"The Fallen of World War II is an interactive documentary that examines the human cost of the second World War and the decline in battle deaths in the years since the war. The 15-minute data visualization uses cinematic storytelling techniques to provide viewers with a fresh and dramatic perspective of a pivotal moment in history."
"Starting from the provocative premise that political and commercial regimes regard us as 'subjects of pleasure', controlling us by offering us enjoyment, director Sophie Fiennes and charismatic philosopher Slavoj Žižek repeat the formula of their 2006 collaboration, The Pervert's Guide to Cinema.
The quirky, genial Žižek employs cleverly chosen clips from a huge variety of movies – including Brazil, M*A*S*H, The Sound of Music, and Brief Encounter – to illustrate his fascinating monologue, frequently appearing on sets and in costumes which replicate scenes from the films in question. For example, dressed as a chubbier, bearded Travis Bickle, he expounds the darker subtexts of Taxi Driver's plot from within the anti–hero's grotty apartment. This entertaining approach helps to ensure that what might otherwise have been a dense, even daunting intellectual challenge is actually an engaging and unexpected delight."
(The Institute of Contemporary Arts)
"This short book, intended for children of all ages, is perhaps the best–known work of El Lissitzky (1890–1941). Lissitzky was a Russian artist, architect, designer, typographer, and photographer who was active in the avante garde movement that flourished in Soviet Russia and in Germany, until the dominance of Soviet Realism by 1930 put a stop to its revolutionary activity. He directly influenced the typographical and display advertising innovations of the Bauhaus and 'de Stijl'. This book entirely integrates modern typographical effects, as Lissitzky intended, with his illustrations in the Suprematist style.
The original book About Two Squares was printed by letterpress, even the slanted text and illustrations. It was first produced ('constructed') in 1920 at the Soviet art institute UNOVIS in Vitebsk, and around April 1922 printed by Sycthian Press, Berlin, by Haberland Printers, Leipzig, in paperback, with 50 hardbound copies autographed and numbered, as the copyright page states."
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"In the early twentieth century, Suprematism represented a leap into a totally non–representational, non–painterly, tarantella–like dynamic. Basic geometric shapes, isolated or in groups, were being energized, propelled into an optimistic ideal soaring from lower left to upper right, the vector alone suggesting time. The limits of perception and understanding are being questioned. An aura of simultaneous ecstatic concentration and idolatry of the will pervades these works.
Experienced 'in flesh,' these formidable abstractions look 'humanized': slight wavings in texture and color, the crackled paint of the Black Square on white, the subtlest of whites upon off–whites, transport the viewer into a higher, supremely charged, inspirational state of mind."
(Ileana Marcoulesco, Art Lies)
Fig.1 Kazimir Malevich (1915) "Black Circle", "Black Cross" and "Black Square"