Installation view  Foreground: Mercedes Azpilicueta,  Bestiare of Tonguelets , 2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.  Background: Jill Mulleady,  Untitled , 2015, Oil on Canvas, 142 x 172 cm
       
     
 Collaboration Anna K.E. & Florian Meisenberg,  Late Checkout (Part V) , 2016, Single Channel Video, 21:37min
       
     
  A Fleshly School of Poetry    Curators:  Daniela Brunand and Christian Falsnaes   Ft.:  Mercedes Azpilicueta, Valentin Just, Pauline Curnier Jardin, Jill Mulleady, Nazim Ünal Yilmaz and Anna KE & Florian Meisenberg.   D21 Kunstraum Leipzig   April 12th - May 21st  Link to flyer:   https://www.dropbox.com/s/5dgn4wbgcmgwubl/180330_Fleshly_School_Karte_A5_WEB.pdf?dl=0      AFSOP brings together different approaches to the non-objective phenomena of the body, which is not conceived just as an object of desire neither is mean to be perceived as such. On the contrary, AFSOP focuses on the body as a complex reversible being that is able to sense and to be sensed, to see and to be seen, to touch and to be touched, to hear and to be listened to, to think and to be thought. (Merleau Ponty, 1964) This means a body with affects that expressively rejects any/all/every division between flesh and soul, body and spirit. Hence AFSOF stands against the conception of the body as a representation of canonical proportions, as just an image –a type of object– since it oversimplifies our richest mode of existence and it leads to obsessions such as the compulsive depiction of naked women, which has turned into a genre itself: female nude.  The title refers to a critique that was published by Robert Buchanan against a group of artists that were part of the Pre-Raphaelite Brotherhood. The attack addressed the fleshliness, the excessive sensuality, corrupt morality and the dirty, morbid nature of their works as the cancer of all society that would shoot its ulcerous roots deeper and deeper. (Buchanan 1872)  The proposal for the exhibition, far from pretending a direct connection with the Pre-Raphaelites, seeks to shake and refresh the dispute contained in that critique and update it to a present in which the post-modern vindication of the body has turned it into a fetish deprived of affects. We take this old disparaging title as initial frame for a reflection about the concept of  Flesh , as well as to give historical perspective to a topic that has been intensely discussed since the modern era.  Azpilicueta, Just, Ünal Yilmaz, Mulleady, Curnier Jardin andAnna KE & Florian Meisenberg formulate proposals for a non-fetishistic approach to the body and a non-idealistic conception of thinking, aiming for a Spinozian notion of both as part of a unity. AFSOP proposes the spectators the exercise of approaching the exhibition as sensible sentient bodies, as reversible beings aware of the fact that every vision takes place somewhere in the tactile space and that every movement of our eyes has its place in the same visible universe that we explore with them.      One hour before the opening time, Mercedes Azpilicueta offered a performance entitled  Aula for reversing bodies to a pre-registered group of fourteen participants.    In the picture: Nazim Ünal Yilmaz,  Coverlet , 2017, Textile, 190 x 150 cm
       
     
  Bestiare of Tonguelets , 2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.
       
     
  Bestiare of Tonguelets,  2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.
       
     
  Bestiare of Tonguelets , 2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.
       
     
 Mercedes Azpilicueta , Aula for reversing bodies , 2018, performance, 60 min.  Through collective vocal and physical exercises, the performance will explore alternative ways of perception by combining techniques from A.S.M.R. (Autonomous Sensory Meridian Response), experimenting various interactions with our bodies, amplified sound and specific objects. By doing so, we will stimulate other senses such as listening, smelling, tasting and touching, de-balancing the hierarchical status of the gaze in order to create a set of tools that fully take into account the potentialities of the body.
       
     
 Collaboration Anna K.E. & Florian Meisenberg,  Late Checkout (Part II) , 2015, Single Channel Video, 09:58min  Collaboration Anna K.E. & Florian Meisenberg,  Late Checkout (Part V) , 2016, Single Channel Video, 21:37min
       
     
 Mercedes Azpilicueta , Aula for reversing bodies , 2018, performance, 60 min.  Through collective vocal and physical exercises, the performance will explore alternative ways of perception by combining techniques from A.S.M.R. (Autonomous Sensory Meridian Response), experimenting various interactions with our bodies, amplified sound and specific objects. By doing so, we will stimulate other senses such as listening, smelling, tasting and touching, de-balancing the hierarchical status of the gaze in order to create a set of tools that fully take into account the potentialities of the body.
       
