Listen to the picture

Philippe Parreno
April 18 – May 20, 1998

Exhibition view: Philippe Parreno, Listen to the Picture, Schipper & Krome, Berlin, 1998

 

Photo © Carsten Eisfeld

Esther, 1998 

Transparent cablelike glass-mount, cable, bulb socket, 
Bulb “Deco-Classics” by Phillips (60W)
Length: ca. 50 cm , ø: 10 cm
Glass-mount: Ø 1cm

Photo © Carsten Eisfeld

Philippe Parreno, Pierre Huyghe

Anna Sanders, 1997 (July) 
Magazine (64 pages, softcover, 3 colour print, English/French)

Photo © Carsten Eisfeld

Original exhibition invitation (recto) 

Listen to the picture

Philippe Parreno
April 18 – May 20, 1998
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Philippe Parreno has been working for several years with fictitious scenarios in different formats and media. By means of film, print magazine and radio, he has formulated his interest in narratives between fiction and reality. He describes situations, characters and architecture whose real existence is relativized in favour of a fictitious and visual possibility. Identity is constituted by the surrounding, by sounds, images, stories and memories. Time and space merge. ("The story of a feeling")

 

Film and implemented trailer:

Using the Taiwanese film Long, Live, Love (1994) by Tsai-Ming-Liang, Parreno added elements and created a kind of meta-film. The content affinity to the Asian original consists in the tendency to let the viewer carry out the various possible interpretations themselves. The minimalistic setup as well as the reduced action between three people express this. The interventions and re-interpretations are essential. 

 

Installation of a trailer:

A trailer interrupts the film 5 times and consists of an urban slide show, featuring perspectives of the viewer reading the cityscape. Components of the trailer are non-realized construction projects by Jean Nouvel, which function here as commentaries on the film's open spaces of thought ("Pictures of projections of people"). The trailer "promoted" by means of these pictures a product, which was developed for Sony, but not yet realized, the NOISE MAN.


This digital recording device (the NOISE MAN) was designed to convert sounds of the social and urban environment into "melodies" according to various patterns that can be personally influenced. The decisive point of the delay of the product was the dispute between the developers and the company Sony regarding the concept of culture that underlies such a device.

 

Re-focusing of the image section: 

(Re-cadration in the Deleuzsche sense) which leads to semantic shifts on the picture plane.

 

Action subtitles:

In the lower oversized black bar appear comments of Parreno and friends, which partly result from a brainstorming about the implications of the original film and the individual interest in it.

 

The Poster:

The poster is an expression of a film still from the 35mm film radio (1998) currently in progress, which was selected for this year's Cannes Film Festival. The subject of this film is a fictional radio station, which tells a story from the borderland between Afghanistan and China in Tajikistan, located between fiction and reality. This story tells of the absurd yet very real and modern situation of complete undefinition. ("A space, where something New can be said") The ingredients of "reality" are at stake.

The exhibition is merely the stopping of a moment (‘exhibition’) within the framework of Parreno's discourse. The lamps bind the individual fragments and products back into a spatial situation, "illuminating" the exhibition as a metaphor for fixing a moment.

 

The Magazine:

Anna Sanders is an exhibition project in the format of a magazine and will appear at irregular intervals and with different titles. The "editors" of this magazine are Philippe Parreno and Pierre Huyghe, two artists from the nineties who worked in Paris and New York and who in recent years have been concerned with the transfer of media into the physical exhibition context. In addition to the print magazine Anna Sanders, which is referenced here in the exhibition, radio projects and mobile TV projects were realized. 

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