The boundaries of reality are the area of play…

Dear all,

To celebrate two events Zen Foto will hold closing drinks from 4pm this afternoon:

1.       the closing of our exhibition “A. Face to Face with Chin-Chin Wu” of works by Chin-Chin Wu and Nobuyoshi Araki;

2.       from the Tokyo Customs Bureau we received a charge of importing material “that could damage public decency” (風俗を害する物品). This relates to our little catalogue of Chin-Chin Wu`s works - why don`t you come and decide for yourself? We value your opinions!

kind regards,

Mark Pearson

Zen Foto Gallery, shibuya, Tokyo

www.zen-foto.jp

In front of Araki’s images © Benjamin Beller (please beware of important perspective distortions)

Finally a brief review of the show by art historian, Art Forum contributor and Waseda University assistant professor Julia Friedman, taken from the blog Contemporary Art Tokyo:

This is the first Tokyo exhibition of the Beijing-based artist Chin-Chin Wu. It features her 2006–2009 project Vis-à -Vis, Portraits of New Women, in which fifty young women from Paris and Beijing posed for their “intimate portraits.” Upon entering the gallery, the viewers are invited to gaze into an aperture in a red lacquered peep-box installed just high enough making it necessary for all under seven feet tall to stand on a small wooden stool. The voyeristic effort is rewarded with a tiny illuminated image set against the back wall of the box. This quick throw back to Marcel Duchamp’s in/famous Etant Donnés, seems to address the elephant-in-the-room inherent in any art featuring female genitalia. Wu questions the inherently voyeuristic nature of viewing nudity just as she asserts the agency of the woman who participated in the Vis-à-Vis shoots by engaging them in a dialogue about the meaning of these portraits. Many of their utterances are featured in the making-of video that is also part of the show. Wu’s photographs are further contextualized by a selection of ten silver gelatin prints by Nobuyoshi Araki, hung in two tight rows. Araki’s work makes for an interesting juxtoposition with Wu’s, in my opinion, because it accentuates the raw sexuality of his work. Next to his, Wu’s photographs, for all their overtness, appear almost chaste: the viewers of her portraits do not need to worry about participating in the predatory visual act, her focus is the aesthetic differentiation.

There are eight large-format inkjet prints on view, with the rest of the project available for perusal in an eponymous publication by GALERIE VEVAIS (edited by Alexander Scholz). The book will be on sale in about one month in both hardcover and softcover versions. You can find additional information about the publication and see more of Chin-Chin’s works on her webpage.

Due to the graphic nature of the show the gallery had to set a series of deterrents for visitors that might seek things other than art enjoyment. If you decide to visit the exhibition (you have to be over 20 years of age), please make an email reservation with the gallery (amanda@zen-foto.jp). When you arrive you will be asked to sign a waver stating that you do not find the contents offensive, and pay an exhibition membership fee of 3000 yen. Once inside you will have your pick of Zen Foto publication to the value of the fee. The show is at Zen Foto Gallery, on view through May 23.

The front cover of the Book:

The back bear:

Innen - The Inside:

Special thanks to Alexander Scholtz from Berlin, gifted architect and my book publisher, and Susanne Weigelt, an amazing young designer and artist from Leipzig. The dummies of this book will be available for the duo show with Araki-san in Tokyo, opening May 14. Entry strictly by prior reservation. A small catalog for the exhibition will be available in limited editions. A big ‘thank you’ to all the great women who participated in this project. I will have a gift copy for each of you!

I’m showing a small series of 15 images called “Flashbacks” in this group show at Inter Gallery, 798 Art District. This exhibition will then move to Shanghai, then travel around the rest of China.

Here’s a sneak preview of a few images that caught my interest:

王久良的《垃圾围城》系列
From the series “The Great Wall of Trash,” © WANG, Jiuliang

许宝宽的《新风景》系列
From the series “New Landscapes,” © XU, Baokuan

杭鸣峙的《移山》系列
From the series “Move Mountains,” © HANG, Mingchi

蒙超的《新景观》系列
From the series “New Scenaries,” © MENG, Chao

游莉的《寂静的纬度》系列
From the series “Silent Altitudes,” © YOU, Li

Looking forward to seeing friends in Beijing at the opening! © Post-Modern China Doll

