PARIS LA 8: ART & FILM



Edition

Issue 8: Art & Film
English
Summer 2012
128 pages in color
Letter US



Editor’s Letter

From the very beginning, PARISLA is a magazine that sits between cities, between scenes, between genres. We are somewhat attached to the thin line that lies between things: the subtle, the invisible,
ce je ne sais quoi that determines the quintessence of a subject field. PARISLA is also a magazine born of dual nationality—Paris, one of the most filmed cities in the world, and Los Angeles, the home of the Hollywood industry. So it felt natural in our eighth issue to approach the question of filmmaking by laying down the simple question: what do film and art share in common?

To reach some answers, I attempted to bridge two very different fields, bringing together artists working with moving images and filmmakers working within the industry. What pops up naturally is the sense of language they each carry personally. The career of Oscar-winning director Kathryn Bigelow, whose formative years studying art in New York and collaborating with Art & Language are documented by castillo/corrales curator Benjamin Thorel, is a case in point. We can see a similar concern in the work of contemporary British artist Emily Wardill, who is “Reclaiming All The Exuberance and Chaos of Language” in her interview with curator Florence Derieux—or that of French artist Clarisse Hahn, who uses the documentary genre to explore the body as a means of communication. They demonstrate that language stands as the principal articulation—the core essence in both film and art practices. Language links theory to practice, and structurally builds narratives and stories. As Claire Denis tells us in her lesson on cinema: “We are an author before the writing. We are an author of the story we want to tell.” Then what comes after language? Finally Denis implies that writing itself is an image-making process.

Of course writing offers all sorts of stylistic forms, from the hilarious videos of Alex Bag, to the iconic fashion images Todd Cole made in his collaborative film with Laura and Kate Mulleavy of Rodarte. Or the poetic essence and positive energy which the Swiss artist Pipilotti Rist offers as a service. And as always, writing is the means by which we can declare our love, as the art director of Cinémathèque française Matthieu Orléan shows with “Se réapproprier l’extase”, a beautiful essay on the love of film he wrote in the language of Voltaire. Filmmaking is an art of language and writing—but it is also an industry that uniquely creates a space for the creative, the expressive, the inventive. The acrobatic title sequences Pablo Ferro made throughout his long Hollywood career, or the work of the French art directors Michael Amzalag and Mathias Augustyniak of M/M (Paris), demonstrate how the film industry is continually transformed by these visionary individuals. It was exhilirating to see that at the heart of the medium lies the spirit, summoned so eloquently in the drawings of Cédric Rivrain, of individual freedom.

Dorothée Perret
New York, May 20, 2012

 

Contens

The Van by Alex Bag

Se réapproprier l’extase by Matthieu Orléan

Saccharum Drachmas by Cédric Rivrain

Friends
Kate and Laura Mulleavy of Rodarte in conversation with Todd Cole

Drifting
Claire Denis in conversation with Dorothée Perret

Pablo Who? by David Jacob Kramer

Icons by Clarisse Hahn

Written on the Wind by Benjamin Thorel

Reclaiming All The Exuberance and Chaos of Language Emily Wardill in conversation with Florence Derieux

Eyes of a Dreamer
Pipilotti Rist in conversation with Dorothée Perret

notebook
Everything Tastes Like Whiskey by Scott Wolven

poster
Americano Movie Poster by M/M (Paris)

centerfold
Chanel Spring 2012 Ad Campaign Remix by PFL

cover
Marylin Monroe Mural on N La Brea Avenue, Hollywood by Daniel Trese