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Apichatpong Weerasethakul Periphery of the Night COMMUNIQUÉ DE PRESSE APICHATPONG WEERASETHAKUL PERIPHERY OF THE NIGHT EXPOSITION DU 2 JUILLET AU 31 OCTOBRE 2021 VISITES PRESSE MERCREDI 30 JUIN À 16H & JEUDI 1ER JUILLET À 11H VERNISSAGE JEUDI 1ER JUILLET L’IAC de Villeurbanne accueille une De films en œuvres, d’environnements en vidéos, monographie d’envergure, d’une ampleur on y retrouve les mêmes lieux – la province de encore inédite pour une institution publique l’Isaan et les hôpitaux ruraux où il a grandi, une française, de l’artiste et cinéaste thaïlandais jungle épaisse, des caves obscures – les mêmes Apichatpong Weerasethakul (né en 1970 à acteurs, les mêmes motifs, les mêmes questions. Bangkok), Palme d’or à Cannes en 2010, pour Dans un temps cyclique et dilaté, se dégage son film Oncle Boonmee, celui qui se souvient une atmosphère hypnotique. La lenteur et la de ses vies antérieures. nuit rendent tout possible, d’autant plus que l’artiste multiplie et entrelace les strates de sons Pour Periphery of the Night, l’artiste et d’images ensommeillées, créant des entre- propose pour l’intégralité des espaces de mondes où coexistent les êtres, humains et non- l’IAC un projet qui offrira aux visiteurs une humains, fantômes et apparitions magiques, expérience à la fois psychique et physique, vivants et réincarnés. À travers l’ordinaire entre projections filmiques, dispositifs du quotidien, filtrent doucement des figures immersifs, créations de lumière et dispositifs surnaturelles, les exactions communistes du holographiques. L’exposition présentera passé, les marges délaissées de notre réalité. une vingtaine d’œuvres et 28 dispositifs de Le cinéma, perçu comme un déploiement de projections combinant différentes techniques notre âme, devient un intermédiaire avec les en matière d’image (rétro-projection, diverses réalités, visible et invisible, temporelle et projections suspendues, hologrammes), de spatiale, qui nous apparaissent alors. La caméra son (dispositif 5.1) et de lumière (murs peints patiente d’Apichatpong Weerasethakul, marquée en gris et rouge, jeux de reflets, effets de par la pensée bouddhiste, exerce nos facultés miroirs etc.). techniques et spirituelles à percevoir d’autres niveaux d’écoute pour mieux vivre la maladie de Parmi les œuvres présentées, on trouvera notre monde. plusieurs nouvelles productions, dont une création, actuellement en cours de tournage C’est cette matière temporelle énigmatique pour l’IAC, qui s’intéresse aux mouvements qui se déploiera à l’IAC dans une expérience de mobilisation de la jeunesse contre le psychique et physique, en invitant le corps à régime autoritaire Thaïlandais qui a consenti flotter entre projections filmiques et créations à la Chine la construction de barrages sur le lumineuses. Pour Apichatpong Weerasethakul, Mékong, asséchant le fleuve et privant les l’espace d’exposition est « un cinéma très populations de nourriture, d’eau potable, de particulier » où le public « imagine différents transports. scénarios, comme si chacun était un personnage et qu’il pouvait se souvenir de ses différentes vies ». L’univers que développe Apichatpong Les espaces d’exposition viendront alors se Weerasethakul est intime et étrange, parcouru de peupler et s’élargir de ces vies rejouées et rêves fables