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Birmingham Ornament 3 (Joan Miró)


2015, DCP, 10 min., 3D, Russian-Spanish-Japanese

russian avant-garde

PRODUCTION : BUDGET : 20 000 euros


Garik Wiskin (Juan Miro), Andy Fukutome (Eskimos), Arseniy Kovalskiy (Narrator), Coten Bustillo (Bourgeois)


Director s : Screenplay : Yury Leiderman
Cinematographer : Wayne Scott, Alexander Tananov
Producers : Andrey Silvestrov, Gleb Aleinikov, Anatoly Sverchkov, Anatoly Sergeev


Authors comments:

This is the third movie from the project Birmingham Ornament. The first one was dedicated to the war, the second one to the power and third one will be dedicated to a painter, to his relations with the society and with God. We chose Joan Miró as our main character. This choice is accidental – we could choose Picasso, Rembrandt, Pollock, Malevich or someone else – but, at the same time, it is specific. We chose Joan Miró because we see his life as a possibility to fully show the diversity of problems that a painter meets in his life. Besides, the beauty of Catalonian nature, extremely important for Joan Miró’s life, is incredibly cinematographic and will be an adornment of the movie.

Andrey Silvestrov, the author: I am persuaded that 3D has a potential for developing the dramaturgy and the language. The only thing necessary for this is a technological leap after which the director will become more important than the supervisor or the 3D modeler. We saw the democratization of the 2D film, and as technologies become easier, 3D cameras will also come within the reach of many people.

I found an interesting capacity in the 3D – the border of the frame. 2D has sharpness and perspective, they are obtained with the help of the objective lens, and 3D has the border of the frame: if the person is in the background, we may put him at the front border of the frame, or else the character has his border of the frame and everything around him may change their positions, staying far behind him or coming in the front. It is very interesting to work with this element – so far nobody has mastered it.


Joan Miró (1893-1983) is one of the most brilliant painters of the 20th century.

12 fragments from Joan Miró’s life will create a new pattern of the Birmingham Ornament. Catalan passion and Surrealism. Conformism and Fascism. Love for God and love for a woman. Such are the topics that the character meets and puts into his art. The authors, true to their poetic and ironic manner, examine the painter’s life, incarnating those topics in their own way.

Visual context of the 3D fragment of the Birmingham Ornament 3 refers to the famous photo of the painter Joan Miró working at the beach. Yuri Leiderman’s text is transformed into a theatre play, supposedly written by Joan Miró and performed by Barcelona street clowns.

Only four characters participate in the show: the Painter – Joan Miró, the Bourgeois, the Eskimos and the Storyteller. The story is dedicated to the sudden change that took place in the 20th century when avant-garde became an article of merchandise for the bourgeois, and the painter lost his original intention, when the revolutionary character of the art stepped back. The play mentions a parable of the heart desire: when Confucius asks everyone and chooses a path of the painter, the simple desire is to find oneself among the friends and go take a bath in the river. It is because the life itself is much more beautiful than exploits or self-abnegation.