Film screening: The Art of Boris Lurie
26.01.2019 at 11–19
On Saturday, 26 January, we would like to invite you to our audiovisual room, where between 11 am and 7 pm we will be screening Rudij Bergmann’s film The Art of Boris Lurie. The screening accompanies the artist’s solo exhibition, Pop-Art After the Holocaust. Screenings will begin every hour. Film language: English.
'When I first saw the artist in the twilight of a New York City hallway on East 66th street, his yearning for Europe was palpable. And as we entered his studio apartment – that stunning collage of memory – it became clear to me that Lurie never mentally left the concentration camps which he had survived together with his father. [...] Thanks to and on behalf of The Boris Lurie Art Foundation and its director Gertrude Stein [...] I am able, twenty years after the short movie made in Manhattan, to now present my nearly hour-long film The Art of Boris Lurie [...]. A film for which the first recordings were done in 1996 in New York, the latest in February of 2016 at the Jewish Museum Berlin. Different times and situations. Before and after the artist's death. Various cameramen. Different materials and methods of filming. And also, depending on inclination and necessity, footage recorded by myself, with my DRC – the Director's Camera – an 'upgraded' Iphone. All of these contrasting formats are connected by the content of the task at hand. They have been deliberately and completely kept in their original authentic state. The Art of Boris Lurie stands in connection with the 2016 exhibition at the Jewish Museum Berlin, but is characterized strongly by my own views on Lurie's work – and by our encounters, the last of which happened only a few months prior to his death in New York. [...] My film is intended to serve as a dialogue between all parties: the living as well as the dead. In this process of discourse and contradictions I could not, and did not want to, resist the temptation [...] of construing Lurie's work in ways that go beyond common interpretation, for I am convinced that, if nothing else, risky views and opinions – in contrast to arbitrary opinions – are what drives and enhances the public discussion on the art and the artist. What is more, in cinematic terms and in general, we are only beginning to fathom the depths and complexities of Boris Lurie's work, without which we will not be able to fully comprehend the artist's life.'
[fragment of Rudij Bergmann's essay Boris Lurie and I - courtesy of the author]