polyphoniques. inachevés. COMMISSAIRES Nathalie Ergino assistée d’Elli Humbert Le projet est porté par l’Institut d’art contemporain (IAC) Villeurbanne, en partenariat avec la Galerie Kurimanzutto (Mexique) qui représente l’artiste BIOGRAPHIE Né à Bangkok en 1970 EXPOSITIONS PERSONNELLES Il vit et travaille à Bangkok et à Chiang Mai (SÉLECTION) (Thaïlande) 2019 - Projection d’une sélection de courts- Fils de médecins, l’artiste a passé son enfance métrages 1997-2018, 98´- en boucle, MAXXI – à Khon Kaen, au nord-est de la Thaïlande. Il a Videogallery, Rome (Italie) obtenu une licence d’architecture à l’université The Serenity of Madness, Musée des beaux-arts de Khon Kaen puis un master de cinéma à de Taïpei (Taïwan) l’Institut des Arts de Chicago en 1994. 2018 - The Serenity of Madness, Musée d’art Il réalise des courts-métrages dès 1994 et un d’Oklahoma City (États–Unis) premier long-métrage en 2000, Mysterious Object Luminous Shadows, Centre d’art contemporain at Noon. En 1999, il crée Kick the Machine, une (CAC), Vilnius (Lituanie) entreprise de production et de promotion de The Serenity of Madness, Musée d’art vidéos et de films indépendants. Ses projets contemporain et de design (MCAD), Manille artistiques et cinématographiques lui ont valu (Philippines) une large reconnaissance internationale et de nombreuses récompenses, notamment au 2016 - Tate Film Pioneers: Apichatpong Festival de Cannes. Après avoir reçu le prix Un Weerasethakul: Mirages, Tate Modern, Londres certain regard en 2002 pour Blissfully Yours et le (Royaume-Uni) prix du jury pour Tropical Malady en 2004, le cinéaste obtient la Palme d’or du Festival de 2015 - Fireworks, Musée des beaux-arts de Cannes 2010 pour son film Oncle Boonmee, celui l’Ontario (AGO), Toronto (Canada) qui se souvient de ses vies antérieures. 2014 - Fireworks, SCAI The Bathhouse, Tokyo En plus de ses projets en tant que réalisateur, (Japon) Apichatpong Weerasethakul travaille également sur des courts-métrages, des projets vidéo et des 2013 - Photophobia, Stenersenmuseet, Oslo installations qui sont présentés dans les (Norvège) collections et expositions d’art contemporain Primitive, HangarBicocca, Milan (Italie) partout dans le monde. Sont mentionnées ci-après quelques unes des 2012 - For Tomorrow For Tonight, Ullens Centre expositions personnelles et collectives auxquelles for Contemporary Art (UCCA), Pékin (Chine) Apichatpong Weerasethakul a participé ces dernières années ainsi que les œuvres les plus 2011 - For Tomorrow For Tonight, IMMA-Irish marquantes de sa filmographie. Museum of Modern Art, Dublin (Irlande) Apichatpong Weerasethakul: Primitive, New Museum, New York (États–Unis) 2009 - For Tomorrow For Tonight, Musée d’art moderne de la Ville de Paris (France) For Tomorrow For Tonight, Rétrospective Apichatpong Weerasethakul, Musée du cinéma, Munich (Allemagne) 2008 - Replicas. SCAI the Bathhouse, Tokyo 2018 - Building Romance, Toyota Municipal (Japon) Museum of Art, Aichi (Japon) Commemeration. Beursschouwburg, Bruxelles (Belgique) 2017 - Metaphors: An Evening of Sound and Moving Image with Kick the Machine, Bangkok 2007 - Unknown Forces: Apichatpong Gallery (Thaïlande) Weerasethakul. REDCAT (Roy and Edna SUNSHOWER: Contemporary Art from Southeast Disney/CalArts Theater), Los Angeles (États– Asia 1980’s to Now, Mori Art Museum, Tokyo Unis) (Japon) 2006 - Waterfall. Solar