Showing all 5 results
Andrey Tarkovsky. Bright Bright Day. Russian Edition£80.00
Andrey Tarkovsky. Bright Bright Day. Russian Edition. Polaroids by Andrey Tarkovsky. 1979-1984. Essay by Andrey Tarkovsky. Poems by Arseniy Tarkovsky. Translated by Kitty Hunter Blair. Introduction by Andrey A. Tarkvosky (Jr.) Polaroids edited by Stephen Gill. Interview with Boris Groys. Russian edition of the book was realised with kind support of Olga and Charles Thompson. English edition is out of print. English text can be found on www.brightbrightday.com
Antanas Sutkus. In Memoriam£10.00
Portraits of Kaunas and Vilnius Jewish Ghetto Survivors, printed to accompany the exhibition Antanas Sutkus: In Memoriam (2016).
The In Memoriam series depicts those few who survived the Holocaust in Lithuania, implying the horror of dramatic reality half a century after the event. It confirms the deeply humane gesture of the photographer who captures memory and time as they open up to understanding, redemption and rebirth. The text includes essays by philosopher Leonidas Donskis and Kamile Rupeikaite (Vilna Gaon Museum, Vilnius), as well as the interviews with last living survivors of Kaunas Ghetto. English, first publication in an edition of 1,600. Softback, 112 pages. ISBN: 978-0-9557394-9-1
Antanas Sutkus. People of Lithuania£50.00
Dmitry Konradt. State and Time£30.00
Dmitry Konradt trained as a geologist and went on to become one of St Petersburg’s most famous photographers. After his celebrated black and white images of performers on and off stage at the legendary Leningrad Rock Club, he switched to cityscapes and began working in colour in the 1990s. State and Time contains 59 colour and 25 duotone plates, featuring many Dmitry Konradt’s iconic images of Russian underground rock bands, such as Aquarium, Kino, Aukzion. Text by London art critic Alexander Kan and St Petersburg historian Lev Lurie.
Rustam Khalfin. Seeing Through the Artist’s Hand£14.99
Khalfin, a Tatar, born in Tashkent (Uzbekistan), began his professional life during the stagnant Soviet era, graduating in 1972 from the Moscow Architecture Institute. In the 1980s, while residing in St Petersburg, he became involved with the circle surrounding Vladimir Sterligov – a close associate of Kasimir Malevich. It was then that Khalfin was first exposed to the richness of the Russian Avant-garde, a point of departure for his own painting. Shortly thereafter, in partnership with his wife Lydia, he began to pioneer performance art in Kazakhstan. From then Khalfin had ceaselessly experimented with a variety of media, also including painting, sculpture, installation, and video.