Ruti Gadish

Going through my mini DVs shot over the past decade, I rediscovered a forgotten night sequence of Chantal Akerman and Sonia Wieder-Atherton leaving a brasserie where we had dined together in Montparnasse. The excerpt stayed with me for a while. This prompted me to focus on Chantal’s sound work in her films and her very close collaboration with cellist, Sonia Wieder-Atherton with whom she made more than 20 films. And, since New York, Paris and Moscow were places the three of us had in common, I intertwined some of my images with hers.

A Russian can say, “I hear the smell…” A maestro has a vision of what a symphony should sound like. In a silent film how can one make the spectator see the sound? A vivid and noisy assemblage of archival and contemporary imagery meditating on the past and presence of film audio.

This video was made for an exhibition in Rio on Paulo Werneck, one of Oscar Niemeyer's collaborators. Werneck was the first to introduce mosaics in Brazilian Modernist architecture. P.W. shows the context of the artist's work in Rio and Belo Horizonte in the 50s and 60s as well as Brasilia at the time of its construction in 1960. It's an inventive collage of archival footage, music and Werneck's modernist mosaics.

Fone Fur Follies is the English version of Télépattes.

Fone Fur Follies is the English version of Télépattes.

A felinosophy of life.

A felinosophy of life.

Funny collage of sea, sun and ice. A show from the beach with skiers, tigers, mermaids and much more.

The film is a travelogue of sorts. Ostrovsky’s personal family footage meets the archives of Soviet propaganda footage. The result is a kind of Khruschev-era mix with a collage of Soviet music and a voice-over of my reminiscences of the Cold War era.