DICTIONARY

ARENA: MIND CONFLICT
Kartsen MEYHOFF
Denmark

BLITZKRIEG
Friedrich KITTLER
Germany

PAINE. MEMORY. A MEMORY-BOOK
Zoya YEROSHOK
Russia

WAR AND PEACE IN TERMS AND DEFINTIONS
Dmitry LOSKUTOV
Russia/Brussels

IMAGE WAR
Sotirios BAHTSETZIS
Greece

REDEMPTION OF THE HOSTAGES
Viacheslav IZMAILOV
Russia

WARS, WAVES, RULERS
Wladimir VELMINSKY
Russia/Germany

HARMONY (WAR SONG)
Yuki HIGASHINO
Japan/Frankfurt

CIVIL WAR
Valery PODOROGA
Russia

INTERPRETATIONS
Oleg NIKISHIN
Russia

INFORMATION
Dmitry ROGOZIN
Russia

ZONE INERDITE
Christoph WACHTER
Germany
Mathias JUD
Switzerland/Berlin

CLOWN (AT WAR)
Leo BASSI
Italy/Spain

CIRCLE OF WAR
Arkady BABCHENKO
Russia

CONCEPT - UNKNOWN SOLDIER
Oleg ARONSON
Russia

CORPORATION
Uzochukwu NDUKA
Nigeria

CAT-NOTATION
Joulia STRAUSS
Russia /Berlin

FACES OF TERROR
Anthony BEEVOR
UK

IMAGE OF AN ENEMY
Ljubov VINOGRADOVA
Russia

UN: CONDITIONS FOR PEACE
Vladimir PETROVSKY
Russia

REFUSAL
Roman SCHMIDT
Germany

HEROISM
Boris LEONOV
Russia

ANCESTORS
Nikolay PLUZHNIKOV
Russia

SERGEANT KOSOV: PEACEMAKER
German VINOGRADOV
Russia

RADICAL SIMPLIFICATION
Andrey TKACHENKO
Russia

SNIPER
Jakob BOESKOV
Denmark/NY

STRATEGIC CONFLICT PREVENTION
Anton IVANOV
Russia

LEVEL OF DISPERSION. ASHES
Ilya PLEKHANOV
Russia

FINANCIAL WAR (EX-VASION)
Sigudrur INGOLFSSON
Iceland

PRIVATE WAR
Obrad SAVIC
Serbia/UK

SHALAMOV:WAR/CAMP
Mikhail RYKLIN
Russia

Flag ES

EVENTS

Discussion in the Center for Contemporary culture "Garage"

October 31. In the Center for contemporary culture “Garage” within the frame of 3 Moscow Biennale from 19:00 – 21:00 a discussion “Photographing death” involving the Russian participants of the Dictionary of War took place. It was dedicated to one of the most controversial exponents of the 3 Moscow Biennale – to a photograph by Kevin Carter, exposed by a famous artist Alfredo Jaar, that photograph caught the world’s attention as a symbol of hunger in Africa, receiving a Pulitzer Prize, and aroused a tempest of controversy concerning its ethics. Very different aspects of “war and photography” were mentioned during the discussion – ethical, professional, historical. What is a “good shot” – a call to humanity for help or a good prey for personal ambition? The discussion was held between philosophers Valery Podoroga, Yelena Petrovskaya, war negotiator Vjacheslav Izmailov, editor-in-chief of “Art-of-War” magazine Ilya Plekhanov, a writer Arkady Babchenko. The photograph of Kevin Carter shows a little African girl crouching on the ground trying to crawl and a vulture overlooking it. This is hunger in Sudan. “What happened to the girl after the photograph was taken?” was a general public’s reaction addressed to Kevin Karter. The focus of the discussion was on shots of suffering and death be it through Hunger or War. Ilya Plekhanov talked of the importance of the banning of the images of death from photography and the dangers of replicating which kills the impression from all seemingly shocking images. He was joined by Arkady Babchenko who spoke on profession of photo-journalism. “The best thing for your carrier is when you are sent off to war”. Yelena Petrovskaya touched upon the ethical gesture contained in such photography and the appeal to the audience and photographer himself. Vjacheslav Izmailov spoke of his experience of such a photo – although not a photographic one. It was a memory shot – a story of a Chechen militia man who told major Izmailov of his deceased daughter. And the story made a deep crack within the emotional stupor major found himself in while staying for a long time within the all-leveling conditions of war.
 

Показ фильма Ари Фольмана. Дискуссия

August 2. The screening of Ari Folman’s movie “Waltz with Bashirr” followed by the discussion. After the screening of Ari Folman’s movie it was hard to talk. The impression that movie made was strong and shared both by the audience and by those participants of the round table that were supposed to give their views on it. This famous animation again produced the effect it had on a wider international audiences all over the world. The animation techniques with its two-dimensional space as strange as it may seem produces a much more credible account of the war and human “consciousness within the war” than an ordinary movie. The participants of discussion were Valery Podoroga, therapist Mikhail Strakhov, and an editor-in-chief of Art-of-War magazine Ilya Plekhanov. Valery Podoroga spoke of the army’s industry – the production of a “full-metal-jacket”, a killing machine with no subjectivity, out of a human being. Mikhail Strakhov concentrated on trauma and amnesia – the suppression of the traumatic experience that can not be encompassed within the territory of the normal mind. And on the beginning of memory. Ilya Plekhanov spoke of the exactness of the details in the movie that commune the military experience and the work of human mind within the “condition of war”.