visions glimpsed robert cahen - Musées de Strasbourg

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VISIONS GLIMPSED
ROBERT CAHEN
MODERN AND CONTEMPORARY ART MUSEUM
15 MARCH / 11 MAY 2014
Press Relations
Communications Department, Strasbourg Museums
Julie Barth
julie.barth@ strasbourg.eu
Tel.: +33/(0)3 88 52 50 15
Fax: +33/(0)3 88 52 50 42
www.musees.strasbourg.eu
PRESS FOLDER « VISIONS GLIMPSED. ROBERT CAHEN »
MUSÉE D’ART MODERNE ET CONTEMPORAIN, STRASBOURG, 15 MARCH – 11 MAY 2014
1.
PROJECT
PAGE 2
2. WORKS PRESENTED
PAGE 3
3. BIOGRAPHICAL RESUME AND SELECTED PERSONAL
AND COLLECTIVE EXHIBITIONS
PAGE 5
4. FILMOGRAPHY
PAGE 7
5. SELECTIVE BIBLIOGRAPHY
PAGE 9
6. PUBLICATION
PAGE 10
7. EDUCATIONAL AND CULTURAL PROGRAMME
PAGE 12
8. VISITOR INFORMATION
PAGE 13
9. PRESS VISUALS
PAGE 14
1
1. Project
Robert Cahen is considered a pioneer In the history of video art. Over the last forty years he has been
producing poetic work founded on universal themes such as journeys, encounters or death and
characterized by an emphasis on the texture and rhythm of the images. This visual experimentation
derives from his previous experience as a composer in the ORTF Music Research Group and his
transposition of the language of musique concrète into video terms. This can be seen in his use of
such varied effects as oscillation, double exposure, slow motion, shifting and retention of images.
Numerous workshops, residences and international festivals have gained recognition for Robert
Cahen's work all over the world and he is among the French video artists who are most often
exhibited outside France. This exhibition is, however, the first to be devoted in France to this artist for
nearly twenty years. It is not so much a retrospective as an journey through a series of works, from
L’Entr’aperçu (Fleetingly Glimpsed, 1980) to Françoise endormie (Françoise Asleep, 2014), and
revealing a highly personal world of "visions glimpsed".
Here the use of the term entrevoir has three distinct senses: first, what is at work between the
images; then an entre-temps, or time lapse, specific to memory processes; and finally a voir entre, or
"seeing between", in which a dialogue is set up between those being filmed and the spectator.
Central to the exhibition are the installations, including L’Entre (The Between) – produced in 2014 by
the MAMCS – while, in the sixteen works that go to make up the exhibition sequence, the author
explores the image itself, the space it occupies, its movement and its construction, between
appearing and disappearing.
"Entre voir !" can thus be heard as an invitation – "Enter and see !" – running counter to the
mundanity of today's images, an invitation to perceive the Real transcended.
Exhibition Curator: Héloïse Conésa, curator at the Museum of Modern and Contemporary Art
Scenographer: Thierry Maury
As part of their support for artistic creation, one of the strong points of the association's policy, the
AMAMCS has contributed to the production of the installation entitled "Entrevoir", which is being
presented in this exhibition.
2
2. Works presented
Visions fugitives / Fleeting Visions (1995-1997).
7 x 5’, video installation, colour, sound
Monitors enclosed in 7 oblong wooden crates, each showing a looped video sequence
Image: Robert Cahen / Acoustic design: Michel Chion
Fonds Régional d’Art Contemporain d’Alsace, 1998
Placed as an introduction to the exhibition at the entrance to the Museum, this installation keeps the
viewer at a distance from the images, as if he were seeing these fleeting yet symbolic visions of the
East through a telescope. In the artist's own words, "For me, it is in the idea of the passage that
something essential takes shape; it is from this idea that these seven short poems have been
written, fleeting visions of a China half perceived, half seen, half heard, constantly in motion."
Artmatic (1980).
4'15'’, video, colour, sound
Special effects: Dominique Belloir, Robert Cahen / Editing: Alain Longuet / Soundtrack: Robert
Cahen. Film made with the first French digital ciné camera, an invention perfected by Jean-François
Colonna, Lactamme, École Polytechnique, Paris
Artist's collection
The camera used was the first to be made in France – at the Lactamme-École Polytechnique. It was
designed to capture certain movements, those of the artist's hand for example, digitizing the images
every 3 to 5 seconds and colouring them. Various effects catching our visual attention, such as shifts
of materials and colours, were thus made possible. Digitizing images as early as 1980 was a
considerable technical feat.
L’Entr’aperçu / Fleetingly Glimpsed (1980).
9', video, colour, sound
Special effects: Stéphane Huter / Images, editing and soundtrack: Robert Cahen
Production: INA, Groupe Recherche Images, Serge Com
Artist's collection
In a series of shots following one another in rapid rapid succession, L'Entr'aperçu reveals the hidden
scenes of a mysterious interview between two characters. The aim is to unmask the real by
concentrating on the desire to see, to know what it is that is presented as "fleetingly glimpsed", when
in fact it should be seen.
