More on this artist here
Today I was having a normal dream about I don’t know what anymore, but in it I did what I guess must be what many now want. A google search engine that searches your own brain. “Google Brain” It would be great for anyone trying to remember something. It would be the final reach of google, maybe we could keep a hard drive with our memories so we could do a live search at any time. I actually googled this keywords and lots came out but not about it actually scanning the brain, people want to use google as their brain but not quite scan it, I imagine some people will not like to know what is hidden in their own brains.
Some google results here
This video was directed by one of my favorite directors, Michel Gondry
Recently (five months ago) I saw the movie Le Samourai by Director Jean-Pierre Melville recommended to me by a respected miami artist and seconded the same night by dig. So I eagerly put it on top of my netflix list. I saw it and made notes while I watch it in the hopes of making some comments about it here. Time passed and today I decided to do it with the music background of Cansei de Ser Sexy.
I have to say that these are the type of movies I need to see. It confirms the idea in my head that there is art cinema out there to be explored. Since, I have seen many other Melville movies, but none is as good as Le Samourai. The first thing I noticed about the first shot that lasted like an eternity, it was a movie painting without the moving. Little by little I notice someone on the right side of the frame. It was Alain Delon, other than being one of my mother’s idols, I always noticed that many talked about him as if he was a joke because he starts every sentence about himself with “Alain Delon thinks …” all in the third person sentences, and always about himself. At least that was the way he was portrayed by Les Guignols and it always made me laugh about Delon. Yet this movie changed all that. This movie is a Masterpiece.
I think Melville was influenced by Luchino Visconti’s The Leopard and I can imagine movies by Jim Jarmusch’s Ghost Dog and John Frankenheimer’s Ronin are influenced by this one. This movie definitely did not have any blah-blah. There was not dialog during the first 10 minutes. There was a very Japanese / American thing to this movie. Every car and the clothes were very Americana while the personality of the protagonist was very japanese Bushido style. He spoke with few words, filled with passion and straight to the point. He was detached from everything and everybody. A scene where he is stealing a car is so powerful it needed to be seeing many times. He seems lost, without hope, or future, suicidal… it ends with a suicide by cop scene. Every frame seems pure. There is an elegance of iconography that lets you know everything without words. A bit like a medieval church in film. It is 1966 but it feels like it happened at any time. The solitude feeling of this movie is universal and timeless. At one point during the movie I wrote in in my notes “he is me, I am him” I do not feel that now but apparently while I was watching I did. The formal beauty of this movie makes it a kind of cinema that I would like to shoot myself. It was in my opinion a controlled form of minimalism that we don’t see today in cinema, a very silent movie that focused on masculinity and the beauty of being a true gentleman. What can I say, I admire being gentile and true, as it is hard to do that these days where everybody is right and there is not need to have guilt or personal regret for anything we do.
This man has long being inspirational for me, as I mentioned in my previous post he was my teacher in Ecole de Beaux Arts Dijon (by the way, since I graduated the state has change the name of the school to just “school of art” and has taken the fine out of the fine art equation). He seduces you while cooking amazing Chinese food in an enormous round table in his house. He was the first to buy me one of my large scale drawings. He still lives in Dijon doing portraits for the wealthy and art projects for the government from what I see from this far. Yesterday I was chatting with a friend in france now living in Paris and she told me she hated Ming because all he was doing as an artist was to make great projects with the government… selling out! she said. now, I can not imagine how much money this might be for him… but it has to be good. I have to admit I did not know what to say to her, she is not an artist but she had a defined opinion about it already and I did not. I have being thinking about it since yesterday. The institutional artist funds is something no artist can avoid in France since the private section is lacking enormously behind. I would like to have a set opinion on this matter but it changes very quickly in my mind. I still don’t know what to think… can you guys give me some comments…
Check out this social art event in the streets of paris organized by JEROME SANS & and one of my favorite art writers NICOLAS BOURRIAUD. Nuit Blanche is a night where everybody parties in paris from 7pm till 7am while checking some great contemporary artists, including one of my teachers Yan Pey Ming and an artist I admire Xavier Veilhan
I need to add that this is a French event that now is being taken in other cities as well, a bit like fete de la musique has being exported to cities like Miami, nuit blanche has being exported to cities like Toronto, Madrid, Rome and coming soon also New York and Tokyo, why not Miami?