tag:blogger.com,1999:blog-9277323889318880482024-03-12T19:59:34.750-07:00MATHIEU SODORE Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.comBlogger59125tag:blogger.com,1999:blog-927732388931888048.post-19366778915953345422016-01-13T11:12:00.003-08:002016-01-13T11:12:41.890-08:00100% ARTE / EXPOSITION A MADRID<div class="separator" style="clear: both; text-align: center;">
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Pour commencer l'année en beauté je participe à <i>100% ARTE</i> exposition collective d'artistes contemporains à Madrid. C'est la galerie <i>Atalante, </i>qui reçoit quelques unes de mes oeuvres jusqu'au 30 janvier. L'inauguration aura lieu jeudi 14 janvier.<br />
Bonne exposition et bonne année!<br />
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<span style="font-size: 12pt; font-weight: 700;">¿Por qué 100% Arte?.</span><br />
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<span style="font-family: 'TimesNewRomanPSMT'; font-size: 12.000000pt;">La idea es recrear un Gabinete de Curiosidades de los siglos XVI y XVIII en lo
relativo a la parte que correspondía al mundo del Arte (obviando el de las
Antigüedades).
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<span style="font-family: 'TimesNewRomanPSMT'; font-size: 12.000000pt;">El coleccionismo comenzó de esta manera, pues los grandes amantes del Arte,
</span><span style="font-family: 'TimesNewRomanPSMT'; font-size: 12.000000pt;">visitaban estos Gabinetes que encerraban lo más “novedoso y extraño del momento”.
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<span style="font-family: 'TimesNewRomanPSMT'; font-size: 12.000000pt;">Es por ello que Atalante reunirá para dicha muestra a lo más innovador del
panorama artístico español y de fuera, con más de 200 obras de artistas
contemporáneos, que sean el fiel reflejo de esos Gabinetes de Maravillas de antaño en
pleno siglo XXI.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNtgbStoIOdYsnynUCcGfKUroytsvt8W-IXVDtm-gxKqhxhtuGcRFbKT4lpO3Rt61jVIHnRs9cL5R7rkJiu7QbIYWRwL7_LN_G1H9q4UGDSRU5un7wsb1qNKwA8co55FszX2aV7s9_ZWsB/s1600/Capture+d%25E2%2580%2599e%25CC%2581cran+2016-01-13+a%25CC%2580+18.56.29.png" imageanchor="1"><img border="0" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNtgbStoIOdYsnynUCcGfKUroytsvt8W-IXVDtm-gxKqhxhtuGcRFbKT4lpO3Rt61jVIHnRs9cL5R7rkJiu7QbIYWRwL7_LN_G1H9q4UGDSRU5un7wsb1qNKwA8co55FszX2aV7s9_ZWsB/s640/Capture+d%25E2%2580%2599e%25CC%2581cran+2016-01-13+a%25CC%2580+18.56.29.png" width="640" /></a>Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-74610900849374277432015-10-04T11:47:00.000-07:002015-10-04T11:47:24.817-07:00FLOREAL PELEATO, LE CINEASTE ET L'ECRIVAIN<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglWrXsj58nJFrL4QN3WVJc5csAHTuIxQZ9-gRMFuwvi-Koej4ZQ67X733OTbW8LdwOCENePriJv0TD-R5a39LaZu-PLeyS83NrhXe7RhaEe3Q7SDRGSuLrU3twlHrYX31i1gJ4cjlq8V2o/s1600/Capture+d%25E2%2580%2599e%25CC%2581cran+2015-10-04+a%25CC%2580+12.21.01.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglWrXsj58nJFrL4QN3WVJc5csAHTuIxQZ9-gRMFuwvi-Koej4ZQ67X733OTbW8LdwOCENePriJv0TD-R5a39LaZu-PLeyS83NrhXe7RhaEe3Q7SDRGSuLrU3twlHrYX31i1gJ4cjlq8V2o/s640/Capture+d%25E2%2580%2599e%25CC%2581cran+2015-10-04+a%25CC%2580+12.21.01.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"LA MANO AZUL" / Documentaire écrit et réalisé par Floreal Peleato / 2009 / 70mn.</td></tr>
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<br />
<span style="text-align: center;">Plusieurs articles sur ce blog font référence à Floreal Peleato ou ont été écrits par lui. Son activité artistique est d'actualité puisque son site internet vient d'être mis en ligne. Je vous propose un avant-goût avec quatre images extraites de sa page d'accueil. </span><br />
Un habillage élégant, visuellement très fort et des contenus passionnants qui permettent de mieux connaître ou de découvrir l'oeuvre du réalisateur comme celle de l'écrivain et même sa facette de formateur.<br />
Fictions, documentaires, récits roman, articles, les multiples aspects de l'oeuvre sont abordés en profondeur et sont pour certains accessibles en espagnol, en français et en anglais.<br />
Pour accéder au site c'est ici: <a href="http://www.florealpeleato.com/" target="_blank"> www.florealpeleato.com</a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgumMk-gagjNmPlue9nYIg93MomiII3SFDOEPUCjpL7D_RYy04Q6deq4xdUTNZbayTjO5VzxsvUCJWieyJGn9uGHzethqGlplMJ_IQisVv21JtgjvbP62y1E0wvHPJZ2NGnRz9tARc-vB5u/s1600/Capture+d%25E2%2580%2599e%25CC%2581cran+2015-10-04+a%25CC%2580+12.20.20.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgumMk-gagjNmPlue9nYIg93MomiII3SFDOEPUCjpL7D_RYy04Q6deq4xdUTNZbayTjO5VzxsvUCJWieyJGn9uGHzethqGlplMJ_IQisVv21JtgjvbP62y1E0wvHPJZ2NGnRz9tARc-vB5u/s640/Capture+d%25E2%2580%2599e%25CC%2581cran+2015-10-04+a%25CC%2580+12.20.20.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"ELEGÍA DEL TRÓPICO" / Documentaire écrit et réalisé par Floreal Peleato / 2011 / 80 mn.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRNTVYKkP9Dr_SOMfoGUS5n4UczcINPMnqFVuFUk8DiCo_bE0txdBJV7mr3A00ByEX_XwF_5L-7gOJwjnbI3yABlQyXBSNFiWh8-D894Q7KVtTaIsxXEqx52g85yoSFHwpAxLDUGMPNVNk/s1600/Capture+d%25E2%2580%2599e%25CC%2581cran+2015-10-04+a%25CC%2580+12.20.34.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRNTVYKkP9Dr_SOMfoGUS5n4UczcINPMnqFVuFUk8DiCo_bE0txdBJV7mr3A00ByEX_XwF_5L-7gOJwjnbI3yABlQyXBSNFiWh8-D894Q7KVtTaIsxXEqx52g85yoSFHwpAxLDUGMPNVNk/s640/Capture+d%25E2%2580%2599e%25CC%2581cran+2015-10-04+a%25CC%2580+12.20.34.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"KNOCK OUT" Fiction écrite et réalisée par Floreal Peleato / 1997 / 14 mn.</td></tr>
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<br />Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-3643043485195902492015-07-13T12:27:00.001-07:002015-07-14T10:10:40.320-07:00FESTIVAL SILÊNCIO / LISBONNE<br />
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La cinquième édition du festival <i>Silêncio, </i>à Lisbonne, vient de s'achever. <i>Silêncio</i> c'est pendant quatre jours une fête de la parole avec, concentrés dans le quartier du Cais do Sodré, plus de cent cinquante évènements qui se déroulent dans cinquante lieux (galeries, cafés, magasins, places…). Une programmation très éclectique qui célèbre la parole, le silence et la poésie: cinéma, conversations thématiques, concerts, expositions, performances, workshops, spectacles, lectures, activités pour enfants ou encore des parcours Fernando Pessoa et José Sarramago. L'une des caractéristiques du festival est qu'il fait appel à la participation active des lisboètes, en témoignent les façades des appartements qui arborent des phrases, des aphorismes, des mini poèmes écrits par les habitants du quartier.<br />
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<span style="background-color: #444444; line-height: 19px;"><span style="font-family: Times, Times New Roman, serif;">Au fil du festival la poésie de plusieurs pays était à l'honneur. Pour la session concernant la poésie française j'ai été invité à choisir et à dire quelques poèmes.</span></span></div>
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Nous étions quatre à dire des poèmes avec un accompagnement musical magistral assuré par Filipe Valentim, pianiste de diverses formations dont Radio Macau ou Wordsong. Mes compagnons de lecture avaient en commun d'être liés de près au monde de la poésie:</div>
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Teresa Coutinho est actrice et diseuse de poésie, elle a conçu, entre autres, le spectacle <i>Indicação para se perder </i>à partir de l'oeuvre de Marguerite Duras.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAJWJ-gDV0Vvw9vmOwwTZNmuKoqz2zjlGQA9M8uG-X_xGU5x-oy_mMN5hS6NS_J1hPz4oKmjigB6CydyTUgcx2b1STW3zWPWsw3deGti8RrIER9JF5H6ur8tjAa0iNTG8kzKhhfMiZLXNl/s1600/poe_sia7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAJWJ-gDV0Vvw9vmOwwTZNmuKoqz2zjlGQA9M8uG-X_xGU5x-oy_mMN5hS6NS_J1hPz4oKmjigB6CydyTUgcx2b1STW3zWPWsw3deGti8RrIER9JF5H6ur8tjAa0iNTG8kzKhhfMiZLXNl/s200/poe_sia7.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Teresa Coutinho</td></tr>
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Diana Almeida cumule de nombreux talents: professeur de lettres et d'art à la faculté de lettres de l'université de Lisbonne elle est également poétesse, photographe et essayiste.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCsbsccOVhBeb31u0ui_owZsRyrxfReJjj_oztcQnuHQ0IZSgAh5cZsPD7sx3eSXsEeu40xwNK3PPwsfuTT5IUy_c3QvkYqmKpdbuWK_GR9QKzsGcJGcKiiSmPGeE8Hb4fwkHXNkqI96A3/s1600/s200_diana.almeida.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCsbsccOVhBeb31u0ui_owZsRyrxfReJjj_oztcQnuHQ0IZSgAh5cZsPD7sx3eSXsEeu40xwNK3PPwsfuTT5IUy_c3QvkYqmKpdbuWK_GR9QKzsGcJGcKiiSmPGeE8Hb4fwkHXNkqI96A3/s1600/s200_diana.almeida.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Diana Almeida</td></tr>
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Quand à Diogo Dória, acteur et metteur en scène, je l'avais découvert il y a une dizaine d'années dans une belle lecture de poèmes de Fernando Pessoa. Merveilleux comédien il a tourné avec de nombreux réalisateurs dont, excusez du peu, Manoel de Oliveira, Mario Camus, Wim Wenders ou Raoul Ruiz. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqAdsLIHXS2g4p0i-Zann9iWZdCE5sCYOSs8m9XD-QFuC3Vy598nrsgKg0Sa5-cXvCvompSuCSPcFANXGR02vHfJpYDjoDJ5pkT09pAXJqr3GzBmm26uoHlOmo2_DkXDB93PWjU7asuS16/s1600/ReadImage.aspx.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqAdsLIHXS2g4p0i-Zann9iWZdCE5sCYOSs8m9XD-QFuC3Vy598nrsgKg0Sa5-cXvCvompSuCSPcFANXGR02vHfJpYDjoDJ5pkT09pAXJqr3GzBmm26uoHlOmo2_DkXDB93PWjU7asuS16/s200/ReadImage.aspx.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Diogo Dória</td></tr>
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Leur choix s'est porté sur des poètes et écrivains français, balayant les époques depuis le XII ème siècle jusqu'au XX ème avec Boris Vian, Francis Ponge ou Marguerite Duras et des lectures de deux poètes contemporains portugais très liés à la langue française: Vasco Graça Moura et Herberto Helder.<br />
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Un peu intimidé par pareille compagnie j'ai pris le parti de faire découvrir au public portugais francophile et francophone présent trois poètes contemporains, trois amis de mon Sud-Ouest natal: Didier Bourda, Olivier Deck et Ludovic Pautier. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZF5GaadDlsoyVGEy_hej9gU59Tsdhi1nHecZcppodhuN2wdU9mgQLC2yLgUiNngbw9yueMQcw-Y5A7xD_FheNsN0MxgAWIiDOxkwWAJW_IOgSeTihT4SxNDtLlXFeFSNPJi56kfB6mN5Q/s1600/bourda.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: left;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZF5GaadDlsoyVGEy_hej9gU59Tsdhi1nHecZcppodhuN2wdU9mgQLC2yLgUiNngbw9yueMQcw-Y5A7xD_FheNsN0MxgAWIiDOxkwWAJW_IOgSeTihT4SxNDtLlXFeFSNPJi56kfB6mN5Q/s200/bourda.jpg" width="135" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoTj8fuVAYhDK0iSYjrSmcvodqB5eYNoK8q6sfSdR7eGjyMVtn3AWxbCrgBXJn8ZdJElqjGnINeJsPHpTICdhqQP3EEw1V74-ECZ8YTrZE_g7dD-w_n7-EYxVLEnHCRyOZSsnVhT-Yu7C1/s1600/Capture+d%25E2%2580%2599e%25CC%2581cran+2015-07-07+a%25CC%2580+11.40.16+-+Version+2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoTj8fuVAYhDK0iSYjrSmcvodqB5eYNoK8q6sfSdR7eGjyMVtn3AWxbCrgBXJn8ZdJElqjGnINeJsPHpTICdhqQP3EEw1V74-ECZ8YTrZE_g7dD-w_n7-EYxVLEnHCRyOZSsnVhT-Yu7C1/s200/Capture+d%25E2%2580%2599e%25CC%2581cran+2015-07-07+a%25CC%2580+11.40.16+-+Version+2.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Didier Bourda</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxIt1uOT4LgIAKQrwbVMJzcwjyw1yXTHkcI8iKmtzpfKNpV1eNWLGMERgzL7MkbXg-0Ilwc-zFTFLdJDli2zlRrLiIEQqeHquqYJv_k9eeeW0D9wCqZz9wnUvLA8ncLSlYNxvFQXeR9Tig/s1600/9782912233677.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxIt1uOT4LgIAKQrwbVMJzcwjyw1yXTHkcI8iKmtzpfKNpV1eNWLGMERgzL7MkbXg-0Ilwc-zFTFLdJDli2zlRrLiIEQqeHquqYJv_k9eeeW0D9wCqZz9wnUvLA8ncLSlYNxvFQXeR9Tig/s200/9782912233677.jpg" width="188" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-cg1_7ldFAamMwFzfYXsSx8EHSQmrrNTe7MXC38JuZpHYyuuKPvntBwivcnzlMEi8O-G_1EBI8hQwaPYJLbqOII3HvCRRxTB7yJONta6CvChZsD4z92SCGD9_PCT4ajG9o6FIpGh_nm1a/s1600/Olivier-DECK.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-cg1_7ldFAamMwFzfYXsSx8EHSQmrrNTe7MXC38JuZpHYyuuKPvntBwivcnzlMEi8O-G_1EBI8hQwaPYJLbqOII3HvCRRxTB7yJONta6CvChZsD4z92SCGD9_PCT4ajG9o6FIpGh_nm1a/s200/Olivier-DECK.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Olivier Deck</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAValHvMw1IyMtZ85huKuRxAryndHQGGLzaTSJiZvyTW3R5Y1YQcHURfp86J5mwtRVPRV5ky7vTF7Wlsa5guzcBq9oCRCK_CqEEKWtMU6omHC2cEkWIOiTLZqlQvR_a20bq_t0RYRUmLJJ/s1600/P1030808+-+Version+3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAValHvMw1IyMtZ85huKuRxAryndHQGGLzaTSJiZvyTW3R5Y1YQcHURfp86J5mwtRVPRV5ky7vTF7Wlsa5guzcBq9oCRCK_CqEEKWtMU6omHC2cEkWIOiTLZqlQvR_a20bq_t0RYRUmLJJ/s200/P1030808+-+Version+3.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ludovic Pautier</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbRRbQwtgL-2sv8SXV7gjMbsbGkTCGFJ5HXYH121ECKnvCKRtwEx_Y7XVf6mM2kT5I0HbQsvEhKK21jJT0dD6BNlJWEEciP1rWj59pd_HF8-iYxVX4LaLWtF8iW5YSdE5sY74coxRtePNZ/s1600/ludo.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: left;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbRRbQwtgL-2sv8SXV7gjMbsbGkTCGFJ5HXYH121ECKnvCKRtwEx_Y7XVf6mM2kT5I0HbQsvEhKK21jJT0dD6BNlJWEEciP1rWj59pd_HF8-iYxVX4LaLWtF8iW5YSdE5sY74coxRtePNZ/s200/ludo.jpg" width="137" /></a><br />
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J'ai donc choisi de lire des poèmes extraits de trois recueils: de Didier Bourda <i>Y ou le chemin des lettres</i> (Editions Artémis, 2001), d'Olivier Deck <i>Le chemin du silence</i> (Editions Cairn, 2003) et de Ludovic Pautier <i>Ivoire brisé</i> (Editions Atelier baie, 2011).</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8PqrWjjpMVoGTTKFmXy8gAIo6YN-nXpCXqzPyJHmagtCYWp5kUIsMRKA981qHyeTpAqxn4Tx7cVO9eIouZL7d1oshpT9z6NMQ2r9Bn57u4NatUmiyeyIOxlw0fYfvrKH_yiikNg7-sSlG/s1600/P1100125+-+Version+2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8PqrWjjpMVoGTTKFmXy8gAIo6YN-nXpCXqzPyJHmagtCYWp5kUIsMRKA981qHyeTpAqxn4Tx7cVO9eIouZL7d1oshpT9z6NMQ2r9Bn57u4NatUmiyeyIOxlw0fYfvrKH_yiikNg7-sSlG/s400/P1100125+-+Version+2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Diogo Dória</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj21T_Tl25QGRnLVDx3s2uxyFtsuHoPGplZCnpdJb6hTmzbT8OB_seGS-BcxOfSwzqF1k5lkd_mb3GcOTsr-MNc5-wp1dr4ZHF9DUAcsxSURRLQifFwawoPJ9FwIofpNKsa7mqO0sYT10mC/s1600/P1100126+-+Version+2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj21T_Tl25QGRnLVDx3s2uxyFtsuHoPGplZCnpdJb6hTmzbT8OB_seGS-BcxOfSwzqF1k5lkd_mb3GcOTsr-MNc5-wp1dr4ZHF9DUAcsxSURRLQifFwawoPJ9FwIofpNKsa7mqO0sYT10mC/s400/P1100126+-+Version+2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Diana Almeida</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">A mes côtés: Diana Almeida et Filipe Valentim au piano</td></tr>
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J'ai été particulièrement touché par le fait qu'à l'issue de la lectures plusieurs personnes dans le public m'aient demandé les références de ces poèmes. Diogo Dória m'a glissé qu'il avait adoré écouter ces textes. Outre la bonne éducation de l'acteur et la qualité des écrits cela montre aussi, je l'espère, que je n'ai pas trop trahi mes amis poètes…</div>
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En attendant la sixième édition je veux remercier en particulier deux des organisateurs du festival qui savent allier convivialité et professionnalisme: Sandra Silva et Alex Cortez.</div>
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<a href="http://festivalsilencio.com/" target="_blank">http://festivalsilencio.com</a></div>
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Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-18701949777549640382015-06-25T07:18:00.000-07:002015-07-07T10:33:12.874-07:00EXPOSITION À MADRID "LA SOLEDAD SONORA"<br />
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Après Lisbonne en mars et Saragosse en avril c'est Madrid qui accueillera ma prochaine exposition individuelle.<br />
L'exposition, intitulée <i>La soledad sonora,</i> se déroulera au centre culturel Pilar Miró.<br />
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Le premier jour de l'exposition, le 1er juillet à 20 heures, sera présenté le documentaire sur ma peinture <i>La mano azul, </i>réalisé par Floreal Peleato.</div>
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Le mercredi 8 juillet, également à 20 heures, un autre documentaire de Floreal Peleato, <i>Elegía del </i><i>trópico, </i>sera projeté.</div>
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Et pour terminer quelques photos de l'accrochage</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwPUmZySW7Up_sdIbA1JZ4PIf0ZTjrfs7xScryCpG8r3RGoNJhXGTAUNjamJ-D85mEO4PzA5D9loriG0OswQK8IkradUPvNuEeYgUN9B7yw7k8T48A7vAr8Fr3rHEQl56giSCUtzjLkRA-/s1600/Capture+d%25E2%2580%2599e%25CC%2581cran+2015-06-17+a%25CC%2580+21.07.03.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwPUmZySW7Up_sdIbA1JZ4PIf0ZTjrfs7xScryCpG8r3RGoNJhXGTAUNjamJ-D85mEO4PzA5D9loriG0OswQK8IkradUPvNuEeYgUN9B7yw7k8T48A7vAr8Fr3rHEQl56giSCUtzjLkRA-/s320/Capture+d%25E2%2580%2599e%25CC%2581cran+2015-06-17+a%25CC%2580+21.07.03.png" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin7d2BSyTT4pILCRr_GrokrhRer2hphkDP6NPJXfsnWbClQMZp56Xq1_EkoYxpnQ0UOGHdxlluwBmlPeDLRfaNbDSA3VRbczrsAQ_J3La8bksE6rxlsRNvP8BMEKpHqVznrWoLtWfCDe2T/s1600/Logo_Pilar+Miro_bueno.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin7d2BSyTT4pILCRr_GrokrhRer2hphkDP6NPJXfsnWbClQMZp56Xq1_EkoYxpnQ0UOGHdxlluwBmlPeDLRfaNbDSA3VRbczrsAQ_J3La8bksE6rxlsRNvP8BMEKpHqVznrWoLtWfCDe2T/s200/Logo_Pilar+Miro_bueno.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin7d2BSyTT4pILCRr_GrokrhRer2hphkDP6NPJXfsnWbClQMZp56Xq1_EkoYxpnQ0UOGHdxlluwBmlPeDLRfaNbDSA3VRbczrsAQ_J3La8bksE6rxlsRNvP8BMEKpHqVznrWoLtWfCDe2T/s1600/Logo_Pilar+Miro_bueno.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin7d2BSyTT4pILCRr_GrokrhRer2hphkDP6NPJXfsnWbClQMZp56Xq1_EkoYxpnQ0UOGHdxlluwBmlPeDLRfaNbDSA3VRbczrsAQ_J3La8bksE6rxlsRNvP8BMEKpHqVznrWoLtWfCDe2T/s1600/Logo_Pilar+Miro_bueno.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin7d2BSyTT4pILCRr_GrokrhRer2hphkDP6NPJXfsnWbClQMZp56Xq1_EkoYxpnQ0UOGHdxlluwBmlPeDLRfaNbDSA3VRbczrsAQ_J3La8bksE6rxlsRNvP8BMEKpHqVznrWoLtWfCDe2T/s1600/Logo_Pilar+Miro_bueno.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a>Centre culturel Pilar Miró: Plaza Antonio María Segovia s/n. Metro Villa de Vallecas (Línea 1). Tél: 913 052 408. Informations:<a href="http://www.madrid.org/agenda-cultural/cc-pilar-miro/sala-de-exposiciones?start=4" target="_blank">http://www.madrid.org/agenda-cultural/cc-pilar-miro/sala-de-exposiciones?start=4</a> <a href="http://www.madrid.org/agenda-cultural/cc-pilar-miro/cine" target="_blank">http://www.madrid.org/agenda-cultural/cc-pilar-miro/cine</a></div>
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Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-8824302393364663352015-04-28T04:22:00.001-07:002015-04-28T04:22:59.909-07:00EXPOSITION À LISBONNE "ON NOUS PRESSE"<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCBxyaV_W6XAvmTtWsTG2BhhXUhCRuqhk72NKpQGKwMWAXGtcYaiZPrwFwmiHN8nYiVVcAisEQSLxSX_mg-RXWpiU93h6b_C34Plw2hbXbkAKGQeDtybYGn8ONbUYg613g9mZiCVBJNaim/s1600/P1090752.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCBxyaV_W6XAvmTtWsTG2BhhXUhCRuqhk72NKpQGKwMWAXGtcYaiZPrwFwmiHN8nYiVVcAisEQSLxSX_mg-RXWpiU93h6b_C34Plw2hbXbkAKGQeDtybYGn8ONbUYg613g9mZiCVBJNaim/s1600/P1090752.jpg" height="290" width="640" /></a></div>
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Mon exposition <i>On nous presse </i>à Lisbonne vient de se terminer. Voici quelques images, depuis les préparatifs jusqu'au vernissage, ainsi que la version française du texte du catalogue.<br />
