{"id":256,"date":"2014-03-10T16:14:14","date_gmt":"2014-03-10T15:14:14","guid":{"rendered":"https:\/\/yannbeauvais.com\/?p=256"},"modified":"2014-09-20T15:15:43","modified_gmt":"2014-09-20T14:15:43","slug":"sans-titre-84","status":"publish","type":"post","link":"https:\/\/yannbeauvais.com\/?p=256","title":{"rendered":"SANS TITRE 84"},"content":{"rendered":"
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\"Sans<\/a><\/p>\n

SANS TITRE 84<\/i>\u00a0utilise des photos d\u00e9coup\u00e9es en bandes verticales, horizontales et diagonales d\u2019un objet hautement valoris\u00e9, l\u2019Arc de triomphe de Paris. Chaque photo n\u2019a que peu d\u2019int\u00e9r\u00eat, elle n\u2019est que le moment d\u2019une s\u00e9rie qui se dirige dans deux directions. La s\u00e9rialisation des photos appelle le temps. La s\u00e9rie fa\u00e7onne un temps qui subvertit la photo. Chaque photo des 4 s\u00e9ries (une autour de l\u2019Arc: 24 positions de prises de vues respectant l\u2019inscription au sol d\u2019une \u00e9toile \u00e0 24 branches, les 3 autres allant vers l\u2019Arc de trois avenues diff\u00e9rentes) est banale, standardis\u00e9e. Le m\u00e9lange des vues (2 \u00e0 2) produit de nouveaux objets qui mettent en place des moments distincts dans la rotation autour de l\u2019Arc. Ainsi des architectures sont-elles invoqu\u00e9es, convoqu\u00e9es dans leurs restitutions diff\u00e9rentielles de l\u2019objet initial. L\u2019objet se perd dans son image deux fois doubl\u00e9e et se reconstitue d\u00e9membr\u00e9. A chaque fois que le \u00abcher objet\u00bb s\u2019approche au plus pr\u00e8s de sa configuration perdue, l\u2019autre r\u00e9appara\u00eet et heurte de son h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 la belle homog\u00e9n\u00e9it\u00e9 refus\u00e9e.<\/p>\n

\"sans<\/a><\/p>\n

\u0152uvre appartenant \u00e0 une collection priv\u00e9e et au Mus\u00e9e National d\u2019Art Moderne (Centre Georges Pompidou)<\/p>\n

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\"sans<\/a><\/p>\n

Sans Titre 84<\/i>\u00a0employs photos of the Arc de Triomphe which are then cut into vertical, horizontal and diagonal strips. The serial aspect of the photos invokes time, shaping time which subverts the still photos. The Arc transforms itself by coupling with itself. the instantly recognizable identity of the object is thus short-circuited, creating tension in the gaze which seeks to re-establish that lost of identity, for the object gets lost in its twice doubled image and must reconstruct itself, dismembered. The image paradoxically and simultaneously gives of itself in order to withhold. The Arc de Triomphe\u2019s power is such that, even though heavily reworked through the strips, it tends to efface this reworking. Hence the necessity of twinning the screens. Offering a twin, if not identical one, which will attack the \u00ab\u00a0much longed for\u00a0\u00bb (politically, symbolically, touristically) object. Movements are simulated, realm of imitation, simulation of cinema. The film presents false movements. The work of fiction.<\/p>\n

\u00ab\u00a0Even more systematic in its d\u00e9coupage,\u00a0Sans Titre<\/i>\u00a0takes as its raw material photos of the arc de Triomphe taken from each of the avenues that join as the star geometry which gave the site its former name of Place de l\u2019Etoile. These views are interwoven using the same type of vertical striping used in Eliclipse: here, because the arch remains the object depicted in each image, a different result is obtained. The structural dismembering and reconstructing of the referential architecture form furnishes a series of new, inventive architectural designs, constructs free of the determining laws of the simple arch form, as well as the symbolic signifiance this monument has garnered. Architecture becomes hypothetical, redefining itself in an imaginary imaging of shifting elements. Displacement is the prionciple taht allows for this realignment of geometries against symbol and function.
\nBeauvais shows also\u00a0Sans Titre<\/i>\u00a0in double projection which introduces into the reassembled forms a visual doubling. In both versions, the film prposes to divest the image of the monument of its held significations, to erect instead a structured vision entirely based in film montage itself, without title, perhaps, to indicate this effacement of prefigured signifiance.\u00a0\u00bb
\nMaureen Turim in The Displacement of Architecture, Avant-Garde Films in Cinema & Architecture, Iris n\u00b0 12 M\u00e9ridiens Klincksieck, Paris 1991<\/p>\n

Film belonging to a private collection and to the Mus\u00e9e National d\u2019Art Moderne (Centre Georges Pompidou)<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

  SANS TITRE 84\u00a0utilise des photos d\u00e9coup\u00e9es en bandes verticales, horizontales et diagonales d\u2019un objet hautement valoris\u00e9, l\u2019Arc de triomphe de Paris. Chaque photo n\u2019a que peu d\u2019int\u00e9r\u00eat, elle n\u2019est que le moment d\u2019une s\u00e9rie qui se dirige dans deux directions. La s\u00e9rialisation des photos appelle le temps. La s\u00e9rie fa\u00e7onne un temps qui subvertit […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[65],"class_list":["post-256","post","type-post","status-publish","format-standard","hentry","category-films","tag-double-ecran-twin-screen"],"acf":[],"_links":{"self":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/256","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=256"}],"version-history":[{"count":4,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/256\/revisions"}],"predecessor-version":[{"id":755,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/256\/revisions\/755"}],"wp:attachment":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=256"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=256"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=256"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}