Jean-Pierre Bertrand and Films
Initiated with the twin references to Robinson Crusoe and Jorge-Luis Borges, and associated with the number 54 and lemons, the production of Jean-Pierre Bertrand has developed a space that belongs to him alone.
Something occurs when vertical planes of bright red or pure white are combined in the space with the epidermic contact of a sheet of honey paper coated with acrylic paint and a sheet of Plexiglas. The reds or Schems veneered on the walls, indicating sequences and intervals, imbue the architecture with energy and alter our perception.
Since the 1970s, cinema has played a more important role than simply accompany Jean-Pierre Bertrand’s work – it is present in its very essence. Using 16mm experimental films, video installations and the documentary format, Bertrand has created a form of exchange and dialogue between the exhibition and moving images. As this cinematographic work remains largely unknown, or confined to a genre, the encounter offers the opportunity to see or enjoy again some of his films and to discuss them in a broader presentation of his work, featuring the alternation between exhibitions and films, questions of form and format, and the striking and resonant voice of the artist both on and off the screen.
