THE ECSTATIC EYE

FILMMAKER AT THE CROSSROADS OF THE ARTS EXHIBITION 28.09.19 > 24.02.20 centrepompidou-metz.fr #Eisenstein PRESS KIT , 1927. RGALI, 1923/1/217, f.1 © Russian State Archives of Literature and Art of Literature Archives State © Russian 1923/1/217, f.1 , 1927. RGALI, Octobre montant Eisenstein

THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

CONTENTS

1. INTRODUCTION...... 5

2. SERGUEÏ EISENSTEIN...... 7

3. EXHIBITION ITINERARY...... 9

4. FIVE QUESTIONS TO THE EXHIBITION CURATORS ...... 22

5. LIST OF ARTISTS ...... 24

6. CATALOGUE ...... 25

7. RELATED EVENTS ...... 26

8. YOUNG VISITORS ...... 28

9. EXHIBITION PARTNERS...... 29

10. IMAGES AVAILABLE TO THE PRESS...... 32 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

Sergueï Eisenstein, Ivan le Terrible, 1945 © FSF

4 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS 1. INTRODUCTION THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS From September 28, 2019 to February 24, 2020 GRANDE NEF

Sergueï Eisenstein, the mythical film director who The exhibition The Ecstatic Eye. Sergueï Eisenstein, made the glory of Russian and Soviet cinema is filmmaker at the crossroads of the arts therefore really more than a film director. Cultivating the art intends to enable the discovery or the rediscovery of montage and of rhythm to the point of inventing for French and European audiences of a major a new visual language in the middle of the 1920’s, name of the seventh art and of world culture, a man Eisenstein always put himself at the crossroads considered as the Russian “Leonardo da Vinci”, of the arts. A man of the theatre, artist, theorist, and who was the first to present himself as a film collector and insatiable reader, he never ceased to director dressed in artists’ clothing. We are therefore enrich the history of art throughout his career. insisting on Eisenstein's the doer, the amateur, the collectionner, the commentator and the image editor, Centre Pompidou-Metz is offering a retrospective of a visionnary Eisenstein, always eager to experiment his work in relation to the influence of this universal in a radical manner and to have a deep and durable heritage. We will cover the great films which made impact on the spectator. By drawing on the vast him famous (The Strike, 1925 ; The Battleship range of references that Eisenstein uses in his Potemkine, 1925 ; October, 1928 ; The General Line, work, this confrontation between fixed images and 1929 ; ¡ Que Viva Mexico ! , 1932 ; Alexander Nevsky, images in motion can unveil in an exemplary way 1938 and Ivan the Terrible, 1944-46), but also his the manner in which a creator produces his images, theatrical experiments, his drawings delving into his at a time when the question of artistic genesis had prolific imagination, or his unfinished projects. The become central : showing how Eisenstein prepared exhibition goes back over the artistic inspirations himself in his work, using chefs d’œuvres from and visionnary approach of the film director, to the history of world art and works by foreign and the productions with strong ties to the history of Russian contemporaries but also and above all Russia but also to his numerous voyages in Europe, the artistic heritage preceding the arrival of the to Mexico and to the United States, to his preferred cinema, painting as well as sculpture, engraving, reading and his encounters. drawing, and architecture. The exhibition will also insist upon Eisenstein interest and yearning If, during his lifetime, Eisenstein was an artist that for popular cultures in an abolition of hierarchies the whole world snatched up and whose work and which is representative of his associative logic. philosophy deeply moved minds, today, this aura has considerably worn off owing to his cinematagraphic Eisenstein, the theorist, reread the history of art work no longer being systematically shown via by the light of the cinema. Indeed, the cinema does the cinema clubs. Likewise, the complexity and not so much represent for him a technical medium, the reach of Eisenstein accomplishments have but more the most elaborate response to primordial for a longtime been underestimated because of human needs. In this respect, the cinema enables idealogical interpretations reducing his work only him to rethink the whole of the history of art and within the context of Communist USSR and to his world culture, which is translated in the exhibition relationship with Stalin. by a gallery of paintings and of sculptures that he

5 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

analyses in cinematographic terms and of which In addition, whilst taking inspiration from the certain can also, later on, be interpreted through contemporary constructivist aesthetic of the artist, the prism of the cinema. The Eisensteinian history the layout and the hanging will follow fundamental of art is therefore deliberately anachronistic and principles of Eisenstein’s philosophy and practice, disorganised, open to non-western cultures. such as conflict-montage, collision-montage, ectasy, enabling the establishment of explosive With this exhibition, Centre Pompidou-Metz is and unexpected relationships between the images proposing a rediscovery of the seventh art, through beyond hierarchies and classifications. one of the most important figures of its history. For the exhibition, the curators Ada Ackerman and Curators : Philippe-Alain Michaud and the set designer Jean- Ada Ackerman, Exhibition curator and Head of Julien Simonnot will explore specific exhibition Research at the CNRS/THALIM, art historian, conditions which will allow the organisation of and Eisenstein specialist. the confrontation of, fixed works and moving images Philippe-Alain Michaud, Exhibition curator and and to present films in a form which is not reducible curator at the Centre Pompidou, Musée national to a cinema theatre : monumental projections and d’art moderne, Head of the Experimental cinema analytical approaches with the help of slow-motion, Department loop extracts and frozen images.

André Kertész, Sergueï Eisenstein, 1929 Épreuve gélatino-argentique, 24,3 x 18,1 cm Paris, Centre Pompidou, Musée national d’art moderne © RMN-Grand Palais © Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. RMN-GP

6 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS 2. SERGUEÏ EISENSTEIN

Sergueï Mikhailovich Eisenstein was born in Riga in in staging attended by Grigori Alexandrov, acrobat Latvia in January 1898, almost at the same time as and actor at the Prolekult Theatre who would the cinema. His father Mikhail Ossipovich Eisenstein become his closest collaborator. At the end of the (1867 – 1920), came from a Jewish family converted year he was sent down from the Military Academy. to Orthodoxy, was an architectural engineer : he left important Art nouveau creations in the Latvian capital. His mother, Ioulia Ivanovna Konetskaia, In 1922, he met the founders of the FEKS, the came from a background of rich Russian merchants. Factory of the Eccentic Actors, Grigori Kozintsev, Sergueï grew up in a cultivated and cosmopolitan Leonid Trauberg, Gueorgui Krijitski and Sergueï atmosphere speaking fluently, apart from Russian, Youtkevich with whom he wrote the pantomime French, English, and German. La Jarretière de Colombine. The previous year, he followed the lessons of Vsevolod Meyerhold whose In 1906, Sergueï travelled with his parents to Europe biomechanical theories would have a decisive and saw his first film in Paris : Les 400 Farces du influence on his conception of an actors’ wayof diable by Georges Méliès. In 1909, his parents acting. “He was divine, incomparable…I was going divorced and his mother moved to Petrograd (today to adore him for he rest of my life” Eisenstein would Saint-Petersburg) : Eisenstein remained with his write twenty-five years later in his Memoires, father in Riga, but regularly visited his mother. He which did not prevent the artist from leaving his made a definitive move to join her in 1915. workshop, at the end of 1922. In 1923, with Sergueï In 1917, the Revolution broke out in Petrograd. It Tretiakov, he mounted the very avant-gardist was in a climate of insurrection that Eisenstein staging of Enough stupidity in every wise man, attended the first performance of the Masked Ball, after the classical play by Alexander Ostrovsky, a play by Lermontov, staged by Meyerhold, with sets in which he experiments with the attractions1 to and costumes by Golovine. This experience was to which he devoted an important article in the review be a determining factor for his future artistic career LEF, the review of the artistic left Front , run by as a stage director and film director. Drawing from Vladimir Maiakovski and Ossip Brik. It is also in a very early age, he published political charicatures Enough stupidity in every wise man that the very in the Saint Petersburg press under the pseudonyme first film directed by Eisenstein appears, Glumov’s of Sir Gay. He sketched out stagings and drew sets Diary in which the acrobatics and antics of clowns for commedia dell’arte shows. On March 2 (March are mixed with allusions to the world of European 15 according to the Gregorian calendar), the Tsar and American detective films as well as the special Nicolas II abdicated : on April 4 (17 according to effects by Méliès. the Gregorian calendar) : Lenine entered Russia and in October, after the failure of General Kornilov’s In 1924, Eisenstein produced in a gas factory, military coup, the Bolsheviks took over power in Tretiakov’s play Gas Masks, which heralds his Petrograd. passage from the theatre to the cinema. His first feature length film, The Strike, draws on both the tragic and the burlesque registers, outlining a In 1918, Eisenstein joined the Red Army as an syncretic style which would never cease to assert engineer and was sent to the front where he was itself in Eisenstein’s cinema. In 1924 he broke up appointed painter-decorator in the theatrical with the Prolekult Theatre. In December 1925, department. Demobilised in September 1920, he The Battleship Potemkine, which celebrated the was sent to the Moscow Military Academy where 1905 revolt of the Odessa sailors was presented he studied Japanese. Giving up his engineering at the Bolshoi Theatre in Moscow. With this film, studies, he decided to devote himself exclusively to Eisenstein instantly aquired world celebrity. He the theatre. travelled to Berlin and worked with Edmund Meisel on the musical score of Potemkine, met Friedrich In October 1920, he joined the first Workers’ Theatre Murnau, Emil Jannings, Fritz Lang, Karl Freund… of the Proletkult as head set-designer ; he was soon This stay in Berlin inspired him the aborted project to become the artistic director. He designed the sets Glass House, which was supposed to take place in a and costumes for The Mexican (after Jack London) sky-scrapper made entirely of glass. in 1921, in a much-noted staging and gave lessons