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<span style="color: #cccccc; font-size: x-large;">PHOTOGRAPHIES POUR LE CATALOGUE:</span></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5_pcnGidF_vya43oHBq6DC2nikNuZNEL3xJ5GNtkaFbxdzUI07xzCud2ydVlG7cLQjZsW2GrNcmT8lRym5NdY0A0z2K9qV9NX1GmTVBNXj3-9pRE4qN-NMu3S_0kT71HnL-PMVN3d8EJp/s1600/3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5_pcnGidF_vya43oHBq6DC2nikNuZNEL3xJ5GNtkaFbxdzUI07xzCud2ydVlG7cLQjZsW2GrNcmT8lRym5NdY0A0z2K9qV9NX1GmTVBNXj3-9pRE4qN-NMu3S_0kT71HnL-PMVN3d8EJp/s1600/3.jpg" height="317" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Daniel Nascimento, également auteur de la maquette du catalogue</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgODVXPzsJKre2JxkUErXqU21a5drTx6BfRrMgZiozrnSN2bfmXUneRTbhApt11NPpYB13Dp-JtSZjslkmPjulpZOSHnJ7tZYXQyvS66IgoxomxDfrYHwIYMMKnC8jd43Kryfkz8nykcJFW/s1600/1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgODVXPzsJKre2JxkUErXqU21a5drTx6BfRrMgZiozrnSN2bfmXUneRTbhApt11NPpYB13Dp-JtSZjslkmPjulpZOSHnJ7tZYXQyvS66IgoxomxDfrYHwIYMMKnC8jd43Kryfkz8nykcJFW/s1600/1.jpg" height="240" width="320" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhLZBjaM0oO7_-IQoyDtGb3yLDAYLbbW84mx9yG5lvmf1NocixDjALx1_F649LsLnG4Ul9L4EIiouvrtPqwXAZRllRkV53ySB8V3yWr067Of7N5Dkpjdkh9yz00IOsoI3D-kNjkG7H24vr/s1600/11.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhLZBjaM0oO7_-IQoyDtGb3yLDAYLbbW84mx9yG5lvmf1NocixDjALx1_F649LsLnG4Ul9L4EIiouvrtPqwXAZRllRkV53ySB8V3yWr067Of7N5Dkpjdkh9yz00IOsoI3D-kNjkG7H24vr/s1600/11.jpg" height="320" width="240" /></a><br />
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<span style="color: #cccccc; font-size: x-large;">L'ACCROCHAGE:</span></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYGRI8M1LtuF7xGJc_Fk_5FAGIE9A6JDS2rZod3hqnDkSaS3MU3MhKWI_ersGQuZAtxKqTVqIWF-Dy9gYsfmZEmiPtgoDbBO6KGnu10HX14fAB9xO0BK3dXRTl5S9oEGJNqDcxgB0_41dZ/s1600/12.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYGRI8M1LtuF7xGJc_Fk_5FAGIE9A6JDS2rZod3hqnDkSaS3MU3MhKWI_ersGQuZAtxKqTVqIWF-Dy9gYsfmZEmiPtgoDbBO6KGnu10HX14fAB9xO0BK3dXRTl5S9oEGJNqDcxgB0_41dZ/s1600/12.jpg" height="320" width="288" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Avec Paulo Robalo</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcPRrM3xVaH_-1PLYrFo5BiA_Imjc4A_PBhwIQY2bfoKOjDHxUOb4xHOPcSBnZdWPvTPCb6njC3pbgGU0Kl_v6XdYJ1NVC8V9_Gy3VY9EaC403GBjqE1R8SCBGVOQO72Ijwpr_DwPPVzxh/s1600/7.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcPRrM3xVaH_-1PLYrFo5BiA_Imjc4A_PBhwIQY2bfoKOjDHxUOb4xHOPcSBnZdWPvTPCb6njC3pbgGU0Kl_v6XdYJ1NVC8V9_Gy3VY9EaC403GBjqE1R8SCBGVOQO72Ijwpr_DwPPVzxh/s1600/7.jpg" height="184" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4lswsvZ3olnf1Oe3SVQuTYKb0Lc4Gy_ncxFgywCUXxB5nACv4bihOcnlvNXblkPXjqzksh3OhzT5i7i1TKEuPSzxdIDTwpWgxdKnAscoXJdi_Bm-W5TGmSJS-AjrMjRKCqdwumsjsn6Nt/s1600/9.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4lswsvZ3olnf1Oe3SVQuTYKb0Lc4Gy_ncxFgywCUXxB5nACv4bihOcnlvNXblkPXjqzksh3OhzT5i7i1TKEuPSzxdIDTwpWgxdKnAscoXJdi_Bm-W5TGmSJS-AjrMjRKCqdwumsjsn6Nt/s1600/9.jpg" height="280" width="400" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIsVVxAuGRQGhBB6_skahdxPoHtRHKHLmvNIEuJRi5920lAh7NsuUInPZgAYvTBE5WFjQ3Y4fQgvHFn3kxq8c_IXC_codYAXyn__e3q7QbrdMY1l6mtq9qYUTzGr1LiYAeWlAX465dLa_f/s1600/8.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIsVVxAuGRQGhBB6_skahdxPoHtRHKHLmvNIEuJRi5920lAh7NsuUInPZgAYvTBE5WFjQ3Y4fQgvHFn3kxq8c_IXC_codYAXyn__e3q7QbrdMY1l6mtq9qYUTzGr1LiYAeWlAX465dLa_f/s1600/8.jpg" height="150" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Avec Rui Lourenço<br /></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQsMylGPSj14boQ3s0V3Ryvi0PNrnzHV52BwZyLhIqhcos9tXdwSh5ou4awMlp_dVRY52DNQaADQJynQ0Trm-Fh39M7_9UhS8_Gh3XRgXVsnNGEOCDe3NBCKlbEmM-42ApBrmXfdF_379E/s1600/10.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQsMylGPSj14boQ3s0V3Ryvi0PNrnzHV52BwZyLhIqhcos9tXdwSh5ou4awMlp_dVRY52DNQaADQJynQ0Trm-Fh39M7_9UhS8_Gh3XRgXVsnNGEOCDe3NBCKlbEmM-42ApBrmXfdF_379E/s1600/10.jpg" height="320" width="208" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU41fYq3yPXIIPcMojcv-r1m9MzNfPsI2oBWZPTypLzcpEHKVSDhF4ezdK9D7xi1B6Erkdfc7vzBgqOFImuvvLp5kD3EQI8eQM4JGpX3xgiwsQMotfeaiyDyPcpNt2GSMSMz6LC6ZbcrEm/s1600/6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU41fYq3yPXIIPcMojcv-r1m9MzNfPsI2oBWZPTypLzcpEHKVSDhF4ezdK9D7xi1B6Erkdfc7vzBgqOFImuvvLp5kD3EQI8eQM4JGpX3xgiwsQMotfeaiyDyPcpNt2GSMSMz6LC6ZbcrEm/s1600/6.jpg" height="320" width="214" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-L8SVegAHn0ubedEO0XlO5ds6C1JpL__czICZRQNWQtolNiuKvX-E5PUlIBmvml5xZ1OgSpFqmxghKh1OrCZyG3pk6Bfl8rig_0U2jodDJhaU6HQ7S460Z26E7vdPzuacqyfW78Zz6k6-/s1600/5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-L8SVegAHn0ubedEO0XlO5ds6C1JpL__czICZRQNWQtolNiuKvX-E5PUlIBmvml5xZ1OgSpFqmxghKh1OrCZyG3pk6Bfl8rig_0U2jodDJhaU6HQ7S460Z26E7vdPzuacqyfW78Zz6k6-/s1600/5.jpg" height="200" width="125" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvndUjk9cKW7LBYyMsab7prpqy-GkxbkjwkCjdJUPeBozJh85fhLxULjuAacQF8JDmNCApaSpyHdl4vy4HdnzEWcVWVDebOBI_j0oIFdXMp5d71pSeYuOWwsxUm6kqdPV93ZRZa-ZsrbvI/s1600/4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvndUjk9cKW7LBYyMsab7prpqy-GkxbkjwkCjdJUPeBozJh85fhLxULjuAacQF8JDmNCApaSpyHdl4vy4HdnzEWcVWVDebOBI_j0oIFdXMp5d71pSeYuOWwsxUm6kqdPV93ZRZa-ZsrbvI/s1600/4.jpg" height="358" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz954ali57HjZ3Q93YJ25N-Pedtoo9dsVhegoPywuGgRcnOYCOifWgD_2RBLzD4hvvCM13V9PnTHE93AHgroOPFCWyTvH1f4jOzjjBKIv1wad6wQjBdhaZgw56ebWfEiLZaYo39k6uz5B1/s1600/P1090634+-+Version+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz954ali57HjZ3Q93YJ25N-Pedtoo9dsVhegoPywuGgRcnOYCOifWgD_2RBLzD4hvvCM13V9PnTHE93AHgroOPFCWyTvH1f4jOzjjBKIv1wad6wQjBdhaZgw56ebWfEiLZaYo39k6uz5B1/s1600/P1090634+-+Version+2.jpg" height="400" width="255" /></a><br />
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<span style="color: #cccccc; font-size: x-large;">L'EXPOSITION:</span></h2>
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<h2>
<span style="color: #cccccc; font-size: x-large;">LE VERNISSAGE:</span></h2>
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<h2>
<span style="color: #cccccc; font-size: x-large;">TEXTE DU CATALOGUE:</span></h2>
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<span style="font-family: 'HelveticaNeueLTStd'; font-size: 12.000000pt;">Depuis ‘La Raie’ de Chardin, ‘L’Asperge’ de Manet ou ‘La Chaise’ de Van Gogh nous savons que la
manière de représenter importe davantage que ce qui est représenté. De là à s’attacher à un objet
usuel, utilitaire, froid et mécanique il n’y a qu’un pas que l’exposition ‘On nous presse’ franchit allé-
grement. D’une part parce que sous son apparente banalité le moulin à légumes recèle une vraie
richesse formelle, d’autre part parce que métaphoriquement il permet de questionner sur un mode
ludique une société qui prône la vitesse, la performance, qui fait pression sur l’individu.
</span><br />
<span style="font-family: 'HelveticaNeueLTStd'; font-size: 12.000000pt;">Malgré la diversité de formats, de supports et de techniques l’exposition est conçue comme un
ensemble homogène. D’abord par l’utilisation du motif du moulin à légumes, figure centrale de
chaque réalisation et trait d’union entre les œuvres. Ensuite par l’omniprésence du cercle et de la
courbe, pied de nez à la vélocité de la ligne droite, à la rigidité des angles. Dans la série de petits
dessins ainsi que dans la grande peinture c’est l’arabesque qui domine contrariant le rectangle des
formats. Dans chaque tondo nous retrouvons pareille présence de la courbe renforcée par la forme
circulaire du support. Quant à l’autoportrait c’est la nature même de l’oeuvre, spirale déroulante, qui
impose au spectateur un mouvement circulaire. Enfin un autre trait commun à la majorité des des-
sins est l’utilisation du papier millimétré comme support. Ce type de papier habituellement associé
au domaine scientifique et technique trouve ici une autre fonction, il permet par contraste avec la
facture des dessins, tout en courbes, de créer des tensions génératrices de mouvement.
</span><br />
<span style="font-family: 'HelveticaNeueLTStd'; font-size: 12.000000pt;">«Se donner du mal pour les petites choses, c’est parvenir aux grandes, avec le temps.» écrivait
Samuel Beckett, semblable formule me semble bien résumer la démarche qui est à l’origine de
cette exposition. Ainsi même si «on nous presse» il n’appartient qu’à nous de revendiquer la lenteur,
d’affirmer notre liberté d’expression, si possible avec humour et élégance... </span><br />
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<i style="font-family: HelveticaNeueLTStd; font-size: 12pt;">ON NOUS PRESSE, </i><span style="font-family: HelveticaNeueLTStd; font-size: 12pt;">Mathieu Sodore, 11 mars 2015</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0CqcznT4SGeW4etvCHaKTzpI2r_o8KSQvHcqfFdVXFYcWSTnEwCCUufP6xVJeURNwSZoWY2nMIQfH7I7BC4RUa31Bj2gkbM9z0DBbeautSQukOfiL9gLbn78MSsnfSlPWto7xN5794svR/s1600/P1090668.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0CqcznT4SGeW4etvCHaKTzpI2r_o8KSQvHcqfFdVXFYcWSTnEwCCUufP6xVJeURNwSZoWY2nMIQfH7I7BC4RUa31Bj2gkbM9z0DBbeautSQukOfiL9gLbn78MSsnfSlPWto7xN5794svR/s1600/P1090668.jpg" height="390" width="640" /></a></div>
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Le vernissage de mon exposition à Saragosse s'est déroulé samedi 11 avril. La soirée a également été l'occasion de la projection du documentaire <i>La mano azul </i>suivie d'un débat avec le public en présence de l'artiste plasticienne Clara Marta, du réalisateur Floreal Peleato et de moi-même.<br />
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Voici quelques images de cette exposition remarquablement bien organisée par l'institut français de Saragosse et l'équipe du centre culturel Joaquín Roncal.<br />
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Pour terminer des images du vernissage de l'exposition qui est visible jusqu'au 30 avril.</div>
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Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-69551451532629176572015-04-07T09:19:00.000-07:002015-04-07T09:19:12.831-07:00EXPOSITION À SARAGOSSE<br />
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Après le vernissage de mon exposition <i>On nous presse </i>qui s'est déroulé au <i>Passevite white cube</i> à Lisbonne samedi 28 mars (l'exposition se termine le 23 avril, nous en reparlerons) je serai samedi 11 avril à Saragosse pour l'inauguration d'une nouvelle exposition individuelle et participer à un débat à l'issue de la projection du documentaire sur ma peinture <i>La mano azul.</i><br />
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Sous le titre <i>La música callada del cantaor</i> ce sera la première fois que j'exposerai ensemble la série du même nom, présentée entre autres au <i>Matadero</i> à Madrid en 2013, et son prolongement: la série intitulée <i>La</i> <i>soledad sonora</i> exposée au Japon en 2014.</div>
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L'exposition et la projection du film sont organisés par l'Institut français de Saragosse et se dérouleront dans un bel édifice de la capitale aragonaise: le centre culturel Joaquín Roncal.</div>
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Programme: </div>
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18h00: projection du documentaire long-métrage <i>La mano azul </i>de Floreal Peleato.</div>
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19h00: débat avec le réalisateur, Clara Marta artiste plasticienne et moi-même.</div>
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20h00: vernissage de l'exposition <i>La música callada del cantaor.</i></div>
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L'exposition sera visible jusqu'au 30 avril.</div>
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Le centre culturel Joaquín Roncal se situe dans le centre historique de Saragosse, à deux pas de la basilique du Pilar. Rendez-vous donc avec les ombres de Goya...</div>
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Informations:</div>
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<a href="http://www.institutfrancais.es/zaragoza/" target="_blank">http://www.institutfrancais.es/zaragoza/</a></div>
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<a href="http://www.joaquinroncal.org/" target="_blank">http://www.joaquinroncal.org</a></div>
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<br />Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-25838545050966620402015-03-25T16:34:00.001-07:002015-06-22T04:01:18.112-07:00PASSEVITE: NOUVEL ATELIER / NOUVELLE EXPOSITION<div style="margin-bottom: 0cm;">
<span style="font-family: Arial, sans-serif;"><span lang="fr-FR">J'ai
le plaisir de vous inviter à l'inauguration de mon exposition </span></span><span style="font-family: Arial, sans-serif;"><span lang="fr-FR"><i> On
nous presse </i></span></span><span style="font-family: Arial, sans-serif;"><span lang="fr-FR"><span style="font-style: normal;">qui
se déroulera samedi 28 mars au </span></span></span><span style="font-family: Arial, sans-serif;"><span lang="fr-FR"><i>Passevite
white cube</i></span></span><span style="font-family: Arial, sans-serif;"><span lang="fr-FR"><span style="font-style: normal;">,
nouvel espace culturel lisboète.</span></span></span><span style="font-family: Arial, sans-serif;"><span lang="fr-FR"><i>
</i></span></span>
</div>
<div style="margin-bottom: 0cm;">
<span style="font-family: Arial, sans-serif;"><span lang="fr-FR"><span style="font-style: normal;"><br /></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_9GCI3cBC6O79KGiW6EKYHWCUIazdkmbQdng7PzK1uUMDSoxhSOPT9oCIUz6nnPJ1RXnaG7-JCGMfRXnZc6EXzDNSph1WoJa-YtiiKB_sF8A95CU-PgVXKoaS3I4JBd7RXljcgv8rfMx/s1600/Convite+Sodore.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_9GCI3cBC6O79KGiW6EKYHWCUIazdkmbQdng7PzK1uUMDSoxhSOPT9oCIUz6nnPJ1RXnaG7-JCGMfRXnZc6EXzDNSph1WoJa-YtiiKB_sF8A95CU-PgVXKoaS3I4JBd7RXljcgv8rfMx/s1600/Convite+Sodore.jpg" width="640" /></a></div>
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<span style="font-family: Arial, sans-serif;"><span lang="fr-FR"><span style="font-style: normal;"><br /></span></span></span></div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<span style="font-family: Arial, sans-serif;">Nouvel
espace qui se trouve être aussi mon nouvel atelier ,
explication :</span></div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<span style="font-family: Arial, sans-serif;">A
Lisbonne, singulièrement dans le centre historique, il est de plus
en plus fréquent de voir de vieux immeubles rachetés par des
sociétés immobilières qui les transforment en résidences de luxe,
hôtels ou autres boutiques branchées qui font les délices des
touristes. Mon atelier (que je partage avec le plasticien Paulo
Robalo depuis plus de dix ans) situé à Alfama à cinquante mètres
de la cathédrale a bien entendu attiré la convoitise de divers
spéculateurs... Bref à la suite d'un refus de renouvellement de
contrat je me suis vu contraint de quitter ce lieu chargé
d'histoire(s). Initialement tristes et découragés nous avons quand
même déniché assez rapidement un espace vaste, possédant une
grande vitrine et situé dans un quartier dynamique. Une fois baptisé
“Passevite” il a été décidé d'en faire un lieu ouvert à
tous. </span>
</div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<span style="font-family: Arial, sans-serif;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwR0shsZ3-WyBNrJEpTbwz5VR0Ghk5O5GB_Dozo3RX3ScEUxapX8rtn4CS_YGJNk_QWFkcQeIioogjgkKVLy9Ebv_LIqR_1yOOfOPYfqJMRGo6yt1ksUAvjDOrkHew0HS8OFxaZ0bLd89H/s1600/Cartaz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwR0shsZ3-WyBNrJEpTbwz5VR0Ghk5O5GB_Dozo3RX3ScEUxapX8rtn4CS_YGJNk_QWFkcQeIioogjgkKVLy9Ebv_LIqR_1yOOfOPYfqJMRGo6yt1ksUAvjDOrkHew0HS8OFxaZ0bLd89H/s1600/Cartaz.jpg" width="400" /></a></div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<span style="font-family: Arial, sans-serif;"><br /></span></div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<span style="color: white;">“<span style="font-family: Arial, sans-serif;"><span style="font-size: small;">Passevite”
est donc un lieu indépendant qui s'inscrit dans la continuité de
notre atelier Sodore/Robalo, enrichi par la collaboration des graphistes Rui
Lourenço et Daniel Nascimento. Passant du quartier d'Alfama à celui
d'Anjos, en plein centre de Lisbonne, l'atelier a également pour
objectif de présenter une programmation d’événements touchant à
des langages et à des genres artistiques très variés. Le collectif “Passevite” se veut ainsi être un lieu de travail, de réflexion,
de formation, d'exposition, de diffusion culturelle et de
convivialité. Nous programmons, entre autres, des sessions de dessin
de modèle vivant, des workshops de cinéma, de dessin, des tertulias
littéraires, des mini concerts, des projections de films, du
théâtre de poche, des dîners thématiques et, bien entendu, des
expositions. Enfin nous envisageons des collaborations avec d'autres espaces dont le fonctionnement et surtout l'esprit sont similaires
aux nôtres. Cela avance rapidement puisque nous avons déjà des contacts en Allemagne, au Maroc et au Japon!</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfosmowFOpXmZ_q_f53QJHPehQxw-22ENCLIH262-ItRh4ihKA6Clq8mhoAK1zviG9LcQtKh7OC7a_815-E1uXaVsXxJDMw1hYmMoRcRBCA7HLyMLNj35o5IUq1dpvkvog3ZehVg5S8fYk/s1600/10903990_384503841731347_8226716072264409872_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfosmowFOpXmZ_q_f53QJHPehQxw-22ENCLIH262-ItRh4ihKA6Clq8mhoAK1zviG9LcQtKh7OC7a_815-E1uXaVsXxJDMw1hYmMoRcRBCA7HLyMLNj35o5IUq1dpvkvog3ZehVg5S8fYk/s1600/10903990_384503841731347_8226716072264409872_o.jpg" width="400" /></a></div>
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<span style="color: white; font-family: Arial, sans-serif;"><b>Pourquoi
“Passevite”?</b></span></div>
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<span style="font-family: Arial, sans-serif;"><span style="color: white; font-size: small;">Passe-Vite
est le nom qui désigne au Portugal (et dans certains pays
francophones) le moulin à légumes ou presse-purée, il s'agit à
l'origine d'une marque belge. Probablement introduit au Portugal
avant son concurrent “Moulinex” le nom commercial “Passe-Vite”
est devenu nom générique, comme en France “Mobylette” pour
cyclomoteur ou “Frigidaire” pour réfrigérateur.</span></span></div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<span style="color: white;"><span style="font-family: Arial, sans-serif;"><span style="font-size: small;">L'objectif
de notre atelier étant de jouer avec les lignes, les mots, de réunir des idées, des couleurs, des
projets, des énergies pour les mélanger, les exprimer, les
triturer, les fusionner le nom “Passevite” s'est rapidement
imposé. </span></span>
</span></div>
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<span style="font-family: Arial, sans-serif;"><span style="color: white; font-size: small;">Nous
avons également été séduits par l'esprit dadaïste du premier
slogan de la marque “Tout Passe-Vite est une passoire mais toute
passoire n'est pas un Passe-Vite” qui, adapté par nos soins, est
devenu: “Passevite est un atelier mais l'atelier n'est pas un Passe-Vite”...</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9ZK2mIDsaudH5QGsuOLcKoP06sIYtbL53Ant9MxEpVs_aTD475v4FLU3NQhGIf30rNN_x0aWxPUka94K9-KqoxD7JkdoJK0ZiwMj90rPMWrmz6BO8IyKOv0k8pMxL15S-HKuykBoQrqCZ/s1600/1512286_369026859945712_7917688031689353897_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9ZK2mIDsaudH5QGsuOLcKoP06sIYtbL53Ant9MxEpVs_aTD475v4FLU3NQhGIf30rNN_x0aWxPUka94K9-KqoxD7JkdoJK0ZiwMj90rPMWrmz6BO8IyKOv0k8pMxL15S-HKuykBoQrqCZ/s1600/1512286_369026859945712_7917688031689353897_n.jpg" width="640" /></a></div>
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<span style="color: #10131a;"><span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><br /></span></span></span></div>
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<span style="color: white; font-family: Arial, sans-serif;"><b>Un peu d'histoire pour terminer</b></span></div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<span style="color: white; font-family: Arial, sans-serif;">L'invention du moulin à légumes est souvent attribuée, à tort, au fondateur de Moulinex.</span></div>
