Real(ity) cuts. Around the films of Gordon Matta-Clark
Activity

Real(ity) cuts. Around the films of Gordon Matta-Clark

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Film program

The camera was a constant element within Gordon Matta-Clark's artistic process. After starting out as an instrument for recording his performances, it very quickly became a tool for perceiving the architectural, urban and social space in which his interventions took place. From shots of his performance-actions to negative cut-outs and collages, the analysis of the thickness of the urban texture and the documentary gaze, which captures the spatial disorientation or altered perception provoked by the artist's "building cuts", the films and videos of Gordon Matta-Clark were always conceived as an artistic form that sought to explain theses performances, explorations and cuts into buildings, and remained as close as possible to sensitive experience. In the building cuts, the camera explores the basic elements of movement and weight, as well as their distribution in relation to the verticality of the buildings. It also captures the uncertainty arising from the mix of interior and exterior, the redistribution of the light, the distorted sense of direction – which flaunts the laws of gravity –, the measuring of time and the concentration of an immense energy (which Matta-Clark called "points of energy concentration in space"). By challenging all limits, the body of the artist in a pre-constructed environment disrupts the order of the world, offering a new vision of urban space.

Matta-Clark encompasses the ability to shape physicality, to observe while "receiving the world", together with the capacity to look with a gaze that projects into space, from the concave to the convex. His work is also able to pass from a vision linked to the individual's time and history, which includes interpretation and confrontation with the past, to a more "geographical" gaze that appears to receive the world just as it is. However, the history of our perception means that, over time, it becomes impossible for us to reinvent the objects in our world: our projection associates them in the same way over and over, because we always see through the filter of our own history. This is what we could call a neurosis of the gaze, in which our visual perception can no longer take a subjective stance in relation to the world.

The work of Matta-Clark sets a revolution in motion, allowing the gaze to fully share of the things in the world, without fixing them in concrete interpretations. By offering new "attractors", the artist doesn't seek to invent a new object, but rather to change social perception, overall perception. Those who want to be artists should use these "attractors", reject the possibility of remaining locked within the art object, and instead aim for a "deobjectivation" or "dereification" of the gaze that makes it possible to move towards a kind of inwards plunge that is in not a regression in any sense, but rather a way of reactivating the imaginary.[1]

This program offers a selection of films and videos by Robert Morris, VALIE EXPORT, Charles & Ray Eames, Mika Taanila, Deimantas Narkevicius, Anri Sala, Andrée Korpys/Markus Löffler, Pier Paolo Pasolini and Stéphane Pauvret/Bérangère Jannelle, all of which are connected to the idea of the objective and the subjective, to self-knowledge and the perception of and by others. They are also linked to the politics of bodies in a built (urban and economic) environment, to power structures and their representation through architecture, to control mechanisms, the perception of history modified by ideologies and utopias, the construction of sensible forms of collective life and "the creation of an appropriate way of cohabiting the sensible world".[2]

This program sets out to link film projects of the sixties with others from the last ten years, including experimental film projects and new narrative processes that surpass the boundaries between documentary and fiction.

Corinne Diserens

[1] See «Entretien avec Hubert Godard. Approche thérapeutique du corps. Maître de conférence à l'Université Paris VIII. Par Suely Rolnik» in Lygia Clark. De l'œuvre à l'événement. Nous sommes le moule. À vous de donner le souffle. Nantes: Musée des Beaux-Arts de Nantes, 2005.

[2] See the section on Anri Sala's video Dammi i colori, pp. 86-87, Jacques Rancière: Le spectateur émancipé. Paris: La fabrique éditions, 2008.

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Film program

The camera was a constant element within Gordon Matta-Clark’s artistic process. After starting out as an instrument for recording his performances, it very quickly became a tool for perceiving the architectural, urban and social space in which his interventions took place. From shots of his performance-actions to negative cut-outs and collages, the analysis of the thickness of the urban texture and the documentary gaze, which captures the spatial disorientation or altered perception provoked by the artist’s “building cuts”, the films and videos of Gordon Matta-Clark were always conceived as an artistic form that sought to explain theses performances, explorations and cuts into buildings, and remained as close as possible to sensitive experience. In the building cuts, the camera explores the basic elements of movement and weight, as well as their distribution in relation to the verticality of the buildings. It also captures the uncertainty arising from the mix of interior and exterior, the redistribution of the light, the distorted sense of direction – which flaunts the laws of gravity –, the measuring of time and the concentration of an immense energy (which Matta-Clark called “points of energy concentration in space”). By challenging all limits, the body of the artist in a pre-constructed environment disrupts the order of the world, offering a new vision of urban space.

