменитого перформансу 1994 р. Фонду Мазоха (Ігор Дюрич, Ігор
Подольчак) під назвою "Останній єврейський погром".
У наступних залах — монохромні фото пам'ятників, присвячених Другій
світовій, концептуаліста Юрія Лейдермана. На тлі знімків мирно
дискутують хасид із "особою кавказької національності". (Перформанс
"Геопоетика I", 2003).
Man Woman Vintage
Military Washed Cad...
Men Sandals Slipper
Comfortable Breatha...
Далі — знову Братух, Леся Хоменко, Алевтина Кахідзе, "венеційська"
"Сліпа пляма" Миколи Рідного, і т.д… Виділяється вугільна серія "Погром
І" (2016) Микити Кадана. Привертає увагу його ж "Газелька" (2016) —
інсталяція у вигляді прапора з алюмінію, простреленого в багатьох
місцях. (Метал, знятий з крила підстреленої "газелі", Микита Кадан привіз
навесні 2015 р. із Сєвєродонецька).
Об'єкти із зони АТО художник використовував і для свого проекту в
рамках 56-ї Венеційської бієнале.
На жаль, після "шокового" "Пам'яті Бабиного Яру" більш-менш жваву
реакцію викликають хіба що вона та "Перехрестя" з фотосерії "Ні війни, ні
миру" (2009) Браткова…
Концептуалістський проект "Виставка" Лади Наконечної (художниця
розмірковує про те, "из какого сора" погоджень і бюрократичних "паперів"
створюється "мистецтво") сам собою хороший. Але після "Втрати" — не
вражає. Як дуже блякне і здається самовдоволено-буржуазною й окрема
традиційна виставка живопису наших корифеїв з колекції
ПінчукАртЦентру "Перетворення" (Олег Голосій, Едуард Колодій,
Олександр Ройтбурд, Василь Цаголов, Ілля Чичкан, Світлана Мартинчик
та Ігор Стьопін, Інституція нестабільних думок).
Втім, на тлі Голокосту і "Втрати" пріснуватими видавалися б більшість
експозицій. Але якщо абстрагуватися, розумієш: українська частина
виставок у PinchukАrtcСntrе навіть більш сенсаційна, ніж західна. На
відміну від Болтанскі й Хольцер, цілком імовірно, саме кураторський
проект Тетяни Кочубинської з Бйорном Гельдхофом вплине на саму
розстановку сил на вітчизняному арт-ринку.
Ви звернули увагу, скільки художників групи Р.Е.П. задіяні в "колективці"?
Та ще й з великими, і навіть персональними, проектами?
Після 2012 р. та злощасного "Великого і величного" в "Мистецькому
Арсеналі" таку прем'єру можна назвати справжнім колективним
бенефісом репівців в Україні. Адже впродовж останніх трьох років їхні
виставки частіше можна було бачити за кордоном, ніж удома.
— Якогось спеціального інтересу до київського медійного й арт-простору
у мене, та й у членів групи Р.Е.П., немає. Наскільки він може бути
частиною загального художнього простору, наскільки тут можна
працювати на тих самих підставах, що й на Заході, — настільки ми
будемо це робити, — прокоментував зазначене спостереження художник
і теоретик групи Р.Е.П. Микита Кадан, який також прийшов подивитися
експозиції "до" офіційного відкриття. — Так, звісно, відмова виставлятися
в "Арсеналі" стала для нас перевіркою на міцність, на дорослість. Але
відтоді в кожного з нас бували виставки в Києві. У тому числі і досить
солідні. Є й досить великий масив міжнародних виставок. Працюємо в
3 of 4 28/05/16 09:55

Три по три у Пінчука - Культура - останні новини театру, ...
http://gazeta.dt.ua/CULTURE/tri-po-tri-u-pinchuka-_.html
нормальному ритмі. Вся інформація — у відкритому доступі. Наші
виставки переважно відбуваються у країнах Заходу просто тому, що там
краще розвинена інфраструктура.
This is interesting +1
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Матеріали в блоці "Новини компаній" публікуються на правах реклами.
4 of 4 28/05/16 09:55

Panny dworskie, 26 maja o 21:00 w nc+
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Ukraina | 2008 | 100 min. |
Obsada: Mykola Veresen, Lyubov Tymoshevska, Hanna Yarovenko, Dmytro
Chernyavsky, Ilona Arsentyeva, Stas Arsentyev
Reżyseria: Ihor Podolchak
Czteroosobowa rodzina mieszka na przedmieściach w domu, który poprzez
skomplikowaną grę światła i luster, bardziej przypomina artystyczna instalację niż
domostwo. Głównym bohaterem jest trzydziestoletni syn, który niemal nie pojawia
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1 of 2 25/05/16 18:21

У ТЕМРЯВУ | Митець
http://mitec.ua/u-temryavu/
АНОНСИ ОСОБИ ГРУПИ ПРОЕКТИ ІНСТИТУЦІЇ МІСТА КАТЕГОРІЇ
У ТЕМРЯВУ
У Відні у Кунстхалле Екснергассе (WUK) триває виставка кураторської групи
«Худрада» (Київ).
Кураторський текст:
Виставка зібрала документацію перформативних акцій, що вібувалися здебільшого
в Україні, але й за її межами у широкий проміжок часу, від акцій та перформансів
80-их і 90-их рр. до акціоністских висловлювань періоду «між двома майданами» і
часів війни на Сході України.
На виставці представлені роботи Леоніда Войцехова, Юрія Лейдермана, Ігоря
Чацкіна, Лесі Хоменко, Саші Курмаза, Лади Наконечної, Петра Армяновського, Петра
Ряски, Федора Тетянича, Групи Р.Е.П., Фонду Мазоха, Руху «Ніч». Архітектуру виставки
було створено за участі Александра Бурлаки.
1 of 3 29/05/16 16:42

У ТЕМРЯВУ | Митець
http://mitec.ua/u-temryavu/
Акції 80-их і 90-их рр. Федора Тетянича, Юрія Лейдермана і Фонду Мазоха лише
почасти свідчать про формування традиції. У контексті виставки вони швидше
стверджують свою актуальність, досліджуючи навіжену, автотравматичну,
антисоціальну і водночас соціально-утопічну дію.
Хронологія представлених на виставці робіт охоплює основні політичні зрушення і
події, що трапилися в Україні за останні 30 років. Завершує цей ряд документація
самотньої подорожі через нічний ліс – «Ніч у лісі», колективна робота 2015 року,
ініційована російсько-українським колективом художників.
«Худрада» — українська кураторська група, експериментальна платформа
міждисциплінарної взаємодії. В її склад входять архітектори, політичні активісти,
перекладачі, співробітники художніх інституцій, дизайнери, публіцисти і художники.
Організовані Худрадою проекти закликані об’єднувати досвід учасників та
створювати простір колективного висловлення.
! "#
бачите помилку, пишіть сюди
2 of 3 29/05/16 16:42

WUK -> Into the Dark
http://www.wuk.at/event/id/18325
AUSSTELLUNG
Into the Dark
Im Rahmen von „Die Schule von Kyiv” in der Kunsthalle Exnergasse
ZEIT: 19. Mai 2016 - 29. Mai 2016
13.00 - 18.00 Uhr
ORT: Kunsthalle Exnergasse
Into the Dark
18. Mai 2016, 19.00, Eröffnung der
Ausstellung
19. Mai – 29. Mai 2016, Ausstellung /
Öffnungszeiten: täglich 13.00 – 18.00
Hudrada
KünstlerInnen: Leonid Voitsehov, Lesia
Khomenko, Sasha Kurmaz, Lada
Nakonechna, Yevgen Nasadyuk, Yuri Leiderman and Igor Chatskin, Petro Ryaska, Fedir Tetyanych,
Masoch Fund, “Night” movement, R.E.P. group
Kuratiert von Hudrada
Die Ausstellung der Kuratorengruppe Hudrada „Into the Dark“ zeigt eine Dokumentationssammlung
von Performance-Actions, die von KünstlerInnen zu unterschiedlichen Zeiten vor allem in der
Ukraine aber auch im weiteren Ausland durchgeführt wurden, beginnend in den 1980er-und 1990er-
Jahren. Gemeinsam ist diesen Aktionen, dass sie als bewusst hilflose politische Geste gelten
können, die in absurde Längen gezogen und manchmal vollständig allein ausgeführt wurde. Und
sowohl die Verantwortung für diese Geste wie auch die Wirkung ihrer Äußerung reichen über die
Handlung selbst hinaus, sodass auch jemand, der nicht direkt an ihr teilgenommen hat, unweigerlich
in ihr Feld gezogen wird.
Die Actions aus den 1980er- und 1990er-Jahren von Fedir Tetyanych, Yuri Leiderman und Masoch
Fund legen keineswegs Zeugnis von der Bildung einer Tradition ab; im Kontext der Ausstellung
verweisen sie vielmehr entschieden auf ihre aktuelle Relevanz und erkunden den verrückten, den
selbst-traumatisierenden, den antisozialen und gleichzeitig den sozial-utopischen Aspekt der
Performances.
Die Chronologie der in der Ausstellung präsentierten Arbeiten kann als Dokumentation der
wichtigsten politischen Aufstände und Ereignisse gelten, die in der Ukraine in den letzten 30 Jahren
vorgefallen sind. Die Dokumentation der einsamen Durchquerung eines Waldes in der Nacht, „Night
in the forest“, eine kollektive Arbeit aus dem Jahr 2015, die von einem russisch-ukrainischen
Künstlerkollektiv initiiert wurde, vervollständigt die Serie.
Hudrada (Kreativkomitee) ist als kuratorische und aktivistische interdisziplinäre Gruppe seit 2008
aktiv. Hudradas Mitglieder sind Architekten, politische AktivistInnen, ÜbersetzerInnen, AutorInnen,
DesignerInnen und KünstlerInnen. Die von Hudrada organisierten Projekte basieren auf einer
Diskussion, die die Erfahrung der Teilnehmenden miteinander verbindet. Diese Projekte werden in
Form von Ausstellungen durchgeführt, die zu einer Plattform für theoretische Arbeit werden, sowie
im Rahmen von öffentlichen aktivistischen Kampagnen.
Weitere Termine im Rahmen von„Die Schule von Kyiv” in der Kunsthalle Exnergasse:
18. Mai 2016, 16.00, Diskussion
1 of 2 29/05/16 16:39

WUK -> Into the Dark
http://www.wuk.at/event/id/18325
Ukraine in Flames: What Art Can Tell After the Revolution
TeilnehmerInnen: Oleksandr Burlaka, Vasyl Cherepanyn, Lesia Khomenko, Serhiy Klymko, Lesia
Kulchinska, Anya Medvedeva, Maria Teteriuk
21. Mai 2016, 17.00, Präsentation
David Chichkan. How to Make the Radical Left Art in Ukraine
21. Mai 2016, 19.00, Vortrag
Lesia Kulchinska. In-hibition: A Story of Love and Hatred Towards Art
Ein Projekt der “Schule von Kyiv” in Zusammenarbeit mit der Kunsthalle Exnergasse
Gesamtprogramm von „Die Schule von Kyiv” in Wien.
INFO & SERVICE
Kunsthalle Exnergasse
Stiege 2, 1. Stock
2 of 2 29/05/16 16:39

Втрата провини. Що робити з власною пам’яттю на виста...
http://life.pravda.com.ua/culture/2016/06/6/213357/view_print/
Втрата провини. Що робити з власною пам’яттю
на виставках у "ПінчукАртЦентрі"
06.06.2016
Катерина Ботанова
Інсталяція К. Болтанскі "Шлях Бабиного Яру"
Чотири нові виставки в
"ПінчукАртЦентрі" об'єднують теми
історичної пам’яті та особистої
відповідальності.
експозиції.
Ще ніколи охоронці на вході та й у цілому
"ПінчукАртЦентрі" – у міру суворі й грубі, у
міру жартівливі, ненав’язливо репресивні –
не були так органічною частиною
Зазвичай вони викликають неабияке роздратування: обшук на вході, який, окрім
загального відчуття абсурдності, створює черги на рівному місці, постійний нагляд у
кожній із невеликих зал центру, вимоги не наближатись чи не чіпати руками навіть тоді,
коли наближатись і чіпати руками – і є необхідною частиною мистецької роботи.
Однак у нових виставках, присвячених суспільним потрясінням – трагедії Бабиного яру,
розпаду Радянського Союзу та теперішній війні на сході України, пам’яті, втратам і
пов’язаним із цим почуттям розгубленості й провини, – цей неуникненний нагляд і
постійні заборони створюють так необхідну для сприйняття рамку.
Вони не просто повертають глядача безпосередньо у простір втрати свободи, влади над
собою, а й нагадують про те, що ми і досі живемо у суспільстві нагляду і контролю.
Чотири виставки, які відкрились у ПАЦ наприкінці травня, представлені як чотири окремі
проекти. Утім, їх майже неможливо подивитись, а, відповідно, і прочитати окремо.
Другий і третій поверх центру займає виставка "Втрата. Спомин про Бабин Яр". Це проект
таких зірок, як Крістіан Болтанскі, Дженні Хольцер і Берлінде де Брьойкере, курований
Бйорном Гельдхофом. Він присвячений 75 річниці трагедії Бабиного Яру – двом дням у
вересні 1941 року, коли нацисти знищили понад 34 тисячі євреїв.
1 of 11 06/06/16 16:26

Втрата провини. Що робити з власною пам’яттю на виста...
http://life.pravda.com.ua/culture/2016/06/6/213357/view_print/
"Під скелею: Люди йдуть до річки..." Дженні Хольцер. Всі фото: pinchukartcentre
Цілий четвертий поверх – це три виставки нової ініціативи ПАЦ "Дослідницька платформа"
(кураторка – Тетяна Кочубинська), які переходять одна в одну.
"Провина" – груповий проект українських художників, які розмірковують про усвідомлення
провини як шлях до свободи, шлях завдовжки у 25 років – від 1990-х і до сьогодні.
"Перетворення" – виставка переважно живописних робіт українських художників із колекції
Віктора Пінчука, яка фокусується на процесах суспільних і художніх трансформацій від кінця
1980-х до початку 2000-х років.
Завершається ця анфілада українського мистецтва проектом Лади Наконечної "Виставка"
(кураторка – Анна Смолак), котрий продовжує програму "PAC-UA Переосмислення".
Проходячи через рамку металошукача, руки охоронців на вході до ПАЦ та відстороненонейтральні
сходи, глядач опиняється у темному просторі інсталяції Крістіана Болтанскі
"Шлях Бабиного Яру".
Металеві шафи, подібні на картотеку чи архів, заповнюють простір до самої стелі, в якийсь
момент утворюючи вузький прохід – тьмяно освітлений коридор, котрий веде у невелику
кімнатку. В її центрі – велика чорна купа чогось, що при уважному погляді виявляється
акуратно заінстальованим різноманітним чорним одягом.
Ця робота сама по собі є роботою пам’яті, адже складається вона з двох цитат. Купа одягу
відсилає нас до інсталяцій із залишків одягу, взуття та особистих речей у музеї концтабору
Аушвіц. А шафи архіву, котрі формують вузькі коридори, – це також частина роботи
Болтанскі "Архів німецьких членів парламенту", створеної 1999 року для німецького
Бундестагу.
2 of 11 06/06/16 16:26

Втрата провини. Що робити з власною пам’яттю на виста...
http://life.pravda.com.ua/culture/2016/06/6/213357/view_print/
Інсталяція Крістіана Болтанскі "Шлях Бабиного Яру"
Тільки в Бундестазі незчисленні шухлядки архіву мають імена – всіх членів німецького
парламенту, демократично обраних між 1919 і 1999 роками, говорячи про те, що з історії, хоч
як болісної, не можна вирвати ані сторінки, вона пам’ятає все і всіх.
У роботі Болтанскі в ПАЦ імен немає – натомість кожна шухлядка має номер: можливо,
історія пам’ятає таки не все, історії людей перетворюються на порядкові номери, а самі
вони – на купу покинутого одягу.
Проте залишитись на самоті з цим приголошливим відчуттям неможливо: наступаючи на
п’яти, за глядачами буде ходити охоронець, а намагаючись роздивитись купу чорного одягу в
темній кімнаті, аби побачити там окремі предмети – окремі історії, окремих людей, – глядач
гарантовано отримає відчуття того, що вривається у заборонені простори.
Порушувати чужі правила доведеться і далі – намагаючись розглянути роботу Дженні
Хольцер "Стіл смертельної втіхи".
Два столи з ретельно вичищеними, посортованими і викладеними на загальний огляд
безіменними кістками, частина з яких має на собі невеличкі металеві таблички з
гравіруванням англійською та німецькою – історії вбивства зі зґвалтуванням, описані з трьох
точок зору: ґвалтівника, жертви і спостерігача. Побачити їх можна лише нахилившись над
столом на некомфортну для охоронців відстань.
Між столами на стіні – табличка " Тіла лежать у яскравій траві / І частина з них убиті / І
частина з них пікнікують". Це частина іншої роботи Хольцер – "Серія життя" і "Серія
виживання".
Утім, саме тут між двома столами, вона раптом дає глядачеві несподівану моральну зачіпку.
Аж раптом не всі вони були вбиті, аж раптом людська жага до знищення собі подібних не так
тотальна, можливо, смерть таки буває різною, попри те, що, після неї ми всі до нестями
подібні одне на одного?
3 of 11 06/06/16 16:26

Втрата провини. Що робити з власною пам’яттю на виста...
http://life.pravda.com.ua/culture/2016/06/6/213357/view_print/
"Стіл смертельної втіхи" Дженні Хольцер
Однак решта табличок із цього проекту, а також відомі лавки художниці – своєрідний монолог
перед лицем злочину – розвіюють цю надію. "Деколи в тебе не лишається вибору, лишень
дивитись, як відбувається щось огидне. У тебе немає можливості заплющити очі, бо
відбувається це швидко і закарбовується в твоїй пам’яті".
На роботи Берлінде де Брьойкере, які просторово замикають виставку "Втрата",
заплющити очі можна. Однак відчуття відсвіжованих шкір, звалених на купи, або завішаних
для просушки, все одно закарбовується в пам’яті. Воскові "шкури" де Брьойкере
нашаровуються на купу одягу Болтанскі (розташовані вони в залі точно над нею). Втрати
множаться і накладаються одна на одну.
Про що тепер думати? Про Голокост і Бабин Яр? Про Другу світову, яка перенесла знищення
людини людиною у промислові масштаби? Про ненависть і протистояння, ціна яким –
людські життя, а пам’ять про які – пронумеровані архівні справи та рештки понівечених тіл?
Чи про досі неосмислені, непроговорені, непрожиті втрати сьогодення? А чи про те, що
втрата робить з іншими – тими, хто вижив, тими, хто думав, що його чи її не зачепило?
4 of 11 06/06/16 16:26

Втрата провини. Що робити з власною пам’яттю на виста...
http://life.pravda.com.ua/culture/2016/06/6/213357/view_print/
"Від чутливої шкіри III" Берлінде де Брьойкере
Наступний проект "Провина" пропонує розлогу низку відповідей на ці питання. Загалом,
діалогічний зв’язок між цими двома виставками так сильний, що не до кінця зрозуміло, які
причини, крім технічних ("Втрата" триватиме аж до наступного року, тоді як "Провина"
закриється уже в жовтні) і геополітичних (іноземні vs українські художники) змусили кураторів
розвести їх у два окремі проекти.
"Провина" проводить глядача різними досвідами прийняття, усвідомлення,
переживання чи заперечення провини через художні практики від початку 1990-х і
дотепер.
Рішення кураторки виставки Тетяни Кочубинської не зосереджуватись лише на очевидному
– на почуттях, пов’язаних із війною на сході – допомагає зробити два дуже важливих кроки.
По-перше, пов’язати між собою напозір різні досвіди переживання втрат і протистоянь, котрі
призводять до необхідності внутрішнього прийняття моральної ціни – провини: досвіди
переживання Другої світової війни очима вже не радянських переможців, а пострадянських
політичних та економічних лузерів; спроб усвідомити власну роль у Голокості; втрати імперії
добра, яка на очах почала трансформуватись в імперію зла; знецінення пам’яті про минуле,
яке ще живе всередині людей довкола, і, врешті-решт, досвід постмайданної України з
поляризованими досвідами, війною і майже неможливістю зрозуміти і прийняти "іншого".
І, по-друге, зв’язати в одному наративі роботи художників різних поколінь, що в український
виставковій практиці трапляється дуже нечасто.
У кураторському тексті Кочубинська пише про те, що "виставка пропонує зруйнувати
усталені поняття про "вірних" і "невірних" та актуалізує діалог замість розколу на "своїх" і
"чужих". Натомість роботи несподівано говорять про дещо протилежне.
5 of 11 06/06/16 16:26

Втрата провини. Що робити з власною пам’яттю на виста...
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Проект "Якби я був німцем" Група швидкого реагування (Сергій Братков, Борис Михайлов, Сергій
Солонський)
Група швидкого реагування (Борис Михайлов, Сергій Братков, Сиргій Солонський) у роботі
1994 року "Якби я був німцем" створює інверсію, розміщуючи себе (радянських
переможців) в образах переможених нацистів – розбещених, розслаблених, всевладних,
перверзійних. Попри ядучу іронію, ролі "хороших" і "поганців" читаються дуже чітко – для
власного морального виправдання глядач просто мусить почуватись "хорошим".
Роботи Фонду Мазоха (Ігор Подольчак, Ігор Дюрич) – "Останній єврейський погром"
(документація перформансу, який художники робили у галереї Гельмана в Москві 1994 року)
та "З Днем Перемоги, пане Мюллер!" (привітальні листівки, розіслані всім Мюллерам у
Берліні 8 травня 1995 року на 50-ту річницю перемоги) – пропонують глядачеві достоту
протилежну роль: побути в шкурі погромника, знущальника, переможця, який не має пощади
і почуття емпатії до переможеного.
Роботи середини 1990-х, які працюють з репресованою пам’яттю про ключову подію
радянської історії – Другу світову війну, – поєднуються з роботами останніх двох років, які
намагаються не дати забути ключову подію сьогодення – війну на сході.
Роботи Лесі Хоменко "Після кінця" і Миколи Рідного "Сліпа пляма" – унаочнюють "вади
зору", говорячи не лише про обмеженість людського сприйняття реальності загалом і
травматичної реальності зокрема, а й про те, як вибір моральної позиції впливає на те, що
потрапляє у поле зору людини.
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Втрата провини. Що робити з власною пам’яттю на виста...
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"Сліпа пляма" Миколи Рідного
І навряд чи існує ситуація, коли від цього вибору можна хоч якось втриматись. "Газелька"
Нікіти Кадана на сусідній стіні – металеве крило простреленого авто, вивішене у формі
прапора – надзвичано фізичне нагадування про цей факт. Прапор буквально врізається у
простір виставки, змушуючи глядачів протискатись між ним і "Сліпою плямою" Рідного,
демонструючи те, як працює сліпа пляма в реальності. Більшість глядачів дійсно
протискається-пробігає цю частину, майже не дивлячись на роботи: не думати, не
розбиратись, не мати позиції.
А далі, в останніх залах, роботи Сергія Браткова та Юрія Лейдермана повертають до
переживання краху Радянського Союзу, коли раптом фарби змішались і стало неясно, хто
тепер "за наших", а хто ж "за німців".
Колажі Лейдермана із фото пам’ятників героям Другої світової, зібраних з усього світу
("Геопоетика І"), розділені відеодокументацією перформанасу з інсценованою розмовою
"єврея" та "грузина" – двох вигнанців радянського раю єдності, – дістають додаткові
конотації завдяки бурхливим декомунізаційним подіям останнього року.
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"Геопоетика I" Юрія Лейдермана
На них, як і на роботи Кадана із серії "Хроніка", – перенесені з фото у рисунок, в рази
більший, ніж оригінал, сцени з єврейського погрому у Львові 1942 року – цікаво дивитись,
стоячи біля протилежної білої й порожньої стіни, вдягнувши навушники – єдиний предмет,
який порушує її недоторканність. У навушниках – аудіоінсталяція Алевтини Кахідзе
"Дзвінки з кладовища": начитані художницею діалоги з мамою, Клубнікою Андрєєвною, яка
залишилась в окупованій Жданівці влітку і восени 2014 року, коли єдиним місцем, де був
мобільний зв’язок, лишився цвинтар, коли стріляли щоранку і щовечора, а сусіди намагались
з’ясувати, як і за кого їм бути в цьому пеклі.
Ці навушники від’єднують глядача від усього суперечливого світу – виставки з глядачами та
їхніми селфі, наглядачами та їхніми правилами, від близького або дальшого минулого, яке
вимагає визначитись зі своєю позицією, зіставити пам’ять родини із політичною
необхідністю, засоціювати себе або "зі своїми", або "з чужими", уявляючи, що відповідь на
питання: а хто такі ці свої і хто тут чужі? – є чіткою й очевидною.
8 of 11 06/06/16 16:26

Втрата провини. Що робити з власною пам’яттю на виста...
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"Газелька" Микити Кадана
І немає тут більше ані своїх, ані чужих – а лише маленький світ доньки, яка ніяк не може
зарадити руху історії, хіба тільки дзвонити, і мами, яка дивиться на довколішнє божевілля з
мудрістю філософа й намагається не втратити відчуття гідності й людяності.
"Война – войной, а гладиолуси я продала. Люди берут их на праздники", – каже Клубніка
Андрєєвна голосом Алевтини Кахідзе.
Після всіх цих досвідів "Перетворення" виглядає як інший світ – психоделічні полотна
Олега Голосія, трансавангард Олександра Ройтбурда і жартівливі кінетичні скульптури
Інституції нестабільних думок (Олександр Гнилицький, Леся Заяць) видаються
несерйозними кунштюками, прибульцями з якогось паралельного минулого.
Попри те, що, зробивши зусилля, можна побачити тут продовження діалогу про пам’ять та її
втрати, які для різних людей і різних поколінь можуть бути відмінними аж до протилежного,
для цієї виставки проситься окремий простір, без "втрат" і "провин".
9 of 11 06/06/16 16:26

Втрата провини. Що робити з власною пам’яттю на виста...
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"Постріл" Олега Голосія
Остання зала – "Виставка" Лади Наконечної, де вона, цитуючи саму себе, знову
трансформує простір ПАЦ і роздумує над тим, як і навіщо створюється виставка, – створює
ефект занулення.
Вперше від початку цього тривалого тріпу глядач потрапляє у білий і майже порожній
простір. Уперше тут немає жодного охоронця і можна втомлено стежити за думкою
художниці про те, що виставка – це не результат, не готовий до споживання об’єкт, а
процес думання, повернення до себе, перемовин, вимірювань, вписувань у фізичні межі
залів і залишок сховків, де художник, хоч-не-хоч, залишатиме частину себе.
Для мінімалізму Наконечної теж категорично потрібний інший простір. Глядач, пройшовши
всі попередні зали й утомлений потрібністю постійно вибирати (або не вибирати) між добром
і злом, провиною чи втечею, усвідомленням чи відмовою, радісно вибирає – втечу.
Назад, через самотні навушники і скам’янілі пам’ятники, через лезо прапора і гранітні плити
зі свастиками. Назад, повз несправжі шкірі й справжні людські кістки. Повз охоронців і рамку
металошукача. До денного світла, до свободи, до бурхливої активності Бессарабки та
"Арени-сіті".
10 of 11 06/06/16 16:26

Втрата провини. Що робити з власною пам’яттю на виста...
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"Виставка" Лади Наконечної в рамках "PAC-UA Переосмислення"
Мистецтво має таку дивовижну властивість – пропонувати глядачеві можливість вибрати для
себе щось цілком відмінне від намірів і художника, і куратора. Довга низка проектів про
дилеми історичної пам’яті та особистої відповідальності, представлена на трьох поверхах
"ПінчукАртЦентру", нагадує нам про те, про що забувати не можна, зі справедливою
надією, що зі знання народиться розуміння, а з розуміння – прийняття.
Але, здається, цього разу болісне й часто небажане знання лише підкреслює, що в кожному
конфлікті, у кожній трагедії, у кожному протистоянні все одно є кати і є жертви, є ґвалтівники
і є ґвалтовані, є ті, хто стріляє, і ті, у кого летять кулі. І хоч як часто впродовж останніх ста
років ми могли бачити раптову й нещадну зміну цих ролей – ці ролі все одно є.
Хочемо ми цього чи ні – маємо визнати: і чужі, і свої – є, вони існують у нас і поряд із нами.
Можливо, тільки із прийняття цього факту і може початися справжнє примирення.
Катерина Ботанова, УП.Культура
© 2007-2016, Українська правда.
Використання матеріалів сайту дозволено лише з посиланням (для інтернет-видань - гіперпосиланням) на "Українську
правду. Життя"
11 of 11 06/06/16 16:26

Графика Игоря Подольчака | Газета «День»
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Графика Игоря Подольчака
В галерее Гери Боумена представлены новые работы художника
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Режиссер, сценарист, продюсер, художник и куратор
современного искусства, участник и лауреат
многочисленных художественных международных
выставок в Украине и за рубежом, львовянин Игорь
Подольчак теперь живет и работает в Киеве.
Произведения художника находятся в 26 музеях и
публичных коллекциях на родине и за ее пределами.
Инициировала показ его работ в родном городе
куратор художественной галереи Гери Боумена Анна
Сидоренко.
— Игорь Подольчак — львовская легенда, одна из
ключевых фигур Львова 1990-го — начала 2000-х, — рассказывала на открытии выставки
искусствовед Наталья КОСМОЛИНСКАЯ. — К сожалению, младшие львовяне меньше
знают о Подольчаке. А вот представители моего поколения хорошо помнят его
международные выставки графики, которые всегда проходили с большим успехом,
всегда были чрезвычайными, резонансными событиями. Ярким явлением был и
основанный им совместно с Игорем Дюричем Фонд Мазоха. Тогда, когда столица только
присматривалась к актуальному искусству, во Львове это все уже реализовывалось.
Жаль, что наша бюрократия помешала им поехать на Венецианское биеннале...
Впоследствии Игорь пошел в кино, и даже в кино он в первую очередь — художник.
Искусствовед поблагодарила куратора выставки Анну Сидоренко за то, что организовала
эту экспозицию, следовательно — напомнила публике о такой чрезвычайной личности,
как Игорь Подольчак. И пожалела, что на открытии экспозиции нет самого автора:
«Растворился в пространстве...»
В центре творчества Подольчака — человеческое тело в разных его проявлениях,
взаимоотношениях с другими телами, в разных состояниях и стадиях расписания.
Станковой графикой мастер занимается с 1981 года. В своих работах использует технику
офорта, акватинты, гравюры, слепого травления, сухой иглы. Как правило, все эти
техники комбинирует, достигая чрезвычайной глубины черного, широкого диапазона
серого, разнообразных фактур и рельефов. Работает на цинковых пластинах. Формат
работ варьируется от миниатюры (2х3 см) до, что довольно необычно для техники
интаглио, крупных работ (50х40 см).
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Т а т ь я н а К О З Ы Р Е В А,, Л ь в о в
Рубрика: Культура
Газета: №147, (2016)
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16:08 Кубив до конца года обещает 25 тыс. новых мест в детсадах
1 of 3 18/08/16 21:33

Во Львове показывают графику Игоря Подольчака | Газет...
http://day.kyiv.ua/ru/news/120816-vo-lvove-pokazyvayut-graf...
Четверг, 18 августа
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Українська Русский English
Александр Кониский, украинский переводчик, писатель, издатель,
лексикограф, педагог
ГЛАВНАЯ НОВОСТИ ГАЗЕТА ФОТО ВИДЕО МАГАЗИН АРХИВ УКРАЇНА INCOGNITA КОНТАКТЫ «ДНЮ» - 20 ЛЕТ
ГОРЯЧИЕ ТЕМЫ День Независимости Рио-2016 Интервенция России Терроризм Повідомте про новину
Во Львове показывают графику Игоря
Подольчака
12 августа, 2016 - 17:55
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Фото Павла ПАЛАМАРЧУКА
Режиссер, сценарист, продюсер, художник и куратор
современного искусства, участник и лауреат многочисленных
художественных международных выставок в Украине и за
рубежом, львовянин Игорь Подольчак теперь живет и работает в
Киеве. Произведения художника находятся в 26 музеях и
публичных коллекциях на родине и за ее пределами.
Инициировала показ его работ в родном городе куратор
художественной галереи Гери Боумена Анна Сидоренко.
РФ хочет посеять
раскол среди стран
НАТО, - Минобороны
Литвы
Украинка прошла в
финал по прыжкам в
высоту на
Олимпиаде-2016
ПОСЛЕДНИЕ НОВОСТИ
Испания сделала "решающий шаг" в
направлении формирования правительства, -
премьер
СММ ОБСЕ заявила о новых ограничениях ее
деятельности в АТО, - отчет
В Турции суд арестовал 11 военных,
пытавшихся захватить Эрдогана
В результате обстрела боевиков пострадала
Углегорская ТЭС
Пайетт заявил, что
Украина пока не
нуждается в транше
МВФ
В Ужгороде открыли ретроспективную
выставку художников
РФ хочет посеять раскол среди стран НАТО, -
Минобороны Литвы
За день боевики 37 раз обстреляли позиции
сил АТО
Все новости
«Игорь Подольчак - это такая львовская легенда, одна из
ключевых фигур Львова 1990-х - начала 2000-х, - рассказывала на
ВАЖНО 19:08 РФ хочет посеять раскол среди стран НАТО, - Минобороны Литвы
1 of 3 18/08/16 21:35

Во Львове показывают графику Игоря Подольчака | Газет...
http://day.kyiv.ua/ru/news/120816-vo-lvove-pokazyvayut-graf...
сожалению, чем моложе львовяне, тем меньше знают о
Подольчаке. А вот представители моего поколения хорошо
помнят его международные выставки графики, которые всегда
проходили с большим успехом, всегда были чрезвычайными,
резонансными событиями. Ярким явлением был и основанный
им совместно с Игорем Дюричем Фонд Мазоха. Тогда, когда
столица только присматривалась к актуальному искусству, во
Львове это все уже реализовывалось. Жаль, что наша бюрократия
помешала им поехать на Венецианское биеннале... Впоследствии
Игорь пошел в кино, и даже в кино он в первую очередь -
художник».
Погода 18.08.16, вечір
Погода у Києві
+17°
вологість: 96% тиск: 746 мм
вітер: 2 м/с, північний
Погода у Львові Погода у Донецьку
Искусствовед поблагодарила куратора выставки Анну Сидоренко
за то, что организовала эту экспозицию, а следовательно -
напомнила публике о такой чрезвычайной личность, как Игорь
Подольчак. И пожалела, что на открытии экспозиции нет самого
автора: «Растворился в пространстве...».
Оценить графику Подольчака в Художественной галерее Гери
Боумена (ул. Наливайко, 18) львовяне и гости города могут до 25
августа.
Татьяна КОЗЫРЕВА, Львов. Фото Павла ПАЛАМАРЧУКА
Источник: День
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19:08 РФ хочет посеять раскол среди стран НАТО, - Минобороны Литвы
2 of 3 18/08/16 21:35

Фонд Мазоха: «Художник не може бути істориком. Він м...
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Фонд Мазоха: «Художник не може бути істориком. Він може
бути історичним спекулянтом»
Тетяна Кочубінська 5 Вересня 2016 243
Ігор Подольчак, Ігор Дюрич
Фонд Мазоха – коллектив художников, созданный во Львове в 1991 году Игорем Дюричем, Игорем Подольчаком и Романом
Виктюком. «Мазохи» – одно из наиболее радикальных явлений в истории современного украинского искусства. Они являются
пионерами диалогического искусства, или же искусства взаимодействия, делая зрителей соучастниками своих работ, зачастую
делегируя им роли перформеров. Многие работы ФМ – это интервенции в политическую и социальную сферы. В таких работах
немалая роль отводится зрителю, которому художники предлагают переосмыслить устоявшиеся социальные и политические
конструкты.
На выставке «Вина» в PinchukArtCentre представлено две работы Фонда Мазоха: «С днем Победы, господин Мюллер!»[1] и
«Последний еврейский погром»[2]. Куратор выставки Татьяна Кочубинская поговорила с Игорем Дюричем и Игорем
Подольчаком и узнала, как образовался Фонд Мазоха, почему художников интересует провокация и чем обусловлена
политическая направленность их художественной практики.
Тетяна Кочубінська: Фонд Мазоха – одно из самых радикальных и контроверсийных явлений в современном украинском искусстве.
Но прежде, чем обратиться к акциям, хотелось бы поговорить о среде. Сегодня, пожалуй, Львов представляется довольно
консервативным городом, а каковой была интеллектуальная и художественная среда Львова тех лет? Что способствовало появлению
такого объединения как Фонд Мазоха тогда?
Ігор Подольчак: Справа в тому, що поява Фонду Мазоха зі Львовом майже не пов’язана, бо ми в своєму житті й діяльності не дуже
перетиналися зі львівським художнім середовищем. Взагалі не перетиналися. Його появу швидше можна було пов’язувати з
загальною ситуацією в країні. Тобто це своєрідна відповідь на виклики, які в той час існували в Україні.
Т. К.: Тем не менее, Вы же выпускник Львовской художественной академии. Вы родились, выросли, учились во Львове, получили
классическое академическое образование, учились вместе с Николаем Маценко, Олегом Тистолом.
І. П.: На той час вони були вже не у Львові. Ми вже розійшлися кожен своєю дорогою. Спілкування було під час нашого спільного
навчання (1979–1984). Я закінчив Львівський державний інститут прикладного та декоративного мистецтва в 1984-му році. Власне,
він і був – «прикладного і декоративного мистецтва». Особливо нічого в той час не відбувалося, крім традиційних студентських забав.
Тому казати, що це студентське життя було якоюсь відповіддю на суспільну ситуацію – важко. Це був кінець радянського застою,
коли нічого взагалі не відбувалось, але радянські механізми все ще діяли.
Т. К.: Если говорить о Вашей личной практике, вплоть до 89 года, даже начала 90-х в основном – это классические выставки –
многочисленные биеннале и триеннале графики, выставки малых форм графики, выставки экслибриса.
1 of 9 05/09/16 20:02

Фонд Мазоха: «Художник не може бути істориком. Він м...
http://www.korydor.in.ua/ua/voices/fond-mazoha-hudozhnik...
І. П.: Графіка для мене була тим медіумом, який легше всього було виставляти за кордоном на міжнародних виставках. Тобто
графіку можна було відправляти звичайними листами. Моя тогочасна виставкова діяльність була пов’язана з технологією відправки
робіт.
І. Д.: Я переехал во Львов в восьмилетнем возрасте и пережил настоящий культурный шок. После этого считаю себя
львовянином. Если говорить об истории Фонда Мазоха, то перед этим была активность Игоря Подольчака под брендом
«Українського незалежного центру сучасного мистецтва». Мы познакомились, когда он готовил большую международную биеннале
графики из 40 стран-участниц. Я был в восторге оттого, что человек проворачивает такую огромную и полезную работу. Мы
подружились. Я ему помогал. Провели 2 биеннале, целый ряд выставок графики, фотографии. Одна из выставок была посвящена
жизни и творчеству Бруно Шульца. Это 1989–1992 гг.
Я уже не помню, когда именно родилась идея Фонда Мазоха, но она родилась каким-то естественным путем. Первая активность
Фонда Мазоха – письмо в городской совет о том, что стоит переименовать одну из улиц Львова в улицу Захера фон Мазоха. Было
очень весело, потому что какой-то высокопоставленный клерк из Львовской городской администрации публично ответил на это, что
улицы Мазоха во Львове не будет никогда! Об этом написали The Guardian u Daily Telegraph.
В то время в доме Подольчака по вечерам был то ли штаб, то ли клуб. Игорь работал в мастерской и возвращался часам к девяти, к
этому времени подходили завсегдатаи и разнообразные гости, ели, выпивали, общались. Там рождались разные идеи.
Т. К.: Какую именно улицу хотели переименовать?
І. Д.: Кажется, ту улицу, где он (Захер фон Мазох) родился. Смысл деятельности на начальном этапе мы видели в том, чтобы
заниматься маргинальным искусством в плане выставочной и издательской деятельности, считая, что развитие происходит на
маргинесах, на краях, и нам это было интересно. Провели презентацию, пригласили в учредители Романа Виктюка, которого я давно
знал и с которым дружил. Мы были ориентированы тематически, содержательно, и в этом смысле не особо ангажированы
contemporary art’ом.
Во Львове новое искусство вышло из подполья и впервые было представлено на выставке в костеле Марии Снежной в 1987 году.
Куратором этой и ряда следующих выставок был Юрий Соколов. Была запомнившаяся «Дефлорация» в музее Ленина. Это было
интересно как явление, но не близко, я художником не был, амбиций в этой области не имел.
Т. К: И у Вас нет художественного образования?
І. Д.: У меня нет никакого образования. Меня выгнали из одного института, потом я не окончил второй институт. Книжки читал,
но на гуманитарный я не хотел идти, мне казалось, что это дичь собачья – советская гуманитарная наука. Я поплелся в Политех. У
меня была очень хорошая школа, математический класс – сборный, где после восьмилетки собрали лучших в математике. И там
по-новому все отношения складывались, все пытались быть умными. Была интеллектуальная атмосфера, в которой я себя
чувствовал очень комфортно. Потом столкновения с действительностью советского технического вуза – оно было несколько
мрачным. Я завалил сессию, вообще мало туда ходил, ушел в академку, откашивал от армии, потом насмерть влюбился, женился, и
как-то пришлось работать. Работал я фотографом, кочегаром, дворником. Как и положено в ту эпоху нормальным людям. Общался
с большинством интересных людей во Львове.
Т. К: Была ли выработана определенная программа Фонда Мазоха?
І. П.: Це 1991 рік. Незалежна Україна. Та ситуація подібна до теперішньої. Ми шукали відповідей, або провокували питанння, які
необхідно було осмислити чи принаймні наблизитись до відповідей на них.
Т. К.: Был ли написан манифест, в котором было бы сказано о рождении Фонда Мазоха? Акция с этим связанная?
І. Д.: Манифеста не было, была презентация. Она прошла в здании, которое раньше занимал горком комсомола, в бывшем кабинете
первого секретаря. В это время там сидела редакция культового «Поступа», Товариство Лева, Студенческое Братство, ряд
организаций, которые были моторами процессов 1988–1991 годов. Еще была сильна иллюзия движения к новому, радостному миру,
и мы наивно полагали, что наша культурная инициатива имеет большое общественное значение.
Вообще во Львове перед Независимостью была уникальная ситуация. Там же на выборах в органы советской власти везде выиграл
«Рух», было двоевластие, партийные комитеты еще сидели, но уже и ничего не решали. Была атмосфера свободы, творчества. Легко
рождались идеи, все казалось возможным. Ну, например, почему бы не сделать выставку на Луне.
Т. К.: Речь идет об «Искусстве в космосе»? Это была первая работа?
І. Д.: Да она не была работой. Сидят люди, выпивают и весело общаются, фантазируют. Приятель, который рядом сидит, говорит,
что у его жены есть выход на космонавтов. Переговорили, порешалось. Тогда денег ни у кого не было, коррупция была дешевая.
Отдали работы – получили видео. На самом деле, это была редукция («Искусство в космосе»). У Подольчака был артбук с
оригинальной графикой и текстами Якоба Бёме. Артбук как гармошка раскладывался на восемь метров в длину. Мы хотели вывести
его на орбиту и объявить Первым искусственным спутником Земли. Но с этим оказалась проблема. Потому что офорты космонавты
могли протащить как личные вещи, а это уже вывоз груза на орбиту и куча инстанций. Так что получилось только «Искусство в
космосе».
2 of 9 05/09/16 20:02

Фонд Мазоха: «Художник не може бути істориком. Він м...
http://www.korydor.in.ua/ua/voices/fond-mazoha-hudozhnik...
Фонд Мазоха. «Искусство в космосе», 1993 р. Фото: www.mediaartarchive.org.ua
Мы даже не знали, что делать с этим видео. Ездили на выставку в Лодзь «Конструкция в процессе». Я первый раз видел заграничное
современное искусство. Там показали кассету в первый раз людям из художественного сообщества, и они впали в дикий восторг. В
Киеве как раз начал работать центр Сороса, нас пригласили на какое-то художественное сборище. Там я познакомился с одесситами
Александром Ройтбурдом, Михаилом Рашковецким, с киевскими ребятами. Все выступали с докладами, ну, и я честно докладывал о
нашей деятельности. Было скучновато, так что в конце я предложил так, ради развлечения, посмотреть видео. Народ начал падать с
веток, ломать хвосты – все обалдели, потом выдохнули, зааплодировали. Там оказался куратор биеннале в Сан-Паулу, который
отбирал работы. Он возжелал эту работу для биеннале, и как-то оказалось, что такие вещи интересуют и воспринимаются как
произведение.
А мы просто веселились, реализуя какие-то из идей, поддающихся воплощению. Вот умер Ким Ир Сен, и мы решили выразить
сочувствие осиротевшему народу Северной Кореи. Так, как это делают руководители государств. Было забавно, что Фонд Мазоха
сочувствует корейскому народу по поводу смерти корейского вождя, учитывая коннотации, связанные с мазохизмом. Подольчак
мужественно эту телеграмму, написанную в лучших советских традициях, отправлял. Ясно, что девушка, которая принимала,
думала, не вызывать ли ей четвертую бригаду из психушки. Было весело, мы были относительно молоды, казалось, что впереди все
будет замечательно после Советского Союза. И при этом выработалась внутренняя позиция Фонда Мазоха как суверенного
государства – мы ведем войну за свободу и независимость нашего сознания от любых идеологических агрессий, и наша стратегия в
этой войне – терроризм, разумеется творческий, бескровный, потому что на большее нет ресурсов.
Т. К.: Вы игнорируете эту художественную составляющую, но тем не менее, документируете все жесты?
І. Д.: Институции современного искусства проявили живой интерес к нашим действиям и опознали это как искусство. И это было
замечательно, так как давало какие-то ресурсы, коммуникацию, события, вызовы, заставляло на них реагировать. Но с точки зрения
художественной стратегии в смысле делания карьеры в арт-мире мы были непроходимо глупы. Мы делали «презентации проектов»
как теракты – то ли акции, то ли перформансы, мы не разбирались – и не считали это «произведениями», рассчитанными на
дальнейшее экспонирование, поэтому специально ничего не документировали. То же видео «Мавзолея для Президента» существует
только благодаря тогдашнему директору Центра Сороса Марте Кузьме, для которой акцию снимал Илья Чичкан. Мы не снимали
«Последний еврейский погром» в галерее Марата Гельмана в 1995-м. Даже в 1998 году мы не озаботились скопировать качественно
отснятые материалы «Беспредела мазохизма» во Владивостоке – посмотрели, порадовались и все. Через много лет попытались найти
концы, но все кануло в Лету. И так со всем остальным. Так что творчество ФМ скорее для археологии, а не истории искусства.
Мы были, и во многом остаемся, заложниками духа собственного суверенитета. Мы легко шли на конфликты с кураторами,
важными людьми, сообществом, если их пожелания не соответствовали нашим представлениям. И, как результат, от малых
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конфликтов к большим конфликтам: по поводу Венецианской биеннале 2001 года, конфликту с Виктором Пинчуком на стыке
«Бренд Українське» и «Прощай, оружие!». Последняя выставка, в которую нас пригласили – выставка 2004 года в Киевской галерее
Гельмана, которую возглавлял Саша Ройтбурд. Галерея закрылась, закрылся ЦСИ, и до 2016, до вашей выставки, только «Искусство
в космосе» время от времени запрашивали кураторы больших обзорных или международных выставок. Никому (кроме Юрия Онуха)
даже не было интересно сделать «Лучших художников ХХ века» – проект, не поехавший в Венецию, а показанный в урезанной
видеоверсии в Лондоне… Это что-то говорит о жизни нашего арт сообщества, ну, или о характере отношения к Фонду Мазоха, или о
характере Фонда Мазоха….
То, что мы делали, никогда не было шуткой, гэгом, или прямым одномерным высказыванием. В большинство своих акций мы
вкладывали максимальные смыслы. Вопрос, как они подавались, и о чем они были. «Мавзолей для президента», например, – это не
анекдот, это о ментальности. Это жест избавления народа от Эдипова комплекса, от патриархального уклада, ориентации на
начальство, невозможности быть свободными. Тогда это было ясно нам, как теперь, после двух майданов всем способным мыслить.
«Мавзолей» ведь продлился и на следующий день, как митинг в галерее Бланка. Пришли люди, которые говорили, что это
издевательство. Прямая дискуссия привела к тому, что им пришлось признать нашу позицию кристально патриотической. Все
серьезно, просто подписано «Фонд Мазоха». Что всегда дает возможность нового уровня трактовки, возможность еще раз все
перевернуть.
Т. К.: Ваши проекты во многом задействуют зрителя. Вы помещаете зрителя в ситуацию этического дискомфорта. Каждый проект
– это испытания, которые заставляют выйти за пределы привычного социального существования. Возникает социальная провокация,
когда зритель (в стране, в которой и так не существует почвы под ногами) еще больше утрачивает эту почву. Чем вызван этот
интерес?
І. П.: Чому втрачає? Навпаки, з нашої точки зору, це була пропозиція рефлексії і, відповідно, набуття ґрунту під ногами. Бо якщо ми
не розуміємо, які ми, то важко рухатись у соціальному, політичному, економічному житті уперед. Передусім це була спроба знайти
себе та свої відповіді в тих обставинах. Ми справді намагалися втягнути в процес глядача і поставити його в екстремальні умови, в
яких відповідь, здебільшого, могла бути однозначною: так – ні, чорне – біле, без особливих градацій. Людина мала зробити вибір і
відповідати за цей вибір.
Т. К.: То есть серого не дано.
І. П.: Воно вже на іншому рівні осмислення. В сенсі безпосередньої рефлексії на наші акції – так. Це чорне – біле.
Т. К.: Я бы хотела спросить вас о работах, которые экспонируются у нас сейчас на выставке «Вина». Эти произведения, с одной
стороны, связаны с той социально-политической ситуацией в стране. При этом акция «С днем победы, господин Мюллер!» – очень
сложная работа, особенно в Германии, где поколения воспитывались с чувством вины. Эта работа поднимает вопросы победы и
побежденных, больше говоря не о Второй мировой войне, а о поражении в холодной войне.
І. П.: Це була поштова акція. Тобто там провокацією була поштова листівка, яку ми направили всім Мюллерам, яких знайшли на
жовтих сторінках Берліну.
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Фонд Мазоха: «Художник не може бути істориком. Він м...
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Фонд Мазоха. З Днем Перемоги, пане Мюллер! 1995, поштові листівки. Надано Валерієм Сахаруком та Олександром Соловйовим.
Фото: PinchukArtCentre, Сергій Іллін
І. Д.: Как раз 8 или 7 мая у нас открывалась выставка в Мюнхене в галерее Шупера (Szuper gallery). Там была презентация, у нас не
хватило денег отправить все открытки, и остатки мы привезли с собой. И посетителям предлагалось купить или взять и дослать
остатки этих открыток адресатам.
Т. К.: Вы знаете о реакции этих Мюллеров? Эти Мюллеры тоже являются частью работы. Есть ли у вас архив их реакций?
І. П.: Реакцій було небагато. Їх можна було класифікувати: «Я зрозумів» чи «Я не зрозумів, чому мене поздоровляють». Навряд чи
ми змусили рефлексувати Мюллерів. Рефлексійної реакції ми не отримали, крім критики. Самі Мюллери були матеріалом. З одного
боку, ми як відправники, з другого боку – реципієнти, як спосіб проблематизації певного питання, намагання усвідомити, що
відбулося за 50 років після війни. Я сумніваюсь, що наші реципієнти грали роль осіб, що рефлексують. Це було радше нерозуміння,
чому я, чому поздоровлення і чому з 50-літтям Перемоги.
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Фонд Мазоха: «Художник не може бути істориком. Він м...
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Фонд Мазоха (Ігор Дюрич, Ігор Подольчак). Останній єврейський погром, 1994, габро, фотодокументація акції. Фото:
PinchukArtCentre © 2016. Фотограф: Сергій Іллін.
Т. К.: Эта акция происходила в Германии, тем не менее, она больше апеллировала к ситуации у нас в стране. Каким образом нам
выстраивать отношения с другими странами, с той же Германией – вчерашним врагом, сегодня – экономически сильным
государством. Была ли эта акция каким-то образом транслирована у нас в стране? Способствовала ли она появлению дискурса здесь?
І. П.: Швидше за все, ні. Ми своєю акцією намагались підштовхнути до осмислення історичного періоду. В Україні вона пройшла
майже не поміченою.
Т. К: Мы в какой-то степени актуализируем эту работу.
І. П.: Так, за що я вам дуже вдячний. Тоді не було апарату рефлексії, наприклад, такого центру чи молодих критиків, кураторів, які
могли б допомогти представити цю акцію в Україні, спровадити до того, щоби було якесь усвідомлення. Ви, мабуть, знаєте, які
виставки і як вони організовувались в той час в Україні. З мого погляду, це була зосередженість на певних групах художників.
Особливо не замислювались над глобальними речами.
І. Д.: Мне нравится, что работы 90-х годов экспонируются. Но мое отношение очень странное. Потому что они музеефицированы. В
моем представлении – это нонсенс. «Погром» – очень долгая история, которая имела большую протяженность, которая связана с
достаточно тяжелой историей конфликта с галеристом, с этическим выбором, массой живых мизансцен. В материале же это была
«минимальная» плита, которую три раза сфотографировали, а в экспозиции фигурировали большие распечатки ее изображения. Ее
же притащили со Львова в Москву, она была тоненькая, и ее использовали вместо столика, водку и пиво на ней разливали по
стаканчикам.
Мне очень нравится «Погром». Он же многослойный. Там есть идея вынесения из истории в искусство, идея цикличности погрома,
идея того, что евреи – это народ, ставший великим благодаря «селекции» которую ему устраивали большие народы. Недавно читал
статью, комплиментарное исследование о евреях, где почти открытым текстом написано то, о чем мы говорили – что в погромах
гибли глупые и слабые, а все умные и богатые имели возможность заранее свалить. В погромах погибал худший генофонд.
Благодаря этому евреи смогли достичь успеха и построить свое государство. Теперь Израиль ведет победоносные войны и погром
уже невозможен. Фонд Мазоха провел последний погром в истории. И из истории погром таким образом изъят и отправлен жить в
искусство…
Т. К.: Если вернуться к «Господину Мюллеру», эта работа сейчас экспонируется вместе с произведениями последних лет, которые
обращены к конфликту на востоке Украины. Но они как раз декларируют невозможность видения, разделения на черное и белое,
наоборот, все «серое», призывают к неразделению на своих и чужих. Как Вам кажется, эта проблематика проигравших и
побежденных – актуальна ли она у нас в стране? Готовы ли мы к переосмыслению этих понятий?
І. П.: Мені здається, не готові. Категорії «переможці-переможені» – це вже наступний крок усвідомлення. Це треба було б
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Фонд Мазоха: «Художник не може бути істориком. Він м...
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розглядати в більш широкому історичному контексті. Це всього-на-всього наслідки розвалу імперії. Якщо ми подивимось історично,
то найближча імперія, яка розвалилась – це Австро-Угорська імперія. Останнім етапом Австро-Угорської імперії, як Ви гадаєте,
що було? Коли вона розвалилась остаточно? З моєї точки зору, це відбулось із розлученням Чехії і Словаччини. Тобто Австро-
Угорська імперія остаточно розвалилась вже в 90-ті роки. Скільки буде тривати розвал Радянської імперії ще не відомо. Зараз ми
маємо наслідки цього. А відповідно всередині цього історичного процесу відбуваються локальні події, які важливі для країни, для
людей, які зосереджені в пунктах цих конфліктів. Це, з моєї точки зору, наслідки великого історичного процесу. Розуміння, що є
наслідками цього процесу, дає нам можливість знаходження інструменту розуміння локальних речей і, відповідно, пошук відповідей,
як їх можна розв’язати чи уникнути.
Т. К.: Вы принимаете позицию историка?
І. П.: Художник не може бути істориком. Він може бути історичним спекулянтом. Конструювання певної ситуації, в якій важливе
усвідомлення якихось речей. Ми не давали ніколи відповіді, ми проблематизували і пробували викликати осмислену рефлексію цих
процесів. Для кожної людини – це можливість не тільки вибору, а й можливість відповісти на якісь питання, якщо людина здатна
зрозуміти та поставити собі ці питання.
Т. К.: Многие работы Фонда Мазоха политические, а также вы участвовали в разработке политических кампаний. У Вас как
гражданина есть определенная политическая позиция?
І. П.: У кожної людини є своя політична позиція, навіть якщо вона відсутня – це також політична позиція. Чи завжди це було
відображенням? Так, можливо, опосередковано. Позиція з часом також змінюється, людина міняється і її позиція також.
І. Д.: Конечно нет. Мы работали как рекламщики просто. Во-первых, ты сталкиваешься с проблемой, когда смыслы должны
уплощаться, желательно, чтобы они были разумные, добрые, вечные. Это убивает искусство, но креатив какой-то остается. Это
всегда было, в первую очередь, зарабатывание денег. Но был и интерес к форме, масштабу, когда вся страна – выставочное
пространство. Была бы у нас свобода рук и такие возможности как на большой политической кампании – это уже была бы совсем
другая страна… Во-первых, мы бы кардинально поменяли фирменный стиль государства, уничтожили бы это бюрократическое
убожество… В общем, там большой список…
Т. К: Мог возникнуть момент, когда этически вы вообще не поддерживаете взгляды кампании, которую обслуживаете?
І. Д.: Подольчак сразу сказал, что никогда на коммунистов работать не будет. Такие моменты присутствуют. Но если что-то совсем
античеловеческое, то тогда, конечно, работать вряд ли мы смогли бы. Часто приходилось отговаривать клиентов от черного пиара, с
нашей точки зрения, он всегда деструктивен. Сейчас политтехнолог – слово ругательное, а тогда, те люди, с которыми мы начинали
работать, были выходцами из методологического кружка Георгия Петровича Щедровицкого. Реальные интеллектуалы с
поразительной дисциплиной мышления. Там было, чему поучиться. Понять, например, что ты не самый умный. Хороший контраст с
художественным сообществом, где все самые гениальные. Художники редко бывают интеллектуалами…
Это удобная форма деятельности, пару месяцев поработал и год–два свободен. Заработали денег – два полнометражных
художественных фильма сняли. Снять фильм на свои деньги – это редко, кому выпадает такое счастье…
Но и цена высока – начинаешь понимать, как устроена действительность. Это лишает многих иллюзий.
Т. К.: Если продолжить разговор о предвыборных кампаниях. Что значит участие в этих проектах? Тоже продолжение
художественной практики? Если говорить об искусстве взаимодействия, во многих проектах, начиная с «Искусства в космосе» –
это делегирование своих функций другим людям, как в этом случае космонавты выступили перформерами.
І. П.: Я думаю, що Ви праві. Ви описали одну зі складових частин нашої діяльності як проектантів виборчого процесу. Ми, як Фонд
Мазоха були досить обмежені в залученні глядача до наших акцій. У виборчих проектах зовсім інший масштаб – вся країна. З
одного боку, ми були обмежені в художніх засобах, з іншого – не обмежені (порівняно з художньою діяльністю) в фінансових
засобах, відповідно, в діях, форматах… В політичних процесах ми намагались якимось чином не тільки відповісти на вимоги
замовника, а й також щось сказати. Інколи це було вдало, інколи – ні. Замовник в тій ситуації важив дуже багато. Коли ми робили
акції, ми самі собі були замовниками, а в політичних проектах замовник може нав’язувати свої потреби.
Т. К.: А что в данном случае может быть удачным проектом?
І. П.: В сенсі спроби свого бачення чи свого розуміння, мені здається, що президентська кампанія Кучми була досить вдалою. Там
намагались показати можливість політичної декларації. В країні тоді була дуже важка економічна ситуація, були необхідні кроки
для її стабілізації та покращення. Ми докладались до цього в міру своїх сил і можливостей.
Т. К.: На выставке представлена работа «Последний еврейский погром». Для меня в этой работе важно то, что Вы
проблематизировали выбор и ответственность за собственный выбор. Почему Вы обращаетесь именно к этой исторической теме?
Почему именно к погрому? Это связано со львовскими погромами? Или это просто метафора разрушения, которая предшествует
созиданию?
І. П.: Звичайно, на другому кроці це проблема вибору. На першому кроці – це була проста провокація в сенсі постановки завдання.
Марат Гельман нам запропонував участь у виставці, яка мала бути в Венеції, здається, під назвою «Плохие новости из России».
Власне, наше розуміння такої постановки питання привело нас до «Останнього єврейського погрому». З другого боку, він
вписується в трилогію: «Мавзолей для президента», «Останній єврейський погром», «З днем перемоги, пане Мюллер». Якщо
розглядати ці проекти разом, то це спроба відповісти на певні історичні питання і надати їм завершеного вигляду. Що таке мавзолей –
завершений вигляд для України, «Останній єврейський погром» – з появою державності Ізраїль показав неможливість погромів, бо
вони можливі лише тоді, коли народ не має своєї державності, тобто закрити цю тему і перевести з площини політичного фантому в
7 of 9 05/09/16 20:02

Фонд Мазоха: «Художник не може бути істориком. Він м...
http://www.korydor.in.ua/ua/voices/fond-mazoha-hudozhnik...
площину мистецтва. «Мюллер» – це закриття теми останнього 50-ліття європейської історії.
Т. К.: Вы предлагаете рассматривать эту работу как часть трилогии?
І. П.: Так, її можна так розглядати.
Т. К.: Отправной точкой для выставки «Вина» был тезис Карла Ясперса о том, что «осознание вины ведет к осознанию солидарности
и ответственности, без которой невозможна свобода». Как Вы относитесь к тому, что Ваши работы 90-х гг. помещаются в контекст
сегодняшних событий и в контекст выставки «Вина», что для Вас значит понятие вины?
І. П.: Ясперс в даному випадку соціалізує проблему провини. Я вважаю, що питання провини дуже інтимне і не потребує соціалізації.
Інституалізація провини призводить до небажаних наслідків, до подій, які ми зараз бачимо у Франції чи у Німеччині, пов’язаних з
міграційною кризою. Питання провини кожна людина повинна вирішувати або не вирішувати індивідуально. Це питання, радше, до
психоаналітика, ніж до соціального філософа.
І. Д.: Я чувствую себя довольно свободным человеком, и чувства вины не испытываю. Мне кажется, что мало плохого совершил
в своей жизни. Для меня это умозрительное чувство, понимаю насколько ничтожным оказалось мое поколение. Это все, что вокруг,
построили мы.
Т. К: Как бы Вы это изменили?
І. Д.: Это очень непростой вопрос. Все шло так, как шло. Это, похоже, невозможно было изменить. Мудрость Кучмы (я считаю, что
он был лучшим президентом) состояла в том, что он оставался над схваткой и как-то пытался все уравновесить. Оказалось, что мы
нищие люди с низкой бытовой культурой. Мы не цивилизованные люди. Даже образованные люди – не цивилизованные.
Перспективы Украины не очень хороши. Интеллектуальные ресурсы очень слабые. Смысловое общение находится внутри
небольших групп. Проблема коммуникации между ними – напряженная. Копирование современных цивилизационных форм
коммуникации, как правило, сопровождается выбрасыванием или подменой смысла. Люди не очень способны друг друга слышать, а
доверие распространяется только на близких. Государственная система – это труп совка, она просто гниет и жизнь в ней – это только
копошение паразитов. Эта система ни на что не способна, реформы практически нереальны. Вот это страшно. В этом смысле нужно
говорить об ответственности.
Примітки:
[1] Это почтовая акция, в рамках которой к 8 мая 1995 года художники разослали 5500 Мюллерам (носителям наиболее
распространенной фамилии в Германии), проживающим в Берлине, почтовые открытки с поздравлением по случаю 50-й годовщины
Победы. На открытках Фонд Мазоха соединил два символических образа Рейхстага: красный флаг (как символ победы Советского
Союза) и «обернутое» художником Кристо Явашевым здание Рейхстага (как культурный код и символ современной Германии).
Политической подоплекой к созданию акции стало объединение Германии и распад Советского Союза. В этой акции художники
поставили вопрос побежденных и победителей на фоне геополитических изменений в тогдашней Европе.
[2] Эта акция состоялась в галерее Марата Гельмана в Москве в 1995 году и была анонсирована как реальное событие. Акция не
предусматривала пассивного зрителя. Каждый становился участником события и должен был выбрать себе роль: погромщика или
жертвы. В манифесте Фонд Мазоха заявил, что «погромы являются основным структурным элементом еврейской истории,
благодаря которому евреи смогли выработать национальный характер и восстановить Израиль». Организовав «Последний еврейский
погром», Фонд Мазоха перенес погром из реальной истории в плоскость искусства, подняв вопрос выбора и ответственности за
собственный выбор.
історія, історія мистецтва, архів, критичне мистецтво, куратор, свобода, сучасне мистецтво
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8 of 9 05/09/16 20:02