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<span style="color: white; font-family: Arial, sans-serif;">En fait, le moulin à légumes est belge:</span></div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<span style="color: white; font-family: Arial, sans-serif;">Le 31 mars 1928, est délivré à Monsieur Victor Simon un brevet d’invention pour passoire d’action rapide pour légumes et autres comestibles par le Ministère belge de l’industrie. La marque Passe-Vite est enregistrée le 2 mars 1928.</span></div>
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<span style="color: white; font-family: Arial, sans-serif;">Trois ans après Jean Mantelet, étameur à Bagnolet en banlieue Parisienne, dépose une demande de brevet à l'Institut National de la Propriété Industrielle à Paris pour "un presse-purée qui, sous l'action d'une lame hélicoïdale animée par une manivelle, comprime progressivement la matière contre un tamis conique ».</span></div>
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<span style="color: white; font-family: Arial, sans-serif;">Jean Mantelet a commercialisé le moulin à légumes sous la marque "Moulin-Légumes", puis "Légumex" et enfin "Moulinex".</span></div>
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<span style="color: white; font-family: Arial, sans-serif;">(Histoire découverte sur le site passevite.free.fr, le site qui (je n'invente rien) : « rétablit la vérité sur l'invention du moulin à légumes « !)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZHqhZ9YpUE_9el_UF7xExSvu7WH-Gd21LHKGU49NWK7E8LOoHo64ks_RplqjpGShTKZSffoap3MsxYE8rlmMWIDSTE1SUEPPXtVxfUk8QY9saNNcERvDtDnFDujp3KUMQ2fE66CKGhRki/s1600/Passe-Vite.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZHqhZ9YpUE_9el_UF7xExSvu7WH-Gd21LHKGU49NWK7E8LOoHo64ks_RplqjpGShTKZSffoap3MsxYE8rlmMWIDSTE1SUEPPXtVxfUk8QY9saNNcERvDtDnFDujp3KUMQ2fE66CKGhRki/s1600/Passe-Vite.jpg" width="288" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDCWyRTReXxW9p35cyAGBTtQ2zBZoLVckFwQGLLr9XTdR7fTW8hh0tQrtMFoTTSpS18v94fWZeZxbh3HRTgOVski6fyFxfZ5l3Yd5W-eferEnG388OKXJ13gOrznP52zZxz7QvfPnfHrGQ/s1600/PASSEVITE_LOGO.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDCWyRTReXxW9p35cyAGBTtQ2zBZoLVckFwQGLLr9XTdR7fTW8hh0tQrtMFoTTSpS18v94fWZeZxbh3HRTgOVski6fyFxfZ5l3Yd5W-eferEnG388OKXJ13gOrznP52zZxz7QvfPnfHrGQ/s1600/PASSEVITE_LOGO.png" width="200" /></a></div>
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Plus d'informations:</div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
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<br />
<div lang="fr-FR" style="margin-bottom: 0cm;">
<a href="http://www.passevite.net/" target="_blank">www.passevite.net</a></div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<br /></div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<a href="http://facebook.com/passevitelx" target="_blank">facebook.com/passevitelx</a></div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<br /></div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<a href="http://passevite.net/dwnld/sodore-no-passevite.zip" target="_blank">passevite.net/dwnld/sodore-no-passevite.zip</a></div>
Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-26518422425113010142015-02-08T16:43:00.001-08:002015-02-08T16:48:49.104-08:00JAPON, ATELIER 485: STEPHANE LEROUX / CHIHIRO AKUTSU <div class="separator" style="clear: both; text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNPcs_xHoOIz02qZm1kRihVuVi6-aAP7MuDLmZVX-C6jWrPUx_zq_-q0OKeuxZIAdcQO_ldxU1TIxE4r07Dhvaw3_JUur1Ku4VfhUTDNuXoJoaoNgHl_bOuaQ5Y0_9bVkddgeiut_QL-A0/s1600/10636623_741369195957754_489853102057830385_o+copie.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNPcs_xHoOIz02qZm1kRihVuVi6-aAP7MuDLmZVX-C6jWrPUx_zq_-q0OKeuxZIAdcQO_ldxU1TIxE4r07Dhvaw3_JUur1Ku4VfhUTDNuXoJoaoNgHl_bOuaQ5Y0_9bVkddgeiut_QL-A0/s1600/10636623_741369195957754_489853102057830385_o+copie.jpg" height="294" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Peinture de Stéphane Leroux</td></tr>
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Après la rencontre avec le peintre Shinya Mori à Fukuoka, relatée dans l'article précédent, mon séjour au Japon a été l'occasion d'autres belles découvertes, parmi elles l'Atelier 485 à Tokyo.</div>
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Fondé et animé par le couple d'artistes plasticiens Chihiro Akutsu et Stéphane Leroux il s'agit d'un atelier/galerie dans lequel se déroulent diverses manifestions artistiques (arts plastiques, théâtre, cinéma, musique, etc.) C'est un espace ouvert à tout type d'échange culturel, un lieu indépendant qui se démarque des circuits institutionnels classiques.</div>
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Implanté à Shibamata, un quartier populaire très agréable de Tokyo, l'Atelier 485 allie avec bonheur le sérieux d'une programmation exigeante à la décontraction d'une vraie convivialité.</div>
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<span style="font-size: large;">Petit parcours en images</span></div>
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Une oeuvre de Stéphane Leroux, de l'élaboration à l'accrochage:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtlFDs_ewgLSL6MSEwVe6VdvKbjYPdUfd57hk1yiSPZGUHS1L5OlHtUFigCQWZgDez7Ea69g2iMN-eYrCJSNhby89_KHbX7mXoaiiWx88See1OH-4C4bGnMMkx2wNFIT1HIolN6mvn1Vu7/s1600/477169_284005525029666_45334901_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtlFDs_ewgLSL6MSEwVe6VdvKbjYPdUfd57hk1yiSPZGUHS1L5OlHtUFigCQWZgDez7Ea69g2iMN-eYrCJSNhby89_KHbX7mXoaiiWx88See1OH-4C4bGnMMkx2wNFIT1HIolN6mvn1Vu7/s1600/477169_284005525029666_45334901_o.jpg" height="150" width="200" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiSc9ELaYnWniN3RkrKCXKTBpFMrGsDtnsEVVG6yEyL0JB99ZHIfqc_NrksWqhuKLLPnD22WqAEo6D8LdbWLBIUSXurMM49DoClfMC6SoD7DjxS808tkXmNfXebMYUazR2qPjTGbkcJsSV/s1600/10329283_278816895622989_4410311430702636778_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiSc9ELaYnWniN3RkrKCXKTBpFMrGsDtnsEVVG6yEyL0JB99ZHIfqc_NrksWqhuKLLPnD22WqAEo6D8LdbWLBIUSXurMM49DoClfMC6SoD7DjxS808tkXmNfXebMYUazR2qPjTGbkcJsSV/s1600/10329283_278816895622989_4410311430702636778_n.jpg" height="240" width="320" /></a><br />
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Vues de la partie galerie:</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj67cjrm_9gFn8dnsTzSIVy7lT6FUuztoB8X0uC2RqQbAQX-vUJyruL1Cf77mrFJoeVEi8idwKUQCJNSXsRJXDfWPmiOSGeFS4-qvNGwpntONMMtyAH-o2EbKRGUhKFiLTGUGwrWexsHc7X/s1600/02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj67cjrm_9gFn8dnsTzSIVy7lT6FUuztoB8X0uC2RqQbAQX-vUJyruL1Cf77mrFJoeVEi8idwKUQCJNSXsRJXDfWPmiOSGeFS4-qvNGwpntONMMtyAH-o2EbKRGUhKFiLTGUGwrWexsHc7X/s1600/02.jpg" height="404" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Installation de Chihiro Akutsu et peintures de Stéphane Leroux</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigkRG4LLzuV5Zq5esL6GbVQmqmHTz4fF4P6W1KdD8XxB6ijnujacaRwqH9YaUk6itrwdEDgmQ5OsNQc9wIIygV4M5ab6EGUqrfiu77cWeVMwdYv9rwpMBRUZ1sVsaTUziT-BVmWFTmqyeq/s1600/01.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigkRG4LLzuV5Zq5esL6GbVQmqmHTz4fF4P6W1KdD8XxB6ijnujacaRwqH9YaUk6itrwdEDgmQ5OsNQc9wIIygV4M5ab6EGUqrfiu77cWeVMwdYv9rwpMBRUZ1sVsaTUziT-BVmWFTmqyeq/s1600/01.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Installation de Chihiro Akutsu</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Installation de Chihiro Akutsu</td></tr>
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Lors de ma visite à l'atelier 485 c'est une pièce de théâtre qui était à l'affiche, un monologue interprété par Shoichiro Akahoshi accompagné au Shamisen par Naoko Yuri. Plus familiarisé avec le langage plastique qu'avec le japonais j'étais initialement plutôt perplexe… mais l'expressivité du comédien, la sonorité de la musique et la subtilité de la scénographie de Stéphane Leroux ont fait de ce moment une expérience belle et stimulante.</div>
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<tr><td class="tr-caption" style="text-align: center;">Naoko Yuri et Shoichiro Akahoshi</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLPKtjA4mnS4TBvYQ_YaqquKarCFGkC9Ms_daCxWO56Ws9evJzsAEJtph4_vHrJ_JT3T5xR4BkrT3vrgItEQuY4kyeA5wuLsAW_zLvr3M_oG5dLfA3f4fKXY6gs88mTbRH_lOWq5jRMLfY/s1600/Capture+d%E2%80%99e%CC%81cran+2014-06-07+a%CC%80+8.28.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo-thEQ7DO5c7A87OQSYIkkdPojiY0k4FRO-GzpDcfZVtVeYPbTceS7_tnZLrwltkSyyzNxgSZiFxXaFjPjkBjWUiAjgEnJ7_imRRFSJDITYozPFPYPZZ6MrUXcL8rW1E_DhaH-J8AzkET/s1600/Capture+d%E2%80%99e%CC%81cran+2014-06-07+a%CC%80+8.31.03+PM.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo-thEQ7DO5c7A87OQSYIkkdPojiY0k4FRO-GzpDcfZVtVeYPbTceS7_tnZLrwltkSyyzNxgSZiFxXaFjPjkBjWUiAjgEnJ7_imRRFSJDITYozPFPYPZZ6MrUXcL8rW1E_DhaH-J8AzkET/s1600/Capture+d%E2%80%99e%CC%81cran+2014-06-07+a%CC%80+8.31.03+PM.png" height="280" width="320" /></a><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLPKtjA4mnS4TBvYQ_YaqquKarCFGkC9Ms_daCxWO56Ws9evJzsAEJtph4_vHrJ_JT3T5xR4BkrT3vrgItEQuY4kyeA5wuLsAW_zLvr3M_oG5dLfA3f4fKXY6gs88mTbRH_lOWq5jRMLfY/s1600/Capture+d%E2%80%99e%CC%81cran+2014-06-07+a%CC%80+8.28.png" height="156" width="200" /></div>
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Après la représentation un échange informel avec le public s'est déroulé autour d'un verre puis s'est prolongé avec quelques amis chez Stéphane et Chihiro.</div>
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<tr><td class="tr-caption" style="text-align: center;">De droite à gauche Stéphane Leroux, Chihiro Akutsu et Anne Dallery</td></tr>
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Ambiance sympathique et longue discussion (merci les interprètes!) avec Shoichiro Akahoshi qui sait passer avec grâce du registre Shakespearien à celui de la comédie (il est connu au Japon comme l'équivalent d'un "Monty Python" et possède à Tokyo un petit café concert à la programmation très éclectique). Shoichiro m'a également démontré à cette occasion qu'il était à la fois expert en saké et en métaphores animalières totalement incompréhensibles pour un français vivant au Portugal!...</div>
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<tr><td class="tr-caption" style="text-align: center;">Le saké préféré de Shoichiro... </td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcW-0zFlr17R7MSfzAzF57tzaywVWJ3TtIcxYA2AHz2K5qGglC1PLclJPsTSlUKg1lGppkCA6tjCi9vZidNKy2B1HhIuD8b29KeeNQQMDYP4BHoev8ZEakEB91iPJRmUx61kQauNz8lXjJ/s1600/IMG_1396.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcW-0zFlr17R7MSfzAzF57tzaywVWJ3TtIcxYA2AHz2K5qGglC1PLclJPsTSlUKg1lGppkCA6tjCi9vZidNKy2B1HhIuD8b29KeeNQQMDYP4BHoev8ZEakEB91iPJRmUx61kQauNz8lXjJ/s1600/IMG_1396.jpg" height="400" width="301" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7H-hOWwch4rzwXh2zO3WnB23qlWnEE7463pabXw2QMePEzPTam7PJcsDIg8SgQLM8O3N4Vu5qPdt5C_18XG78TtCrEkv-pWBhkJBdgq2nW3U5Hut-AdPB73xh0nPbaAGXFmWfLG_ILymO/s1600/IMG_1389.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7H-hOWwch4rzwXh2zO3WnB23qlWnEE7463pabXw2QMePEzPTam7PJcsDIg8SgQLM8O3N4Vu5qPdt5C_18XG78TtCrEkv-pWBhkJBdgq2nW3U5Hut-AdPB73xh0nPbaAGXFmWfLG_ILymO/s1600/IMG_1389.jpg" height="400" width="326" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">J'étais en joviale compagnie avec Naoko et Shoichro!</td></tr>
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Quelques oeuvres récentes de Stéphane Leroux:</div>
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Pour finir des photographies du dernier projet de Stéphane Leroux qui s'est déroulé à Tokyo il y a peu: <i>Tokyo Nomad Art.</i> Une exposition itinérante réalisée avec la complicité de Richard Williams et de Kazutoshi Funami qui consiste à "promener" et à exposer des oeuvres dans divers lieux de la ville (gares, métro, espaces publics…) avec indications de lieux et d' heures pour rencontrer le public. Une jolie façon de détourner les codes de l'exposition genre champagne/petits fours<i> </i>et "on s'est pas vu au vernissage de la dernière exposition de Damian Hirst, c'est ballot" et de redonner ses lettres de noblesse à un <i>Street Art </i>souvent récupéré par un système davantage préoccupé par l'appât du gain que par le partage d'une pratique artistique. </div>
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Un projet qui me semble refléter parfaitement l'esprit de l'atelier 485: liberté de choix et amour du fait artistique.</div>
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Atelier 485:</div>
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<a href="http://www.atelier485.org/" target="_blank">www.atelier485.org</a></div>
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Page Facebook "Atelier 485"</div>
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Reading cafe de Shoichiro Akahoshi:</div>
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Page Facebook "Reading Cafe Pikaichi"</div>
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxaeGWOnzPytcPtvL0EQzWOKyqvTpUfeZUSSdh1mDmYZA5zVM03lz6w4bz_ebWlQqZxO_4fqwGhFUAhL3ZX59lDqYpkN-M-ZTifIQ3FmcRbkgj_q6ISiUfdmPo3HiaUHMHM0a2IeV8_6_Q/s1600/Capture+d%E2%80%99e%CC%81cran+2015-02-03+a%CC%80+14.46.56.png" height="199" width="200" /> </div>
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Nb; Les photos chez Chihiro Akutsu et Stéphane Leroux sont d'A. Dallery et de M. Sodore, pour toutes les autres copyright Atelier 485</div>
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Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-19150615410103271462015-01-20T13:05:00.001-08:002015-01-21T23:23:57.562-08:00JAPON, SHINYA MORI<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd7wJfrgdMdEcaAbVD_xHkiSsbUO114v0h0t6uJ-X445TwAdKtkZRena6Us8lwVOeZ4XGvwu45KBi7JFNHux7B04gwOW9ArOLSti2jZU9thsWxmYOHUjUZh-cyZ8HXvk6uMzMnBafaJuWy/s1600/P1070892.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd7wJfrgdMdEcaAbVD_xHkiSsbUO114v0h0t6uJ-X445TwAdKtkZRena6Us8lwVOeZ4XGvwu45KBi7JFNHux7B04gwOW9ArOLSti2jZU9thsWxmYOHUjUZh-cyZ8HXvk6uMzMnBafaJuWy/s1600/P1070892.jpg" height="364" width="640" /></a></div>
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Mon exposition au Japon en avril dernier a été l'occasion de très belles découvertes, parmi elles le peintre Shinya Mori. Rencontré lors de mon vernissage j'ai eu la chance de le revoir les jours suivants. Shinya a vécu avec son épouse quelques années à Barcelone ce qui a rendu possible un échange sans l'intermédiaire de traducteur. Suivirent des discussions passionnantes, sur la peinture bien sûr mais aussi, entre autres, sur les mérites respectifs des us et coutumes européens et nippons. Ayant eu l'opportunité de découvrir des oeuvres de Shinya dans sa maison/atelier lors d'un mémorable dîner (des mets de Kiushu et du barrio gótico accompagnés de vins français!) je voulais partager quelques images de sa peinture, une peinture dans laquelle la subtilité japonaise le dispute à l'intensité catalane.</div>
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<tr><td class="tr-caption" style="text-align: center;">Détail d'une oeuvre de 2008 intitulée <i>La cara</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">2005</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxkEJx9s30HTmuuay1qmfO162Amu0PW0clqLqOL5aNj1Khbh696ZcCnTdc_sR7ZNoIkaLgdOPrUKeV3nbNtVUp0wo6P4zXJfeI8iosXQ5LbVa0_qE58PaCNdhGuOFabf_wRbLCGuMTBoOC/s1600/Pin+up+3.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxkEJx9s30HTmuuay1qmfO162Amu0PW0clqLqOL5aNj1Khbh696ZcCnTdc_sR7ZNoIkaLgdOPrUKeV3nbNtVUp0wo6P4zXJfeI8iosXQ5LbVa0_qE58PaCNdhGuOFabf_wRbLCGuMTBoOC/s1600/Pin+up+3.jpeg" height="400" width="285" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2005</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ9FBV_J69EJLvbEw5bOy1rwlboD8IU8UxHT24mtHvfSRHixRH-ZK2NcsVK1SP02MUt7k_C7FMWPPC2JjOYzjd6QzWKpOvTwfxeQ-OwYahjk3btQWaIdQTXlI1Eo6vMDZWYfX_y-t8W49P/s1600/10253783_489342424526653_576534727033733751_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ9FBV_J69EJLvbEw5bOy1rwlboD8IU8UxHT24mtHvfSRHixRH-ZK2NcsVK1SP02MUt7k_C7FMWPPC2JjOYzjd6QzWKpOvTwfxeQ-OwYahjk3btQWaIdQTXlI1Eo6vMDZWYfX_y-t8W49P/s1600/10253783_489342424526653_576534727033733751_n.jpg" height="320" width="308" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2013</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYJHmG5FtI7GKiMmBPd5TtOPpcDxo5KRuUaLDu6t6krGxqRwzKSTinNMeRPYSkBL8QvxD7axjPQWekWooydtRNuOxpcHlbWJkJTjUEfgThUg-4Q83U60AANaUAEHYiKMYQEFaT3aR7SYuF/s1600/163566_178213125639586_1394276974_n.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYJHmG5FtI7GKiMmBPd5TtOPpcDxo5KRuUaLDu6t6krGxqRwzKSTinNMeRPYSkBL8QvxD7axjPQWekWooydtRNuOxpcHlbWJkJTjUEfgThUg-4Q83U60AANaUAEHYiKMYQEFaT3aR7SYuF/s1600/163566_178213125639586_1394276974_n.jpg" height="400" width="280" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2013</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVCWT-O55R0I3F0r-LcpHasFV0cDISm1HSl_hKDsL2oXGGSUcwxtgeXLp6xbyeSOCZLcXvBidXq4rCkR2op3Brs4CRMFx0skWsV68CGSM0F-pGpa61khllJ8ZXZ6lmo4dEKMxuN26FmiD6/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVCWT-O55R0I3F0r-LcpHasFV0cDISm1HSl_hKDsL2oXGGSUcwxtgeXLp6xbyeSOCZLcXvBidXq4rCkR2op3Brs4CRMFx0skWsV68CGSM0F-pGpa61khllJ8ZXZ6lmo4dEKMxuN26FmiD6/s1600/b.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dîner en compagnie d'Elaine Rámirez, Ayumi Kikuchihara et Shinya Mori</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Pigments japonais et catalans</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU_DEVlwqFNg_PKGDpJP9v-7GE7QrVxBLhfyqq9lgkXkW1kG1ksRaxIDTIEmlJrfNfrLUDyCwrfU8rc4nTWCycXv4TEQs2ry_087L_4JUOVZX83i1TZRApCtMLvb47J6e81ZeFwIuj_Dhe/s1600/P1070894.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU_DEVlwqFNg_PKGDpJP9v-7GE7QrVxBLhfyqq9lgkXkW1kG1ksRaxIDTIEmlJrfNfrLUDyCwrfU8rc4nTWCycXv4TEQs2ry_087L_4JUOVZX83i1TZRApCtMLvb47J6e81ZeFwIuj_Dhe/s1600/P1070894.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Shinya se prépare pour une séance de dédicaces d'affiches et de catalogues</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Shinya, Ayumi, Elaine et Anne</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_pqm1zBhFURSCykbjlf3EIMArf3SiUHSiKefkD668WctmVWEx8KMFi1z_86pzFSeo-Od7hbp0wu5WFPCbOQM-la4to-BlX7BrxxmRcfAe0hCxbkZhIYHh5KZkVA9XpHjD9O8e-6nkVqJD/s1600/10403039_602904499837111_8704262458769337271_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_pqm1zBhFURSCykbjlf3EIMArf3SiUHSiKefkD668WctmVWEx8KMFi1z_86pzFSeo-Od7hbp0wu5WFPCbOQM-la4to-BlX7BrxxmRcfAe0hCxbkZhIYHh5KZkVA9XpHjD9O8e-6nkVqJD/s1600/10403039_602904499837111_8704262458769337271_n.jpg" height="400" width="100" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2014</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiBiH22-sBcSUyB8HF8ZZ5pMwLsm2ZhWtFWshKD9x_r8VcFXFFqOPRhz1e0wW1IZulb9KUE4iNndE6eM1Vm367RDikV4TlqnC5FGNpRjJR9264KmaeHLcpy9SicWZ0ssaeIJMObL6IroPB/s1600/10856503_602853246508903_2275829173685260258_o.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiBiH22-sBcSUyB8HF8ZZ5pMwLsm2ZhWtFWshKD9x_r8VcFXFFqOPRhz1e0wW1IZulb9KUE4iNndE6eM1Vm367RDikV4TlqnC5FGNpRjJR9264KmaeHLcpy9SicWZ0ssaeIJMObL6IroPB/s1600/10856503_602853246508903_2275829173685260258_o.jpg" height="400" width="295" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2014</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Préparation de l'exposition <i>100 hojas de croquis</i></td></tr>
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Et pour terminer l'affiche de la prochaine exposition de Shinya.</div>
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NB; Les photographies chez Shinya Mori sont de A.Dallery et de M.Sodore.</div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Pas de mots… alors un dessin</span></h3>
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<div style="font-size: 14px; line-height: 19px; margin-bottom: 6px; margin-top: 6px;">
<div lang="fr-FR" style="margin-bottom: 0cm;">
<span style="font-family: Helvetica, sans-serif;"><span style="color: white; font-size: medium;">"
Lorsque vous regardez, ne pensez jamais ce que la peinture (ou
n’importe quoi de ce monde) doit être, ou ce que beaucoup de gens
voudraient qu’elle soit seulement. La peinture peut tout être.