Traverses / Crossings (2002).
30’, continuous loop video projection, colour, silent
Special effets: Patrick Zanoli
With support from Le Fresnoy - Studio National des Arts Contemporains, CICV Pierre Schaeffer,
Montbéliard-Belfort, ZKM Karlsruhe, DRAC Alsace Musée d’Art Moderne et Contemporain de
Strasbourg, Harris Museum, Preston, UK, artist's collection
Human figures emerge from a fog and are gradually enveloped in the opaque whiteness. These
barely discernible wraiths, with their powerful aura, were obtained in postproduction by incrusting the
figures and the white mist, using the "Inferno" machine.
Entrevoir (2014).
18’, video installation, continuous loop panoramic double image projection, sound, colour
Steadicam: Bruno Soupart / Editing: Thierry Maury / Acoustic design: Francisco Ruiz de Infante
(soundtrack extracts from Ingmar Bergman's Wild Strawberries) Studio Autour de la terre,
Production: Boulevard des Productions – Pixea Studio
Artist's collection
The work, made up from panoramic shots of landscapes (forests, fields, thickets) projected on to two
large flate screens, invites the viewer to immerse himself in the natural setting while at the same
time keeping it at a distance, through the gap between the two projected images. The soundtrack of
the installation was made in collaboration with Francisco Ruiz de Infante, using Bergman's Wild
Strawberries. It adds to the mystery and melancholy emanating from this "crossing" of the landscape
while at the same time incorporating a fictional or narrative dimension.
3
Françoise (2013).
6’, continuous loop projection on suspended transparent display, colour, silent
Image: Robert Cahen
Artist's collection
Here, the artist has filmed his sister. The use of close-ups and scarcely perceptible changes in
expression give to this time-weathered face the serenity of a landscape, a mirror of the soul.
Portraits (2013).
5’, continuous loop projection on transparent display, black and white, silent
Image: Robert Cahen
Production: Pixea Studio
Artist's collection
The artist has brought back these silent dialogues from his many journeys. Who is looking at whom,
and to see what? Long, almost static shots probe the mystery of the other. The gaze - at times frontal
and persistent, at times gradually revealing itself - becomes the fulcrum of this visual dialogue. From
it emerges something that is beyond appearances, a tacit understanding of the relationship with the
other. These portraits are forerunners of work planned by the artist on a subject defined by Michel
Chion as "individual anonymity".
Françoise endormie / Françoise Asleep (2014).
5’, continuous loop projection on transparent cloth, colour, silent
Image: Robert Cahen
Production : Pixea Studio
Artist's collection
Once again, it is the figure of the artist's sister who is central to the installation. The viewer is not
confronted with a supposed funeral vigil but asked to contemplate a seemingly sleeping figure. Like
the slight movements of the camera, the fact that the image has been stood on its side contributes,
if not to exorcising death, at least to suspending the flight of time.
L’Entre / The Between (2014).
12’, continuous loop mural projection, colour, silent
Image : Robert Cahen / Editing, spécial effects: Thierry Maury
Artist's collection
L’Entre presents those whom the artist calls "the world's passers-by", bringing together those being
filmed as much as those observing them. The effect of these appearances and disappearances,
accentuated by the striated images, is to give the viewer the feeling that he is himself moving and to
make it difficult to identify any particular face. The artist is addressing our memory and inciting us to
pick out from this criss-crossing stream of portraits those men and women who strike a chord in us
and give us a déjà-vu sensation.
Le maître du temps, Pierre Boulez dirige Mémoriale / The Master of Time, Pierre Boulez conducts
Mémoriale (2011).
Performed by the Ensemble Intercontemporain
7’, two HD continuous loop projections on a surface, colour, sound
Head cameraman: Guillaume Brault / Sound engineer: Frédéric Prin
Production: Le Fresnoy - Studio National des Arts Contemporains
Artist's collection
The artist films Pierre Boulez conducting the Ensemble Intercontemporain in his piece "Mémoriale",
composed in 1985. Mémoriale is a short work for flute and eight instruments, written in homage to
Larry Beauregard, who died in that year. Beauregard was a flute player who had worked to find an
interface between computer and musical instrument. In the composer's words, he was a "model of
what, ideally, every musician of the future should be."
Pierre Boulez, L’art de diriger / Pierre Boulez, The Art of Conducting (2011).
11’, projection on monitor
Editing: Thierry Maury
Production: Le Fresnoy - Studio National des Arts Contemporains, Pixea Studio
Edited with the support of Festival Musica
This interview with Pierre Boulez, essentially on the subject of conducting the orchestra, was
conducted by the artist in 2011, and completes the presentation of this installation.
4
Temps contre temps / Cross Rhythms (2014).
4’, continuous loop projection, black and white, sound
Image: Robert Cahen
Artist's collection
This video presents the encounter between Man Ray’s Indestructible Objet (1923-1959) and Joseph
Beuys’ Homogenous Infiltration for Grand Piano (1966). Two time frames intersect here, the one
patterned by the pulses of the metronome, the other marked by the continuous silence of Beuys’
piano.
