“Bright, bright day” av Andreij Tarkovskij

If you talk too much then nothing happens – A. Tarkovskij

Stillheten brytes med en anbefaling:

Bright, bright day

Fotografier og essay av Andrej Tarkovskij. Introduksjon av Andrej Tarkovskij A. (Jr). Polaroids redigert av Stephen Gill.
White Space Gallery, London, 2007

“The written content of this book brings together reflections on photography by three generations of the Tarkovsky family: In the Introduction, the younger Andrey Tarkovsky comments on the photographs of his childhood that were taken by his father; a text by the latter considers the experience of going to his mother’s house and looking at photos of his own childhood taken by family friend Lev Gornung; and a selection of Arseniy Tarkovsky’s poems, including one about photography, punctuate the book. Accompanying these intimate reflections is an interview with leading Russian philosopher and cultural critic Boris Groys, Professor at the Center for Art and Media Technology Karlsruhe, by Nadim Samman and Anya Stonelake. Also included is a short essay by prominent photographer Stephen Gill.
Where does art end and life begin? As this book will make clear, for Andrey Tarkovsky there could be no division”

Sitat hentet her

Kom over denne boken på Deichmandske og ble slått av likeheten mellom Tarkovskijs polaroider og bildene i Lars Von Triers Antichrist. Var klar over von Triers dedikasjon og så linken tydelig, dog fremkalte innblikket i denne boken bilder av von Trier sittende nidstirrende med Bright, bright day på fanget i kjelleren da han skrev manus til overnevnte film. Boken begynner med bilder fra Tarkovskijs barndom, tatt av familievennen Lev Gournung -og som en litt grumsete tilfeldighet- er disse, i likhet med prologen i Antichrist,  i sort/hvitt. I fare for å begynne på et kjedelig strikkketøy av konspirasjoner, hopper vi av Antichrist og over på polaroidene til Tarkovskij; dokumentarisk romantikk, en visuell dagbok, som ifølge Andreij junior begynte som en innsamling av materiale til Andreij seniors´ film Nostalgia (1983). Polaroidene avbilder familie, venner og tilholdsteder, og blir omtalt i et intervju i boken som “… a combination of Chekhov and Caspar David Friedrich – a kind of cottage-life with a bit of the decadent Russian aristocracy. These images are nostalgic, but not for the Soviet culture of the Russia that he left. Rather, they’re nostalgia for Russia before the Revolution. They reflect the neo-romantic mood of the time in which they were made. Their romanticism is more German than French, like Caspar David Friedrich or Otto Unger. It’s classicist, but with a romantic aspect…(…) If there is something interesting about Tarkovsky it is precisely that he escapes kitsch because he is very documentaristic and doesn’t want to remember or relate to the past. Both in the polariods and the movies, if he relates to the past it is only in a negative way (…) He wants to have this romantic, spiritual, intimacy here and now. Its very much about the feeling of recognition, a looking for what Roland Barthes describes as ‘punctum’. Film and Polaroid are quite close, both are rather instantaneous and very much fix the moment, so it’s not about nostalgia or memory, he’s not historicizing and he’s not reactionary. In the polaroids, he’s looking for an equation or identification of this momentous experience in his life with a certain kind of gentrified cultural history of art.

He doesn’t recognize something Russian. He recognizes something that he looked at in a museum or gallery of nineteenth century art.

Kan være verdt å snuse på.

Smakebiter fra boken kan sees på www.brightbrightday.com