Matta-Clark encompasses the ability to shape physicality, to observe while “receiving the world”, together with the capacity to look with a gaze that projects into space, from the concave to the convex. His work is also able to pass from a vision linked to the individual’s time and history, which includes interpretation and confrontation with the past, to a more “geographical” gaze that appears to receive the world just as it is. However, the history of our perception means that, over time, it becomes impossible for us to reinvent the objects in our world: our projection associates them in the same way over and over, because we always see through the filter of our own history. This is what we could call a neurosis of the gaze, in which our visual perception can no longer take a subjective stance in relation to the world.

The work of Matta-Clark sets a revolution in motion, allowing the gaze to fully share of the things in the world, without fixing them in concrete interpretations. By offering new “attractors”, the artist doesn’t seek to invent a new object, but rather to change social perception, overall perception. Those who want to be artists should use these “attractors”, reject the possibility of remaining locked within the art object, and instead aim for a “deobjectivation” or “dereification” of the gaze that makes it possible to move towards a kind of inwards plunge that is in not a regression in any sense, but rather a way of reactivating the imaginary.[1]

This program offers a selection of films and videos by Robert Morris, VALIE EXPORT, Charles & Ray Eames, Mika Taanila, Deimantas Narkevicius, Anri Sala, Andrée Korpys/Markus Löffler, Pier Paolo Pasolini and Stéphane Pauvret/Bérangère Jannelle, all of which are connected to the idea of the objective and the subjective, to self-knowledge and the perception of and by others. They are also linked to the politics of bodies in a built (urban and economic) environment, to power structures and their representation through architecture, to control mechanisms, the perception of history modified by ideologies and utopias, the construction of sensible forms of collective life and “the creation of an appropriate way of cohabiting the sensible world”.[2]

This program sets out to link film projects of the sixties with others from the last ten years, including experimental film projects and new narrative processes that surpass the boundaries between documentary and fiction.

Corinne Diserens

[1] See «Entretien avec Hubert Godard. Approche thérapeutique du corps. Maître de conférence à l’Université Paris VIII. Par Suely Rolnik» in Lygia Clark. De l’œuvre à l’événement. Nous sommes le moule. À vous de donner le souffle. Nantes: Musée des Beaux-Arts de Nantes, 2005.

[2] See the section on Anri Sala’s video Dammi i colori, pp. 86-87, Jacques Rancière: Le spectateur émancipé. Paris: La fabrique éditions, 2008.

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dates
2 April 2009 – 3 June 2009
price
Admission: 2 eur. MACBA Friends: free MACBA Auditorium. Limited seating
title
Real(ity) cuts. Around the films of Gordon Matta-Clark
dates
2 April 2009 – 3 June 2009
title
Real(ity) cuts. Around the films of Gordon Matta-Clark
price
Admission: 2 eur. MACBA Friends: free MACBA Auditorium. Limited seating
related activities
0 activities
highlights
11 results
Real(ity) cuts. Entorn del cinema de Gordon Matta-Clark [Full de mà]
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Real(ity) cuts. Entorn del cinema de Gordon Matta-Clark [Flyer]
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Sans terre, 2007 — Real(ity) cuts. Entorn del cinema de Gordon Matta-Clark [Enregistrament audiovisual activitat]
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2014
Nuclear football, 2004. Villa Feltrinelli, 2008. Salò o le 120 giornate di Sodoma, 1975 — Real(ity) cuts. Entorn del cinema de Gordon Matta-Clark [Enregistrament audiovisual activitat]
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2014
Fire child, 1971. Fresh kill, 1972. Food, 1972 — Real(ity) cuts. Entorn del cinema de Gordon Matta-Clark [Enregistrament audiovisual activitat]
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2014
Automation house, 1971, 1976. Clockshower, 1971-1976. City slivers, 1971-1976 — Real(ity) cuts. Entorn del cinema de Gordon Matta-Clark [Enregistrament audiovisual activitat]
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2014
Mirror, 1969. Man walking down the side of a building, 1970. Leaning duets, 1970. Walking on the walls, 1971. Adjungierte dislokation, 1973. Syntagma, 1983. The Man Who Had a Beautiful House — Real(ity) cuts. Entorn del cinema de Gordon Matta-Clark [Enregistrament audiovisual activitat]
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2014
Splitting, 1974-1976. Bingo/Nights, 1974-1976. Substrait (Underground dailies), 1974-1976. Day’s end, 1975 — Real(ity) cuts. Entorn del cinema de Gordon Matta-Clark [Enregistrament audiovisual activitat]
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2014
Powers of ten, 1977. Futuro – a new stance for tomorrow, 1998. Once in the XX Century, 2004. Dammi i colori, 2003 — Real(ity) cuts. Entorn del cinema de Gordon Matta-Clark [Enregistrament audiovisual activitat]
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2014
The wall, 1976-2007. Conical intersect, 1974-2005. Sous-sols de Paris (Paris underground), 1974-2005 — Real(ity) cuts. Entorn del cinema de Gordon Matta-Clark [Enregistrament audiovisual activitat]
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2014
Real(ity) cuts. Entorn del cinema de Gordon Matta-Clark [Enregistrament audiovisual activitat]
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2014