不一样的风景

Another Landscape

主办：色影无忌网

Host：www.xitek.com

参展摄影师: （按 姓氏笔画排名）王久良、卢彦鹏、区志航、任曙林、许宝宽、陈焕庭、何宜昌、吴沁沁、辛冈、张晓、杭鸣峙、佬京、罗凯星、徐永春、黄 觉、矫健、储楚、塔可、蒙超、游莉、潘钺。

photographers: Wang Jiuliang, Lu Yanpeng, Ou Zhihang ,Ren Shulin, Xu Baokuan，Chen Huanting, He Yichang，Chin-Chin Wu，Xin Gang，Zhang Xiao，Hang Mingzhi，Lao Jing，Luo Kaixing，Xu Yongchun，Huang Jue，Jiao Jian，Chu Chu，Taca，Meng Chao，Eris Yo ，Pan Yue

策展人：那日松

Curator：Na Risong

顾问：（按姓氏笔画 排名）任悦、林路、尚陆、顾铮、鲍昆、颜长江

Consultants :Ren Yue, Lin Lu, Jean Loh, Gu Zheng, Bao Kun, Yan Changjiang 

开幕时间:  2010.03.27  下午3点

Opening:  27.03.2010 / 3 pm

展览时间:  2010.03.27 – 2010.04.5

Duration:  27.03.2010 – 05.04.2010

展览地点:  映艺术中心（北京市朝阳区酒仙桥路4号“798艺术区”七星中街）.

Venue:  Inter Art Center and Gallery. Sevenstar Main Street 798 Art Zone No.4 Jiuxianqiao Road Chaoyang District Beijing

Bravo Robert!!! Source: http://www.juxtapoz.com/Top100

Jennifer Lin:

I was recently going over some lines of inquiry I’ve previously explored regarding the state of art and I came across something I wrote awhile ago…please feel free to comment, I’d really love to see what you guys think about my question..it would be really quite interesting to me to see what people think, since I am inextricably implicated in the art world, have a read…. again, would love to know what you guys think of the question I’ve posed. xoxo Jennifer

Adorno, Horkheimer and MacDonald, in brief, put forth the argument that popular culture is merely a manufactured commodity; that is, mainstream cultural products like Hollywood movies, music etc. are bereft of any originality and creativity. MacDonald in particular argues that the avant-garde movement escapes the dilemma of commodification, for it “simply refuses to compete”. Furthermore, MacDonald articulates that “[the avant-garde movement] created a new compartmentation of culture, on the basis of an intellectual rather than a social elite” (MacDonald, 63). MacDonald’s point is highly debatable given that modernists like Picasso, T.S. Eliot and Stravinsky belonged in fact to a very exclusive group, that was determined by social and intellectual status.
Furthermore, avant-garde art was made distinct from products of popular culture because they are imbued with originality. Yet T.S. Eliot, an artist who is emblematic of the avant-garde movement was reputed to say that “Immature poets imitate; mature poets steal”. So originality becomes a moot point, and a very inconcrete benchmark in identifying creativity and the status of non-commodification in any given cultural artifact. So by what measures in contemporary culture are we able to distinguish between the kitsch and the avant-garde, and by the same token, between the kitsch and academicism, when the lines between these categories potentially overlap? Is it possible to draw the lines between these categories at all? Are not all works that are produced in our culture in danger of being kitschy as long as it had the time to evolve or better yet, digress? Look at for instance, Pollack’s abstract expressionist art, or Van Gogh’s Sunflowers. These previously avant-garde works are now squarely within the domain of popular culture, as they are seen often hanging the the dorm rooms of college students or in the waiting rooms of dentist offices. Is it possible for any artistic or non-artistic works to remain “before the vanguard”?

 

Post Modern China Doll:

The avant-garde movement(s) rises from the spirit of questioning, so for me the earliest avant-gardists were Heraclitus, Socrates… The impulse of questioning is by nature uncommodifiable, however, once the process is objectified/commodified (into an object, a painting, a book, a movie, a record), it is always made so with the intention to enter some sort of circuit/market. Can we draw a parallel to Zen Buddhism and say that the spirit of the avant-garde movement is always in a double bind once it’s articulated?

Contrary to Greenberg, I do not subscribe to the idea that the kitsch is the necessary fate of the avant-garde. It seems either too optimistic or too pessimistic of a view of humanity’s general ability to digest great avant-garde ideas. I’ll have to think about that one.