La Barre jaune / The Yellow Bar (2014).
6’, continuous loop mural projection, colour, sound
Image: Rob Rombout / Editing: Thierry Maury
Artist's collection
Here the dividing line of the image is the yellow line. A Chinese landscape has been filmed from
inside a taxi and the image upended. It streams past our eyes like the raindrops trickling down the
windowpane. The same image sequence being repeated adds to the impression of a timeless cycle.
This is reinforced by the scrolling urban panorama, made almost abstract by its swiftness.
La Traversée du rail / Crossing the Rails (2014).
7’30’’, continuous loop projection on thin-film display placed on floor, colour, sound
Image: Robert Cahen
Artist's collection
The video shows a procession of bicycles, motorcycles and pedestrians coming and going in a
hubbub of engines at a railway level crossing in China. Contrasting with this incessant stream of
people and vehicles, the central, stable presence of an almost deserted railway line divides up the
image between the fixed camera and an impression of a continuous flow, a never-ending passage.
This is reinforced by the editing, involving the scarcely perceptible repetition of an endless loop.
Sanaa, passages en noir / Sana'a, passages in Black (2007).
7’07”, video projection, colour, sound
Image: Robert Cahen / Editing, video effects: Thierry Maury Music: J.S. Bach, The Passion according
to St. John (extract)
Production: Boulevard des Productions
Artist's collection
The video was filmed in Sana'a, the capital of Yemen: women in black are seen passing through a
narrow little street. The fleeting but repetitive aspect of the reworked image gives the video a
hypnotic character, reinforced by the music chosen, an extract from Bach's St. John Passion. As well
as a meditation on the idea of the passage, the artist introduces an unexpected exchange between
two cultures.
Suaire / Shroud (1997).
25’, double image continuous loop video projection on suspended cloth, black and white, silent, ring
of white stones on floor
Image: Robert Cahen / Editing and special effects: Christian Cuilleron
The work questions the precarious balance between emergence and absence, the ubiquitous use of
the colour white symbolising both fullness and emptiness. This duality is seen in the four faces
appearing and disappearing on the cloth, which hangs over a stretch of gravel crunching beneath the
visitor's footsteps. The shroud is of course also a reminder of the Vera Iconica, the true icon. This was
the image left on a piece of cloth traditionally used by St. Veronica to wipe the face of Christ.
Tombe (avec les objets) / Fall (with the Objects) (1997).
23’, continuous loop video projection, colour, silent
Image: Robert Cahen / Editing and special effects: Christian Cuilleron
Fonds régional d’art contemporain d’Alsace, 1998 and artist's collection
Various apparently weightless objects enter the visual field, slowly moving downwards, their fall
slowed by the liquid element. Once again, it is the idea of a passage that haunts this work but here it
is intensified by a distinctive, deathly emotion, already found in the work's title.
5
3. Biographical Resume and Selected Personal and
Collective Exhibitions
1945
Born in Valence, France
1946
His family arrives in Mulhouse after remaining hidden in the Drôme area of France
during the war
1971
Graduates from the Conservatoire National Supérieur de Musique, Paris (having
studied with Pierre Schaeffer)
1971-76
Composer in the Musical Research Group/GRM of the French National
Broadcasting Service/ORTF
Researcher in charge of experimental video in the ORTF Research Department
Research Fellow at the National Audiovisual Institute/INA, director of the
experimental video workshop
1976
Performance with Michel Chion, "Speech of One, Silence of the Other", Musée d'Art
Moderne de la Ville de Paris
1977
Trip to New York with Michel Chion. Meets Bill Etra and Nam June Paik
1980
"Art and Computer Science" Prize awarded for Artmatique by the French Ministry of
Culture
1983
Just Time wins an award at San Sebastian, Spain
Creates Boulez-Repons, to music by Pierre Boulez (television programme prototype)
1986
First shooting sessions in Hong Kong for Hong Kong Song and Guilin (China)
1987
Presentation of his film Just Time at Documenta 7, Kassel
First trip to Chile for the Franco- Chilean Festival. Films Chili-Impressions
1990
Organiser of the 10th Franco-Chilean Festival. Films L'île Mystérieuse on Easter
Island
1992
Is awarded the Villa Medicis "Hors les Murs" grant
Shooting in the Antarctic, accompanied by Angela Riesco. Fims Winter Journey
1993
Film and video retrospective in Peking
Workshops in Chinese art schools at Wuhan, Hangzhou, Shanghai and Canton
Films Seven Fleeting Visions during trip to China
Retrospective at the Cinémathèque Française
CEAAC Prize, Strasbourg
1994
Wins Golden Laser, Locarno Video Festival
1995
Wins Internationaler Videokunstpreis, ZKM Karlsruhe, for Seven Fleeting Visions
1996
Permanent video Installation, Euralille site, Lille, France
1997
First video installation exhibited in France, "Robert Cahen Installs Work",
Frac/Alsace
1999
"Video Viewpoint", MoMa New York
Film and video retrospective, Mumbai International Film Festival
2000/2007
Shooting sessions and video retrospectives in China, Vietnam, Japan, Yemen,
6
Azerbaidjan, Ouzbekistan, Argentina, Colombia, Peru, Italy, Norway…
2001
Canton, so Chinese, documentary co-directed with Rob Rombout
2004
Shanghai Biennial "Techniques of the Visible"
Mission to the Svalbard archipelago (Arctic). Films the video, The Circle
2007
Exhibition at Fundación Telefónica Buenos Aires, "Robert Cahen/Marcel Odenbach:
La mirada discreta"
Exhibition at Fukuoka (Kyushu) Fine Arts Museum and the Franco-Japanese Institute
in Tokyo, "Robert Cahen Installs Work"
2008
Exhibition of installations, Hong Kong City Hall ("Le French May")
Exhibition of video installations, Kunsthaus Baselland, Muttenz, Switzerland
2009
Exhibition, Harris Museum, Preston, U.K.
