Enrico Camporesi

Enrico Camporesi

약력

Enrico Camporesi oversees the research and documentation activities at the film collection of the Musée national d'art moderne – Centre Pompidou, where he also conceived and organized several film and video programs. In 2017 he was awarded the first Terra Foundation for American Art postdoctoral fellowship at the Institut national d’histoire de l’art in Paris for a research project on Annette Michelson’s work as critic and curator. He is the author of "Futurs de l’obsolescence", a book on the restoration of experimental and artists’ films (Éditions Mimésis, 2018).

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Enrico Camporesi

참여 작품

Screen Glare
Screen Glare
Director
A text, some images, and an unstable arrangement of durations to which one can devote a fluctuating form of attention.
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.
26
26
As the song says: "I'm 26 years old but only 4 useful. I don't understand anything". 8 people read aloud private texts (sms, letters, emails) written or received by Daphné Hérétakis in the months leading up to her 26th birthday. The film proposes to take these texts out of the realm of intimacy and put them back into the public space and the collective nature of the film. The result is a romantic and absurd cadavre exquis, which addresses slightly depressed sensibilities.