Pruitt-Igoe Falls
2009
6:55 min.
Edition of 5
The video 'Pruitt-Igoe Falls' takes its title from Pruitt-Igoe, a large urban housing project built in the 1950s in Saint Louis, United States; quickly facing decay, its demolition by implosion started in 1972, 18 years only after construction, and was the first of this kind on such a scale. Designed by American architect Minoru YAMASKI, also responsible for the World Trade Center twin towers, Pruitt-Igoe has become an emblematic icon often evoked by all sides in public housing policy debate, and its destruction was claimed by Postmodern architectural theorician Charles JENCKS to mark 'the day Modern architecture died'.
Under these auspices, Cyprien GAILLARD's video consists of two static and silent shots, linked through a subtle crossfade plan. The first part captures the demolition, at night, of a building in Sighthill housing estate in Glasgow. A city favoured by the artist, the capital of Scotland has the highest number of high-rise housing projects in the United Kingdom, some built in the middle of ancient cemeteries and many now bound to be demolished as part of a large urban rehabilitation plan. The video starts with the striking and fraught with meaning vision of a concrete monolith rising from tombstones, under a powerful lighting that makes the whole scene look like a cinema set. When the grey block implodes and collapses, a thick cloud of dust rises slowly to the foreground and eventually covers the audience and the lights, plunging the image in the dark, out of which only emerge shadows of tombs and vegetation.
A faint light appears in the center of this nocturnal romantic vision, before intensifying and outshining what remained of the first scene: the second shot is a sight of Niagara Falls when they 'light up' at night, illuminated by spotlights that transform them into a dreamy show with changing vivid colors. The falls are filmed from the United States, the 'cheap seats' for those who cannot afford to go to Canada, where the view is the most spectacular, in the same way that the inhabitants of the Glasgow building, moved out with the promise of a better future, can only watch the spectacle of their former home being demolished. As the foam of the second act formally echoes the cloud of dust of the first, Cyprien GAILLARD brings together the majestic falls, a natural phenomenon turned into an amusement park, and the fall of an architecture, also transformed into a show.
2009
6:55 min.
Edition of 5
The video 'Pruitt-Igoe Falls' takes its title from Pruitt-Igoe, a large urban housing project built in the 1950s in Saint Louis, United States; quickly facing decay, its demolition by implosion started in 1972, 18 years only after construction, and was the first of this kind on such a scale. Designed by American architect Minoru YAMASKI, also responsible for the World Trade Center twin towers, Pruitt-Igoe has become an emblematic icon often evoked by all sides in public housing policy debate, and its destruction was claimed by Postmodern architectural theorician Charles JENCKS to mark 'the day Modern architecture died'.
Under these auspices, Cyprien GAILLARD's video consists of two static and silent shots, linked through a subtle crossfade plan. The first part captures the demolition, at night, of a building in Sighthill housing estate in Glasgow. A city favoured by the artist, the capital of Scotland has the highest number of high-rise housing projects in the United Kingdom, some built in the middle of ancient cemeteries and many now bound to be demolished as part of a large urban rehabilitation plan. The video starts with the striking and fraught with meaning vision of a concrete monolith rising from tombstones, under a powerful lighting that makes the whole scene look like a cinema set. When the grey block implodes and collapses, a thick cloud of dust rises slowly to the foreground and eventually covers the audience and the lights, plunging the image in the dark, out of which only emerge shadows of tombs and vegetation.
A faint light appears in the center of this nocturnal romantic vision, before intensifying and outshining what remained of the first scene: the second shot is a sight of Niagara Falls when they 'light up' at night, illuminated by spotlights that transform them into a dreamy show with changing vivid colors. The falls are filmed from the United States, the 'cheap seats' for those who cannot afford to go to Canada, where the view is the most spectacular, in the same way that the inhabitants of the Glasgow building, moved out with the promise of a better future, can only watch the spectacle of their former home being demolished. As the foam of the second act formally echoes the cloud of dust of the first, Cyprien GAILLARD brings together the majestic falls, a natural phenomenon turned into an amusement park, and the fall of an architecture, also transformed into a show.
Pruitt-Igoe Falls
2009
6:55 min.
Edition of 5
The video 'Pruitt-Igoe Falls' takes its title from Pruitt-Igoe, a large urban housing project built in the 1950s in Saint Louis, United States; quickly facing decay, its demolition by implosion started in 1972, 18 years only after construction, and was the first of this kind on such a scale. Designed by American architect Minoru YAMASKI, also responsible for the World Trade Center twin towers, Pruitt-Igoe has become an emblematic icon often evoked by all sides in public housing policy debate, and its destruction was claimed by Postmodern architectural theorician Charles JENCKS to mark 'the day Modern architecture died'.
Under these auspices, Cyprien GAILLARD's video consists of two static and silent shots, linked through a subtle crossfade plan. The first part captures the demolition, at night, of a building in Sighthill housing estate in Glasgow. A city favoured by the artist, the capital of Scotland has the highest number of high-rise housing projects in the United Kingdom, some built in the middle of ancient cemeteries and many now bound to be demolished as part of a large urban rehabilitation plan. The video starts with the striking and fraught with meaning vision of a concrete monolith rising from tombstones, under a powerful lighting that makes the whole scene look like a cinema set. When the grey block implodes and collapses, a thick cloud of dust rises slowly to the foreground and eventually covers the audience and the lights, plunging the image in the dark, out of which only emerge shadows of tombs and vegetation.
A faint light appears in the center of this nocturnal romantic vision, before intensifying and outshining what remained of the first scene: the second shot is a sight of Niagara Falls when they 'light up' at night, illuminated by spotlights that transform them into a dreamy show with changing vivid colors. The falls are filmed from the United States, the 'cheap seats' for those who cannot afford to go to Canada, where the view is the most spectacular, in the same way that the inhabitants of the Glasgow building, moved out with the promise of a better future, can only watch the spectacle of their former home being demolished. As the foam of the second act formally echoes the cloud of dust of the first, Cyprien GAILLARD brings together the majestic falls, a natural phenomenon turned into an amusement park, and the fall of an architecture, also transformed into a show.
2009
6:55 min.
Edition of 5
The video 'Pruitt-Igoe Falls' takes its title from Pruitt-Igoe, a large urban housing project built in the 1950s in Saint Louis, United States; quickly facing decay, its demolition by implosion started in 1972, 18 years only after construction, and was the first of this kind on such a scale. Designed by American architect Minoru YAMASKI, also responsible for the World Trade Center twin towers, Pruitt-Igoe has become an emblematic icon often evoked by all sides in public housing policy debate, and its destruction was claimed by Postmodern architectural theorician Charles JENCKS to mark 'the day Modern architecture died'.
Under these auspices, Cyprien GAILLARD's video consists of two static and silent shots, linked through a subtle crossfade plan. The first part captures the demolition, at night, of a building in Sighthill housing estate in Glasgow. A city favoured by the artist, the capital of Scotland has the highest number of high-rise housing projects in the United Kingdom, some built in the middle of ancient cemeteries and many now bound to be demolished as part of a large urban rehabilitation plan. The video starts with the striking and fraught with meaning vision of a concrete monolith rising from tombstones, under a powerful lighting that makes the whole scene look like a cinema set. When the grey block implodes and collapses, a thick cloud of dust rises slowly to the foreground and eventually covers the audience and the lights, plunging the image in the dark, out of which only emerge shadows of tombs and vegetation.
