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COBRA, canvas, and camera : Luc de Heusch filming Alechinsky and Dotremont at work

Steven Jacobs (UGent)
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Abstract
Belgian anthropologist and filmmaker Luc de Heusch was involved in or connected to the art movement COBRA in several ways. He published in the eponymous journal, and his first film, "Perséphone" (1951, under the pseudonym of Luc Zangrie), is considered the sole film of the movement. Later, in the early 1970s, De Heusch made films showing leading COBRA artists such as Christian Dotremont and Pierre Alechinsky at work. Both "Alechinsky d’apres nature" (1970) and "Dotremont: Les Logogrammes" (1972) focus on the complex process of artistic creation. The camera concentrates resolutely on materials such as brushes, paint, and ink but first and foremost on the artists’ hands and gestures. Strikingly, in both films the process of creation also implies erasure and destruction of the image.

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Citation

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Chicago
Jacobs, Steven. 2018. “COBRA, Canvas, and Camera : Luc De Heusch Filming Alechinsky and Dotremont at Work.” In The Mediatization of the Artist, ed. Rachel Esner and Sandra Kisters, 115–129. Palgrave Macmillan.
APA
Jacobs, Steven. (2018). COBRA, canvas, and camera : Luc de Heusch filming Alechinsky and Dotremont at work. In R. Esner & S. Kisters (Eds.), The mediatization of the artist (pp. 115–129). Palgrave Macmillan.
Vancouver
1.
Jacobs S. COBRA, canvas, and camera : Luc de Heusch filming Alechinsky and Dotremont at work. In: Esner R, Kisters S, editors. The mediatization of the artist. Palgrave Macmillan; 2018. p. 115–29.
MLA
Jacobs, Steven. “COBRA, Canvas, and Camera : Luc De Heusch Filming Alechinsky and Dotremont at Work.” The Mediatization of the Artist. Ed. Rachel Esner & Sandra Kisters. Palgrave Macmillan, 2018. 115–129. Print.
@incollection{8550456,
  abstract     = {Belgian anthropologist and filmmaker Luc de Heusch was involved in or connected to the art movement COBRA in several ways. He published in the eponymous journal, and his first film, {\textacutedbl}Pers{\'e}phone{\textacutedbl} (1951, under the pseudonym of Luc Zangrie), is considered the sole film of the movement. Later, in the early 1970s, De Heusch made films showing leading COBRA artists such as Christian Dotremont and Pierre Alechinsky at work. Both {\textacutedbl}Alechinsky d{\textquoteright}apres nature{\textacutedbl} (1970) and {\textacutedbl}Dotremont: Les Logogrammes{\textacutedbl} (1972) focus on the complex process of artistic creation. The camera concentrates resolutely on materials such as brushes, paint, and ink but first and foremost on the artists{\textquoteright} hands and gestures. Strikingly, in both films the process of creation also implies erasure and destruction of the image.},
  author       = {Jacobs, Steven},
  booktitle    = {The mediatization of the artist},
  editor       = {Esner, Rachel and Kisters, Sandra},
  isbn         = {9783319662299},
  language     = {eng},
  pages        = {115--129},
  publisher    = {Palgrave Macmillan},
  title        = {COBRA, canvas, and camera : Luc de Heusch filming Alechinsky and Dotremont at work},
  url          = {http://dx.doi.org/10.1007/978-3-319-66230-5\_8},
  year         = {2018},
}

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