It is not just another suicide. There are too many people around me, around us, who commits suicide, who passed away.
She cried after seeing the film. Now I know. I want to stop the film being shown.
I didn’t want to do this film. The film wanted me to do it. It is an excuse.
I know, now, that the suicide is not an exit, it is not a solution.
Keep that bird, boy!
I rarely write about other works on my site. But yesterday I saw a piece of art, that deeply moved me, and I must say – is a real inspiration for me, evoking some really dramatically decisions, may be. I always loved the theater, more than everything. I started with the theater, studied theater, was making posters for the theater. It seems to be my destiny, to love this art form. But after I saw yesterday Robert Lepage 9 hours LIPSYNCH, I know for sure, that this is one of most powerful and deep experiences and feelings, I’ve ever had. It started, that I cried after the first 10 min. It ended crying at the end. At the middle I’ve laughed as hell. It was thought provoking, deep, intense experience. It passed as a 5 min adrenalin booster.
This tale for the voice, the lack of the voice, and imitated, synchronized voice behind the life, is a smashing achievement for the contemporary theater. I think it has the impact of Brook’s Mahabharata, but goes further. It tells the stories of 9 people, lip-sinchronised in their desperate essay to understand their life, to remember it, and to hear their inner and true voices. And the voices, the true voices, and the words, and the accents, can change everything, not because they are meaningful, but because behind each voice stays an unique human, and the language is nothing but vowels, and syllables. It is a music, that we think understand, but are often mistaken (one of the monologues in the play stated after hearing that he cannot be understood in his own country by his greek secretary – “My bloody Scotish accent, ea? What about Your accent, Greek girl? What about all those polishes, roumanians, EastEuropeans in my city? ” Even the italians are gone,from their pizzarias, at least we understood them! Nobody speeks English in London anymore! I have to pass a crash course on Serbo-croation, if I want to order a capuchino at the coffee on the corner. It become a Disney world of the planet, my city!”
It is not the language, my friends. The world has changed, and our brains. It is the music of Your voice that is important.
The music of the silence is the only one that counts, when we love and hate.
Abfiejhafjsal ajikhadso mucho amourekos!
Sometimes I question myself – Why do I like doing animated films? And the answer often is – To create the posters for my own films. There is nothing more satisfactory in therms of “design:client” relation aspect as to work for myself.
The most important part of a film is … his poster. Only the good films have good posters. But sometimes behind some good posters are hidden bad films. Not so often, though…
So, just now I consider the film finished. That’s it.
the spectre of communism.
It transformed Marx quotation by Richard Barbrook. His articles and visions are impressive.
Positive:work-as-commodity___The Negation:waste-as-gift___The Negation of the Negation: work-as-gift.
Or like this: e-commerce___potlatch___Network communities.
Or like this: copyright___creative commons___open source.
Sounds familiar, no?
At the end of the twentieth century, anarcho-communism is no longer confined to avant-garde intellectuals. What was once revolutionary has now become banal. As Net access grows, more and more ordinary people are circulating free information across the Net. Crucially, their potlatches are not attempts to regain a lost emotional authenticity. Far from having any belief in the revolutionary ideals of May ‘68, the overwhelming majority of people participate within the hi-tech gift economy for entirely pragmatic reasons. Sometimes they buy commodities on-line and access state-funded services. However, they usually prefer to circulate gifts amongst each other. Net users will always obtain much more than will ever be contributed in return. By giving away something which is well-made, they will gain recognition from those who download their work. For most people, the gift economy is simply the best method of collaborating together in cyberspace. Within the mixed economy of the Net, anarcho-communism has become an everyday reality. “We must rediscover the pleasure of giving: giving because you have so much. What beautiful and priceless potlatches the affluent society will see – whether it likes it or not! – when the exuberance of the younger generation discovers the pure gift.
From time to time I have to clean my archives. Then, I find hundreds of forgotten works, projects. I just found a CD with an old version of Mortadellatv. At this time (2001) it was full with interactive art, new media “paintings” and “conceptual” flash. As I now believe the interactive art is a “passé” – (it is aging extremely badly – does anyone remembers “Onceuponaforest” or Pitaru experiments, or…forgot their names even…There were many.) Everything is dead, it even doesn’t exists on the web. So, I was lucky enough not to loose my time too much on all those projects (and not to spend any money on it). Some of them won awards.