1 A strategy of broken or visual narrative intended to produce the maximum impact on the spectator.

7 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

In Moscow he met Douglas Fairbanks and Mary and where he would stay for over one year, for the Pickford and received propositions to go and work shooting of ¡ Que Viva Mexico ! which was more in Hollywood. Eisenstein began to prepare his than trying and not without mishap. He frequented following film, The General Line, but the work was Mexican artists and intellectuals, notably the mural interrupted by the commission of a film celebrating painters Diego Rivera and Jose Clémente Orozco, the events of October 1917. Shot in Leningrad, and drew intensely. with colossal means, October was presented to the public in 1928. It was in this film that Eisenstein At the beginning oft he year 1932, following an developed the intellectual technique of montage insistent demand from Stalin, he resolved to according to which the assembly of two images does return to the USSR, leaving his film unfinished and not produce a third image but a concept : thanks to abandonning the rushes to Upton Sinclair, who would this technique which enabled the cinema to accede never give them back to him – the film would never to the register of abstraction, Eisenstein considered be mounted by Eisenstein, much to his dismay. Upon producing a film afterDas Kapital by Karl Marx, an his return to Moscow he took up the Chair of film aborted dream which would never cease to haunt direction at the VGIK (the State Cinematographic film buffs. Institute) : henceforth he would not stop teaching, producing on the fringe of his directing projects In 1928, he was appointed professor at the often unfinished, an important theoretical corpus. Institute of Cinema and at that time broke away In 1934, because homosexuality was sanctioned, he from the group of the LEF. In 1929, before the married the journalist Péra Attachéva, his unfailing release of The General Line, Eisenstein, Grigori supporter and faithful confidante. In 1935, he Alexandrov and Eduard Tisse, left to go abroad on began the shooting of Bezhin Meadow, which the a mission to study film sound. In order to finance government broke off definitively in 1937 and for his voyage, Eisenstein gave lessons, conferences which he had to dedicate himself to self-criticism, and interviews, wrote articles and tried to direct whilst witnessing his friends and collaborators fall films. He spent time in Germany, took part in the under Stalinst Terror, his master Meyerhold was the Congress of independent film directors at La Sarraz first concerned and was executed in 1940. He set to in Switzerland and shot a film devoted to abortion, work on a book about montage. In 1938, he directed Womens’ Misery, Womens’Joy before being expulsed Alexander Nevsky, a narrative which went back from the Confederation ; he visited Belgium and over the foundation of the Russian nation, whilst at Holland and resided in Paris where he directed the same time in a transparent manner comparing Romance sentimentale with Alexandrov. the situation of the Russian nation facing Nazi Germany. The film and its success earned him a In Paris, he met a number of intellectuals, film return to favour in the eyes of the Stalinist regime. directors and artists including Jean Cocteau, In 1939, he travelled to Central Asia and made test Luis Buñuel, Jean Painlevé, Georges Bataille, and shootings for a new project, The Great Fergana even James Joyce. On February 17, 1930, he gave Canal, which remained unfinished. In 1940, whilst a conference at the Sorbonne on “the intellectual he started to think about his work Method, which cinema” whereas the projection of The General Line took him back to the theatrical activities of his was forbidden. In May, he set off for the United States youth, he mounted Wagner’s Die Walküre at the with Tisse and Alexandrov, after having negotiated Bolshoi Theatre, with serious diplomatic issues. a contract with the Paramount Company. He was invited to speak at several universities on the east Starting in 1941, Eisenstein began his work on Ivan coast, and then stayed in Hollywood where he worked the Terrible, of which the first part was presented on a number of scenarios all of which were rejected in Moscow in 1945. The second part of the film, by Paramount, and he met Griffith, Chaplin, Disney was to be refused and censored by the Central who became his friends as well as Upton Sinclair. Commitee of the Communist Party, was completed The latter committed to producing ¡ Que Viva in 1947. Subject to a great deal of pressure and Mexico ! , a film devoted to Mexican history and the anxiety, Eisenstein’s health rapidly and seriously Mexican Revolution. In December 1930, in a fiercely deteriorated ; in spite of everything, he continued anti-Communist climate, Eisenstein, accompanied to teach at the VGIK and to work on his theoretical by Tisse and Alexandrov, left the United States and œuvre. He died of a heart attack in February 1948, arrived in Mexico, which he described as a paradise he was only 50 years old.

8 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS 3. EXHIBITION ITINERARY

Because of his constant dialogue with the arts, The exhibition then examines the effects of montage Eisenstein’s work lends itself admirably to the which Eisenstein developed in his cinema, based on exhibition’s approach : firstly it allows the use of the the mode of collision. And finally, by moving the sources which the film director himself used in each films within the space of the exhibition, to bein one of his films, borrowed from an extraordinarily contact with other works and other mediums, we will vast historical and cultural range, stretching from explore a new regime of film visibility, notably with antiquity to modern times and from the Orient to the assistance of analytical approaches enabling the West. the exposition of iconographic circulations.

The layout of the exhibition, conceived according to a chronological and monographic plan, thus combines a didactic approach which will allow the visitor to discover the artistic sources of each one of the films, and an immersive approach which will invite him/her enter into a succession of spaces each one of which has its particularity, each work by the film director making use of a range of references and a specific style. Finally, the last section of the exhibition, reversing the approach, endeavours to show the manner in which Eisenstein, from the beginning of the 1930’s, uses the cinema, no longer just as an art, but also as a method and a theoretical instrument, which enabled him to analyse works from the past, architecture, drawing, painting or sculpture in cinematographical terms. He therefore renewed the means of analysis in use in art history. EXHIBITION DESIGN

The exhibition design, made by Jean-Julien A complementary exhibition space will allow the Simonot, uses an original structure of modular visitor to discover in images Eisenstein’s life and scaffolding, a reference to the constructivist culture artistic trajectory through a rich photographic and and architectural vocabulary, crucial to Eisenstein’s film documentation, which for the most part will be aesthetic, whilst at the same time allowing a fluid presented for the first time in France, recounting manner of organisation for the confrontation between the voyages of the film director and of his numerous the different mediums and to place, literally, the encounters and friendships with the artists and film at the centre of the spaces. intellectuals of the whole world. This aesthetic choice structures the layout according to the fundamental principles of Eisenstein’s philosophy such as conflict-montage, collision- montage, and ecstasy.

The exhibition of films does not replace but completes the projection in a theatre : all of the film director’s movies will be projected in their full versions, during the whole of the duration of the exhibition, in the Auditorium Wendel, at Centre Pompidou-Metz.

image JJ Simonot, scenographer

9 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

SECTION 0 HIS MAJESTY EISENSTEIN

Man Ray, S.M. Eisenstein, 1929 Épreuve gélatino-argentique, 8,3 x 6,2 cm Paris, Centre Pompidou, Musée national d’art moderne © Man Ray Trust / Adagp, Paris © Centre Pompidou, MNAM-CCI / Guy Carrard / Dist. RMN-GP

In this introductory section, the visitors will at first From a formal standpoint, Eisenstein’s montage discover an installation which brings together the of images obeys and illustrates the principle of most emblematic sequences of Eisenstein’s cinema collision which he developed and made claim to, simultaneously mounted on three screens which that is to say a montage based on relationships allow the presentation of obssesional motives of difference, of shock and of contrast and not on and recurrent artistic themes which define his relationships of identity or analogy. work. In this way, we can immediately underline the force of Eisensteinian cinema using his most Faced with this will be mounted a group of celebrated images, of which certain have remained photographic portraits of Eisenstein, produced in deeply engrained in the collective visual memory, very various styles, during the course of the 1920’s sometimes without even being associated with and 1930’s by his Soviet contemporaries, but also the name of the film director. Such an installation some European and American : Dmitri Debabov, enables, as an analytical approach to extract Moissei Nappelbaum, Germaine Krull, André Eisenstein’s specific lyricism, a lyricism which Kertész, Man Ray, Lazslo Moholy-Nagy ou Margaret mixes ecstasy with cruelty and with pathos, just as Bourke-White… illustrating how much Eisenstein the film director himself claimed, “in my films, we was a man who was recognised in the avant gardist shoot crowds of people, farm workers that we had networks of his time and that at an international buried in the earth up to their necks after having level. caught them with a lasso had their skulls ground by horses hooves (¡ Que Viva Mexico !), we crushed During his lifetime, he was indeed the darling of children on the steps of Odessa we threw them from numerous artistic and intellectual circles. Whilst the roofs, (The Strike), we had them killed by their outlining a biography in images, these portraits parents (The Bezhin Meadow) we threw them into are a testimony to the manifest pleasure that “His flaming flax (Alexander Nevsky) [...] a shot horse is Majesty Eisenstein” procured from playing at this hanging from a bridge which is opening (October), theatrical game. and arrows sink into the bodies tied to a fence below Kazan under siege.”

10 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

SECTION 1 THEATRE TRAINING

Sergueï Eisenstein, Esquisse pour La Maison des cœurs brisés de Bernard Shaw, costume du Personnage de Sam Mangan Эскиз костюма Менгена к пьесе Б. Шоу “Дом, где разбиваются сердца“. 1922. Jacques Callot, Scapino, Capitano Zerbino, issu de l’ensemble des Balli di Sfessania papier, crayon graphique, aquarelle, 35,2 х 22,8 Ensemble de 18 estampes © Russian State Archive of Literature and Art Bibliothèques-Médiathèques de Metz, (FIE_CAL_390_1)

Here we will deal with the initial relatively little past as to experiments which were contemporary to known first phase of Eisenstein’s artistic career, him, as his assimilation of Cubism, of Excentrism, and in the domain of the stage, whereas he did in fact of Constructivism testifies. Eisenstein’s creations contribute to the theatrical effervescence which dialogue in this way with those of Alexandra Exter, characterises Russia during the 1920’s. We will of Lioubov Popova, of Alexander Vesnine... firstly go back over his training with his “spiritual father”, the stage director and dramaturge Vsevolod In addition, it is as part of his theatrical activity Meyerhold, who then revolutionised the Russian that Eisenstein approached the camera for the theatrical stage. All through his life, Eisenstein would first time, on the occasion of the staging of Enough maintain a relationship of profound admiration but stupidity in every wise man for which he directed also a rivalry with him. his very first film, with Dziga Vertov as instructor, Glumov’s Diary, presented in this section. Marking Meyerhold initiated him into biomachanics, a the transition between Eisenstein’s theatrical new method of preparing actors, which aimed to and cinematographic periods it testifies to the “organise” his/her body in a way which “excites” importance for the stage/film director – as for the the spectator, which would lead Eisenstein to whole of the Russian avant-garde theatrical scene become interested in a problem, which remained – of circus culture and acrobat and clown shows, fundamental for him, that of expressiveness in art. perceived as any other ressource. It is on this occasion With Meyerhold, he shared the same liking of the that Eisenstein developed his famous reflection on commedia dell’arte, for the circus, and for the funfair the subject of “the montage of attractions” that theatre, as do illustrate in the exhibition a group he defined as “any agressive moment of theatre of engravings taken from the Balli di Sfessania by […] from the moment it subjects the spectator to Jacques Callot. Photographic documents of shows a sensory or psychological action experimentally staged by Eisenstein as well as a selection of verified and mathematically calculated to obtain sketches, never shown in France, for the sets and determined emotional shocks”. costumes allow an evaluation of the theatrical and scenographic innovations imagined by the future film director. Eisenstein reveals himself here to be sensitive as much to the theatrical traditions of the

