Pierre Bismuth: Everyone is an artist, but only the artist knows it.
Editions of the Centre Pompidou| N° d'inventaire | 25105 |
| Format | 19 x 24.5 |
| Détails | 128 p., publisher's hardcover. |
| Publication | Paris, 2021 |
| Etat | Nine |
| ISBN | 9782844269065 |
Little known to the general public, Pierre Bismuth was nevertheless rewarded in 2005 for the synopsis of the film "Eternal Sunshine of a Spotless Mind" for which he won the Oscar for best screenplay with Michel Gondry and Charlie Kaufmann.
The title of the exhibition refers to a recurring issue in Pierre Bismuth's work, namely that of the artist's condition in a context where culture has completely integrated the leisure industry and where industrial production has perfectly assimilated aesthetic issues. What is the place of creativity in a context where art has emancipated itself from any specific know-how? Can the artist be anything other than an eccentric figure offering a singular vision of the world?
Pursuing research on identity - visual, plastic, symbolic - and on our relationship to cultural productions, he readily uses film extracts as well as works by other artists or found images.
Among the works on display are the felt-tip pen traces on a screen of the hand movements of a film character: Marilyn Monroe in "Some Like It Hot," Janet Leigh in "Psycho," or Sigmund Freud. A way of recording the ephemeral while highlighting its symbolic significance.
The catalogue, designed in the style of an artist's book in close collaboration with Pierre Bismuth, will present a much wider selection of his works than the exhibition, reviewing his production since 1988 with commentary by four specialists from the world of contemporary art and images.
Little known to the general public, Pierre Bismuth was nevertheless rewarded in 2005 for the synopsis of the film "Eternal Sunshine of a Spotless Mind" for which he won the Oscar for best screenplay with Michel Gondry and Charlie Kaufmann.
The title of the exhibition refers to a recurring issue in Pierre Bismuth's work, namely that of the artist's condition in a context where culture has completely integrated the leisure industry and where industrial production has perfectly assimilated aesthetic issues. What is the place of creativity in a context where art has emancipated itself from any specific know-how? Can the artist be anything other than an eccentric figure offering a singular vision of the world?
Pursuing research on identity - visual, plastic, symbolic - and on our relationship to cultural productions, he readily uses film extracts as well as works by other artists or found images.
Among the works on display are the felt-tip pen traces on a screen of the hand movements of a film character: Marilyn Monroe in "Some Like It Hot," Janet Leigh in "Psycho," or Sigmund Freud. A way of recording the ephemeral while highlighting its symbolic significance.
The catalogue, designed in the style of an artist's book in close collaboration with Pierre Bismuth, will present a much wider selection of his works than the exhibition, reviewing his production since 1988 with commentary by four specialists from the world of contemporary art and images.