Elle peut être un éclair de soleil en pleine bourrasque. Elle peut
être un nuage d’orage. Elle peut être le pas d’un homme sur le
chemin de la vie, ou, pourquoi pas un pied qui frappe le sol pour
dire assez . Elle peut être l’air doux et rempli d’espérance du
petit matin, ou l’aigre relent qui sort d’une prison. Les taches
de sang d’une blessure, ou le chant de tout un peuple dans le ciel
bleu ou jaune. Elle peut être ce que nous sommes, ce qui est
aujourd’hui, maintenant, ce qui sera toujours. Je vous invite à
jouer, à regarder attentivement… je vous invite à penser. "</span></span></div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<span style="color: white;"><br /></span></div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<span style="color: white;"> <span style="font-family: Helvetica, sans-serif;"><span style="font-size: medium;">Antoni
Tápies "La pratique de l’art."</span></span></span></div>
<div lang="fr-FR" style="margin-bottom: 0cm;">
<span style="color: white;"><br /></span></div>
<span style="color: white;"><br /></span>
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<div lang="fr-FR" style="margin-bottom: 0cm;">
<span style="font-family: Helvetica, sans-serif;"><span style="color: white; font-size: medium;">PS:
Gabrielle ¡Va por ti!</span></span></div>
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Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-87111007979091314992015-01-04T11:50:00.000-08:002015-01-04T11:50:07.186-08:002015<div class="separator" style="clear: both; text-align: center;">
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<br />Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-58867105055753650372014-12-20T10:25:00.000-08:002014-12-20T10:25:01.289-08:00JAPON, LA MANO AZULEn raison de problèmes informatiques divers j'ai du laisser le blog en sommeil pendant plusieurs mois.<br />
Tout est maintenant rentré dans l'ordre et si l'article précédent traitait de mon exposition et de la présentation du film <i>La mano azul</i> au Japon au printemps dernier ce nouveau post nous y ramène puisque <i>La mano azul </i>est de nouveau projeté aujourd'hui en terres nippones, à Tokyo cette fois.<br />
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<br />Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-3127309908134418512014-06-09T09:58:00.000-07:002014-06-09T09:58:35.794-07:00EXPOSITION AU JAPON 2<span class="Apple-style-span" style="font-size: large;"><br /></span>
<span class="Apple-style-span" style="font-size: large;">Ma dernière exposition, <i>La música callada del cantaor #2, </i>s'est déroulée au Japon, à Fukuoka, en voici quelques images:<i> </i></span><br />
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<span class="Apple-style-span" style="font-size: large;">Outre l'exposition j'ai réalisé un workshop de dessin:</span><br />
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<span class="Apple-style-span" style="font-size: large;">Après le workshop le documentaire sur ma peinture <i>La mano azul</i>,<i> </i>de Floreal Peleato, a été projeté. A l'issu du film un débat était organisé avec la présence du danseur flamenco de Jerez Domingo Ortega:</span><br />
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<span class="Apple-style-span" style="font-size: large;">Pour terminer trois images d'un beau moment: l'un des guitaristes flamencos de la fondation répétant "accompagné" par mes toiles.</span><br />
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Nb; Les photographies sont d'Anne Dallery.</div>
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Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-35419004869536466002014-03-23T12:45:00.002-07:002014-04-02T14:52:37.368-07:00EXPOSITION AU JAPON / LA MÚSICA CALLADA DEL CANTAOR # 2<br />
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Ma prochaine exposition se déroulera au Japon, au mois d'avril.<br />
Elle aura lieu à Fukuoka, sixième ville du Japon et plus grande ville de l'île de Kyushu.<br />
Intitulée <i>La música callada del cantaor # 2</i> l'exposition présentera certaines oeuvres exposées l'an dernier à Madrid au <i>Matadero</i>, centre de création contemporaine, ainsi qu'une série de peintures récentes entreprise en janvier 2014.<br />
L'exposition est organisée par la fondation <i>Tiempo Iberoamericano </i>et c'est la galerie <i>Taller</i>, galerie de la fondation, qui accueillera les tableaux.<br />
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Voici, en attendant d'autres informations, quelques images pour les amateurs de graphie japonaise.<br />
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Le vernissage de l'exposition aura lieu le 24 avril. Le 29 le documentaire sur ma peinture <i>La mano azul</i>, de Floreal Peleato,<i> </i>sera projeté. A l'issue de la projection je participerai à une tertulia en compagnie du bailaor Domingo Ortega.</div>
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Dans un prochain article je reviendrai bien entendu sur cette manifestation, avec des informations plus détaillées et compréhensibles par tous!</div>
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Mata aimashou!</div>
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<br />Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-57915206588831649302014-03-12T13:07:00.001-07:002014-03-14T02:50:54.922-07:00VISIONS DU MONDE AU CINEMA / VISÕES DO MUNDO NO CINEMA<div class="separator" style="clear: both; text-align: center;">
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J'avais découvert il y a quelques années dans la revue <i>Positif</i> un bel article de Floreal Peleato sur différentes visions du monde au cinéma . Ce texte vient d'être publié dans un ouvrage collectif à l'occasion des dix ans des rencontres <i>Imagens do Real Imaginado </i>à Porto<i>. </i>Le voici en français et en portugais.<i> </i><br />
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<h3>
<span style="font-family: Times New Roman, serif;"><span lang="fr-FR" style="color: orange; font-size: large;">DEUX
VISIONS, DEUX INFINIS : SENTINELLES ET SCRUTATEURS</span></span></h3>
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<div align="JUSTIFY" class="western" lang="fr-FR">
<span class="Apple-style-span" style="font-family: 'Times New Roman', serif; font-size: medium;"><br /></span></div>
<div align="JUSTIFY" class="western" lang="fr-FR">
<br /></div>
<div align="JUSTIFY" class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Julien
Gracq soutient ce qui suit : </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>« Les
écrivains qui, dans la description, sont myopes, et ceux qui sont
presbytes. Ceux-là chez qui même les menus objets du premier plan
viennent avec une netteté parfois miraculeuse, pour lesquels rien
ne se perd de la nacre d’un coquillage, du grain d’une étoffe,
mais tout lointain est absent – et ceux qui ne savent saisir que
les grands mouvements d’un paysage, déchiffrer que la face de la
terre quand elle se dénude. Parmi les premiers : Huysmans,
Breton, Proust, Colette. Parmi les seconds : Chateaubriand,
Tolstoï, Claudel. Rares sont les écrivains qui témoignent, la
plume à la main, d’une vue tout à fait normale. »</i></span></span><span style="font-size: medium;"><span lang="fr-FR">
(1)</span></span></span></div>
<div align="JUSTIFY" class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Nous
pouvons</span></span><span style="font-size: medium;"><span lang="fr-FR"> affirmer que
certains cinéastes sont myopes et d’autres presbytes. En effet,
tant l’un que l’autre souffrent d’une altération de la vision
mais le propre de l’artiste est d’acquérir une « vision »
du monde puis de savoir la partager. D’ores et déjà nous devinons
que la vue du metteur en scène est bien différente de sa vision et
peu importe qu’il soit réellement myope, presbyte, astigmate,
hypermétrope, daltonien, affecté de strabisme, de cataracte, ou
qu’il soit borgne. </span></span></span>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">Aux
presbytes échoient l’utopie d’un ailleurs enchanteur,
l’asynchronie des temps anciens et des temps futurs,
l’impossibilité ou le refus de l’ici et maintenant, la glèbe
des premiers matins, les caravanes en route vers l’infini, la
minéralité d’un monde décharné, la rouille des villes
abandonnées et les ruines des temples oubliés, les gouffres et les
ciels lourds de l’histoire des hommes, les sensations de fins de
règne, les spectres qui émergent dans le brouillard, les
silhouettes qui renaissent dans des eaux limoneuses, les guetteurs
dans l’attente d’un mystère ou d’un miracle sur le seuil d’une
chambre des désirs, tel le Stalker de Tarkovski.</span></span><br />
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_qcTiSjUMO3U_v59AVfyoJ99BATX7Ht6SA-s_Q7-UNYJ4ON_zX1nDpk-QusM0Lqpjf1aMwcw6sNBFzvg1_SGdukqp-r0Z2mswqUPqyPNaAZQueW2ZzmO9bBfGWPWZxM31IqSLDyruooy1/s1600/Cinema_tarkovski_stalker1bis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_qcTiSjUMO3U_v59AVfyoJ99BATX7Ht6SA-s_Q7-UNYJ4ON_zX1nDpk-QusM0Lqpjf1aMwcw6sNBFzvg1_SGdukqp-r0Z2mswqUPqyPNaAZQueW2ZzmO9bBfGWPWZxM31IqSLDyruooy1/s640/Cinema_tarkovski_stalker1bis.jpg" height="326" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="margin-bottom: 0in;">
Tarkovski <i>Stalker</i></div>
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</tbody></table>
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<span class="Apple-style-span" style="font-family: 'Times New Roman', serif;"><span style="font-size: medium;"><span lang="fr-FR">N</span></span><span style="font-size: medium;"><span lang="fr-FR">ous
remarquons chez eux une capacité à comprendre les mouvements
historiques et les courants esthétiques et politiques ; leur
monde, même s’il est blessé par le chaos, est embelli par la
pensée. En eux s’enracine une propension à saisir les concepts,
voire à en forger, à créer des figures de style (Jancsó, Béla
Tarr ou Angelopoulos), à vider l’espace (Antonioni, Herzog,
Wenders à ses débuts, Jia Zhangke, Nuri Bilge Ceylan, Souleymane
Cissé,</span></span><span style="font-size: medium;"><span lang="fr-FR"><i> Gerry </i></span></span><span style="font-size: medium;"><span lang="fr-FR">de
Gus Van Sant), à délaisser l’anecdote (Sokourov, Hellman) ou au
contraire à ne filmer que des </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>haikus</i></span></span><span style="font-size: medium;"><span lang="fr-FR">,
des hâchures apparemment inachevées et fragmentaires (</span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Five
</i></span></span><span style="font-size: medium;"><span lang="fr-FR">de Kiarostami,
</span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Three times </i></span></span><span style="font-size: medium;"><span lang="fr-FR">de
Hou Hsiah-hsien ou encore son court-métrage de trois minutes réalisé
pour le soixantième anniversaire du festival de Cannes).</span></span></span><br />
<span class="Apple-style-span" style="font-family: 'Times New Roman', serif;"><span style="font-size: medium;"><span lang="fr-FR"><br /></span></span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidTD2kVjnlWVCVIi4iIVv4mcvyhZp7pjgZixENz6lz-PIX1KUGw3lUJFmUnLOAnKf5j9kBVcGpuy7j8TOZPqPQ7pqeTT4QAEY5u6fLdlDJYl1w4TYJIa_70aFkGpsWksh3t2T4x98HtOwz/s1600/antonioni_lanotte.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidTD2kVjnlWVCVIi4iIVv4mcvyhZp7pjgZixENz6lz-PIX1KUGw3lUJFmUnLOAnKf5j9kBVcGpuy7j8TOZPqPQ7pqeTT4QAEY5u6fLdlDJYl1w4TYJIa_70aFkGpsWksh3t2T4x98HtOwz/s640/antonioni_lanotte.jpg" height="388" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Antonioni <i>La nuit</i> </td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4bSqmVRjJYtiJWF6A-d0IZIIso-dgpt4Qm4t8-BV79vPMAu9fTOMy0fHYzh2e2bunElTf_Fm-sZ9OCEciizoBTpDno-i2FosnrBnzPeR6Y2BpWBTEqIxzqjZSJ7vDulOltydbKC5RtbIB/s1600/gus+van+stant+gerry2bis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4bSqmVRjJYtiJWF6A-d0IZIIso-dgpt4Qm4t8-BV79vPMAu9fTOMy0fHYzh2e2bunElTf_Fm-sZ9OCEciizoBTpDno-i2FosnrBnzPeR6Y2BpWBTEqIxzqjZSJ7vDulOltydbKC5RtbIB/s640/gus+van+stant+gerry2bis.jpg" height="276" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Gus Van Sant <i>Gerry</i></div>
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<span class="Apple-style-span" style="font-family: 'Times New Roman', serif;"><span style="font-size: medium;"><span lang="fr-FR">Chateaubriand affirmait n’être à son aise que pour s’adresser à
la foule et face à l’immensité des déserts. L’entre-deux lui
en coûtait. A son instar c’est l’Homme qui fascine les
presbytes de sorte qu’ils savent filmer l’homme seul ou une foule
dénuée de chaleur dont les mouvements chorégraphiés, à la limite
du rituel, répondent moins à l’expression de la vitalité qu’à
un besoin incessant de sillonner le monde, de le soumettre à leur
regard impérieux car ils ne sauraient concevoir leur travail sans
exercer un contrôle total. Enserrer le monde sur l’écran est leur
manière de parcourir une mappemonde déroulée sous leurs yeux. La
précision du cadre obsède ces sentinelles désireuses de saisir le
Tout, de percevoir un au-delà, qu’il s’agisse du divin, parfois
à leur corps défendant, d’un dogme, le marxisme ou toute autre
forme de messianisme, de la mort ou d’une manifestation
épiphanique, convaincus que, selon le mot de José Bergamín, « ce
qui est lointain est ce qui est intime » (2). Notons au passage
que rarement ces arpenteurs de l’intime sont des metteurs en scène
« intimistes » soucieux de psychologie. Atteindre à
l’intériorité est pour eux le fruit de la gnose, de la foi ou de
l’illumination car poind en eux un voyant rimbaldien. Oui, voir
signifie pour eux déchirer un voile. Mais s’ils n’y prennent
garde la solennité peut lasser le spectateur désorienté par
l’abstraction, aussi lyrique soit-elle (Paradjanov), aussi
didactique soit-elle (les frères Taviani), et par une pensée trop
prégnante qui impose un système : Jancsó après </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Sirocco
d’hiver</i></span></span><span style="font-size: medium;"><span lang="fr-FR">,
Kiarostami dès </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>A
travers les oliviers</i></span></span><span style="font-size: medium;"><span lang="fr-FR">,
Ripstein plus que de raison ; quant à Angelopoulos il a coutume
de franchir le plus souvent avec succès des crêtes périlleuses.</span></span></span><br />
<span class="Apple-style-span" style="font-family: 'Times New Roman', serif;"><span style="font-size: medium;"><span lang="fr-FR"><br /></span></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSvAb9m1xdzywygstAwjnICsuNoMEsFRHyZ90annkr9vPMJVDj1l_MZLr0IxU7fVm0MbijR6jo_lTypC8Cp4538cHvPzKf1psxJpOJkoie7-4xf6eeOit6704hU9e9ily4rJGXnY3yy7Bw/s1600/paradjanov+legende+souram+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSvAb9m1xdzywygstAwjnICsuNoMEsFRHyZ90annkr9vPMJVDj1l_MZLr0IxU7fVm0MbijR6jo_lTypC8Cp4538cHvPzKf1psxJpOJkoie7-4xf6eeOit6704hU9e9ily4rJGXnY3yy7Bw/s400/paradjanov+legende+souram+3.jpg" height="293" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Paradjanov <i>La
légende de la forteresse de Souram</i></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Nous</span></span><span style="font-size: medium;"><span lang="fr-FR">
reconnaissons les cinéastes presbytes aux lents panoramiques, aux
travellings sinueux, aux plans fixes fortement composés, aux
déambulations filmées en plans séquences, en dépit de quoi
s’affirme une sensibilité plus picturale que dynamique. En effet,
un mouvement dicté par l’intelligence fascine alors qu’un flux
d’énergie émeut ; il n’en est certes pas moins beau.
Peut-être est-ce la raison pour laquelle ils semblent peu aptes à
la comédie. Hélas de trop nombreux réalisateurs aujourd’hui
croient ingénument, d’autres bien sûr avec rouerie et avec quelle
morgue, que lenteur est synonyme de poésie, que ce qui est obscur
est profond, que la durée d’un plan est le gage de sa beauté, que
l’aphasie explore mieux la pensée que la parole, qu’un plan
exsangue mérite d’être dit contemplatif. </span></span></span>
</div>
<div align="JUSTIFY" class="western" lang="fr-FR">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">Les
presbytes, les vrais, non point leurs vulgaires imitateurs, tendent
aussi à éliminer la gamme des plans moyens pour conserver surtout
le gros plan et le plan général dont Welles disait à Peter
Bogdanovich qu’ils étaient tragiques. L’obstination à demeurer
dans le lointain peut révéler une difficulté à exprimer les
sentiments (Tati), à s’en défier (Melville), à leur préférer
des formes ludiques (Iosselliani), à leur accorder moins
d’importance qu’à la pensée (Oliveira) ; elle peut être
due à une coquetterie cinéphilique stérile (Monteiro).</span></span><br />
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipmBj5st3tNL0WAR6Itc6Bjo2GBGKRO8_A8Y_mlO1uJhHhsOQMjA12A6bm7PoRG21e3vcRdhgSdTcZF6cGfEowN4KEX7LM0nKGNc46ZmamVhGr6pqurxkvTUwhHzCHsVSFyF5-7vlL32ZZ/s1600/manoel+de+oliveira+val_abraham+4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipmBj5st3tNL0WAR6Itc6Bjo2GBGKRO8_A8Y_mlO1uJhHhsOQMjA12A6bm7PoRG21e3vcRdhgSdTcZF6cGfEowN4KEX7LM0nKGNc46ZmamVhGr6pqurxkvTUwhHzCHsVSFyF5-7vlL32ZZ/s400/manoel+de+oliveira+val_abraham+4.jpg" height="221" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Manoel de Oliveira
<i>Val Abraham</i></div>
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</tbody></table>
<div align="JUSTIFY" class="western" lang="fr-FR">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">Le recours
somme toute inhabituel au champ-contre-champ ou son refus dit aussi
la difficulté à dialoguer, si bien que le monologue, la voix en off
et la musique compensent cette carence. Ils éprouvent aussi quelque
gêne à user de la caméra subjective car ils préfèrent le point
de vue du narrateur à celui du personnage.</span></span></div>
<div align="JUSTIFY" class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Il
en est tout autrement pour les myopes. </span></span><span style="font-size: medium;"><span lang="fr-FR">Pour
eux le monde est un cristal taillé qu’ils affectionnent de tourner
entre leurs mains pour mieux en appréhender les détails ;
s’ils l’auscultent c’est qu’aucune face ne recèle à elle
seule la vérité. Ce n’est plus l’Homme qu’ils montrent mais
la matière dont nous sommes faits. Pour peu qu’ils filment une
foule ce n’est plus une masse sculptée, une suite de tableaux
vivants, mais un peuple en marche, souffrant ou exalté. Alors que
certains presbytes aiment à s’oublier dans le miroir du ciel les
myopes nous contraignent à regarder l’en-deçà, ce qui se trouve
sous la peau, sous les choses. A la différence du presbyte dont
l’idéal est de créer un monde le souhait le plus cher du myope
est d’entrer dans le monde, d’en pénétrer sinon les secrets du
moins d’en connaître les entrailles. </span></span></span>
</div>
<div align="JUSTIFY" class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Nous
attendons d’eux l’acuité pour explorer des visages en gros plan
(Bergman, Godard, Cassavetes, Audiard, Téchiné), pour filmer des
corps fragmentés (Bresson), peu lisibles (les frères Dardenne,
Claire Denis, Lucrecia Martel), des corps « nature morte »
(Cavalier, Varda, Pollet), des corps réifiés (Cronenberg), des
corps en mouvement saisis au ralenti (Wong Kar-wai), des corps
exposés sans relâche au regard cru de Pialat qui se défie
du « cinoche », de toute beauté livresque, qui
récuse tout héritage académique, toute idéalisation, et ne veut
que fouiller encore et encore dans nos faiblesses et nos erreurs y
trouvant comme à regret sa vérité amère. </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Naked
</i></span></span><span style="font-size: medium;"><span lang="fr-FR">(1993) et </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>
All or nothing </i></span></span><span style="font-size: medium;"><span lang="fr-FR">(2002)
sont d’excellents films délibérément myopes. Leur sujet, et
c’est l’un des plus beaux qui soient, est notre fragilité.
Leigh, comme Pialat, refuse l’échappée belle, le goût du sublime
qui hante les presbytes.</span></span></span><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbEbPrSkbdFi8bts81oNz8HO_XIC2XaPcLS8h0XXih_RWsVIQungoXu7oHJqYcZHJEgDkQ26MmD_N0-nizCtp-HdHHfZmLQKMtrWK5lE8BQ7tcUEWc9PS5fYiHnWgJoTGTVMXlX7NMjVU0/s1600/BergmanPERSONA.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbEbPrSkbdFi8bts81oNz8HO_XIC2XaPcLS8h0XXih_RWsVIQungoXu7oHJqYcZHJEgDkQ26MmD_N0-nizCtp-HdHHfZmLQKMtrWK5lE8BQ7tcUEWc9PS5fYiHnWgJoTGTVMXlX7NMjVU0/s320/BergmanPERSONA.jpg" height="224" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bergman <i>Persona</i></td></tr>
</tbody></table>
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR"></span></span></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBPvDCrRydlLkc7sPTQLHG0fz0YM6PGG4CQfAuHM6Ewn5EpFcXvdHQZPUH3pr7eKOHXDiu02upPt2zU3EdeuXwy5Klqk3qFKSOhbDnTr1iZxKiYpiypAyMApFya4yBolCWKNlmIn7XhnMF/s1600/godard+la+chnoise5abis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBPvDCrRydlLkc7sPTQLHG0fz0YM6PGG4CQfAuHM6Ewn5EpFcXvdHQZPUH3pr7eKOHXDiu02upPt2zU3EdeuXwy5Klqk3qFKSOhbDnTr1iZxKiYpiypAyMApFya4yBolCWKNlmIn7XhnMF/s320/godard+la+chnoise5abis.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="margin-bottom: 0in;">
<div style="font-style: normal;">
Godard <i>La
chinoise</i></div>
</div>
</td></tr>
</tbody></table>
</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOLtGzkeqUFExOuYqkx36DBV9-FiZKsX6xwNwZpXE0cVG2AN_w1jADfsi3o6mCMJv1ESVxiXYs9Ya61qGXyr5Mnzv6HTOFlyAJeYKds58cm0dVAiKtq-VZ_mevy0jGVaqAKQBEk576ne2P/s1600/1966+Au+hasard+Balthazar+-+Al+azar+de+Baltasar+%2528foto%2529+02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOLtGzkeqUFExOuYqkx36DBV9-FiZKsX6xwNwZpXE0cVG2AN_w1jADfsi3o6mCMJv1ESVxiXYs9Ya61qGXyr5Mnzv6HTOFlyAJeYKds58cm0dVAiKtq-VZ_mevy0jGVaqAKQBEk576ne2P/s320/1966+Au+hasard+Balthazar+-+Al+azar+de+Baltasar+%2528foto%2529+02.jpg" height="219" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bresson <i>Au hasard Balthazar</i></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihuEby0diXKIVjWBtBvUmp3NDkXHajnmwVxNTRYp8jG2fF1JC5dr3oCI3ekE-9wpXxCZux_O9tK51Jge6kgeXDTCRqXRBuuY-_5ZCU2foqJ3Vzm_QsWMftPOC87PvsZk96E_WwfJGoUQGF/s1600/claire+denis+beau+travail5c+bis.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihuEby0diXKIVjWBtBvUmp3NDkXHajnmwVxNTRYp8jG2fF1JC5dr3oCI3ekE-9wpXxCZux_O9tK51Jge6kgeXDTCRqXRBuuY-_5ZCU2foqJ3Vzm_QsWMftPOC87PvsZk96E_WwfJGoUQGF/s320/claire+denis+beau+travail5c+bis.png" height="198" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Claire Denis <i>Beau
travail</i></div>
</td></tr>
</tbody></table>
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</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9gWIPil28USUXgM7aElMVyCGicOxelsGPf-fp-IGKizrSG7ZdEgOuS1n006RXNiibyW2QF_84jHuK1C3e5jMmpsJ4GINHx6ZS0-AHAInX2WwvxZAmtHDclA0mNRjTWeXONKzpo5ce4_do/s1600/cleo+varda5d.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9gWIPil28USUXgM7aElMVyCGicOxelsGPf-fp-IGKizrSG7ZdEgOuS1n006RXNiibyW2QF_84jHuK1C3e5jMmpsJ4GINHx6ZS0-AHAInX2WwvxZAmtHDclA0mNRjTWeXONKzpo5ce4_do/s320/cleo+varda5d.png" height="196" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Varda <i>Cléo de 5
à 7</i></div>
</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZbg_e0uISVrQ8tNCpyeZCtJ8DcyW_PLo3HRPhZAFW8SIu_nY7pA3wSmwHPYz4qcdqQNpXGREOzn3lsE3pjVNWk-kFPGux2hnTGUKCmYlhUaOAVyY3bjpeXx60WSZ1AJO1qUhzFryAMjEj/s1600/videodrome5e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZbg_e0uISVrQ8tNCpyeZCtJ8DcyW_PLo3HRPhZAFW8SIu_nY7pA3wSmwHPYz4qcdqQNpXGREOzn3lsE3pjVNWk-kFPGux2hnTGUKCmYlhUaOAVyY3bjpeXx60WSZ1AJO1qUhzFryAMjEj/s320/videodrome5e.jpg" height="169" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Cronenberg
<i>Vidéodrome</i></div>
</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdH4cq9yLBimomlZie34ikASPa4VxLHEP2b9nKlvidX5q2OSBm2hwknSGjuR1tC0HpM1yyd2VmTadCYm9Qnc4pVB3DoztgBVDqo5_qtmFV_ggLci_1jI2hceuh78sW1cxuorAEke67Yn1j/s1600/in_the_mood_for_love5f.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdH4cq9yLBimomlZie34ikASPa4VxLHEP2b9nKlvidX5q2OSBm2hwknSGjuR1tC0HpM1yyd2VmTadCYm9Qnc4pVB3DoztgBVDqo5_qtmFV_ggLci_1jI2hceuh78sW1cxuorAEke67Yn1j/s320/in_the_mood_for_love5f.jpg" height="152" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Wong Kar Wai <i>In
the mood for love</i></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVj2NxT9ZYkMsVykdQjj3Z2iae_zCEXsnuH9WmpLMxk67XKMxqvjdxlX4f0jpR51chb2aVcSZoU4ZrkBDz-2h4sis8h4juU4CdS8OQ1jhil2JRXttwn7Urr1U8H82-zgA41R_0cUzCejUW/s1600/piallat5g.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVj2NxT9ZYkMsVykdQjj3Z2iae_zCEXsnuH9WmpLMxk67XKMxqvjdxlX4f0jpR51chb2aVcSZoU4ZrkBDz-2h4sis8h4juU4CdS8OQ1jhil2JRXttwn7Urr1U8H82-zgA41R_0cUzCejUW/s1600/piallat5g.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pialat <i>L'enfance nue</i></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: justify;">
<span class="Apple-style-span" style="font-size: 13px;"><span class="Apple-style-span" style="font-family: 'Times New Roman', serif; font-size: small;"><span style="font-size: medium;"><span lang="fr-FR">Chez les myopes</span></span><span style="font-size: medium;"><span lang="fr-FR"> abondent les duos, les duels, le dialogue, les masques arrachés, les chutes, les danses, les âmes chahutées, les répétitions, les brusques changements d’état émotionnel tant est vif leur désir d’épuiser la vie palpitante froissée entre les plis du réel au point que certains aiment saturer le champ visuel et l’espace sonore. Parmi les films des myopes contemporains la dédramatisation succède à la surdramatisation, chez leurs prédécesseurs (Bresson, Ozu, Naruse) la contention est quasi constante. </span></span></span><span class="Apple-style-span" style="font-family: 'Times New Roman', serif; font-size: small;"><span style="font-size: medium;"><span lang="fr-FR">Leur art est cel</span></span><span style="font-size: medium;"><span lang="fr-FR">ui de la surface, de l’aplat, du montage cubiste, d’une sorte de simultanéisme en quête d’un présent perpétuel, de la caméra à l’épaule pour les plus jeunes, de l’analyse au scalpel des discours, de la description détaillée des sentiments et des comportements, d’une opacité oppressante qui contredit l’impression de netteté produite par la proximité. Le cinéma politique peut se nourrir de leur scepticisme, et pourquoi pas de leur sarcasme potentiel, mais s’il n’est que constat, dénonciation, ou pire encore film militant il devient d’une myopie préoccupante. En d’autres termes, le réalisateur militant accuse </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>un </i></span></span><span style="font-size: medium;"><span lang="fr-FR">pouvoir, le cinéaste politique met à nu </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>le </i></span></span><span style="font-size: medium;"><span lang="fr-FR">pouvoir. C’est un équilibriste : d’un côté il penche pour la myopie du dossier, de l’autre la presbytie de la lecture transversale (mythique, historique, sociale et esthétique) le séduit. Préserver l’une et l’autre est une tâche de titan, Rosi y parvient dans </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Main basse sur la ville </i></span></span><span style="font-size: medium;"><span lang="fr-FR">(1963) et</span></span><span style="font-size: medium;"><span lang="fr-FR"><i> Lucky Luciano </i></span></span><span style="font-size: medium;"><span lang="fr-FR">(1973) non moins que dans les inégalés </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Salvatore Giuliano</i></span></span><span style="font-size: medium;"><span lang="fr-FR"> (1961) et</span></span><span style="font-size: medium;"><span lang="fr-FR"><i> Le christ s’est arrêté à Eboli</i></span></span><span style="font-size: medium;"><span lang="fr-FR"> (1979) mais la myopie s’accommode mal de l’envol ; nous partons du réel pour découvrir un ailleurs auquel nous ne sommes pas préparés.</span></span></span></span></div>
<div>
<div>
<span class="Apple-style-span" style="font-family: 'Times New Roman', serif; font-size: medium;"><br /></span></div>
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt61Vp5BpaN69k3a3rCeVAfUjVlL_PWd9kJcWR76UO-A0K3RoagOD7t-kvyT80jssPd4KPx3_J5RYP_JOyA-R6RrCRAvjXUIWU9UHvUjPL0ZxQ2iFLzWXTdyDr71KS6S_1c16I9XvhjmMW/s1600/6rosi+le+christ.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt61Vp5BpaN69k3a3rCeVAfUjVlL_PWd9kJcWR76UO-A0K3RoagOD7t-kvyT80jssPd4KPx3_J5RYP_JOyA-R6RrCRAvjXUIWU9UHvUjPL0ZxQ2iFLzWXTdyDr71KS6S_1c16I9XvhjmMW/s400/6rosi+le+christ.png" height="225" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Rosi <i>Le christ
s'est arrêté à Eboli</i></div>
</td></tr>
</tbody></table>
<div align="JUSTIFY" class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR"><br /></span></span></span>
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Voilà pourquoi le </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>no
man’s land </i></span></span><span style="font-size: medium;"><span lang="fr-FR">du
rêve amoindrit </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Trois
frères </i></span></span><span style="font-size: medium;"><span lang="fr-FR">(1981).