A faint light appears in the center of this nocturnal romantic vision, before intensifying and outshining what remained of the first scene: the second shot is a sight of Niagara Falls when they 'light up' at night, illuminated by spotlights that transform them into a dreamy show with changing vivid colors. The falls are filmed from the United States, the 'cheap seats' for those who cannot afford to go to Canada, where the view is the most spectacular, in the same way that the inhabitants of the Glasgow building, moved out with the promise of a better future, can only watch the spectacle of their former home being demolished. As the foam of the second act formally echoes the cloud of dust of the first, Cyprien GAILLARD brings together the majestic falls, a natural phenomenon turned into an amusement park, and the fall of an architecture, also transformed into a show.
Pruitt-Igoe Falls
2009
6:55 min.
Edition of 5
The video 'Pruitt-Igoe Falls' takes its title from Pruitt-Igoe, a large urban housing project built in the 1950s in Saint Louis, United States; quickly facing decay, its demolition by implosion started in 1972, 18 years only after construction, and was the first of this kind on such a scale. Designed by American architect Minoru YAMASKI, also responsible for the World Trade Center twin towers, Pruitt-Igoe has become an emblematic icon often evoked by all sides in public housing policy debate, and its destruction was claimed by Postmodern architectural theorician Charles JENCKS to mark 'the day Modern architecture died'.
Under these auspices, Cyprien GAILLARD's video consists of two static and silent shots, linked through a subtle crossfade plan. The first part captures the demolition, at night, of a building in Sighthill housing estate in Glasgow. A city favoured by the artist, the capital of Scotland has the highest number of high-rise housing projects in the United Kingdom, some built in the middle of ancient cemeteries and many now bound to be demolished as part of a large urban rehabilitation plan. The video starts with the striking and fraught with meaning vision of a concrete monolith rising from tombstones, under a powerful lighting that makes the whole scene look like a cinema set. When the grey block implodes and collapses, a thick cloud of dust rises slowly to the foreground and eventually covers the audience and the lights, plunging the image in the dark, out of which only emerge shadows of tombs and vegetation.
A faint light appears in the center of this nocturnal romantic vision, before intensifying and outshining what remained of the first scene: the second shot is a sight of Niagara Falls when they 'light up' at night, illuminated by spotlights that transform them into a dreamy show with changing vivid colors. The falls are filmed from the United States, the 'cheap seats' for those who cannot afford to go to Canada, where the view is the most spectacular, in the same way that the inhabitants of the Glasgow building, moved out with the promise of a better future, can only watch the spectacle of their former home being demolished. As the foam of the second act formally echoes the cloud of dust of the first, Cyprien GAILLARD brings together the majestic falls, a natural phenomenon turned into an amusement park, and the fall of an architecture, also transformed into a show.
2009
6:55 min.
Edition of 5
The video 'Pruitt-Igoe Falls' takes its title from Pruitt-Igoe, a large urban housing project built in the 1950s in Saint Louis, United States; quickly facing decay, its demolition by implosion started in 1972, 18 years only after construction, and was the first of this kind on such a scale. Designed by American architect Minoru YAMASKI, also responsible for the World Trade Center twin towers, Pruitt-Igoe has become an emblematic icon often evoked by all sides in public housing policy debate, and its destruction was claimed by Postmodern architectural theorician Charles JENCKS to mark 'the day Modern architecture died'.
Under these auspices, Cyprien GAILLARD's video consists of two static and silent shots, linked through a subtle crossfade plan. The first part captures the demolition, at night, of a building in Sighthill housing estate in Glasgow. A city favoured by the artist, the capital of Scotland has the highest number of high-rise housing projects in the United Kingdom, some built in the middle of ancient cemeteries and many now bound to be demolished as part of a large urban rehabilitation plan. The video starts with the striking and fraught with meaning vision of a concrete monolith rising from tombstones, under a powerful lighting that makes the whole scene look like a cinema set. When the grey block implodes and collapses, a thick cloud of dust rises slowly to the foreground and eventually covers the audience and the lights, plunging the image in the dark, out of which only emerge shadows of tombs and vegetation.
A faint light appears in the center of this nocturnal romantic vision, before intensifying and outshining what remained of the first scene: the second shot is a sight of Niagara Falls when they 'light up' at night, illuminated by spotlights that transform them into a dreamy show with changing vivid colors. The falls are filmed from the United States, the 'cheap seats' for those who cannot afford to go to Canada, where the view is the most spectacular, in the same way that the inhabitants of the Glasgow building, moved out with the promise of a better future, can only watch the spectacle of their former home being demolished. As the foam of the second act formally echoes the cloud of dust of the first, Cyprien GAILLARD brings together the majestic falls, a natural phenomenon turned into an amusement park, and the fall of an architecture, also transformed into a show.
Pruitt-Igoe Falls
2009
6:55 min.
Edition of 5
The video 'Pruitt-Igoe Falls' takes its title from Pruitt-Igoe, a large urban housing project built in the 1950s in Saint Louis, United States; quickly facing decay, its demolition by implosion started in 1972, 18 years only after construction, and was the first of this kind on such a scale. Designed by American architect Minoru YAMASKI, also responsible for the World Trade Center twin towers, Pruitt-Igoe has become an emblematic icon often evoked by all sides in public housing policy debate, and its destruction was claimed by Postmodern architectural theorician Charles JENCKS to mark 'the day Modern architecture died'.
Under these auspices, Cyprien GAILLARD's video consists of two static and silent shots, linked through a subtle crossfade plan. The first part captures the demolition, at night, of a building in Sighthill housing estate in Glasgow. A city favoured by the artist, the capital of Scotland has the highest number of high-rise housing projects in the United Kingdom, some built in the middle of ancient cemeteries and many now bound to be demolished as part of a large urban rehabilitation plan. The video starts with the striking and fraught with meaning vision of a concrete monolith rising from tombstones, under a powerful lighting that makes the whole scene look like a cinema set. When the grey block implodes and collapses, a thick cloud of dust rises slowly to the foreground and eventually covers the audience and the lights, plunging the image in the dark, out of which only emerge shadows of tombs and vegetation.
A faint light appears in the center of this nocturnal romantic vision, before intensifying and outshining what remained of the first scene: the second shot is a sight of Niagara Falls when they 'light up' at night, illuminated by spotlights that transform them into a dreamy show with changing vivid colors. The falls are filmed from the United States, the 'cheap seats' for those who cannot afford to go to Canada, where the view is the most spectacular, in the same way that the inhabitants of the Glasgow building, moved out with the promise of a better future, can only watch the spectacle of their former home being demolished. As the foam of the second act formally echoes the cloud of dust of the first, Cyprien GAILLARD brings together the majestic falls, a natural phenomenon turned into an amusement park, and the fall of an architecture, also transformed into a show.
2009
6:55 min.
Edition of 5
The video 'Pruitt-Igoe Falls' takes its title from Pruitt-Igoe, a large urban housing project built in the 1950s in Saint Louis, United States; quickly facing decay, its demolition by implosion started in 1972, 18 years only after construction, and was the first of this kind on such a scale. Designed by American architect Minoru YAMASKI, also responsible for the World Trade Center twin towers, Pruitt-Igoe has become an emblematic icon often evoked by all sides in public housing policy debate, and its destruction was claimed by Postmodern architectural theorician Charles JENCKS to mark 'the day Modern architecture died'.
