Camille Henrot’s work reveales, by it’s handcraft production process using scratching on filmroll, the materiality of the filmic support, thus altered. The artist often appropriates herself existing movies to make a video in animattion drawing, unlike Lansky that was made with a blank color film made black by simple light exposure. Paying a tribute to electro-acoustic composer Paul Lansky, this video is joint together in a mathematic like shooting script of musical sequences made by Benjamin Morando and François Goujon (Octet) after the famous piece Ilde Catter (1985). To each musical sequence corresponds an animation sequence which, far from a strictly narrative linearity, could as well be alterned or loop. One thinks (s)he catches sight of a bees swarm or of crying ghosts, but they vanish to give place to the more emotionate universe of a childhood reminiscent of melancholy. Verane Pina
Camille Henrot’s work reveales, by it’s handcraft production process using scratching on filmroll, the materiality of the filmic support, thus altered. The artist often appropriates herself existing movies to make a video in animattion drawing, unlike Lansky that was made with a blank color film made black by simple light exposure. Paying a tribute to electro-acoustic composer Paul Lansky, this video is joint together in a mathematic like shooting script of musical sequences made by Benjamin Morando and François Goujon (Octet) after the famous piece Ilde Catter (1985). To each musical sequence corresponds an animation sequence which, far from a strictly narrative linearity, could as well be alterned or loop. One thinks (s)he catches sight of a bees swarm or of crying ghosts, but they vanish to give place to the more emotionate universe of a childhood reminiscent of melancholy. Verane Pina
DirectorCamille Henrot
