{"id":9183,"date":"2026-03-31T11:30:00","date_gmt":"2026-03-31T09:30:00","guid":{"rendered":"https:\/\/unarchivefest.it\/?page_id=9183"},"modified":"2026-05-12T15:08:17","modified_gmt":"2026-05-12T13:08:17","slug":"carte-blanche-philippe-alain-michaud-centre-pompidou-2026","status":"publish","type":"page","link":"https:\/\/unarchivefest.it\/en\/carte-blanche-philippe-alain-michaud-centre-pompidou-2026\/","title":{"rendered":"Carte blanche Philippe-Alain Michaud – Centre Pompidou 2026"},"content":{"rendered":"

[vc_row row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”115430″][vc_column column_width_percent=”100″ gutter_size=”0″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”180167″][vc_column_text uncode_shortcode_id=”179342″]<\/p>\n

Carte blanche<\/strong><\/h1>\n

[\/vc_column_text][vc_column_text uncode_shortcode_id=”722965″]<\/p>\n

Philippe-Alain Michaud – Centre Pompidou<\/strong><\/h3>\n

[\/vc_column_text][vc_column_text uncode_shortcode_id=”757206″]<\/p>\n

From the director of the Paris museum’s Experimental Cinema department, two film s\u00e9ances dedicated to the work of<\/h4>\n

<\/h3>\n

[\/vc_column_text][vc_column_text uncode_shortcode_id=”160602″]<\/p>\n

C\u00e9cile Fontaine<\/span><\/strong><\/h2>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text uncode_shortcode_id=”835276″]<\/p>\n

INTRASTEVERE CINEMA – Room 2, May 27, 9:30 p.m.
\n<\/strong><\/span>Entertaiment<\/span><\/em>
\n<\/span>Q&A with author and curator<\/span><\/strong><\/h5>\n
INTRASTEVERE CINEMA – Room 1, May 28, 4 p.m.<\/span>
\n<\/span><\/span><\/strong>Masterclass by Cecile Fontaine<\/em>
\n<\/span><\/span>Moderates by the curator<\/span><\/span><\/strong><\/h5>\n
INTRASTEVERE CINEMA – Room 2, May 28, 6:30 p.m.<\/strong><\/span>
\nCross Worlds<\/span><\/span><\/em>
\n<\/span><\/strong><\/h5>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”187932″][vc_column column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″ uncode_shortcode_id=”269404″][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][vc_column_text uncode_shortcode_id=”465791″]histoires naturelles de la destruction<\/span><\/strong>[\/vc_column_text][vc_column_text uncode_shortcode_id=”782337″]Since the early 1980s, C\u00e9cile Fontaine has created a unique body of work using recycled films (home movies, commercials, newsreels, fragments of fiction films, etc.) that she subjects to a kind of controlled destruction. The first technique employed by the director arose from an accident which, according to the principle of serendipity, she turned into a protocol: while peeling off a tape splice on a color film, she noticed that the top layer of tripack emulsion, the magenta one, was peeling off from the base; transferring it back to the base with an offset, she obtained image duplication and color distortions. The director gradually perfected this “dry” technique, practicing “chipping” or regular detachment, to which she added scrapings and additions of India ink or colored acetates. At the same time, C\u00e9cile Fontaine developed a so-called “wet” technique, in which the emulsion was peeled off with a knife after the film had been immersed for a long period in a bath of ammonia-based detergent, producing color alterations and depigmentation. By turning the medium against the image, the chemical substance against the photographic, C\u00e9cile Fontaine substitutes a process of destruction for the creative process and transforms documentary material into a plastic proposal belonging to the poetics of vestige or ruin: decomposed, torn, bleached or overcolored sequences and fragmented soundtracks reveal a vision of history as a history of destruction, that of societies and ecosystems whose traces are preserved by the films by reproducing rather than describing them. <\/span><\/p>\n

Philippe-Alain Michaud[\/vc_column_text][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][vc_empty_space empty_h=”2″][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”375283″][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”128388″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_single_image media=”9559″ media_width_percent=”100″ uncode_shortcode_id=”143904″][vc_column_text uncode_shortcode_id=”181611″]<\/p>\n

entertaiment<\/span><\/strong><\/h4>\n

[\/vc_column_text][vc_column_text uncode_shortcode_id=”377786″]La fissure<\/em>
\nFrance \/ 1984 \/ 2\u2019<\/p>\n

