Skip to Content
Centre national des arts plastiques

D’(après) Chantal Akerman

Share Share Share Share Share

D’(après) Chantal Akerman

A journey through the video collection of the Centre national des arts plastiques

Platform L - Contemporary Art Center, Séoul
19 • 23 octobre 2016
  • Doug Aitken
    Diamond Sea
    1997
    Vidéo
    Durée : 20'
    FNAC 99092
    Centre national des arts plastiques
    © Doug Aitken, courtesy 303 Gallery, New York / Cnap / photo : 303 Gallery (New York)

  • Darren Almond
    Bearing
    2007
    Vidéo
    Durée : 35'
    FNAC 2011-565
    Centre national des arts plastiques
    © Darren Almond / Cnap / photo : White Cube (Londres)

  • Dominique Gonzalez-Foerster
    Ipanema Théories
    1999
    Vidéo
    Durée : 90'
    FNAC 99553
    Centre national des arts plastiques
    © Adagp, Paris / Cnap / visuel fourni par l'artiste

  • Romain Kronenberg
    Marcher puis disparaître
    2013/2014
    Vidéo
    Durée : 45'11
    FNAC 2015-0601
    Centre national des arts plastiques
    © ...

  • Ange Leccia, Dominique Gonzalez-Foerster
    Gold
    2001
    Film 35 mm
    Durée : 45'
    FNAC 01-348
    Centre national des arts plastiques
    © Adagp, Paris / Cnap / photo : D.R.

At the invitation of the Platform L – Contemporary Art Centre in Seoul, the film programme D’(après) Chantal Akerman presents a choice of works and artists from the Cnap video collection, combined with a selection of films by Chantal Akerman. The programme is part of the France-Korea Year 2016.
_

THE SPACES OF CONTEMPORARY ART CINEMA
Among all the parallel histories unceasingly forged between contemporary art and the larger field of creation, the cross-relationships between cinema and art occupy a special place throughout the aesthetic history of the 20th century, in that they produce an analysis of images and mass-media, as well as a critique of representation.
A number of contemporary works in the fields of video or moving images refer explicitly to cinema, according to varied modalities, which designate a body of common hypotheses concerning the subject of representation, and which Serge Toubiana defines mainly as a movement: “Cinema is movement; it is a way of accompanying reality, of capturing part of it, of accompanying its trajectory, of marking it with signs.”
If the interaction between the crossed fields of art and cinema often takes place from contemporary art towards cinema, it also designates a movement from cinema towards contemporary art, with the invention of unidentified filmic objects. Scenarios, narrative threads, self-fictionalisation, image reserve, and apparatuses all constitute recurring elements that contemporary filmmakers revisit, closely looking at the way artists configure interfaces to analyse and put into perspective the relationship between the work and the world, and between reality and fiction. These films create a nomadic, floating cinema, between documentary and fiction, which produces a documentation of experiences and the experimentation of their plastic form. The experience of interpreting, perceiving, and receiving images, which concerns any filmgoer, is part of the definition of these filmic spaces.
_

D’(APRÈS) CHANTAL AKERMAN
All of Chantal Akerman’s (1950-2015) films have always been suffused with a deep sense of otherness, which affects both the economy of the narration and the very body of the films – between documentary and fiction, between fiction and musical, between film and video installation, and between photography and literature.
Like other filmmakers such as Jonas Mekas or Chris Marker, Chantal Akerman’s cinema makes the figure of off-centring one of her cardinal figures, delving deeper into the space of narration, while the film-writing shapes the outline of an autobiographical pact, an expression of intimacy.
All her films bring to perfection the definition of cinema as an open space, as a vision of a territory, as a territory of vision and image, with a random narration. Both explorations and elegies, her films underline the question of cinema, of journeying through history, and of the territory of images.
Such is the quality and strength of contemporary filmic spaces: their status as inchoative objects makes them complex spaces where one can analyse plural, fragmentary, heterogeneous stories. They are films that stand at the border of art and cinema, that echo the very system of what Roland Barthes calls “depletion”: forms capable of perpetually fostering emptiness. These films turn the insistence of vision into one of the forms of the insistence of time.
The film programme D’(après) Chantal Akerman is curated by Pascale Cassagnau, head of the audio-visual, video, and new media collection, and presents a choice of works and artists from the Cnap video collection inspired by Akerman’s film-writing, thus paying a singular tribute to her work. This selection of films will be shown alongside five films by Chantal Akerman: From the East, Over there, South, The Other Side, and No Home Movie. The selection of works from the Cnap collection includes Diamond Sea (1997) by Doug Aitken, Bearing (2007) by Darren Almond, Ipanema Theories (1999) by Dominique Gonzalez-Foerster, and Marcher puis disparaître (2014) by Romain Kronenberg.
_

PROGRAMME:

18 October 2016
4 p.m. Chantal Akerman, No Home Movie (115')

19 October 2016
12 noon. Chantal Akerman, D’est (117')
2:30 p.m. Darren Almond, Bearing (35')
Dominique Gonzalez Foerster, Ipanema Theories (90')
5 p.m. Romain Kronenberg, Marcher puis disparaître (45')
Dominique Gonzalez Foerster, Ange Leccia, Gold (45')
Doug Aitken, Diamond Sea (20')

20 October 2016
12 noon. Chantal Akerman, Sud (71')
2:30 p.m. Darren Almond, Bearing (35')
Dominique Gonzalez Foerster, Ipanema Theories (90')
5 p.m. Romain Kronenberg, Marcher puis disparaître (45')
Dominique Gonzalez Foerster, Ange Leccia, Gold (45')
Doug Aitken, Diamond Sea (20')

21 October 2016
12 noon. Chantal Akerman, From The Other Side (99')
2:30 p.m. Darren Almond, Bearing (35')
Dominique Gonzalez Foerster, Ipanema Theories (90')
5 p.m. Romain Kronenberg, Marcher puis disparaître (45')
Dominique Gonzalez Foerster, Ange Leccia, Gold (45')
Doug Aitken, Diamond Sea (20')

22 October 2016
12 noon. Chantal Akerman, No Home Movie (115')
2:30 p.m. Darren Almond, Bearing (35')
Dominique Gonzalez Foerster, Ipanema Theories (90')
5 p.m. Reading of “The Cinema of Chantal Akerman and the Contemporary Creation” by Pascale Cassagnau

23 October 2016
12 noon. Chantal Akerman, Là-bas (79')
2:30 p.m. Darren Almond, Bearing (35')
Dominique Gonzalez Foerster, Ipanema Theories (90')
5 p.m. Romain Kronenberg, Marcher puis disparaître (45')
Dominique Gonzalez Foerster, Ange Leccia, Gold (45')
Doug Aitken, Diamond Sea (20')
_


Dernière mise à jour le 25 oct. 2016
Platform L - Contemporary Art Center
11 Eonjuro133gil Gangnamgu
Chairman Jungseung Shin
06053 Séoul
Courriel : 
Téléphone : 
+82(0)2 6929 4470