Manon de Boer

Voici encore une proposition d'artiste que je trouve très interessante pour le projet.
Sabrina

Manon de Boer (Inde)
vit et travaille à Bruxelles, en Belgique. Elle réalise des films, des vidéos, des installations et écrit. Utilisant la narration personnelle comme méthode, Manon de Boer explore la relation entre le langage, le temps et la recherche de la vérité. Elle explore aussi la perception du temps à travers un usage conscient du film en tant que médiateur artistique et en analysant son effet sur le spectateur. La manière dont elle dépouille l’image, le son et la musique dans ses compositions modifie subtilement le schéma classique de perception du film.
Son travail a été montré, entre autres, au festival FIDMarseille, à IFFR Rotterdam et à la Viennale, à Vienne.

→ Site à consulter: http://manondeboer.blogspot.com/
http://www.mapmagazine.co.uk/index.cfm?page=984F1E34-BDF5-2379-71075D0184E53D92&articleid=399


Elle a fait une exposition à Francfort en 2008 sous le titre 'The Time That Is Left' :

Dans le cadre de l'exposition, on pouvait consulter tout un archiv de son des interviews que l'artiste avait fait avec des musiciens, des danceurs et des componistes des années 1970.
En plus, des images, des textes et des scripts que Manon de Boer avait utilisé comme sources faisaient également partie de l'exposition.

→ Cela m'a fait penser au concept de la bibliothèque.


Pour donner une impression de son travail : voici trois propositions

1)Attica / Coming Together - Two Times 4’33’’ 2008


In ‘Two Times 4’33”’, 2008, exhibited at the Berlin Biennial (bb5), 2008, de Boer films pianist Jean-Luc Fafchamps performing John Cage’s mute composition before a live audience in a studio space in Brussels. 

The 35mm film is comprised of two takes. In the first, we watch as Fafchamps performs the silent work, whose stillness is inhabited by the atmospheric sounds of the studio. In the second, the camera pans steadily across the audience, travelling over each member as a lighthouse beam passes over a landscape, until finally coming to rest on a window through which trees thrash, soundlessly, in the wind. This second take is completely silent, save for Fafchamps’ punctual striking of a timer to mark the divisions between Cage’s three movements. In the rarefied quiet created by de Boer’s repetition, the bodiless pitch of a dark screening room comes to generate the ambient noise: spectators shifting in their seats, the whirr of the projector. The audience becomes the voices of the mute chorus in the film, while the bodily awareness that attends deep silence is transposed onto the on-screen spectators. 

Effectively, one is watching the watchers, with the self-conscious spectatorship that pervades de Boer’s work. In the films ‘Laurien, March 1996 – Laurien, September 2001 – Laurien, October 2007, 1996-2007’, 1996-2007 and ‘Robert, June 1996 – Robert, September 2007’, 1996-2007, we see two individuals deeply engaged in some activity taking place off-screen. Like Warhol’s ‘Blowjob’, 1964, the inscrutability of the act (in fact, reading and playing guitar respectively) is countered by the legibility of the portrait. As in ‘Blowjob’, the countenance in ‘Laurien’ and ‘Robert’ passes through states of absorption and abstraction; it is as though, in setting up a mirror to the viewer’s own vacillating attentions, de Boer’s films propose a new reflection of the spectator (as a reader) to replace Warhol’s (as a subject to be pleasured). 


2) „Sylvia Kristel – Paris“

is a documentary movie about a pop icon From the 70’s, Sylvia Kristel, a Dutch actress and model who became famous for her role in the soft-core movie Emmanuelle, one of the most successful French films ever. During a period of two years, Manon de Boer asked Kristel twice to talk about cities where she had lived. By separating image and sound, portrait and voice, the documentary introduces an element of doubt to the viewer, appealing to the collective memory, in which Kristel equals Emmanuelle.

"In most of my work, there’s an element of doubt in relation to interpretation. For instance in the film Sylvia Kristel – Paris, Kristel speaks twice, with an interval of one year, about the time that she lived in Paris. The two stories are different, but you can’t say that one of the two is true and the other false. "
"I want the viewers to question the stability of identity by introducing doubt, but also by separating sound, image and text. The different elements that construct a film or a work are put into dialogue with one another. Instead of creating a homogeneous whole with which the viewer can identify, the viewer is always held on a slight distance, which can create a critical space."

3) „Resonating Surfaces, 2005“

Resonating Surfaces is situated in the Parisian intellectual climate of the 70’s.Through personal memories of Suely Rolnik, a psychoanalyst from Brazil who has lived under the dictatorial regime of general Humberto Branco and moved to Paris afterwards, this film portrays an individual, a city and an attitude towards life. The construction of meaning in the film is built on diverse elements: image, sound, text and even voice. They all have separate significance, sometimes questioning each other, at other times totally detached.

In “Resonating Surfaces” the voice begins with a dying scream, and subsequently you hear a voice as sound/timbre without meaning, then it becomes a stream of incoherent words and, finally, a text. Without coinciding with the story of Rolnik this evolution in the voice exists as an echo of it. Thus, de Boer constructs a physical space for the voice, its physical presents and images it summons. Therefore, in that cluster of layers the voice, as a unique human phenomenon in which language and body meet together, emerges as a fourth layer.