Jean-Luc Godard remade

Version française plus bas.

Don’t let an assistant enthusiastically tell everybody how you work, especially if you are a well-known artist like Jean-Luc Godard, who has a reputation for forging new and difficult paths. It might unwittingly give an impression you don’t want given.

A revealing chat about a great man

Yesterday evening, having seen a screening of Godard’s Livre d’image organised by the ABC Cultural Centre at the Temple Allemand in a rainy Chaux-de-Fonds, I attended a conference organised by the Club 44 at which Jean-Luc Godard was to discuss his work with long-time assistant, Fabrice Aragno. Not unexpectedly, Godard was unable to attend leaving the floor free for Aragno to take us through Godard’s creative process in making his latest work. This relaxed, illustrated chat gave us a glimpse into the world of Godard that initially seduced. “So that’s why and how he did it!” It made many of the aesthetic choices comprehensible and as such was reassuring, especially for someone, like myself that had been inspired by Godard’s previous work but was perplexed if not disappointed by this latest collage.

The advantage of constraints

In a creative process, the unforeseen and the unintended can open up new avenues that can prove fruitful. What’s more, initial constraints like limits fixed by the scenario, by the process or even the equipment used, can force the creator to excel and discover new paths and move artistic expression forward. But in terms of creativity, limits are only productive if they lead to an artist breaking new ground rather than being hobbled by them.

From handicap to scratch videos

Severely limited by the technology he had available, Godard had to resort to hit and miss methods that resembled editing procedures from the early days of video art before technology made outcomes more predictable and intentions easier to comply with. Those pioneer times came to be known for their ‘scratch’ videos. The question that emerges concerning the Livre d’image is whether the resulting collage of texts read by the author and short sequences from films with abrupt changes, over-saturated images and blank holes is the work of a genius or not. Are we being subjected to a remake of the Emperor’s new clothes, or is this brilliant and moving as the woman sitting next to me at the screening insisted?

Downward money slope

Seen over a longer period, is it not possible this decline in the technological means available is due to a dilemma in money management? To finance his next film Godard sells off all the rights to his previous film, trading hypothetic on-going income for an immediately available lump sum. He also auctions his filming and editing equipment. This approach might drum up immediate funds but, given the nature of his work – the experimental approach of which limits popular appeal and consequently income – resources, including technical material, are likely to follow a longterm downward curve. Of course, poverty of means may be an artistic choice, but, given the complexity and necessary precision of Godard’s discourse, the inevitable stutters and splutters of the editing end up taking centre stage and get in the way of the work and its message. My hypothesis is that, beyond a certain point, a valiant and defiant artistic discourse cannot conceal the fact that insufficient means have a detrimental effect on the artistic quality no mater how much of a genius the artist is.

The Emperor is not without clothes but he suffers from neglect

This film raised a personal question. Could I be sure of my assessment and had I the courage to call out the Emperor in front of his court of admirers? Or would my fear of discovering I was the one without a fig leaf to my name cower me into silence? On careful reflection, however, the problem lies elsewhere. Here is a man who has devoted his life to breaking boundaries in cinema and video. His work has often been challenging but he has produced some most striking and beautiful creations. Yet he has been condemned to a slow decline as witnessed by the shrinking means he has at his disposition. I can imagine him shaking his head in denial. Some will blame him for his situation. Whereas, for all his apparent rough nature, I suspect he is victim of a larger neglect of art and artistic creation in our society. It is sad, if not enraging, to see someone of his stature obliged to jam his fingers on the play and record buttons to edit the films he desperately needs to make. Where are the Pierre Bingellis or the Jean-Pierre Beauvialas of this world to provide the necessary technical support? In other art forms funds exist to offer residencies to artist whose value is widely recognised but who otherwise could not make their art. Is it not time to recognise Jean-Luc Godard’s contribution and offer him, at least, the modern technical means necessary to continue making his films?

Jean-Luc Godard, un remake

Ne laissez pas un assistant raconter à tout le monde votre façon de travailler, surtout si vous êtes un artiste connu comme Jean-Luc Godard, qui a la réputation de forger des chemins nouveaux et difficiles. Cela peut donner involontairement une impression que vous ne voulez pas donner.

Un discours révélateur sur un grand homme

Hier soir, après avoir assisté à la projection du Livre d’image de Godard organisée par le Centre culturel ABC au Temple Allemand dans une Chaux-de-Fonds pluvieuse, j’ai assisté à une conférence organisée par le Club 44 au cours de laquelle Jean-Luc Godard devait discuter son travail avec son assistant de longue date, Fabrice Aragno. Comme on pouvait s’y attendre, Godard n’a pas pu assister à la conférence, laissant la parole libre à Aragno pour nous guider à travers le processus créatif de Godard dans la réalisation de son dernier ouvrage. Cette discussion illustrée et détendue nous a donné un aperçu du monde de Godard qui a tout d’abord séduit. “C’est donc pour ça qu’il l’a fait!” Cela a rendu compréhensible une grande partie des choix esthétiques et était donc rassurant, en particulier pour quelqu’un, comme moi, inspiré par le travail précédent de Godard mais troublé sinon déçu par ce dernier collage.

L’avantage des contraintes

Dans un processus créatif, l’imprévu peut ouvrir de nouvelles voies qui peuvent s’avérer fructueuses. De plus, les contraintes initiales, telles que les limites fixées par le scénario, le processus ou même l’équipement utilisé, peuvent obliger le créateur à exceller, à découvrir de nouvelles voies et à faire avancer l’expression artistique. Mais en termes de créativité, les limites ne sont productives que si elles conduisent l’artiste à innover plutôt qu’à entraver son travail.

De l’handicap à des vidéos ‘raturées’

Gravement limité par la technologie dont il disposait, Godard dut recourir à des méthodes aléatoires ressemblant aux procédures de montage des débuts de l’art vidéo, avant que la technologie ne rende les résultats plus prévisibles et les intentions plus faciles à respecter. Ces temps pionniers ont fini par être connus pour leurs vidéos ‘raturées’. La question qui se pose à propos du Livre d’image est de savoir si le collage résultant de textes lus par l’auteur et de courtes séquences de films aux changements brusques, aux images sursaturées et aux trous noirs est l’œuvre d’un génie ou non. Sommes-nous en train de refaire Les nouveaux vêtements du roi ou est-ce brillant et émouvant selon les dires de la femme assise à côté de moi lors de la projection?

Une pente descendante

Vu sur une période plus longue, n’est-il pas possible que ce déclin des moyens technologiques disponibles soit dû à un dilemme dans la gestion de l’argent? Pour financer son prochain film, Godard vend tous les droits du film précédent, en échangeant un revenu hypothétique à long terme contre une somme forfaitaire immédiatement disponible. Il met également aux enchères son matériel de tournage et de montage. Cette approche peut générer des fonds immédiats mais, étant donné la nature de son travail – l’approche expérimentale limitant l’attrait au public et, par conséquent, le revenu – les ressources, y compris le matériel technique, suivront probablement une courbe descendante à long terme. Bien sûr, la pauvreté des moyens peut être un choix artistique, mais compte tenu de la complexité et de la précision nécessaire du discours de Godard, les inévitables bégaiements du montage finissent par prendre le devant de la scène et entravent l’oeuvre et son message. Mon hypothèse est qu’au-delà d’un certain point, un discours artistique aussi vaillant et provocant soit-il ne peut dissimuler le fait que des moyens insuffisants ont un effet néfaste sur la qualité artistique, peu importe le génie de l’artiste.

Le roi n’est pas sans vêtements, mais il souffre de néglecte

Ce film a soulevé une question personnelle. Pourrais-je être sûr de mon évaluation et aurais-je le courage de mettre en cause le Roi devant sa cour d’admirateurs? Ou est-ce que ma peur de découvrir que je suis celui qui n’a pas de feuille de vigne allait me faire taire? Après mûre réflexion, le problème est ailleurs. Voici un homme qui a consacré sa vie à repousser les frontières du cinéma et de la vidéo. Son travail a souvent été difficile, mais il a réalisé des créations les plus frappantes et les plus belles. Pourtant, il a été condamné à un lent déclin, comme en témoigne la diminution des moyens dont il dispose. Je peux l’imaginer en train de secouer la tête en signe de déni. Certains vont le blâmer pour sa situation. Alors que, malgré son air inabordable, je le soupçonne d’être victime d’une négligence plus large de l’art et de la création artistique dans notre société. Il est triste, sinon enrageant, de voir quelqu’un de sa stature obligé de presser simultanément les boutons ‘play’ et ‘enregistrer’ pour éditer les films qu’il a désespérément besoin de faire. Où sont les Pierre Bingellis ou les Jean-Pierre Beauvialas de ce monde pour fournir le support technique nécessaire? Dans d’autres formes d’art, des fonds existent pour offrir des résidences à des artistes dont la valeur est largement reconnue mais qui, autrement, ne pourraient pas créer leur art. N’est-il pas temps de reconnaître la contribution de Jean-Luc Godard et de lui offrir, au moins, les moyens techniques modernes nécessaires pour continuer à faire ses films?

Hymn to the power of girls

Why do I find the performance of Karl Jenkins’ Adiemus by the Carmina Slovenica girls choir and the Chorus Instrumentalis Orchestra under the direction of Karmina Šilec so deeply moving? Why does the sight and sound of these girls fill me with such joy? Probably for the same reason that I was moved to write my novel Stories People Tell about Annie, a shy schoolgirl who, despite sustained, cruel treatment and personal doubts, blossoms into a major voice in a London-based movement celebrating gender diversity while struggling to end violence against women and care for the weak and marginalised. The power of these girls lies in their potential and their sheer beauty striding forward into adulthood as expressed in their movements, in their voices, in their very being both individually and as a group united.

The dresses of the Slovenian girls are not fanciful, just a sober blue that leaves their forearms and calves uncovered. Their bare feet are firmly planted on the floor, their heads held high, their hair pinned up to reveal the lines of their faces, etched with determination and lit with joy. The word sensual would be misleading. Yet these girls inhabit their bodies in a way that is both earthy, spiritual and true. This worldly and ethereal presence echoes the force of their voices which come to us directly, as Karl Jenkins’ music requires, without all the cultural artefacts that have hemmed in much of western singing. Directness but also sensitivity are the hallmarks of my character Annie. She stands behind her words in much the same way this girls’ choir invests its music and movement. Beyond Jenkins’ music, the ritualised gestures of the girls’ hands, their feet and their heads, while remaining seated throughout, evoke age-old ceremonies that stir the forgotten depths of our memories. There is something truly beautiful and uplifting in these girls who reach out to embrace their full potential.

For a more extensive selection of screenshots visit Secret Paths Artworks.

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Video: Jake on the verge of flight

Extract People of the Forest

Jake on the verge of flight. This reading from the draft 1st chapter of People of the Forest by its author, Alan McCluskey, was filmed in the forest which inspired the novel. The forest is situated in the hills above the village where the author lives in Switzerland. In this extract, Jake, in thinking of the forest, says; There was an inner peace to the place, like an insistent silence that called to him. There are several such places in the forests of Neuchâtel, but this setting is one of the most potent. It’s a joy to sit there just listening to the silence that rises and falls beyond the twittering birds, the squabbling squirrels and the wind rustling through the trees.  The full text of this extract can be found in The birth of a new novel. And more about the draft novel, including other extracts, can be found here.

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Video: Isla and the boy she bit

Above is a video filmed in the forest that inspired the novel People of the Forest. In this clip, the author, Alan McCluskey, reads an extract from the second chapter of the draft book.  The text of the extract can be found here: …and what about the girl? And more about the draft novel, including extracts, can be found here.

