Stoffel Debuysere @ argos on Wed, 7 Nov 2007 13:29:48 +0100 (CET)

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[Nettime-nl] ARGOS lecture // CINEMA IN TRANSIT // Jean-Christophe Royoux // 09.11.2007

ARGOS, Centre for Art & Media in Brussels, presents:

Fri 09.11.2007 // 20:30 // free
Jean-Christophe Royoux
"De l'écran unique aux dispositifs d'images : pourquoi (au moins) deux plutôt que un ? Pourquoi le multiple ?"

Starting from the example of Time Square, Jean-Christophe Royoux will show how multi-projection is one of the exemplary forms of the exhibition paradigm, which has been for a very long time, as was shown by numerous authors, poets, philosophers and architects since the middle of the 19th century, the paradigm of the modern city. Only since 2006 this has become the most widely spread way of life for a majority of people here on earth. The experience of multi-projection is quite simply a highly concentrated experience of the world we live in. Once this urban genealogy is recontextualized and put into perspective, Royoux will focus on the pivotal question, recurrent, typical of any image installation, of any type of exhibition cinema - the question about association, about the nature of a relationship between one and the other, which in fact amounts to the question of what common means, and what community is all about. In that sense the "at least two" of multi-projection is echoed, as was expertly shown by Jean-Luc Godard in Numéro Deux, in the typical contemporary concern of knowing the circumstances under which we can coexist.

Since the beginning of the 1990s, art historian, critic and curator Jean-Christophe Royoux (FR, 1961) explores the in-between areas between cinema and the visual arts. This has resulted in numerous essays and artist monographs, on artists such as Marcel Broodthaers, Stan Douglas, Pierre Huyghe and Tacita Dean, as well as exhibitions, such as Multipistes (2005, Argos), focusing on a number of young French artists presenting post-cinematographic forms in their work, deconstructions or alterations of the familiar notions of projection and identification. Royoux sees this “Cinéma d’Exposition” mainly as a catalyst for new narrative modalities, which make it possible to define the work of art as an intermediary between the author and the viewer, a structure for activating reading and experience of the processes of thought and memory.

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