11 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

SECTION 2 THE STRIKE

Jacques Callot, [12], [Le joueur de violon] de la série Les Gobbi Sergueï Eisenstein, La Grève, 1925 Ensemble de 20 estampes © FSF Bibliothèques-Médiathèques de Metz, (FIE_CAL_418_1)

The first full length feature film directed by notion of “types” which is the process enabling the Eisenstein as part of Goskino, was devoted to a elaboration of the appearence of a person in such a strike movement in a factory under the old Tzarist way that his personality and his social class should regime, to the process by which the strike comes immediately become recognisable and identifiable about and develops. The film was initially conceived to the spectator. In this sub-section are assembled as an episode of a much greater ensemble entitled works by Augustin Carrache, Jacques Callot (the Towards to Dictatorship of the Proletariat, which Gobbi), Grandville, Johann Kaspar Lavater and was intended to expose the different lessons that Charles Le Brun whose heads of expression are the Russian workers had learnt from the combats explicitely quoted in The Strike when Eisenstein preceding the October Revolution. Whilst making use films the metamorphosis of the police informers of real sets and making the hero the mass of rebels, into animals expressing their respective characters. The Strike mixes the comic register with that of the tragic, the world of the circus and of the theatre A second group of works is devoted to the with that of the factory, combining the symbol with treatment of the space of the factory and of the the real thing. To Dziga Vertov, who accused him, city, which in conformity with the Eisensteinian for this film, to have plagerised him Eisenstein shot syncretic system associates older artistic sources back that he did not practice “cine-eye” but rather (Piranesi’s imaginary prisons) to the Constructivist “cine-fist”, “capable of cracking skulls”. Eisenstein contemporary industrial imaginary world (Popova, directed this film with the assistance of Grigori Deineka). Finally, from the point of view of the Alexandrov, who would assist him in all his film plot, we understand the principle of visual collision projects up until Mexico. The Strike scored a notable developed by Eisenstein by associating the film noir success in Russia, propulsing Eisenstein towards and the American detective (The Mark of Zorro by celebrity as a revolutionary film director. The film Fred Niblo) to a mannerist painting (The descent won the Gold Medal at the International Exhibition from the cross by Tintoretto), which is a reminder of Decorative Arts in Paris of 1925, but it was not of how much Eisenstein’s film uses not only an until 1967 that it was commercially distributed in avant-gardist vocabulary but also the classic France. sacred iconography. Likewise, a monumental battle painting by Alexandre Protais, Soir de Waterloo, In this section, a first group of works deals with enters in resonance with the impressive massacre notions of caricature and of phisiognomy2, which scene on which the film comes to an end, comparing Eisenstein makes a great deal of use of, exercising the murdered strikers to animals put to death in the a decisive influence on the development of his abatoir.

2 Science claims a correlation between a person’s appearence and their character.

12 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

SECTION 3 THE BATTLESHIP POTEMKINE

Alexandre Rodchenko, Affiche pourLe Cuirassé Potemkine, 1926 101 x 72 cm Sergueï Eisenstein, Le Cuirassé Potemkine, 1925 © Adagp, Paris, 2019 © FSF © A.Dobrovinsky Collection

The Battleship Potemkine tells the story of a He does indeed extol revolutionary solidarity, through rebellion which took place in Odessa in 1905 and the dialectic motive of the “one for all / all for one”, treats it as a prefiguration of the 1917 Revolution : played out throughout the film. Eduard Tisse’s the sailors of the Battleship Potemkine, who were photography, Eisenstein’s faithful operator in all of forced to eat rotten meat, start a mutiny which his projects, contributes a great deal to the success spreads from the port to the entire city, before being of the film, notably by his lyrical manner of filming savagely repressed. With his film, produced in 1925 mists and waves. in a record time of three months, in a battleship specially reconstituted for the occasion, Eisenstein Whist insisting upon Eisenstein’s dialogue instantly acceded to world celebrity, notably thanks with his contemporaries (posters by Alexander to the distribution of his film in Berlin – the music Rodtchenkoand by El Lissitzky, photomontages by for the Berlin version, composed by Edmund Meisel, Youri Rojkov, of the Sergueï Tretiakov Theatre...), played an essential role in the success of the film. this section exposes the sources of the figurative This fame was never refuted : in 1958, at the Brussels motives developed by Eisenstein in his film : Universal Exhibition, The Battleship Potemkine was homoerotic themes with the cast of the dying slave declared “the best film of all time” out of twelve by Michelangelo and a group of drawing studies of films pushing Chaplin’s The Gold Rush into second male nudes by Alessandro Allori which refer to a place. In France, because of its highly subversive sensual and powerful sculpturalness of the bodies content, the film did not obtain a distribution of the sailors filmed by Eisenstein : pathetic themes authorisation until 1953. with a study for the Massacre of the Innocents by Nicolas Poussin and engravings by Félix Vallotton Following the example of The Strike, the film was which are an echo of the cruel repression exercised initially intended to be a more ambitious project, by the Cossacks in the film : extatic themes finally going over all of the events of 1905, The Potemkine with a terra cotta from the xviiith century after rebellion, the only episode in the end retained, was Bernini’s Transverberation of Saint Theresa by intended to act as a key moment, a condensation in Luc Breton, which enters into resonance with the itself of the revolutionary spirit of 1905. Just like tearful figure of the mother with child whose pram the synecdochic principle dear to Eisenstein, la pars hurtles down the steps of the Odessa stairway - pro toto 3. indisputably, Eisenstein’s most famous anthological sequence – and over and above that in the history of the cinema.

3 The part represents the whole.

13 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

SECTION 4 GLASS HOUSE

Sergueï Eisenstein, Glass House, vers1927 © Russian State Archive of Literature and Art

It is in Berlin in 1926, inspired by modern architecture after Das Kapital by Karl Marx, Glass House would and its experiments concerning glass, notably by never see the light of day. However, in the writings the work of Mies van der Rohe, that Eisenstein and reflections of the film director, he would never decided to shoot a film, inside a skyscraper entirely cease to come back to this, including in the form of constituted of this material. His discovery afterwards a “spherical book” which he aspired to write in the of Frank Lloyd Wright’s work only reinforced his theoretical domain. desire to go through with this project. The film director, who then declared feeling “hemmed in, From this project there remain a group of drawings in the cinema”, imagined exploiting the ressources and of notes which allow us to imagine what of transparency in order to radically revolutionise might have ressembled this “impossible film”, the cinematographic medium and transform it representative of the demon of incompletion running into a “cinema of weightlessness”, thanks to through all of Eisenstein’s works. Apart from these the superposition of the shots, the adoption of a works, in this section is to be found a structure polycentric viewpoint and the abolition of the usual specially conceived for the exhibition, composed spatial points of reference. In addition, the project of transparent panels on which fragments of films included a powerful dystopic dimension since it referring to the aesthetic issues of the Glass House dramatised a society where everything is visible by will be projected onto screens in varying formats. everybody and where the progressive realisation by In the middle of it will be placed drawings coming the inhabitants of the skyscraper of this absolute from the Chtchoussev Architectural Museum of and general transparency established a climate of Moscow devoted to different Russian and Soviet suspicion and oppression, leading to despair and to architectural projects (Chtchoussev, Vesnine, death. Kroutikov, Melnikov…) which testify to the irruption of glass and of the issue of transparency in Soviet A project as ambitious as it was visionary, like many architectural theory and practice of the 1920’s. other of Eisenstein’s aborted projects, such as that, which was contemporary to this one, to shoot a film

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SECTION 5 OCTOBER

Auguste Rodin, L’Éternel printemps, vers 1884 Bronze patiné, H : 64, l : 58, P : 38 cm, Don Madame Stephen Pichon, 1933 Musée des beaux-arts et d’archéologie de Besançon, Inv. 933.6.1 Sergueï Eisenstein, Octobre, 1928 © Besançon, musée des beaux-arts et d’archéologie – Photographie Chipault & Soligny © FSF

In 1927, to celebrate the tenth anniversary of and epic, but also tries out clowning around and the October Revolution, the Soviet government ridiculessness, which was to earn him a good deal commissioned a film from Eisenstein, still crowned of misunderstanding and rejection from both the by the success of Potemkine. Having at his disposition audience and the Soviet critics who were expecting almost illimited means, the filmmaker transformed a repeat of Potemkine. Leningrad into a gigantic film set – the city was deprived of electricity for several days because of Another source of discord and controversy : the shooting and it was the custom to make a joke Eisenstein’s decision to use a non-professional of the fact that the film provoked more damage to actor, Nikandrov, the spitting image of Lenine, to the city than the Revolution itself ! portray the revolutionary leader, who was then the subject of an immense cult. With October, the idea was to transform into mythical images the founding event of the Soviet regime, to The October section goes back over Eisenstein’s shoot a film-monument in ist honnour, in which the positioning between different regimes relationships popular masses occupy the most important place. In with history by assembling his historical working addition it was to be the first film in which Stalin documentation relative to the October Revolution4, was to intervene notably to eliminate from the red the film recording of the monumental theatrical screen any presence of Trotsky. reconstitution in 1920, by Nikolai Eveinov, of the events of October 1917 and photographs of the But Eisenstein did not satisfy himself by just shooting of the film. In addition, Eisenstein, in making a glorification film, he also pursued his October, tries to play out the 1917 Revolution but experimental research in it, attempting notably also to give it a trans-historical meaning : this to establish an “intellectual cinema”, capable is why sources are used which give the Russian of reconciling the emotional spheres with those Revolution an allegorical and universal dimension : of philosophical reasoning. He thus aspired to a reference to the French Revolution with a group go beyond the cleavage which divided the Soviet of engravings by Jean-Louis Prieur, to the events of cinematographic milieu between the partisans of the Commune and more generally to revolutionary the “acted” (fictional cinema) and the “non-acted” imagery of the nineteenth century. Eisenstein knew (documentary cinema). In the sequence known as and was since his childhood fascinated by the from the Gods, he therefore tries to translate into French revolutions and naturally turned towards images the concept of atheism. Eisenstein does this model when he needed to shoot his film. not therefore hesitate to mix up genres : pathetic

4 Photographs showing the looting of the Winter Palace.

15 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

SECTION 6 THE GENERAL LINE

Gustav Klucis, La jeunesse communiste à l’assaut du semis ! , Affiche, 1930-1931 Sergueï Eisenstein, La Ligne générale, 1929 Lithographie sur papier. 102,4 x 72,6 cm. Courtesy of the Latvian National Museum of © FSF Art, Inv. No. VMM Z-7855 ; Cat. No. 264. Photo by : Normunds Brasliņš.

