Chris Marker (b. Neuilly-sur-Seine, France 1921) – actual name: Christian François Bouche-Villeneuve – multimedia artist, photographer, film director, writer. Lives in Paris and does not grant interviews. When asked for a picture of himself, he usually offers a photograph of a cat instead (so far as the gossip says). His cat is named Guillaume-en-egypte. (See more details in my previous post here: http://wp.me/p8s8b-66)
Creator of: La Jetée (1962), A Grin Without a Cat (1977), Sans Soleil (1983) and AK (1985) a documentary on Akiro Kurosawa. From the recent projects: in 2005 Marker created a multimedia piece for The Museum of Modern Art in New York titled Owls at Noon Prelude: The Hollow Men (influenced by T.S. Elliot’s poem); in 2008: Immemory – an interactive video produced by Centre Pompidou, created out of fascination by digital technology.
Marker is as enigmatic, brilliant and witty in his collages above as he would be behind his directorial camera viewfinder. One simply cannot get enough of this artist’s vision – it escapes one’s full comprehension and intuitive potential. It’s a one-man world-view, a singularity which resists any thorough penetration. A beauty and power of human uncanniness captured into a compelling, enthrilling visual extravaganza. Just keep exploring…
Site about Marker’s view of the world: Chris Marker
I have to confess – I took my camera with me one Christmas-time evening specifically for this reason – to collect the ‘evidence’ of the tastelessness and prodigality, which flourish in the Irish (and I suppose Polish, French, Spanish… everywhere) towns right from the beginning of November. Why someone would like to keep three Christmas trees under one roof – doesn’t it ridicule the very sense of having it (slightly like celebrate three bonfires in the Roman home)? Why does someone find it attractive and/or desirable to display twenty or so flashing, twinkling, glaring decorations – every one of them kitsch – if even one quarter of these make their point quite clearly (I would say – ‘plainly and blatantly clear’)? Why everyone lets the commercial/consumption machine to devour all the magic and beauty of the season? Why – I’ve been keeping asking finding myself astonished and confused like a newcomer from a far country…
But, after giving the issue a bit of a deepen thought (and what I have learned today) I came to a conclusion that there won’t be probably any straightforward and satisfying answer to these dilemmas. Not only because one is not supposed to discuss the taste of others (De gustibus non est disputandum), but due to the complexity of the whole phenomenon. How a particular culture, country, region and a family responds to the public celebrations/mythologies is deeply rooted in its history and habitual imprint, spiritual/religious background, psychological/mental DNA, economic and even political conditions, as well as the contemporary, today’s challenges and ongoing (that’s why very difficult to analyze) transformations. And even grasping all of these wouldn’t necessary help to decipher why this particular culture/region/house has chosen to celebrate in such a way. One could be completely mislead judging the Roman ancient culture by the Dionysian Festival or the contemporary Spanish nation by their Bull Running pandemonium.
Looking at my photos I have to underline – it was a short walk and no more than a dozen of pics taken – yet, in a strange way, some of them translate an obscene, common or even bizarre scene into a charming image of a welcoming, cheerful or even contemplative environment where – who knows, the true spirit of this time lives on… If a camera is like a ‘dream catcher’ of our thoughts and feelings – I must have found myself unable to expose all the shallow ugliness of the environment, as I was planning to do. Too bad? Well, who knows where the true lies – in my criticism or in these images’ sweet dreaminess?
My loyal and new-coming readers – please note, that from now my page has got a new Header Image (just above). It’s a part of my photo (see below) featuring my porcelain doll called Maria.
The old one – incorporating a fragment of Joseph Koudelka’s photo could have been read as a violation of the photographer’s copyrights, which action has never been in my intention.
Thank you all for your time. Enjoy.