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- Looking
for Lara
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- Looking for Lara,
2008
- Öl auf
MDF
- 87 x
120 cm
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- Lara, 2008
- Aquarell
auf Papier
- 51 x 36cm
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- I
clearly remember where the other man grabs Lara’s’ arms roughly and says ’There
are two types of women in the world.
- The first is a hedonist and at the mercy
of her senses. The other is noble and makes sacrifices. You know which one you
are’. She slaps him. Anna,
2008
- Öl
auf MDF
- 80 x 60 cm
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- I remember it snowing. Snow, snow,
snow, wind, changing seasons and the wide vistas of the landscape.
- There was a
long road to the castle with the snow-covered domes, 2008
- Öl
auf MDF
- 87
x 120 cm
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- I
remember that Lara was graceful and beautiful.I think I was in love with her,I
still am, 2008
- Öl
auf MDF
- 49 x 69 cm
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- I remember the dark and wolves
howling in the night, 2008
- Öl
auf MDF
- 122 x
154 cm
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- Lara og Juri.
I remember seeing the film as a
child with my mother. She cried a lot.
- I
remember the dark browns, the long shadows and the lace. Linda, 2008
- Öl
auf MDF
- 87
x 120 cm
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- I remember Yuri being captured by
soldiers. I think one of them said that there was no longer room for privacy
- and that Yuri must serve as a doctor for the Army. The soldier is suddenly speaking
English with a Russian accent. Vibeke
- Öl
auf MDF
- 80
x 60 cm
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- I remember the scene where Yuri is
sitting in the trolley. It is autumn. He is a downtrodden,
- unhappy person - a
broken Soviet man. Lara gets off. She wears a Soviet outfit: a blue-gray coat,
- a scarf on her head and a little bag in her hand. It reminded me of Tintin.
Anders
- Öl
auf MDF
- 87
x 115 cm
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- Lara,
Moscow, 2008,
- Aquarell
auf Papier
- 45 x 60 cm
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- fLara 2., Moscow, 2008
- Wasserfarbe
auf Papier
- 45 x 60
cm
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- Lara, Victory day Moscow, 2008
- Aquarell
auf Papier
- 45 x 60 cm
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- Looking For Lara, Moscow, 2008
- Aquarell
auf Papier
- 45 x 60
cm
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- Red square, Moscow, 2008
- Aquarell
auf Papier
- 60
x 45 cm
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- Victory day 9th of May, 2008
- Öl
auf MDF
- 60
x 80 cm
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Danish artist Cecilia Westerberg takes Boris Pasternak’s
partly autobiographical novel Dr. Zhivago as her point of departure
and works
with different aspects of displacement in the individual and collective memory.
In the first part of the exhibition Cecilia Westerberg
takes her starting point in a number of interviews, with people who have seen
the classical film Dr. Zhivago from 1965. Westerberg examines, through simple
questions about which scenes, figures or things
that has made the greatest
impression, how our memory of Dr. Zhivago is part of our collective image-bank
and therefore collective
memory. And at the same time is an entirely different
part of our individual memory.
In the first room of the exhibition Cecilia Westerberg is
showing oil paintings with scenes from Dr. Zhivago. The scenes are chosen
partly from the answers from the interviews.
In the second part of the exhibition Cecilia Westerberg
takes her point of departure in her own journey to Russia and focuses on the
interaction
between fiction and reality.
In Spring 2008 Cecilia Westerberg traveled to Peredelkino,
where Boris Pasternak lived and wrote the book Dr. Zhivago. In this part of
the
exhibition Westerberg once again focuses on how fiction meets reality. This time
though, it’s through her own experience of the
odyssey from (film) fiction to
reality – and finally her meeting with Russia. Westerberg especially focuses on
her experience of the
Americanized film version of Dr. Zhivago and a
contemporary Russia year 2008.
The account of Westerberg’s journey has turned into a
video, oil paintings and aquarelles from Moscow.
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- Für Preisinformationen
und Fragen zum Werk von Cecilia Westerberg nehmen Sie bitte
Kontakt
mit uns auf.
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