Russian American Cultural Center,
in collaboration with the Russian and Slavic Studies Program, Hunter College, CUNY
is pleased to announce:
2014 Art Film Festival
Saturday, November 1, 2014
Ida K. Lang Recital Hall at Hunter College,
695 Park Ave, New York, NY 10065
RUSSIA! The Drama of Art in Twelve Episodes by Nina Zaretskaya
Russia - USA | 2007 | 111 min | bilingual: Russian/ English with voice over translation.
The documentary is inspired by the exhibition "RUSSIA!" that took place at the Solomon R. Guggenheim museum in 2005 – 2006. That groundbreaking exhibition featured more than 275 of the greatest masterpieces of Russian Art, spanning the history from Thirteenth Century to the Present, large number of these artworks have never been exhibited outside Russia.
Introducing the international public to some of the most valued artistic treasures brought together from Russia’s greatest museums, this exhibition was unique in scope and content, in keeping with the Guggenheim’s distinguished history of presenting groundbreaking exhibitions of Russian art, including Art of the Avant-Garde in Russia: Selections from the George Costakis Collection (1981), The Great Utopia: The Russian and Soviet Avant-Garde, 1915–1932 (1992), Amazons of the Avant-Garde (2000), and Kazimir Malevich: Suprematism (2003).
The documentary presents a fresh look at Russian culture by revealing its history, the soul and the character of the Russian nation, helping viewers better understand the Russian people and their sensibilities through the amazing art they have managed to create over the centuries of their complex and difficult history.
Q & A with Nina Zaretskaya
Dedicated to the 100 years of Suprematism, an art movement that laid the basis of visual culture of the 20th and 21st centuries.
Lazar Khidekel by Olga Radvilovitch and Elena Plugatireva
Documentary | Russia| KanalKultura | 2011| 25 min | Russian with English subtitles
Lazar Khidekel Element – Suprematism for Humanity
Animation |14th International Architecture Biennale| Venice, Italy
Moscow Strelka Institute | 2014 | 3 min | English
Program dedicated to 100 years of Suprematism, 95 years of UNOVIS (The Affirmers of the New Art) and 110thAnniversary of Lazar Khidekel (1904-1986), Suprematist artist, visionary architect, one of the founding members of UNOVIS, celebrated today for his role in the transition of Suprematism from painting to architecture, to a movement which found its expression in real life - visible today in architecture, the processes of urbanization, and the futuristic yet environmentally-conscious city planning.
Suprematism was invented by Kazimir Malevich in 1913, first publicly displayed in 1915 and four years later, a group of young artists in Vitebsk Art School were inspired by its implications and embraced it as the vision of the future for art, architecture, and design. Driven by a paramount urge to transcend boundaries between artistic mediums, UNOVIS created a radical language that briefly became synonymous with the highest ideals of the revolution.
The most prominent artists to ever emerge from the Malevich circle was Lazar Khidekel who truly grasped Suprematism’s essence, its significance and potential, further developing Suprematist ideas, and implementing them in his own oeuvre – art, architecture, design and theoretical works through his long life.
Lazar Khidekel is a part of a series of art documentaries Taming of the Talent, focusing on the destiny of the avant-garde artists whose youth has fallen to the years of 1920s, the time of big expectations and the short lived romance with the revolution. Unlike many of the "first names" of the Russian avant-garde, the heroes of these documentaries did not emigrate from the Soviet Union, they also have not been touched by the arrests and repressions. They lived long life, participating in the construction period of the 1930s, defense industry during the WWII and post-war reconstruction of the country as was the case with Lazar Khidekel, but they were forbidden to publicly show or openly teach the avant-garde art. Nevertheless, today the work and lasting achievement of the artists are rediscovered and internationally recognized.
Alexander Borovsky, Svetlana Domogatskaya, Irina Karasik, Natalia Kozyreva, Mark and Regina Khidekel, Lyudmila Martz and Natalia Semenova are among art historians and museum directors interviewed in the series.
The Animation was created for the Venice Biennial 2014 as a part of the installation: Lazar Khidekel Element – Suprematism for Humanity recognizing his contribution as one of the twenty ideas that Russia presented to the world.
As Daniel Libeskind states on the occasion of the 2014 Lazar Khidekel Award for young architects:
"In my view Lazar Khidekel is one of the greatest of innovators in architecture in our times. His conception of space, function, and modernity is something which has inspired me ever since I discovered his drawings. In Khidekel's work the word 'innovation' is not a footnote but is the central spirit of his buildings… He is not a mere visionary of the past, but an architect whose work should inspire all of us to become as young as his ethereal vision."
Fate of Russian Avant-garde Architecture today
Away from All Suns by Isabella Willinger
Germany | 2013 | 74 min | Russian with English subtitles
A journey through time to the revolutionary 1920s and a portrait of Russian society today. In the back alleys of Moscow, forgotten treasures lurk: Utopian buildings, built in the 1920s in the spirit of Russian constructivism and three Muscovites who are struggling with the building’s heritage.
