Emmanuelle Antille

Deconstructing Cinematic Territories

Installation of a series of seven videos, colour projection, mute, loop, 2022 (2'36", 3'14", 1'52", 2'09", 3'18", 2'32", 2'01")

IN ORDER TO COMMIT TO REDUCING OUR ELECTRICITY CONSUMPTION TOGETHER, THE VIDEO WORKS OF THE MIRE PROGRAMME ARE BROADCAST ONLY DURING PEAK HOURS, FROM 7AM TO 9.30AM, FROM 12PM TO 2.30PM AND FROM 5.30PM TO 8PM. THANK YOU FOR YOUR UNDERSTANDING AND HAVE A NICE TRIP.

With this work in seven videos, the artist proposes a reflection on the perception of our territory using a vocabulary specific to cinema. Each video presents a landscape with specific natural elements (mountains, rocks, trees, flowers, smoke or asteroids). They are filmed in a way that blurs the boundaries between dream and reality, making us perceive space in a new way. The feeling of disorientation and displacement that this creates leads viewers to question their own vision, as well as the fundamental role given to the gaze by our society. The games of image manipulation used throughout the videos refer to cinematographic processes while remaining within the realm of the visual arts. The omnipresence of the artist’s hands and gestures on the screen reflects the creative process and contributes to this sense of discrepancy. The artist’s movements also introduce a bodily dimension to the experience of visual and mental transformation. This work, at the intersection of art and cinema, takes up themes dear to Emmanuelle Antille, such as the creative process, gesture, territory and language.

Each sequence in this installation has a title:
I. Polaris
II. Monument Valley
III. Nuit américaine
IV. Lévitation
V. Secrète géométrie
VI. Collage
VII. Lointain intérieur

Produced by the Fonds cantonal d'art contemporain, Geneva

Autres artistes à Genève — Eaux-Vives

Sara Bissen

Emmanuelle Antille, born in Lausanne in 1972, began her training at the École supérieure d’arts visuels in Geneva, before going to the Rijksakademie in Amsterdam in 1997. She has developed a multidisciplinary practice: photography, video, film and video installations. Focusing on human beings, her work explores their intimacy, their interactions and their relationship with their environment. Her visual and sound works play on a discrepancy with reality and are situated on the borderline between dream and hallucination. Her video work is part fiction, part documentary.

She has taken part in numerous exhibitions in Europe, the United States and Asia. She represented Switzerland at the 50^th Venice Biennale in 2003. That same year also marked the start of her film career, directing feature films such as Angels Camp (2003), Rollow (2005) and Avanti (2012). Her latest film, A Bright Light – Karen and the Process (2018), won Best Music Documentary at the Dock of The Bay Film Festival in San Sebastiàn in 2020.