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Poesie russe --- 20e siecle

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Litterature russe --- 20e siecle

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En 1934, Staline crée un État indépendant pour les juifs communistes soviétiques et du monde entier. Des familles débarquent d'Ukraine, de France, de Brooklyn... Après les purges et autodafés du XXème siècle, ce qui reste du pays, de sa culture, de sa langue, se tient au bord de l'oubli. Ce film est le portrait intime et sombre du Birobidjan. Inventaire avant disparition. A travers des témoignages, chants, poèmes, l'apprentissage de la langue, ce lieu nous est raconté, du passé au présent, tout comme l'est l'identité de ses habitants

20e siècle --- Communisme --- Mémoire --- Judaïsme --- Histoire --- Russie

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Litterature russe --- Litterature russe --- 19e siecle --- 20e siecle

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Dom Novogo Byta is a new step into the investigation led by Ogino: knauss on how Twentieth century's modernist principles shaped the everyday life of urban dwellers, and what is their heritage in a global urbanisation perspective. In 2009, the collective was invited in Moscow to produce a video installation for an art exhibition promoting the preservation of constructivist architecture which became the occasion for a film travelogue. Dom Novogo Byta is the diary of a journey into the imagined and built landscapes of Moscow, chasing the remnants of the extraordinary utopian season of the avant-guards in the 1920's and confronting it with the contemporary reality of post-communist Russia. It takes the vantage point of the dilapidated Narkomfin building, hardly surviving today in a central plot of land appealing for real-estate speculators. Designed in 1927 by Moisei Ginzburg, this is one of the earlier projects to absorb Le Corbusierian modernist principles. The Narkomfin was a prototype for revolutionary communes to come, aimed at reforming the everyday life of Russian citizens together with their spatial environment. Its utopian aspirations were soon annihilated by the rise to power of Stalin. From the story of the Narkomfin, the film progressively traverse imagined landscapes advanced by propaganda, finally getting lost into the newly built massive urbanisation of the harsh periphery of Moscow.Ogino Knauss is a collective active since 1995. Born as “mutant cinema laboratory”, acts during the years as a constant drift through audio visual languages and communication practices. The group experiments with VJing techniques as a peculiar form of open narrative, in contrast to the dominant tendency to create video tapestries as an ornament to musician and DJ's production. Developing its action at the crossing point between the exploration of etherotopic spaces and the exhibition of disclosing practices of the audiovisual device, Ogino knauss led a steady exploration of new spatial and creative contexts to confront, such as cultural centers, public spaces, temporary occupied zones, art galleries, festivals, dancefloors. Among many others ogi: no knauss collaborated or played live sessions with: Autechre, Autobam, Vladislav Delay, DJ Ultracore, Masami Akita & Zbigniew Karkowski, Otolab, OTK, Rich Medina, Terre Thaemlitz. In more recent projects, the attention has been focused on the globalizing urban landscape, applying image production techniques in the attempt to develop innovative listening and description practices about cultural urban processes. Urban explorations leading to performative acts or installations have place in such locations as Florence, Riccione, Berlin, New York, Rome, Milan, Amsterdam, Thessaloniki, La Habana. The anthological project, Triplicity, focusing on the co-related production of space and image in the evolving global landscape, has been presented world wide as live performance or installation and has been published as an interactive DVD + book by AVrec.

Réalisatrice --- Urbanisation --- Constructivisme --- Voyage --- Carnet de voyage --- Années 1920 --- 20e siècle --- Utopie architecturale --- 21e siècle --- Mouvement moderne --- Utopie --- Expérimental-essai --- Moscou --- Russie