1970, Rennes. Lives and works in Paris
|In his films, Nicolas Floc’h employs a real audience
strategy. He plays on
expectations, channels the reading in order to subvert it all the
Anna’s Life, he constructs a story without an end in which the
the pretext while the real subject is the city and its architecture.
woman’s life, he retains only one activity: going up and down
This gesture becomes a prism permitting the discovery of not only
a body but also an architecture and a city. Anna’s body becomes
the focal point through which things are seen and apprehended. As
the main character, she monopolises the attention, even in a wide
shot, she still fills the image
and the viewer is constantly looking for her. The soundtrack accompanying
the film proceeds in the same way. From a composition by Mussorgsky
orchestrated by Ravel, he retains only the part for harp. The classical
score then takes on Oriental airs. The selection of simple elements
gives rise to a profusion of impressions. Nicolas Floc’h plays
viewer’s expectations in order to work on the confusion of genres
and open up a singular reading. In constant movement, this work finds
its coherence in a continuous exploration of ways of making worlds.
Each invention is at the same time a revelation of what exists. It
leads to readings of the world which are never imposed as unique.
— Lea Gauthier, Mouvement, June-August 2002
Selected solo exhibitions: 2002: FRAC Nord pas de
Fujikawa next, Osaka; 2001: Pailhas, Marseille; Le Sous-sol, Paris;
2000: Le Sous-sol, Paris; Chapelle du Genêteil, Le Carré,
Château Gontier; Zoo, Nantes; 1999: FRAC Lorraine, Castel Coucou,
Forbach; Ecriture Productive, I Space, Chicago; L'Epicerie, Temporary
Services, Chicago; Light Year, School of Art, Glasgow.
Selected group exhibitions: 2003: 20 ans des FRAC,
MUDAC, LAUSANNE; Storage and Display, Programa Art Center, Mexico
City; L’envers du monde, Espace Paul Ricard, Paris; Artif/réactif
2, Le lieu Unique, Nantes.
|Anna's life, 2002. Video still, DVCAM 4/3.