Tsai Ming-Liang
Une quête
© No Form, Tsai Ming-Liang © Homegreen Films ©
With support from the Taiwanese Cultural Center in Paris
Produced by Les Cinémas du Centre Pompidou
In collaboration with the Festival d’Automne à Paris
Since his 1994 Vive l’Amour, rewarded with a Golden Lion from the Venice Film Festival, filmmaker Tsai Ming-Liang has been the flagbearer of the second new wave of Taiwan. Along with the release of his new feature film Days in theaters, Tsai presents a previously unpublished exhibition, which includes his entire filmography, at Centre Pompidou.
In 2003, Tsai Ming-Liang authored Goodbye, Dragon Inn, an unforgettable, nostalgic, desperate ode to the power of cinema. In his 11 feature films, multitude of shorts, and televised films, which levitate in an aesthetical vacuum peppered with attempts at redefining the genre, the Taiwanese filmmaker presents his island as a mirage. For nearly thirty years, he has been fetishizing the power of his double, actor Lee Kang-Sheng, a man of few words highlighting the communication breakdown between man and desire—the only way out. This is particularly salient in The Hole (1998), The Wayward Cloud (2005), and Stray Dogs (2013). The filmmaker is now presenting all his films and a once-in-a-lifetime exhibition titled Une quête [A Quest]. For over ten years, Tsai Ming-Liang’s work has placed crafts at the forefront, though it has yet to be exhibited in Europe. A medium for his obsessions, Tsai uses this to address the concept of slowness—which has always been the cornerstone of his work—exacerbated by two years of lockdown. For the first time, he is also releasing the ninth opus of his Walker Films series, which was shot at Centre Pompidou. This immersive experience transcends various media, from film to papier froissé.
In the same place
Mathilde Monnier Territoires
In Territoires, Mathilde Monnier will be taking over the galleries of the Centre Pompidou during the course of a weekend in order to bring us a piece that deals with memory and circulation, "a collection of gestures from her work over the past thirty years". In doing so, the choreographer sets up the possibility of playing out memory in the present, from now onwards, or by means of anticipation.
Apichatpong Weerasethakul Complete retrospective of films and videos
Apichatpong Weerasethakul presents the complete retrospective of his films at the Centre Pompidou. It consists of his eight feature films, thirty or so short (and rare) films, various collective works, and two feature films produced by him.
Apichatpong Weerasethakul Night Particles
The Thai filmmaker Apichatpong Weerasethakul is guest at the Festival d'Automne and Centre Pompidou. His exhibition, featuring around ten video installations, transforms the former solarium into a nocturnal space inhabited by biographical and architectural reminiscences.
Apichatpong Weerasethakul A Conversation with the Sun (VR), extended edition
The Thai filmmaker's second foray into performance art, A Conversation with the Sun (VR), extended edition, presented in Paris in a new version enhanced by a third part, uses virtual reality to create the conditions for a collective dream.
Ligia Lewis Still Not Still
In Still Not Still, choreographer Ligia Lewis pursues her exploration into the silences and shadows of history. In this piece, the performers play out a score over and over again, the burlesque dimension of which makes it all the more tragic.
Forced Entertainment Signal to Noise
Over its forty years of existence, with Tim Etchells at the helm, the company has never stopped reinventing itself. And it continues to do so. Amidst an oscillating form of virtual reality, six performers find themselves deprived of their voices and their entire beings. The whole thing goes beyond all understanding... Welcome to this new world.
Sébastien Kheroufi Par les villages
Sébastien Kheroufi discovered Peter Handke's Par les villages at the onset of his artistic career. It evokes a writer's return to his native village. Amidst the twilight setting in which one universe declines in favour of another, the voices of the “offended and humiliated” break their silence.