stannisbaratheon:“[The] strangeness of Russian Ark, its connoisseurship of time, is an accurate desc

stannisbaratheon:“[The] strangeness of Russian Ark, its connoisseurship of time, is an accurate desc
stannisbaratheon:“[The] strangeness of Russian Ark, its connoisseurship of time, is an accurate desc
stannisbaratheon:“[The] strangeness of Russian Ark, its connoisseurship of time, is an accurate desc
stannisbaratheon:“[The] strangeness of Russian Ark, its connoisseurship of time, is an accurate desc
stannisbaratheon:“[The] strangeness of Russian Ark, its connoisseurship of time, is an accurate desc
stannisbaratheon:“[The] strangeness of Russian Ark, its connoisseurship of time, is an accurate desc
stannisbaratheon:“[The] strangeness of Russian Ark, its connoisseurship of time, is an accurate desc

stannisbaratheon:“[The] strangeness of Russian Ark, its connoisseurship of time, is an accurate description of what it feels like to visit the [Imperial Hermitage Museum]. All great old museums are places where time stretches, floats, accumulates dust, even has an odour (in Sokurov’s film, people sniff paintings). You lose yourself, cut free from linear time into something more oceanic. The Hermitage has the same historical thickness that all museums have, but to an infinitely more fermented degree.” (The Guardian) ️THE BUILT ENVIRONMENT IN MEDIA ()RUSSIAN ARK (2002), dir. Alexander Sokurov — and the Hermitage in St. Petersburg -- source link
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