ФИЛМОВИ СТУДЕНАТА ФАКУЛТЕТА ЛЕПИХ УМЕТНОСТИ ИЗ ТУРА, ФРАНЦУСКА
ALTERNATIVE FILM/VIDEO 2012.
Petak / Friday, 7. decembar
17:00 Mala sala / Small Hall
FILMOVI STUDENATA FAKULTETA LEPIH UMETNOSTI IZ TURA, FRANCUSKA / Prese
ALTERNATIVE FILM/VIDEO 2012.
Petak / Friday, 7. decembar
17:00 Mala sala / Small Hall
FILMOVI STUDENATA FAKULTETA LEPIH UMETNOSTI IZ TURA, FRANCUSKA
Presentation of students films of Art department at the Ecole Superieure des beaux-arts, Tours, Angers, Le Mans, site de Tours.
Predstavlja / Presented by David Kidman
Elodie Dos Santos, Stase, env 6’ Bubble env 6’
YouNa Lee, The Thing env 7’
Hye Jin Park, Finger Tap, 3’
Myounghee Park, Manifestation, 4’
Catherine Martin, Theatre, 1’
Solène Bourdeau, Night Ride, 5’
Nicolas Terrason, Circuit Boards, 3’
Massinissa Selmani, Paraboles, 1’, Countdown(Marouane), 1’
Simon-Pierre Coftier, La Lisière (On the edge of the Forest), 7’
Eva Houzard, Fountain, 3’
Sion Lee, Wipe Out, 3’
Hélène Pirés, Overlook, 2’
Julie Mansillon, Swimmingly, 4’
Benjamin Robert-Duterde, Walking Series, 5’, Crossing Series, 5’
Radovi studenata Odseka za umetnost Fakulteta lepih umetnosti, Tur-a, Anger-a, Le Man-a, i grada Tur-a.
Predavanje filma i videa u umetničkim školama i na fakultetima sasvim je drugačije iskustvo od predavanja istoga na filmskim školama ili filmskim akademijama, jer veoma retko bi neki student napisao scenario pošto većina ideja koje im padaju na pamet beleže se u formi skica, beležaka, nažvrljanih "dudl" skičica, a onda sledi uobičajene konverzacije u četiri oka gde će se odrediti pravac u kome će se predloženo delo razvijati. Iako su sugestije koje dajem uglavnom vezane za izbor teme, forme dokumentarnih filmova, strukturalnog filma, ili ponovnog otkrivanja žanra, radovi koje stvaraju studenti često prevazilaze prostorno ograničenje pojedinačnog ekrana i često mogu biti veoma izazovni u smislu vremenskog okvira koji to delo nalaže, da li će biti dugačko ili kratko, "ulupovano" (u formi petlje) ili linearno. Stoga, selekcija radova koju sam sačinio za ovu prezentaciju i projekciju može biti samo parcijalna. Moguće je dakle da će neki od radova biti upotrebljeni u formi instalacije, ali takođe je moguće da budu predstavljeni kao rad za samo jedan ekran ili da se ulupovana forma naznaći projekcijom ponovljenom tri puta tokom ove prezentacije.
Postojeća pitanja vezana za stvaranje ovog dela proizilaze iz interesa za eksperimentisanje, što je inače stanje sine qua non studentske prakse na studijama umetnosti, kao i preispitivanja kako istorijske tako i savremene prakse u stvaranju filmskog ili video dela. Ovo znači da tradicionalni akademski pristup koji podrazumeva praćenje majstorevog pristupa, i zatim adaptiranje istog, više nije ispravan i primenjiv, jer rad koji se predlaže mora da potekne od jednog drugačijeg iskustva od onog koji nudi učitelj, čija je uloga da omogući studentu da održi koherentni pristup tako što će mu pružati teorijsku i praktičnu podršku i argumentaciju.
