Studio International
Natasha Kurchanova / October 2017
Mubi
Michael Sicinski / May 2017
Artspace magazine
Interview with Andrew Goldstein / February 2017
ArtPulse
Stephen Knudsen / November 2016
Calvert Journal
Samuel Goff / June 2016
New Statesman
Anoosh Chakelian / August 2016
The Spaces
Will Strong / July 7 2016
Creator’s Project
Sami Emory / May 27, 2016
Visionaire
Lars Peterson / May 25, 2016
Artefuse
Kristine Roome / May 2016
Monopol (Germany)
August 26, 2015
Texte zur Kunst
Anastasiya Osipova / June 2015
Art Forum
Kate Sutton / May 2015
This is Tomorrow
Laura Herman / March 2015
Brooklyn Rail
by Aaron Richmond / March 2015
Hyperallergic
by Olga Kopenkina / February 2015
Visione Sospresa / Il Cinema Dell’Assenza
by Frank Viso / January 2015
Fandor
By Jordan Cronk / December 17, 2014
arte creative magazine
by Jean-François Rettig / November 2014
MUBI Notebooks
by Daniel Kasman / October 02, 2014
ArtNews Summer 2014
Review by Ann Landi
Art in America
Review by Andrew M. Goldstein / May 2014
Houston Chronicle
Review by Molly Glentzer / January 24, 2014
Elephant magazine #17
Interview with Katya Tylevich / December 2013
Hyperallergic
by Claire Breukel / July 31, 2012
Icon Magazine
Andrea Lippke / January 2012
Modern Painters
Andrew M Goldstein / May 2011
Art / Das Kunstmagazin
August 2011
T / New York Times
Johnny Misheff / June 2011
l’Uomo Vogue
Grazia D'Annunzio / May 2011
Art Newspaper
Marisa Katz / December 2010
Bomb Magazine
Interview with Andrew M Goldstein / March 2010
Artforum
John Kelsey / April 2005
Moscow Art Magazine
Yevgeniy Fiks / 2005

Best of Avant Garde 2014
On the continuing evolution of non-commercial filmmaking.

3. Pan (Anton Ginzburg) (New York: Projections)
Anton Ginzburg’s Pan unfolds in unassumingly dramatic fashion, accumulating historic and cinematic gravitas as it unlocks a slipstream of bygone mediums through a conflation of various aesthetic modes and materials. Commencing with a visual overture of sorts, as Ginzburg’s 16mm lens gazes upon the ornate architecture of an unnamed cathedral, the film initially appears to be reverently indexing a space of social and spiritual intimacy. And indeed, the monumentality of these black-and-white images is worthy of Wiseman or Emigholz. But soon the image tilts and distorts, pulling back to reveal the source of the image on screen and the apparatus aiding our perspective as distinct entities. The church footage, now seen as a projection, flickers across the frame as a video monitor rests conspicuously in the distance. As Ginzburg’s camera then proceeds to push into the screen’s distorted, analogue pixelations, unstable hues flowing lava-like across the screen, these subtle epiphanies induce a kind of retroactive syndication, suggesting an aesthetic continuum which Ginzburg leaves ominously open-ended.