S’il se glisse sans effort dans </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Le
regard d’Ulysse </i></span></span><span style="font-size: medium;"><span lang="fr-FR">(1995)
c’est que la nostalgie drape la réflexion politique dans une
rêverie, non dans un rêve, où toute frontière s’efface, où
tout est vraisemblable.</span></span></span></div>
<div align="JUSTIFY" class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Nombre
de réalisateurs contemporains entre</span></span><span style="font-size: medium;"><span lang="fr-FR">nt
dans la catégorie des metteurs en scène myopes. Sauf exception le
passé et l’avenir les ennuient, les mondes imaginaires aussi, ils
ne s’y glissent d’ailleurs que sur le mode de la parodie ou de la
visite au musée, ils ne sont jamais tant à l’aise que pour filmer
des chroniques quotidiennes qu’il ne faut pas confondre avec un
réalisme béat puisqu’elles abritent quelquefois l’étrangeté
et la déviance ; Cronenberg, Carpenter et Polanski nous
invitent à franchir ce pas décisif.</span></span></span></div>
<div align="JUSTIFY" class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">D’autre
part</span></span><span style="font-size: medium;"><span lang="fr-FR">, la correspondance
filmée, l’autofiction, la fiction documentée, le récit de voyage
narré à la première personne, l’essai documentaire, le collage
cinématographique, si prisés aujourd’hui revendiquent un autre
versant de la myopie puisque l’</span></span><span style="font-size: medium;"><span lang="fr-FR"><i>axis
mundi </i></span></span><span style="font-size: medium;"><span lang="fr-FR">du film
traverse la trajectoire individuelle. Ce sont des films miroirs. En
ce qui concerne les auteurs consacrés du « moi », tels
Moretti, Godard, Michael Moore ou Woody Allen, leur myopie est
patente.</span></span></span><br />
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR"><br /></span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw1Jyv3LLaeGtlMROcWk9zKIV_SI3C0671doaT37UfLdW_iBNe-sn6GQsc9PT9Wx29qyClIKnq14uljf4l49Jri1x2TjwAD9arR9jvw6BfHOwodNidIycAfBBeRtlV2MlCTPwPjbUU5YB6/s1600/nanni+moretti+7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw1Jyv3LLaeGtlMROcWk9zKIV_SI3C0671doaT37UfLdW_iBNe-sn6GQsc9PT9Wx29qyClIKnq14uljf4l49Jri1x2TjwAD9arR9jvw6BfHOwodNidIycAfBBeRtlV2MlCTPwPjbUU5YB6/s400/nanni+moretti+7.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Moretti <i>Journal
intime</i></div>
</td></tr>
</tbody></table>
<div align="JUSTIFY" class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR"><br /></span></span></span>
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Seul un metteur en scène myope pouvait inventer l’idée
cocasse d’un personnage littéralement flou (</span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Harry
dans tous ses états</i></span></span><span style="font-size: medium;"><span lang="fr-FR">,
1997). Dans le cas du cinéaste clarinettiste passer de la rigueur
des images élaborées par Gordon Willis à la liberté de ton de
Carlo di Palma n’a fait que renforcer sa myopie en ce sens qu’il
n’a cure désormais ni de la profondeur de champ, ni des faux
raccords.</span></span></span></div>
<div align="JUSTIFY" class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Bien
entendu ces quelques lignes ne suffisent </span></span><span style="font-size: medium;"><span lang="fr-FR">pas
à dresser un état des lieux. Où situer, par exemple, Kieslowski et
Erice ? </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>A
priori</i></span></span><span style="font-size: medium;"><span lang="fr-FR"> parmi les
myopes et cependant tous deux créent un premier monde fermé sur
lui-même dont une trouée conduit à un deuxième à peine entrevu ;
s’y logent la part du rêve, celle de l’art, celle de la
connaissance, aussi celle du spirituel qui n’est pas nécessairement
religieux.</span></span></span><br />
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR"><br /></span></span></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlowLRRc8Te4Nz34shBLr5j7Zrbg0NuTWJC87bFXiXDO840QqhQ_IPmAN7WGp5OEKcOjzfEB6WkuujzesuIPQZdq_PJ_IOErcf3aggLw2wrICD4pWeSKbEQWgUGPVZieEuHmizwczIANT_/s1600/tumblr_mmabv9oecN1r6uu2oo2_1280.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlowLRRc8Te4Nz34shBLr5j7Zrbg0NuTWJC87bFXiXDO840QqhQ_IPmAN7WGp5OEKcOjzfEB6WkuujzesuIPQZdq_PJ_IOErcf3aggLw2wrICD4pWeSKbEQWgUGPVZieEuHmizwczIANT_/s400/tumblr_mmabv9oecN1r6uu2oo2_1280.jpg" height="225" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Erice <i>El sur</i></td></tr>
</tbody></table>
<br />
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Et Jarmush ? C’est un myope fasciné par
l’esthétique des presbytes. Le petit format lui convient mieux que
la grande forme. Cette contradiction limite </span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Dead
Man </i></span></span><span style="font-size: medium;"><span lang="fr-FR">(1995) ;
il substitue le manque de souffle par la surprise, la dérision, la
sophistication.</span></span></span><br />
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR"><br /></span></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTa0G33LmFl9G949-5wU_QQtYKvCJOkYpqpv-z8f5LHoHsPnyWXqZc7MUdfEnrW-fBrtPi_1S42XuIxonuzGAR5S0bj12HLaXfbsAYzDK_lAppIh1u3TxKIqCravwLsGkws9-2WwEmVQcs/s1600/Dead-Man8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTa0G33LmFl9G949-5wU_QQtYKvCJOkYpqpv-z8f5LHoHsPnyWXqZc7MUdfEnrW-fBrtPi_1S42XuIxonuzGAR5S0bj12HLaXfbsAYzDK_lAppIh1u3TxKIqCravwLsGkws9-2WwEmVQcs/s400/Dead-Man8.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Jarmush <i>Dead Man</i></div>
</td></tr>
</tbody></table>
<div align="JUSTIFY" class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR"><br /></span></span></span>
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Et Kaurismaki ? C’est également un myope
fasciné par les presbytes mais jamais il ne tente de les égaler.</span></span></span></div>
<div align="JUSTIFY" class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Julien
Gracq écrit que rares sont les écrivains </span></span><span style="font-size: medium;"><span lang="fr-FR">dotés
d’une vue tout à fait normale, mais qu’est-ce qu’une vue
normale ? La capacité à s’approcher et s’éloigner, à
choisir la distance adéquate grâce à un zoom naturel, à découper
l’espace à « hauteur d’homme », à distinguer avec
clarté des plans successifs, à ne pas choquer le spectateur, à
adopter son point de vue ou plutôt celui qu’on lui prête ?
Au début de la séquence de la réception (</span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Les
enchaînés</i></span></span><span style="font-size: medium;"><span lang="fr-FR">, 1946)
la caméra située à l’étage permet de voir l’escalier
monumental et le rez-de-chaussée traversé par les invités. Elle
plonge lentement vers Ingrid Bergman jusqu’à découvrir en très
gros plan sa main qui serre fort la clef qui ouvre la cave où se
trouvent des bouteilles pleines d’uranium. Moins célébré mais de
même nature est ce mouvement de caméra qui pendant la soirée
mondaine (</span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Pas de
printemps pour Marnie</i></span></span><span style="font-size: medium;"><span lang="fr-FR">,
1964) s’avance inexorablement vers la porte d’entrée où l’on
accueille l’homme qui chausse des lunettes auquel Marnie a dérobé
de l’argent et qui ignore son statut de maîtresse de maison. De
tels exemples de distorsion, de vision exacerbée par la mise en
scène sont fréquents dans les cinémas classiques, à commencer par
le film noir. Ecartons donc l’idée que la vue normale est
l’apanage du classicisme et que la modernité a introduit la myopie
et la presbytie, mais sans doute a-t-elle aiguisé leurs différences
et en même temps a permis leur coexistence dans un film. Le succès
d’</span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Il était une
fois dans l‘Ouest</i></span></span><span style="font-size: medium;"><span lang="fr-FR">
(1968)</span></span><span style="font-size: medium;"><span lang="fr-FR"><i> </i></span></span><span style="font-size: medium;"><span lang="fr-FR">tient
en partie à la capacité de Sergio Leone à passer du plan large au
gros plan, à résumer son histoire à l’affrontement des regards
de Charles Bronson et Henri Fonda lors du duel final.</span></span></span><br />
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR"><br /></span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDeouCPYMCUsCYdsDOKFRSauoW52Yhfxamzbb2sxvxuEYK_FzF7cLzZQsgsOiYS1I3b_pZzNW-yIj9dFTpJHbBvv_NNXTGJC0NlZIlS003DCqYJksKD_DPoHdq3wwfwrq3QEVygA5OhlcH/s1600/9%253A1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDeouCPYMCUsCYdsDOKFRSauoW52Yhfxamzbb2sxvxuEYK_FzF7cLzZQsgsOiYS1I3b_pZzNW-yIj9dFTpJHbBvv_NNXTGJC0NlZIlS003DCqYJksKD_DPoHdq3wwfwrq3QEVygA5OhlcH/s400/9%253A1.jpg" height="223" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Sergio Leone <i>Il
était une fois dans l'Ouest</i></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAG-_5lamQVk2A-pL03782rw-V0rz8j5ax1kqj6-HGlaXvPz3yTtYWxMypL1UoPD94VQz3P0-A47C-luSMnNsmmXybw-ZqxKy_px3_4U4VRh6Vbq6GJ9pq4tahXfxQwPVmh62r-M1LMvCy/s1600/9%253A2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAG-_5lamQVk2A-pL03782rw-V0rz8j5ax1kqj6-HGlaXvPz3yTtYWxMypL1UoPD94VQz3P0-A47C-luSMnNsmmXybw-ZqxKy_px3_4U4VRh6Vbq6GJ9pq4tahXfxQwPVmh62r-M1LMvCy/s400/9%253A2.jpg" height="225" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Sergio Leone <i>Il
était une fois dans l'Ouest</i></div>
</td></tr>
</tbody></table>
<div align="JUSTIFY" class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR"><br /></span></span></span>
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Et que dire de
</span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Cris et
chuchotements</i></span></span><span style="font-size: medium;"><span lang="fr-FR">
(1972) si ce n’est que son harmonie douloureuse réside justement
dans la succession de visages enchâssés dans d’austères décors
rouges ?</span></span></span><br />
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR"><br /></span></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVU3qKE3bItnGFkVwRa66PbdLdYvVXSQ4if4R28fT8A4-ffHQVBqCgmPTjuMuvlrzlJRa3GwK2lSRutTFQbZ5vifmlHKqKmM4IXZLRb7UjjZNevUX84vEDUZt-8Yg8nvOehPwAVOqb0ok1/s1600/9cris+et+chuchotements.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVU3qKE3bItnGFkVwRa66PbdLdYvVXSQ4if4R28fT8A4-ffHQVBqCgmPTjuMuvlrzlJRa3GwK2lSRutTFQbZ5vifmlHKqKmM4IXZLRb7UjjZNevUX84vEDUZt-8Yg8nvOehPwAVOqb0ok1/s320/9cris+et+chuchotements.jpg" height="194" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Bergman <i>Cris et
chuchotements</i></div>
</td></tr>
</tbody></table>
<div align="JUSTIFY" class="western">
<span class="Apple-style-span" style="font-family: 'Times New Roman', serif; font-size: medium;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Times New Roman', serif; font-size: medium;">Ne s’agit-il pas d’aller à l’essentiel, comme se
le proposait aussi Pasolini dans ses premiers films ?</span></div>
<div align="JUSTIFY" class="western" lang="fr-FR">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">Un
metteur en scène peut-il être à la fois presbyte et myope ?
Les cinéastes constructeurs, Kubrick, Resnais, Welles, Rosi,
Hitchcock, Kurosawa, Lynch, Egoyan, et ceux qui ont vocation de
penseurs, tels Bergman, Malick et Tarkovski, y parviennent mieux que
les purs narrateurs car la double vision bouleverse le centre de
gravité d’une histoire et du regard que l’on porte sur elle
: les deux infinis s’y côtoient. Pouvons-nous choisir d’être
myope ou presbyte ? Pour la majorité des réalisateurs le
choix est impossible, changer équivaudrait à trahir leurs principes
esthétiques et moraux.</span></span><br />
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR0GH3G_A1b9mPWG7wDAw-FO9RYIpeuUpGM1DIjLC41LZMe80KHtl_DNWd1v7alKViclx-k1hU6-JDxzEc2tyXqw-Yrxy0OEZwkIM35ZoW-fsldnnXUid5sH9f3IZ03UoibIDgGqdXL1uY/s1600/ran10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR0GH3G_A1b9mPWG7wDAw-FO9RYIpeuUpGM1DIjLC41LZMe80KHtl_DNWd1v7alKViclx-k1hU6-JDxzEc2tyXqw-Yrxy0OEZwkIM35ZoW-fsldnnXUid5sH9f3IZ03UoibIDgGqdXL1uY/s400/ran10.jpg" height="260" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="margin-bottom: 0in;">
<span class="Apple-style-span" style="font-style: normal;">Kurosawa </span><i>Ran</i></div>
</td></tr>
</tbody></table>
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<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXt7mzY5x2xBr8ti8LUblfyCN64RGfNInHNzuD5zeri6BcPX6fRep5rbao-WEC3tFbKL52L5txLO0xVoc2_5yulInMfLRj-pJV3uljpmg7l_AizwvqxeghxNb71tvov3YTiWXax-gI2D0M/s1600/qorianka_kilcher_photo-le-nouveau-monde-terrence-malick-3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXt7mzY5x2xBr8ti8LUblfyCN64RGfNInHNzuD5zeri6BcPX6fRep5rbao-WEC3tFbKL52L5txLO0xVoc2_5yulInMfLRj-pJV3uljpmg7l_AizwvqxeghxNb71tvov3YTiWXax-gI2D0M/s400/qorianka_kilcher_photo-le-nouveau-monde-terrence-malick-3.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Malick <i>Le nouveau monde</i></td></tr>
</tbody></table>
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR"><br /></span></span></span>
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">La
fresque contemporaine ou historique est extrêmement difficile
précisément parce que</span></span><span style="font-size: medium;"><span lang="fr-FR">
ces deux forces opposées peuvent neutraliser les élans créateurs
et le talent de l’un s’accorde à filmer les menus faits tandis
que l’autre excelle au grand format. Altman a su créer le temps
d’un film (</span></span><span style="font-size: medium;"><span lang="fr-FR"><i>Short
cuts</i></span></span><span style="font-size: medium;"><span lang="fr-FR">, 1993) les
cercles concentriques d’une ville où se mêlent les destinés
individuelles. Jamais la vision d’ensemble ne prend le pas sur la
saisie du détail. Il fallait avoir acquis une solide compréhension
du monde et des hommes pour tisser ces correspondances.</span></span></span><br />
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR"><br /></span></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkMraO6eR9qz75XOzWwyPIW00FxYUKpN098oUzcrTte6mvYrP77lFZfKrLK2UdZNYIecrv524v5mZK7K0WlXOR2rY6tLvtGx9QVYp3VWhEU638S8We2C4d823K3lUzBp6bznsM-4t-mGoT/s1600/shortcuts11%253A1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkMraO6eR9qz75XOzWwyPIW00FxYUKpN098oUzcrTte6mvYrP77lFZfKrLK2UdZNYIecrv524v5mZK7K0WlXOR2rY6tLvtGx9QVYp3VWhEU638S8We2C4d823K3lUzBp6bznsM-4t-mGoT/s320/shortcuts11%253A1.jpg" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="margin-bottom: 0in;">
Altman <i>Short cuts</i></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhAdxpYHf960-zyTVpyBqzC5eBVaSPh_sS2QGG2wpg3hZ7OAKRXltqmP2kfsaYKnwvMgy2jGr2DTzms9qMTWbdAANirCh85vBaMBUnS31I4lmUHccLw14fehx34XZauKBwkRPU9ez4iIpQ/s1600/shorts+cuts11%253A2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhAdxpYHf960-zyTVpyBqzC5eBVaSPh_sS2QGG2wpg3hZ7OAKRXltqmP2kfsaYKnwvMgy2jGr2DTzms9qMTWbdAANirCh85vBaMBUnS31I4lmUHccLw14fehx34XZauKBwkRPU9ez4iIpQ/s320/shorts+cuts11%253A2.jpg" height="192" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="margin-bottom: 0in;">
Altman <i>Short cuts</i></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhciLgjfQsZOvsKncPOiHwwdCqs9CGuUWdLghFeVitIAy7kKAAGQJJB5kjAw33z5ecsiqVIokDsm2M5IdimU8hkudPceL08QjO4Ku5nf34y-91KX9-JY59pwNpuwZkWrhsU2RDFHEfsQU3S/s1600/shorts+cuts11%253A3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhciLgjfQsZOvsKncPOiHwwdCqs9CGuUWdLghFeVitIAy7kKAAGQJJB5kjAw33z5ecsiqVIokDsm2M5IdimU8hkudPceL08QjO4Ku5nf34y-91KX9-JY59pwNpuwZkWrhsU2RDFHEfsQU3S/s320/shorts+cuts11%253A3.jpg" height="210" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="margin-bottom: 0in;">
Altman <i>Short cuts</i></div>
</td></tr>
</tbody></table>
<div align="JUSTIFY" class="western">
<span class="Apple-style-span" style="font-family: 'Times New Roman', serif; font-size: medium;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Times New Roman', serif; font-size: medium;">La
descendance plus ou moins auteurale du film est le fruit de copistes
qui croient que la mimétisation garantit l’authenticité, dès
lors leur virtuosité est vaine. Le maîtrise de la mise en scène ne
surgit que si il y a adéquation entre la personne, la forme et le
sujet.</span></div>
<div align="JUSTIFY" class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Q</span></span><span style="font-size: medium;"><span lang="fr-FR">u’un
cinéaste soit myope ou presbyte importe peu s’il sait ravir nos
sens et notre esprit, comme Voltaire l’exigeait d’une oeuvre
d’art. Lorsque le myope ne méprise pas le dépassement de soi,
lorsque le presbyte ne néglige pas la vie qui s’offre à lui,
lorsque tous deux comprennent que leurs visions offrent l’avers et
le revers de nos vies d’hommes, alors tout est possible. A notre
insu, selon notre tempérament, l’existence ou l’essence nous
touchent davantage mais soyons certains que quelques uns des très
grands films de l’histoire du cinéma nous comblent parce qu’ils
fondent les deux infinis.</span></span></span><br />
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR"><br /></span></span></span>
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR" style="color: orange;">FLOREAL PELEATO</span></span></span></div>
<div align="JUSTIFY" class="western" lang="fr-FR">
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<br /></div>
<div class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">(1)
</span></span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">Julien
Gracq, Oeuvres complètes II, </span></span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR"><i>Lettrines</i></span></span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span lang="fr-FR">,
Gallimard, La Pléiade, p 160-161.</span></span></span></div>
<div align="JUSTIFY" class="western">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">(2)
José Bergamín, “Intimidad y lejanía” dans </span><span style="font-size: medium;"><i>La
importancia del demonio y otras cosas sin importancia</i></span><span style="font-size: medium;">,
Ediciones Júcar, 1974, p 67-77.</span></span></div>
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<h3>
<span style="font-family: Times New Roman, serif;"><span style="font-family: Times New Roman, serif; font-size: large;">DUAS
VISÕES, DOIS INFINITOS: SENTINELAS E ESCRUTINADORES</span></span></h3>
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<span class="Apple-style-span" style="color: orange; font-family: 'Times New Roman', serif; font-size: medium;"><span style="font-size: medium;">Julien
Gracq apoia o que se segue: </span><span style="font-size: medium;"><i>"Há
escritores que, na descrição, são míopes, e outros que são
presbíopes. Os primeiros, para quem até os mais pequenos objectos
em primeiro plano surgem com uma clareza por vezes miraculosa, para
quem nada se perde, desde o nácar das conchas, ao grão do tecido,
mas tudo o que está distante desaparece; e os segundos que apenas
sabem apanhar os grandes movimentos de uma paisagem, decifrar apenas
a face da terra quando se desnuda. Entre os primeiros: Huysmans,
Breton, Proust, Colette. Entre os segundos: Chateaubriand, Tolstoï,
Claudel. Raros são os escritores que demonstram, de pena na mão,
uma vista normal. </i></span>"(1)</span><br />
<span class="Apple-style-span" style="color: orange; font-family: 'Times New Roman', serif; font-size: medium;">Podemos
afirmar que certos cineastas são míopes e outros são presbíopes.
De facto, tanto uns como outros sofrem de uma alteração da visão,
mas o propósito do artista é adquirir uma "visão" do
mundo, e depois saber partilhá-la. Por enquanto e para já, partimos
do princípio que a visão do encenador é muito diferente da sua, e
pouco importa que realmente seja míope, presbíope, astigmático,
hipermetrope, daltónico, estrábico, tenha cataratas ou seja
zarolho. </span><br />
<span class="Apple-style-span" style="color: orange; font-family: 'Times New Roman', serif; font-size: medium;"><span style="font-size: medium;">Aos
presbíopes cabe-lhes a utopia de um qualquer encantador, a
assincronia dos tempos antigos e dos tempos futuros, a
impossibilidade ou a recusa do aqui e agora, a gleba da manhã, as
caravanas na estrada em direcção ao infinito, a mineralidade de um
mundo descarnado, a ferrugem das cidades abandonadas e as ruínas dos
templos esquecidos, os precipícios e os céus carregados de história
dos homens, as sensações de fim de reinado, os fantasmas que surgem
no nevoeiro, as silhuetas que renascem das águas lamacentas, as
sentinelas que esperam um mistério ou um milagre à porta de um
quarto de desejos, como o </span><span style="font-size: medium;"><i>Stalker</i></span><span style="font-size: medium;">,
de Tarkovski.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgxIChR4rcfS8hkWJ5O6Z0O8zrJQpANDns5JXneZK5a4szbAeW26PiSgbA3S745fPTf5n9_jlcwyOIU9vkQKHwhTAVhAvVKCIQyaGR05rhAv54AwDaOKK6ds7TYd6kThr44cA3AmJzN0pO/s1600/tarkovski+stalker1.gif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgxIChR4rcfS8hkWJ5O6Z0O8zrJQpANDns5JXneZK5a4szbAeW26PiSgbA3S745fPTf5n9_jlcwyOIU9vkQKHwhTAVhAvVKCIQyaGR05rhAv54AwDaOKK6ds7TYd6kThr44cA3AmJzN0pO/s400/tarkovski+stalker1.gif" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="margin-bottom: 0in;">
Tarkovski <i>Stalker</i></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;">Observamos
entre eles uma capacidade de compreender os movimentos históricos e
as correntes estéticas e políticas; o seu mundo, mesmo que atingido
pelo caos, é embelezado pelo pensamento. </span><span style="font-size: medium;">Neles
enraíza-se uma propensão para agarrar conceitos, até mesmo para
forjar, criar figuras de estilo (Jancsó, Béla Tarr ou
Angelopoulos), esvaziar o espaço (Antonioni,</span><span style="font-size: medium;">
Herzog, Wenders no seu início, Jia Zhangke, Nuri Bilge Ceylan,
Souleymane Cissé,</span><span style="font-size: medium;"><i> Gerry, </i></span><span style="font-size: medium;">de
Gus Van Sant</span>), <span style="font-size: medium;">desamparar a anedota (Sokourov,
Hellman) ou pelo contrário a filmar apenas </span><span style="font-size: medium;"><i>haikus,
</i></span><span style="font-size: medium;">tracejados aparentemente inacabados e
fragmentados (</span><span style="font-size: medium;"><i>Five </i></span><span style="font-size: medium;">de
Kiarostami, </span><span style="font-size: medium;"><i>Three Times </i></span><span style="font-size: medium;">de
Hou Hsiah-hsien, ou ainda a sua curta-metragem de três minutos
realizada para o sexagésimo aniversário do Festival de Cannes).</span></span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNjzzTuvcN3tUuD05onds0WdGU6uRK8qKul0LMk1AGOxLvgStF80VLQx_MPTUCPzu-yk9ero8J1J3IJLymq25VQuf0g5rMJxp7W73xikz7g1sLRJ0p-46DDZOXTP4ujD2LpfqXS6wSxgdP/s1600/tumblr_mx4btyOVp21r7xatro1_r1_1280.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNjzzTuvcN3tUuD05onds0WdGU6uRK8qKul0LMk1AGOxLvgStF80VLQx_MPTUCPzu-yk9ero8J1J3IJLymq25VQuf0g5rMJxp7W73xikz7g1sLRJ0p-46DDZOXTP4ujD2LpfqXS6wSxgdP/s640/tumblr_mx4btyOVp21r7xatro1_r1_1280.png" height="344" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Antonioni <i>La notte</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6W2CXjnChyphenhyphenH3HrlE7K0oW7fgTyMsnsqGOuuIAfLgwwy7EQ7An4wU3zcGLQ29lJmIdyTI8VyTDEvdbCBPCp-WP0kc8zFI-tOEyjor89hpv-Zs4f32tk022RD4mAGSyMSH9g3xGcu2T8RHe/s1600/gerry+gus-van-sant2.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6W2CXjnChyphenhyphenH3HrlE7K0oW7fgTyMsnsqGOuuIAfLgwwy7EQ7An4wU3zcGLQ29lJmIdyTI8VyTDEvdbCBPCp-WP0kc8zFI-tOEyjor89hpv-Zs4f32tk022RD4mAGSyMSH9g3xGcu2T8RHe/s640/gerry+gus-van-sant2.png" height="267" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Gus Van Sant <i>Gerry</i></div>
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<span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;">Chateaubriand afirmava não se sentir à vontade</span><span style="font-size: medium;">
a não ser para se dirigir à multidão, e face à imensidão dos
desertos. O intermédio era-lhe custoso. Da mesma forma, o Homem
fascina os presbíopes, uma vez que tanto sabem filmar um homem
sozinho como uma multidão desnudada de ardor e cujos movimentos
coreografados, no limite do ritual, respondem menos à expressão da
vitalidade do que a uma necessidade incessante de viajar pelo mundo,
de o submeter ao seu olhar imperioso já que não saberiam conceber o
seu trabalho sem exercer um controlo total. Conter o mundo num ecrã
é a sua forma de percorrer um </span><span style="font-size: medium;"><i>mapa mundi </i></span><span style="font-size: medium;">que
se desenrola sob os seus olhos. A precisão do quadro é a obsessão
destes sentinelas desejosos de agarrar o Todo, de perceber um Além,
quer seja o divino, talvez em defesa do seu corpo, um dogma, o
marxismo ou qualquer outra forma de messianismo, a morte ou uma
manifestação “epifânica”, convencidos que, segundo a palavra
de José Bergamín, "o que está longe é o que é íntimo"(2).
