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Evil Genius
(on Brian Wilson and the films of Wes Anderson)
by Jean-Philippe Tessé
In this article, film critic Jean-Philippe Tessé undertakes an analysis that compares singer-songwriter Brian Wilson to the protagonists of the films of Wes Anderson. An ambiguous icon of the 1960s and ‘70s—sometimes bright and sunny, sometimes dark and tormented—Wilson incarnates, claims Tessé, a figure of failure specific to pop culture, which the author associates with his own study of contemporary burlesque humor. This text is adapted from a lecture given at CAPC in the context of a symposium called A travers le miroir. La culture pop et au-delà (CAPC musée d’art contemporain de Bordeaux, December 7–8, 2007). Tessé, born in 1977, is a member of the editorial board of Cahiers du Cinéma and editor of the movie section of Chronic’art magazine; in 2007 he published Le burlesque (Paris: Les Éditions des Cahiers du Cinéma).
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audio
L’effet star III : le corps publicitaire
In January 1987, Alain Sabourin interviewed Jean Baudrillard at CAPC musée d’art contemporain in Bordeaux. L’Effet Star, the overall title of a series of four lectures and interviews, was part of the museum’s Cinéma au musée program. When introducing this talk, Michel Bourel pointed out that “Jean Baudrillard, through his books, has plumbed and challenged our system of representation, which has become what he calls ‘the sacred horizon of appearances’. His talk will bear on ‘the advertising body,’ that special by-product of the world of hypervisibility.”
L’effet Star No. 3: Le corps publicitaire can now be published thanks to the kind authorization of Marine Baudrillard.
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video
La vague et le vague.
Gilles Deleuze on surfby Arnaud Viviant
Gilles Deleuze on surf, la vague et le vague, a “performance lecture” by Arnaud Viviant, implements a kind of free, intellectual, and progressive drift within the philosophy of the “surf” concept. From Wikipedia to surf music and from the Beach Boys to Gilles Deleuze, Viviant sketches a theory of pop and of our contemporary relationship to culture.
This video piece documents a lecture given at CAPC in the context of a symposium titled A travers le miroir. La culture pop et au-dela (CAPC musée d’art contemporain de Bordeaux, December 7–8, 2007).
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video
Lux & Ivy Favorites
The Cramps
by Archives 4 taxis
Hey, they look like the living dead!”
“Don’t panic! I’d rather think of jellyfish.”Freshly exhumed from the 4 Taxis archive, this excerpt comes from Lux & Ivy Favorites, a videotape devised by the Cramps at the request of 4 Taxis. A pair of VCRs, as useless as the faded pictures they record, display a frenetic series of events compiled from exploitation films, TV shows, and vintage trailers.
To some extent, a guided tour of a supply store designed for the likes of Richard Prince, Paul McCarthy, Mike Kelley & Co….
“Most of these films were made in a garage or living room with basic equipment and were shot in no time,” say the Cramps. “B movies are like going into a trance: they’ve got soul, but ask no questions.” The video piece, which lasts 4 hours and 45 minutes in all, was shown in November 1983 at the Sigma Festival in Bordeaux during a 4 Taxis evening, as an appetizer to the issue devoted to Los Angeles.When everything is fake, it all becomes real.
Brr….
Many thanks to “l’oreille d’un sourd”, a.k.a. Philippe Garnier.
