He Ulimimae Element Cross Word Puzzle

Between us to love the forest, he must know how to lose ...

The meanders of a quiet city in our eyes of ghosts numbers, eager to prove if one wants to bother. They appear as silhouettes uncertain sketched muted by the memories of a past too distant and confused ... "In the City of Sylvia," a film haunted by presences

In a city that does not know, a young man goes in search of a young woman, Sylvie he met some years before. Jose Luis Guerin, with "In the City of Sylvia" reveals a gem forms and ramifications are more complex than the apparent simplicity, the argument of the film would lead one to predict.

A soft sensual languor and fleeting ...

First, what is striking is great sensuality that radiates "In the City of Sylvia." Jose Luis Guerin plunges us into a strange quietness and indolence, a strange feeling comes we collect and we rock at the edge of a world almost unreal ... A soft languor coats the characters ... As we .. This
sensuality, the feeling flush or almost every plan, long static shots give way to micro-events, an expression on a face, lock of hair brushed by the breeze, eyes that get lost, seek each other, absconding Passers ... nonchalant, immersed in their daily games of shadows and lights on bodies, faces, walls ... The streets in which the young man wanders seem bathed in that it also ideal ... torpor

packets recorded Guerin The world through the young man is the stealthy randomness ... passing, fleeting gestures, expressions, Enter the imperceptible ... Paradoxically, creates a curious sense of timelessness, of the freeze ... The cinema of Guerin; capture the transient, the fugitive makes it ... This timeless collection of very special time that is also found in "En construccion" is strengthened by the Specific treatment for ambient sounds, which appear and disappear like so many suspensions acting ... Snippets of conversations barely audible, very little dialogue, music emerge and disappear over the wandering in which we led this young man, frail skiff and delicate ... From the reminiscences Werthériennes romance, absolute idealism, he is clearly speaking in the film José Luis Guerin ... But not a romantic furious, packed, passionate, fiery, but a romance internalized ... Guerin transforms a mental universe.


Duplication

This double movement, this oscillation between transience and eternity is the heart of the film. Fugacity of a glance, a late night meeting in a bar, a feeling of eternity, eternity for a fresh perspective that haunts the memory forever.
The city becomes the game of love track mapping with landmarks, clues, traces are all places that impulses of the heart.

"Laura, I love you" phrase repeatedly chanted in this film, which emerges as a beautiful or handsome stranger, standing in a corner on a wall. Sentence lighthouse and compass of feeling and desire ...

"And he dragged me, ashamed and late, to review the beautiful eyes that I care so well for their forthcoming fâcheux.Je not live a little longer, as a glance from you on my power to be : and then I die, I want to yield to my desire. "Petrarch


Laure, Laure de Sade, this impossible love and remained chaste Petrarch ... This irreparable loss will Laure ... Or to the rest of his life, a vivid memory, familiar.

The windings of the city where the young man loses Sylvie, are somehow marked by that statement ... Statement distraught launched the world ... Sylvie splits into Laura, Nerval madness of the confusion of beings ... These
back these profiles, the faces that replace each other, these sets of reflections in the first sequence where the young man watching patiently appearance of Sylvia on the terrace of a cafe ... Is this it? Is this another? The young man knows exactly ...







Guerin plays fine for this confusion in his plans, just a face or hide another mask, they split ... The look despite the fixity of the plans mentioned above will know where ask ... This confusion is reinforced by the choice of making the main character, a cartoonist ... Indeed, the young man draws, faces, attitudes ... these drawings! Also in outline, never completed, also attempt to fix things, time, attempted in vain ...
Jose Luis Guerin plays into abyss, repetition of shots in the drawings ... It points here by repeating the search for a distant memory, a mental image erased. The design is the hallmark of uncertainty ...
Duplication also by the appearance of a few recurring characters, an African vendor on the fly, a flower vendor certainly Pakistani or Indian characters who populate the big cities ... Jose Luis Guerin, as in "En construccion" found by those figures full of humility of the people. They remind us of reality. As in a plane with this bag lady sitting in a corner by rolling a bottle. Later in the film plane, it will remain only empty bottles at the same place ... These characters crossed and recrossed also split the space and are also somewhat into the abyss ...


