Editorial
In recent years, Soviet architecture has become a cornerstone of internet culture. Visually driven websites are flooded with images of futuristic hotel complexes along the coastline of the Black Sea. Their washed-out colors make them seem like memories of a future that never came to be. Simultaneously, Instagram bloggers mesmerized by brutalist superstructures are curating...
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Vol. 113 (March 2021)
In his essay on the Polaroids of Andrei Tarkovsky, Gawan Fagard draws parallels between the ontology of the medium and the work of the Russian director.
Daniel Fuller looks at the way a Ukrainian computer game transfigured folkloric processes of remembering, drawing parallels to Andrei Tarkovsky’s Stalker.
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