The General Line, a project initiated in 1926, had as In this section, apart from a group of unpublished its objective, through the peasant Marfa’s combat to photographs of film shooting (like the majority modernise her village, to call for the industrialisation of film shooting photographs they are used as an of the rural areas and the elimination of a poverty- introduction to each section), a series of works stricken past, undermined by tradition. and documents are presented which refer to the productivist and modernist ideology presented in Interrupted by the commission of October, the the film, notably through the motive of the tractor shooting of the film started up again in 1928, with (photomontages by Vassili Elkine, by Solomon a reworked scenario, and was released under the Telingater, posters by Gustav Klucis). Likewise, title of The Ancient and the New. From that moment the presence of the rationalist architecture of Le on, he had to glorify Stalin’s first Five-year plan Corbusier at the heart of the film is underlined, launched in 1928 and notably the enterprise of through the creations of his Soviet disciple Andrei collectivisation of the rural areas. He recounts the Bourov, allowing Eisenstein to pusue his exploration foundation of a modernised and mechanised farming of the relationship between architecture and cinema. cooperative, and the combat of the Kolkhozes aided Eisenstein does not hesitate in parallel to these by the Communist party, against the Koulaks, reminders of a new mechanised and modern era, to the rich peasants and against the administrative refer to an ancient mythological vocabulary, notably strictness. Indeed, thanks to her untiring efforts, in the famous sequence known as Marfa’s dream, the peasant Marfa succeeds in providing her village to establish a new mythology. The mating of the with an exemplary farm by its modernity and its cow and the bull as a cosmic explosion, but also the productivity, with a tractor and with a bull. The film couple formed by the peasant and the animal refer is placed under the auspices of a sensual lyricism, in fact to different levels of myths like architypes, of which the extasy culminates in the famous that Eisenstein invokes by way of the ghost-like and sequence with the cream separators, which the film fantasmatic figure of the Colossus, for a long time maker assimilated to the “new Grail”. Eisenstein attributed to Goya and that of Europe abducted by was hoping to apply his reflections on audiovisual Zeus, portrayed in the exhibition by a bronze by montage to his film and to have it synchronised by Valentin Serov whose art Eisenstein appreciated a European company on the occasion of his tour enormously. abroad, but the negotiations on the subject ended in failure. The projection of the film was not authorised in France at the last minute in 1930, whereas the film maker had intended to give a conference on it at the Sorbonne.

16 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

SECTION 7 ¡ QUE VIVA MEXICO !

Orchestre miniature Sergueï Eisenstein, La Matildona, vers 1931. Squelettes utilisés pour orner les autels lors du Jour des morts, éléments Crayon de couleur sur papier, 10.67h x 8.27w in (27.10h x 21w cm) consommables, 75.1474.76.1-2 IA bis, Paris, musée du quai Branly - Jacques Courtesy Alexander Gray Associates, New York and Matthew Stephenson, London Chirac, Photo © musée du quai Branly - Jacques Chirac, © Estate of Sergei Eisenstein Dist. RMN-Grand Palais / image musée du quai Branly - Jacques Chirac

In 1931, without having been able to bring to This section is divided into two parts, respectively fruition any of his numerous film projects for devoted to the prologue of the film and to the episode Hollywood, a consequence of the Great Depression, known as the Feast of the Dead. In the prologue Eisenstein began shooting a new film, devoted to which testifies to the symbiosis of the Mexicans with Mexico, probably on the advice of Robert Flaherty. their arts as well as the syncretism of their culture, Having taken an interest in Mexican culture since the works of Mexican artists to whom Eisenstein his staging of The Mexican in 1921, Eisenstein was close or who had marked him are assembled – thought he would devote his film to the history and the photographers Tina Modotti and Manuel Alvarez to the revolutions of the liberation of the Mexican Bravo, the mural artists José Clemente Orozco, people. Discovering a land which he perceived as a Diego Rivera and David Alfaro Siqueiros and also paradise and which fascinated him because of the the painter Jean Charlot. The second section is coexistance of what he sees there between several devoted to the Feast of the Dead, a major component cultures, religions and styles, he decides to film a of Mexican popular culture, in which are assembled, cinematographic fresco composed of documentary alongside the engravings by José Guadalupe Posada, material and of fictional stories acted out forming to whom the episode is devoted, a group of pieces four episodes framed by a prologue and an epilogue, borrowed from the Musée du Quai Branly – skulls each episode being devoted to an artist (Goya, made of sugar, skeletons of musicians made of Posada, Orozco…). To the political dimension of the cardboard – that can be found in sequences filmed project a strong ethnological and anthropological by Eisenstein where the spirits of the carnival and dimension is attached, sustained by Eisenstein's the Dance of Death come and join in, in a spirit of readings on “pre-logic” and “primitive” philosophy. generalised subversion. An ensemble of drawings Much tot he film maker’s dismay, who took it as made by Eisenstein during his stay in Mexico is also a tragedy and a traumatism, the project remained presented in this section : these very transgressive unfinished and would even be mutilated since ist and liberated line drawings, often bicoloured, producer, the writer Upton Sinclair, terrified by the develop an iconography which does not hesitate to size oft he project, stopped financing the filming telescope with myths and we come back tothe erotic and conficated the rfimled rushes. Eisenstein, and violent themes developed by Eisenstein in all of obliged to return to the USSR under pressure from his films (torment, cruelty, eroticism, eroticism of Stalin, would never see them and would not be able the male body…) and which assume in ¡ Que Viva to mount them during his lifetime. Of this project Mexico ! a heightened dimension. They constitute there only remains a group of rushes and several the author’s private diary, to which they provide a versions mounted by people other than Eisenstein joyful graphic experimental terrain. who only supplied an approximation of the initial Eisensteinian plan.

17 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

SECTION 8 THE BEZHIN MEADOW

Katsushika Hokusai, Branche de cerisier en fleur, Années 1820 Icône Russe : Vierge de Vladimir Yaroslavl, 1781. Paris, musée Guimet - musée national des Arts asiatiques Tempera sur panneau de bois enduit, revêtement métallique d'argent Photo © RMN-Grand Palais (MNAAG, Paris) / Thierry Ollivier avec incrustation de pierreries colorées. Musée des Beaux-Arts de la Ville de Paris, Petit Palais. © Petit Palais/Roger-Viollet

Inspired both by the eponymous novel by Ivan Eisenstein had to devote himself to the humiliating Turgenev and by the story, treated as a myth by and arduous exercise of autocricism by going the government, of “Pavlik” Morozov, a young back over “the errors of the Bezhin Meadow”. peasant who denounced his father as a saboteur Choumiatski ordered that the copies of the film be of collectivisation, Eisenstein conceived it in the destroyed ; Eisenstein sank into a profound nervous middle of Stalinist terror, a film dramatising the disorder. The negative, conserved on the premises combat , leading to death of a son and his father. He of Mosfilm, was destroyed during the bombing of hoped with this project, to produce an audiovisual Moscow by the Nazis in 1941. The film editor, Esther polyphony, whilst experimenting with the method Tobak, at the request of the film maker had saved of interior monologue. He again used the procedure photogrammes of the two versions of the film which which was dear to him in his Mexican project of the Naoum Kleiman and Sergueï Youtkevitch were able coexistance of several temporalities, not hesitating to use in 1967 to partially “ressusitate” the project, in the use of mythical and biblical archetypes, revealing the visual richness of Eisenstein’s plan such as the sacrifice of Isaac by Abraham. He and his dialogue with the arts. also mobilises numerous visual references, from the Japanese print to Flemish art and orthodox In this section an ensemble of casting photographs icons. Whereas Socialist realism had been adopted, is presented giving an idea of the Eisensteinian as early as 1934, as a method of official creation method of “typing” and which considering the and the war on “formalism” was beginning, the tragic destiny of the film, come across as poignant authorities interrupt the filming and demand of documents. Fragments of contact sheets are also Eisenstein a new more “realistic” scenario, that he shown which are taken from the sequence, highly co-signed with the writer Isaac Babel, together with controversial because of its Dionysiac character, the recruitment of other actors. The shooting which of the transformation of the church into a workers’ came out of this was yet again interrupted – false club. They are accompanied by an icon and a rumours then abounded in the international press Japanese print which represent the two poles of as to the arrest of Eisenstein – and the project was inspiration, aesthetic and thematic, between which definitively buried in 1937 by Boris Choumiatski, Eisenstein’s visual film world is unfurled, of which Head of the State Central Cinematographic the compositions come from systems of perspective Administration. other than classic, a double reference which we will come across again in yet another form even more pronounced in his last film,Ivan the Terrible.