Call the desire

A flash ... then night! - Fleeting beauty
whose glance I was suddenly reborn,
Do I see you in eternity than

At a bandwidth Charles Baudelaire

This treasure hunt, this quest is also played on a reading of desire. There is this young woman, taken to Sylvie, a young man by the woman he will follow through the maze of streets and it will eventually ... Woman fantasy taken to address the image is taken in the confusion of memories and time past. Woman idealized by time.




Hypothesis: there would therefore "Laura" Petrarch, the "Sylvie" De Nerval, but is there not a shift to the "Laura" and "Sylvia" by Georges Bataille? Sylvia, wife of Georges Bataille and actress, tracks dot. The cafe where the young man is watching a drama center ... Laura, celebrated by Bataille, companion of debauchery members of the journal Acephale ... Laura, disruption of sense, loss ... A sequence in a bar night suggests this track and begins the announcement of the loss Bataille, "Laura, I love you" like to call the little death ... Laura as point-to-cons FIG ideal as chastity ... Laure call to get lost in the maze of desire and enjoyment ...
The beautiful sequence where the girl tram "Sylvie" and the young man speak is the culmination of the changeover between ideal and complexion. This one thinks he found one he seeks. Jose Luis Guerin isolates them from the world around them through the window of the tram. Using a shallow depth of field, it highlights their presence, detached from this world. Fixation in a world that is more than uncertain movement. There remains only the certainty of this meeting. Nothing more. This woman is not Sylvia but becomes Such a holy icon, a virginal figure ... Then came the sequence of the bar and the transition to the carnal act with another woman ...

film about the city, about the meeting, the aspirations, romantic wanderings, would it not a film about the initiatory journey of a young man? The portion of the ideal love of carnal pleasure?


Director: Jose Luis Guerin
Screenplay: Jose Luis Guerin
1st Assistant Director: Pol Rodriguez
Director of Photography: Natasha Braier
Editing: Nuria Esquerra
Producer: Chateau Rouge Production (France) - Eddie Saeta SA (Spain)

Duration: 84mn
Distributor Shellac
release on DVD March 22, 2010

Installing A Welded Wire Fence

The Time of Our Lives, "En construccion" by José Luis Guerin

























In "En construccion" film on the transformation of a neighborhood People from Barcelona. Jose Luis Guerin reports on urban changes implemented in our major cities and their consequences ...



The "Barrio Chino" and mythical central district of Barcelona with its working population. A place that collected immigration, whether or Andalusian Maghreb, attracted by the rich and industrious Barcelona, where sailors on a spree rubbed shoulders with prostitutes in the many bars that lined the narrow streets ... The "Barrio Chino" who served the setting for Peter Andre Mandiargues in his novel "the margin" or to Eduardo Mendoza "The Mystery of the Enchanted Crypt" whose main character is a pure child of the "Chino" ... A neighborhood was born and died with the century, like Jose Luis Guerin wrote the highlight of his film ...

Following major rehabilitation, construction, related to the 1992 Olympics, the face of changing the center of Barcelona. The "Barrio Chino" victim too of these changes gradually withering, is reduced to a trickle, is emptied of its substance ... Guerin committed in "En construccion" to show the predicted death of the neighborhood through the prism of a site. "En construccion "For eighteen months following the works of construction of a building in the heart of the" Chino ".
To account for a quarter of his life, his past, his soul, his ghost, nothing better than letting people speak for themselves ... What is Jose Luis Guerin, disappearing behind their words. There is a willingness among Guerin attempt to account for things from the inside. No adding comments, explanations are added to these words. The director adopts
so the choice to let us live events and changes through a few recurring characters, an old man, a little girl, a prostitute and her boyfriend ... Guerin weaves time of his film on the time of construction, which becomes the scanning of all things and in which the sequences come with aggregate figures ...