 I’ve been relatively absent from the blogosphere as I notice subscription rates go up. But really I’m unable to see statistics on this site when I’m in China because of some Internet glitch. Meanwhile, I’ve been busy commodifying (rather shamelessly shall I say) my artistic discourses and yes the book is coming!

I will be in Paris in about a week, then London. I am happy to announce that the English Edition of www.photographie.com will resume under video format, and we will be examining the mutations of the photographic imagery (interviews, discussions, etc) so be on the look out.  In April, Soldiers During the Time of Peace will be showing in Art Shanghai, and I will be there. At the end of May, I will have two workshops with Austrian students from the Vienna Fotoschule-Filmschule school. The art boom is over, but art lives on! 

P.S. Like the mean professor or the masochistic first-year art student, here’s two pieces of reading that I (self) assigned. I really need to read the stuff that I talk about instead of being found furiously photocopying Chinese art magazines in B&W (btw why isn’t there a Reader’s Digest for the thousands of magazines out there?). I suppose this is the gap that’s likely to be left in your education when you went to a film school but picked up the theory bug on the way from sensitometry 102 to creative thesis-related fictional theory write:

Greenberg: Avant-Garde and the Kitsch:

http://www.sharecom.ca/greenberg/kitsch.html 

New York Times Article:

http://www.nytimes.com/2009/02/15/arts/design/15cott.html?pagewanted=1&_r=1&emc=eta1

Robert Berman Gallery Presents:

«VIS-À-VIS, PORTRAITS OF NEW WOMEN»

«对视 : 新女性肖像 »

Pigment print, Edition of 5, 120×160 cm
© Chin-Chin Wu, 2006-2008

Catalog available upon request

photo MIAMI
Wynwood Art District, Miami, FL
(Enter on Midtown Boulevard)
BOOTH #304
Robert Berman GALLERY
www.robertbermangallery.com

December 3 - 7, 2008
Opening December 2th, 6 - 10 pm

Upcoming exhibitions:

photo LA
January 21-29, 2009
Downtown Convention Center, Los Angeles, CA
BOOTH #C109
laartshow.com

30th Anniversary Exhibition, Part 1

Robert Berman GALLERY
At Bergamot Station Arts Center, Santa Monica, California
January 24 - February 21, 2009

 

Group exhibition of selected photography and photo based works featuring:
Alex Prager, Jeff Charbonneau & Eliza French, Andres Serrano, Rafael Serrano, Man Ray, William Wegman, Robert Rauschenberg, Ed Ruscha, Dennis Hopper, Edmund Teske, Shirin Neshat, Christopher Felver, E.T. Risk, Harry Bowers, Lauren Marsolier, Marc Fichou, John Colao, Marla Rutherford, Dietrich Wegner, Cameron Gray, Gerald Slota, Chin-Chin Wu, Hana Jakralova

Are you looking to push boundaries of your body and mind? Interested to get to know your body better? Want a better nude portfolio but haven’t found the right photographer? See how an artist works?

I am a Chinese-American artist living in between Beijing and Paris. Currently seeking women of all background and ethnicity for a large-scale conceptual art project – portraits of the female genitalia. The identities of the subjects will remain entirely anonymous and I offer to make other nude photographs or portraits in exchange. Length of time is estimated at around 1 1/2 hours (please plan extra time for other photo shoots).

My studio is in the historical center , 2 minutes from the Drum Tower（鼓楼) subway station, very close to Nan Luo Gu Xiang（南锣鼓巷）, Hou Hai (后海）， and other major tourist attractions. You can find information for this project on:

http://www.chinchinwu.net/?page_id=98

including a making-of video where the models who have participated talk about their experience and their views on the subject matter. You can also find some pictures and background info on the site. There’s a Chinese article in the magazine Hope／希望杂志报导 about the project:

http://www.chinchinwu.net/?page_id=191

39 women world-wide have already participated in this project. I hope that you will decide to participate in this very important project! This work will be edited into a book published by Trolley Books (London, www.trolleybooks.com) in May 2009 and exhibited in Photo Miami, Photo LA, etc.

Contact me at:
mail@chinchinwu.net with your phone number and I will call you.
Also Skype handle: chinchinlive

Thank you,
Chin-Chin Wu

I can’t help but to be totally delighted by my brilliant friend Pierrot’s theoretical musings every single time (I definitely won’t fail to bring a notebook for our date on Wednsday!). This one on the title of my series “Vis-à-vis”:

dimanche 1 juin 2008

Tathata / sur Chin-Chin Wu

” Pour désigner la réalité, le bouddhisme dit sunya, le vide ; mais encore mieux : tathata, le fait d’être tel, d’être ainsi, d’être cela ; tat veut dire en sanskrit cela et ferait penser au geste du petit enfant qui désigne une chose du doigt et dit : ta, da, ça ! Une photographie se trouve toujours au bout de ce geste. Elle dit : ça, c’est ça, c’est tel ! […] La photographie n’est jamais qu’un chant alterné de “voyez”, “vois”, “voici” ; elle pointe du doigt un certain vis-à-vis, et ne peut se sortir de ce pur langage déïctique.”

Barthes, Roland, La chambre claire, Paris, Cahiers du cinéma, Gallimard, 1980, p.15-16

Extrait de la série “Vis-à-vis”, Chin-Chin Wu, 2006-08

Mon amie Chin-Chin Wu est l’auteur d’une série de photographies qu’elle a rebaptisé récemment “Vis-à-vis”. Je m’interrogeais jusqu’à ce matin sur ce nouveau titre sans trouver de réponse particulière. Connaissant le grand soin qu’apporte cette artiste à fonder son propos sur une série de photographies qui rencontre, j’en suis certain, des réactions très variées, je déduis que ce titre fonctionne comme une petite annexe, une note de bas de page. Sans chercher à l’enfermer dans un sens particulier, ce qui serait de mon point de vue réducteur pour la série, le titre “Vis-à-vis” me semble être néanmoins un indice donné par Chin Chin sur les spécificités photographiques de son travail. Car il s’agit bien d’un pur travail photographique ; inscrit dans son histoire, conscient de ses codes, malmenant une tradition picturale, et jouant avec ce que l’outil photographie peut faire de mieux : brouiller les pistes, faire se superposer les grilles d’analyse du spectateur. L’érotique (la pulsion libidinale au centre de l’acte photographique), le pornographique (la tristesse de la chair offerte dans un éclairage uniforme, morcelée, défigurée), le médical (le point de vue clinique sur la femme et son appareil génital) et le politique (la connaissance des femmes de leur sexe, dans une approche féministe) dialoguent pour une fois dans un travail qui n’exclue aucun de ces champs, qui au contraire s’appuie sur la force polysémique de la photographie et s’enrichie par tous les discours qui y cohabitent.

Vis-à-vis, donc, est un terme qui suppose un échange, un dialogue, fait intervenir la notion du spectateur, du regardé-regardant plus précisément. On dit d’une vue qu’elle est sans vis-à-vis pour marquer l’absence d’un regard de l’extérieur vers l’intérieur, mais aussi pour signifier l’impossibilité de notre regard (puisque supposé voyeuriste) à pénétrer chez l’autre. Le vis-à-vis est un pacte silencieux du regard.

Et c’est précisément le regard, plus que le sexe, qui est au centre de cette oeuvre “Vis-à-vis”.

Currently listening :
Beethoven: Complete Sonatas for Pianoforte & Cello
Peter Wispelwey, Paul Komen
Release date: 1993-08-17

As the laureate of Mission Jeunes Artistes (Young Artists Mission), I am invited to meet the following professionals over a period of three days in Toulouse in September:

I was selected based on my female genitalia project - Vis-à-vis. I really had trouble finding a space to exhibit this work in Paris. I will be exhibiting it in Arles, along with other more recent work. I also have a ongoing book project with a German editor near Berlin. Does anybody have any advice?

Many thanks go to Franck Maindon, Claire Bras, Linda, Jean-Marc Sanchez, Didier de Faÿs, William Ropp, Maxime Lacolley, Pierre Marilly, Sandrine D., Natacha.., and all the models.

