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tour.name = Paris Gallery
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Celebration,2013
16mm transferred to digital and found animations, color, silent, 16:9, 5’45”
As a counterpart to Kingdom, Isabelle Cornaro uses an excerpt from Walt Disney’s animation film Fantasia that she superim-poses on her own footage. Every landscape becomes a pulsa-tion. The wind, clouds, changes in luminosity, movements of the light: everything is a transition, a transformation, a dispersion. In this way, every image merges into the next through an accumu-lation of variations and modulations in colours and light.
Celebration,2013
16mm transferred to digital and found animations, color, silent, 16:9, 5’45”
As a counterpart to Kingdom, Isabelle Cornaro uses an excerpt from Walt Disney’s animation film Fantasia that she superim-poses on her own footage. Every landscape becomes a pulsa-tion. The wind, clouds, changes in luminosity, movements of the light: everything is a transition, a transformation, a dispersion. In this way, every image merges into the next through an accumu-lation of variations and modulations in colours and light.
Transient,2020
16mm film transferred to digital, color, silent, 16:9, 1'18"
Isabelle Cornaro composed this film by using unused fragments of other films she shot alternatively or simultaneously, in particular Subterranean, Accumulation, Sub-Rosa and Kingdom. With this new combination, she annihilates the original sense of the images to conjure dreamlike and unreal new horizons.
Transient,2020
16mm film transferred to digital, color, silent, 16:9, 1'18"
Isabelle Cornaro composed this film by using unused fragments of other films she shot alternatively or simultaneously, in particular Subterranean, Accumulation, Sub-Rosa and Kingdom. With this new combination, she annihilates the original sense of the images to conjure dreamlike and unreal new horizons.
INFANS: Isabelle Cornaro
In this exhibition, Isabelle Cornaro presents a little-known aspect of her work. The artist invites the audience to discover, in a carefully elaborated configuration, short 16mm films that are at times associated with other animated images (found footage and/or animation films). With a high visual density, all these films immerse the viewer in a fanciful universe, and through their sequence in space, they echo one another, creating a narration that unfolds across the two exhibition rooms.
Entitled Infans (from the Latin “who does not speak”), this exhibition evokes a world in which speech hasn’t yet appeared. It is a silent show, but not a wordless one, reminiscent of an intimate language, a musicality of signs. Playing with interlocks and interplays, somewhere between abstraction and figuration, moving images and stills, Isabelle Cornaro multiplies impressions and sensations, progressively submersing the viewer, who is invited to discover a setup where long still shots or simple panoramic scenes compose a silent visual score. This aspiration for silence that can be linked to the memento mori motto is extended with furtive and blinding apparitions. The artist explores expressionist effects of light that transform each sequence into a succession of images that seem to be blown away, as if struck by lightning, unstable.
Constantly eluding the viewer’s expectations and attention, Isabelle Cornaro offers an account that deli-berately proceeds with image associations. Its essentially formal coherence owes to the repetition of motifs, objects and characters that suggest impressions and sensations. From that perspective, Isabelle Cornaro’s films employ the type of random editing specific to American structural film. She adopts the techniques of still frames, blinking effects and looping used by this experimental movement that puts the emphasis on form. With her montages that give the impression of sliding from one shot into another with seemingly no other reason than letting the most intimate thoughts drift freely, she constructs her films like dreams. The viewer jumps constantly and without any transition from disgust to wonder, from erotic arousal to amused surprise. This universe is also related to the surrealistic world of Luis Buñuel’s films. Inspired as well by the technique of collage – that Max Ernst developed so extraordinarily – Isabelle Cornaro uses existing or found footage and assembles it to create new images. One can see here an invitation to the irrational, the obscure, unconscious impulses, and fragmented or absent bodies. Like a common thread, from one film to the next and one projection to another, a man with no head – a man with no identity, a chimera, a man who is more a trace than a man – appears and disappears. The ending point of this trajectory is reached when the orga-nic gives way to the plastic. Threats of violence become explicit: one can for example see hands covered in bodily fluids. Ultimately, all these films raise more questions than they provide answers. Her creations are like enigmas to be deciphered, mystery images.
This complex stratification is visually supported by a spatial arrangement that isn’t linear nor chrono-logical. In this way, the presentation of the images translates these dispersed and unpredictable attempts made of bends, U-turns and/or resets. Isabelle Cornaro thus offers a critical vision of a certain representa-tion of our world, our relation to the body and the object and of our (in)capacity to see. What is our relation to violence? To reality? To the visible? These implicit and recurring questions in Isabelle Cornaro’s work are manifest in these films that are akin to sampling. They bring out the dark side of images and explore what’s hidden behind them. They also incite a reflection on the overexposure of a world in which reigns the tyranny of the visible. Confronted to the chaos of our world, Isabelle Cornaro stresses the urgency to reconsider – with violence and restraint – the role and place of our look.