For them as for other residents, this site acts as a trigger, acts as a catalyst becomes the place to be.
the example of the discovery of a Roman burial, his excavations, which becomes the attraction of the moment. Each inhabitant will comment.
These bones form a bridge to ancient times and issue a bitter, some of these people will not die in the place where they spent their lives, expropriated or relocated elsewhere ... They also are building ties with emptiness, loss and impermanence of all thing, José Luis Guerin queue elsewhere metaphor with excerpts from a film "Land of the Pharaohs" by Howard Hawks, it seems, on the subject of pyramid building ... dream of immortality, end a world ... The reflection of an inhabitant "was seen on the bodies and we do not know ...." This recurrence of past time but also next time the movie runs.

As this church, which gradually disappear as the field work is progressing as buried in the strata of the past ... Guerin plays in this film that partition of passing time, rising static shots in stills: the seasons , clocks marking time, of progress, but more finely with the plans on the walls and the materials they contain. Shots of great plasticity but come searching and update the layers of memory, layers of wallpaper, traces of frames ... These materials are like a palimpsest of memory qu'exhume Jose Luis Guerin delicately, layer after layer ... plans on different materials, bricks, cement, plaster, dirt, pallets, are just beautiful.





Jose Luis Guerin not only local residents. We also passed on the side of the yard workers. A world apart with its own life, its own rules, isolated from the rest. This passage from the side of the site enables us to live Guerin concerns of these workers, their newspapers, their love of work, procurement of know-how. The site remains a place where generations are working side by coast, where workers organized a fraternity, where there is an amazing Moroccan laborer Marxist ... Architects, developers, real instigators of the project are also absent from this film, Guerin puts his camera on the side of the little people.
The compositions of plans chosen by Guerin reinforce this impression of separation: surcadrages, vision obstructed, disrupted by either a balcony, a scaffold, a louver. Two worlds coexist alongside one another, without communication at first ... Everyone is thus observed. The building s'allégorise as a besieged fortress, printing strengthened at the end of the film by security fears of potential buyers ... who is in prison, which is locked? These frameworks
they begin, they portend for future relations between newcomers often from the Barcelona bourgeoisie and the old neighborhood?

gradually by the proximity, links are forged between workers and residents, sketches of dialogue, the walls descend, relationships are created between a worker and a young girl from a girl whose site serves 'playground with the neighborhood gang of kids and a foreman, a young North African who ends up getting hired, but these links are ephemeral, workers are just a rough time ... These meetings fictional sketch real potential ...





It never ceases to irrigate his film of these possibilities of fiction, stories to come or probable and this encounter between the worker and the young girl, between the girl and the foreman, but also with the prostitute, her boyfriend Juan and Ivan living in its fangs, recurring characters that we follow in their daily Ivan ... he will seek work, commit it to the Legion, will they stay in the district after their precarious housing squatters or killed ? Fiction as that old man who wanders, currency on a past invented from scratch, which takes all its misery by charging the magnifying objects ridiculous and without values found here and there at random from his travels ...
ago at Guerin , like Pedro Costa, a love, a look that makes each of his characters worthy ...

Jose Luis Guerin played with our imagination, it opens spaces with primers proposal narrative, but goes further and Guerin plays the possibility of staging, open a gap, building bridges. Imperceptibly, something starts to change, a game is established, staged and the film slides on the side of fiction, but with sweetness and lightness, and this in several sequences, and then goes back to the documentary the same way, without breaking.

The magic and leave us "stuck" to these bits of stories, those unfinished pieces that constitute the memory of a world, a neighborhood, a life ...