Under these auspices, Cyprien GAILLARD's video consists of two static and silent shots, linked through a subtle crossfade plan. The first part captures the demolition, at night, of a building in Sighthill housing estate in Glasgow. A city favoured by the artist, the capital of Scotland has the highest number of high-rise housing projects in the United Kingdom, some built in the middle of ancient cemeteries and many now bound to be demolished as part of a large urban rehabilitation plan. The video starts with the striking and fraught with meaning vision of a concrete monolith rising from tombstones, under a powerful lighting that makes the whole scene look like a cinema set. When the grey block implodes and collapses, a thick cloud of dust rises slowly to the foreground and eventually covers the audience and the lights, plunging the image in the dark, out of which only emerge shadows of tombs and vegetation.
A faint light appears in the center of this nocturnal romantic vision, before intensifying and outshining what remained of the first scene: the second shot is a sight of Niagara Falls when they 'light up' at night, illuminated by spotlights that transform them into a dreamy show with changing vivid colors. The falls are filmed from the United States, the 'cheap seats' for those who cannot afford to go to Canada, where the view is the most spectacular, in the same way that the inhabitants of the Glasgow building, moved out with the promise of a better future, can only watch the spectacle of their former home being demolished. As the foam of the second act formally echoes the cloud of dust of the first, Cyprien GAILLARD brings together the majestic falls, a natural phenomenon turned into an amusement park, and the fall of an architecture, also transformed into a show.
Cities of Gold and Mirrors
2009
16 mm and 16 mm film transferred to dvd
8:52 min.
Cities of Gold and Mirrors , shot in 16mm in Quintana Roo, is a film consisting of five scenes planned to occur principally in and around the city of Cancún, which was founded in 1970. There, a group of springbreakers; a hotel with dolphins in its pool; a member of the Bloods dancing atop a Mayan archaeological site called El Rey; the demolition of a mirrored building; and the interior of the night club Cocobongo appear one after the other, set to a particular looped recording: Le feu de St. Elme, by Haïm Saban and Shuki Levy. This music is part of the soundtrack to an animated series about Spanish conquistadors, Mysterious Cities of Gold (1982). In the cartoon, synthesizers created a sensation of suspense, incredible mysticism, and they recurred every time Esteban -- the show's diminutive protagonist -- was about to discover some new marvel contact that French children from his generation had with pre-Columbian cultures, and it has remained strongly fixed in his memory.
2009
16 mm and 16 mm film transferred to dvd
8:52 min.
Cities of Gold and Mirrors , shot in 16mm in Quintana Roo, is a film consisting of five scenes planned to occur principally in and around the city of Cancún, which was founded in 1970. There, a group of springbreakers; a hotel with dolphins in its pool; a member of the Bloods dancing atop a Mayan archaeological site called El Rey; the demolition of a mirrored building; and the interior of the night club Cocobongo appear one after the other, set to a particular looped recording: Le feu de St. Elme, by Haïm Saban and Shuki Levy. This music is part of the soundtrack to an animated series about Spanish conquistadors, Mysterious Cities of Gold (1982). In the cartoon, synthesizers created a sensation of suspense, incredible mysticism, and they recurred every time Esteban -- the show's diminutive protagonist -- was about to discover some new marvel contact that French children from his generation had with pre-Columbian cultures, and it has remained strongly fixed in his memory.
Cities of Gold and Mirrors
2009
16 mm and 16 mm film transferred to dvd
8:52 min.
Cities of Gold and Mirrors , shot in 16mm in Quintana Roo, is a film consisting of five scenes planned to occur principally in and around the city of Cancún, which was founded in 1970. There, a group of springbreakers; a hotel with dolphins in its pool; a member of the Bloods dancing atop a Mayan archaeological site called El Rey; the demolition of a mirrored building; and the interior of the night club Cocobongo appear one after the other, set to a particular looped recording: Le feu de St. Elme, by Haïm Saban and Shuki Levy. This music is part of the soundtrack to an animated series about Spanish conquistadors, Mysterious Cities of Gold (1982). In the cartoon, synthesizers created a sensation of suspense, incredible mysticism, and they recurred every time Esteban -- the show's diminutive protagonist -- was about to discover some new marvel contact that French children from his generation had with pre-Columbian cultures, and it has remained strongly fixed in his memory.
2009
16 mm and 16 mm film transferred to dvd
8:52 min.
Cities of Gold and Mirrors , shot in 16mm in Quintana Roo, is a film consisting of five scenes planned to occur principally in and around the city of Cancún, which was founded in 1970. There, a group of springbreakers; a hotel with dolphins in its pool; a member of the Bloods dancing atop a Mayan archaeological site called El Rey; the demolition of a mirrored building; and the interior of the night club Cocobongo appear one after the other, set to a particular looped recording: Le feu de St. Elme, by Haïm Saban and Shuki Levy. This music is part of the soundtrack to an animated series about Spanish conquistadors, Mysterious Cities of Gold (1982). In the cartoon, synthesizers created a sensation of suspense, incredible mysticism, and they recurred every time Esteban -- the show's diminutive protagonist -- was about to discover some new marvel contact that French children from his generation had with pre-Columbian cultures, and it has remained strongly fixed in his memory.
Cities of Gold and Mirrors
2009
16 mm and 16 mm film transferred to dvd
8:52 min.
Cities of Gold and Mirrors , shot in 16mm in Quintana Roo, is a film consisting of five scenes planned to occur principally in and around the city of Cancún, which was founded in 1970. There, a group of springbreakers; a hotel with dolphins in its pool; a member of the Bloods dancing atop a Mayan archaeological site called El Rey; the demolition of a mirrored building; and the interior of the night club Cocobongo appear one after the other, set to a particular looped recording: Le feu de St. Elme, by Haïm Saban and Shuki Levy. This music is part of the soundtrack to an animated series about Spanish conquistadors, Mysterious Cities of Gold (1982). In the cartoon, synthesizers created a sensation of suspense, incredible mysticism, and they recurred every time Esteban -- the show's diminutive protagonist -- was about to discover some new marvel contact that French children from his generation had with pre-Columbian cultures, and it has remained strongly fixed in his memory.
2009
16 mm and 16 mm film transferred to dvd
8:52 min.
Cities of Gold and Mirrors , shot in 16mm in Quintana Roo, is a film consisting of five scenes planned to occur principally in and around the city of Cancún, which was founded in 1970. There, a group of springbreakers; a hotel with dolphins in its pool; a member of the Bloods dancing atop a Mayan archaeological site called El Rey; the demolition of a mirrored building; and the interior of the night club Cocobongo appear one after the other, set to a particular looped recording: Le feu de St. Elme, by Haïm Saban and Shuki Levy. This music is part of the soundtrack to an animated series about Spanish conquistadors, Mysterious Cities of Gold (1982). In the cartoon, synthesizers created a sensation of suspense, incredible mysticism, and they recurred every time Esteban -- the show's diminutive protagonist -- was about to discover some new marvel contact that French children from his generation had with pre-Columbian cultures, and it has remained strongly fixed in his memory.
Cities of Gold and Mirrors
2009
16 mm and 16 mm film transferred to dvd
8:52 min.
