Julia Loktev

A group of Russian independent journalists flee the country and navigate life in exile after the invasion of Ukraine, focusing on their dispersed lives and ongoing struggle for truth across different nations. While Part I documented their lives in Moscow facing mounting pressure from the Putin regime, Part II chronicles their forced displacement and new realities in various countries, continuing their mission against authoritarianism.

American filmmaker Julia Loktev, born in the Soviet Union, returned to Moscow in 2021 to make a documentary on the persistence of independent media journalism in Putin’s Russia—just months, as it turned out, before the country’s invasion of Ukraine. Structured in five chapters, Loktev’s film is an extraordinary vérité document of a moment of immense change and anxiety.

Backpacking in the Caucasus Mountains, walking for hours, an engaged couple and their tour guide trade anecdotes and play games to pass the time, until a momentary misstep, that takes only two or three seconds, changes everything.

A 19-year-old girl prepares to become a suicide bomber in Times Square. She speaks with a nondescript American accent, and it’s impossible to pinpoint her ethnicity. We never learn why she made her decision—she has made it already.

Passing (2000) is a large-scale, 5-channel video installation that combines elements of documentary and performance. The work stages the possibility of experiencing other people’s identities in a crowded subway environment.

On April Fool's Day, 1989, a man crossing the road between two garage sales was hit by a car and thrown into a state between life and death. Nine years later, his daughter uses her camera to try and understand both the absent moment and its lasting impact on her family, Russian immigrants marooned in Colorado.

A group of Russian independent journalists flee the country and navigate life in exile after the invasion of Ukraine, focusing on their dispersed lives and ongoing struggle for truth across different nations. While Part I documented their lives in Moscow facing mounting pressure from the Putin regime, Part II chronicles their forced displacement and new realities in various countries, continuing their mission against authoritarianism.

A group of Russian independent journalists flee the country and navigate life in exile after the invasion of Ukraine, focusing on their dispersed lives and ongoing struggle for truth across different nations. While Part I documented their lives in Moscow facing mounting pressure from the Putin regime, Part II chronicles their forced displacement and new realities in various countries, continuing their mission against authoritarianism.

A group of Russian independent journalists flee the country and navigate life in exile after the invasion of Ukraine, focusing on their dispersed lives and ongoing struggle for truth across different nations. While Part I documented their lives in Moscow facing mounting pressure from the Putin regime, Part II chronicles their forced displacement and new realities in various countries, continuing their mission against authoritarianism.

American filmmaker Julia Loktev, born in the Soviet Union, returned to Moscow in 2021 to make a documentary on the persistence of independent media journalism in Putin’s Russia—just months, as it turned out, before the country’s invasion of Ukraine. Structured in five chapters, Loktev’s film is an extraordinary vérité document of a moment of immense change and anxiety.

American filmmaker Julia Loktev, born in the Soviet Union, returned to Moscow in 2021 to make a documentary on the persistence of independent media journalism in Putin’s Russia—just months, as it turned out, before the country’s invasion of Ukraine. Structured in five chapters, Loktev’s film is an extraordinary vérité document of a moment of immense change and anxiety.

American filmmaker Julia Loktev, born in the Soviet Union, returned to Moscow in 2021 to make a documentary on the persistence of independent media journalism in Putin’s Russia—just months, as it turned out, before the country’s invasion of Ukraine. Structured in five chapters, Loktev’s film is an extraordinary vérité document of a moment of immense change and anxiety.

Backpacking in the Caucasus Mountains, walking for hours, an engaged couple and their tour guide trade anecdotes and play games to pass the time, until a momentary misstep, that takes only two or three seconds, changes everything.

Backpacking in the Caucasus Mountains, walking for hours, an engaged couple and their tour guide trade anecdotes and play games to pass the time, until a momentary misstep, that takes only two or three seconds, changes everything.

A 19-year-old girl prepares to become a suicide bomber in Times Square. She speaks with a nondescript American accent, and it’s impossible to pinpoint her ethnicity. We never learn why she made her decision—she has made it already.

A 19-year-old girl prepares to become a suicide bomber in Times Square. She speaks with a nondescript American accent, and it’s impossible to pinpoint her ethnicity. We never learn why she made her decision—she has made it already.

A 19-year-old girl prepares to become a suicide bomber in Times Square. She speaks with a nondescript American accent, and it’s impossible to pinpoint her ethnicity. We never learn why she made her decision—she has made it already.

Passing (2000) is a large-scale, 5-channel video installation that combines elements of documentary and performance. The work stages the possibility of experiencing other people’s identities in a crowded subway environment.

On April Fool's Day, 1989, a man crossing the road between two garage sales was hit by a car and thrown into a state between life and death. Nine years later, his daughter uses her camera to try and understand both the absent moment and its lasting impact on her family, Russian immigrants marooned in Colorado.

The influential, provocative, and often radical art-making practices of Vito Acconci have earned him international recognition. Acconci has been a vital presence in contemporary art since the late 1960s; his confrontational and ultimately political works have evolved from writing to conceptual art, bodyworks, performance, film, video, multimedia installation and architectural sculpture. This catalogue presents a complete selection of a wide range of Acconci's works (accompanied by a text on each project), an interview with the artist, an extensive bibliography, and includes a DVD with three 20-minute videos in which Acconci narrates.