     
 Mercedes Azpilicueta,  Bestiare of Tonguelets , 2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.
       
     
 Pauline Curnier-Jardin,  Explosion ma baby , 2016, 8.27 min, HD file, 1:1.33, color, stereo.  It’s August. Feel the suffocating heat of the sun penetrating your skin. All around you, an abundance of flesh is spinning. Thousands of men offer up the naked bodies of baby boys to the angelic icon of San Sebastian.  Screams, colours, chants and explosions. Money-garlands. Imagine no women except me. Wait, yes, behind us women are following with devotion, all dressed up in well pressed clothes and their stocking feet.  Now, come back here. Imagine how badly I fell in love with this. I desperately want to be part of it. To be there. I wanted to belong. But I know that I can’t. And so I try to capture it on film. I go there and film it every year, over and over, again and again. One day I will tell the story of a poor and sterile man who wants to replace San Sebastian. But more summers will have to pass before our hero will appear.  Directed by: Pauline Curnier Jardin  Image: Pauline Curnier Jardin and Julien Hogert  Music and Sound design: Vincent Denieul  Editing: Margaux Parillaud  Drums: Benjamin Coli  Co-production: Le Confort Moderne, Poitiers and the Rijksakademie Van Beeldende Kunsten, Amsterdam  Distribution: EYE Film Institut Netherlands
       
     
 Nazim Ünal Yilmaz,  Coverlet , 2017, Textile, 190 x 150 cm
       
     
 Pauline Curnier-Jardin,  Explosion ma baby , 2016, 8.27 min, HD file, 1:1.33, color, stereo.  It’s August. Feel the suffocating heat of the sun penetrating your skin. All around you, an abundance of flesh is spinning. Thousands of men offer up the naked bodies of baby boys to the angelic icon of San Sebastian.  Screams, colours, chants and explosions. Money-garlands. Imagine no women except me. Wait, yes, behind us women are following with devotion, all dressed up in well pressed clothes and their stocking feet.  Now, come back here. Imagine how badly I fell in love with this. I desperately want to be part of it. To be there. I wanted to belong. But I know that I can’t. And so I try to capture it on film. I go there and film it every year, over and over, again and again. One day I will tell the story of a poor and sterile man who wants to replace San Sebastian. But more summers will have to pass before our hero will appear.  Directed by: Pauline Curnier Jardin  Image: Pauline Curnier Jardin and Julien Hogert  Music and Sound design: Vincent Denieul  Editing: Margaux Parillaud  Drums: Benjamin Coli  Co-production: Le Confort Moderne, Poitiers and the Rijksakademie Van Beeldende Kunsten, Amsterdam  Distribution: EYE Film Institut Netherlands
       
     
 Pauline Curnier-Jardin,  Explosion ma baby , 2016, 8.27 min, HD file, 1:1.33, color, stereo.  It’s August. Feel the suffocating heat of the sun penetrating your skin. All around you, an abundance of flesh is spinning. Thousands of men offer up the naked bodies of baby boys to the angelic icon of San Sebastian.  Screams, colours, chants and explosions. Money-garlands. Imagine no women except me. Wait, yes, behind us women are following with devotion, all dressed up in well pressed clothes and their stocking feet.  Now, come back here. Imagine how badly I fell in love with this. I desperately want to be part of it. To be there. I wanted to belong. But I know that I can’t. And so I try to capture it on film. I go there and film it every year, over and over, again and again. One day I will tell the story of a poor and sterile man who wants to replace San Sebastian. But more summers will have to pass before our hero will appear.  Directed by: Pauline Curnier Jardin  Image: Pauline Curnier Jardin and Julien Hogert  Music and Sound design: Vincent Denieul  Editing: Margaux Parillaud  Drums: Benjamin Coli
       
     
d21-a-fleshly-school-of-poetry-72_39615660380_o.jpg
       
     
 Installation view  Foreground: Mercedes Azpilicueta,  Bestiare of Tonguelets , 2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.  Background: Jill Mulleady,  Untitled , 2015, Oil on Canvas, 142 x 172 cm
       
     

Installation view

Foreground: Mercedes Azpilicueta, Bestiare of Tonguelets, 2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.

