Erotique (1982)

• 59%
• 1982

One can determine a line in Tscherkassky's werk, which turns around a game with filmic presentation, with degrees of recognizability - with-the-only-just, and the not-any-more. Just to see desire. An example of this is Erotik. One sees swirling pictures, parts of a woman ' s face, red lips, eyes in cyclical fragments of movement. Often, it is difficult to tell which part of the body one actually sagir (whoever wants to can see/imagine/think sexual organs and sexual acts.) The gaze gets hung up on partial objects, no integral whole body to think about. No body, whose representation was always one of the problems in cinema.