Jacques Perconte

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

A gentle and patient travelling camera accompanies sunrise on the Père Lachaise cemetery, and by continual metamorphosis of the visual material shows a break through crossed by a chromatic life inexhaustible variations. A film born from Léos Carax's Holy Motors, with whom I collaborated on a music of Jean-Benoît Dunckel.

Salammbô is an alchemical game between my images, Othman Louati's music vibrating in Noé Nillni's trumpet and Gustave Flaubert's text carried by Julien Ribeill's voice.

With the immense freighters, the colors of the horizon will come, pushed by the winds, to take the whites of the cliffs, to project them in the green of the vegetation...

For Jean-Luc Godard, with all the admiration and affection of Jacques Perconte and Nicole Brenez. December 3, 2020.

Musician Jean-Benoît Dunckel, one half of the band AIR, and filmmaker Jacques Perconte, who works with Jeff Mills, an artist known for his colors and landscapes, who sculpts with his digital palette. Together, they created especially for the opening of the festival, a dialogue between improvisation and high-speed chase. Normandy's wooded countryside, magnified for the occasion, turns into a thousand suns rise and dazzle us.

A gentle and patient travelling camera accompanies sunrise on the Père Lachaise cemetery, and by continual metamorphosis of the visual material shows a break through crossed by a chromatic life inexhaustible variations. A film born from Léos Carax's Holy Motors, with whom I collaborated on a music of Jean-Benoît Dunckel.

Salammbô is an alchemical game between my images, Othman Louati's music vibrating in Noé Nillni's trumpet and Gustave Flaubert's text carried by Julien Ribeill's voice.

With the immense freighters, the colors of the horizon will come, pushed by the winds, to take the whites of the cliffs, to project them in the green of the vegetation...

For Jean-Luc Godard, with all the admiration and affection of Jacques Perconte and Nicole Brenez. December 3, 2020.

Musician Jean-Benoît Dunckel, one half of the band AIR, and filmmaker Jacques Perconte, who works with Jeff Mills, an artist known for his colors and landscapes, who sculpts with his digital palette. Together, they created especially for the opening of the festival, a dialogue between improvisation and high-speed chase. Normandy's wooded countryside, magnified for the occasion, turns into a thousand suns rise and dazzle us.

No synopsis available yet.

No synopsis available yet.

A few kilometres from Ajaccio, the burnt earth gives in to the weight of colour. The ground opens up and frees pictorial energies that take over the sky. I see the horizon disappear, but I keep it in my sights. The train continues on its way...

Digital film 3'25" Music Simonluca Laitempergher From a chronophotograph of the stormy night sky are born the colorful waves of a dream marked by a jolt of life. Here is a film which marks a moment not to forget. A film which tells of a night where I slept. A night where over time I moved forward in my story.

"Mountains are falling, and there's nothing we can do about it. And even if we have the means to rise to their height to admire them, to surpass those inaccessible peaks where many explorers lost their lives trying to gain the privilege of overcoming them, the mountains will continue to fall as they continue to rise. If Mount Blanc falls, it also rises."

"Mountains are falling, and there's nothing we can do about it. And even if we have the means to rise to their height to admire them, to surpass those inaccessible peaks where many explorers lost their lives trying to gain the privilege of overcoming them, the mountains will continue to fall as they continue to rise. If Mount Blanc falls, it also rises."

A new adventure above the Alps.

For this new work created for Le Générateur, Jacques Perconte sensually captures the high mountains, the camera listening to a few mountaineers suspended in their efforts between skies and stones, their hearts vibrating to the rhythm of their gestures, balance between two dimensions : there and here. L'Effort, le monde transforms the 400m2 of the Generator into an immense porthole, like the cockpit of a strange ship discovering a land that we can no longer see without thinking of the infernal machine that makes us powerful. The film has neither beginning nor end, in a continuous movement it accompanies its visitors outside of time. Thus propelled into another dimension, the space of the Generator allows a journey to be made sitting or standing, or leisurely while strolling.

No synopsis available yet.

A film about the magic power of nature. A journey to the heart of impressionistic Normandy. A colorful stroll in search of light and time.

With Morgane Bébin and Isabelle Claus. A dance film where the choreographed combat resonates with the film's subject matter.

In the heart of the mountains, the most precious minerals are hidden in the stone. Some people read the history of our universe in the rock folds, while others see signs of possible veins they could exploit. If concentrations were once too low to generate profit, we could be sure they won't be one day soon. This panoramic of summits and glaciers that draw the Meije overlap in the Ecrins. We slide from 2668 m to 3357 m altitude. The rock here is granite and gneiss. Bathed in gold, it releases light and vibrates with thousands of colors.

A half-hour immersion under the trees, road after road, with a succession of landscapes from the Périgord Noir... “uaoen” is a dreamlike film that leads the spectator through a landscape in transformation: in turn, its image is transformed, tree by tree, pixel by pixel — the landscape looses it’s iconography and its depth all while moving towards a final rupture with perspective by becoming completely flat. A work which frees itself from classical film dogma in order to become a space that is open and thus reserved for the liberty of the imagination.

The infinity of an extraordinary landscape, a canoe trip down the Ardèche gorges. The image is lodged in a stone vault in a sacred place.

No synopsis available yet.

Experiment in abstraction through the discovery of bodies and of the senses: six moments in a story of a meeting. The story of two (or three) bodies. Stigmas, decompression, red. Black. Several days. Several short stories. Green. Yellow. Abstract pornography. This movie is the first movie completely based on psychovisual compressions. The film is the story of the relationships between forms and the image in which they are registered. It is a story of meetings. It is a sulphurous story. This movie has something of a pornographic character. It focuses on the act itself.