INFANS: Isabelle Cornaro
In this exhibition, Isabelle Cornaro presents a little-known aspect of her work. The artist invites the audience to discover, in a carefully elaborated configuration, short 16mm films that are at times associated with other animated images (found footage and/or animation films). With a high visual density, all these films immerse the viewer in a fanciful universe, and through their sequence in space, they echo one another, creating a narration that unfolds across the two exhibition rooms.
Entitled Infans (from the Latin “who does not speak”), this exhibition evokes a world in which speech hasn’t yet appeared. It is a silent show, but not a wordless one, reminiscent of an intimate language, a musicality of signs. Playing with interlocks and interplays, somewhere between abstraction and figuration, moving images and stills, Isabelle Cornaro multiplies impressions and sensations, progressively submersing the viewer, who is invited to discover a setup where long still shots or simple panoramic scenes compose a silent visual score. This aspiration for silence that can be linked to the memento mori motto is extended with furtive and blinding apparitions. The artist explores expressionist effects of light that transform each sequence into a succession of images that seem to be blown away, as if struck by lightning, unstable.
Constantly eluding the viewer’s expectations and attention, Isabelle Cornaro offers an account that deli-berately proceeds with image associations. Its essentially formal coherence owes to the repetition of motifs, objects and characters that suggest impressions and sensations. From that perspective, Isabelle Cornaro’s films employ the type of random editing specific to American structural film. She adopts the techniques of still frames, blinking effects and looping used by this experimental movement that puts the emphasis on form. With her montages that give the impression of sliding from one shot into another with seemingly no other reason than letting the most intimate thoughts drift freely, she constructs her films like dreams. The viewer jumps constantly and without any transition from disgust to wonder, from erotic arousal to amused surprise. This universe is also related to the surrealistic world of Luis Buñuel’s films. Inspired as well by the technique of collage – that Max Ernst developed so extraordinarily – Isabelle Cornaro uses existing or found footage and assembles it to create new images. One can see here an invitation to the irrational, the obscure, unconscious impulses, and fragmented or absent bodies. Like a common thread, from one film to the next and one projection to another, a man with no head – a man with no identity, a chimera, a man who is more a trace than a man – appears and disappears. The ending point of this trajectory is reached when the orga-nic gives way to the plastic. Threats of violence become explicit: one can for example see hands covered in bodily fluids. Ultimately, all these films raise more questions than they provide answers. Her creations are like enigmas to be deciphered, mystery images.
This complex stratification is visually supported by a spatial arrangement that isn’t linear nor chrono-logical. In this way, the presentation of the images translates these dispersed and unpredictable attempts made of bends, U-turns and/or resets. Isabelle Cornaro thus offers a critical vision of a certain representa-tion of our world, our relation to the body and the object and of our (in)capacity to see. What is our relation to violence? To reality? To the visible? These implicit and recurring questions in Isabelle Cornaro’s work are manifest in these films that are akin to sampling. They bring out the dark side of images and explore what’s hidden behind them. They also incite a reflection on the overexposure of a world in which reigns the tyranny of the visible. Confronted to the chaos of our world, Isabelle Cornaro stresses the urgency to reconsider – with violence and restraint – the role and place of our look.
Amplifications (excerpt, 20”), 2014
16mm film transferred to digital, color, silent, 16:9, 2’09”
Amplifications (excerpt, 20”),2014
16mm film transferred to digital, color, silent, 16:9, 2’09”
Choses,2014
16mm transferred to digital, color, silent, 16:9, 2’06”
Choses,2014
16mm transferred to digital, color, silent, 16:9, 2’06”
Lightbulbs
16mm transferred to digital, color, silent, 4:3, 3’18”
Lightbulbs
16mm transferred to digital, color, silent, 4:3, 3’18”
Shimmers,2017
16mm film transferred to digital, color, silent, 16:9, 1’25”
Shimmers,2017
16mm film transferred to digital, color, silent, 16:9, 1’25”
Royaume,2020
16mm transferred to digital, color, silent, 16:9, 21’49’’ series
In these images, the body is buried in heavy cloths. Under this fabric that acts as a rampart, a body hides. Nothing more than imperceptible movements get through the cloth and play with the light. This manipulation is highlighted by the artist who uses it to explore psychedelic plays on colour.