Dvd Release March 20, 2010

"In Construccion"


Dir: Jose Luis Guerin

Duration 125mn

Format 4 / 3-color-Pal-Multizone

OV subtitled in French

Barretta Pigeon Reviews

Theft hopes

"Flying" paintings with images suspended in space with a white frame is a Ilya and proposed new Emila Kabakov that beyond a formal question us on the below images ...

First in first instance, what brand are the images we show Ilya and Emilia Kabakov, images that speak for a land of plenty, where everything seems calm, happiness and abundance ...
A choice of subjects, peasants, workers in their work, happy faces, descriptions of a glorious world ... image of an idyllic world where finally the world would be perfect and that there would be no need to escape, to fly ... This déjà vu refers to another reality ...
A certain aesthetic vocabulary specific so-called Socialist Realism defined as when the First Congress of Soviet Writers, which was held in Moscow in August 1934

"A truthful and historically concrete representation of reality in its revolutionary development. In particular it must contribute to the transformation of the ideological education of workers in the spirit of socialism. "

This definition of what should be the socialist art had consequences that we know, at first to acknowledge in particular the avant-garde Russian petit-bourgeois formalism, to subject art for political purposes, to exploit. The result was to deploy a soothing artistic production, frozen in the canons enacted by the totalitarian regime that was Stalin's USSR ... Ilya and Emilia
Kababov thus appropriate this imagery. Important detail, Ilya Kabakov, Young was forged in the ideological mold and was artist status in the USSR for many years ...

But back to the paintings in this series, these images float
then, but not only. Some of them are truncated beyond the scope, others overlap, So where are deformed, placed upside down. The Kabakov put us immediately in a conflict of scrutiny. First of all this fragmentation, this slip out of context for some, these overlays and the anamorphic ...

"Flying"

Our position viewer requires us to try to guess what disappears, what is hidden to us to break the blow to redress these anamorphic or see the location of these images.

A certain relationship with cinema is also involved in this series. This shift, these hidden parts can assimilate an off-screen, or when a change of plan or even a fade. The white background of the canvas becomes the screen on which images come and go ...
For these large white areas, they push even further the process already used in the series "Under the Snow"

" Under the Snow "

" Under the Snow "was still the paintings 'realistic' in the sense that the images appeared behind the snow, part of nature. In "Flying," there is a confrontation of realism to abstraction. These floating images can be viewed as playing with geometric shapes, can be read as constructivist paintings. These paintings relate directly to Malevich.

"Pictorial Realism of a boy with a backpack


Malevich Malevich, the Constructivists, Futurists, the Suprematists, Vertov and the Kino-Pravda projetèrent that their hopes of transforming art, world, life, through the revolution of 1917 ... The

Kabakov we reassign the fate of this avant-garde. Vanguard méconnurent they banned because it was the system of arts education in the USSR ...
They confront us, therefore, part of the history of Russian art but also to the revolutionary hopes and terrible disillusionment that followed.




"Flying"


By choosing that revisits some cliches, lithographs of Socialist Realism in painting, Kabakov also raise the question of the current status of the image ...
These images of paintings that appear to going beyond the scope of this screen what the white background of the canvas, the images that mask or cover for others as fire ...
Would it not interchangeable flow of images that scroll across our screens ...



Deformations, anamorphic ...
note, an image can lead to another, seem to tell us Ilya and Emilia Kabakov ...


ILYA & Emilia Kabakov
FLYING THE PAINTINGS (flying tables)
MARCH 17 - April 17, 2010
Gallery Thaddeus Ropac
Debelleyme75003 Paris 7 Rue

How To Make A Elevator Robopro

Autoconsumation

Waltzes caddies, and Wheelchair percussions barrels, boots pounding the martial rifles rotary drills panicked, hoquètent cars, neon subsidence
... So many aspects of proposals and harmless invitation to play ...
But if the most everyday objects of our environment became autonomous , were happening to us? And if these games were our innocent nightmare?