Exhibition, Fondazione Ragghianti, Lucca: Robert Cahen : Passaggi (curator Sandra
Lischi)
2010
Video retrospective, Jeu de Paume, Paris
Film shooting in Georgia with Nicolas Vérin
Picha Biennial at Lubumbashi, Congo
Associate Professor, Le Fresnoy – National Studio for Contemporary Arts, Tourcoing
2011
Exhibition, ZKM Centre for Art and Media, Karlsruhe, "Narrating the Invisible"
Exhibition, Lucien Schweitzer Gallery, Luxembourg, "On one Side, on the Other"
Exhibition, Banditzaros Gallery, Seoul, "From Visible to Invisible"
Exhibitio, Minsheng Art Museum, Shanghai, "Travels/Encounters" (curator Hou
Hanru)
2012
Alchemy Film and Moving Image Festival "Fugitive beauty: the films of Robert Cahen",
first retrospectiv Hawick - Scotland
Exhibition, Posada del Potro, Cordoba, "La naturaleza infinita de Robert Cahen".
(Espagne) commissaire Juan-Ramon Barbancho
2013
Séminaire et exposition d’installations vidéo au Patagonia International Experimental
Documentary
Festival,PAFID à El Bolson, Argentina.
On-site video installations, the Unterlinden Museum, Colmar, "Painting in Movement"
Participe à Wanderung au CEAAC Strasbourg.
Tournage en Corée avec Marie Hélène Bernard.
Participe à la Regionale 14 im E-WERK Freiburg,Allemagne
Exposition à Hong Kong, Osage Gallery, Etudes for the XXI Century avec Kingsley NG
and John Conomos.
7
4. Filmography
Family Portrait, 13', B/W, 16mm (1971)
Images of the Basel Carnival, 23', colour, Super 8 (1973)
Invitation to a Journey, 9', colour (1973)
Karine, 8'19", N/B, 16mm (1976)
Here Rests, 6', colour, 35mm (1977)
Untitled, (experimental study), 13', colour (1977)
On the Platform, 10', B/W, 16mm (1978)
Freeze on Step , 8'30", B/W, 35mm (1979)
Colour Horizontals, 14' (1979)
The Eclipse, 3' (1979)
Trompe-l'œil, 7', colour (1979)
Gare de Lyon, 17', colour, 16mm (1980)
Gustave Moreau Museum, 12', colour, 16mm (1980)
Fleetingly Glimpsed, 9', colour (1980)
Artmatique, 4'15", colour (1981)
A propos of "A Single Man in Paris", 11', colour, 16mm (1982)
Behind the Scenes, 11', colour (1982)
The Forgotten One, co-directed with Alain Longuet, 5', colour (1982)
Place de la Concorde, 53', colour (1982)
Just Time, 13', colour (1983)
Instrumental Research at the IRCAM, 17', colour (1983)
Dance of the Sparrowhawk, 13'50", colour (1984)
Boulez Répons, 43', colour (1985)
Video Postcards, co-directed with S. Huter and A. Longuet, 30" x 26, (1984-1986), colour (1986)
Moved Left No Address, 14', colour (1986)
Glances/Dance, 11', colour (1986)
Snapshots, 3 Portraits, each 3’, colour (1987) (Stroppa, Manoury, Lancino)
Montenvers and the Sea of Ice, co-directed with S. Huter, 8'50", colour (1987)
Patch of Sky, 18', colour (1987)
Final Farewell, 8', colour (1988)
The Second Day, 8', colour (1988)
Chili-Impressions, 12'30", colour (1989)
Hong Kong Song, in collaboration with Ermeline Le Mézo, 20'50", colour (1989)
The Eiffel Tower, 1', colour (1989)
Solo, 4', colour (1989)
The Collection – on Beaubourg, 1'40" x 16, colour (1990)
On the Bridge, 4', colour (1990)
Rodin/Fragments, 20', B/W, 35mm (1990)
8
Latitude 43, 8', colour (1991)
The Mysterious Isle, 16', colour (1991)
La notte delle Bugie, 10'30", colour (1993)
Winter Journey, collaboration Angela Riesco, 18', colour (1993)
Seven Fleeting Visions, 32' (1995)
Floating Bodies, 12', colour (1997)
Seven Fleeting Visions, video installation, 1997 – Frac/Alsace Collection
Landscapes/Passage, video installation, 1997 – Frac/Alsace Collection
Shroud, video installation, 1997 – Frac/Alsace Collection
Fall with the Objects, video installation, 1997 – Frac/Alsace Collection
Composers Listening, 31' (1998)
