This is a personal research page that I keep updating whenever I have some free time.
The Image to Come: How Cinema Inspires Photographers
by Magnum, Cinematheque Francaise
Quotes from the beautifully written synopsis for the film, written by the photographer himself:
The inventory of the world is a mechanism that dams the idea of morality and A. engages the same inexhaustible protocol, traverses and is traversed by experienced whose common denominant is excess...
Narcotic and modal drifting, sexual encounters involving a fee and/or affection, the migration of desire and solitude towards consciousness of the void.
A possibility for communication between people via their deepest wounds...
A. sifts through the real to find characters who will unwittingly bend to a preconceived plan.
The setting is an illusory city, stricken with autism. It denies any real closeness and allows pretence and technological artifices to filter through, to compensate for its hermetic nature. Under the shiny screens of mass communication, the city is a field of experimentation for deruding the system, where meaning and image, far from being superimposed, explode.
With the polymorphous Iku, A. maintains a carnal and autistic relation. She is the fantasy vehicle for his anguish.
.. struggle with the contingencies of free choice..
The gaping wounds of the images reconstitute a puzzle that pushes back the limits of the explicit.
Pay attention here: the meaning of the images, the words, the films, all together or viewed separately.
OPERA (QM.15), 2016
"In the holographic illusion OPERA (QM.15) Dominique Gonzalez-Foerster appears in the guise of legendary soprano Maria Callas (1923?77). Dressed in the singer?s signature red dress and dramatic makeup, the artist lip-syncs to arias from Cherubini?s Medea, Verdi?s La Traviata and Ponchielli?s La Gioconda. Situated at the end of a derelict corridor, and encountered from a distance of 30 metres, the luminous figure is at first startlingly life-like ? an impression reinforced by the strength of Callas?s voice.
OPERA (QM.15) is influenced by the development of photography, early cinema and the interest in the uncanny shared by many 19th-century artists and writers. It is related to a larger body of work that Gonzalez-Foerster began in 2012: an ever-expanding ?fragmented opera? consisting of live and recorded performances in which she appears as a range of fictional or historical figures. To Gonzalez-Foerster, each performance ? including her turn as Maria Callas ? is not theatre, but rather ?a kind of séance.?
Dominique Gonzalez-Foerster (b. 1965, Strasbourg) lives and works in Paris and Rio de Janeiro."
THANX 4 NOTHING, 2015
"Ugo Rondinone’s immersive video installation features legendary beat poet John Giorno performing 'THANX 4 NOTHING'. In this poem written on his 70th birthday, Giorno looks back at his life – and the people and events that shaped it – with humour and compassion.
Performing in a tuxedo and bare feet on an empty stage in the Palais des Glaces theatre in Paris, as well as in a brightly-lit TV studio, Giorno gives thanks to ‘everyone for everything', before speaking frankly on the death of friends and lovers, sex, betrayal and his frequent periods of depression. Rondinone’s carefully choreographed multi-screen installation – which features long shots, intimate close ups and passages of high-speed editing – keeps pace with Giorno’s theatrical delivery and draws attention to the poem’s many rhetorical twists and turns.
Ugo Rondinone (b.1964, Brunnen) lives and works in New York."
"Cyprien Gaillard’s 3D film and audio installation Nightlife was shot at night over a period of two years in Cleveland, Los Angeles and Berlin. Like much of Gaillard’s work, the film is a meditation on the ways in which traumatic events of recent history can be read in – or have been memorialised by – urban or ‘natural’ landscapes, architecture and public space. Accompanied by a dub soundtrack featuring a looped sample of Alton Ellis’s 1970 classic ‘Black Man’s World’ and the 1971 remake ‘Black Man’s Pride’, the film takes in a bomb-damaged sculpture in front of the Cleveland Museum of Art; the riotous swaying of windblown trees in dark LA streets; and a fireworks display above Berlin’s Olympiastadion.
The final scenes return to Cleveland, where the German oak tree gifted to African-American gold-medallist Jesse Owens by Nazi organisers of the 1936 Olympic Games stands in the courtyard of the athlete’s former high school. Despite being comprised of two time-based mediums – film and music – Nightlife has distinct sculptural qualities. The vacillating volume and reverb of the film’s dub soundtrack conjures a shifting sonic space that mirrors the ghostly materiality of the film’s 3D visuals."