CONFERÊNCIA DE PASCALE CASSAGNAU: Jean-Luc Godard, uma história animal do cinema
KEEPING TALE OF CURRENT TIMES | JEAN-LUC GODARD - VISUAL WORK
Reservoir Dogs (retrato do artista quando jovem cão - Uma viagem através de alguns dos seus filmes e textos em 24 capítulos) com Pascale Cassagnau, historiadora e crítica de arte
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CONFERENCE BY DOMINIQUE PAÏNI: TO BORROW, TO APPROXIMATE, TO COPY, TO DEVIATE, TO IMAGINE.
Conference "To borrow, to approximate, to copy, to deviate, to imagine" by curator Dominique Païni, as part of the exhibition "Keeping tale of current times | Jean-Luc Godard - Visual work". The conference will have simultaneous translation from French to Portuguese.
Jean-Luc Godard borrowed, copied, pirated and diverted the images of art from all eras: this was his methodology as a poet, who perceived “above all, outside philosophical methods, the intimate and secret relationships of things, correspondences and analogies” (Baudelaire). He also admired not only the methods, but the destinies of some great figures of ancient and modern art, from Eugène Delacroix to Paul Klee and Nicolas de Staël.
In retrospect, his films reveal, more clearly than at the time of their discovery, the imprint of the plastic arts contemporary to their making (Yves Klein, Hans Hartung, Robert Rauschenberg, Gerhard Richter, Alighiero Boetti, Ed Ruscha, Gérard Fromanger...) and translate, in an exceptional way, the metamorphoses of the second half of the 20th century and the first two decades of the 21st century. He was convinced that: “The only thing that survives an era is the art form it has created. No activity will become art before its epoch is over.”
If this permeability to the plastic arts of his time was partly unconscious - although he was curious about everything to do with images - contemporary art is inspired, conversely, by Godardian iconographic manipulations: color saturations, the rhythm of appearance and disappearance, fusion and fission.
The conference will comment on a selection of Godard's visual works (paintings and sculptures) chosen without fear of similarities that are both more obvious and more hidden: borrowings or influences that fertilize the work of a filmmaker who, as early as 1960, declared that he worked as a painter.


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Pascale Cassagnau é doutorada em história da arte, crítica de arte e curadora de coleções audiovisuais e de novos media no Centre National des Arts Plastiques (Ministério da Cultura), em França. A sua investigação incide sobre as novas práticas cinematográficas, numa perspetiva de diálogo interdisciplinar com a criação contemporânea. O seu ensaio Future Amnesia - Enquêtes sur un troisième cinéma (Ed Isthme, 2007) mapeia estas novas formas cinematográficas, entre a ficção e o documentário. Un pays supplémentaire (Ed École Nationale des Beaux-Arts de Paris, 2009) analisa o lugar da criação contemporânea na arquitetura dos media. Intempestif, Indépendant. Marguerite Duras et le cinéma d'art contemporain, foi publicado pela Presses du réel em 2012. Apichatpong Weerasethakul, Une théorie des objets personnels (Trafik Edition) é um ensaio sobre o lugar do som na criação contemporânea, Une idée du Nord, Excursions dans la création sonore contemporaine (Ed. Ecole des beaux-arts de Paris, 2015), bem como dois ensaios sobre Diagramme Monteiro, sobre João César Monteiro (Tombolo Press, 2025) e Bertrand Bonello, Des stratégies obliques (De Lincidence Edition, 2025).
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CONFERÊNCIA DE PASCALE CASSAGNAU: Jean-Luc Godard, uma história animal do cinema
KEEPING TALE OF CURRENT TIMES | JEAN-LUC GODARD - VISUAL WORK
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Launch of the exhibition book "Keeping tale of current times: Jean-Luc Godard – Visual work"
KEEPING TALE OF CURRENT TIMES | JEAN-LUC GODARD - VISUAL WORK
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