50 Years of Musique Concrete au G.R.M.
Fall with the Words, video installation (2000)
Crossings, video installation, 2002 – Musée d'Art Moderne et Contemporain, Strasbourg,
2003 / presented at the SHANGHAI Biennial, September 2004
The Circle, video installation presented in Norway, Argentina and China
Canton, so Chinese, documentary 52', 2001, co-directed with Rob Rombout
The Embrace, 9' (2003)
Winter Landscapes, video installation, 2005, presented at the Fundación Telefónica, Buenos Aires
Farther than Night, 9'35" (2005)
Sana'a, Passages in Black, 6'45" (2007)
Françoise in Memory, video installation, double projection, 2007 – Musée d'Art Moderne et
Contemporain, Strasbourg, 2008
Look out, It's Turning, video installation, double projection. Co-directed with Guido Nussbaum, 2008
No Limits, 13', with music by Gualtiero Dazzi (2007)
Changing the Gaze, 8'30" (2007)
Blind Song, 4" (2008)
Red Memory, co-directed with John Borst, 9'30" (2010)
God Sees All, 11' (2011)
Robert Cahen's videos are distributed by: Heure Exquise! (Lille), Cinédoc (Paris), Electronic Arts
Intermix (New York), Vidéographe (Montréal), IMAI (Cologne) and the Lux Center for the Arts (Lincoln,
NE).
2011: ROBERT CAHEN FILMS + VIDEOS 1973-2007, Box set 2 DVD (29 films) and 1 audio CD
comprising 6 unpublished musical works. Includes 80 page colour booklet, with texts by Stéphane
Audeguy and Hou Hanru, publ. Écart production.
Artist of the Lucien Schweitzer Gallery, Luxembourg
[email protected]
9
5. Selected Bibliography
Catalogues, monographs
2011: ROBERT CAHEN FILMS + VIDEOS 1973-2007, Box set 2 DVD (29 films) and 1 audio CD
comprising 6 unpublished musical works. includes 80 page colour booklet, with texts by Stéphane
Audeguy and Hou Hanru, publ. Écart production.
1998: Robert Cahen's Installations, FRAC Alsace exhibition catalogue, Sélestat, R. Frieling, M.M.
Gazzano, D. Coureau.
1995: Sandra Lischi, Il respiro del tempo, Italy, ETS Editions, Pisa (reissued with DVD, 2009)
1993: Robert Cahen, a Pioneer, articles by Bongiovanni, Chion, Corsino, Garrel, Fargier, Delaborde,
Lischi, Noguez and Paini, catalogue published on the occasion of the artist's works being presented
at the Cinémathèque de la Danse, Paris.
Articles
2001: Sandra Lischi, "Journeying Words" Turbulences Vidéo, n°31, published by Vidéoformes;
"Portrait of an Artist: Robert Cahen », Turbulences Vidéo, n°33, published by Vidéoformes
1996: Didier Coureau," Haiku Video ", Limelight, n°50, June
1996: "Robert Cahen, Globe-trotter and Audiovisual Composer", Le Monde, 23 April 1996
1994: Marco Maria Gazzano (ed.), "Robert Cahen: Il cinema, musica delgi occhi", Le Rose e i
Quaderni, Urbino
1993: Jo Attié, "With Love from Mulhouse", Les Cahiers de Vidéochroniques, n°2, Marseille IMEREC,
October.
1993: "For Whom are these Sounds", Art Press, n° 183, September
1992: Sandra Lischi, "La poetica video di Robert Cahen", Communicazioni sociale, Vol XIV
1989: Michel Corbou, "Just Time", Pixel, n°3
1986: Paul Virilio, "Just Time" and "Water of Mirrors", Cahiers du Cinéma, special issue, "Where is
Video going?"
1985: "Dancing Now", Cahiers du Cinéma, n°48, January.
1985: Jean-Paul Fargier, "Cahen as a Sculptor", Vidéo Art Plastique exhibition catalogue, Hérouville
St Clair.
1982: "Robert Cahen", Larousse de la Musique, Vol 1, Paris,
1981: Anne Marie Duguet, article on Robert Cahen in Video, La mémoire au poing, publ. Hachette
Paris
1980: Cahen Robert, "Intervention on the Themes of the Train and of Slides", proceedings of the
Urban Soundscape symposium held in Paris in May 1980.
1976: Michel Chion and Guy Reibel, article on Robert Cahen in Les musiques électroacoustiques INAGRM, Aix en Provence, Edisud
10
6. Publication
Entrevoir. Robert Cahen
Published by the Museums of Strasbourg
Contributions by Joseph Attié, Héloïse Conésa, Sean Cubitt
160 pages, c. 200 illustrations
ISBN : 9782351251096
Distribution Le Seuil / Volumen
Price: 25 euros
Extraits des textes du catalogue
Note sur « L’E N T R E » (« Entrevoir »)
par Joseph Attié, psychanalyste.