Golf Entretien<\/em>
\nFrance \/ 1984 \/ 3\u2019<\/p>\n

Home Movie<\/em>
\nFrance \/ 1986 \/ 5\u2019<\/p>\n

Mai 1988
\n<\/em>France \/ 1988 \/ 5\u2019<\/p>\n

Cruises<\/em>
\nFrance \/ 1989 \/ 8\u2019<\/p>\n

Histoires parall\u00e8les<\/em>
\nFrance \/ 1990 \/ 11\u2019<\/p>\n

La P\u00eache miraculeuse<\/em>
\nFrance \/ 1994 \/ 10\u2019[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_single_image media=”9558″ media_width_percent=”100″ uncode_shortcode_id=”976848″][vc_column_text uncode_shortcode_id=”177098″]<\/p>\n

cross worlds<\/span><\/strong><\/h4>\n

[\/vc_column_text][vc_column_text uncode_shortcode_id=”666026″]Safari Land<\/em>
\nFrance \/ 1996 \/ 10\u2019<\/p>\n

Lion Light<\/em>
\nFrance \/ 1996 \/ 2\u2019<\/p>\n

Silver rush<\/em>
\nFrance \/ 1998 \/ 8\u2019<\/p>\n

Last lost Shot
\n<\/em>France \/ 1999 \/ 7\u2019<\/p>\n

Spaced Oddities<\/em>
\nFrance \/ 2004 \/ 6\u2019<\/p>\n

Cross Worlds<\/em>
\nFrance \/ 2006 \/ 15\u2019[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_separator sep_color=”” uncode_shortcode_id=”517819″][vc_column_text uncode_shortcode_id=”112135″]C\u00e9cile Fontaine<\/strong><\/p>\n

Born in 1957 in the south of France, she grew up in an overseas French “department,” \u00cele de la R\u00e9union, in the Indian Ocean; she studied art in both France (1975-1979) and Boston (1980-1986), where she began making films in 1982 after taking an evening film course at the Massachusetts College of Art and then enrolling full-time at the School of Museum of Fine Arts, majoring in film. She returned to France in 1986 and has lived in Paris ever since, where she teaches art full time at an elementary school and makes films.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_separator sep_color=”” uncode_shortcode_id=”517819″][vc_column_text uncode_shortcode_id=”682887″]Philippe-Alain Michaud <\/strong><\/p>\n

He is curator at the Mus\u00e9e National d’Art Moderne – Centre Pompidou, in charge of the museum’s film collection. He teaches film history and theory at the Universit\u00e9 de Gen\u00e8ve. He is the author of Aby Warburg et l’image en mouvement<\/em> (Macula, 1998), Le peuple des images<\/em> (Descl\u00e9e de Brouwer, 2004), Sur le Film<\/em> (Macula, 2016), Primitive souls. Celluloid, plush and paper figures. <\/em> (Quodlibet, 2023). He has written several articles on the relationship between cinema and the visual arts. He has been curator of several exhibitions, including Comme le r\u00eave le dessin<\/em> (Mus\u00e9e du Louvre\/Centre Pompidou, 2004), Le mouvement des images<\/em> (Centre Pompidou, 2006), Nuits \u00e9lectriques<\/em> (Mus\u00e9e, de la photographie, Moscou et Laboral (Gijon, Spain) 2007, Tapis volants<\/em> (Villa Medici, Rome et Les Abattoirs, Toulouse) 2010, Beat Generation<\/em> (Centre Pompidou, 2016), L’\u0153il extatique : Sergue\u00ef Eisenstein \u00e0 la crois\u00e9e des arts<\/em> (Centre Pompidou-Metz, 2019), Le reste est ombre<\/em>(Centre Pompidou, 2022).[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”577654″][vc_column width=”1\/1″][uncode_share layout=”multiple” bigger=”yes” separator=”yes” css_animation=”bottom-t-top” title=”share yes”][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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