Augustin Gimel

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Spatial and temporal development of forms through birth, growth and extinction. Elementary figures adding to each other in order to create a complex figure. Geometry as a metaphor. Frame as a territory.

Topographical video born from the meeting of a tunnel located at Hamburg (Germany) and Mictlan, the Aztec underworld. Circular and underground journey towards the dematerialization.

Bodies and movements recomposed from thousands of pornographics images.

Cinematographic Siamese. The music, immaterial by nature, becomes the concrete bond that links the projected films. Twins rejoined, creatures with two faces, as Janus.

Ritual sacrifice and oppression of individuals by society. After Norman Jewison’s Rollerball.

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For this film, extracts of colors have been chosen in the city (Paris), they have been analysed then assembled into a certain order (chromatic circle). This apparently scientist classification reveals a strong poetical power of evocation.

A pinhole camera as an instrument to measure luminosity. Birth and growth of light according to Fibonacci's 'suite'. Total eclipse of the sun decomposed into a thousand of unknown fires.

Chaos of concrete, glass and metal give birth to a luminous edge. Gap and frontier between darkness and light. Materiality versus immateriality.

I arrive in New York the 10th of September 2001 by an airplane from Los Angeles. Under the rain, I go to the appartment on 11th street where I rented a room. The next morning, from my windows in hear a clamour that wakes me up. The second tower of the World Trade Center has just collapsed. I take my camera and walk towards the Financial District, in the south of Manhattan.

There is nothing more useless than an organ wrote Antonin Artaud in 1947, by the way he gave a name to a new kind of existence : the Body without Organs. The film is divided into three parts, following the division of the poem The Divine Comedy, the chronology of Dante’s trip through Hell, Purgatory and Paradise is respected. During this travel his human body is reconstructed and reorganised into a new body freed from his organism and from his organs. This new body, in touch with Beatrice, and by his ascension, becomes point of circulation of flows and intensities of all kinds.

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No description available.

This film is composed of right angles shot in the United States (New York) and edited in memory of Indian’s space.

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Mise en abyme of a surveillance device. The panoramic movement of the camera unveils some neutral territories. The video camera taken as an object by another video camera couples with these spaces. The event, or the non-event, makes an exhibition of itself The radars are watching over and transmitting.

This film was made without a camera, using the primitive technique of pinhole photography. The film is all about light, the absence of light, and the development over time of these fundamental elements of cinema. The simple succession of these two states creates an Energetics of Movement that replaces the traditional scheme of narration and representation.

Made in collaboration with Stéphanie Coudert, clothes designer, this video undertakes to establish a correspondance between the processes on which the moving image and fashion respectively depend. Links are made, and the analogy is established between the editing of two shots and placing the pattern on the clothes.

Two people are standing, shooting each other. They move around Central Park (New York), on opposite sidewalks, separated by the street. One has the park for background whereas the other slides in front of the buildings. Each moment of this journey is recorded from two opposite point of view. What units these points of view separates them, the frontier between internal territory and external territory is created.