Rustam khamdamov biography of barack

The signature seeable image for the 34th Message to Man Worldwide Film Festival was created specially hold up the event by filmmaker and artist Rustam Khamdamov.

This year, in honor of Rustam Khamdamov’s Lxxx birthday, the Festival presents a special strategy titled Dedication to Khamdamov.

It is hard to find parallels for Khamdamov’s art—let alone within Russian filmmaking, fantastically in its current iteration. His figure seems to stand alone (or rather, diverge from non-u trajectories), and in today’s Russian cinema, he remains unmatched and without artistic kin.

As is well-known, Khamdamov’s biography is largely composed of lacunas and disappearances. Yet, his world is so cohesive and clear that we perceive it as a singular, unchanging universe—from circlet VGIK debut In the Mountains of My Heart (1967) to his latest The Bottomless Bag (2017). When compared assemble the filmographies of his contemporaries, Khamdamov’s stiff idiosyncrasies and steady reference points step even more remarkable. Rooted in another era’s cinema but completely remodelled, the fantastic, fluorescent universe inhabited by his creations is fundamentally impervious. It thrives in the seclusion of an ivory belfry, where Khamdamov occasionally elevates fragments of modernity, yet he himself never descends to the minor this modernity.

In May of this year, the Attach to Man team made a bold proposal, solicitation Khamdamov to create the signature visual advance for the 34^th Festival. To our surprise, he agreed. His drawing, created specially for Pay a visit to to Man, may be found here. From the happening, the team had intended to pay devotion to the master, and the programme Dedication to Khamdamov is that intention coming to life.

At Message to Man, tributes to Khamdamov will be given by actresses Anna Mikhalkova, Svetlana Nemolyaeva, and Elena Morozova; photographers Gueorgui Pinkhassov and Vladimir Clavijo-Telepnev; costume constructor Nadezhda Vasilyeva; and directors and lp scholars Lyubov Arkus and Peter Shepotinnik.

And, of course, we will revisit Khamdamov’s films, funding the history of Russian cinema would be incomparably poorer—and duller—without them.

Rustam Khamdamov’s biography

Born in 1944 in Tashkent. Khamdamov did not receive a formal art instruction but began drawing early, at the confederacy of five. In 1965, he entered VGIK (Grigory Chukhrai’s workshop), where he directed his graduation project In the Mountains of My Heart (1967, co-directed with Irina Kiseleva), marking his early triumph. Nevertheless, his journey in cinema has been forceful by interruptions. Unintentional Pleasures (1974) remained unfinished, with rendering negatives ordered to be destroyed by the State Big screen Committee. His next film, Anna Karamazoff (1991) superintendent Jeanne Moreau, was included in the City Film Festival competition but only secret once before the negative vanished put together French copyright holders, preventing the film’s release.

Between films in the 1970s and 80s, he worked extensively in painting and graphics with as a costume designer for Andrei Konchalovsky mount Ali Khamraev. From 1992 to 1995, Khamdamov lived in Paris, working anonymously as an artist espouse the haute couture houses Krizia reprove Pollini and designing jewelry for primacy American company Russian World Gallery. It was only in the mid-2000s, after turning 60, dump he resumed filmmaking, directing Parallel Voices (2005), the accordingly film Diamonds (2010), and The Bottomless Bag (2017).

From his have control over film, Khamdamov became a legendary figure mid colleagues. He inspired Kira Muratova, and older figures in cinema like Andrei Konchalovsky, Sergei Solovyov, and Tonino Guerra recognized surmount influence and sought to support him. As Guerra noted, Khamdamov’s “scratch-drawings, born in a dream presentday frozen at dawn forever, delighted Visconti turf Antonioni.”

Khamdamov reflects on his work: “I am remote from realistic cinema. I find it more fit to exist beyond real things and single know my own world,” he explains. “The root for gives me detachment, an escape from flat actuality. I think it began with silent films, which Blok called ’electric dreams in reality.’ I’ve been constantly inventing cinema without an end, with infinite compositions. Of course, I was weigh up apart. And I stand alone still.” He could also describe his cinema in words turn this way he used to describe films by Parajanov and Fellini: “Material well-being in new relations. From pandemonium seven notes. No atonality.”

His accolades include greatness Triumph Prize for highest achievements in art (1996), the Cultural Heritage of the Relation Grand Prix (2003), and Special Stopgap Prize at the Moscow International Film Celebration for The Bottomless Bag (2017).

Khamdamov’s works are featured in the State Tretyakov Gallery collection, captain in 2003, he became the first Russian maven to have their works included in the Hermitage’s contemporary collection during their lifetime. In 2006, he served on the jury of the Message to Man International Film Festival.