OK I finally got the statement for this project and am departing in the beginning/middle of June with my friend Will. The itinerary will be Paris- Nancy (to meet Will) - Prague (for printing and portfolio boxes, several openings) - Brno - Prague - Berlin (to meet Alex, my German publisher for the book project Vis-à-vis, on the female genitalia) - Nancy - Paris. Schedule problems aside, I am really excited:

STATEMENT

Projekt Derniera is the title of a conceptual art project to be realized in the arms factory Zbrojovka Brno. Ten well-known European photographers will be invited to all work in the same space, each realizing their own concept on the site. The Derniera project procedes from the following conceptual thesis:

The world is an aggregate of monologues, dialogues, and scenes. Each of us is an actor playing a role; sometimes better and sometimes worse, we act in different roles. The Zbrojovska Brno factory is a stage on which for almost a century thousands of people played their parts. This stage, however, did not withstand the storms of time: the actors left, the scenery was sold or stolen, but the site with its incontrovertible genius loci remained.

The Derniera Project is the last staged event that will be produced in this space; afterwards, the site will be demolished and completely revitalized.

The Derniera Project seeks to be the bridge connecting the era that was and the era that will be.

The curator of the Project and the developer investing in the revitalization have concluded that it is impossible to erase, without emotion, the significance of the former industrial site, connected as it is with the fates of a thousand people. Such revision is natural; each way out is an invitation to new retrospection and fresh contemplation.

The documentary value of the project will also be far from negligible, although this is not the project’s priority.

By his support of the project, the redevlopment investor has evinced his sympathetic concern for the fates of the people so closely bound up with this space and the memory of their time there.

The participants in the project are not bound by any conditions except the requirement that each project be realized on the site of the Zrojkova Brno factory.

The opening of the project will be an exhibition of the realized concepts — presumably large-format photographs. An industrial hall from the Zbrojovska site has been chosen as the first exhibition space.

The subsequent exhibitions are also envisioned as being held in untraditional venues — in sites either before or after their revitalization.

The results of the project will be summarized in an illustrated publication.

The results of the project may be used in the investor’s revitilization activities.

Notes toward realization

–Reknowned European artists will be invited to participate
–Leading European photography galleries will cooperate in choosing the participants.
–Participants in the first phase of the project will include, among others: Galerie Vrais Reves in Lyon and Galerie Baudelaire in Antwerp.
–The organizer and technical facilitator will be the Atelier Zidlický
–The curator of the project is Vladimír Židlický.
–The organizers will defray the cost of room and board and cover the costs of production for the participating artists.
–We envision that the individual artists will realize their projects in the course of a 10-14 day residence in Brno, during which time the workspace, supplies, technical facilities and personnel of the Atelier Zidlický will be at their disposal.
–The project will be realized in the summer (June-September) of 2008.
–The participating artists will give one realized work to the project’s sponsor as well as grant reproduction rights — by mutual agreement and to a reasonable extent — for the promotional needs of the project sponsors.

Dear Friends and Family,

The Chinese magazine “Hope” (希望）just published an article on the female genitalia project in its March issue. I thought it would never make it with the hypersensitive attitude of the government with the coming of the Olympics, but here is the article.

When I was in India this past winter, a 22-year old freelance journalist called Riva contacted me from Shanghai about doing an article on the project. She had read about it on a well-visited art and culture blog in China (the blog continues sending me traffic until this day even though much of the message of the project is unfortunately distorted as censorship prevents people from viewing the video in China). She explained to me that the readership of Hope is mostly cosmopolitan, independent-minded young women, and could I please talk about my artistic intentions to China’s youth? I was equally intrigued. Besides being a freelance journalist, Riva is also a successful entrepreneur and owns her own boating magazine. She is truly the exemplification of what I find so incredibly exciting and refreshing about today’s China.

In the article, I talked about growing up in Communist China in the 80’s, migration and displacement, the Chinese diasporic experience, how I arrived at the idea of the project, difficulties that I encountered, reactions of the models and the public, recent fads in plastic surgery for the vulva and my experience working with plastic surgeons, my ideas of feminism and female fulfillment… She’s even run a small advert for interested models at the end of the article. For the Chinese-literate, all of this is obviously self-explanatory.

I am going to be in Shanghai from the 11th of April. The family has opened up a gallery on Changde Rd in the Jing An District, and we will have a stand at Art Shanghai. I am bringing some of my prints, many of which are not available online. I am also bringing two artists, one Czech, one French. And then of course I’ll be stopping by in Beijing where I hope to see many people I love and miss.

Then going to the Czech Republic to work on a group conceptual art project in situe in an arms factory, about 14 days in June.

And of course I’ll be appearing in Arles with Better World under the guise of Etranges Etrangers for the opening week in July. Look forward to some new VJ sequences at Cargo de la Nuit, the place where cool people congregate.

