Jennifer L. Burford

Initial situation: models were invited to participate in their portrait by the contribution of personal objects and a great freedom of expression before the camera. This initial situation was conceived by Catherine Rebois. Graffon: I propose to film in a fragmented way these sessions of pose. Participants agree to be filmed at the same time they are photographed. Deliberately sharpened shift between an initial situation in its own duration and its filmic recording. The sequence of photographic shooting sessions is shattered.

Four letters, the same in English in a different order, summon to the screen a universe, for once less singular, marked both by disappearance and sharing. Produced as part of SI FILM DA.

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.

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.

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

In/Side/Out I-VI proposes a series of variations from abstract, geometric images to a more temporal abstraction, allowing the reintegration of figurative images. This confrontation is done under the sign of the alternation, creating a network of identification which is diversified, preventing any reconstitution of corp (u) s. This fragmentation is redoubled by the reduction of the images by two inside the frame.

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.

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.

A character, played by Jean-Yves André, is caught in the trap of a "closed room". After his disappearance, the voice of Nico is heard. "Fiction" is parasitized by the structure of the film and by the accumulation of references to Bataille, Burroughs, Calder, Lovecraft, Michaux, Warhol.