Archives du mot-clé new york

des rives

Installation, 1998  double écran séparé dans l’espace  formant un angle de 120° son stéréophonique , Separate Twin screen, stereo sound by Thomas Köner

Des Rives est une installation cinématographique consistant en trois projections simultanées dans un environnement sonore spatialisé par Thomas Köner. Deux projections côte à côte sur des écrans bifaces, la troisième au sol, les séparent. Sur les deux écrans suspendus du sol au plafond nous sommes immergés dans la ville de New York alors que sur l’écran anamorphique au sol nous sommes confrontés à un autre espace : les vagues de l’océan pacificique.

rives04

Dans Des Rives sont entremélés des travellings de rues et avenues de Manhattan et autour de Manhattan à partir du New Jersey, de Brooklynn et Queens. Chaque image projetée sur ces écrans est un composite de trois vues distinctes de New York, assemblées comme les pâles d’un éventail.
La projection sur le sol est de forme trapéïzodale. Une ligne de lumière qui sépare les deux écrans suspendues et offrent une vision de la « nature » : des vagues se brisant sur des plages de Californie. Ce projet consiste à faire se côtoyer deux champs que tout oppose selon une mise en espace particuculière qui permet la perception d’une simultanéïté d’impressions visuelles et auditives correspondant à un effondrement de repères, autant qu’a l’affirmation du fragment comme instance de subjectivation de la nature et de la culture.

Collection : Musée National d’Art Moderne, Centre Georges Pompidou Paris , commanditaire de la pièce avec l’ AFAA, Villa Medicis hors les murs

 

Des Rives is a cinema installation consisting of three simultaneous projections in a sound environment. Two screens suspended in the air bathe the public in scenes of New York City. Multiple, fragmented images which wander across the surface of the projection screens. An incessant superimposition of visual and tonal strata intensifies the fragmentation, the deconstruction of a city : New York.
The image collide multiple and simultaneous views of Manhattan and Brooklyn, producing a moving kaleidoscope in the shape of a fan. The city is seen through wipers. A vertigo is set by the different movement within the image as much as by their treatment. The scale of the screen is not monumental, viewer are part of the image and interfere within the space.

The performance Des Rives is the latest work by the artists yann beauvais (F) and Thomas Koner (D). It is the spin-off an installation of the same name, in which a ride through New York City is transformed into what is practically a synesthesic experience. With a reworking of certain urban sounds as its point of departure, the music of Thomas Koner generates tension that elicits the film images through its intensive rhythms. The way of dealing with the voice, the offset overlay of image upon image like roofing titles make the performance into an experience in which the body become involved in a number of different respects.
The beholder is literally imprisoned within the sound, drawn into its multivarious circulating movement. With several loudspeakers arrange around the periphery, Thomas Koner produces a sort of tonal depth which endows the physical space – thought not the image- with a heightened reality.

Public collection : Musée national d’art moderne Centre Georges Pompidou

Visit Thomas Köner’s website

Read « Remembrances of things past » by Louise Crawford or see the full list of published texts

 

 

 


Visitez le site de Thomas Köner

Lire « Déambulations à travers quelques films et installations de yann beauvais » (extrait sur Des Rives) de Muriel Caron, lire « Un cinéma de la réminiscence » de Emmanuel Lefrant ou accéder à la liste complète des articles publiés sur Des Rives

New York Long Distance

Fr, En, Pt

Remerciements à Maureen Turim qui m’a suggéré le titre du film.

Ce film personnel fait se côtoyer des représentations d’une ville avec, sur la bande-son, des fragments autobiographiques. La distance du souvenir. La trace de cette distance façonne autant la mémoire que les lieux hantés par tant d’histoires, et fait voler en éclats nos repères. Éclats qui induisent un effondrement dans un tourbillon d’affects.

NYLD 1

 

 

 

 

Nyld jpeg

 


 

 

 

 

 

Œuvre appartenant à une collection privée

Thanks to Maureen Turim who suggested me the title of the film.

A film about my relationship to New York since 1962. It deals with the distance between a memory and the image of this memory, a distance one always tries to abolish.
In this personal film we see the images of a city from a close distance, with autobiographic fragments on the soundtrack. The distance of recollection. The trace of this distance shapes the memory as much as the places, haunted by so many stories, so that our marks will blow up in a crash. A crash leading to a collapse in a vortex of affects.

NYLD 3

 

Um filme sobre a minha relação com New York desde 1962. Ele lida com a distância entre uma memória, uma distância que sempre tentamos abolir. Neste filme pessoal, vemos as imagens de uma cidade a partir de uma distância próxima, com fragmentos autobiográficos  na trilha sonora. A distância do registro. O traço desta separação forma a memória, tanto quanto os lugares, perseguida por tantas histórias, de modo que nossas marcas vão explodir em um acidente. Um acidente levando a um colapso em um vórtice de afetos.

English translation voice over from the film track.

Although I arrived in New York the first time by boat, in ’62, my strongest memory is not of the Statue of Liberty (whose significance I’d come to understand later) but rather of the Roger Smith Hotel which for me had all the characteristics of a palace: the height, the grandeur, the imposing lobby, and then that oh-so-mysterious room: « Ten O Two » which was going to be our home for several weeks before we moved to upstate New York.

One day in ’83 coming down Lexington Avenue I noticed that it was right next to Grand Central Station. Was it the memory or the reality that made the splendor, now commonplace, disappear?

A few blocks further downtown, during a particularly frigid winter, a black man lay shot on the sidewalk. I had come to New York in 76 hoping that distance would blot out the emotional disarray of the end of an adolescent passion.

Arrivals in New York but also departures are moments out of time, parentheses. Getting off the plane, I’ve always loved to lose myself in this city, in vertiginous discoveries of other spaces: Christopher Street in ’78, the East Village in ’82.

I didn’t meet my first American lover in New York, but I often saw him there once he had moved back. I stayed with him several times in ’78, ’82, and ’83. He lived in the place formerly occupied by Millenium when it was founded.

A victim of AIDS, he commited suicide when he’d decided he no longer had the physical strength to go on. He held a going-away party; I called him that night to say good-bye, rather than going to see him for the last time.

It was in ’83, staying with Haoui, that I was first confronted by the homeless who were beginning to haunt Second Avenue. Over the years their numbers grew and a new survival economy developed.

In ’74, New York summer meant suffocating heat, the family’s break-up, put off for years, was finally accomplished. I was a witness not really involved in the disappearance; had the family ever existed?

I was upset to meet Patrick on 5th Avenue, he was living in Brooklyn, still painting (houses), and had abandoned his other ambitions. It was the kind of evening one would just as soon avoid. A painful confrontation. A distant echo of a passion of which nothing remained in ’89 except perhaps a fleeting memory.

In ’87, coming back from Buffalo with Miles, I realised that I’d taken this same trip numerous times in ’62 and ’74. Each time had been in the summer, but this time the greenery was not any longer a sign of decay and death.

To know more about New York Long Distance, read Scott Hammen’s article or readNew York Long Distance’s soundtrack.


Film belonging to a private collection

nyld prépa