Cut-Up

The event and its (on) taken on the live. The marriage of Sandra and Thierry, surrounded by their friends. Direct cinema, without retouching.

Short parody of black film whose male hero meets a mysterious lady who turns out to be his destiny, of course. Unlike black film, where action defines structure, here the actions of the characters are more enigmatic because they are subject to the filmic structure. Décor: the "Trou" des Halles, the passage Molière, the rue aux Ours, the square des Blancs-Manteaux.

Every day, through the window, the same view is offered to the gaze under a constantly renewed light. These variations accompany the variations of our inner life, whether in unison or not.

Miles McKane's sculptures, 1984-86.

Two image strips projected side by side confront two types of passages: on the one hand the standard frame can be doubled or reduced and multiplied up to four; On the other hand, the image of the sugar that melts implies another type of fragmentation: the crystalline substance disintegrates into its hundreds of constituents before completely dissolving and then reassembling. The ambiguity of the "double screen" lies in the fact that it does not systematically involve twice as many images, but diversified spatial and temporal interactions.

Burford met Breer in February 1992 and filmed his actions. Breer manipulates some of his mutoscopes: he leafs through some cards of his film in the making, Sparkill Ave! A dome-shaped sculpture slowly moves across the space.

Various geometric lines are put out of their figurative context into a set of multiple oppositions, all articulated with respect to the edge of the frame. It was built as a self-contained, intentionally short-lived whole.