illegal_cinema #2 – DAS ANATOMISCHE THEATER / MOUSE FILM
TkH and Les Laboratoires d’Aubervilliers within illegal_cinema project
invites you to film screening and a discussion:
My Baby Left Me, animated film, (1995, Hungary)
Directed by: Milorad Krstic
Duration: 9 min
Das Anatomische Theater, mouse film, interactive CD-ROM, (1999, Hungary)
Directed by: Milorad Krstic, in collaboration with Radmila Roczkov
Duration: 30min (in my version)
Presentation: Ana Vujanovic
Monday, May 31, 19:30, Les Laboratoires d’Aubervilliers
Milorad Krstic was born in Slovenia in 1952. He graduated law at the University of Novi Sad, Serbia. Since 1989 he lives in Budapest, where he works as multimedia artist.
The short animated film „My Baby Left Me“ is a (dark) humorous psychoanalytical story that takes place after „his baby left him“. Visually it is a remake of historical avant-guardist „images“, which brings the whole story, human relations, and the way of analyzing the states of affairs/mind of the main character in the context of European ’20s and ’30s. Krstic won several awards with this film, including Silver Bear at 45. International Berlin Film Festival in 1995.
From the early 1990s he works on his long term multimedia project “Das Anatomische Theater”, which comprises interactive CD-rom, web site, exhibitions, book, etc. DAT is a creative and critical reconstruction of the 20th century that juxtaposes artistic practices, cultural atmospheres and social-political contexts. Therefore, the second title of DAT is Simultaneous Games in the 20th Century. Within illegal_cinema, I’ll present the CD-rom work from 1999. It deals with the first part of the century (1900-1933), and is defined by the author as a “mouse-film”. Its duration varies from spectator to spectator, and my anatomical survey will last 30min. But if you want to see more, we’ll continue…
The bankruptcy of the political ideas of the 20th century that were to be paid for in advance with human blood is one of the main reasons for creating Das Anatomische Theater. The only show is DADA, as an aggressive, nihilistic requiem for this failed society. The Theater is anatomical in its method because the 20th century is placed on a dissection table; the people, the events and the phenomena therefore do not wear costumes or masks; on the contrary, even the skin is torn off, tissues are cut, bones are reached, and the muscular, nervous, blood and lymph systems are observed. The walls of the Theater remind us of the walls of a biological lab surrounded by glass showcases filled with neatly arranged bottles in which, floating in 40% formaldehyde solution, the body parts of European history await their curious observer. (M. Krstić).