Background: Jill Mulleady, Untitled, 2015, Oil on Canvas, 142 x 172 cm

 Collaboration Anna K.E. & Florian Meisenberg,  Late Checkout (Part V) , 2016, Single Channel Video, 21:37min
       
     

Collaboration Anna K.E. & Florian Meisenberg, Late Checkout (Part V), 2016, Single Channel Video, 21:37min

  A Fleshly School of Poetry    Curators:  Daniela Brunand and Christian Falsnaes   Ft.:  Mercedes Azpilicueta, Valentin Just, Pauline Curnier Jardin, Jill Mulleady, Nazim Ünal Yilmaz and Anna KE & Florian Meisenberg.   D21 Kunstraum Leipzig   April 12th - May 21st  Link to flyer:   https://www.dropbox.com/s/5dgn4wbgcmgwubl/180330_Fleshly_School_Karte_A5_WEB.pdf?dl=0      AFSOP brings together different approaches to the non-objective phenomena of the body, which is not conceived just as an object of desire neither is mean to be perceived as such. On the contrary, AFSOP focuses on the body as a complex reversible being that is able to sense and to be sensed, to see and to be seen, to touch and to be touched, to hear and to be listened to, to think and to be thought. (Merleau Ponty, 1964) This means a body with affects that expressively rejects any/all/every division between flesh and soul, body and spirit. Hence AFSOF stands against the conception of the body as a representation of canonical proportions, as just an image –a type of object– since it oversimplifies our richest mode of existence and it leads to obsessions such as the compulsive depiction of naked women, which has turned into a genre itself: female nude.  The title refers to a critique that was published by Robert Buchanan against a group of artists that were part of the Pre-Raphaelite Brotherhood. The attack addressed the fleshliness, the excessive sensuality, corrupt morality and the dirty, morbid nature of their works as the cancer of all society that would shoot its ulcerous roots deeper and deeper. (Buchanan 1872)  The proposal for the exhibition, far from pretending a direct connection with the Pre-Raphaelites, seeks to shake and refresh the dispute contained in that critique and update it to a present in which the post-modern vindication of the body has turned it into a fetish deprived of affects. We take this old disparaging title as initial frame for a reflection about the concept of  Flesh , as well as to give historical perspective to a topic that has been intensely discussed since the modern era.  Azpilicueta, Just, Ünal Yilmaz, Mulleady, Curnier Jardin andAnna KE & Florian Meisenberg formulate proposals for a non-fetishistic approach to the body and a non-idealistic conception of thinking, aiming for a Spinozian notion of both as part of a unity. AFSOP proposes the spectators the exercise of approaching the exhibition as sensible sentient bodies, as reversible beings aware of the fact that every vision takes place somewhere in the tactile space and that every movement of our eyes has its place in the same visible universe that we explore with them.      One hour before the opening time, Mercedes Azpilicueta offered a performance entitled  Aula for reversing bodies to a pre-registered group of fourteen participants.    In the picture: Nazim Ünal Yilmaz,  Coverlet , 2017, Textile, 190 x 150 cm
       
     

A Fleshly School of Poetry

Curators: Daniela Brunand and Christian Falsnaes

Ft.: Mercedes Azpilicueta, Valentin Just, Pauline Curnier Jardin, Jill Mulleady, Nazim Ünal Yilmaz and Anna KE & Florian Meisenberg.

