Mirror & Pomegranate

Home , Sergei Parajanov Museum, The Great Friendship, Tonino Guerra

Pomegranate & Mirror Mirror

Works from the private archives of Andrey Tarkovsky and Sergei Parajanov

three Flying Parajanov. (ca.1960s) Introduction Photo by Yuri Mechitov Meeting A New Cast Member. Beauty Henrietta Foster Photo by Layla Alexander-Garratt

Andrey Tarkovsky is considered by many to be one of the greatest filmmakers the world has ever seen. Although he made just eight feature films before his life was cut tragically short by cancer, at the age of 54, each is an artistic masterpiece and a major landmark in world cinema. This exhibi- tion will present a portfolio of Polaroids produced in association with the Florence- based Tarkovsky Foundation archive, which is maintained by the filmmaker’s son Andrey Tarkovsky. Taken in Russia and in Italy between 1979-1984, ranging from romantic landscapes and studied portraits to private shots of the auteur’s family and friends – including late distinguished script- writer Tonino Guerra – all the photographs demonstrate the singular compositional and visual-poetic ability of this master image-maker. Many of the Polaroids that were created in Russia complement and extend the personal imagery of the film Mirror (1974). Equally rewarding cross-fertilization is apparent in the images that were taken in Italy while he was travelling with Tonino Guerra and preparing Nostalgia (1983). Indeed, from when Michelangelo Antonioni first gave Tarkovsky the Polaroid camera as a gift, in the 1970s, it rarely left his side. This show pairs Tarkovsky’s Polaroids and projected scenes from his movies with photo collages and other works by Sergei Parajanov, on loan from the Parajanov Museum in Yerevan, Armenia, founded in 1988 when Parajanov moved there from Tbilisi, Georgia. Sergei Parajanov is one of the most daring and visionary directors to emerge from the former Soviet Union. Legends such as Fellini, Antonioni and Tarkovsky crowned Parajanov with titles like “genius”, “magician” and “a master”. His unique, explosive cinematic language has no analogies in the world. In spite of his international acclaim, four five Parajanov with Tarkovsky. 1982 Photo by Yuri Mechitov Tarkovsky on Parajanov Zaven Sargsyan

Two geniuses of Soviet film were bound with tender friendship. It’s really remarkable how highly they both were valued by their colleagues and film specialists in the West and what bouts of animosity and hostility they had to experience at home from cinema bureaucracy and their loyal and servile colleagues. I want to quote what Parajanov said about Tarkovsky when talking to young artists and scientists in Belorussia in December 1971. This talk cost him dearly and was in fact the reason of his first arrest and imprisonment. “I was shocked by the art of Andrzhei Wajda and could never think that I could become his mentor. In the same way I found a mentor in a very young and hugely talented director Andrey Tarkovsky. He himself is probably not quite aware what a work of genius his Ivan’s Childhood was and what incredible heritage he revealed to be plundered and his thinking to be copied and imitated on the way towards associative cinema”. Parajanov was a constant target for the Soviet system. No other director suffered such a This is a good evidence how tenderly the two geniuses treated each other, sharing fate as Parajanov; he was arrested twice on fabricated charges and as a result he spent their love and admiration without any embarrassment. five years in hard labour camps. After his release he wasn’t allowed to work for fifteen V. Katanyan in his book on Parajanov gave a very accurate assessment of Parajanov years. Deprived of the opportunity to make films, he dedicated his life to making collages, made by Tarkovsky: “He’s not doing collages, dolls, hats, drawings or anything else that can drawings and other art forms. Parajanov won countless awards, including the British be termed as design. No, it’s something else. It’s so much more full of talent and divinity. Academy Award for his film Shadows of Forgotten Ancestors. It’s real art. What is its beauty? In immediacy and directness. When an idea is born he’s Andrey Tarkovsky wrote about Sergei Parajanov: not planning, constructing or contemplating a way to make it better. For him there’s no gap “He makes collages, dolls, hats, drawings, or something that you may call ‘design.’ between the concept and its realisation, so he doesn’t lose anything. Emotion that was there There is much more to it, though: it is infinitely more talented and noble; it is real art. What at the outset reaches the final product in its pristine purity, immediacy, naiveté, without any is the secret of its beauty? The spontaneity. When an idea strikes him, he does not engage in single drop of it being spilled. That’s how it was in his film The Colour of Pomegranates. I’m planning, arranging, or estimating how to do it in the best possible way. There is no differ- not even talking about his independence and non-engagement. For us all he’s completely ence between an idea and its implementation; there is no time to lose anything between unreachable. We’re not capable of what he does. We’re just employees”. the cracks. The emotion that triggered creation turns into something finite without a single In one of the letters from prison to his wife Svetlana Parajanov writes that time would drop spilled. It gets through in its original pureness, spontaneity, and naiveté.” put everything in perspective. It looks like this time has finally come. The great friendship of Tarkovsky and Parajanov began in early 1970s, when they Translated by Alexander Kan met in Kiev (Ukraine) not long before Parajanov was imprisoned. They regarded each other as geniuses. When Parajanov was arrested, Tarkovsky along with many of his great contemporaries such as Lilya Brik, Federico Fellini, Vasily Katanyan, Vasily Shikshin, Yuri Lubimov, Kira Muratova and many others wrote letters to him and to the Soviet authorities. Tarkovsky wrote often to Parajanov; he also send him his own collages in exchange to the ones Parajanov made for him in prison. six seven Tarkovsky’s Letters to Parajanov Translated by Alexander Kan