18 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

SECTION 9 ALEXANDER NEVSKY

Anonyme, Saint Georges, Novgorod, XVIème siècle Tempera sur bois. Musée des Beaux-Arts de la Ville de Paris, Petit Palais Vassili Trokhatchev , Photographie de tournage, Alexandre Nevski, 1938 © Petit Palais/Roger-Viollet © Russian State Archive of Literature and Art

The film goes back over in a hagiographic manner lived silently as a source of shame. The film was the victorious resistance of the Russians, led in the precipitously withdrawn from the screens at the xviiith century by the prince and saint Alexander time of the signature of the Ribbentrop-Molotov Nevsky against the Teutonic invasion – an episode pact of non-agression, before being re-released which in 1938, the year of Anschluss, obviously massively in June 1941 after the German invasion took on a very contemporary significance. Stalin of Soviet territory. did indeed give the commission to Eisenstein in order for him to awaken the Russian patriotic The section concentrates on the sequence of the conscience faced with the menace and the growing Battle on the Ice : if the brilliant audiovisual montage aggressiveness of the Nazis, by making use of which it uses is appropriate for the cinematographic folklore, heritage and Russian national history. For medium, it does not share any less with the Eisenstein it was an ultimate chance to “retreive history of art, the classic problem of the manner the situation” with the government following his of representing a battle, Eisenstein in this respect succession of failures culminating in the Bezhin carefully studied the advice of Leonardo da Vinci. Meadow. For his film, Eisenstein took his inspiration Several sources of inspiration for the sequence are from the aesthetic of the icon and of the Lubok5 to be found mobilised here, of different epochs and and began a collaboration with the composer Sergei contrasting styles but all of which come from the Prokofiev whom he considered as his musical alter heroic genre : two casts of cavalrymen coming from ego, in order to explore what he called the “vertical- the Panathenean Frieze of the Parthenon ; an icon montage”, that is to say the audiovisual counterpoint from the school of Novgorod on which features a which was to reach its most brilliant execution in figure of Saint George as a warrior ; a large scale the celebrated sequence of the Battle on the Ice. engraving by Jacques Callot representing the siege of To portray the prince, the choice fell upon Nikolaï Breda, a popular engraving6 representing the warrior Tcherkassov, whose performance would be crowned Anika, in which colour, like music in the film, plays in 1941 with the Stalin Prize. Dmitri Vassiliev was the role of a counterpoint. Eisenstein’s sequence is imposed on Eisenstein as co-director. in addition related to a battle scene extract from the Birth of a Nation by David W. Griffith, the founding The film, of which the premiere was triumphally narrative of the north American federal state and of presented at the Bolshoi, was a huge success and modern cinematography, to which Eisenstein owes earned Eisenstein the Order of Lenin award, the a great deal. highest distinction possible, which the film maker

5 Popular Russian art of engraving.

6 Lubok.

19 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

SECTION 10 IVAN THE TERRIBLE

Utamaro Kitagawa , La maison de thé Nakadaya, vers 1794-1795 Sergueï Eisenstein, Ivan le Terrible, 1945 Paris, musée Guimet - musée national des Arts asiatiques © FSF Photo © RMN-Grand Palais (MNAAG, Paris) / Harry Bréjat

In 1941, following his success with Alexander In order to film the numerous interiors, decorated Nevsky, Eisenstein received a proposition to shoot a with icons and frescos, Eisenstein relied on the film about the Tsar Ivaniv , nick-named The Terrible, talent of Andrei Moskvine. If for the first part still in the perspective, in the context of the war Eisenstein won the Stalin Prize in 1946 – at the against Germany, to exalt Russian patriotism around celebration for which he was taken ill with a strong national figures. Up until then, Ivan the violent heart attack – the second part was to be Terrible had the inflammatory reputation of being censored and unauthorised because of its historical a sadistic, perverted and immoral monarch. Stalin distortion : the tsar was characterised as a Hamlet wanted therefore to restore his image by insisting lacking willpower and surrounded by degenerate on his decisive role in the process of unification of supporters recalling the Klu-Klux-Klan ; the film the Russian state in the xvith century and in the failed because of its excess of mysticism and its construction of the nation. For the dictator, it was unwarrented fascination for shadows. Indeed, in thus a means of justifying his own resort to terror, 1947, Stalin hosted Eisenstein and Tcherkassov, for in the name of State interest : the film showed that an audience at midnight in the Kremlin, in order to Ivan was cruel because he had no other choice correct what he considered to be a problem with than to be that way. The shooting only started in the film, which is revealing of the importance which 1943, whilst Eisenstein was in Alm-Ata in Central the little “Father of the peoples” attached to the Asia where the Soviet production studios had been film. The second part which Stalin would censor, evacuated to. The film maker imagined a vast lyrical and which included a sequence filmed in colour on fresco in three parts, with Shakespearean colours, an Agfa reel brought back from Germany like a war which had to go back over the tsar’s efforts to unify trophy, would not come out of the USSR until 1958. Russian territories into a modern and powerful As for the third part, which would never see the state, inspite of numerous interior and exterior light of day, only a few scenes were shot. obstacles. Inspired by Pouchkine’s Boris Godounov, Eisenstein’s project constituted a perilous reflection In this section, numerous sources of inspiration on power for its author since it portrayed the for this “film-opera” with sumptuous sets and tsar in the grip of solitude and remorse, that his costumes are called upon : icons, from which conscience tormented, notably in the second part, Eisenstein borrowed the inverted perspective and before sinking into insanity and complete isolation the colours and which regularly appear on the in the third part. Eisenstein again made use of screen : a painting of peddlers (Vassily Sourikov), a Nikolaï Tcherkassov for the title role, on whom he Japanese print to which Eisenstein adds his gestual, imposed numerous difficult exercises in order to his composition and his shadow world… He thus aquire his hieratic body language, and he renewed develops a film with a delibrately antinaturalist his collaboration with the composer Prokofiev. and syncretic aesthetic, which refers just as well to German expressionism as it does to Disney’s cartoons, and the Kabuki Japanese theatre.

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SECTION 11 EISENSTEIN THE ART HISTORIAN AND THEORIST

Le Greco, Le Christ au jardin des oliviers, 1er quart 17ème siècle Vassily Kandinsky, Figure verte, 1936 Lille, Palais des Beaux-Arts Strasbourg, musée d'Art moderne et contemporain, Photo © Centre Pompidou, Photo © RMN-Grand Palais / Hervé Lewandowski MNAM-CCI, Dist. RMN-Grand Palais / image Centre Pompidou, MNAM-CCI

During the course of the 1930’s and 1940’s when he Just like emanations from this theoretical was finding himself more and more marginalised laboratory, were thus exposed different works taken as a film director, Eisenstein withdrew towards from all mediums, coming from various periods and teaching at the VGIK7 and engaged in an intense cultures, which Eisenstein had analysed : views of theoretical activity, leaving behind a multitude of the Parthenon photographed from several angles at texts and essays as visionary as they were ambitious, the end of the nineteenth century, paintings by El but often unfinished. He mobilised and handled Greco, Tintoretto, Toulouse-Lautrec, Delauney and an impressive multitude of references taken from even Kandinsky, films by Walt Disney and by Jean extremely varied cultural and visual worlds, without Painlevé… paying attention to disciplinery and geographical frontiers, taking in each technical innovation with This hanging combines and unites two key notions enthusiasm (cinema in colour, in three dimensions, of Eisensteinian aesthetics which at first sight, television...). he developed a number of hypothetical should oppose each other but which come together theories that he had the opportunity of testing on in the exhibition space in a dialectic unity dear to his students. One of his major projects was thus the artist : on the one hand the montage, of which represented by the “cinematism” : in Eisenstein’s Eisenstein endeavours to find manifestations as early opinion the cinema had to function as a “method”, as in Antiquity ; on the other hand, plasmaticity, to use his own term, which enables the decoding, that is the capacity of a form to metamorphose analysis and rereading of the history of art itself continuously, a primitive and mythological according to cinematographic procedures and persistance, which according to him, finds its categories (montage, cutting, framing...). Eisenstein, reincarnation in Disney’s art. in advance of his time did indeed try to unmask cinema in earlier artistic production, predating the invention of the film projector. This is what the last section of the exhibition endeavours to show. It starts with documentary views of the film maker’s apartment, a veritable autoportrait of the latter which functions like a thought space as extremely varied objects which were assembled there (books and works of art) were disposed according to a principle of montage, forming a “film of objects”.

7 National Institute of Cinematography.

21 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS 4. FIVE QUESTIONS TO THE EXHIBITION CURATORS

Centre Pompidou-Metz –How did the idea of this ecstatic. For him, Piranesi for example, produced exhibition come about ? Is it unique ? ecstatic architectures which appeared to wish to prolong themselves, soar upwards indefinitely, out Ada Ackerman - Dominique Païni who was the of frame. As for the eye, it is a question of recalling initiator of the genre exhibited cinema, notably of course the lexicon of the cinema, but also to insist with the exhibition Alfred Hitchcock and art : fatal coincidences at the Centre Pompidou, wanted to on the fact that Eisenstein is an eye ; he embodies devote an exhibition to Eisenstein. This is how the the vision he has of the history of art. We often project came about. Over the past few years, there think of him as one of the greatest film directors, have been a multitude of exhibitions on Eisenstein. but we forget too often how much he also practiced Our exhibition is unique in that it has the vocation other arts, such as the theatre, drawing, dance and of showing how he is part of the world history of was a great theorist and art historian. We therefore the arts, past and contemporary. The exhibition wanted to insist on this interdisciplinery character endeavours to present how his work comes into of his work as well as on his capacity to combine resonance with classic issues of portrayal. The idea the popular with the academic. is also to show just how much Eisenstein took part of course in the adventure of Russian and Soviet art but also that his work falls within, more generally, CPM - How do you exhibit Eisenstein’s cinema ? the history of world modernism, since he is the link with the European, American and Mexican avant- Philippe-Alain Michaud - Since 2000, there has gardists. been a great movement of exhibitions of artist’s films, we find in history representations of the xxth CPM - What do you mean by the title The Ecstatic century, many approaches to the exhibition of films, Eye. Sergueï Eisenstein, filmmaker at the in particular in the construcitivist context. In the crossroads of the arts ? 1920’s, the constructivist theatre and the plays in which Eisenstein took part, integrated the cinema : AA - Ecstasy is a fundamental concept of it is thus that his first film, Glunov’s Diary, was Eisenstein's theory and practice. He understands it projected. in the etymological and literal sense of ek-stasis which means “to come out of oneself”. For him, the Eisenstein’s films are not a priori made for exhibition most important material in art, was the spectator’s but for projection in cinema theatres. The idea of an psyche. The idea therefore consisted of transforming, exhibition is to try to present his films in another of deeply moving the spectator, to make him/her way, by confronting the images shot by Eisenstein come out of him/herself in such a way that he/she with other cinema images and other works from the becomes another political and social man/woman visual arts such as sculpture, painting, photography and for that Eisenstein took a serious interest in and drawing. The aim is to show the visual sources the process of religious and mystic ecstasy. In the which have marked him. His style is very syncretic, it theatre, just as in the cinema, he sought to lead is based on creating relationships and combinations the spectator to ecstasy. When Eisenstein took an of completely heterogenerous systems of reference. interest in transformation, the passage from one quality to another, he also does it from the point The idea of the exhibition is therefore to produce of view of the work of art and of the composition. another approach in order to accede to Eisenstein's Consequently, he considers many artists to be films.

