Solo show.
Curator : Paul-Emmanuel Odin, invited by Dohyang Lee for Zoom 2015.
In collaboration with Jean-Pierre Mignot for the relation wine-video.
In States of Grace, video sublimates the relations between cinema and paintings. If Laurent Fiévet sends an exquisite and extreme slow motion thrill over some shots from Rear Window by Alfred Hitchcock, his purpose is to reveal, how this film is possessed by the aesthetics of Leonardo da Vinci through overlays (Hitchcock would have taken inspiration from the paintings that Fiévet pastes onto the movie). Thus we see Grace Kelly through da Vinci. Neither cinema nor painting comes out unscathed.
?In this infinitely intriguing interplay between film and painting in which each becomes lost in the other, the divine grace of da Vincis Madonnas and the grace of film star Grace Kelly merge and blend. And the most beautiful kiss of cinema history is lightened by the mystery of reverse gaze which is specific to Leonardos work.
How might the movement of film images coexist with the stillness of a painting? How does this impossibility represent all the challenge and the lure of this proposal, its radicalism, and the evidence of its assertions involving the identity of film and painting? Leonardo da Vincis painting was precisely, at heart, painting about movement, because da Vinci the painter and scientist was primarily interested in the flow of appearances, seeking to represent movements of the soul through movements of the body and thus reveal the blending of shadow and movement through the famous Leonardo «sfumato».
Beyond painting and film, something else emerges on the surface of the images, duplications, decenterings, twists, distortions and disfigurements. The encounter between the da Vinci paintings and the faces of Grace Kelly and James Stewart means that the figures are perverted, they are twisted to become not pure sensation, like Francis Bacon, but liquidity and monstruosity of emotion, of the soul – of desire.
Laurent Fiévet established a ritual with a wine expert that is invited to choose a different wine for each vidéo – the choice could be based on synaesthesia, history or esthetic. In Hitchcocks film the action of the characters have a constant relation to wine that give them fine figure, lightness, density. During the opening, the visitor will first have a taste experience, as a background to enter in the images, as a gustatory experience of the tone of the video, of its structure, as a editing of images and body.
Time is thus inhabited by the blood wine that no longer flows like time but is enclosed here in representation and its drunkenness, its vertigo. In this stun, we swill down hieroglyphs of time, mellow colors.
Paul-Emmanuel Odin
Galerie Dohyang Lee
75, rue Quincampoix
75003 Paris (France)
Tu – Sat : 11 AM – 1 PM and 2 PM – 7 PM.
Closed from December 24 to January 4 for Christmas Holidays.
www.galeriedohyanglee.com
Picture : Aurélien Mole for Dohyang Lee.
