|- Yannick Casanova|
The New York Times - 21/09/2008 - Nathan Lee - Now on the view in the contemporary galleries of the Museum of Modern Art are a number of striking works in black and white. A suite of photographs by Lewis Baltz studies the textures of dilapidated tract housing. Gerhard Richter’s oil painting “Cityscape” is an abstracted aerial view done in gestural brushstrokes. A video projection by Yvonne Rainer contemplates a solo dance performance.
Another contemporary art work in black and white, closely related in style and technique to these three, can be seen in a basement space of MoMA: “The Man From London” by Bela Tarr.
Technically “The Man From London” is properly described as the new movie by an internationally acclaimed filmmaker that is receiving its United States theatrical engagement at MoMA. But so conventional a description will ill prepare most viewers for this outrageously stylized, conceptually demanding film.
Based on a novel by Georges Simenon, “The Man From London” is a kind of slow-motion film noir about a railway worker (Miroslav Krobot as Maloin) who stumbles over a suitcase stuffed with money. But this is true only in the sense that a cubist still life is “about” a mandolin. The movie is really about a manner of looking at things, exploring space in unexpected ways, meditating on qualities of light and the surface of objects...>>>
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