#Andrei Tarkowski

[heaven-one]

[amjakunin]

miscellaneous doodles and poster psychoanalysing Solaris 1972

[lascitasdelashoras]

Andrei Tarkowski - Solaris

[bikehype]

The Sacrifice (1982) Andrei Tarkowsky

@samjsn (2023)

[kolega8]

Yes yes we know andrei tarkowsky was shooting polaroids

[fthlc]

12:41

Kendinizi, kendinizle zaman geçirmeyi yalnızlık sanmayacağınız şekilde yetiştirin.

-- Andrey Tarkovski

[slndr0100]

[karina01]

Lori Herberger

The Swiss artist Lori Hersberger lives and works in Zurich. Born in Basel in 1964, he studied Video Art and Sculpture at the Basel School of Art and Design. At the beginning of the nineties he started creating environments and installations, initially combined with video, later with different kinds of media like mirror glass, painting with fluorescent paint, neon light, and chrome steel. He quickly devoted himself to a wide spectrum of different, seemingly incompatible media and subject matter. His works are characterized by a direct artistic language and, while many trigger a strong affirmative impression, subversive potential. In different installations, as well as in his painting and sculptures, he takes up a range of topics such as hybrid emotionalism and the twofold semantic nature of phenomena such as the phantom-like. Starting in 2000, Lori Hersberger extended his artistic work to abstract painting, and since then has viewed himself exclusively as a painter and sculptor. Calling him an installation artist is just as inadequate as categorizing him solely as a painter, for since the beginning of his career he has dedicated himself to a kind of perspectivism expressed in the experimental exploration of multiple genres. Lori Hersberger’s art stresses the opposition between the world of illusion and that of reality, yet at the same time alludes to the space between them. In this sense, his works are both sublime and grotesque – a combination that is also clearly expressed in his current exhibitions.

Lori Hersberger has received numerous awards, including the Swiss Art Award (1999 and 2000) and the Manor Art Prize Basel (2001). His works have been shown at many institutions and museums, among them the MAC Museum of Contemporary Art in Lyon, where in 2008 he presented in his largest solo exhibition to date, titled Lori Hersberger - Phantom Studies, deformed steel sculptures as well as extensive installations with neon light and mirror glass, or in other solo shows at, among others, Kunsthaus Zürich in 2003. In addition, he has exhibited at venues such as Museum für Gegenwartskunst in Basel, the MMKK Museum for Modern Art of Carinthia in Klagenfurt, at Kunsthalle Giessen, Kunsthalle Basel, and the Swiss Institute in New York. Larger installations were shown as part of thematic exhibitions at the 48th Venice Biennal, at Kunsthalle Vienna, at the ZKM Museum of Contemporary Art in Karlsruhe, at the SMAK Stedelijk Museum of Contemporary Art in Ghent, the Lucerne Museum of Art, and the Art Museum in St. Gallen. His works are included in many collections in Switzerland, Europe, and the United States, and comprise a number of installations in public spaces.

Dystopia Stalker

“What has been begun may be fulfilled. May they believe in it and have a laugh at their passions. For what they call passion is, in truth, not some emotional energy but just the friction between the soul and the outside world,” proclaims the main character in Andrei Tarkowski’s 1979 film Stalker. Lori Hersberger may have envisaged a society set in an indefinite future and characterized by repressive control when he conceived his installation Dystopia Stalker No. 2. Yet, the artist does not want to elicit an unequivocal reading with the title he chose but rather aims at triggering a cascade of associations on the part of the viewer – an objective already evident in former comparable works such as Optimize Your Feng-Shui (2008), Geist (2009), or Dystopia Stalker (2013). With a painter’s vital gesture, Hersberger decided on a screen-like arrangement of the bulletproof glass walls, which may arouse our suppressed latent fascination with the beauty of destruction. The installation’s accessibility turns the viewer into an integral part of the overall tableau, which continuously oscillates between inside and outside, inclusion and exclusion. New things may come about where destruction reigns.

bagday

phantom studies

geist

Instant Karma No. 2 by Lori Herberger

[dersiebentekontinent]

[barbarazdunk]

Andriej Tarkowski

[whosthatknocking]

Zerkalo | The Mirror (1975) dir. Andrei Tarkovsky

[silezukuk]

Scheda di registrazione personale di Andrei Tarkowski (fotosegnalamento) presso il campo profughi di Latina / 28 August 1985 / [***] / [***]

[thisobscuredesireforbeauty]

Natalja Bondartschuk in: Solaris (Dir. Andrei Tarkowski, 1972). Source

[miloelhumano]

Tarkovsky.

Stalker (1975)

[fffartonceaweek]

stalker 1979

by DeterFArt

source material :   i.m. power plant/cooling tower, belgium by ?

[luvetlux]

Nostalghia（1983）/ Andrei Tarkovsky / BWV853 

Music：Johann Sebastian Bach

Piano：Sviatoslav Richter

The Well-Tempered Clavier, Book 1

Prelude and Fugue No. 8 in E flat minor, BWV 853

"Einer der wunderbarsten, einer der rätselhaftesten Filme, die ich je sah, ist "Nostalghia" von Andrej Tarkowski. Die sanfte Gewalt, die nie geschaute Schönheit seiner Bilder ist so heftig, daß man sie im Kopf behält wie einen Traum, den man immer wieder träumt. Es ist, als läse man Dostojewski zum ersten Mal.”

Ulrich Greiner, Zeit, 1984: https://www.zeit.de/1984/05/das-weltall-in-uns

Den ganzen Film finde ich online nur auf spanisch mit englischen Untertiteln, aber Tarkowsky ist ein Maler bewegter Bilder, also ist auch das ein Genuß: