Gérard Cairaschi

No synopsis available yet.

Whereas dream is reconstructing the world, cinema waking dream is interpreting the appearance of things.

The silence of the boat, the silence of the river, the silence of the crossed cities, the silence of the abandoned factories, the silence after the crash of bombs, the silence of death, the silence before the disaster. The silence at the approach of the frontier, the passage silencer of the warriors and migrants. The infinite between two shores.

The incessant exploration of the borders of our world banishes us further and further from its centre, just as the discovery of how our physical exterior functions has shifted its centre from the heart to the brain. The video entitled (Eden) plays with visual collusions, the representations of various different cultures reminiscences of our dreams, our myths, our desires, yearnings and anxieties.

The installation ‘QUINAE’, which evokes multiple voyages, could be seen as a ‘Road Movie’. If the first shots of the road are literally images of trips, the evocation of other journeys that follows is more allusive, more diverse and more unexpected: geographical, historical, literary, dreamlike, psychoanalytical, and symbolic voyages etc., not to mention the incessant movement of our gaze from one image to the next, between one image and the next.

Oversight is a poetic voyage through engravings. Without ever quoting any of these works, the images play with their motifs and themes. The film is a set of representations where features, colors and signs merge the viewer with the very material of the images of a floating world.

No synopsis available yet.

Whereas dream is reconstructing the world, cinema waking dream is interpreting the appearance of things.

The silence of the boat, the silence of the river, the silence of the crossed cities, the silence of the abandoned factories, the silence after the crash of bombs, the silence of death, the silence before the disaster. The silence at the approach of the frontier, the passage silencer of the warriors and migrants. The infinite between two shores.

The incessant exploration of the borders of our world banishes us further and further from its centre, just as the discovery of how our physical exterior functions has shifted its centre from the heart to the brain. The video entitled (Eden) plays with visual collusions, the representations of various different cultures reminiscences of our dreams, our myths, our desires, yearnings and anxieties.

The installation ‘QUINAE’, which evokes multiple voyages, could be seen as a ‘Road Movie’. If the first shots of the road are literally images of trips, the evocation of other journeys that follows is more allusive, more diverse and more unexpected: geographical, historical, literary, dreamlike, psychoanalytical, and symbolic voyages etc., not to mention the incessant movement of our gaze from one image to the next, between one image and the next.

Oversight is a poetic voyage through engravings. Without ever quoting any of these works, the images play with their motifs and themes. The film is a set of representations where features, colors and signs merge the viewer with the very material of the images of a floating world.

A young boy molds objects with clay that he then manipulates, combines and associates, in an obscure ritual. As the objects/representations he creates combine and develop a narrative, the fast alternation of images on the screen imbricate and shape images/apparitions that only the “lanterna magica” of cinema and the magic of editing allow. Magia means enchantment.

Délices plays on the overlapping of images which, through the pulse of rapid editing, interweave in a graphic and colorful shimmer. Those fluid images combine a body with natural elements in a slow and continuous camera movement. A journey between images, between two worlds, that is symbolically represented by the presence of fish as a link between the surface and the unknown depths of the liquid element : between the conscious and the unconscious.

The video Immagine is the story of Eve and the forbidden fruit. The first of many stories of the Old Testament in which food is involved. A religion story wich takes cultures and immemorial traditions texts and evokes two wonderful trees whose fruits are able to give knowledge and immortality. Cautionary tale, common to all religions, which sets scenes constant and unfailing links between religion and food, between food and prohibits, between prohibited and transgression, between transgression and punishment. The use of secrecy, mystery, dogma, and the divine law by religions. A human construction of a system of obstruction against the legitimate hunger for knowledge and freedom.

No synopsis available yet.

Michel J consists of a series of portraits drawn from a video that was filmed during the religious service for the death of Michel Journiac in October 1995. It is the memory of this mass, the representation of a rite. A video work at first, it uses photography and ends up in painting, in pictorialness, through numerous references to the History of art and to ancient and modern painting.

There is only one true and definite way out of this world, but countless are the stories and representations, passages or journeys, towards the other, dreamed or feared, side - multitudes of other imaginary worlds which live inside of us; places, objects and beings of our existence, of our transposed world which is inhabited by our dreams.

The video IRAE (anger in Latin) interwaves myths, beliefs, narratives. Images that inhabit us, populate our imagination, build us. Images fashioned by our dreams, art and our desires. The soundtrack, long lament, evokes absence, pain, desire, expectation, hope, anger.

Carried by a song, images and fragments of narration intertwine. Simulacrum, magical or religious ritual, ritual of death or rite of passage, nothing is explicit in the action that deploys amongst the characters, between the extreme proximity and, at the same time, the absolute distance expressed by the gestures and bodies.

No synopsis available yet.

An action which took place in 1983 at the National Museum of Modern Art (Centre Georges Pompidou), during which Michel Journiac stages a dramatic ritual and publicly brands himself on the arm with a red-hot iron triangle, the mark of the outcast.

No synopsis available yet.

In "Messe pour un corps", Michel Journiac organizes a real religious service and makes the participants receive communion with a black pudding made from his own blood.

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For history, one of the major events of 1975 will remain the end of the war in Vietnam. For cinema, experimental cinema and video art, the year 1975 was rich in major works by directors and artists whom I particularly admire: Andreï Tarkovski, Artavazd Péléchian, Stanley Kubrick, Jonas Mékas, William Wegman and the visual artist Michel Journiac, inventor of body art, whose most famous performance is a mass during which sausage made with his own blood was used to receive communion instead of bread. The idea of ​​bringing together these works from 1975 and bringing them together naturally came to me for this project. Nesting images of these works with the intuition of finding or creating by the magic of editing, links and secret passages between these works. I discovered that all these works had wonderful links between them.

No synopsis available yet.

No synopsis available yet.

Mémoire(s), Gérard Cairaschi's new video, continues the work started in 1996 with the video installation ‘Quinaé’. Here again we find a predilection for images where nature and characters are as many references to the History of art (painting in particular) and to our common and individual story (myths, religions, literature, cinema...). An interlacing of images and a luminous vibration that both invade us and make a whole world in creation emerge - or reappear - from our retina and memory.