Véronique MOUYSSET
3 Aves
Vidéo expérimentale - beta sp - couleur - 0:04:35 - France - 2000

Ritual-game de la mélancolie et de la componction.

Texte - voix off


Cinema history is like a magma filmed in the volcano of this century. It moves, slides, shakes and convulses. Pictures are like a lava that flows upon reality until one photo highlights its cruelty in the look of a slaughtered corpse. The ability of pictures to represent and to create the world in our deepest thoughts and to make us consider anything new as a dream, a hope or a disillusion can only be contested through the contestation of money itself. The following sentence, "I can only do what I've always liked", is distorted in the confusion of all the things my mind tries to save. You can spit on my face, he said. Who ever had the courage, the humility and the pride to do what JLG is doing now by questioning art and history like Malraux, Heidegger and many others did before him? I will give further explanations concerning this metaphor of the body. Godard's work has a soul. Since the 20th century has become a body which is able to think by itself and for itself, JLG created his own body to fight with himself. He is the only artist in this world who makes me aware of my existence and makes me feel like I have a brain, muscles and blood to distinguish all the cultural forms around me. Thanks to him I can remember I am a thinking form. Godard opposes the freedom of the individual to the logic of languages, of forms, of society and even of thoughts. He goes back to the essence of language and pictures to tell and not to tell cinema history. Sounds and colour material and freedom from logic create a new vision: there is no nostalgia and no entrapment in the past. He could see it now. The sound made the magical movement of pictures disappear, an hesitation which is increased in between two shots. Reluctantly faithful to his first glance, he looked at it one more time, but from the outside. It could not resonate any longer. It was as if it had been replaced. Remembering this incident, the viewer would have liked to watch the tapes with the look of a deaf man. Thus he could not ignore, he would change the picture and put in front of him a new world made for his own desires. He combines pure pleasure and sharp desire, abstraction and representation, editing effects and narration. Therefore the agitated structure of the editing puts the narration back into question. The narrative fragments relativize what could give a coherence to the structure. I think this film shows that it's possible to remain explicit in the conscious transformation of a culture by questioning it, enlarging it and modifying its rules. A great lesson of architecture. He's enigmatic not because of his complexity but mainly because of his selfish complaisance. The selfish man looks at himself in the mirror through the very thick smoke of a cigar. He discovers the truth behind it. The last moment of the film highlights the more and more insignificant role played by the artist in our society and the failure of French cinema.

Biographie


Véronique Mouysset est artiste multimédia. Elle vit en Afrique Noire de 1981 à 1988, période pendant laquelle elle expérimente les mediums photographique et vidéographique. Elle suit un cursus d'études cinématographiques à l'ESEC à Paris de 1988 à 1990 (Recherche audiovisuelle et musique contemporaine). Elle vit et travaille à Paris.
Vidéographie