PARIS, LA 8: ART & FILM
Issue 8: Art & Film
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,
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.
The Van by Alex Bag
Se réapproprier l’extase by Matthieu Orléan
Saccharum Drachmas by Cédric Rivrain
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