Luento 2.6. Museum people are smart, they are pretty, they are nervous too (from Vertigo to Stendhal syndrome)
08.05.2015

T R I S T A N  B E R A
Museum people are smart, they are pretty, they are nervous too (from Vertigo to Stendhal syndrome)

Tiistaina 2.6.2015 klo 16 Turun pääkirjasto, Studio (Linnankatu 2) 

Tristan Bera esittelee elokuvien (mm. Alfred Hitchcockin Vertigo, Woody Allenin Manhattan) museokohtauksia ja kertoo Louvressa kuvatun Belle comme le jourin elokuvallisista vaikutteista tiistaina 2.6. klo 16 Turun pääkirjaston Studiossa (Linnankatu 2). Tilaisuus on englanninkielinen ja avoin kaikille kiinnostuneille. Vapaa pääsy!

Luento liittyy Tristan Beran ja Dominique Gonzalez-Foersterin filmiin Belle comme le Jour (2012), joka on esillä Turun taidemuseon Pimiössä 5.6.-20.9.


Tuesday June 2, 2015 at 4 pm Turku City Library, Studio (Linnankatu 2)


"It restates the negativeness, the hideous, lonely emptiness of existence, nothingness, the predicament of man forced to live in a barren, godless eternity like a tiny flame flickering in an immense void of nothing but waste, horror, degradation, forming a useless, bleak straight jacket in a black, absurd cosmos."

The museum girl says in Play it again, Sam (1972)

The museum display is a favorable environment for movie set, for artworks are significant stimuli for characters and actions. There are many noteworthy examples of museum scenes in the history of cinema. Some are romantic like in Woody Allen's Manhattan (1979) or burlesque like in Play it again, Sam (1972). Some are dramatic occasions for characters to look deep inside themselves like in Rosselini's Journey to Italy (1954) and Hitchcock's Vertigo (1958), or to run after each other like in erotic crime thriller films. Others are purely performative and sporty like in Jean-Luc Godard's Bande à Part (1964) turning cinema characters into performance artists. But all these scenes are situated at the crossroads of visual art, cinema and art criticism by focusing on a specific museum sense of beauty, contemplation and participation and staging viewing, viewers and artworks altogether.

The lecture tackles original museum scenes that inspired Belle comme le Jour (Tristan Bera & Dominique Gonzalez-Foerster, 2012) that was shot in the museum of Louvre in Paris, and draws up an informal sentimental and critical list of cinematic references which reveal a certain Stendhal syndrome. 

Lecture is in English and takes about an hour. Free entrance.

Belle comme le Jour
(2012) by Tristan Bera & Dominique Gonzalez-Foerster is exhibited at Turku Art Museum 5 June – 20 September 2015 and lecture is part of the museum’s program.

Turun taidemuseo, Aurakatu 26, 20100 Turku, Puh. 02 2627 100. © 2014