My favorite was:
“Symbiotic colostrum – letters to the muse”
It is an interactive “love” painting, in which the movement of the mouse was indicating the words of a “love letter”. It had the ability to send generated Latin letters to a person (not to be revealed:)
eye
circulation
There is nothing more beautiful as graphic art, than the score of Bruckner the 8th, noted by a conductor…
And every time when I think, or mention Artur Lipsett, someone commits suicide. In the fashion world, Alexander McQueen was kind of like Lipsett for the cinema – the troubled rebellion, the conscious clown of the fashion circus. He was a clown himself.
About his career in Guardian.
R.I.P Alexander McQueen.
It seems that there are not many people who have seen the Artur Lipsett films. Luckily, we live in the good time of internet screening rooms. I couldn’t imagine anyone to remember, or know something about him 10 Years ago, except some dedicated cinema “connoisseurs”. Where You can see such a films? In the cinema? On the TV? (How happy I’m that the TV on the death couch now- when I was creating Morta della TV 12 Years ago I even didn’t think that the name will happen). I’m totally excited of the new technologies, and all the opportunities, and the knowledge, and art exposure that they give to the people. At first, web was the money making tool. It is still. But see how huge is the presence of the “fringe” art, the “forgotten” art. Artur “who” would ask me the people 10 Years ago. Artur “here” I answer, now.:
21-87
Very nice, very nice
The artist must earn money in order to be able to live and to draw, but he must by no means live and draw for the purpose of making money.
The 2 postings below can be in one. They describe the process of creation. One (the “Decapitated…” drawing is a pure freedom. Destruction. Self-conscious act. Pure excitement.
The other is a commissioned work. The scene from the film with Melissa throwing the chair describes the doubts and the feelings behind it. But, I never destroy the works commissioned to me. On the opposite. I have respect for this part of my work. I know, that without the “art on command” there won’t be the other, the pure expression. The truth lies in the middle. I won’t be able to create anything, if I work only for myself, if I don’t have the stimulus of the client, of the people around me at NFB, or the “commissioner”. I don’t believe in the “ lonely artist” in his studio. Without the communication, the construction, and deconstruction of the “real” life, I wouldn’t be able to create a single line. The obstacles, the contraventions, the conflicts are essential part of the creative process. The pure freedom is a trap, a hole. At the time, when someone will give me all the freedom, all the ressources – I will be dead. Better to go to the beach, than to work. This is my idea for the dialectic of creation, which I had in mind, doing the film “Lipsett diaries”. The artist has to be in the maelstrom of the events and the time.
A short “making of” clip, describing the process of creating the paintings in the film “Facing Champlain”
I find this image (based on a still from Drux Flux) funny, but it perfectly illustrates the idea behind the film “Drux Flux” – The 1D Man, in 3D…Herbert Marcuse must be spinning in his grave…
A friend of mine asked me – why You don’t write it in French. It is in French, I answered.
I draw and paint in French. My images are in French. Some of them are in Bulgarian, especially the old ones. But also some of the new too. If You have the eyes to see it.
I consider the words here as subtitles. There are for better understanding. The text is full with errors, but I don’t care. I don’t use spell checker. I just subtitle my works.
The text are not important for me – it doesn’t have any meaning. They are descriptive, informative and without feelings. But they are nice signs, well designed, nice forms and shapes. The written words are simply – forms, and designs. As the spoken words are music.
Auditorium 1, Musée de la civilisation ( 85 rue Dalhousie , Québec )
Mercredi 10 fevrier – 19h30
Drux Flux (2008, 4 min) et
Tower Bawher (2007, 4 min)
de Theodore Ushev.
Roma
Federico Fellini,
(1972, 128 min) 35mm.
Article about the web and the cinema in the german magazine Telepolis. It is in German:
Here are some of the sketches, that I did while just trying to figure out the visual style of the film “Lipsett diaries”. As You can see, the style changed dramaticaly. But in those first research illustrations, I tried just to create, and settle the feeling of the film. At that time I just had a lose idea what the film will be. No script was written yet. I will post some other later.
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