Revista Umělec 2009/2 >> IMPORT EXPORT Ulrich Seidl Lista de todas las ediciones
Revista Umělec
Año 2009, 2
6,50 EUR
Enviar la edición impresa:
Suscripción de orden


Revista Umělec 2009/2


Magdaléna Bažantová | art market | en cs de

In Ukraine, water does not flow, and colors—if there ever were any—have long faded away. People do not take their hats off when they are inside, they do not greet each other, and they are often ill. Austria cares a great deal about neatness. Perhaps it’s thanks to the abundance of corpses? Dead stuffing, dead relationships, population growing old. People are closer to buffers than to housekeepers, who are left dragging one another back and forth absurdly among each other. You will not keep your head above water if you are not dead serious about embalming.
Some miles further west, there is not much mood for fun either. Your education and personality are useless if there is no one to pay you for it. However, one will pay you for being a woman under thirty with dyed hair and a decent figure. If this does not help either, you can also give up on family relationships, children, home, and your mother tongue and go to the west. Not that anyone would notice your absence. On the contrary, they feel endangered by an unknown force. Basically, it is your willingness to be nobody that they find unconceivable and suspicious. How bright is it over here in Austria? How can we exist in a civilization of sterility?
Shout and let others shout at us within the bodyguard training even if we know that afterwards we are just checking the door and are filling out the forms with the option that nothing even happened? We get tattoos, drink, and talk about women. Then, when it comes to being close to them, we are unable to do anything else but just show them our unfounded power. It’s no wonder that Austrian women wreak vengeance upon people with even lower social status. „I may hire or fire you. That‘s the way the cookie crumbles.“
Emptiness of the wife who does not pardon any hint of virility—physical and energetic—is being filled out by further feelings of power and superiority. Suppressed envy results in economic sanctions or open violence. The nurse makes seniors childish and tortures them bit by bit—similarly to social systems, which undermine adulthood and offer toys and supervision in reward for obedience.
Seidl, however, is on the side of the tragedy-generating Ukrainian society, rather than on the side of the Austrian one. All this, in his interpretation, grows into useless awkwardness. Everything drowns in the awkwardness—partner relationships of long standing, employment, social systems, personal dreams of muscles and prosperity, desperate efforts to experience fun.
At a terrifying ball in a hospice, a song resounds and the lyrics go: “Happy is the man who forgets about things that cannot be changed...” On the other hand, the Ukrainian line goes: “My heart...” I like the trend of using exclusively diegetic music. Morbid mutterings of old people turns out to become a musical hospital for the spirit. I appreciate the strict chronological pacing of the movie. The cameraman does not use over-impressive shots; we only sometimes realize the tastefulness of the scene, like when the cleaners are standing upright in a half circle, father and son are sitting in the middle of a standardized living room, and so on.
Casting of non-actors works properly in this movie. The authentically dull expressions of girls in a Ukrainian hotel, the convincing senility of the elderly patients, the Romanian children fighting for chewing gums. The episode with Slovak Romanians does not fit too much in the content. For the observer, it is a merely interesting place and one might say that the principle that everything can be bought for money is illustrated at its fullest.
Pauli had of course known this before.
This environment, however, is intractable even for the rough ones with guarding training—not even money will make you master of the situation. On the contrary, if there is anything that can be taken, it will be taken away from you. Again, he goes through powerlessness, the same feeling he was exposed to at the supermarket parking lot where even his muscles were not enough to prevent him from the superior numbers of the youngsters. The only solution is to run away. For one who is a loser most of the time, there is no other option but defeat. One of the symptoms of being a loser is the inability to evaluate the situation. On the other hand, the child who runs away from his lecherous step-father seems to be victorious in a way.
But who is the winner? If it is “the man who forgets about things that cannot be changed” the winner is the head nurse and Pauli’s parents. But no one imagines a winner like that, and that would be the reason why so many critics could not get along with this movie. With whom could they identify themselves? In connection with this movie, some authors used words like cruelty, pornography, and abuse. I think the point was that there were no characters that seem morally indisputable. A character that knows, a character that is not just the creature of circumstance... It is just the “me”, which is missing. Yet Seidl is latently sympathetic with his heroes, so why not accept that we are a bit of Olga, a bit of Pauli, a bit of the jealous nurse, the unhinged step-father, a bit of a mother limited to buying blouses from delivery catalogues...and that one day we will be, in the best case, wearing diapers and muttering in bed. Shouting that Seidl is a voyeur and that it is impolite to illustrate contemporary society in this way is ridiculous. I would invite the agitated to stand outside in the street after the opening party of one of the festivals—perhaps they will observe a charming assemblage of citizens shining with humanism.
After watching the movie, I was relieved to find that Olga and Pauli did not meet.
I would also like to write something provocative about the movie. It is easier to read about these things, however; then you do not look like a blind admirer who, after coming home from the cinema, read columns in cultural sections and spurts out another paean to the author.
In the case of the movie IMPORT/EXPORT, however, I will leave it at that.