galeria de arte 2016 - Body / Play / Politics, Yokohama Museum cinematica, Vila do Conde (Portugal) of Art (Japon) 2005 - And Thanks In Advance. Govett-Brewster, 2015 - Today is the day - 70th Years Memorial New Plymouth (Nouvelle-Zélande) of Atomic Bombs in Hiroshima, The Watari Dato Duro, Dato Blando, Dato Ciego. Galleria Museum of Contemporary Art, Tokyo Franco Noero, Turin (Italie) 2014 - A Journal of the Plague Year, ARKO Art 2004 - Calorie Counting. Galleria Franco Center, Seoul Noero, Turin (Italie) 2013 -A Journal of the Plague Year, Para Site, 2003 - Start To Stop Stopping. Museum van Hong Kong Hedendaagse Kunst Antwerpen (MUHKA), Anvers (Belgique) 2012 -Thai Transience, Singapore Art Museum Let’s Go To Going To. Freespace, Limbourg (SAM), Singapour (Pays-Bas) Por Favor Gracias de Nada. Gabriel Kuri and 2010 - Transformation, MOT Museum of Liam Gillick. kurimanzutto, Mexico City Contemporary Art, Tokyo (Mexique) 2000 -The View from Elsewhere, Sherman 2002 - Recent Works. Sara Meltzer Gallery, New Contemporary Art Foundation (SCAF), Sydney York (États–Unis) 2000 - Momento de importancia. Museo Rufino FILMOGRAPHIE & LONGS MÉTRAGES Tamayo, Mexico City ; Aula Magna, Instituto Anglo–Mexicano, Mexico City ; Project 2020 - Memoria Room, ARCO, Madrid (Espagne) 2018 - Ten Years Thailand 2015 - Cemetery of Splendour 2010 - Oncle Boonmee, celui qui se souvient de EXPOSITIONS COLLECTIVES ses vies antérieures - Palme d’Or au Festival de (SÉLECTION) Cannes 2010 2006 - Syndromes and a Century Apichatpong Weerasethakul a participé à de 2004 - Tropical Malady - Prix du Jury au Festival e nombreuses biennales internationales : 58 de Cannes 2004 e Biennale de Venise (2019), 14 Biennale de 2003 - The Adventure of Iron Pussy Lyon (2017), Saitama Triennale au Japon 2002 - Blissfully Yours - Prix Un Certain Regard e (2016), 20 Biennale de Sydney, Australie (2016), au Festival de Cannes 2002 e 11 Biennale de Sharjah aux Émirats Arabes 2000 - Mysterious Object at Noon Unis, dOCUMENTA (13) à Kassel en Allemagne (2012), etc. VISUELS (SÉLECTION) Durmiente, 2021 © Kick the Machine async - first light, 2017 © Kick the Machine Fever Room, 2015 © Kick the Machine Invisibility, 2016 © Kick the Machine The Palace (still), 2007 © Kick the Machine Blue, 2018 © Kick the Machine Fiction, 2018 © Kick the Machine Phantoms of Nabua 2018 © Kick the Machine Fireworks (Archives), 2014 © Kick the Machine Ghosts of Asia, 2005 © Kick the Machine APICHATPONG WEERASETHAKUL PERIPHERY OF THE NIGHT EXPOSITION DU 2 JUILLET AU 31 OCTOBRE 2021 VERNISSAGE JEUDI 1ER JUILLET CONTACT PRESSE Presse nationale & internationale : anne samson communications 4 rue de Jarente 75004 Paris Federica Forte [email protected] +33 7 50 82 00 84 Morgane Barraud [email protected] Presse locale Institut d’art contemporain Amandine Ligen / [email protected] +33 (0)4 78 03 47 72 Télécharger les visuels dans notre espace presse : www.i-ac.eu - rubrique : presse Mot de passe : IAC-presse INFORMATIONS PRATIQUES Exposition du mercredi au vendredi de 14h à 18h Le week-end de 13h à 19h Fermeture estivale de l’exposition du 25 juillet au 25 août 2021 → Accès Bus C3 (arrêt Institut d’art contemporain) Bus C9 (arrêt Ferrandière) Métro ligne A (arrêt République) L’IAC est situé à 10 minutes de la Gare de la Part-Dieu.
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