June 27
19h performance COMMENT SE FAIRE DES AMIS by Jean-Christophe Petit
20h30 Augustin Gimel, programme & CUT-U[to]P[ia]
Lices 12 rue des Lices / 13007 Marseille tel. 04 91 31 29 24

19h performance COMMENT SE FAIRE DES AMIS by Jean-Christophe Petit

with : Jean-Christophe Petit, Laure Dottori
lighting creation and lighting engineering : Manon Lauriol
translation in english : Françoise Mancy
November 1991, I am a group leader; I meet a nice loony, well dressed, Marlborough-coffee man at the Café. He has seducing eyes, and is wearing a tight fitting coat. He is leaving with his mother, nearing 35.
He is telling about a business he is involved in ; within 5 years, he will drive a Porsche, and take me for a ride, since I am now his best friend, in return.
I buy the “business case” then sell a barrel of washing powder to my mother. I think I am a poor trader, too shy, without the gift of the gab. But they ask me to free meetings, to payable seminars; they tell me to believe in “the business”, but I am a black lamb and it all lasts for a month. I have not multiplied sells, and they tell me I must activate, to be “in-in”, not “in-out”, to wear shirts, and hair… Hair is not that profitable. My hair is the group leader’s style, so I turn back to group leading.
May 2005, I am now an actor. How to make friends is my show, a course of action, a delight, a blasphemy, and another silly trick. However, fuck, it is about a trading man’s life, a self-made man as we like them, a misogynist, a trade unionist Christ willing to politicize his circle and to colonize his neighbours (profitable friendship). Ready to fornicate with his Mary Mother. ‘”I tell you the truth do not be shy put that bread into your mouth”. Jesus cries verse three, one tear and up the arse paternoster.
Thank you P’Silo for welcoming my How to make friends and me, that brings me an artistic dimension into which I dread pure Catho Catholicism.
How to make friends is much indebted to Karttofeln, le Lam, l'Embobineuse, and my faithful partner the actress Laure Dotton ..
Thanks to Bernard Palmi. Postem Mortis.

20h30 Augustin Gimel, program & CUT-U[to]P[ia] - 105mn

L’OEil lourd du voyage mécanique
3mn, color, stereo, 2003
Rotating landscape, animated postcard, the Anosy lake in Antananarivo (Madagascar) considered as a space to approach by his own characteristics.
Je n’ai pas du tout l’intention de sombrer
4mn 45, color, stereo, 2002
Chaos of concrete, glass and metal give birth to a luminous edge. Gap and frontier between darkness and light. Materiality versus immateriality.
Fig. 4
5mn, color, stereo, 2004
Bodies and movements recomposed from thousands of pornographics images. Sexual Golem.
Le Postulat d’Euclide
10mn, b/w, stereo, 2004
Spatial and temporal development of forms through birth, growth and extinction. Elementary figures adding to each other in order to create a complex figure. Geometry as a metaphor. Frame as a territory.
9mn30, color, stereo, 2004
Giving birth to a new Body. Insufflating life and movements into paintings. A Body composed of thousands bodies. A Body freed from materiality and gravity. A Body with infinite possibilities.
5 puissance 5 ASA
2mn, color, stereo, 2001
Made in collaboration with Stéphanie Coudert, clothes designer, this video undertakes to establish a correspondance between the processes on which the moving image and fashion respectively depend. Links are made, and the analogy is established between the editing of two shots and placing the pattern on the clothes.
2mn, color, stereo, 2001
A pinhole camera as an instrument to measure luminosity. Birth and growth of light according to Fibonacci's 'suite'. Total eclipse of the sun decomposed into a thousand of unknown fires.
2mn, color, stereo, 2001
Mise en abyme of a surveillance devise. The panoramic movement of the camera unveils some neutral territories. The video camera taken as an object by another video camera couples with these spaces. The event, or the non-event, makes an exhibition of itself The radars are watching over and transmitting.
40 s, b/w, stereo, 1999
This film is composed of right angles shot in the United States (New York) and edited in memory of Indian’s space.
Il n’y a rien de plus inutile qu’un organe
9mn, color, stereo, 1999
"There is nothing more useless than an organ" wrote Antonin Artaud in 1947, by the way he gave a name to a new kind of existence : the Body without Organs.
The film is divided into three parts, following the division of the poem The Divine Comedy, the chronology of Dante’s trip through Hell, Purgatory and Paradise is respected.
During this travel his human body is reconstructed and reorganised into a new body freed from his organism and from his organs. This new body, in touch with Beatrice, and by his ascension, becomes point of circulation of flows and intensities of all kinds.

4mn, color, stereo, 2002
Two people are standing, shooting each other. They move around Central Park (New York), on opposite sidewalks, separated by the street. One has the park for background whereas the other slides in front of the buildings. Each moment of this journey is recorded from two opposite point of view. What units these points of view separates them, the frontier between internal territory and external territory is created.
DIN 16538/39 (Paris)
2mn, color, stereo, 2001
For this film, extracts of colors have been chosen in the city (Paris), they have been analysed then assembled into a certain order (chromatic circle). This apparently scientist classification reveals a strong poetical power of evocation.
6mn, color, stereo, 2004
Ritual sacrifice and oppression of individuals by society. After Norman Jewison’s Rollerball.

Multi-screen installation, variables dimensions.
Audivisual proposal made of a multitude of fragments extracted from the videos of Augustin Gimel and projected in a random order according to the cut-up theory of Burroughs.
More than a research of chaos and deconstruction, it’s an attempt to recompose a fragmented territory, light glimpses dispersed by an arbitrary filmography.

Born in 1974 in Paris, France, he creates films, videos and installations. His work proposes a reflection on the limits of visual perception using frame-by-frame editing, repetition and combinatories. By the contraction or the elongation of time, by bringing together different representation systems, the editing reveals the inner poetry of rough materials.