18.10.1974 1153

Dear Seriozha, You’re right. Vasya’s1 death is just a link in that common chain that keeps us together. We all here love you very much, miss you and are waiting for you to come back. How’s your health? Are you able to get the books that you want? Please let me know (when you have a chance) whether there is anything I can do for you. Things in Moscow are same as ever. It’s taken them more than half a year to approve of my “Mirror” but at last it now looks that the film might be signed off one of these days. I’m really tired of all this senseless bureaucratic hassle. I will go the countryside on the Oka for the entire winter. You’re probably aware of what kind of shock your story caused in Moscow. How strange: to love and value each other, we usually wait for an extraordinary cataclysm, as a permission to do so. Right they say: “there is no prophet in his own land”! The only thing that gives me hope is your courage that is bound to save you. You’re a man of an incredible talent (that’s to put it mildly). And people of talent are usually strong. Let the best in your soul strengthen and help you now. Larisa says hello and Galia Shabanova sends her greetings.

Hugs, Your friend Andrey Tarkovsky.

1. Vasily Shukshin (1929-1974) – writer, director, actor eight nine Moscow 22.1.1976 1155 26.3.75 1154 Moscow

Dear Seriozha, Dear Seriozha, I haven’t written to you for a while, bearing in mind the possible change of your postal I’m really sorry – I haven’t written to you in a long while and I know it’s unforgivable. For address. (Mine, by the way, has also changed. See the envelope) more than six months I lived in the country with Larisa and Andriushka. I was getting I recently saw G.Kalatozov2 who had received your letter and found out that things ready for the “Hamlet” production that I will be staging at the Lenkom Theatre (Mark are the same with him. Zakharov) and was also writing a script on Hoffmann for Tallinn. (These days nobody I’m again without work. I submitted an application for “The Idiot” after Dostoevsky. really knows how to stage Hoffmann or what he really means). Nobody could stage him It’s been a few months now but there’s no movement whatsoever. All they say is “no”, better than Sergei Parajanov. and “don’t know”. “Mirror” was printed in a meagre number of copies and it’ll probably In the countryside I was mostly busy with the construction of a new barn. I managed be screened only very marginally. I hope I’ll manage to stage “Hamlet” in one of the to build a wonderful barn, 40 sq. metres, with an overhang and the slated roof. Unfortu- theatres. I feel it like a pressing urge. nately no pictures so far to send you. About a month ago I was in Tbilisi for a screening of “Mirror” and saw a lot of our We had a wonderful time there and I started feeling that I could probably live without friends. Of course we talked a lot about you. I also went with my wife to Leningrad and the God forsaken and long-abandoned art of cinema. Living like this all my life, on the saw Sasha Antipenko3 there. What a great guy! We became great friends and hardly bank of the river, and writing an endlessly long book which my son would continue parted all the time we were there. writing after my death, and then his son, and so on and on and on…). And living with My life, however, is moving at a very slow pace. Can’t wait to get back to work. our own work. We have a vegetable patch 1,500 sq. metres and a small garden. But this is just an aside. Here I can’t bear it anymore: futile persuading everybody how important the art How are you? Is there any news? How’s your health? of cinema is. I really feel I’m getting closer and closer to the realisation of this idea. Hold on and be strong. We all need you very-very much. What keeps me from it is vanity and regret about my forgotten talent: both feelings paltry I hope you’ll have enough strength even when you seem to be completely out of it. and insignificant. I saw a documentary on TV recently - on medicine and human psyche. A man there The Strugatsky brothers (with my participation) are writing a script for me. I’m was doing really hard work: again and again. He was lifting a heavy weight over and over planning to finish its production by the spring of 77. But it’s just me planning. There’s again