Moscow

Tigran Khachatryan

Regina Galery

Making a gallery debut that looks like a retrospective can be a risky endeavor, especially when the artist is not yet thirty. But Tigran Khachatryan’s video remakes of great films constitute an idiosyncratic history of cinema and revolutionary thought that is best considered as a whole, while his aggressive political stance makes virtues of low production value and raw frankness—a productive foil for the monographic survey format. The opening credits for his Brother of La Chinoise, 2005, are written in dry-erase marker on the wall of a bathroom; the artist attempts to reconstruct the ideological conflict of Jean-Luc Godard’s 1967 film by posing stone-faced for the camera, as slogans and speeches stream past in subtitles. Stalker, 2004, is a jumble of reenacted vignettes that strip down Andrei Tarkovsky’s drama to a parodic polemic about belief and doubt in the possibility of radical change.

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