Manon de Boer screens Marguerite Duras’s strange cinematic masterpiece, Le Camion. In Duras’s film, Gérard Depardieu sits at the table with the author-filmmaker. He is listening. She is telling the story of a woman. Duras’s eyes move back and forth between Depardieu and what seems to be the edges of her imagination. Her voice carries the spectator out of the room. Le Camion opens a night of screening. It is followed by de Boer’s trilogy of short 35 mm films which explore the fault-line between image and sound, a method which is also characteristic of Duras’s filmmaking. ·Attica (2008): based on Attica, a minimalist music piece composed by Frederic Rzewski in 1972. The film’s feeling of circularity and endless repetition reflects the musical structure and it’s refrain, the words of a prisoner after the Attica prison uprising: “Attica is in front of me.” ·Presto, Perfect Sound (2007): violinist George van Dam performs Béla Bartók’s Sonata for Solo Violin, Sz 117, Presto (version with microintervals). In a reversal of typical image-sound relations, the cuts in the sound track determine the cuts in the image. ·Two Times 4’33” (2008): a double performance of John Cage’s 4’33” (1952) becomes a meditation on the experience of sound, silence, and cinema. Twice. Manon de Boer, born in 1966 in Kodaikanal (IN) lives and works in Brussels (BE). Her new film is on view at KW Institute for Contemporary Art as part of the 5th berlin biennial. 

Babylon: Mitte, Rosa-Luxemburg-Strasse 30, 10178 Berlin-Mitte, U2 Rosa-Luxemburg-Platz

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