No synopsis available yet.

The island of Patiras is the first land on the water of the estuary of the Gironde (west south of France). It is the first place where the winds of the ocean sink. It is a modest land with no relief. At the point, there is a shelter, an observatory overhung by a lighthouse. It is a rough and delicate corner, where time is suspended, but swept by the wind, burned by the sun, blown by the salts of the spray.

A few dozen images slide over each other. Transparency plays with skin textures. Sensuality shifts from red to white.

A recording of a generative work by Jacques Perconte.

The tour of the island at sunset. The light taps the sensors and saturates the colors. The boat spins and the water shakes me but I do not stop to fix the banks. The time could be suspended. There will never be a powerful enough way to capture the moment.

Infinite Loop. In his Tempestaire (2020), Jacques Perconte digitally interprets the meteorological imagery of Jean Epstein's film Le Tempestaire (1947). After capturing images of a storm in Cap Fagnet, Normandy, Perconte translates the atmospheric vibrations of the elements and colours of nature into vibrations of digital images whose pixellized textures and deconstructed take on a pictorial dimension reminiscent of the landscape painting of Romanticism and Impressionism. Perconte's work is a generative video in which images, constantly fed by software, never repeat themselves. The duration of the video is therefore potentially unlimited.

without gloves

Jacques Perconte takes us on the heels of a silhouette that will gradually take on the final shape of a young woman. Divided into three scenes of different durations and speeds, “promenade” immerses us from the start in a nocturnal atmosphere, dense than in universes alternately, confined, feverish, and finally contemplative; each is bathed in light and its own atmosphere. Only nuance, intermediate shots, on a dark sky where a moon is gradually extracted from the clouds which mask it. The whole punctuates with repetitive rhythms. Coming to the light, coming to the day, one thinks of course of the birth and the passage of life. The impression is only confirmed by a soothing finale facing the ocean.

Far off the coast of Africa, Madeira emerges from the ocean. It is the vast summit of an ancient volcano. As explorers we discover the coast, dive into the virgin forest and go through its million colors in the trough of valleys bathed in magical lights. Men on the other hillside, work the land, intending to exploit its richness. They get caught in matter and get slowly erased by the wind.

Angstel is a film-performance. The character was born one boring afternoon. He embodied the energy we had to spare, as much as he embodied our inability to take action. A manifesto of the limits to be overcome, Angstel was constructed through a series of disorganized performances in public spaces, culminating in a written and staged performance (which was ultimately lost).

The wind blew from the starting of the Ferry. Offshore, the swell could make the travel difficult, but that boat would split the sea and project its Mediterranean blue in the golden sky and the fire light of the setting sun in the waves. The horizon would be only sea, more than heaven, more than sea, more than heaven...

The Satyagraha (from Sanskrit सत्याग्रह) or embrace the truth "(satya = truth agraha = seizure) is the principle of non-violence civil disobedience that Mohandas Karamchand Gandhi was introduced. What happened to the values of Gandhi today? What world do we want to build. Se film does not lecture, he does not explain, it opens a space to slip and sensitive issue.

The window of an apartment in Rotterdam leads us to the outskirts of an industrial industrial port, a strident and devouring machine that pours out its flames. In front of this infernal and metallic spectacle, the horizon appears obstructed. The steel factories transform the material into smoke and and the boats sail against winds and tides. Above the metal and the buildings that pierce the sky: silence and the flight of and the flight of birds are only a hypothesis.

TGV Paris-Bordeaux, tuesday january 6th 2009 : dawn... And airs grown calm when white the dawn appeareth And white snow falling where no wind is bent . . . Guido Cavalcanti (1255, 1300) Film (numérique) de 6', HD 720p, juin 2009 rom black to brown and then white, red and yellow, the light of this snowy dawn was astonishing. I had this phrase from Guido Cavalcanti in my head. I wanted to put it into colors. I wanted to film a landscape in movement, a landscape unfolding, a landscape that would go to our hearts through the play of fragile materialety and of pictural poetry.

No synopsis available yet.

Misappropriation of the background from the 2012 N.S poster: "A Strong France". The poster is once more subverted. But this time, it is up to you to hear, to see, and to understand what it means. The future belongs to us !

A solo audiovisual performance. Eighth entry into deeply beguiling series of works responding to the Alps acted as the closing night event of Alchemy Film Festival. The images are studies of the Alps degraded and distorted live at the front of the auditorium; the picture pixelated, streams of colour engulfed the screen like a crashed desktop, and as hawks hovered over the mountains they left staggered trails of glitches across the screen like computerised vapour trails. The audio was also created live using short atonal precomposed tracks. The aim was to create a digital alchemy, an abstracted journey into the mountains, a wild wonder inside and out.

Music by Jean-Jacques Birgé.

Made over the course of several visits to the Scottish Borders by the French artist filmmaker Jacques Perconte, the film interrogates the Scottish borders unique heritage : sheep farming, fabrics, the woolen mill tradition and our unique landscapes are all rendered in an impressionistic arc of colour and movement. The path we drive leads to the heart of the Ettrick Forest, a dive into a textile world. A land where man, machinery and nature deal with a complex relationship that draws their future. Slipping through poetry, between the brutality of matter and the sublime landscape, we experience a penetrating vision that embodies the stability of our deep desire to live in peace. Spectators are aware of the impotence of our movements, and we know that nature will find its way.