Philippe-Alain Michaud

Philippe-Alain Michaud

Nacimiento : , Paris, France

Historia

Philippe-Alain Michaud is a curator at the Musée National d’Art Moderne – Centre Pompidou, in charge of the film collection and teaches history and theory of cinema at the University of Geneva. He is the author of Aby Warburg et l’image en mouvement (Macula, 1998), Le peuple des images (Desclée de Brouwer, 2004), Sur le Film (Macula, 2016), Âmes primitives. Figures de film, de peluche et de papier (Macula, 2019) and has written extensively on the relationship between film and the visual arts. He has curated several exhibitions, including: Comme le rêve le dessin (Musée du Louvre/Centre Pompidou, 2004), Le mouvement des images (Centre Pompidou, 2006), Nuits électriques (Musée, de la photographie, Moscou and Laboral (Gijon, Spain) 2007, Tapis volants (Villa Medici, Rome and Les Abattoirs, Toulouse) 2010, Images sans fin, Brancusi photographie, film (Centre Pompidou, 2012 with Quentin Bajac and Clément Cheroux), Beat Generation (Centre Pompidou, 2016), L’œil extatique : Sergueï Eisenstein à la croisée des arts (Centre Pompidou-Metz, 2019).

Perfil

Philippe-Alain Michaud

Películas

Philippe-Alain Michaud, le réel traversé par la fiction
Philippe-Alain Michaud, le réel traversé par la fiction
Himself
To be in Venice and see the architecture of New York, to perceive in a painting by Tintoretto the birth of animated images, to look at the burlesque Cretinetti as the ancestor of montage - so many shifts, displacements, and striking telescopings that Philippe-Alain Michaud proposes in this film dedicated to him. To follow this art historian, curator of the cinema collections at the Centre Pompidou, is to go from the oriental carpet to the film, or from the first fireworks to the cinema. And everywhere the animation of the images - projections of Antony McCall, or of Paul Sharits, Column without end of Brancusi, Pasolini's Accatone - everything moves! Under the tutelage of Aby Warburg, the great art historian of the early twentieth century, precursor of iconology and image comparison, to whom Philippe-Alain Michaud was the first in France to devote an important essay, eleven images are placed on the table to describe the singular journey of this art historian.
Nikita Kino
Nikita Kino
Thanks
The film is a travelogue of sorts. Ostrovsky’s personal family footage meets the archives of Soviet propaganda footage. The result is a kind of Khruschev-era mix with a collage of Soviet music and a voice-over of my reminiscences of the Cold War era.