Royaume,2020
16mm transferred to digital, color, silent, 16:9, 21’49’’ series
In these images, the body is buried in heavy cloths. Under this fabric that acts as a rampart, a body hides. Nothing more than imperceptible movements get through the cloth and play with the light. This manipulation is highlighted by the artist who uses it to explore psychedelic plays on colour.
Artist Bio: Isabelle Cornaro
Having studied Art History and received artistic training at the École des Beaux-Arts in Paris and the Royal College of Arts in London, she received the Ricard prize in 2020. She has shown her work on numerous occasions (Musée d'art moderne de Paris, Centre Pompidou, Palais de Tokyo, Foksal Gallery in Warsaw, South London Gallery, Kunsthalle in Bern…) and was also invited on several occasions to work as a scenographer. She is represented by the following galleries: Balice Hertling in Paris, Francesca Pia in Zurich, Hannah Hoffman in Los Angeles, and Foksal Gallery Foundation in Warsaw. She was nominated for the 2021 Marcel Duchamp Prize and is simultaneously presenting two personal exhibits in 2021 at the Ludwig Museum and the Musée de l'Orangerie.
Artist Bio: Isabelle Cornaro
Having studied Art History and received artistic training at the École des Beaux-Arts in Paris and the Royal College of Arts in London, she received the Ricard prize in 2020. She has shown her work on numerous occasions (Musée d'art moderne de Paris, Centre Pompidou, Palais de Tokyo, Foksal Gallery in Warsaw, South London Gallery, Kunsthalle in Bern…) and was also invited on several occasions to work as a scenographer. She is represented by the following galleries: Balice Hertling in Paris, Francesca Pia in Zurich, Hannah Hoffman in Los Angeles, and Foksal Gallery Foundation in Warsaw. She was nominated for the 2021 Marcel Duchamp Prize and is simultaneously presenting two personal exhibits in 2021 at the Ludwig Museum and the Musée de l'Orangerie.
De l’argent filmé de profil et de trois quarts, 2010
16mm transferred to digital, color, silent, 4:3, 1’56”
De l’argent filmé de profil et de trois quarts, 2010
16mm transferred to digital, color, silent, 4:3, 1’56”
Accumulation, 2020
16mm film transferred to digital, color, silent, 16/9, 2'48"
This film is conceived as a collage or an assemblage of objects, images, colours, and lights that become still lives. With these plays on superimpositions and superpositions, she creates a mul-tiplicity of rich scenes that reveal the secret life of objects and highlight their nature as fetishes.
Accumulation,2020
16mm film transferred to digital, color, silent, 16/9, 2'48"
This film is conceived as a collage or an assemblage of objects, images, colours, and lights that become still lives. With these plays on superimpositions and superpositions, she creates a mul-tiplicity of rich scenes that reveal the secret life of objects and highlight their nature as fetishes.
Premier rêve d’Oskar Fischinger,2008
16mm transferred to digital, color, silent, 4:3, 3’18”
Premier rêve d’Oskar Fischinger,2008
16mm transferred to digital, color, silent, 4:3, 3’18”
Subterranean, 2017
16mm film transferred to digital, color, silent, 16:9, 1’21”
Here, Isabelle Cornaro is looking for a systematic opposition between the elements composing the image. Like a Mechanical Ballet, a bust – a piece of a body – is endlessly repeated and crop-ped. She proceeds the same way with the hand and the diamonds, turning the film into an animated painting.
Subterranean,2017
16mm film transferred to digital, color, silent, 16:9, 1’21”
Here, Isabelle Cornaro is looking for a systematic opposition between the elements composing the image. Like a Mechanical Ballet, a bust – a piece of a body – is endlessly repeated and crop-ped. She proceeds the same way with the hand and the diamonds, turning the film into an animated painting.
Sub rosa,2020
16mm transferred to digital, color, silent, 4:3
All these films that echo one another are evocative of states of anguish and abandonment, strife and renouncement that crys-tallize in this video initially entitled Treasure. It features an in-complete animal carcass that is to be seen as a synecdoche: a fragment that suggests the totality of a dead body. This work therefore functions as a vanity whose mirror has been inverted : a still life that faces a living being.
Sub rosa,2020
16mm transferred to digital, color, silent, 4:3
All these films that echo one another are evocative of states of anguish and abandonment, strife and renouncement that crys-tallize in this video initially entitled Treasure. It features an in-complete animal carcass that is to be seen as a synecdoche: a fragment that suggests the totality of a dead body. This work therefore functions as a vanity whose mirror has been inverted : a still life that faces a living being.