He [Andrei Tarkovsky] had a rare, enormous gift on concentration. That he had done so much, and, most importantly, how he done it, was due to the ability of his to concentrate, which is very rare. In art, in general, concentration is a very serious thing. A true concentration. When your comprehension is very deep. A very few people can do it, only great artists.
— Eduard Artemyev
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She is an idol, a servant, the source of life, a power of darkness; she is the elemental silence of truth, she is artifice, gossip, and falsehood; she is healing presence and sorceress; she is man's prey, his downfall, she is everything that he is not and that he longs for, his negation and his raison d'être.
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Sátántangó, directed by Béla Tarr in 1994
Tilda Swinton | Udo Kier
Egomania, directed by Christoph Schlingensief in 1986
I am the painter of space. I am not an abstract painter but, on the contrary, a figurative artist, and a realist. Let us be honest, to paint space, I must be in position. I must be in space.
I believe in empty spaces, they're the most wonderful thing.
Every sensitive person carries in himself old cities enclosed by ancient walls.
— Robert Walser
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Le Corbusier does not belong so much to the history of architecture as to that of totalitarianism, to the spiritual, intellectual, and moral deformity of the interbellum years in Europe. Clearly, he was not alone; he was both a creator and a symptom of the Zeitgeist. […] It is a sign of the abiding strength of the totalitarian temptation, as the French philosopher Jean-François Revel called it, that Le Corbusier is still revered in architectural schools and elsewhere, rather than universally reviled.
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From which stars have we fallen to meet each other here?
Suddenly she realized that what she was regretting was not the lost past but the lost future, not what had not been but what would never be.
We do not escape into philosophy, psychology, and art — we go there to restore our shattered selves into whole ones.
— Anaïs Nin
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It's your fiction that interests me. Your studies of the interplay of human motives and emotion.
Florian Slotawa | Atelier (Raum V, 1) | 2009
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My words mean nothing to you. People like you can't be reached.
— Persona, dir. by Ingmar Bergman in 1966
I am too intelligent, too demanding, and too resourceful for anyone to be able to take charge of me entirely. No one knows me or loves me completely. I have only myself.
Every place is within walking distance; people are the ones out of reach.
— Rakishi
That is why it is so important to let certain things go. To release them. To cut loose. People need to understand that no one is playing with marked cards; sometimes we win and sometimes we lose. Don't expect to get anything back, don't expect recognition for your efforts, don't expect your genius to be discovered or your love to be understood. Complete the circle. Not out of pride, inability or arrogance, but simply because whatever it is no longer fits in your life. Close the door, change the record, clean the house, get rid of the dust. Stop being who you were and become who you are.
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And now we welcome the new year, full of things that have never been.
— Rainer Maria Rilke
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It is amazing how complete is the delusion that beauty is goodness.
Vilhelm Wohlert | Pavilion Niels Bohr | 1957
Ab 1956 war für mich klar, dass Plastik nicht als isoliertes Objekt innerhalb des Raumes existieren sollte. [...] Meine prinzipielle Absicht ist es, begrenzten Raum nicht durch eine Form zu verstellen, und zu beengen, sondern die Grenzen der räumlichen Gegebenheit durch eine Plastik zu erweitern.
— Erich Reusch
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