moscow

View of “Proof: Francisco Goya, Sergei Eisenstein, Robert Longo,” 2016–17. Center: Robert Longo, Untitled (Pentecost), 2016. Right: Robert Longo, Untitled (Guernica Redacted, After Picasso’s Guernica, 1937), 2014.

Francisco Goya, Sergei Eisenstein, and Robert Longo

Garage Museum of Contemporary Art

View of “Proof: Francisco Goya, Sergei Eisenstein, Robert Longo,” 2016–17. Center: Robert Longo, Untitled (Pentecost), 2016. Right: Robert Longo, Untitled (Guernica Redacted, After Picasso’s Guernica, 1937), 2014.

Francisco Goya, Sergei Eisenstein, and Robert Longo are the three diverse artists compared in “Proof,” curated by Kate Fowle of the Garage Museum of Contemporary Art in collaboration with Longo. The trio are linked by the idea of historical witness and by influence: Eisenstein looked back to Goya, and Longo has made drawings of images from both.

The display of seven of Eisenstein’s films is unforgettable. Remastered, digitized versions are projected in slow motion, frame by frame, in a wall-filling frieze (with obvious debt to Douglas Gordon). The effect is both mesmerizing and disruptive. Showing October (Ten Days That Shook the World) (1928) in this way obscures the original montage cutting and silences Shostakovich’s tempestuous sound track. Whether this neutralizes the meaning of the film or intensifies its effect is a matter of opinion. For me, it’s both: October is no longer

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