Danish filmmaker Lars von Trier owes his international reputation to the awards won at the Cannes Film Festival in 1996 with Breaking The Waves and in 2000 with Dancer in The Dark, and to the huge public sucess that followed.
Since then, he has presented an oeuvre and a personality that are both passionate and complex, willingly provocative, that will be the focus of the retrospective of his work and the videoconferences held during the Agora Festival at the Centre Pompidou.
On June 8, the filmmaker will look back on his works with Pascal Mérigeau (Nouvel Observateur film critic) and speak with the audience via videoconference, direct from Copenhagen. A discussion followed by the screening of never before seen short films by Lars von Trier when he was a teenager and from his time at film school.
An IRCAM-Centre Pompidou and the Département du développement culturel (Les Cinémas) du Centre Pompidou. With the support of CO-ME-DIA project (EACEA-Projet Culture 2007-2013 de l'Union européenne).
Photo: Lars von Trier © Zentropa
As a part of the Agora festival, the Cinémas du Centre Pompidou present the polymorphic and labyrinth-like works of Lars von Trier - a filmmaker of paradox and ambiguity - the creator of films with experimental structures, designed as open systems.
Never Before Released Short Films Monday, June 8, 6:30pm, Cinéma 1
Le voyage à Squashland [1967 / 1' / coul.]
Bonne nuit, trésor [1968 / 1' / coul.]
Pourquoi fuir ce dont tu ne peux t'échapper ? [1970 / 7' / coul.]
Une fleur [1971 / 7' / nb]
Film School Works
Production I : la mort [c. 1979 / 5' / nb]
Exercice de cadrage [c. 1979 / 1' / nb]
Production II [1979 / 10' / nb]
Production III : le deuxième voyage de Marsja [1980 / 18' / nb]
Nocturne [1980 / 8' / nb. et coul.]
Never Before Released Films Wednesday, June 10, 7:30pm, Cinéma 1
Images d'une libération [1982 / 57' / coul.]
Thursday, June 11, 8:30pm, Cinéma 1
Advertisements for Ekstra Bladet [c. 1988 / 7 spots de 30'' à 40'']
Documentaries: Lolita [1979 / 4' / nb]
Production IV : l'histoire de deux maris aux épouses beaucoup trop jeunes [c. 1980 / 12' / nb]
Erik Nietzsche, mes années de jeunesse [2009 / 92' / coul.]
Friday, June 12, 8:30pm, Cinéma 2
Advertisements for Ekstra Bladet [c.1988 / 20" / coul.]
Médée [1988 / 75' / coul.]
Saturday, June 13, 2:30pm, Cinéma 1
Leningrad [1992, 3'20" / coul.]
The Element of Crime [1984 / 104' / nb et coul.]
Saturday, June 13, 5pm, Cinéma 1
The Shiver [1994 / 2' / coul.]
Epidemic [1987 / 106' / nb et coul.]
Saturday, June 13, 8:30pm, Cinéma 1
Danas Have [1992 / 4' / coul.]
Europa [1991 / 113' / nb et coul.]
© The Five Obstructions, Dan Holmberg | © Breaking the Waves, Films du Losange
Sunday, June 14, 8:30pm, Cinéma 1
Bakerman [1989 / 5' / nb et coul.]
Breaking the Waves [1996 / 158' / coul.]
Monday, June 15, 8:30pm, Cinéma 1
Sauna [1986 / 50" / coul.]
Advertisements for Politiken [c. 1988 / 2 spots de 55" / coul.]
Les idiots [1998 / 117' / coul.]
Wednesday, June 17, 8:30pm, Cinéma 1
Highway of Love [1990 / 4' / coul.]
Dancer in the Dark [2000 / 139' / coul.]
Thursday, June 18, 8:30pm, Cinéma 1
Advertisements for Calberson [c. 1988 / 1' / coul.]
La rue de la vie / le violon [1993 / 4' / coul.]
Projet Jour J [2000 / 66' / coul.]
Friday, June 19, 8:30pm, Cinéma 1
Change [1992 / 4' / coul.]
Dogville [2003 / 178' / coul.]
Saturday, June 20, 5pm, Cinéma 1
Bet it on you [1990 / 4' / nb]
The Five Obstructions [2003 / 90' / coul.]
Saturday, June 20, 8:30pm, Cinéma 1
Occupations [2007 / 3' / coul.]
