Johan Grimonprez (1962, Roeselaere, Belgium) is a renowned filmmaker and artist. His critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalisation. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasises a multiplicity of histories and realties.Read More
Using documentary material, found footage, historical items from archives, his own home videos, news pictures, advertising, video clips and excerpts from Hollywood films, Grimonprez tries in his own way to give some meaning to the havoc wreaked by History. His films 'speak to the need to see history at a distance, but at the same time to speak from inside it'. Other themes include the relationship between the individual and the mainstream image, the notion of zapping as 'an extreme form of poetry', and the questioning of our consensus reality, which Grimonprez defines as: 'a reality that is entangled with the stories we tell ourselves in the worldview we agree on sharing.'
His works are part of the permanent collections of major museums, including the Centre Georges Pompidou (Paris), the Kanazawa Art Museum (Japan) and Tate Modern (London); the National Gallery, Berlin; the Louisiana Museum of Modern Art; Denmark; Tate, UK and Stedelijk Museum, Amsterdam, The Netherlands. Grimonprez divides his time between Belgium and New York and is a faculty member at the School of Visual Arts (New York).
Text courtesy FLATLAND.
At its core, what is your work about? Our world is packed with an abundance of images that constantly bombard us, and inevitably much of our reality today is filtered through cinema and media imagery. I question the limits of art as I question my own. While I use the language of art (amongst other tools for investigating our so-called...
In addition to its ample cruelties and endlessly confounded sense of 'it can't go on like this much longer, can it?', 2017 has also been a year of profound historical torsion, marked by the return of speciﬁc ﬁgures and fears wrongly presumed to have been left in the present's wake. Consider, for instance, the starkly renewed appearance of fascists...
There is a moment in Johan Grimonprez's short arthouse documentary | blue orchids | (2017) when Chris Hedges, former war correspondent and now well-known leftwing author and activist, describes the emotional toll of being exposed to the trauma of war –...
The question, possibly of the century: How did America end up with a reality-TV president? Might it have been Russian hackers or disenfranchised voters? blue orchids (2017), a film by the New York-based artist Johan Grimonprez showing at Sean Kelly, proposes a virtually incontrovertible answer: the uncertain dependability of 'truth.'
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.