The Museu Picasso takes part in LOOP Festival

May 28th through June 7th

LOOP Festival presents current trends in video art, showcasing young and established artists through a comprehensive programme of exhibitions, screenings and interventions presented in several entities and public spaces throughout the city.

Laurent Fiévet
Two videos in loop, 93' and 110'

CARLOTTA 'S WAY (2014) - 93'

'Carlotta's Way' makes use of superimposition to bring together a short extract of Alfred Hitchcock's 'Vertigo' that has been greatly slowed down and reworked to play backward and forward with a series of details of Diego Velazquez's Las Meninas .

The piece is divided into 14 chapters, each of which is devoted to a part of the painting that the passage from the film overlays in varying degrees of opacity, sometimes playing forward and sometimes backward. Putting the painting's motifs into motion and redefining its texture, a series of complex and continually renewed interactions takes place between the filmic and pictorial elements brought together in the piece. New readings of the works seem to propose themselves and certain elements proper to these are highlighted.

While the video's title echoes that of a film by Brian de Palma, which proposes numerous responses to Alfred Hitchcock's body of work, it most particularly introduces a reference to the character Carlotta Valdes, whose painted portrait - which is not without a certain number of correspondences to the representation of the menina Doña Isabel de Velasco, who stands to the right of the Infanta - plays a decisive role in 'Vertigo'. Presiding over multiple connections between fictional and pictorial worlds to the point of generating an abundance of figurative and temporal superimpositions, it effectively invites both characters and viewers to take comparative approaches similar to those that the editing provokes through its combination of film and painting.

In line with the character's status in Hitchcock's film, this reference highlights the contaminating effects of Velazquez's work on the aesthetic of 'Vertigo', the latter's tendency to feed on the former's substance, and even the film's propensity to incarnate its different figures. In this sense, the reference summarizes the complex interactions at work in the video that point out the progression of our gaze in the principle of the analysis itself.

Returning Carlotta's Way - 110'

'Returning Carlotta's Way' redoubles the proposition set forth by 'Carlotta's Way'. Likewise divided into 14 chapters, the work lingers on another series of details from Las Meninas , associated with the same extract from 'Vertigo', which is once more reworked to play backward and forward in very slow motion. As such, the video offers a second progression within Velázquez's composition, isolating different motifs and arranging alternative portions of the image so as to create further complex interactions between the painting and Hitchcock's film.

The retrograde succession of chapters -from 14 to 1- creates a sense of returning after 'Carlotta's Way', -whose chapters run from I to XIV-. The combination of these 2 works can thus form a loop over 3 hours in length, structurally reinforcing both the forward and backward playback that composes the pieces and the perspective that the videos can afford one another. Combined, they create a trap that encloses the pictorial and filmic characters despite the many movements that would liberate them.

Nevertheless, the durations of the two videos differ. While they make references to types of film formats -4/3 vs. VistaVision- and to the means of their diffusion -movie screen vs. television or DVD-, the videos take on a voluntary asymmetry proper to the pictorial composition and to the structure of the film's screenplay -a means of signaling the difficulty of any return in time and the consideration of its many lessons.