Cities of Gold and Mirrors , shot in 16mm in Quintana Roo, is a film consisting of five scenes planned to occur principally in and around the city of Cancún, which was founded in 1970. There, a group of springbreakers; a hotel with dolphins in its pool; a member of the Bloods dancing atop a Mayan archaeological site called El Rey; the demolition of a mirrored building; and the interior of the night club Cocobongo appear one after the other, set to a particular looped recording: Le feu de St. Elme, by Haïm Saban and Shuki Levy. This music is part of the soundtrack to an animated series about Spanish conquistadors, Mysterious Cities of Gold (1982). In the cartoon, synthesizers created a sensation of suspense, incredible mysticism, and they recurred every time Esteban -- the show's diminutive protagonist -- was about to discover some new marvel contact that French children from his generation had with pre-Columbian cultures, and it has remained strongly fixed in his memory.
2009
16 mm and 16 mm film transferred to dvd
8:52 min.
Cities of Gold and Mirrors , shot in 16mm in Quintana Roo, is a film consisting of five scenes planned to occur principally in and around the city of Cancún, which was founded in 1970. There, a group of springbreakers; a hotel with dolphins in its pool; a member of the Bloods dancing atop a Mayan archaeological site called El Rey; the demolition of a mirrored building; and the interior of the night club Cocobongo appear one after the other, set to a particular looped recording: Le feu de St. Elme, by Haïm Saban and Shuki Levy. This music is part of the soundtrack to an animated series about Spanish conquistadors, Mysterious Cities of Gold (1982). In the cartoon, synthesizers created a sensation of suspense, incredible mysticism, and they recurred every time Esteban -- the show's diminutive protagonist -- was about to discover some new marvel contact that French children from his generation had with pre-Columbian cultures, and it has remained strongly fixed in his memory.
Crazy Horse
2008
28:00 min.
Performance by Koudlam at Skulpturenpark on Cyprien Gaillard's "Crazy Horse"
BB5, 5th Berlin Biennale, Berlin, opening night
Cyprien Gaillard's film "Crazy Horse" is a tribute to the ongoing sculpture of Crazy Horse in the Black Hills of South Dakota. In 1948 the sculptor Korczak Ziólkowski (1908–82), commissioned by the Sioux, began a sculpture to honor the Lakota leader Crazy Horse and Mother Nature. This monument, which will take approximately another eighty years to complete, will then be the biggest sculpture in the world. The dynamite used by builders when carving the figure into the mountains of the Black Hills has wreaked destruction and chaos in the national park. Composer and longtime collaborator of Gaillard, Koudlam, composed the music to the film and accompanied the outdoor premiere with a live performance.
2008
28:00 min.
Performance by Koudlam at Skulpturenpark on Cyprien Gaillard's "Crazy Horse"
BB5, 5th Berlin Biennale, Berlin, opening night
Cyprien Gaillard's film "Crazy Horse" is a tribute to the ongoing sculpture of Crazy Horse in the Black Hills of South Dakota. In 1948 the sculptor Korczak Ziólkowski (1908–82), commissioned by the Sioux, began a sculpture to honor the Lakota leader Crazy Horse and Mother Nature. This monument, which will take approximately another eighty years to complete, will then be the biggest sculpture in the world. The dynamite used by builders when carving the figure into the mountains of the Black Hills has wreaked destruction and chaos in the national park. Composer and longtime collaborator of Gaillard, Koudlam, composed the music to the film and accompanied the outdoor premiere with a live performance.
Crazy Horse
2008
28:00 min.
Performance by Koudlam at Skulpturenpark on Cyprien Gaillard's "Crazy Horse"
BB5, 5th Berlin Biennale, Berlin, opening night
Cyprien Gaillard's film "Crazy Horse" is a tribute to the ongoing sculpture of Crazy Horse in the Black Hills of South Dakota. In 1948 the sculptor Korczak Ziólkowski (1908–82), commissioned by the Sioux, began a sculpture to honor the Lakota leader Crazy Horse and Mother Nature. This monument, which will take approximately another eighty years to complete, will then be the biggest sculpture in the world. The dynamite used by builders when carving the figure into the mountains of the Black Hills has wreaked destruction and chaos in the national park. Composer and longtime collaborator of Gaillard, Koudlam, composed the music to the film and accompanied the outdoor premiere with a live performance.
2008
28:00 min.
Performance by Koudlam at Skulpturenpark on Cyprien Gaillard's "Crazy Horse"
BB5, 5th Berlin Biennale, Berlin, opening night
Cyprien Gaillard's film "Crazy Horse" is a tribute to the ongoing sculpture of Crazy Horse in the Black Hills of South Dakota. In 1948 the sculptor Korczak Ziólkowski (1908–82), commissioned by the Sioux, began a sculpture to honor the Lakota leader Crazy Horse and Mother Nature. This monument, which will take approximately another eighty years to complete, will then be the biggest sculpture in the world. The dynamite used by builders when carving the figure into the mountains of the Black Hills has wreaked destruction and chaos in the national park. Composer and longtime collaborator of Gaillard, Koudlam, composed the music to the film and accompanied the outdoor premiere with a live performance.
Crazy Horse
2008
28:00 min.
Performance by Koudlam at Skulpturenpark on Cyprien Gaillard's "Crazy Horse"
BB5, 5th Berlin Biennale, Berlin, opening night
Cyprien Gaillard's film "Crazy Horse" is a tribute to the ongoing sculpture of Crazy Horse in the Black Hills of South Dakota. In 1948 the sculptor Korczak Ziólkowski (1908–82), commissioned by the Sioux, began a sculpture to honor the Lakota leader Crazy Horse and Mother Nature. This monument, which will take approximately another eighty years to complete, will then be the biggest sculpture in the world. The dynamite used by builders when carving the figure into the mountains of the Black Hills has wreaked destruction and chaos in the national park. Composer and longtime collaborator of Gaillard, Koudlam, composed the music to the film and accompanied the outdoor premiere with a live performance.
2008
28:00 min.
Performance by Koudlam at Skulpturenpark on Cyprien Gaillard's "Crazy Horse"
BB5, 5th Berlin Biennale, Berlin, opening night
Cyprien Gaillard's film "Crazy Horse" is a tribute to the ongoing sculpture of Crazy Horse in the Black Hills of South Dakota. In 1948 the sculptor Korczak Ziólkowski (1908–82), commissioned by the Sioux, began a sculpture to honor the Lakota leader Crazy Horse and Mother Nature. This monument, which will take approximately another eighty years to complete, will then be the biggest sculpture in the world. The dynamite used by builders when carving the figure into the mountains of the Black Hills has wreaked destruction and chaos in the national park. Composer and longtime collaborator of Gaillard, Koudlam, composed the music to the film and accompanied the outdoor premiere with a live performance.
Crazy Horse
2008
28:00 min.
Performance by Koudlam at Skulpturenpark on Cyprien Gaillard's "Crazy Horse"
BB5, 5th Berlin Biennale, Berlin, opening night
Cyprien Gaillard's film "Crazy Horse" is a tribute to the ongoing sculpture of Crazy Horse in the Black Hills of South Dakota. In 1948 the sculptor Korczak Ziólkowski (1908–82), commissioned by the Sioux, began a sculpture to honor the Lakota leader Crazy Horse and Mother Nature. This monument, which will take approximately another eighty years to complete, will then be the biggest sculpture in the world. The dynamite used by builders when carving the figure into the mountains of the Black Hills has wreaked destruction and chaos in the national park. Composer and longtime collaborator of Gaillard, Koudlam, composed the music to the film and accompanied the outdoor premiere with a live performance.
2008
28:00 min.
