Pierre Coulibeuf

Balkan Baroque is a real and imaginary biography of the Yugoslavian performance artist Marina Abramovic. Rather than a mechanical reproduction of the artist's work, the film tries to create a new reality by translating the performances into cinematographic images that intensify the fictional context of the film. Abramovic plays herself, but ,appearing in multiple forms, blurs her own identity. Memories and fantasies intermingle with day to day rituals. The chronological narrative often breaks to reflect the interior voyage of the protagonist from the present to the past and back to the present. The result is a visually impressive film. Balkan Baroque had its world premiere at the International Film Festival Rotterdam, 1999.

The film is a labyrinth with multiple entrances, where an unlikely Ariane in wedding gown guides and misleads the viewer in a strange world marked by metamorphosis, multiple personalities, conflicting drives, parody, ritual, surreality.

This series, assembled in a film, presents the singular view of contemporary artists on major works of art history. The words of these free spirits make each work see each work as a dynamic form, in the process of becoming, crossed by multiple energies. The artists' voice-over narration frees the creative possibilities of the image - sound and image playing with each other, animated by the same spring: what is seeing?

No description available.

“Fictional” reconstruction of the chain of mental images that make the visions of the photographer Jean-Luc Moulène appear.

No description available.

A documentary on the entire works of the Italian sculptor Michelangelo Pistoletto who lives in Vienna. His mirror-images make him one of the most original, manifold personalities in the European art scene.

A fictional process. An amorous relationship in the process of falling apart? A semblance of narrative, a sketch of diegesis, the fragments of an encounter between a man and a woman: an 'encounter of the crossing', marked by return, splitting, distance. Indecisive attitudes suddenly suspended or contradictory, toneless voices. Figures, and not characters. The figure is this form that approaches and frees itself from the notion of character, which reduces presence to a borderline state and ruins representation. The figure strays from the real. This obliteration and ambiguity of the figure signal the vagueness of the subject, the loss of its unity, a relationship to the world of order and enigma. The figure as a simple appearance, a mental projection.

In the Egyptian antiquities department of the Louvre Museum, there is a statuette dating from 1450-20 BC, depicting a couple: Samout and Moutnefret. Artist Jean-Pierre Bertrand recounts his encounter with this Egyptian statuette.

Belgian painter Pierre Alechinsky works in two studios. One is in Bougival, the other in Arles. The film examines his painting through the landscapes that surround him. Does he paint differently depending on where he is?

A film about the controversial Belgian multidisciplinary figure, known for his theater stagings, his choreography, his ballpoint pen art, and even bicycle racing. This fictitious portrait projects Jan Fabre into his own imaginative universe and composes a character who changes ceaselessly identity, plays numerous roles under the most varied disguises; behind a mask, still another mask… The female character, like a ‘demon of passage’ using different faces, haunts the male character and inspires his metamorphoses, ad infinitum.

A rare short film presented as a game of mirrors doubling and refracting what Klossowski’s plastic work shows in strange, ambiguous staging and disturbing evocations.