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In the film the notion of the “Other” takes on more complexity, because it’s the same side, but the other side, the inside too.I try to connect to that internalization, because it’s something you have to live with, that lives there before you. The reason is that I touched another limit, which is myself.When I was fifteen and ate too much chocolate, and put on weight, my father suddenly realized that I had to get skinnier to be sold to a man; he wanted me to wear dresses but it didn’t work.When I was 18 I rushed to Paris, then I rushed to New York, to get even farther away. CA: Well, for several months I joined the feminist faction of “Psych et Po”, with Antoinette Fouque, which made it normal to expose yourself. EL: But you were recruited to film a case history of Freud: was it Anna O? I was just asked to help, not to do the film myself, and was soon pulled away.It happened when I had three reels of the film, and I was playing with time. I wrote the last, 25th part as something more visually abstract, but with a very intimate text that evoked something more like a memorial. In , for instance, I show the wall to my mother and ask her what it brings to mind, and she says: “you know what”.I saw four minutes that worked together in these three reels. When it is internalized, experience is given without speaking, transmitted as a spectral presence; you cannot separate yourself from it.Elisabeth Lebovici met the artist to talk about these themes and to reinterpret some of her past and recent works.
I’m thinking more and more about acting again, in my films.
Do you know that you cannot smoke anymore in Central Park?
New York is not like it was in the 1970s, everything was happening then, now it’s much more about money. In America you still have energy, but mostly for bling. For two years I attended his classes at ENIO (École Normale Israelite Orientale): he would always have a young person, a boy or a girl, read an excerpt from the Bible, standing in front of him, a minuscule, fragile figure surrounded by tons of books, and then he would get started and go far, far away… The other face is also the face of the viewer, I have always thought: I have an understanding that making films is very much about frontality, about facing off.
That was probably in the early 1990s, when the curator Michael Tarantino had repeatedly observed that my films were a major influence on contemporary artists. I wanted to do a work about changes in voices and languages, a project that then developed on its own into a totally different form: while the texture of the soundtrack is very important in .
One year later, maybe two, I was told that funds had been raised for an installation, and I began playing around with the film material I had already gathered. And then we found eight times four minutes, 24 screens as in 24 images per second; that is how the installation found its own agency. When you touch on that limit – and I touched it very closely through my mother, who was in the camps but was never able to talk through her anxiety – this border takes on the source of the anxiety, it becomes an “anxious Abject”.