Cinema rises up
Friday March 21, 2008
Years 68′
Le lieu unique invites le peuple qui manque for this Night 68′

Meet-discussion at the conclusion of projection in the presence of Jean-Michel Humeau, Lionel Soukaz, Aliocha Imhoff and Kantuta Quiros.

Programming: Le peuple qui manque (Kantuta Quiros and Aliocha Imhoff)

La cour – 18h30 à 23h30

“The happenings of Jean-Jacques Lebel are the exact point where the theatre explodes. ” Jean Paul Sartre.
“Temporary Situations, founded on the desire”, between erotic impulse and upheaval of social, unconscious and imaginary space, the happenings of Jean-Jacques Lebel, plastics technician and initiator of the happening in Europe, were often regarded as préfigurations of the events of May 68. Icon of the movement of May, it was one of the iron-of-lance, at the time more particularly, of the catch of the theatre of Odéon. (A.I & K.Q.)
“The happening cannot nor does not want to replace a strike, an sex act or a psychoanalysis; it is not spectacle but collective dream. To apprehend such an experiment, it is necessary to achieve an experiment which makes jump the doors of perception. ”, wrote Jean Jacques Lebel, Carolee Schneemann, Jocelyn de Noblet, Daniel Pomereulle and Erro in 1964.

“In the Rising of youth, there are a walk in Paris, One evening resumption to the cinema, but more interiorized much, it was a type which thought of the topic of the social evolution, of the revolution… And then also I succeeded in pirating the Current events of 1968 and I mixed all that… There was at the same time Paris, a new theory of political economy moving, a report on this theory and an aesthetic invention. ” – Paris seen by the cinema of avant-garde (1923-1983), Paris Experimental, 1985
“Ideas of the Rising of youth, that Lettristes were the first, since 1949, to expose and defend, ideas which found their illustration partial in the events of May 68, and whose topicality did not weaken… are found in the sound of film, in the shape of a text of Isidore Isou who summarizes them and whom a stream of consciousness of Maurice Lemaître intersects per moments, a such Fabrice vibrating with the battle of Waterloo. Under this angle, the film remains an alive leaflet, which combines… “aesthetic and political”” Works of cinema (1951-2007)

“At the same time call to the action and one emergency period old portrait in activism, this genuine proclamation of Black Panthers was at its time a tool for recruitment as much as a piercing criticism of the socio-economic situation of the American blacks. ” Olivier Pierre (Festival Est-ce ainsi que les hommes vivent)

“In 1972, an exhibition was created about which one spoke much: “Womanhouse”. Under the direction of Miriam Shapiro and Judy Chicago which became major figures of feminist art in the Seventies and Eighties (…), twenty-four women (whose Faith Wilding) arranged a house in Los Angeles. Space domestic becoming space of exposure, the distinction between public and private disappeared and conventions governing the representation flew in glares; the bathroom and the doll’s house became spaces of exposure “appropriate” to feminist art. “Womanhouse” encensait what was regarded as commonplace: the beauty products, the tampons, the household linen, the shower caps and the underclothing became highly artistic materials. All the media were interested in it, by often carrying out reports with feeling; the exposure brought the proof that feminist art had a public many and impassioned” Peggy Phelan
Womanhouse is a documentary extraordinary history on one of the feminist cultural events most important of the Seventies in the United States. It is not limited to being the witness of several famous performances such Waiting (Waiting) of Faith Wilding or Cock and cunt play (the part of the cock and the she-cat) of Judy Chicago, as well as various parts of the exposure-house Nurturant Kitchen (feeder Kitchen), Menstruation Bathroom (the bathroom of the rules), Nightmare Bathroom (the bathroom of the nightmares) or of the installation Linen Closet (Wall cupboard with linen), but also recalls the workshops of collective awakenings, the interactions with the public, and all the energy of this time. (distribution : le peuple qui manque)

“Imaginary Portrait of a CRS, the Mikono sergeant. The images of the confrontations of the Latin Quarter in May 1968 and the comment which turns in derision the police force make of this film a success of subversion and irony. ” (distribution : le peuple qui manque)

“Transitory and blazing, directly related on the psychedelic revolution and the generation hippie, the cinema French underground (or as one liked to say at the time, underground cinema), emerged in the against-cultural effervescence which announced and prepared the chamboulements May 68. Movies of protest, dispute, provocation, refusal. Agitprop and rough poetry. ” Jean Pierre Bouyxou
“The films of Pierre Clémenti convert the political energy of the revolution into cinematographic substrates. To a poetic revolutionist Clémenti associates a policy of the forms and assembly. The libertarian contents marry an apology for freedom here. ” Jean Marie Samocki
“Chronic of this end of century… Testimony of my life, forms newspaper on my activities of actor before and after 1973. Stammerings, fulgurances, illuminations, revealed intimacy which half-opens the radiant slit of the conscience, long multicoloured snake, ribbon clearing a passage to the call of the signs” Pierre Clémenti

Exit of a Letter with Brion Gysin, this videotape is dedicated to the magic incantations of the painter and writer of Happy the Generation, Brion Gysin, inventor with William Burroughs of the literary cut-up. Whereas in 1974, Brion Gysin is made operate of a cancer to London, Francoise Janicot, Bernard Heidsieck, and friends poets and musicians decide to send this “sound” letter to him. “Realized on the famous revox has 700 of Heidsieck, it pronounces, with several voices, interfering themselves, answering themselves, the name and first name of Gysin. Sending with the direction first, homage, special dedication, that to say of other that the name of its recipient, discharged, catapulted in only one breath of multiple energies. Polyphonic part, this letter is a vital partition pulsated by the friendship. Brion Gysin could hear it, it had a ten years remission”.
The ressassement stroboscopic one of the words, their infinite chant and the ghostly presence of the poet make this band traditional of the psychédélie. (distribution : le peuple qui manque)

Ixe, a film dedicated to the law of the same name. “Ixe, like a cry, a wound, is a film implosé, crucifié, designed to be projected on two screens simultaneously. It is a quartering with the four cardinal corners, at the four ends: the war, the sex, the religion and drug.”. Guy Hocquenghem.
“Lionel Soukaz is a rare author. He films without taboo, without concession. Child of May 68, he is that of the sexual release, the pleasure of living with excess his desires, drug, the sex. Sensitive witness of its time, that which films his/her friends, Guy Hocquenghem, Copi and the others less famous, films also the tragedy of the AIDS, of the meetings of Act Up to the white walls of the hospital. To speak about its style, its tone, his/her friend, the philosopher Rene Schérer, evokes “a despaired vitality”, Nicole Brenez, fighting experimental cinema, qualifies its cinema “of political Eros”. ” Aude Lavigne, France culture, 2002

Thanks: Le lieu unique (Virginie Pringuet), Jean-Jacques Lebel, Jean-Michel Humeau, Françoise Janicot, Roger Danel, Danielle Jaeggi, Lionel Soukaz, Tripak, Balthazar Clémenti, Johanna Demetrakas, Prospective Image (Marie-Pierre Lemaître), Thirld World Newsreel (Roselly Torres), 360°et même plus (Ivora Cuzak), Collectif Jeune Cinéma (Violeta Salvatierra), Centre Pompidou (Gilles Bion, Alexis Constantin), Olivier Pierre.

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