LE MOUVEMENT DES IMAGES

English description

English title: MOVEMENT OF IMAGES Original title: LE MOUVEMENT DES IMAGES Directed by : Marcel Duchamp - Laszlo Moholy-Nagy- Joseph Cornell - Len Lye - Richard Serra - Gérard Fromanger - Robert Breer - Derek Jarman - Chuck Close Various, 1923-1973, PAL, 4/3 - 68 mn zone 2, color / black and white, mono MOVEMENT OF IMAGES is a thematic presentation of the collection edited by Centre Pompidou, focusing on cinema and the influence it has had on modern and contemporary art issues. MOVEMENT OF IMAGES offers a rereading of the 20th century art through cinema. As we enter the digital revolution, this new presentation organized around the basic components of film – frame roll, projection, story and editing – offers a redefinition of the cinematographic experience widened to include all the visual arts. Included is a booklet of texts by Philippe-Alain Michaud on MOVEMENT OF IMAGES exhibition and films. ANEMIC CINEMA / Marcel Duchamp / 1925 / 8'25' LICHTSPIEL SCHWARZ-WEISS-GRAU / Lazlo Moholy-Nagy / 1930 / 5'15 ROSE HOBART / Joseph Cornell / 1937 / 17'25 GNIR REDNOW / Joseph Cornell / 1955 / 6' RHYTHM / Len Lye / 1957 / 1'09 HAND CATCHING LEAD / Richard Serra / 1968 / 2'54 FILM-TRACT N° : 1968 / Gérard Fromanger / 1968 / 2'45 70 / Robert Breer / 1970 / 4'35' GARDEN OF LOUXOR / Derek Jarman / 1972 / 8'53 BOB / Chuck Close /1973 / 10'44 At the dawn of the digital revolution, this new presentation, based on the fundamental components of film-making – scrolling, projection, narrative and editing – is offering a completely new cinematographic experience encompassing the visual arts. Philippe-Alain Michaud, exhibition curator : "Cinema is a Greek word that means 'movie'. The illusion of movement is certainly an accustomed adjunct of the film image, but that illusion rests upon the assumption that the rate of change between successive frames may vary only within rather narrow limits. There is nothing in the structural logic of the filmstrip that can justify such an assumption. Therefore we reject it. From now on we will call our art simply: film." "Today, with numerous artists using film, and the film industry reconsidering its methods of diffusion using multimedia, the experience of cinema, as we have known it over the past century, has changed. This model of entertainment, borrowed from theatre, whereby a film is projected from beginning to end in a room for an immobile spectator, is no longer the only option for a cinematographic experience. It has become necessary to redefine cinema and the way in which it has been accepted in terms of experience over the last century." Rather than entertainment, cinema today is considered a way of conceiving and thinking images, no longer from a viewpoint of fixity and immobility, but from one of movement and reproducibility. In addition to avant-garde and experimental films, artists' videos and installations, the exhibition brings together more than 200 works borrowed from the reputedly static arts – painting, sculpture, photography, but also architecture and design. It proposes an original insight into modern and contemporary history of art featuring works by Henri Matisse, Bruce Nauman, Barnett Newman, Man Ray, Frank Stella, Jeff Wall and Andy Warhol. Hanne Darboven's work POUR JEAN-PAUL SARTRE hangs face to face with Picasso's eight studies of LE PEINTRE ET SON MODELE. The audio and visual collages in ORACLE by Rauschenberg are reminiscent of Surrealist editing. Further off, MEN IN THE CITIES by Robert Longo, placed next to SHOOT by Chris Burden, both play on the codes and genres of Hollywood cinema.