Film Programme on Monitors 2011

02.09 – 20.11.11

Image Mouvement


From September 2011 to January 2012, the Centre presents a programme of films screened mainly on monitors in the redesigned areas of its 4th floor, on free access during the institution’s opening hours.

This new program allows broadening the spectrum of the regular exhibitions and offers new occasions to experiment and interrogate moving images within an institutional context. Its modest and flexible format also favours a more direct and intimate relationship between viewer and content, far from exhibitions' displays that are often large and complex.


2.09 – 20.11.2011. 4th Floor

The first project in the reconfigured areas of the 4th floor offers a series of six films and various forms of self-ethnography.

The diary, a literary genre that is intimate by definition, aspires in the same way – as do letters and other correspondence – to exist only in the private domain. When these documents are made public, the reader or the viewer assumes, voluntarily or otherwise, a voyeuristic position, which nevertheless seems to be justified by the figure of the artist – highly exhibitionist in itself. As the form of film supposes or envisages a possible viewer from the outset, the filmed diary necessarily entails a paradoxical oscillation between the public and the intimate.

This hiatus is also illustrated, to some extent, by a seventh project, by artist Karolin Meunier, offering the other works a framework that is both discursive and abstract: in the middle of a written sketch this phrase "I develop the habit of showing myself as observed"; the artist envisaged as subject, existing in and through the gaze of the other.

Keeping a diary, whether literary or filmed, automatically frees the author from all prohibitions or constraints, both aesthetic and moral. Sometimes militant, sometimes intimate and giving free rein to the expression of doubts and difficulties, the artist can thus be as "clumsy" as he/she likes in his/her cinematographic language. He/she may also rely upon an originality of form that allows him/her to reflect his/her search for identity and to stigmatise the very act of filming. A highly personal cinema, relating fragments of daily life (while necessarily inscribed in the past, like photography) or lived experience, and which often rejects narration, it is close to family films, amateur films and home movies. Narrative and image are fragmented, like snapshots combined at the moment of montage; a modest, silent form of cinema, whose essential grace is closely linked to the origins of this art form.


02.09 – 09.10
EZGI KILINÇASLAN, «Berlun», 2008
LAURE PROUVOST, «Monolog», 2009

27.09 – 30.10
JAN BUCHHOLZ, «Eigenbrand», 2010
LAURIN FEDERLEIN, «London», 2006

11.10 – 20.11
ANNE CHARLOTTE ROBERTSON, «Apologies», 1983-1990
PIERRICK SORIN, «Réveils», 1988

And for the whole duration of the project:
KAROLIN MEUNIER, «Sentence (Outline)», 2009

Download the pdf «Can I See Me?»


A project curated by Laura Györik Costas,
25.11.2011 – 22.01.2012, 4th Floor

In one of the masterpieces of the silent cinema, "Berlin, die Sinfonie der Grosstadt" (1927), WALTHER RUTTMANN describes in images the life and frenetic rhythm of a large, modern metropolis, from dawn until midnight. The urban and architectural landscapes and the activities and behavioural codes of Berlin's different social strata are shown in a rapid and gripping succession of images that leaves the viewer dizzy. However, the city's less attractive features also appear in snatches - subliminal images that signal the coming world economic and social crisis of 1929.
Big cities have always exerted a great attraction, as much for their architectural beauty as for the sense of power they exude. However, they also contain their share of poverty – often hidden behind the spectacular facades that ostentatiously trumpet luxury and progress. On closer inspection, these urban stars, plunged into a constant blare of interminable activity, give the impression of reflecting aloud on the ambiguous conditions of modern cities.

Paris, Shanghai and New York are the three cities CATHERINE GFELLER and MARIA CAÑAS decided to immerse themselves in, camera in hand. The first chose to film the city unstaged, exactly as it appears, at a crossroads or in a street, but with particular attention to framing and to the beauty of the images. The second, in more abrupt and less controlled language, chooses two lively, popular districts, in order to show the darker side. While one allows a procession of images while at the same time allowing the city to speak, the other questions and challenges it.



5 min 47’’, video triptychon, Courtesy the l’artiste.


an experimental gonzo micro-documentary, 8’, DVD (mobile phone). Courtesy the artist.
Production: Festival Punto de Vista pour le projet «La Mano que mira», Pamplona.


a fake and nihilist documentary, 6’39’’, DVD. Courtesy the artist and galeria llucía Homs, Barcelona.
Production: Iniciarte, Junta de Andalucía.

Download the text «Regarder Penser la Ville»

A project curated by Emilie Bujes.

 EZGI KILINCASLAN, still de «Berlun», 2008

CATHERINE GFELLER, still de «Bouches de Paris», 2008

CATHERINE GFELLER, still de «Bouches de Paris», 2008

CATHERINE GFELLER, still de «Bouches de Paris», 2008

ANNE CHARLOTTE ROBERTSON, still de «Apologies», 1983-1990

JAN BUCHHOLZ, still de «Eigenbrand», 2010

LAURIN FEDERLEIN, still de «London», 2006

MARIA CAÑAS, still de «Por un puñado de Yuanes», 2008

Subventionné par la Ville de Genève