Enrico Camporesi is a postdoctoral fellow at the Terra Foundation at the National Institute of Art History in Paris. He has designed and organized film / video programs and exhibitions in France and internationally. He is the author of Futures de l'obsolescence, an essay on the restoration of the artist's film (to be published in 2018 by Mimesis).
These histories of masks begin with the nocturnal visit to the National Museum of Ethnology in the Netherlands filmed by Max de Haas in 1950 in Maskerage, impeccable on its form (first film score by Pierre Schaeffer), questionable on the content (colonialist hints) and ends with the sublime images shot in Mexico by Eisenstein during the Day of the Dead.
Between these two glances on the mask, some incarnations, simulacra and dissimulations, more or less serious games in which exhibition, grotesque and primitive violence are mixed.
The signal is the very essence of sound and the digital image: of the material information invisible to the naked eye, codified and circulating through the filmic technologies of the age of the Net. Its access, of capital importance, is in protected mode (Friedrich Kittler).
Although the films that make up this program show real worlds, they could be seen as many chapters of a dystopian fiction, visions of a planet in perdition: phantasmic, invasive, post-apocalyptic nature (Wayward Fronds); sacked nature (Le Pays dévasté); exiled humans, forced to seek refuge in areas of radio silence (Quiet Zone); a desolate landscape, the sinister and worrying ruins of an old radar station (Cobra Mist).
Filmed on several visits to the Scottish Borders, the film focuses on Scotland's unique heritage: sheep breeding, textile art, the tradition of wool spinning and unique landscapes are all represented in an impressionistic arc of color and movement.
On February 22, 1987, Andy Warhol died at 58 years following a mere gall bladder operation. Thirty years after his death, Warhol remains a superstar of sales and exhibitions and his notoriety goes well beyond the world of art.
In 1951, Maurice Lemaître made his first film, Le Film est déjà commencé? (Has the film already started?). It is the first attempt to destroy the normal framework of the cinematographic representation in which each element is upset: image, sound, screen, venue, spectators... It is the advent of syncinema: it is no longer just a film projection, but a cinema session that has become a work of art as a whole.
"A moment is an area of limited time, but very special because it is based on facts that characterize it as singular. There is perhaps nothing better than trying to film a moment to realize the great difficulty of transmitting it on a screen. Overall tonight's movies were edited in the camera during filming to create visual moments from a succession of images appearing on the screen simultaneously.