Éliane Radigue

A portrait of Eliane Radigue, produced by the Austrian IMA (Institute for Media Archeology), which observes Eliane in her workspace, operating the ARP and talking about the process of composing and recording.

L'histoire étonnante de la musique électronique : son épopée depuis ses origines en Europe, aux mains des grands artistes de l'avant-garde classique d'après-guerre, jusqu'aux grandes villes post-industrielles des États-Unis, où ce genre de genres a envahi les magasins de musique, les clubs louches et, finalement, les grandes scènes.

Ce regard intime sur Eliane Radigue, pionnière française de la musique minimaliste et électroacoustique, explore la singularité sensorielle de sa "sculpture sonore" et ses vertus méditatives. Le dispositif du film génère les images mentales que la musique a vocation à susciter, proposant avec les moyens propres du cinéma des paysages sonores.

Documentaire d' images d'archives, d'entretiens et d'extraits sonores d'une poignée de pionnières, américaines, britanniques et françaises, de la musique électronique expérimentale. Même si le film prend bien soin de souligner les différences entre elles et leurs intentions distinctes, on effleure à la peine la surface en une heure et demi.

Fourth in the IMA Portraits series, this short introduces us to the life and work of electronic/contemporary composer Eliane Radigue. Radigue discusses methods of composition, the challenges and difficulties of live electronic music, as well as biographical episodes with Pierre Henry and her own goals in soundscape production and consumption.

This new film approaches the world of French sound pioneer Éliane Radigue (*1932) from a perspective of close proximity. French filmmaker Eléonore Huisse and sound artist François J. Bonnet visit their friend Éliane’s home in Paris in times of social distancing and lockdown to explore questions pertaining to solitude, imagination, retreat, the inner voice and temporality – questions that resonate with Radigue’s work, philosophy and way of living as much as with the acute collective experience of suspension and isolation brought about by the ongoing COVID-19 pandemic.

This new film approaches the world of French sound pioneer Éliane Radigue (*1932) from a perspective of close proximity. French filmmaker Eléonore Huisse and sound artist François J. Bonnet visit their friend Éliane’s home in Paris in times of social distancing and lockdown to explore questions pertaining to solitude, imagination, retreat, the inner voice and temporality – questions that resonate with Radigue’s work, philosophy and way of living as much as with the acute collective experience of suspension and isolation brought about by the ongoing COVID-19 pandemic.

Suddenly there is an enormous amount of time. At first everything is possible. Anything might happen. Gradually the possible becomes impossible.

An experimental film on the geographic and historical voyage of the peculiar sound of the so-called 'Basque ox carts'. Said sound, which could be heard until the decade of the 60s in part of the Bay of Biscay, has now practically disappeared from the Iberian peninsula. The film travels from the silence of the sound in our territory today, until its reappearance, following years of research, in the central area of Brazil.

An experimental film on the geographic and historical voyage of the peculiar sound of the so-called 'Basque ox carts'. Said sound, which could be heard until the decade of the 60s in part of the Bay of Biscay, has now practically disappeared from the Iberian peninsula. The film travels from the silence of the sound in our territory today, until its reappearance, following years of research, in the central area of Brazil.

In support of experiences that are essentially common, but to which language does not easily adhere, the video passes through places that are both themselves, and stand-ins for others. The title is taken from Aleister Crowley’s 1918 translation of the "Tao Te Ching."

Charles is a portrait of a middle-aged man I met outside a 7/11 late one night on the outskirts of Oklahoma City in 2015. Charles had been homeless for some years, estranged from his family because of his schizophrenia, and was living by a pond at the back of the convenience store. We instantly formed a very intimate connection due to his gentle and deeply compassionate outlook on life. He told me beautiful stories about how he would talk to the trees and clouds before going to sleep each evening, and his plans to visit his daughter in Memphis before the end of the year. We ate some dinner together by his pond before shooting this portrait at about 3am.

A cave with an animal trapped inside? An eyeball vaguely reflecting a sleeping horse? A peephole into the black night? A dark side of the globe? An electro-acoustic soundscape by Eliane Radigue guides us on an abstract journey through the night. Entirely based on footage from unsecured live surveillance cameras.

The last film in Vidokle's trilogy on Cosmism is a meditation on the museum as the site of resurrection-a central idea for many Cosmist thinkers, scientists and avant-garde artists. Filmed at the State Tretyakov Gallery, the Moscow Zoological Museum, The Lenin Library, and the Museum of Revolution, the film looks at museological and archival techniques of collection, restoration and conservation as a means of the material restoration of life, following an essay penned by Nikolai Federov on this subject in the 1880s. The film follows a cast comprised of present-day followers of Federov, several actors, artists and a Pharaoh Hound that playfully enact a resurrection of a mummy, a close examination of Malevich's Black Square, Rodchenko's spatial constructions, taxidermied animals, artifacts of the Russian Revolution, skeletons, and mannequins in tableau vivant-like scenes, in order to create a contemporary visualization of the poetry implicit in Federov's writings.

"Ocean Going Figurine" is a single screen performance in which the artist records an assemblage of figurations. Screen recording software witnesses the figuring out and figuring of conversations and movements which have been pulled from a longer iterative sequence. The software used to construct the figures highlights the collaborative process.