until he was completely exhausted. Then he was hypnotised into believing that the been a lot of what I’ve been planning, but not much came out of it. weight became twice as light as it had been. He resumed lifting the same heavy weight I came back from the country in mid-December and was not pleased to see either again and again until again he felt completely exhausted. Then he was hypnotised again Moscow or the Muscovites. and believed that the weight was really light (while in fact it stayed the same). And he In any case, there’s too much work for me (unlike the money). I can hardly resist the lifted it again and again… burden of its pressure and just swim along the current. I have to release my theatre produc- This is about the underused resources of our psyche. tion in May and in the autumn I’m supposed to start shooting. But… man proposes… I wish you strength, health and believe that all will end well. I’m seeing a lot of Sasha Antipenko these days – he’s staying at the Mosfilm hotel, in the same building where I live. I also saw Galia Shabanova a few times – we always talk Hugs, about you when we see each other. Yours How are you? How’s your health? What do you need out of things that you are allowed Andrey T. to receive by mail? Please write or send me a message through a letter to somebody else P.S. As soon as something new in my life happens I will write straight away. if you’ve already exhausted your letter limit. My warmest hugs. I wish you patience, courage and help. Larisa screams to say she’s joining in all the greetings and wishes.

2. Georgy Kalatozov – cameraman, director Yours 3. Alexander Antipenko (b. 1938) – cameraman who worked with Parajanov on his film Kiev Frescoes Andrey Tarkovsky. which was banned and remained unfinished. ten eleven Parajanov with Tarkovsky. 1981 18. 2. 76 1156 Photo by Yuri Mechitov Moscow Dear Seriozha, I received your letter. Thank you very much – from myself as well as from Larisa. Yesterday at the “Hamlet” rehearsal we talked a lot about you with Archil Gomi- ashvil4 – he’s playing Claudius. I work a lot these days, and get really exhausted. It’s work for the sake of work, because the pay is really miserable. Also I’m not feeling well. My eyesight is getting worse – I need to order spectacles. There are hardly any results of my work, they’re invisible. And enjoying work – even the most creative one – is not really something I can do (unlike you). I can’t really cherish it, or be happy about the achieved success. By the way, here’s a quote from Horace that I remembered and found: “ The tall pine’s more often shaken by the wind, and it’s a high tower that falls with a louder crash, while the mountainous summits are places where lightning strikes.” As to your application to be transferred – I don’t even know what to say, it’s obviously beyond me. In any case, it’s a serious issue, and before making any decisions you should take into account all possible consequences, rather than rejecting it just out of principle or of fear of changes. I was really amused by your story about Angélique5. It just proves again the existence of one and only form for art. I wouldn’t want to call it “primitive”, but it’s essential, just as our daily bread. And therefore it’s timeless. Just as bread is. As soon as there’s no bread, there’s no man. As soon as there’s no art, there’s no man. The difference is that man knows that he can starve to death without bread. But he doesn’t know that he can starve to death without art. Only a few know. (I’m sending you a few shots from “Rublev”. It’s from a (test) widescreen copy that never got realised. It’s the scene of Andrey parting with Daniil). As to [Lilya] Brik’s letter - Larisa will keep it for you. As for me I don’t need it. I have a firm opinion about you, and let me assure you, it’s deeper. For two reasons: 1) we are of the same generation (nearly) 2) we are birds of a feather, both artists. There’s a third reason: I always say the truth. You are more talented than they think you are. But I may be wrong. But in any case you’re an infinitely kind man. Unlike me. Or rather I’m not indifferent to the reasons and motivations of what people do while you don’t really care, you just can’t be bothered. Warmest hugs, wish you health and courage. Andrey T. Larisa sends her love.

