The writer on creating a legend about her mother, breaking the fourth wall, and Elena Ferrante’s honesty.
The filmmaker and photographer discusses the return to her work on Russia’s inmates.
“I’m interested in subterranean culture that says ‘I will trick you’ to official culture, ‘I will play you.’”
Tarkovsky, aural illusions, and cultivating transcendent spaces.
Emilia Kabakov talks about her need to live between reality and fantasy, and discusses paint in comparison to installation.
The revelatory rediscovery of Russian absurdist writer Daniil Kharms.
Sussman’s remarkable new film, whiteonwhite:algorithmicnoir is an sci-fi narrative that constantly re-edits itself. The filmmaker talks to poet Yankelvich about outdated notions of the future, Malevich and Kazakh deserts.
“It is a disgraceful world, populated by some creatures that were once humans, but now these living beings are degraded, ghastly, appalling.” Kevin Kinsella discusses the photography exhibition, Boris Mikhailov: Case Study, which runs at MoMa until September fifth.
A scholar not only of literature, but of culture, horticulture, and above all the human body and its communications, Nádas presents a picture of temperament and elegance in the great tradition of the European intellectual.
Dissolution of the totalitarian Soviet regime brought Russia democracy of an imperfect sort. But much of the euphoria of the early nineties has dissipated in the face of new realities.
Yuri Lyubimov discusses the theater as a phenomenon for the elite, censorship, and why Scandinavians are more prepared for plays.
Station and Soveit War memorial Teptow Park East Berlin, acrylic paintings on plastic panels, by Peter Waite.
Director Gleb Panfilov talks with Liza Béar about his struggles with GOSKINO, the Soviet film committee, and his previously censored film Tema.
We took a walk, bus ride, walk, bus ride, walk to an apartment in the middle of Leningrad, up many flights of stairs—no speaking, so the neighbors would not hear a foreign language as we passed their doors.
Painting by Sergei Bugayev, circa 1984, part of the Leningrad portfolio.