Advertisements for la Croix Rouge [c. 1988 / 35" / coul. et nb]
Manderlay [2005 / 139' (2h19) / coul.]
Sunday, June 21, 5pm, Cinéma 2
Les grandes personnes [c. 1988 / 10 spots de 30" à 40" / coul.]
L'hôpital et ses fantômes 2 [1997 / 1st part: 139' / coul.]
Sunday, June 21, 8:30pm, Cinéma 2
Les grandes personnes [c. 1988 / 8 spots de 30" à 40" / coul.]
L'hôpital et ses fantômes 2 [1997 / 2nd part: 151' / coul.]
Monday, June 22, 8:30pm, Cinéma 1
L'ouvrier et le paysan [1989 / 7 spots de 1'20" à 2'45" / coul.]
Le Direktør [2006 / 100' / coul.]
The experimental jazz trio Aka Moon have come to the IRCAM studios to meet for the first time, a new tool for improv, Omax.
Extreamly prominent in the worlds of improvisation, opera, and dance especially with Alain Platel's latest creations, this is the first time that Aka Moon attempts a "dialogue with a shadow double".
Fabrizio Cassol, saxophone
Michel Hatzigeorgiou, bass
Stéphane Galland, drums
Gilbert Nouno, electronics
An IRCAM-Centre Pompidou production in collaboration with the Centre Wallonie-Bruxelles à Paris.
Concert recorded by France Musique.
Photo: Aka Moon © M.F. Plissard
June 10 - 12, IRCAM will hold an international symposium (organized in collaboration with the Département du développement culturel du Centre Pompidou) that brings together ambitious aesthetic experiences and scientific eventualities on the idea of idea of complexity that can be found in a wide range of topics in humanities and science today.
Can we question the conditions surrounding the conception, the writing, the realization, the reception through the lens of complexity in cinema, literature, painting, or architecture? Scientific models seem to teach us that the systems that capture our attention are "on the edge of chaos". In effect, it is at the borderline between order and chaos that systems evolve toward higher levels of organization as there is a large enough number of attractors to incite a front of innovation while avoiding - for the observer - a cognitive exhaustion inherent to complete order or to disorder, and therefore favoring the possibilities of progressive appropriation that then diminish the intensity of the surprise. If we admit that these properties are sought out by artists, even at a purely intuitive level, we can ask ourselves if there is a bond that brings together the temporal strategies of the composer, the film director, the digital artist - strategies that orient the viewer's subjective time - and the strategies related to the structural complexity of a work or art.
In this encounter between artists and scientists, the relationship with time goes beyond conventional operating strategies. For Prigogine, the bifurcations crystallize the story of the system. At the heart of all forms and processes in material and living systems, points of bifurcation make up a chronology of their former interactions with the environment. For the artist this also raises the question of choice and delegation of choice in the hostory of the creative process.
To orient this broad network of questions that could be raised among participants from the sciences or the arts during these days, we have chosen to organize the encounters in three categories:
Within each of these general categories the important concepts found in the science of complexity, in particular auto-organization, autonomy, and emergence in systems far from equilibrium, as well as the major paradigms-domains (physics, biology, computer technology, etc.) will be clarified for the general public and tested through a comparison with artistic practices, and tested as tools for analysis as well as creation.
Epistemology, philosophy: Henri Atlan (recorded interview), Jean-Pierre Dupuy
Computer Science/Information Theory: Grégoire Carpentier, Arshia Cont, Shlomo Dubnov
Mathematics: Marc Chemillier, Paul Bourgine, John Casti, Andrée Ehresmann
Musicology-Performance: Philippe Albèra, Mario Caroli
Physics-Chemistry: Jean-Pierre Boon, Carl Djerassi, Wiebke Drenchkan, Lisa Randall, Richard Taylor, Denis Weaire
Architecture: Philippe Rahm
Composition-Theory: Geoffroy Drouin, Brian Ferneyhough, Jean-Luc Hervé, Fabien Lévy, Hèctor Parra, Dmitri Tymoczco
Film: Lars von Trier (via videoconference), Raoul Ruiz
Literature: Christophe Claro, Mark Danielewski, Renaud Camus
Symposium organized in collaboration with the Centre Pompidou, ISC-PIF (Institut des systèmes complexes de Paris Ile-de-France), le CREA (Centre de recherche en épistémologie appliquée - École polytechnique), l'Université libre de Bruxelles, and IIASA (International Institute for Applied Systems Analysis). With the support of the MRT (Mission de la recherche et de la technologie du ministère de la Culture et de la Communication), the CNRS, Andrea von Braun Stiftung and CO-ME-DI-A project (EACEA - Projet Culture 2007-2013 de l'Union européenne).