4. Archil Gomiashvili, actor, was supposed to be in the Kiev Frescoes film 5. Angelique and the King, a 1966 French historical romantic adventure film, hugely popular in the USSR in the 1960-70s (translator’s note) twelve thirteen Collages 1973 – 1989

Sergei Parajanov

fifteen sixteen seventeen eighteen nineteen twenty twenty one twenty two twenty three twenty four twenty five twenty six twenty seven twenty eight twenty nine thirty thirty one thirty two thirty three thirty four thirty five thirty six thirty seven thirty eight thirty nine Archives

Sergei Parajanov

forty one forty two forty three forty four forty five forty six forty seven forty eight forty nine fifty fifty one Polaroids 1973 – 1984

Andrey Tarkovsky

fifty three Photography

A fine wind blows into the heart, And you fly headlong on, While love within the roll of film Holds the soul fast by its sleeve.

Bird-like she steals grain by grain From oblivion – and now? She does not let you fall to dust, Even dead you’re still alive –

Not wholly but a hundredth part, In muted tone or sunk in sleep, As if you wandered through some field In a land beyond our ken.

All that’s dear and seen and living Makes the same flight as before, Once the angel of the lens Has your world beneath his wing.

Arseniy Tarkovsky, 1957

fifty five Polaroids Andrey A. Tarkovsky

I remember so well, in 1980, my Father coming back from Italy, carefully unpacking his Polaroid camera from its coloured wrapping paper, and taking his first shots. He was collecting material for Nostalgia, and took masses of photographs: the family, the Vorobiov Hills, the countryside around Riazan where our house was, of which he was very fond. Thick mist hanging over the river, twilight, the moon above the roof of our house: these moments of our life, imprinted on film, were the basis of the visions and dreams of Andrey Gorchakov, the hero of the film. Even the photographs he took in Italy remind me of Russia, he seemed to make a point of finding landscapes reminiscent of Russia, of his own native places – which he was never to see again. Nostalgia is surely one of my Father’s most autobiographical films, though at the time nobody realised how prophetic it was to be for him. The day before he left to start shooting in Italy, in March 1982, he opened the Polaroid for the last time and took a few pictures. None of us was aware that he would never return, but for some reason we all felt unbearably sad. Somebody took one of the two of us together: we are sitting on the sofa in his study, he has his arm round my shoulders, he has an awkward smile and looks unhappy, on the wall behind us, among the pictures and icons, is an old mirror in a carved frame that no longer reflects anything at all. However personal these photographs are, I am sure that everyone who sees them will appreciate them and be able to relate to them. Whether he was working with Polaroid or cinema film my Father created artistic images, the power of which lies in their direct impact, in the way creator and viewer become spiritually as one. As he himself said, ‘An image is not some idea as expressed by the director, but an entire world reflected in a drop of water. In a single drop of water!’ Florence, 15th October 2007.

fifty seven fifty eight fifty nine sixty sixty one sixty two sixty three sixty four sixty five sixty six sixty seven sixty eight sixty nine seventy seventy one seventy two seventy three seventy four seventy five seventy six seventy seven seventy eight seventy nine Biography Filmography Sergei Parajanov Sergei Parajanov

