Charles Vandenhove, architecte de l'art
Documentary
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The extraordinary work of the American artist Philip Guston is a milestone in modern painting. Guston is one of the most discussed painters of his time and today a star of the younger generation of contemporary artists. ARTE is showing the documentary on the occasion of the major Guston retrospective at the Tate Modern in London.
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400 years ago, in Japan, a revolutionary art was born and would influence the greatest Western artists of the late nineteenth century, the Ukiyo-E "floating images of the world." A wonderful trip in a world of beauty and discovery. The concept and objectives of this documentary are, on the one hand, to show, teach and discover Japanese art (Japanese stamps and prints) and, on the other hand, to demonstrate the influence of Japanese stamps on Western modern art, showing in comparison some of the Most famous paintings (impressionism or paintings by Van Gogh).
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The Finnish architect Alvar Aalto (1898–1976) is one of the great figures of modern architecture, ranked alongside Gropius, Le Corbusier and Mies van der Rohe. This film analyses Aalto’s uniquely successful resolution of the demands and possibilities created by new technology and construction materials with the need to make his buildings sympathetic both to their users and to their natural surroundings. His inventive use of timber in particular represents both a reference to the forest landscape of Finland and a building material that is ‘warm’ and extremely adaptable. Filmed in Finland, Italy, Germany and the USA, this documentary shows how the Finnish natural environment and art traditions were essential elements in Aalto’s pioneering harmonization of technology and nature.
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I'm Too Sad to Tell You
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This short film is part of a mixed media artwork of the same name, which also included postcards of Ader crying, sent to friends of his, with the title of the work as a caption. The film was initially ten minutes long, and included Ader rubbing his eyes to produce the tears, but was cut down to three and a half minutes. This shorter version captures Ader at his most anguished. His face is framed closely. There is no introduction or conclusion, no reason given and no relief from the anguish that is presented.
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1958
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