Performance by Koudlam at Skulpturenpark on Cyprien Gaillard's "Crazy Horse"
BB5, 5th Berlin Biennale, Berlin, opening night
Cyprien Gaillard's film "Crazy Horse" is a tribute to the ongoing sculpture of Crazy Horse in the Black Hills of South Dakota. In 1948 the sculptor Korczak Ziólkowski (1908–82), commissioned by the Sioux, began a sculpture to honor the Lakota leader Crazy Horse and Mother Nature. This monument, which will take approximately another eighty years to complete, will then be the biggest sculpture in the world. The dynamite used by builders when carving the figure into the mountains of the Black Hills has wreaked destruction and chaos in the national park. Composer and longtime collaborator of Gaillard, Koudlam, composed the music to the film and accompanied the outdoor premiere with a live performance.
Color Like No Other
2007
2:36 min.
On January 21, 2007, the multi-storey high rise in Queen's Court, Toryglen was finally demolished. The building had served as part of Sony's multimillion pound advertising campaign for the high definition Bravia LCD TV, for which it was blasted with thousands of gallons of paint, and then abandoned like a festooned ruin. The film obliquely chronicles the building's demolition, beginning with a static view of the rubble and then moving to tranquil establishing shots of the tower prior to its fall. The shots give no indication of the imminent explosion, save for several birds that, sensing the vibrations, take flight from the building. This self-conscious torpor contrasts with the orgiastic Sony campaign, highlighting an appetite for the spectacular – in demolition as much as in 20th century painting. The building's former technicolor instrumentalization is countered by what remains: bleak ruins captured with GAILLARD's funereal restraint. A fraction of a second reveals the first black plumes of the demolition before the video abruptly cuts, like an erasure of both the ruin and any monumental end to it.
2007
2:36 min.
On January 21, 2007, the multi-storey high rise in Queen's Court, Toryglen was finally demolished. The building had served as part of Sony's multimillion pound advertising campaign for the high definition Bravia LCD TV, for which it was blasted with thousands of gallons of paint, and then abandoned like a festooned ruin. The film obliquely chronicles the building's demolition, beginning with a static view of the rubble and then moving to tranquil establishing shots of the tower prior to its fall. The shots give no indication of the imminent explosion, save for several birds that, sensing the vibrations, take flight from the building. This self-conscious torpor contrasts with the orgiastic Sony campaign, highlighting an appetite for the spectacular – in demolition as much as in 20th century painting. The building's former technicolor instrumentalization is countered by what remains: bleak ruins captured with GAILLARD's funereal restraint. A fraction of a second reveals the first black plumes of the demolition before the video abruptly cuts, like an erasure of both the ruin and any monumental end to it.
Color Like No Other
2007
2:36 min.
On January 21, 2007, the multi-storey high rise in Queen's Court, Toryglen was finally demolished. The building had served as part of Sony's multimillion pound advertising campaign for the high definition Bravia LCD TV, for which it was blasted with thousands of gallons of paint, and then abandoned like a festooned ruin. The film obliquely chronicles the building's demolition, beginning with a static view of the rubble and then moving to tranquil establishing shots of the tower prior to its fall. The shots give no indication of the imminent explosion, save for several birds that, sensing the vibrations, take flight from the building. This self-conscious torpor contrasts with the orgiastic Sony campaign, highlighting an appetite for the spectacular – in demolition as much as in 20th century painting. The building's former technicolor instrumentalization is countered by what remains: bleak ruins captured with GAILLARD's funereal restraint. A fraction of a second reveals the first black plumes of the demolition before the video abruptly cuts, like an erasure of both the ruin and any monumental end to it.
2007
2:36 min.
On January 21, 2007, the multi-storey high rise in Queen's Court, Toryglen was finally demolished. The building had served as part of Sony's multimillion pound advertising campaign for the high definition Bravia LCD TV, for which it was blasted with thousands of gallons of paint, and then abandoned like a festooned ruin. The film obliquely chronicles the building's demolition, beginning with a static view of the rubble and then moving to tranquil establishing shots of the tower prior to its fall. The shots give no indication of the imminent explosion, save for several birds that, sensing the vibrations, take flight from the building. This self-conscious torpor contrasts with the orgiastic Sony campaign, highlighting an appetite for the spectacular – in demolition as much as in 20th century painting. The building's former technicolor instrumentalization is countered by what remains: bleak ruins captured with GAILLARD's funereal restraint. A fraction of a second reveals the first black plumes of the demolition before the video abruptly cuts, like an erasure of both the ruin and any monumental end to it.
Color Like No Other
2007
2:36 min.
On January 21, 2007, the multi-storey high rise in Queen's Court, Toryglen was finally demolished. The building had served as part of Sony's multimillion pound advertising campaign for the high definition Bravia LCD TV, for which it was blasted with thousands of gallons of paint, and then abandoned like a festooned ruin. The film obliquely chronicles the building's demolition, beginning with a static view of the rubble and then moving to tranquil establishing shots of the tower prior to its fall. The shots give no indication of the imminent explosion, save for several birds that, sensing the vibrations, take flight from the building. This self-conscious torpor contrasts with the orgiastic Sony campaign, highlighting an appetite for the spectacular – in demolition as much as in 20th century painting. The building's former technicolor instrumentalization is countered by what remains: bleak ruins captured with GAILLARD's funereal restraint. A fraction of a second reveals the first black plumes of the demolition before the video abruptly cuts, like an erasure of both the ruin and any monumental end to it.
2007
2:36 min.
On January 21, 2007, the multi-storey high rise in Queen's Court, Toryglen was finally demolished. The building had served as part of Sony's multimillion pound advertising campaign for the high definition Bravia LCD TV, for which it was blasted with thousands of gallons of paint, and then abandoned like a festooned ruin. The film obliquely chronicles the building's demolition, beginning with a static view of the rubble and then moving to tranquil establishing shots of the tower prior to its fall. The shots give no indication of the imminent explosion, save for several birds that, sensing the vibrations, take flight from the building. This self-conscious torpor contrasts with the orgiastic Sony campaign, highlighting an appetite for the spectacular – in demolition as much as in 20th century painting. The building's former technicolor instrumentalization is countered by what remains: bleak ruins captured with GAILLARD's funereal restraint. A fraction of a second reveals the first black plumes of the demolition before the video abruptly cuts, like an erasure of both the ruin and any monumental end to it.
Color Like No Other
2007
2:36 min.
On January 21, 2007, the multi-storey high rise in Queen's Court, Toryglen was finally demolished. The building had served as part of Sony's multimillion pound advertising campaign for the high definition Bravia LCD TV, for which it was blasted with thousands of gallons of paint, and then abandoned like a festooned ruin. The film obliquely chronicles the building's demolition, beginning with a static view of the rubble and then moving to tranquil establishing shots of the tower prior to its fall. The shots give no indication of the imminent explosion, save for several birds that, sensing the vibrations, take flight from the building. This self-conscious torpor contrasts with the orgiastic Sony campaign, highlighting an appetite for the spectacular – in demolition as much as in 20th century painting. The building's former technicolor instrumentalization is countered by what remains: bleak ruins captured with GAILLARD's funereal restraint. A fraction of a second reveals the first black plumes of the demolition before the video abruptly cuts, like an erasure of both the ruin and any monumental end to it.
2007
2:36 min.
