Le coreografie di Josef Nadj e le musiche di Vladimir Tarasov compongono un’esplorazione dello spazio e del loro stesso processo creativo. Lo spazio in questione è un panorama vicino a Kanizsa, piccolo centro a Voivodine (ex-Jugoslavia) noto a Josef Nadj sin dalla sua infanzia. Questo autoritratto filmico è volontariamente parziale, come gli esperimenti che un’artista fa su sè stesso nel suo studio. Un’oscillare tra il colore e il grigio, tra suono in presa diretta e musica, tra la rigidità e la mobilità.

The title Last Landscape encompasses a work of choreography for dancer Josef Nadj and musician Vladimir Tarasov in a film that explores its origins, sources and creative process. Josef Nadj defines this double project as “a self-portrait facing the landscape.” The landscape in question actually exists a few miles from Kanizsa, the small town in Voivodine (ex-Yugoslavia) where he was born. It’s a
landscape which has appealed to him since he was a boy. This selfportrait is willingly partial, like the paintings or self-fictions a painter creates in his studio. The self-portrait takes shape in the oscillation between color and black and white, between real sound and music, between rigidity and mobility.