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David Claerbout
David Claerbout (born 1969, Kortrijk, Belgium)[citation needed] is a Belgian artist. His work combines elements of still photography and the moving image.
Claerbout studied at Nationaal Hoger Instituut voor Schone Kunsten, Antwerp from 1992-1995. He trained as a painter, but became more and more interested in time through investigations in the nature of photography, the still and the moving image (Bergson's duree echoed in Gilles Deleuze Cinema 1 and Cinema 2).
David Claerbout is "best known for large-scale moving and still imagery that deals with the passage of time".
In early works, such as Kindergarten Antonio Sant’Elia 1932 made in 1998 and the last in a series, he presents an old, black and white photograph as a large, mute projection.
In Vietnam, 1967, near Duc Pho (Reconstruction after Hiromishi Mine) (2001) time is suspended as an airplane caught by the camera moments before its crash, floats, the sunlight gently moving over a green and hilly landscape. In the book Visible Time, David Green writes:
“What one actually experiences or indeed what one sees in this work, is not the conflation of photography and film but, a conjuncture of the two mediums in which neither ever loses its specificity. We are thus faced with a phenomenon in which two different mediums co-exist and seem to simultaneously occupy the same object. The projection screen here provides a point of intersection for both the photographic and filmic image.”
With works such as Villa Corthout (2001) and Piano Player (2002), Claerbout’s work moves towards forms of narratives to describe ‘moments in time’ within the moving image, taking a more cinematic dimension.
In the Bordeaux Piece (2004) actors repeat a given dialogue and a set of given movements, deconstructing cinematic time. It centers on a conversation between a couple that is repeated over and over in different parts of a 1996 Bordeaux house designed by the architect Rem Koolhaas. The piece is in fact a 14 hours film made out of 70 shorter films shot at 10 minutes intervals throughout the day. The narrative slowly collapses, giving way to the movement of the sun over the landscape, architecture and people, thus creating a different temporality. One protagonist is played by Josse De Pauw, who helped Claerbout write the script.
David Claerbout
David Claerbout (born 1969, Kortrijk, Belgium)[citation needed] is a Belgian artist. His work combines elements of still photography and the moving image.
Claerbout studied at Nationaal Hoger Instituut voor Schone Kunsten, Antwerp from 1992-1995. He trained as a painter, but became more and more interested in time through investigations in the nature of photography, the still and the moving image (Bergson's duree echoed in Gilles Deleuze Cinema 1 and Cinema 2).
David Claerbout is "best known for large-scale moving and still imagery that deals with the passage of time".
In early works, such as Kindergarten Antonio Sant’Elia 1932 made in 1998 and the last in a series, he presents an old, black and white photograph as a large, mute projection.
In Vietnam, 1967, near Duc Pho (Reconstruction after Hiromishi Mine) (2001) time is suspended as an airplane caught by the camera moments before its crash, floats, the sunlight gently moving over a green and hilly landscape. In the book Visible Time, David Green writes:
“What one actually experiences or indeed what one sees in this work, is not the conflation of photography and film but, a conjuncture of the two mediums in which neither ever loses its specificity. We are thus faced with a phenomenon in which two different mediums co-exist and seem to simultaneously occupy the same object. The projection screen here provides a point of intersection for both the photographic and filmic image.”
With works such as Villa Corthout (2001) and Piano Player (2002), Claerbout’s work moves towards forms of narratives to describe ‘moments in time’ within the moving image, taking a more cinematic dimension.
In the Bordeaux Piece (2004) actors repeat a given dialogue and a set of given movements, deconstructing cinematic time. It centers on a conversation between a couple that is repeated over and over in different parts of a 1996 Bordeaux house designed by the architect Rem Koolhaas. The piece is in fact a 14 hours film made out of 70 shorter films shot at 10 minutes intervals throughout the day. The narrative slowly collapses, giving way to the movement of the sun over the landscape, architecture and people, thus creating a different temporality. One protagonist is played by Josse De Pauw, who helped Claerbout write the script.
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