Zeuxis 25 – L’art de l’hybridation selon Johanna Vaude par Raphaël Bassan

Zeuxis 25

« L’art de l’hybridation selon Johanna Vaude » par Raphaël Bassan

english (english below)

  • Zeuxis
  • Zeuxis

« L’art de l’hybridation selon Johanna Vaude » par Raphaël Bassan in « Zeuxis » n°25 (15 septembre), p 31, 2005.


« The filmmaker Johanna Vaude, who realized certain experimental masterpieces of the last ten years (L’œil sauvage (Wild eye), on 1998; Notre Icare (Our Icare), on 2001), presents us, within the framework of the sessions dedicated to the avant-gardes by Nicole Brenez in the French Film library, of a programming in the form of a programming in the form of reflections multiforms on one of the major axes of experimental media(audiovisual), that of the hybridization inter-supports (argentique, digital, photos). This program, which covers (one Friday evening on two) September and October, is divided into three axes which are so many visual and theoretical propositions on the subject.
Johanna Vaude distinguishes the films of « transplant » which group together(include), on the depiction of the same work, elements resulting from diverse sources (video, digital, argentique) and live without damaging itself or opposing : Letter to Freddy Buache (Jean-Luc Godard, on 1982), Fast film (Virgil Vidrich, on 2003).
The films of « fusion » which mix all the supports without distinguishing them (photos, mini-DV, 16 millimeters, Super 8…), and whose mixing declines under the shape of a dissimilar material sources of which we cannot track down any more: Terrae (Ottello Vilgard, on 2001), De l’Amort (Johanna Vaude, on 2006).
The panorama closes with the « hereditary » said films, the sections formed by only digital conceived works, but which keep, in hollow, as a genetic track of the practices appropriate for the experimental movies ( argentique ): recycling, scratching, flicker, use of found footage : Spitfire (Patrice Kirchhofer, on 2005), Empire (Edouard Salier, on 2005).
When the production of supports argentiques is threatened (progressive abolition of Super 8 film today, 16 mm film tomorrow) and widely replaced by the use of mini-DV in the artistic creation, and where the ‘ new seers ‘ of the state-of-the-art said technologies want to appropriate, at the same time as the novelty of their support, that also the aesthetic innovation, this demonstration, which puts clocks(pendulums) at the hour, is welcome. The first radical works on the abstract image, attacked (affected) chemically, diverted, etc., were carried out by the film-makers from the 1920s. It is always useful to remind it.»

Cinémathèque française (French Film Archives) until 20th October.

« L’art de l’hybridation selon Johanna Vaude » par Raphaël Bassan in « Zeuxis » n°25 (15 September), p 31, 2005.


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