Film screenings and artist talk
Curated By Daniel A. Swarthnas
"Cécile Fontaine works with what can be called margins, the excluded parts of cinema, revindicating scratching, soaking, de-collage and so filmmaking passes as a primarily plastic activity, with almost no material resources, renewing at once with the first major steps of the Dadaists in their collage – principally in the works of Schwitters and especially the collage of Hannah Höch executed with a kitchen knife and the work of recycling or how to make art without having the air to have touched it." - Yann Beauvais
Born in 1957 in south of France, grew up in a French oversea departement named Ile de la Réunion in the Indian Ocean; studied art both in France (1975/1979) and in the United States (Boston 1980/1986) where she started making film in 1982 after taking an evening film class at Massachussetts College of Art then registering full time at School of Museum of Fine Arts, majoring cinema. Returned in France in 1986 and lives since then in Paris, teaching art fulltime in a primary school and making films.
- Holy woods (2008, 16mm, 8'00)
A young woman watches a man having a nap under the trees, and gets ready to paint. Trees are cut one after another by vigorous loggers. Insects stand motionless or crawl everywhere. All those are interlaced with more fleeting images that anyone could see or not.
- Cross worlds (2006, 16mm, 15'00)
Criss crossing of images from professionnal (16 documentaries) and anonymous amateur (8mm home and holiday movies) filmmakers juxtaposing different geographical areas peopled or locals or tourists inactivities of hard work or leisure.
- The last lost shot (1999, 16mm, 7'00)
Commissioned for the film event exibition on the subject of the "Apocalysm" in cinema, this found footage film is essentialy constructed around the strongly altered images of ball-trap sequences for a demonstration film on fire-arms, humorously juxtaposed to images of innocence illustrated by children type drawings on seasonal tales and by fragments of two advertisings films: one on a natural reservation in the Seychelles Islands; the other, a "cartoon", for raincoats, related to the biblical flood.
- La pêche miraculeuse (1995, 16mm, 10’00)
Tourism in the Seychelles’islands, under-water shots of marine life, facts from educational slides, bleached ektakrome films, 16 mm frames, super 8 strips, these are the the images and material which led us from the seaport to the plate; we look at the sea world trough the layers and juxtaposition of taped strips of emulsion from various sources.
- Histoires paralleles (1990, 16mm, 11’00)
Official visits and their rituals... manipulated black and white found footage of a professional indian reel news with my father’s amateur films of the more or less similar type of official events in the small french oversea department where I grew up.
- Le déjeuner sur l'herbe (1986, Super 8mm, 0'57)
One of the first Super 8 made from materials by my father (home movie of the 70's) which emulsion has been peeled up from its base and taped on a new surface, in a different manner.
- Light (1986, Super 8mm, 3'18)
First personal experiment of a super 8 film roll manually exposed (without a camera) to a luminous source. This experiment has been repeated in several other short super 8 rolls by changing some parameters at the expostion. Abstract film in color.
- 3 shorts (1984, Super 8mm, 5'24)
"L'atelier de peinture" Live action combined with manipulation of the film by bleaching or displacing the emulsion side, and with collage of acetate or 35mm slides.
"Church" Live action manipulated with «ammonia base detergent».
"Subject: Sound Color Picture" Found Footage recut into S-8mm and edited on an academy leader structure.
- La chambre verte (1984, Super 8mm, 4'23)
Bleached super 8mm film shot by myself and recovered with new's paper prints and pulp.
- A color movie (1983, Super 8mm, 4'43)
Film combining short sequences shot with the camera by myself and short ones created on underexposed materials manipulated with the artist's tools or coming from reels shot by my father. It's a «suite» of visual experiments edited with an overexposed selfportrait.
- Mouvement n°2 (1983, Super 8mm, 1'35)
One of the first experiment with the camera and with the editing splicer. A fast edited film using materials from several 3 min films shot in the streets of Boston.
All films on super 8mm and 16mm (Light Cone)