9/26/2016 «Картковий будинок» – на гастролях | Газета «День»
Понеділок, 26 вересня
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«Картковий будинок» – на гастролях
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«Запрошення Кевіна Спейсі з боку організаторів YES, як кажуть, — це
більше, ніж злочин. Це помилка», — Микита ПОТУРАЄВ
Іван Капсамун
23 вересня, 2016 - 10:02
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Традиція політтехнологій.
Запрошений на захід родини Кучми-
Пінчука YES-2016 актор Кевін Спейсі,
який зіграв головного героя у
телесеріалі "Картковий будинок"
Френка Андервуда, та виборчий
плакат штабу Кучми під час
президентських перегонів 1999 р.
Проведений тиждень тому Форум YES, який щорічно
організовує родина Кучми-Пінчука, шокував навіть тих,
хто давно не дивується. Найбільший резонанс якраз
викликала не тема заходу — «Світ, Європа та Україна:
шторм змін», хоча по суті мала б, а приїзд актора Кевіна
Спейсі, який зіграв головного героя культового
американського телесеріалу «Картковий будинок»
Френка Андервуда. З цього приводу в соцмережі
одразу з’явився шквал постів і коментарів.
«16 вересня День пам’яті Георгія Гонгадзе, але про це
не згадують на цьогорічній зустрічі #yes2016
символічно що головний гість там Андервуд — котрому
зійшло з рук вбивство журналіста», — вдова вбитого
журналіста Мирослава Гонгадзе. Напередодні форуму
Мирослава також відреагувала: «Цього року YES
Пінчука відкривається 16 вересня. Хтось добре продумав і зважив дати — я так розумію,
що на відкритті буде Кучма і що розпочнеться конференція хвилиною пам’яті про Георгія
Гонгадзе. 16 вересня виповнюється 16 років з дня смерті Гії. Хочу побачити цей вияв
журналістської солідарності, особливо від колишніх колег Георгія, як Сергій Лещенко та
решти, які є звичними учасниками цієї конференції і навіть, як ми тепер знаємо з
офіційних декларацій, отримували гонорари за виступи у ній».
«Тобто в День пам’яті журналіста Георгія Гонгадзе на фото, зробленому зараз в центрі
Києва, Кевін Спейсі, який знову став всесвітньо відомим завдяки серіалу «Картковий
будинок», де він зіграв президента, що вбиває журналістку заради збереження влади, і
Віктор Пінчук — зять того самого президента Кучми, який...?», — журналіст Олександр
Ткач.
БЛОГИ
Євген Середа
«Відкриття Америки»
Юрій Костюченко
«16 вересня в Брюсселі на дискусії «Гроші та політика: будівництво держави, демократія
Землетруси та сейсмічна
та корупція» згадала у виступі і про YES: як українські олігархи купують лояльність
безпека: виживання у світі
західної еліти, колишніх прем’єрів країн ЄС та держсекретарів США, які за великі гонорари
нелінійних загроз
чи благодійність на свої фонди їздять відбілювати імідж корупціонерів, які колись були під
санкціями на в’їзд в США. Цинічно. Прагматично. YES — така собі тусовка, ярмарка
марнославства. Символічно, що 16 років тому вбито Гонгадзе. І досі замовники на волі»,
Євген Середа
— голова парламентського комітету у закордонних справах Ганна Гопко.
Чому б’ються депутати?
Якраз Ганна ще два роки тому проявила принципову позицію і пристала на заклик
потерпілого у «справі Гонгадзе-Подольського» Олексія Подольського бойкотувати заходи
Кучми-Пінчука. Раніше Подольський заявив «Дню» з цього приводу: «Я вже давно
закликаю бойкотувати заходи Кучми — Пінчука, але абсолютна більшість свідомо
Михайло Берг
ігнорують мій заклик — багато хто приїжджає сюди за гроші, інші тому, що зобов’язані, а
Квадратний тричлен
треті взагалі на зарплаті. Звичайно, ми можемо кивати на іноземців, які своєю
http://day.kyiv.ua/uk/article/podrobyci/kartkovyy-budynok-na-gastrolyah
присутністю допомагають Кучмі, але це насамперед наша справа, з якою ми самі маємо
1/5

9/26/2016 «Картковий будинок» – на гастролях | Газета «День»
присутністю допомагають Кучмі, але це насамперед наша справа, з якою ми самі маємо
покінчити. З іншого боку, важливо, що вже зараз на Заході починають уважно
придивлятися до ролі родини Кучми-Пінчука у фінансуванні фонду Клінтонів, про що
пишуть провідні американські ЗМІ».
Так от, відповідаючи на лист-запрошення Кваснєвського (голова Наглядової ради YES),
Гопко у 2014-му заявила: «Я не можу прийняти вашу пропозицію. У критичний для країни
час бойкот подібних заходів дає чіткий сигнал: Леонід Кучма і Віктор Янукович повинні
нести відповідальність за скоєні злодіяння і постати перед справедливим судом. За
останні роки ви дуже багато часу провели в Україні. Але, на жаль, так і не звернули уваги
на резонансні кримінальні справи і судові процеси, пов’язані з причетністю Леоніда
Кучми до жорстокого насильства проти політиків, журналістів та активістів».
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ОСТАННІ СТАТТІ РУБРИКИ
ПРЕЗИДЕНТИ ЗМІНЮЮТЬСЯ, А ОРГАНІЗАТОРИ YES НА ПЛАВУ / ФОТО МИКОЛИ
ЛАЗАРЕНКА
Звичайно, у цього форуму є свої захисники, особливо ті, хто вже давно і ґрунтовно
підхопили «вірус Кучми». Після того, як в інфопросторі з’явилася велика доза критики,
підключилися і вони.
«Щорічні події, завдяки своєму рівню, глибині постановки питань та їх відкритих
обговорень на YES, привносять в Україну частинку Європи як вимріяному простору
відкритості, чесності, прогресу і життєвого рівня, — пише у себе в ФБ виконавчий
директор Міжнародного фонду «Відродження» Джорджа Сороса Євген Бистрицький. —
Дають зустрітись можновладцям і їх супротивникам від політики і громадськості. Зійтись
на очах Європи і світу. Це, дійсно, протиріччя у нашому сприйнятті. Протиріччя між всім
цим і тим, що все це стало лише і лише можливим завдяки олігархічній концентрації
необхідних для цього коштів в руках мирного олігарха Віктора Пінчука. І що такого
заходу, яке привносить нам та моделює у нас, тут, Європу і західний світ демократичних
цінностей, в принципі не могло би бути без нього».
«Картковий будинок» – на гастролях
Мінськ: перспективний компроміс?
«Початок процесу нової якості»
Чи покарають сепаратистів?
Чи буде в Росії «суперміністерство»?
Донбас: український акцент
Розплата за зраду
Перший крок до кібербезпеки
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Легендарна 17-ка
Пінчук, дійсно, як і в попередні роки, показав себе у прекрасній формі. Гостей було дуже
багато — українських, іноземних. За багато років (форум був заснований у 2004 р.) на
заході побували абсолютно всі діючі президенти України — Віктор Ющенко, Віктор
Янукович, якого свого часу водили туди як вівцю на шнурку — який, здається, взагалі не
розумів, що навколо нього відбувається...
Цього року YES відкрив Петро Порошенко. І що показово, президенти змінюються, а
організатори на плаву. Де сьогодні Ющенко? На «політичний пенсії». А де Янукович? Втік
в Росію. А Кучма? В Мінську представляє Україну на переговорному процесі.
Є одне запитання — який результат для України протягом всіх цих років від форуму? А
результат такий, що зараз стратегія взагалі стала «бездомною» — немає ні Ялти, ні Криму.
Зате є цинічна заява самого Кучми про те, що повернути півострів вже нереально...
Складається враження, що цей дискусійний майданчик більше потрібний самому Пінчуку
і родині, ніж країні.
«Справа в тому, що і в Кучми, і у його найближчих родичів є достатньо фахові команди
для того, щоб відбілити себе. Ці люди не просто коментують, а і вміють моделювати
суспільну думку, — коментує «Дню» народний депутат Ігор Луценко. — Хочу сказати, що
той же Пінчук не приховує своїх намірів і абсолютно відверто запрошує до своїх програм,
зокрема, і журналістів. Суспільство має бути дуже розумним для того, щоб фільтрувати
http://day.kyiv.ua/uk/article/podrobyci/kartkovyy-budynok-na-gastrolyah
нав’язані йому імперативи. Адже певні сили вдало мімікрують під загальноєвропейські
2/5

9/26/2016 «Картковий будинок» – на гастролях | Газета «День»
нав’язані йому імперативи. Адже певні сили вдало мімікрують під загальноєвропейські
тренди, при цьому залишаючись донорами конкретних олігархів. Той же Пінчук, при
тому, що фінансував їх абсолютно прозорим чином, брав участь у відбілюванні свого
тестя Кучми».
Моделювання реальності під себе родиною Кучми-Пінчука, насправді, має давні корені.
Спочатку конструювалися перемоги на виборах — щоб прийти до влади. Одними з
найважливіших для країни і найбільш сфальсифікованих виборів в історії України — були
президентські вибори 1999 року. Ще на початку виборчої кампанії Кучма мав невеликі
шанси переобратися на другий термін, але завдяки політтехнологам перемогу таки
«зліпили». Була використана російська технологія «червоної загрози» — там це був
Зюганов проти Єльцина у 1996-му, в нас — Симоненко проти Кучми. Запам’яталося
творіння політтехнологів штабу другого президента у вигляді плакату Кучми, де він був
зображений з ірокезом. Підпис на плакаті: «Всьо буде чотко». Такий хід повинен був
підкреслити близькість Кучми до молоді і забезпечити його підтримкою нового
покоління.
Ми поспілкувалися з Микитою Потураєвим, який тоді працював у виборчому штабі
Леоніда Кучми, і розпитали про подробиці кампанії:
— У образа Кучми з ірокезом були два автори, які, до речі, приїхали зараз до Києва з
Європи. Це Ігор Подольчак і Ігор Дюрич. Вони є досить відомими українськими
артдіячами. Взагалі в 1999 році в тій частині передвиборчого штабу, який курував Віктор
Пінчук, було залучено велику кількість талановитих людей. Наприклад, всі фотографії
Кучми робив найвідоміший фотохудожник Віктор Марущенко.
Я вам скажу, що у нас були великі надії на Кучму, хоча не можу сказати, що всі вони
справдились. Ми думали, що країна буде розвиватись в напрямку авторитарного
ВАЖЛИВО 09:09 У Дніпрі сьогодні попрощаються з загиблими поліцейськими
просвітницького лібералізму. Але, на жаль, ми побачили деструктивну роль олігархічних
груп. До 1999 року не можна було говорити, що Кучма залежить від олігархічних груп.
Але потім все змінилося, особливо після «справи Гонгадзе». Тоді Кучма змінив курс і
відмовився від євроатлантичного напрямку. Але також не можна забувати революційний
крок — запровадження єдиного податку. Тоді почав з’являтись середній клас, який
зрештою і виступив на Майдані, який вийшов проти тодішньої системи.
На жаль, люди, які писали «Кучму геть!» або «Януковича на нари!» не зрозуміли, що
система так і не зламалась. Тоді ми отримали людину системи — Ющенка. Взагалі
нинішній владний олімп включаючи Тимошенко є людьми саме тієї системи. Звичайно,
Кучма в момент, коли змінив курс, проявив слабкість. Гадаю, що набагато сильнішим
кроком з його боку була б добровільна відставка. Це було б переконливо. Якщо навіть не
погодився піти у відставку, то можна було б не йти на компроміси з РФ.
Говорити про те, що росіяни підключились до рекламних кампаній Кучми, не можна,
адже вони з цього процесу і не виходили. Тобто вони були з самого початку. Групою
російських технологів були випускники Московської металургійної школи Георгія
Щедровицького. Ще в 50-х роках він, Едуард Зіновєв та Марат Мамардашвілі створили
гурт. Тобто школа була досить серйозною. Деякі з її представників з вільних людей
перетворились згодом в апологетів путінського режиму. Так ось випускники цієї школи
з’явились в Україні в 1998-му році в компанії до Верховної Ради Віктора Пінчука в Дніпрі.
Таким чином, ця група спеціалістів була інтегрована згодом до президентської
передвиборчої кампанії Кучми. Але вони не мали стосунку до створення згаданого
образу Кучми. Команда тоді у Кучми була досить інтернаціональна. Коли дехто з них
згодом підтримав агресію Росії, я перестав з ними спілкуватись. Зараз вони в Росії
думають, що конструюють майбутнє, хоча я вважаю, що вони конструюють минуле.
Були і симпатики комуністів, які при цьому допомагали робити окремі матеріали, які
дозволяли Кучмі переманювати певну кількість голосів у Симоненка. Певною мірою
технології передвиборчої кампанії Єльцина в 1996 році напряму були перенесені на
передвиборчу кампанію Кучми в 1999-му. Ніякого секрету в цьому немає. Один з авторів
схеми 1996 року Глєб Павловський — засновник Фонду ефективної політики —
безпосередньо не мав відношення до нашої кампанії 1999-го року, але його люди були
присутні. Це був очевидний сценарій протистояння начебто ліберального лідера і лідера
ретроградного. Співпрацювали тоді з росіянами і інші політики, зокрема Тимошенко з
тим же Глєбом Павловським. Олег Мєдвєдєв тривалий час працював у Москві, а потім
працював у Тимошенко. Тобто такі зв’язки існували завжди.
Що стосується YES і приїзду Кевіна Спейсі. Я певний час займався форумом YES, але пішов
в 2007-му. Чесно кажучи, коли я почув, що на форум була запрошена зірка Кевін Спейсі,
який грав президента, що вбив журналістку, то сприйняв це, м’яко кажучи, із
здивуванням. З боку організаторів YES, як-то кажуть, це більше ніж злочин. Це помилка.
* * *
Можна додати, що це «помилка», яка має глибоко символічний характер. Якщо в
Сполучених Штатах «Картковий будинок» — це художній фільм, то у нас він із
документальним сюжетом. Сюжетом, який веде країну абсолютно хибним шляхом,
прикриваючись зокрема такими заходами як Форум YES. Може, там і говорять про високі
речі, але поки країна завдяки кучмізму тільки втрачає. «Україна мало змінилася з дня
смерті Георгія, — пише у ФБ волонтер Юрій Касьянов. — Так само крадуть, як і раніше
брешуть, тільки до крові нас вже привчили: якщо раніше вбивство однієї людини було
трагедією, то сьогодні загибель десятків і сотень — статистика. Два Майдани пройшли
повз свідомість десятків мільйонів людей. І навіть війна не стала тією межею, тим
Рубіконом, за яким вже жити, як раніше, не можна. Але уявімо собі на хвилинку, що 16
Погода 26.09.16, ранок
Погода у Києві
http://day.kyiv.ua/uk/article/podrobyci/kartkovyy-budynok-na-gastrolyah
років тому справу Гонгадзе було розкрито. Винні покарані. У в’язницю сіли Кучма,
3/5
+9°
Голосувати
вологість: 84% тиск: 750 мм
вітер: 4 м/с, північно­західний
Погода у Львові Погода у Донецьку
ОПИТУВАННЯ
Як Ви оцінюєте можливість
реалізації рамкової угоди про відвід
сил і озброєння від лінії
розмежування в Донбасі?
Рішення має великі шанси на втілення
Це нереально, бойовики продовжують стріляти
Лише за умов реального тиску Заходу на Росію
Мінські угоди з самого початку були
програшними
Старі опитування
Результати

9/26/2016 «Картковий будинок» – на гастролях | Газета «День»
років тому справу Гонгадзе було розкрито. Винні покарані. У в’язницю сіли Кучма,
Кравченко, Пукач і підбурювачі. Історія України могла б піти зовсім по-іншому. Може
навіть, правовим, європейським шляхом. Не було б тоді Януковича у владі. Чи не
трапився б перший і другий Майдан. Чи не заробив би на своїх «розслідуваннях»
Лещенко на квартиру... Не потрібно було б проводити форум YES. І, можливо, Україна не
втратила б Крим, і нічого б не сталося на Донбасі, тому що у нас могла бути сильна армія,
і реальна національна політика».
...Все це буде. Потрібно розширювати коло наполегливих і принципових! Час і зусилля!
Іван КАПСАМУН, Валентин ТОРБА, «День»
Рубрика: Подробиці
Газета: №171-172, (2016)
ВАЖЛИВО
09:09 У Дніпрі сьогодні попрощаються з загиблими поліцейськими
Share
128
Твіт 2
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ГОЛОВНІ НОВИНИ
Сьогодні вперше
відбудуться
теледебати
Клінтон і Трампа
X by Deal Top
У Дніпрі сьогодні
попрощаються з
загиблими
поліцейськими
Хуг прибув до
Донецька, щоб
оцінити ситуацію
з безпекою
НОВИНИ ПАРТНЕРІВ
Нові неприємності
"баби Юлі"
"Окупований берег":
володіння Порошенка
вразили українців. ..
"Хайдук" розірвав
контракт з
українським ..
Путін хапається за
серце. Такого він не
очікував
БІЛЬШЕ ЦІКАВОГО
ВАКАНСІЇ
Робота в Києві
Розмістити резюме
Про паралелі між
Грозним і Алеппо
Про українську логіку
виконання Мінська-2
Справжня
солідарність
«Прокинувся під
гуркіт в кімнаті. Всі
меблі трясло»
ПРОЕКТИ/ІНІЦІАТИВИ
http://day.kyiv.ua/uk/article/podrobyci/kartkovyy-budynok-na-gastrolyah 4/5

«Служанка»: половая связь надёжней денег / ФРАЗА
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03.10.16
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ТОП:
28.09.16 23:48 Лига чемпионов: «Динамо» вырвало очко у «Бешикташа»
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НЕПОПСА «Служанка»: половая связь надёжней денег
Автор: Антон Филатов, «Фраза»
Журналист, кинокритик
03.09.16 10:59 13255 Версия для печати
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Твитнуть 1
Сентябрь принёс на украинские экраны целую
россыпь как шедевров, так и просто замечательных
фильмов. Но даже среди такого изобилия
выделяется картина корейского мастера Пак Чхан
Ука «Служанка», которая стартует в нашем прокате
8 сентября.
Колонка автора
03.10.16 07:26
Образ переселенца в
творчестве Авакова
Автор: Евгений Середа
Сюжет фильма разворачивается в 30-е годы ХХ
века в Корее, оккупированной Японией. Авантюрист
по кличке Граф втягивает жадную девушку Соке
в воровскую схему, цель которой — овладеть
состоянием богатой японки Хидеко. Последняя
обитает в шикарном поместье в отрыве
от внешнего мира. Соке должна заставить
аристократку влюбиться в Графа, после чего тот станет её супругом и получит право распоряжаться
деньгами Хидеко.
Учитывая странности богатой девушки, её после этого будет нетрудно запереть в психлечебнице, что
и планирует сделать Граф. А её недюжинное приданое можно будет разделить с Соке. Однако в этой
тщательно спланированной схеме в какой-то момент открывается второе дно, что полностью меняет
как расстановку сил, так и мотив этой истории.
03.10.16 08:02
Автор: Елена Коваленко
Статьи
Тарифный садизм по-украински
СЛУЖНИЦЯ / AH-GA-SSI, офіційний український трейлер, ...
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03.10.16 22:27 87
Несмотря на колоссальное количество фильмов, которое ежегодно снимается на Дальнем Востоке,
настоящую популярность в западном мире получают лишь считанные из них. Широкий зритель,
в частности, Старого Света в большинстве своём ждёт от фильмов из Японии, Китая, Кореи
и соседних стран жестокости, коварства, исторического антуража и боевых искусств. Если проследить
за азиатскими лентами последнего десятилетия, которые были успешны в европейском прокате,
то именно эти темы в них главенствовали. Такими были, в частности, «Цветы войны» Чжана Имоу,
«Великий мастер» Вонга Карвая и многие другие азиатские картины.
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Скандалист Фьюри пошутил о завершении
карьеры
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США приостанавливают переговоры с РФ по Сирии
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1 of 4 03/10/16 23:29

«Служанка»: половая связь надёжней денег / ФРАЗА
http://fraza.ua/analitics/03.09.16/250935/«sluzhanka»-polovaja-s...
совсем ничтожную долю. Однако это с лихвой компенсирует акцент на коварстве и историческом
антураже. А также на сексе, который здесь является едва ли не пружиной всего сюжета.
Например, если в большинстве фильмов об ограблениях и авантюрах сюжет сосредоточен на экшене,
то здесь он заменяется сексом. Адреналин в организме человека вырабатывается практически
в одинаковых дозах как страхом, так и сексом. Поэтому медитативные откровенные сцены этой
картины привязывают к экрану столь же сильно, как напряжённые погони, перестрелки и интриги,
которыми пестрят подобные ленты об авантюрах и грабежах.
Защита Сущенко обжаловала его арест в
Москве
03.10.16 21:13
«Мистецький Арсенал» представит уникальную
выставку «Эфемероиды. ХХ века в плакате»
03.10.16 20:43
Фьюри, грязно выругавшись, снова объявил
о завершении карьеры
03.10.16 19:28
Гройсман: Я вижу динамику развития экономики
Украины
03.10.16 18:14
Нобелевскую премию по медицине присудили
японцу
03.10.16 17:30
В аэропорту Порто грузчика забыли в грузовом
отсеке улетевшего самолета
03.10.16 16:37
ГПУ: Каськив будет под залогом до решения
вопроса о его экстрадиции
03.10.16 16:35
До конца 2016 года в российскую армию призовут
1500 крымчан
Интервью
Главное идейное отличие «Служанки» от большинства других современных фильмов заключается
в том, что эта картина показывает: секс делает отношения между людьми более надёжными, чем
деньги. Именно благодаря этому главные герои выходят победителями из всех опасных перипетий
данного сюжета. В свою очередь, в европейском и американском кино последних лет уже едва ли
не догмой стало обратное: секс — лишь средство в достижении материального и карьерного успеха.
Такая истина провозглашается, например, в сериале «Карточный домик», «Страсти» Брайана
Де Пальмы, «Элитном обществе» Софии Копполы, «Звёздной карте» Дэвида Кроненберга и многих
других фестивальных и прокатных хитах западного мира.
29.09.16 07:02
Автор: Елена Коваленко
Крымский татарин: Я благодарен своей
стране за то, что в Крыму не началась война
Фото и Видео
«Служанка» переполнена деталями. Быт, гардероб, взаимоотношения героев — всё здесь
воспроизведено с музейной точностью. Но, несмотря на то, что на безукоризненные декорации
и реквизит были потрачены огромные силы, здесь напрочь отсутствует любование деталями.
А на этом нередко пробуксовывали фильмы даже маститых режиссёров.
Вышел первый тизер пятой части «Пиратов
Карибского моря»
fraza.ua
Установка
ГБО в Киеве
Обилие мелочей заставляет изучать происходящее на экране, словно под увеличительным стеклом.
В середине же фильма происходит изящный и неожиданный поворот, показывающий, что всё
происходившее ранее — фальшь. И сколь бы острым ни было внимание зрителя, всё это время его
попросту водили за нос. Тогда и оголяется лейтмотив подделок, которые постоянно мелькали
в сюжете, намекая, что экранный мир полон неоднозначности.
na-gazu.com.ua
Эта путаница проявляется даже в самом названии, которое в оригинале звучит, как «Госпожа»
(Agasshi). Однако англоязычный мир решил переименовать картину в «Служанку». Под таким
названием она добралась и до наших экранов. Но эта двоякость названия лишь подчёркивает
неоднозначность всего фильма.
Многие иероглифы в корейском языке кардинально меняют содержание фразы, если их переставить
местами. Похожий коварный трюк имеет место и в этом сюжете.
2 of 4 03/10/16 23:29

«Служанка»: половая связь надёжней денег / ФРАЗА
http://fraza.ua/analitics/03.09.16/250935/«sluzhanka»-polovaja-s...
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В нашем прокате крайне редко встречаются дальневосточные фильмы. «Не-на-диктофон» наши
прокатчики признаются: если главные герои в фильме — представители монголоидной расы, то наш
зритель попросту не идёт на эту картину, отчего она проваливается в прокате. Такой себе скрытый
расизм. Поэтому, чтобы получить место в наших кинотеатрах, азиатский фильм должен быть как
минимум выдающимся по своим художественным качествам или же обладать множеством пикантных
подробностей, которые привлекают любого зрителя. Так вот, «Служанке» присуще и первое,
и второе.
P. S. Ну и напоследок — кадр из фильма украинского режиссёра Игоря Подольчака «Менины» (2008),
который наверняка стал прообразом одной из знаковых сцен «Служанки». Эта отечественная лента
объехала весь мир, и её вполне мог видеть кто-то из южнокорейских кинематографистов,
впоследствии сотрудничавших с Пак Чхан Уком. Правда, доказать, что создатели «Служанки»
подсмотрели эту эротично-эстетскую композицию именно в нашем фильме, невозможно.
Но и не упомянуть о столь откровенном сходстве было бы неправильно.
Зима-2017 угрожает
всему человечеству:
данные синоптиков
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отдал, чтобы эти
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Карл Роув: Если
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удивлены
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3 of 4 03/10/16 23:29

Пришел, увидел, подарил: почему коллекционер Юрий Когут...
http://forbes.net.ua/lifestyle/1421806-prishel-uvidel-podaril-po...
ВСЕ ПУБЛИКАЦИИ — СТИЛЬ ЖИЗНИ — 29 СЕНТЯБРЯ 2016, 14:00
Пришел, увидел, подарил:
почему коллекционер Юрий
Когутяк передал в дар музею
произведение Никиты Кадана
И как этот жест повлияет на украинскую арт-сцену
АВТОРЫ: МАРИНА ЩЕРБЕНКО, РОКСАНА РУБЛЕВСКАЯ
Юрий Когутяк
Фото: Козаченко Александр для "Forbes Украина"
22 сентября работа Никиты Кадана «Процедурная комната» была передана в
постоянную коллекцию современного искусства Национального художественного
музея Украины. Произведение купил у художника при содействии «Щербенко Арт
Центра», а затем подарил музею коллекционер Юрий Когутяк, в практике НХМУ
– это беспрецедентный случай.
1 of 13 05/10/16 22:13

Пришел, увидел, подарил: почему коллекционер Юрий Когут...
http://forbes.net.ua/lifestyle/1421806-prishel-uvidel-podaril-po...
До конца октября «Процедурную комнату» ПОДПИСКА
можно увидеть в НХМУ. Одновременно
IPAD И IPHONE
600 МЕС. / ГРН. 12
в октябре работа будет выставлена в Берлинской академии искусств $7.99 в групповом
/ 6 МЕС.
международном проекте Uncertain States. О смысле самого произведения, а также
о том, какое значение имеет жест Юрия Когутяка, Forbes рассказывает куратор,
арт-консультант и основательница «Щербенко Арт Центра» Марина
Щербенко.
Поступок Юрия Когутяка – это один из распространенных примеров дарения
работ в музейную коллекцию частным лицом, меценатом, коллекционером. По
подобной схеме «Процедурная комната» была передана в дар Мюнхенской
Пинакотеке через бельгийскую галерею Transit, с которой Никита Кадан также
сотрудничает.
Кадан создал «Процедурную комнату» в 2009-2010 годах, но сегодня
произведение приобрело дополнительный смысл и усилило первичный.
«Работа о существовании «явных тайн» в обществе – негласных «слепых зон», о
которых все знают, но все молчат», как говорит сам художник, имея в виду
пытки в правоохранительных органах.
Работа тиражная, и это позволило автору экспонировать ее в разных проектах
по всему миру. «Процедурная комната» имеет свою историю выставок, она была
представлена в персональных и групповых проектах в Мюнхене, Берлине, Вене,
Кракове, Дрездене, Киеве, Нью Йорке, Варшаве, Милане и других городах,
находится в разных коллекциях, в том числе – музейных, таких как Новая
Пинакотека в Мюнхене и Музей военной истории в Дрездене. Теперь эта работа
есть и в Национальном художественном музее Украины.
тиражная, и это позволило автору экспонировать
ных проектах по всему миру
Передача столь известной в мире современного искусства работы Никиты
Кадана в НХМУ в период смены директора музея символична. Сам художник
замечает: «Если институция пришла к решению принять эту работу, то,
надеюсь, она сама готова отказаться от таких «слепых зон» и поощрять
общество отказываться от них».
2 of 13 05/10/16 22:13

Пришел, увидел, подарил: почему коллекционер Юрий Когут...
http://forbes.net.ua/lifestyle/1421806-prishel-uvidel-podaril-po...
Музей находится сейчас на той стадии, когда возможно начало проработки ПОДПИСКА
IPAD И IPHONE
и
МЕС. / ГРН. 12 600
внедрения существенных реформ. Но если говорить о коллекции НХМУ, $7.99 / 6 то МЕС.
значительная ее часть исторически сформировалась благодаря
интеллектуальной элите, меценатам и коллекционерам еще до 1919 года. И
теперь, за время независимости Украины, несмотря на пренебрежительное
отношение органов власти к частному коллекционированию, украинские
коллекционеры продолжают традицию дарения работ музеям, которая так
развита и популярна во всем мире. Именно коллекционеры сегодня играют
ключевую роль в сохранении художественного наследия и развитии культуры
своей страны. В данном случае, коллекционер Юрий Когутяк отмечает, что для
него было важно передать в коллекцию НХМУ именно эту работу, с точно
обозначенным социально-критическим смыслом. Это своеобразный жест
протеста против системы, в которой погрязло наше общество, а также способ
привлечь внимание к вопросам, обозначенным в концепции «Процедурной
комнаты».
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Пришел, увидел, подарил: почему коллекционер Юрий Когут...
http://forbes.net.ua/lifestyle/1421806-prishel-uvidel-podaril-po...
ПОДПИСКА
IPAD И IPHONE
ГРН. / 12 МЕС.
600
$7.99 / 6 МЕС.
Работа Никиты Кадана «Процедурная комната»
Фото DR
Каждый коллекционер рано или поздно начинает задумываться о судьбе своего
собрания. Хорошие работы, как правило, попадают в музеи: либо дети
коллекционеров продают работы, получив их в наследство, либо сами
владельцы передают свои собрания в дар институциям.
Это всегда болезненный вопрос, так как коллекционеры, питающие истинную
страсть к своему занятию, тяжело расстаются с работами. Тем не менее, есть ряд
примеров того, как работают с передачей частных коллекций музеи Европы и
США. Так, в 2015 году произошло знаменательное событие: Чикагский институт
искусств получил в дар от частных коллекционеров Стефана Едлиса и Гаэла
Нисона удивительное собрание работ американских художников второй
половины ХХ – начала ХХІ века: начиная от таких поп-артистов, как Энди
Уорхол и Джаспер Джонс, и заканчивая современными топ-художниками, среди
которых Джефф Кунс и Синди Шерман. Коллекция была передана в Институт
при условии организации постоянной, а не временной, экспозиции,
соответствующей духу частной коллекции, но отныне доступной для широкой
аудитории.
Безусловно, это пример культурного договора премиального класса, при
котором выигрывают все: и коллекционеры, чье детище станет общественным
достоянием, и музей, заполучивший невиданную коллекцию в один жест, и
государство, приумножившее свой символический капитал.
4 of 13 05/10/16 22:13

Пришел, увидел, подарил: почему коллекционер Юрий Когут...
http://forbes.net.ua/lifestyle/1421806-prishel-uvidel-podaril-po...
ПОДПИСКА
ридает особый статус работам, попадающим в его
600 ГРН. 12 МЕС. /
$7.99 / 6 МЕС.
Они обретают историческую значимость, так как
вляется независимым экспертом, не
ированным рыночными процессами, в отличие от
тов и дилеров, даже самых опытных
IPAD И IPHONE
Нам до подобной идеальной ситуации еще очень далеко, но, тем не менее, есть,
из чего расти: НХМУ также может поделиться историей сотрудничества с
художниками и коллекционерами. Как обозначили и директор музея Юлия
Литвинец, и заведующая отделом искусства ХХ-ХХІ веков Оксана Баршинова,
музей начал свое существование в конце ХІХ – начале ХХ века именно
благодаря общей инициативе выдающихся киевлян-меценатов, которые
помогли сформировать основу его коллекции. Начиная с 2004 года, история
возвращается на круги своя: идея создания «Общественной коллекции
современного украинского искусства» воплотилась в форме аукциона «Час
мецената», организованного участниками объединения «Фонд Мазоха» Игорем
Дюричем и Игорем Подольчаком, который поддержали ключевые украинские
художники, писатели, режиссеры, музыканты. И теперь, спустя более 10 лет,
становится ясно: время мецената продолжается, подобные инициативы важны
и даже необходимы.
Музей придает особый статус работам, попадающим в его фонды. Они обретают
историческую значимость, так как музей является независимым экспертом, не
заангажированным рыночными процессами, в отличие от галеристов и
дилеров, даже самых опытных. Но, в свою очередь, попадание работ в музейное
собрание влияет на возрастание их рыночной стоимости.
Для профессиональной украинской арт-среды событие передачи «Процедурной
комнаты» беспрецедентно в своей открытости и публичности выстроенной
взаимосвязи «художник – галерист – коллекционер – музей». Сегодня очень
важен процесс налаживания этих связей, в первую очередь – для создания
сильных и влиятельных институций в локальном пространстве (арт-центров,
галерей, фондов, музеев) и, соответственно, комфортной среды для развития
практики коллекционирования и поддержки художников. Официальные
продажи с оглашением цен будут способствовать стабильному
ценообразованию. В этом случае, галерист будет заниматься менеджментом и
5 of 13 05/10/16 22:13

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продажами, а художник – творчеством и популяризацией своих работ ПОДПИСКА и
проектов при поддержке институций.
IPAD И IPHONE
ГРН. / 12 МЕС.
600
$7.99 / 6 МЕС.
О том, почему он выбрал для передачи в НХМУ именно «Процедурную комнату» и
что лично для него значит этот жест, Forbes поинтересовался у Юрия Когутяка.
Фото: Козаченко Александр для «Forbes Украина»
– Какова стоимость работы Никиты Кадана «Процедурная комната» и
почему вы решили передать ее фонду Национального художественного
музея Украины?
– Мне предложили купить работу за $3000, но так как в наши планы входило
передать ее музею, Никита отдал ее за $2000. На первый взгляд, небольшие
деньги, но эта сумма равна одному проценту годового бюджета музея. В акте
дарения есть несколько важных для меня вещей. Во-первых, этот поступок
никак не связан с личностью человека, который будет руководить институцией,
поскольку процесс дарения происходил во время конкурса на должность
директора музея. Во-вторых, очень необычно и правильно, что в коллекцию
музея начинают поступать остросоциальные работы. Это говорит о том, что
музей перестает быть застывшей архаичной структурой, сегодня он готов
собирать и экспонировать актуальные образцы современного искусства.
6 of 13 05/10/16 22:13

Пришел, увидел, подарил: почему коллекционер Юрий Когут...
http://forbes.net.ua/lifestyle/1421806-prishel-uvidel-podaril-po...
Почему вы выбрали именно эту работу для передачи в ПОДПИСКА
музей?
IPAD И IPHONE
ГРН. / 12 МЕС.
600
$7.99 / 6 МЕС.
– Это был выбор музея, который хотел иметь данную работу, но не мог ее
приобрести. Когда «Процедурная комната» появилась в проекте Щербенко Арт
Центра «Аукционы», мне поступило предложение купить ее для музея, что я и
сделал. Этот поступок для меня не является чем-то необыкновенным, потому
что за последние три года почти все мои покупки и некоторые продажи были
связаны с благотворительными аукционами.
ых, этот поступок никак не связан с личностью
а, который будет руководить институцией,
ку процесс дарения происходил во время
а на должность директора музея. Во-вторых, очень
но и правильно, что в коллекцию музея начинают
ть остросоциальные работы
– Не хотели ли оставить работу в своей коллекции?
– Я бы не купил «Процедурную комнату» для себя, хотя у меня есть другие
работы Никиты. В свое личное пространство я готов помещать только работы с
определенной энергетикой. Проект Никиты Кадана – не для интерьера, он
посвящен теме пыток. А сам акт передачи – демонстрация того, каким может
быть поведение коллекционера.
– Вы бы хотели, чтобы другие коллекционеры последовали вашему
примеру?
– Вероятно, это может побудить других коллекционеров оказать поддержку
музею. Сейчас бюджет музея – меньше, чем годовой бюджет многих украинских
семей. Кроме того, важно показать общественности, что есть и другой способ
взаимодействия коллекционера с институциями.
– Есть ли в вашей коллекции работы, с которыми вы бы никогда не
хотели расстаться?
7 of 13 05/10/16 22:13

Пришел, увидел, подарил: почему коллекционер Юрий Когут...
http://forbes.net.ua/lifestyle/1421806-prishel-uvidel-podaril-po...
– Несомненно. Ко всем работам у меня личное отношение. Разумеется, ПОДПИСКА
IPAD И
градус
IPHONE
600 МЕС. / ГРН. 12
эмоций зависит от конкретной картины, но с большей частью из них $7.99 я бы / 6 МЕС. не
хотел расставаться. Накопительство является главной чертой многих
коллекционеров, но я с удовольствием предоставил бы некоторые работы для
экспонирования, если бы появилась институция, заслуживающая доверия.
– Может ли Национальный художественный музей претендовать на
звание музея современного искусства, которого пока нет в Украине?
– В том формате, в котором он существует сейчас, – это невозможно. Для
начала нужно создать коллекцию современного искусства и знать, где ее
экспонировать. Если говорить о перспективе государственного планирования,
то нужно еще около 10 лет целенаправленной работы, чтобы воплотить
задуманное. Необходимы друзья музеев, доноры, которые помогут
сформировать достойную коллекцию.
Фото: Козаченко Александр для «Forbes Украина»
– Как сегодня выглядит украинский коллекционер?
– Когда я начинал галерейный бизнес, будучи владельцем галереи «Коллекция»,
8 of 13 05/10/16 22:13

Пришел, увидел, подарил: почему коллекционер Юрий Когут...
http://forbes.net.ua/lifestyle/1421806-prishel-uvidel-podaril-po...
основную массу покупателей составлял средний класс. Из-за ПОДПИСКА
кризиса его
покупательная способность резко снизилась. МЕС.
Ошибка, которую никогда IPAD И IPHONE не
600 ГРН. / 12
$7.99 / 6 МЕС.
признают дилеры, продолжать номинировать работы художников в долларах, в
то время как доходы большинства остались гривневыми. Это, на мой взгляд,
неправильно. Именно поэтому основной тренд на арт-рынке сегодня – молодые
художники, работы которых можно приобрести по доступным ценам. Вообще, я
считаю, что в молодых необходимо вкладывать деньги, иначе они уходят из
профессии, но должен сказать, мир искусства – гораздо шире, чем рынок, где
качество произведения измеряется его ценой, а не критериями,
устанавливаемыми художественным цехом.
бюджет музея – меньше, чем годовой бюджет
украинских семей
– Сотрудничали ли вы ранее с украинскими или зарубежными музеями?
Планируете ли продолжать сотрудничество с Национальным
художественным музеем Украины?
– Ранее не сотрудничал. Мы, коллекционеры, всегда заинтересованы помогать,
если поверим в глобальную миссию и увидим, что институция функционирует,
динамично развивается, избавляется от архаики.
– Какой процент от своего дохода вы тратите на благотворительность, а
какой на коллекционирование?
– Условно, 10% от своего дохода я трачу на благотворительность и до 5%
инвестирую в свою коллекцию. Сейчас, в силу изменения общественных
приоритетов, я приобретаю только те предметы искусства, которыми
действительно хочу обладать. Для меня важно сохранить целостность моей
коллекции.
9 of 13 05/10/16 22:13

В ЕрмиловЦентре открылась выставка "ПогранКульт" - хар...
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Новости, 05.10.2016
В ЕрмиловЦентре открылась выставка
"ПогранКульт"
Алексей Грищенко, 05.10.2016, 11:34
В
Важно
Кабмин поддержал
решение о назначении
Светличной
губернатором
15:57
Украдены все печати
Хозсуда Харьковской
области (дополнено)
14:12
Отопление начнут
включать с 10 октября
13:31
Новости от 05.10.2016
"ЕрмиловЦентре" (Харьков) во вторник, 4 октября,
открылась выставка, которая проходит в рамках
визуальной программы форума "ПогранКульт:
ГалицияКульт". Визуальная программа включает
экспозиции, которые развернутся на десяти локациях
Харькова. Будет представлено искусство Галичины ХХ -
начала XXI века. Выставка продлится до 16 октября.
Как уточнили в "ЕрмиловЦентре", основными будут две
площадки: в Харьковском художественном музее и
"ЕрмиловЦентре".
"Сквозь призму творчества ведущих галицких художников
ХХ - начала XXI веков раскрывется основная
мировоззренческая проблематика региона, история и
специфика составления старых и новых мифов о Галичине.
Для этого региона характерны основные темы пограничья:
миграции, привлечение к идеологическому и
географическому пространству империй, милитарность, а
также специфические черты Галичины, такие как герметизм
("свой к своему за своим"), миссионерство ("украинский
Пьемонт"), европейскость и тому подобное", - отметили в
"ЕрмиловЦентре".
Справка SQ. На выставке будут представлены
произведения из коллекций Харьковского художественного
музея, Национального музея во Львове им. Андрея
Шептицкого, Музея искусств Прикарпатья (Ивано-
17:52 В Харьковской области
- новые жертвы суррогатного
алкоголя
17:41 Убийство харьковского
ученого: подробности
17:10 "Металлист" примет
международный матч
17:04 Харьковский
профессор требовал от
иностранца взятку в 5 тысяч
долларов
16:11 На Салтовке
благоустроят улицу
16:01 Выходы из двух
станций метро закрыты на
ремонт
15:57 Кабмин поддержал
решение о назначении
Светличной губернатором
15:49 В ДТП на проспекте
Гагарина погибли четыре
человека (дополнено)
15:44 На Салтовке мужчина
из ревности зарезал
незнакомца
1 of 7 05/10/16 22:18

В ЕрмиловЦентре открылась выставка "ПогранКульт" - хар...
http://www.sq.com.ua/rus/news/novosti/05.10.2016/v_ermilovtse...
Франковск), фондов Дирекции Национального союза
художников Украины, частных собраний. Основу
экспозиции составят работы (живопись, графика, объект,
видеоарт, инсталляция, фотография) художников
Владимира Костырко, Евгения Равского, Юрия Коха, Карла
Зверинского, Романа Сельского, Игоря Переклиты, Евгения
Самборского, Андрея Сагайдаковского, Евгения Лысыка,
Зиновия Флинт, Алексея Аксинина, Владимира Пинигина,
Сергея Петлюка, Елены Турянской, Игоря Дюрича / Игоря
Подольчака ( "Фонд Мазоха"), "Открытой группы".
! " # $ % & ' (
15:41 Пресс-конференция на
тему "Расчеты размера
субсидий на отопительный
период на основе новых
тарифов" (анонс)
15:34 Мост через Московский
проспект полностью
реконструируют - вице-мэр
15:03 Под Харьковом пьяный
водитель фуры не справился
с управлением (фото)
15:01 Медосмотры в школах:
здоровы 35% детей
14:35 На Алексеевке
мужчина напал на девушкуподростка
14:30 В харьковский приют
везут собак из других городов
14:25 Кернес
прокомментировал победу
Светличной
14:20 Пресс-конференция на
тему "Подготовка к
отопительному сезону"
(отчет)
14:12 Украдены все печати
Хозсуда Харьковской области
(дополнено)
14:06 Депутаты
"Відродження" встретились с
премьер-министром по
поводу бюджета и проблем
Харькова
13:51 "Харьковводоканалу"
изменили структуру тарифа
13:40 Директора
харьковского КП
подозревают в незаконном
обогащении
13:31 Отопление начнут
включать с 10 октября
13:24 Харьковчане
поработали над
американской ракетой
12:54 В Харькове на тушение
2 of 7 05/10/16 22:18

В ЕрмиловЦентре открылась выставка "ПогранКульт" - хар...
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4 of 7 05/10/16 22:18

Сторіччя львівської графіки в одній експозиції — Новости ...
http://artukraine.com.ua/n/storichchya-lvivskoi-grafiki-v-odniy-...
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З 13 жовтня по 4 листопада 2016 року в Києві відбудеться знакова подія для всіх
поціновувічів друкованої графіки – проект « Г Р А Ф ІІ К А: Л Ь В ІІ ВX X / X X I ». Ця виставка
буде лише початком серії графічних виставок українських мистецьких осередків. У
перспективі – виставки графіки Києва, Харкова, Одеси, Дніпра, Донецька тощо.
Не випаково проект відкривається саме експозицією львівських майстрів. З позиції
сучасності, художні процеси, що відбувалися в середовищі львівської графічної школи,
можна назвати унікальними чи навіть парадоксальними. Особливий шлях розвитку
львівської графіки був зумовлений, перш за все, національно-культурним піднесенням,
боротьбою з нав’язаними ідеями радянського режиму та соцреалізму. Крім того, з метою
підвищення професійного рівня львівські митці їхали за кордон (Краків, Варшава, Париж,
1 of 4 11/10/16 18:52

Сторіччя львівської графіки в одній експозиції — Новости ...
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ерлін та ін.). Вже тоді львівська графіка зазнала впливу євро
ських течій, які поєдналися згодом з витоками національного та візан
. Цей симбіоз і дав поштовх розвиткові феномену львівської графіки упро
20 років ХХІ століття показали, що львівські митці вміють вдало оперуват
ми сучасного мистецтва, створювати нові змісти і вносити в них
ний, а й глобальний контекст.
06.10.2016
ЛЕКЦИЯ АЛИНЫ САНДУЛЯК О
ФОТОГРАФИИ В 21 ВЕКЕ
ФОТОГРАФІЯ
ШКОЛА ВІЗУАЛЬНИХ
КОМУНІКАЦІЙ
ЛЕКЦІЯ
11.10.2016
ВИСТАВКА APL315: МІЖ
ГРАФІТІ ТА ЖИВОПИСОМ
КИЇВСЬКИЙ НАЦІОНАЛЬНИЙ
МУЗЕЙ РОСІЙСЬКОГО
МИСТЕЦТВА
ЖИВОПИС ГРАФІТІ ВИСТАВКА
13:49 05.10.2016
"БІОПОЛЕ" ОЛЕКСІЯ
АПОЛЛОНОВА: ФІЛОСОФСЬКЕ
ОСМИСЛЕННЯ ЗЕМЛІ
ВИСТАВКА ЖИВОПИС
НАЦІОНАЛЬНИЙ МУЗЕЙ ТАРАСА
ШЕВЧЕНКА
Робота Романа Романишина
Мета виставки показати, що сучасна українська графіка була й є частиною європейської
мистецької парадигми. Окрім того, бурхливі мистецькі процеси Львову часто проходять повз
українську столицю, і величезний мистецький шар, зокрема, сучасної львівської графіки,
залишається непізнаним багатьма киянами, проте дуже відомий європейскому глядачеві. У
більш загальному контексті, метою виставки є утвердження графіки, як досконалого,
сучасного виду мистецтва, яке не втрачає актуальності у вирі нових культурних віянь.
Виставка представить роботи львівських графіків, які працювали та працюють у XX-ХХІ
століттях: Богдан Сорока, Володимир Пінігін, Олег Денисенко, Іван Остафійчук, Ігор
Біликівський, Роман Романишин, Сергій Іванов, Богдан Пікулицький, Валерій Дем’янишин,
Михайло Красник, Ярослав Качмар, Дмитро Парута, Юрій Чаришніков, Ігор Подольчак,
Сергій Міхновський, Орест Гнатів, Богдана Федорович, Андрій Крицун, Міхай Тимошенко,
Мирон Яців та інші.
2 of 4 11/10/16 18:52

(Не)втрачене десятиліття: мистецтво в соціально-політичном...
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(Не)втрачене десятиліття: мистецтво в соціально-політичному
контексті 90-х років
Катерина Стукалова 12 Жовтня 2016 508
Олег Голосій «Психоделічна атака блакитних кроликів», полотно, олія, 1990
Дев’яності – напевно, найбільш міфологізоване десятиліття в найновішій історії України. Цей час хронологічно дуже близький до
нашого сьогодення і чи не в кожного є власні спогади про життя в ті роки, але складність та суперечливість історичних процесів
цього десятиліття роблять із нього дуже зручний матеріал для маніпуляцій та спотворень.
Одним із яскравих прикладів такої маніпуляції є розпочата російською пропагандою (принаймні вже в другій половині нульових)
кампанія зі створення специфічного іміджу дев’яностих, коли абсолютними домінантами суспільного життя були жорстока
економічна криза та розквіт злочинності, на противагу нібито ситому та безпечному «радянському дитинству». При цьому до уваги
не береться те, що глибокий економічний занепад та криміналізація суспільства (зокрема, молодіжний вуличний бандитизм) почали
посилюватися ще в ранні 80-ті, тобто були органічним породженням радянського ладу, а не наслідком його розпаду.
Не менш маніпулятивною є й поширена думка, ніби на початку 90-х громадяни України не вибороли й заслужили незалежність
держави, а вона немовби впала з неба як результат розвалу Радянського Союзу. Ця думка особливо активізувалася в останні часи в
поєднанні з твердженням, що справжню боротьбу за незалежну державу українці фактично почали тільки на Майдані у 2013-2014
роках. Таке трактування подій залишає поза зоною видимості діяльність таких організацій, як Українська Гельсінська Спілка,
Народний Рух України, різноманітні студентські об’єднання, а також значення таких подій, як «Революція на граніті», шахтарські
страйки (під час яких, окрім політичних, висувалися економічні вимоги та які зумовили, зокрема, прийняття в 1989 році Верховною
Радою УРСР Закону «Про економічну самостійність Української РСР»), масові мітинги й демонстрації, які в 1989-1991 році охопили
країну.
З другого боку, не можна не погодитися, що попри бурхливий перебіг історичних подій та активне долучення молоді до цих процесів,
значна частина населення залишалася політично пасивною. Як згадував один із активістів «Революції на граніті»: «Насправді це
дуже потужний інструмент. І використовувати його тоді, як я думав, було зарано. Бо, фактично, ми мали тоді
ситуацію 25% – за незалежність, а 75% – за Радянський Союз».
Насправді, як показав час, така оцінка була далекою від реальності: на референдумі того ж року за проголошення незалежності
України проголосувало 90% громадян. Але зрозуміло, що далеко не всі, хто голосував за вихід з Радянського Союзу, були
прихильниками побудови нової української держави на національних засадах. Переважною більшістю керувала надія на подолання
глибокої економічної та політичної кризи, на, грубо кажучи, появу ковбаси в магазинах. Для великої частини молоді проголошення
незалежності було радше гарантією збереження та поглиблення свобод і прав людини, запорукою того, що процеси демократизації
суспільства та розриву з тоталітарним минулим, які розпочалися ще з перебудовою, набули невідворотного характеру.
Як показало майбутнє, ті, для кого головним питанням порядку денного був національний суверенітет, недооцінили важливості
економічних чинників для того, щоби він не був декларативним та формальним. Ті ж, хто наріжним каменем змін у державі вважали
вирішення саме економічних проблем, не враховували той факт, що побудова ефективної економіки навряд чи можлива без набуття
політичної незалежності від колишньої метрополії, яка постійно жадала повернення втрачених колоній. Нарешті, треті незабаром
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змогли пересвідчитися, що без балансу інтересів перших і других вкрай проблематичною стає побудова такої держави, яка могла би
забезпечити права й свободи своїх громадян.
Аполітичність була притаманна й більшості українських художників на початку 90-х років. Висловлюваннями, які б хоч якось
відображали процеси, які відбувалися в країні, мистецтво тих часів, кажучи відверто, не повниться. Винятки, зрозуміло, були –
можна згадати перформанси 1993 року у Львові «Перехресна трансплантація незалежності» Юрія Соколова та «8-ма печать, або
Листи до землян» Володимира Кауфмана; акцію Фонда Мазоха «Мавзолей для президента» 1994 року; серію акцій «Групи швидкого
реагування» 1994-96 років. Окремою сторінкою в цьому контексті є й творчість Олега Тістола, який у співавторстві спочатку з
Костянтином Реуновим, а потім з Миколою Маценком розробив оригінальну й дотепну творчу стратегію. Вона дозволяла йому
працювати на найризикованішому для нашого контексту полі, препаруючи національний менталітет і ті візуальні коди, які виникали
на межі традиційної української та номенклатурної радянської образностей.
Але переважна більшість представників «нової хвилі», особливо на самому початку 90-х, дистанціювалися від художнього
коментування політичного життя та соціальної проблематики. Як згадує Валерія Трубіна: «Ми були тоді настільки асоціальні та
жили своїм доволі вузьким колом, що які саме лідери та політичні сили виходили на арену та билися біля годівниці, не цікавило
нікого. Коли заходила якась розмова про політику, всі посміхалися. Патріотизмом і не пахло. Думаю, що совок нас до того часу вже
так дістав, що був несамовито огидним у всіх своїх проявах, тому до влади ми ставилися з відразою».
Валерія Трубіна, 1992 р., Юнаки біля моря, полотно, олія, 200 х 150 см
Аполітичне ставлення до реальності, неучасть у протестних акціях, побоювання втратити власну творчу свободу в момент дотику до
політичного висловлення – давня традиція в українському мистецтві, притаманна ще шістдесятникам. Поєднання ідеї автономії
мистецтва з синдромом навченої безпорадності, що були властиві пострадянській людині, виливалися в різні форми ескапізму – в
тяжіння до чистої абстракції (творчість групи «Живописний заповідник»), програмний інфантилізм (так званий «дитячий дискурс»,
який пропагувала частина художників «Паризької комуни»). Хоча прецедентів реальних репресій за мистецькі висловлювання не
було (початок 90-х був унікальним періодом, коли одні цензори вже пішли, а інші ще не з’явилися, тому відбувалося своєрідне
цілодобове «Свято Непослуху»), є свідоцтва того, що страх покарання за провокаційну мистецьку діяльність також мав місце. У 1997
році Василь Цаголов казав, коментуючи свій проект 1994 року: «…Занадто великою є ймовірність кримінальної відповідальності,
тому про випинання себе, виставлення напоказ не може бути мови. Судовий процес для митця може стати доволі похмурим
виробничим перформансом»[1].
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Н.Мандрич. 1994 р., Василь Цаголов під час перформансу
«Я більше не художник». Джерело: Terra Incognita
Зачарування художників «нової хвилі» філософією та естетикою постмодернізму також сприяло радше дистанціюванню від
соціальної повістки сьогодення – відстороненість позиції автора, карнавальність, іронічність та космополітизм були тими
компонентами, які українські художники та їхні критики й куратори вибирали з інтелектуального та ідеологічного арсеналу
постмодернізму для своїх маніфестів або аналізу власної практики. Шалена популярність тези про «кінець історії», який тоді
сприймався як непорушна істина, також зробила свій внесок у безвідповідальне ігрове ставлення до реальності – історія закінчилася,
майбутнього немає, боротьба припиняється.
Найцікавіше, що з часом деякі роботи, створені в руслі подібної постмодерністської гри, отримали якісно інше звучання й
трактування. У реаліях сьогодення зовсім інакше сприймаються «Тверде телебачення» Василя Цаголова, «Донбас-Шоколад»
Савадова-Харченка або кінетична скульптура шахтаря-протестувальника Олександра Гнилицького, яка була виставлена у
приміщенні Національного Банку.
Інтерес до світових філософських та культурологічних концепцій був частиною пошуку українським мистецтвом 90-х свого
потенційного місця в міжнародному художньому процесі. Якщо позиція (або ж радше опозиція) українського мистецтва до
«московської номи» була сформульована й надійно закріплена в цілому кодексі текстів ще наприкінці 80-х («гарячий», «вітальний»,
необароковий Київ проти «холодної», розсудливої, концептуальної Москви), то вихід із імперії обіцяв перспективи віднайти власне
місце в ширшому світовому контексті.
Безперечно, початок 90-х, попри депресивність економічного життя, був часом великих сподівань. До нової країни нарешті почали
добиратися іноземні куратори, які раніше доїжджали тільки до Москви, що стало поштовхом до організації декількох великих
виставок українського мистецтва за кордоном («Постанестезія», «Ангели над Україною», «Степи Європи»), а також до спорадичної
участі українських художників у міжнародних виставках та подіях. З відкриттям Центру Сучасного Мистецтва Сороса потік
західних кураторів в Україну став ще стабільнішим, а грантова підтримка ЦСМС різнобічних проектів у сфері сучасного мистецтва
спричинила справжній бум художньої діяльності.
У столиці новоствореної держави відкривалися посольства, культурні центри, представництва комерційних компаній, штат яких
поповнювався іноземцями, які мали звичку та можливості купувати мистецтво. Були прецеденти формування корпоративних
колекцій банками, відкривалися перші комерційні галереї, почали проводитися арт-ярмарки. Здавалося, що в країні от-от почне
формуватися внутрішній арт-ринок, а західні куратори помітять та «виведуть у світ» українських митців. Але дуже швидко стало
зрозуміло, що без структурної політичної та значної фінансової підтримки з боку держави та/або великого бізнесу саме по собі
просування українського мистецтва у міжнародний контекст не відбудеться. Нагальним питанням постало формулювання культурної
політики держави.
У цьому контексті цікаво проаналізувати, як складалися відносини сучасного мистецтва та державних інститутів у першій половині
90-х років. Якщо уважно подивитися на перелік виставок, що проходили принаймні в першій половині 90-х років, то можна
побачити, що в дуже активну виставкову діяльність, яка відбувалася в той час, було залучено багато інституційних ресурсів, які
перебували на балансі різних державних інститутів – Спілки художників, Міністерства культури, Кабінету міністрів. У Києві майже
всі виставкові зали республіканської та міської Спілок художників, багато музеїв – Національний художній, Музей російського
мистецтва, Музей Шевченка, Український дім, Косий капонір – регулярно ставали майданчиками для презентацій сучасного
мистецтва. Схожа ситуація складалася і в інших містах України. Фінансові умови такої співпраці сильно варіювалися в різних
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випадках, але безумовно не йшлося про оренду на рівні комерційних цін.
Ще одним прикладом взаємодії сучасного мистецтва з наявною пострадянською інфраструктурою є те, що багато приватних галерей,
які існували в Києві та інших українських містах в 90-ті, відкривалися на базі майстерень, отриманих по лінії Спілки.
Цілком зрозуміло, що така ситуація в жодному разі не була свідомою політикою державних інститутів, а ставала результатом
самоорганізації художнього життя в умовах інституційного вакууму та наслідком тієї гібридної ролі, яку відігравали багато з
організаторів виставок сучасного мистецтва у 90-х: з одного боку, вони виступали як певною мірою незалежні куратори і часто мали
зовнішні джерела фінансування своїх проектів (наприклад, гранти ЦСМС); з другого, вони часто були офіційно працевлаштовані в
державних інституціях та мали вплив на їхню виставкову політику.
Таким чином у першій половині 90-х в Україні виник своєрідний симбіоз нової культури, яка не мала власної інфраструктури, та
старої інфраструктури, яка не була сама спроможна продукувати культуру. Зрозуміло, з огляду на слабкість обох організмів у
їхньому співіснуванні – перший був ще занадто молодий та потребував зовнішнього «підгодовування», а другий вже вмирав від
інституційної «старості» – цей симбіоз і сам виявився нежиттєздатним. Але коли це стало очевидним, виявилося, що побудувати
діалог із державою на нових засадах вже неможливо.
Поки сучасне мистецтво існувало в своєму паралельному світі, не пред’являючи державі жодних артикульованих вимог,
демонструючи самодостатність та майже не коментуючи політичні процеси мистецькою мовою, держава навчилася користатися цією
його автономністю та відсутністю претензій на бюджетні ресурси. З’явилося два паралельні світи – сучасний художній процес зі
своїми власними ресурсами та стратегіями виживання та державний апарат – декоративний фасад, що створював симуляцію
«управління культурою» й керувався абсолютно неефективними, відірваними від реальності й непрозорими принципами діяльності.
У доповіді Олександра Ройтбурда на конференції з питань сучасного мистецтва, організованої галереєю Бланка на грант ЦСМС у
1995 році, констатується, що сучасне мистецтво програло боротьбу «старій художній номенклатурі» і що «боротися з ними за їхню
територію немає сенсу. Перемогти їхню систему неможливо – будь-якого переможця вона зіпсує за своїм образом і подобою»
(«Портфоліо. Мистецтво Одеси 90-х»). Далі Ройтбурд пропонує державі створити «двопартійну систему культури в Україні» – не
демонтуючи істеблішменту, виділити невеличку частину держбюджету на фінансування адміністративних витрат, надати митцям у
користування закинуті заводські цехи та бомбосховища й забезпечити пільговий режим оподаткування для інституцій сучасного
мистецтва.
Цей текст написаний так переконливо, він так логічно побудований і пропонує настільки зрозумілі інструменти втілення пропозицій,
що став своєрідною «класикою», яку час від часу дістають із шафи, здмухують пил, перечитують та знов і знову коментують,
похитуючи головами: «Все було так просто й можливо. Але ж так нічого і не змінилося. Скільки ми ще будемо про це говорити».
Гірка правда полягає в тому, що вже на той період маніфестами та перемовинами нічого не можна було змінити. Держава взагалі не
потребувала «двопартійної системи» в культурі, а в політичному житті «багатопартійність» згодом мала бути зведена до
декоративного атрибуту нібито демократичного суспільства. Всі українські державні інститути та інструменти стрімко
перетворювалися на такі самі, як Міністерство культури, декоративні фасади, фальш-панелі, під прикриттям яких відбувалося
паралельне життя й стара або нова номенклатура приватизувала ресурси у всіх галузях економічного, соціального та культурного
життя. «Євроремонт», про який група Р.Е.П заговорила у наступному десятилітті, активно розгортався вже в середині 90-х.
Розглядаючи політично-економічний режим, який почав формуватися в Україні саме в середині – другій половині 90-х років,
донецький дослідник Геннадій Коржов пише про те, що половинчастість та невдача реформ у пострадянських країнах, що проходили
шлях постсоціалістичної трансформації, не була наслідком нездатності виконати план, написаний західними радниками. Він
стверджує, що така «модернізація ініціюється та спрямовується саме тими соціальними акторами, які водночас є її головними, а
часто-густо і єдиними переможцями та користувачами її плодів. Починаючи реформи, ці соціальні агенти, з одного боку, не доводять
їх до логічного завершення, а з іншого, не намагаються їх повністю загальмувати чи звести нанівець. Вони радше спрямовують їх у
таке русло, яке повністю забезпечує їм можливість повного контролю над ситуацією та отримання ренти від свого панівного
становища Ось чому лібералізація в таких умовах призводила до приватизації без створення ефективних ринкових інститутів і
механізмів регулювання. Аналогічним чином, демократизація носила декоративно-декларативний, суттєво обмежений,
контрольований зверху характер, не призводячи до справжніх змін в системі державного управління, взаємовідносин між владою і
народом, державою і суспільством і не змінюючи природи соціальних відносин» [2].
Якщо дивитися на історію виникнення кланово-олігархічної політичної системи в Україні з такого погляду, стає зовсім не дивно, що
державі так і не стали у пригоді пропозиції Олександра Ройтбурда, чи будь-яка інша програма підтримки сучасного мистецтва та
взаємодії з ним. Українська держава не «невдало реформувала» сферу культури – вона взагалі не була зацікавлена в її реформуванні
та посиленні її впливу. Здається також, що держава сприймала художнє середовище настільки невпливовим, атомізованим та
аморфним, що навіть не зробила спроби його «підгодовувати» та таким чином тримати під контролем, як це робилося, наприклад, у
Росії.
У другій половині 90-х років стає цілком зрозумілим, що взаємодія з симуляційними державними інститутами є безглуздою та
нерезультативною; довгоочікуваного міжнародного прориву так і не відбулося; внутрішній арт-ринок не може підтримувати
існування митців навіть на рівні виживання. Почалося безальтернативне дрейфування українського мистецтва в обійми олігархічних
кланів та вбудовування його в нову квазіфеодальну соціальну структуру. Головні події в цьому дрейфі – фестиваль «Культурний
герой», формування колекції Віктора Пінчука, перші її виставки, відкриття PinchukArtCentre, поява фонду Ріната Ахметова –
розгорнуться вже у 2000-х роках, тобто хронологічно виходять за рамки періоду, про який ідеться в цьому тексті. Однак найбільш
захопливими свідоцтвами цього процесу можуть слугувати два артефакти, створені ще в 90-х – візуалізація акції Фонду Мазоха
«Мавзолей для Президента» 1994 та плакат передвиборної кампанії Леоніда Кучми 1999 року.
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(Не)втрачене десятиліття: мистецтво в соціально-політичном...
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Мавзолей для Президента. Інсталяція (1994)
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(Не)втрачене десятиліття: мистецтво в соціально-політичном...
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Плакат, вибори президента України, 1999
Ці два зображення об’єднані авторством, персонажем (український президент) та подією, до якої приурочене його створення
(вибори). Але у всьому іншому між ними – справжнє провалля, так що навіть важко повірити, що їх відділяють тільки 5 років. Якщо
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перше – це доволі безрадісне нагадування про ту функцію, яку би могло (хоча, на жаль, так і не почало) виконувати сучасне
мистецтво у 90-ті роки, то друге є набагато більш сумним пророцтвом того, яку роль воно охоче візьме на себе в 2000-х.
Може виникнути питання, чи несуть власне митці, куратори, критики відповідальність за те, що все склалося саме в такий спосіб. Чи
була саме така модель взаємодії художника, держави й суспільства, яка була побудована в Україні, неминучою в заданих історичних
обставинах? Чи можна було би на певному етапі вплинути на розвиток подій?
Сама постановка таких питань передбачає, що в художника (чи у мистецтва загалом) є якісь прямі інструменти впливу з дуже
зрозумілим способом дії та прогнозованим результатом. Насправді шляхи впливу мистецтва на навколишню реальність є набагато
складнішими та більш опосередкованими. Може, наприклад, бути так, що головною подією у мистецтві 90-х став момент, коли в
1993 році тодішня директорка Центру Сучасного Мистецтва Сороса Марта Кузьма прийшла на відкриття виставки групи
українських художників (Олег Тістол, Микола Маценко, Олександр Харченко, Анатолій Степаненко) в напівзакинутому
староакадемічному корпусі щойно відновленої Києво-Могилянської Академії. Цей простір, талановито освоєний митцями, справив
таке враження на кураторку, що згодом їй удалося пролобіювати створення в ньому виставкового залу ЦСМС (що стало винятковим
випадком у мережі центрів Сороса у Східній Європі, бо їхня концепція не передбачала відкриття експозиційних просторів). За роки
існування НаУКМА звідти вийшла безліч молодих людей, які відігравали важливу роль в українських революціях третього
тисячоліття та які нині становлять цінний кадровий потенціал для здійснення культурних, політичних та економічних змін. Можливо,
досвід існування на одній території з сучасним мистецтвом у студентські роки мав уплив на принаймні декого з них; для когось,
імовірно, зустріч із фотографією Михайлова, інсталяцією Кабакова або відео Бойса стала досвідом, який змінив щось у житті та
світосприйнятті. Деякі з десятків студентів НаУКМА, які пройшли стажування у Центрі, нині стали ключовими культурними
менеджерами країни. Нарешті, саме це місце згодом перетворилося у лабораторію, де виникала нова генерація українських митців.
Можна побудувати ще безліч теорій того, що ж у 90-х відбулося такого, що робить це десятиліття невтраченим і недаремним; але це
будуть чергові гіпотези та маніпуляції. Що можна сказати напевно – Френсіс Фукуяма помилявся, історія продовжується, в тому
числі й історія України, і багато в чому – завдяки саме цьому дивному десятиліттю.
Примітки:
1. «Разговор Александра Соловьева с Василием Цаголовым о «Мазепе». – «Парта», № 1, Киев, 1997 г., с. 49
2. Геннадій Коржов. Олігархія як модель обмеженої модернізації // Український соціум. — 2007. — Вип. 1. — С. 104—114.
історія мистецтва, архів, візуальне мистецтво, культура, культурна політика, мистецтво, самоорганізація, сучасне мистецтво
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Володимир Бовкун · Художник у Искусство
бракує подібної аналітики - або бояться виявити свою некваліфікованість, або
бояться невдоволення від певного кола художників, які вже стали авторитетами.
...Дякую автору.
Подобається · Відповідь · 5 год
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Сучасне українське мистецтво: історична пам’ять та світовий контекст
Мистецтво без «-ізмів»
Розумні міста: що нас чекає наступні 50 років?
7 of 8 14/10/16 01:41