Sergei Parajanov, film-maker and artist, used to say: “I have three motherlands – I was 1954 Andriesh. 60min. born in Georgia, worked in Ukraine and will die in Armenia”. 1960 Hands of Gold. 35min. Sergei Parajanov (Sargis Parajanyants) was born in 1924 in Tbilisi, into an Armenian 1957 Dumka. 25min. family. Upon graduating from VGIK (State Institute of Cinematography), Moscow, he 1958 The First Lad. 85min. was directed to Kiev’s Dovzjenko film studio. Here in 1963 he created the filmShadows of 1959 Natalia Uzhvij. 35min. Our Forgotten Ancestors, which brought him both worldwide popularity and persecution. 1961 Ukrainian Rhapsody. 90min. His next film, the antiwar Kiev’s Frescoes, was banned. In 1966 he was invited 1962 Flower on a Stone. 80min. to Armenia, where he shot his best known film The Colour of Pomegranate (Sayat-Nova), 1964 Shadows of Forgotten Ancestors. 97min. which underwent heavy Soviet censorship before release. Nevertheless, this film won 1966 Kiev’s Frescoes. 20min. international recognition, as well as further provoking the authorities. 1967 Hakob Hovnatanyan. 10min. The film-director was imprisoned for five years in the Ukraine and seven and a half 1968 The Colour of Pomegranates (Sayat-Nova). 75min. months in Georgia, depriving him of the possibility of working in cinematography for 1984 Legend of Suram Fortress. 88 min. over 15 years. He was eventually permitted to make films in 1983, in Georgia, where 1986 Arabesques on the Pirosmani Theme. 25min. he made The Legend of Suram Fortress. In spite of Parajanov’s hard life and unmerited 1989 Ashik-Kerib. 75 min. sufferings, there is no malice evident in his art. He followed the principle of answering evil with kindness, as he put it, “to revenge by love”. When the Armenian-Azerbaijani conflict started in 1988, Parajanov was making his film Ashib-Kerib which had Muslim themes. The film was shot in Azerbaijan, Parajanov deciding not to interrupt the work despite the discontent of many Armenians. During the years Parajanov was unable to shoot films and even when imprisoned, he continued his creative activity – painting, making collages, puppets and hats out of any materials that he came across. “I was prohibited to make films and started to create collages. A collage is a compressed film”, he said. In 1988 the Armenian Government built a house-museum for Parajanov, in Yerevan. However, as Sergei often joked, his life resembled the Opera Traviata; when Alfred finally returns, Violetta dies. Unfortunately, because of the 1988 earthquake, construction of his museum was only completed in 1991, a year after Parajanov’s death, in Yerevan.

Filming of Ashik Kerib. 1988 Photo by Yuri Mechitov eighty eighty one Biography Filmography Andrey Tarkovsky Andrey Tarkovsky

Andrey Arsenievich Tarkovsky was born on 4 April 1932 in Zavrazhie village on the 1960 The Steamroller and the Violin (short) Volga. He was the son of the poet Arseniy Tarkovsky and Maria Ivanovna Vishniakova, 1962 Ivan’s Childhood who divorced while he was still a child. His father’s poetry features in Mirror, Stalker and 1966 Andrey Rublev (rel. 1971) Nostalgia, while his mother makes an appearance in Mirror. 1972 Solaris Tarkovsky studied Arabic at the Moscow Institute of Oriental Languages between 1974 Mirror 1951 and 1954, dropping out of his studies to work as a prospector, participating in a 1977 Hamlet - Lenkom Theatre (Moscow) year-long research expedition to the river Kureikye, in Siberia. It was during this time that 1979 Stalker Tarkovsky decided to study film, enrolling in the famous VGIK Moscow film school in 1983 Tempo di viaggio TV documentary 1959. In 1960 he made his prize-winning graduation short, The Steamroller and the Violin. 1983 Nostalgia Tarkovsky made 5 films in the Soviet Union, including Andrey Rublev and Stalker. 1983 Boris Godunov (Moussorgsky) His efforts were not appreciated by the authorities, who extensively cut or limited the - Royal Opera House (London) distribution of his films. These difficulties started to take their toll on Tarkovsky, who 1986 The Sacrifice suffered a heart attack in 1978, culminating in his decision in the early 1980s to leave Russia permanently. The few remaining years of his life were plagued by a constant struggle with the Soviet authorities to allow his family, particularly his young son, Andrey, to join him. His filmmaking career started again in Italy where he followed the television documentary Tempo di viaggio (1983) with his most accomplished film since Mirror, Nostalgia, written in collaboration with the distinguished screenwriter Tonino Guerra. By the time Tarkovsky started work in Sweden on his final film, The Sacrifice, he was seriously ill with cancer. He died on 29 December 1986 and was buried at the Russian cemetery Sainte-Geneviève-des-Bois near Paris.

