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Si Poteris Narrare, Licet

2002 
Author: Jean Michel Bruyère

Software: Torsten Belschner, Adolf Matthias, Torsten Ziegler

The first iCINEMA film, Si Poteris Narrare, Licet by Jean Michel Bruyère/LFKs, revisits the myth of Diana and Actæon in a very raw kind of way. Blood and sweat are so often excluded from the uses of new media: in this work, their place is justified.

Si Poteris Narrare, Licet, the first film created for the EVE interactive cinema, confirms the association between cinema and monumental painting that is created by Jeffrey Shaw's invention. It is conceived starting from a cinematographic thinking about painting and, more particularly, of that of the great fresco assemblages of the Middle Ages.

The final film technique arises neither from a neo-classicism nor from a post-modernism, although the construction of its narrative vocabulary will rely on a knowledge of those established long ago for representations of this particular pictorial form. For, the association between cinema and painting is not established so much in terms of the work's creation, but rather in terms of the space of the viewer's perception. Thus the gesture that harkens to the ancient gesture is that of the spectator and not that of the creator. In other words, the visitor to iCINEMA will be put in the same physical position

and emotional state as the visitor viewing a monumental work of painting, but is viewing a film that is created using a non-imitative and entirely original technique.

“If you are able to speak of it, I will allow you to do so.” According to Ovid, this is what Diana said to Actæon, the young hunter having surprised her and contemplated her nude in her bath, before she transformed him into a stag and released him in this form to the carnage of his fifty dogs. The groan of an animal become his only language, doubtless incapable of telling what he saw, of recounting the ultimate experience of seeing which was his own, unable even to call his own dogs and of making them recognize him, Actæon is torn to pieces and dies in the jaws of the pack that had remained faithful for so long.

Using the interactive cinema (EVE interactive cinema) conceived by Jeffrey Shaw at ZKM (softwares: Adolf Mathias, Torsten Ziegler and Torsten Belschner), spectators choose what they want to see of a film in which they are submerged. Both cameraman and editor of each projection, no two spectators see the same film. The sensation created is reminiscent of the discovery, by torch, of the cave-paintings of Lascaux, aside from the fact that here, the images move.

(Text from http://www.epidemic.net/)

Exhibition Record

2002/11/16 - 2003/3/30:  Future Cinema, ZKM, Karlsruhe, Germany

2003/12/6 - 2004/2/22:  Cinémas du Futur, Lille 2004, Euralille, Lille, France

2004/11/10 - 11/22:  DEAF-Dutch Electronic Art Festival 04, Van Nelle Fabriek, Rotterdam, Netherlands

2005/7/10 - 7/24:  Festival d'Avignon, Porte Flamande, Avignon, France

2006/5/20 - 7/11:  From Flash to Pixel, Zendai Museum of Modern Art, Shanghai, China

2006/10/7 - 10/14:  Festival Arborescence [06], Parc Jourdan, Aix en Provence, France

2007/7/15 - 8/12:  Body Media, O Art Center, Shanghai, China

2007/10/28 - 2008/1/14:  Vom Funken zum Pixel, Martin-Gropius-Bau, Berlin, Germany

2008/6/19 - 6/29:  Un Volcan Numérique 1, Le Volcan, Le Havre, France