Галичина у мистецькому дзеркалі - Варіанти
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54 1 0 0 311
Галичина у мистецькому дзеркалі
Виставка галицького мистецтва, відкрита в рамках Форуму "ПогранКульт: ГаліціяКульт" у Харкові, зібрала найвпливовіші твори
митців ХХ та ХХІ століть
Величезна виставка "Мистецтво Галичини ХХ ст. – початку ХХI ст.", відкрита у
харківській галереї "ЕрмиловЦентр" в рамках Форуму "ПогранКульт:
ГаліціяКульт" у Харкові, має на меті представити та переосмислити різноманітні
міфи та стереотипи Галичини, що побутують у свідомості мешканців
Слобожанщини.
Однак, ця підбірка різноманітних творів безперечно буде цікавою і для самих
галичан.
1 of 17 14/10/16 02:02

Галичина у мистецькому дзеркалі - Варіанти
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Куратори – Наталя Космолінська, Оксана Баршинова та Дмитро Голець – зібрали
в одному приміщенні роботи, що знаходяться у різних музеях, галереях чи
приватних колекціях. І це справді унікальна можливість ознайомитися з ними
усіма одночасно.
Деякі з них досить відомі, а деякі стануть відкриттям і для мешканців Галичини.
Олекса Фурдіяк, Ігор Слободян. Інтерактивна інсталяція "Дудіння"
2 of 17 14/10/16 02:02

Галичина у мистецькому дзеркалі - Варіанти
http://varianty.lviv.ua/38331-halychyna-u-mystetskomu-dzerkali
• • • • •
Олена Турянська. "Історія моєї родини"
Карло Звіринський. "Забуте". 1962 р.
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Галичина у мистецькому дзеркалі - Варіанти
http://varianty.lviv.ua/38331-halychyna-u-mystetskomu-dzerkali
• •
Євген Самборський. "Крихівецька, 75".
• •
В'ячеслав Поляков. З проекту "Львів - Божа Воля". 2016 р.
4 of 17 14/10/16 02:02

Галичина у мистецькому дзеркалі - Варіанти
http://varianty.lviv.ua/38331-halychyna-u-mystetskomu-dzerkali
Андрій Сагайдаковський. "Сонечко світить". 2007 р.
Олексій Борисов. "Франко-Іван-Франко". 1997 р.
5 of 17 14/10/16 02:02

Галичина у мистецькому дзеркалі - Варіанти
http://varianty.lviv.ua/38331-halychyna-u-mystetskomu-dzerkali
• • •
Ігор Перекліта. "Все буде добре", "З Новим роком, з днем народження Бандери!". 2011 р., "Я українка, я бандерівка". 2007 р.
6 of 17 14/10/16 02:02

Галичина у мистецькому дзеркалі - Варіанти
http://varianty.lviv.ua/38331-halychyna-u-mystetskomu-dzerkali
Євген Равський. "Анна-Марія". 2011 р. Знизу - Володимир Костирко. "Галіційська хустка". 2008 р.
Володимир Костирко. "Святий Лука малює Львів". 2005 р.
7 of 17 14/10/16 02:02

Галичина у мистецькому дзеркалі - Варіанти
http://varianty.lviv.ua/38331-halychyna-u-mystetskomu-dzerkali
Юрій Коваль. "ранок". 2014 р.
Зеновій Кецало. "Розп'яття - Пінзель. 1740-1790 рр." 1983 р.
8 of 17 14/10/16 02:02

Галичина у мистецькому дзеркалі - Варіанти
http://varianty.lviv.ua/38331-halychyna-u-mystetskomu-dzerkali
Юрій Кох. "Сон Європи". 1994 р.
Хорошко у харківській галереї ЕрмиловЦентр
Інсталяція-лабіринт Олексія Хорошка
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Галичина у мистецькому дзеркалі - Варіанти
http://varianty.lviv.ua/38331-halychyna-u-mystetskomu-dzerkali
Андрій Сагайдаковський. "Завтра будемо щасливі". 2012 р.
• •
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Галичина у мистецькому дзеркалі - Варіанти
http://varianty.lviv.ua/38331-halychyna-u-mystetskomu-dzerkali
Олена Субач. З проекту "11 тисяч незайманих". 2011 р.
Вовкогон у харківській галереї ЕрмиловЦентр
Відео-арт "Рани" Юрка Вовкогона
•
Ростислав Котерлін. "Псячий світ". 2013 р., "In Honour". 2008 р.
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Галичина у мистецькому дзеркалі - Варіанти
http://varianty.lviv.ua/38331-halychyna-u-mystetskomu-dzerkali
Микола Джичка. "Мрія літати". 2013
Фонд Мазоха (Ігор Дюрич/Ігор Подольчак). "З днем Перемоги, пане Мюллер!". 1995 р.
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АНОНСИ ОСОБИ ГРУПИ ПРОЕКТИ ІНСТИТУЦІЇ МІСТА КАТЕГОРІЇ
ЛУЧШИЕ ХУДОЖНИКИ ХХ ВЕКА
Игорь Дюрич (Прага) Игорь Подольчак (Лодзь). Ежи Онух (Торонто) об участии
Украины в «Венецианской биеннале» 2000-го года, о проекте «Фонда Мазоха» и
его проекте «Лучшие художники ХХ века» в Lux Gallery (Лондон).
Проект «Лучшие художники ХХ века» Игоря Дюрича (Д.) и Игоря Подальчака (П.),
представляющих арт-объединение «Фонд Мазоха», в 2000-м году должен был
представлять Украину на «Венецианской биеннале». Почему это не произошло и
как сложилась судьба этого проекта в разговоре художников с МіТЕЦ (М.).
Д. В 2000-м году в связи с Венецианской биеннале в нашем арт-мире возникла
некая активность, так как Украина дозрела до участия в громком международном
проекте. Карась пролоббировал этот вопрос, и был назначен комиссаром…
П. Он был назначен комиссаром, а куратором был выбран Онух.
Д. Онух нам объявил, что проводит закрытый тендер. Мы не знаем, кто в нем
принимал участие, он только сказал, что обратился к трем художникам. Мы
сгенерировали концепт «Лучших художников ХХ века», и Онух на нем остановился.
Тогда был еще жив замечательный художник Раевский – человек с
конспирологическим стилем мышления и с неким четким пониманием борьбы за
место. Он в то время вел беспощадную борьбу с «банабаками», так он называл
тандем Савадов-Сенченко. Раевский с ними боролся кулуарно. Нас тогда это не
интересовало, потому что мы не киевские художники. Но Раевский понял, что
пришло время определяться, кто самый главный для вечности художник и начал
проявлять чудеса какой-то организации, смог под ружье поставить всех, у кого
были какие-то претензии. Даже подружился с заклятыми врагами – Савадовым, к
примеру.
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М. Появилась перспектива против кого-то дружить?
Д. Они даже «Союз Художников» привлекли к процессу борьбы за место на
биеннале, наладили контакт с Жулинским, который был вице-премьером по
гуманитарке. В результате появилось замечательное заявление в газете
«Литературная Украина».
Студийная съемка
Это было «Обращение «Союза художников», подписанное всем главами областных
организаций «Союза», направленное против Онуха – гражданина не Украины, мол,
как же он может представлять Украину на международной биеннале. И в результате
нас победили.
П. Не нас. Онуха победили.
Д. Мы не боролись, потому что в процессе работы над проектом, он «обрастал
мясом», нам было интересно над ним работать. В какой-то момент Игорь очнулся и
задался вопросом: «Это же Украина? И что? Украину на биеннале может
представлять Фонд Мазоха? С таким проектом? Возможно ли это?» Я почесал репу и
ответил: «Нет. Это невозможно. Это не может быть никогда».
П. Онух тоже понимал ситуацию и не боролся. Против него боролись, он – нет. Были
судебные иски к нему. Он был ответчиком.
Д. В этой ситуации все объединились против нас, и было очень странно, что все
киевские художники устремились паковаться в один вагончик, в какую-то палатку,
при этом – каждый из участников сам по себе был замечательным художником и
мог бы представлять отдельный проект. Будто участие в биеннале было один раз и
навсегда, и если ты не первый, жизнь закончится. Было смешно и жалко за этим
наблюдать. В результате, отношения, которые у нас к тому моменту сложились с
киевскими художниками, на этом эпизоде закончились.
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Игорь Дюрич
М. Расскажите о сути вашего проекта.
П. Мы его показали в Лондоне. Но только его видео-проекцию, поскольку галерея,
нас представляющая, специализировалась на медиа-искусстве. Концепция
выставки была о том, что современное искусство, сказав «А» не сказало «Б», то есть
тезис, что каждый может быть художником и все может быть искусством, до конца
не был отработан. Мы хотели сказать, что лучшие современные художники разные,
и лучшие художники ХХ века – это политики, диктаторы, террористы, сексуальные
маньяки…
3 of 7 20/10/16 10:36

ЛУЧШИЕ ХУДОЖНИКИ ХХ ВЕКА | МіТЄЦ
http://mitec.ua/3561-2/
М. На тот момент это была свежая идея? Сегодня это очевидно.
П. Впервые ярко она проявилась в 2001 году после теракта в Нью- Йорке, кажется
Штокхаузен тогда сказал, что этот теракт — это самое великое искусство начала
века. Наша выставка в Лондоне открылась через неделю после событий в
Нью-Йорке, и были протесты, мол, почему у вас террористы – художники?
Д. Эти художники были брендами.
П. И под эти бренды мы выпускали продукцию, которая имела свою рекламу.
М. О каких художниках вы говорите?
П. Хусейн, Хрущев, Фрейд, Эйнштейн, Мао Дзе дун, Гитлер, маньяки – Де Сальво и так
далее.
М. Как вы попали в лондонскую галерею ?
Д. Благодаря Онуху.
П. К сожалению, нам пришлось под каждого художника сделать редукцию — видеопроекцию.
Мао был видео-художником и акционистом, Хрущев занимался
ленд-артом, к примеру – построил в Берлине стену, засаживал поля кукурузой. У
каждого из художников, представленных нами, есть свой корпус произведений.
Д. Мы предполагали вести активную компанию на биеннале – выпустить майку с
Хрущёвым со слоганом «Вы не художники, вы пидарасы!», и распространять эту
продукцию среди кураторов и критиков. Из каждого художника мы сделали бренд,
под который выпускались определенные товары, и к каждому товару сделали
рекламную компанию.
М. Резонанс в Лондоне был?
П. Выставку таки закрыли раньше. Она продлилась всего дней десять.
М. Кто закрыл?
П. Это публичная галерея…
Д. В это время прошли теракты еще и в Лондоне.
П. Какая-то общественность отреагировала и нас политкорректно попросили
сократить время выставки.
4 of 7 20/10/16 10:36

ЛУЧШИЕ ХУДОЖНИКИ ХХ ВЕКА | МіТЄЦ
http://mitec.ua/3561-2/
Игорь Подольчак
М. Ее восприняли как пропаганду насилия?
П. Как определенную неуместность в контексте событий.
М. Вы считаете, она была уместной?
П. Сверхуместной. Она касалась вопросов: где искусство, где его границы, что
можно считать искусством, а что нет? У Гельмана подобная тема возникла в связи с
нашим проектом «Последний еврейский погром». Является ли искусство
территорией безопасной? Осознают ли зрители свою ответственность и готовы ли
принимать условия игры, предложенные художником?
Д. Готовы ли подвергаться риску, нести некие моральные и физические издержки.
5 of 7 20/10/16 10:36

ЛУЧШИЕ ХУДОЖНИКИ ХХ ВЕКА | МіТЄЦ
http://mitec.ua/3561-2/
Нас всегда интересовало исследование границ искусства.
Єжи Онух, куратор
проекту «Кращі
художники ХХ
століття»
Після скандалу з
Венеційською
бієнале, проект
«Кращі художники
ХХ століття»
британці запросили
до Лондону в
некомерційну
галерею Lux Gallery.
Наша експозиція
була обмежена і
простором галереї, і
технічними
можливостями, тому
що вона
спеціалізувалася на
медіальному
мистецтві. З багатьох причин цей проект не мав тої глядацької реакції, на яку був
спрямований. Відбувся він у 2001 році через місяць після того, як підірвали висотки
в Нью-Йорку.
Люди були перелякані, і коли приходили на виставку, їхній страх лише
поглиблювався. Згадки про жахливі події в Америці, які публіка не так давно
споглядала на своїх домашніх моніторах, були ще не забутими. Людина любить
дискомфорт, коли ходить у кіно на фільми жахів, але там вона відчуває себе
захищеною, бо знає, що це фільм. Заходячи в галерею на наш проект, глядачі
бачили, що художники пропонували огляд сучасної історії за допомогою тих же ж
моніторів, де транслювалися жорсткі і брутальні медіальні штучки. Це був
тотальний дискомфорт, шок. Люди виходили з галереї, і здавалося, хотіли забути
про це.
Ми стикнулися з проблемою, коли проект з мистецького контексту перейшов в
контекст актуальних новин — майже кон’юнктурної реакції митців на те, що сталося
у Нью-Йорку. Але в ньому не було кон’юнктури, бо ідея народилася задовго до подій
в Америці.
Можна сказати, що цей проект був провідницьким. Він торкався тих подій, які
відбулися і нагадував, що усе може повторитися знов. «Мазохісти»
експериментували з певними поняттями та іміджами. Це для них було спробою
втекти від реальності, але в документації образів вони настільки щільно підійшли
до реального світу британця, що глядач емоційно був не здатен рефлексувати на
мистецький контекст проекту.
Наприклад, в експозиції було відео, на якому було відзнято процес вмирання
горобців. Насправді вони не вмирали, а їх лише присипляли, і через хвилин 15 вони
знов «оживали». Ми не знали, що в Англії тоді вже не було горобців, бо їх всіх
перебили, і для багатьох людей показ цих птахів, з якими щось діялося – було
персональним переживанням і дуже дискомфортним зіткненням. Ми могли, звісно,
погратися зі сприйняттям публіки, і вивести цей проект в поле суперактуальної
події, але не я, не «Мазохісти» не є маніпуляторами, ми можемо маніпулювати
певними змістами, але не кон’юнктурними стереотипами.
Этим материалом МіТЄЦ открывает публикацию статей о деятельности
«Фонда Мазоха».
6 of 7 20/10/16 10:36

ЛУЧШИЕ ХУДОЖНИКИ ХХ СТ. ЗИГМУНД ФРЕЙД | МіТЄЦ
http://mitec.ua/luchshie-hudozhniki-hh-st-zigmund-freyd/?_utl_t=fb
АНОНСИ ОСОБИ ГРУПИ ПРОЕКТИ ІНСТИТУЦІЇ МІСТА КАТЕГОРІЇ
ЛУЧШИЕ ХУДОЖНИКИ ХХ СТ. ЗИГМУНД
ФРЕЙД
02:15
Игорь Дюрич (Прага), Игорь Подольчак (Лодзь) о проекте «Фонда Мазоха» «Лучшие
художники ХХ века». Часть № 1. Зигмунд Фрейд.
Фрейд — величайший художник, Колумб, открывший новый материк искусства. Не
жанр, не направление, не метод, не стиль, нечто гораздо большее. Он же создал и
инструментарий освоения этого Нового Света, его контурную карту.
И дал возможность всем желающим раскрашивать эту карту своими цветными
карандашами.
«Бессознательное», структурная модель психики, психосексуальное
развитие личности, “комплексы”, метод свободных ассоциаций, толкование
сновидений, без этого понятийного аппарата невозможно не только искусство ХХ
века, но даже элементарное самопонимание.
Ну и отдельно восхищает создание психоаналитической индустрии, секты
практикующих последователей, вполне сопоставимой с крупным религиозным
1 of 4 20/10/16 10:36

ЛУЧШИЕ ХУДОЖНИКИ ХХ СТ. ЗИГМУНД ФРЕЙД | МіТЄЦ
http://mitec.ua/luchshie-hudozhniki-hh-st-zigmund-freyd/?_utl_t=fb
Портрет художника Зигмунда Фрейда
течением.
Практика психоанализа дала искусству новые сюжеты, построенные на неведомом
раньше типе отношений между пациентом-невротиком и его аналитиком.
2 of 4 20/10/16 10:36

ЛУЧШИЕ ХУДОЖНИКИ ХХ СТ. ЗИГМУНД ФРЕЙД | МіТЄЦ
http://mitec.ua/luchshie-hudozhniki-hh-st-zigmund-freyd/?_utl_t=fb
12:03
Оператор Сергей Михальчук
В проекте «Лучшие художники ХХ века» Фрейд представлен нашей реконструкцией
мизерной части его богатого художественного наследия, к сожалению, не
сохранившегося.
04:20
Оператор Сергей Михальчук
«Freud» — торговая марка кондитерских изделий. «Хотите, чтоб ваш ребенок не
имел комплексов – не отказывайте ему в сладостях» — как бы говорит доктор
Фрейд. В рекламе продуктов используются мотивы искушения сладким и
3 of 4 20/10/16 10:36

ЛУЧШИЕ ХУДОЖНИКИ ХХ СТ. ЗИГМУНД ФРЕЙД | МіТЄЦ
http://mitec.ua/luchshie-hudozhniki-hh-st-zigmund-freyd/?_utl_t=fb
сексуальной фиксации ребенка, и образ оголенного роскошного женского тела, как
символ отсутствия комплексов.
«Сладкое детство без комплексов» — реклама кондитерских изделий.
Игорь Дюрич и Игорь Подольчак
! "#
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4 of 4 20/10/16 10:36

Нова виставка "У темряву" від українських художників –...
http://artmisto.net/2016/11/19/nova-vistavka-u-temryavu-vid-...
Нова виставка «У темряву» від
українських художників
Автор: Оксана Семенік - 19.11.2016
24 листопада о 19:00 у галереї Vozdvizhenka Arts House відкривається виставка
темряву» від кураторської групи Худрада.
1 of 4 22/11/16 19:01

Нова виставка "У темряву" від українських художників –...
http://artmisto.net/2016/11/19/nova-vistavka-u-temryavu-vid-...
Виставка зібрала документацію перформативних акцій, що відбувалися здебільшого в Укра
та поза її межами у період від акцій та перформансів 80-их та 90-их років до акціоністських
висловлювань періоду «між двома майданами» та війни на сході України.
Ці акції об’єднує доведений до абсурду, утопічний і водночас свідомо-безпорадний
політичний жест, створений художниками часом у безоглядній самоті. Відповідальність за
цей жест та висловлювання поширюється за межі акції, до якої мимоволі долучаються й
непричетні.
Акції 80-их і 90-их років Федора Тетянича, Юрія Лейдермана та Фонду Мазоха лише частко
свідчать про формування традиції. У контексті виставки вони стверджують свою
2 of 4 22/11/16 19:01

Нова виставка "У темряву" від українських художників –...
http://artmisto.net/2016/11/19/nova-vistavka-u-temryavu-vid-...
актуальність, досліджуючи навіжену, автотравматичну, антисоціальну і водночас соціально
утопічну дію.
Хронологія представлених на виставці робіт умовно охоплює основні політичні зрушення і
події, що трапилися в Україні за останні 30 років.
Виставка «У темряву» була показана у Відні в культурному центрі WUK у Кунстхалле
Екснергассе в рамках Бієнале сучасного мистецтва «Київська школа» у травні 2016 р.
Худрада — це українська кураторська група, експериментальна платформа
міждисциплінарної взаємодії. До неї належать архітектори, політичні активісти, перекладачі
співробітники художніх інституцій, дизайнери, публіцисти і художники. Проекти Худради
покликані об’єднувати досвід учасників та створювати простір колективного висловлення.
Учасники: Петро Армяновський, Катерина Бадянова, Петро Владіміров, Леонід Войцехов,
Маріанна Голембйовська, Олександр Іванцов, Євгеній Казак, ККД, Володимир Костирко,
Саша Курмаз, Юрій Лейдерман, Лада Наконечна, Анастасія Омелич, Аліса Омельченко,
Максим Рачковський, Група Р.Е.П., Петро Ряска, Антон Саєнко, Федор Тетянич, Фонд Мазох
Леся Хоменко, Вадим Храбров, Ігор Чацкін та інші.
Оксана Семенік
3 of 4 22/11/16 19:01

В Киеве выставили «Мавзолей для Президента» ~ Cultprostir
http://cultprostir.ua/ru/news-single/v-kieve-vystavili-mavzole...
(/RU/CULTAURA/CULTAURA-ABOUT)
РУС (/RU/NEWS-SINGLE/V-KIEVE-VYSTAVILI-MAVZOLEY-DLYA-PREZIDENTA)
УКР (/UK/NEWS-SINGLE/U-KIYEVI-VISTAVILI-MAVZOLEY-DLYA-PREZIDENTA)
()
искусство
быть современным
ПОИСК
ОБЩЕСТВО (/RU/CATEGORY/OBSCHESTVO/1)
КУЛЬТУРА
СТИЛЬ ЖИЗНИ (/RU/CATEGORY/STIL-ZHIZNI/1)
РЕЙТИНГИ (/RU/CATEGORY/REYTINGI/1)
БЛОГИ (/RU/BLOG-ALL/1)
ATLAS
ГЛАВНАЯ (/RU) » НОВОСТИ (/RU/NEWS/1)
БОЛЬШЕ НОВОСТЕЙ
В КИЕВЕ ВЫСТАВИЛИ «МАВЗОЛЕЙ ДЛЯ
ПРЕЗИДЕНТА»
25.11.2016 Арт (/ru/category/art/1)
1 of 14 12/3/16, 12:12 PM

В Киеве выставили «Мавзолей для Президента» ~ Cultprostir
http://cultprostir.ua/ru/news-single/v-kieve-vystavili-mavzole...
24 ноября в столичной 32Vozdvizhenka ARTS HOUSE состоялось открытие
выставки « В т е м н о т у » кураторской группы «Х у д р а д а» , участники которой
размышляют над политическими событиями, происходящими в Украине на
протяжении последних 30 лет.
«Работы этого проекта напоминают определенные политические
манифестации. Художники использовали для их создания активистский
инструментарий, но они не ставили перед собой четких задач, требующих
быстрых решений», – рассказывает Cultprostir одна из кураторов выставки
Л а д аН а к о н е ч . н а я
В экспозиции представлены работы как зрелых авторов, которые активно
работали в 1980-1990-х годах, так и молодого поколения художников. Это
документации перформансов и акций, которые проводили в Украине, фото и
инсталляции, среди которых – работа «Мавзолей для Президента»,
созданная в 1994 году художественным объединением «Фонд Мазоха».
Ч и тт а й тт : 10 е выставок ноября − арт-терапия в действии (http://cultprostir.ua
/ru/post/obzor-samykh-interesnykh-art-vystavok-noyabrya)
«Мы теряемся в водовороте политических изменений и других явлений, –
говорит Лада Наконечная. – А художник предлагает собственные способы, с
помощью которых можно постичь непонятное, которое нас окружает. Он
6 of 14 12/3/16, 12:12 PM

В Киеве выставили «Мавзолей для Президента» ~ Cultprostir
http://cultprostir.ua/ru/news-single/v-kieve-vystavili-mavzole...
напрявляет свой взгляд в это неясное».
По словам куратора, большинство работ этого проекта нелегко объяснить:
«Чтобы их понять, надо настраивать свои чувства, находить новые способы
восприятия реальности». Также Лада отметила, что «В темноту» – это
совместная работа художника и зрителя, ведь каждый зритель, придя на
выставку, может стать соучастником создания смысла.
В мае этого года выставка «В темноту» уже была показана в Вене в
культурном центре WUK Kunsthalle Exnergasse в рамках Биеннале
современного искусства «Киевская школа». Экспозицию в Киеве дополнили
несколькими работами.
На фото: одна из работ экспозиции Фото: 32Vozdvizhenka ARTS HOUSE
культпростир (/ru/tag/news/kultprostir/1) арт (/ru/tag/news/art/1) выставка (/ru/tag
/news/vystavka/1) Киевская биеннале (/ru/tag/news/kievskaya-biennale/1) Vozdvizhenka ARTS
HOUSE (/ru/tag/news/vozdvizhenka-arts-house/1) (/ru/tag/news//1)
ЧИТАЙТЕ ТАКЖЕ
7 of 14 12/3/16, 12:12 PM

ВИСТАВКА САШІ КУРМАЗА | МіТЄЦ
http://mitec.ua/vistavka-sashi-kurmaza/
АНОНСИ ОСОБИ ГРУПИ ПРОЕКТИ ІНСТИТУЦІЇ МІСТА КАТЕГОРІЇ
ВИСТАВКА САШІ КУРМАЗА
Сьогодні, 22 грудня о 19:00 у Pinchuk Art Centre відбудеться відкриття виставки Саші
Курмаза “Мармурові янголи з луками трусили в тінях маленькими пісюнами,
натягували луки і безтурботно сміялися над смертю”.
Кураторський текст:
PinchukArtCentre представляє 11-й проект простору PAC-UA — виставку українського
митця Саші Курмаза “Мармурові янголи з луками трусили в тінях маленькими
пісюнами, натягували луки і безтурботно сміялися над смертю”. Експозиція була
створена спеціально для PinchukArtCentre в рамках Дослідницької платформи,
відкритого майданчику для мислення, досліджень і діалогу, спрямованого на
створення живого архіву українського мистецтва від початку 1980-x до
теперішнього часу. Виставка вивчає проблему обмеження «зображення» та ставить
запитання, де пролягає межа між дозволеним та забороненим, прагне дати
відповідь, хто бере на себе відповідальність за втілення таких обмежень.
У цій роботі порушується питання про можливості мистецтва: чи його мова може
бути абсолютно вільною від впливу суспільства, в якому воно демонструється і
створюється; чи визначається мистецтво обмеженнями традицій, суспільних смаків,
релігії, політики та права. Ці суспільні сфери радше нав’язують обмеження та
заборони мистецтву, аніж захищають його фундаментальну свободу та прояви?
1 of 2 12/25/16, 11:58 AM

ВИСТАВКА САШІ КУРМАЗА | МіТЄЦ
http://mitec.ua/vistavka-sashi-kurmaza/
Для цієї виставки автор створив інсталяцію, яка включає в себе перформанс і
візуальні матеріали. Візуальний «вміст» пов’язаний з різними формами заборони,
як-от традиціями, агресією, інституціональною (само)цензурою, вандалізмом,
правом та політичною заангажованістю. Перформанс – це перешкода в часі, це
метафора соціальних та політичних устоїв, які нав’язуються суспільству в цілому.
Виставка відсилає до спільної роботи Саші Курмаза з колективом митців Фонд
Мазоха. Проект не був реалізований через правові питання. Це стало поштовхом
для рефлексії про обмеження, яких зазнає мистецтво.
Куратор: Тетяна Кочубинська
Виставка відкрита для відвідування на 4 поверсі і діятиме до 15 січня 2017 року.
! "#
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2 of 2 12/25/16, 11:58 AM

«С днем Победы, герр Мюллер!»: archytector http://archytector.livejournal.com/69545.html
«С днем Победы, герр
Мюллер!»
archytector
archytector
http://archytector.livejournal.com/
2016-12-31 14:58:00
Яндекс.Директ
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Эта тема не новогодняя, но тоже про праздники и поздравления. При этом заставляет за
1 of 6 1/2/17, 10:25 AM

«С днем Победы, герр Мюллер!»: archytector http://archytector.livejournal.com/69545.html
Так уж случилось, что со всякими творческими людьми пересекался я с ранней юности и врубился в это
современное искусство довольно давно. Поэтому объяснять мне смысл акционизма было не нужно. Да и
сам я принимал участие в пограничных культурных проектах типа «Лучей Чучхе», но суть не в этом.
Почтовую акцию «С днем Победы, герр Мюллер!» замутили львовяне Игорь Подольчак и Игорь Дюрич,
которые выступали как группа «Фонд Мазоха». В 1995-м на гребне пафосно проходивших торжеств в честь
50-летия Дня Победы «Фонд Мазоха» провел эту резонансную акцию в стиле популярного в эпоху, еще не
знавшую электронного спамминга «корреспондентского искусства». Работа «С Днем Победы, герр
Мюллер!» представляла собой открытку, на лицевой стороне которой был изображен, упакованный
знаменитым Христо Явашевым в тканевую тогу, Рейхстаг с дорисованным на нем художниками красным
флагом, а на обратной стороне содержалось поздравление с Днем Победы на немецком языке. Эту
открытку, сверившись с немецкими адресными книгами, дуэт разослал 5 000 Мюллерам в Берлине.
2 of 6 1/2/17, 10:25 AM

«С днем Победы, герр Мюллер!»: archytector http://archytector.livejournal.com/69545.html
Около полусотни ответили авторам акции, и почти все они недоумевали, с чем их поздравляют. Хотя смысл
лежал как бы на поверхности: 1945 год — Германия разделённая, уничтоженная в военном и
экономическом смысле держава, СССР — единственная европейская мощная военная сверхдержава. 1995
год — Германия объединена, экономически почти сверхдержава, СССР — перестал существовать.
Собственно, эти реалии подвигли ФМ поставить вопрос о победителях и побеждённых во Второй мировой
войне, спровоцировать переосмысление места и значения новых государств в современной Европе.
Этот исторический парадокс зафиксирован в знаковой оговорке: "Поздравляю с днем победы над Великой
Германией". Но есть и другая сторона - комплекс вины присущий уже послевоенным поколениям немцев.
Сейчас - это цивилизационная болезнь. Все развитые народы испытывают комплекс вины: австралийцы
перед аборигенами, американцы перед индейцами и черными, немцы - к евреям, цыганам, "остарбайтерам"
и еще кому-то, французы - к арабам, англичане - к половине мира, все вместе – к сирийцам. В общем, все
страдают комплексом вины. Пытаются его каким-то образом разрешить.
3 of 6 1/2/17, 10:25 AM

«С днем Победы, герр Мюллер!»: archytector http://archytector.livejournal.com/69545.html
Нежелание нашего общества становиться частью «той» развитой цивилизации, где признание своей вины
является нормой, а не слабостью, и толкает его в противоположную сторону, где ценятся уголовные
понятия и культ силы. А содействует этому не только многочисленная вата, но и наши «навіжені патріоти», у
которых остается очень мало шансов в будущем получить поздравление с победой.
TAGS: акционизм, победобесие
АВТОРАМБЛЕР
4 of 6 1/2/17, 10:25 AM

2017

Фонд Мазоха. Мавзолей для Президента — Prostory
http://prostory.net.ua/ua/mlp/mystetstvo/89-fond-mazokha-m...
М . Л . П . КРИТИКА ПРАКТИКА НОВИНИ ТЕМА АВТОРСЬКІ РОЗДІЛИ
м . л . п
23 червня 1994 року. Місце проведення: Національний художній музей України.
Об'єкт – трилітрова банка зі смальцем та шкварками, електроплитка, фото
Президента України Леоніда Кравчука, занурене у смалець. При включенні
електроплитки смалець у банці починає топитись, стає прозорим і відкриває
глядачеві законсервований (муміфікований) образ Президента.
Фонд Мазоха. Мавзолей для Президента
Masoch Fund, Mausoleum For President, 1994
Промова Ігора Подольчакa на презентації проекту «Мавзолей для
президента», НХМУ, Київ, 23 червня 1994 р.
Художник створює свій власний світ і в цьому розумінні він Творець
богоподібний. Його творча потенція – це функція свободи, свободи від
стереотипів мислення, свободи від соціального рабства. У боротьбі із
суспільством він формується як особистість, він знаходить себе. Жодних
1 of 3 1/16/17, 9:59 PM

Фонд Мазоха. Мавзолей для Президента — Prostory
http://prostory.net.ua/ua/mlp/mystetstvo/89-fond-mazokha-m...
М . Л . П . КРИТИКА ПРАКТИКА НОВИНИ ТЕМА АВТОРСЬКІ РОЗДІЛИ
як цілісний організм у всіх його проявах. Якщо говорити про українське
суспільство сьогодні, то неможливо уникнути двох визначальних понять –
безглуздість та імпотенція. Його символ – буриданів віслюк, який обирає
між сходом і заходом. Його інтелектуальна діяльність – на рівні відомого
героя анекдотів, що намагався вивести гібрид мухи та кавунового насіння.
Передвиборчі програми, якими сьогодні заклеєні паркани, за сутністю
абсолютно адекватні написам на парканах.
В дійсності все, що ми маємо, – імітація та гра. Діти намагаються
наслідувати дорослих, не розуміючи причин, не знаючи законів, не
передбачаючи наслідків. Інфантилізм п’ятдесятидвохмільйонного народу,
що займає величезну територію, який вдягнув атрибути державності з
чужого плеча, – видовище не з приємних, жалюгідне видовище. Зіткнення з
реаліями дорослого життя перетворило українське суспільство в класичного
невротика, що шукає заспокоєння у світі ілюзій. Ілюзій та покладань надій
та сподівань на Америку чи Росію, Європейську спільноту чи Міжнародний
валютний фонд і врешті-решт – на Бога. Але, на жаль, його смерть була
зареєстрована одним німцем ще в минулому столітті.
Тільки художник, який співвимірний суспільству як цілісному організму і
який навіть перевершує його, який вільно оперує комплексами та
використовує їх як матеріал для власної творчості, може вилікувати
суспільство, звільнити суспільство, звільнити українців від едипового
комплексу, що тяжіє над ними. Вони – нащадки Тараса Бульби, та їхня
пам’ять зберігає картину страшного гніву Батька, їхні вчинки
підпорядковані патріархальному авторитету та традиції. Притаманний їм
страх перед життям без батьківської опіки штовхає їх на покору «старшому
брату», на створення символу Батька з кого завгодно – царя, Шевченка,
Сталіна.
Обряд ритуального вбивства Батька – ось необхідний радикальний засіб
визволення українського суспільства. «Мавзолей для Президента» – це
форма ритуального вбивства. Форма, що несе в собі ствердження
всесвітньоісторичних амбіцій нації. «Мавзолей для Президента» – це обряд
ініціації президента. Через смерть символічну він отримує свободу реальну.
Вмирає скутий, не вільний політик, народжується особистість, яка здатна на
вчинок. Маючи свій мавзолей, можна творити майбутнє, не озираючись
назад.
Звільнення суспільства від едипового комплексу – необхідна віха в житті
кожної нації. Страчені королі Франції та Англії, вбиті царі Росії та нащадки
Австрійської корони, президент Лінкольн також вбитий. Наш час – час кінця
історії, він не потребує крові, він вимагає осмислення. Усвідомлений
мистецький акт більше потрібен, ніж соціальні катаклізми. Лікування
провокацією більш потрібне, ніж потурання інфантильним фантазіям.
У виконанні місії визволення, у дарунку народові свободи не можна не
перейматися долею дару. Художник – не просвітник, і не його функція
розсипати перли перед свинями. Свободу здобувають через біль, через біль і
мужність. Якщо нація думає тільки про їдло, її необхідно вдарити ногою по
яйцях. Метафізичний біль примусить озирнутись та нарешті замислитись.
«Мавзолей для Президента» – це провокація, що ламає національні табу,
соціальні конвенції, патріархальну ментальність. Це шанс для народу на
самореалізацію. Звільнення суспільств від едипового комплексу – це його
реальне визволення. Свобода – це стан духу, а не паперова незалежність.
Тож я відкриваю Мавзолей в ім’я свободи, свободи без рівностей і братств:
свободи, що принесена не кривавою революцією, а мистецьким актом.
Відкриваю Мавзолей – символ визволення нації та ініціації її лідера.
Для створення Мавзолею використаний традиційний український консервант
– смалець, традиційна ємність для консервування – трилітрова банка. Під
час нагрівання смалець стає прозорим, що дає можливість побачити
Президента.
2 of 3 1/16/17, 9:59 PM

Фонд Мазоха. Мавзолей для Президента — Prostory
http://prostory.net.ua/ua/mlp/mystetstvo/89-fond-mazokha-m...
М . Л . П . КРИТИКА ПРАКТИКА НОВИНИ ТЕМА АВТОРСЬКІ РОЗДІЛИ
Матеріали надано авторами
Друк
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ВСІ ПРАВА ЗАСТЕРЕЖЕНО. ПРИ ВИКОРИСТАННI МАТЕРIАЛIВ САЙТУ БАЖАНИМ Є ПОСИЛАННЯ НА
PROSTORY.NET.UA Prr o stt orr y 20116
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3 of 3 1/16/17, 9:59 PM

«Электромузей» представит ретроспективу украинского ...
http://www.colta.ru/news/14125
О проекте Попечители Партнеры ПОМОГИ
САЙТУ
Кино Искусство Современная музыка Академическая музыка Литература Театр Медиа Общество Наука Colta Specials Диссиденты Разногласия
17:38 6 МАРТА 2017 НОВОСТИ 1340 0
25
0
0
«Электромузей»
представит
ретроспективу
украинского медиа-арта
НОВОСТИ
2:44
17 МАРТА 2017
19:36
Умер Чак Берри
СК просят проверить
законность передачи
Исаакиевского собора
ПОМОГИ
САЙТУ
19:04
17:45
Умер Дерек Уолкотт
В Третьяковке пройдет
большая выставка
Джорджо де Кирико
16:05
Объявлена программа
Всемирного дня поэзии в
Москве
15:12
Госдума окончательно
приняла закон о правах
режиссеровпостановщиков
Сквот «Паркоммуна». Киев, 1991 год
© «Электромузей»
26 апреля в галерее «Электромузей» объединения
«Выставочные залы Москвы» откроется выставка
«Выдающийся, всемирно известный» – большая
ретроспектива украинского медиаискусства с начала 1990-х
годов до сегодняшнего дня.
Впервые в Москве свои работы представят современные
украинские медиахудожники, использующие в творчестве видео,
аудио, светоживопись, дополненную реальность, а также
математический анализ и основы программирования.
14:48
13:39
11:36
Василий Кичеджи уволен
из Академии имени
Штиглица
Дмитрий Курляндский
стал лауреатом премии
Франко Аббьяти
Журналиста «Новой
газеты» собираются
депортировать в
Узбекистан
ВСЕ НОВОСТИ
Экспозиция «Выдающийся, всемирно известный» сформирована
на основе материалов «Открытого архива украинского
медиа-арта» («Відкритий архів українського медіа арту», или
«ВАУМА») — независимого исследовательского проекта,
созданного в 2008 году Яниной Пруденко.
На открытие выставки «Выдающийся, всемирно известный» в
Москву приедут и привезут свои работы молодые украинские
художники Сергей Петлюк, Дарина Фес и Алексей Подать.
Также на выставке будут представлены работы Евгения Ващенко
(w4w.enko), Глеба Катчука, Ольги Кашимбековой, Александра
Ройтбурда, tenpoint (Максим Побережский и Алексей Тыщенко),
Александра Гнилицкого, Натальи Филоненко, Максима
Мамсикова, Юрия Кручака, Юлии Костеревой, Андрия Линика,
Семена Храмцова, Алины Якубенко, Саши Курмаза, Саши
Долгого, Жени Моляр, Антона Лапова, Виктории Саранговой,
Стаса Волязловского, ТОТЕМ, akuvido (Ганна Куц и Виктор
Довгалюк), «Фонда Мазоха» (Роман Виктюк, Игорь Подольчак,
Игорь Дюрич).
Куратор выставки — Янина Пруденко, кандидат философских
наук, руководитель магистерской программы «Куратор
современного искусства» в Педагогическом университете им.
Драгоманова (Киев), куратор ВАУМА.
Выставка «Выдающийся, всемирно известный» в галерее
«Электромузей» продлится до 11 июня.
1 of 4 3/19/17, 11:17 AM

ЧЛЕНИ УКРАЇНСЬКОЇ КІНОАКАДЕМІЇ
Абрамов Борис
Акулевич Анна
Алієв Наріман
Алферов Андрій
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УЛ. С. ПЕТЛЮРЫ, 30, КИЕВ, 01032

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ТЕЛЕФОН: +380 (44) 584 38 24: ФАКС: +380 (44) 584 38 23
УЛ. С. ПЕТЛЮРЫ, 30, КИЕВ, 01032

Шестеро львів’ян стали членами Української кіноакадемії...
http://zaxid.net/news/showNews.do?shestero_lvivyan_stali_c...
974)
977)
Шестеро львів’ян стали членами
Української кіноакадемії
Серед них і редакторка відділу культури ZAXID.NET Катерина Сліпченко
Культура (news/showList.do?kultura&tagId=51419) — АК, 24 березня 283 0
0821)
64
0
0
gId=50956)
До теми
Новостворена
Українська
кіноакадемія
вручатиме
«Золоту Дзигу»
у квітні
(news/showNews.do?novostvorena_ukrayinska_kinoakademiya_vruchatime_zolotu_dzigu_u_kvitni&objectId=1418409)
ZAXID.NET Уже в кінці квітня члени Української академії оберуть лауреатів нової кінопремії «Золота Дзиґа» у
13 номінаціях
d=52456)
Id=50809)
Українське
кіно:
пробудження
сили,
прихована
загроза та
нова надія.
Чи дивляться
вітчизняні
фільми
українські
глядачі?
(news/showNews.do?ukrayinske_kino_probudzhennya_sili_prihovana_zagroza_ta_nova_nadiya&objectId=1413922)
51419)
gId=50962)
812)
ZAXID.NET
Членами новоствореної Української кіноакадемії став 241 кіномитець. Про це
йдеться на сайті новоствореної організації.
Академіками стали такі відомі українські кінематографісти як Михайло
Іллєнко, Лариса Кадочникова, Роман Балаян, Ахтем Сеітаблаєв, Мирослав
Слабошпицький, Сергій Лозниця та інші. Арт-директором Української
Кіноакадемії став член Європейської кіноакадемії Алік Шпилюк.
Серед членів кіноакадемії – шестеро львів’ян. Академіками стали кінорежисери
Тарас Дронь та Любомир Левицький, художник та режисер Ігор Подольчак,
директорка фестивалю Wiz-Art та Львівської кінокомісії Ольга Райтер, оператор
Олександр Поздняков, а також кінокритикиня та редакторка відділу культури
ZAXID.NET Катерина Сліпченко.
Також у списку членів (http://uafilmacademy.org/ua/news/5) кіноакадемії є
випускниця факультетру журналістики ЛНУ режисерка Оксана Казьміна та
уродженець Львова оператор Богдан Вержбицький.
1 of 4 3/25/17, 2:01 PM
За ідеєю організаторів, Українська кіноакадемія - це об'єднання експертів і
професіоналів у галузі кіно та кіновиробництва з метою всебічної підтримки та

Зали
Шестеро львів’ян стали розвитку членами Української національного кіноакадемії... кінематографа. http://zaxid.net/news/showNews.do?shestero_lvivyan_stali_c...
Кіноакадемія вручатиме 25 національну БЕРЕЗНЯ, СУБОТА кінопремію «Золота Дзиґа». Дизайн
статуетки розробить ще один уродженець Львова, скульптор Назар Білик
(http://zaxid.net
/news/showNews.do?robotu_kiyivskogo_skulptora_vistavili_na_nyuyorkskomu_auktsioni&o
автор відомої скульптури «Дощ» на київській Пейзажній алеї.
Премія вручатиметься у 14 номінаціях. Наразі на її здобуття подано 76 фільмів.
Днями розпочнеться голосування. Перша церемонія нагородження українських
кінематографістів запланована на 20 квітня.
«Щоб не мучити вас довгими описами, скажу просто - це український "Оскар"!», -
(https://www.facebook.com/photo.php?fbid=1379714838757587&
set=a.166757133386703.44096.100001572515346&type=3&theater)написала
(https://www.facebook.com/photo.php?fbid=1379714838757587&
set=a.166757133386703.44096.100001572515346&type=3&theater) на своїй сторінці
в Facebook Катерина Звездіна, PR-директорка академії.
Якщо Ви виявили помилку на цій сторінці, виділіть її та натисніть Ctrl+Enter
Головні новини (news/showList.do?golovni_novini&tagId=52674)
Премії (news/showList.do?premiyi&tagId=49708)
Кіно (news/showList.do?kino&tagId=44329)
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2 of 4 3/25/17, 2:01 PM

Пять фактов об украинской космонавтике
http://napensii.ua/articles/2463-pyat-faktov-ob-ukrainskoy-k...
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НОВОСТИ
10 янв. Нас ждут температурные "качели" -
17:44 прогноз погоды на 2017...
(/news/8665-sinoptiki-dali-prognoz-na-2017-god-naszhdut-temperaturnye-kacheli)
10 янв. В ПФ рассказали, кому проведут
08:02 перерасчет пенсий в 2017...
(/news/8662-v-pf-rasskazali-komu-provedutpereraschet-pensiy-v-2017-godu)
09 янв. В Харькове наказали обидчика
19:08 пенсионеров
(/news/8664-v-harkove-nakazali-obidchikapensionerov)
09 янв. Названы продукты, продлевающие
17:44 жизнь на 20 лет
(/news/8661-nazvany-produkty-prodlevayuschiezhizn-na-20-let)
09 янв. Пенсионерка сохранила древнее
16:44 ремесло (ФОТО)
(/news/8663-pensionerka-sohranila-drevneeremeslo-foto)
08 янв. Гройсман рассказал, когда доллар
23:10 будет стоить 18,5 грн.
(/news/8660-groysman-rasskazal-kogda-cena-nagaz-nachnet-palat)
08 янв. 104-летняя жительница Закарпатья
12:33 спела колядку (ВИДЕО)
(/news/8659-104-letnyaya-zhitelnica-zakarpatyaspela-kolyadku)
06 янв. На Острове Рождества первыми
23:54 отмечают Рождество
(/news/8658-na-ostrove-rozhdestva-pervymiotmechayut-rozhdestvo)
Все новости (/news)
Пять фактов об украинской
космонавтике
10 янв. 2017 15:05 | №2 ⋆ 0 " 110 # 0
В январе исполняется 110 лет со дня рождения
выдающегося украинского ученого Сергея Королева,
который по праву считается одним из
основоположников мировой космонавтики.
Благодаря ему наша страна вошла в не такой уж и
большой клуб космических держав. Какую роль
играли Украина и украинцы в завоевании
межзвездного пространства.
ФАКТ ПЕРВЫЙ
Первым украинцем, побывавшем в космосе,
стал Павел Попович (на фото). Его полет состоялся
в августе 1962 года — таким образом, Павел
Романович стал четвертым советским космонавтом.
На борту космического корабля Павел Попович
исполнил одну из любимых песен Сергея Королева
— «Дивлюсь я на небо...». Но вместо строчки «Чому
я не сокіл, чому не літаю?» космонавт спел «...от я і
сокіл, і от я літаю».
Наши земляки были не только среди советских
космонавтов, но и американских астронавтов.
Первой из них стала дочь эмигрантов из Украины
Джудит Резник, отправившаяся в космос в 1984 году.
(/tools/image
/kosmonavt.
Винто
миров
(/articles/245
vtoroy-mirovo
vybore-oform
Рынок
в ново
(/articles/245
chto-predlaga
Когда
колядо
(/articles/244
kolyadovat-ai-schedrovat
Лучши
(/article
podarki-pod-e
Чем пр
украин
(/articles/243
ukrainskie-dip
А украинка Роберта Линн Бондар стала первой женщиной-астрона
ФАКТ ВТОРОЙ
Первым и пока единственным космонавтом независимой
Леонид Каденюк. Он покорял космос в 1997 году в составе междун
и пробыл за пределами Земли 17 дней. Интересно, что корабл
Леонид Константинович, использовался для съемок известного ам
«Армагеддон».
Благодаря Леониду Каденюку в космическом пространстве
1 of 7 1/11/17, 2:22 AM

Пять фактов об украинской космонавтике
http://napensii.ua/articles/2463-pyat-faktov-ob-ukrainskoy-k...
РЕЙТИНГ КОНКУРСАНТОВ
(http://napensii.ua/edition/139-davayte-delat-gazetuvmeste)
$ 14 Свечникова Ольга
(/articles/2451-
" 221 Владимировна
svechnikova-olga-vladimirovna-uvlekayusvyazaniem-igrushek)
$ 2
" 246
()
САМОЕ ПОПУЛЯРНОЕ
⋆ 0
" 7433
В Пенсионном фонде
разъяснили, кому не
положен перерасчет...
⋆ 1
" 6599
Кабмин принял новые
решения для
справедливого расчета
пенсий
⋆ 0
" 5639
Кабмин внес изменения в
постановление о выходе
на пенсию
Загорняк Лідія Яківна
(/articles/2444-
zagornyak-lidiya-yakivna-zahoplyuyusvishivkoyu-ta-v-yazannyam)
$ 2 Фомченко Раиса
(/articles/2442-
" 191 Григорьевна
fomchenko-raisa-grigorevna-moe-hobbivyshivka)
(/news/8632-v-pf-razyasnili-komu-ne-polozhenpereraschet-pensiy)
(/news/8598-kabmin-prinyal-novye-resheniyadlya-spravedlivogo-rascheta-pensiy)
(/news/8646-kabmin-vnes-izmenneniyav-postanovlenie-o-vyhode-na-pensiyu)
⋆ 0
" 5492
Что предлагают изменить
в пенсиях, стаже и
пенсионном возрасте?
гимн Украины. По традиции, космонавтов на корабле будят ме
выбирают сами. Леонид Константинович избрал именно гимн наше
ФАКТ ТРЕТИЙ
Развитие космонавтики сложно представить без украинских
первенства в этом деле, бесспорно, принадлежит Сергею Корол
руководством был запущен первый искусственный спутник
легендарный полет Юрия Гагарина, а Алексей Леонов стал
вышедшим в открытый космос. Другой украинец, Валентин Глушк
на которых работали практически все советские ракеты-носители,
по созданию орбитальной станции «Мир».
Первый полет на Луну тоже стал возможен благодаря нашем
Еще в 1916 году уроженец Полтавы Юрий Кондратюк расс
траекторию полета к ночному светилу. Именно эти расчеты
американцами при подготовке экспедиции Нила Армстронга, кот
человеком на Луне.
ФАКТ ЧЕТВЕРТЫЙ
В 2016 году американское космическое агентство НАСА пр
конкурс проектов марсохода, который позволил бы ученым изучать
Победителем в этом конкурсе стал проект Mars Hopper, разрабо
конструкторами.
Интересно, что изначально украинский проект занял при
место. Однако вскоре выяснилось, что соперники украинцев м
пересчитали заново, и оказалось, что украинский проект победил.
ФАКТ ПЯТЫЙ
Житель Львова Игорь Подольчак стал первым художником, ч
пределы Земли. Уникальная выставка состоялась в январе 1993
залом стала орбитальная станция «Мир», а зрителями — космона
Анатолий Соловьев.
Экспозиция состояла всего из двух картин. Правда, Игорь По
отправить в космос еще одну свою работу. Однако ее «забра
управления полетами. Дело в том, что картина оказалась чере
космонавты к тому времени провели на орбите более четырех мес
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ЖУРНАЛ АФІША МОЖЛИВОСТІ ВАКАНСІЇ КУРСИ УВІЙТИ
СПЕЦПРОЕКТИ: УКРАЇНА У FACEBOOK ЦЕННЫЕ КАДРЫ НАУКОВИЙ ПІДХІД CULTURE MATTERS
ПРОЕКТИ
Текст
ДИНАРА ХАЛИЛОВА
3 березня 2017 LIKE
TWEET
Правильная цифра: что такое
медиа-арт и почему он важнее
живописи и скульптуры
+
Янина Пруденко – эксперт в украинском медиаарте, куратор Открытого архива
украинского медиаарта. Она рассказала Platfor.ma о том, что же это за вид искусства
такой, почему в Украине о нем еще мало знают и каким образом медиаарт может
побороть пропаганду.
– Как бы вы объяснили понятие new media art людям, далеким от искусства?
Янина Пруденко
– Это понятие используется относительно искусства, созданного с помощью цифровых
медиа. Аналоговые медиа, которые возникли до цифровой и интернет-эпохи – это пресса,
радио, телевидение и т.д. А вот new media, – это уже цифровые медиа, в особенности
интернет, который появляется в широком использовании в начале 1990-х.
– Медиаарт – это вид искусства, произведения которого создаются и представляются с
помощью современных информационно-коммуникационных технологий. Каким
образом эти самые технологии помогают выразить идеи и смыслы? В чем
преимущество медиаарта над традиционными видами искусства?
– Нужно сказать, что сейчас сосуществуют две формы искусства – это традиционная, как,
например, живопись, скульптура и т.д., и искусство новых медиа, которое, как мне кажется,
точнее отображает дух времени. Формы классического искусства до сих пор актуальны,
мы можем их создавать и наслаждаться ими, но в полной мере отображать современность
могут только новые способы, которые возникают вследствие развития науки, техники,
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коммуникаций, общества и культуры в общем.
Как, например, кинематограф для конца XIX – начала XX века или фотография для
середины XIX века. На сегодняшний день авангардными художественными медиумами
являются именно новые медиа: например, нет-арт в начале 1990-х или пост-нет-арт
сегодня. Скульптура, живопись также претерпевают изменения под воздействием новых
медиа и уже становятся цифровой живописью и интерактивной инсталляцией.
Bodystorage (videoinstallation)
from Andrii Terentiev
04:20
Видео-инсталляция, Андрей Терентьев, Харьков, 2009, «Тілосховище»
– В Украине и соседних странах медиаарт начал развиваться в 90-х годах прошлого
века. С какими процессами это связано, ведь этот вид искусства появился в мире еще в
60-х?
Один из перформансов
«Флюксус», Нью-Йорк
– В мировом контексте видео арт действительно появляется в 1960-х годах – им уже тогда
занимались группа «Флюксус», перформансисты и феминистки. У нас период
заинтересованностью новыми медиа приходится на начало 1990-х. Мы не можем сказать,
что не было художественных экспериментов на стыке технологий и искусства в советской
Украине, естественно, они были, как, например, театры светомузыки в Харькове, Одессе,
Ужгороде или Полтаве. Но эти художественные практики в Советском Союзе относились к
маргинальной культуре. В тот период времени был единственный верный способ
художественного отображения реальности – это соцреализм, целью которого являлось
перевоспитание трудовых масс.
Первый состав группы
«Движение»
В конце 1980-х – начале 1990-х художники начинают чувствовать свободу выбора
художественных стиля и формы и принимаются экспериментировать. Без сомнения,
эксперименты были и в 1960-х, и в 1970-х, и в 1980-х годах – это практики
нонконформизма, концептуального искусства, которые также иногда использовали новые
медиа (как, например, группа «Движение»), но именно в 1990-х стало понятно, что
художник может работать не только с формой, со стилем, но и с медиумом.
Художники просто получили банальную возможность использовать новые технологии, что
было очень ограничено в советское время – появились заграничные видеокамеры, к
примеру. И с другой стороны – это свобода творчества. Свобода от социалистического
реализма соответственно давала возможность выйти за рамки классических форм
искусства (живопись, скульптура, архитектура, музыка, театр), ведь соцреализм был
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возможен только в таких формах.
Art In Space Ihor Podolchak 1993
Видеодокументация,«Art in Space», Львов, Игорь Подольчак, Игорь Дюрич, 1993
– Большинство украинских медиахудожников, которые начали работать в этом жанре в
90-х годах, быстро забросили свои эксперименты и вернулись к более традиционным
видам искусства. Как думаете, почему это произошло?
Джордж Сорос
– Это было во многом связано с тем, что обращение к новым медиа в 1990-х было
довольно искусственным явлением. В то время на постсоветском пространстве появились
центры современного искусства Сороса – они создавали прекрасные лаборатории,
напичканные большим количеством хорошей техники, которая тогда не снилась даже
прогрессивным дизайнерским бюро в Киеве. Развитие искусства новых медиа в
пост-СССР было общей стратегией фонда Сороса по освоению новых территорий. В
каждом из центров была директива развивать новые медиа, поскольку дикую
постсоветскую медийную среду нужно было каким-то образом осваивать, создать
профессиональную прослойку дизайнеров, способных делать качественную рекламу, к
примеру.
Но после сворачивания программ поддержки современного украинского искусства
Соросом, закрытия лаборатории Инфо Медиа Банк в начале 2000-х стало понятно, что
реалии страны не соответствуют потребностям новоиспеченных украинских
медиахудожников. Кто-то вернулся к традиционной живописи, кто-то, имея уже новые
технические навыки, пошли работать на продакшн и пост-продакшн в кинематограф,
телевидение, рекламу, фешн-фотографию, кто-то уехал, как вот akuvido (Анна Куц и
Виктор Довгалюк) на Запад доучиваться в сфере новых медиа и стали нет-артистами там.
Ситуация начала меняться только тогда, когда технологии стали более доступными.
Сейчас в домашних условиях, на коленке, можно уже самому научиться работать с vvvv, с
тач-дизайнером, с max msp и создавать сложные интерактивные инсталляции.
– Какие поджанры медиаарта наиболее распространены среди украинских
художников?
– Был и остается очень популярным видео-арт, потому что он очень прост в изготовлении
и потреблении. Видеокамера есть сейчас на каждом телефоне и сделать видео-арт не
представляется сложным. Непросто это было в начале 90-х, когда видеокамеры
передавались разве что родственниками из Америки, и на эту аппаратуру снимался,
например, весь львовский перформанс, с которого и начиналась история современного
искусства в городе. В Киеве, кстати, тоже была единственная «культурная» видеокамера,
которая кочевала по всей Паркоммуне.
Благодаря центру Сороса в конце 1990-х в Украине начали появляться другие формы
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медиаискусства: интерактивная инсталляция, морфинг, generative art, первый нет-арт
(проект BABY Юры Кручака и Юлии Костеревой появился в 2002 году благодаря
посещению Юрой воркшопов Инфо Медиа Банка). Уже в 2010-х годах, когда технологии
стали еще доступнее и дешевле, художники начали создавать все более и более сложные
формы цифрового искусства, но видео-арт до сегодня, как мне кажется, остается самым
популярным – как, впрочем, и во всем мире.
Свадебные песни Херсонщины
from Totem
03:56
Видео арт, «Весільні пісні Херсонщини», Тотем, 2009, Херсон
– При этом во многих странах, к примеру, в соседней России, медиаарт развивается
быстрее и стабильнее: уже больше 17 лет там функционирует Центр культуры и
искусства Media Art Lab, проводятся различные тренинги и семинары, с 2008-го
проходит аудиовизуальный фестиваль Plums Fest, а с 2012 – Ночь новых медиа. Не
следует ли из этого, что этот вид искусства просто не прижился в украинской
ментальности и не имеет перспектив стать у нас более массовым?
– Он не прижился, потому что тут нет капитала, который бы вкладывали в эту форму
искусства. Медиаарт сложен как в создании, так и в экспонировании. Это не картина,
которую повесили на гвоздь, а она висит и есть не просит. Медиа арт – сложные
технологии, которые каждый день надо подстраивать. Выставку постоянно должны
обслуживать техники. Если мы говорим о России, то это нефтяные деньги, которые дают
возможность развиваться российскому медиаарту и всему современному искусству
вообще. Ситуация, которую мы имеем в Украине, в первую очередь связана с тем, что тут
нет капитализма и нет социальных форм поддержки искусства, как в Европе, например. То
есть тут есть капитализм, конечно же, но в слишком извращенной форме.
– Вы – одна из основательниц Открытого архива украинского медиаарта. Как вы
оцениваете обратную связь проекта с начинающими художниками и просто
ценителями жанра?
Кадр из видео «Призма
6+1» А. Максименка, Г.
Куц, В. Довгалюка, К.
Кит
– Наш архив открытый, это значит, что мы с коллегами постоянно мониторим то, что
создается художниками и по возможности пополняем базу. Кроме того, Дзига Медиа Лэб,
которая является зонтичной по отношению к архиву, занимается, в том числе, и
образовательной деятельностью. Для нас это очень важный стратегический пункт, потому
что в государственных образовательных учреждениях, классических академиях искусств,
колледжах искусств, как мы понимаем, новые медиа появятся еще очень нескоро. Так что
этим надо заниматься независимо от государства, если оно не может на данный момент
заполнить эту образовательную нишу и четко артикулированные потребности молодых
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художников.
– Назовите самые потенциально успешные украинские проекты по популяризации и
исследованию медиа арта.
– Кроме Дзиґа Медиа Лэб и Открытого архива украинского медиаисскуства это Центр
городских исследований во Львове. Там работают Богдан Шумилович, Андрей Линик –
теоретики, кураторы медиаискусства, в том числе и украинского. В Одессе в МСИО также
был собран и оцифрован архив всего медиаарта, который создавался в ЦСМ Сорос
Одесса. Херсонский «Тотем», который занимается архивацией своего искусства,
постоянно передает нам в архив новые работы. По сути, в каждом регионе есть люди,
которые ведут свою исследовательскую деятельность.
– А какой регион в этом плане самый активный?
Богдан Шумилович
– Я думаю, это Львов. В этом городе много медиаарта создается и сейчас, и очень
насыщенной была его история в 1990-х годах. Там есть Богдан Шумилович, который
активно исследует львовское искусство и популяризирует его историю в своих
многочисленных статьях, лекциях, презентациях. А Харьков, например, во многом для нас
terra incognita, потому что там просто отсутствует исследователь, который бы занимался
местным медиаартом – архивировал, музеифицировал, экспонировал его.
– Вы были куратором первой и второй Новой художественной школы, студенты
которой обучались у экспертов из разных стран мира. Судя по вашим наблюдениям и
впечатлениям иностранных гостей, есть ли у молодых украинских медиахудожников
потенциал конкурировать на международном рынке?
– Я вообще очень критически отношусь к мировому арт-рынку, так как это очень
капитализированная история, где человеку важно в первую очередь быть хорошим
менеджером самого себя. Тут вопрос в том, что вы хотите сделать – подорвать эту систему
арт-рынка или в нее влиться? Безусловно, в Украине есть художники, которые могут очень
эффективно делать как одно, так и второе.
Untitled
from Media Art Archive
00:48
Интерактивная инсталляция, «Без названия», Александр Верещак, Маргарита Зинець,
Киев, 2005 г.
– Чему украинские медиахудожники могут научиться у их иностранных коллег и чему
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научить?
– Если мы говорим о технической стороне образовательного вопроса, то сейчас все
очень просто. Всему можно научиться онлайн – есть множество программ разного
характера и цифровое искусство можно осилить, сидя дома. Если мы говорим о
концептуальных вещах, что тоже очень важно, ведь медиахудожник – это не только тот,
который получил уровень ремесленника, но и тот, кто будет использовать технологии с
умом, то научить – вряд ли, а вот показать…
Несколько последних лет я делаю выставочные кураторские проекты, которые
поднимают тему революции, войны на Востоке Украины, конфликта с Россией. В этих
проектах принимают участие как украинские, так и российские художники, и мне кажется,
что они очень важны. За последние два года было четыре таких проекта – во Вроцлаве,
Люблине, Львове и Волькесдорфе под Веной. Безусловно, эти инициативы привлекают
внимание иностранцев. Мы пытаемся говорить о конфликте между нашими странами вне
пропаганды, в том числе и в формате круглых столов, на которых, скажем, австриец может
задать любой вопрос и прояснить для себя, что же происходит на самом деле и почему
Украина не Россия.
Видео: Відкритий архів українського медіа-арту, gif-изображение: stuttura.
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12 апреля 2017
Украина и космос: 5 фактов
РЕКЛАМА
Украина является космической державой и членом большинства
международных организаций в сфере космоса. С уверенностью глядя в
космическое будущее, приводим факты того, как Украина уже повлияла на
покорение межзвездного пространства.
ФАКТ ПЕРВЫЙ
Первым украинцем, побывавшем в космосе, был Павел Попович. Его полет
состоялся в августе 1962 года. На борту космического корабля Павел
Попович исполнил одну из любимых песен Сергея Королева «Дивлюсь я на
небо...». Но вместо строчки «Чому я не сокіл, чому не літаю?» космонавт
спел «...от я і сокіл, і от я літаю».
Наши земляки были не только среди советских космонавтов, но и в числе
американских астронавтов. Первой из них стала дочь эмигрантов из
Украины Джудит Резник, отправившаяся в космос в 1984 году. А украинка
Роберта Линн Бондар стала первой женщиной-астронавтом в Канаде.
ФАКТ ВТОРОЙ
Первым и пока единственным космонавтом независимой Украины является
Леонид Каденюк. Он покорял космос в 1997 году в составе международной
экспедиции и пробыл за пределами Земли 17 дней. Интересно, что
корабль, на котором летал Леонид Константинович, использовался для
съемок известного американского фильма «Армагеддон».
Благодаря Леониду Каденюку в космическом пространстве впервые
прозвучал гимн Украины. По традиции, космонавтов на корабле будят
мелодии, которые они выбирают сами. Леонид Константинович избрал
именно гимн нашей страны.
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ФАКТ ТРЕТИЙ
Развитие космонавтики сложно представить без украинских ученых. И
пальма первенства в этом деле, бесспорно, принадлежит Сергею Королеву.
Именно под его руководством был запущен первый искусственный спутник
Земли, состоялся легендарный полет Юрия Гагарина, а Алексей Леонов
Телец
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1 of 3 4/18/17, 7:44 PM