D21 Kunstraum Leipzig

April 12th - May 21st

Link to flyer: https://www.dropbox.com/s/5dgn4wbgcmgwubl/180330_Fleshly_School_Karte_A5_WEB.pdf?dl=0

AFSOP brings together different approaches to the non-objective phenomena of the body, which is not conceived just as an object of desire neither is mean to be perceived as such. On the contrary, AFSOP focuses on the body as a complex reversible being that is able to sense and to be sensed, to see and to be seen, to touch and to be touched, to hear and to be listened to, to think and to be thought. (Merleau Ponty, 1964) This means a body with affects that expressively rejects any/all/every division between flesh and soul, body and spirit. Hence AFSOF stands against the conception of the body as a representation of canonical proportions, as just an image –a type of object– since it oversimplifies our richest mode of existence and it leads to obsessions such as the compulsive depiction of naked women, which has turned into a genre itself: female nude.

The title refers to a critique that was published by Robert Buchanan against a group of artists that were part of the Pre-Raphaelite Brotherhood. The attack addressed the fleshliness, the excessive sensuality, corrupt morality and the dirty, morbid nature of their works as the cancer of all society that would shoot its ulcerous roots deeper and deeper. (Buchanan 1872)

The proposal for the exhibition, far from pretending a direct connection with the Pre-Raphaelites, seeks to shake and refresh the dispute contained in that critique and update it to a present in which the post-modern vindication of the body has turned it into a fetish deprived of affects. We take this old disparaging title as initial frame for a reflection about the concept of Flesh, as well as to give historical perspective to a topic that has been intensely discussed since the modern era.

Azpilicueta, Just, Ünal Yilmaz, Mulleady, Curnier Jardin andAnna KE & Florian Meisenberg formulate proposals for a non-fetishistic approach to the body and a non-idealistic conception of thinking, aiming for a Spinozian notion of both as part of a unity. AFSOP proposes the spectators the exercise of approaching the exhibition as sensible sentient bodies, as reversible beings aware of the fact that every vision takes place somewhere in the tactile space and that every movement of our eyes has its place in the same visible universe that we explore with them.

One hour before the opening time, Mercedes Azpilicueta offered a performance entitled Aula for reversing bodiesto a pre-registered group of fourteen participants.

In the picture: Nazim Ünal Yilmaz, Coverlet, 2017, Textile, 190 x 150 cm

  Bestiare of Tonguelets , 2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.
       
     

Bestiare of Tonguelets, 2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.

  Bestiare of Tonguelets,  2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.
       
     

Bestiare of Tonguelets, 2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.

  Bestiare of Tonguelets , 2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.
       
     

Bestiare of Tonguelets, 2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.

 Mercedes Azpilicueta , Aula for reversing bodies , 2018, performance, 60 min.  Through collective vocal and physical exercises, the performance will explore alternative ways of perception by combining techniques from A.S.M.R. (Autonomous Sensory Meridian Response), experimenting various interactions with our bodies, amplified sound and specific objects. By doing so, we will stimulate other senses such as listening, smelling, tasting and touching, de-balancing the hierarchical status of the gaze in order to create a set of tools that fully take into account the potentialities of the body.
       
     

Mercedes Azpilicueta, Aula for reversing bodies, 2018, performance, 60 min.

Through collective vocal and physical exercises, the performance will explore alternative ways of perception by combining techniques from A.S.M.R. (Autonomous Sensory Meridian Response), experimenting various interactions with our bodies, amplified sound and specific objects. By doing so, we will stimulate other senses such as listening, smelling, tasting and touching, de-balancing the hierarchical status of the gaze in order to create a set of tools that fully take into account the potentialities of the body.

 Collaboration Anna K.E. & Florian Meisenberg,  Late Checkout (Part II) , 2015, Single Channel Video, 09:58min  Collaboration Anna K.E. & Florian Meisenberg,  Late Checkout (Part V) , 2016, Single Channel Video, 21:37min
       
     

Collaboration Anna K.E. & Florian Meisenberg, Late Checkout (Part II), 2015, Single Channel Video, 09:58min

Collaboration Anna K.E. & Florian Meisenberg, Late Checkout (Part V), 2016, Single Channel Video, 21:37min

 Mercedes Azpilicueta , Aula for reversing bodies , 2018, performance, 60 min.  Through collective vocal and physical exercises, the performance will explore alternative ways of perception by combining techniques from A.S.M.R. (Autonomous Sensory Meridian Response), experimenting various interactions with our bodies, amplified sound and specific objects. By doing so, we will stimulate other senses such as listening, smelling, tasting and touching, de-balancing the hierarchical status of the gaze in order to create a set of tools that fully take into account the potentialities of the body.
       