On January 21, 2007, the multi-storey high rise in Queen's Court, Toryglen was finally demolished. The building had served as part of Sony's multimillion pound advertising campaign for the high definition Bravia LCD TV, for which it was blasted with thousands of gallons of paint, and then abandoned like a festooned ruin. The film obliquely chronicles the building's demolition, beginning with a static view of the rubble and then moving to tranquil establishing shots of the tower prior to its fall. The shots give no indication of the imminent explosion, save for several birds that, sensing the vibrations, take flight from the building. This self-conscious torpor contrasts with the orgiastic Sony campaign, highlighting an appetite for the spectacular – in demolition as much as in 20th century painting. The building's former technicolor instrumentalization is countered by what remains: bleak ruins captured with GAILLARD's funereal restraint. A fraction of a second reveals the first black plumes of the demolition before the video abruptly cuts, like an erasure of both the ruin and any monumental end to it.
Desniansky Raion
2007
30:00 min.
Edition of 5
Alternating between order and chaos, the video "Desniansky Raion" (2007, 29 min.) explores the notion of entropy as developped by Land Art major artist Robert SMITHSON. After a static introduction shot on a building from the 1970s, a monumental triumphal arch marking the entrance of Belgrade, the video unwinds its three sequences, without visible narrative link, to the electro-lyrical music of composer KOUDLAM: first a pitched battle between two hooligan gangs on a car park in the suburbs of Saint-Petersburg; then a grandiose show of lights, lasers and fireworks on the facade of a housing block in the suburbs of Paris, before it collapses; finally, a precariousi flightover a multitude of grey towers rising into a snowy and melancholic landscape on the outskirts of Kiev, where from eventually emerges a perfect circular organisation, recalling the megalithic site of Stonehenge, in England.
2007
30:00 min.
Edition of 5
Alternating between order and chaos, the video "Desniansky Raion" (2007, 29 min.) explores the notion of entropy as developped by Land Art major artist Robert SMITHSON. After a static introduction shot on a building from the 1970s, a monumental triumphal arch marking the entrance of Belgrade, the video unwinds its three sequences, without visible narrative link, to the electro-lyrical music of composer KOUDLAM: first a pitched battle between two hooligan gangs on a car park in the suburbs of Saint-Petersburg; then a grandiose show of lights, lasers and fireworks on the facade of a housing block in the suburbs of Paris, before it collapses; finally, a precariousi flightover a multitude of grey towers rising into a snowy and melancholic landscape on the outskirts of Kiev, where from eventually emerges a perfect circular organisation, recalling the megalithic site of Stonehenge, in England.
Desniansky Raion
2007
30:00 min.
Edition of 5
Alternating between order and chaos, the video "Desniansky Raion" (2007, 29 min.) explores the notion of entropy as developped by Land Art major artist Robert SMITHSON. After a static introduction shot on a building from the 1970s, a monumental triumphal arch marking the entrance of Belgrade, the video unwinds its three sequences, without visible narrative link, to the electro-lyrical music of composer KOUDLAM: first a pitched battle between two hooligan gangs on a car park in the suburbs of Saint-Petersburg; then a grandiose show of lights, lasers and fireworks on the facade of a housing block in the suburbs of Paris, before it collapses; finally, a precariousi flightover a multitude of grey towers rising into a snowy and melancholic landscape on the outskirts of Kiev, where from eventually emerges a perfect circular organisation, recalling the megalithic site of Stonehenge, in England.
2007
30:00 min.
Edition of 5
Alternating between order and chaos, the video "Desniansky Raion" (2007, 29 min.) explores the notion of entropy as developped by Land Art major artist Robert SMITHSON. After a static introduction shot on a building from the 1970s, a monumental triumphal arch marking the entrance of Belgrade, the video unwinds its three sequences, without visible narrative link, to the electro-lyrical music of composer KOUDLAM: first a pitched battle between two hooligan gangs on a car park in the suburbs of Saint-Petersburg; then a grandiose show of lights, lasers and fireworks on the facade of a housing block in the suburbs of Paris, before it collapses; finally, a precariousi flightover a multitude of grey towers rising into a snowy and melancholic landscape on the outskirts of Kiev, where from eventually emerges a perfect circular organisation, recalling the megalithic site of Stonehenge, in England.
Desniansky Raion
2007
30:00 min.
Edition of 5
Alternating between order and chaos, the video "Desniansky Raion" (2007, 29 min.) explores the notion of entropy as developped by Land Art major artist Robert SMITHSON. After a static introduction shot on a building from the 1970s, a monumental triumphal arch marking the entrance of Belgrade, the video unwinds its three sequences, without visible narrative link, to the electro-lyrical music of composer KOUDLAM: first a pitched battle between two hooligan gangs on a car park in the suburbs of Saint-Petersburg; then a grandiose show of lights, lasers and fireworks on the facade of a housing block in the suburbs of Paris, before it collapses; finally, a precariousi flightover a multitude of grey towers rising into a snowy and melancholic landscape on the outskirts of Kiev, where from eventually emerges a perfect circular organisation, recalling the megalithic site of Stonehenge, in England.
2007
30:00 min.
Edition of 5
Alternating between order and chaos, the video "Desniansky Raion" (2007, 29 min.) explores the notion of entropy as developped by Land Art major artist Robert SMITHSON. After a static introduction shot on a building from the 1970s, a monumental triumphal arch marking the entrance of Belgrade, the video unwinds its three sequences, without visible narrative link, to the electro-lyrical music of composer KOUDLAM: first a pitched battle between two hooligan gangs on a car park in the suburbs of Saint-Petersburg; then a grandiose show of lights, lasers and fireworks on the facade of a housing block in the suburbs of Paris, before it collapses; finally, a precariousi flightover a multitude of grey towers rising into a snowy and melancholic landscape on the outskirts of Kiev, where from eventually emerges a perfect circular organisation, recalling the megalithic site of Stonehenge, in England.
Desniansky Raion
2007
30:00 min.
Edition of 5
Alternating between order and chaos, the video "Desniansky Raion" (2007, 29 min.) explores the notion of entropy as developped by Land Art major artist Robert SMITHSON. After a static introduction shot on a building from the 1970s, a monumental triumphal arch marking the entrance of Belgrade, the video unwinds its three sequences, without visible narrative link, to the electro-lyrical music of composer KOUDLAM: first a pitched battle between two hooligan gangs on a car park in the suburbs of Saint-Petersburg; then a grandiose show of lights, lasers and fireworks on the facade of a housing block in the suburbs of Paris, before it collapses; finally, a precariousi flightover a multitude of grey towers rising into a snowy and melancholic landscape on the outskirts of Kiev, where from eventually emerges a perfect circular organisation, recalling the megalithic site of Stonehenge, in England.
2007
30:00 min.
Edition of 5
Alternating between order and chaos, the video "Desniansky Raion" (2007, 29 min.) explores the notion of entropy as developped by Land Art major artist Robert SMITHSON. After a static introduction shot on a building from the 1970s, a monumental triumphal arch marking the entrance of Belgrade, the video unwinds its three sequences, without visible narrative link, to the electro-lyrical music of composer KOUDLAM: first a pitched battle between two hooligan gangs on a car park in the suburbs of Saint-Petersburg; then a grandiose show of lights, lasers and fireworks on the facade of a housing block in the suburbs of Paris, before it collapses; finally, a precariousi flightover a multitude of grey towers rising into a snowy and melancholic landscape on the outskirts of Kiev, where from eventually emerges a perfect circular organisation, recalling the megalithic site of Stonehenge, in England.
The Lake Arches
2007
Dvd
1:43 min.