[…] « Mais le « voir » devient vite énigmatique.
S’agissant d’une image cela devrait emporter sa propre évidence. Un peu comme on se verrait soimême. Mais que peut-on voir dans une image hors de l’image ? La technique du vidéaste lui permet
d’insérer une infinité de choses.
C’est cela qui vous regarde.
Mais peut-on voir un regard ?
Difficile à dire puisque nous sommes là entre le visible et l’invisible.
Et c’est l’invisible ici qu’il faut interroger.
La distinction majeure a été établie par Jacques Lacan1. Elle se situe entre l’œil et le regard. Il n’y a
pas de limites spatiales entre les deux.
Il y a une schize. Cela se passe dans le domaine psychique et renvoie à une coupure, une
disjonction…
Dans la perception, dans la vue d’une image « quelque chose glisse, passe, se transmet, d’étage en
étage, pour y être toujours à quelque degré élidé – tel est le regard2».
Tel est en effet le regard qui reste invisible.
Il peut pourtant s’incarner dans « un petit détail »3, un jeu d’ombre et de lumière, une tache qui vous
accroche, un fantôme que l’on croit voir passer, un simple mouvement de l’image, cela peut arrêter
et parfois fasciner. On ne sait trop bien comment ni pourquoi. Quiconque, en face de l’image, du
film ou de la toile, peut s’évanouir. Il s’agit évidemment du sujet de l’inconscient. Le réel vient alors
vous regarder. » […]
Robert Cahen, L’échange
par Sean Cubitt, docteur en histoire des images et professeur « Film and Television », à l’École des
Media et de la Communication de Goldsmiths, Université de Londres.
[…] « De toutes les œuvres présentées ici, celle qui éclaire le plus cette absence d’être, qui tourne à
la hantise, est la troisième des Sept visions fugitives, où des séquences en noir et blanc
entrecoupent des vues de paysages parsemés de couleurs et contenant l’image répétée d’un pétrel
qui s’envole. Les quelques visions image par image d’un couple qui semble surpris dans l’acte
d’amour sont reprises dans une autre œuvre, L’Étreinte, dont le titre est explicite. Dans les deux cas,
la proximité du sexe avec la mort, la cruauté et, surtout, l’abandon d’identité est liée à la profonde
ambiguïté de l’image elle-même, dont le rythme staccato ne parvient à se transformer ni en
mouvement ni en immobilité. Dans la variante des Sept visions, la scène aboutit à une longue
séquence sur un cortège funéraire à la campagne, dont le réalisme est ponctué par des retours au
motif du pétrel et à d’autres séquences de l’étreinte où les corps, dans leur mode d’être extrême,
1
Lacan, J. Le Séminaire, Livre XI, Les quatre concepts fondamentaux de la psychanalyse, Ed. Du Seuil, 1973,
Paris. Texte établi par Jacques-Alain Miller.
2 Ibid. p. 70.
3 Arasse, D. On n’y voit rien, Ed. Denoël, 2000, Paris.
11
dissolvent leurs frontières au point de tourner à l’abstraction, dans une expérience formaliste
presque pure qui, paradoxalement, produit certains des noirs les plus sensuels dont la vidéo soit
capable. La séquence est entrecoupée de plans ralentis de deux rameurs qui mènent une petite
barque sur un cours d’eau au milieu d’une forêt, à la façon de Charon sur le Styx.
Dans la séquence finale de la troisième vision, un vieil homme portant un énorme chargement de
bois se détourne pour nous regarder ; au début, on le voit à travers des filtres déformants qui le font
apparaître, lui et son fardeau, comme une création générée par l’électronique, jusqu’à ce que le plan
tourne au réalisme quand la caméra cesse de se jouer de l’homme et que celui-ci devient lui-même.
Chez Cahen, ces figures aux limites de la visibilité, comme la queue d’une comète, précèdent la
figure et la rendent étrange, ce que Lacan exprime par le jeu de mots de l’« être-ange ». Ces anges
étranges entrent en confrontation avec nous dans l’entre-deux des univers, entre l’univers de l’Autre
qui, dans notre rencontre avec lui, nous rend étrangers à nous-mêmes, et le monde à venir envers
lequel nous avons cette lourde dette. L’étreinte propose un remboursement, ou plutôt une
annulation de la dette dans l’amour. Chez le vieux paysan, nous sommes confrontés à la possibilité,
différée mais paradoxalement présente, que dans l’arrière-pays de l’éthique et de la politique, dans
cette zone que délimite Aristote dans ses propos sur l’amitié, il serait encore possible de porter sa
charge, de devenir son ami. Et dans les motifs des funérailles et de la barque surgit cet autre grand
thème des œuvres récentes de Cahen : le rachat de l’avenir par le passage à travers la mort. » […]
Robert Cahen. Entrevoir.