Tarkovsky’s Favourite Landscape On Gotland. A Minute’s Break Photo by Layla Alexander-Garratt eighty two eighty three Collages Archives by Sergei Parajanov Sergei Parajanov

Cover image Page twenty one Page thirty Page forty two and forty three Tarkovsky’s Night Bird. 1987 From the series Several Episodes from Andrei-Spartak. (ca. second half of 80s) Frames from The Colour of Pomegranates Collage. Silk, photo, paper, reproduction clippings. Giaconda’s Life. 1988 25x20 cm (Sayat Nova).1968 25x18 cm. Photo by Yuri Mechitov (1982) Collage. Reproduction clippings, seashells, Page thirty one Page forty four broken glass, cornelian, beads, mother of pearl. To the Memory of Tarkovsky. 1989 Filming of The Colour of Pomegranates Page one 27.5x36.5x1 cm From the series Several Episodes from 26x19 cm (Sayat Nova).1968. . 1988 Page twenty two Giaconda’s Life Page thirty two Parajanov’s home in Kiev. (ca. end 1960s) Collage. Reproduction clippings, artificial pearls, Self-Portrait in Istambul. 1989 Repentance. Dedicated to Vasili Katanyan. 1989 aluminium foil, metal brooch. 53x55.5 cm Collage. Photo, felt-tip pen, postcard clippings. Page forty five Three-dimensional collage. Reproduction 18.5x29.5 cm Filming of The Colour of Pomegranates clippings, silk, lace, mother of pearl, seashells, Page eight Photo by Ara Güler (Turkey) (Sayat Nova). 1968. Andrey Tarkovsky. (ca. late 70’s) buttons, engraved wood detail, clockwork, Page forty six Collage (album page). Photographs, cigarette box. Page twenty three peacock feather, artificial pearls, metal bijou, Dodo is Pinching Cigarettes. 1984 corals, plastic beads. 43.5x53.5x2 cm Parajanov’s home in Tbilisi. 1985 Page sixteen Collage. Paper, reproductions, photos. 28.5x37 cm Photograph by Zaven Sargsyan Fall of Venice. 1984 Page thirty three Detail of a reproduction of Parajanov with Levon Abrahamyan. 1985 Collage. Fabric, lace, reproductions, cigarette Margarita, Encore Margarita. 1976 René Magritte’s Treasure Island. Photograph by Zaven Sargsyan boxes. 33x24 cm Mixed technique. Paper, ballpoint pen, pencil, Page twenty four brass gauze, dry plants, drops of wood tar. Page forty seven Page seventeen Shroud for a Dead Thief. 1982 29x35 cm Filming of The Legend of Suram Fortress Nato Vachnadze. 1984 Handkerchief, ballpoint pen, pencil. 37x37 cm 1984. Photograph by Yuri Mechitov Three-dimensional collage. Wooden frame, glass, Page thirty four photo, peacock feathers, postcard clipping, plastic Page twenty five Marionettes Holding Elections. 1985 Parajanov. 1986. Photograph by Yuri Mechitov details, artificial pearls, brass foil, seashells. My Father’s Portrait Torn Apart Collage. Reproductions, postcard clippings, cloth Page forty eight 34x42x2 cm (with frame) Out Of Jealousy. 1983-1984 flowers, brass plates. 73.5x43.5 cm (with frame) Filming of Ashik Kerib. 1988 Collage. Photo, fragment of oil painting Page thirty six Photograph by Zaven Sargsyan Page eighteen on canvas. 44x39 cm Fellini’s Letter. Early 1980s I Sold the Dacha. 1985 Parajanov. 1980. Photograph by Yuri Mechitov Collage. Fellini’s letter, postcard, paper, lace, Page twenty six Collage. Photo, postcard clippings, reproductions, Page forty nine feathers, brocade, foil. 23x28.5 cm Parajanov with his son Suren. 1972 clock dial, button, tinsel. 61x45.5 cm Filming of The Arabesques Pirosmani. 1985 Collage. Photo, flowers Photo by Yuri Kurbatov Page nineteen Photograph by Yuri Mechitov Page twenty seven Page thirty eight Angel Tamara. Sketch for Demon. Parajanov with Y. Mgoyan. 1986 Praying for Andrei. December. 1986. Self-Portrait. (ca. late 80’s) 1987. Collage. Carton, postcard clippings, Photograph by Yuri Mechitov fragments of Christmas tree decorations, china Collage. Photo, ball-point pen Collage pieces, brocade, tulle, beads, dry fern. Page fifty Page twenty eight Page thirty nine 22x30x1.5 cm Parajanov and Lilya Brik. 1978 The Last Supper. 1973 Rotterdam Film Festival poster. 1988 Photo by Valeri Plotnikov Page twenty Collage. Painted photo reproduction, Marilyn Monroe. 1980 reproductions segment of a cardiogram tape, lace, Page fifty one Collage. Reproduction, lace, feathers, bijouterie. ground glass from a Christmas tree decoration. We are seventeen. (ca. 1970s) 22.5x32.7 cm 60x49 cm eighty four eighty five Polaroids by Andrey Tarkovsky