Thank you for reading until this far. I hope that this e-mail finds you joyful and in good health and that our paths will cross again soon!

Much love,
Chin-Chin

Currently watching : Destricted [ NON-USA FORMAT, PAL, Reg.2 Import - Great Britain ]

I got this because of Larry Clark’s new work “Impaled,” but the highlight of this set is really Marina Abramovic’s Balkan Erotic Epic - funny, wry, erotic, impeccable cinematography.

Unfortunately, for a group of films that is supposed to reflect on the intersect between art and pornography (what a brilliant idea!), I think it largely misses its mark, although again, Clark was the only one that managed to at least stay on topic in my opinion (I had hoped that he would push the envelope further). I guess I should have never expected to bridge the dichotomy brought on by the millennial separation between body and soul with an artsy-fartsy film project such as this.

My Milk and His Wine

Please check out my friend Stéphane Couturier’s new exhibition Chandigarh Replay and the coming out of his new book by the same name. Large-format digital cibachromes on the fascinating urban landscape of Chandigarh. A well thought-out exhibition by an artist whom I thoroughly admire.

A free conference on 70’s feminist experimental cinema in France. It is definitely marked on my calendar:

http://www.lepeuplequimanque.org/maisonpop-et-melies-2007/vendredi-12-octobre-2007

Pionnières du cinéma d’essai et expérimental
féministe français

Vendredi 12 Octobre - 20h30
Maison Populaire de Montreuil
ENTREE LIBRE

« Le regard des femmes, on ne le connaît pas » écrivait Viviane Forrester en 1976.
Avec cette première séance consacrée aux pionnières du cinéma d’essai et expérimental féministe français, ce cycle s’ouvre par le geste inaugural porté par trois réalisatrices de « découper, déchiffrer et inventer » le monde, exauçant le souhait de ces années-là de chercher « collectivement et individuellement un langage féminin ». Simultanément aux cinéastes et collectifs qui filmeront directement les luttes des femmes, certaines tenteront d’inventer une nouvelle façon de produire des images. C’est ainsi que le regard jusque là par trop absent des femmes se déploie, venant « changer qualitativement de mots et de pensées, pour amener un contenu vraiment révolutionnaire » à leurs films. « (…) j’ai le désir que femmes et hommes changent. Comme commencement à une beauté autre » disait alors Danielle Jaeggi.

En présence d’Anne-Marie Faure, Michka Gorki, Danielle Jaeggi et Hélène Fleckinger (historienne du cinéma féministe des années 70)
Programmation : Aliocha Imhoff & Kantuta Quiros et avec l’aide précieuse d’Hélène Fleckinger.

SORCIERES-CAMARADES (1971, 10 mn) de Danielle Jaeggi
« Un film sur les femmes / Un film par des femmes / Un film pour les femmes / Avec une caméra d’homme.
Un jour des femmes verront ces images de notre triste survie et se demanderont comment nous avons pu la supporter. » (extrait)

UN GESTE EN MOI (1972, 20 mn) de Danielle Jaeggi
« (…) Entraîneuse de pères – Folle les seins en l’air – Nymphomane familière –
Hystérique toque.
Images de femmes. Elles collent de partout.
S’en débattre en connaissance de sexe. » Danielle Jaeggi, Paroles…elles tournent !,1976
« Dans la société capitaliste, tout est basé sur l’aliénation, sur le fait que l’on existe par le regard des
autres. » (extrait)

INTERPRETATIONS (1975, 11 mn) de Michka Gorki
« L’infirmité des illusions
L’aliénation continuelle d’agressions imprévues
l’impunité d’une foule anonyme forte d’une cohésion de lâcheté
L’impuissance face à l’irrémédiable.
Maitriser ses révoltes fulgurantes
A chacun sa bêtise, bien personnelle, bien limitée. » (Extrait)
« J’ai réalisé un film dans lequel j’ai hurlé mes révoltes de femme, de comédienne aculée à la folie pour ne pas vouloir jouer le jeu de la bestialité de la société » Michka Gorki, Paroles … elles tournent !,1976

MALEDICTINES de Anne Marie Faure et collectif Vidéa (1975, 14 min)
Film expérimental sur le corps féminin. Vidéo collective, vécue, filmée et montée par cinq femmes.

Textes: KQ&AI