par Héloïse Conésa, conservatrice du patrimoine au MAMCS et commissaire de l’exposition
[…] « Dans certaines vidéos de Robert Cahen point une esthétique de l’affect portée à son
paroxysme, qui enjoint le spectateur à une réception émotive des œuvres qu’il regarde et à en
établir une « connaissance pathétique4 », dans le frémissement du passage. Mais ces vidéos
fabriquent un « entrevoir » qui touche non seulement les apparences visibles mais sollicite aussi un
ensemble de transpositions analogiques de sensations. Ces correspondances synesthésiques où le
chuchotement d’un regard, la musicalité d’une main, le silence d’un rayon de lumière … installent le
spectateur dans une pensée visuelle poétique qui sont très éloignées de la banale convivialité du
quotidien manifeste dans d’autres œuvres contemporaines.
En s’efforçant de dépasser un pur présent, tout en explorant les invariants de la vie, que sont la
rencontre avec l’esprit d’un lieu, autrui, la mort... Robert Cahen affirme la spécificité de son
esthétique où l’ « entrevoir », image hantée par ce qui ne s’y trouve pas, n’exclut pas un regard habité
transperçant le visible. »
4
Pierre Klossowski, Un si funeste désir, Paris, éd. Gallimard, 1994, p.202.
12
7. Educational and Cultural Programme
For a detailed programme (dates and times), see www.musees.strasbourg.eu
Guided Visits
Thursday 12.30 pm, 20 March - 24 April
"An Hour - A Work", Visits
Friday 11 April, 12.30 pm
Fleetingly Glimpsed, 1980
"Brief Encouters", Visit
Saturday 22 March, 2.30 pm
The artist will be present
Workshop for Teenagers & Adults
Saturday 19 April, 10 am – 12 pm
"Awkward Movements"
"Looking at Art", Workshop for 7 - 12 year olds
Saturdays 5, 12, 19 April, 2.30 pm - 4.30 pm
"Fast Forward / Slow Motion"
Cycle of 2 Workshops for 7 / 12 year olds
(During the Easter Break)
29 & 30 April, 2.30 pm - 5 pm
"Memory"
AT THE MUSEUM AUDITORIUM
In connection with the exhibition, three talks on the artist’s work will be given at the Museum
Auditorium, including projection of Robert Cahen's videos.
- 26 March 2014 at 7 pm
"Robert Cahen. Glimpsing the Elsewhere 1." By Tiphaine Larroque.
In retouching his images, Robert Cahen proposes personal visions of what it means to be "on the
move.” These visions of "the elsewhere", poetic or humorous, nostalgic or empathetic, narrative or
abstract, rekindle our awareness of self and other.
Tiphaine Larroque holds a PhD in the History of Art and teaches at the Faculty of Arts in the
University of Strasbourg.
- l4 April 2014 at 7 pm
Robert Cahen. Glimpsing the Elsewhere 2. Images in movement and literature. By Tiphaine Larroque.
In 1972 and 1973, Robert Cahen made two videos including texts by his friend, the psychoanalyst Jo
Attié. This work in collaboration, creating links between sounds, text and images is distinct from the
rôle played by quotations in two other works dating from 1989 and 1997. These creations bring into
play the vernacular literature of the countries filmed in, while respecting their artistic autonomy and
their specific poetic universe.
- 15 April 2014 at 7 pm
Ekphrasis of Karine. By Jean-Luc Nancy
Karine is a video by Robert Cahen, the subject of which can be summed up thus: "portrait of a little
girl growing up". Ekphrasis is a term used in ancient Greek to refer to a commentary on a visual work
or, more precisely, to the exercise of making the work speak, of extracting speech from it, or of
speaking from it (ek - phrasis). The film is silent. The little girl does not speak. The film simply gives
her name as a title for its images. How can she be left to speak? Be made to speak? About herself?
How to make us speak about her? And how is this "about her" to be understood?
Jean-Luc Nancy is a philosopher and Emeritus Professor of the University of Strasbourg, where he
taught while being regularly invited as visiting professor by overseas universities.
Admission free for each event, subject to availability of seats.
2 April 2014, 8 pm. Evening organized by Philippe Lepeut, artist and HEAR instructor, with students
from the Arts Hors Format / Phonon-Lab Research Group of the Haute École des Arts du Rhin.
Concert + Film Show, "Attack, Release and Sustain",
Robert Cahen is an emblematic figure of video art, but his journey through images is rooted in music,
which he studied with Pierre Schaeffer. A spatialized performance with short pieces of concrete
music, inspired by the artist's creative adventure recounted in sound and images.
In partnership with HEAR.
Tickets: 6 euros (reduced: 4,50 euros)
13
8. Visitor Information
Musée d’Art moderne et contemporain de la Ville de Strasbourg
Getting to the Museum
1 place Hans Jean Arp, Strasbourg
Tél. : +33 (0)3 88 23 31 31
Tram line B, direction Lingolsheim Tiergaertel
Tram stop, Musée d’Art moderne et contemporain.