Украина и космос: 5 фактов - Домашний очаг
http://my.goodhouse.com.ua/ukraina-i-kosmos-5-faktov/
стал первым человеком, вышедшим в открытый космос. Другой украинец,
Валентин Глушко, создал двигатели, на которых работали практически все
советские ракеты-носители, и возглавлял работы по созданию
орбитальной станции «Мир».
Первый полет на Луну тоже стал возможен благодаря нашему
соотечественнику. Еще в 1916 году уроженец Полтавы Юрий Кондратюк
рассчитал оптимальную траекторию полета к ночному светилу. Именно эти
расчеты были использованы американцами при подготовке экспедиции
Нила Армстронга, который и стал первым человеком на Луне.
ФАКТ ЧЕТВЕРТЫЙ
В 2016 году американское космическое агентство НАСА проводило
всемирный конкурс проектов марсохода, который позволил бы ученым
изучать «красную планету». Победителем в этом конкурсе стал проект
Mars Hopper, разработанный украинскими конструкторами.
Интересно, что изначально украинский проект занял при голосовании
третье место. Однако вскоре выяснилось, что соперники украинцев
мошенничали. Голоса пересчитали заново, и оказалось, что украинский
проект победил.
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ФАКТ ПЯТЫЙ
Украинский режиссер, сценарист, продюсер, живописец, график, фотограф
Игорь Подольчак стал первым художником, чьи картины покинули пределы
Земли. Уникальная выставка состоялась в январе 1993 года. Выставочным
залом стала орбитальная станция «Мир», а зрителями – космонавты
Сергей Авдеев и Анатолий Соловьев.
Экспозиция состояла всего из двух картин. Правда, Игорь Подольчак
планировал отправить в космос еще одну свою работу. Однако ее
«забраковал» врач Центра управления полетами. Дело в том, что картина
оказалась чересчур откровенной, а космонавты к тому времени провели на
орбите более четырех месяцев в одиночестве.
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На Книжковому Арсеналi у рамках освітньої програми майданчика
«Українська візуальна книга» відбудеться презентація книги «Де
Кураторство».
Книга «Де кураторство» є збіркою есеїв та інтерв’ю, що охоплюють коло питань, пов’язаних із темою
кураторства — колективного й індивідуального — та зосереджених на українському контексті.
Тексти стали результатом обговорення зазначеної теми авторкамиупорядницями
із кураторами та сучасними художниками з різних міст України.
Задум видання полягав у висвітленні особливостей курування з позиції художника як куратора, не оминувши
й іншої — куратора як художника. Цьому присвячено два розділи книги відповідно.
Третій розділ є своєрідною спробою описати та систематизувати основні інституції, художні об’єднання,
виставкові проекти та імена, згадувані в текстах, інформація про які дотепер була неточною, малодоступною
або відсутньою взагалі. Також до видання увійшли візуальні матеріали, частина яких опублікована вперше.
У книжці представлені інтерв’ю з такими художниками і художніми
об’єднаннями як:
1 of 8 4/28/17, 9:48 AM

Книжковий арсенал: Анонс книги «Де Кураторство» – Літер...
Відкрита група (Юрій Білей, Антон Варга, Павло Ковач, Станіслав Туріна)
Фонд Мазоха (Ігор Дюрич, Ігор Подольчак)
Юрій Лейдерман
Арсен Савадов
Леся Заяц
Микола Рідний
Ксенія Гнилицька
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Микита Кадан
Алевтина Кахідзе
Олександр Ройтбурд
Тіберій Сільваші
Сергій Братков
Юрій Соколов
Влодко Кауфман
Микола Коломієць
Павло Маков
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До книги також увiйшли інтерв’ю з Олександром Соловйовим та Віктором Мізіано.
Крім того, до книги увійдуть україно- та російськомовні тексти. Окремим тиражем готується англійськомовна
версія книги «Where curating is», над перекладом якою працює Юлія Дідоха, Таня Родіонова, Вероніка Ядуха
(VERBація) та Джо Пломмер.
Авторки-упорядниці: Катерина Носко i Валерія Лук’янець.
Літературний редактор книги – Оксана Баршинова.
Редакторка – Тетяна Родіонова.
Дизайнерка – Варвара Перекрест.
Книга «Де куратортсво» є першим проектом молодого видавництва IST Publishing, яке утворилося на базі
харківської галереї COME IN (http://vsiknygy.net.ua/goto/http://www.comeingallery.com/). Видавництво
спеціалізується на виданні non-fiction текстів і досліджень сучасного мистецтва та художніх практик в Україні.
Фокус також спрямовано на створення візуальних видань — зинів, арт-буків, авторських книг з теорії та
історії українського мистецтва, зокрема в області фотографії.
Презентація «Де Кураторство» планується за участі авторок-упорядниць, літературної редакторки, видавниці,
окремих художників і кураторів, тексти яких увійшли у книгу.
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2 of 8 4/28/17, 9:48 AM

“HOUSING” A DELEUZIAN “SENSATION:”
NOTES ON THE POST-CINEMATIC
TABLEAUX VIVANTS OF LECH MAJEWSKI,
SHARUNAS BARTAS AND IHOR PODOLCHAK 1
ÁGNES PETHŐ
The Tableau as a Post-Cinematic Image
The tableau vivant in cinema has always been the terrain of liminalities,
framing an image at the thresholds of film, photography, painting,
sculpture, theatre, performance, and even literature (considering the
narratives it may ekphrastically conjure up through its references). More
recently we can also witness extremely productive intersections between
film, video, installation art, and digital media. Video art installations
experiment with the tableau form of animated still pictures, often making
use of famous paintings or sculptures (e.g. Eve Sussman’s 89 Seconds at
Alcázar, 2004, expanding the world of Velázquez’s famous painting, Las
Meninas, into a cinematic sequence of bodies in motion displayed in a
continuous loop, or Adad Hannah’s video stills, which show moving
images of immobile people in interaction with famous artworks in a
museum 2 ). In David Claerbout’s single channel video installation entitled
Oil Workers (from the Shell Company of Nigeria) Returning Home from
Work, Caught in Torrential Rain (2013) a low resolution photograph
found on the internet is reproduced with 3D computer techniques and a
simple camera movement as a high definition photo-filmic tableau 3
becoming a meditation upon medial differences, and upon the sensuous
1 This work was supported by a grant of the Romanian Ministry of National
Education, CNCS – UEFISCDI, project number PN-II-ID-PCE-2012-4-0573.
2 See Hannah’s Museum Stills series of 2002 alongside other projects playing with
the format of the tableau vivant and the structure of mise en abyme on his website:
http://adadhannah.com/. (Last accessed 1. 09. 2014.)
3 See a more detailed description of the project and an excerpt of the video on the
artist’s website: http://davidclaerbout.com/Oil-workers-from-the-Shell-companyof-Nigeria-returning-home-from.
(Last accessed 1. 09. 2014.)

156
“Housing” a Deleuzian “Sensation”
impression of bodies and matter achieved in the remediated image. The
digital era also revitalizes the tableau vivant as a form in which high art
seeps into popular culture. Motion picture “adaptations” of famous
artworks have also become fashionable in advertising, moreover,
applications have been developed for everyday users of smart phones and
tablets that enable them to make reproductions of paintings, or their own
photographs seem to come alive with the introduction of a few elements of
movement into the pictures. 4 The fondness for transforming images into
tableaux vivants perceived as stillness unfolding into subtle motion is
perhaps also well exemplified by the latest trend in web design of the socalled
“parallax scrolling” technique, in which the background image
(often a high resolution photograph) moving at a slower rate to the
foreground creates a 3D effect as one scrolls down the page. Hence, the
contemporary tableau vivant in all its ubiquity may be considered not just
an essentially intermedial image, but a typical post-photographic and postcinematic
image of our times, blurring the boundaries between media,
connecting the “photographic” and the “cinematic” experience not only to
almost any of the traditional arts, but also to a media world dominated by
digital networks, movements of convergence, and trans-medialization.
In cinema we see experiments that match the general interest in
painterly tableaux that seems to permeate all layers of contemporary visual
culture, and that sometimes result in films that constitute extensions of the
tableau vivant into feature film length moving image projects that embrace
an ambivalent status: they can be shown either as feature films or as video
projections in an art gallery. In such hybrid cinematic projects the tableau
form can be regarded more than a trope in a rhetorical sense, a mere
ornament of style or a vehicle for conveying a condensed symbolic or
allegorical meaning, which has often been the case both in the great selfreflexive
films of modern and postmodern cinema. 5 Instead, it can be seen
4 See Rino Stefano Tagliafierro’s animation of paintings in an experimental video
titled Beauty that was shown at several film festivals around the globe in 2014, and
which was also accompanied by the creation of an application that makes it
possible for its users, with the help of an available database of digital images, to
experiment with animated paintings on their own using their phones or tablets.
(See an excerpt of the video here: http://www.rinostefanotagliafierro.com/beauty
_video.html. Last accessed 1. 09. 2014.)
5 An allegorical use of paraphrases of paintings can also be observed in recent East
European cinema, in films that use the tableau vivant as a means to imply the
existence of a “bigger picture,” and revert to universal stories staging mythological
themes of genesis, apocalypse, the loss of Paradise, and sacrifice. See a theoretical
investigation of this in the films of György Pálfi, Benedek Fliegauf, Kornél

Ágnes Pethő 157
as a site where authors can experiment with new affective-performative
aspects of the moving image, and where the inherent tensions and intricate
relations between both elements of the syntagm, tableau vivant, i.e. living
picture can be emphasized: connecting the artificiality and stillness of the
mediated “image” with the volatile phenomena of “life,” and the
corporeal, sensual experience of the flesh. Brigitte Peucker notes that the
“tableau vivant is central to the staging of intermediality in film” revealing
“the merger of representation with reality” (2007, 14), and this can also
happen – especially in its recent manifestations – in a form in which
complex relationships between image and body, art and life are not only
implied, but explicitly and manifoldly thematized.
In the works of Lech Majewski (Poland), Sharunas Bartas (Lithuania),
and Ihor Podolchak (Ukraine) we have a unique corpus of such “postcinematic”
films, with autonomous sequences that can be also displayed as
installation art, and that offer ample examples of tableaux vivants conceived
of such polarizations of bodies and images perceivable in the synesthetic
liminal space of different arts. In what follows I propose to delimit and
theorize these two interrelated aspects in some of their films: a) the
interpretation of the relationship between bodies and images from an
analytic, anthropological point of view based on Hans Belting’s concepts
of image, body and medium; b) the description of the tableau style
pictorialism in these works through the Deleuzian concept of “sensation”
and its relationship with figurativity, gesture and composition.
The Tableau as a Container for Chiastic Interchanges:
Image versus Body – Art versus Life
In this particular paradigm we find films in which the tableau is used
not for the sake of creating satirical or aestheticized detachment, but as a
way to emphasize the palpable interaction, interpenetration of art and life,
as well as a chiastic interchangeability of image and body. Among the
directors mentioned above, Lech Majewski’s work is perhaps the most
remarkable for the extremely versatile ways in which he reconceives the
cinematic tableau vivant, exploiting its affective and embodied aspects
through a chiastic doubling of this trope: by repeatedly showing bodies
caught in the act of (re)constructing or deconstructing a painting, and
painting unfolding, or being dismembered into individual bodies, textures
and “tissues.”
Mundruczó, Béla Tarr and Andrei Zvyagintsev in my article titled The Tableau
Vivant as a “Figure of Return” in Contemporary East European Cinema (2014a).

158
“Housing” a Deleuzian “Sensation”
In another, more detailed essay, I have analysed how Majewski’s The
Garden of Earthly Delights (2004) 6 may be considered as a reflection
upon the decomposition of cinema in the post-media age. Here I would
like to emphasize how the tableau vivant constitutes for him not a means
for establishing an ironic distance, but an emotionally charged ritual,
breaking down the barriers between life and art, art and life. The film
presents a dying woman and her lover who travel to Venice and spend
their last days together by making a documentary (or perhaps only an
amateur home movie) on Bosch’s eponymous painting searching for its
sources of inspiration in real life, re-creating and video recording erotic
scenes from it as tableaux vivants. In an attempt to divert her attention
from her illness and from the experience of her failing body, the couple
engages in a series of private “performances” staging and filming details
of Bosch’s Garden as “living pictures,” seeing in them a playful
celebration of the sensual wonders of both art and life. [Figs. 1–4.]
Figures 1–4. Lech Majewski: The Garden of Earthly Delights (2004).
The story unfolds from the protagonists’ video recordings that we see after
the woman has already passed away, as the surviving young man
6 The Garden of Intermedial Delights. Cinematic “Adaptations” of Bosch from
Modernism to the Postmedia Age, forthcoming in Screen (Pethő 2014b). Here I
summarize some of the ideas expressed in that article about the relationship
between images and bodies.

Ágnes Pethő 159
obsessively replays them while he is also making a recording of this act of
mourning his lost love. Accordingly, the film was shot entirely on video
producing a maze of mirror reflections with the characters continually
looking into the lens of the small camera held at arm’s length. In this way
skin, canvas and screen, painting and video are continuously folded upon
each other to produce a sensual interface for cinematic memory on the one
hand, and the perception of the “chemistry” between art and life, on the
other. As a result, the moving image itself becomes a unique “membrane”
for a fusion between art, bodies and the movie camera with which they are
shown in a perpetual symbiosis, video appearing not just as embodied
technology in a post-phenomenological sense (i.e. a prosthesis both for the
eye and the touch), but – also corresponding to what Don Ihde (1995)
termed as the “alterity relation” to technology 7 – the camera appears as a
body in-between bodies, as well as “an object of fascination” that requires
the constant interaction of the eye and the hand (it needs to be looked at,
and touched). Thus the video recording of intimacy is doubled by the
intimacy of the video recording, (and an unusual intimacy with the camera
as an object). Consequently, the “camera eye” of classical cinema morphs
into the “camera-body” of a “domesticated” digital medium.
The explicit interaction with the camera that is foregrounded in this
film may point to a fascination with “imageness” and with the possibilities
of new technologies that underlies more subtly in many contemporary art
projects that may be placed in-between feature films, experimental cinema
and new media art. Perhaps the most eloquent example of this is
Majewski’s The Mill and the Cross (2011), a feature film length tableau
vivant, also exhibited in a shorter version as a multichannel installation titled
Brueghel Suite, 8 where the performative quality of cinematic technology
itself comes to the fore 9 as a virtuoso exercise in post-cinema, mixing
painted backgrounds, photographic techniques within a digital collage. The
film presents in a self-reflexive and metaleptic loop the creation of Pieter
7 With “alterity relations” technology becomes the other or quasi-other to which
one relates. See more about these relations in Ihde’s Postphenomenology (1995).
8 The artist’s personal website (http://www.lechmajewski.com/) defines the film as
a “unique digital tapestry,” and although it can be considered a theatrical movie,
the film has often been shown in museum spaces around the world. In 2011 parts
of it were displayed as a moving image installation both in the Louvre and in
Venice as a part of the 54 th Biennale.
9 In many ways Majewski’s film constitutes an alternative to Alexander Sokurov’s
Russian Ark (2002) in which the virtuoso camera, travelling through the rooms in
one continuous take throughout the film, achieves a sensation of the “technological
sublime” alongside the emphatic use of paintings, and the elaborate choreography
of bodies in motion.

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Brueghel the Elder’s 1564 masterpiece, The Procession to Calvary in the
same space with the “characters” represented by the painting, showing the
viewer scenes in which Brueghel arranges the models for his composition,
makes sketches for the painting, embedding the figure of the painter within
the painting he is working on. [Figs. 5–6.]
Figures 5–6. The Mill and the Cross (2011): the self-reflexive, metaleptic loop of
the painter and his models incorporated within the painting being created.
And while the space of the painting and the fictional context
(re)created in the film collapses into one cinematic spatial construct, the
time frames also overlap: we can see the painting both from the

Ágnes Pethő 161
perspective of its coming into being (thus somehow from before it became
fixed and framed for eternity 10 ) and also from considerable distance after
its completion, from the perspective of today’s viewer already familiar with
Brueghel’s work. This duality corresponding to the vantage points of “life”
(the scenes captured by the painter played by Rutger Hauer in the film, the
scenes of the painting brought to life in the film) and of the “image,” the
painting as a finished artwork that we already know, which frames them
all. Life is framed by the act of painting and, the other way round, the
painting as an art object and representation is framed by the larger context
of all the lives of the multitude of little figures that we now see in it
together with that of the painter who painted them. On top of all this,
Majewski’s work, “the digital tapestry” elegantly folds back upon itself,
showing us how cinema (and new digital media) can reframe them all.
Majewski emphasizes this latter viewpoint at the end of the film by
wrapping up the cinematic tableau in an even further reflexive frame as
the camera slowly backs away from the scene revealing the original
Brueghel picture hanging in the Kunsthistorisches Museum in Vienna
[Fig. 7]. The details of Brueghel’s painting itself are spread out into a series
of loosely connected vignettes in the film focusing on the activities of the
small figures at the foot of the Calvary. As the panorama breaks down into
the individual scenes that often display frames within frames acting as
small tableaux within the overall tableau [Fig. 8], the hybrid moving
image becomes a unique platform for a fusion between the sublime art of
painting, the tangibility of moving, bleeding bodies, and the technical
wonder of digital cinema.
The metaleptic loop between painter and his painting, furthermore,
between the painting in the film and the original in the museum that we
see in The Mill and the Cross, is also consistent with the current penchant
in cinema for tangled narrative hierarchies and stunning pictorial effects,
or for self-reflexive mise en abyme constructions in video art.
10 This may remind us of the complex relationship Pierre Klossowski describes
between life and art in the practice of the tableau vivant, in which the tableau can
be seen as both something that precedes the painting (as a model, an unfinished
gesture) being inscribed in the painting, and as something that may reproduce a
painting in search of the original gesture, as illustrated also by Raul Ruiz’s
Hypothesis of a Stolen Painting (L’Hypothèse du tableau volé, 1978), based on
Klossowski’s novel. The tableau vivant, according to Klossowski, is “not simply
life imitating art [...]. The emotion sought after was that of life giving itself as a
spectacle to life; of life hanging in suspense” (1969, 100).

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“Housing” a Deleuzian “Sensation”
Figures 7-8. Lech Majewski: The Mill and the Cross (2011).
The way the still composition, the image-world of the painting
unwinds in the film into a diegetic space around the figures transformed
into characters of a multi-linear, fragmented narrative that provides
glimpses into the anonymous, everyday life lived in the shadow of the
“grand narrative” of the Passion of Christ, may even remind us of the logic
of transmedia storytelling that has become so popular in our networked
culture, and in which narratives are developed and expanded ad infinitum
within an overarching storyworld, making use of different media. Painted
scenery, cinematic tableau vivant, or naturalistic scenes of action, verbal

Ágnes Pethő 163
narrative come together as extensions of the same world depicted by
Brueghel’s original canvas. 11 From this point of view, therefore,
Majewski’s elaborate, multimedial fiction is fashioned not as a restaging
or an adaptation (of either the painting or of Michael Francis Gibson’s
eponymous book that inspired the director), but as an effective narrative
trans-medialization capitalizing on the possibilities of intermediality in
digital cinema (i.e. on the hybridity of the image that combines different
media, and on the hybridity of the format: viewed either as a single movie
or as a multichannel installation). At the same time, this structure of The
Mill and the Cross also enacts the basic “narrative” of the still image as a
medium, displaying the process of characters and stories being fleshed out
in the imagination of the viewer, and pointing to the chiastic relationship
of bodies constituting images and images unfolding into bodies.
Majewski’s preceding work, Glass Lips (2007), a dialogue-free
surrealistic film, offers a whole set of kaleidoscopic variations of such
chiastic interchanges within tableau style compositions. The film was
assembled from 33 pieces of independent video shorts originally shown as
a gallery installation with the title Blood of a Poet (a deliberate homage to
Cocteau) at the 2006 Majewski retrospective at the Museum of Modern
Art in New York (and a year later the collection was included in the
programme of the Venice Biennale, shown on multiple screens on
different locations before being put together as a feature film for theatrical
release). 12 The “attraction” and interchange between humans and the
animate and the inanimate world, between human body and animal flesh,
between humans and objects, the juxtaposition of representations and
palpable reality, image and body, art and life runs through the film as a
leitmotif that connects the individual episodes. In a chiastic exchange we
see in the beginning of the movie how a baby is tied with an umbilical
cord to a rock amid a breathtaking scenery of high mountain peaks, glacial
lakes and gorges of the kind immortalized by the Romantic paintings of
Caspar David Friedrich, in a later scene we see a postcard of these
mountains pinned to the wall of a hospital where a young woman seems to
be fascinated by it and where, in a later scene, she is shown to be in labour
giving birth to a huge piece of stone. Towards the end of the movie we
11 In another article I have also discussed Majewski’s film as a palimpsest of
narratives and narrative modes (The Vertigo of the Single Image: From the Classic
Narrative “Glitch” to the Post-Cinematic Adaptations of Paintings, 2013).
12 See pictures and information at the artist’s website: http://www.lechmajewski.
com/html/blood_of_a_poet.html. (Last accessed 1. 09 2014.)

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find the recurrence of the “umbilical cord theme” as a woman’s arm is
connected by an intravenous tube to a satellite dish. 13 [Figs. 9–16.]
Figures 9–16. The “attraction” between humans and objects, art and “life” in
Majewski’s Glass Lips (2007).
13 These kinds of bizarre associations constitute a recurring motif in Majewski’s
films, in the Roe’s Room (1997), which we will discuss later in this article, we see
grass growing inside a house, and pictures bleeding on the wall, in Gospel
according to Harry (1994) TV screens grow in the desert.

Ágnes Pethő 165
In a short scene that we may regard as perhaps the centerpiece of this
ambivalent, installation art/theatrical movie project, Majewski reveals in a
very simple interaction between art and its beholders, between
representation and reality, an important new vantage point over the
cinematic tableau vivant, and which may also be interpreted as a
minimalist allegory of what happens in such films. In this we see how the
young man whom we identify as the protagonist of these loosely linked
sequences visits an unidentified museum which will soon become the
setting for a bizarre ritual (that may only take place in his own
imagination, as the technique of superimposed images might suggest to us
in the end of the episode): the spectators gathering in front of Rogier van
der Weyden’s painting, The Descent from the Cross, 14 all of a sudden
begin to undress and put on robes and assume poses to imitate the painting
until they reproduce the same scene, creating a tableau vivant with the
original picture standing in the background as an art object included within
the act of a performance. [Figs.17–18.] As the spectators become
incarnations of the image, the painting acts as a silent witness to the whole
event, and the roles become reversed: the viewers assume the position of
the objects of our gaze. At the same time, as the composition is
reassembled, the embodied image becomes the product of a precise
choreography of movements, of the arrangement of fabric, and of an
exercise in human discipline. The “performance” caught on camera not
only transmutes the Biblical scene into an amateurish theatrical role play,
but also “secularizes” the revered artwork through emphasizing not an
aesthetic, not even a narrative, but an essentially analytic and
“anthropological” perspective, reminding us of Hans Belting’s theory of
images which ascribes special importance to the interaction of body,
image and medium as a performative process. In Belting’s words, “images
are neither on the wall (or on the screen) nor in the head alone. They do
not exist by themselves, but they happen; they take place whether they are
moving images (where this is so obvious) or not. They happen via
transmission and perception.” (2005, 302–303.) “Image and medium both
are linked with the body,” Belting claims, for “perception alone does not
explain the interaction of body and medium that takes place in the
transmission of images. Images […] happen, or are negotiated, between
bodies and media. […] Bodies perform images (of themselves or even
against themselves) as much as they perceive outside images. In this
double sense, they are living media” (2005, 311, emphasis in the original).
14 The painting is exhibited in the Prado Museum in Madrid, but unlike Majewski’s
The Mill and the Cross, the sequence deliberately avoids any reference to place
showing only the bare white walls surrounding it.

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“Housing” a Deleuzian “Sensation”
Figures 17–18. The re-enactment of Rogier van der Weyden’s painting, The
Descent from the Cross (c. 1435) in Majewski’s Glass Lips.
The original Early Netherlandish painting which creates in its unique,
compact way a whole, self-contained world and narrates a poignant story,
is famous for the expression of grief and the “shining pearls” of tears on
the faces. 15 Here, however, the picture as a tableau vivant is no longer
15 See Erwin Panofsky’s remark on the painting: “It may be said that the painted
tear, a shining pearl born of the strongest emotion, epitomizes that which Italian

Ágnes Pethő 167
about the Biblical narrative but about the people performing it, and about
the events of this “performance.” Van der Weyden’s picture is reduced to
a mere backdrop to the action, while the group of people become the
mediums for a different “image” that dismembers the unified composition
of the painting into individual bodies, not only substituting the canvas and
the stroke of the painter’s brush with the surface of skin and the movement
of the camera gliding along the body, but also introducing a crucial
element: instead of the rich emotions depicted by the original painting
resonating with their potentially empathic spectator, we have the
impassible interaction of the fragmented body and the camera, as well as
the emergence of a specifically cinematic “sensation” through the close-up
of the trembling flesh. [Figs. 19–23.] The palpable corporeality of such a
photo-filmic image released from both its original materiality and its
plastic figurativeness may bring to mind what Deleuze calls in his book on
Bacon the encounter with a “body of sensation,” uniting a sensation that
“is transmitted directly, and avoids the detour and boredom of conveying a
story” (2003, 36), something that is located not in the eye of the beholder,
or “in the air,” but directly “in the body,” with the body itself that can be
understood as a “figure,” not a “structure” (2003, 20), the “body of
sensation” being in this way “the submission of the figurative to
sensation” in the words of Elizabeth Grosz (2008, 88) interpreting
Deleuze.
Or the way Majewski gradually breaks down the scene – from people
walking around and contemplating the artwork exhibited in the museum to
dressing up and assuming their poses to match the ones in van der
Weyden’s painting, to the camera zooming in on disconnected body parts,
the texture of skin and flesh, as well as the small movements observable
on the level of living tissue – all of this might also remind us of Giorgio
Agamben’s (1993, 138) comment on Deleuze that it is gesture rather than
the image that is the essentially cinematic element in film. And although
some interpreters may see in this comment something that clearly sets
Deleuze and Agamben apart, rather than as a connection between their
theories (which is probably justified if we take into consideration
Deleuze’s two books on cinema), in what follows, I will argue that
Deleuze’s ideas, not on the type of cinematic images (i.e. the movementimage
or the time-image), but mostly on the type of painting practiced by
Francis Bacon, his notion of “sensation” can be seen in convergence with
Agamben’s notes on gestures in cinema.
most admired in Early Flemish painting: pictorial brilliance and sentiment” (1953,
258).

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“Housing” a Deleuzian “Sensation”
Figures 19–23. The expression of grief, the “shining pearls” of tears on the faces
in the painting (E. Panofsky) versus an impassible choreography of cinematic
movements.

Ágnes Pethő 169
“Give me an Image, Then!” Cinematic Pictorialism
in-between “Sensation” and Figurativity, Gesture
and Composition
Majewski’s The Roe’s Room (Pokój saren, 1997), Sharunas Bartas’s
The House (A Casa, 1997), and Ihor Podolchak’s Las Meninas (2008) are
all feature film length cinematic works, comparable to some of other
recent movies bordering on installation art, 16 and that rely on such a
Deleuzian “sensation” ‒ conceived mainly as a succession of images
perceivable in the in-between zone of several arts (poetry, painting, music,
video art and cinema). In each of them it seems that the main character is a
house, not the people inhabiting it, a house acting not as a location for a
narrative, but rather as a mere binding for the unfolding images which
appear like single channel video art displays exhibited in a gallery. In each
case the house appears as a fictional space where sensual impressions,
recollections are reshaped by an artistic imagination. Neither of them
presents any story in a conventional sense, just a series of monotonous
everyday activities (like sleeping, preparing meals, eating, moving from
one room to another and gazing at things, punctuated by the changes of the
seasons).
As such, they are relevant for the study of contemporary inflections of
the post-cinematic tableau vivant not only due to the fact that they extend
the tableau style over the entire length of the movies (which makes them
somewhat unusual even in the so-called slow film canon that has gained
terrain in the last decades within the global festival circuit), but because
using the confined diegetic space and visual frame of the house and its
rooms for staging their tableau-like images, they construct a model in
which the tableau vivant emerges as a “container” that may effectively
hold and fold together the artificiality of being composed and framed as a
self-enclosed “image” with the sensuous experience of the vibrancy of
“life,” manifest in contingency, corporeality, texture and gesture. This is in
essence the same model that we also find in many of the exhibited
photofilmic tableaux or single channel video installations in contemporary
art. Eve Sussman uses the space of Alcázar palace in a similar way in her
16 We may compare them for example to Tsai Ming-Liang’s Face (Visage, 2009)
which also consists of a loose string of vignettes. Ming-Liang’s film (partially
funded by the Louvre Museum in Paris) uses the spaces in and around the Louvre
(its exhibition halls and its royal apartments) to create a dreamlike world
connecting in a similar way the inside with the outside, art and life, cinema and
painting.

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“Housing” a Deleuzian “Sensation”
high definition video “transcript” of Velázquez’s Las Meninas, 89 Seconds
at Alcázar, to reframe the original painting as a collection of sensuous
impressions of bodies moving within a room. The multiple screen
structures boxing in the images used by Bill Viola in some of his video
artworks exploit this very same dynamics between the confinement of the
frame and the sensuous quality of bodies, fabrics, natural elements, along
with the foregrounding of gestures.
In Majewski’s surrealistic vision the house is a container for a lyrical
autobiography tapping into his own memories as a young man, a unique
Gesamtkunstwerk offering the viewers an opera in the form of a “video
fresco” as he calls it in his commentary for the DVD edition. 17 The film
starts with a self-reflexive gesture, we hear Majewski’s voice instructing his
actors to stand motionless and look into the camera, thus implicitly, at him
directing the movie. The family, father, mother, son pose as in a
photograph, and the film begins with this tableau inviting us into the
world of the film as if viewing a family picture (also acting as a magic
mirror opening up a window for the author to access and share his
memories). [Fig. 24.] And as soon as the invisible connection between
author and narration, presence and remembrance, Majewski and his actors
is established, the film unfolds in a unique choreography of stillness and
movement, silence and music; showing people framed in still
compositions, quietly inhabiting the rooms, interacting each with their
characteristic objects in silence (mother with the house plants, father with
his books and stamp collection, the son with the pictures on the wall, or
filmed against the window which reveals a beautiful girl across the house,
etc.), while the orchestra plays the enchanting score composed by
Majewski himself together with Józef Skrzek. 18
17 Majewski confesses in the same audio commentary to the DVD: “The origin of
The Roe’s Room starts with my poems. I am basically a painter and a poet,” adding
that the immediate source of the script/libretto was a cycle of poems he wrote at
the time he was in film school, and that was published with the title Home. The
Roe’s Room was originally written as an opera that was presented as such, as a
live, theatrical show in March 1996 at the Silesian Opera. Majewski made the
fiction film based on this opera a year later, which was subsequently also screened
at several art museums and galleries: Buenos Aires Museum of Modern Art
(2000), Palagraziussi Venice (Venice Biennale, 2001), Museum of Modern Art,
New York (2002), Galerie Nationale du Jeu de Paume, Paris (2004), the San
Francisco Museum of Modern Art (2007).
18 In the audio commentary to the DVD Majewski admits that having experienced
a series of contemporary opera works as “torture,” it was his deliberate goal to
write a kind of melodious, spiritually and emotionally uplifting music that he
admired in the old Romantic masters.

Ágnes Pethő 171
The camera glides unobstructedly to and fro, horizontally stitching
together the images within a panoramic, panning movement across the
rooms, or moves up and down the different levels of the house, all in a
majestic slowness, as we hear songs performed as inner monologues and
pieces of choir music added to the sumptuous images in a voice over.
There is no real story, at least not in the conventional sense, only images,
and images superimposed on other images that build a poetic space (a
space of art and a symbolic space of the soul and mind) changing with the
sequence of the seasons to make the passing of time palpable, a space
where memories can be conjured up and imagination can flourish, a space
overflowing with archetypal and Biblical symbolism, as the house appears
like an enchanted castle and a place for rituals of initiations, a setting
where the cycle of life unfolds, a place defined by light and darkness, by
the presence of the elements (earth, fire, water), but it is also an Edenic
place bringing together a variety of living and inanimate things, and where
we are constantly reminded of Christianity through the presence of the
crucifix. [Figs. 24–27.]
Figures 24–27. Lech Majewski: The Roe’s Room (1997), an opera in the form of a
“video fresco.”

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“Housing” a Deleuzian “Sensation”
In what is perhaps one of the most poetic autobiographies in recent
cinema, the sensuous experience of music, rhythm, poetic language and
painterly image conveys both a young man’s sensual and spiritual
awakening to all that is magical in life and the adult Majewski’s nostalgic
recollection of the impressions that have shaped his sensitivity as an artist.
Bartas’s The House unfolds in a similar manner, like a continuous
dream, and also like in the case of Majewski’s visual poem, the inspiration
comes from poetry. 19 The only words we hear are in the first two minutes
of the film in which a male voice over recites a few lines spoken in
French. The lyrical text addresses an unnamed (and absent) “Mother” 20 as
in an interior monologue and speaks of frustrations in communication, the
fleeting sensation of time and the endurance of the subjective images in
one’s mind, placing the whole vision somewhere between recollection and
fantasy. 21 The film was made as a Lithuanian, French and Portuguese
coproduction and with an international cast including the French director,
Leos Carax, appearing in a small role (in a static pose, wrapped in a thick
“armour” made of newspapers glued together with a book in his hand, see
Fig. 31). In its introductory sequence it evokes two important predecessors
for this type of cinema: the films of Andrei Tarkovsky (in the title
sequence we hear the same fragment from Bach’s St Matthew Passion,
19 See the conversation about the film in Guillaume Coudray’s documentary essay
on Bartas’s work, Sharunas Bartas: An Army of One (2010).
20 Although some reviewers speak of this as a metaphor for “motherland,”
interpreting the film (and the symbolism of the house) as Bartas’s allegoric way of
speaking about his country, isolated within a larger, controversial “motherland”
and unable to communicate with her, or nurturing highly ambivalent feelings
towards her, the film remains up to the end extremely stylized and abstract even
though some elements (like the reference to Ilya Repin’s painting of Ivan the
Terrible murdering his own son, the presence of the soldiers and menacing army
tanks closing in on the house at the end of the film, or the image of the sad, young
boy replacing Christ on the cross) may obviously be seen as references to a
troubled (though not necessarily contemporary) East European reality. Bartas
himself insists on the poetic, “undigested” quality of the film, something “made of
primitive feelings” (see Coudray’s documentary).
21 Here are a few sentences from this monologue: “Mother, often I wanted to talk
to you about everything, but I never did. But deep inside I was talking to you. [...]
In the future I am free. Free, because it doesn’t yet exist. I don’t understand the
present. The present moment is so fleeting. I’m not really sure that it exists.
Mother, time has passed. And I am far from you. What is important, mother, for
me, is to believe that these things will not vanish.” In Coudray’s 2010
documentary mentioned in the previous footnotes Bartas speaks of the house in the
film being a space of the mind showing the images that we carry within us.

Ágnes Pethő 173
BWV 244 as Tarkovsky used accompanying the detail from Leonardo da
Vinci’s The Adoration of the Magi in the prologue of his last film,
Sacrifice [Offret, 1986]) and Alain Resnais’s Last Year at Marienbad
(L’année dernière à Marienbad, 1961), which also begins with a
dreamlike and repetitive voice over narration, and in which the majestic
edifice shown from the outside emerges as a similarly enigmatic image
framing the film and the wandering of the protagonist inside the building
itself presented like a passage through a labyrinth. While in Majewski’s
film there is a family living inside the house, clearly making it their own
through gestures and rituals, Bartas’s house reveals (deploying a similarly
dense archetypal and Christian symbolism as Majewski’s haunting vision)
a mere collection of picturesque animals and objects, of people of different
ages and races (men and women, young and old, beautiful and ugly, black
and white, naked and clothed) appearing one after the other, engaged in
different, mostly solitary, quiet activities, or sitting motionless, displayed
as “exhibits” within tableau vivant-like compositions 22 [Figs. 28–35], as
the young male protagonist goes from room to room, observing them.
Ihor Podolchak, who is also a well-known painter, photographer and
installation artist, 23 presents in his enigmatic Las Meninas a house full of
mirrors and mirroring surfaces in which images are reflected and
multiplied acquiring an eerie, trance-like quality (hence the reference in
the title to the reflexive structure of Velazquez’s painting). As a veritable
tour de force in cinematography, Podolchak claims to have filmed 70–75%
of the film through mirrors. 24 The film takes the viewer into the dull,
everyday routine of a family (elderly parents, a grown up daughter, a
sickly son) with slow, static shots showing them mostly in their dining
room as they eat or prepare to eat, or, sometimes, play music, or get
dressed. Time and reality, vague as they appear, also get refracted: some
of the scenes seem to take place in the past, when the son was merely a
22 Bartas’s next film, Freedom (2000), is conceived similarly as a string of
beautiful tableau compositions, this time, however, perhaps as a deliberate
antithesis, away from the framing structures provided by houses and rooms:
presenting its characters in vast open spaces, as figures in a landscape in sensuous
interconnection with the elements (water, wind, sand) as they “escape” to a
desolate land of picturesque nothingness.
23 He has also risen to some fame due to the fact that he is the author of the first art
exhibition ever to be held in space, as two small woodcut prints made by him were
taken by Russian cosmonauts on the Mir Space Station in 1993. (See:
https://www.youtube.com/watch?v=SnKcWWhj_hY. Last accessed 1. 09. 2014.)
24 See: http://www.kinokultura.com/specials/9/lasmeninas.shtml. (Last accessed 1.
09. 2014.)

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“Housing” a Deleuzian “Sensation”
Figures 28–35. Sharunas Bartas: The House (1997).

Ágnes Pethő 175
boy, and some appear as pure fantasy. The film is further hybridized by
the collaboration of the American music video director Dean Karr, who
directed a scene in the film which is in stark contrast to the dark greenish
tones of the images and the lethargic tempo of the rest of the film with its
abrupt editing style and bright colours (thus feels like a dream within a
dream).
In all three films many scenes are conceived on the thresholds between
cinematic movement and the still image, but also, between narrativity and
non-narrativity, as we see a kind of minimalist action taking place in these
frames, yet this amounts to in essence no more than a series of gestures
(laying the table, spooning the soup, mashing the Brussels sprouts on a
plate with a fork, holding a book, sitting silently at the edge of a bed,
watering plants, putting on a necklace or a dress, standing at a window,
examining stamps through a magnifying glass, arranging fruit in a bowl,
etc.). In fact, Las Meninas, perhaps even more than Majewski’s and
Bartas’s films, is composed of a fixation on gestures, gestures revealed in
fragmented close-ups and repeated over and over again in a world in
which house, family, art, perception and memory, present and past become
parts of the same organic rhizomatic network. If “cinema – in the words of
Agamben – leads images back to the homeland of gesture” (2000, 56),
because, Agamben claims, “in the cinema, a society that has lost its
gestures seeks to reappropriate what it has lost while simultaneously
recording that loss,” (1993, 137) then post-cinema in such moving image
projects, only amplifies, feeds on this possibility, that we so often see
exploited in photo-filmic installation art, of oscillating between the
immobility of the pose and its slow dissolution into (often barely
perceptible) movement, of building tableau compositions around gestures
and gestures connected to objects.
In this sense, Podolchak’s film, alongside Majewski’s and Bartas’s
work, appears to be a perfect example for a cinematic or post-cinematic
“dream of a gesture” (Agamben 1993, 139) transporting the viewer into a
visibly subjective and surreal universe of enigmatic pictures, yet, at the
same time, bearing the nostalgic, gestural imprints of a long lost lifestyle
that we can recognize – even in these stylized frames suggesting
timelessness – from our own memories, from old photographs, literary
descriptions, paintings or poems. In Majewski’s case it is the life in the
fifties or sixties of an urban family living in a typical two or three storey,
turn of the century townhouse somewhere in Eastern Europe where the old
architecture, reminiscent of more glamorous times, is like a communal,
extended family nest for its many inhabitants, who have most likely been
allotted rooms here replacing the original owners during communist times.

176
“Housing” a Deleuzian “Sensation”
In Podolchak’s Las Meninas it is a provincial villa (perhaps sometime in
the second half of the 19 th or at the beginning of the 20 th centuries, in a
place that could be anywhere in Europe), with special emphasis on
household objects, items of decoration and clothing which could well be
the same in any adaptation of Chekhov, Tolstoy or Turgenev. Bartas’s
house is perhaps the least specific, yet the pictures on the wall, the large
dining hall with the crystal chandelier and people gathered around the long
dining table, eating and chattering, the image of the dog lying at the foot of
the old woman may seem like similar vestiges of times gone by as
Podolchak’s villa.
In each of these films, in the structure of the house, we have a
sensuous, liminal space, merging the outside with the inside, the natural
with the artificial, with birds wearing bow ties and headdresses [Figs. 30,
31], and humans stripped naked [Fig. 33], paintings that look alive and
bleed [Fig. 27], and with bodies framed as paintings or appearing as
sculptures (being covered with layers that look like bronze, or being
smeared with clay [Figs. 32]) in interconnected rooms displaying signs of
dreary decay alongside images of lush life, with vines that crack the walls,
and ‒ in Majewski’s and Bartas’s case ‒ people cohabitating with animals,
birds and plants [Figs. 26, 29, 30, 34]. As the films progress vegetation
seems to conquer all. The father has to cut the grass in the living-room, a
huge tree grows inside the house in Majewski’s film opening up the space
of the traditional, nuclear family and the young boy’s awakening to the
pleasures of the flesh onto the world of uninhibited, adult sexuality as we
peek into the life of the promiscuous neighbour through the leaves. In
Bartas’s house, by the end of the movie, the flowers planted by the old
woman are shown in full bloom in the attic, implying perhaps through the
apparent final victory of nature over culture again a triumph of the senses.
Images are saturated with the sensation of forms, colours, and sounds. As
already mentioned, the soundtrack of Majewski’s The Roe’s Room is an
opera, and Bartas and Podolchak both use a polyphony of ambient, on and
off-screen noises, people playing music, reminding us of the essentially
musical nature of Deleuze’s notion of “sensation,” (which he defines as
“essentially rhythm,” or appearing as “the vibration that flows through the
body”– Deleuze 2003, 72.) 25
As the camera zooms in on the bodies, which are either youthfully,
beautifully erotic (like in The Roe’s Room), or often deformed, bizarre (in
Bartas’s The House), or overweight and unpleasant to watch (as some of
25 See also Elisabeth Grosz’s interpretation of Deleuze: “sensation requires no
mediation or translation. It is not representation, sign, symbol, but force, energy,
rhythm, resonance” (2008, 73).

Ágnes Pethő 177
the inhabitants of the villa in Las Meninas), the movement of the image is
absorbed by almost imperceptible movements at the level of skin and
texture. Accordingly, what we see in these films is haptic cinema at its
richest, a cinema of small gestures, of the flesh, of pulsations, energies,
and intensities, where organic and inorganic matter become almost
indistinguishable. It is a cinema that can perhaps best be described through
the conflicting notions of the Deleuzian “figural” and “figuration.” As
Elizabeth Grosz summarizes, “the figural is, for Deleuze, the end of
figuration, the abandonment of art as representation, signification, narrative,
though it involves the retention of the body, planes, and colors, which it
extracts from the figurative” (2008, 88). Relying on Deleuze, Martine
Beugnet describes such films in this way: “between the cinema of
‘psychological situations’ and that of pure abstraction, the cinema of
sensation opens a space of becoming, a space where the human form is
less character and more figure, a figure caught [...] in the material reality
of the film as event” (Beugnet 2007, 149, emphasis mine, Á. P.). She also
says: “one way or another, the cinema of sensation is always drawn
towards the formless (‘l’informe’): where background and foreground
merge, and the subjective body appears to melt into matter” (2007, 65).
Deleuze considers such a body a “body without organs,” mere “flesh and
nerve” taking on a “spasmodic appearance,” (2003, 45) as he writes in his
book on Bacon. He also mentions that “there are two ways of going
beyond figuration [in art]: either toward the abstract form, or toward the
Figure,” the sensation (2003, 34).
In an article that deals with similar issues focusing on the films of
Philippe Grandrieux mainly from the theoretical vantage points defined by
Pascal Bonitzer and Georges Didi-Huberman the authors, Fran Benavente
and Gloria Salvadó, note that: “there is an extensive trend in contemporary
film that focuses on this shift to the logic of sensation or, […] the ambition
to translate the invisible into a disfiguration process of the visible” (2010,
131). What sets these films analyzed here apart from this trend is that “the
logic of sensation” applied here does not perform a “disfiguration of the
visible,” or at least not exclusively: both building the image around
gestures and foregrounding its intermedial qualities (i.e. its associations
with paintings) “turn” this process of disfiguration around, back to the
territory of figurativity and pictorial composition. [Figs. 36–38.]

178
“Housing” a Deleuzian “Sensation”
Figures 36–38. Ihor Podolchak: Las Meninas (2008): haptic images gravitating
towards the “formless” and images folding “imageness” back onto themselves.

Ágnes Pethő 179
What is unique in this particular corpus of post-cinematic films is that
they continually move toward the fragmented body of sensation,
decomposing the narrative “organization” of the sequence, as well as the
“optical” structure of image into a haptic space with patches of colours and
vibrations of sound, but we also see an obsessively repeated reconstruction
of the image as a whole. 26 Deleuze begins his chapter on “cinema, body,
brain and thought” with these words: “Give me a body then!” saying “life
will no longer be made to appear before the categories of thought, thought
will be thrown into the categories of life,” indicating a way in which in
certain examples of modern cinema “life” can be made accessible not
through representing it, but by “thinking” directly through a body, and
gestures of the body (Deleuze 1989, 189). The constant re-composition of
haptic fragments into tableau-like images in the three films mentioned
here suggest another path that we might define with the demand
(modifying the Deleuzian motto) as “Give me an image then!”, an urge to
throw, paradoxically, “life” into categories of the image. We see this
movement for the recovery or reconstruction of the (autonomous,
painterly) image from the “formless” mass of flesh and “spasms”
dispersed within a haptic space in the recurring mirror reflections that fold
26 At the same time we have a loose reconnection with some kind of a narrative
frame, as if chaos would gravitate towards order both in image and narrative:
Majewski and Bartas use something similar to a stream of consciousness technique
with a clearly designated (alter-ego) protagonist whose visions we can directly
access, Podolchak frames the film with the image of a man and a woman
reminiscing about their past.

180
“Housing” a Deleuzian “Sensation”
the “imageness” back onto itself [Fig. 38], and this is what we see in the
instances in which the cinematic frame appears to be haunted by another
image, a photo, a painting, 27 or a mere echo of pictorialism (as an inbetween
of photography, painting and cinema 28 ). [Figs. 39–41.]
Figures 39–41. Quotations of paintings: Velázquez’s eponymous painting in
Podolchak’s Las Meninas, Ilya Repin’s Ivan the Terrible and his Son in Bartas’s
The House, and Giorgio de Chirico’s painting in Majewski’s The Roe’s Room.
27 In the case of Las Meninas the title itself evokes an image that “haunts” the
entire film.
28 E.g. we have beautiful still-life compositions of fruit resembling 17 th -century
baroque compositions in Las Meninas.

Ágnes Pethő 181
This process of recovering, framing or reframing a picture which
modulates the image in these films in-between the figural and the
figurative, confers a new and unexpected dynamic and intensity to
rendering visible “forces that are not themselves visible.” Consequently
life (or memory, or imagination) does not appear as something represented
by images, but as the sensuous experience of moving through a series of
images: where the image, re-emerging as a whole, does not show life, it
houses its own sensuous, synesthetic, “molecular” life. While the
Deleuzian “sensation” always tears bodies into flesh, and “descends flesh
from the bones,” (2003, 12) dissolving the picture as an object of
observation and redefining it as an object of contact and interaction, what
we have here is post-cinema constituting in a tableau no less and no more
than a space (a “block”) for becoming an image, for the experience of
being an image. In Deleuze and Guattari’s definition “becoming is always
double, that which one becomes becomes no less than the one that
becomes ‒ block is formed, essentially mobile, never in equilibrium”
(2004, 305). Seen from this perspective we may find that bodies become
images within a tableau vivant, just as much as images become bodies, or
the cinematic characteristics of painting in such an image are also made
visible at the same time as cinema acquires the quality of painting.
Moreover, in each case presented here the tableau as a “block” of
“becoming” involves not just a triple relationship between image ‒ body ‒
camera, but also multiple metalepses: of art and life, of the observer and
the observed (the protagonists of each of these films are repeatedly shown
as touching the world around them, looking at pictures as well as being
framed within the cinematic tableau). The loop of “the formless” into form
results in an imageness perceivable both as art permeating the “skin of the
screen” and as artificiality, as something visibly produced by an apparatus
that records the acts of bodies performing images, 29 and performs optical
tricks that constantly de-territorialize and re-territorialize the image, along
the process through which cinema reaches beyond cinema, into the
expanded field of pictorialist photography and a “sensation” of embodied
painting.
In such examples – similarly to what we see in contemporary video art
tableaux – we have a post-cinematic expansion of the in-between zone of
narrativity and non-narrativity through a Deleuzian “sensation” that stems
from a “molecular,” “unformed” level of cinema, yet repeatedly performs
a “folding” of this “figural” back onto the “figuration,” the “molar”
29 This connection is only made self-reflexively palpable in the earlier example of
Majewski’s Garden of Earthly Delights, where the camera also takes part in the
performance itself with its actual interaction with people.

182
“Housing” a Deleuzian “Sensation”
formation of the ambivalent, photo-filmic tableau vivant. The tableau
itself contains the movements in both directions: from “molecular” to
“molar,” as well as the other way round. The free flowing images, which
constantly break down into mere gestures, into pure “exhibitions of
mediality,” 30 in Agamben’s words, generate a particular self-reflexive
“narrative” in which the gestures of the body become “gestures” of the
image itself, unfolding its own “imageness” perceivable in the liminality
of arts and media through the sensuous details, thus performing its own
mediality and inter-mediality.
References
Agamben, Giorgio. 1993. Infancy and History. The Destruction of
Experience. London, New York: Verso.
—. 2000. Notes on Gesture. In Means without End, Notes on Politics, 49–
63. Minneapolis, London: University of Minnesota Press.
Belting, Hans. 2005. Image, Medium, Body: A New Approach to
Iconology. Critical Inquiry, No. 31 (Winter): 302–319.
Benavente, Fran and Gloria Salvadó. 2010. From Figure to Figural. Body
and Incarnation in Contemporary Film. Akademisk kvarter/Academic
Quarter. Volume 01. Fall: 130–138.
Beugnet, Martine. 2007. Cinema and Sensation. French Film and the Art
of Transgression. Edinburgh: Edinburgh University Press.
Deleuze, Gilles. Cinema 2. 1989 [1985]. Cinema 2. The Time-Image.
London: The Athlone Press.
—. 2003. Francis Bacon: The Logic of Sensation. London, New York:
Continuum.
Deleuze, Gilles and Félix Guattari. 2004 [1980]. Thousand Plateaus:
Capitalism and Schizophrenia. London: Continuum International
Publishing Group.
Grosz, Elizabeth. 2008. Chaos, Territory, Art. Deleuze and the Framing of
the Earth. New York: Columbia University Press.
Ihde, Don. 1995. Postphenomenology: Essays in the Postmodern Context.
Evanston, Illinois: Northwestern University Press.
Klossowski, Pierre. 1969. The Revocation of the Edict of Nantes. New
York: Grove.
30
Using the example of dance movements Agamben defines gestures as pure
“means without end,” exhibiting the “media character of corporal movements” and
allowing the emergence of the “being-in-a-medium of human beings” (2000, 58).

Ágnes Pethő 183
Panofsky, Erwin. 1953. Early Netherlandish Painting, Cambridge
Massachusetts: Harvard University Press.
Peucker, Brigitte. 2007. The Material Image. Art and the Real in Film.
Stanford: Stanford University Press.
Pethő, Ágnes. 2013. The Vertigo of the Single Image: From the Classic
Narrative “Glitch” to the Post-Cinematic Adaptations of Paintings.
Acta Universitatis Sapientiae: Film and Media Studies, 6. 65−90.
—. 2014a. The Tableau Vivant as a “Figure of Return” in Contemporary
East European Cinema. Forthcoming in Acta Universitatis Sapientiae.
Film and Media Studies, Volume 9.
—. 2014b. The Garden of Intermedial Delights. Cinematic “Adaptations”
of Bosch from Modernism to the Postmedia Age. Forthcoming in
Screen, Vol. 55, issue 4 (Winter).

