1. The Third & The Seventh from Alex Roman on Vimeo.

    A FULL-CG animated piece that tries to illustrate architecture art across a photographic point of view where main subjects are already-built spaces. Sometimes in an abstract way. Sometimes surreal.

    .Fullscreen it, please.


  2. Andrei Tarkovsky speaks about his own movies

    "I’m interested in the problem of inner freedom…" The Stockholm 1985 Interview — for the first time in English.
              Jump directly to: [ On Solaris | On Mirror | On Stalker ]
    Tarkovsky, Between Two Films (1962)
    Tarkovsky on Andrei Rublov (compiled by Nostalghia.com)
    Tarkovsky on Andrei Rublov (compiled by R. Bird)
    An Unpublished Interview with Andrei Tarkovsky, on Andrei Rublov (1967)
    Tarkovsky and Lem on Solaris (1971—1987)
    Tarkovsky on Solaris (1973)
    Tarkovsky on The Sacrifice
    Tarkovsky talks to Guerra, with emphasis on Stalker (1979)
    Tarkovsky on Nostalghia (1980)
    Tarkovsky interviewed by Maurizio Porro, on Nostalghia (Cannes, 1983)
    Tarkovsky interviewed by Natalia Aspesi, on Nostalghia (Cannes, 1983)
    Tarkovsky talks to Gideon Bachmann, on Nostalghia (1982)

    Tarkovsky on Various Topics

    On acting, in theater vs. film
    On the problem with film-school education
    On the concept of symbols
    On screenwriters vs. directors
    On color vs. black-and-white cinema
    On sundry topics
    Tarkovsky on some film-related topics
    Tarkovsky’s Top-Ten Movies List (1972)
    Tarkovsky in Italy: The Current State of Cinema (1982)
    Tarkovsky in London: The Responsibility of the Artist   “The longer I work in cinema the more convinced I am that this domain of art is not ruled by any laws. I do not even attempt to find them… Everything is possible.” From item 48 of the Tolstoy Complex bibliographyimage

    Remembering their work with Tarkovsky…

    Michal Leszczylowski: Remembrance
    Layla Alexander Garrett: Andrey Tarkovsky — Enigma and Mystery
    Lars-Olof Löthwall: Daily Rounds with Andrej Tarkovskij
    Sven Nykvist in conversation with Dr. Bengt Forslund on the shooting of The Sacrifice
    Giuseppe Lanci: A Testimony
    Vadim Yusov: To Understand the Essence of Creation
    Mark Le Fanu: Vadim Yusov in London


  3. An image cannot be a symbol in my opinion. Whenever an image is turned into a symbol, the thought becomes walled in so to speak, it can be fully deciphered. That’s not what image is. A symbol is not yet an image. Although image cannot be explained, it expresses truth to the end… Its meaning remains unknown. I was asked once what the bird on boy’s head in The Mirror meant. But any time I attempt to explain, I notice everything loses its meaning, it acquires a completely different sense than intended, moves away from its rightful place. I could only say a bird would not come to an evil man but that’s not good enough. A true image is an abstraction, it cannot be explained, it only transmits truth and one can only comprehend it in one’s own heart. Because of that it’s impossible to analyse a work of art by utilising its intellectual significance. 

  4. Combustinone BL7

    Alberto Burri

  5. senza titolo

    Alberto BURRI

  6. The Cholmondeley Ladies, circa 1600-10

    British School

  10. Alison Rossiter

    Alison Rossiter makes photographs without using a camera. Captivated by the mechanics and materials of pre-digital photography, she collects decades-expired photographic paper—the oldest dating to 1900—which she develops in her darkroom, coaxing out of each sheet the gorgeous composition of lights and shades it holds within. Though Rossiter has used a camera, and has made photograms of books and light drawings of horses, she focuses on her experiments with expired paper. Her intimate compositions often resemble moody landscapes or Abstract Expressionist paintings. With titles like Eastern Kodak Royal Bromide, expired March 1919, processed in 2010, Rossiter documents the paper she uses and its expiration and processing dates, emphasizing its history. “It’s time travelling,” she explains. “I can hold a Fuji paper that I know was made between the wars and I’m transported to pre-World War II Japan.”

  12. Mad Matters

    Daniel Egnéus

  13. Sketch of Anna Akhmatova, 1911

    Amedeo Modigliani

  15. Dans l’atelier de Gustave Moreau - 1894

    Henri Matisse