UNCANNY FAMILIARITY, FAMILIAR UNCANNINESS
Exhibitions curated by J.-P. Rhem et N. Feodoroff
Ecole supérieure des Beaux-arts de Marseille
LA COMPAGNIE19, rue Francis de Pressensé
Time after time, France-Albania, 2003, vidéo, 5’
A still horse, at night, on the edge of a road, some buildings and some lights in the distance. In a single shot, Anri Sala breaches a gaping openness, a paradoxical time, that of contemplation as much as waiting. A few gestures barely begun, without follow-up, the movement of a paw and neck. Openness and latency of a suspended meaning, sharpened by this enigmatic presence.
Distribution : Chantal Crousel.
Then I decided to give a tour of Tokyo to the Octopus from Akashi, Japan, 2000, vidéo, 6’
Tribulations in Tokyo by Shimabuku with an octopus, the artist’s symbolic and fetish animal. Animal doubly displaced, outside of his environment and now a tourist. Gesture by which Shimabuku, an adept of displacement as maieutics, opens other possible connections, where utopia doesn’t give up anything to a joke.
Distribution : Air de Paris.
Tamed, France, 2009, vidéo, 23’
Fish that are said to be carnivorous in an aquarium. Their slow movements, their gaze and their monthes that are almost faces. An environment closed to the invisible but underlying violence, predation lightly sketched by the off-screen commentary of their owner, where it is understood that what is at stake is elsewhere. Disruption and allegorical sliding with multiple layers by the “ready-made artist” Claire Fontaine, a fictional name as the signature for an artists’ collective. Distribution : Claire Fontaine.
Reps Eléphant 306, France, 1964-2009
Inaugural performance by Julien Blaine, produced at the Franchi d’Aix-en-Provence circus, one day in 1962, then published in reproduction in the journal Ailleurs in 1964. Coming back to language, said to be distinctive to human beings, reversing the premises in turning oneself towards the animal, to turn the world inside out, to restore, to displace it by the ludicrous, and restoring its inherent inspiration. Distribution : Julien Blaine.
Tiger oder Löwe, Austria, 2000, 1’ en boucle
A tiger struggles with a fake serpent made out of cloth. Filmed in the Hamburg museum that houses Delacroix’s painting Tigre et serpent (1854), Friedl’s work removes us from the pathos of the animal energy so dear to the romantic painter. Because, Friedl adds, if “animals in art are always good, I don’t know if that doesn’t always make them more talkative” even if without them “everything that belongs to the big anthropological machine would be much more incomprehensible.”
Distribution : Galerie Erna Hécey.
La cave, France, 2009, 14’
A dark and frozen cellar, half-cave and half-bowels. A man works by lamplight, busy with the bones of a mammoth. Silence of the premises, preciseness of a ritual that remains for us enigmatic. Ariane Michel returns the point of view, as if the animal were watching us from the depths of time and space, from the impenetrability of matter. Distribution : Ariane Michel.
Kempinski, France, 2007, 14’
Somewhere in Africa, between city and savannah, a night pierced with electric light. Facing a camera, some men recount, explain; one that he is married with a cow, the other that everything moves at the speed of light. Improvised narratives, but precise and detailed, where a technological imaginary, supernatural and immediate reality, is mingled, bathed with the haunting rhythm of a hypnotic music.
Distribution : Neil Beloufa.
Zoo, United-Kingdom, 2005, 40’
The cages of a zoo are screens. A thousand shows unfold there, from the madness of an obsessive bird to the personal hygiene of a big ape. Images from another world, or screening space of ours?
Distribution : Galerie Anthony Reynolds.
Outlandish, United-Kingdom, 2008, vidéo, 19’
La belle journée, China/France, 2009, 7’
It’s China. On the background, a destroyed house. On the foreground, almost filling the whole screen, a bowl full of small fishes. Sugars fall one after the other in the water at the rythm of a sweet music whose lyrics announce the coming of spring.
|VIRGINIA GARCIA DEL PINO|
Mi hermana y yo, Spain, 2009, 10’
Voices and disconnected images. Snippets of private conversations, incomplete and fragmentary narratives, painful relationships, and the fragility of connections. A repeated scene of a playful struggle between men in a park or another of two teenagers connected together by a headphones’ wires. Disconnection and splitting in two of the ones and the others thanks to which all possibilities become clear.
Distribution : Virginia García del Pino.
LUPE PEREZ GARCIA
Cuentos crueles, Spain, 2008, 21’
In two stories consecrated to the forms of memory and the times to come, the film goes to the heart of images, past or present. In a Babel of languages, playing with multiple telescoping, where a Dürer drawing is next to war images, Lupe Perez Garcia confronts their glare.
Distribution : Entera films.
Käfig, Germany, 2009, 14’
A rhinoceros in a zoo. A still frame, always the same, and the silence of silent films. Some images that are repeated, rerun, reversed from negative to positive, shimmering and haunting. Karl Kels continues his dialogue with early cinema in a musical editing at a fast pace, where strangeness looms up from the depth of images.
Distribution : Karl Kels.
12 explosionen, Austria, 2008, 7’20
At nighttime, a charming city, deserted by the ample light, more light than shadow. There follows a series of explosions, in twelve places for as many disruption. An intrusion that is as pathetic as untimely that resounds now very differently.
Distribution : Sixpackfilm.
Bataille, France, 1993, 50’’
Absalon is known above all for his Cellules, small white dwelling places, architectural microcosms designed to the artist’s specifications. In this video, a still frame, a man, Absalon, struggles, and gesticulates the unknown in an empty space. Uneasiness and enigma about this very real struggle: with no beginning and no end against an invisible adversary.
Distribution : MAC, Marseille
Introduction to a Small History of Photography - Formalist Heady Pattern Version, Germany, 2008, 12’30
An unfolding of images and books. Their origin: illustrations from six books, from Sander to Blossfeldt, that Walter Benjamin mentions in his famous A Short History of Photography, published in 1931 and interfering with contemporary photography. From yesterday to today, their systematic unfolding. Ghostly appearances where forms resonate and come alive in a new light.
Distribution : Arsenal Experimental.