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Which clippings match 'Macabre' keyword pg.1 of 1
03 JULY 2015

The Phone Box: allegory about the consequences of dehumanisation

"In a bland square in Madrid, some workers, who are wearing a strange uniform, are installing a phone box. Some moments later, an anonymous citizen, after taking his son to the school bus, gets trapped in the box for no understandable reason. As the day goes by, all kind of strangers go there to see the strange event: some of them try to free him; others make fun of him… Everyone looks interested in this little man. After a distressing delay full of surrealistic moments, the trapped man is taken to a strange factory full of thousands of phone boxes. In each one, a single corpse is trapped, in some strange ritual. The movie ends with a new phone box in another square of the city."

(Aaron Rodriguez, World Cinema Directory)

Antonio Mercero (1972). "La Cabina/The Phone Box", -phone booth location: Calle de Rodríguez San Pedro, 5, Madrid, Spain [http://filmap.tumblr.com/post/98879196634/la-cabina-antonio-mercero-1972-phone-booth-calle].

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1972absurd situationsallegory • Antonio Mercero • black tale • caught in a trap • claustrophobic spacescyclical narrativedehumanisation • dehumanised society • distressdisturbing taleenclosed space • entrapment • environment as antagonist • eternal cycle • fait accomplifantasy about deathfeelings of panic • futility • get me the hell out of here • helplessness • high concept • Jose Luis Garci • Jose Luis Lopez Vazquez • La cabina (1972) • macabreMadrid • mummified remains • no escape • phone booth • powerlesspsychological horrorsadisticsarcophagusshort filmSpanish filmspeculative fictionsymbolic meaning • telephone booth • telephone box • The Telephone Box (1972) • tombtrapped • twisted game

CONTRIBUTOR

Simon Perkins
24 MAY 2015

Wunderland an exhibition by Frank Kunert at La Chambre

Photography exhibition 'Wunderland' by Frank Kunert, 10 April to 7 June 2015, La Chambre, 4 place d’Austerlitz, 67000 Strasbourg.

"More than simply a photographic satire, the 'miniature worlds' of Frank Kunert are compositions of ideas, models of sets which he spends weeks and months meticulously putting together from plastic, modeling clay and paint until the results are perfect, almost lifelike. These 'miniature worlds' are funny, bizarre, grotesque, contemplative, dreamy, but also provocative and critical. It's up to the viewer to decide if he finds them entertaining or macabre, or how far he's willing or able to follow the stories Kunert tells."

(The Eye of Photography, L’Oeil de la Photographie)

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TAGS

absurdist humourabsurditybanalityblack humour • contemplative • critical art • Frank Kunert • funny scenes • humourlifelikemacabreminiatureminiature worlds • photographic satire • photography exhibition • provocative scenes • small sculpturesstupidity

CONTRIBUTOR

Simon Perkins
18 NOVEMBER 2011

The Commissar Vanishes: retouching Soviet Russian history

"The Commissar Vanishes is an installation of haunting images from the David King Collection, which coincides with the Russian publication of the book of the same name that traces the falsification of photographs and art in Stalin's Russia.

Like their counterparts in Hollywood, photographic retouchers in Soviet Russia spent long hours smoothing out the blemishes of imperfect complexions, helping the camera to falsify reality. But it was during the Great Purges, which raged in the late 1930's, that a new form of falsification emerged. The physical eradication of Stalin's political opponents at the hands of the secret police was swiftly followed by their obliteration from all forms of pictorial existence. Photographs for publication were retouched and restructured with airbrush and scalpel to make once–famous personalities vanish. Entire editions of works by denounced politicians and writers were banished to the closed sections of the state libraries and archives or simply destroyed. Soviet citizens, fearful of the consequences of being caught in possession of material considered 'anti–Soviet' or 'counterrevolutionary', were forced to deface their own copies of books and photographs.

The subject matter of this exhibit focuses on one particularly evocative example: in 1934 the artist/designer/photographer Alexander Rodchenko was commissioned by the state publishing house OGIZ in Moscow to design the album, Ten Years of Uzbekistan, celebrating a decade of Soviet rule in that state. The Russian edition, full of Rodchenko's skillful design techniques, appeared the same year and the Uzbek edition, with some politically induced changes, in 1935. But in 1937, at the height of the terror, Stalin ordered a major overhaul of the Uzbek leadership and heads began to roll. Many Party bosses photographed in Ten Years of Uzbekistan were liquidated. The album suddenly became illegal literature. Using thick black India ink, Rodchenko was compelled to deface his own book. This installation now brings together, in the form of photographic enlargements, the published portraits of the high–ranking officials victimised in Stalin's Uzbek purge, juxtaposed with their eradication by Rodchenko's hand. The macabre results – ethereal, Rothko–like, sometimes brutal and terrifying – came close to creating a new art form, a graphic reflection of the real fate of the victims."

(The Photographers' Gallery)

David King (1997). "The Commissar Vanishes".

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TAGS

1930sairbrushedAlexander Rodchenko • banishment • blemishcensorshipdeface • denounced politician • eradication • erasureethereal • evocative • falsification • falsify realityfamous personalitiesgraphic representation • Great Purges • haunting images • heads roll • historical revisionism • illegal • imperfectionJoseph Stalin • Leon Trotsky • liquidated • macabreobliterate • OGIZ • photo manipulationphoto retouching • photographed • photographic enlargements • photographic retouchers • photographs • pictorial existence • portraitradical communist landscapereality • retouched • retouchingRussiaRussian historyscalpel • secret police • Soviet history • Soviet Russia • Ten Years of Uzbekistan • vanish • visual depiction

CONTRIBUTOR

Simon Perkins
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