9:30am-6pm / Centre Pompidou, petite salle
The Danish filmmaker Lars von Trier, the American author Mark Danielewski, and the English composer Brian Ferneyhough wander through the real and virtual spaces of their works.
Mark Danielewski's space began on Internet before invading the pages of his first cult novel, House of Leaves, designed as an immense fictional set of connections.
The space of Lars von Trier is always the location of the invention of a technique. In his film, The Boss of it All, he uses computer-assisted framing that automatically chooses the shots: the bifurcations of the story are subject to the extra-machine interruptions of the narrator/director. This evening's encounter on the idea of "organizational randomness" led by Henri Altan, could take its title from the painting by Bruegel or the homonymous work by Brian Ferneyhough, The Fall of Icarus. An event has taken place, its traces remain secret, swallowed up in the masses and the indifference of parallel actions.
With: Mark Danielewski, Brian Ferneyhough, Lars von Trier (via videoconference), and a filmed interview with Henri Atlan.
Henri Atlan will be taking part in this colloquium through a filmed interview with Frank Madlener, Andrew Gerzso, and Gérard Assayag produced at IRCAM on May 20, 2009.
Mediation: Omar Berrada, Frank Madlener
Screening of never before seen short film by Lars von Trier, Images d'une libération (1982, 57').
In collaboration with the Département du développement culturel (les Revues parlées) du Centre Pompidou. With the support of CO-ME-DI-A project.
Hypermusic Prologue is the fruit of an encounter between a young Spanish composer, Hèctor Parra, and the renowned American physicist, Lisa Randall.
He is fascinated by the research carried out at Harvard University on cosmological models, string theory, and quantum physics. She is captivated by opera and confides her wishes to write a libretto on current advances and prospective theories in astrophysics.
Together, they imagine Hypermusic Prologue a new type of staged performance that embraces the worlds of art and science. Matthew Ritchie, whose visual oeuvre endeavors to alter finite media, quickly became a part of this unrivaled artistic venture.
This 'Projective Opera' seeks to send us beyond the known boundaries of the universe, its creation, its matter, and its energy. This exploration takes the form of a dialogue between two solo voices that feel the tautness between the finite and the infinite (hyperspace), between the experience of now and the temptation to know new dimensions of being and time.
Music Hèctor Parra | Texts Lisa Randall
Stage Design Matthew Ritchie
Director Paul Desveaux
Lighting Design Laurent Schneegans
Charlotte Ellett, soprano | James Bobby, baritone
IRCAM Computer Music Design Thomas Goepfer
An Ensemble intercontemporain and IRCAM-Centre Pompidou coproduction. With the support of the Fondation d'entreprise Hermès.
Concert recorded and filmed by France Musique.
Sunday, June 14 and Monday, 15, 8pm / Centre Pompidou, Grande salle
"I breath of the air of other planets." The aspiration of the poem by Stefan Georg, put to music by Arnold Schoenberg in his second quartet, irresistibly evokes the suspension of tonality and the advances made in parallel by Vassily Kandisky towards abstraction.
The work Erinnerung by Denis Cohen points to Schoenberg's orchestral works, reminiscent of the founding chord of Farben. The other premiere on this evening's program borrows the unique formation of a voice with a quartet from Schoenberg. Operspective Hölderlin by Philippe Schœller explores the stage invention in terms of the possibilities of depth of field, of the virtual horizon, or of the dynamic opening the frontal stage offered by the WFS system (Wave Field Synthesis), a new instrument for the projection of sonic energy.
What meridian is common to the poem, music, and to the world of technology? What correspondences are possible? An answer given by Schoenberg remains, "If proximity makes the difference stand out, distance makes common traits stand out."
Barbara Hannigan, soprano
Computer Music Design Gilbert Nouno (IRCAM)*, Stefan Tiedje (CCMIX)**
A part of the Kandinsky Exhibit.
An IRCAM-Centre Pompidou production. With the support of the Caisse des Dépôts.
Concert recorded by France Musique.
Photo: Barbara Hannigan © Marco Borggreve
Friday, June 19, 9pm / Centre Pompidou, Grande salle