{"id":10200,"date":"2025-04-07T06:39:23","date_gmt":"2025-04-07T06:39:23","guid":{"rendered":"https:\/\/soundimageculture.org\/performative-attractions\/"},"modified":"2026-05-28T08:14:47","modified_gmt":"2026-05-28T08:14:47","slug":"performative-attractions","status":"publish","type":"post","link":"https:\/\/soundimageculture.org\/fr\/performative-attractions\/","title":{"rendered":"Performative Attractions"},"content":{"rendered":"\n

Masterclass de Sasha Litvintseva et Beny Wagner
jeudi 24 avril 2025
10:00\u201317:00
Pianofabriek (Bruxelles)<\/h2>\n\n\n

Programme<\/h2>

Un atelier interactif consacr\u00e9 \u00e0 la performance et \u00e0 l\u2019image en mouvement.<\/strong><\/p>\n

La performance est \u00e0 la fois mise en sc\u00e8ne et trouv\u00e9e. Elle appara\u00eet \u00e0 l\u2019\u00e9cran comme dans tous les aspects de la vie quotidienne. \u00c0 travers un large corpus de films, nous tra\u00e7ons les moments incertains o\u00f9 la performance commence et se termine, o\u00f9 elle se construit et se d\u00e9construit. L\u2019atelier vise \u00e0 \u00e9tablir une mani\u00e8re de regarder qui d\u00e9passe les distinctions habituelles entre fiction et documentaire, entre divertissement mainstream et cultures exp\u00e9rimentales.<\/p>\n

Comme point de d\u00e9part, nous revenons \u00e0 l\u2019essai influent de Tom Gunning, Cinema of Attractions<\/em>, dans lequel il analyse l\u2019\u00e9mergence de la forme cin\u00e9matographique. Le cin\u00e9ma des premiers temps s\u2019adressait directement aux spectateur\u00b7rices pour leur dire \u00ab Regardez ! \u00bb, les invitant ainsi \u00e0 participer activement aux relations de la visibilit\u00e9. Ces derni\u00e8res ann\u00e9es, un certain nombre de films, d\u2019\u0153uvres et de s\u00e9ries semblent indiquer une nouvelle approche de la performance, qui engage consciemment les spectateur\u00b7rices dans la dynamique d\u2019un imp\u00e9ratif social et politique : \u00ab Performez ! \u00bb. \u00c0 travers ce prisme, nous explorons des exemples qui interrogent cette nouvelle forme de r\u00e9flexivit\u00e9, centr\u00e9e sur la performance de soi, \u00e0 l\u2019\u00e9cran comme hors champ.<\/p>\n

En dialogue avec l\u2019\u00e9mergence et l\u2019histoire du cin\u00e9ma, nous analysons les d\u00e9placements esth\u00e9tiques et politiques de la performance \u00e0 travers les m\u00e9dias de l\u2019image en mouvement. Nous nous int\u00e9ressons ici aux sp\u00e9cificit\u00e9s par lesquelles les images en mouvement fa\u00e7onnent et transmettent des performances. Si l\u2019attention est principalement port\u00e9e sur les performances humaines, mises en sc\u00e8ne ou trouv\u00e9es, nous explorons \u00e9galement la mani\u00e8re dont des performances non humaines sont cadr\u00e9es ou rejou\u00e9es \u00e0 l\u2019\u00e9cran.<\/p>\n

L\u2019atelier propose ainsi un nouveau prisme pour lire l\u2019histoire et le pr\u00e9sent des cultures de l\u2019image en mouvement, ainsi qu\u2019un ensemble d\u2019outils \u00e0 d\u00e9velopper collectivement, comme des op\u00e9rations permettant de travailler la performance, qu\u2019elle soit mise en sc\u00e8ne ou trouv\u00e9e, au sein des pratiques de l\u2019image en mouvement.<\/p>\n<\/div><\/section>\n\n

\n
\"\"<\/figure>\n<\/div>\n\n\n

Images, in clockwise order from upper left:
Abbas Kiarostami, Close-Up<\/em> (1990)
Nathan Fielder and Benny Safdie, The Curse <\/em>(2023)
Harun Farocki, Leben BRD (How to Live in the German Federal Republic)<\/em>, (1990)
Wallace McCutcheon, Photographing A Female Crook<\/em> (1904)<\/p>\n\n\n\n

<\/div>\n\n\n

Sasha Litivintseva<\/h2>

Sasha Litvintseva est artiste, cin\u00e9aste et autrice, bas\u00e9e \u00e0 Londres. Depuis 2018, une grande partie de son travail s\u2019inscrit dans le cadre de sa collaboration continue avec Beny Wagner.<\/p>\n

Ses films ont \u00e9t\u00e9 pr\u00e9sent\u00e9s dans de nombreux festivals internationaux, notamment la Berlinale, le Festival international du film de Rotterdam, CPH, Cin\u00e9ma du r\u00e9el, RIDM Montr\u00e9al, Punto de Vista, Festival du nouveau cin\u00e9ma, Edinburgh International Film Festival, Vancouver Film Festival, Open City Docs, Camden International Film Festival, Olhar de Cinema, Vilnius Film Festival et l\u2019Aesthetica Short Film Festival, entre autres.<\/p>\n

Son travail a \u00e9galement \u00e9t\u00e9 pr\u00e9sent\u00e9 dans de grandes institutions artistiques, notamment la Tate Modern, la Baltic Triennial, la Seoul Mediacity Biennale, le Museum of the Moving Image \u00e0 New York, TIVA Taipei, l\u2019ICA de Londres, le CCA Glasgow, le FRAC \u00cele-de-France, le Wexner Center for the Arts, le Museum of Modern Art de Varsovie, le mumok de Vienne, Videobrasil et Transmediale. Il a fait l\u2019objet de focus et de r\u00e9trospectives dans plus de quinze lieux \u00e0 travers le monde, dont le Courtisane Festival, UnionDocs (New York), LA Filmforum et l\u2019e-flux screening room.<\/p>\n

