1ER DÉCEMBRE Marker, cinéaste Salle Michel Simon, Cinémas du Grütli, Genève De 9h à 12h30, conférences, conversation et table ronde : Bamchade Pourvali : Chris Marker, un parcours cinématographique : composition et influences François Niney : Le bonheur dans l’image ? Thierry Garrel : Chris Marker, sous le signe du chat De 14h à 17h, lectures de films : par Bertrand Bacqué, Cyril Neyrat, Jean Perret (HEAD – Genève)
2 DÉCEMBRE Marker, photographe et artiste multimédia Bâtiment d’art contemporain (BAC), Genève De 9h à 12h30, conférences et table ronde : Jean Perret : Marker photographe en quête d’histoires – continuités et fragments Etienne Sandrin : La figure du chat dans l’œuvre de Chris Marker Annick Rivoire : Marker, l’œuvre au net De 14h à 17h, visites guidées et commentées : au Centre de la photographie, Genève, Passengers par Joerg Bader, puis au Centre d’art contemporain, Genève, Les marques aveugles par Émilie Bujès, puis sur Second Life, L’Ouvroir par Fabiana de Barros.
Fiche d'artisteArtist file
Chris Marker (1921-2012) was one of the most influential and important filmmakers to emerge in the post-war era. Marker appeared on the Paris cultural landscape as a writer and editor and also became identified for his uniquely expressive non-fiction films. Marker began garnering international recognition in 1962 with the science-fiction short film La Jeté. In the seventies Marker created documentaries both on the history of the left (Le Fond de l’air est rouge, 1977) [...]
Chris Marker (1921-2012) was one of the most influential and important filmmakers to emerge in the post-war era. Marker appeared on the Paris cultural landscape as a writer and editor and also became identified for his uniquely expressive non-fiction films. Marker began garnering international recognition in 1962 with the science-fiction short film La Jeté. In the seventies Marker created documentaries both on the history of the left (Le Fond de l’air est rouge, 1977) and travel and memory (Sans Soleil, 1982). Marker has also produced acclaimed media installations, including Owls at Noon Prelude: The Hollow Men, shown at New York’s Museum of Modern Art in 2005 and presented by Peter Blum at Art Basel Unlimited in 2006, and Silent Movie, commissioned by the Wexner Center for the Arts in 1995 and which subsequently traveled internationally. Additionally, he has been included in exhibitions at the Walker Art Center, Minneapolis; MoMA PS1 Contemporary Art Center, New York; The Centre Georges Pompidou, Paris; The Jeu de Paume, Paris; The Douglas Hyde Gallery, Dublin, and Fundació Antoni Tàpies in Barcelona.