     

Mercedes Azpilicueta, Aula for reversing bodies, 2018, performance, 60 min.

Through collective vocal and physical exercises, the performance will explore alternative ways of perception by combining techniques from A.S.M.R. (Autonomous Sensory Meridian Response), experimenting various interactions with our bodies, amplified sound and specific objects. By doing so, we will stimulate other senses such as listening, smelling, tasting and touching, de-balancing the hierarchical status of the gaze in order to create a set of tools that fully take into account the potentialities of the body.

 Mercedes Azpilicueta,  Bestiare of Tonguelets , 2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.
       
     

Mercedes Azpilicueta, Bestiare of Tonguelets, 2018, installation, variable dimentions. Pernod Ricard Fellowship 2017 / Villa Vassilieff, Paris. With the contribution of Lucile Sauzet and Emmanuelle Lafon.

 Pauline Curnier-Jardin,  Explosion ma baby , 2016, 8.27 min, HD file, 1:1.33, color, stereo.  It’s August. Feel the suffocating heat of the sun penetrating your skin. All around you, an abundance of flesh is spinning. Thousands of men offer up the naked bodies of baby boys to the angelic icon of San Sebastian.  Screams, colours, chants and explosions. Money-garlands. Imagine no women except me. Wait, yes, behind us women are following with devotion, all dressed up in well pressed clothes and their stocking feet.  Now, come back here. Imagine how badly I fell in love with this. I desperately want to be part of it. To be there. I wanted to belong. But I know that I can’t. And so I try to capture it on film. I go there and film it every year, over and over, again and again. One day I will tell the story of a poor and sterile man who wants to replace San Sebastian. But more summers will have to pass before our hero will appear.  Directed by: Pauline Curnier Jardin  Image: Pauline Curnier Jardin and Julien Hogert  Music and Sound design: Vincent Denieul  Editing: Margaux Parillaud  Drums: Benjamin Coli  Co-production: Le Confort Moderne, Poitiers and the Rijksakademie Van Beeldende Kunsten, Amsterdam  Distribution: EYE Film Institut Netherlands
       
     

Pauline Curnier-Jardin, Explosion ma baby, 2016, 8.27 min, HD file, 1:1.33, color, stereo.

It’s August. Feel the suffocating heat of the sun penetrating your skin. All around you, an abundance of flesh is spinning. Thousands of men offer up the naked bodies of baby boys to the angelic icon of San Sebastian.

Screams, colours, chants and explosions. Money-garlands. Imagine no women except me. Wait, yes, behind us women are following with devotion, all dressed up in well pressed clothes and their stocking feet.

Now, come back here. Imagine how badly I fell in love with this. I desperately want to be part of it. To be there. I wanted to belong. But I know that I can’t. And so I try to capture it on film. I go there and film it every year, over and over, again and again. One day I will tell the story of a poor and sterile man who wants to replace San Sebastian. But more summers will have to pass before our hero will appear.

Directed by: Pauline Curnier Jardin

Image: Pauline Curnier Jardin and Julien Hogert

Music and Sound design: Vincent Denieul

Editing: Margaux Parillaud

Drums: Benjamin Coli

Co-production: Le Confort Moderne, Poitiers and the Rijksakademie Van Beeldende Kunsten, Amsterdam

Distribution: EYE Film Institut Netherlands

 Nazim Ünal Yilmaz,  Coverlet , 2017, Textile, 190 x 150 cm
       
     

