You
You
It's Marta Gilly who offered me
a theme exhibition
and it's logical because
for ten years, we can see very well that the question of the image is addressed
on a very social, very political level.
Goya is a starting point for me.
For many reasons, historical, aesthetic,
even philosophical, because you mustn't forget that Goya is exactly the contemporary of Kant
and they said things quite close to know that society has to be criticised.
It's the cinema that has the best approach to the question of the rise,
in my opinion, in modernity.
And it's the same for this film by Maria Kokota.
The film is called Remontage from classic films.
When you see the rise of Eisenstein, when you see zero driving,
you already understand what a rise is.
If this exhibition is divided into five parts that have simple words,
elements, gestures, words, conflicts, desires,
these are not categories.
In fact, it's a story I'm telling.
I hope that the viewer will understand that from one word to another,
I'm not training it from one category to another,
but I'm training it from one moment from one story to another.
At first, it's like you wake up in the morning,
you open the window and you see the storm coming.
The elements are coming, you say,
something is going to happen.
So it's the beginning of a story.
In this part, all the surfaces rise up
and, in fact, the little magnificent painting,
which is an allegorical painting of what happened in the revolution.
The wind that rises up, the drapris,
especially in Manere, in the story I'm telling you,
is the desire.
That's why it starts like this,
with drapris that rise up,
which are the indication of desire in all classical art,
in all art of rebirth,
and then we are already in my head,
I want to bring my viewer to the end of the exhibition,
which will be about desire.
When I ask myself the question of rising up,
I ask it in a very corporate,
very gestural, very immediate way.
It's not a theoretical question,
it's that we rise up, our body rises up.
The body refuses its prison,
so the body raises its arms, etc.
Well, between Courbet who shows it magnificently,
but already before him of the cross,
the freedom in the people,
and then Pascal Convert who is in front,
and then of course Gilles Caron,
who has superbly seized this gestural moment.
The first sound of rising up is a cry,
and then it's a word, it's the word no.
And suddenly, the people who are in the avant-garde of it,
are the poets,
because they are the poets who transform our language.
They are the poets,
they are the poets,
they are the poets,
they are the poets,
they are the poets,
they are the poets,
they are the poets,
they are the poets who transform our language.
Usual.
This mercy of García Lorca,
what is very beautiful,
is when the fact of rising up is innocent.
It is seen in Jean Vigo,
it is seen in Anette Messager,
the innocence of people who disagree.
They don't want to take power,
they just disagree.
Chris Marquer,
Gorin, Godard, René,
invented this form of cinema,
but for example in the part
that was entrusted to Marie Lechner,
this journalist
who specializes in digital resistances,
it is an evolution of the form of tract
through social networks, for example.
In the case of the sound of the world,
what it is to spread its refusal
in a poetic way,
by finding the right words.
Once you really say a lot
the words of your refusal,
you go,
and then it starts, of course.
So it is a very intense part
in the exhibition.
In general, it fails,
a revolution can succeed,
but it is not the theme of the exhibition.
So we die in front of his barricade.
It is terrible,
there are terrible images,
Alvarez Bravo,
there is an extraordinary manner
of the time of the commune.
The worst case is
people who know
who are going to die.
We live in a very difficult time.
I would say that it is very easy
to describe it at that time
as an apocalypse.
The example of the photos of Auschwitz
shows that even if we want to cry
and even if we say,
in two days I am very dead,
the fact of transmitting something
shows what I call
the indestructibility of desire.
Desire is stronger than us.
Desire goes beyond our lives.
The two artists we have ordered
from the works
are also
the same or the same
or different
as what Goya was interested in at the time.
People as weak as they are,
they have the power to cross
a wall, a wall.
Something we want to prevent them,
but they will pass like that.
It is disgusting.
So the idea of this exhibition
is that we get up,
it often happens,
but at the end,
it will never stop.
Because if the desire stops,
then life stops.
Learn more about Auschwitz
you
