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How long
did we share here in Europe the idea of the American Dream?
I don’t know for sure, but since the war in Iraq,
a frigthening cloud known as “La nuit Américaine”,
is darkening this dream, that so many Europeans shared with
the Americans.
“La nuit Américaine [or] Day for Night”
- in English “The American night [or] Day for Night”
- is an exhibition about art and cinema, reality and fiction,
love and hate, but especially an exhibition about the growing
influence of America on world-culture. An exhibition as
a reaction to the war in Iraq, a war not legitimised by
the United Nations. Moniek Voulon, the organizer of this
exhibition, and the other participating artists - born in
Iraq and Iran, USA and UK, Italy and South Africa, Holland
- think it important to make a statement about the political
situation in the world.
Truffaut and refers to the process day-for-night. As expressed
in “The Complete Film Dictionary” by Ira Koningsberg
[London 1997], “it is shooting in daylight but
achieving the effect of night through one or more of the
following: underexposure, filters or printing. Such shooting
takes place when it is difficult or too expensive to shoot
at night”.
Truffaut’s movie is far from a political statement
but it is in a sense the best poetic reference to the Nouvelle
Vague. A program that according to Voulon perhaps
has found its best realisation in the political oriented
movies of Truffaut’s colleague and friend Jean-Luc
Godard. Because there, the fiction of the illusion seems
really integrated with the facts of the real.
Voulon wants to interfere in our day-to-day political life,
using not very fashionable aestethics. Some feel that the
cinematographic metaphor has been made innocent by the development
of the modern digital possibilities and structures.
But Voulon knows better. The real and the fiction must not
be addressed as different attitudes, because the real is
a function of fiction and fiction is a function of the real.
In using the program of the Nouvelle Vague, characterised
by a mix of the tradition of European film culture and of
a Hollywood-nostalgia, she can reflect the discussion and
different positions relating to the war in Iraq. She realises
that La nuit Américaine, the exhibition,
could provoke a new vision on warfare in our days.
The exhibition in Arti et Amicitiae is distributed over
six rooms dominated by two central spaces, left and right,
spaces that Voulon in her preparation related to as “Mecca”
and “Jerusalem”.
Two central spaces as allusions to the places that play
a vital role in the necessary solution of the Mid-East political
conflict. In the left space we feel a sense of “Mecca”,
in the right space something of “Jerusalem”,
with the words Day and Night written on the wall. With a
Wittgensteinian text on her own black cube, Voulon gives
this exhibition a very urgent motto: “The World.....”
Paul Groot, 2004 / Introduction in Catalogue |
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