2015
CE QU'IL RESTE DE ROMANTIQUE
Benjamin Collet
Pierre Gaignard
Laura Haby
Benoît-Marie Moriceau
Thomas Teurlai
Jonathan Vinel
As an extension of the screening of the film The Land Where Mountains Float and the meeting with Pierre Gaignard, La Saison Vidéo is offering him a carte blanche, a clean slate. Five artists with whom he feels close ties are being invited on a romantic quest, or a quest for what remains of romanticism.
Benjamin Collet
#CashTalkArtStuffCantSleep, 2014, 2 mn
Production : supremEldorado
Fragments of life, punch lines taken from reality by a cell phone. We are at the heart of an intense life, his or ours, being continuously recorded. Shot-and-edited, the truth offered to us is painstakingly reported, like a sketch book. Each clipping, each form, each symbol and each colour is like something potential or the element of a future composition still in bits. With #CashTalkArtStuffCantSleep, Benjamin Collet offers us a raw snapshot of his formal research. PG
Pierre Gaignard
Stainless Texas Car Crash, 2014, 3 mn 40
Production : Contrefaçons & supremEldorado
In the cloudy countryside in a car equipped with a bull bar, a young girl gets ready for a physical shock... In between the lines of this pitch: the making of a sculpture using a car crash. With the vocabulary of the video clip, the film forges a sculpture-like image. It tries to give it an origin. With Stainless Texas Car Crash, Pierre Gaignard proposes a collateral experience: dissolving documents glorifying his way of making sculpture in a fantasy narrative. LH
Laura Haby
En Apnée, 2013, 6 mn
Sitting at a café table, the man has technical drive. Everything has already been precisely planned. He knows that people will try to obstruct his actions, but it doesn’t matter. He will end his days in a classy, brilliant way. The camera listens. We listen to the tale of a programmed death, hidden beneath the table. En Apnée/No Breathing Apparatus, by Laura Haby, provides a naturalistic narrative which goes astray in the spiritual and ideological wanderings of its protagonist. PG.
Benoît-Marie Moriceau
Concrete Sunset, 2012, 2 mn 40
Post card: the project involves the most beautiful of sunsets. The voice of Ty Mitchell transports us to the Chinati plateaus in Texas at nightfall. Surrounded by cowboys, holding a good cup of coffee, we watch day turning into night, as dark blue takes over from orangey reds. The rhetoric of the cowboy together with the eloquence of the shaded colours are hypnotic. Benoît-Marie Moriceau is not there. But his Sunset Concrete will remain. PG
Thomas Teurlai
Fishfactory, 2012, 3 mn
Production : Autoproduction Gitane & T. Teurlai
The atmosphere is heavy with objects not easy to identify and textures which are composite. The setting slowly shifts as if gravity were being suddenly heightened. Hybrids come to life of their own accord, turn by turn. Strange machines for producing the cinematographic effect, they seem to be turning their back on their original function and only come to life for themselves. PG
Jonathan Vinel
Notre amour est assez puissant, 2014, 9 mn 15
La Femis, Paris
A digital mercenary fires in every direction, declaring his passionate love for Nathalie, a rising star at KBPS. A love story explodes and is consumed pixel by flaming pixel. “Shot” in an abandoned virtuality, life no longer seems to have its place in it. All the images exist already, chewed up and remixed. The prospect of a world drowning in information. And love in all this? Too late. We are all already dead. Notre amour est assez puissante/Our Love Is Strong Enough by Jonathan Vinel dissects, layer by layer whatever romanticism is left there. PG