Fondées en 1985 par Prosper Hillairet, Christian Lebrat et Giovanna Puggioni, les éditions Paris Expérimental se consacrent essentiellement au cinéma d’avant-garde et expérimental.
Elles publient des livres de références ainsi que des essais sur des cinéastes, des films ou des points particuliers de l’histoire de cette forme de cinéma. Certaines publications sont bilingues (en anglais ou en italien) et/ou des coéditions avec le Centre Pompidou, Re:voir et Light Cone.
Pionnière du cinéma, Germaine Dulac (1882-1942) est une des grandes figures de l'Avant-Garde française des Années 20. Personnalité importante, elle initiera et sera à la tête de nombreuses organisations et, parallèlement, mènera une activité inlassable pour la défense des droits des femmes.
Dans ses réalisations, Dulac expérimente les nouvelles possibilités d'expression du cinéma. Elle réalisera une vingtaine de films à partir de 1916. La Souriante Mme Beudet (1923) et La Coquille et le clergyman (1927), d'après Antonin Artaud, sont parmi ses films marquants.
Holon is a flipbook that creates an illusion of motion when the pages are flipped through rapidly.
The images of this artist’s flip book are taken from an eponymous abstract film made by Christian Lebrat in 1982. The book can be turned over and flipped as well; the two directions correspond to the two sections of the film. It comes in a sleeve. The resulting artwork presents the film in another form.
A flip book for the curious, for collectors, for flipbook lovers.
Limited edition of 800 copies.
Done with Filming is the title of a film made by Maurice Lemaître between 1985 – 1990. It is composed of a collection of slides, primarily from New Wave films, on which the artist has intervened in multiple ways: with touch-ups, smudges, and graphic and visual interventions. Simultaneously, the soundtrack consists of a fake journalistic-style interview in which Lemaître, in his characteristic manner that is both serious and humorous, gives an account of his relationship with cinema, criticism, and creation.
This book is a document. It’s an account via images of the evening of June 20, 2016, spent in Vienna in the company of the artist, Peter Kubelka. With his wife Luise, Kubelka had invited some friends: the photographer Heinz Cibulka and the filmmaker Jonas Mekas who had come with his son, Sebastian, specifically to film the party.
Stan Brakhage, American artist born in 1933, accomplished from 1952 to the year of his death in 2003, more than 300 films, all on film. Founder of a visionary cinema which finds its plastic and critical powers in the material itself of the film, Stan Brakhage is like a spiritual father for a whole generation of artists today.
His work, fecund and multiple, which feeds as well on his private and family universe as on nature and political events in his time, finds a fecund humus in abstraction for its visual researches. Great technician of the film tool – the camera as well as the film and the systems of printing –, Brakhage invents an unique film form, whose importance in the history of cinema sometimes made him compared with Pollock for painting.
Comment vivent et travaillent, à l' «ère du numérique», les cinéastes expérimentaux? Qu’en est-il de leur attachement à la matérialité de l'objet-film? Quels sont leurs outils, leurs rapports à la création, leurs manières de penser, de fabriquer et d'habiter les images et les sons? Comment financent-ils leurs projets? Quel regard portent-ils sur leur parcours et sur les mutations décisives que connait aujourd'hui le cinéma, y compris «expérimental», envisagé dans sa dimension esthétique, pratique, technique, économique et institutionnelle?
Entretiens avec Martin Arnold, Frédérique Devaux, Olivier Fouchard, Ken Jacobs, Christian Lebrat, Rose Lowder, Nicolas Rey, Silvi Simon, José Antonio Sistiaga.
Born in Lithuania in 1922, Jonas Mekas has made over 80 films, videos and installations since his arrival in New York in 1949. Each piece is inventoried and accompanied by an image, a list of public collections and distributors, the technical data and one or several short texts summarizing the content of the work.
Made in the period around May 1968 by a dozen rebels whose undisputed leader was Philippe Garrel, the Zanzibar Films fall within a “wild innocence” that is striking as much for its violence as well as for its lucidity. The author reveals the truth on one