Poppers (A Tbilisi Sound)
Cinémathèque Robert-Lynen, Paris
Tuesday, March 21st, 2017
Marie Angeletti, Poppers (A Tbilisi Sound), 2016. Video, 29'. Courtesy of the artist, Carlos/Ishikawa (London) & Gallery Edouard Montassut (Paris)
Entirely conceived for Tbilisi 16, an exhibition organised by the Kunsthalle Zurich, Poppers (A Tbilisi Sound) is a filmic introduction to the work of Shuji Terayama, a Japanese playwright, scenarist, writer, photographer, poet, and filmmaker.
No curfew this year.
At the edge of the cities, in the heart of their agitations and until the end of the night, Poppers is a visual poetry in prose, without borders, a marvelously free and stammering homage. A succession of sequences, filmed here and there, before and during the Georgian stay, bounds, like a surrealistic walk, extracts and free cuts dealing with Shuji Terayama, this interlope and outsized character.
Remembering the past I can't find any fish as an ancestor.
Poppers is an ambulatory film which gives a large scale to theatricality–texts and gestures–to the uncanny perfumes of the soul beyond the mirror, where different substances and states are removing us from the ordinary worlds. Marie Angeletti recurrently touches on this frontier between reality and fiction. The contemporary times and leisures are always adopted the fiction's point of view, the one that mixes up childhood an a certain vision of the Eden.
Poppers is also the name of the dog barking at the end of the film.
Born in 1984, Marie Angeletti lives and works in Berlin. She is représented by Carlos/Ishikawa (London) and Gallery Edouard Montassut (Paris). Among her recent exhibitions: Les Nouveaux Commanditaires, Carlos/Ishikawa, London (2016), Citadelle, Edouard Montassut, Paris (2016), Juliette Blightman. Extimacy / I Want to Live in the Country (And Other Romance), Kunsthalle, Bern (2016), Kunstlerhaus, Bremen (2015), Le Consortium, Dijon (2015), Individual Stories. Collecting as Portrait and Methodology, Kunsthalle, Wien (2015), L'époque, les humeurs, les valeurs, l'attention, Fondation Ricard, Paris (2014).