Ses films ont re\u00e7u de nombreux prix internationaux, dont le Sylvestre Award du meilleur court m\u00e9trage \u00e0 IndieLisboa, le prix du meilleur documentaire court au Guanajuato Film Festival, une mention sp\u00e9ciale \u00e0 CPH, une mention sp\u00e9ciale \u00e0 EXiS Seoul, la deuxi\u00e8me place au Deutscher Kurzfilmpreis (\u00e9quivalent des BAFTA) et une inscription sur la liste longue des Oscars. Son travail a \u00e9t\u00e9 publi\u00e9 dans des revues telles que Cahiers du Cin\u00e9ma<\/em>, Sight & Sound<\/em>, Frieze<\/em>, Senses of Cinema<\/em> et Filmmaker Magazine<\/em>. Ses films sont distribu\u00e9s par Square Eyes et le Criterion Channel.<\/p>\n

Sasha Litvintseva est dipl\u00f4m\u00e9e d\u2019un BA en Beaux-Arts du Slade School of Art et d\u2019un doctorat en Media, Communications and Cultural Studies de Goldsmiths, University of London. Elle est professeure senior en cin\u00e9ma \u00e0 Queen Mary University of London et laur\u00e9ate 2024 du Philip Leverhulme Prize. Elle est l\u2019autrice de Geological Filmmaking<\/em> (Open Humanities Press, 2022) et co-autrice, avec Beny Wagner, de All Thoughts Fly: Monster, Taxonomy, Film<\/em> (Sonic Acts Press, 2021). Ses textes ont \u00e9galement \u00e9t\u00e9 publi\u00e9s dans des ouvrages et revues tels que e-flux<\/em> et Environmental Humanities<\/em>.<\/p>\n

https:\/\/www.sashalitvintseva.com\/<\/a><\/p>\n<\/div><\/section>\n\n

Beny Wagner<\/h2>

Beny Wagner est artiste, cin\u00e9aste, auteur et enseignant. Travaillant \u00e0 la crois\u00e9e de l\u2019image en mouvement, du texte, de l\u2019installation et de la conf\u00e9rence, il construit des r\u00e9cits non lin\u00e9aires qui interrogent la fronti\u00e8re mouvante du corps humain dans le temps. Son travail explore des th\u00e8mes allant de l\u2019histoire du m\u00e9tabolisme aux politiques sociales et historiques de la standardisation des mesures, en passant par les politiques des d\u00e9chets et l\u2019histoire des monstres dans la science europ\u00e9enne. Depuis 2017, une grande partie de son travail s\u2019inscrit dans le cadre de sa collaboration avec Sasha Litvintseva.<\/p>\n

Wagner a pr\u00e9sent\u00e9 son travail dans de nombreux festivals, expositions et conf\u00e9rences internationaux, notamment la Berlinale, le Festival international du film de Rotterdam, CPH, Open City Documentary Festival, EXiS Seoul, Courtisane, Tate Modern, le Museum of the Moving Image \u00e0 New York, Eye Filmmuseum Amsterdam, le Criterion Channel, Haus der Kulturen der Welt, Los Angeles Filmforum, la Seoul Mediacity Biennale, Berlin Atonal, la Biennale de Venise ou encore White Columns, entre autres.<\/p>\n

Son travail a \u00e9t\u00e9 comment\u00e9 dans des publications telles que Artforum<\/em>, BOMB Magazine<\/em>, Filmmaker Magazine<\/em>, Spike<\/em>, Frieze<\/em>, Kaleidoscope<\/em> et Flash Art<\/em>. Ses textes ont \u00e9t\u00e9 publi\u00e9s dans e-flux<\/em>, Diaphanes et Valiz. Ses films ont re\u00e7u plusieurs prix internationaux, dont le prix du meilleur court m\u00e9trage \u00e0 IndieLisboa et le prix du meilleur documentaire court au Guanajuato International Film Festival.<\/p>\n

Beny Wagner est professeur en Fine Art Critical Studies \u00e0 Goldsmiths, University of London. Il est titulaire d\u2019un doctorat du Archaeologies of Media and Technology Research Group \u00e0 la Winchester School of Art (University of Southampton). Il a \u00e9galement enseign\u00e9 \u00e0 University College London, Queen Mary University of London et \u00e0 la Gerrit Rietveld Academy \u00e0 Amsterdam, et a \u00e9t\u00e9 invit\u00e9 dans de nombreuses \u00e9coles d\u2019art et universit\u00e9s en Europe, au Royaume-Uni et aux \u00c9tats-Unis. Il a \u00e9t\u00e9 chercheur \u00e0 la Jan van Eyck Academy et est dipl\u00f4m\u00e9 de Bard College (New York).<\/p>\n

https:\/\/www.benywagner.com\/<\/a><\/p>\n<\/div><\/section>\n\n

Informations pratiques<\/h2>

Date :<\/strong> jeudi 24 avril 2025
\nHoraire :<\/strong> 10h00\u201317h00
\nLieu :<\/strong> Pianofabriek (rue du Fort 35, 1060 Saint-Gilles)<\/p>\n

COMPLET \u2013 LISTE D\u2019ATTENTE OUVERTE<\/strong><\/p>\n

Entr\u00e9e gratuite sur inscription (places limit\u00e9es)
\nPour rejoindre la liste d\u2019attente, merci d\u2019\u00e9crire \u00e0 : soundimageculture@gmail.com<\/a><\/p>\n<\/div><\/section>","protected":false},"excerpt":{"rendered":"

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