Nazim Ünal Yilmaz, Coverlet, 2017, Textile, 190 x 150 cm

 Pauline Curnier-Jardin,  Explosion ma baby , 2016, 8.27 min, HD file, 1:1.33, color, stereo.  It’s August. Feel the suffocating heat of the sun penetrating your skin. All around you, an abundance of flesh is spinning. Thousands of men offer up the naked bodies of baby boys to the angelic icon of San Sebastian.  Screams, colours, chants and explosions. Money-garlands. Imagine no women except me. Wait, yes, behind us women are following with devotion, all dressed up in well pressed clothes and their stocking feet.  Now, come back here. Imagine how badly I fell in love with this. I desperately want to be part of it. To be there. I wanted to belong. But I know that I can’t. And so I try to capture it on film. I go there and film it every year, over and over, again and again. One day I will tell the story of a poor and sterile man who wants to replace San Sebastian. But more summers will have to pass before our hero will appear.  Directed by: Pauline Curnier Jardin  Image: Pauline Curnier Jardin and Julien Hogert  Music and Sound design: Vincent Denieul  Editing: Margaux Parillaud  Drums: Benjamin Coli  Co-production: Le Confort Moderne, Poitiers and the Rijksakademie Van Beeldende Kunsten, Amsterdam  Distribution: EYE Film Institut Netherlands
       
     

Pauline Curnier-Jardin, Explosion ma baby, 2016, 8.27 min, HD file, 1:1.33, color, stereo.

It’s August. Feel the suffocating heat of the sun penetrating your skin. All around you, an abundance of flesh is spinning. Thousands of men offer up the naked bodies of baby boys to the angelic icon of San Sebastian.

Screams, colours, chants and explosions. Money-garlands. Imagine no women except me. Wait, yes, behind us women are following with devotion, all dressed up in well pressed clothes and their stocking feet.

Now, come back here. Imagine how badly I fell in love with this. I desperately want to be part of it. To be there. I wanted to belong. But I know that I can’t. And so I try to capture it on film. I go there and film it every year, over and over, again and again. One day I will tell the story of a poor and sterile man who wants to replace San Sebastian. But more summers will have to pass before our hero will appear.

Directed by: Pauline Curnier Jardin

Image: Pauline Curnier Jardin and Julien Hogert

Music and Sound design: Vincent Denieul

Editing: Margaux Parillaud

Drums: Benjamin Coli

Co-production: Le Confort Moderne, Poitiers and the Rijksakademie Van Beeldende Kunsten, Amsterdam

Distribution: EYE Film Institut Netherlands

 Pauline Curnier-Jardin,  Explosion ma baby , 2016, 8.27 min, HD file, 1:1.33, color, stereo.  It’s August. Feel the suffocating heat of the sun penetrating your skin. All around you, an abundance of flesh is spinning. Thousands of men offer up the naked bodies of baby boys to the angelic icon of San Sebastian.  Screams, colours, chants and explosions. Money-garlands. Imagine no women except me. Wait, yes, behind us women are following with devotion, all dressed up in well pressed clothes and their stocking feet.  Now, come back here. Imagine how badly I fell in love with this. I desperately want to be part of it. To be there. I wanted to belong. But I know that I can’t. And so I try to capture it on film. I go there and film it every year, over and over, again and again. One day I will tell the story of a poor and sterile man who wants to replace San Sebastian. But more summers will have to pass before our hero will appear.  Directed by: Pauline Curnier Jardin  Image: Pauline Curnier Jardin and Julien Hogert  Music and Sound design: Vincent Denieul  Editing: Margaux Parillaud  Drums: Benjamin Coli
       
     

Pauline Curnier-Jardin, Explosion ma baby, 2016, 8.27 min, HD file, 1:1.33, color, stereo.

It’s August. Feel the suffocating heat of the sun penetrating your skin. All around you, an abundance of flesh is spinning. Thousands of men offer up the naked bodies of baby boys to the angelic icon of San Sebastian.

Screams, colours, chants and explosions. Money-garlands. Imagine no women except me. Wait, yes, behind us women are following with devotion, all dressed up in well pressed clothes and their stocking feet.

Now, come back here. Imagine how badly I fell in love with this. I desperately want to be part of it. To be there. I wanted to belong. But I know that I can’t. And so I try to capture it on film. I go there and film it every year, over and over, again and again. One day I will tell the story of a poor and sterile man who wants to replace San Sebastian. But more summers will have to pass before our hero will appear.

Directed by: Pauline Curnier Jardin

Image: Pauline Curnier Jardin and Julien Hogert

Music and Sound design: Vincent Denieul

Editing: Margaux Parillaud

Drums: Benjamin Coli

d21-a-fleshly-school-of-poetry-72_39615660380_o.jpg