Edition of 5
Cyprien GAILLARD's 'The Lake Arches' is a 'portrait with ruins' – a film that narrates a violent collision with a shallow promise. It is also an ambiguous clip of teenage folly, an incisive architectural purview, and an allegory for the painful and perhaps pathetic failure of postmodernism's liberating force.
Two young men stand the banks of a man-made lake, preparing to dive. Their carefree plunge ends abruptly, however, when one of them strike bottom, and emerges bleeding profusely. The camera follows the boy as he stagger toward shore, revealing in the distance the postmodern architecture of Ricardo BOFILL. 'The Lake Arches', which once embodied the heterogeneity of the postmodern ethos, now extend across the lake like a water-locked dungeon. The young man, like the Arches, gradually recovers from an act whose recklessness could only be willful, his face now hardened and raw.
The film seems to cast just as hard a gaze on the boys and their surroundings, reflecting not a loss of innocence but the exposure of folly. Then, as if staggering under the weight of its own postmodern plurality of narratives – the boys', the buildings', postmodern subjectivity's - the film concludes suddenly on the enigmatic face of one of the young men, itself an accusatory ruin framed by 'The Lake Arches'.
2007
Dvd
1:43 min.
Edition of 5
Cyprien GAILLARD's 'The Lake Arches' is a 'portrait with ruins' – a film that narrates a violent collision with a shallow promise. It is also an ambiguous clip of teenage folly, an incisive architectural purview, and an allegory for the painful and perhaps pathetic failure of postmodernism's liberating force.
Two young men stand the banks of a man-made lake, preparing to dive. Their carefree plunge ends abruptly, however, when one of them strike bottom, and emerges bleeding profusely. The camera follows the boy as he stagger toward shore, revealing in the distance the postmodern architecture of Ricardo BOFILL. 'The Lake Arches', which once embodied the heterogeneity of the postmodern ethos, now extend across the lake like a water-locked dungeon. The young man, like the Arches, gradually recovers from an act whose recklessness could only be willful, his face now hardened and raw.
The film seems to cast just as hard a gaze on the boys and their surroundings, reflecting not a loss of innocence but the exposure of folly. Then, as if staggering under the weight of its own postmodern plurality of narratives – the boys', the buildings', postmodern subjectivity's - the film concludes suddenly on the enigmatic face of one of the young men, itself an accusatory ruin framed by 'The Lake Arches'.
The Lake Arches
2007
Dvd
1:43 min.
Edition of 5
Cyprien GAILLARD's 'The Lake Arches' is a 'portrait with ruins' – a film that narrates a violent collision with a shallow promise. It is also an ambiguous clip of teenage folly, an incisive architectural purview, and an allegory for the painful and perhaps pathetic failure of postmodernism's liberating force.
Two young men stand the banks of a man-made lake, preparing to dive. Their carefree plunge ends abruptly, however, when one of them strike bottom, and emerges bleeding profusely. The camera follows the boy as he stagger toward shore, revealing in the distance the postmodern architecture of Ricardo BOFILL. 'The Lake Arches', which once embodied the heterogeneity of the postmodern ethos, now extend across the lake like a water-locked dungeon. The young man, like the Arches, gradually recovers from an act whose recklessness could only be willful, his face now hardened and raw.
The film seems to cast just as hard a gaze on the boys and their surroundings, reflecting not a loss of innocence but the exposure of folly. Then, as if staggering under the weight of its own postmodern plurality of narratives – the boys', the buildings', postmodern subjectivity's - the film concludes suddenly on the enigmatic face of one of the young men, itself an accusatory ruin framed by 'The Lake Arches'.
2007
Dvd
1:43 min.
Edition of 5
Cyprien GAILLARD's 'The Lake Arches' is a 'portrait with ruins' – a film that narrates a violent collision with a shallow promise. It is also an ambiguous clip of teenage folly, an incisive architectural purview, and an allegory for the painful and perhaps pathetic failure of postmodernism's liberating force.
Two young men stand the banks of a man-made lake, preparing to dive. Their carefree plunge ends abruptly, however, when one of them strike bottom, and emerges bleeding profusely. The camera follows the boy as he stagger toward shore, revealing in the distance the postmodern architecture of Ricardo BOFILL. 'The Lake Arches', which once embodied the heterogeneity of the postmodern ethos, now extend across the lake like a water-locked dungeon. The young man, like the Arches, gradually recovers from an act whose recklessness could only be willful, his face now hardened and raw.
The film seems to cast just as hard a gaze on the boys and their surroundings, reflecting not a loss of innocence but the exposure of folly. Then, as if staggering under the weight of its own postmodern plurality of narratives – the boys', the buildings', postmodern subjectivity's - the film concludes suddenly on the enigmatic face of one of the young men, itself an accusatory ruin framed by 'The Lake Arches'.
The Lake Arches
2007
Dvd
1:43 min.
Edition of 5
Cyprien GAILLARD's 'The Lake Arches' is a 'portrait with ruins' – a film that narrates a violent collision with a shallow promise. It is also an ambiguous clip of teenage folly, an incisive architectural purview, and an allegory for the painful and perhaps pathetic failure of postmodernism's liberating force.
Two young men stand the banks of a man-made lake, preparing to dive. Their carefree plunge ends abruptly, however, when one of them strike bottom, and emerges bleeding profusely. The camera follows the boy as he stagger toward shore, revealing in the distance the postmodern architecture of Ricardo BOFILL. 'The Lake Arches', which once embodied the heterogeneity of the postmodern ethos, now extend across the lake like a water-locked dungeon. The young man, like the Arches, gradually recovers from an act whose recklessness could only be willful, his face now hardened and raw.
The film seems to cast just as hard a gaze on the boys and their surroundings, reflecting not a loss of innocence but the exposure of folly. Then, as if staggering under the weight of its own postmodern plurality of narratives – the boys', the buildings', postmodern subjectivity's - the film concludes suddenly on the enigmatic face of one of the young men, itself an accusatory ruin framed by 'The Lake Arches'.
2007
Dvd
1:43 min.
Edition of 5
Cyprien GAILLARD's 'The Lake Arches' is a 'portrait with ruins' – a film that narrates a violent collision with a shallow promise. It is also an ambiguous clip of teenage folly, an incisive architectural purview, and an allegory for the painful and perhaps pathetic failure of postmodernism's liberating force.
Two young men stand the banks of a man-made lake, preparing to dive. Their carefree plunge ends abruptly, however, when one of them strike bottom, and emerges bleeding profusely. The camera follows the boy as he stagger toward shore, revealing in the distance the postmodern architecture of Ricardo BOFILL. 'The Lake Arches', which once embodied the heterogeneity of the postmodern ethos, now extend across the lake like a water-locked dungeon. The young man, like the Arches, gradually recovers from an act whose recklessness could only be willful, his face now hardened and raw.
The film seems to cast just as hard a gaze on the boys and their surroundings, reflecting not a loss of innocence but the exposure of folly. Then, as if staggering under the weight of its own postmodern plurality of narratives – the boys', the buildings', postmodern subjectivity's - the film concludes suddenly on the enigmatic face of one of the young men, itself an accusatory ruin framed by 'The Lake Arches'.
The Lake Arches
2007
Dvd
1:43 min.
Edition of 5
Cyprien GAILLARD's 'The Lake Arches' is a 'portrait with ruins' – a film that narrates a violent collision with a shallow promise. It is also an ambiguous clip of teenage folly, an incisive architectural purview, and an allegory for the painful and perhaps pathetic failure of postmodernism's liberating force.
