catalogue 2007 en .pdf - Festival international du documentaire de ...

Monday July 2 to Friday July 13, 2007Meet the artist: on July 2 from 15:00FIDMARSEILLE avec LA GALERIE OÙ&Alina Abramov is currently working on the script for a tripartite film on the autonomousports of Marseille, Liverpool and Hamburg. The idea for this film stems from her 2006 visitto the Docks area in Marseille. Taking an interest in the docks’ architecture, she learnt thatit had been inspired by the port of Liverpool. Later, her research at the archives of the portof Liverpool took her as far as Hamburg, thus giving her project the form of a triptych. Thesethree towns have seen thousands of people pass through them in transit as they on theirway to America or elsewhere. This is how Alina Abramov decided upon the methods shewould use on her piece: beginning with the geography of these sites with their preciseorganization of space, she traces stories and examines specific biographical data (includingher own life-story which features in the background to the project). There are elementsthat draw our attention to the relationship between image and sound and to the treatmentof space and time, which, like two intersecting circles, illuminate fundamental affinities.The work begins to take shape as these similarities come into their own.For the gallery Où the idea of staging an exhibition involves working alongside the artist’sworking methods. This show consists of three parts making up an interlinking installation(Installation Charnière) between pieces that are finished and complete (Véranda and CheckPoint) and which are reactivated by the link they aim to convey using elements resulting fromthe initial research carried out in Liverpool and whose plastic status still appears to bedeliberately blurred. Indeed these elements are bear witness to her a first visit. They arepresented, first and foremost, as unadulterated recordings – disparate scraps of reality,which nevertheless already make up a coherent ensemble: surprisingly these places seemto function independently. These landscapes of well-oiled machinery are autonomous.Therefore, the way the works are arranged is fundamental to their presentation andAbramov’s conception of the montage: a trilateral ensemble; the open-plan architecture ofVéranda, Check Point Guilo – the story of an impossible crossing, and the announcementof a future film, as if we were standing on the shore.233