So with Delphine Reist, we enter a world of crazy objects to autonomous mechanical and uncontrollable ... liabilities facing them, the mastery of these elusive objects, they do not meet our orders, they play in our control their enthusiasms, their random set in motion ... we are not excluded but placed as a fait accompli face these mechanical drift inconsistent in their behavior, like drunken boat ... There appears to be very soon the political dimension of the works of Delphine Reist which takes us first to sense a revolt of the objects we produce ... Should we see a metaphorical reading of the panic of our world, dropped in a free wheel without a pilot in the plane? The world of JG Ballard is not far either, prostheses attached to our bodies and makes us slaves. March in step as these rubber boots that come alive only on military tunes ...

http://video.fc2.com/content.php?kobj_up_id=20080603uNaLGweK

Innocence? anymore.
The choice of places, most often brownfields, parking lots, places a priority non-institutionalized or a gallery space is also involved because the objects animated face walls, walls of the institution? The intention is to cover everyone, to seek an audience that are not "happy few". The purpose is not to judge the effectiveness or not but try to meet in what terms and how his approach is political.

Delphine Reist

The first evidence that strikes the mind and eyes to work and taking part triturating manufactured objects such as tools or utensils usual, these are obvious affiliations with Marcel Duchamp and his readymades. At its single machine as a concept that fueled the Dada movement with these series of mechanisms in search of a perpetual motion impossible, a senseless quest to limit the absurd ... with Picabia's "Girl born without a mother" for example ... Roman Signer Tinguely are also nearby.

"Recording surfaces, bodies without organs (...) is essentially the establishment of an enchanted area of registration or registration who takes all the productive forces and production organization, and acts as a quasi-cause in them of the apparent motion, " this is the definition that gives Deleuze and Guattari single machine.

"Girl born without a mother" Francis Picabia


Machine single call for a form of eroticism mechanized, as there is some relation to the death in the devices of Jean Tinguely, "a tribute to New York" is exemplary in this sense, equipment which will go to its self-destruction by a series of events chain ... McLuhan raised the theory that we are like bees to the flowers that the genitalia of objects ... This idea joins the concept of this single machine that self-eroticizes.

Delphine Reist


This strong erotic potential and obituary them links between eroticism and death are no longer in doubt, take its place among Delphine Reist, in all the important work it undertakes on fluids too.
fluids, such as seminal fluids, as fluid flow, exchange or closed ...
The components of these fluids by Delphine Reist are most usually oil drain. Materials recycled-goods ad libitum, which shows Delphine Reist Policy fluids as a metaphor for the movement of goods often manufactured in factories relocated, hence also the insistence of exhibit Delphine Reist in brownfield places symbolic of an industry ... late

Delphine Reist

"The wealth of societies in which reigns the capitalist mode of production itself as an immense accumulation of commodities. The analysis of the commodity, this elementary form of wealth, will therefore be the starting point of our research, "Karl Marx

goods, objects, fluids, circulation ... It is not far from the work of a Gianni Motti when it plays on the notion of use value and value exchange with banknotes. It sets out how our consumption, money, virtual fluid often fetishized and also in the galleries ...



Gianni Motti

Delphine Reist speaks in its own way of fetishization of the commodity , the erotic impulse that seizes us deal with things ... But a morbid impulse, an eroticism without object, without pleasure masturbation, quasi-officer ... The great strength of liberalism is to play and create frustration its mode of operation conditions for eroticism onanisée, reified and lonely. Finally, these caddies, these chairs are agitated, we show the emptiness of this economic system ... but also points our absence. And it proposes a political resistance in his works.

Delphine Reist

No human presence in Delphine Reist. This presence-absence haunts all his work, the emptiness of a brownfield, as an empty chair work Delphine Reist dig the metaphor of the absent body, a body whose only remaining implants, a désérotisé body, a body deprived ...
Delphine Reist we ask the question: what are these machines singles, merchandise or us?