Two Russians in the Free World

  • October 5, 2013 / 14:00
  • October 9, 2013 / 19:00

Director: Amanda Trager, Erik Moskowitz
Cast: Joshua Mack, Sasha Jampolsky, Amanda Trager, Erik Moskowitz, Robert Janitz, Irina Kachanovskaya, Jessie Stead
USA; color, 30’, 2013
English with Turkish subtitles


Moskowiz + Trager's piece from 2013 presents a dialogue between the two men, while posing a deeper question: Why and for whom do artists create? Representing a range of transactions and exchanges, the video explores allegorical and utopian connections between artistic inspiration, love and the marketplace. The narrative telescopes out to include the story of its own making as the actual artist/filmmakers depict themselves debating plot line and meaning as well as the virtues (or lack thereof) of their collaboration. But are they really the ones in control? The mysterious presence of three women suggest otherwise.

Walk Through

Walk Through

Monuments

Monuments

The Colors that Combine to Make White Are Important

The Colors that Combine to Make White Are Important

Social Visions

Social Visions

The Poor Stockinger, the Luddite Cropper and the Deluded Followers of Joanna Southcott

The Poor Stockinger, the Luddite Cropper and the Deluded Followers of Joanna Southcott

Los Ultimos Cristeros

Los Ultimos Cristeros

Two Russians in the Free World

Two Russians in the Free World

The Story of Elfranko Wessels

The Story of Elfranko Wessels

Cloud Cuckoo Land

Cloud Cuckoo Land

A Bit of Dirt

A Bit of Dirt

Night Replay

Night Replay

Geography

Geography

Pera Museum’s Cold Front from the Balkans exhibition curated by Ali Akay and Alenka Gregorič brings together contemporary artists from Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Kosovo, Macedonia, Montenegro, Romania, Serbia and Slovenia.

Postcard Nudes

Postcard Nudes

The various states of viewing nudity entered the Ottoman world on postcards before paintings. These postcards appeared in the 1890s, and became widespread in the 1910s, following the proclamation of the Second Constitutional Monarchy, traveling from hand to hand, city to city. 

Baby King

Baby King

1638, the year Louis XIV was born –his second name, Dieudonné, alluding to his God-given status– saw the diffusion of a cult of maternity encouraged by the very devout Anne of Austria, in thanks for the miracle by which she had given birth to an heir to the French throne. Simon François de Tours (1606-1671) painted the Queen in the guise of the Virgin Mary, and the young Louis XIV as the infant Jesus, in the allegorical portrait now in the Bishop’s Palace at Sens.