Actualmente no hay comentarios

Agregar nuevo comentario

Artículos recomendados

There’s 130 kilos of fat, muscles, brain & raw power on the Serbian contemporary art scene, all molded together into a 175-cm tall, 44-year-old body. It’s owner is known by a countless number of different names, including Bamboo, Mexican, Groom, Big Pain in the Ass, but most of all he’s known as MICROBE!… Hero of the losers, fighter for the rights of the dispossessed, folk artist, entertainer…
My Career in Poetry or: How I Learned to Stop Worrying and Love the Institution My Career in Poetry or: How I Learned to Stop Worrying and Love the Institution
An American poet was invited to the White House in order to read his controversial plagiarized poetry. All tricked out and ready to do it his way, he comes to the “scandalous” realization that nothing bothers anyone anymore, and instead of banging your head against the wall it is better to build you own walls or at least little fences.
No Future For Censorship No Future For Censorship
Author dreaming of a future without censorship we have never got rid of. It seems, that people don‘t care while it grows stronger again.
Magda Tóthová Magda Tóthová
Borrowing heavily from fairy tales, fables and science fiction, the art of Magda Tóthová revolves around modern utopias and social models and their failures. Her works address personal and social issues, both the private and the political. The stylistic device of personification is central to the social criticism emblematic of her work and to the negotiation of concepts used to construct norms.…
04.02.2020 10:17
¿A dónde ir ahora?
S.d.Ch, Solitarios y Cultura Periférica   (una generación nacida alrededor de 1970)
S.d.Ch, Solitarios y Cultura Periférica (una generación nacida alrededor de 1970)
Josef Jindrák
¿Quién es S.d.Ch? Una persona de muchos intereses –activa en varios campos- la literatura, el teatro, conocida por sus cómics y sus collages en los campos del arte. Un poeta y dramaturgo principalmente. Un solitario por naturaleza y determinación, su trabajo no se encajona en las corrientes actuales. Siempre antepone la enunciación personal, incluso cuando su estructura interna puede volverse…
Leer más...
Revista THC: Revisitando el Condenado Pasado
Revista THC: Revisitando el Condenado Pasado
Ivan Mečl
¡Somos el quinto partido político global! Pítr Dragota ys Viki Shock, Fragmenty geniality / Fragmentos de carisma, mayo y junio de 1997. Cuando Viki llegó de visita, fue solamente para mostrarme algunos dibujos y collages. Sólo como un pensamiento tardío me mostró la publicación checa de finales de los noventa, THC Review. Cuando vio cuánto me fascinaba, le entró el pánico e insistió que…
Leer más...
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
Leer más...
Dolores de parto
¿A quién le asusta la maternidad?
¿A quién le asusta la maternidad?
Zuzana Štefková
La pluralización de las definiciones de “madre“ es, a un tiempo, un lugar de represión recrudecida y de liberación potencial. (1) Carol Stabile Corría el año 2003 y una mujer en avanzado estado de embarazo estaba de pie al borde del camino en el matorral del bosque Lapák de Kladno. En el marco de la exposición Artistas en el bosque, los transeúntes podían vislumbrar el destello de su vientre…
Leer más...
Libros, video, ediciones y obras de arte que podrían interesarle Ir a la tienda virtual
1994, 28.5 x 42 cm
Más información...
1 118,40 EUR
1 325 USD
Beach Scene, 1986, acrylic painting on canvas, 76 x 182 cm, five panels
Más información...
3 200 EUR
3 790 USD
From series of rare photographs never released before year 2012. Signed and numbered Edition. Photography on 1cm high white...
Más información...
220 EUR
261 USD
Más información...
3,02 EUR


Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...

Cita del día El editor no se responsabiliza por los estados físicos o mentales que puedan generarse después de leer la cita

Enlightenment is always late.
Contacto e información del visitante Contactos de la redacción

Kyjov 36-37, 407 47 Krásná Lípa
Čzech Republic


GALLERY, +420 222 264 830, +420 606 606 425
open from Wednesday to Sunday between 10am to 6pm
and on appointment.


CAFÉ & BOOKSHOP, +420 222 264 830, +420 606 606 425
open from Wednesday to Sunday between 10am to 10pm
and on appointment.


STUDO & PRINTING, +420 222 264 830, +420 602 269 888
open from Monday to Friday between 10am to 6pm


Ivan Mečl,, +420 602 269 888


Palo Fabuš,

Arch 8, Resolution Way, Deptford
London SE8 4NT, United Kingdom, +44 (0) 7526 902 082







Divus We Are Rising National Gallery For You! Go to Kyjov by Krásná Lípa no.37.