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Головна сторінка
Меню:
Джозеф кошут лекция
завантажити, 145 кб.
Від «пишноти» до «альфа-споживання» джозеф кошут лекция
Вихідні твори постають у новому вигляді: покладені на інший ритм, зі зміненими інтервалами.
Можна це назвати аранжуванням, а можна - переосмисленням.
11.05.2017
Муза, яка потребувала чину
Ігор Котик
Книжка «Муза і чин…» спростовує традиційний погляд на Остапа Луцького як на літературного
вискочку, з якого розсудливому Каменяреві вдалося зробити людину. Поруч з тогочасними
літературними авторитетами він не виглядає фігурою другорядною.
11.05.2017
Цікавий перш за все як літератор, Остап Луцький залишив слід не лише в літературі, а й у
суспільному житті, в українській історії загалом. Це видно навіть із пунктиру його біографії.
Якщо повернутися до того, що концепт - це мистецтво, то потрібно сказати, що одним з
першопрохідців напряму «концептуалізм» є Джозеф Кошут, той самий автор композиції «Три
стільця», з якої почалося розповідь даної статті. З інших відомих діячів слід назвати вдову
Джона Леннона Йоко Оно, Ванессу Бікрофт, що використовує дівчат-моделей в своєму
перформансі, Саймона Старлинга (він переробив в плавзасіб сарай з дерева, проплив в цьому
човні по річці, потім знову повернув їй первісний вигляд, тобто сколотив сарай). Останній
отримав за це своє досягнення премію Тернера (засновану в 1984 році престижну нагороду в
сфері сучасного мистецтва). Взагалі ж, концептуалізм - одна з гілок постмодернізму.
Для художника-концептуаліста найважливіше передати глядачеві свою ідею. А якими
шляхами - це вже він вирішує сам. Для нього концепт - це фотографії, схеми, предмети,
аудіозаписи, фрази, графіки. Словом, використовує концептуаліст все що завгодно, лише б
висловити суть ідеї. А от напрямок в мистецтві, покликане повною мірою відображати лише
думка, а не зовнішню форму або інші видимі атрибути, так і називається - концепт-арт.
За показовими каламбурами ця повість насправді ховає глибші ідеї для роздумів...
Чи не уособлює час, в якому жив Рот, самосумнів Модерну, його модерністичний overrunning?
Чи не тікаємо ми сьогодні також, як у часи Рота?
09.05.2017
Ігри патріотів
Ярослав Підгора-Гвяздовський
Особливо в цьому питанні звертає увагу швидкість, з якою премію було придумано і втілено в
реальність - за 2-3 місяці!
Розмова Ірини Старовойт та Ростислава Чопика про викладацьку майстерність.
PR та промоція у культурі: кілька розмислів та корисних висновків.
04.05.2017
Серед 200 джаз-бендів саме Tamara Lukasheva Quartett дістав цю найвище дотовану в Німеччині
відзнаку в сфері джазу.
Людство гине, і лише кільком випадковим особам вдається врятуватися.
1 of 7 5/17/17, 3:36 PM

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Мовний концепт - це те, що приймається в філології за авторську ідею, в деяких випадках і
стійку мовну з традиційним її втіленням. Можна сказати, що це аналог мотиву. Соціальний
концепт можна розглядати як породження певного соціуму, життєздатного лише тому, що
люди готові підкорятися його правилам або згодні визнати те, що він існує. Якщо порівняти
два визначення: «концепт» і «поняття» (від якого, як уже згадувалося, відбулося перше слово)
- то, хоча вони і є формально синонімами, вживання їх розмежовано. Друге слово фігурує
здебільшого в філософії і логіці, а перше вживається лише в математичній логіці, а набагато
частіше в культурології. У найбільш рідкісних випадках концепт ототожнюється з
сінгіфікатом.
Потрапивши на острів Ґалапаґос, вони стають прабатьками нового людства...
30.04.2017
Відобразити ще
Від «пишноти» до «альфа-споживання»
Олександр ЛОЙКО
Про зміну мотивів купівлі творів мистецтва
Символічний вимір потреб - один з аспектів, що відрізняє людину від тварини.
Людина, яка споживає, ніколи не обмежується необхідним і завжди претендує на надмірне.
Мистецтвознавець Людмила Комарницька в рамках серії лекцій про мистецтво ХХ століття
розповість про концептуальне мистецтво. Дійові особи: Джозеф Кошут, Йозеф Бойс, Сол
Левітт, Вітто Аккончі, Деніс Оппенхейм. Джозеф Кошут свою першу і найвідомішу
концептуальну роботу "Один і три стільці" зробив у 1965-му. Вона представляла собою
справжній стілець, його фотографію в натуральну величину та статтю зі словника "стілець".
В основі його мистецтва завжди була ідея, саме тому він вважав концептуальне мистецтво не
вразливим до ринку: "Моє мистецтво ринок не може спотворити, оскільки я створюю не
продукти, а ідеї, концептуалізм - єдиний напрям, що ніколи не купував один із верховод
художнього ринку Чарлз Саатчі".
Але що розуміти під останнім? Фернан Бродель писав про мінливість поняття «розкоші», до якої
у різних країнах у різні часи відносили: цукор, аперитиви, скло, перші глибокі та мілкі тарілки,
апельсини та ін. Проте безліч символічних форм надлишку мають спільне.
Концептуалізм виник в середині 60-х рр. ХХ ст. одночасно в Англії та США і досить швидко
зайняв провідну позицію серед напрямків сучасного мистецтва. У полеміці з передовим на той
час поп-артом, який був сконцентрований на предметному світі, концептуалісти
стверджували, що єдиним і основним завданням художника є продукування ідей, концепцій.
Форма може бути втіленою ремісником, проте лише художник здатен породити справжню
ідею.
Концептуалізм - мистецтво інтелектуальне, здебільшого іронічне. До того ж це своєрідний
протест проти комерціалізації мистецтва. На переконання концептуалістів, від художника не
вимагається створювати щось вічне, головне - передати відчуття сьогоднішнього дня,
породити "ефект присутності".
По-перше, вони покликані відображувати та підкреслювати соціальну нерівність. По-друге,
незмінним атрибутом «надлишкового споживання» у західній культурі з часів Стародавньої
Греції та Риму була купівля творів мистецтва.
2 of 7 5/17/17, 3:36 PM

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Стілець, його фотознімок, визначення значення слова «стілець» зі словника. Все разом це
витвір мистецтва. А саме концептуального. Концепт - це термін, який має багато значень
(походить від латинського «conceptus», що перекладається як «поняття»). Якщо пояснити
просто і доступно, то дане слово трактується як новаторська, свіжа ідея, спрямована на
творення. Наприклад, існують так звані "концепт-кари".
Це автомобілі
майбутнього,
прототипи
напрацювань в
цій галузі з
точки зору
дизайну,
технічної
складової та
стилю в
цілому.
Зазвичай такі
машини не
надходять у
продаж, а є
виставковими
експонатами.
На автошоу
публіці
пропонується оцінити нові ідеї. З урахуванням відгуків і реакції виробники вирішують
подальшу долю ноу-хау: впроваджувати або не впроваджуються. Приклади таких авто, що
представляють собою концепт, - це «Мерседес Бенц Ф700», який здатний сам визначати
нерівності дорожнього покриття і об`їжджати їх, або «БМВ Джина» (каркас з еластичного
матеріалу цієї машини дозволяє їй видозмінювати форму). А ось дизайн «Форда Іосіса» став
прототипом для покоління автомобілів «Форд Мондео». Російський концепт подібного плану -
всім відомий Е-мобіль, гібридне авто з електротрансміссія.
«Пишнота», «розкіш», «достаток», «унікальність»
У монархічній Європі станова ієрархія визнавалася затвердженою зверху.
Колекції ЦСМ принципово не притаманний статистично-архівний підхід, а її мета - це не
реєстрація всіх течій і тенденцій творчого пошуку певного періоду в історії мистецтва.
Характер колекції ЦСМ безпосередньо визначає актуальне визначення його місії:
„представляти мистецтво у процесі змін”. Цю колекцію було суттєво доповнено й оновлено
вже вчетверте. Тут уперше (від часу виникнення Центру Сучасного Мистецтва у 1990 р.)
свою присутність заявили, зокрема, документальні твори, що представляють значущі вияви
мистецтва перформанс.
Отже, гіпервитрати мислилися священним правом і обов’язком аристократії, ритуалом, що
покликаний відтворити соціальні відмінності. В цьому випадку можна згадати розповідь про
герцога Рішельє, який нібито жбурнув гаманець у вікно, після того як син повернув його повним,
замість того, аби навчитись витрачати гроші. У таких реаліях придбання творів мистецтва було,
зрозуміло, виключно прерогативою аристократії.
Серед подій Центру були виставки за участі робіт важливих сучасних митців: Яніса
Кунелліса, Енн Гамільтон, Демієна Герста, Біла Вайоли, Йозефа Бойса, Іллі Кабакова та
Джозефа Кошута, Енді Воргола. В центрі також проходили і мистецькі акції таких
українських художників, як Борис Михайлов, Олександр Гнилицький, Тарас Полатайко,
Андрій Сагайдаковський, Арсен Савадов, Олег Тістол, Марина Скугарєва, Тіберій Сільваші,
Ігор Подольчак, Ігор Дюрич. В рамках роботи центру відбулися лекції Беніто Оліви,
Джозефа Кошута, Ришарда Клюшчинського та Еркі Хухтамо тощо, воркшопи з
відеомистецтва, перформансу, мистецтва в Інтернет тощо.
Наприкінці XVII століття ситуація змінюється: запорукою привілейованого становища починає
вважатися не походження, а капітал. Ілюстрацією історичних змін є подія, коли Людовик ХIV,
зацікавлений в позиці, влаштовує урочистий прийом банкіру Самюелю Бернару. Тож
«аристократія крові» зазнає поразки, хоча ще намагається протистояти «аристократії грошей».
Наприклад, ряд указів забороняв представницям буржуазії носити коштовності, ціна яких
перевищувала встановлений ліміт.
На выставке будет представлено 26 неоновых инсталляций Кошута, включая его первые
конструкции, например, «Five Fives (to Donald Judd)» (оранжевый вариант). Из последних
серий художника можно будет увидеть «Beckett series» (2011).
Погоня за маркерами переваги стимулює розвиток моди, яка остаточно зітре зовнішні станові
відмінності. Свідчення маркіза де Мірабо відображує своєрідну «комедію положень», що
склалася в європейському суспільстві в той момент. Він згадує, як розсипався в люб’язностях
перед модно одягненим молодим чоловіком у перуці, який врешті-решт виявився підручним його
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коваля.
Ця колекція на широкій експозиційній базі засвідчує тотожність рушійних сил та практики
їхньої творчої реалізації у сучасному світовому мистецтві. Вона також дозволяє виявити
специфічніи польського мистецтва.
У Франції XVIII століття прихильники думки, що на «надлишкове споживання» можна
претендувати лише за правом народження, відрізняють «пишноту» від «розкоші». «Пишнотою»
захисники станових привілеїв називають надмірні витрати, виправдані походженням, а «розкіш»
таврують як прояв амбіцій і марнославства безрідних нуворишів. У цей час дорогий витвір
мистецтва виступає «слугою двох панів». Для згасаючої аристократії таке придбання - складова
ритуалу «пишноти», для великої буржуазії - спосіб заявити про свої права.
На початку XIX століття представники буржуазії починають сповідувати ідеал «достатку».
Міжнародна Колекція сучасного мистецтва із Варшави була зібрана у результаті копіткої і
наполегливої праці Ярослава Козловського, Пьотра Рипсона, Войцеха Круковського та
багатьох інших. Творці Колекції особливу увагу приділяють специфічнимам сучасного
польського мистецтва. Представлені у Колекції ЦСМ твори свідчать про його тісну
спорідненість з традицією конструктивізму, а також з переоцінкою мистецьких ідей та
позицій , прищеплених концептуалізмом, що вкоренився на польському ґрунті на початку
сімдесятих років. Якоюсь мірою це підтверджує нарація теперішньої версії колекції.
Він мислиться як золота середина поміж бідністю простолюдинів і марнотратством аристократів.
Метою «достатку» визнається «комфорт» - утилітарне ставлення до багатства, «єретичне»
порівняно з колишніми уявленнями про розкіш. Батьківщиною нових стандартів буржуазного
споживання стає Англія, звідки вони потім імпортуються на континент. Згідно з Беньяміном,
головний герой XIX століття - «приватьє», вільний підприємець, для якого важливу роль відіграє
інтер'єр - «футляр приватної людини». Творам мистецтва тут відведено роль ефектних елементів
цього «футляра».
Hозвиток виробництва наприкінці XIX століття призводить до появи величезної кількості
підробок і копій. Серійна копія шедевру - метафора середнього представника буржуазії, який
претендує на оригінальність, але не відрізняється від подібних собі.
Персональная выставка «Insomnia: assorted, illuminated, fixed» представит световые
инсталляции Кошута, созданные в период с 1965 года до наших дней, чем обозначит
результаты работы художника с таким материалом, как неон. Выставка фиксирует
приблизительно 50-летнее исследование роли и значения неоновых материалов в контексте
искусства. Впервые использованный Кошутом в 1960-х гг., неон рассматривался им как
форма «публичного письма» и обычно ассоциировался с поп-культурой, а не с
изобразительным искусством.
Як пише Токвіль у «Демократії в Америці»: «При змішуванні всіх класів кожна людина хоче
здаватися не тою, хто вона є насправді, і витрачає великі зусилля на те, щоби цього домогтися…
І немає таких хитрощів, до яких би не вдавалися мистецтва та ремесла з метою задовольнити ці
нові потреби, створені людським марнославством». Жорж д’Авенель говорить про справжню
«одержимість унікальністю», яка охопила буржуазію; брати Гонкури критикують «хламоманію»
сучасників. Отже, зростання престижу й вартості оригінальних творів у цей час пов’язане з
дефіцитом «унікальності» та ностальгією за нею.
Два капіталістичних етоси
На початку ХХ століття виходить ключова праця Макса Вебера «Протестантська етика й дух
капіталізму», автор якої стверджує, що саме «трудова етика» протестантизму вплинула на
розвиток капіталізму, а не навпаки. У такий спосіб було оспорено класичний постулат
марксизму про те, що будь-яка форма етики («надбудова») виступає лише проекцією соціальної
залученості індивідів («клас») у певний спосіб виробництва («базис»). Згідно з поглядами Вебера,
матеріальні умови для розвитку капіталістичних відносин існували ще в античному світі, однак
символічні цінності рабовласницького суспільства не дозволили їм розвинутись. Ці цінності
постулювали негативне ставлення до праці як до способу життя невільної людини. Проте в
протестантських суспільствах чесна праця розглядатиметься як спосіб служіння Богу, а
економічний успіх визнаватиметься однією з чеснот.
Але надалі ціннісні орієнтири представників капіталістичних суспільств значно змінились.
Торстейн Веблен вперше проаналізував явище, відоме тепер під назвою «демонстративного
споживання». Так він назвав феномен придбання товарів, чиї високі ціни виправдовувались не
витратами на їхнє виготовлення, цінністю матеріалу чи, скажімо, їхнім дефіцитом, а тим
статусом соціальної «переваги», на який претендував покупець.
«Демонстративне споживання» є симптомом кризи «трудової етики протестантизму». Класичний
протестантський ділок виступав «аскетом споживання». Він вважав себе лише «менеджером
Бога» і претендував на владу та багатство лише в тій мірі, в якій вони дозволяли ефективно
служити Творцю (а не задовольняти власні бажання й амбіції). Тоді як «демонстративний
споживач» за допомогою дорогих і нефункціональних аксесуарів навмисне підкреслює своє
неробство, розцінюючи його як ознаку соціальної переваги. З цього приводу можна згадати
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безліч парадоксів «патріарха дендизму» Оскара Уайльда: «Байдикування - найважче заняття в
світі», «лінощі - головна умова досконалості», «час - втрата грошей»; «скільки юнаків в Англії
починають з прекрасного профілю, а закінчують корисною професією!» (і т п.).
«Демонстративне споживання» - дзеркальний двійник «потлачу» в капіталістичних суспільствах.
Антрополог Марсель Мосс свого часу охарактеризував «потлач» як форму економіки,
заснованої на нееквівалентному обміні (назва явища була запозичена в одного з індіанських
племен Північної Америки). Йдеться про змагання в щедрості між окремими людьми або навіть
цілими племенами за допомогою обдарування-виклику супернику або нівечення власного майна
перед його очима. «Потлач» виступає ритуалом соціальної самоідентифікації і як наслідок -
стратифікації. Його мета полягає в тому, щоби символічно ствердити й виправдати свою
перевагу в соціальній ієрархії. Як тут не згадати гегелівську теорію «визнання»? Згідно з
Гегелем, «пан» стає саме таким тому, що він готовий ризикувати заради свого «визнання», а
«раб» - це той, хто зайняв підпорядковане положення, відмовившись від ризику заради
самозбереження. Щоправда, в цьому випадку йшлось, перш за все, про ризикування життям, і
лише як наслідок - майном і грішми.
Допоки головними буржуазними чеснотами вважають працю й ощадливість, покупка творів -
просто вдала інвестиція. Коли власники станів починають змагатися у фінансових витратах,
придбання дорогих артефактів стає способом отримати «символічний капітал» (тобто, визнання).
Ринок сучасного мистецтва: альфа-споживання як виробництво нової системи пріоритетів
За даними голландського фахівця Олава Велтейса, на ринок мистецтва з 2004 року надійшло
близько $ 35 млрд. При цьому намітилася стійка тенденція: зростання уваги покупців до так
званого «сучасного» або «післявоєнного» мистецтва. У 2007 та 2008 роках його частка в
загальному обсязі продажів порівнялася з часткою виторгу від продажів імпресіоністів і
модерністів. За останнє десятиріччя кількість робіт сучасних авторів на аукціонах збільшилася
втричі. За спостереженням експертів, навіть за часів фінансової кризи зростання ринку
сучасного мистецтва не лише не припинялось, а й відбувалось інтенсивніше. У чому причина
того, що придбання саме сучасних творів стала сьогодні популярною формою «надлишкового
споживання»?
Як зазначав П’єр Бурдьє, одна з головних властивостей сфери мистецтва - «символічне
виробництво» віри в цінність твору та талант художника.
Галерея Sprut Magers впервые за 20 лет покажет в Берлине работы известного американского
художника-концептуалиста Джозефа Кошута.
До нього залучені, крім самих авторів, всі учасники «символічної кооперації»: критики,
галеристи, дилери, ЗМІ, і, передусім, покупці. Інтерес останніх до сучасного мистецтва можна
пояснити так. На статус й імідж авторів минулого і цінність їхніх робіт самим актом купівлі
вплинути складно. «Символічний капітал» класиків вже сформований, і чим вони старіші, тим
він стабільніший. Коли ж покупець купує та збуває роботи сучасних митців, він впливає на
котирування їхнього «символічного капіталу», на віру в цінність їхніх творів.
З критикою такої ситуації виступив у 2013 році на ярмарку Art Basel «батько» західного
концептуалізму Джозеф Кошут. За його словами, 10 або 15 років тому з’явилася нова історія
мистецтва, яка конкурує з класичною - історія арт-ринку. З цього приводу професор Гарварда і
викладач Інституту Sotheby’s Дональд Томпсон пише: «Колекціонери купують у брендових
аукціонних домах, відвідують брендові художні ярмарки й шукають роботи брендових
художників».
Особливо цікаво в цьому випадку те, що покупці знаджуються на мистецькі бренди, що їх самі ж
і створюють, викладаючи за них неймовірні суми. Адже, як зазначав Веблен, культ дорожнечі
так впливає на смаки, що при сприйнятті предмета ознаки краси та вартості змішуються, а
«сумарний ефект сприйняття» пов’язують просто з красою. Також важливу роль в замкнутому
колі споживання-виробництва сучасних арт-брендів грає так званий «provenance» (англ -
«походження») - історія володіння твором. Робота з відомої колекції коштує зазвичай набагато
більше, ніж «безрідний» артефакт. Як «Авраам народив Ісака», так іменитий колекціонер
народжує додаткову вартість об’єкту, який купує або продає.
Прикладом гравця на біржі символічних цінностей виступає Чарльз Саатчі. Він став відомим
завдяки успішній піар-компанії Маргарет Тетчер, проведеній у 1979-му його рекламним
агентством. Надалі рекламіст здивував тим, що повністю розпродав свою колекцію. Спочатку він
позбувся робіт британських художників старшого покоління (Люсьєн Фрейд, Говард Ходжкін,
Леон Коссоф, Малкольм Морлі, Шон Скаллі), потім - творів відомих художників 1980-х (Георг
Базеліц, Ансельм Кіфер, Джуліан Шнабель).
Незабаром спритний ділок почав дешево купувати роботи молодих і маловідомих тоді
британських авторів. Як згадував викладач художніх шкіл Річард Уентворт, Саатчі приходив
навіть на дипломні виставки: «Сидиш в комісії в школі «Слейд», приймаєш іспит, як раптом
з’являється він. Така фігурка на задньому плані. Прийшов за покупками». Причому, купувалися
дешеві роботи молодих художників так само, як до цього збувались дорогі твори визнаних -
гуртом.
5 of 7 5/17/17, 3:36 PM

Від пишноти до альфа-споживання джозеф кошут лекция
http://lektor.in.ua/Від_пишноти_до_альфа-споживання_джоз...
У 1988 році колекціонер познайомився з напрямком Young British Artists на їх виставці Freeze в
Лондоні. Там він придбав одразу кілька арт-об'єктів і звернув увагу на Демієна Хьорста. Надалі
бізнесмен уклав з художником угоду: 50 тис. фунтів стерлінгів за цікаву ідею. Так в 1991-му
з’явилася «Фізична неможливість смерті в свідомості того, хто живе» (тигрова акула в акваріумі
з формальдегідом). Вона була виставлена з іншими творами в 1997 році на ретельно
розрекламованій виставці «Sensation. Молоді британські художники з колекції Чарльза Саатчі».
У 2004-му «акулу» продали - вже за $ 12 млн. - Стівену Коену, американському менеджеру
хедж-фонду (№109 в рейтингу Forbes), в колекції якого є роботи Мунка, Пікассо, Джакометті,
Ворхола, Поллока. У такий спосіб виручена Саатчі сума перевищила його витрати на «шедевр» у
понад 100 разів.
Постать британського авантюриста знаменує появу на ринку мистецтва нового персонажу, якого
можна назвати «альфа-споживачем». Його відмінність від інших, нерідко заможніших покупців
(«бета-споживачів»), дуже проста. Останні виходять у своїх витратах на мистецтво з тієї ієрархії
смаків і цінностей, що домінує сьогодні. Тоді як «альфа-споживач» претендує на встановлення
нової системи пріоритетів, яку будуть наслідувати інші.
Використовуючи фінанси та досвід медіа-маніпулятора, колишній PR-ник Тетчер не раз доводив,
що «символічно виготовити» автора - важливіше за те, що виготовляє сам автор. Свого часу він
купив одразу кілька десятків творів італійського «трансавангардиста» Сандро Чіа. Незабаром
вони були продані (причому одразу всі), і «ринок» робіт Чіа обвалився. Не кращим чином
цинічний ділок повівся з братами Чепменами. Їхня скульптура «Надлюдина» (Стівен Хокінг,
який сидить в інвалідному кріслі на вершині скелі) колись пішла, внаслідок інтриг підприємця,
лише за $ 10 350. Ціна виявилася на кілька нулів меншою тих сум, що платили перед цим за
роботи братів.
Ці приклади змушують згадати анекдот про японського стрільця з лука. У незнайомому селі він
побачив безліч намальованих мішеней і стріл, які поцілили в «яблуко». Лучник так розчарувався
в рівні своєї майстерності, аж хотів був зробити собі харакірі, але місцеві його зупинили,
пояснивши, що це - витівки сільського дурника, який спочатку стріляє, а потім малює мішень.
Ринок сучасного мистецтва, багато в чому, нагадує таке село. Автори пускають «стріли»,
покупці «обводять» їх накручуванням цін, а глядачі захоплюються «влучністю» художніх
висловлювань.
Довідка
Лойко Олександр - доцент кафедри теоретичної і практичної філософії Харківського
національного університету ім. В.Н.Каразіна. Викладає курси: «Філософія культури»,
«Економіка культури», «Вступ до арт-менеджменту» та ін. Співпрацював з виданнями: чоловічий
журнал «Code» (Київ; автор розділу «Психоэкономика»), «Теленеделя-Харьков» (редактор
розділу «Арт-обстрел с Александром Лойко»), чоловічий журнал «Ego» (Київ, постійний автор);
«Харьковскій телеграфъ» (редактор відділу культури), «Харьковские окна» (редактор відділу
культури) та ін.
Стаття є оновленою версією відкритої лекції («Споживання мистецтва: етична перспектива»),
яка була прочитана в Українському католицькому університеті у березні 2016 року, в рамках
грантової програми для наукових досліджень з етики, організованої кафедрою філософії УКУ і
Міжнародним інститутом етики та проблем сучасності.
Благодаря работе сотрудников отдела инклюзивных программ Музея «Гараж» русский
жестовый язык обогатился 36 новыми терминами из области современного искусства.
13.06.2016
Секрети доброї лекції
Ірина Старовойт та Ростислав Чопик
Розмова Ірини Старовойт та Ростислава Чопика про викладацьку майстерність.
завантажити, 145 кб.
Для підготовки матеріалу були використані наступні веб-сторінки:
1. zbruc.eu/node/52691 9.1%
2. platfor.ma/art/4d4fe891c253c/ 4.5%
3.
0.6%
m.youtube.com/watch?v=il3wPagAwMg
4. www.kreschatic.kiev.ua/ua/4933/news
2.1%
/5112.html
5. m.vk.com/wall-27250378_946 9.1%
6. artukraine.com.ua/n/installyaciidzhozefa-koshuta-v-berline/
7.8%
7. uk.m.wikipedia.org/wiki
/Центр_сучасного_мистецтва_при_Національному_університеті_
4.1%
Могилянська_академія»
6 of 7 5/17/17, 3:36 PM

Книжковий Арсенал: презентація-обговорення книги «Де ку...
http://platfor.ma/art/ka-prezentatsiyaobgovorennya-knigi-de-kura...
Я ПРИЙДУ
ЖУРНАЛ АФІША МОЖЛИВОСТІ ВАКАНСІЇ КУРСИ УВІЙТИ
12:00
СПЕЦПРОЕКТИ: ЛІТТАТУ КНИЖКОВИЙ АРСЕНАЛ АВТОПОРТРЕТИ УКРАЇНА У FACEBOOK
20 травня 2017
Книжковий Арсенал:
презентація-обговорення
книги «Де кураторство»
МИСТЕЦТВО
Місце
через 2 дні
Мистецький Арсенал
вул. Лаврська, 10-12
Вартість
уточнюється
Погода
+15°
Среда 17.05.17, днем
Погода в Киеве
влажн.: 31%
давл.: 754 мм
ветер: 5 м/с,
Погода в Одессе Погода в Ужгороде
LIKE
TWEET
+
20 травня о 12:00 відбудеться презентація-обговорення книги
«Де кураторство» в рамках програми «Українська візуальна
книга» на Книжковому Арсеналі за участю Олександра
Соловйова, Оксани Баршинової, Тіберія Сільваші, Валерії
Лук’янець, Анастасії Леонової та Катерини Носко.
Книга «Де кураторство» під авторством-упорядництвом
Катерини Носко та Валерії Лук’янець є збіркою есеїв та
інтерв’ю, що охоплюють коло питань, пов’язаних із темою
кураторства в Україні, а також першим проектом молодого
видавництва IST Publishing (Харків).
Обговорення однієї теми дозволило різним, подекуди
протилежним, поглядам зустрітися разом — у однiй книзi, що
постає зрізом суб’єктивних поглядів на те, чим сьогодні є
курування і де воно проявляється у виглядi нематеріальної
практики. Своєю чергою спектр цих поглядів на постать
куратора повертає ще й до питання етичних норм у його
стосунках iз художником, яке виявилось на сьогодні чи не
найбільш гострим.
Тексти, що увійшли до видання, стали результатом обговорення
зазначеної теми авторками-упорядницями із кураторами та
художниками з різних міст України, які мають досвід як
1 of 3 5/17/17, 3:32 PM

Книжковий Арсенал: презентація-обговорення книги «Де ку...
http://platfor.ma/art/ka-prezentatsiyaobgovorennya-knigi-de-kura...
взаємодії з кураторами, так i власноï кураторськоï практики. Під
час розмов художники акцентували свою увагу на важливості
співучасті куратора в процесі створення проекту, коли можна
«сісти куратором за проект iз чистим листом» (Алевтина Кахідзе),
або коли «в основі кураторських ідей — смислові перепасування
куратора з художниками» (Микола Коломієць), а сам процес
співпраці — це «відчуття певного творчого шляху […], лінії
взаємного становлення, трансформації, коли немає відчуття, що
хтось на когось тисне» (Юрій Лейдерман).
Видання «Де кураторство» робить крок у бік досi
маловивченого явища «художник як куратор», не оминувши й
іншої позиції – куратора як художника. Тож інша частина книги –
це власне діалоги iз кураторами, які прийшли до цієї професії з
теорії та історії мистецтва, імена котрих є часто згадуваними під
час розмов із художниками, а співпраця з ними – прикладом
ефективної взаємодії.
У книжці представлені тексти на основі інтерв'ю з такими
художниками як:
• Відкрита група (Юрій Білей, Антон Варга, Павло Ковач,
Станіслав Туріна).
• Фонд Мазоха (Ігор Дюрич, Ігор Подольчак).
• Юрій Лейдерман.
• Арсен Савадов.
• Леся Заяць.
• Микола Рідний.
• Ксенія Гнилицька.
• Лада Наконечна.
• Микита Кадан.
• Алевтина Кахідзе.
• Олександр Ройтбурд.
• Тіберій Сільваші.
• Сергій Братков.
• Юрій Соколов.
• Влодко Кауфман.
• Микола Коломієць.
• Павло Маков.
До книги також увiйшли інтерв’ю з Олександром Соловйовим та
Віктором Мізіано.
Організатори
Книжковий Арсенал
2 of 3 5/17/17, 3:32 PM

Revelation Perth International Film Festival - Schedule
http://www.revelationfilmfest.org/film-information-new.php?fil...
(index.php)
Return to film archive
2017 FILMS
Merry-Go-Round
SHORTS
Merry-Go-Round
Film Source: i.podolchak@yahoo.com
1 of 4 6/11/17, 9:43 PM

Revelation Perth International Film Festival - Schedule
http://www.revelationfilmfest.org/film-information-new.php?fil...
Australian Premiere
Somnambulistic circus Ribera&Velazquez welcomes everyone to the show
“Merry-Go-Round”, where shadows, that escaped the platonic cave, turn the
carousel in the foggy catacombs.
Screens with The Key To Dali (http://www.revelationfilmfest.org/filminformation.php?filmId=627).
WEB (HTTPS://WWW.FACEBOOK.COM
/PODOLCHAK.PROJECTS)
Director: Ihor Podolchak
Year: 2017
Country: Ukraine/Poland
Duration: 5mins
Rated: Unclassified 15
Session Times
Sun 9th, 12.30pm, Luna SX
Sun 16th, 4.45pm, Luna Leederville
2 of 4 6/11/17, 9:43 PM

Revelation Perth International Film Festival - Schedule
http://www.revelationfilmfest.org/film-information-new.php?fil...
Screen Stills
(/client_assets/images
/film-archive-images
/original/Merry-
Go-Round_Still_15
(1).jpg)
(/client_assets/images
/film-archive-images
/original/Merry-
Go-Round_Still_5.jpg)
CONTACT US
POSTAL ADDRESS
Email Us (contact)
Partnerships
(mailto:partners@revelationfilmfest.org)
+61 (0) 419 925 415 (tel:+61 448 007 233)
PO Box 686
North Perth
Western Australia, 6906
Australia
Media
(mailto:communications@revelationfilmfest.org)
+61 (0) 407 384 917 (tel:+61 407 384 917)
SOCIAL NETWORKS
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(https://www.facebook.com/revfilmfest/)
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/Rev_Film_Fest)
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(https://www.youtube.com/channel
/UCqGThi43BW7t85FY_1LysGA)
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3 of 4 6/11/17, 9:43 PM

Національна спілка кінематографістів України
http://ukrkino.com.ua/news/?id=8016
НСКУ
Національна спілка кінематографістів України
Пошук
f y
Спілка Кінотексти Будинок кіно Персоналії Кінопроцес Контакти
Новини Спілки
08.06.2017
9 червня – Людмила Горделадзе у
«Території кіно»
08.06.2017
Георгій Давиденко у програмі
Сергія Тримбача «Територія кіно»
(Відео)
Новини
Оголошено дату світової прем’єри фільму Ігоря
Подольчака «Merry-Go-Round» («Карусель»)
11.06.2017
06.06.2017
Із Днем журналіста!
Афіша Будинку кіно
... ...
... ...
... ...
9 липня 2016 року в Австралії в рамках МКФ у Перті «Revelation»
відбудеться світова прем’єра короткометражного фільму Ігоря Подльчака
«Merry-Go-Round» («Карусель»).
5-хвилинна мистецька стрічка, створена у копродукції України та Польщі,
представляє виставу «сомнамбулічного цирку Рібери та Веласкеса, де тіні, що
вийшли з печери Платона, крутяться у туманних катакомбах на каруселі».
Merry Go Round. Trailer/Teaser
Режисер і автор сценарію фільму – Ігор Подольчак. Оператор-постановник –
Сергій Михальчук. Композитор – Олександр Щетинський.
Продюсери – Ігор Подольчак, Ігор Дюрич, Лілія Млинарич, співпродюсери –
Максим Асадчий та Сергій Недзельський.
Міжнародний кінофестиваль «Revelation» («Відкриття») в Перті, Австралія,
відбудеться удвадцяте. Цього року він триватиме з 6 по 19 липня.
В рамках фестивалю «Merry-Go-Round» («Карусель») Ігоря Подольчака буде
показано 9 та 16 липня 2017 року.
Власна інформація НСКУ
1 of 1 6/11/17, 9:34 PM

НХМУ выступил с инициативой основания Музея современн...
file:///Users/ihor/Desktop/НХМУ выступил с инициативой осн...
Особенности электромобильного бума в Украине
Газированный Путин
Адреса нашої біди: про що розповідають документальні фільми на тему Чорнобиля
Конкурс до Верховного Суду: майже фініш
6 нетривиальных альбомов мая: от Pumarosa до Sasha Boole
Кругман: "Почему мы воюем"
12 ЛЕТ ТЮРЬМЫ ЗА ОТКАЗ «СОТРУДНИЧАТЬ»
Главная — Культура — 12 июня 2017, 15:40
НХМУ выступил с инициативой основания Музея
современного искусства
Ожидается, что новый музей должен заработать к 2021
году.
2 of 10 6/16/17, 2:10 PM

НХМУ выступил с инициативой основания Музея современн...
file:///Users/ihor/Desktop/НХМУ выступил с инициативой осн...
Facebook
Twitter
Google+
Фото: stedleyart.com
Национальный художественный музей Украины выступил с инициативой о создании в Украине
Музея современного искусства.
Об этом говорится в заявлении музея на его официальной странице в фейсбуке.
Согласно тексту заявления, музей должен получить помещение и начать выставочную
деятельность до 2021 года.
До того момента на базе НХМУ будет функционировать рабочая исследовательская группа,
которая будет разрабатывать визию, механизмы функционирования музея и законодательную
базу.
Музей современного искусства будет работать как структурное подразделение НХМУ с
собственной программой, функциями и заданием.
Прежде чем музей откроется, группа создаст открытую онлайн-платформу с виртуальной
коллекцией на основе произведений из фондов НХМУ, частных коллекций, архивов
художников и их семей.
Финансирует проект "Круг друзей НХМУ" – меценаты, которые поддерживают музей.
"Для НХМУ идея создания музея современного искусства имеет определенную историю, –
комментируют для LB.ua представители музея, – Достаточно вспомнить инициативу известных
художников Игоря Подольчака и Игоря Дюрича, которые в 2004 году объявили о создании
Общественной коллекции современного искусства в нашем музее. С 2009 года пополнение
коллекции стало систематическим, а в 2013 музей создал новую категорию хранения "mixed
media", куда начали поступать видео, фотографии, объекты, инсталляции и т.д. Коллекция
произведений современного искусства постоянно расширяется и нуждается в инновационных
подходах по сохранению, экспонированию и исследованию. Поэтому создание нового музея -
логичный и важный шаг".
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"Отсутствие музея современного искусства в стране с такой интесивной художественной
жизнью выглядит абсурдным недоразумением, - говорит Ольга Балашова, искусствовед и
участница рабочей группы. - Художники, коллекционеры, активисты и простые зрители имеют
свои причины требовать появления этой институции и неоднократно заявляли о своем интересе
и желании работать над ее созданием".
В рабочую группу вошли заведующая отделом искусства XX-XXI веков НХМУ Оксана
Баршинова, искусствоведы и старшие научнык сотрудницы этого отдела Дарина Якимова и
Татьяна Жмурко, искусствоведы Ольга Балашова, Лизавета Герман, Дмитрий Голец и
кураторка Мария Ланько.
Стратегические вопросы, касающиеся работы будущего музея, будут обсуждаться с
Экспертным советом, куда вошло 17 человек, среди которых искусствовед Эдуард Дымшиц,
куратор и критик Константин Дорошенко, художницы и художники Алевтина Кахидзе, Лада
Наконечная, Алексей Радинский, Александр Ройтбурд, Тиберий Сильваши, кураторки Наталия
Маценко, Елена Червонык, куратор Михаил Рашковецкий, фотограф Виктор Марущенко,
искусствоведы Татьяна Кочубинская, Галина Скляренко, Александр Соловьев, Валерий
Сахарук и исследователь Богдан Шумилович.
Напомним, ранее директорка НХМУ Юлия Литвинец заявляла, что музей современного
искусства может открыться в помещении на Институтской, где собираются разместить Музей
Майдана. Пока что НХМУ ведет переговоры с органами государственного управления о том,
где будет находиться музей.
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Экскурсия по Нацмузею: 10 важнейших картин украинских художников ХХ века
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Экскурсия по Нацмузею: 10 важнейших картин украинских художников
ХХ века
Не так давно в киевском «музее со львами», Национальном
художественном музее Украины, произошло важное обновление:
полностью поменялась экспозиция его второго этажа, посвященная
украинскому искусству XX века. Для тех, кто давно не посещал главный
художественный музей страны, это прекрасный повод освежить свои
впечатления, а также увидеть много новых прекрасных работ из
спецфонда и музейных запасников.
По залам обновленной экспозиции LB.ua провела заведующая отделом
искусства XX-XXI вв. Оксана Баршинова - она показала нам, как
внимательный и подготовленный зритель может прочитать в специально
подобранных и умело расположенных работах историю последних 100
лет украинской культуры, со всеми взлетами и падениями, потерями и
открытиями.
Ксения Билаш , Журналистка, культуролог
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Фото: Макс Требухов
Оксана Баршинова
Фото: Макс Требухов
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Фото: Макс Требухов
Фото: Макс Требухов
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Фото: Макс Требухов
Фото: Макс Требухов
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Фото: Макс Требухов
Фото: Макс Требухов
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Фото: Макс Требухов
Фото: Макс Требухов
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Фото: Макс Требухов
Фото: Макс Требухов
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Фото: Макс Требухов
Фото: Макс Требухов
Почти 100 лет назад знаменитый киевлянин Казимир Малевич написал статью «О музее», в которой, со
свойственным ему радикализмом, призывал сжечь старое искусство, освобождая путь современности. Впоследствии
эта логика – хоть и совершенно из других соображений – успешно применялась властными структурами к работам
самого Малевича и других авангардистов. Картины осуждали, запрещали, запирали в спецфонды и просто
физически уничтожали – часто вместе с их авторами. Работа с коллекцией произведений ХХ века в НХМУ строится
во многом по принципу преодоления последствий этой культурной политики – путем выстраивания своеобразного
диалога с непростой и очень динамичной историей украинского искусства последнего столетия.
В советское время весь 2 этаж музея представлял собой идеологическую витрину и был занят исключительно
соцреалистическим искусством. Только в начале 1990-х у музейных сотрудников появилась возможность
ликвидировать этот идеологический перекос: тогда в экспозицию вошло много представителей модерна, возвращая
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истории украинской живописи искусственно вычеркнутые из нее имена. Тем не менее, экспозиция обрывалась на
1980-х годах, оставляя вне фокуса целый пласт постсоветского искусства. Впоследствии коллекция музея
пополнялась новыми актуальными работами – что-то дарили сами художники, что-то покупали для музея
коллекционеры-меценаты. Параллельно с осваиванием новых поступлений, музейные сотрудники не прекращали
работу со спецфондом и архивами. В результате, в обновленной экспозиции музею удалось не просто охватить весь
20-й век, но и посмотреть на него с определенной дистанции, проанализировать логику развития и смены
художественных течений, а также указать на некоторые особенности украинской художественной школы,
формировавшейся в это время.
Читайте: Епоха Перемена
Новая экспозиция построена по «хронологическому» принципу: в отличие от привычного «монографического»,
акцентирующего внимание на личности художника, этот принцип работает в большей степени с явлениями, нежели с
персоналиями. Он позволил выявить в экспозиции такие характерные черты украинского искусства 20 века как
очень мощная линия модернизма (которая проявлялась даже во время доминирования соцреалистического канона),
постоянный интерес к собственному прошлому (вызванный необходимостью заново открывать запрещенные имена и
методы), а также высокая чувствительность к европейским влияниям и диалог с ними.
Мы предлагаем читателям рассказ Оксаны Баршиновой о 10 картинах из новой экспозиции НХМУ. Некоторые из
них представлены публике впервые; другие выставлялись и раньше, но новый контекст актуализирует в них уже
совсем другие смыслы.
Александр Богомазов, "Правка пил" (1927)
Александр Богомазов. Правка пил. 1927
"В коллекции музея не так уж много работ Богомазова; он представлен отдельными картинами – но очень
характерными для его творчества. Нам повезло, что среди них есть «Правка пил», которая является своеобразным
манифестом художника – ведь Богомазов был не только практиком, не только одним из первых киевских
новаторов–авангардистов, но и теоретиком, который написал в 1914-м трактат «Живопись и элементы».
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Читайте: Мистецький календар. 26 березня. Олександр Богомазов.
Мы помним, что в 1917-м году была открыта Украинская академия искусства – первый профильный ВУЗ на
территории Украины – и уже в 1920-е годы все художники-новаторы, которые совершили концептуальный прорыв в
предыдущем десятилетии (и Богомазов в их числе), стали преподавателями в этом институте. Академию называли
Киевским Баухаузом – и это не просто аллегория, ведь ее руководство действительно ездило в Веймар
перенимать опыт и привезло оттуда новые учебные программы и планы. Естественно, все это катализировало
творческие процессы, и в 1920-х многие авангардисты занимались уже рефлексией на свои предшествующие
открытия. Такая аналитичность вообще заложена в авангарде – а у Богомазова, который в это время разрабатывал
свою теорию спектрализма, она приобретает буквальное художественное выражение в картине «Правка пил».
Художник выбирает мотив, очень характерный для 1920-х – труд рабочих; однако содержание здесь становится
вторичным по отношению к форме. В соответствии с теорией спектрализма, Богомазов разрабатывает в этой
картине пространственное соотношение спектрально чистых цветов. Гранящиеся плоскости, напряженные линии и
сочетание ярких цветовых пятен передают энергичность и общую мажорную тональность сцены".
Виктор Пальмов, "Первое мая" (1929)
Фото: НХМУ
Виктор Пальмов. Первое мая. 1929
"Практически такими же художественными проблемами занимался в 1920-е годы Виктор Пальмов – но несколько с
другой стороны. Это вообще очень интересный мастер, который родился в России и сформировался именно как
русский художник, в контексте русского авангарда. В начале 1920-х, во времена гражданской войны, он
встретился в Сибири с Давидом Бурлюком – тот мигрировал на восток; впоследствии через Японию он переедет в
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Америку. Пальмов же двигался в другую сторону: Бурлюк много рассказывал ему о Киеве, и он в итоге
поселился здесь, реализовался как художник и преподавал, как и Богомазов, в Академии, преобразованной в
то время в Киевский художественный институт.
В музее есть неплохая коллекция работ Пальмова, в нынешней экспозиции представлена лишь ее часть; однако
выбранные картины показывают, как манера художника изменилась в Украине: ранние работы российского
периода очень отличаются от более поздних, созданных под влиянием киевского окружения художника. Именно в
Киеве Пальмов начинает разрабатывать собственную теорию под названием «цветопись» – она базировалась на
параоптических теориях того времени, которые исследовали возможность управления людьми при помощи цвета и
света.
На картине «Первое мая» видно, как Пальмов открывает для себя стихию цвета и экспрессии. Сюжет картины
рассказывает об утопии того времени, о прекрасном обновленном мире любви, новых городов, заводов, спорта,
объединенном вокруг красного знамени. При этом сюжет реализован очень схематично – художник использует
язык детских рисунков, который активно изучает в это время. Расположив точку зрения высоко сверху,
Пальмов выстраивает пространство как часть земного шара, подчеркивая планетарный масштаб изображенного".
Иван Падалка, "Натюрморт" (1920-е)
Иван Падалка. Натюрморт. 1920-е
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"Еще одним украинским художником, изобретавшим собственный метод, был Михаил Бойчук. Этот невероятно
образованный человек поставил перед собой амбициозную задачу: создать национальный язык искусства. Он
досконально изучил европейское и древнее искусство – Месопотамии и, конечно, Византии – не зря его метод
изначально назывался «неовизантинизм». В 1909-м в Париже, в Салоне независимых, состоялась первая
выставка работ Бойчука и его последователей – бойчукистов. Это была выставка-манифест «неовизантинизма»,
которая продемонстрировала сознательный отказ художников от новаторства, их выбор архаизированной манеры –
для того, чтобы создать собственный язык, специфический для украинского искусства, объединяющий
византийскую и народную традиции.
Как и авангардисты, Бойчук мечтал об универсальном языке, применимом в любом виде искусства – от
монументальной росписи до керамики. Эту огромную территорию ему удалось охватить благодаря большому
количеству последователей. Будучи очень харизматичной личностью – как Малевич, Бурлюк, - Бойчук стал
идеологом целого движения, крайне популярного в Киеве; 1920-х его мастерская доминировала в Художественном
институте. Некоторые ученики Бойчука – прежде всего Василий Седляр и Иван Падалка – занялись созданием
новых типов сосудов. Они изготовляли на Межигорской фабрике посуду, используя византийские каноны и
народные традиции.
«Натюрморт» Падалки как раз изображает эти сосуды – художник умело подчеркивает красоту простой формы,
ставшую результатом тысячелетней традиции. В 1925-м Межигорская керамика бойчукистов попала в Париж на
Международную выставку декоративных искусств – и имела там большой успех, поскольку оказалась созвучна
европейскому тренду того времени. Как известно, эта выставка стала точкой отсчета в формировании стиля
Ар-деко, который, с одной стороны апеллирует к новейшим европейским течениям, но с другой – во многом
инспирирован открытием гробницы Тутанхамона, то есть древним египетским искусством. Таким образом,
архаичная посуда бойчукистов оказалась вполне актуальной и, возможно, даже повлияла на формирование стиля
Ар-деко".
Анатолий Петрицкий, "Харьков ночью" (1934-1935)
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Анатолий Петрицкий. Харьков ночью. 1934-1935
"Анатолий Петрицкий относится к младшему поколению авангардистов, он довольно сильно отличается от
Богомазова и Пальмова – это очень суровый художник с преобладающей серо-коричневой цветовой гаммой.
Такую палитру Петрицкий перенимает от кубизма, которым увлекался на ранних этапах развития, но в рамках этой
гаммы он умеет быть очень разнообразным и тонким. Петрицкий известен, прежде всего, своей работой
«Инвалиды», которая произвела фурор в 1930-м на Венецианской биеннале – эта картина тоже присутствует в
обновленной экспозиции музея. Но мы остановимся на другой его работе – очень интересном пейзаже, написанном в
середине 1930-х.
В это время Петрицкий жил в Харькове, который тогда был столицей Украины. Он оказался одним из немногих
художников, проживавших в знаменитом харьковском доме литераторов «Слово», - кроме него, там обитали
авангардист Вадим Меллер и бойчукист Василий Седляр. Петрицкий был свидетелем волны репрессий против
деятелей украинской культуры, на его глазах происходили аресты и самоубийства жителей дома «Слово». Пейзаж
посвящен этому тяжелому состоянию начала 1930-х, гнетущей атмосфере бессонной ночи, когда художник и его
соседи прислушивались к звуку мотора черного «воронка», приехавшего за очередной жертвой. И колорит картины,
построенный на контрастах ночного освещения, и ритм ее композиции передают ощущение пронзительной
тревоги. Эта работа уникальна, она сильно отличается от других картин художника этого периода".
Иван Лысенко, "Откатчики" (1927)
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Иван Лысенко. Откатчики. 1927
"Конец 1920-х – начало 1930-х - это очень интересный переходный период между модернизмом и соцреализмом. В
это время художникам навязывается искусственно изобретенный единый метод, который преподносится как высшая
точка развития единственно допустимой реалистической традиции. Но, естественно, ни один художник не может за
один день перестроиться на новый лад – поэтому вчерашние авангардисты в абсолютно искреннем поиске нового
соцреалистического канона обращаются к самым разнообразным методам.
Примером такого синтетического подхода является картина Ивана Лысенко «Откатчики». Эта работа экспонируется
впервые, она была частью музейного спецфонда, который создавался в конце 1930-х. Туда попадали картины,
считавшиеся по той или иной причине антисоветскими – это могли быть вполне реалистические работы
репрессированных художников или их учеников, и даже просто полотна, найденные у «врагов народа». Про самого
Лысенко мы знаем очень мало, нам даже не известна дата его смерти – тем не менее, это очень мощный художник с
удивительным чувством ритма и умением работать с обобщенными массами. В картине «Откатчики» Лысенко
обращается к сюжету, типичному для соцреализма: он изображает напряженный героический труд рабочих. Однако
язык, использованный в работе, все еще, по сути, модернистский - хотя ему уже присущи плакатность и
лаконичность".
Владимир Костецкий, "Возвращение" (1947)
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Фото: НХМУ
Владимир Костецкий. Возвращение. 1947
"Время доминирования соцреалистического канона было неблагоприятным для художников с аналитическим
подходом, но зато очень подходящим для мастеров, стремившихся уловить особенности визуального мира. Это
вообще было сложное время для художников: мы помним, какой над ними был контроль, как творчество даже
ведущих мастеров могло подвергаться критике и одергиваниям со стороны партийных органов. Тем не менее, это
был значимый период в истории украинского искусства, с его возвращением к традиционной иерархии
жанров, с интересом к тематической картине как верхушке этой иерархии.
Коллекция музея содержит большое количество работ соцреалистического характера, и в новую экспозицию мы
отобрали картины, отличающиеся высокими художественными качествами. Хорошим примером таких работ
как раз является картина Владимира Костецкого «Возвращение». Костецкий был прекрасным мастером
натюрморта и портрета, он написал также много тематических картин, но эта его работа отличается особой
выразительностью и силой. Сюжет картины Костецкий задумал еще в начале войны, когда был призван на фронт
как репортер. Он несколько раз приезжал в Киев повидаться с семьей – пока город еще не был занят нацистами – и
эти объятия родных он снова и снова воспроизводил в набросках, с мечтой о новой встрече, о возвращении домой.
Но когда художник вернулся с фронта, оказалось, что его семья уехала в Австрию вместе с немецкими войсками;
своих родных он никогда больше не увидел.
Все эти сложные личные обстоятельства нашли отражение в картине, и, когда ее выдвинули на сталинскую премию,
Сталин лично забраковал эту работу – поскольку явственно было видно, что там изображен не победитель. В
картине четко считывается отсутствие героизма, в ней ощущается некоторое трагическое звучание.
«Возвращение» также очень интересно своими художественными качествами. До войны Костецкий тщательно
изучал Рембрандта, он ездил в Эрмитаж, много копировал его работы. И в этой картине видна рембрандтовская
манера изображения – это и сама тема встречи и объятий, и расположение главного героя спиной к зрителю, и
глубокие тени, и мягкий свет, и общий колорит работы. «Возвращение» показывает, почему Костецкий до сих пор
считается одним из лучших мастеров, изучивших в полной мере рембрандтовскую манеру".
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Евгений Волобуев, "Утро" (1954)
Фото: НХМУ
Евгений Волобуев. Утро. 1954
"Евгений Волобуев – удивительно тонкий художник, которого можно назвать мастером лирического пейзажа и
камерных сцен. Он был учеником Федора Кричевского – ведущего мастера украинского искусства всей первой
половины 20-го века и приверженца реалистического, жизнеподобного искусства. Продолжая традицию учителя,
Волобуев стремился в своей живописи к предельной простоте, но сохранял при этом максимальную
выразительность. Он был одним из редких мастеров, кому это удавалось – ведь, как правило, художники работают
достаточно сложно.
Пример этой выразительной простоты мы можем видеть на картине «Утро» - в решении света, в банальности и
непритязательности сюжета. Эта работа считается образцом «оттепели» в искусстве, поскольку ее сюжет
абсолютно не героичен: на картине изображены обычные дворничихи обычного киевского дворика где-то на
Владимирской горке. Тема труда тут подана без всякого пафоса, так характерного для предыдущих
десятилетий. Персонажей объединяет не мизансцена – они ничего не делают и даже не говорят между собой; но они
вместе находятся в пространстве, заполненном светом, воздухом, вместе проживают этот момент солнечного
весеннего утра. Вот эта заинтересованность простыми моментами повседневной жизни, изображение их в
лирическом ключе вообще очень характерны для украинского искусства 1950-х годов".
Виктор Зарецкий, "Весенний ветер" (1961-1964)
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Фото: Макс Требухов
Виктор Зарецкий. Весенний ветер. 1961-1964
"Эту картину мы подняли по ротации из фонда музея, она экспонировалась единственный раз – в Мистецьком
Арсенале, на персональной выставке Зарецкого, - и теперь попала в обновленную постоянную экспозицию.
Зарецкий – представитель монументальной школы, он относится к поколению шестидесятников, ко времени
больших изменений, в частности – в сфере монументального искусства.
Хрущевская критика сталинской эпохи вызвала к жизни такое явление, как «борьба с архитектурными
излишествами»: все неоклассические дворцы теперь заменялись коробками, которые мы называем «хрущевками».
Этот своеобразный архитектурный минимализм распространился не только на социальное жилье, но и на
общественные здания, которые нужно было как-то декорировать. Вот тут и наступил звездный час
монументального искусства: открылась профильная секция в Союзе художников, мастерская в Художественном
институте. Монументальное искусство требует определенной условности, плоскости, декоративности –
поэтому тут было уже невозможно оставаться в рамках соцреалистического иллюзионизма. Это новое
искусство влияло и на станковую живопись, оно позволило «расколдовать» язык соцреализма, значительно
расширить его границы.
Пример такого влияния мы видим на картине Виктора Зарецкого «Весенний ветер». В ней прослеживается связь с
прошлыми традициями, характерная в целом для украинской школы. С одной стороны, это влияние искусства
бойчукистов: в 1960-х художники заново открывали для себя этот пласт культуры. В 1930-х Бойчук и его
последователи были физически уничтожены, и все его фрески тоже были сбиты или замазаны цементом. Но уже в
1950-х имя Бойчука реабилитировали; в это же время стали возвращаться из лагерей специалисты, которые
помнили его работы. Среди них был искусствовед, ректор Художественного института Иван Врона – у него
каким-то чудом сохранились фотографии монументальных росписей Бойчука, и во второй половине 1960-х его
статья о бойчукистах попала в новую 6-томную историю украинского искусства. Как и Бойчук, Зарецкий считал,
что монументальное искусство должно обращаться ко всем людям, и пытался превратить его в рупор
определенных художественных идей. Он принадлежал к кругу художников с проявленной гражданской позицией –
за которую многие из них в итоге поплатились.
Мы помним, что еще в начале 20-го века Бойчук тесно общался с Диего Риверой – и это влияние также
прослеживается в творчестве Зарецкого. В советском союзе мексиканские муралисты – Ривера, Ороско, Сикейрос –
были легитимизированы, о них издавали альбомы, их показывали на выставках. На картине «Весенний ветер» мы
видим укрупненные фигуры, выдвинутые на передний план – этот прием очень характерен для мексиканских
муралистов. Оттуда же Зарецкий позаимствовал очень активный колорит этой работы. Картина также тесно связана
и с народным искусством, используя характерные для него мотивы. Зарецкому удалось добиться удивительного
эффекта: здесь изображены очень спокойные люди в расслабленном состоянии, но при этом картина
преисполнена динамики, она не воспринимается как статичная – благодаря колористическим контрастам и
закрученной как вихрь композиции".
Людмила Ястреб, "Пять фигур" (1976)
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Фото: Макс Требухов
Людмила Ястреб. Пять фигур. 1976
"Наряду с художниками-шестидесятниками, занимавшими активную гражданскую позицию, были и другие, которые
занимались «тихим протестом» исключительно через творчество. Эти художники составили целый пласт
неофициального искусства, центрами которого были Киев, Львов, Одесса и чуть позже – Харьков. В Одессе
сформировался круг так называемых «нонконформистов», которые подхватили аналитическую линию
авангарда. Несмотря на изолированность существования за «железным занавесом», в Одессу – как в портовый
город – все же просачивались новейшие веяния; но в основном нонконформисты обращались не столько к своим
западным современникам, сколько к заново открываемому творчеству авангардистов, а также к классическому
наследию.
Именно к кругу одесских нонконформистов относится очень интересная и талантливая художница Людмила Ястреб.
В ее картине «Пять фигур» видна эта аналитичность, стремление к обобщению, к силуэтности – но также
видно и обращение к искусству Ренессанса, что проявляется в особенностях композиции. Пять женских фигур,
моделированных цветовыми пятнами и линией, объединяют ритмические повторы и цветовые соответствия. Эту
работу можно считать программной для творчества художницы, она поступила в коллекцию музея совсем недавно и
заняла достойное место в нашей обновленной экспозиции".
Александр Гнилицкий, "Папа, шлем давит" (1990)
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Фото: НХМУ
Александр Гнилицкий. Папа, шлем давит. 1990
"Эта картина попала в музей благодаря инициативе художников Игоря Дюрича и Игоря Подольчака – в 2004-м они
организовали благотворительный аукцион «Время мецената» с целью формирования Общественной коллекции
современного искусства. На тот момент ни коллекционеры, ни музей не были готовы к такой форме сотрудничества.
Но, тем не менее, некоторые картины тогда все же попали в НХМУ, и этот момент стал точкой отсчета осознанного
формирования в музее коллекции современного искусства.
Работа «Папа, шлем давит» относится к раннему творчеству Гнилицкого периода «Парижской коммуны». В это
время художники Новой волны переходят от цветистой, яркой, необарочной живописи к более аскетичной и
лаконичной манере. Эта нарочитая упрощенность является ироничной критикой академической школы, которую
прошел Гнилицкий, – он закончил монументальное отделение Художественного института. Как живописец,
Гнилицкий формировался в условиях перелома, перехода из одной эпохи в другую, когда авангард и
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андеграунд появляются в публичном пространстве параллельно с молодыми художниками. Соответственно,
вся постмодернистская ирония этого поколения была направлена на их учителей-соцреалистов, на огромные
героические полотна ушедшей эпохи.
На картине «Папа шлем давит» мы видим человека, который отказывается быть героем: он смотрит со своего
балкона на какую-то толпу со знаменами и очень не хочет выходить в эту «триумфальную арку». Ему действительно
давит шлем, давит прошлое, традиция, недавняя советская реальность. Возможно, эта работа является также и
автопортретом: в Паркоммуне он был единственным художником с ребенком (его дочь Ксения Гнилицкая стала
известной современной художницей), его так и называли - «Папа». Таким образом, в смысловом пласте картины к
грузу прошлого добавляется еще и груз ответственности отцовства. В любом случае, эта картина демонстрирует
нам ироничное выворачивание наизнанку советского героизма и является очень важной для понимания пути
развития современного искусства в его диалоге с прошлым".
Послесловие
Разумеется, интересные работы новой экспозиции не ограничиваются этими десятью картинами. Мы не сказали
здесь о произведениях Федора Кричевского (его большая ретроспективная выставка откроется в музее 23 июня); о
картинах его ученицы Татьяны Яблонской, чье столетие мы сейчас отмечаем – и благодаря этому в экспозиции есть
ее уникальные работы, которые уже в следующем году вернутся в фонды. Поскольку музей очень сильно ограничен
в площадях, посетители могут видеть не больше 2% основного фонда. С одной стороны, это печальная ситуация, но с
другой - она все время требует новых решений и стимулирует ротацию работ. Благодаря этому постоянная
экспозиция искусства ХХ века в НХМУ никогда не бывает действительно постоянной - и всем нам стоит время от
времени заглядывать туда, чтобы не пропустить возможность увидеть очередной шедевр, которыми богата его
коллекция.
Ксения Билаш , Журналистка, культуролог
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НХМУ выступил с инициативой основания Музея современного искусства
12 июня, 15:40
Повышение пенсий, люксовый автопарк СБУ и "Балерина Леночка"
03 июня, 16:14
Дайджест главных мировых арт-событий: апрель 2017
03 мая, 11:00
Тэги: искусство, НХМУ
Читайте в разделе
21 of 23 6/16/17, 11:16 AM

Оголошено дату світової прем’єри фільму Ігоря Подольчака...
http://www.kinokolo.ua/news/4538/
"Вічне світло незаплямованого розуму"
"Богдан Ступка, актор"
Народився - с. Куликів,
Львівська обл. 1961 -
Закінчив студію при
Львівському театрі.
Кино на пьедестале.
«Оскар» и другие награды
Америки
Алєксєй Дунаєвський. Кино на
пьедестале. «Оскар» и другие
награды Америки. – ГЛОБУС-
ПРЕСС, 2006. – 864 с. –
Російською мовою.
Новини | Кіноклуби | Арґумент-Кіно
Статті | Інтерв'ю | Сценарії | Зйомки
Кінопрем'єри | Кінотеатри
Конференції | Форум
Користувальницький пошук
Пошук
28.04.2017 19:30
Дім кіна Національної спілки
кінематографістів України
Календарний план заходів у столичному Домі
кіна на травень 2017 року...
02.04.2017 21:46
Дім кіна Національної спілки
кінематографістів України
Календарний план заходів у столичному Домі
кіна на квітень 2017 року...
28.02.2017 20:52
Дім кіна Національної спілки
кінематографістів України
Календарний план заходів у столичному Домі
кіна на березень 2017 року...
05.06.2017 15:53
«Iнтерсіті» «Київ – Війна»
Розпочався проект «Дні українського кіна на
Донбасі»... «Поїзд «Інтерсіті» Київ —
Костянтинівка на Донбасі називають «Київ —
Війна». Ми їхали ним на схід»...
02.06.2017 16:10
«Котигорошко»: від фольклору до
анімації
Едуард Ахрамович, генеральний продюсер і
директор кіностудії «Укранімафільм» міркує
про Котигорошка, як втілення розуму,
лідерства та фізичної сили, і те, які культурні
коди і цінності закладені в однойменному
анімаційному серіалі (сценарії читайте на
Сценарній Майстерні)...
26.05.2017 13:55
Кіно і література повинні працювати у
тандемі
Підсумки дискусії на тему: «Сучасні
екранізації української літератури: що
спільного у письменників та філммейкерів?»...
14.06.2017 00:19
Оголошено дату світової прем’єри фільму Ігоря Подольчака
"Карусель"
9 липня 2017 року в Австралії в рамках МКФ у Перті Revelation
відбудеться світова прем’єра короткометражного фільму Ігоря
Подльчака Merry-Go-Round («Карусель»).
5-хвилинна мистецька стрічка, створена у копродукції України та
Польщі, представляє виставу «сомнамбулічного цирку Рібери та
Веласкеса, де тіні, що вийшли з печери Платона, крутяться у
туманних катакомбах на каруселі».
Merry Go Round. Trailer/Teaser
Режисер і автор сценарію фільму – Ігор Подольчак. Операторпостановник
– Сергій Михальчук. Композитор – Олександр
Щетинський.
Продюсери – Ігор Подольчак, Ігор Дюрич, Лілія Млинарич,
співпродюсери – Максим Асадчий та Сергій Недзельський.
Міжнародний кінофестиваль «Revelation» («Відкриття») в Перті,
Австралія, відбудеться удвадцяте. Цього року він триватиме з 6 по 19
липня.
В рамках фестивалю «Merry-Go-Round» («Карусель») Ігоря
Подольчака буде показано 9 та 16 липня 2017 року.
Власна інформація НСКУ
14.06.2017 00:21
Автори фільму «Межа» представили
Держкіну готову стрічку
В український прокат «Межа» вийде вже у
листопаді цього року...
14.06.2017 00:20
Автори фільму «Іній» представили
Держкіну готову стрічку
В український прокат «Іній» вийде восени
цього року...
08.06.2017 13:25
Українсько-словацький фільм «Межа»
Петера Беб’яка вийде у прокат у
листопаді 2017 року
Прем’єра «Межі» відбудеться у головному
конкурсі 52-го МКФ у Карлових Варах...
08.06.2017 13:11
Флешмоб «Діалоги з друзями»
Українські кінематографісти й підліткипереселенці
роблять спільний відеопроект...
08.06.2017 12:58
Кінофест «Дунай – ріка Європи»
Таку романтичну назву має Міжнародний
фестиваль альтернативного кіно, який з 11
до 13 травня, вже вшосте, проходив у місті
Русе, в Болгарії...
06.06.2017 16:44
Оголошено результати першого етапу
10 конкурсного відбору кінопроектів
Держкіна
Держкіно оприлюднило результати першого
етапу Десятого конкурсного відбору
кінопроектів для формування Програми
виробництва та розповсюдження
національних фільмів...
06.06.2017 16:40
У Києві відбудеться Міжнародний
кінофестиваль KieVino
9 та 10 червня 2017 року у Києві
відбудеться Міжнародний фестиваль
короткометражних фільмів KieVino Film
Festival...
05.06.2017 15:33
«Пірати Карибського моря: Помста
Салазара» встановили низку рекордів
українського кінопрокату
«Пірати Карибського моря: Помста
Салазара» є першою стрічкою, що вийшла в
український кінопрокат на понад 400
екранах...
01.06.2017 13:59
Оголошено переможців Премії НСКУ
найкращим українським фільмам 2016
року
31 травня 2017 року в Домі кіна відбулася
урочиста церемонія нагородження лавреатів
Премії Національної спілки кінематографістів
України найкращим фільмам 2016 року...
01.06.2017 13:45
Українські фільми «Межа» та
«Стрімголов» відібрано до програми
МКФ у Карлових Варах
Українсько-словацький фільм «Межа»
Петера Беб’яка буде представлено у
головному конкурсі, а «Стрімголов» Марини
Степанської – у конкурсній програмі «Із
Заходу на Схід»...
01.06.2017 13:44
Розпочинається виробництво фільму
Марини Вроди «Степне»
30 травня 2017 року Державне агентство
України з питань кіно уклало угоду на
виробництво повнометражного фільму
Марини Вроди «Степне»...
01.06.2017 13:42
Оголошено переможців 70-го
Каннського МКФ
28 травня 2017 року завершився 70-ий
Каннський МКФ. Подаємо перелік
переможців фестивалю...
24.05.2017 15:32
27 травня – прем’єра фільму «Час
хризантем»
27 травня 2017 року в столичному кінотеатрі
«Київ» відбудеться прем'єра ігрового фільму
Дмитра Мойсеєва...
18.05.2017 19:55
«Кордон віри»: Прем’єра фільму за
оповіданням Володимира Винниченка
27 травня відбудеться прем'єрний показ
короткометражного фільму «Кордон Віри»
Оксани Войтенко...
18.05.2017 17:35
Книжковий Арсенал: Сучасні
екранізації української літератури: що
спільного у фільммейкерів та
письменників?
У ході дискусії обговорюватиметься
1 of 2 6/20/17, 7:11 PM

Festival'17 / Announced International and National competition ...
http://oiff.com.ua/en/festival/news/zajavleny-mezhdunarodnaja-i...
Announced International and National competition programs of the 8th OIFF
Of the 911 films from 81 countries that were submitted for participation in the competition programme of
the festival, the selection committee has chosen 12 films from China, Ukraine, Serbia, Austria, Lithuania,
Israel, Estonia, France, Brazil, Georgia, Belgium, and Spain to compete for the OIFF Grand Prix – the
Golden Duke
Of the 911 films from 81 countries that were submitted for participation in the competition programme of
the festival, the selection committee has chosen 12 films from China, Ukraine, Serbia, Austria, Lithuania,
Israel, Estonia, France, Brazil, Georgia, Belgium, and Spain to compete for the OIFF Grand Prix – the
Golden Duke – and other awards of the International Competition. The national programme will include six
featured and 17 short films, and two Ukrainian films will participate in both the International and the
National competitions.
In 2017, the International Competition will include 12 feature films from 27 countries (including coproduction),
most of which have been awarded prizes at Class A film festivals. Also, the Odesa Film
Festival will host a world premiere of the film “Black Level” by Ukrainian director Valentin Vasianovych.
Besides it, the International Competition Programme will include:
Spanish family drama “Summer 1993” (Estiu 1993) by Carla Simon about a 6-year-old girl Frida,
who is trying to adapt to her new life in her uncle’s family after her mother’s death.
Georgian dramedy “My Happy Family” (Chemi Bednieri Ojakhi) by Nana Ekvtimishvili and Simon
Groß, in which the filmmakers raise the familiar theme of parents and children and the mid-age crisis
from a new point of view.
Tragicomedy “Requiem for Mrs. J” (Rekvijem za gospodju J) by Serbian director Bojan Vuletić
tells the story of how difficult it is to bring yourself to commit suicide, even if you have planned
everything, said your goodbyes, and it seems like there is nothing left to continue living for.
Ukrainian-Austrian drama “Ugly” by Juri Rechnsky is a non-lineal film about love, sickness, death
and destruction.
The French film “Orphan” (Orpheline) by Arnaud des Pallières is a dramatic thriller that tells the
stories of four women of different ages at different points in their lives, which intertwine into one,
demonstrating the influence of time and the contradictions of life.
The feature debut of Estonian director Vallo Toomla “Pretenders” (Teesklejad) is a psychological
drama about the truth and the illusions in family relations.
2 of 35 6/23/17, 8:02 PM

Festival'17 / Announced International and National competition ...
http://oiff.com.ua/en/festival/news/zajavleny-mezhdunarodnaja-i...
A satirical comedy “King of the Belgians” by Peter Brosens, Jessica Woodworth is a road-movie in
which the King of Belgium gets lost in the Balkans and begins a journey full of crazy encounters.
The film “Frost” by Lithuanian director Šarūnas Bartas was made in co-production with Ukraine,
Lithuania, Poland and France. This psychological war drama stars French actress Vanessa Paradis.
Absurdist Chinese comedy “Free and Easy” (+) by Jun Geng tells the stories of the
citizens of one small Chinese town. The behaviour of all the characters is completely absurd, and
winds itself into a tapestry that demonstrates the immorality of this town’s society.
Brazilian-French film “Gabriel and the Mountain” (Gabriel e a montanha) by Fellipe Barbosa is a
dramatic story of one young man’s journey through Africa. He acquaints himself with its people, their
everyday life, their worldview and, through the prism of new knowledge and friendships, he starts to
see his own life in a new light.
The feature debut of a young director Maysaloun Hamoud “In Between” (Bar bahr). This is a
dramatic story about three young women living in Tel-Aviv – three Palestinians with Israeli
citizenship, who are seen at home as half-Palestinian, and in Tel-Aviv – as half-Israeli.
The National Competition Programme of the 8th Odesa Film Festival will include 6 feature films:
• The new film by Roman Bondarchuk “Dixie Land” about a children’s music group and a difficult choice.
• The film “Falling”, the feature debut of director Maryna Stepanska.
• The tragicomedy by director Arkadii Nepytaliuk “The Strayed” is the first Ukrainian feature film where
almost all characters speak in Surzhyk (an interlanguage of Ukrainian and Russian). The 8th OIFF will host
the world premiere of the film.
• “Ugly” – a Ukrainian-Austrian drama by Yuri Rechynskyi.
• The hybrid of documentary and feature – the drama “Black Level” by director Valentyn Vasyanovych.
• Serhii Bukovskyi’s documentary “The Leading Role”, recipient of the Golden Dzyga in the category
“Best Documentary”
The National Competition Programme will also include 17 short films:
Lilac, Kateryna Hornostai
Towards the Figure of Father, Liza Babenko
Prychynna: The story of love, Andrii Shcherbak
Eluvium – regenerative being, Stas Santimov
Giddiness, Yura Katynskyi
Housewarming, Nadiia Parfan
No! No! No!, Mykola Ridnyi
Merry-go-round, Ihor Podolchak
Solatium, Kristina Tynkevych
The Fall of Lenin, Svitlana Shymko
Technical Break, Filip Sotnychenko
Temporary, Oksana Karpovych
Do you like Derzhprom?, Viktoria Beliavska
Graduation ’97, Pavlo Ostrikov
A Wonderful Monster, Serhii Melnychenko
Tomorrow You'll Definitely Get Better, Stanislav Bytiutskyi
Grace, Zhanna Ozirna
3 of 35 6/23/17, 8:02 PM