22 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

CPM - What are the most notable works in the CPM - For you, what are the most notable moments exhibition ? of the associated programme of the exhibition ?

PAM - The most notable works in the exhibition are AA - We are working with the Russian stage director first and foremost Eisenstein's films which will be Vladimir Pankov whose style is characterised by shown in a fragmentary way. All the films will be a mixture of the arts which recall Eisenstein’s projected in extenso in the Auditorium Wendel of the aesthetic, and evoke what the film maker called the Centre Pompidou-Metz during the whole duration “montage of attractions”, supported by a troupe of of the exhibition. Inside the exhibition itself, will be multi-talented actors. Pankov wishes to show how presented film loops by Eisenstein confronted with much what Eisenstein was doing during the 1920’s is the works which have inspired them, for example still relevant today and can find a continuity in the the engravings of Piranesi’s prisons which will be most experimental contemporary theatrical forms. compared with The Strike. In the first instance, Eisenstein used sources taken from the history of art Amongst the projections of the full versions of using an extremely broad spectrum, which stretches Eisenstein’s films there will be two interventions from the Orient to the west and from antiquity to by the composer Pierre Jodlowski, author of the modern times. He uses these visual sources in his cine-concert of The Strike. Eisenstein had initially films, then he discusses the works from the past from intended that his film The General Line was to a cinematographic point of view in order to show have a soundtrack, but was never able to realise that the cinema did not only come into being with this during his lifetime. Yet we are in possession the technical recording and projection apparatus. of notes that he wrote in order to provide for this This is a sort of technical application of a way of sound track. Pierre Jodlowski has studied them and thinking of the images on the basis of movement. is preparing an installation using Eisenstein’s notes and the film’s images. This is a world premiere, AA - Numerous works will be coming from Russia, exclusively for the exhibition. notably from the Russian National Literary and Artistic Archives (RGALI), which houses the most important Eisenstein archive collection. The artist’s plans and documents as well as certain elements from his personal collection, certain Russian works, such as a group of monumental paintings by Pavel Korine which come from the Tretyakov Gallery or the photomontages by Youri Rojkov to illustrate a poem by Mayakovsky, will thus be shown for the first time to the French public.

On the occasion of the exhibition, the Musée du Quai Branly is to proceed with the restauration of several exceptional objects relative to the Mexican feast of the dead : skeletons in papier-maché, including a five-metre high monumental figure.

23 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS 5. LIST OF ARTISTS

Manuel Álvarez Bravo Pavel Korine Jacques Callot Johann Kaspar Lavater Charlie Chaplin Anton Lavinsky Honoré Daumier Michelangelo Buonarroti dit Michel-Ange Alexandre Deïneka Tina Modotti Eugène Delacroix László Moholy-Nagy Robert Delaunay José Clemente Orozco Walt Disney Jean Painlevé Guillaume Benjamin Duchenne de Boulogne Giovanni Battista Piranesi dit Le Piranèse James Ensor Lioubov Popova Alexandra Exter Nicolas Poussin Jean Ignace Isidore Gérard dit Grandville Jean-Louis Prieur Francisco de Goya y Lucientes Alexandre Protais David Wark Griffith Emmanuel Radnitzky dit Man Ray José Guadalupe Posada Diego Rivera Katsushika Hokusai Jacopo Robusti dit Le Tintoret Utagawa Hiroshige Alexandre Rodtchenko Charles-Édouard Jeanneret-Gris dit Le Corbusier Auguste Rodin Vassily Kandinsky David Alfaro Siqueiros Andor Kertész dit André Kertész Domínikos Theotokópoulos dit Le Greco Kitagawa Utamaro Henri de Toulouse-Lautrec Gustav Klucis Félix Édouard Vallotton

24 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS 6. CATALOGUE

By going back over the sources of artistic inspiration By making use of the vast range of references and the visionary character of Eisenstein’s work, it mobilised by Eisenstein in his work, the catalogue is a question of discovering or rediscovering a major confronts fixed images and moving images, revealing figure of the seventh art and of world culture, a man in an exemplary manner the way in which a creator considered las a Russian “Leonardo da Vinci”, who builds his images, at a time when the question of was the first to present himself as a film director in artistic genesis had become central. artist’s clothing. Eisenstein was at one and the same time a doer, an amateur, a collector, a commentator and an image editor.

THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS SERGUEÏ OF THE ARTS EXHIBITION CATALOGUE PUBLICATION DIRECTED BY : ADA ACKERMAN EISENSTEIN PUBLISHER : ÉDITIONS DU CENTRE POMPIDOU- METZ BOUND, 320 PAGES, C. 21 X 27 CM LANGUAGE : FRENCH PUBLICATION DATE : 25 SEPTEMBER 2019 ISBN : 978-2-35983-059-0

L’ŒIL EXTATIQUE

25 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS 7. RELATED EVENTS

around with his Director of Photography, Eduard SAT. 28.09 Tisse and his assistant Grigori Alexandrov. Eisenstein had great hopes for this film. Alas, CINE-CONCERT THE STRIKE he was never able to terminate it, the producer having decided to close down the adventure whilst Pierre Jodlowski conserving the parts which had already been shot. Eisenstein found himself for ever dispossessed of 8 PM | Studio | Cine-Concert | 88' his precious rushes. The film would be mounted Electroacoustic music to accompany a silent film. by several people, including Alexandrov, declaring having made a version“as close as possible to what The composer is developing his work in France Eisenstein wanted”. Alexandrov’s version does allow and abroad in the field of acoustic music and the discovery of the power of Eisenstein’s images, of electric sound and is characterised by its theatrical which the ambition was to recount in a sumptuous and political integration. His activity leads him epic all the complexity of Mexico and its history. to perform in the majority of venues devoted to contemporary music but also in parallel circuits : dance, theatre, the visual arts, electronic music. He XIXA is also founder and Artistic Director of the studio éOle – in residence in Odyssud Blagnac since 1998 Brian Lopez and Gabriel Sullivan – and at the Novelum festival in Toulouse and its région (from 1998 to 2014). 8.30 PM | Studio | Concert | 120' For a long time Brian Lopez and Gabriel Sullivan > performed at the heart of the alternative rock 30.09 06.10 scene in Tucson Arizona, collaborating with Giant Sand, Mambo Orkesta and Calexico. When they THE GENERAL LINE – SOUND SYNOPSIS discovered la Chicha, they decided to explore this psychedelic pop, derived from a mixture of Cumbia Pierre Jodlowski and of guitars, which had its moment of glory in Peru towards the end of the 1960’s. Studio | Installation | Continuously during opening After the concert by Xixa, the evening will continue hours with a DJ set. Let yourself get carried away by these diabolical For the General Line Eisenstein dreamt of rhythms and celebrate the Feast of the Dead loud composing a soundtrack which would have allowed and strong ! him to experiment with the different principles of audiovisual montage that the advent of talking films seemed to be able to offer him and the potential of which he greeted with enthusiasm. From this project, 12.02 and 13.02.2020 which he was never able to put together, have come down to us several pages containing his precious MONTAGE OF ATTRACTIONS - and stimulating indications. From these notes, the composer Pierre Jodlowski will create a piece of SERGUEÏ EISENSTEIN music presented in the form of an installation. Vladimir Pankov FRI. 01.11 8 PM | Studio | Theater Play in French and in Russian, surtitled in French. NOCHE DE LOS MUERTOS Eisenstein calls “attraction” anything which can influence the attention of the spectator and provoke ¡ QUE VIVA MEXICO ! an emotional reaction in him/her.

4.30 PM | Auditorium Wendel | Projection | 85' Enough stupidity in every wise man by Alexander Ostrovsky, creation of a Russian comedy from the As an echo to ¡ Que Viva Mexico ! , a film which nineteenth century staged by Sergueï Eisenstein, Eisenstein was never able to mount during his outlines a governing principle in the history of lifetime, let's celebrate the Feast of the Dead ! Russian theatre. The contemporary stage director Fascinated by mexican culture, Eisenstein chose Vladimir Pankov examines Eisenstein’s relationship to make a film about Mexico, which he travelled with staging. With his prolific style, he creates a

