关于/CARINE ASSCHER个人简介

 

AUTHOR, DIRECTOR, PRODUCER, PUBLISHER

Born in 1960, leaves and work in Paris, France.
Studying under Jacques Roger and Michel Serres, Carine Asscher took her masters in the History of Science and Technology at the Sorbonne in 1990 : “Animal Machines, Flying Machines, Physiology and technology in the invention of the cinema and aviation as seen through the work of E. J. MAREY and E. OEHMICHEN”.

HER EXPLORATION OF BARRY FLANAGAN’S WHIMSICAL SCULPTURE DETAILS (1983-1986)

Passionately interested since an early age in all forms of art and the cinema image in particular, in 1986 she produced and directed a film “THE KILING DETAIL” a whimsical journey through the work of British sculptor BARRY FLANAGAN. The film was first shot during his retrospective at the Centre POMPIDOU in Paris (1983) on an idea of Art historian BERNARD MARCADÉ her co-author.
A visual interply involving the erotic, archaic and humorous dimension of British sculptor’s world, the film introduces narrative situations in counterpoint to sculpture. Presented without commentary, the artist’s approach is essentially based on the visual collage of his works suggested associations, focusing the spectator’s eye on the details and different combinations of music.
Awards
The 13 minutes film “THE KILLING DETAIL” won Carine Asscher the VILLA MEDICIS HORS les MURS award and grant which allowed her to move to New York City, USA in 1989.
Acquisition
The film rights and materials have been acquired for good by the Estate of BARRY FLANAGAN in 2013. The film “THE KILLING DETAIL” can be streamed at http://barryflanagan.com/media/video/30/
https://en.wikipedia.org/wiki/Barry_Flanagan

HER INTEREST IN RICHARD SERRA’S APPROACH TO SCULPTURE (1985)

In 1985 she did two interviews with minimalist sculptor RICHARD SERRA filmed by Rodolphe Bouquerel on his Sculpture commission “PHILIBERT ET MARGUERITE by the BROU Museum and the CNAP : The sculpture is composed of 2 blocks of square section placed in the big BROU cloister (In the city of Bourg en Bresse, France) in tribute to Philibert and Marguerite de Savoie whose tombs are in the choir of the church.
The interviews were published in the catalogue of the exhibition by the Museum of BROU in 1986.
RICHARD SERRA’S approach to sculpture tend to abolish the sculpture as an autonomous object in order to create an instrument which allows the visitor to discover the space and its environment. The sculpture becomes an integrated part of the space and allows the visitor to experience the work by walking and moving around it.
http://publicartmuseum.net/wiki/Philibert_et_Marguerite_(Richard_Serra)
http://www.rhone-alpes.culture.gouv.fr/cp/site_html/a37.htm
http://www.sudoc.fr/001160729     Serra Richard (1939)
Exhibition Catalogue MLCS 89/20177 (N)
https://en.wikipedia.org/wiki/Richard_Serra

HER VISION OF JAMES TURRELL’S INVOLVEMENT WITH LIGHT AS A MEDIUM AND THE HOPI COSMOGONY (1991-1995)

In 1987-94 she traveled extensively in the United States to explore Minimalism in Art and Land art which introduced a new way of producing , looking at and experiencing art by immersing the visitor directly in the work of art. This was followed by a two-month stay at the famous SARABAI family in India which reinforced her urge to look in depth at what drives certain contemporary artists.
She then wrote, coproduced (C.A. Productions & Centre Pompidou) and directed a documentary film on American artist JAMES TURRELL entitled “Passageways” who considers the sky as his studio. Upon spectacular and historical images of Arizona’s canyons, TURRELL recalls his formal research on natural light and his friendship with the Hopi Indians. As the native Indian cosmogony has influenced his design of one of his underground chamber open to the sky; the film gives him the opportunity to present his masterpiece, RODEN CRATER, a true celestial light observatory.
The film “Passageways” James Turrell has been shown all over the world. Among the various Museum exhibitions of the film we can quote The Guggenheim Museum, in New York City, USA and The Centre Pompidou in Paris, France.
http://rodencrater.com/
http://jamesturrell.com/about/introduction/
https://fr.wikipedia.org/wiki/James_Turrell
https://en.wikipedia.org/wiki/James_Turrell

CURRENT PUBLIC SCREENINGS OF THE FILM “PASSAGEWAYS”

The film is being currently shown in the Museum of Art ( in NANTES, France) every Thursdays, Saturdays and Sundays, from the 23rd of June through to September 2nd 2018.
https://museedartsdenantes.nantesmetropole.fr/passageways

REVIEWS OF THE FILM
http://premium.lefigaro.fr/arts-expositions/2018/06/01/03015-20180601ARTFIG00254-james-turrell-au-septieme-ciel-a-nantes.php
https://www.letemps.ch/culture/james-turrell-sest-achete-un-volcan-larizona-capter-lumiere-ciel
The DVD which was first published by Centre Pompidou in 2006 is now published by C.A. Productions and distributed worldwide for home video market.
The license to exhibit the film is available upon request : contact Carine Asscher.

HER INVOLVEMENT WITH INNOVATIVE TECHNOLOGY SUCH AS VIRTUAL REALITY AND IMMERSIVE AUDIO-VISUAL EXHIBITION DEVICES (2014-2018)

Since 2014, Carine Asscher has been working on the idea of creating an immersive audio-visual exhibition which mobilizes all the senses of the visitor on a purely emotional relationship to art. The concept of “Slow Motion 360°” is to propose to museum visitors an immersive experience that is based on a pre-existing landscape work of art and a pre-existing film of that landscape shot in 360. Constructed around an audio-visual scenography featuring a filmed work-landscape , the device consists in plunging the visitor into the work itself : the audio-visual is here at the heart of the mediation, and is revealed by an aesthetic arrangement of visual, sonic and haptic propositions.
For further information please visit the website : https://slowmotion360.io
or contact Carine Asscher at sowmotion360@slowmotion360.io