Two young men stand the banks of a man-made lake, preparing to dive. Their carefree plunge ends abruptly, however, when one of them strike bottom, and emerges bleeding profusely. The camera follows the boy as he stagger toward shore, revealing in the distance the postmodern architecture of Ricardo BOFILL. 'The Lake Arches', which once embodied the heterogeneity of the postmodern ethos, now extend across the lake like a water-locked dungeon. The young man, like the Arches, gradually recovers from an act whose recklessness could only be willful, his face now hardened and raw.
The film seems to cast just as hard a gaze on the boys and their surroundings, reflecting not a loss of innocence but the exposure of folly. Then, as if staggering under the weight of its own postmodern plurality of narratives – the boys', the buildings', postmodern subjectivity's - the film concludes suddenly on the enigmatic face of one of the young men, itself an accusatory ruin framed by 'The Lake Arches'.
2007
Dvd
1:43 min.
Edition of 5
Cyprien GAILLARD's 'The Lake Arches' is a 'portrait with ruins' – a film that narrates a violent collision with a shallow promise. It is also an ambiguous clip of teenage folly, an incisive architectural purview, and an allegory for the painful and perhaps pathetic failure of postmodernism's liberating force.
Two young men stand the banks of a man-made lake, preparing to dive. Their carefree plunge ends abruptly, however, when one of them strike bottom, and emerges bleeding profusely. The camera follows the boy as he stagger toward shore, revealing in the distance the postmodern architecture of Ricardo BOFILL. 'The Lake Arches', which once embodied the heterogeneity of the postmodern ethos, now extend across the lake like a water-locked dungeon. The young man, like the Arches, gradually recovers from an act whose recklessness could only be willful, his face now hardened and raw.
The film seems to cast just as hard a gaze on the boys and their surroundings, reflecting not a loss of innocence but the exposure of folly. Then, as if staggering under the weight of its own postmodern plurality of narratives – the boys', the buildings', postmodern subjectivity's - the film concludes suddenly on the enigmatic face of one of the young men, itself an accusatory ruin framed by 'The Lake Arches'.
The Smithsons
2005
4:10 min.
A series of still shots from the banks of New Jersey, filmed from Manhattan, from the South to the North of the island. This film is a tribute to the American artist Robert SMITHSON, who over thirty years ago wrote about his fascination for the architectural chaos which ruled in his native New Jersey. In the 70's and 80's, after SMITHSON's death, thirty-floor skyscrapers were built without any planning - the very chaos SMITHSON predicted, documented by Cyprien GAILLARD forty years later.
2005
4:10 min.
A series of still shots from the banks of New Jersey, filmed from Manhattan, from the South to the North of the island. This film is a tribute to the American artist Robert SMITHSON, who over thirty years ago wrote about his fascination for the architectural chaos which ruled in his native New Jersey. In the 70's and 80's, after SMITHSON's death, thirty-floor skyscrapers were built without any planning - the very chaos SMITHSON predicted, documented by Cyprien GAILLARD forty years later.
The Smithsons
2005
4:10 min.
A series of still shots from the banks of New Jersey, filmed from Manhattan, from the South to the North of the island. This film is a tribute to the American artist Robert SMITHSON, who over thirty years ago wrote about his fascination for the architectural chaos which ruled in his native New Jersey. In the 70's and 80's, after SMITHSON's death, thirty-floor skyscrapers were built without any planning - the very chaos SMITHSON predicted, documented by Cyprien GAILLARD forty years later.
2005
4:10 min.
A series of still shots from the banks of New Jersey, filmed from Manhattan, from the South to the North of the island. This film is a tribute to the American artist Robert SMITHSON, who over thirty years ago wrote about his fascination for the architectural chaos which ruled in his native New Jersey. In the 70's and 80's, after SMITHSON's death, thirty-floor skyscrapers were built without any planning - the very chaos SMITHSON predicted, documented by Cyprien GAILLARD forty years later.
The Smithsons
2005
4:10 min.
A series of still shots from the banks of New Jersey, filmed from Manhattan, from the South to the North of the island. This film is a tribute to the American artist Robert SMITHSON, who over thirty years ago wrote about his fascination for the architectural chaos which ruled in his native New Jersey. In the 70's and 80's, after SMITHSON's death, thirty-floor skyscrapers were built without any planning - the very chaos SMITHSON predicted, documented by Cyprien GAILLARD forty years later.
2005
4:10 min.
A series of still shots from the banks of New Jersey, filmed from Manhattan, from the South to the North of the island. This film is a tribute to the American artist Robert SMITHSON, who over thirty years ago wrote about his fascination for the architectural chaos which ruled in his native New Jersey. In the 70's and 80's, after SMITHSON's death, thirty-floor skyscrapers were built without any planning - the very chaos SMITHSON predicted, documented by Cyprien GAILLARD forty years later.
The Smithsons
2005
4:10 min.
A series of still shots from the banks of New Jersey, filmed from Manhattan, from the South to the North of the island. This film is a tribute to the American artist Robert SMITHSON, who over thirty years ago wrote about his fascination for the architectural chaos which ruled in his native New Jersey. In the 70's and 80's, after SMITHSON's death, thirty-floor skyscrapers were built without any planning - the very chaos SMITHSON predicted, documented by Cyprien GAILLARD forty years later.
2005
4:10 min.
A series of still shots from the banks of New Jersey, filmed from Manhattan, from the South to the North of the island. This film is a tribute to the American artist Robert SMITHSON, who over thirty years ago wrote about his fascination for the architectural chaos which ruled in his native New Jersey. In the 70's and 80's, after SMITHSON's death, thirty-floor skyscrapers were built without any planning - the very chaos SMITHSON predicted, documented by Cyprien GAILLARD forty years later.
It's Just Me and My Brother
2004
45:40 min.
"It's Just Me and My Brother" is a medium-length film shot by Cyprien GAILLARD in Los Angeles. The film is a collage assembling 'amateur' rush shots by his brother and images filmed by the artist himself. This video is the only video project by the artist implying a sort of narrative structure, and it can be related to his books 'Stolen' and 'Land Art's Not Dead', which incorporate stolen or found images.
2004
45:40 min.
"It's Just Me and My Brother" is a medium-length film shot by Cyprien GAILLARD in Los Angeles. The film is a collage assembling 'amateur' rush shots by his brother and images filmed by the artist himself. This video is the only video project by the artist implying a sort of narrative structure, and it can be related to his books 'Stolen' and 'Land Art's Not Dead', which incorporate stolen or found images.
It's Just Me and My Brother
2004
45:40 min.
"It's Just Me and My Brother" is a medium-length film shot by Cyprien GAILLARD in Los Angeles. The film is a collage assembling 'amateur' rush shots by his brother and images filmed by the artist himself. This video is the only video project by the artist implying a sort of narrative structure, and it can be related to his books 'Stolen' and 'Land Art's Not Dead', which incorporate stolen or found images.
2004
45:40 min.
"It's Just Me and My Brother" is a medium-length film shot by Cyprien GAILLARD in Los Angeles. The film is a collage assembling 'amateur' rush shots by his brother and images filmed by the artist himself. This video is the only video project by the artist implying a sort of narrative structure, and it can be related to his books 'Stolen' and 'Land Art's Not Dead', which incorporate stolen or found images.