{"id":262,"date":"2014-03-10T16:20:57","date_gmt":"2014-03-10T15:20:57","guid":{"rendered":"https:\/\/yannbeauvais.com\/?p=262"},"modified":"2014-11-03T19:59:50","modified_gmt":"2014-11-03T18:59:50","slug":"void","status":"publish","type":"post","link":"https:\/\/yannbeauvais.com\/?p=262","title":{"rendered":"VO\/ID"},"content":{"rendered":"

VO\/ID<\/i>\u00a0juxtapose deux textes distincts, l\u2019un en fran\u00e7ais l\u2019autre en anglais. Les textes interrogent l\u2019art et le cin\u00e9ma exp\u00e9rimental, le r\u00f4le du march\u00e9 dans le fa\u00e7onnage de crit\u00e8res esth\u00e9tiques, et la politique actuelle… Dans chacun des textes des mots usuels de l\u2019autre langue surgissent cr\u00e9ant une ind\u00e9termination du mot \u00e0 tel ou tel discours. Cette ind\u00e9termination s\u2019accro\u00eet par les nombreux jeux de mots cr\u00e9\u00e9s entre les deux langues. Ce qui entra\u00eene une lecture double: verticale et horizontale favoris\u00e9e par le mot \u00e0 mot. La dur\u00e9e d\u2019exposition de chaque mot d\u00e9pend de la rythmique de chaque langue, mais leur apparition en blanc ou en noir n\u2019y est pas soumise. Face \u00e0 ces textes, deux sons interviennent et perturbent autrement la concentration requise par les textes projet\u00e9s. La lecture horizontale des deux discours est souvent en contradiction manifeste avec le signifi\u00e9 de ces derniers. Ce troisi\u00e8me discours visuel est ludique, cassant, se moquant du s\u00e9rieux du\/des discours.<\/p>\n

\n

Son : Gilles Deleuze lisant un texte de Friedrich Nietzsche sur une musique de Richard Pinhas et Mick Jagger, Cock Sucker Blues<\/p>\n

\u0152uvre appartenant aux Archives du film exp\u00e9rimental (Avignon), au Mus\u00e9e National d\u2019Art Moderne (Centre Georges Pompidou) et \u00e0 l\u2019Art Gallery of Ontario (Toronto).<\/p>\n

 <\/p>\n

VO\/ID<\/i>\u00a0places side by side two distinct texts, one in French, the other one in English. Both texts deal with art and politics, with politics of art and its market. The field occupied within the art world by experimental film and their makers is investigated. Two distinctive soundtracks (sexuality on one side, philosophy on the other) distract the viewer from his understanding of the written word.
\nBetween the two visual texts, bilingual puns are produced, inducing a third text (language). this new text authorizes a horizontal reading of the film which contradicts the flow offered by the two screens. Word after word the third text makes fun of, a mocking parody of, the seriousness of the Discourse.<\/p>\n

Sound : Gilles Deleuze reading a text by Friedrich Nietzsche on a music by Richard Pinhas and Mick Jagger, Cock Sucker Blues<\/p>\n

Film belonging to the Archives du film exp\u00e9rimental (Avignon), to the Mus\u00e9e National d\u2019Art Moderne (Centre Georges Pompidou) and to the Art Gallery of Ontario (Toronto\"void<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

VO\/ID\u00a0juxtapose deux textes distincts, l\u2019un en fran\u00e7ais l\u2019autre en anglais. Les textes interrogent l\u2019art et le cin\u00e9ma exp\u00e9rimental, le r\u00f4le du march\u00e9 dans le fa\u00e7onnage de crit\u00e8res esth\u00e9tiques, et la politique actuelle… Dans chacun des textes des mots usuels de l\u2019autre langue surgissent cr\u00e9ant une ind\u00e9termination du mot \u00e0 tel ou tel discours. Cette ind\u00e9termination […]<\/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":[72,74,73,40,71],"class_list":["post-262","post","type-post","status-publish","format-standard","hentry","category-films","tag-double-ecran-texte","tag-film-comme-texte","tag-politics-of-films","tag-text","tag-twinn-screen-film"],"acf":[],"_links":{"self":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/262","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=262"}],"version-history":[{"count":3,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/262\/revisions"}],"predecessor-version":[{"id":953,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/262\/revisions\/953"}],"wp:attachment":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=262"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=262"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=262"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}