One is fighting to save her apartment building and a printing plant next door - the only construction left by avant-garde artist and architect El Lissitzky. The young artist is striving to create with his friends an artists´ commune in the ruin of the former house of collective living. Architect wants to bring back to life an architectural landmark – yet, he has to remodel it. “All, who’ve ever been in this house, are infected”, the
What do these buildings hold for us? What will be wiped out, once the last ones fall prey to decay or into the
hands of real estate-speculators?
The filmmaker works with passages of manifestos by Rodchenko, El Lissitzky and Vesnin, as well as rare documentary footage from early Soviet film, among others by Dziga Vertov.
Q&A with Regina Khidekel
9:00 PM RECEPTION
FREE OF CHARGE but you can support by making donation: http://www.russianamericanculture.com/join/
RACC's events are made possible in part with public funds from the New York State Council on the Arts, a state agency, New York City Department of Cultural Affairs, in partnership with the City Council, and Cojeco.
Support the FESTIVAL! Become a RACC & Festival Committee member!
Donate to Russian American Cultural Center, nonprofit organization 501 (c) (3)
520 E 76 St. # 7E, New York, NY 10021
RUSSIA! THE DRAMA of ART in 12 EPISODES (111 minutes)
Screenwriter, director and producer Nina Zaretskaya
Ministry of Culture and Mass Communications of the Russian Federation
Federal Agency for Culture and Cinematography
Art Media Center "TV Gallery"
with the support of Solomon R. Guggenheim Foundation
Press screening of the documentary
July 19, 2007 at 17:00
Federal Agency for Culture and Cinematography
7 Gnezdnikovsky Lane, Moscow
This film is based on the materials of RUSSIA!, the most comprehensive exhibition of Russian art ever shown in the United States, presented at the Solomon R. Guggenheim Museums in New York and the Guggenheim-Hermitage Museum in Las Vegas in 2005 and at the Guggenheim Bilbao Museum in 2006.
RUSSIA! exhibition has been realized under the patronage of the President of the Russian Federation Vladimir Putin. The opening of the exhibition coincided with the start of the 60th session of the United Nations General Assembly in New York City. High-ranking delegations from Russian Federation and the United States visited the exhibition. This footage was included in the film, for example, the speech of the Russian President Putin at the official opening ceremony.
This innovative exhibition featured more than 250 greatest masterworks of Russian art from all major Russian art museums.
This film highlights the importance of this event in the cultural and historical context. Only the detailed and expert analysis of the works of art created in different periods allows to perceive the connection between the stages of development of the Russian culture, therefore the outstanding art curators, art historians and critics from the United States and Russia were invited to participate in this documentary. Their talks are accompanied by rich content visual footage which includes fragments from movies, newsreel footage and filmed art masterpieces.
At the press screening you will be able to make your own judgement and to put questions to the film crew.
The event will also include the charity action that will give you a chance to buy the DVD of the film. A portion of the proceeds from the DVD sale will be donated to the Lifeline Russian charity program that finances the heart surgery for severely ill children. This charity program has been in operation since 2004. The purpose of this national program for children up to 15 year old is to decrease the mortality from the grave heart and brain diseases that could be cured by high technology intervention. About 1,400 Russian children have been saved due to this program, and donations from individuals and organizations amounted to$7.5 million. But the program needs more help!
We hope to see you all at the screening.
Please RVSP by phone 238-02-69 or by email at email@example.com
Curated by Nina Zaretskaya
VIII MEDIA FORUM OF THE 29th MOSCOW INTERNATIONAL FILM FESTIVAL
Acconci's early performances—including Claim (1971) and Seedbed (1972)—were extremely controversial, transgressing assumed boundaries between public and private space, and between audience and performer. Positioning his own body as the simultaneous subject and object of the work, Acconci's early video tapes took advantage of the medium's self-reflexive potential in mediating his own and the viewer's attention. Consistently exploring the dynamics of intimacy, trust, and power, the focus of Acconci's projects gradually moved from his physical body (Conversions, 1971) toward the psychology of interpersonal transactions (Pryings, 1971), and later, to the cultural and political implications of the performative space he set up for the camera (The Red Tapes, 1976). Since the late '70s, Acconci has designed architectural and installation works for public spaces.
Vito Acconci Retrospective program:
Three Frame Studies, 1969, 10'58"
Two Cover Studies, 1970, 7'46"
Three Adaptation Studies, 1970, 8'05" Openings, 1970, 14'00"
Pryings, 1971, 17’10"
Conversions, 1971, 65'30"
Theme Song, 1973, 33'17"
Born 1940 Bronx, New York, USA. The artist lives and works in Brooklyn, New York. Vito Acconci is a key late twentieth-century pioneer of performance, video, installation and the exploration of architectural space. Initially a poet, Acconci began making Conceptual art in the late 1960s.
A poet of the New York school in the early- and mid- 1960s, Vito Acconci moved toward performance, sound, and video work by the end of the decade.
Acconci changed direction in order to "define [his] body in space, find a ground for [him]self, an alternate ground for the page ground [he] had as a poet."
The site has been created with the assistance of the "Open
Society Institute" (Soros Foundation). Russia