Ova serija video-radova zasniva se na interesovanju studenata za performativne i dokumentarne elemente. Radovi sa dokumentarnim pristupom pokrivaju raspon tema, počevši od nekakve situacije i dešavanja kao u radovima Simona-Pjera Koftijera (Simon-Pierre Coftier), Mjungi Park (Myounghhee Park), Katarine Martin (Catherine Martin), ili radu Sion Lija (Sion Lee), a ponekad, kao u kratkometražnim filmovima Masinise Selmani (Massinissa Selmani), koji koriste animacione tehnike u crtežima koji potiču iz stripova iz dnevne štampe, i koji se bave političkim pitanjima a koji su iskazani u formi apsurdnih petlji koje se ponavljaju. Drugi autori, poput Elodi Dos Santos (Elodie Dos Santos), razmatraju efekte nenajavljenih performansa unutar društvenih konteksta, koji mogu dovesti do, kao u slučaju rada Stase, jedne formalne strukture koju gledalac treba da dešifruje. U filmovima Joune Li (Youna Lee) jedan daleko razigraniji metod preispitivanja percepcije se koristi, u kome gledaoci moraju, bukvalno, da se preispituju o onome što gledaju, a tragovi koju sugeriše zvučni zapis takođe mogu biti deo igre. Filmovi Huje Jin Park (Hye Jin Park), Helen Pires (Hélène Pirés), Eve Huzar (Eva Houzard), Džulije Mansilon (Julie Mansillon), i Benjamina-Robera Duterda (Benjamin Robert-Duterde) i koriste fizičku i vizuelnu imprimaturu tvorca u svojim strukturama, performans postaje neodvojiv od slika. U radu Solene Bordo (Solène Bourdeau) i Nikolasa Terasona (Nicolas Terrasson ) glavna tema je dočaravanje Vasione.
Prevod: Mihailo Ristić
Work from the students of the Art department at the Ecole Superieure des beaux-arts, Tours, Angers, Le Mans, site de Tours.
Teaching film and video in an art school is a very different experience from that of the film school, it is very rare that a student writes a scenario, most of the ideas for films are jotted down in the form of sketches, notes, doodles, with the complementary conversation one on one determining the route which the piece will take. Although the propositions that I make are often thematic; forms of documentary, structural cinema, the reinvention of genre, the work produced by the students often goes beyond the spatial constraints of the single screen and can frequently be challenging in terms of the timescale that the work involves, long or short, looped or linear. As a result, the selection that I have made for this screening can only be partial. It may be that some of the work has been used in installation form, but can be made into a single screen piece or that the looped form has been referenced by using three repeats in this representation.
The questions involved in making this work are derived from an interest in experimenting, which is the sine qua non of the art student’s practice, and questioning the basis of both historical and contemporary practice in the making of the work. This means that the traditional academic approach involving following a master’s approach then adapting it is no longer valid, the work proposed must come from a different experience to that of the teacher, whose role is to enable the student to maintain a coherent line by offering theoretical and practical support and argument. This series of videos takes into account the performative and documentary elements of the concerns of the students. The documentation ranges from that of a situation, as in Simon-Pierre Coftier, Myounghee Park, Catherine Martin or Sion Lee's work, sometimes, as in the short films of Massinissa Selmani, using animation techniques in drawings derived from press cartoons, address political issues in the form of absurd loops. Others, such as Stase, by Elodie Dos Santos, consider the effects of unannounced performance within social contexts, which may lead to, as in the case of Stase, a formal structure for the spectator to decode. In Youna Lee's films a more playful method of questioning perception is used , in which the spectators have to, literally, ask themselves what they are looking at, the clues in the soundtrack may also be part of the game. The films of Hye Jin Park, Hélène Pirés, Eva Houzard, Julie Mansillon, and Benjamin Robert-Duterde use the physical or visual imprimatur of the maker in their structures, the performance becomes indissociable from the images. In the work of Solène Bourdeau and Nicolas Terrasson an evocation of a universe is the central feature.