Note-se que raramente estes agrimensores do íntimo são encenadores
"intimistas" ávidos de psicologia. Atingir a interioridade
é para eles o fruto do saber, da fé ou da iluminação, pois têm
em si um profeta rimbaudiano. Sim, ver significa, para eles, romper
um véu. Mas, se não têm cuidado, a solenidade pode deixar o
espectador desorientado pela abstracção, por muito lírica
(Paradjanov), ou didáctica que seja (os irmãos Taviani), e por um
pensamento muito pejado que impõe um sistema: Jancsó depois de
</span><span style="font-size: medium;"><i>Sirokkó</i></span><span style="font-size: medium;">, Kiarostami
desde </span><span style="font-size: medium;"><i>Através das Oliveiras</i></span><span style="font-size: medium;">,
Ripstein demasiadas vezes; quanto a Angelopoulos, tem por hábito
transpor frequentemente, com sucesso, cumes perigosos.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7a38iGJKH5QtXCrjmk9LHBggz_nlIff9aPrgyo9CJuBGXZbQKxEIeSiHO6vc8RbKhDTjTXG7Bbz4zUnH9GaigsMpUO_wXNQe5-_mCHS_7xo5vHV4fgi0TeYk5XawSUGLYEU9ZVKVMboZR/s1600/Paradjanov+-+Sayat+Nova+3bis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7a38iGJKH5QtXCrjmk9LHBggz_nlIff9aPrgyo9CJuBGXZbQKxEIeSiHO6vc8RbKhDTjTXG7Bbz4zUnH9GaigsMpUO_wXNQe5-_mCHS_7xo5vHV4fgi0TeYk5XawSUGLYEU9ZVKVMboZR/s400/Paradjanov+-+Sayat+Nova+3bis.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Paradjanov <i>La
légende de la forteresse de Souram</i></div>
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<span class="Apple-style-span" style="color: orange;"><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">Reconhecemos
os cineastas presbíopes pelas lentes panorâmicas, em passeios
sinuosos, em planos fixos demasiado compostos, em deambulações
filmadas em planos sequenciais, a despeito do que se afirma, com uma
sensibilidade mais pictórica que dinâmica. Aliás, um movimento
ditado pela inteligência atrai então um fluxo de energia agitada;
não é por isso menos belo. Talvez seja essa a razão pela qual
parecem pouco aptos para a comédia. Infelizmente, hoje em dia,
demasiados realizadores acreditam ingenuamente, outros certamente com
astúcia e arrogância, que lentidão é sinónimo de poesia, que o
obscuro é profundo, que a duração de um plano é a garantia da sua
beleza, que a afasia explora melhor o pensamento que a palavra, que
um plano exangue é digno de ser contemplativo. </span></span>
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<span style="font-family: Times New Roman, serif;"><span style="color: orange; font-size: medium;">Os
presbíopes, os verdadeiros, não os vulgares imitadores, tendem
também a eliminar uma série de planos médios para conservar
sobretudo o grande plano e o plano geral que Welles dizia a Peter
Bogdanovich serem trágicos. A obstinação de permanecer no
longínquo pode revelar uma dificuldade de expressão de sentimentos
(Tati), de se desafiar (Melville), de preferir as formas lúdicas
(Oliveira); pode ser devida a um coquetismo cinéfilo estéril
(Monteiro). </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiNkEh_UEebmVbL60QbpPfZ47N6gAXtzjTM7POI49FEAWrc4kpKba0XcLwdMwV3Vr4gW9wxbhb-vLLMnXvE_L_1mG5V3LQ9fTUJjGJ8X1HOzFkxHv1yBY57Xt0mI3ln1pFVFHF-IkrVeYy/s1600/manoel+de+oliveira+Val-Abraham+4bis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiNkEh_UEebmVbL60QbpPfZ47N6gAXtzjTM7POI49FEAWrc4kpKba0XcLwdMwV3Vr4gW9wxbhb-vLLMnXvE_L_1mG5V3LQ9fTUJjGJ8X1HOzFkxHv1yBY57Xt0mI3ln1pFVFHF-IkrVeYy/s400/manoel+de+oliveira+Val-Abraham+4bis.jpg" height="211" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Manoel de Oliveira
<i>Val Abraham</i></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span>
<span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;">A utilização excessiva e desusada do contra campo ou a
sua recusa, demonstra também uma dificuldade em dialogar, embora o
monólogo, a voz </span><span style="font-size: medium;"><i>off </i></span><span style="font-size: medium;">e
a música compensem esta carência. Sentem também uma certa
dificuldade em utilizar a câmara subjectiva, já que preferem o
ponto de vista do narrador ao da personagem.</span></span></div>
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<span class="Apple-style-span" style="color: orange;"><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">É
completamente diferente para os míopes. Para eles, o mundo é um
cristal talhado que gostam de girar entre as suas mãos de forma a
apreender os detalhes; se o examinam é para que nenhuma das suas
faces esconda em si a verdade. Não mostram o Homem, mas sim a
matéria de que somos feitos. Por muito pouco que filmem uma
multidão, nunca é apenas uma massa esculpida, um conjunto de
quadros vivos, mas sim um povo em marcha, em sofrimento ou
entusiasmado. Embora certos presbíopes gostem de se perder no
espelho do céu, os míopes obrigam-nos a ver abaixo dele, a ver o
que está por baixo da pele, por baixo das coisas. Ao contrário do
presbíope, cujo ideal é criar um mundo, o sonho mais querido de um
míope é entrar no mundo, se não lhe descobrir os segredos, pelo
menos conhecer-lhe as entranhas. </span></span>
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<span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;">Esperamos
deles a acuidade para explorar os rostos em grandes planos (Bergman,
Godard, Cassavetes, Audiard, Téchiné), filmar corpos fragmentados
(Bresson), pouco legíveis (os irmãos Dardenne, Claire Denis,
Lucrecia Martel), corpos de "natureza morta" (Cronenberg),
corpos em movimentos apanhados em câmara lenta (Wong Kar-wai),
corpos expostos sem descanso ao olhar cru de Pialat que se destaca do
"cinema", de toda a beleza livresca, que recusa qualquer
herança académica, toda a idealização, e que quer apenas escavar
uma e outra vez nas nossas fraquezas e nos nossos erros aí
escondidos, como um desgosto pela sua verdade amarga. </span><span style="font-size: medium;"><i>Naked
</i></span><span style="font-size: medium;">(1993) e </span><span style="font-size: medium;"><i>All or
Nothing </i></span><span style="font-size: medium;">(2002) são excelentes filmes
deliberadamente míopes.</span><span style="font-size: medium;"> O tema, e é um dos mais
belos que há, é a nossa fragilidade. Leigh, tal como Pialat, recusa
a fuga elegante, o gosto pelo sublime que assombra os presbíopes.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsrEzHZ8Opj2XSdXpn76RqY3YPjgCLJ9lSr_tSEaT3F1bnXGTnkCZx3F12z5XMIdgHbzHlLCDM23evwzLOsAMwz_gBM0y7wODeslC-qfJZIaUQgHkyOiECQXUehUC25nKD7nFgK2T6Xmn4/s1600/persona1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsrEzHZ8Opj2XSdXpn76RqY3YPjgCLJ9lSr_tSEaT3F1bnXGTnkCZx3F12z5XMIdgHbzHlLCDM23evwzLOsAMwz_gBM0y7wODeslC-qfJZIaUQgHkyOiECQXUehUC25nKD7nFgK2T6Xmn4/s320/persona1.jpg" height="183" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bergman <i>Persona</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1LOZcxCZdQQwWOHqFKSzJIoErix0pqpGZwev0Feu5rApjSbZwy7yvbYWoN981cLtai_MID7-Wpg-7FB9MjrYsX3yymKnBfBRlhiq6CLwP__N-2J_XVpIhA2j-JVbQI5DmgHyvZN_1wSO8/s1600/godard+la+chinoise5a.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1LOZcxCZdQQwWOHqFKSzJIoErix0pqpGZwev0Feu5rApjSbZwy7yvbYWoN981cLtai_MID7-Wpg-7FB9MjrYsX3yymKnBfBRlhiq6CLwP__N-2J_XVpIhA2j-JVbQI5DmgHyvZN_1wSO8/s320/godard+la+chinoise5a.png" height="250" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Godard <i>La
chinoise</i></div>
</td></tr>
</tbody></table>
<div class="separator" style="clear: both; font-family: 'Times New Roman', serif; font-size: large; text-align: center;">
</div>
<div class="separator" style="clear: both; font-family: 'Times New Roman', serif; font-size: large; text-align: center;">
</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBPOpa6DBo_fEPoivOrRbJfvJqo7Xp9oetIEFAYMQX7Vs7iQdMTz9fHbgIDxA4ZGuxrROu8O-TP_m5e0AKz5_OILIRrRSSCDwAb_eP5AIxqats0Nacsud86YNSGnpH7jxyVna7_Ksx-CIe/s1600/Infirmiere_garde_malade_robert_bresson_au_hasard_balthazar_02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBPOpa6DBo_fEPoivOrRbJfvJqo7Xp9oetIEFAYMQX7Vs7iQdMTz9fHbgIDxA4ZGuxrROu8O-TP_m5e0AKz5_OILIRrRSSCDwAb_eP5AIxqats0Nacsud86YNSGnpH7jxyVna7_Ksx-CIe/s320/Infirmiere_garde_malade_robert_bresson_au_hasard_balthazar_02.jpg" height="190" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Times;">Bresson <i>Au hasard Balthazar</i></span></td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipxuGwheLmUR2krU1j-S9aRtJTAVjvmv08Yq_Q19mqEeLahXDp2kzDtUpniXVkUVHzp7b_pn2bNRYmQ7eDFODoxeHlNg9_11yV7xyVwnwiZah0CRHeDvO5gLavR-Thp21YjYCkcrmC8S-F/s1600/c.denis+beau+travail5c+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipxuGwheLmUR2krU1j-S9aRtJTAVjvmv08Yq_Q19mqEeLahXDp2kzDtUpniXVkUVHzp7b_pn2bNRYmQ7eDFODoxeHlNg9_11yV7xyVwnwiZah0CRHeDvO5gLavR-Thp21YjYCkcrmC8S-F/s320/c.denis+beau+travail5c+.jpg" height="204" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Claire Denis <i>Beau travail</i></td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-KHg6nGlQcEn1mmPZWfHHGnu0-p4bOrEQuuORtx0Hy1jZVtBwIlhAbUiTjU-YrfTYU_QRTiBPZRISA79A2dimIYUiDVzU2In1zuxrbi-sgN3FzucJFnkYFT2JC13Mql5dxNCnBiRqvsvK/s1600/Cleo-from-5-to-7+5d+bis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-KHg6nGlQcEn1mmPZWfHHGnu0-p4bOrEQuuORtx0Hy1jZVtBwIlhAbUiTjU-YrfTYU_QRTiBPZRISA79A2dimIYUiDVzU2In1zuxrbi-sgN3FzucJFnkYFT2JC13Mql5dxNCnBiRqvsvK/s320/Cleo-from-5-to-7+5d+bis.jpg" height="179" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Varda <i>Cléo de 5
à 7</i></div>
</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOxHG_7Etmb57x-HosoOuF_o8kXuQNF1rT3kX9v_42QakSj7ZKCQzTQVp7Z0OIpSQFIDkOWxGDbR6igOdR02KPrcJq_8-vkBdUgIJWf8CjjADlfw1JPv_n05vvTEM0Wee49Gx6jMdQUQHc/s1600/videodrome+5e+bis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOxHG_7Etmb57x-HosoOuF_o8kXuQNF1rT3kX9v_42QakSj7ZKCQzTQVp7Z0OIpSQFIDkOWxGDbR6igOdR02KPrcJq_8-vkBdUgIJWf8CjjADlfw1JPv_n05vvTEM0Wee49Gx6jMdQUQHc/s320/videodrome+5e+bis.jpg" height="211" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Cronenberg
<i>Vidéodrome</i></div>
</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOhtl8APRmqhJC0rPosHSJ8AK3FKHH47YjfkS6eP1LRTfC1kkUt-0GCRC_Ps8fadJ5NtWh6B7CHb_JtS7imGmJVbnQf-air02pO2htVbY_P5eApAJYIzBEwAMLve1o5NK-D3mRBzZLF0yc/s1600/InMoodLove5fbis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOhtl8APRmqhJC0rPosHSJ8AK3FKHH47YjfkS6eP1LRTfC1kkUt-0GCRC_Ps8fadJ5NtWh6B7CHb_JtS7imGmJVbnQf-air02pO2htVbY_P5eApAJYIzBEwAMLve1o5NK-D3mRBzZLF0yc/s320/InMoodLove5fbis.jpg" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Wong Kar Wai <i>In
the mood for love</i></div>
</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjckynCAwO_RDS2m_gj3-nOadKlS_u_j73c00Oh7GGtQW8DzaP4UcA0QFBumZQjzc-1_61JI2YguE1xw2o_5bGW3vve0ss7njWOExB-1uLhzDoRjopfBuKn31bHuXnxsPt3VVuUZ1EseiQ9/s1600/l%2527enfance+nue5gbis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjckynCAwO_RDS2m_gj3-nOadKlS_u_j73c00Oh7GGtQW8DzaP4UcA0QFBumZQjzc-1_61JI2YguE1xw2o_5bGW3vve0ss7njWOExB-1uLhzDoRjopfBuKn31bHuXnxsPt3VVuUZ1EseiQ9/s320/l%2527enfance+nue5gbis.jpg" height="194" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Pialat <i>L'enfance
nue</i></div>
</td></tr>
</tbody></table>
<div class="separator" style="clear: both; font-family: 'Times New Roman', serif; font-size: large; text-align: left;">
<span class="Apple-style-span" style="color: orange;">Entre
os míopes, abundam os duetos, os duelos, o diálogo, as máscaras
arrancadas, as quedas, as danças, as almas agitadas, as repetições,
as alterações bruscas do estado emocional, de tão vivo que está o
desejo de consumir a vida palpitante, amarrotada por entre os vincos
do real, ao ponto que alguns gostam de saturar o campo visual e o
espaço sonoro. Por entre os filmes dos míopes contemporâneos, a
desdramatização sucede à sobre dramatização. Entre os seus
antecessores (Bresson, Ozu, Naruse) a contenção é quase constante.</span></div>
<div align="JUSTIFY" class="western" style="font-family: 'Times New Roman', serif; font-size: large;">
<span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;">A
sua arte é a da superfície, da camada, da montagem cubista, de uma
espécie de simultaneidade em busca de um presente perpétuo, da
câmara ao ombro para os mais novos, da análise das conversas ao
escalpelo , da descrição detalhada dos sentimentos e dos
comportamentos, de uma opacidade opressora que contradiz a impressão
de clareza criada pela proximidade. O cinema político pode
alimentar-se do seu cepticismo e, porque não, do potencial sarcasmo,
mas se é apenas uma determinação, denúncia, ou pior ainda, um
filme militante, torna-se uma miopia preocupante. </span><span style="font-size: medium;">Por
outras palavras, o realizador militante acusa </span><span style="font-size: medium;"><i>um</i></span><span style="font-size: medium;">
poder, o cineasta político põe </span><span style="font-size: medium;"><i>o</i></span><span style="font-size: medium;">
poder a nu. É um equilibrista: de um lado, pende para a miopia do
dossier, do outro, é seduzido pela presbiopia da leitura transversal
(mítica, histórica, social e estética). Preservar uma e outra é
uma tarefa avassaladora. Rosi atinge-a em </span><span style="font-size: medium;"><i>As
</i></span><span style="font-size: medium;"><i>Mãos</i></span><span style="font-size: medium;"><i>
sobre a cidade </i></span><span style="font-size: medium;">(1963)</span><span style="font-size: medium;"><i>
</i></span><span style="font-size: medium;">e </span><span style="font-size: medium;"><i>Lucky Luciano
</i></span><span style="font-size: medium;">(1973), e também nos inigualáveis </span><span style="font-size: medium;"><i>Salvatore
Giuliano</i></span><span style="font-size: medium;"> (1961) e </span><span style="font-size: medium;"><i>Cristo
parou em Eboli </i></span><span style="font-size: medium;">(1979). Mas a miopia
acomoda-se mal a estes voos; partimos da realidade para descobrir um
além para o qual não estamos preparados.</span></span></div>
<div align="JUSTIFY" class="western" style="font-family: 'Times New Roman', serif; font-size: large;">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: 'Times New Roman', serif; font-size: large; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfatC4GcBSDURC9Qqb4GydZmaQQdQW-rJmJV9LVsiI-zW4HTrb-LSoBYQvfy0hsE3GVGv8v1KrcU3yeN_eVmjG9WGJW62nxT57MwUNfXOK_g3rg6i3bLQhkLwkqfgVOqv9FFMW6Lksi1KB/s1600/6bissalvatoregiuliano.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfatC4GcBSDURC9Qqb4GydZmaQQdQW-rJmJV9LVsiI-zW4HTrb-LSoBYQvfy0hsE3GVGv8v1KrcU3yeN_eVmjG9WGJW62nxT57MwUNfXOK_g3rg6i3bLQhkLwkqfgVOqv9FFMW6Lksi1KB/s400/6bissalvatoregiuliano.jpg" height="225" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Rosi <i>Salvatore
Giuliano</i></div>
</td></tr>
</tbody></table>
<div align="JUSTIFY" class="western" style="font-family: 'Times New Roman', serif; font-size: large;">
<span class="Apple-style-span" style="color: orange;"><span style="font-size: medium;">É por isso que o </span><span style="font-size: medium;"><i>no
man's land</i></span><span style="font-size: medium;"> do sonho minimiza o </span><span style="font-size: medium;"><i>Três
Irm</i></span><span style="font-size: medium;"><i>ão</i></span><span style="font-size: medium;"><i>s</i></span><span style="font-size: medium;">
(1981). Se penetra sem esforço no </span><span style="font-size: medium;"><i>O Olhar de
Ulisses</i></span><span style="font-size: medium;"> (Angelopoulos, 1995), é porque a
nostalgia drapeia a reflexão política num devaneio, não num sonho,
onde todas as fronteiras se apagam, onde tudo é verosímil.</span></span></div>
<div align="JUSTIFY" class="western" style="font-family: 'Times New Roman', serif; font-size: large;">
<span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;">Vários
realizadores contemporâneos entram na categoria dos encenadores
míopes. Salvo excepções</span><span style="font-size: medium;">, o passado e o futuro
aborrece-os, os mundos imaginários também. Não andam senão pela
onda da paródia ou da visita ao museu, estão apenas à vontade para
filmar crónicas quotidianas que não devem ser confundidas com um
realismo beato, já que abrigam a estranheza e o desvio; Cronenberg,
Carpenter e Polanski convidam-nos a dar este passo decisivo.</span></span></div>
<div align="JUSTIFY" class="western" style="font-family: 'Times New Roman', serif; font-size: large;">
<span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;">Por
outro lado, a simetria filmada, a autoficção, a ficção
documentada, o relato de viagem narrada na primeira pessoa, o ensaio
documental, a colagem cinematográfica, se avaliadas actualmente,
reivindicam um outro aspecto da miopia visto que o </span><span style="font-size: medium;"><i>axis
mundi </i></span><span style="font-size: medium;">do filme atravessa a trajectória
individual. São só filmes espelho. No que diz respeito aos autores
consagrados no "meio", tal como Moretti, Godard, Michael
Moore ou Woody Allen, a sua miopia é patente. </span></span></div>
<div align="JUSTIFY" class="western" style="font-family: 'Times New Roman', serif; font-size: large;">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: 'Times New Roman', serif; font-size: large; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyKjObKBfxyc3c0hVPYuBB1zqxGSLhAYz2LQ8AQn0l9vunMGqMeJ2XKEXxVAoYVovxh7bBFenv4G_5Cihl5BbjmCTlL_BwR1DNcVONkla-_ejSj0smbRvCDqFcIDl1mEcSpxDUTeqpI3VC/s1600/JOURNAL+INTIME7bis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyKjObKBfxyc3c0hVPYuBB1zqxGSLhAYz2LQ8AQn0l9vunMGqMeJ2XKEXxVAoYVovxh7bBFenv4G_5Cihl5BbjmCTlL_BwR1DNcVONkla-_ejSj0smbRvCDqFcIDl1mEcSpxDUTeqpI3VC/s400/JOURNAL+INTIME7bis.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Moretti <i>Caro
diario</i><br />
<i><br /></i></div>
</td></tr>
</tbody></table>
<div align="JUSTIFY" class="western" style="font-family: 'Times New Roman', serif; font-size: large;">
<span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;">Apenas um encenador
míope poderia inventar a ideia divertida de um personagem
literalmente delicado (</span><span style="font-size: medium;"><i>As faces de Harry</i></span><span style="font-size: medium;">,
1997). No caso do cineasta clarinetista passar do rigor das imagens
elaboradas por Gordon Willis, à liberdade de tom de Carlo di Palma,
não fez mais que reforçar a sua miopia no sentido que não o
preocupa actualmente, assim como</span><span style="font-size: medium;"> a profundidade
de campo, e falsas conexões.</span></span></div>
<div align="JUSTIFY" class="western" style="font-family: 'Times New Roman', serif; font-size: large;">
<span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;">Entendamos
que estas poucas linhas não chegam para criar um estudo de caso.