Одеський кінофестиваль оголосив програму національних ф...
http://cutinsight.com/ua/odesskij-kinofestival-2017-obyavil-nats...
(http://cutinsight.com/ua)
/ 20.06.2017
ОДЕСЬКИЙ
КІНОФЕСТИВАЛЬ-2017
ОГОЛОСИВ
НАЦІОНАЛЬНИЙ
КОНКУРС
автор Елена Лабунец(http://cutinsight.com/ua/author/lena/)
Нравится 96
В
Поделиться
рамках національних конкурсів восьмого
Одеського міжнародного кінофестивалю буде
1 of 3 6/23/17, 8:13 PM

Одеський кінофестиваль оголосив програму національних ф...
http://cutinsight.com/ua/odesskij-kinofestival-2017-obyavil-nats...
показано шість повнометражних і 17
короткометражних фільмів. Фестиваль пройде з 14 по
22 липня.
К о н к у р сп о в н о м е т р а ж н и х ф і і л ь : м і і в
«Стрімголов» Марини Степанської
«Припутні» Аркадія Непиталюка
«Dixie Land» Романа Бондарчука
«Головна роль» Сергія Буковського
«Рівень чорного» Валентина Васяновича
«Січень-березень» Юрія Речинського
Також картини «Рівень чорного» і «Січень-березень»
будуть паралельно змагатися за нагороди
міжнародного конкурсу. А фільм «Головна роль» –
претендувати на призи європейського
документального конкурсу.
К о н к у р ск о р о т к о м е т р а ж н и х у к р а її н с ь к и хф і і л ь : м і і в
“Merry-go-round” Ігоря Подольчака
“Технічна перерва” Філіпа Сотниченко
“Випуск 97” Павла Острикова
“Чудове чудовисько” Сергія Мельниченка
2 of 3 6/23/17, 8:13 PM

Одеський кінофестиваль оголосив програму національних ф...
http://cutinsight.com/ua/odesskij-kinofestival-2017-obyavil-nats...
“Бузок” Катерини Горностай
“Новосілля” Наді Парфан
“До фігури батька” Лізи Бабенко
“Причинна” Андрія Щербака
“Eluvium – регенеративне істота” Стаса Сантімова
“Запаморочення” Юри Катинського
“Ні! Ні! Ні” Миколи Рідного
“Солатіум” Крістіни Тінькевіч
“Ленінопад” Світлана Шимко
“Тимчасово” Оксани Карпович
“А ви любите Держпром?” Вікторії Белявіч
“Завтра ти обов’язково одужаєш” Станіслава Бітюцького
“Благодать” Жанни Озірної
Головні призи в національному конкурсі буду
присуджувати актор Ейдан Тернер, драматург Наталія
Ворожбит і арт-директор програми “Тиждень критики”
Каннського кінофестивалю Шарль Тессон.
3 of 3 6/23/17, 8:13 PM

Collection Photo: ILikemycountry.com
Famous Ukraine Writers | List of Writers from Ukraine
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Z
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5
33 Ukraine
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WRITERS
Famous Writers from Ukraine
Reference
10k views • 103 items • Follow • Embed
List of famous writers from Ukraine, listed alphabetically with photos when available. Ukraine is home to many proliFc writers, including those who write Fction, non-Fction, poetry,
biographies and more. These are some of the best Ukrainian writers that have ever lived, so if you're a native of Ukraine and an aspiring writer then use this list as inspiration to achieve your
own writing goals.
Igor Voloshin and Ivan Mykolaychuk are only the beginning of the writers on this list.
more
1
Nikolai Gogol
Died at 43 (1809-1852)
2
Olga Kurylenko
age 38
3
Kira Muratova
age 83
FILMS
4
Yevgeniy Yevtushenko
age 84
Famous Movies From Ukraine
5
Alexander Dovzhenko
Died at 62 (1894-1956)
6
7
Grigori Kozintsev
Died at 68 (1905-1973)
Kazimir Malevich
Died at 56 (1879-1935)
ARTS
171 people are reading
Famous Artists from Ukraine
8
Sergei Bondarchuk
Died at 74 (1920-1994)
9
Leonid Trauberg
Died at 88 (1902-1990)
10
Clarice Lispector
Died at 57 (1920-1977)
11
Sam Spewack
Died at 72 (1899-1971)
12
Anton Makarenko
Died at 51 (1888-1939)
13
Lucian Pintilie
age 84
14
Gene Stupnitsky
age 40
15
Achmed Abdullah
Died at 64 (1881-1945)
16
Aleksander Ford
Died at 72 (1908-1980)
17
Aleksandr Ptushko
Died at 73 (1900-1973)
1 of 6 6/23/17, 8:39 PM

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Died at 79 (1887-1966)
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Died at 67 (1884-1951)
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Died at 60 (1856-1916)
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Died at 78 (1900-1978)
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Died at 82 (1906-1988)
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Famous Scientists from
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Lew Brown
Died at 65 (1893-1958)
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Jan Łomnicki
Died at 73 (1929-2002)
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Karl Emil Franzos
Died at 56 (1848-1904)
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Ivan Mykolaychuk
Died at 46 (1941-1987)
28
Lev Arnshtam
Died at 74 (1905-1979)
29
Lev Slavin
Died at 88 (1896-1984)
30
Aleksandr Razumny
Died at 81 (1891-1972)
31
32
John Paskievich
age 69
Igor Kovalyov
age 54
Eyes / rising to #1
The Biggest Turn Ons in a
Person
33
Anita Doron
age 43
34
35
Hryhorii Skovoroda
Died at 72 (1722-1794)
Boris de Fast
2017
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The Most Anticipated New
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36
Mark Donskoy
Died at 80 (1901-1981)
37
Igor Voloshin
age 43
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39
Andrey Kurkov
age 56
Jacobo Timerman
Died at 76 (1923-1999)
49 people are reading
22 Hotel Workers Describe The
Creepiest Things They've Seen
2 of 6 6/23/17, 8:39 PM

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40
Died at 79 (1900-1979)
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Ihor Podolchak
age 55
42
Julia Davis
age 43
43
Fridrikh Gorenshtein
Died at 70 (1932-2002)
44
Jenő Janovics
Died at 73 (1872-1945)
45
Sheilah Graham Westbrook
Died at 84 (1904-1988)
UKRAINE
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Arthur Kober
Died at 75 (1900-1975)
96 people are reading
Famous Poets from Ukraine
47
Bertha Kalich
Died at 65 (1874-1939)
48
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Serge Lifar
Died at 81 (1905-1986)
Yuriy Moroz
age 61
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Famous Writers from
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Andrei Zagdansky
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Jacob Marschak
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Igor Maiboroda
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Anatoly Kasheida
Died at 70 (1928-1998)
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Eugene Komarovsky
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Arkadi Arkanov
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Mark Kharitonov
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Liudmyla Skyrda
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Volodymyr Sosyura
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Ihor Podolchak Rankings & Opinions
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Ihor Podolchak
Ihor Podolchak is a Ukrainian 0lmmaker and visual artist. He is a co-founder of the creative association
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1 of 1 6/23/17, 8:41 PM

Merry-Go-Round – Biff
http://biff.net.au/films/short-films/merry-go-round/
(https://www.facebook.com/brisbaneinternationalfilmfest/)
(https://twitter.com/brisintfilmfest/)
#BIFF2017
CONTACT THE FESTIVAL TEAM (MAILTO:BIFF@BIFF.NET.AU)
MERRY-GO-ROUND
DIRECTED BY IHOR PODOLCHAK
3 of 5 7/13/17, 5:19 PM

Merry-Go-Round – Biff
http://biff.net.au/films/short-films/merry-go-round/
A stunningly realised work in which images, shadows and light play on a carousel of dreams.
Screens with Loving Vincent
UNCLASSIFIED 15+
UKRAINE, POLAND 2017 | 5 MINS
PALACE CENTRO
LOVING VINCENT
Thursday, August 24
10:30 am
(https://ticketing.palacecinemas.com.au
/Ticketing
/visSelectTickets.aspx?cinemacode=120&
txtSessionId=135028&
_ga=2.163410879.2098041532.1499898802-1853220895.1497948469)
PALACE BARRACKS
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Sunday, August 20
Thursday, August 31
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1:30 pm
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4 of 5 7/13/17, 5:19 PM

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Кіно у Дюка
Катерина Сліпченко, (blogger/blogger_u29196/) сьогодні 107 0
14 липня в Одесі стартує 8-й міжнародний кінофестиваль. Традиційно велика
програма змушує ще до початку фесту ретельно її вивчити та обрати те, що
цікавить найбільше. І так само традиційно скласти топ-десятку найочікуваніших
фільмів. Чи не вперше у цьому своєрідному фестивальному шорт-листі усі
фільми виявились українськими. Тож ZAXID.NET пропонує власні топ-10
найочікуваніших картин 8-го ОМКФ.
Іній
Міжнародна конкурсна програма, Україна, Франція, Польща, Литва. Реж.: Шарунас
Бартас
Фільм брав участь у паралельній програмі Каннського фестивалю «Двотижневик
1 of 11 7/14/17, 10:00 PM

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Кіно у Дюка - ZAXID.NET
https://zaxid.net/kino_u_dyuka_n1431150
режисерів». Молоді литовці Рокас та Інга, погоджуються відвести допомогу для
української армії з Вільнюса до Києва. Вони не надто добре уявляють, що
відбуваються в Україні, проте 14 ЛИПНЯ, Рокас П ' ЯТНИЦЯ дуже хоче розібратись у тому, що таке війна,
як би він поводився у цій ситуації. І вони вирішують їхати далі, на Схід. Бартасу
важливо проаналізувати те, що відбувається тут і зараз, висловити страхи
литовців щодо можливого повторення подій на українському Сході на їх
території. Але робить він усе це не на шкоду досконалій художній формі.
Шарунас Бартас - провідний сучасний литовський режисер, який створив першу
в країні незалежної кіностудії Studija кинемо. «Іній» – його дев'ята ігрова
картина.
Рівень чорного
Міжнародна конкурсна програма, національний конкурс, Україна. Реж.: Валентин
Васянович
426864 )
a_golland_stane_pochesnoyu_gosteyu_odeskogo_kinofestivalyu_n1428025 )
iyna_u_kannah_n1426782 )
50-літній ювілей стає початком складного етапу в житті весільного фотографа
Кості. Все, що він любив і до чого був прив'язаний, безповоротно зникає. Хоча
таких речей в його житті не так уже й багато. Паралізований після інсульту
батько. Подруга – стилістка весільного журналу. Старий кіт. Слайди, на яких він
молодий та щасливий. Костя все життя фотографує чуже щастя. Для нього це
звичайна рутина.
У 2015 році документальний фільм Валентина Васяновича «Присмерк»
відзначений на Одеському МКФ як найкращий український фільм року.
Припутні
Національний конкурс, Україна. Реж.: Аркадій Непиталюк
2 of 11 7/14/17, 10:00 PM

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Кіно у Дюка - ZAXID.NET
Припутні. Офіційний трейлер
14 ЛИПНЯ, П ' ЯТНИЦЯ
https://zaxid.net/kino_u_dyuka_n1431150
426864 )
Попередня робота режисера, короткометражка «Кров’янка», викликала цілком
полярні думки глядачів та критиків. Від захоплення до повного неприйняття.
Тепер автор пропонує повний метр про долю, яка опікується людиною.
«Навіть, якщо ти маленька людина і живеш у забутій Богом та людьми місцині», -
йдеться у синопсисі. І оскільки українські кінематографісти обожнюють бути
першими хоч у чомусь, то фільм позиціонує себе як «перший український
повнометражний фільм, де майже всі персонажі розмовляють суржиком».
a_golland_stane_pochesnoyu_gosteyu_odeskogo_kinofestivalyu_n1428025 )
Стрімголов
Національний конкурс, Україна. Реж.: Марина Степанська
Стрімголов. Офіційний український трейлер (2017) HD | UA
iyna_u_kannah_n1426782 )
«Стрімголов» – це психологічна драма про Київ, тут і зараз. 27-річні не-герої
намагаються зробити непростий вибір в умовах «героїчного часу». Антон,
музикант-вундеркінд, що не впорався з покладеними на нього сподіваннями,
3 of 11 7/14/17, 10:00 PM

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Кіно у Дюка - ZAXID.NET
https://zaxid.net/kino_u_dyuka_n1431150
повертається додому після двох років навчання в Швейцарії та піврічного
лікування алкогольної залежності. Катя, одна з тисяч дівчат, що знімають
кімнати в кам'яних джунглях 14 ЛИПНЯ, Троєщини П ' ЯТНИЦЯ й шукаються себе, завтра має летіти в
Берлін. Випадкова зустріч змінює все.
Міжнародна прем’єра картини відбулась на фестивалі у Карлових Варах. Також
фільм під час пітчингу у Вільнюсі виграв право бути представленим на
Каннському кіноринку. Це – перший повнометражний фільм режисерки, а її
короткометражка «Чоловіча робота» (2015) став переможцем Одеського
міжнародного кінофестивалю та отримав відзнаку кінофестивалю «Молодість».
Merry-Go-Round
Національний конкурс, короткий метр, Україна, 2017. Реж.: Ігор Подольчак
426864 )
a_golland_stane_pochesnoyu_gosteyu_odeskogo_kinofestivalyu_n1428025 )
Львівський режисер та художник, адепт чистого арт-хаузу у кіно Ігор Подольчак
пропонує свою нову роботу, світова прем’єра якої відбулась 9 липня в Австралії в
рамках МКФ у Перті «Revelation».
Сомнамбулічний цирк Ribera Velazquez запрошує всіх охочих на шоу Merry-Go-
Round, де тіні, які втекли з платонівської печери обертають карусель у тумані
катакомб.
iyna_u_kannah_n1426782 )
Благодать
Національний конкурс, короткий метр, Україна, 2017. Реж.: Жанна Озірна
4 of 11 7/14/17, 10:00 PM

Кіно у Дюка - ZAXID.NET
https://zaxid.net/kino_u_dyuka_n1431150
14 ЛИПНЯ, П ' ЯТНИЦЯ
426864 )
Фільм створено у Львові за підтримки Львівської кінокомісії та фестивалю Wizart.
Молода дівчина в пошуку змін. Проте старе зимове місто пропонує їй лише
божественне. Фільм пропонує дуже небанальні і художні, і ментальні
інструменти та спроби розібратися із собою та довколішнім світом, із земним та
небесним в одній окремо взятій та добре знятій історії.
Попередня робота Жанни Озірної, «Зустріч», також брала участь в Одеському
кінофестивалі.
a_golland_stane_pochesnoyu_gosteyu_odeskogo_kinofestivalyu_n1428025 )
Випуск '97
Національний конкурс, короткий метр, Україна, 2017. Реж.: Павло Остріков
iyna_u_kannah_n1426782 )
Самотнє життя телемайстра Романа порушує приїзд до провінційного містечка
однокласниці Люди. Ніхто про неї не чув уже понад двадцять років, ще з часів
шкільного випуску. І зараз Роман намагається не втратити її знову.
Зали
Фільм бере участь (https://zaxid.net
5 of 11 7/14/17, 10:00 PM

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Кіно у Дюка - ZAXID.NET
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/ukrayinsku_korotkometrazhku_vipusk97_vidibrali_dlya_konkursu_kinofestivalyu_v_lokarno
у конкурсі ювілейного 70-го Міжнародного кінофестивалю в Локарно в програми
«Pardo di domani» («Леопарди 14 ЛИПНЯ, майбутнього»).
П ' ЯТНИЦЯ
Війна Химер
Конкурс європейських документальних фільмів, Україна, 2017. Реж.: Анастасія та
Марія Старожицькі
The War of Chimeras Війна химер 2017 Trailer
426864 )
Історія про війну, кохання та смерть, відзнята її безпосередніми учасниками. У
кадрі двоє, хлопець та дівчина. Він пішов добровольцем, вона поїхала туди,
звідки щойно пішла війна. Він потрапив у Іловайський котел, втратив
найближчих побратимів, вона, подорожуючи розбитими містами, намагається
зрозуміти сутність війни та кохання. І обоє відверто розповідають один одному,
що відчувають під час військових дій, виходу з котла, спроби жити разом і нової,
вже спільної подорожі на передову.
a_golland_stane_pochesnoyu_gosteyu_odeskogo_kinofestivalyu_n1428025 )
iyna_u_kannah_n1426782 )
Дуже особистий погляд на актуальні події, погляд із середини, без фільтрів та
спроб відсторонитись.
Лагідна
Гала-прем’єри, Франція, Україна, Німеччина, Нідерланди, Росія, Литва, 2017. Реж.:
Сергій Лозниця
6 of 11 7/14/17, 10:00 PM

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Кіно у Дюка - ZAXID.NET
https://zaxid.net/kino_u_dyuka_n1431150
14 ЛИПНЯ, П ' ЯТНИЦЯ
426864 )
Фільм брав участь в основному конкурсі Каннського кінофестивалю. Жінка живе
сама в російській глибинці. Одного дня вона одержує посилку, надіслану її
ув'язненому чоловікові, з позначкою «повернути відправнику». Шокованій та
збентеженій жінці нічого не лишається, крім як поїхати до в'язниці, що
розташована у віддаленому регіоні країни, аби дістати пояснення.
Героїня змушена пройти усі кола пекла та зустрітись із великою кількістю
персонажів-монстрів, персонажів-знаків, які, утім, зовсім позбавлені
схематичності. Безрадісна монохромна картинка тим не менше досконало знята
та розіграна. Лозниця, як і у своїй першій ігровій картині «Щастя моє» (до речі,
фільм був першим, який представляв Україну в основному конкурсі) продовжує
досліджувати, за його словами, життя російської глибинки.
a_golland_stane_pochesnoyu_gosteyu_odeskogo_kinofestivalyu_n1428025 )
Попри те, що назва збігається із назвою оповідання Достоєвського, картина аж
ніяк не є його екранізацію. Сюжет та діалоги повністю оригінальні. Оповідання
стало лише поштовхом режисерських фантазій на теми занурення у «мертве
життя» російської глибинки.
Ржака
Гала-прем’єри, Україна, 2017. Реж.: Дмитро Томашпольський
iyna_u_kannah_n1426782 )
7 of 11 7/14/17, 10:00 PM

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Кіно у Дюка - ZAXID.NET
«Ржака»: Офіційний трейлер
14 ЛИПНЯ, П ' ЯТНИЦЯ
https://zaxid.net/kino_u_dyuka_n1431150
426864 )
Видатного режисера арт-хаусу примушують зняти комедію. Його вб'ють, якщо
він не змусить іржати як коней спеціально відібраних дванадцять експертів. Як
це зробити, коли ти не вмієш фільмувати комедії й у твоєму розпорядженні є
лише хвора клоунеса і клоун-невдаха, якого вигнали з училища за
профнепридатність? Таким є сюжет нової комедії (https://zaxid.net
/opublikovano_treyler_novoyi_ukrayinskoyi_ekstsentrichnoyi_komediyi_n1423610)
про кіно, яку глядачі зможуть побачити уже восени.
a_golland_stane_pochesnoyu_gosteyu_odeskogo_kinofestivalyu_n1428025 Якщо Ви виявили помилку на цій сторінці, виділіть ) її та натисніть Ctrl+Enter
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Держкіно (derzhkino_tag52600/)
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iyna_u_kannah_n1426782 )
8 of 11 7/14/17, 10:00 PM

Ленинопад, эмигранты и харьковский Госпром: украинские р...
http://pushkinska.net/odessa/leninopad-emigranty-i-xarkovskij-go...
Ленинопад, эмигранты и
харьковский Госпром:
украинские режиссёры
представили
короткометражки на
Одесском кинофестивале
Июл 19, 2017 в 23:52
Сегодня в рамках 8-го Одесского международного
кинофестиваля стартовала конкурсная программа среди
украинских короткометражных фильмов. Любители кино,
которые заполнили практически весь зал фестивального
дворца (театра Музкомедии), смогли посмотреть 6 из 17
оригинальных короткометражек.
Как рассказал вчера на творческой встрече один из членов жюри и лицо
ОМКФ Эйдан Тёрнер, «Украина верит сейчас в кино». Чтобы убедиться в
этом, «Пушкинская» решила посетить кинопоказ и посмотреть работы
молодых украинских режиссеров.
1 of 5 7/23/17, 9:24 AM

Ленинопад, эмигранты и харьковский Госпром: украинские р...
http://pushkinska.net/odessa/leninopad-emigranty-i-xarkovskij-go...
Началась демонстрация конкурсной программы с фильма «Нет! Нет! Нет!»
режиссёра Мыколы Ридного, в котором он рассказывает четыре истории о
молодых жителях Харькова и о том, как поменяла близость войны их жизни.
«Это фильм о том, как война влияет на мирную жизнь», — рассказал автор
картины.
Ярчайший представитель арт-хауса в украинском кино, признанный в 2014
году журналом «Forbes» одним из десяти самых выдающихся режиссёров
Украины, Игорь Подольчак представил зрителям фильм «Merry-Go-Round».
5-минутную короткометражку сложно описать. «Сомнабулический цирк
Ribera &amp; Velazquez приглашает всех желающих на шоу Merry-Go-Round,
где тени, убежавшие с платоновской пещеры, вращают карусель в тумане
катакомб», — говорится в описании к фильму. Это, скорее,
экспериментальное кино, которое стоит посмотреть и сделать выводу
самому.
А вот картина «А вы любите Держпром?» режиссера Виктории Белявской
переносит зрителя в жизнь отчасти знакомую каждому, кто застал эпоху
2 of 5 7/23/17, 9:24 AM

Ленинопад, эмигранты и харьковский Госпром: украинские р...
http://pushkinska.net/odessa/leninopad-emigranty-i-xarkovskij-go...
СССР. Картина показывает вымирающие профессии и то, как быстротечно
время. «Держпром – это фильм про сердце Харькова. Я очень хочу, чтобы
вы на 10 минут пожили в Держпроме вместе с моими героями», — сказала
режиссер.
Фильм режиссёра Станислава Битюцкого «Завтра ты обязательно
поправишься» полностью отснят на мобильный телефон и рассказывает о
небольшом путешествии героев в Ровно. «Мы с девушкой поехали на 5 дней
в Ровно и все эти дни не выходили из квартиры, заказывали еду, смотрели
телевизор. И параллельно я снимал на мобильный всё, что казалось мне не
кинематографическим и неинтересным», — рассказал Битюцкий. По словам
автора фильма, в создании картины он вдохновлялся аматорскими видео с
«YouTube».
3 of 5 7/23/17, 9:24 AM

Ленинопад, эмигранты и харьковский Госпром: украинские р...
http://pushkinska.net/odessa/leninopad-emigranty-i-xarkovskij-go...
Полный зал оваций сорвал иронический фильм, с сюжетом которого, так или
иначе, столкнулись в каждом городе и селе нашей страны. Речь идёт о
массовых сносах памятников вождя мирового пролетариата Владимира
Ленина, начавшихся во время «Революции достоинства» и продолжившихся
после принятия закона «О декоммунизации». Фильм «Ленинопад»
режиссёра Светланы Шимко «Пушкинская» однозначно рекомендует к
просмотру!
И последняя картина Оксаны Карпович «Временно» повествует о жизни
4 of 5 7/23/17, 9:24 AM

Ленинопад, эмигранты и харьковский Госпром: украинские р...
http://pushkinska.net/odessa/leninopad-emigranty-i-xarkovskij-go...
простых эмигрантов. Сама Карпович живёт в Монреале и её работа
«родилась» в процессе наблюдения за украинской диаспорой.
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НОВОСТИ ПАРТНЕРОВ
Кравчук назвал единственный
способ уничтожить режим Путина
В Украину можно будет
беспошлинно завозить б/у
автомобили
"Регионалка живет в Европе, а на
российских каналах хвалит ...
Гордон: в этом году война
на Донбассе закончится
Шендерович о Путине: Он
не симулирует. Мозг
президента ..
Круговое движение: кто
теперь главный?
5 of 5 7/23/17, 9:24 AM

Як з Кучми робили Єльцина і панка: технології українських ...
http://www.theinsider.ua/rus/politics/599b1f3f951aa/
УКР РУС НОВОСТИ ПУБЛИКАЦИИ МНЕНИЯ МУЛЬТИМЕДИА
АРХИВ
ЕВРОМАЙДАН
Як з Кучми робили Єльцина і
панка: технології
українських виборів у 12
історіях. Частина 2
11:00
В першій частині нашого спецпроекту про політтехнології
українських виборів INSIDER розповів про вибори за $300,
боротьбу за ідеї та про новаторську кампанію Юлії
Тимошенко й 1998-й — рік, коли українського виборця
почали спокушати великими грішми. Починаючи з 1998-99
кампанії ставали все цинічнішими. У другій частині нашої
історії читайте, як Леонід Кучма за півроку наростив свій
рейтинг із 6% до 56%, чому і хто привів в Україну російських
технологів і до чого це призвело.
Антон
Семиженко
журналист
Україна не Росія… але зробіть нам так само
У жовтні 1999-го ще не звиклі до паперового спаму
мешканці кількох українських міст — зокрема, Запоріжжя — знайшли у своїх
поштових скриньках схожий на доларову банкноту папірець. Американську
валюту нагадували і зелений колір, і візерунки, й навіть розміщення в центрі
людського портрету. Тільки замість Томаса Джеферсона чи Авраама Лінкольна
на українців дивився державник вітчизняного зразка — Олександр Мороз.
“Із нагоди своєї майбутньої перемоги на президентських виборах, у якій
я повністю впевнений, організовую цю безпрограшну лотерею, — ішлось у тексті
на банкноті. — Проведіть по цьому квитку гарячою праскою — і у спеціальному
полі з’явиться назва вашого виграшу (праска, фен, пральна машина, яхта,
автомобіль “Деу”)”. За призом пропонувалось прийти до місцевого відділення
1 of 13 8/23/17, 3:59 PM

Як з Кучми робили Єльцина і панка: технології українських ...
http://www.theinsider.ua/rus/politics/599b1f3f951aa/
Соціалістичної партії, лідером якої тоді був Мороз. Звертатись спонукали й у
випадку, якщо прасування папірця нічого не дасть і ніякого слова не проявиться.
“Свій виграш ви все одно отримаєте”, — "запевняв" політик.
Із нагоди своєї майбутньої перемоги на
президентських виборах, у якій я повністю
впевнений, організовую цю безпрограшну
лотерею. Проведіть по цьому квитку гарячою
праскою — і у спеціальному полі з’явиться назва
вашого виграшу (праска, фен, пральна машина,
яхта, автомобіль “Деу”)
Ніхто нічого не отримав. Жодних написів не проступало: це був фейк, чорний
піар проти найпопулярнішого кандидата у президенти 1999 року. Після затяжної
економічної кризи, ускладненої дефолтом Росії, все більше населення прагнуло
повернутись у простіші комуністичні часи — і планувало віддати голоси “лівим“.
Чинний президент Леонід Кучма мав усі підстави хвилюватись: його рейтинг на
початку 1999-го становив 6%, і на виборах його обходила навіть радикальна
лідерка Прогресивної соціалістичної партії України Наталія Вітренко.
Але промінь надії був. Приклад виходу зі схожої ситуації показала Росія, де 1996
року на другий строк пройшов Борис Єльцин, маючи за кілька місяців до того
безнадійний рейтинг у 5%.
Як це зробили в Москві? Фаворитом перегонів там був лідер Компартії Геннадій
Зюганов. Єльцин заручився підтримкою олігархів, які розуміли, що в разі
перемоги комуніста бізнесу буде несолодко. Олігархи допомогли
з медіаресурсом: приміром, 10-мільйонним тиражем виходила газета “Не дай
Бог!”, на шпальтах якої росіян лякали, що в разі приходу до влади Зюганова
в країні почнуться репресії та громадянська війна. У першому турі Єльцин
отримав 35% голосів, випередивши Зюганова на три відсотки. А тоді генералу
Олександру Лебедю, який зайняв третє місце, запропонували посаду голови Ради
безпеки — і, в результаті, 14% виборців-симпатиків Лебедя перейшли в табір
Єльцина.
Перед другим туром російські телеканали постійно демонстрували тривожні
фільми про радянське минуле, а ранком у день виборів показали фінальні серії
популярних серіалів. Це зробили для того, щоб молодь не виїжджала за місто
(був початок липня), а лишилась удома й таки прийшла голосувати. Усе
спрацювало, Єльцин переміг — і російські політтехнологи різко стали
затребуваними. Чимало пострадянських політиків потребували схожого “дива”.
Особливо Кучма.
Перед другим туром російські телеканали
постійно демонстрували тривожні фільми про
2 of 13 8/23/17, 3:59 PM

Як з Кучми робили Єльцина і панка: технології українських ...
http://www.theinsider.ua/rus/politics/599b1f3f951aa/
радянське минуле, а ранком у день виборів
показали фінальні серії популярних серіалів. Щоб
люди не їхали з міст
“На кампанію Кучми працювало три штаби, — каже Кость Бондаренко. —
Перший, офіційний, під керівництвом Володимира Семиноженка. Другий
курував Олександр Волков. А в третьому працювали запрошені Віктором
Пінчуком росіяни, зокрема Тимофій Сєргєйцев. Співпрацюючи та ворогуючи між
собою, ці три структури забезпечували Кучмі перемогу”.
3 of 13 8/23/17, 3:59 PM

Як з Кучми робили Єльцина і панка: технології українських ...
http://www.theinsider.ua/rus/politics/599b1f3f951aa/
Антикомуністична пропаганда від штабу Кучми
Групи напрацювали наступний план робіт. Перше — “збити” Олександра Мороза,
який через спокійнішу, ніж у комуністів, ліву риторику приваблював більше
виборців. Друге — нейтралізувати демократичних кандидатів (можливо,
призначивши їх на престижні посади чи пообіцявши зробити це в майбутньому).
Третє — завоювати симпатії виборців Західної та Центральної України, і четверте
— спонукати голосувати здебільшого антикомуністичну молодь.
З усім упорались. Окрім серії відносно дрібних капостей Олександру Морозу на
кшталт описаної “безпрограшної лотереї”, у тій кампанії в лідера соціалістів були
і серйозніші іміджеві втрати. 2 жовтня, після зустрічі Наталі Вітренко
з виборцями у Кривому Розі, в її бік кинули дві бойові гранати. Кандидатка
лишилась неушкодженою, а 45 іншим людям пощастило менше: вони отримали
поранення, одній жінці відірвало ногу. Замовником замаху назвали керівника
криворізького виборчого штабу Мороза Сергія Іванченка, безпосереднім
виконавцем визнано його брата Володимира. Цей випадок одразу вдарив по
рейтингу Мороза. “Соціологічні заміри показували: кількість людей, які вірили
у причетність Олександра Мороза до замаху, була доволі серйозною, — пригадує
Бондаренко. — Люди тоді ще вірили ЗМІ, а вони контролювались Кучмою і там
постійно згадували про цей випадок. У підсумку ми маємо перше в Україні
використання брудної технології із застосуванням зброї”.
Перед політтехнологами Кучми стояли чотири
завдання. Перше — "збити" Олександра Мороза.
Друге — нейтралізувати демократичних
кандидатів. Третє — здобути симпатії виборців
Центральної та Західної України. І четверте —
спонукати молодь прийти на вибори
4 of 13 8/23/17, 3:59 PM

Як з Кучми робили Єльцина і панка: технології українських ...
http://www.theinsider.ua/rus/politics/599b1f3f951aa/
Олександр Мороз у першому турі отримав 11,3% голосів, посівши третє місце.
У другий тур пройшов зручний для Кучми спаринг-партнер Петро Симоненко.
Українським Олександром Лебедем став Євген Марчук. Він посів на виборах
п’яте місце з результатом у 8%, і перед другим туром прийняв пропозицію Кучми
очолити Раду нацбезпеки та оборони. Лишалось завоювати симпатії виборців
Західної України та молоді. Леонід Кучма облишив обіцянки підвищити статус
російської мови, завдяки яким у 1994-му за нього проголосувала значна частка
населення сходу. У політичній агітації робився акцент на проукраїнській позиції
кандидата. Рекламну кампанію розробляли Ігор Подольчак зі Львова та Ігор
Дюрич із Дніпропетровська. Вони намагались "ненав’язливо" вписати другого
президента в набір українських символів.
Наприклад, так:
Або так:
5 of 13 8/23/17, 3:59 PM

Як з Кучми робили Єльцина і панка: технології українських ...
http://www.theinsider.ua/rus/politics/599b1f3f951aa/
Чи так. "Наш" Кучма — сьомий у другому ряді, між Шевченками:
Під портретом Кобзаря Леонід Кучма робив щасливою дуже різношерстну
родину:
І якщо композиція нагадує вам "Таємну вечерю" Леонардо да Вінчі — то, дійсно,
6 of 13 8/23/17, 3:59 PM

Як з Кучми робили Єльцина і панка: технології українських ...
http://www.theinsider.ua/rus/politics/599b1f3f951aa/
"родина" складається з 12 членів.
Для тих, хто хотів пишатись, зробили серію плакатів про місце України у світі.
Благо, фотошоп тоді вже був:
Білборди з наведеними вище композиціями з’явились у багатьох українських
містах. Були й борди загальнопатріотичного спрямування — приміром, як ось
7 of 13 8/23/17, 3:59 PM

Як з Кучми робили Єльцина і панка: технології українських ...
http://www.theinsider.ua/rus/politics/599b1f3f951aa/
цей в Миколаєві:
Виконаний у такій же стилістиці білборд із Рівного завершує меседж:
Щоб привабити голоси молоді, Подольчак "перетворив" Кучму на панка. Ці
роботи стали класикою українського виборчого плакату:
8 of 13 8/23/17, 3:59 PM

Як з Кучми робили Єльцина і панка: технології українських ...
http://www.theinsider.ua/rus/politics/599b1f3f951aa/
А ще закликати молодь обрати Кучму мала пісня — "Голосуй по уму, голосуй за
Кучму". "Голосует молодёжь, ведь её не проведёшь: нам не надо этой старой
красной лжи", — співали популярні в ті часи Ані Лорак та Лері Вінн. Здебільшого
пісня поширювалась через радіостанції.
Ну і, звичайно, sex sells. Кучму в тому числі.
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Як з Кучми робили Єльцина і панка: технології українських ...
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Аналогу газети "Не дай Бог!" в Україні не робили — але була газета "Факты",
щоденний тираж якої сягав двох мільйонів примірників. Газета одночасно
друкувалась у різних українських регіонах і коштувала 25 копійок. Між першим
і другим туром у "Фактах" вийшли статті під, зокрема, такими заголовками:
"Президент вірить, що український народ вбереже країну від небезпечних та
крутих поворотів", "За якого Кучму ми проголосуємо у другому турі?", "Не
можна віддавати на відкуп лівим ідеї соціальної справедливості", "У 1962
році генсек Микита Хрущов наказав відкрити вогонь по мирній демонстрації
робітників у Новочеркаську, які протестували проти підвищення цін на
продукти" (і ні, це не була річниця трагедії). А 12 листопада, за два дні до виборів,
у "Фактах" вийшов великий матеріал про пряму телефонну лінію Кучми
з читачами газети. Інформація там була, в основному, такого характеру:
10 of 13 8/23/17, 3:59 PM

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Хто б не допоміг, Кучма вибори виграв — із результатом у 56,25%.
Внесок Симоненка у свою перемогу президент не забув, і ще кілька років
забезпечував фінансову підтримку червоних силами молодих бізнесменів
Костянтина Григоришина і Петра Порошенка. Один має зацікавлення в
енергетиці, другий хоче отримати "Ленкузню" і факбрику Карла Маркса. Тому
погоджуються. А Порошенко ще й починає допомагати благодійному фонду
Людмили Кучми. На той момент Порошенко ще дружить з Віктором
Медведчуком і входить в СДПУ (о), але вже за 4 роки він буде в зовсім іншій
команді.
Починаючи з президентської кампанії Кучми російські політтехнологи стають
неодмінною їх частиною аж до 2014 року. Чи правда ця навала була успішною
для клієнтів і чого це коштувало Україні читайте вже найближчим часом.
Читайте також першу частину матеріалу
Від Чорновола до Тимошенко: технології українських виборів у 12
історіях. Частина 1
Разделы :
Политика
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УКР РУС НОВИНИ ПУБЛІКАЦІЇ ДУМКИ МУЛЬТИМЕДІА АРХІВ
ЄВРОМАЙДАН
Велике російське нашестя:
технології українських
виборів у 12 історіях.
Частина 3
12:47
22
жовтня 2003 року президент Леонід Кучма
змушений був перервати своє 11-денне турне до
Латинської Америки. Причиною стало
будівництво російської дамби на косі Тузла. Голова
адміністрації президента РФ Олександр Волошин на
зустрічі з журналістами офрекордз навіть погрожував
скинути на острів Тузла бомбу, щоб не віддавати її Україні.
Це буде перше територіальне вторгнення Росії в Україну, а
вже за рік її керівництво зробить усе, щоб на
президентських виборах 2004 року в Україні переміг
потрібний їй кандидат.
Тетяна
Ніколаєнко
Головний редактор
INSIDER
Володимир Путін, не чекаючи результатів ЦВК, привітає
Віктора Януковича з перемогою. Тільки наступного дня
розпочнеться Майдан, який змінить усе. І потім Росія ще
десяток років лякатиме своїх громадян технологією
кольорових революцій від США.
Тим часом російські політтехнологи малюватимуть карти,
де ділитимуть українців на сорти і розриватимуть країну на
шматки.
В жовтні 2004 в російському Комерсанті вийшла стаття з
промовистою назвою "Настройка преемника". В ній
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розповідалось, як Леонід Кучма возив Віктора Януковича до
Володимира Путіна на день народження за три тижні до
першого туру виборів. Журналіст назве цей візит
підготовкою передвиборчого ролика Януковича. І це буде
лише маленьким епізодом безпрецедентного втручання
Росії в українські вибори та найдорожчої і найчорнішої
кампанії за всю історію України.
Як робилася президентська кампанія 2004, читайте в третій
частині спецпроекту INSIDER.
Антон
Семиженко
журналіст
Наше сонечко
Після трагічної і нерозслідуваної загибелі Вячеслава
Чорновола правоцентристи зазнали нищівної поразки на
президентських виборах 1999 року. Найкращий показник був у Юрія Костенка,
який отримав 2% підтримки.
Табір, що пізніше отримає назву демократичний, був роздрібнений між 10
політичними силами. Без шансів на політичне виживання. Адже йому бракувало
лідера.
Але природа не терпить вакууму. Наприкінці 2001 внаслідок парламентського
заколоту, влаштованого Віктором Медведчуком, у відставку іде прем’єр-міністр
Віктор Ющенко. Ще працюючи в НБУ, Ющенко отримував пропозиції піти в
політику, але його стримував від цього тодішній начальник, ще один трагічно
загиблий – Вадим Гетьман.
Будучи прем’єром, який першим виплачує борги з пенсій, Ющенко стає
улюбленцем народу. Під час робочих поїздок бабусі направду цілують йому руки.
А після скандальної відставки – він готовий головний опонент Кучмі.
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Тому Ігорю Гриніву спадає на думку об’єднати навколо Ющенка весь
демократичний табір. 16 липня 2001, в річницю декларації про проголошення
національної незалежності , про створення нової політичної сили оголошують на
горі Говерла.
Блок "Наша Україна" отримує перемогу на виборах до Верховної Ради у 2002 і
стає найбільшою фракцією. Але більшість завдяки інтригам та мажоритарникам
все одно опиняється у прокучмівської "Заєди", яка на виборах отримала лише
11%.
На парламентські вибори "Наша Україна" йшла з логотипом "сонечко". Багато
хто вважає, що його вигадав політтехнолог Сергій Гайдай. Але це не зовсім так.
фото прес-служби "Нашої України"
Гайдай справді приніс сонечко-"їжачком", як його малюють у дитсадках. Символ
сподобався штабу, але не сподобався Ющенку. І на одній з нарад він просто
зробив кілька розчерків олівцем, і сказав: "Я хочу, щоб було так". Хтось це
перефотографував, і малюнок віддали у друк. Так і виник символ блоку "Наша
Україна".
Взагалі Ющенко весь час щось малював на нарадах, в тому числі і присутніх, і
часто не в найкращих ролях. Колишні працівники штабу розказують байку, що
якось він намалював порося, взяв в руки листок і повернув до Петра Порошенка
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зі словами: "Петя, це ти!".
Гайдай справді приніс сонечко-"їжачком", як його
малюють у дитсадках. Символ сподобався штабу, але не
сподобався Ющенку
Можливо, це й змінило ставлення Порошенка до Ющенка, але за рейтингами він
був лідером президентської гонки. Доводилось терпіти. Та й був він такий не
один, інших щоправда частіше кандидат малював баранами.
В 2003 в штабі кипіла робота над гаслами і символікою, з якими кандидат піде на
вибори, а тим часом дрібні політсили боролись за те, на базі якої з них таки буде
створена партія "Наша Україна". Очевидно, за правом ідейного натхненника
Гринів навіть переіменував ПРП у ПРП-"Наша Україна".
Тому що… так
В липні 2003 Ющенко мав вчергове йти на Говерлу. До цього політтехнолог, а
нині депутат БПП Ярослав Лесюк вже запропонував штабу помаранчевий колір і
підкову як символи кампанії.
Підкова була перевернута, не так як її чіпляли у хатах, а ріжками донизу. Лесюк
підвів під це тезу, що це підкова коня, що йде угору. Але штабістам довго це
довелось пояснювати ЗМІ.
Ідея з підковою Ющенку дуже сподобалась, бо цей символ Лесюк взяв з
розповідей кандидата, що він її намалював десь на стіні Михайлівського собору.
До того ж, у Ющенка був перстень з підковою. А ось помаранчевий колір нікому
не подобався, найперше кандидату.
На Говерлу мали вести 5000 осіб, а за день у штабі дізнались, що кожна з партій
везе свою символіку. Уявивши, як Ющенко стоятиме серед червоно-чорних
прапорів і як потім це використають опоненти, команда Романа Безсмертного
вирішила друкувати помаранчеві прапори і футболки. Ядучий колір перебив
інші. Ющенко дуже лаявся, але було пізно.
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Слоганом кампанії стало просте слово ТАК. Спершу мало бути Досить, але
російськомовна дружина політтехнолога прочитала його як "ДосІть", і тоді Лесюк
вирішив змінити на інше - однозначно зрозуміле слово.
У опонентів Ющенка були інші проблеми. Там ніяк не могли вирішити, хто ж
буде кандидатом влади. До кінця 2003 ще була думка, що на вибори взагалі піде
сам Кучма, бо КС навіть легалізував тезу про його третій строк. Втім потім все ж
зробили ставку на прем’єра Віктора Януковича.
Спершу мало бути Досить, але російськомовна дружина
політтехнолога прочитала його як "ДосІть", і тоді
Лесюк вирішив змінити на інше - однозначно зрозуміле
слово.
Як антитезу до ющенківського "Так" технологи прем’єра вибрали гасло "Тому
що". Оригінальні повідомлення розробив автор реклами кампанії Кучми 1999-го
Ігор Подольчак.
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Пародія на виборчу кампанію Віктора Януковича "Тому що…"
Фоном же залишилась та ж біло-блакитна гама, що і в кампанії Кучми 99-го року.
Втім зовсім не гасла зіграли роль на цих виборах, а набагато гірші методи.
Темники, технічні кандидати, і просто фальсифікація
Ще з осені 2001, періоду підготовки парламентської кампанії, спершу на
телеканалі Інтер, а потім і на інших з’являються так звані темники. Суть кожного
документа була в переліку поточних тем і порадах, в якому ключі їх подавати й
чи робити це взагалі.
Цю ідею в Україну привіз російський політтехнолог і галерист Марат Гельман.
Щоправда, свою причетність до цього явища він визнав лише у 2005, в інтерв’ю
"Новой газете".
А ідейним їх оплотом став глава адміністрації президента Кучми Віктор
Медведчук.
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Вперше про темники написав журналіст Вахтанг Кіпіані у матеріалі для УП
"Князь тьми і темників", де й викрив вказівки, які розсилалися у різні медіа.
Курував маніпуляціями керівник Головного управління інформаційної політики
Адміністрації президента Сергій Васильєв. Як кажуть ті, хто працював у 2004
році в штабі Януковича, Гельман все пропонував робити досить інтелігентно і
розумно, але у Васильєва "зірвало дах" і він все перетворив у те, що потім возили
як доказ цензури до ПАРЄ.
За словами представників штабу “Нашої України”, свіжі рекомендовані теми
медіаменеджери читали на сайті “Українські жарти”. Там, під зображенням
жирного рудого кота, нібито було поле, в яке треба було ввести логін, пароль — і
отримати доступ до тексту свіжого “темника” для свого ЗМІ.
Втім журналістам відомо, що все було простіше - пряма розсилка керівникам
каналів.
Лише після другого туру президентських виборів і початку Майдану колектив
ТСН збунтувався проти темників, відмовився їх виконувати і добився
відсторонення від випуску новин В’ячеслава Піховшека.
У Піховшека, так само як і Дмитра Корчинського та Дмитра Джангірова була
своя роль в цій кампанії. Інтернет тоді ще не був таким розповсюдженим, а тому
функцію ЛОМів виконували відомі журналісти. Ось і випускали Корчинський з
Джангіровим 5-хвилинку ненависті проти Ющенка під назвою "Проте" на
найрейтинговішому "1+1".
Оскільки виступи Ющенка в темниках зазвичай йшли під грифом "тема
неважлива й неактуальна", "прохання ігнорувати", "коментар відсутній по всій
темі", то довелось шукати виходи з цієї ситуації.
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Вибори 2004 вражали масовістю чорної реклами
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Під час виборчого туру представники штабу Ющенка відправляли валізи з
грошима для керівників регіональних каналів. Один виступ на луганській Ірті,
що контролювалася регіоналом Володимиром Ландіком, обійшовся у 60 тисяч
доларів.
У 2003 Порошенко у приміщенні Ленкузні створює перший інформаційний 5
канал, який дозволяє опозиції прорвати інформаційну блокаду.
Щоправда, і туди штаб Ющенка відправляє валізи з грошима.
Щоб організувати супутникове мовлення з мітингів, команда Ющенка наймає
словацького спеціаліста. Він був єдиним іноземцем, якого залучили до кампанії
помаранчевого кандидата.
Іще одне “нове дно” 2004-го — висунення “технічних” кандидатів для того, щоб ті
псували кампанію опоненту. Наприклад, суто з метою критики Віктора Ющенка
на посаду президента висунувся лідер партії “Братство” Дмитро Корчинський.
Так само як і представник Організації українських націоналістів Роман Козак,
який запам’ятався відеороликом: “Пане Вікторе, ваша дружина — американка…”.
пане Вікторе ваша дружина американка, реклама 2004
“Він був мемом на ті часи, — сміється Кость Бондаренко. — Наприклад, тому, що
був єдиним кандидатом, який використовував офіційну державну охорону. І з
цим охоронцем їздив у метро…”
Крім технічних кандидатів були "штатні соціологи", які мали нарахувати
перемогу Януковичу в екзит-полах.
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Але й ці методи були лише вершиною айсбергу. Тодішня влада методично
обкатувала технології фальсифікації виборів в рамках комісій. Всі вони потроху
тестувалися на мажоритарних кампаніях, які відбувалися у 2004.
Але наймасштабніше це проявилось на мерських виборах в Мукачевому 18 квітня
2004. Слід зауважити, що на той момент там вже рік тривало протистояння за
контроль над регіоном між Віктором Балогою та Віктором Медведчуком. Після
перших виборів, де змагались родич Балоги Василь Петрьовка (підтриманий НУ)
і Ернест Нусер (СДПУ(о)), і боротьба в судах затягнулася на рік, президент Кучма
призначив перевибори. Тоді на вибори вирішив іти сам Балога.
18 квітня згідно з даними екзит-полу, проведеного в день виборів фондом
"Демократичні ініціативи", центром "Соціс", Київським міжнародним інститутом
соціології, Центром економічних і політичних досліджень імені Разумкова і
Комітетом виборців, 62,4% опитаних проголосували за Віктора Балогу, 29,99% —
за Ернеста Нусера. Представники штабу "Нашої України" пішли святкувати після
цього в ресторан, але вже до першого бокалу їм подзвонив Роман Зварич і сказав,
що перемоги не буде і окружна комісія чудить бозна що.
Роман Безсмертний, Юрій Павленко, Юрій Оробець кинулися рятувати
результати, але отримали тільки численні переломи і забиття. Їх побили в
приміщенні комісії.
Виборча комісія показала протилежні дані, за якими Нусер значно випереджав
Балогу. Ситуація швидко загострилась, до Мукачева приїхали політики з Києва —
зокрема, Віктор Ющенко. “А коли вирішили перерахувати голоси — виявилось,
що мішки з бюлетенями зникли, — пригадує Кость Бондаренко. — Причому сама
історія з цим зникненням була більш, ніж цікавою: за офіційною версією, на
мерію напали двоє бомжів, забрали скриньки з бюлетенями, донесли їх до річки
й викинули туди. А потім, коли цих бомжів “взяли” — вони померли у камері від
туберкульозу. Такий от креатив по-закарпатськи”.
Кость Бондаренко
за офіційною версією, на мерію напали двоє бомжів,
забрали скриньки з бюлетенями, донесли їх до річки й
викинули туди. А потім, коли цих бомжів “взяли” — вони
померли у камері від туберкульозу
Втім Ющенку і команді тоді вдалося переломити ситуацію, і через Верховну Раду
визнати вибори недійсними. Допомогли в цьому віце-спікер Олександр Зінченко,
який несподівано залишив табір сдеків, та омбудсмен Ніна Карпачова.
А вже 25 вересня Зінченко замінить Романа Безсмертного на чолі штабу
Ющенка. Йому в цьому допоможуть Петро Порошенко і Микола Мартиненко. За
20-ть днів до того відбудеться дивне і досі нерозкрите отруєння Ющенка
діоксином.
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У 2012 Давид Жванія дав прокуратурі свідчення про те, що скандал навколо
отруєння Віктора Ющенка у 2004 році - ідея його передвиборного штабу на чолі з
Зінченком.
На момент цієї заяви Зінченко вже помер. А от справа так і не розкрита.
Так само як майже ніхто і не покараний за ті фальсифікації, крім кількох рядових
членів комісій.
Коли добро і зло перемогло бабло
Під час виборчих кампаній 2004 року серед журналістів ходила приказка: "добро
і зло перемогло бабло". Вочевидь, виникла вона невипадково. Це були
найдорожчі вибори за історію України.
Поки українці слухали на Майдані патріотичні пісні, дехто з топових виконавців
відмовлявся виходити на сцену, не отримавши 40 тисяч доларів за пісню.
“Штаб Януковича витратив близько мільярда доларів тоді. В Ющенка витрати
склали 400 мільйонів — можу говорити про це, оскільки був усередині процесу,
— каже Тарас Березовець. — Іще дуже дорогою була кампанія парламентських
дострокових виборів 2007 року, коли БЮТ витратив 250 мільйонів доларів, а
Партія регіонів — 450 мільйонів. Наступні президентські вибори були вже
набагато скромнішими: Юлін штаб витратив приблизно 150 мільйонів доларів, а
штаб Януковича — десь 250 мільйонів. Так що у 2004-му було поставлено рекорд,
який, мабуть, ніколи не буде побито”.
Тарас Березовець
Штаб Януковича витратив близько мільярда доларів. У
Ющенка витрати склали 400 мільйонів
Наскільки ефективно використали ці кошти, свідчить той факт, що один з
технологів Януковича, наприклад, вкрав півтора мільйона доларів.
“Там почали красти з самого початку. Десь так, як це було в кампанії Кучми:
штаб Пінчука розміщує в газеті проплачений матеріал — а в штабі Волкова
бачать цей матеріал і пишуть: “до сплати”. Щоб іще раз заплатили”, —
всміхається Золотарьов. Сам він тоді працював у Дніпропетровському штабі
Ющенка. Завданням було втримати підтримку на рівні типових для області 30
відсотків. Головний метод — прорвати інформаційну блокаду. Як це досягалось?
“Та за гроші, за гроші. Тільки ми не нагинали людей, як у Януковича — а з
посмішкою приходили. З теплом. І з подарунком”, — каже він. Результат
київський штаб задовольнив.
"Ми не нагинали людей, як у Януковича — а з посмішкою приходили. З теплом. І
з подарунком". Подарунок зазвичай на телебаченні обліковувався у 50 тисяч
доларів.
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“В Україні крали на будь-яких виборах: що в 1990-ті, що в “нульові”, що тепер, —
ділиться досвідом політтехнолог. — От тільки мають бути якісь рамки. Я завжди
кажу: народ, тільки давайте, щоб не більше 30 відсотків втрат було — тоді всі
будуть задоволені. Бо якщо більше — знищимо кампанію своїми ж руками”.
Тіма й Діма
Жодна виборча кампанія з 1998 по як мінімум 2012 роки не обійшлась без участі
російських фахівців. Спершу — тому, що в Росії 90-х політика була бурхливою й
повною грошей, відтак там сформувалась своя політтехнологічна школа, якої в
Україні тоді ще не було. У 2000-ні — тому, що в Росії політична конкуренція
практично випарувалась. Від політтехнологів вимагалось лише “освятити”
попередньо накреслені результати. В Україні ж тоді, особливо з 2005 по 2010
роки, панувала повна свобода дій.
Першим російських політтехнологів, за словами Костя Бондаренка, в Україну
запросив Віктор Пінчук — 1998 року, коли обирався по мажоритарному округу в
Дніпропетровську. Цими фахівцями були Тимофій Сєргєйцев та Дмитро
Куликов, представники так званого Московського методологічного гуртка
(ММГ). Вони називають себе експертами в роботі з ситуаціями керованої кризи.
Лідер групи Тимофій Сєргєйцев. Зараз він часто дає інтерв’ю відеоканалу сепаратистів Newsfront
Невдовзі ці керовані кризи в Україні з’явились: 1999-го на сповнених страху
комуністичного реваншу президентських виборах, і 2004-го, коли активно
експлуатувалась конфронтація регіонів України. “Тіма й Діма” — як їх почали
називати в політичному середовищі — працювали в обох кампаніях на боці,
відповідно, Кучми та Януковича.
Про свій досвід у цих виборах Сєргєйцев у спогадах для Московського
методологічного гуртка пише так: “Довелось двічі проводити президентську
кампанію на Україні. Першого разу ми переконливо її виграли, а другого стали
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змістовною причиною так званої “помаранчевої революції”. Методологія ММГ
змусила нас торкнутись історії, усвідомивши її як обставини власної діяльності”.
Дмитро Куліков у 2014-му вів програму "Право знать" на російському телеканалі ТВЦ
Конкретніше про свою роль у подіях 2004-го дует політтехнологів не говорив.
Українські конкуренти й журналісти звинувачували їх у створенні знаменитої
карти країни, в якій українців ділять на три сорти.
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За однією з версій, це була робота Ігоря Шувалова, за іншою – таки Сергейцева.
Вже на третій тур виборів команда Януковича почала кликати американського
спеціаліста Пола Манафорта, який тоді консультував Ріната Ахметова. Але той
відмовився і зайшов працювати лише у 2006.
А незважаючи на весь негатив після 2004-го Сєргєйцева й Куликова залучали до
українських проектів ще не раз. Не завжди вдало. Наприклад, 2009-го вони
працювали над президентською кампанією Арсенія Яценюка — тою, де він
виступав у мілітарному стилі.
“Це було абсолютно мимо, — пригадує Сергій Гайдай. — Українці хотіли бачити
Яценюка інтелігентом, таким собі “гарвардським хлопчиком”. Войовничості
Арсенія ніхто не сприйняв”. Зрозумів це і Яценюк: кампанію згорнули, “Тіму й
Діму” звільнили. Але ті одразу ж знайшли собі інше місце роботи — у Сергія
Тігіпка. Його кампанія була успішнішою, політик посів на перегонах третє місце.
Comments.UA
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"Мілітарний" образ Яценюка викликав чимало насмішок
Досвід роботи Сєргєйцева та Куликова на Тігіпко дуже сподобався Наталії
Королевській.
Спершу з Москви їй виписали Миколу Гастелло та Миколу Дороніна, яких у
штабі називали "братья-летчики", оскільки їх діди справді були пілотами.
Але з завданням вони не справилися. Не допомгли і Казбек Бектурсунов і Дмитро
Джангіров. Кликали з Москви, де живе брат Королевської, і Петра
Щедровіцького (працював з СДПУ (о)) та Єфіма Островського (Команда озимого
покоління).
Але на фініші кандидатку, яка мала по ходу кампанії 4,5% , чекав гучний провал.
Журналісти ніколи не забудуть з’їзд у кукурудзяному полі, а також як Гастелло
власним животом закривав від запитань футболіста Андрія Шевченка. Так сам як
і список, який переписували ще кілька тижнів після з’їзду
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Фото Дмитра Ларіна
“Здавалось, підхід там був такий: байдуже, що ми говоримо — головне, щоб було
багато реклами й ця реклама була красивою, — каже Гайдай. — Але це викликало
лише сміх. Зараз ніхто не згадає, що було на тих білбордах. Хіба що слоган “У
мене є мрія”, який став приводом для жартів”. “О так, це була найбільш тупа
кампанія, найбільш неефективна: 400 доларів за голос, — каже Березовець. —
Сто мільйонів доларів вклав Рінат Ахметов, і вони отримали 250 тисяч голосів.
Як же Тімі та Дімі та іншим росіянам вдавалось керувати кампаніями з
величезними бюджетами попри провали? Березовець упевнений, що завдяки
вмінню маніпулювати. “Є таке поняття в політтехнологіях, як “кампанія у
клієнті”. Це коли ви "занурюєте клієнта в теплу ванну", кажете йому: ти
геніальний, ти — супер, просто тебе не розуміють. Тобі треба нові, нестандартні
технології — й іншим здаватиметься, що це повна фігня, але насправді ти
унікальний настільки, що твій геній завдяки цьому переможе, — каже
політтехнолог. — Вони досить специфічно поводились. Сєргєйцев засинав на
зустрічах, хропів… Пиячили вони активно. Сам я з ними не знайомий — але
люди казали, що вони "ловили кайф" від можливості познущатись із кандидатів.
Бились об заклад: мовляв, давай цьому дурню впаримо ось це і це. Як думаєш,
вийде?”.
Отримати спростування чи підтвердження цим словам від Тимофія Сєргєйцева
не вдалось: на повідомлення він не відписує. Зараз у чоловіка нові замовники,
які ставлять під сумнів потребу існування України як такої. І він сумлінно
працює. У травні на сепаратистському відеоканалі NewsFront вийшло інтерв’ю
Сєргєйцева під назвою “На Україні “державу” демонтовано нацистами”.
Що росіяни принесли в українську політичну дійсність? “Більше цинізму, — каже
Бондаренко. — Якось я був на тренінгу, де російські фахівці розбирали кейси:
такі-то обставини, такі-то активи, і треба підвищити рейтинг кандидата. І
прозвучала фраза, яку я ніколи не забуду: “мнением электората пренебречь”. Під
цим гаслом і пройшла майже вся їхня робота в Україні”.
Бондаренко
Їх робота проходила під гаслом: мнением электората
принебречь
“У своїй більшості російські політтехнологи працюють не так на клієнта, як на
інтереси своєї Батьківщини. Вони завжди приносили сюди російську імперську
ідеологію, — каже Гайдай. — Я працював у Киргизстані й мав там принцип:
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перші два тижні нікому не давати ніяких порад. Адже мені треба ще самому
розібратись, що в країні відбувається. А росіяни такої потреби щодо України не
відчували: в них уже була своя “картинка”. Де українці — частина російського
народу з сильно придуманим діалектом і певними мозковими відхиленнями, і
щастя для них настане тоді, коли вони повернуться до свого “старшого брата”. Їм
пояснювали, що ментальності росіянина й українця — різні, що якщо для
першого держава є всім і він готовий життя покласти на плаху спільної ідеї, то
українці — феодалісти, для яких держава завжди була чужим, недружнім
утворенням. Це вони, може, й розуміли — але не приймали ніколи”.
Що принесли Україні роки найбільшої політичної свободи — з 2005 по 2010? Як
політтехнологи працюють зараз і чого чекають від майбутніх виборів? До чого
взагалі привела в Україні їхня діяльність? Про все це — скоро, у чотирьох
заключних історіях.
Тетяна Ніколаєнко, Антон Семиженко, INSIDER
Читайте також
Від Чорновола до Тимошенко: технології українських виборів у 12 історіях.
Частина 1
Як з Кучми робили Єльцина і панка: технології українських виборів у 12 історіях.
Частина 2
Що принесли Україні роки найбільшої політичної свободи — з 2005 по 2010? Як
політтехнологи працюють зараз і чого чекають від майбутніх виборів? До
чого взагалі привела в Україні їхня діяльність? Про все це — скоро, у чотирьох
заключних історіях.
Розділи :
Політика
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КИР
ROM
М . Л . П . КРИТИКА ПРАКТИКА НОВИНИ ТЕМА АВТОРСЬКІ РОЗДІЛИ
критика
Дискусія «Скільки практик
сучасного мистецтва для руїн
музею?»
Донецький краєзнавчий музей після артилерійського обстрілу.
Серпень, 2014
Розмова про історію та підстави взаємодії сучасного мистецтва і
музейних інституцій відбулася в Національному художньому музеї
України 31 березня 2017 року. Учасниці та учасники: Оксана
Баршинова, Микола Рідний, Микита Кадан, Євгенія Моляр, Юрій
Кручак, Денис Панкратов, Ярослав Футимський. Модератор Ларіон
Лозовий.
«Перші згадки про інтервенції сучасного мистецтва в музейне поле
датуються раннім періодом незалежності України. Вони від початку
мали інтердисциплінарний характер – суб’єктами взаємодії та
критики ставали не лише художні, але й історичні, краєзнавчі,
літературно-меморіальні музеї. Хоча ця діяльність не виділилася в
художній напрям чи сталу тенденцію, прикладів взаємодії більшало, а
її глибина зростала. Зокрема через проникнення ряду західних
моделей художньої та кураторської діяльності. Ці моделі були
відповіддю на кризу європейського музею, який від середини ХХ ст.
відчував брак легітимності й необхідність деколонізаційних
перетворень. «Історіографічний поворот» у сучасному мистецтві –
підвищена увага художників до практик архівування та музейного
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представлення, а також проблематики історичної пам’яті – став
спробою реабілітації/реапропріації західного музею.
В українських умовах художникам довелося мати справу з іншим
суб’єктом. Ним є пострадянський музей – утворення, що існує в стані
перманентної інфраструктурної та ідентитарної кризи. Криза
ідентичності є наслідком радянського музейного проекту, чиї риси
були успадковані українськими музеями майже без змін.
Використання музею як ретранслятора державної ідеології та засобу
формування політичної лояльності громадян залишається панівною
практикою. Інфраструктурна криза є наслідком багаторічної
нестачі базових ресурсів і віднедавна – загрози фізичного руйнування
через військову агресію. Вимоги фінансової автономізації та надання
пріоритету популярно-просвітницькій діяльності, що їх уряд висуває
закладам культури, створюють додаткове напруження в музейному
полі. Втім, важко заперечити, що з економічного боку
пострадянський музей залишається рудиментом, що складно
пристосовується до ринкових умов.
Такий стан музейництва контрастує зі становищем художника й
куратора сучасного мистецтва. Останні опиняються в авангарді
культурних індустрій, отримуючи не лише безпрецедентний обсяг
суспільної уваги, але й усе частіше доступ до перерозподілу
економічних благ. За умови належної професіоналізації й бажання
долучитись до менеджерської діяльності їм нескладно опанувати
канали грантування та субгрантування – в країні, де економіка та
культурний сектор традиційно залежать від зовнішньої фінансової
допомоги. Музей, зі свого боку, все рідше виступає активним агентом
культурної політики, переважно реагуючи на ініціативи, що
надходять іззовні. Інституції, що колись формувала свідомість та
світогляд, стає все важче виконувати базові функції збереження
матеріальних фондів і неперервності наукової роботи. Отже,
історичне співвідношення музею та художника як носіїв позиції
привілейованої й слабкої відповідно перестає бути чинним». (текст
анонсу дискусії Ларіона Лозового)
Марсель Бротарc. Музей сучасного мистецтва. Відділ орлів. Секція
фігур (Орел від олігоцену до наших днів),1972. Фото: © Gilissen
Ларион Лозовой. В первую очередь хотелось бы объяснить
некоторые танатологические моменты в анонсе нашей дискуссии:
отсылки к руинам, к мертвому музею. Казалось бы, мы с вами
находимся в институции, в которой все хорошо и с профильной
деятельностью, и с привлечением современного искусства.
«Музейные руины» можно использовать как в буквальном, так и в
переносном смысле. Употребляя это словосочетание в буквальном
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смысле, я держу в уме две истории, столь показательные, что
обладают для меня какими-то совершенно мифопоэтическими
свойствами. Первая – это история о выставке под названием
«Разгерметизация музейного универсума» в Луганске,
организованная энтузиастами современного искусства в областном
краеведческом музее в 2013 году. А уже в следующем году музей в
буквальном смысле «разгерметизировался» при попадании в него
крупнокалиберного снаряда. Вторая история – о месте, куда тоже,
вероятно, скоро придет современное искусство. В городе Сквира
Киевской области одна из стен местного музея попросту рухнула в
один прекрасный день, и музей был вынужденно перемещен в
помещение, традиционно занимаемое дискотекой. Эти две «руины»
– безусловно разного характера, но мне интересно думать о
наличии каких-то общих причин у подобных явлений.
Что же до более метафорического понимания смерти музея, его
можно использовать в смысле переносном, как метафору состояния
этой институции в современном обществе. Причем в это состояние
музей приходил как минимум последние полвека. Еще Адорно в
эссе «Музей Валери-Пруста» говорит о «музейной смертности». По
его мнению, это эффект, неизбежно производимый институтом,
который запутался в противоречиях собственной культуры, эффект,
который распространяется на каждый объект, хранящийся в музее.
В немецком языке есть подобие между словами «музей» и
«мавзолей» – т.е. это какое-то место, которое приглушает то, что в
него попадает, при этом пытаясь его сохранить. Рискну прибегнуть
к слишком смелой интерпретации, но, возможно, о чем-то схожем
думал художник Александр Ройтбурд, когда в 1994 году использовал
для своей инсталляции под названием «Мертвый музей», в
Одесском областном краеведческом музее, своеобразный музейный
реди-мейд – витрины, которые музейщики не успели убрать к
открытию выставки, какие-то пришедшее в негодность чучела.
Михаил Рашковецкий, комментируя эту художественную
интервенцию, говорит о музее как о каком-то институциональном
хранилище, оболочке вечного и, кажется, употребляет слово
«саркофаг». Но при этом он говорит и про оживление чего-то
мертвого средствами современного искусства – в первую очередь
чучел, которые стали из негодного объекта работой художника, но
также и самой институции. Это звучит знакомо и резонирует с
современными стратегиями ревитализации музея, публичного
пространства, театра, чего угодно средствами современного
искусства.
«Скільки практик сучасного мистецтва для руїн музею?» Афіша
дискусії у НХМУ з роботою Олександра Ройтбурда.
Могу ошибаться, не будучи историком искусств, но одни из первых
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примеров взаимодействия современного искусства и
традиционного музея имели место именно в Одессе в конце 1980-х
– начале 1990-х годов. Это были такие выставки, как «Новая
фигурация», «Свободная зона» и «Синдром Кандинского». Как и в
других пионерских проектах, в них в зачаточном состоянии
проявлялись многочисленные продуктивные противоречия. Т.е.
имела место институциональная критика, удачная или не совсем,
ситуации цензурирования, экономические казусы, связанные с
приватизацией сферы культуры, когда, например, организаторам
предлагали взять музейную картину в аренду. Выставка «Свободная
зона» особенно показательна в этом смысле, т.к. она происходила
на разных локациях, кажется, на трех одновременно. Среди них
был и художественный, и краеведческий музей. В художественном
музее подверглись цензуре инсталляции дуэта Кульчицкого-
Чекорского. Это была их ранняя работа, одна из самых важных,
«Пространство капитуляции: Сталинград под Берлином». Схожая
судьба постигла работу Дюрича и Подольчака. В краеведческом
музее, что показательно, работники проявили больше выдержки и
сняли только фотографию с нецензурным бранным словом
американского фотохудожника, при этом не тронув серию
Михайлова «Я – не Я». Эта серия буквально через год будет
подвергнута цензуре в Харьковском художественном музее.
Однако эти весьма инновационные, по украинским меркам,
действия, по сути были частью давно и успешно
канонизированного жанра – почти полувековой традиции
институциональной музейной критики. Наиболее яркими
примерами можно считать ранний текст Андре Мальро
(«Воображаемый музей») или работы Марселя Бротарса («Музей
современного искусства. Отдел орлов»). Бротарс был переходной
фигурой в дальнейшем развитии жанра – одним из первых
художников, который сделал своей стратегией создание
самопровозглашенных, воображаемых институций. Он основывает
музей в своей мастерской, совмещая место производства искусства
и его презентации, и берет на себя роль музейного чиновника,
директора музея, отыгрывая ее длительное время. Это был конец
1960-х. А уже на стыке 1970-1980-х происходит то, что Дитер
Роелстрат впоследствии назовет «историографическим поворотом в
современном искусстве» – повышение внимания художников к
практикам архивирования и представления материальных
свидетельств, к проблематике исторической памяти. Т.е. искусство
обращается уже не к своему прошлому, что свойственно
модернистским практикам, а к прошлому вообще, к истории как
таковой. Естественно, что при этом в поле зрения искусства
попадает музей. Это движение подарило нам много прекрасных
художников: можно вспомнить Марка Дайона, примеряющего на
себя роль археолога, или Джереми Деллера, который
организовывает реконструкции исторических событий.
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Марк Дайон, «Етнограф удома», 2012
Следует помнить, что эта тенденция связана с кризисом
исторической модели европейского колониального музея и
ожиданиями, что художник предложит какое-то спасение
институции, страдающей от дефицита легитимности.
Институциональная критика существующих коллекций была
реакцией на ряд сложноскрываемых и неудобных фактов, например
того, что они являются следствием экономической эксплуатации и
нарушения прав человека. Но это была критика, не разрушающая
музейный статус-кво, но лишь выявляющая его противоречия. В
итоге большой европейский колониальный музей никуда не исчез и
не собирается исчезать в ближайшее время – напротив, он
чувствует себя весьма неплохо, в том числе и стараниями
художников. Иногда он позволяет себе жесты деколонизационной
щедрости, например, размещая бывшего колонизируемого, выходца
из колонии, во главе институции, со всем ее рабовладельческим
наследием и фондами.
Основной вывод, который мы можем сделать из этого рассказа, –
взаимодействие современного искусства и традиционного музея
принципиально возможно. Даже наиболее радикальные и на
первый взгляд неуместные в музейном поле произведения могут
производиться и существовать в нем. Однако эта история развития
западноевропейской практики очень мало или практически ничего
не говорит нам о том, каким должно быть «музейное искусство» в
Украине. Потому что в наших условиях субъект, с которым
взаимодействуют художники, принципиально отличается от
европейского колониального музея. Я попытался в анонсе его
описать как «постсоветский музей». Хотя он и имеет схожие
основания с музеем европейским, как наследник буржуазного
музея ХІХ века, его дальнейшее развитие пошло по принципиально
иному пути. И сейчас эта структура чувствует себя очень плохо.
Попросту говоря, постсоветский музей дышит на ладан, находясь
«между идеологическим молотом и наковальней развлечений». Он
пребывает в каком-то перманентном состоянии нескольких
кризисов. В кризисе инфраструктурном, с многолетним
недофинансированием, отсутствием средств на базовые
потребности и с недавних пор – в условиях залетающих в здания
снарядов. Это можно назвать кризисом материальности музея.
Второй кризис – идентитарный. Ведь постсоветский музей –
наследник музея советского, авторитарной просветительской
институции, которая ретранслирует идеологию, в которой проходят
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ритуалы лояльности и в которой работники принимают присягу на
верность производству. На два этих кризиса накладывается
неолиберальное давление, оформленное первым постмайданным
правительством в законодательной форме. Это требования
финансовой автономии и самоокупаемости, легализация торговли
музейными площадями, влекущие за собой переориентацию музея
на конвейер зрелищ.
Такое состояние постсоветского музея позволяет мне предложить
два главных тезиса, которые будут непосредственно предварять
нашу дискуссию и могут быть оспорены. Первый тезис – о том, что
историческое соотношение музея как носителя привилегированной
позиции и художника как носителя позиции слабой инвертируется.
Сейчас сложно представить двух субъектов настолько различных по
экономическому положению, как постсоветский музей и
современный художник, особенно периферийный и успешный.
Музей оказывается тем, что мы когда-то с Денисом Панкратовым
назвали «нелюбою донькою в сім’ї шукачів зиску». Т.е.
неолиберальное государство попросту не знает, что с ним делать.
Это огромный кусок инфраструктуры, полученный в наследство и
ежегодно вымывающий немалую часть денег из бюджета. И хотя
недавно в глазах власти музей обрел новый смысл, начались
попытки встраивания его в стратегии патриотического воспитания,
очевидно, что из бедственного материального положения его
выводить не спешат.
С другой стороны, художник – некий «успешный сын», ролевая
модель постфордистского способа производства, флагман
культурных индустрий. Нередко он становится эффективным
менеджером, распорядителем финансовых ресурсов, иногда на
удивление нескромных. Бывают и такие случаи. При этом он
получает возможность быть активным агентом культурной
политики, а не только реагировать на какие-то инициативы,
предлагаемые институциональным полем. И тот факт, что
музеологический семинар, частью которого является наша
дискуссия, был организован полуформальным художественным НГО
«Метод Фонд», тоже о многом говорит: инициатива исходила не из
самого музея. Если немного утрировать, у одного субъекта течет
крыша и не хватает денег на отопление, а второй приезжает на
культурную периферию с кучей шальных денег и идей обновления.
Безусловно, я допускаю огромные упрощения и мера
привилегированности-слабости сильно варьируется. Наш разговор
проходит в стенах Национального художественного музея, который
является сильным агентом. С него мы и начнем обсуждение, но
осмелюсь предположить, что в ходе дискуссии рассматриваемые
музеи будут становиться все слабее. И возможно, нашему
последнему докладчику, Ярославу Футымскому, я поставлю вопрос,
как работать с музеем, которого практически нет.
Второй тезис – о том, что постсоветский музей и современный
художник испытывают взаимный дефицит коммуникации. В
качестве примера я бы привел цитату из поста Алексея Лебедева,
музейщика старой закалки и администратора группы «Лаборатория
музейного проектирования», под заголовком «Очень новая
музеология»:
«Члены музейного цеха давно обеспокоены тем, что словом «музей»
все чаще называют то, что музеем не является и даже отдаленного
отношения к музею не имеет. Теперь руки дошли до музеологии. Я
всегда придерживался стойкого убеждения, что музеология – это
тексты, предназначенные в первую очередь для музейных
работников, понятные и полезные им. И чувствую, что был неправ:
«В рамках Центра экспериментальной музеологии, совместного
6 of 29 10/10/17, 2:44 PM