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People of the forest

Almost every day I go for a long walk in the forest above our home, pausing from time to time to sit and write the next paragraphs of my latest book. As I walk, I turn over ideas and words for my book while trying to fend off the myriad other stories that  bustle for my attention. I examine the world around me and take photos or film from time to time. I had been meaning to film the funicular which crosses the path at one point but as the train goes by only once an hour, my passage rarely coincides with that of the ‘Funi’. Today I was lucky.

But it is not only flowers and birds and inspiration to be found in the forest. As I walk, exploring further and deeper each time, I meet a rich variety of people who have also opted for the forest. Here is today’s selection.

The man with gray stubble for a beard opens his plastic bag and proudly exhibits the mushrooms he’s found before plunging behind trees and around bushes in search of more. A Kurd plodding steadily along the road, leans on his sticks. “It’s diabetes,” he says. “And the heart.” He talks of his doctor and the hospital and the precautions he must take. But today he’s decided to be more daring and walk as much as he wants. A woman struggles after a husky up the steady incline as she does everyday. Taking it in turns with her husband, she exercises her dogs whenever using the sled is not possible. A man in a t-shirt, shorts and running shoes cuts through the forest extolling the virtues of getting in amongst the trees. When challenged about the dangers of ticks that are prevalent in the area, he replies, “I’ve been vacinated.” I didn’t now a vaccin against Lyme Disease existed. Finally there’s the lumberjack sawing off lengths of trunks with a cunning measuring device he made himself. Once cut and dried, the wood heats his home and brings “warmth and light” to his friends. When asked whether ecology or cost-saving motivates his work, he replies, “Both. But above all the pleasure.” He talks with evident relish of the different types of wood, how they dry, what they smell of and how they burn.

Potter: the author and the actor

I stumbled on a very informative discussion between JK Rowling and Daniel Radcliffe about the Harry Potter films. I was fascinated by the relationship between the two which is very hard to classify. There is genuine concern and interest on the part of each of them for the other. Both are still immersed in the story and common memories, but they don’t make us feel like outsiders looking in. I appreciated the self confidence of Radcliffe, his articulateness, and his overflowing enthusiasm and the candour and relaxedness of JK Rowling.

Autism and Chimera

When I began writing my novel Chimera – which is finished but awaiting editing and publication – I had no idea what I was embarking on. I had my own experience of being wrapped up in my stories and my worlds, missing out on what was going on around me, feeling worryingly absent at times around people. But from there to imaging myself in the head of a being who was totally unable to communicate with words and gestures was a giant step. My intuition was that seen from the inside Sam, my character, would  be wildly creative but no one else would know. What frustration. He had no iPad or computer to bridge between him and the world. To make things worse, or possibly better in the  longer term, he discovers he is a chimera, someone who shares his mind and body with another being. Sami, that other being, is quite the opposite to him. She is articulate, communicative and deft with her hands and feet. She offers him a chance to leave his long-standing isolation and span the gap to the world through her. But will he want to relinquish the security of the fortifications he has built around himself?

The video: a contribution from Apple to celebrate International Autism Day. (No longer available!)

Alexander Hahn

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The artist Alexander Hahn recently opened at exhibition entitled All the World’s a Stage at the Kunstraum Oktogon in Bern. It was a chance to catch up with artist after twenty five years. I wrote several articles about his work in the early 90s. I have include photos of two of these and a series of photos of the exhibition on the Artworks site.

Fifty shades of gay

A very interesting and moving TED talk by iO Tillet Wright about gender identity and society’s reaction to gender ambiguity and difference…

Suminagashi

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Elsa Schwarzer Hirsig gives a demonstration of suminagashi, Japanese marbelling that dates back to the 12th century, on the closing day of her exhibition at the Centre de Santé in Colombier. She was accompanied on the guitar by Flavio Piervittori. Visit the Suminagashi gallery for more photos.  See a video of Elsa finishing one of her sumingashi. See also a video of Flavio playing at this event. All photos and videos are by Alan McCluskey.