Onde situar, por exemplo, Kieslowski e Erice</span><span style="font-size: medium;">? </span><span style="font-size: medium;"><i>A
priori</i></span><span style="font-size: medium;">, entre os míopes e apesar disso,
ambos criam um primeiro mundo fechado sobre si mesmo onde uma
abertura conduz a um segundo castigo que se avista; é aí que está
a parte do sonho, da arte, do conhecimento, e também do espiritual
que não é necessariamente religioso.</span></span><br />
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6kVSn7Qf1qQfQw8XxbTMg86ZpznCoJWj9tIqnxhSODZnviWJnN97x2wiulkVCA7eBZKRK8erZ1x4RUNE9H7pKGLSIc8phiBeU60sCWIr0SOQyGSy2l_Ixi77oq8rkGGMCWdDdqyLrSAKX/s1600/El+sur%255B%2528053247%252909-31-37%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6kVSn7Qf1qQfQw8XxbTMg86ZpznCoJWj9tIqnxhSODZnviWJnN97x2wiulkVCA7eBZKRK8erZ1x4RUNE9H7pKGLSIc8phiBeU60sCWIr0SOQyGSy2l_Ixi77oq8rkGGMCWdDdqyLrSAKX/s400/El+sur%255B%2528053247%252909-31-37%255D.jpg" height="240" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Erice <i>El Sur</i></td></tr>
</tbody></table>
<span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;">E Jarmush? É um míope
fascinado pela estética dos</span><span style="font-size: medium;"> presbíopes. O
pequeno formato é-lhe mais conveniente que a forma grande. </span><span style="font-size: medium;">Esta
contradição limita </span><span style="font-size: medium;"><i>Dead Man </i></span><span style="font-size: medium;">(1995);
substitui a falta de sopro pela surpresa, o escárnio, a
sofisticação.</span></span></div>
<div align="JUSTIFY" class="western" style="font-family: 'Times New Roman', serif; font-size: large;">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: 'Times New Roman', serif; font-size: large; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJpuoIA2wfRj5yfD-b4T6TtxCQrF0g8PsOwKRCoUoZ_YDnEBz-8DXNrQHO5YlVh99LX1uuft08UiI1mEwwSUR_iI1UppOjqb_Ab_DtvbKsH5COBN74oV4J34Lnv8nylBrrChO7EpVqDaic/s1600/dead8bis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJpuoIA2wfRj5yfD-b4T6TtxCQrF0g8PsOwKRCoUoZ_YDnEBz-8DXNrQHO5YlVh99LX1uuft08UiI1mEwwSUR_iI1UppOjqb_Ab_DtvbKsH5COBN74oV4J34Lnv8nylBrrChO7EpVqDaic/s400/dead8bis.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Jarmush <i>Dead Man</i></div>
</td></tr>
</tbody></table>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span>
<span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;">E Kaurismaki? É também um míope fascinado pelos
presbíopes</span><span style="font-size: medium;"> mas nunca tenta igualá-los.</span></span></div>
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<span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;">Julien
Gracq escreve que raros são os escritores dotados de uma visão
normal. Mas o que é uma visão normal? A capacidade de se aproximar
e de se distanciar, de escolher a distância adequada graças a um
</span><span style="font-size: medium;"><i>zoom </i></span><span style="font-size: medium;">natural, de
recortar o espaço à "altura do homem", de distinguir com
clareza os planos sucessivos, de não chocar o espectador, de adoptar</span><span style="font-size: medium;">
o seu ponto de vista, ou de preferência o que lhe é emprestado? No
início da sequência da recepção (</span><span style="font-size: medium;"><i>Difamaç</i></span><span style="font-size: medium;"><i>ã</i></span><span style="font-size: medium;"><i>o,
</i></span><span style="font-size: medium;">Hitchcock, 1946), a câmara situada no andar
de cima permite ver a escada monumental e o rés-do-chão atravessado
pelos convidados. Mergulha lentamente em direcção a Ingrid Bergman
até descobrir, num muito grande plano, a sua mão que aperta
fortemente a chave que abre a cave onde estão as botijas cheias de
urânio. Menos celebrado, mas da mesma natureza, é o movimento de
câmara que pende sobre a mundana festa (</span><span style="font-size: medium;"><i>Marnie</i></span><span style="font-size: medium;">,
Hitchcock, 1964), que avança inexoravelmente em direcção à porta
de entrada, onde é recebido o homem que põe os óculos nos quais
Marnie escondeu o dinheiro, e que ignora o seu estatuto de senhora da
casa. Tais exemplos de distorção, de visão exacerbada pela
encenação, são frequentes nos cinemas clássicos, começando pelo
filme negro. Afastemos, então, a ideia de que a visão normal </span><span style="font-size: medium;">é
o apanágio do classicismo e que a modernidade introduziu a miopia e
a presbiopia, mas sem dúvida que aguçou as suas diferenças e ao
mesmo tempo lhes permitiu a sua coexistência num filme</span><span style="font-size: medium;">.
O sucesso de </span><span style="font-size: medium;"><i>Era uma vez no Oeste</i></span><span style="font-size: medium;">,
(1968) deve-se em parte à capacidade de Sergio Leone passar do plano
normal ao grande plano, de resumir a sua história ao confronto do
olhar de Charles Bronson e Henri Fonda durante o duelo final. </span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: 'Times New Roman', serif; font-size: large; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7arPdOa4qafQXlaLtLJC-ObWq5WJmBvXUlTAVCW-U4hm8sV2s9u7Ok_VwFRuPu2QeVsmqwOr_bQa6PJ5bI5JpViqiadREA9PkQSaWuZKOBc3rx8R1RfnHlD9WBK5bFiLD7lV8ZtTpQegK/s1600/9bis2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7arPdOa4qafQXlaLtLJC-ObWq5WJmBvXUlTAVCW-U4hm8sV2s9u7Ok_VwFRuPu2QeVsmqwOr_bQa6PJ5bI5JpViqiadREA9PkQSaWuZKOBc3rx8R1RfnHlD9WBK5bFiLD7lV8ZtTpQegK/s400/9bis2.jpg" height="171" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="margin-bottom: 0in;">
Sergio Leone <i>Era uma vez no Oeste</i></div>
</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhATd4tejniiGilVxWvthCFk39_osrONrglE75uf4eZt2-eOzSllw6QwoL8vi7UAvtp2FaxXNKuhcDVYKkYhs0XfvnAHX7YsSw2wQY0nc6YcQd4A1WVoXfEn3QDcDU1HVn3B_nWqUzbCVdT/s1600/9bis1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhATd4tejniiGilVxWvthCFk39_osrONrglE75uf4eZt2-eOzSllw6QwoL8vi7UAvtp2FaxXNKuhcDVYKkYhs0XfvnAHX7YsSw2wQY0nc6YcQd4A1WVoXfEn3QDcDU1HVn3B_nWqUzbCVdT/s400/9bis1.jpg" height="170" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-style: normal; margin-bottom: 0in;">
Sergio Leone <i>Era uma vez no Oeste</i> </div>
</td></tr>
</tbody></table>
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<span style="font-size: medium;"><br /></span>
<span class="Apple-style-span" style="color: orange;"><span style="font-size: medium;">E que
dizer de </span><span style="font-size: medium;"><i>Lágrimas e Suspiros</i></span><span style="font-size: medium;">
(Bergman, 1972), senão que a sua harmonia dolorosa reside
precisamente na sucessão</span> <span style="font-size: medium;">de rostos encaixados em
austeras ornamentações vermelhas?</span></span></div>
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<span style="font-size: medium;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: 'Times New Roman', serif; font-size: large; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgidv7YBgJ0YXJ3AhqRb7inj8Jk1DkBPp3r6l0ODJP0T0Q7_udbKeAIVwQSMYt_vjYUp_nyE2B3Uk8behSRAR63cxHVCwj_UsICFlWlarv7wJH01_UZdydU_3N-TDuDKpshoq7l0hU9AHBK/s1600/9bis+cris....jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgidv7YBgJ0YXJ3AhqRb7inj8Jk1DkBPp3r6l0ODJP0T0Q7_udbKeAIVwQSMYt_vjYUp_nyE2B3Uk8behSRAR63cxHVCwj_UsICFlWlarv7wJH01_UZdydU_3N-TDuDKpshoq7l0hU9AHBK/s320/9bis+cris....jpg" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bergman <i>Lágrimas e Suspiros</i></td></tr>
</tbody></table>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span>
<span class="Apple-style-span" style="color: orange;"><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">Não é necessário</span><span style="font-size: medium;">
ir ao essencial, como se propôs também Pasolini nos seus primeiros
filmes? </span></span>
</span></div>
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<span style="font-family: Times New Roman, serif;"><span style="color: orange; font-size: medium;">Um
encenador pode ser presbíope e míope? Os cineastas construtores,
Kubrick, Resnais, Welles, Rosi, Hitchcock, Kurosawa, Lynch, Egoyan, e
os que têm vocação de pensadores, tais como Bergman, Malick et
Tarkovski, conseguem-no melhor que os narradores puros já que a
dupla visão agita o centro de gravidade de uma história e a visão
que temos sobre ela: os dois infinitos relacionam-se. Podemos
escolher entre ser míopes e presbíopes? Para a maior parte dos
realizadores a escolha é impossível; mudar equivaleria a trair os
seus princípios estéticos e morais.</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJlTQaSOausuqVu1LQ6Js8owy-ZM6_H0b9LMuBcSqeEQL0P6oYrBJhzFc-Mlwf07rEZZWUQ5q2ZF7NYFqUxCGjYYBDA4ZU3w-hUTrfP7CzguyKUZOxN0jwB5du7Vqbjwkv82o9smNZZTs_/s1600/ran10bis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJlTQaSOausuqVu1LQ6Js8owy-ZM6_H0b9LMuBcSqeEQL0P6oYrBJhzFc-Mlwf07rEZZWUQ5q2ZF7NYFqUxCGjYYBDA4ZU3w-hUTrfP7CzguyKUZOxN0jwB5du7Vqbjwkv82o9smNZZTs_/s400/ran10bis.jpg" height="213" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-style: normal;">Kurosawa </span><i>Ran</i></span></td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLOqE7zbgZLsezqVuKDhPF7PqmDbgQNaF4BdmmvbMFedfioPFSqk4r3Ubw5WUv-r0Kxd5IHzE2_WDmoKxDkuacgKRX1CWm8mo9wg0YfO6T4d8bQQHDYDGI-WbIPNYIPqHvW4xKYKArOFx2/s1600/les-moissons-du-ciel-malick.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLOqE7zbgZLsezqVuKDhPF7PqmDbgQNaF4BdmmvbMFedfioPFSqk4r3Ubw5WUv-r0Kxd5IHzE2_WDmoKxDkuacgKRX1CWm8mo9wg0YfO6T4d8bQQHDYDGI-WbIPNYIPqHvW4xKYKArOFx2/s400/les-moissons-du-ciel-malick.jpg" height="223" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Malick <i>Les moissons du ciel</i></td></tr>
</tbody></table>
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span>
<span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;">O
retrato contemporâneo ou histórico é extremamente difícil
precisamente porque estas duas forças opostas podem neutralizar os
impulsos criadores, e o talento de um concilia-se a filmar os
pequenos feitos, enquanto o outro sobressai em grande formato. </span><span style="font-size: medium;">Altman
soube criar no tempo de um filme (</span><span style="font-size: medium;"><i>Short cuts</i></span><span style="font-size: medium;">,
1993) os círculos concêntricos de uma cidade onde se misturam os
destinos individuais. Nunca a visão do conjunto se</span><span style="font-size: medium;">
sobrepõe à apreensão do detalhe. É preciso ter adquirido uma
compreensão sólida do mundo e dos homens para tecer estas
correspondências.</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm2QzX2A9f_CfdogaAkD0jfnRkDL5lSGxSnblSHUgHxxWP5jq95onoD38Jc2h7nWZXalh7fSuxedmAFnVbprgNTWbNQBdLGvlEvsqDRhyphenhyphendSP59etd03ET5144z81_MPNFT3KD-Y40F2-LX/s1600/Shortcuts11bis2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm2QzX2A9f_CfdogaAkD0jfnRkDL5lSGxSnblSHUgHxxWP5jq95onoD38Jc2h7nWZXalh7fSuxedmAFnVbprgNTWbNQBdLGvlEvsqDRhyphenhyphendSP59etd03ET5144z81_MPNFT3KD-Y40F2-LX/s320/Shortcuts11bis2.jpg" height="189" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="margin-bottom: 0in;">
Altman <i>Short cuts</i></div>
</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7so7i7Pd15SSZHHMbwSV8Xer2CQR38eeoZ5js9EcLau5s2_xhex8o0PvhTJrqgmStb85rYJlH7tmBbyb_xuxAB7lLapN7_KW7n2ZBkBD4viFDJ6qBOBvU6jffRO52i1TP41E4McOxYsGy/s1600/Short+Cuts11bis1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7so7i7Pd15SSZHHMbwSV8Xer2CQR38eeoZ5js9EcLau5s2_xhex8o0PvhTJrqgmStb85rYJlH7tmBbyb_xuxAB7lLapN7_KW7n2ZBkBD4viFDJ6qBOBvU6jffRO52i1TP41E4McOxYsGy/s320/Short+Cuts11bis1.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="margin-bottom: 0in;">
Altman <i>Short cuts</i></div>
</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOYubydm1byECvNh69mCG3ANk5I6mFOKpQMISejNRcpdpo7Ll3OaOytOO9FxC4topVYa7v9IDlQ8kOOgtM6t5kGyr65Q-s0ojaadV9ms2PDLUO8XlSSNr_PWkw8V82iWaVZ1wA4kFWoDeW/s1600/shorts+cuts11bis3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOYubydm1byECvNh69mCG3ANk5I6mFOKpQMISejNRcpdpo7Ll3OaOytOO9FxC4topVYa7v9IDlQ8kOOgtM6t5kGyr65Q-s0ojaadV9ms2PDLUO8XlSSNr_PWkw8V82iWaVZ1wA4kFWoDeW/s320/shorts+cuts11bis3.jpg" height="192" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="margin-bottom: 0in;">
Altman <i>Short cuts</i></div>
</td></tr>
</tbody></table>
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<span class="Apple-style-span" style="color: orange;">A descendência mais ou menos de autor do filme é
o fruto de copistas que acreditam que a mimetização garante a
autenticidade, portanto a sua virtuosidade é vã. O domínio da
encenação surge apenas se houver adequação entre a pessoa, a
forma e o sujeito.</span></div>
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<span style="font-family: Times New Roman, serif;"><span style="color: orange; font-size: medium;">Pouco
importa se um cineasta é míope ou presbíope se souber arrebatar os
nossos sentidos e o nosso espirito, como Voltaire exigia numa obra de
arte. Logo que o míope não despreze a sua superação, e que o
presbíope não negligencie a vida que se lhe oferece, e que os dois
compreendam que as suas visões oferecem o anverso e o reverso das
nossas vidas de homens, então tudo é possível. Do nosso lado,
segundo o nosso temperamento, a existência ou a essência toca-nos
mais, mas estamos certos que qualquer um dos grandes filmes de
história do cinema nos satisfaz pois fundem dois infinitos.</span></span><br />
<span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span>
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">FLOREAL PELEATO</span></span></div>
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<span class="Apple-style-span" style="color: orange;"><br /></span></div>
<div align="JUSTIFY" class="western" style="font-family: 'Times New Roman', serif; font-size: large;">
<span class="Apple-style-span" style="color: orange;"><br /></span></div>
<div class="western" lang="pt-PT" style="font-family: 'Times New Roman', serif; font-size: large;">
<span class="Apple-style-span" style="color: orange;"><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">(1)
Julien Gracq, Oeuvres complètes II, </span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><i>Lettrines</i></span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">,
Gallimard, La Pléiade, p 160-161.</span></span></span></div>
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<div style="font-family: 'Times New Roman', serif; font-size: large;">
<span style="color: orange; font-family: Times New Roman, serif;"><span style="font-size: medium;">(2)
José Bergamín, “Intimidad y lejanía” na </span><span style="font-size: medium;"><i>La
importancia del demonio y otras cosas sin importancia</i></span><span style="font-size: medium;">,
Ediciones Júcar, 1974, p 67-77.</span></span></div>
<div style="font-family: 'Times New Roman', serif; font-size: large;">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span></div>
<div style="font-family: 'Times New Roman', serif; font-size: large;">
<span style="font-family: Times New Roman, serif;"><span style="color: orange; font-size: medium;">Références de l'article:</span></span></div>
<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="font-size: medium;">-Floreal Peleato <i>Deux visions, deux infinis: sentinelles et scrutateurs </i>in</span></span><span style="font-family: 'Times New Roman', serif; font-size: medium;"><span lang="fr-FR"> </span></span><span style="font-family: 'Times New Roman', serif; font-size: medium;"><span lang="fr-FR"><i>Positif,
</i></span></span><span style="font-family: 'Times New Roman', serif; font-size: medium;"><span lang="fr-FR">nº 575, janvier
2009, « Chantier de réflexion », p 64-67.</span></span><br />
<span style="font-family: 'Times New Roman', serif; font-size: medium;"><span lang="fr-FR">-Floreal Peleato <i>Duas visões, dois infinitos: sentinelas e escrutinadores </i>in <i>Imagens do Real Imaginado-10 anos </i>Ed. ESMAE/IPP, Porto 2013.</span></span><br />
<span style="font-family: 'Times New Roman', serif; font-size: medium;"><span lang="fr-FR"><br /></span></span>
<span style="font-family: 'Times New Roman', serif; font-size: medium;"><span lang="fr-FR">Merci à Michel Ciment, Jorge Campos et Floreal Peleato pour m'avoir donné l'autorisation de publier cet article. </span></span><br />
<span style="font-family: 'Times New Roman', serif; font-size: medium;"><span lang="fr-FR"><br /></span></span>
<span style="font-family: 'Times New Roman', serif; font-size: medium;"><span lang="fr-FR"><span class="Apple-style-span" style="color: orange;">Nb;</span> De Floreal Peleato voir sur ce blog:</span></span><br />
<span style="font-family: 'Times New Roman', serif; font-size: medium;"><span lang="fr-FR"><i>-Amerindia </i></span></span><br />
<span class="Apple-style-span" style="font-family: 'Times New Roman', serif; font-size: medium;"><i>El círculo de los vientos <a href="http://mathieu-sodore.blogspot.pt/2014/02/floreal-peleato.html" target="_blank">http://mathieu-sodore.blogspot.pt/2014/02/floreal-peleato.html</a></i></span><br />
<span class="Apple-style-span" style="font-family: 'Times New Roman', serif; font-size: medium;">-<i>Goya / Saura <a href="http://mathieu-sodore.blogspot.pt/2013/03/goya-saura.html" target="_blank">http://mathieu-sodore.blogspot.pt/2013/03/goya-saura.html</a></i></span><br />
<span class="Apple-style-span" style="font-family: 'Times New Roman', serif; font-size: medium;">-<i>La mano azul VI <a href="http://mathieu-sodore.blogspot.pt/2013/02/la-mano-azul-vi.html" target="_blank">http://mathieu-sodore.blogspot.pt/2013/02/la-mano-azul-vi.html</a></i></span><br />
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</div>
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Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-18936361566110078092014-02-28T13:00:00.003-08:002014-02-28T13:00:19.920-08:00FESTIVAL ART+FILM<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8UgodU7thTpHpIZgs3aOkgvL2WeZmmLlvhrMG3pCMsMzCtqrbH20Y1dprkLFLYJyCUxhzpIw3LA34K4jMd_vIBoJbnV6OqkVS42JaBJx9qU_E_WdUHqjNZyhN21qin3KA4Y4-Qj_icSGI/s1600/art-film-festival-2014-og.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8UgodU7thTpHpIZgs3aOkgvL2WeZmmLlvhrMG3pCMsMzCtqrbH20Y1dprkLFLYJyCUxhzpIw3LA34K4jMd_vIBoJbnV6OqkVS42JaBJx9qU_E_WdUHqjNZyhN21qin3KA4Y4-Qj_icSGI/s1600/art-film-festival-2014-og.jpg" height="210" width="640" /></a></div>
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Le film sur ma peinture <i>La mano azul</i>,<i> </i>de Floreal Peleato, a été sélectionné dans la catégorie documentaire pour participer au festival ART+FILM, premier festival sur internet consacré aux relations entre peinture et cinéma.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyN2ievKA-4_RFfo7KcA_j09lptLdvk0ccQCbsiM0bhOh2us_0C0fEpiV6DwMgjERclYsg3OK6yyyw2u-GFZmXzEJonWFmvC6ew6FSN-QLo-CnTZ8ENPDmbe3e_inSMrNb0Ec5Djd8rhOw/s1600/La+mano+azul.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyN2ievKA-4_RFfo7KcA_j09lptLdvk0ccQCbsiM0bhOh2us_0C0fEpiV6DwMgjERclYsg3OK6yyyw2u-GFZmXzEJonWFmvC6ew6FSN-QLo-CnTZ8ENPDmbe3e_inSMrNb0Ec5Djd8rhOw/s1600/La+mano+azul.jpg" height="320" width="239" /></a></div>
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<i>La mano azul</i>, comme pour le festival <i>Per amor a l'Art </i>à Barcelone (<a href="http://mathieu-sodore.blogspot.pt/2013/02/la-mano-azul-barcelone.html" target="_blank">http://mathieu-sodore.blogspot.pt/2013/02/la-mano-azul-barcelone.html</a>) ou l'ouvrage collectif <i>Biographies de peintres à l'écran </i>(<a href="http://mathieu-sodore.blogspot.pt/2013/02/la-mano-azul-vi.html" target="_blank">http://mathieu-sodore.blogspot.pt/2013/02/la-mano-azul-vi.html</a>)<i> </i>se retrouve en belle compagnie avec des artistes tels que Goya, Van Gogh, Miró, Bacon, Gilbert et Georges, Barceló ou encore Banksy!<br />
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ART+FILM se déroule du 20 février au 17 mars 2014.</div>
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Pour accéder au festival c'est ici:</div>
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<a href="https://www.filmin.es/" target="_blank">https://www.filmin.es/</a></div>
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<br />Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-36971915185962588332014-02-26T11:06:00.001-08:002014-02-26T11:06:46.416-08:00PACO DE LUCÍALes mots me manquent...<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_e9eJG30YdV91IEgXXJksQEeKEFU-I85jrje-p2A2zQlxiP8hTWXykE23voZBFFJN58YQQXfRri1P-06IuxvVu3dJhsykr9T1W2CR5yA0jJPSVlmBc-yc5efNNZuql1V6z2Zs1kyCwVnX/s1600/Paco.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_e9eJG30YdV91IEgXXJksQEeKEFU-I85jrje-p2A2zQlxiP8hTWXykE23voZBFFJN58YQQXfRri1P-06IuxvVu3dJhsykr9T1W2CR5yA0jJPSVlmBc-yc5efNNZuql1V6z2Zs1kyCwVnX/s1600/Paco.jpeg" height="400" width="255" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Paco de Lucía /</i>encre sur papier / 1999/14x18 cm.</td></tr>
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ADIÓS MAESTRO!<br /><br /></div>
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Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-43409871661549695712014-02-25T11:57:00.000-08:002014-02-25T11:57:13.248-08:00 EXPOSIÇÃO EM LISBOA / EXPOSITION À LISBONNE <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivZy2tD1yjKjV4P6ZDWdrSxyIbvCnX-o3mi4zk9PP6pEF3fucyfQ80Y-rufcRVEEYufrV_5GpH49-9yGN9Y41dZ3WlXW2cz8nZEzYbJF5IzfrlV6aIrqiRtnbs4yrko9qFoUAzLCtwaHN-/s1600/Capture+d%E2%80%99e%CC%81cran+2014-02-22+a%CC%80+6.29.48+PM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivZy2tD1yjKjV4P6ZDWdrSxyIbvCnX-o3mi4zk9PP6pEF3fucyfQ80Y-rufcRVEEYufrV_5GpH49-9yGN9Y41dZ3WlXW2cz8nZEzYbJF5IzfrlV6aIrqiRtnbs4yrko9qFoUAzLCtwaHN-/s1600/Capture+d%E2%80%99e%CC%81cran+2014-02-22+a%CC%80+6.29.48+PM.png" imageanchor="1"><span class="Apple-style-span" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"> </span></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivZy2tD1yjKjV4P6ZDWdrSxyIbvCnX-o3mi4zk9PP6pEF3fucyfQ80Y-rufcRVEEYufrV_5GpH49-9yGN9Y41dZ3WlXW2cz8nZEzYbJF5IzfrlV6aIrqiRtnbs4yrko9qFoUAzLCtwaHN-/s1600/Capture+d%E2%80%99e%CC%81cran+2014-02-22+a%CC%80+6.29.48+PM.png" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; clear: left; color: black; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="color: orange;"> A minha exposição no "Duetos da Sé" em Alfama</span></span><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; clear: left; color: black; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="color: orange;"><i><b>Fernando Pessoa - pequenas viagens interiores</b></i></span></span><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; clear: left; color: black; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="color: orange;"> termina dia 28 de Fevereiro</span></span></a></div>
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Mon exposition au "Duetos da Sé" à Alfama <i><b>Fernando Pessoa - petits voyages intérieurs</b></i> se</div>
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termine le 28 février. </div>
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Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-12010534440128025362014-02-23T06:55:00.000-08:002014-02-28T11:56:49.971-08:00CONVERSAS AO PEQUENO ALMOÇO NO ATELIER II<div class="separator" style="clear: both; text-align: center;">
