Dominik Lange

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No description available.

A defective Ricoh camera brings out luminous traces on images shot in Ektachrome. The japanese sherry trees in blossom, at the Jardin des Plantes, next to the film-makers flat.

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You are, no doubt, already familiar with such literary quotations as "In search of lost time" (A la recherche du temps perdu) or "Those living pillars which gaze at us", as per Napoleon Bonaparte, when faced with the famous pyramids of Egypt?

This film illustrates a recurring theme in the work of Dominik Lange: the opposition of nature and city. The film explores various different aesthetic options. Lange begins by filming a bare tree, magnifying it and giving it the plastic seductivity of a watercolour in movement. The shots of the tree, either gently caressed by the artist's camera or exploding in a multitude of trembling and scratched forms, alternate with a series of shots of depressing new public-housing tower blocks. Lang revitalizes these buildings by clustering them together and/or blurring their contours. At a certain point, a building site appears; we see the buildings under construction, with construction workers busy at their task. Were these shots filmed later, or did the film-maker choose to show them later? It doesn't really matter; the alchemical phenomenon which mutates vegetation (nature) into the depressing uniformity of tower blocks is conveyed with sensitivity.

Natural devices are used directly during the shooting process to transform the image with the help of moving mirrors, animated by the surface of water waves and other tremblings on lake surfaces, as well as other bodies of water in the natural space of the Paris urban area.

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The fortuitous meeting of two women to the identical first name, Lucy, who formerly loved the same man, Jonathan, induced, in this film, of the polysemous variations on the memory, art, and the difficult relationship between creation and emotional life. Dehumanized by an exclusive artistic practice, the man lost his reference marks little by little. "Lucy en miroir" wants to be, also, a shifted and transverse second reading of "The Contempt" ("Le Mépris") of Godard, by a step more plastic than analytical or conclusive.

No-one could care less about tectonic plates, no more than they could about the 1940s; the same goes for the melting of the north and south poles & all that crap... But a Blockhaus gradually sinking into the sand is always amusing to see...

This opus could be interpreted as a long and elegiac version of the Danse des primates au musée d'histoire naturelle.

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No description available.

I borrowed a cellphone from one of my colleague at the office, Marie who makes video installations herself, looping cellphone recordings of her performances on monitors, a Nokia 3600 Slide 3.2 Megapixels dating back to 2008, with a video resolution of 640 x 480 and a capacity to record five consecutive hours of video, or 5,000 photos ... I had the idea of making a series of romantic tableaux which, combined, would create a pictorialist stroll through Paris, an aimless wander, a projection of interior visions and of an intimacy confronted by the disposable contemporary technologies of communication and exchange, as exemplified by the cellphone, icon of our never-ending consumption ! Actually I don't know if my intentions are clear, but perhaps the images will speak more concisely for themselves...

The artist sets up his camera in front of a run-down shack. He will attempt to penetrate his subject with a series of agile and inquisitive camera movements. Although open to the four winds, the building is presented to us as an impenetrable castle: there are bars on the windows, locks and pulleys: a series of obstacles blocking our access. Lange launches his attack by panning horizontally, then vertically, across the walls; these are scarred with broken windows, which provide the principal motif for the film. This panning movement continues, with a series of variations based on the geometric patterns offered by the half-broken windows: a series of backlit triangles and rectangles, which at times suggest an anthropomorphic motif. The use of different shooting speeds and of in-camera double-exposure causes the film to fluctuate between documentation and abstraction. L'Ailleurs - Somewhere Else - is the interior which the film never penetrates.

A modest collage of images recorded while strolling through Paris...

A stroll in the forest sharpens the senses ...

A day by day diary of Raphaël Bassan's Lucy en miroir. Dominik Lange followed the shooting of Lucy en miroir for a year. He restructures the material of the film itself and confers to Promenades champêtres an astonishing poetic vision. The shots are often slow and hypnotic. The mystery of this new film does not take its roots in a cinematographic or a literary tradition like in Raphaël Bassan's film, but in life itself. Every day life is magnified by Dominik Lange's camera-eye which restructures the sequences and gives his film a different, yet complementary vision, of Lucy en miroir.