Дискусія «Скільки практик сучасного мистецтва для руїн муз...
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проекта Colta.ru и Фонда V-A-C, Арсений Жиляев поговорил с
теоретиком искусства и культуры Марией Чехонадских… Разговор
этот начинался так: «Прежде чем обратиться к вопросу музея,
необходимо отметить, что демаркация между фордизмом как
формой социальной стабильности и постфордизмом как формой
радикальной социальной нестабильности, которую ты обозначил,
ставится под сомнение большинством теоретиков прекаритета».
Если бросить в бой все мои ученые степени и почти 40-летний опыт
работы в отрасли, то я пойму процентов 30 из того, о чем говорят
эти ребята. И там, где я их понимаю, они говорят немудреные
вещи. Неясно только для кого. Представляю себе директора
муниципального краеведческого музея, который это читает, и на
душе моей становиться тепло и спокойно».
В общем, огромная проблема, с которой мы будем сталкиваться,
продолжая работать в этом поле, – в том, что музейщики, в
особенности сотрудники научного отдела – преимущественно
академисты. И как академисты они испытывают вполне объяснимое
раздражение, сталкиваясь с фривольным использованием
художниками терминов и целых методологий, таких как
краеведческая или археологическая. С другой стороны,
художественный и кураторский жаргон представляется ему какимто
герметичным языком, который отсылает к абсолютно неясному
полю. Тут всплывает старая проблема непереводимости
художественного знания на язык науки и несопоставимости
методов художественного и академического исследования.
Исходя из этого, я хотел бы поставить полуриторический вопрос,
который может быть рассмотрен докладчиками или оставлен как
есть. Возможно ли превратить этот коммуникативный дефицит в
профицит? Исходя из нашей, художников, привилегированной
позиции, рефлексируя ее – что мы можем дать музею, не превратив
это в жест надменный, неуместный и незавершенный?
Передам слово Оксане Баршиновой, заведующей отдела искусства
ХХ и ХХІ века НХМУ, который по праву считается институциейпервопроходцем
во взаимодействии с современным искусством.
Оксана Баршинова. Добрий вечір. Ларіон дав ґрунтовний огляд
ситуації з музеями в ХХ ст. у світовому та українському контексті,
назвавши наш музей першопрохідцем. Але, як я розумію з його
слів, першопрохідцем можна вважати саме Одеський обласний
художній музей. Річ у тому, що досвід контактів музею із сучасним
мистецтвом не завжди буває простим, і це, як на мене, нормально.
Звичайно, це мій погляд як музейного співробітника. Цікаво
почути художників, їхній досвід.
Сучасне мистецтво приходить у музей – навіщо? Музею це створює
велику кількість проблем: це погляд іншого, це необхідність
змінювати експозицію, це потреба зовсім по-іншому підходити до
виставок; сучасні виставки бувають різними й вимагають чогось
більшого, ніж просто розвішувати картини на стінах. Це викликає
дискомфорт – у тому сенсі, що музей – це щось пов’язане передусім
зі стабільністю, пам’яттю, традицією, збереженням, а сучасне
мистецтво – це щось невизначене, непевне, що весь час вислизає з
будь-яких меж. Ба більше, для музейного співробітника найбільша
проблема – в тому, що сучасне мистецтво, яке приходить у музей,
може викликати поляризацію, адже в будь-якому колективі існують
і новатори, і консерватори. Часто складається напружена ситуація.
Хоча й можна сказати, що сучасне мистецтво руйнує звичне життя
музею, музей не має іншого шляху, ніж відкрити двері для
сучасного мистецтва. Адже будь-який музей сьогодні хоче бути
сучасним. Одне слово в нас є спільним, не кажучи вже, що всі ми
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Дискусія «Скільки практик сучасного мистецтва для руїн муз...
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маємо справу з мистецтвом, просто по-різному розуміємо цей
термін. Якщо музей хоче бути сучасним – він не хоче бути
радянським, ідеологічним, а хоче бути дружнім, відкритим до
глядача; хоче пропонувати більше ніж одну історію, показувати
неоднозначність, розгалуженість. Власне, це те, чому нас вчить
сучасне мистецтво – не бути догматичними, не бути
авторитарними у своїх заявах. Радянський музей відзначався
двома типовими характеристиками: там завжди було представлене
єдине трактування історії мистецтва, того, що є добре і що погано
– це те, що ми сьогодні намагаємося зруйнувати, замінити на
множинність поглядів.
Що стосується співпраці музею і сучасного мистецтва, то з досвіду
НХМУ я можу сказати, що форми присутності сучасного мистецтва
можуть бути найрізноманітнішими. Це може бути виставка
сучасного мистецтва – як найбільш прийнятна форма для музею.
Наступним, більш радикальним кроком, є інтервенції в постійну
експозицію – усталена і звична для західного музею практика,
відпрацьована епохою постмодерну. Лінійне розуміння розвитку
часу й лінійності історії порушується якраз такими зіткненнями.
Але найцікавішими, на мій погляд, і найбільш продуктивними для
музею (а ми, музейні співробітники, можемо бути дуже
прагматичними в ставленні до сучасного мистецтва) є
переосмислення простору музею чи його колекції. Проблема музею
– активізація колекції. Я можу сказати, що в нашій постійній
експозиції (а це поняття є дуже умовним, адже вона постійно
змінюється) ми постійно проводимо ротацію творів, але так чи
інакше показується тільки 2% колекції. Це абсолютно трагічна
ситуація. І тому активізація колекції в найрізноманітніших
проектах є переосмисленням її самої або ж історії мистецтва за її
допомогою. Що стосується переосмислення простору, то особисто
для мене й для музею етапним був проект «Велика несподіванка».
Група Р.Е.П. під кураторством О. Островської-Лютої організувала
надзвичайно цікавий проект, на перший погляд майже ефемерний.
Це не був показ творів художників, це була інвазія, інтервенція в
сам простір музею. Проект складався з двох частин. У фальш-стінах
музею (а далеко не кожному відомо, скільки у нас фальш-стін) були
прорубані вікна. Друга частина проекту складалася з невеликих
мідних пластин, які наслідували форму типових музейних
табличок, але текст був абсолютно не музейний. Складова з
прорубаними вікнами здається мені особливо важливою, адже вона
дає зрозуміти, що простір музею не є звичним, однозначним,
таким, як ми його уявляємо; він набагато складніший,
розгалуженіший. Крім того, за іронією долі, за новими «вікнами»
виявилися фонди з роботами радянської доби, соцреалізмом.
Соцреалістичні твори були вилучені з історії мистецтва, і хоча й не
були цензуровані, залишались десь поза увагою. Цей проект
показав, як у лаконічній формі виявити і ускладнити ситуацію.
Адже ми знаємо, що мистецтво не прояснює світ, воно його
ускладнює, і в цьому сенсі мистецтво як інструмент може
прислужитися музею, показати складність простору і
розгалуженість історії мистецтва. Показати, що центральний
наратив не є єдиноможливим, що є багато того, що залишається
поза нашою увагою.
8 of 29 10/10/17, 2:44 PM

Дискусія «Скільки практик сучасного мистецтва для руїн муз...
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Р.Е.П. «Велика несподіванка». НХМУ, 2010
Р.Е.П. «Велика несподіванка». НХМУ, 2010
Нарешті я повертаюсь до початку виступу – до семінарів, подібних
до організованого Метод Фондом у нас і Хмельницькому
художньому музеї. Такі семінари, такі зустрічі сучасного мистецтва
і музеїв є важливими для вироблення методології дослідження,
методології розуміння сучасності й мистецтва. Адже між сучасним і
т. зв. класичним мистецтвом немає прірви, сучасне мистецтво є
логічним продовженням класичного. Власне, найбільш
продуктивною формою співпраці сучасного мистецтва і музею мені
видається не тільки формування цієї методології, але і спільне
дослідження історії мистецтва. Це те, про що я говорила на початку
– ми однодумці, ми працюємо на одному полі, і на території музею
в нас є спільне завдання – дослідження історії мистецтва.
Зрештою, коли ми говоримо про модернізацію музею засобами
9 of 29 10/10/17, 2:44 PM

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сучасного мистецтва, то ми говоримо про те, як музей взагалі може
бути сучасним. Звісно, це і дружність, і відкритість, і
експериментальне ставлення до експозиції. Але найважливіший
момент – це автономія музею, момент, коли він перестає бути
ідеологічною вітриною. Автономія музею проявляється в тому, як
ми вибудовуємо стосунки з усіма агентами сучасності, зокрема із
сучасним мистецтвом.
Кожен музей має вибудовувати власні стосунки. Я знаю, що тут
ітиметься і про цензуру, і про непорозуміння, що виникали в
музеях. Я думаю, що музеям потрібно вчитися вмінню
комунікувати. Комунікація, впевненість у собі як в автономній
одиниці, не задіяній у вертикалях (а, на щастя, у нас для цього є
можливість) – це кроки до впевненості, що наші стосунки із
сучасним мистецтвом будуть іти на користь обом сторонам.
Л.Л. Хотел бы отметить, что Ваша систематизация иерархии
взаимодействий – от выставки к интервенции, переосмыслению
пространства и коллекции и, наконец, к совместному исследованию
– мне кажется весьма удачной. И то, что вы полагаете исследование
наверху этой условной пирамиды, тоже крайне интересно. Мне
кажется, что художественные исследования – в принципе довольно
смелое, еще не устоявшееся с точки зрения методологии,
начинание. Принципиальным тут, учитывая методологические
нестыковки художественных и академических исследований, мог
бы быть следующий вопрос: как сделать так, чтобы результаты
исследования, которые художник делает вместе с музейной
институцией, воспринимались всерьез? В особенности если это не
художественная музейная институция. То есть чтобы эти
результаты были не просто примером возможности такого
взаимодействия, но и как-то включались в дальнейшую работу
институции как равноправная часть знаний.
О.Б. Мені здається, що будь-який проект сучасного мистецтва
завжди є продуктивним для музею. І щодо методологічних
розбіжностей – мабуть, тут у Вас надто поляризований погляд. Що
таке академічні дослідження в дійсності, наскільки музей
втягнутий в академічні дослідження? У музею є можливість
займатися практичною діяльністю, яка дає змогу фокусуватися не
тільки на теоретичних дослідженнях. Цей практичний досвід є дуже
важливим, тому, думаю, тут протиріччя не буде.
Л.Л. Передам слово Николаю Ридному, члену группы «SOSка» и
куратору выставки «Новая история» в Харьковском художественном
музее.
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«Нова історія». Вигляд експозиції
Николай Ридный. Я расскажу о случае выставки «Новая история»,
о нашем опыте ее создания и последующего закрытия. Все началось
с того, что частный фонд «Эйдос» в 2009 году устроил конкурс на
проект выставки современного искусства в традиционном музее.
Наш проект прошел конкурс, получил финансирование, и мы
разработали выставку для Харьковского художественного музея,
которая строилась по принципу интервенций современных работ в
постоянную экспозицию. Естественно, мы знали тот факт, что 10
лет назад в музее была цензурирована выставка Бориса Михайлова
из-за его работы «Я – не Я». Михайлов повлиял на нас как на
художников и мы этот случай обсуждали с ним. Для нас случай этой
выставки был своеобразным тестом – проверить, изменилась ли
ситуация в музее за более чем 10 лет. Директором музея была и до
сих пор является В. Мизгина. Подготовка выставки и обсуждение с
директором и другими сотрудниками длились полгода, за это время
мы выяснили все концептуальные и технические особенности
выставки, поэтому тот факт, что она была впоследствии запрещена,
был для нас неожиданным.
Расскажу о принципах и задачах нашего проекта. Во-первых, была
идея выстроить связи между современными работами и работами
из коллекции, с работами, которые находятся в постоянной
экспозиции; выстроить их таким образом, чтобы подчеркнуть
социально-критический характер работ в коллекции. Ведь в музее
много работ художников-передвижников, а передвижничество по
сути являлось социально-критическим искусством своего времени.
Кроме того, было важно поработать с пространством музея, его
нормами и правилами. Следовательно, часть работ предполагала
диалог не с какими-то конкретными произведениями из
коллекции, а с самим пространством музея. Вообще этот проект
был не только о диалоге с искусством прошлого и институцией,
которая хранит и показывает это искусство. Он также выяснял
отношения и предлагал какую-то альтернативу искусству
современному, учитывая ситуацию, в котором оно находилось в
Украине на тот момент, учитывая то, что было мейнстримом на тот
момент. Мы можем вспомнить выставки в Пинчук Арт Центре,
которые в основном фокусировались на показе западных звезд,
коммерческих мыльных пузырей, таких как Херст и Кунс. Наш
проект строился на обратном принципе, он был международным, в
нем участвовали в основном художники соседних стран – как
восточного соседства, т.е. из России, так и западного, были
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художники из Словакии, Румынии, был шведский художник с
украинскими корнями. На слайде один из примеров: картина И.
Репина «Казаки пишут письмо турецкому султану», а рядом –
работа шведского художника Александра Вайндорфа о современных
нелегальных эмигрантах. И хотя эта работа вызвала недовольство
директора музея, нам удалось открыть выставку. Пришло довольно
большое количество людей, мы сделали для них экскурсию, но на
момент открытия уже пару работ было удалено из экспозиции.
Одной из них была работа московского художника Давида Тер-
Оганьяна «Девушка без одежды»: когда я говорил о работе с
пространством, я имел ввиду и ее тоже. Она представляет собой
реди-мейд – это женские вещи, лежащие на полу музея, вещи некой
невидимой посетительницы музея, которая их сбросила и
отправилась на просмотр выставки, но ее саму мы никогда не
увидим. Эта работа вызвала возмущение директора, в интернете
можно найти видео, где она собственноручно удаляет, сдирает эти
вещи с паркета. В последующие дни были запланированы
экскурсии для студентов Харьковской академии дизайна и
искусств, но они не состоялись. Нам попросту сказали, что
выставку нужно демонтировать, что она закрыта. Мы столкнулись с
цензурой, которая исходила единолично от директора музея; это не
было цензурой в виде какого-то постановления или «звонка
сверху». Это было решение директора, мотивированное тем, что
музей – это почти что ее собственность, это ее территория, на
которой она может делать все, что ей хочется, в зависимости от
личных предпочтений. Это в корне противоречит пониманию того,
что музей – это общественная территория, публичное
пространство. По-хорошему нужно было подать в суд, но поскольку
все делалось без документации, по устной договоренности и под
честное слово – это было невозможно. Нам, с одной стороны, было
обидно, что все сфокусировались на случае запрета, на факте
цензуры, мало говорили, о чем, собственно, была эта выставка. Но
с другой стороны, проект перерос из плоскости искусства в
плоскость социального прецедента, а последующая реакция и
поддержка многих деятелей культуры Украины и других стран
вывела проблему цензуры в более широкое общественное поле.
«Нова історія». Вигляд експозиції
Євгенія Моляр. Ви від початку якось намагалися узгоджувати
роботу з дирекцією, вони якось були включені в процес підготовки
цієї виставки?
Н.Р. Конечно. Я говорил о том, что процесс занял полгода, мы все
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детально обсудили, начиная от концептуальных, эстетических
аспектов проекта и заканчивая техническими…
Л.Л. У меня тоже будет комментарий. Я читал ответное письмо
директора Харьковского художественного музея, это прекрасный
документ эпохи и своеобразной музейной психологии. Из
множества приведенных аргументов один выделялся как наиболее
повторяемый в подобных ситуациях цензурирования. Это был
аргумент, что она якобы не видела заранее готовых работ.
Понятное дело, что это игнорирует особенности художественного
производства, и не только особенности забавные – якобы
современный художник все делает в последний день, но и в том
плане, что производство может иметь перформативный характер
или характер работы в процессе, когда финальный продукт
невозможно рассмотреть заранее. Это важный урок для нас всех,
кто будет взаимодействовать с музеем или современными
художниками. Любые планы зиждутся на взаимном доверии, на
взаимодействии в условиях, когда многое может до конца
оставаться неясным. Это взаимное доверие художник может
трактовать очень широко и даже манипулировать им в своей
художественной стратегии. Приведу пример, когда художник
Михаил Толмачев сумел реализовать в музее Российской армии
проект, критичный по отношению к российскому милитаризму, –
что он сделает, было не до конца ясным музейным сотрудникам,
носителям определенных воззрений и идеологий. Именно
благодаря недосказанности и совершился этот важный
художественный проект. Такие взаимодействия похожи на танцы
вокруг линии дозволенного – музейных запретов,
пространственных, концептуальных. Как взаимодействовать обеим
сторонам в условиях, когда полной прозрачности обоюдных
намерений не может быть в принципе? Это вопрос скорее
риторический. Но кажется, что кредит доверия в случае с
инициативными группами художников должен быть большим, чем
во взаимодействиях музея с более формализированными
институциями.
О.Б. Я, звичайно, думала про ці випадки, про них відомо давно, і
зсередини музейних стін. Скажу, що проект Михайлова – це
прекрасний проект, який ми, до речі, думали включити до виставки
«Міф: українське бароко», організованої спільно з Г. Скляренко.
Але я не впевнена, що ми могли б показати його в музеї без певної
підготовки, без коментування на належному рівні. Я досі не знаю,
як би ми його показали. Що стосується проекту в рамках співпраці
з фондом «Ейдос», то з нашої точки зору тут не було нічого
скандального – це нормальний діалог з творами, цілком
вмотивована, розумна інтервенція. Та маючи справу з
консервативним музейним середовищем, слід зважати, що воно
орієнтується не лише на органи контролю, але й на свого
постійного глядача, боїться втратити його прихильність. Можливо,
такий ризик був, і це було аргументом для директора. Здається, що
співпраця тут може бути у формуванні однодумців всередині
музею. Це була ситуація, коли не виявилось жодної людини, що
могла б захистити проект зсередини. Художники і музей виявилися
протиставленими одне одному буквально з двох боків окопу. Я
сподіваюсь, що такі ситуації вже в минулому.
Коментар із залу. Если вы предлагаете музею что-то
перформативное, с чем музей раньше не сталкивался, – для него
это может быть непонятно. А потом, в конце концов, директор
добавил перформанса, когда собственноручно все это сдирал, это
было завершение перформанса…
Н.Р. Прокомментирую относительно перформативности – все-таки
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нельзя это так называть. Многие случаи цензуры, которые
случились позже, например, закрашивание работы Кузнецова
Натальей Заболотной в Мыстецком Арсенале или недавний случай
нападения на выставку Давида Чичкана – есть распространенная
точка зрения, что это перформанс, продолжение работы художника.
Но тут, мне кажется, нужно называть все своими именами, что это
было и остается цензурой.
Л.Л. Передам слово Никите Кадану, художнику, члену кураторского
объединения Худсовет, автору многих проектов, релевантных для
нашего сегодняшнего разговора.
Нікіта Кадан, «Одержимий може свідчити у суді», Національний
музей історії України, 2015. Фото Костянтина Стрільця
Никита Кадан. Касательно твоего вступления,
«историографического поворота»… Уже достаточно долгое время,
лет пять, в различных проектах, осуществляющихся в Украине,
можно наблюдать определенный «историзм», историзм как стиль,
как «архивный» стиль. Эти вещи настало время систематизировать,
создать для них собирающие термины. Тут речь идет, например, об
архивах социальных, архивах местной модерности, здешнего ХХ
века. На выставке такого искусства может быть много черно-белых
фотографий из семейных альбомов, производственных или
институциональных архивов, лаконично и строго оформленных
материальных свидетельств, рассказывающих через историю
тогдашних социальных отношений что-то и про сегодняшний день.
Пожалуй, такие экспозиции скоро станут общим местом
украинского выставочного дела. А ведь не так давно типичная
украинская выставка современного искусства состояла из больших
картин юмористического содержания и глупостей про тотальную
виртуализацию мира и недоверие к реальности, написанных в
экспликации. Новый же тип узнаваемой украинской выставки – это
деликатно и сдержанно оформленное собрание различных
архивных документов. Само возникновение этих общих мест, этих
очень узнаваемых выставочных подходов – знак того, что скоро
надо будет искать пути побега от них. Но в то же время думается,
что потенциал архивности, потенциал этого поворота к памяти,
поворота к истории еще далеко не раскрыт. Обычно сначала
высказываются некие мысли – далее они, возможно, пользуются
успехом. Сама риторика, сама манера, в которой эти мысли
высказаны, начинает повторяться многими и зажевывается до
состояния банальности, еще одного общего места. Но здесь само
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зажевывание, сама стилизация речи произошли до того, как мысль
была договорена.
Я думаю, что важнейший потенциальный вектор этой «новой
архивности», «новой музейности», «поворота к памяти»,
«историографического поворота» состоит в обнаружении
внутренней конфликтности исторического рассказа. И в том, что
если смотреть на сам рассказ, смотреть на способ рассказывать
историю, можно оказаться на территории реальной борьбы, в поле
реальных решений. Решений о том, как нам вместе быть в одном
мире и не поубивать друг друга. Иначе говоря, оказаться в зоне
политики.
Когда речь заходит о нарративе художественного музея, в моем
понимании очевидно, что он – подвид музея исторического, а
история искусства является подразделением общей истории людей,
их общества. Таким образом, рассказ истории искусства может быть
осмыслен как рассказ политических конфликтов. Оксана Баршинова
говорила о музее советского типа, о музее с четким «коридором»,
четким направлением повествования, идеологически
оформленным, идеологически ограниченным. Вроде бы мы уже
давно находимся в музее постсоветском, и вроде бы настолько
строгого «коридора» здесь нет: тут висит Виктор Пузырьков, а там
Карло Звиринский. Но в то же время особой внутренней
конфликтности в рассказе нет. Вижу, что эта внутренняя
конфликтность загорается в маленьком красном флажке на картине
Пальмова «Первое мая». Небольшой кусочек красного кадмия на
зеленом фоне вдруг начинает мощно сигнализировать, как красная
лампочка. Ведь мы живем в период так называемой политики
декоммунизации, и этот кадмий активизируется в силу контекста и
в силу того, что это голос одного из тех художников, которые
известны как украинский авангард и Расстрелянное возрождение.
Они вдруг обнаруживают потенциал сопротивления по отношению
к сегодняшним властным идеологическим повествованиям. Но так
или иначе эти замечательные живописные произведения, такие как
работа Виктора Пальмова, могут быть экспонированы как страницы
уже рассказанной истории искусства – из песни слов не выкинешь.
Таким образом, этот конфликт еще недооформлен, его можно
дооформить, выявить, рассказать. Участие современного искусства
в рассказе истории искусства в т.н. традиционном художественном
музее может иметь характер выявления идеологических
противоречий. Я не могу сказать, что мы живем в мире
постидеологическом, это объективно не так. Собственно, это и есть
в моем понимании основным наполнением «новой архивности»:
архив ценен не только своим фактом, а и тем, как в нем загорается
новое историческое пламя.
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Віктор Пальмов, «Перше травня», 1927. З колекції Національного
художнього музею України
Еще коротко хочется ответить на реплики Оксаны Баршиновой о
противопоставлении идеологизированного советского музея и
открытости современного искусства, которое плюралистично и тем
самым создает более современное и демократичное пространство.
Вроде бы со всем этим можно только согласиться, но у меня чувство
опасности вызывает плотная сбитость этих фраз, что все это
выходит такими хорошо оформленными и целостными блоками. И
риторика борьбы со стереотипами становится новым стереотипом.
«Диалогичность» как таковая, вера в целительный потенциал
дискуссии, не является панацеей. Мы находимся на самом деле в
монологическом пространстве, в пространстве, я бы сказал,
декоммуникации. Важность имеет ответственность за собственный
монолог. И здесь история есть пространство конфликта монологов.
Я в «новой архивности» ищу тех проектов, которые выявляют
именно конфликт.
Л.Л. Позволь, Никита, задать тебе один вопрос практического
характера. Вот эта художественная деятельность в поле истории –
есть ли какая разница между тем, когда она реализуется в
конвенциональных пространствах современного искусства, условно
говоря «белых кубах», и случаями, когда художник имеет смелость
входить в пространства, нагретые, как ты говоришь,
идеологически, – в сам музей, художественный, природоведческий.
Ведь в твоей практике есть проекты и первого, и второго характера.
Н.К. В нашей стране вообще как-то с белыми кубами не сложилось.
И в то же время есть довольно активное пространство памяти, есть
война памятей, и действуем мы в основном там. Белый куб
является частью профессиональной конвенции современного
искусства. По факту того, что твоя деятельность кем-то опознана
как профессиональная, как современное искусство, которое
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выставляют в музеях современного искусства и публикуют в
журналах, ты, соответственно, имеешь право на белый куб. Как
человек имеет право на образование, здравоохранение и т.д. Тут
же, по месту жительства, белого куба тебе просто не положено. А
те, что есть, недостаточно белые, коррумпированы различными
дополнительными контекстами, даже очень активно «окрашены».
Белый куб – это не только определенная конфигурация
архитектурного пространства, это еще и определенная
контекстуальная вычищенность. Произведения заносятся в то
пространство, которое не нагружено избытком дополнительных
контекстов, поэтому может там быть рассмотрено в некой своей
автономности, рассмотрено как таковое.
Здесь же мы заходим в очень наполненное пространство, его можно
называть насыщенным или активно регламентированными, а
можно – загрязненным, заполненным всяким хламом. Как называть
– зависит от отношения к тому, чем и как оно заполнено. Здесь
ситуация, когда часто выбирать вообще не приходится. Другое
дело, что в этих наполненных местах есть то, что мне интересно,
что связанно с тем, как мы, миллионы незнакомых друг с другом
людей, что-то вместе помним, как у нас вообще получается что-то
вместе помнить. Особенно мне интересно, как люди вообще
находятся вместе и головы друг другу не поотрывали – это
удивляет и восхищает каждый день. Но я признаю существование
художников, которым конфликты памятей или не интересны, или
болезненны, или они вообще не верят, что это важно. Но я сделал
выбор в пользу исторического музея, «расширения» исторического
музея с помощью современного искусства. Но дело в том, что в
белых кубах, в которых я все же выставляюсь чаще вне Украины, я
реконструирую исторический музей, строю странненькие
музейчики разных историй.
Л.Л. Спасибо. Тогда перейдем к нашей, скажем так, структуре
возможного-невозможного сосуществования, к движению
конфликтующих устремлений. Я попрошу рассказать свое видение
проблемы Женю Моляр, представительницу движения ДЕНЕДЕ,
«внутренне полемического», как оно себя определяет.
Є.М. Всім привіт, я буду говорити як учасниця мистецької
ініціативи ДЕНЕДЕ про наше спільне бачення цієї проблеми. Поперше,
ми працюємо здебільшого з питаннями, що стосуються
процесу «декомунізації» в Україні. В цьому контексті важливим є
питання, як позиціонується музей в процесі декомунізації.
Особливо – риторика чиновників і авторитетних працівників
різних інституцій про те, що музей в цьому процесі потрібен для
того, щоб сховати мистецтво від небезпеки або пошкодження в
публічному просторі і там його зберігати. Тобто існує розуміння,
що музей є безпечним сховищем для об’єктів мистецтва, які
потерпають від активізму різних політичних організацій. І це
розуміння настільки загальне, поширене й безсумнівне в цих
кабінетах, що особисто мене шокує. Тож коли ми намагаємось
говорити, що музей – це не спосіб зберігання, а спосіб осмислення,
і навіть не зберігання, а радже збереження, такі конотації
проходять повз вуха чиновників і ніяким чином не
усвідомлюються. Ми потрапили в музей (а якраз сьогодні
закінчується «Музей міста Світлоград», один із проектів в місті
Лисичанськ) завдяки одній ситуації. Коли ми їздили по регіонах,
були на Сході, в Сєвєродонецьку до нас підійшли музейниці,
представниці Лисичанського музею і звернулись саме так, як
говорив Ларіон, – з уявленнями про успішного художника і
нещасний музей. Вони звернулись до художників як до тих, хто
створює щось потенційно цікаве, що приваблює людей. А для
провінційного краєзнавчого музею відсутність відвідувачів –
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завжди проблема, бо там зазвичай експозиції вже 40 років і її вже
всі давно бачили, три рази сходили, а більше – навіщо? І це в
кращому разі, коли хтось із місцевих жителів туди ходив і знає, де
музей розташований.
Виставка «Музей міста Світлоград», Лисичанський краєзнавчий
музей, 2017. Вигляд експозиції з роботою Володимира Воротньова.
Отже, ми приїхали і там провели дискусію «Етика та естетика
української декомунізації», щоб зрозуміти, як це відбувається в
тому чи іншому регіоні. Серед учасників були художники, які мали
досвід музейної роботи, зокрема я кілька років працювала в музеї.
Художникам взагалі було цікаво працювати з музеєм як із
матеріалом. І тут вже в нас виявилась етична дилема, адже ми не
мали на меті зробити щось корисне, утилітарне; для нас,
художників, це здебільшого була можливість працювати з музеєм.
Паралельно відбувався проект «Музей міста Світлоград» в
Лисичанську і проект в Слов’янському краєзнавчому музеї,
об’єднані однією назвою «Музей відкрито на ремонт». У
Слов’янську, де Анна Сорокова і Тарас Ковач робили дослідження
місцевого керамічного виробництва, вони зробили виставку в
одному із залів, і взагалі ця робота була більш орієнтована на
просвітництво. В Лисичанську натомість був експеримент, і нам
було важливо від початку працювати спільно з музейниками й
музейницями, які нас туди покликали. Ми намагались кожен проект
обговорювати і робити так, щоб вони брали активну участь. Але
вони згодом відморозились, заявивши, що нічого не розуміють:
мовляв, «ви робіть, а ми потім подивимось». Вони нам не заважали,
нічого не мали проти, приймали абсолютно всі роботи й ідеї, які
з’являлись, але їхньої включеності не було.
Це дивна для нас ситуація, адже ми докладали багато зусиль, щоб
їх залучити. Але також це була й унікальна ситуація, адже вони
були настільки відкритими до роботи сучасних художників, надали
величезне приміщення, щоб художники там працювали і зробили
свою лабораторію, яка в результаті стала експозиційним
майданчиком для частини творів. Важливо, що художники могли не
тільки брати роботи з фондів, але й перекроювати постійну
експозицію, яка в цьому музеї не змінюється вже багато років. Це
було не просто порушенням певної лінійності музейного наративу,
що існував у Лисичанському краєзнавчому музеї; однак це і не було
інтервенцією, вони не включали в неї окремі роботи – вони разом з
постійною експозицією створювали нові смисли. Наприклад, велике
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живописне полотно Ксенії Гнилицької було інстальоване в зал зі
скульптурами художників Можаєвих, які протягом 1980-х років
виконували всі державні замовлення на вуличні скульптури.
Леніни, Дзержинські, Шевченки і колгоспниці – просто безліч
скульптур, що в цьому приміщенні були лісом виставлені. В роботі
Ксенії Гнилицької ми повернули їх усіх обличчям до утопічного
пейзажу, який вона зобразила. Таким чином ми надали нового
прочитання ідеологічній скульптурі радянського періоду. Таких
прикладів було кілька, музейники лояльно поставились до цього.
Ми хвилювались, що вони відреагують не надто дружньо, коли
група DIS/ORDER поставила свою «церкву» на катакомбне
поховання. Така собі вітрина зі скелетом, а вони починають
монтувати над нею церкву на костях… Однак у процесі обговорення
вони прийняли пропозицію і робота була представлена. Але знову ж
таки, після того як ми все зробили, вони попросили, щоб ми їм
окремо ще кожну роботу пояснили, бо все ж їм здавалося
незрозумілим те, що ми показуємо. Але ж ми не хотіли займати
позицію, ніби ми такі класні художники, приїхали й будемо
навчати, що таке сучасне мистецтво. Ми намагались взаємодіяти.
Виставка «Музей міста Світлоград», Лисичанський краєзнавчий
музей, 2017. Вигляд експозиції з роботами скульпторів Можаєвих з
колекції музею та Ксенії Гнилицької.
У мене немає відповіді на те, чому так вийшло, чому ми опинилися
в ситуації менторів, якої намагалися уникнути. Адже формат
роботи ініціативи ДЕНЕДЕ аж ніяк не сприяє тому, щоб нас
сприймали серйозно. Однак це відбулось. Ми плануємо проект у
місті Сквира на Київщині, де зовсім інша ситуація, де музей у
критичній ситуації – це те, про що Ларіон говорив на початку. Там
є людина, яка ніколи взагалі не працювала ані в мистецькій, ані в
музейній сфері – їй, вчительці, просто запропонували очолити
музей. Багато років приміщення – колишня дискотека – стояло без
діла: прибирай і роби там музей – ось вона його і робить. Те, що ми
побачили, не схоже на музей, є хіба табличка й таксидермія.
Музейного дуже мало, але вона дуже натхненно працює. Є
побоювання, якщо ми приїдемо і якимось чином інтегруємо туди
сучасне мистецтво – чи не буде це взагалі колапсом. Там і так все
суцільна величезна проблема, а якщо туди ще й додати сучасне
мистецтво… Або ж ми можемо приїхати і як ментори розказати, як
правильно робити музей – але чи маємо ми на це право, чи це
етично і чи взагалі нам потрібно? Ми не ставимо собі за мету
їздити по регіонах і маленькі краєзнавчі музеї навчати життю.
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Л.Л. Мне тоже очень интересно, почему иногда случается так, что
художник со своими инициативами (порой довольно экзотичными
и нелепыми), ожидая какого-то сопротивления со стороны
консервативной музейной институции, вдруг получает полный
карт-бланш. Это ситуация, противоположная примеру с музеем
Российской армии, когда каждый шаг художника контролируется,
где он должен лавировать в поле дозволенного. Никита недавно в
одном интервью сказал, что музей должен понимать, что
показывает. Я добавлю, он должен понимать не только финальный
продукт, но и условия его производства, что и как происходит в
нем. Если проект имеет характер лабораторный, длительный,
становится вдвойне важным, чтобы музей расписывался не только
в поддержке того, что было произведено – это не тождественно
участию. Насколько бы ни были дискредитированы эти слова –
«участие», «партисипация» и «вовлечение», – они сохраняют
потенциал для осмысления. Спасибо за рассказ.
Я передаю слово Юрию Кручаку, инициатору общественнохудожественной
инициативы Open Place. Вероятно, речь пойдет в
том числе о его активности в Мелитопольском краеведческом
музее.
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Фонд Мазоха, «Їжа для хробаків», 1994. Одеський художній музей
Юрий Кручак. Это не был художественный музей, и люди, которые
принимали участие в проекте, себя не идентифицируют как
художники. Задача заключалась не в том, чтобы сделать
произведения, а в создании модели, которая смогла бы изменить
представление о музее. И в то же время помогла бы обществу
разобраться в том, чем оно есть – локальному обществу города
Мелитополя. Я немного опишу ситуацию, чтобы было понятно, как
это работало. Идея возникла в 2013 году, я тогда работал над
моделью междисциплинарного центра. Мы знали, что произошло в
стране в этом году, стало очевидно, что общество активно
распадается и этот процесс может быть очень болезненным.
Понятно, что такие междисциплинарные центры, которые бы
прорабатывали социальные конфликты, становятся очень важными.
Я начал думать, что, где и как это может происходить. У нас
достаточно много краеведческих музеев, которые вроде бы
рассказывают об идентичности, но по итогу исследования мне
показалось, что музеи очень похожи между собой: если говорить о
Чугуевском краеведческом музее, то он мало чем отличается от
Мелитопольского, а Мелитопольский не будет сильно отличаться от
какого-то другого. Оказалось, что это такая советская система, в
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которой есть определенные связи, и ребенок, начиная с семи лет,
приходит в музей и оказывается включенным в определенную
программу. По большому счету – нужно менять сам музей. Мы
разделили на несколько блоков проект: исследовательский,
практический и экспозиционный, имеющий целью показать, что
получилось на протяжении этих месяцев. Каждый месяц проходило
два семинара, вопросы касались того, что такое Мелитополь, каким
он может быть и каким может быть значение музея. Эти вопросы
поднимал Николай Скиба. Из людей, которые занимались
изобразительным искусством, были медиаартисты,
фотодокументалисты, «Театр для диалога». Оказалось, что для нас
важны не только сами сотрудники музея, но, может, даже более
важно само общество. Хотели, чтобы все эти сессии проходили не с
научными сотрудниками, а с жителями города Мелитополя.
Проблема в том, что сами научные сотрудники были не совсем
готовы к такому диалогу и такой работе. Через месяц мы наладили
коммуникацию между жителями, и нужно признаться, что это было
нелегко в пограничной ситуации практически военного положения,
насилия. Всем нужно было сдерживать свои политические
убеждения и решать проблемы, которые существуют в обществе.
Представление, как можно наладить диалог между
противоположными по своим убеждениям людьми, нам дал сам
музей. Мы начали с исследования его истории, подняли документы
и нашли, что сам музей создавался, говоря сегодняшним языком,
как некий хаб, где собирались люди с разными интересами. Мы
пошли тем же путем, в частности Алексей Радинский начал
работать с разными этническими группами, вовлекать их в
коммуникацию. Это был переломный момент, когда возник интерес
к тому, что происходит в самом музее, кто эти люди. Вторая важная
переломная сессия была проведена «Театром для диалога», его
участники сразу заявили, что будут работать с вопросами
политического характера. На что руководство музея ответило, что
нужно подождать и сначала разобраться с культурой. И, надо
признаться, мы полмесяца объясняли, что это вещи
взаимосвязанные. Руководство переживало, что сейчас снова
разгорится конфликт, но, как оказалось, «Театр для диалога» –
хорошая платформа, позволяющая разобраться в корне проблем. Я
очень благодарен Яне Салаковой, Нине Ходоривской, которые
смогли вовлечь противоположные взгляды так, чтобы в итоге
получился спектакль.
Для меня как для куратора было важно выстроить определенную
модель, которую бы понимали потенциальные участники и жители
города. И фигура художника в этой модели не является главной.
Зритель приобретает более важное значение, он, по сути, запускает
механизм. Художник дает импульс, а адресат доводит его до
реального значения. Здесь вопрос не столько к самому художнику,
сколько к тому, как понять само сообщение. Я мог бы привести
больше примеров того, как выстраивается взаимодействие. Однако
просто скажу, что проблема в том, что в действительности у нас
отсутствуют методы и практики взаимодействия. Эти практики
попросту недостаточно хорошо разработаны. Общество не
настолько открыто, чтобы обмениваться важными для себя вещами
с другими. Эта работа мне кажется важной, стоящей того, чтобы ею
заниматься.
Л.Л. Спасибо, не могу непредвзято относиться к этому проекту,
слишком уж он мне близок как человеку, исторически
привязанному к этому городу.
Ю.К. Да, сам Мелитополь, удивительно, находится на пересечении
различных торговых путей, там большой исторический слой, если
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дальше копать, то можно сказать, что город до сих пор не раскрыт.
Л.Л. Я хотел бы отреагировать на то, каким образом Юра коснулся
одной из ключевых особенностей искусства взаимодействия как
такового: отказа художника от роли демиурга, творящего объекты
или образы, и ограничения своей роли организацией какой-то
ситуации или события. По материалам Вашего проекта, насколько я
могу судить, художник в первую очередь рассматривался
сотрудниками музея в старом смысле, как творец, и получал
соответствующие запросы: помогите нам что-то сделать,
реформировать, например, экспозицию. Не говорите ли Вы в таком
случае с сотрудниками музея с разных позиций?
Ю.К. Там достаточно хороший уровень научных сотрудников, они
понимают, что делают, и они открыты, что важно. Да,
действительно мою работу больше воспринимают как работу
организатора – ну и хорошо, ну и пусть, это не мешает! Сама
работа может содержать и эти функции тоже. Для меня
действительно было очень важно перейти от создания образа к,
скажем так, созданию действительности, ее развитию. А если ктото
будет думать по тебя как про менеджера или организатора, то
это вопрос восприятия. Само произведение в этой ситуации может
содержать несколько уровней.
Л.Л. Не могу тут не вспомнить один из объектов в Мелитопольском
краеведческом музее, витрину с брендированными чашками,
кружками, ручками и флажками, которые были сделаны во время
одного из городских фестивальных событий. Мелитополь – это
своего рода украинская мультикультурная столица, город
образцового плюрализма, где много лет существует традиция это
каким-то образом проявлять при поддержке разнообразных
фондов. И сотрудники музея решили музеифицировать недавние
культурные события, не дальше чем пятилетней давности. Вопрос
не в том, нужны ли такие активности, какие цели они преследуют, а
в том, не растворится ли художественная деятельность во
множестве неправительственных инициатив, в сфере гражданского
общества? В чем тогда принципиальный вес и отличие ситуации,
которые организовываете вы?
Ю.К. Стаканчики с логотипами партии в музее – это проект НПО,
сам музей использует довольно странную методологию
привлечения денег, вступая в связи с партиями. Для самих горожан
это очевидные вещи. Они видят, где кроется обман, в небольших
городках скрыть эти вещи невозможно. С другой стороны,
существует дефицит здоровых связей без коррупционных
составляющих. Что я заметил, сами жители города нацелены на то,
чтобы создавать качественно другие связи для взаимодействия. И
это ощутимый дефицит – на установление связей между
различными городами и на обмен опытом. Так что если мы
способны что-то сделать, то пускай наше «художественное» и
растворяется, ведь главное – общество.
Л.Л. Передаю слово Денису Панкратову, молодому куратору и
художнику.
Денис Панкратов. Я благодарен за фокус, который ты очертил во
вступительном тексте. Я думал в основном о своем опыте работы в
Хмельницком областном художественном музее. Точнее о нашем
опыте, ведь по большей части это была коллективная работа, но
индивидуальная ответственность. Понятно, что вход в
художественный музей открыт практически каждому внешнему
актору, и здесь нет разницы между современным художником,
куратором или патриотом. И поэтому, когда возникает вопрос о
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привилегиях, он становится и вопросом о задачах, которые ты
ставишь перед собой, заходя в музей. И о необходимости что-то в
принципе там делать. Я расскажу про небольшой проект «Музей.
Підвалини», который мы делали зимой 2016 года. Который
формулировался с осознанием того, кем являюсь для музея я – как
человек, который принадлежит миру современного искусства,
который живет в Киеве. Идея началась с прекрасного подвального
помещения, которое отражает физическое состояние музея.
Официальное решение об основании ХОХМ утвердили
приблизительно в 1986 году. В начале 1990-х его фонды начинают
наполнять тем, что называется современной украинской
живописью, то есть конца 1980-х и 1990-х. Примечательно, что
сотрудницы музея вначале не имели связанного с искусством и
музейным делом образования. Они получали образование
параллельно тому, как наполнялась коллекция музея, формируя с
профанной позиции публичный язык музея. На все эти процессы
было интересно смотреть, как и на живопись этого периода, и
пробовать представить, как музей в действительности может
говорить об истории, например об истории становления
капиталистического общества в Украине со всеми его
противоречиями, об истории становления постколониального
языка.
Виставка «Музей. Підвалини», Хмельницький обласних художній
музей, 2016. Вигляд експозиції
Я приехал в Хмельницкий за неделю до начала проекта с
остальными участниками и участницами проекта и начал работать
с музейными фондами, документами. Нашел тематикоэкспозиционный
план за 1987 год, который был совершенно
стандартным, типичным для большинства художественных музеев.
Он был разделен на дореволюционный период,
послереволюционный, 1920-1930-е, далее шла Великая
Отечественная, послевоенный период, лениниана и т.д. Этим
планом музейщики уже не пользовались на момент его открытия,
они предложили свою альтернативную программу. Но если
присмотреться – в итоге оказалось, что она заново формирует
какой-то исторический нарратив, уже подчиненный доминирующей
парадигме творения нации. С этой интенцией – посмотреть на
историю конкретного музея, посмотреть на историю искусства
через историю самого музея, я предложил приехать в ХОХМ ряду
художников и художниц. Мы сформировали экспозицию,
представили эти документы такими, какими их нашли в фондах.
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Было несколько индивидуальных высказываний, в частности была
работа Лариона Лозового «Відозва», озвучивавшая ситуацию, в
которой оказался современный музей в Украине. Она была
размещена на красной бегущей строке на фасаде музея, которая
обычно транслировала рекламу музейных выставок. В ней звучала
такая фраза – «бережімо музей від пильного ока управителів
культури». Именно она не понравилась директорке, т.к. мы с ней
должны были согласовывать этот текст, перед тем как вывешивать
его на бегущую строку. В целом текст ей понравился, но она
настоятельно просила исправить или удалить эту строчку. Она
озвучивала, что руководствуется тем, что в областном совете
пришел новый глава управления культуры – это была
постмайданная смена. Мы с Ларионом пришли к решению убрать
эту строку с фасадной бегущей строки, но оставить текст в
экспозиции. Этот текст находился в начале выставки, на
небольшом клочке бумаги. И эти слова были перечеркнуты. Как
куратор, проводивший экскурсию по всей экспозиции, я начинал с
этой работы, описывал ситуацию и объяснял, почему строчка
перечеркнута. «Управитель культуры» в конце концов так и не
появился.
Л.Л. Да, в ожидании начальства… Я немного дополню этот рассказ.
Лично мне импонирует в практике Дениса то, что в ней есть уже
некий намек на кураторский метод. При том что это метод не
наименьшего сопротивления, а скорее наибольшего, с
исследовательской точки зрения. Денис обычно начинает с периода
углубления в массив источников, музейный архив, который лежит
годами, и, возможно, не используется даже самими сотрудницами.
Это погружение действительно в какой-то архивный туман, где
велики шансы не найти ничего. В любом исследовании такой
подход требует большой смелости. Мне в кураторской позиции
Дениса всегда и удивляла, и восхищала готовность разбираться в
структурах, которые могут вызывать лишь специфический интерес,
– например, формирование художественного языка независимой
Украины. Эта работа уже была доведена до точки, когда можно
сделать некоторые выводы о том, как этот язык формировался.
Примеров такого метаанализа я не встречал в академических
практиках, исходящих из самого музейного поля. Это
действительно очень специфический интерес, который приводит к
новым формам знания. А может, и не приводит вообще ни к чему –
и готовность идти на такой риск, инициируя исследовательский
проект, глубоко копая, вызывает у меня уважение. Что до ситуации
цензурирования, я не знаю, можно ли это так назвать, наверное,
технически можно. В «Музей. Підвалини», как и в других
пионерских проектах, словно в контейнере содержались все
возможные ситуации: был намек на цензуру, на
институциональную критику, на объектную интервенцию в
музейное пространство, на дискуссионную платформу, на
кураторское исследование. Это все присутствовало в каком-то
протосостоянии. И чем больше таких практик будет – даже если
они будут ковылять на обе ноги, а исследовательские потуги не
будут вознаграждаться, – хуже не станет никому, а художественной
жизни и музейной жизни это очень поспособствует.
Думаю, у музейщиков и музейщиц, участников семинара
«Соцреализм. Здаватися іншим» была возможность детальнее
пообщаться с Денисом о том, что он делает, ведь этот семинар в
значительной мере является следствием его интереса.
У нас остается не больше 10 минут, поэтому я просто повторю
вопрос Ярославу Футымскому: Как взаимодействовать с субъектом,
которого практически нет? Ярослав, художник, организатор
выставки в музее Понинковской картонно-бумажной фабрики.
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Ярослав Футимський. Добрий вечір усім. У мене, Ларіоне, також
залишилось набагато більше питань після цієї моєї нещодавньої
практики. Можливо, буде доцільно озвучити хоча б декілька. Я не
знаю, чи потрібно тут озвучувати, що було пророблене мною та
всіма, хто допомагав проекту відбутися. Все почалося з банального
зацікавлення фотографічним архівом, представленим у цьому
музеї, що не діє вже 25 років. Чи радше в кімнаті-музеї, бо Понінка
– це невеличке робітниче селище, в якому працює та проживає 7
тисяч мешканців. І питання в мене були приблизно такого змісту:
чи можливо відкрити наново політично заангажований момент,
коли політичне ангажування набуває нового змісту? Чи можливо
музей, що був наповнений пропагандистським змістом і залишився
незміненим, відкрити тепер без будь-яких втручань? Чи можливо
цілому поколінню, яке виросло в пострадянський час, прочитати
зміст цього музею? Він нікуди не дівся, залишився там само, просто
будівля дещо осипалася, вікна розбилися. У мене виникло питання,
чи можливо мистецтво принести в простір без будь-якого в нього
втручання. І чи може мистецтво в цьому просторі бути
альтернативою чи доповненням провідному наративу, який там вже
є? Чи буде мистецтво розповідати нам історію ширше, ніж історія,
там представлена? Як буде прочитуватись візуальне мистецтво, що
ніколи не було представлене на цій території? Для мене це спірні
питання, що стосуються історії та її тяглості: як буде
прочитуватися мистецтво в контексті, в якому воно було відсутнє?
Про що буде говорити мистецтво, чи буде прочитуватися
мешканцями селища, які ніколи не стикалися з ним? І чим буде
візуальне мистецтво в контексті, де витіснені навіть низові
практики? Ось деякі з питань, які досі продовжую собі ставити. Я
народився в Понінці і вперто туди повертаюся, мене цей контекст
формував, разом з міфологією про наявний недоступний музей. І
коли я туди повертаюся, завжди маю змогу йти і дивитися на цю
незмінну експозицію.
Виставка «Історія про певні історії», Музей Понінківської картоннобумажної
фабрики, 2016. Вигляд експозиції з роботою Влодка
Костирка.
Це радше був мій протокураторський досвід, язик не повертається
назвати його кураторським. Він не мав характеру агресивної
інвазії, я не піддався таким спокусам. Пан директор, який
достатньо посприяв тому, щоб ця виставка відбулася, підштовхував
мене, часом навіть в агресивній формі, до того, щоб спробувати
відредагувати візуальність музею. Мовляв, давай тут приберемо
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один червоний прапорець, а там бюст Леніна, ще декілька
фотографій якихось тематичних маніфестацій. Натомість у цій
експозиції все склалось як логічне продовження вже наявної
ситуації, різновекторність історії відбулася в цьому просторі. Я
страшенно радий, дякую всім товаришам, друзям, знайомим, що
погодилися дати роботи, що приїхали. А також мешканцям, які
зацікавились і з упертістю навіть по декілька разів відвідували цей
відносно короткотривалий проект.
Л.Л. Ти трохи змінив моє бачення твого проекту розповіддю про
особистісне ставлення до цього простору, до кімнати, в яку ти маєш
змогу зайти, коли буваєш у селищі.
Я.Ф. Це останнім часом, до цього я 28 років не мав змоги туди
потрапити.
Л.Л. Я просто не хочу скеровувати твій процес осмислення кудись,
навіть запитаннями, які його можуть завести в той чи інший бік.
Моє бачення того, що цей музей все ж є суб’єктом взаємодії,
інституцією, з якою ти входиш в контакт та формулюєш свої
вимоги й пропозиції до неї… Думаю, воно розсипалось би, якби я
побачив директора музею, який може бути єдиним співробітником,
поруч із тобою – вірогідно, єдиною людиною, що хоче в цьому
музеї щось зробити.
Дякую всім присутнім за цікавість до теми взаємодії практик
сучасного мистецтва й музейних установ, якими б вони не були та в
якому б стані не перебували.
Опубліковано в:
Соціалістичний реалізм. Здаватися іншим. Зошит № 1 / За редакцією
Катерини Бадянової, Лади Наконечної, Дениса Панкратова. – К. :
АДЕФ, 2017.
Оксана Баршинова, історикиня мистецтва, кураторка. Завідувачка
науково-дослідницького відділу мистецтва ХХ – початку ХХІ ст. в
Національному художньому музеї України (НХМУ), викладачка
курсу історії сучасного мистецтва в Національній академії
образотворчого мистецтва та архітектури. Кураторка виставок в
НХМУ: «Українська Нова хвиля» (2009), «Крик» Олега Чорного та
Геннадія Хмарука (2009), «Гнилицький. Cadavre exquis» (разом з
Лесею Заяць, 2011), «Міф «Українське Бароко» (разом із Галиною
Скляренко, 2012), «Спляча Красуня» Тараса Полатайка (2012),
«Перегони з часом» (2013), «Тетяна Яблонська: і спогади, і мрії»
(2017) та ін. Учасниця кураторської групи виставки «Герої. Спроба
інвентаризації» (куратор Міхаель Фер, Німеччина, 2014–2015).
Співавторка концепції нової експозиції мистецтва ХХ століття в
НХМУ (2015–2016).
Нікіта Кадан, художник, член групи «Р.Е.П.» та кураторського
об’єднання «Худрада». У 2015 р. в Національному музеї історії
України (НМІУ) реалізував роботу «Одержимий може свідчити у
суді», яка базувалась на матеріалах з колекції музею. Також там був
реалізований ряд оновлень постійної експозиції музею, зроблений
спільно зі співробітниками НМІУ. Його робота «Запам’ятати
момент, коли оповідь було перервано» (2014) була спровокована
руйнуванням музею у Донецьку артилерійськими снарядами. У 2010
р. групою «Р.Е.П.» (Ксенія Гнилицька, Нікіта Кадан, Володимир
Кузнєцов, Лада Наконечна, Леся Хоменко) у співпраці з
Національним художнім музеєм України була реалізована робота
«Велика несподіванка» – серія майже невидимих вторгнень у
постійну експозицію музею.
Юрій Кручак, художник, куратор, співзасновник Відкритого
27 of 29 10/10/17, 2:44 PM

