Tristan Bera: Museum people are smart, they are pretty, they are nervous too 2.6 kl. 16
26.05.2015

T R I S T A N  B E R A
Museum people are smart, they are pretty, they are nervous too (from Vertigo to Stendhal syndrome)

Tristan Bera presenterar museiscener i olika filmer (bl.a. Alfred Hitchcocks Vertigo, Woody Allens Manhattan) och berättar om vilka intryck från olika filmer som kommer till synes i de i Louvren filmade scenerna i Belle comme le jour tisdag 2.6 kl. 16 i Åbo stadsbiblioteks Studio (Slottsgatan 2). Evenemangets språk är engelska och alla intresserade är välkomna. Fritt inträde.

"It restates the negativeness, the hideous, lonely emptiness of existence, nothingness, the predicament of man forced to live in a barren, godless eternity like a tiny flame flickering in an immense void of nothing but waste, horror, degradation, forming a useless, bleak straight jacket in a black, absurd cosmos."

The museum girl says in Play it again, Sam (1972)

The museum display is a favorable environment for movie set, for artworks are significant stimuli for characters and actions. There are many noteworthy examples of museum scenes in the history of cinema. Some are romantic like in Woody Allen's Manhattan (1979) or burlesque like in Play it again, Sam (1972). Some are dramatic occasions for characters to look deep inside themselves like in Rosselini's Journey to Italy (1954) and Hitchcock's Vertigo (1958), or to run after each other like in erotic crime thriller films. Others are purely performative and sporty like in Jean-Luc Godard's Bande à Part (1964) turning cinema characters into performance artists. But all these scenes are situated at the crossroads of visual art, cinema and art criticism by focusing on a specific museum sense of beauty, contemplation and participation and staging viewing, viewers and artworks altogether.

The lecture tackles original museum scenes that inspired Belle comme le Jour (Tristan Bera & Dominique Gonzalez-Foerster, 2012) that was shot in the museum of Louvre in Paris, and draws up an informal sentimental and critical list of cinematic references which reveal a certain Stendhal syndrome. 

Lecture is in English and takes about an hour. Free entrance.

Belle comme le Jour
(2012) by Tristan Bera & Dominique Gonzalez-Foerster is exhibited at Turku Art Museum 5 June – 20 September 2015 and lecture is part of the museum’s program.
Turun taidemuseo, Aurakatu 26, 20100 Turku, Puh. 02 2627 100. © 2014