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Quelques images des dernières "Conversations d'ateliers au petit déjeuner" qui se sont déroulées dans mon atelier il y a peu. Cette manifestation, à l'initiative de l'association "Castelo d'If", permet de découvrir, une fois par mois, des ateliers et des artistes de Lisbonne, de parler de leurs oeuvres et de leurs démarches artistiques café et croissants à portée de bouche.<br />
Mélangeant les générations, faisant se croiser des professionnels de l'art et des amateurs, cette rencontre a été l'occasion de beaux échanges suivis d'un bon déjeuner (pas petit!)<br />
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Nb; Les photographies sont d'Anne Dallery et de Carlos Alves.Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-13619974846052305652014-02-15T08:05:00.000-08:002014-02-15T12:06:58.341-08:00FLOREAL PELEATO <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxHp2EijP4UPR4PTzEXUn9jmEiGatxZNB3yMvTBIyE8jnxWNtiB7LGG9qNaRJWLeRu7mUogj7IYaL-y6Z45L_ssH8878fnwWfPqoh8kCmqWegC0YWXdtUC9Uf84ZwW6pMDnBcCR5d9Z39y/s1600/Floreal.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxHp2EijP4UPR4PTzEXUn9jmEiGatxZNB3yMvTBIyE8jnxWNtiB7LGG9qNaRJWLeRu7mUogj7IYaL-y6Z45L_ssH8878fnwWfPqoh8kCmqWegC0YWXdtUC9Uf84ZwW6pMDnBcCR5d9Z39y/s1600/Floreal.JPG" height="200" width="166" /></a><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Après avoir découvert Floreal Peleato cinéaste (voir sur ce blog les articles </span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">sur le film <i>La mano azul </i>dont il est le réalisateur), critique de cinéma (voir l'article <i>Goya/Saura</i>)<i>,</i> je vous propose d'apprécier une autre facette de son talent, celle d'écrivain.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Après la publication de divers ouvrages (<i>Siete voces, </i><i>Centinelas)</i> il vient de sortir un roman:</span><br />
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<b><i><span class="Apple-style-span" style="color: #b45f06; font-size: large;">Amerindia</span></i></b><br />
<b><i><span class="Apple-style-span" style="color: #b45f06; font-size: large;">El círculo de los ventos</span></i></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfgPJXhklSf8_laWdZDcHxTzm4b_VcDGwgT1RxGHE0BSInZh4p-iWl0iiSOyBtJtHuKCF4C_lBWd0QeNWcHlt0vkvxjJQKtLFoylPd6nMwRNd-tuntS7Homq9Ok_y0AeEy-RTD09BHPkuP/s1600/Foto+1.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfgPJXhklSf8_laWdZDcHxTzm4b_VcDGwgT1RxGHE0BSInZh4p-iWl0iiSOyBtJtHuKCF4C_lBWd0QeNWcHlt0vkvxjJQKtLFoylPd6nMwRNd-tuntS7Homq9Ok_y0AeEy-RTD09BHPkuP/s1600/Foto+1.png" height="320" width="240" /></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">En 1791, la Lousiane espagnole s’étend du Canada jusqu’au Texas. Quelques dizaines à peine de soldats tentent de freiner l’expansion des Américains vers l’Ouest, de contenir la rivalité commerciale qui oppose Français et Anglais et de contrôler les relations avec les nations indiennes.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">La petite ville de Saint Louis s’ouvre sur l’inconnu. C’est à partir de là qu’un Français, ancien officier de cavalerie, décide de pénétrer dans la vaste Prairie située entre les rives du Missouri et les Montagnes Rocheuses. Cet aristocrate tourmenté ne partage pas les idées du Siècle des Lumières et rejette la Révolution. Il ignore que pour lui commence alors un voyage sans retour au coeur des Collines Noires.</span></div>
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Parmi les « Flèches striées », les Tsistsistas désignés plus tard sous le nom de Cheyennes, il va vivre les changements profonds et violents qui vont bouleverser la culture des peuples Indiens, tandis que les blancs lentement mais inexorablement vont resserrer l’étau sur un immense territoire qui aurait pu s’appeler un jour Amerind</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">ia.</span></span></div>
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<span class="Apple-style-span" style="font-family: Times; font-size: large;"><br /></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Pour présenter son roman </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Floreal Peleato a réalisé</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"> un booktrailer. Outre un beau travail sur le son et le rythme l'image est particulièrement soignée. La riche iconographie permettra à l'amateur de peinture de reconnaître au fil des plans des tableaux d'artistes tels que <span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="line-height: 22px;">Géricault, </span><span class="Apple-style-span" style="line-height: 22px;">Biersdadt, Wittredge, </span><span class="Apple-style-span" style="line-height: 22px;">Reynolds, Herman Herzog, Joseph Vernet, </span><span class="Apple-style-span" style="line-height: 22px;">Henry Farny ou encore Nicolas-Bernard Lépicié qui fut élève de Van Loo.</span></span></span><br />
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<span class="Apple-style-span" style="line-height: 22px;"><span class="Apple-style-span" style="color: white; font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: large;">Pour voir le booktrailer c'est ici:</span></span></span></div>
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<span class="Apple-style-span" style="font-family: Times;"><a href="http://www.youtube.com/watch?v=yjyquROtj7g" target="_blank">http://www.youtube.com/watch?v=yjyquROtj7g</a></span></span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Roman disponible sur:</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><a href="http://www.amazon.es/Amerindia-Floreal-Peleato-ebook/dp/B00IANWILS/" target="_blank">http://www.amazon.es/Amerindia-Floreal-Peleato-ebook/dp/B00IANWILS/</a></span><br />
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Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-63719752325504192422014-02-12T00:18:00.001-08:002014-02-12T10:00:11.288-08:00CONVERSAS AO PEQUENO ALMOÇO NO ATELIER<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNERn8FIViy2iWj9j4xNMiqloEe1hCRvnMZMDBFhE9Zbv-UnZhQ3z7zDRUmg-4PBkIN7WYk11haElIALRN4aNps1P99VM9MzZHHlrZXe3SmVUsAnVV5zOL3Ct-sn9AywrUSE3Yjts6o27O/s1600/Capture+d%E2%80%99e%CC%81cran+2014-02-11+a%CC%80+12.34.10+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNERn8FIViy2iWj9j4xNMiqloEe1hCRvnMZMDBFhE9Zbv-UnZhQ3z7zDRUmg-4PBkIN7WYk11haElIALRN4aNps1P99VM9MzZHHlrZXe3SmVUsAnVV5zOL3Ct-sn9AywrUSE3Yjts6o27O/s1600/Capture+d%E2%80%99e%CC%81cran+2014-02-11+a%CC%80+12.34.10+PM.png" height="504" width="640" /></a></div>
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<a href="http://www.castelodif.com/" target="_blank">http://www.castelodif.com/</a>Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-14763735327596187592014-02-08T09:50:00.000-08:002014-02-28T11:54:59.981-08:00EXPOSIÇÃO EM LISBOA<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM-VIymR9xobYqpN3pyui4sUzNzkEleYpbDMbnfnIS9UoMiMH2jiYG2e-hkdaJF4eMgrMhXHdyUJOLwnZttJUTQHzwW_QNY_kdngQfInUglEbA6tJPLJI2i0uhwTWCYUf4Ey7kQdpdW9st/s1600/P1070266.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM-VIymR9xobYqpN3pyui4sUzNzkEleYpbDMbnfnIS9UoMiMH2jiYG2e-hkdaJF4eMgrMhXHdyUJOLwnZttJUTQHzwW_QNY_kdngQfInUglEbA6tJPLJI2i0uhwTWCYUf4Ey7kQdpdW9st/s1600/P1070266.JPG" height="320" width="244" /></a><br />
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<span class="Apple-style-span" style="color: orange;">A minha exposição <i><b>Fernando Pessoa - pequenas viagens interiores</b></i> (ver post anterior) inauguro no Domingo. Muita gente, um ambiente descontraído e agradável, muitos amigos contentes de descobrir obras nunca expostas desde 2002; 2002 o ano em que nasceu o meu filho Miguel. O Miguel que toco piano (e de que maneira!) durante a inauguração.</span><br />
<span class="Apple-style-span" style="color: orange;">Aqui vão uma fotografias da montagem, das obras e o texto que acompanha a exposição (Para a inauguração a máquina fotográfica fico sem bateria...).</span><br />
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Le vernissage de mon exposition <b style="font-style: italic;">Fernando Pessoa - petits voyages intérieurs </b>(voir article précédent) s'est déroulé dimanche dernier. Beaucoup de monde, une ambiance décontractée et agréable, des amis ravis de découvrir des oeuvres jamais montrées depuis 2002; 2002 année de naissance de mon fils Miguel qui nous a fait le plaisir de jouer du piano (et de quelle manière!) durant le vernissage.<br />
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Voici quelques images de l'accrochage, d'oeuvres, et le texte qui accompagne l'exposition (pour le vernissage lui-même l'appareil photo n'avait plus de batteries....).<br />
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<span class="Apple-style-span" style="color: orange; font-size: medium;"><i><br /></i></span>
<span style="color: orange; font-size: medium;"><i>FERNANDO
PESSOA - PEQUENAS VIAGENS INTERIORES</i></span></div>
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<span class="Apple-style-span" style="color: orange;"><br /></span></div>
<div style="font-style: normal; margin-bottom: 0in;">
<span style="color: orange; font-size: medium;">A
exposição apresenta um conjunto de obras tendo Fernando Pessoa como
denominador comun. Parte destas obras foram apresentadas na Casa
Fernando Pessoa, entre Outubro e Dezembro de 2002. Nessa ocasião
Richard Zenith, estudioso e tradutor de Fernando Pessoa, escreveu
para o catálogo: <i>“As caixas temáticas de Mathieu Sodore podem
ser vistas como interlúdio ficcional , um momento animado que imita
a vida. Nelas encontramos o retrato cliché de Pessoa rodeado da
Lisboa do seu tempo mas acompanhado, também, pelas criações
literárias em que sublimou, ou transferiu, a sua realidade humana.
As técnicas são “collage” e “assemblage”, pois estamos no
reino da fragmentação, a via encontrada por Pessoa para sobreviver
no mundo de todos nós. Cada caixa, por ser uma caixa e por ter um
tamanho padrão, reafirma a unidade sugerida pelo
título-tema,”Orpheu” ou “Ricardo Reis” ou “Aexander
Search” ou “Desassossego”, mas o conteúdo da caixa é cortado
em pedaços, para nos lembrar que toda e qualquer unidade é falsa,
que “a Natureza é partes sem um todo” (Caeiro).[...] Mathieu
Sodore quis mesmo afastar-se do cliché para melhor o interrogar.”</i></span></div>
<div style="font-style: normal; margin-bottom: 0in;">
<span style="color: orange; font-size: medium;">O
título-<i>Pequenas viagens interiores-</i><span style="font-weight: normal;">
remete para as palavras de Pessoa “Sendo assim, não evoluo.
Viajo.”(1) que Robert Bréchon aproxima das viagens imóveis de
Henri Michaux quando este ultimo afirma “Escrevo para me
percorrer[...] Essa é a aventura de estar vivo”(2).</span></span></div>
<div style="font-style: normal; font-weight: normal; margin-bottom: 0in;">
<span class="Apple-style-span" style="color: orange;"><span style="font-size: medium;">Cada obra afirma a vontade do pintor de propor um olhar
singular sobre um poeta plural. </span>
</span></div>
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<ol>
<li><div style="font-style: normal; font-weight: normal; margin-bottom: 0in;">
<span style="color: orange; font-size: medium;">Carta de Fernando Pessoa a Casais Monteiro, datada de
20 de janeiro de 1935.</span></div>
</li>
<li><div style="font-style: normal; font-weight: normal; margin-bottom: 0in;">
<span style="color: orange; font-size: medium;">Robert Bréchon, <i>Etrange étranger. Une biographie
de Fernando Pessoa.</i></span></div>
<div style="font-style: normal; font-weight: normal; margin-bottom: 0in;">
<span style="color: orange; font-size: medium;">Paris: Christian Bourgois Editeur, 1996, p.206.</span></div>
</li>
</ol>
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<span style="font-size: medium;"><i>FERNANDO
PESSOA - PETITS VOYAGES INTÉRIEURS</i></span></div>
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<div style="margin-bottom: 0in;">
<span style="font-size: medium;">L'exposition présente un
ensemble de travaux ayant Fernando Pessoa pour dénominateur commun.
Une partie de ces oeuvres a été présentée à la C<i>asa Fernando
Pessoa </i><span style="font-style: normal;">à Lisbonne d'octobre à
décembre 2002.</span><i> </i><span style="font-style: normal;">A
cette occasion Richard Zenith, spécialiste et traducteur de Fernando
Pessoa écrivit pour le catalogue: </span><i>« Les boîtes
thématiques de Mathieu Sodore peuvent être vues comme un interlude
fictionnel, un moment animé qui imite la vie. Dans ces boîtes nous
trouvons le portrait-cliché de Pessoa entouré de la Lisbonne de son
temps mais accompagné, également, des créations littéraires dans
lesquelles il a sublimé, ou transféré, sa réalité humaine. Les
techniques utilisées sont le collage et l'assemblage, car nous
sommes au royaume de la fragmentation, la voie trouvée par Pessoa
pour survivre dans ce monde qui est celui de nous tous. Chaque boîte,
de par sa nature de boîte, et parce que de dimensions identiques à
celles des autres, réaffirme l'unité suggérée par son
titre-thème, « Orpheu » ou « Ricardo Reis »
ou « Alexander Search » ou « Desassossego »,
mais le contenu de la boîte est coupé en morceaux, pour nous
rappeler que toute unité est fausse, que « La Nature est
partie sans un tout » (Caeiro).[...] Mathieu Sodore a
réellement voulu s'éloigner du cliché afin de mieux
l'interroger. »</i><span style="font-style: normal;"> </span></span>
</div>
<div style="margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-style: normal;">Le
titre-</span><i> Petits voyages intérieurs -</i><span style="font-style: normal;">renvoie
aux mots de Pessoa « Etant ainsi, je n'évolue pas. Je
voyage. »(1) que Robert Bréchon rapproche des voyages
immobiles d'Henri Michaux lorsque celui-ci affirme « J'écris
pour me parcourir […] Là est l'aventure d'être en vie»(2).</span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-style: normal;">Chaque
œuvre souligne la volonté du peintre de proposer un regard
singulier sur un poète pluriel.</span></span></div>
<div style="font-style: normal; margin-bottom: 0in;">
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<div style="font-style: normal; margin-bottom: 0in;">
<br /></div>
<ol>
<li><div style="font-style: normal; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">Lettre de Fernando Pessoa à Casais Monteiro, datée du
20 janvier 1935.</span></div>
</li>
<li><div style="font-style: normal; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">Robert Bréchon, <i>Etrange étranger. Une biographie
de Fernando Pessoa.</i></span></div>
<div style="font-style: normal; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">Paris: Christian Bourgois Editeur, 1996, p.206.</span></div>
</li>
</ol>
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<div style="font-style: normal; font-weight: normal; margin-bottom: 0in;">
<span class="Apple-style-span" style="color: orange;">Para terminar algumas "Caixas Pessoanas" (cada caixa: 2002 / Técnica mista sobre madeira / 35 x 12 x 4 cm).</span></div>
<div style="font-style: normal; font-weight: normal; margin-bottom: 0in;">
Pour terminer quelques "Boîtes Pessoanas" (chaque boîte: 2202 / Technique mixte sur bois / 35 x 12 x 4cm).</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsG2sqqzi1JwGduyQOc2A2jbjV8SYA3GkhF4N2OFzltvCYpJ3we8oiTNvSAs03wFw6-dr2P-LiC-tIOd_GXHrJRkq_Dpkvt4wcshTz1dRMs2yH0IdCosDLm0OmKVpbf2eRs1QoCG0W57xy/s1600/b7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsG2sqqzi1JwGduyQOc2A2jbjV8SYA3GkhF4N2OFzltvCYpJ3we8oiTNvSAs03wFw6-dr2P-LiC-tIOd_GXHrJRkq_Dpkvt4wcshTz1dRMs2yH0IdCosDLm0OmKVpbf2eRs1QoCG0W57xy/s1600/b7.jpg" height="132" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jean Seul de Meluret</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvqpXMbbMn3dMyjrgNPg0ygUV-UL6LJoDT19402HaR_3l5TEltnaHbDWLoV9SZKhILRb7OUUxMGlnZhnA1f5m2ouofJwupivKdl7JrmsxMXpj4tPp8wDKPi9jZIwMdxI_9fbaqHQsFutzE/s1600/b4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvqpXMbbMn3dMyjrgNPg0ygUV-UL6LJoDT19402HaR_3l5TEltnaHbDWLoV9SZKhILRb7OUUxMGlnZhnA1f5m2ouofJwupivKdl7JrmsxMXpj4tPp8wDKPi9jZIwMdxI_9fbaqHQsFutzE/s1600/b4.jpg" height="132" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Álvaro de Campos</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNz2NF-93hj0JP1uO98GWL-fv4TsH7FvU2odzRsvsO-WCcPbngCZNfWtZLLg9gRCeqztf3fisnI-pqHWop2CIN5ln3Khen8-HKYl_Fgfnvx4_gV01gVw66RjdQ1kpQYAzZR-Y671cZj9b4/s1600/b8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNz2NF-93hj0JP1uO98GWL-fv4TsH7FvU2odzRsvsO-WCcPbngCZNfWtZLLg9gRCeqztf3fisnI-pqHWop2CIN5ln3Khen8-HKYl_Fgfnvx4_gV01gVw66RjdQ1kpQYAzZR-Y671cZj9b4/s1600/b8.jpg" height="135" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Martinho de Arcada</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVPUI2BSWX0INl76Eome5G4T8EUDPfxaxx8Ao1FgPOcBPuu12rGSobIAjfNWBSJCOIDAqj-W4zBdAxibYfChR-I1o_msMhHqxRuSDCRsZA_uu3ddi17tjcWJK3xoPs4hO8AJtj4oinxBv4/s1600/b1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVPUI2BSWX0INl76Eome5G4T8EUDPfxaxx8Ao1FgPOcBPuu12rGSobIAjfNWBSJCOIDAqj-W4zBdAxibYfChR-I1o_msMhHqxRuSDCRsZA_uu3ddi17tjcWJK3xoPs4hO8AJtj4oinxBv4/s1600/b1.jpg" height="135" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dr Pancracio</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTn6IIDoeFXf3xSidc8NkNH8rCxBcUIYRJL6-NnvVqkC3h5EYFmmNh0EIWmR_h6a7-Nx7Z1Yy7PkYrFRYEEQGd8bjJ0EvWxtVKD63dDT0U3UINLAzIzOaajJY6oI6d0fY0ekmXiQ6cnu0m/s1600/b5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTn6IIDoeFXf3xSidc8NkNH8rCxBcUIYRJL6-NnvVqkC3h5EYFmmNh0EIWmR_h6a7-Nx7Z1Yy7PkYrFRYEEQGd8bjJ0EvWxtVKD63dDT0U3UINLAzIzOaajJY6oI6d0fY0ekmXiQ6cnu0m/s1600/b5.jpg" height="130" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Aleister Crowley</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTfZEI1TeJeIVpD77Iu8ppDja7Z34mXIpiZ41yD1A_JDHTzZW58r7bW2vkIby2hW7JxG2C8zJhKecUzt6yFQTDdeZiimx9MkHkUjn0nOXU_13wZTp9CzOg1ragG07cygsN3a6NBaqoAXbS/s1600/b9.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTfZEI1TeJeIVpD77Iu8ppDja7Z34mXIpiZ41yD1A_JDHTzZW58r7bW2vkIby2hW7JxG2C8zJhKecUzt6yFQTDdeZiimx9MkHkUjn0nOXU_13wZTp9CzOg1ragG07cygsN3a6NBaqoAXbS/s1600/b9.jpg" height="130" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">O Mestre Fernando Pessoa</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Ricardo Reis</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJaKtgkJb6VP72tdCjymZQ_8rfgKG0ZRKErD3D2Hz-G1J2tIgsE_myCi7zlmsjWbEkoxQqgz_F3-jtD_C_kAchBCqUo-gd6nMAPMuZRTrl3ZXHaV2cJfSgtaHnjrk1ubYR4Uckl1vnCs2l/s1600/b12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJaKtgkJb6VP72tdCjymZQ_8rfgKG0ZRKErD3D2Hz-G1J2tIgsE_myCi7zlmsjWbEkoxQqgz_F3-jtD_C_kAchBCqUo-gd6nMAPMuZRTrl3ZXHaV2cJfSgtaHnjrk1ubYR4Uckl1vnCs2l/s1600/b12.jpg" height="132" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Orpheu </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUSaqkbM7_P-5HUxvYrMlkhWYmreaVxoxw2V3Ce5sgpcNQLB1mXuySMUWvgM1lH3lxUpTSGdwlMIi-LM-zEqCWhhfm-GaAnouJ4Ea7Ph-FBiEt06op19PiuuIONbtDES1ipPDQKW-DdreM/s1600/b11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUSaqkbM7_P-5HUxvYrMlkhWYmreaVxoxw2V3Ce5sgpcNQLB1mXuySMUWvgM1lH3lxUpTSGdwlMIi-LM-zEqCWhhfm-GaAnouJ4Ea7Ph-FBiEt06op19PiuuIONbtDES1ipPDQKW-DdreM/s1600/b11.jpg" height="131" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Orpheu 3</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-_wR0Z2El0HAM-5npZzRFJON4GnTg_oFLyA0cAPds0bwX4jZdggcKpHiUWcp2t7npjH14BmGFeUQmudmIjCIYx6hNft2s4X4wi638eQrVoaEuMC2S7Ff9Toy7dimeUfsFEOT38DO_2Abd/s1600/b6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-_wR0Z2El0HAM-5npZzRFJON4GnTg_oFLyA0cAPds0bwX4jZdggcKpHiUWcp2t7npjH14BmGFeUQmudmIjCIYx6hNft2s4X4wi638eQrVoaEuMC2S7Ff9Toy7dimeUfsFEOT38DO_2Abd/s1600/b6.jpg" height="126" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mário de Sá-Carneiro</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglg067iFRHDE156tdhTswBFwL5EAEYE5LywukzffTSSxkQtDQgJzYt9CZrMb7epDBuCsYOXUtyLOIygZeHQALHmh_9ut0wd-PqK1efhpesfQRrQAdF9doGzOuP_M7cJ4WdgcZaThsLfl74/s1600/b13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglg067iFRHDE156tdhTswBFwL5EAEYE5LywukzffTSSxkQtDQgJzYt9CZrMb7epDBuCsYOXUtyLOIygZeHQALHmh_9ut0wd-PqK1efhpesfQRrQAdF9doGzOuP_M7cJ4WdgcZaThsLfl74/s1600/b13.jpg" height="135" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Almada Negreiros</td></tr>
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<span style="font-family: Arial, sans-serif;"><span style="color: orange; font-size: small;">EXPOSIÇÃO
DE 2 DE FEVEREIRO A 28 DE FEVEREIRO 2014</span></span></div>
<div style="font-weight: normal; margin-bottom: 0.21in;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: small;"><span class="Apple-style-span" style="color: orange;">Horário: Terça-feira e
Quarta-feira: 17h00–00h00 / Quinta-feira e Sexta-feira: 17h00–02h00 / Sábado : 12h30–02h00 / Domingo: 12h30–00h00 (Encerra à Segunda-feira) </span> </span></span></div>
<div style="font-weight: normal; margin-bottom: 0.21in;">
<span class="Apple-style-span" style="color: orange; font-family: Arial, sans-serif;">DUETOS DA SÉ / Travessa do Almargem 1B / Alfama / LISBOA</span></div>
<div style="font-weight: normal; margin-bottom: 0.21in;">
<span class="Apple-style-span" style="font-size: medium;"><a href="http://www.duetosdase.com/site/?p=5230" target="_blank">http://www.duetosdase.com/site/?p=5230</a></span><br />
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Nb; Les photographies sont d'Anne Dallery et de Mathieu Sodore</div>
<div style="font-weight: normal; margin-bottom: 0.21in;">
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J'ai le plaisir de vous inviter à l'inauguration de mon exposition <i>Fernando Pessoa-Pequenas viagens interiores </i>qui se déroulera à Lisbonne, au "Duetos da Sé", très bel espace à deux pas de mon atelier.<br />
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Le vernissage aura lieu dimanche 2 février à partir de 17 heures.</div>
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Até domingo!</div>
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Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0tag:blogger.com,1999:blog-927732388931888048.post-16482446063043828522014-01-03T01:25:00.001-08:002014-01-03T01:25:23.494-08:00ANNIVERSAIRE<br />
<span class="Apple-style-span" style="font-size: large;"> </span> <span class="Apple-style-span" style="font-size: large;"> Mon blog fête aujourd'hui sa première année. </span><br />
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<span class="Apple-style-span" style="font-size: large;">10538 visiteurs.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Merci à toutes et à tous!</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI477WQ1JiqtpCqE3c1-0sLcBkneY5LMeRqJo_JYAbKaZMYGKNlPsBieF156HXGLE_Tunz4OXLia8iYDwhFtUCnnyn0T3q2LsBqoRPYiZnop2pH3aw8wTb4TJjltUG_hf4x22PuZp-jnnF/s1600/Autoportrait+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI477WQ1JiqtpCqE3c1-0sLcBkneY5LMeRqJo_JYAbKaZMYGKNlPsBieF156HXGLE_Tunz4OXLia8iYDwhFtUCnnyn0T3q2LsBqoRPYiZnop2pH3aw8wTb4TJjltUG_hf4x22PuZp-jnnF/s320/Autoportrait+1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mathieu Sodore / <i>Autoportrait IV / </i>2006 /<br />
Technique mixte sur papier marouflé<br />
sur toile / 40 X 40 cm.<br />
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Anonymoushttp://www.blogger.com/profile/00147849168077642456noreply@blogger.com0