blown up ! constellations

********  donwload DIAPORAMA eventwork

# 1 inarchivé

  • diary of a lost film (projection Deleuze archives 1975-76)

  • la voix de deleuze en ligne (atelier)

Marielle Burkhalter

  • artist of the floating archive (visual conversation around Facs of Life and Fellini’s Intervista, towards a deleuzian archive)

Dork Zabunyan

  • exploding myths of history I (projection Otolith I)

The Otolith Group

  • exploding myths of history II (display Atlas Group archives)

Walid Raad

  • the self-effacing archive (sound performance – assemblage of a tape table)

Nicolas Gerber

  • pour Gilles Deleuze (conversation)

Ali Akay

# 2 visagéité

  • molecular confessions (projection Resonating Surfaces)

Manon De Boer – Suely Rolnik

  • I’m the boy who can enjoy invisibility (performance)

Jochen Dehn

  • losing/saving face (projection Saving Face – skype encounter)

Jalal Toufic

# 3 inclination

  • Watteau walk (visual conversation around the Bois de Vincennes and the paintings of Watteau)

Robert Albouker

  • slide show (slide guitar improv concert)

Julien Bancilhon

  • drawn to Straub (projection J’ecoute)

Giulio Bursi

  • crystallisation of language (projection Angele de Foligno)

Natacha Muslera

  • that way inclined (dance performance)

Mille Plateaux Associés

  • SLIPPERY SLOPES (temporary autonomous classroom furniture)

Charley Jeffery & The Mud Office

# 4 echelles/intervalles

  • momentary monuments I (projection Deleuze Monument)

Thomas Hirschorn

  • momentary monuments II (projection Monument à Guattari)

François Pain – JJ Lebel

  • la ritournelle et le galop (concert)

Pascale Criton – Caroline Delume

  • knit I (knitting group performance)

Généviève Schwoebel & les Femmes Assises

  • spore galaxies (flux photo-projection)

Anouck Durand-Gasselin

  • becoming gaseous (improv concert)

Seijiro Murayama

# 5 bords

  • inside out (autonomous conversation : Quelles armes la boîte à outils deleuzienne et guatarienne peut donner aujourd’hui ?)

Anne Querrien , Brian Holmes, Anne Sauvagnargues

  • becoming membrane (projection Min Tanaka à la Borde)

le peuple qui manque – Violeta Salvatierra

  • territoires entendus (sound pitching and lecture around the revolutionary potential of sound-image disjunction in cinema)

Daniel Deshays

  • im-persona (reading of Naissance d’une)

Olivier Apprill

  • head transplant experiment (ultranoise concert)

Benjamin Thigpen

plateau # 6 épuissance

  • bringing out the dead (visual photo-assemblage « Colloque photographique autour de « Pourparlers » de Gilles D.)

Yolande Finkelstajin

  • méandres du torrent cosmopolite (reading-performance à partir d’une poeme de Marx and Engels)

société réaliste

  • in a miner key (reading-performance of Gerashim Luca’s poems)

Bruno Jouhet – Cecile Duval

plateau # 7 promenade

  • walking a line

peripheric walk led by Marie Preston in Saint-Ouen (after 16 beaver)

plateau # 8 falaise

  • cleaning the air (icy sound performance dedicated to Thomas Bernard)


  • on the terminal beach (ghost freeze out)

terminal beach

* * * * * * * *

the 8 plateaux becoming platforms


The term inarchivé refers to the persistence of images and what remains of events beyond their archived or archivable meanings, contexts and interpretations, what is troubled and troubling in the image. At stake in the inarchivé, however is not renewing   interpretation, to add to the meanings attributed to a given image or artefact, but resurrection and activation :  to wake the image, plug it into  a new machine of expression.


The tyranny of what must appear as already recognized or recognizable according to a logic of communication and exchange (perpetuation of a given order of things, and of supposedly shared order-words) and that obstructs or segments the movement of a thought, the  incalculable, impersonal aimless flows of a production of the new. When someone asks us what visagéité is we could reply simply : the enemy, all those binarisms of identity, identification, representation, celebrity culture, communication, spectacle that segments the visible and masks the visual, all those tedious formulas, intentions, this or that ? So are you filmmakers or visual artists, is this documentary or fiction?  Faces can be beautiful sometimes but never in their faciality.


Inclinations are a peripheric matter, a molecular movement towards the outside (of known languages and territories) that destabilises body, mind and self. Inclination is like risk, suspension, adventure, vertigo, the beginning of a becoming other, a process of fabulation. The only form of identity we are willing to recognize : inclinational identity.


The problems of thought (or that thought invents) constitute variable territories that must be articulated on several planes and in different concrete situations, micro and macro. The forms of contemporary power operate through the fabrication, modulation and continual readjustment of scales of value that on another level remain rigidly stratified. The only response it seems to us is to produce unexpected intervals and interferences unassimilable to the binary machines of meaning and value, a continuous variation of harmonic dissonances that traverse and fissure the overcodings of perceptual and behavioural governance.


To be on the edge is not the same as to be on the margins, one can be on the edge even if one is at the centre, for the outside is not simply the area external to or bordering on one’s milieu, but the direction of a becoming that is intensive, molecular, not a question of the space one occupies but the way one occupies (and displaces) space.


The power of the exhausted, and of exhaustion, obstination of a process that opens a breach between the realms of the living and the dead, the repetition that marks a recommencement, and then reaching the point where the order of things no longer matters. The philosopher is like a zombie that comes back from the land of the dead with a song of life. Cinema is a history of inventions left for dead, awaiting rescue.


The wandering, errant line, to take one’s thoughts for a walk, become a line of thought, a membrane, a breath of air, traverse different milieus, pick up what you need for the journey, explore the far reaches of a populous solitude : Klee, Walser, Deligny, Rivette, Ornette Coleman… We imagine a cinema of such lines like so many interweaving melodies that feel each other’s presence but never touch, a harmolodic cinema.


Where the earth has broken off from itself, the wrenching deterritorializing violence of a thought that seizes hold from the outside. Like Monica Vitti in Antonioni’s L’avventura looking down from a cliff towards the crashing surf seized by the thought of Anna’s unfathomable ‘disappearance’, which is the filmmaker’s dream.

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octobre 2021

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