Дискусія «Скільки практик сучасного мистецтва для руїн муз...
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Простору (Open Place) – ініціативи художників, спрямованої на
розвиток художньої рефлексії, творчого дослідження та активізацію
зв’язків між художнім процесом і різними прошарками сучасного
суспільства. «В центрі спільноти» (2014–2015) – проект,
ініційований Відкритим Простором, Мелітопольським краєзнавчим
музеєм і Музеєм сучасного мистецтва у Варшаві. Мета проекту –
розробка пропозицій щодо ефективної моделі соціально
орієнтованої інституції, яка могла б активізувати і трансформувати
культурну сферу в Україні. Дослідники разом з мешканцями
Мелітополя вивчали формування громадської пам'яті і роль
невеликого музею в житті суспільства.
Ларіон Лозовий – художник та незалежний дослідник, що живе та
працює в Києві. Сфери художньо-дослідницького зацікавлення –
сучасна музеологія, дослідження матеріальної культури та нових
медіа.
Євгенія Моляр, митецтвознавиця, кураторка, учасниця
самоорганізованої в 2015 році ініціативи ДЕ НЕ ДЕ. Одним із
напрямків роботи ініціативи є співпраця з регіональними
краєзнавчими музеями. Об’єднавши регулярні експедиції під
хештегами #люби та знай свій рідний край #denede #денеде,
учасники працюють над популяризацією музею як важливої
культурної інституції та шукають способи залучення ширшого кола
відвідувачів. У співпраці з Лисичанським міським краєзнавчим
музеєм була створена тимчасова виставка «Музей міста Світлоград»
(2017), де художники розмірковували над урбаністичною утопією,
працюючи з експозицією та експонатами музею. З Лисичанським
міським краєзнавчим музеєм художник Володимир Воротньов за
підтримки ініціативи ДЕ НЕ ДЕ реалізував проект ЗА/С ХІД (2017).
Денис Панкратов, художник, учасник Метод Фонду. Куратор проекту
та виставки «Музей. Підвалини» (2016), семінару «Хліб.
Соціалістичний реалізм» (2016), низки інших проектів у
Хмельницькому обласному художньому музеї; учасник семінару
«Соцреалізм. Здаватися іншим» (2017).
Олексій Радинський, публіцист, документаліст, редактор української
версії журналу «Політична критика», учасник Центру візуальної
культури. Автор фільму «Випадок у музеї» (2013): «Фільм,
створений в межах дослідницького проекту про художню цензуру в
Україні, є документацією випадку, що стався з дослідницькою
групою під час зйомок у Харківському обласному художньому
музеї». Учасник проекту «В центрі спільноти» в Мелітопольському
краєзнавчому музеї (2015).
Микола Рідний, художник. Учасник групи SOSка (Микола Рідний,
Ганна Крівенцова, Сергій Попов), заснованої у 2005 році.
21–25.05.2009 – курували проект «Нова історія» в Харківському
художньому музеї (в межах міжнародного конкурсу кураторських
проектів Фонду розвитку сучасного мистецтва «Ейдос» «Мистецтво
a-priori: актуальні історії»).
Ярослав Футимський, художник, куратор виставки «Історія про
певні історії» у музеї-кімнаті Понінківського картонно-паперового
комбінату при будинку культури фабрики (2016). Ця виставка
відкрила доступ до закритого впродовж 25 років музею й завдяки
інкорпорованим в експозицію роботам сучасних художників дала
можливість по-новому подивитись на її політично ангажовану
експозицію радянського часу.
Друк
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Американцы побывали на Луне благодаря
украинцам
Z_O_V
Z_O_V
Messages: 45076
10 интересных фактов, связанных с космосом и Украиной
как участницей небольшого клуба космических держав.
17:47 09.10.2017
1 Первым и единственным космонавтом независимой Украины является
Леонид Каденюк. Его полет в составе международной экспедиции
состоялся в 1997 году и продолжался 17 дней.
Украинец летел на том самом шаттле, который в 2003 году сгорит,
возвращаясь на Землю. Этот самый корабль использовали для съемок в
фильме Армагеддон с Брюсом Уиллисом и Беном Аффлеком (кино
снимали, как раз когда Каденюк тренировался в NASA).
Каденюк захотел быть космонавтом после полета Юрия Гагарина. Тогда
будущему украинскому космонавту было 10 лет. В 1976 году его
отобрали в отряд советских космонавтов. Мечту жизни ему удалось
осуществить через 21 год.
В космосе Каденюк исследовал влияние невесомости на три вида
растений — репу, сою и мох.
Для пробуждения космонавтов на корабле используются мелодии,
которые выбирают сами участники. Каденюк своей избрал гимн
Украины. Поэтому дважды за время его пребывания в космосе участники
международного экипажа просыпались под музыку Михаила
Вербицкого.
2 Выдающимися деятелями советской космонавтики (главными и
генеральными конструкторами) были четверо украинцев.
Сергей Королев родился в Житомире. Под его руководством запущена
первая межконтинентальная баллистическая ракета, первый
искусственный спутник Земли (оба события в 1957 г.), состоялся первый
полет человека, Юрия Гагарина, в космос (1961 г.) и выход человека в
космос — Алексея Леонова (1965 г.).
Михаил Янгель был внуком украинца, которого выслали из Черниговской
губернии за бунтарство на каторгу и вечное поселение. Из-за
происхождения всю жизнь его называли #####ом Работал в
Днепропетровске. Под его руководством были созданы несколько
классов и поколений стратегических боевых ракет армии СССР. Он был
главным руководителем советской космической программы.
Владимир Челомей стал одним из главных ученых-консультантов в
области ракетных двигателей в СССР, в основном военного назначения.
А после Янгеля возглавил советскую космическую программу.
Двигатели Владимира Глушко стали основой ракетных систем, с
помощью которых СССР достиг успехов в освоении космоса. На этих
двигателях работали многоразовые ракетно-космические комплексы
Энергия, Буран, космические корабли «Восток», ракеты-носители Протон.
3. Первым украинцем, который побывал в космосе — еще до обретения
Украиной независимости — был Павел Попович. Его полет состоялся в
августе 1962 года. Политика советской верхушки не позволила ему стать
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первым человеком в космосе:
— Нас готовили к первому полету наравне с Юрой Гагариным. Правда,
мы с Николаевым [еще один кандидат на полет в космос — НВ] знали,
что ни я, ни он первыми не полетим. Пионером в космосе согласно
тогдашней политики должен быть россиянин. От этого никуда не
денешься.
Известна история о том, как Попович исполнял в космосе украинскую
песню. 24 года прожил в Украине генеральный конструктор Сергей
Королев, одной из любимых песен которого была «Дивлюсь я на небо…».
Так вот будучи на борту корабля, Попович исполнил эту песню. Он знал,
что в Центре управления полетами во время сеанса радиосвязи
присутствует Королев. Причем вторую фразу Попович перефразировал:
«…вот я сокол, и вот я летаю!» — вместо «почему я не сокол, почему не
летаю?».
Второй раз Попович летал в космос через 12 лет — в июле 1974-го. За
каждый из полетов украинец получил звание Героя Советского Союза.
4. Благодаря украинцу стал возможен полет на Луну американца Нила
Армстронга.
В 1928 году Александр Шаргей (более известный как Юрий Кондратюк),
который родился в Полтаве, опубликовал работу «Завоевание
межпланетных пространств».
Во время подготовки программы Аполлон в Главном управлении
пилотируемых полетов NASA начался спор. Группа руководителя
программы Аполлон Джона Губолта предлагала вывести корабль на
окололунную орбиту, затем отделить и спустить на Луну специальную
кабину. Именно эту идею, с которой впоследствии согласились все
разработчики, американец взял из книги Кондратюка, которая чудом
оказалась в Библиотеке Конгресса США.
Губолт вспоминал, что когда в 1968 году наблюдал за стартом ракеты,
которая должна была понести корабль Аполлон-9 по направлению к
Луне, то думал об украинце Юрие Кондратюке, рассчитавшем трассу, по
которой должны были лететь трое астронавтов.
Когда в СССР с визитом приехал Нил Армстронг, который стал первым
человеком на Луне, то возле дома в Новосибирске, где в свое время жил
Кондратюк, астронавт зачерпнул горсть земли и забрал с собой.
5. 4 астронавта украинского происхождения покорили космос в составе
экспедиций от США и Канады.
Роберта Линн Бондар родилась в Онтарио в семье этнических
украинцев. Она стала первой канадской женщиной-астронавтом и
первым врачом-невропатологом, который побывал в космосе. Ее полет
состоялся в январе 1992 года — через 8 лет после зачисления Бондар к
отряду астронавтов. В ее честь названы 4 школы в Канаде.
Брюс Мельник совершил два полета в космос (в 1990 и 1992 годах),
суммарно проведя там более 300 часов.
Судьба астронавта Джудит Резник показывает, насколько опасными
являются космические полеты. Дочь еврейских эмигрантов из Украины, в
январе 1978 года она была отобрана в кандидаты на полет, который
успешно состоялся в 1984 году. Однако через 2 года во время старта
корабля Challenger погибли все семеро членов экипажа, включая ее.
Родители Гайдемари Стефанишин-Пайпер эмигрировали в США из
Западной Украины. Астронавт полетела в космос в 2006 году. В январе
2007 года американка прилетела в Украину, где посетила родное село
отца, где живут 16 двоюродных братьев и сестер Стефанишин-Пайпер.
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Кстати, именно ее Леонид Каденюк выбрал как человека, который
должен был уведомить его семью, если бы он погиб во время полета в
1997 году.
6. Очень мало известно о трагической истории молодого украинского
космонавта — участника первого отряда космонавтов, отобранных для
первых полетов в космос. Рядом с Гагариным, Леоновым и Поповичем
был и 23-летний Валентин Бондаренко из Харькова.
С 31 мая 1960 года он проходил подготовку к полету на космическом
корабле Восток.
Во время одной из тренировок Бондаренко пришлось 10 дней пробыть в
суднокамере — это было испытание тишиной и одиночеством. В конце
он снял с тела датчики, протер их спиртом, но неосторожно бросил вату
на спираль раскаленной электроплитки. В условиях чистого кислорода
огонь распространился по камере, которую невозможно было быстро
открыть.
Врачи 8 часов боролись за жизнь Бондаренко. Группа космонавтов во
главе с Гагариным несколько часов провела в больнице.
Через 19 дней после гибели молодого харьковчанина первый человек
полетел в космос.
В Советском Союзе о его смерти нигде не сообщалось. Первые
упоминания об этой истории на Западе появились в 1980 году, а в СССР
аж в 1986 году — через 25 лет после его смерти.
7. Был также большой шанс у украинской женщины стать космонавтом.
Ею едва не стала Надежда Адамчук (ныне — Адамчук-Чалая), на то время
сотрудник института ботаники имени Холодного Национальной
академии наук Украины.
В 1996 году ее включили в состав группы космонавтов Украины для
прохождения подготовки к полетам на кораблях системы Space Shuttle
(кроме Адамчук там были Каденюк, Вячеслав Мейтарчан и Ярослав
Пустовой). В ноябре 1996 года она прибыла в США для прохождения
предполетной подготовки. Однако вскоре прервала подготовку и
вернулась в Украину.
Американские психологи считали негативом то, что Адамчук не имела
опыта борьбы с вредными привычками. В конце концов, в космос от
Украины отобрали Каденюка, который более 20 лет готовился к этому
событию.
Адамчук впоследствии обрабатывала и проверяла результаты
экспериментов с растениями, которые проводил в космосе украинский
астронавт. А в 2003 году получила премию президента Украины за
работу Гравичувствительность растений на клеточном и молекулярном
уровнях.
8. Проект MarsOne — частная инициатива, цель которой — основание
человеческой колонии на Марсе. На данный момент первый запуск
космического корабля на Марс планируется на 2027 год.
Отбор будущих колонистов проходил среди 202.586 желающих из 140
стран мира. Несмотря на то, что данный полет будет «билетом в один
конец», все эти люди хотели вписать свое имя в историю.
После прохождения трех этапов отбора осталось 100 добровольцев.
Среди них и 27-летний инженер из Житомира Сергей Якымив. Шансы,
что он попадет в список 24 колонистов Марса, — 1 к 4. А конкурс,
который прошел Сергей, — 2.026 человек на место.
Якимов работал в Киеве в Институте космических исследований. Однако
3 of 10 10/11/17, 9:30 AM

Американцы побывали на Луне благодаря украинцам. 10 инте...
https://www.politforums.net/ukraine/1507557342_1.html
из-за маленькой зарплаты решил уволиться и посвятить себя мечте
добраться до другой планеты.
Последний отбор, который определит имена 24 будущих колонизаторов,
пройдет осенью 2016 года.
9. На первой в истории художественной выставке в космосе были
представлены работы львовского художника Игоря Подольчака.
Проходила она на российской орбитальной станции Мир 25 января 1993
года. В рамках выставки были представлены два офорта, которые
рассматривали двое российских космонавтов — Сергей Авдеев и
Анатолий Соловьев. Для подтверждения проведения мероприятия, они
сняли процесс на видео.
— Произведения искусства живут не только на Земле, но и в космосе.
Это необходимость, поскольку, когда человек попадает в космическое
пространство, работает в экстремальных условиях, то возникает
потребность в искусстве, возможно, даже в необычном искусстве, —
говорили космонавты, снимая видео.
Выставка стала частью проекта Искусство в космосе. Данный проект
впервые представлял Украину на Биеннале искусства в Сан-Паулу
(Бразилия) в 1994 году.
Космонавты вернули офорты на землю, поставив на них бортовую
печать.
В 2014 году Подольчак, который начинал как художник и куратор
современного искусства, по рейтингу издания Forbes был признан одним
из 10 самых выдающихся кинорежиссеров Украины.
10. Украинской космической столицей считается Днепропетровск.
Именно здесь находится Южный машиностроительный завод, или
Южмаш. Он был основан в 1944 году как автомобилестроительный
завод. Однако через 7 лет был перепрофилирован для серийног выпуск
ракет разработки Сергея Королева.
Уже в 1954 году здесь начинается производство баллистических ракет
стратегического назначения разработки конструкторского бюро Южное
под руководством Янгеля. А с 60-х годов ХХ века ПМЗ становится
производителем ряда уникальных космических носителей, а также
космических аппаратов.
Одним из директоров завода с 1986 по 1992 год был бывший президент
Украины Леонид Кучма.
Сейчас дела у космического центра Украины идут не лучшим образом.
Госпредприятие имеет долги за электроэнергию в размере 260 млн грн.
В январе компания ДТЭК даже отключила Южмашу электроэнергию, чем
обесточила около 50 жилых домов, воинскую часть и ряд коммерческих
объектов, связанных с заводом общей инфраструктурой.
а как же с декоммунизацией?
Link Complain Quote
Зарегистрируйтесь в один клик, и этой рекламы больше не будет:
4 of 10 10/11/17, 9:30 AM

Braunschweig International Film Festival: All Movies From A - Z
http://www.filmfest-braunschweig.de/en/the-programme/all-mov...
Sie sind hier: The Programme > All Movies From A - Z
All Movies From A - Z
2 4 9 A Ü B C D E F G H I J K
L M N O P Q R S T U V W X Y Z
All
2 of 4 10/15/17, 1:35 PM

Braunschweig International Film Festival: All Movies From A - Z
http://www.filmfest-braunschweig.de/en/the-programme/all-mov...
MERCILESZ
GNADENLOSZ
ME OF SILENCE
ICH AUS SCHWEIGEN
MARK
MARK
MARLINA THE MURDERER
IN FOUR ACTS
MARLINA SI PEMBUNUH
DALAM EMPAT BABAK
MARSHMELLO
MARSHMELLO
MATRIX LIVE. FILM IN
CONCERT
MATRIX LIVE. FILM IN
CONCERT
MERRY-GO-ROUND
MIKE'S
3 of 4 10/15/17, 1:35 PM

Braunschweig International Film Festival: Details
http://www.filmfest-braunschweig.de/en/the-programme/movie-s...
Sie sind hier: The Programme > Movie Search >
Details
2 of 4 10/15/17, 1:35 PM

Braunschweig International Film Festival: Details
http://www.filmfest-braunschweig.de/en/the-programme/movie-s...
HUMAN PORTRAITS
HUMAN PORTRAITS
MERRY-GO-ROUND
(orig. MERRY-GO-ROUND)
Ukraine / Poland 2017
German Premiere
Language: No dialogue
Subtitles: (none)
Genre: Art, Experimental
Director: Ihor Podolchak
Script: Ihor Podolchak
Music: Olrksandr Shchetynsky
Producer: Ihor Podolchak, Ihor Dyurych, Max Asadchiy, Liliya
Mlynarych, Serhiy Nedzelskyy
Lenght: 5 Min.
Format: ProRes
Color: Farbe
Age Limit: <
back
Das Festival
About us
Jobs
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Awards and Winners
Storyboard
Filmarchive
Programm
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()
https://movie.douban.com/subject/5256411/
FM
& 2016 2016
Las Meninas (2008)
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()
https://movie.douban.com/subject/5256411/
: Ihor Podolchak / Dean Karr
: Ihor Podolchak
: Ilona Arsentyeva / Stas Arsentyev / Dmytro Cherny
avsky
:
/:
: Ukrainian
: 2009-10-05()
: Ukraine: 99 (DVD version)
IMDb: tt1330039
:
· · · · · ·
· · · · · ·
The film is about what the routine of everyday life can do to the human mind and psyche. It also reflects on the i
mportance of the choices we make and how limited these choices are in the first place. The plot evolves around a fa
mily of four. They live in the suburbs, in a strange villa that appears, through a complex game of mirrors, to be more li
ke a piece of installation art... ()
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2 of 3 11/1/17, 12:34 PM

Украинское кино: обещание на рассвете « Korydor
http://www.korydor.in.ua/ua/opinions/ukrainskoje-kino-obeschan...
Історії
Погляди
Ідеї
Підтримати Korydor
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Eng
Подобається 25 Поширити 25 Tweet
Украинское кино: обещание на рассвете
Наталя Серебрякова 3 Листопада 2017 171
Кадр из фильма "Благодать"
«Обещание на рассвете» – роман Ромена Гари о детстве, воплощенных и утраченных надеждах и любви. Сейчас украинское кино
вновь находится на рассвете своего развития, которое, как можно надеяться скоро превратится в обещание расцвета.
Что нового в украинском кино? В последние годы процесс формирования новой украинской волны происходит довольно
интенсивно. И это не только фильмы про войну и Донбасс, но более интимные рефлексии на тему личного и политического.
НАТАЛЬЯ СЕРЕБРЯКОВА выбрала лучшие фильмы 2017 года (некоторые из которых можно будет увидеть в прокате).
Полнометражные фильмы
1 of 6 11/3/17, 7:15 PM

Украинское кино: обещание на рассвете « Korydor
http://www.korydor.in.ua/ua/opinions/ukrainskoje-kino-obeschan...
.Кадр из фильма “Главная роль”
«Главная роль», Сергей Буковский
Сергей Буковский – режиссер известный и заслуженный, но его «Главная роль» стала настоящим фестивальным хитом. Премьера
картины состоялась в этом году на Docudays UA, и фильм сразу же заставил себя полюбить. На Одесском кинофестивале в июле
он получил два приза – «лучший документальный фильм» и «лучшая актерская работа». Буковский снимает свою маму, 80-летнюю
актрису Нину Антонову, которая, по замыслу фильма, притворяющегося игровым, готовится отметить свой юбилей в Доме кино.
Первый кадр – Нина стоит у окна и переговаривается с сыном о том, какое имя ей выбрать для своей условной героини – и сразу же
спор, который бывает только между родными людьми:
-Да ты папин сценарий даже не читала!
-Почему же? Читала. Два раза.
Муж Антоновой и отец Буковского был также кинематографистом, много времени проводил в командировках. Сергей (в своих
коротких записках, которые мать читает в кадре, она называла сына не иначе как полным именем) с детства учился быть
самостоятельным, потому что Нина тоже не успевала между съемками вести домашние дела. Снимаясь в массе эпизодических
ролей в течение жизни, актриса, наконец, получила главную роль, по иронии, играя саму себя. История сплетается из случайных
разговоров, выбора платья для юбилея и чтения старых писем. Фильм прекрасно смонтирован и имеет замечательный хронометраж
– примерно час. За это время невозможно устать от героини, наоборот, настолько проникаешься ее личностью, что хочется
наблюдать за ней и дальше, и дольше.
2 of 6 11/3/17, 7:15 PM

Украинское кино: обещание на рассвете « Korydor
http://www.korydor.in.ua/ua/opinions/ukrainskoje-kino-obeschan...
Кадр из фильма “Dixie Land”
«Dixie Land», Роман Бондарчук
Широкая аудитория знает Романа Бондарчука как режиссера, вошедшего со своим предыдущим фильмом «Украинские шерифы» в
оскаровский лонг-лист. В марте на Docudays UA Бондарчук представил свой новый фильм «Dixie Land» и получил за него приз в
национальном конкурсе Одесского кинофестиваля. Это нежная сага о взрослении детей, играющих в Херсонском джазовом
ансамбле «Dixie Land».
В центре повествования – девочка Полина, которая постепенно выросла в настоящую звезду, и мальчик Рома, демонстрирующий
сейчас не менее головокружительные успехи (об этом мы узнали у режиссера). Однако в объективе – обычная жизнь детей,
длительные репетиции, общение со сверстниками, выступления на городских праздниках. Примерно в середине фильма участники
ансамбля сталкиваются с горькой правдой жизни – умирает их руководитель Семен Рывкин. Как дальше сложится судьба ансамбля
и жизнь детей – этому вопросу посвящен финал. В картине, ко всему прочему, есть момент, когда на празднике фигурируют
георгиевские ленточки (2012 или 2013 год), но фильм не перерастает в политическое высказывание, оставляя этот мимолетный
кадр без комментариев и дальнейшего развития. Наверное, это даже идет на пользу фильму о подростках.
«Стремглав», Марина Степанская
Киев, наши дни. Антон – молодой парень, только что вышедший из рехаба. Он – талантливый музыкант, похоронивший свое
дарование под воздействием наркотиков и алкоголя и не желающий возвращаться к прошлым достижениям. Однако ностальгия
берет свое, и вот он забредает в ночной клуб (который иронично называет «местом преступления»). Там Антон встречает Катю,
нереализованную художницу. Слово за слово, и Катя сбегает от своего берлинского бой-френда и едет на автобусе за город, где в
лесу Антон живет со своим дедом, бывшим главным редактором печатного издания. Разговоры о таланте, невысказанное взаимное
чувство, едва заметные прикосновения – первое свидание будет на редкость романтичным, окрашенным в настроение первых дней
осени. Дальше начнутся проблемы. Полнометражный дебют Марины Степанской («Каникулы», «Мужская работа») – то самое
новое украинское кино, которого хочется, чтобы было больше. Пронзительная история о любви и самоопределении – фильм о
поколении 20-30-летних, сделанный профессионально и передающий ощущение «здесь и сейчас». Ждите в прокате с 9 ноября.
Короткометражные фильмы
«Нет! Нет! Нет!», Николай Ридный
Современный художник и режиссер Николай Ридный («Серые кони») посвятил свою новую работу тонким связям между миром и
войной. Главными героями фильма являются молодые люди из Харькова. Это, в основном, двадцатилетние, жизнь которых
происходит на фоне военных действий в соседнем регионе, на Донбассе. ЛГБТ-активистка и поэтесса, модель, группа уличных
художников, создатель компьютерной игры – все они художники или работают в творческих отраслях. В Харькове жизнь как
будто мирная, но близость к войне затрагивает каждого героя и их действия. Персонажи реагируют и отражают политические
события через их отношения с городским пространством и реальностью социальных сетей. Фильм начинается кадром, когда друзья
3 of 6 11/3/17, 7:15 PM

Украинское кино: обещание на рассвете « Korydor
http://www.korydor.in.ua/ua/opinions/ukrainskoje-kino-obeschan...
режиссера изготавливают искусственную кровь для предыдущего фильма – «Серые кони», исследования анархизма в украинской
истории и современности. Но этот фрагмент символичен, потому что в ДНР и ЛНР в это самое время льется настоящая кровь.
Ридный также является скульптором и перформансистом, его работы неоднократно участвовали в Венецианской и Московской
биеннале. В конце 2000-х он сделал грандиозную скульптуру – слово «Власть» в Перми, которое впоследствии стало культовым
местом отдыха пермской молодежи.
“Нет” Нет” Нет!” будет показан в рамках Киевской биеннале 17 ноября, в 19.00 в “Тарелке”.
«Благодать», Жанна Озирна
Как сама представила свой новый фильм режиссерка Жанна Озирна, «Благодать» – о ее личных взаимоотношениях с городом
Львовом. В центре сюжета – две молодые девушки, которых раньше связывала любовь, но теперь они расстались, и каждая посвоему
переживает эту травму. Как можно догадаться из полунамеков, причина расставания – вера в Бога одной из них. Девушки
вместе посещают храм, прощаются на крыше и в подъезде. Озирна, кажется, выбрала ироничное название к своему фильму,
поскольку, будучи во Львове, полному соборов и церквей, наверное, нельзя не проникнуться особым духом этих мест. Однако для
одной из героинь – это болезненное переживание. «Благодать» – серьезная атмосферная работа, в которой есть главное – эмоции и
ощущение невыдуманной реальности. Озирна ни на мгновение не фальшивит, очень чутко относясь к своим героиням,
олицетворяющим ее личный опыт.
«Merry-go-round», Игорь Подольчак
Очень трудно описать на словах, что происходит в 5-минутном фильме Игоря Подольчака «Merry-go-round». Вот что сказано в
самом синопсисе: «Сомнамбулический цирк Ribera & Velazquez приглашает всех желающих на шоу Merry-Go-Round, где тени,
убежавшие с платоновской пещеры, вращают карусель в тумане катакомб». Это поэтическое описание, которое погружает зрителя
в цикл образов, связанных с французской революцией. Обнаженные рафаэлевские женские тела, солдаты и карлики вращаются под
музыку Александра Щетинского. Фильм смело можно назвать видеоинсталляцией, и место ему, несомненно, где-нибудь в галерее
Академии Дер Кюнсте в Берлине. Среди современных художников, которые стали кинорежиссерами, Игорь Подольчак – фигура
одиозная. В отличие от Мэтью Барни и Марины Абрамович, он не балансирует на грани концептуального видеоарта, но занимается
кинематографом в чистом виде. В то же время, фильмы Подольчака очень близки к экспериментальному кино.
«А вы любите Госпром?», Виктория Белявская и Лиза Кузнецова
«А вы любите Госпром?» – таким вопросом начинается 10-минутный фильм Виктории Белявской и Лизы Кузнецовой, снятый
под вдохновением от здания харьковского Госпрома. «Нет! Надоел он…» – отвечает уставший пожилой сотрудник, курящий в
месте, где курить запрещено. В здании Госпрома можно встретить много интересных артефактов, включая представителей
исчезающих профессий, призрак застрелившегося партийного руководителя и даже живых летучих мышей. Говорят, что при рытье
котлована под этим зданием нашли кости мамонта. Есть момент, когда одна из сотрудниц Госпрома читает за кадром свои нехитрые
стихи, пока камера блуждает в коридорах здания. В них говорится, что работающим пенсионерам пригрозили недавно отправкой на
заслуженный отдых. Двое рабочих на перекуре проводят короткий архитектурно-исторический экскурс. Так, между фантазией и
невеселой реальностью, вырисовывается урбанистически-социальный сюжет.
Кадр из фильма “Технический перерыв”
«Технический перерыв», Филипп Сотниченко
4 of 6 11/3/17, 7:15 PM

Украинское кино: обещание на рассвете « Korydor
http://www.korydor.in.ua/ua/opinions/ukrainskoje-kino-obeschan...
Героиня «Технического перерыва» – юная девушка, кассир супермаркета, ворующая колготки и сбывающая их на местном рынке.
Первое ощущение от фильма – что он снят одним головокружительным длинным кадром в духе телевизионного реалити-шоу.
Однако, как рассказал сам Филипп Сотниченко, в картине есть пять монтажных склеек, сделанных так искусно, что они не
заметны. «Технический перерыв» – это переосмысленный румынский реализм и по форме, и по содержанию. За двадцать минут
технического перерыва с героиней происходят очень неприятные события. После фильма остается стойкое ощущение, что сюжет
взят из новостных хроник украинских криминальных каналов. Однако, чтобы сделать из второсортного обыденного трэша чуть ли
не короткометражный триллер, нужно, обладать, пожалуй, талантом.
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Оксана Баршинова: «Сфера мистецтва —
серйозний важіль гри на міжнародній
арені»
ЄВГЕНІЯ БУЦИКІНА 01.11.2017
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9 листопада в Музеї Тараса Шевченка відкриється виставка, у якій візьмуть участь
дванадцять фіналістів конкурсу МУХі 2017, обраних міжнародною експертною комісією. Art
Ukraine в партнерстві з Щербенко Арт Центром публікує серію інтерв’ю з експертами
конкурсу, де вони розповідають про роботу в знакових художніх інституціях, співпрацю з
молодими українськими та зарубіжними художниками, а також про враження від процесу
обранням фіналістів цьогорічного МУХі. Цінним досвідом поділилась Оксана Баршинова —
кураторка, історикиня мистецтва, завідувачка науково-дослідного відділу мистецтва ХХ ‒
початку XXI століть Національного художнього музею України, викладачка курсу історії
сучасного мистецтва в Національній академії образотворчого мистецтва і архітектури
України (НАОМА).
В р а ж е н н я віі д з а я в о к М УУ ХХ 2017 і і
Минулого разу (Оксана також була експерткою конкурсу МУХі 2015 — ред.) у мене було
враження, що є лідер, який розуміє, як подаються заявки, і досить сильний, із великим
відривом по відношенню до інших конкурсантів. Там були цікаві ідеї, але цього разу дуже
потужні молоді художники, їх більше десяти. Кожен із них може реалізувати досить цікаві
ідеї. Більшою мірою доводиться обирати не серед проектів, скільки серед художників, бо є
впевненість, що ці художники зможуть реалізувати свою ідею.
Т е н д е н цііїї ,, ж аа н рр ,, и н а п р я м и р о б о т и м о л о д и х у к р аїї н с ь к и х х у д о ж н и кіі в
Мене вразила начитаність художників, і хоча й дещо однобічна. Деріда, Бодріяр і Лакан —
ось такий вузький перелік. Жодного разу я з таким не стикалась... Є схильність до
теоретизування, при чому з апеляцією до авторитетів. І мене здивував вибір авторитетів. Я
навіть не можу пояснити, чому зараз це настільки актуально для нового покоління, хоча,
здавалося б, час вже зовсім інший.
Минулого разу домінувала тема війни, вона зачіпала і нас як експертів, і виявилася в
декількох цікавих проектах (Дар’ї Кольцової, групи Суповой набор). Зараз ми бачимо
набагато ширше коло мистецьких рефлексій: хтось реагує на декомунізацію, інші на
соціальні зрушення. Але є й художники, зацікавлені суто формальними проблемами,
зосереджені на кольорі або на емоційному, психологічному впливі мистецтва. Це дуже
цікаво і має великий потенціал.
Також широке коло технік і видів мистецтва залучено: перформанс, відео-арт, формат
документацій, живопис тощо.
26.11.2013 КАТЕРИНА БУСОЛ
ИСКУССТВО СОВРЕМЕННОЕ VS
ТРАДИЦИОННОЕ
КОНКУРС ІСТОРІЯ МУЗЕЙ ВИСТАВКА
Церемонія нагородження МУХі 2015. Оксана Баршинова вручає спеціальну премію арт-групі
Суповой набор
Ч и в и п р а в д о в у є с е б е к о н к у р с м о л о д и х х у д о ж н и кіі в я к ф о р м а тт
Це гарний засіб стимуляції і підтримки молодих художників. Бо у нас ще не випрацюваний
механізм державної підтримки, немає системи грантів, резиденцій, як на Заході. І хоча цей
рік ми можемо назвати роком молодого мистецтва (і держава вже долучається до деяких
проектів), але цього все одно не достатньо, цей процес ще не набув системного характеру. А
це дуже важливо, бо є продакшн, який потребує грошей, технічного забезпечення. Є
потреба в лабораторії, платформі, де художники мали б доступ до сучасних електронних
пристроїв, щоб виробляти якісний медіа-арт, брати участь у міжнародних проектах. Адже
технології розвиваються швидко, і мистецтво залучає ці нові можливості. Конкурс — це
1 of 5 11/5/17, 9:45 PM

Оксана Баршинова: «Сфера мистецтва — серйозний важіль г...
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також виняткова можливість для молодого художника відпрацювати свої ідеї, попрацювати з
куратором. Це досвід спілкування між різними агентами художньої сцени.
Хоча конкурс “молодих художників” має свої обмеження і досить сильно зараз критикується.
Адже молодий художник визначається не за віком, а якщо він усвідомив себе як художника,
що може статися у будь-якому віці. З визначенням “молодого художника” ще треба
працювати, це має бути стимулом для переосмислення “молодого мистецтва”.
Експозиція виставки ДонКульт у Львові
Джерело: dofa.fund
Р о л ь к у р а т о р а.. Д о сс вв і і к у д р а т о р с ь к оїїс піі в п р а цііз м о л о д и м и х у д о ж н и к а м и
В НХМУ ми постійно працюємо з молодими художниками, і у нас немає поділу на молодих і
“живих класиків”. Скоріше, ми послуговуємось мистецьким інструментарієм, який пропонує
нам вибір. Так, коли ми працюємо з дослідницькими проектами, ми більше залучаємо
молодих художників, тому що вони зацікавлені в інституційній критиці. Зараз мистецькі
угрупування молодих художників мають міждисциплінарний характер — наприклад,
МетодФонд, з яким ми нещодавно щільно працювали. Або фонд Мистецькі Надра, у форумах
котрого я беру участь як співкураторка візуальної програми, вониі знайомлять між собою
регіони: “Донкульт” в Києві і Львові, “Галіціякульт” в Харкові, зараз ми готуємо подібний
форум, присвячений Слобожанщині, в Ужгороді. Під час їх підготовки для мене найціннішим
є знайомство з молодими художниками на місцях. Вони показують абсолютно новий ракурс
погляду на мистецькі традиції регіону, порівняно зі старшими колегами. Можливо, я
знаходжусь зараз під впливом Харкова, з яким зараз співпрацюю, але на прикладі цього
міста я бачу, як розширюється поле молодого мистецтва, в тому числі завдяки конкурсам та
іншим ініціативам. Адже коли я питаю художників, як вони почали працювати з таким
мистецтвом, більшість відповідає — коло спілкування. Тому чим більше шляхів взаємодії,
спілкування, обміну думками, тим більше ми отримуємо якісного мистецтва. Конкурси як
раз і виступають такими майданчиками обміну інформацією.
09.10.2017 ART UKRAINE
07.10.2017 АННА ФІЛІППОВА
АЙВАЗОВСЬКИЙ, ЯКИМ ВИ ЙОГО НЕ ЗНАЛИ
ІСТОРІЯ КЛАСИКА ЖИВОПИС
КУЛЬТУРА АРТПРИЧАЛ ІНТЕРВ’Ю
ЄрміловЦентр. Експозиція виставки ГаліціяКульт. Мистецтво 2 половини ХХ ст. - початку
ХХІ ст.
Джерело: dofa.fund
П оо ш уу кк н о в и х іімен в к у р а т о р с ь кіі й р о б о тіі.. С п і і в в і і д н о ш е н н іінтуїїтивного я
т а
р а ціі о н а л ь н о г оа с п е к тіі в
З одного боку, дійсно, є раціональна складова, бо куратор завжди знає, якої мети він досягає
в межах того чи іншого проекту. Але тут роль раціонального закінчується, бо ми маємо
справу з професійною інтуїцією. Є дослідження, які показували, що багато відкриттів у науці
було здійснено саме на рівні роботи професійної інтуїції. У сфері мистецтва все ще
складніше. Наприклад, коли мені порекомендували Івана Світличного для одного з проектів
у НХМУ, я його не знала. Я довіряла тому, хто рекомендував, але все одно це був ризик, був
присутній момент відкриття творчості молодого художника, і проект передбачав
експериментальну складову. куратор має довіряти художнику і спостерігати, що
відбувається з його творчим процесом. Має бути в постійному спілкування з художником,
слідувати за його ідеями. І велике щастя віднайти глибину мислення, коли ризик
картбланшу виправдовується. Ця непередбачуваність є важливим результатом мистецтва.
Коли я роблю великий дослідницький проект, дуже цікаво руйнувати власні упередження та
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стереотипи. Починаючи із раціональної складової (щось прочитати, продумати, проговорити
заздалегідь, зв’язати різні думки та бачення), я спираюсь на власну проінформованість про
ті чи інші регіональні традиціїї, спираюсь на свій професійний бекграунд. Але в процесі
безпосереднього спілкування з художниками, концепція змінюється. Бо я вважаю, що треба
в своїй роботі відштовхуватися від художника і прагнути до того, щоб його ідеї максимально
розкрити в проекті.
Треба сказати, що не завжди у видатних кураторів ці контакти з художниками були
безконфліктними. Наприклад, Гаральд Зеєман під час роботи над знаменитою Документою
на початку 1970-х викликала спротив художників, які вважали, що сенс їхніх робіт
спотворений. Тому, ризикують всі: і художники, і куратор, але це прекрасний ризик,
невід’ємна частина роботи. Потрібно бути уважним, спостережливим і намагатися чути
художників.
Р о б о т а в Н аа ц і і оо н аа л ьь М н уу оо м зз уу .. П ее ї р ее ї вв аа іі гг с к и л а д н о щіі.. Я сс к р а вв і п і р о е к т и
Я не так давно працюю в музеї — рівно 10 років. Але все ж таки давно працюю в музейній
сфері. В 90-х роках мені це не подобалось, бо мої знайомі працювали в галереях, в Центрі
Сороса, у сфері сучасного мистецтва, а я займалася класичним мистецтвом, “відірваним від
життя”. Але цей досвід став мені у нагоді, тому що на початку 2000-х років стало зрозуміло,
що треба переосмислювати історію українського мистецтва: архівувати, збирати,
досліджувати, висвітляти, популяризувати. Постало багато завдань, виконанню яких сприяє
саме досвід музейної роботи. І коли я сюди прийшла, я ще не була професіоналом саме у
сфері сучасного мистецтва, але я розуміла, що історія не закінчується на 80-х роках. Моїм
завданням було ввести в музейне поле останні 30 років історії українського мистецтва.
Музей привабив мене своїм жвавим характером з фаховою, сучасною командою: я
зрозуміла, що можу тут реалізувати свої ідеї. Музей постав як відкрита структура, яка
вчасно реагує на питання, які ставить суспільство. А суспільство, в свою чергу, вже
дозрівало. У 90-ті роки сучасне мистецтво було маргіналізоване, закрите: не було широкого
глядача, не було конкурсів, не було соціальних мереж… Існували крупні осередки (той
самий Центр Сороса), але вони працювали “для залучених”.
Експозиція виставки “І спогади, і мрії” Тетяни Яблонської в НХМУ. Кураторка — Оксана
Баршинова
Коли я прийшла в Музей, тут уже в 2003 році відбулась виставка Олега Голосія, а в 2004
зробили важливий жест — митці Дюрич і Подольчак організували акцію “Час меценатів”, де
заявили про нагальність формування музейної колекції сучасного українського мистецтва.
Вони зібрали колекціонерів і запропонували їм викупити певні роботи сучасних художників
(фотографії, живопис, малюнки). Це була відправна точка, хоча на той час не було майже ні
в кого усвідомлення значимості цієї події. І моїм завданням було формування, показ і
підготовка експозиції ХХ століття. Мої колеги вже працювали над цим, але майже було
відсутнє саме сучасне мистецтво (80-ті ‒ 90-ті роки). У Музеї досі існувало насторожене
ставлення до сучасних медіа, навіть до фотографії. Але поступово випрацювали різні форми
музейної співпраці із сучасним мистецтвом: виставки історико-музейного сенсу (Нова
хвиля), експериментальні проекти, формат інтервенції в постійну екпозицію, співставлення
традиції і сучасності (Міф “Українське бароко”). Остання виставка виявилась найбільш
скандальною: для глядача це було травматичним, перш за все, тому що ми з Галиною
Скляренко зачепили надзвичайно актуальну тему бароко. Цей найпотаємніший і вже
сакралізований елемент національної ідентичності було необхідно розгерметизувати,
позбутися застигання, розібратись, що це, власне, таке. Але від проекту до проекту в НХМУ
ми спостерігали зростання, зрілість глядача.
Зрештою сформувалось розуміння того, що ми як найбільш репрезентативна збірка
українського мистецтва від давнини до сьогодення мусимо бути уважними до того, що
відбувається, і показувати мистецтво переконливо і, по можливості, повно.
3 of 5 11/5/17, 9:45 PM

Оксана Баршинова: «Сфера мистецтва — серйозний важіль г...
http://artukraine.com.ua/a/oksana-barshinova-sfera-mistectva--s...
Експозиція виставки “І спогади, і мрії” Тетяни Яблонської в НХМУ. Кураторка — Оксана
Баршинова
Е к с п о з и ц і і яХ Х с т о ліі т т я
Ця постійна експозиція не така вже і постійна! Ми її кожні 5 років змінюємо,
переосмислюючи те, що відбувалося в ХХ столітті. Це природній процес, бо, по-перше, ми
багато читаємо, знаємо, що відбувається в сфері історії мистецтва. Хоча у нас поки немає
авторитетних історій мистецтва по ХХ століттю. Можливо, це одна з причин постійних змін.
Ми відчуваємо відповідальність за те, що ми є наочною історією мистецтва. Студенти і
школярі можуть її побачити, перш за все, у нас. І по-друге, весь час відбуваються нові
надходження до колекції. Ми отримуємо монографічні колекції, з’являються нові імена, або
ми розробляємо спеціальні програми співпраці, що також стимулює нас показувати все
більше сторін мистецтва. Наприклад, поповнення творами неофіційного мистецтва не було
взагалі можливе до перебудови. А зараз ми виправляємо однобічність нашої колекції, яка за
радянських часів була ідеологічною вітриною “правильного” мистецтва. Ми тіснимо
соцреалізм убік, показуючи розмаїття, але повністю не відмовляємось —переослислюємо,
переоцінюємо, залишаючи окремих представників цього напряму. З іншого боку, це
дозволяє відшліфувати експозицію, визначити, який художник не втрачає свого значення з
часом (зокрема, саме цьогорічні виставки Кричевського і Яблонської дали можливість дійти
такого висновку).
С в о б о д а віі д іідеологіічного т и с к у
Сьогодні у нас ситуація, яка і має бути, коли інституція сама продукує ідеї і бачення своєї
діяльності, сама виробляє стратегію свого розвитку, відштовхуючись від досвіду та наявної
колекції. У зв’язку з процесом декомунізації я багато їздила по країні разом з Кризовим
Медіаценром і знайома з ситуацією в музеях, наприклад, сходу України. Є певні штампи, як
мають висіти роботи, норми експонування, формальні вимоги — стереотипи, які треба
ламати, модернізувати, робити більш відкритими і гостинними. Я серед іншого дивилася
експозиції краєзнавчих музеїв, в яких, незалежно від регіону, всі експозиції виконані за
одним зразком. Зміни мають відбуватися, але на мій погляд, починатися вони мають з
низів — зсередини музеїв. Через партисипативні практики — коли музей змінюється в
тісному контакті з громадою, через дискусії, опитування, залучення до спільних проектів.
Не всі музеї усвідомлювали — і пояснити це було моїм завданням, — що все залежить від
них, що часи, коли хтось спустить настанову зверху, закінчились. Процес децентралізації
почався, і як би неідеально він не втілювався, але в бюджетах міст є статті на розвиток
культури. Просто це треба розуміти та вимагати уваги. Не варто чекати контролю від
держави — контроювати не є її завданням. Держава має виконувати, а контроль може і має
здійснювати громадскість. Тому музей має бути звернений до діалогу з глядачем. Це
вимагає і вдумливого глядача, тому що в усьому світі епоха ентертеймента в мистецтві вже
минула. У нашій ситуації музей — це не “храм мистецтва” в пострадянському розумінні, це
більш дружній простір, але не суто розважальний.
Харківський художній музей. Експозиція виставки ГаліціяКульт. Мистецтво Галичини з
фондів музеїв
Джерело: dofa.fund
Д о сс вв і і у ч д а с тіі в піі д г о т о в ціі у к р аїї н с ь к о г о п р о е к т у н а В е н е ц і і й с ь к і біі і й є н а л е
Що стосується мого спів-кураторства (разом з Михайлом Рашковецьким) українського
4 of 5 11/5/17, 9:45 PM

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http://artukraine.com.ua/a/oksana-barshinova-sfera-mistectva--s...
проекту 2015 року — воно різко обірвалось, але саме спілкування з колегами протягом
підготовки було дуже продуктивним для мене. Також цікавим було саме занурення в
організаційну кухню бієнале: як там все функціонує, які є норми та вимоги, що вигідніше
повезти, що дозволено, що матиме резонанс. Цей досвід допоміг мені в роботі в експертній
групі цього року. Але головним недоліком я бачу відсутність інституції, спеціалізованої на
роботі з підготовки національного павільону на Венеційській бієнале. Наприклад, в Польщі є
така інституція, що дозволило їм напрацювати великий досвід за майже сто років. Вони
постійно комбінують різні методи відбору: десь відбирають конкретного художника, десь
роблять open-call, десь призначають куратора. Жодна модель не є єдино вірною. І в Україні
цей процес налагодиться, коли буде інституція, що нестиме за це відповідальність. Зараз
офіційно комісар — це Міністерство культури, яке не має ресурсів та навичок, щоб
ефективно цим займатись, адже це окрема велика частина роботи, логістика, лобіювання
фінансів, фандрайзинг тощо. Цим має займатись інституція, що має потужний фаховий
ресурс. Тому так і виходить, що ситуацію рятує інституція, яка має відповідні можливості:
або PinchukArtCentre, або Dallas Contemporary.
Над українською участю в бієнале тяжіє якійсь злий фатум, від 2001 року. Тоді була жорстка
конкурентна боротьба, тепер — проблема інституційної відповідальності. У 2015 році мій
досвід перервався через некомпетентність тодішнього керівництва Міністерства культури.
На проект було виділено 60 тисяч євро, що по суті майже — ніщо. Враховуючи, що участь в
такому заході це більше ніж мистецтво — це питання позиціювання держави на
міжнародному рівні. Але зміни відбуваються. Цього року на відкритті бієнале я побачила
тенденцію подолання ізоляції, розгерметизації, чого вимагають не окремі інституції, а
держава в цілому. Адже давно варто зрозуміти, що сфера мистецтва не є сферою закритого
перебування в піднесеному та прекрасному автономному світі. Це серйозний важіль гри на
міжнародній арені, що робить державу видимою.
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"Velaskes yo soi guapa?": Nuestra infinita obsesión con 'Las Me...
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NOTICIAS
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CULTURA
"Velaskes yo soi guapa?":
Nuestra in5nita obsesión con
'Las Meninas'
NOEL CEBALLOS
13 · 12 · 2017
10:01h
Lectura: 7 minutos Compartir artículo 117
El trap viral de Christian Flores es sólo la última muestra de hasta qué punto nos sigue fascinando el primer
cuadro posmoderno, contenedor de mil y una realidades.
Стор. 1 з 12 25.12.17, 10:23

"Velaskes yo soi guapa?": Nuestra infinita obsesión con 'Las Me...
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Tenemoke inventarno drama
® Velaske aka Extraordinario
Todos los años hay uno. Justo cuando el primer aniversario de Caranchoa nos caía como una bofetada
en el moflete, 'Las Meninas (Trap Remix 2017)' comenzaba a rozar el mes de vida y los dos millones de
visualizaciones en YouTube, demostrando que el fenómeno viral de final de año se ha impuesto al
anuncio de lotería como tradición navideña definitiva. No tiene sentido desgranar los mecanismos que
convierten el vídeo de Christian Flores para PlayGround en un artefacto humorístico ideal para el aquí
y el ahora (otros lo han hecho antes), pero sí explorar brevemente las muy diversas y fascinantes maneras
en las que el cuadro de Velazquez, considerado el pórtico de acceso a la posmodernidad en el arte, lleva
obsesionando a la cultura occidental desde 1656, año en el que la pobre Margarita se tenía que defender
de los cuchicheos palaciegos dentro de la burbuja llena privilegioh.
Dime guapa
En aquel siglo, el academicismo aún solía referirse a la pintura como "poesía para tontos", del mismo
Стор. 2 з 12 25.12.17, 10:23

"Velaskes yo soi guapa?": Nuestra infinita obsesión con 'Las Me...
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luego la leyenda del llamado secreto veneciano estaba lista para servirse en bandeja. Puede que esa
proto-leyenda urbana sobre el manual perdido-pero-quizá-encontrado por Ann Jemima Provis sea el
origen de nuestra obsesión con la pintura como enigma, o como un problema quizá resoluble a través del
análisis obsesivo. Eso es Dalí radiografiando 'El Ángelus' de Millet según el método paranoico-crítico,
sí, pero también 'La obra maestra desconocida', fascinante cuento de Balzac con una profunda
reflexión sobre la inasibilidad inherente a toda pieza pictórica en su centro. Nunca descubriremos
exactamente qué quiso captar Leonardo Da Vinci en esa expresión facial, y esa es exactamente la razón
por la que cientos de personas hacen cola cada día en el Louvre (en lugar de, por ejemplo, en cualquier
librería que tenga ejemplares de 'Moby Dick').
A lo largo de su monumental 'Everything is Happening: Journey into a Painting' (2015), el escritor de
viajes Michael Jacobs se consideraba a sí mismo como "un detective reabriendo la investigación de un
misterio sin resolver": el de 'Las Meninas', que para este hispanista era "no tanto un objeto como una
Стор. 3 з 12 25.12.17, 10:23

"Velaskes yo soi guapa?": Nuestra infinita obsesión con 'Las Me...
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vida de una forma tan arrebatadora" que "se convirtió, al mismo tiempo, en una profunda meditación
sobre la relación entre vida y arte".
Guapah
Michael Jacobs no estuvo solo en su obsesión. Sólo un año después de la publicación de 'Everything is
Happening', la crítica der arte Laura Cumming lanzó 'Velázquez desaparecido: La obsesión de un
librero con una obra de arte perdida' (2016, ed. Taurus). Se trata de un ensayo sobre una fijación
malsana que nace de otra: hace 25 años, Cumming decidió pasar unos días en Madrid tras haber
acompañado a su padre (pintor de profesión) en su lecho de muerte. Dado que no hablaba el idioma,
decidió refugiarse en El Prado, donde se encontró cara a cara con 'Las Meninas' y se sumió en el mismo
estado de éxtasis obsesivo que, por ejemplo, llevó a Pablo Picasso a pintar numerosas variaciones sobre
la matemática perfecta y casi metafísica de su composición espacial. Sólo que la autora no decidió
escribir una autobiografía, sino contar la historia del librero inglés John Snare, quien se encontró con el
retrato del futuro rey británico Carlos I en 1845, se convenció a sí mismo de que se trataba de un
Velázquez y, tras múltiples avatares, acabó encontrando la muerte en un desván neoyorquino. Sin un
duro, pero con el convencimiento inquebrantable de que el maestro sevillano había pintado "su" cuadro.
Cumming define a Velázquez como una figura histórica tan "remota e inescrutable como una estrella
entre la oscuridad exterior", un prisionero en la corte de Felipe IV que sólo conseguía escapar a través de
su arte. Quizá 'Las Meninas' fue su intento de capturarlos a todos (a esos malditos Habsburgo, pero
también a sí mismo) en una trampa atemporal, y quizá eso era lo que quería decir Mark Wallinger
cuando lo definió como el primer cuadro autoconsciente de la historia. Su asombroso y pionero uso del
Стор. 4 з 12 25.12.17, 10:23

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Dime k soi guapa
Por supuesto, no produjo el mismo efecto en todo el mundo, como demuestran esos militares franceses
que utilizaron 'El aguador de Sevilla' para proteger un camión durante la Segunda Guerra Mundial,
primos hermanos de los que se olvidaron 'El matrimonio Arnolfini', más que posible inspiración de 'Las
Meninas', en mitad del campo de batalla. Auch. Concedámosle a esos soldados que la contienda bélica
deja poco espacio para el realismo psicológico y la mirada del artista, o lo que Jason Farago describió en
el New York Times como un "rechazo a la idealización" de sus sujetos. Reyes y esclavos eran retratados en
una muy moderna igualdad de condiciones, sin que su pincel hiciera demasiado por enmascarar lo que
pasaba por sus cabezas. Al contrario: su Juan de Pareja, actualmente en el Met, nos dice todo lo que
necesitamos saber sobre el hombre en cuestión, sin necesidad de conocer los particulares de su biografía
y, desde luego, a años luz de esa supuesta poesía para tontos a la que se referían algunos de sus
contemporáneos.
Lo mismo se puede decir de la infanta Margarita Teresa, protagonista del trap y, dependiendo del punto
de vista y/o de tu espíritu de ánimo analítico hoy, también de las propias 'Meninas'. El vídeo de Flores
subraya una modernidad ya presente en Velázquez cuando le atribuye quebraderos de cabeza muy 2017 a
una persona que murió en 1673: quizá no sea tan místico como el de Mona Lisa, pero su enigma místico
también nos mira directamente a través de los siglos. Y, a su manera, nos habla de su psicología mejor
que su propia entrada en Wikipedia.
Guapah
El vídeo de Margarita rapeando sobre sus privilegios no difiere demasiado del par de Converse azules
Стор. 5 з 12 25.12.17, 10:23

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comercial de mediados de los noventa que en improbables escenas de lucha de clases que los vimos
protagonizar, pero ese es auténtico cometido del arte: explicarnos el presente a través del pasado.
'Las Meninas (Trap Remix 2017)' funciona porque recontextualiza el misterio original sin trastocarlo ni
un ápice. Se ríe del cuadro, pero reírte de 'Las Meninas' es igual que reírte del infinito: terapéutico, pero
cósmicamente insignificante. Ya se ha dicho que el auténtico triunfo de Christian Flores ha consistido en
acercar la obra a unas nuevas generaciones que, por supuesto, estaban familiarizadas con ella, pero
jamás se habían planteado lo que podía significar (si es que significaba algo). En 2008, el cineasta
ucraniano Ihor Podolchak estrenó un drama familiar ambientado en una suerte de instalación, donde
las rutinas del día a día se mezclaban con una búsqueda obsesiva de la belleza entre la enfermedad y el
deterioro (tanto físico como mental) de sus habitantes. Es una película frustrante a muchos niveles, pero
no pocos encontramos algo muy estimulante en su naturaleza esquiva, provocadora, polisémica. ¿El
título? 'Las Meninas', por supuesto.
Стор. 6 з 12 25.12.17, 10:23

Украинское кино — что нового? | Colta.ru
https://colta.ru/articles/cinema/17006?part=1
О проекте Попечители Партнеры ПОМОГИ
САЙТУ
28 ДЕКАБРЯ 2017 КИНО 3739 0
Украинское кино — что нового?
ПЯТЬ СОСЕДСКИХ ФИЛЬМОВ УХОДЯЩЕГО ГОДА
текст: Василий Корецкий
ЗАКРЫТЬ
«Иней» «Карусель» «Главная
роль»
«Диксиленд»
«Нi! Нi! Нi!»
Главным итогом этого года лично для меня стало новое украинское кино. Не то,
конечно, провинциально-аматорское кино, которое, как и большая часть
российских фильмов, снято непонятно для кого, с постоянной фигурой
несуществующего среднего зрителя. Но такое, которое сделано без особой оглядки
на публику — зато с предельным вниманием к герою (в случае с доком), с хитрым
использованием международных схем финансирования (так, не случись известных
событий, должны бы были сниматься десятки российских независимых фильмов —
впрочем, в этом году наше кино тоже отвернулось от Минкульта: большая часть
конкурсантов «Кинотавра-17» была произведена независимыми студиями с
загадочным финансированием), с присвоением иностранных авторов локальным
контекстом (главный украинский фильм года снят вообще литовским
режиссером), без заискивания с новой властью, а то и вовсе против всех.
«Иней»
Режиссер Шарунас Бартас
Главный украинский кинопроект года, снятая на территории нескольких
стран — и со значительным финансовым участием украинского
государства — копродукция (французскую сторону представляет Ванесса
Паради в микроскопической роли иностранной корреспондентки),
фактически документирующая войну на Востоке (все появляющиеся в
кадре бойцы армии Украины — настоящие, каждый из них произносит
стихийный личный монолог о войне, ее смысле и ужасных
обстоятельствах). «Иней» — показательный пример того, как должна
сегодня выглядеть правильная пропаганда: как «нативка», а не как
уродливый рекламный блок. Микробюджетная (тут даже не возникает
мысли о том, что кто-то мог что-то украсть, распилить и вообще
озолотиться за счет проекта) постановка, заказанная независимому до
маргинальности автору, всегда снимавшему не о героях и победителях, но
Стор. 1 з 4 30.12.17, 14:54

Украинское кино — что нового? | Colta.ru
https://colta.ru/articles/cinema/17006?part=1
Кино Искусство Современная музыка Академическая музыка Литература Театр Медиа Общество Наука Colta Specials Мосты Бёлль: контексты
любой войне). Взгляд на вооруженный конфликт Украины и мятежных
«республик» как на катастрофу европейского масштаба, вовлекающую в
свой водоворот волонтеров из Прибалтики, польскую таможню,
европейские НКО и прессу (наиболее отвратительные персонажи
картины). Главный герой везет из Литвы груз продовольствия и
обмундирования украинской армии — и по мере продвижения фронта на
восток едет на своем грузовичке все дальше вглубь Донбасса, влекомый
самоубийственным интересом к природе и смыслу этой войны. На дворе
2016-й, но в разговорах героев еще чувствуется страх перед возможным
российским вторжением в Прибалтику. Другая сторона не
демонизирована — а просто не показана, лишена голоса, ее реплики — это
пули невидимых снайперов, оставляющие после себя мертвые тела на
снегу. С другой стороны, мы и так знаем все, что могли бы сказать эти
невидимые респонденты, — аргументы бойцов с обеих сторон этого
фронта часто почти идентичны и даже произносятся на одном языке.
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Стор. 2 з 4 30.12.17, 14:54

Украинское кино — что нового? | Colta.ru
https://colta.ru/articles/cinema/17006?part=2
О проекте Попечители Партнеры ПОМОГИ
САЙТУ
28 ДЕКАБРЯ 2017 КИНО 3717 0
Украинское кино — что нового?
ПЯТЬ СОСЕДСКИХ ФИЛЬМОВ УХОДЯЩЕГО ГОДА
текст: Василий Корецкий
ЗАКРЫТЬ
«Иней» «Карусель» «Главная
роль»
«Диксиленд»
«Нi! Нi! Нi!»
«Карусель»
Режиссер Игорь Подольчак
Лаконичное — всего пять минут — упражнение львовского художникаэкспрессиониста
и режиссера барочных, несколько размытых психодрам
(«Менины», «Делириум») в жанре видеоскульптуры. Как живописец,
Подольчак был склонен к изображению мясных натюрмортов (или всетаки
ню?), на разные лады перетянутых шпагатом. «Карусель» продолжает
эту пышнотелую традицию: на ней, окутанные фирменной режиссерской
солнечной дымкой, возлежат рубенсовские фигуры и располагаются
приметы роскошной жизни — кубки, фрукты и т.п. Надеюсь, когда-нибудь
мы дождемся и сделанной Подольчаком экранизации «Петербурга» Белого,
разговоры о которой идут аж с 2013 года.
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Стор. 1 з 4 30.12.17, 14:30

Украинское кино — что нового? | Colta.ru
https://colta.ru/articles/cinema/17006?part=3
Кино Искусство Современная музыка Академическая музыка Литература Театр Медиа Общество Наука Colta Specials Мосты Бёлль: контексты
«Главная роль»
Режиссер Сергей Буковский
Один из лучших документальных фильмов этого года вообще — увы,
шансы увидеть его у российской аудитории нулевые: режиссер Буковский
принципиально не разрешает показывать картину в РФ (и автор
благодарит Одесский кинофестиваль за возможность увидеть это кино на
большом экране). Главная роль здесь — у матери режиссера, актрисы Нины
Антоновой (из отдельных обрывочных реплик зритель может сложить
контуры профессиональной драмы Антоновой, после рождения сына
снимавшейся в основном в эпизодах). Уже в первом кадре Буковский
формулирует основную проблему всякого неигрового кино: его
невозможность. Субъективность оператора, выбирающего объект и ракурс,
усиливается субъективностью героя, всегда старающегося
демонстрировать камере не себя как есть, а свое представление о себе,
стремящегося играть свою главную роль. Поэтому Буковский сразу просит
мать играть, надеясь именно в игре (уже спонтанной, непреднамеренной)
рассмотреть ее настоящую. Он тайком следит за ней (примерно в трети
фильма Антонова появляется как отражение в елочной игрушке),
провоцирует, доводя чуть ли не до инфаркта, шутит, требует
воспоминаний — в общем, занимает максимально вовлеченную позицию.
Результат не так-то просто вербализовать: с одной стороны, это портрет
артистки в самом расцвете сил (Антонова стала более востребованной
именно в преклонном возрасте — как типажная актриса), с другой —
драматическая история жизни в старых кадрах и фотографиях, анекдотах,
трагикомических деталях, каких-то старых пыльных вещах, действующая
на зрителя именно парадоксальной интимностью игры героини в саму
себя перед камерой.
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Стор. 2 з 5 30.12.17, 14:57

Украинское кино — что нового? | Colta.ru
https://colta.ru/articles/cinema/17006?part=4
О проекте Попечители Партнеры ПОМОГИ
САЙТУ
28 ДЕКАБРЯ 2017 КИНО 3741 0
Украинское кино — что нового?
ПЯТЬ СОСЕДСКИХ ФИЛЬМОВ УХОДЯЩЕГО ГОДА
текст: Василий Корецкий
ЗАКРЫТЬ
«Иней» «Карусель» «Главная
роль»
«Диксиленд»
«Нi! Нi! Нi!»
«Диксиленд»
Режиссер Роман Бондарчук
Еще один контемплативный (или, если по-простому, наблюдательный)
украинский док (его только что показывали на «Артдокфесте») — хроника
херсонского детского диксиленда, репетирующего в подвале бывшего
Дворца пионеров. Фильм снят еще до Майдана, и так странно видеть на
экране довоенную реальность, в которой георгиевская ленточка еще
является народным символом памяти, а не иностранной интервенции, 9
Мая — все еще международный праздник. Солнце, море, медные трубы...
но в середине фильма основатель и наставник оркестра Семен Рывкин
умирает, и оставшееся время мы наблюдаем тихое отчаяние выросших
учеников, которые пытаются сохранить не просто уникальную семейную
атмосферу бэнда, но и собственно ансамбль (интервью с Романом
Бондарчуком можно прочесть тут).
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Стор. 1 з 4 30.12.17, 15:00

Украинское кино — что нового? | Colta.ru
https://colta.ru/articles/cinema/17006?part=5
О проекте Попечители Партнеры ПОМОГИ
САЙТУ
28 ДЕКАБРЯ 2017 КИНО 3745 0
Украинское кино — что нового?
ПЯТЬ СОСЕДСКИХ ФИЛЬМОВ УХОДЯЩЕГО ГОДА
текст: Василий Корецкий
ЗАКРЫТЬ
«Иней» «Карусель» «Главная
роль»
«Диксиленд»
«Нi! Нi! Нi!»
«Нi! Нi! Нi!»
Режиссер Мыкола Ридный
Серия документальных сюжетов, связанных одной темой, больной как для
сегодняшней Украины, так и для России, — торжества ультраправых в
уличной политике (не без поддержки или благосклонного
невмешательства властей, разумеется). Интервью с харьковской
анархисткой, избитой националистической группой. Интервью с
харьковской моделью, чье лицо невозмутимо взирало с биллборда за
столкновениями прокиевских и пророссийских демонстрантов в начале
2014-го. Репортаж о группе стрит-артистов, оставляющих на городских
стенах вопли военного времени вроде «сегодня привезли столько-то
двухсотых» или «Нi! Нi! Нi!» («Нет! Нет! Нет!»). Как всегда у Ридного, в
фильме нет ни стальной логики сквозного нарратива, ни навязчивой
морали; это почти эссе, набор твердых фактов, на основании которых
зрителю предлагается провести свой собственный анализ конкретной
ситуации.
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Стор. 1 з 4 30.12.17, 15:02