terra luna films

FRANCOIS MORELLET

Un film de Camille Guichard avec Daniel Soutif

Collection "Mmoire"

Dure : 52 mn.
Production : Terra Luna Films, Centre Georges Pompidou, France 5, dlgation aux Arts Plastiques, France 3 Ouest, rgion des Pays de la Loire, CNC.
Distribution: Doc & Co, vodeo.tv.
Diffusion : France 5 et France 3.

Synopsis

Ds 1952, Franois Morellet adopte un langage gomtrique compos de formes simples, lignes, carrs, triangles, assembls dans des compositions lmentaires bidimensionnelles, de type all over, qui jouent avec un nombre restreint de couleurs poses en aplats et sans facture apparentes. En 1963, soucieux de trouver de nouveaux moyens dexpressions picturaux, Franois Morellet commence utiliser des tubes de non. Aprs 1970, dbute pour lui une troisime priode marque par la cration duvres qui jouent avec leur support et lespace qui les environne. Il ralise alors un grand nombre dintgrations architecturales.
Le film de Camille Guichard sarticule autour dun entretien men par Daniel Soutif qui aborde le systme pictural de lartiste, ses rgles et dmontre comment le hasard contrl prend une part majeure dans son travail.

Franois Morellet turned to abstraction in 1950 after a short figurative period, and at the time he had a very minimalist painting style that would soon be influenced by Mondrian. From 1952 he adopted a geometric language made up of simple shapes: lines, squares and triangles, assembled into two-dimensional all over compositions that used a restricted range of colours applied in uniform layers. Franois Morellet sought to control the creative process and demystify the way art and artist are defined. He justified every choice in terms of rules laid down previously.
In 1963, seeking new pictorial means of expression, Franois Morellet began to use neon tubes. After 1970 he began a third period characterised by the creation of works that change the way their environment is experienced. At that time he produced a large number of works of installation art.
Camille Guichards documentary is built around an interview by the art critic Daniel Soutif, who first looks at the artists pictorial system and its rules, and then demonstrates how controlled chance plays a major role in his work.



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