Opening times
Open every day, 10 am - 6 pm except Monday
Special times are available for group visits organized by the Museums Education Department or
accompanied by guides from the Strasbourg Tourist Office.
Groups
Telephone booking essential for groups of more than 10
+33/(0)3 88 88 50 50 (Monday to Friday 8.30 am - 12.30 pm).
Tickets
7 € (reduced 3,5 €).
Admission free
visitors under age 18
carte Culture card holders
Atout Voir card holders
Museums Pass Musées card holders
Édu’Pass card holders
visitors with disabilities
students of art, history of art and architecture
persons seeking employment
recipients of social assistance
badge-holding CUS employees
Admission free to all
1st Sunday in the month
1 day pass: 12 €, reduced 6 € (access to all Strasbourg museums and temporary exhibitions),
Pass 3 jours : 18 €, tarif réduit 12 € (access to all Strasbourg museums and temporary exhibitions),
Museums Pass Musées – 1 year, 250 museums: individual 79 euros, family 144 euros (access to
more than 250 museums in Alsace, Lorraine, Switzerland and Germany).
14
ENTREVOIR
ROBERT CAHEN
Musée d’Art moderne et contemporain
15 mars - 11 mai 2014
LISTE DES VISUELS TÉLÉCHARGEABLES SUR LE SITE
WWW.MUSEES.STRASBOURG.EU
1. Robert Cahen, L’Entre, 2014
12’, projection murale en boucle, couleur, muet
Image : Robert Cahen/Montage, effets spéciaux : Thierry Maury
Production : Pixea Studio. Collection de l’artiste
© ADAGP Paris 2014
2. Robert Cahen, L’Entre, 2014,
12’, projection murale en boucle, couleur, muet. Image: Robert Cahen
Montage, effets spéciaux : Thierry Maury. Production : Pixea Studio.
Collection de l’artiste © ADAGP Paris 2014
3. Robert Cahen, L’Entr’aperçu, 1980,
9', vidéo, couleur, sonore.
Production : INA, Groupe Recherche Images, Serge Com.
Effets spéciaux: Stéphane Huter.
Image, montage et bande sonore : Robert Cahen
© ADAGP Paris 2014
4. Robert Cahen, Tombe (avec les objets), 1997
23’, projection vidéo en boucle, couleur, muet.
Image: Robert Cahen. Montage et effet spéciaux: Christian Cuilleron.
Collection du Fonds régional d’art contemporain d’Alsace,
1998 et de l’artiste © ADAGP Paris 2014
5. Robert Cahen, La Barre jaune, 2014,
6’, projection murale en boucle, couleur, sonore.
Image: Rob Rombout. Montage : Thierry Maury.
Production : Pixea Studio. Collection de l’artiste © ADAGP Paris 2014
6. Robert Cahen, La Traversée du rail, 2014,
7’30’’, projection en boucle sur feuille écran posé au sol, couleur, sonore.
Image: Robert Cahen. Production : Pixea Studio.
Demande à adresser à :
Service communication
des Musées de la Ville de Strasbourg
Julie Barth
2 place du Château, Strasbourg
[email protected]
Tél. + 33 (0)3 88 52 50 15
Fax + 33 (0)3 88 52 50 42
7. Robert Cahen, Entrevoir, 2014,
18’, installation vidéo, double projection panoramique en boucle,
sonore, couleur. Steadicam: Bruno Soupart. Montage : Thierry Maury.
Conception sonore : Francisco Ruiz de Infante
(extraits sonores des Fraises sauvages d’Ingmar Bergman). Studio Autour de la terre.
Production : Boulevard des Productions – Pixea Studio.
8. Robert Cahen, Traverses, 2002,
30’, projection vidéo en boucle, couleur, muet.
Effets spéciaux : Patrick Zanoli. Avec le soutien de : Le Fresnoy (Studio National
des Arts contemporains), CICV Pierre Schaeffer, Montbéliard-Belfort,
ZKM-Karlsruhe, Drac Alsace.
Collection du Musée d’Art moderne et contemporain de Strasbourg,
Harris Museum, Preston, Grande-Bretagne, et collection de l’artiste
© ADAGP Paris 2014
9. Robert Cahen, Portraits, 2013.
5’, projection en boucle sur feuille transparente, noir et blanc, muet
Image: Robert Cahen. Production : Pixea Studio.
10. Robert Cahen, Sanaa, passages en noir, 2007,
7’07”, projection vidéo, couleur, sonore. Image: Robert Cahen.
Montage, effets vidéo : Thierry Maury.
Musique : extrait de La Passion selon Saint-Jean de J.S. Bach.
Production : Boulevard des Productions.
11. Robert Cahen, Le Maître du temps - Pierre Boulez dirige "Mémoriale", 2011 .
Interprété par l’Ensemble Intercontemporain, 7’, deux projections HD en boucle
sur une surface, couleur, sonore. Guillaume Brault, chef opérateur, Frédéric Prin,
ingénieur du son.
Production : Le Fresnoy - Studio national des arts contemporains.

visions glimpsed robert cahen - Musées de Strasbourg

Transcription

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