Thanks to: Martino Marangoni and Clare Lillingston, Marina Tarkovskaya, Andrey A. Music: Maria Kalaniemi: Kaamos, from Cranes of Spring, SibKaCD084, FIZEN9800067. Translation from Russian by Kitty Hunter-Blair. Text: Arseniy Tarkovsky: The Bright Day, 1942, published in Ardrey Tarkovsky: Bright, bright day, White Space Gallery, London and The Tarkovsky Foundation, Florence 2007. (From Camilla Brown: Elina Brotherus, Comma 27, Bloomberg SPACE, London 2010.)ĭirection, camera and editing: Elina Brotherus They, as this remembered moment of idyllic happiness, are in the past – never to be recaptured. It speaks of loss more generally, such as the grief when loved ones pass away, and how over time memories of them can start to fade. Yet, as so often with Brotherus’ work, it is tinged with melancholy. It is a poem eulogising about a remembered memory of idyllic harmony with nature. A poem appears in subtitles, by Arseniy Tarkovsky, the father of the film-maker Andrej, written in 1942. The work has a sound track – which at first is ambient noises of birds and a distant dog bark – but which blends into a piece of accordion music by the Finnish composer Maria Kalaniemi. She slowly starts to walk towards the camera, and in the end is standing close to it, at which point we clearly see it is Brotherus. In the middle distance stands a female figure in a grey dress. The scene is of a grassy hill slope in an olive grove, shot in the golden light of the late afternoon. The previous ones are Francesca Woodman's Aunts (2012) and Wrong Face (2013).Ģ'19", HD video (Apple ProRes422), 16:9, stereo.īright, Bright Day is a simple composition with the camera remaining in one place throughout. Howl completes Elina Brotherus' New York Trilogy of 16mm films. Year 2015 marks the 60th anniversary of Ginsberg's Howl. Elina Brotherus' 16mm film Howl employs parataxis, a technique Allen Ginsberg used in his poetry, in which seemingly dissimilar images or fragments are juxtaposed without a clear connection or hierarchy. The older woman recites Allan Ginsberg's poem Howl, one of the greatest works of the American Beat Generation. Out there is New York City's West Village. They pour water from a glass to another and then through the window to the street. The women dance, the younger woman's feet are tied. One is bold, the other one starts to comb her hair, she then walks a small dog across the room. Two women remove the animal masks they are wearing. Text: Allen Ginsberg: Howl, 1955 (excerpts) Performers: Elina Brotherus, Victoria Schultz, Alfred (the dog) Script, directing and editing: Elina BrotherusĬinematography and sound recording: Thomasz Werner Thank you: Lauri Astala, Ville Lenkkeri, Pauli Sivonen, Timo Soppela, Tarja Väätänenĥ'19", 16mm black and white reversal film (transferred to video), stereo. Produced by: Elina Brotherus, Maria Kalaniemi, Serlachius Museums, AVEK Recording and mixing of music: Eero Grundström Music composed by Maria Kalaniemi, performed by Maria Kalaniemi (accordion, voice) and Eero Grundström (harmonium, harmonica). endĭirected and filmed by Elina Brotherus / Performed by Elina Brotherus and Vera Nevanlinna / Editing: Elina Brotherus and Lauri Astala / Original music and sound design: Antti Ikonen / Post-production: Lauri Astala / Location assistant: Emilia Usvalaaksoģ'23", HD video (Apple ProRes 422, 16:9), stereo.Ħ'11", HD video (Apple ProRes 422, 16:9), stereo.ģ'37", HD video (Apple ProRes 422, 16:9), stereo.ĥ'44", HD video (Apple ProRes 422, 16:9), stereo.ģ'16", HD video (Apple ProRes 422, 16:9), stereo.Ħ'03", HD video (Apple ProRes 422, 16:9), stereo.Ĥ'12", HD video (Apple ProRes 422, 16:9), stereo. Then shout as loud as you can “Well that’s new isn’t it?” Then throw the three stones into the Ocean. In this manner you can travel down the beach.ī) until you have gone through the cycle 100 timesĪt that time you gather the three stones and place them into a little triangle pattern. Then turn around and crawl back to the second stone, (which has now become the last stone) pick it up, turn around go back up the line of stones, and place that stone a bit in front of the lead stone. Then turn around and crawl back past second and third stones, and place first stone a few feet front of the third stone. Then crawl back to the first stone, pick it up. After Walter de Maria, Beach Crawl, July 1960Ĭrawl forward a few feet, and place second stone down.Ĭrawl forward a few feet more, place third stone down.
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