26 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS total spectacle, which brings together all of the stage techniques, music, sound, dance, marrying Ackerman (CNRS/THALIM) and Philippe-Alain the sublime and the grotesque, in order to pass on Michaud (Mnam),curators of the exhibition The to the spectator a powerful experience. Ecstatic Eye. Sergueï Eisenstein, filmmaker at the crossroads of the arts at the Centre This creation has been initiated by the Festival Pompidou-Metz. Passages in collaboration with Centre Pompidou- This round table will be followed by the Metz as part of the exhibition The Ecstatic Eye. projection of Ivan the Terrible at 8.30 PM. Sergueï Eisenstein, filmmaker at the crossroads of the arts. The creation begun at the end of the year 2018 in Moscow and will continue in Vire, where the SUN. 03.11 world premiere will take place at the Préau CDN de Normandie-Vire, A creation of the Gitis - The ARCHITECTURE, CINEMA, MONTAGE : Russian Institute of Theatre Arts in Moscow / Sound Drama Company. As part of the Russian Seasons - EISENSTEIN AND LE CORBUSIER with the support of the Russian Cultural Seasons Foundation - and the Institut français. Pascal Rousse 4 PM | Briey-en-Forêt | Conference Shuttle service leaving Metz at 2 PM. Return predicted at 8 PM. OCT. > FEB. 2020 Considerably impressed by different films by Eisenstein that he saw in the USSR in 1928, Le PROJECTIONS OF CINEMATOGAPHICAL Corbusier began a friendship and artistic and intellectual exchange with the film director. Eisenstein was himself the son of an architect WORKS BY EISENSTEIN and fascinated by architectural theory, and had already read several works by Le Corbusier. Auditorium Wendel | Projection The affinity between the two men crystallised in the film The General Line (1929), in which Ahead of the projections, conferences and the experimental farm is directly inspired by the encounter will be organised in order to exchange on principles stated by Le Corbusier in his book Eisenstein’s methods of creation, the content of his Vers une architecture. works, his theoretical reflections and his rich and Pascal Rousse proposes to cover the friendship varie relationships with other arts. and the exchanges between Eisenstein and Le Corbusier and to show how they influenced each FRI. other respectively in their way of thinking and 2 PM | Eisenstein’s world, diaporama | 10' in their work. He will most particularly insist 2.10 PM | The Battleship Potemkine, 1925 | 80' on the architectural component of Eisenstein’s 3.30 PM | October, 1927 | 100' work. Preceded by a visit of the Cité radieuse and then SAT. followed by a projection of The General Line. 11 AM | Eisenstein’s world, diaporama | 10' 11.10 AM | Ivan the Terrible, First part, 1944-46 | 100' 2 PM | IIvan the Terrible, 2nd part, 1944-46 | 100' SAT 16.11 4 PM | ¡ Que Viva Mexico ! , 1932/79 | 85' SUN. CINE-CONCERT ALEXANDRE NEVSKI 11 AM | Eisenstein’s world, diaporama | 10' 11.10 AM | Sentimental Romance, 1930 | 20' Orchestre national de Metz 11.30 AM | The General Line, 1929 | 90' 2 PM | The Bezhin Meadow, 1937 | 30' 8 PM | Arsenal de Metz, in partnership with 2.30 PM | Alexander Nevsky, 1938 | 112' the Cité Musicale-Metz | 120' 4.25 PM | Glumov’s Diary, 1923 | 4'28 4.30 PM | The Strike, 1925 | 78' Alexander Nevsky is an epic Soviet film directed Sergueï Eisenstein, with the assistance of Dmitri Vassiliev and released in 1938 in a OUTSIDE THE EXHIBITION troubled international context. The original music was composed by Sergueï Prokofiev, in THU. 17.10 close cooperation with Eisenstein, bestowing upon the film a rare symbiosis between the VIVA EL GRECO : EISENSTEIN image and the sound. The Orchestre National de Metz, conducted on this occasion by Jacques AND THE MASTER OF TOLEDO Mercier, will accompany this epic film retracing the combat of the prince Alexander Nevsky 6.30 PM | The Louvre Museum | Round table against the Teutonic knights, of which the battle on the Lake Peipus, known as “the Battle on the Contributors : Guillaume Kientz and Charlotte Ice”, such as Eisenstein portrays it, represents Chastel (Louvre Museum) curators of the an anthological sequence. exhibition “Greco” at the Grand Palais, Ada

27 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS 8. YOUNG VISITORS

WORKSHOPS THE CAPSULE 09.11 > 09.02.20 The Capsule is a place of encounters, exchanges and of artistic practices open to everyone. (UN)MONTAGE OF IMAGES ! Workshop for children aged 5-12 WED. + SAT. + SUN. + PUBLIC HOLIDAYS (except MARION BOUTURE AND MATHILDE BARBEY 1st May) 2 PM > 6 PM | Landing of Gallery 1 | Continuously SAT. + SUN. + PUBLIC HOLIDAYS (except 1st May) Aged 5-7 : 11 AM Free admission upon presentation of an entrance Aged 8-12 : 3 PM 90’ | 5€ ticket to the exhibitions, without reservation (subject to availability) Sign up online or on the spot (subject to availability). Supplementary times during the school holidays for Supplementary times during the public holidays for the Zone B : the Zone B : MON + WED + THU. + FRI. – 2 PM > 6 PM Aged 5-7 : WED. | 3 PM Aged 8-12 : MON. + THU. + FRI. | 3 PM 09.11.19 > 09.02.20 Visionary, explorer and experimentor, Sergueï Eisenstein revolutionised cinematographic montage. THE IMAGE FACTORY By looking into his research, children are going to discover this art of assembling images to create Thaumatrope, praxinoscope, phenakistiscope… a story, thanks to a laboratory mixing fixed and behind this enigmatic vocabulary optical games, moving images. Imagined by the artists Marion testifying to the development of moving images are Bouture and Mathilde Barbey, the workshop is hidden. composed of several structures allowing the creation The audiences are invited to discover them, try them of fragments of stories and to explore the technique of montage in its diverse forms. And at the end of out and even make them ! the session… Action ! Everyone presents his/her They can also try out the Mash-up table, a unique own scenario. tool of its kind which will allow them to create their own montage in real time, enough to turn yourself

into a film director in an afternoon !

The workshops for children benefit from the support of the Group UEM and its affiliate efluid : ASSOCIATED EVENT

FRI. 01.11.19 AS PART OF LA NOCHE DE LOS MUERTOS COCO Projection | Auditorium Wendel | 2.30 PM | 105’ | 5€ Lee Unkrich and Adrian Molina (Disney and Pixar studios) In Mexico, young Miguel dreams of making a career in music, but his family is opposed to it. On the occasion of the Feast of the Dead, he will live adventures taking him to the Country of the Dead where he will discover his family secrets. A moment full of emotion and affection to be shared as a family. The projection will be followed by a snack with Mexican flavours and traditional workshops in the conference room.

28 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS 9. EXHIBITION PARTNERS

Le Centre Pompidou-Metz constitutes the first example of decentralisation of a great national cultural institution, the Centre Pompidou, in partnership with the regional authorities. An autonomous institution, the Centre Pompidou-Metz benefits from the experience, skills and international renown of the Centre Pompidou. It shares with its elder the values of innovation, generosity pluridisciplinarity and openness to all audiences. The Centre Pompidou-Metz produces temporary exhibitions based on loans from the collection of the Centre Pompidou, Musée national d’art moderne, which is, with more than 120 000 works, the most important collection of modern and contemporary art in Europe and the second in the world. It also develops partnerships with museum institutions over the whole world. As an extension to its exhibitions, the Centre Pompidou-Metz also proposes dance performances, concerts, cinema and conferences. It benefits from the support of Wendel, the founding sponsor.

Mécène fondateur

With the special sponsorship of of the Total Foundation.

The exhibition benefits from an exceptional collaboration and loans from the Russian State Literary and Artistic archives (RGALI).

Exhibition created with the special collaboration of the Musée du Quai Branly – Jacques Chirac.

With the participation of Vranken-Pommery Monopole.

In media partnership with

29 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

GRAND MECENE DE LA CULTURE

WENDEL, FOUNDING SPONSOR OF THE CENTRE POMPIDOU-METZ

Wendel has been involved with Centre Pompidou-Metz since its opening in 2010. Trough this patronage, Wendelhas wanted to support an emblematic institution with a broad cultural influence. In acknowledgement of its long-standing commitment to cultural development, Wendel was awarded the title of “Grand Sponsor of Culture” in 2012. Wendel is one of Europe’s leading listed investment companies. It operates as a long-term investor and requires a commitment from shareholder which fosters trust, constant attention to innovation, sustainable development and promising diversification opportunities. Wendel excels in the selection of leading companies, such as those in which it currently owns a stake : Bureau Veritas, IHS, Constantia Flexibles, Allied Universal, Cromology, Stahl or Tsebo. Founded in 1704 in the Lorraine region, the Wendel Group expanded for 270 years in various activities, in particular in the steel industry, before becoming a long-term investor in the late 1970s. The Group is supported by its core family shareholder group, which is composed of more than one thousand shareholders of the Wendel family, combined to form the family company Wendel-Participations, which owns 37.7% of the Wendel group’s share capital.

CONTACTS : Christine Anglade Pirzadeh + 33 (0) 1 42 85 63 24 [email protected] Caroline Decaux + 33 (0) 1 42 85 91 27 [email protected]

30 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

THE FOUNDATION TOTAL PROGRAMME

The Total Foundation covers actions of solidarity carried out every day in the world by our sites, our affliates and our business Foundation. With this programme, Total wishes to contribute to the development of the territories where it is implanted. By focusing on youth, this programme takes action along four axes : road safety, forests and the climate, education and youth insertion, cultural dialogue and heritage.

COMMITTED TO THE OPENING UP OF CULTURE AND THE VALORISATION OF HERITAGE

Present in 130 countries and rich with more than 150 nationalities, Total is commited to the promotion of respect of others and to diversity by valuing rich and pluralistic cultures which are the conditions for living together.

To acheive this, Total has chosen to work for the preservation and the transmission of heritage, to encourage access to culture and artistic and cultural education for audiences who are remote from it and to support young contemporary creation.

With The Ecstatic Eye. Sergueï Eisenstein, filmmaker at the crossroads of the arts Total wishes to contribute to the influence of two of the territories in which it is implanted : Russia and the région Grand Est.

Sergueï Eisenstein’s work is indeed closely tied to the history and the culture of Russia, where Total has been established for 25 years. The support brought to this exhibition falls into the continuity of preceding commitments : in Russia as early as 2006 alongside the Gergiev Foundation or with the Mariinsky Theatre ; and in France with the exhibitions Sainte Russie (Louvre, 2010), Monumenta (Grand Palais, 2014), Pierre le Grand, A Tsar in France (Château de Versailles, 2017) et Red. Art and utopia in the country of the Soviets (Grand Palais, 2019).

Already a partner in 2015 for Leiris & Co,the Fondation Total supports the Centre Pompidou-Metz for its contribution to the cultural dynamism of the Grand Est. In this region, Total is notably present in Carling with a platform for the fabrication of hydrocarbon resins and plastic materials which counts some 550 collaborators.