Page fifty six Page sixty five Page seventy two Portfolio of 25 prints Self-Portrait, San Gregorio, Bagno Vignoni, 1979-1982 Tonino Guerra, Edition of 12 + 3 A/P. 23 November 1983 Near Bagno Vignoni, 1979-1982 Lambdas printed on 40x50 paper Page sixty six Printed in Florence, Italy 2007. Page fifty eight Domiziana Giordani, actress, Page seventy three Portfolio box 42x52x7 cm. San Gregorio, 24 June 1984 Bagno Vignoni, 2 November 1982 Guiseppe Lanci, Monteranno, 28 April 1982 Page fifty nine Page sixty seven Larisa Tarkovskaya, Grisha, the Cat, San Gregorio, Page seventy four San Gregorio, 1983 25 January 1984 Otricoli, October 1982

Page sixty Page sixty eight Page seventy five Myasnoe, 26 September 1981 Myasnoe, 28 August 1981 Myasnoe, 26 September 1981

Page sixty one Page sixty nine Page seventy six Myasnoe, 8 September 1980 Myasnoe, 26 September 1981 Near Città Ducale, Church in the water, October 1982 Page sixty two Page seventy San Gregorio, 11 June 1984 Andrey A. Tarkovsky, Myasnoe, Page seventy seven 28 August 1981 San Gregorio, 24 November 1983 Page sixty three Larisa Tarkovskaya, Page seventy one Page seventy eight San Gregorio, 14 July 1984 Andrey A. Tarkovsky, Myasnoe, Rome, 20 April 1982 28 August 1981 Page sixty four Page seventy nine Near Bagno Vignoni, August 1979 Page seventy two Bagno Vignoni, 1979-1982 Bagno Vignoni, 1979-1982

eighty six eighty seven Mirror & Pomegranate Sergei Parajanov and Andrey Tarkovsky

Second edition of 750 copies in English

Published by Anya Stonelake/White Space Gallery London UK +44 (0) 7949 100 956 [email protected] www.whitespacegallery.co.uk

Photographs by Andrey Tarkovsky © Andrey A. Tarkovsky Text by Andrey A. Tarkovsky © Andrey A. Tarkovsky Poem by Arseniy Tarkovsky © Arseniy Tarkovsky Estate The Tarkovsky Foundation, Florence, Italy www.brightbrightday.com Artworks and archives of Sergei Parajanov © Sergei Parajanov Museum Text by Henrietta Foster © Henrietta Foster Text by Zaven Sargsyan © Sergei Parajanov Museum www.parajanovmuseum.am

Translation from Russian by Alexander Kan

Book designed by Mike Stonelake: www.mikestonelake.com

Printed by UAB Standartu spaustuve

With special thanks to: Yulia Nagy, ArtMost.co.uk Henrietta Foster Zaven Sargsyan Yuri Mechitov Layla Alexander-Garrett

No part of this book may be used or reproduced in any manner without written permission of the publishers

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