"Musée du Jeu de Paume" in Paris. October 2011, 19. - In the extension of exposure, screening at the Jeu de Paume museum mounting reconstructed and filmed by Neil Selkirk, Doon Arbus, " A slide show and talk by Diane Arbus "(1970).
The photographer comment, to an audience with students, newspaper clippings and photographs that have unusual caught his eye and it retains by pinning frequently on the walls, like a potpourri. In the process, it also evokes some of his own photographs.
Twins. Transvestites. Characters camped in their interiors. The images change. Derisory. Sometimes funny. Surprising. It bathes in full " uncan ".
The original soundtrack is punctuated by the laughter of students. Of those who betray laughter trouble, embarrassment, the "excitement" (in the etymological sense of "nervous").
This laughter, I remember having heard of such, then a student of philosophy I followed to the Sainte-Anne psychiatric presentations of patients held as part of a course of "semiotics of mental illness." Nervous laughter, caused by the exhibitionist side (and "unhealthy") of this curious protocol. - At the time, I was not part of the laughing. I watched it all: doctors at work, the sicks and how they amplified demand medical, in turn, become hysterical.
The "show" is punctuated by Diane Arbus from one side of its own laughs. It reacts to the content of the pictures exhibited in his own speech, the reactions of students. This is a very unique laugh. On the laugh is heard, listen and feeds on itself. A laugh ultimately very controlled, so theatrical and led the way to a game it always tends to perch his audience. Repeatedly punctuated the remark ("Why are you laughing?" - This obviously she knows !), His own laughter also serves to boost the hilarity of the students.
It's ironic. It's joyful. It is unbridled. Is ambiguous. It is as if the laugh alone could be up to the monstrosity of life.
The photographer comment, to an audience with students, newspaper clippings and photographs that have unusual caught his eye and it retains by pinning frequently on the walls, like a potpourri. In the process, it also evokes some of his own photographs.
Twins. Transvestites. Characters camped in their interiors. The images change. Derisory. Sometimes funny. Surprising. It bathes in full " uncan ".
The original soundtrack is punctuated by the laughter of students. Of those who betray laughter trouble, embarrassment, the "excitement" (in the etymological sense of "nervous").
This laughter, I remember having heard of such, then a student of philosophy I followed to the Sainte-Anne psychiatric presentations of patients held as part of a course of "semiotics of mental illness." Nervous laughter, caused by the exhibitionist side (and "unhealthy") of this curious protocol. - At the time, I was not part of the laughing. I watched it all: doctors at work, the sicks and how they amplified demand medical, in turn, become hysterical.
The "show" is punctuated by Diane Arbus from one side of its own laughs. It reacts to the content of the pictures exhibited in his own speech, the reactions of students. This is a very unique laugh. On the laugh is heard, listen and feeds on itself. A laugh ultimately very controlled, so theatrical and led the way to a game it always tends to perch his audience. Repeatedly punctuated the remark ("Why are you laughing?" - This obviously she knows !), His own laughter also serves to boost the hilarity of the students.
It's ironic. It's joyful. It is unbridled. Is ambiguous. It is as if the laugh alone could be up to the monstrosity of life.
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