CONTACT :

+33 1 47 44 46 99 [email protected] @TotalPress

31 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS 10. IMAGES AVAILABLE TO THE PRESS

32 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

Sergueï Eisenstein, Ivan le Terrible, 1945 André Kertész, Sergueï Eisenstein, 1929 Man Ray, S.M. Eisenstein, vers 1929 © FSF Épreuve gélatino-argentique, 24,3 x 18,1 cm Épreuve gélatino-argentique, 8,3 x 6,2 cm Paris, Centre Pompidou, Musée national d’art moderne Paris, Centre Pompidou, Musée national d’art moderne © RMN-Grand Palais © Man Ray Trust / Adagp, Paris © Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. © Centre Pompidou, MNAM-CCI/Guy Carrard/Dist. RMN-GP RMN-GP

Sergueï Eisenstein, Esquisse pour La Maison Jacques Callot, Scapino, Capitano Zerbino, issu de Sergueï Eisenstein, La Grève, 1925 des cœurs brisés de Bernard Shaw, costume du l’ensemble des Balli di Sfessania Ensemble de 18 © FSF Personnage de Sam Mangan estampes Эскиз костюма Менгена к пьесе Б. Шоу “Дом, где Bibliothèques-Médiathèques de Metz, (FIE_CAL_390_1) разбиваются сердца“. 1922. papier, crayon graphite, aquarelle, 35,2 х 22,8 © Russian State Archive of Literature and Art

Jacques Callot, [12], [Le joueur de violon] de la série Sergueï Eisenstein, Le Cuirassé Potemkine, 1925 Alexandre Rodtchenko, Affiche pour le Cuirassé Les Gobbi © FSF Potemkine, 1926 Ensemble de 20 estampes 101 x 72 cm Bibliothèques-Médiathèques de Metz, (FIE_CAL_418_1) © Adagp, Paris, 2019 © A.Dobrovinsky Collection

33 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

Sergueï Eisenstein, Glass House, vers 1927 Auguste Rodin, L’Éternel printemps, vers 1884 Sergueï Eisenstein, Octobre, 1928 © Russian State Archive of Literature and Art Bronze patiné, H : 64, l : 58, P : 38 cm, Don Madame © FSF Stephen Pichon, 1933 Musée des beaux-arts et d’archéologie de Besançon, Inv. 933.6.1 © Besançon, musée des beaux-arts et d’archéologie – Photographie Chipault & Soligny

Sergueï Eisenstein, La Ligne générale, 1929 Gustav Klucis, La jeunesse communiste à l'assaut du Sergueï Eisenstein, La Matildona, vers 1931. © FSF semis ! , Affiche, 1930-1931. Crayon de couleur sur papier Lithographie. 102,4 x 72,6 cm. 10.67h x 8.27w in (27.10h x 21w cm) Courtesy of the Latvian National Museum of Art, Inv. Courtesy Alexander Gray Associates, New York and No. VMM Z-7855 ; Cat. No. 264. Photo by : Normunds Matthew Stephenson, London Brasliņš. © Estate of Sergei Eisenstein

Orchestre miniature Squelettes utilisés pour orner les autels lors du Jour des morts, éléments consommables 75.1474.76.1-2 IA bis Katsushika Hokusai, Branche de cerisier en fleur, Icône Russe : Vierge de Vladimir Paris, musée du quai Branly - Jacques Chirac Années 1820 Yaroslavl", 1781. Tempera sur panneau de bois enduit, Photo © musée du quai Branly - Jacques Chirac, Paris, musée Guimet - musée national des Arts revêtement métallique d'argent avec incrustation de Dist. RMN-Grand Palais / image musée du quai Branly asiatiques pierreries colorées. Musée des Beaux-Arts de la Ville - Jacques Chirac Photo © RMN-Grand Palais (MNAAG, Paris) / Thierry de Paris, Petit Palais. Ollivier © Petit Palais/Roger-Viollet

34 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

Anonyme, Saint Georges, Novgorod, XVIème siècle. Vassili Trokhatchev, Photographie de tournage, Sergueï Eisenstein, Ivan le Terrible, 1945 Tempera sur bois. Alexandre Nevski, 1938 © FSF Musée des Beaux-Arts de la Ville de Paris, Petit Palais © Russian State Archive of Literature and Art © Petit Palais/Roger-Viollet

Utamaro Kitagawa , La maison de thé Nakadaya, vers Le Greco, Le Christ au jardin des oliviers, 1er quart 17ème Vassily Kandinsky, Figure verte, 1936 1794-1795, Paris, musée Guimet - musée national des siècle Strasbourg, musée d'Art moderne et contemporain Arts asiatiques Lille, Palais des Beaux-Arts Photo © Centre Pompidou, MNAM-CCI, Dist. RMN- Photo © RMN-Grand Palais (MNAAG, Paris) / Harry Photo © RMN-Grand Palais / Hervé Lewandowski Grand Palais / image Centre Pompidou, MNAM-CCI Bréjat

Sergueï Eisenstein, Ivan le Terrible, 1945 Piotr Williams, Portrait de Vsevolod Emilievitch Sergueï Eisenstein, Esquisse de marionnette pour la © FSF Meyerhold, 1925 pièce “Arlequin honnête“ Huile sur toile, 209 x 136,5 Эскиз марионетки к пьесе “Честный Арлекин“. Galerie nationale Trétiakov 1921, papier, crayon graphite, encre, peinture bronze, © Photo Alexey Sergueev 36 х 19,9 © Russian State Archive of Literature and Art

35 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

Sergueï Eisenstein, La Grève, 1925 Sergueï Eisenstein, La Grève, 1925 Sergueï Eisenstein, Le Cuirassé Potemkine, 1925 © FSF © FSF © FSF

Vassili Trokhatchev, Photographie de tournage, Sergueï Eisenstein, Stigmates Sergueï Eisenstein, Le Cuirassé Potemkine, 1925 Alexandre Nevski “Стигматы“. Рисунок из серии “Святой Франциск, © FSF © Russian State Archive of Literature and Art Стигматы“. 1931-1932 ; “Stigmates“. Drawing from the series “St. Francis. Stigmates“ ; papier, crayon graphite, crayon couleur, 27,6 х 21,7 © Russian State Archive of Literature and Art

Alessandro Allori, Homme nu, suspendu par une main Sergueï Eisenstein, Le Cuirassé Potemkine, 1925 Michel-Ange, Esclave mourant, 1513-1515. Copie d'après l'un des Élus tirés au Ciel par les anges © FSF Paris, musée du Louvre dans la partie gauche du Jugement Dernier de Michel- Photo © Musée du Louvre, Dist. RMN-Grand Palais / Ange (chapelle Sixtine, Vatican) Raphaël Chipault Paris, musée du Louvre, D.A.G. Photo © RMN-Grand Palais (musée du Louvre) / Michèle Bellot

36 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS

Sergueï Eisenstein, Ivan le Terrible, 1945 Sergueï Eisenstein, Ivan le Terrible, 1945 Sergueï Eisenstein, Ivan le Terrible, 1945 © FSF © FSF © FSF

Sergueï Eisenstein, Ivan le Terrible, 1945 Sergueï Eisenstein, Le Cuirassé Potemkine, 1925 Kitagawa Utamaro, Scène dans une maison de © FSF © FSF courtisanes Nancy, Musée des Beaux-Arts, 18ème (dernier quart) - 19ème (premier quart) Cliché Ville de Nancy - P. Buren

Palais des Tsars, Russie. “Sainte Face“ Honoré Daumier, Crispin et Scapin dit aussi Scapin et Tempera sur bois. 1500-1600 Silvestre, vers 1864 Musée des Beaux-Arts de la Ville de Paris, Petit Palais. Paris, musée d'Orsay © Julien Vidal/Petit Palais/Roger-Viollet Photo © RMN-Grand Palais (musée d'Orsay) / Hervé Lewandowski

37 THE ECSTATIC EYE. SERGUEÏ EISENSTEIN, FILMMAKER AT THE CROSSROADS OF THE ARTS NOTES

38 LE CENTRE POMPIDOU-METZ 1, parvis des Droits-de-l’Homme 57000 Metz +33 (0)3 87 15 39 39 [email protected] centrepompidou-metz.fr

Centre Pompidou-Metz PompidouMetz centrepompidoumetz_

OPENING HOURS Every day except Tuesday and 1st May 01.11 > 31.03 MON. | WED. |THU. | FRI. | SAT. | SUN. : 10 A.M. – 6 P.M. 01.04 > 31.10 MON. | WED. | THU. : 10 A.M. – 6 P.M. FRI. | SAT. | SUN. : 10 A.M. – 7 P.M.

HOW DO YOU GET THERE ? Comment venir ? The shortest route via the railway network Les plus courts trajets via le réseau ferroviaire

Paris Lille Rennes Strasbourg 4:00 85’ 2:50 50’ 4:30 Metz 30:00 4:00 Nantes 4:30 Moscou

Bordeaux Lyon

EXHIBITION PRICES Individual fare : 7€ / 10€ / 12€ according to the number of exhibition spaces open Group fare (starting from 20 persons) : 5,50€, 8€, 10€ ac- cording to the number of exhibition spaces open

Profit from the numerous advantages of the Centre Pompidou-Metz’s partners with the following offers : C.G.O.S. ticket combined offer Centre Pompidou-Metz/SNCF TER Grand Est, combined offer voyage + entrance of the CFL (Chemins de Fer Luxembourgeois- Luxemburg Railways), Pass Lorraine, PassTime, Museums Pass Musées, City Pass. Beneficiaries of free entrance to the exhibitions are : active French teachers (on presentation of their professional card or their education pass duly filled out and currently valid) persons under the age of 26, students, unemployed persons registered in France and those drawing RSA or social benefit (on presentation of documentary proof less than six months old), artists members of the Maison des artistes, handicapped persons and one accompanying person, Holders of the Elderly persons minimum compensatory allowance, interpreter -guides and national lecturers, holders of Icom, Icomos, Aica and Paris Première cards, holders of a press card. PRESS CONTACTS

CENTRE POMPIDOU-METZ AGENCE CLAUDINE COLIN Regional press National and International press Marion Gales Pénélope Ponchelet Phone number : +33 (0)3 87 15 52 76 Phone number : +33 (0)1 42 72 60 01 [email protected] [email protected]