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HARMONY KORINE // RETROSPECTIVE

LES CINÉMAS DU CENTRE POMPIDOU RETROSPECTIVE / EXHIBITION HARMONY KORINE IN THE PRESENCE OF THE ARTIST 6 OCTOBER – 5 NOVEMBER 2017

From 6 October until 5 November 2017, the Centre Pompidou will dedicate a retrospective to key American filmmaker Harmony Korine. In addition to the screening of his entire filmography, a major exhibition will present a series of paintings, photographs and installations never previously shown in France. The artist will attend many of the screenings dedicated to him as well as live events.

Coming from the underground film scene, Harmony Korine was propelled to the forefront at the age of 18 after writing the screenplay for Kids, a feature film by Larry Clark made in 1995. He then went on to direct Gummo (1997) and Julien Donkey-Boy (1999), which helped secure his reputation as the most provocative filmmaker of his generation. Casting a sharp, unwavering eye on American society, he has been primarily interested in youth and individuals on the margins of society as in Mister Lonely (2007), Trash Humpers (2009) and the explosive Spring Breakers (2012), which enjoyed huge critical and public acclaim. Throughout his filmography he has endeavoured to mix different styles of narratives, combining visual textures gleaned from videos, digital imaging, short films and advertising. His aesthetic quest, characterised by a disconcerting, obsessional coherence, is the driving force behind a vast collage made up of disparate, fragmentary media, ranging from photography and painting via music and writing. A retrospective exhibition taking place in Forum -1 will for the first time ever gather the artist’s entire interdisciplinary body of work dating back to his teenage years, some of which has never been on show before. The thematic circuit will gradually take the visitor from Harmony Korine’s significance in visual counter-cultural history to the personal mindscapes of this restless innovator and one-of-a-kind storyteller. Harmony Korine’s eclectic creations freely move within a montage whose design underlines his taste for visual stunting: from political, poetic vignettes to ghostly, often monumental canvasses, images and their shadows will come over and over again to haunt the viewer.

Harmony Korine is represented by the Gagosian Gallery (New York). A book, coedited by Rizzoli, Gagosian Gallery and the Éditions du Centre Pompidou, will cover all aspects of his visual world.

This event is organised by the cinemas of the Department of Cultural Development, Centre Pompidou, in collaboration with the Musée National d’Art Moderne and the Festival d’Automne in Paris.

« What I’m trying to achieve is to get people to feel something. I’m not trying to say anything in particular. Maybe the film itself manages that, and it’s a good thing. From my characters and what they say, I’d rather elicit some kind of physical experience: a feeling of unease, confusion, transcendance, astonishment, discomfort or humour. I like the fact that those sensations can burst out in quick succession, so the viewer is never left in peace. » Harmony Korine

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