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в галерее la fab., прямо напротив bnf и соответствующего mk2, сейчас идет небольшая выставка фотографий йонаса мекаса — вернее, фреймов его кинопленок (если честно, я теряюсь, какой термин тут корректнее употребить. la fab. пишут photogrammes). там же у agnes b., в тогда еще просто galerie du jour в 1996 году, он впервые показал эти кадры в таком статичном увеличенном формате. вот милая цитата из каталога :

These images are from my films. But they are no longer my films. At the same time, they are not photographs. What are they, then ? They are my obsessions. I got obsessed with the possibilities of frozen frames. It began as a chance curiosity and then became an obsession. I don't really know what these images are. But I recognize them as part of my memory. And I like seeing them again, these fragments of memories.

I also know that such images wouldn't be possible to extract from the commercial cinema. They are possible only because of my single-frame filming style. That I find interesting and exciting. And I have to admit: I am hiding these images from Robert Frank. Last time I spoke with him, a few months ago, and obliquely mentioned what I was doing, he laughed and said, "Stay away from photography, it can be dangerous." But I know Robert is a very kind man and he knows that I have no pretentions to photography. I am, really, in no man's land and I have no idea where I am going and where this adventure will take me.



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в галерее la fab., прямо напротив bnf и соответствующего mk2, сейчас идет небольшая выставка фотографий йонаса мекаса — вернее, фреймов его кинопленок (если честно, я теряюсь, какой термин тут корректнее употребить. la fab. пишут photogrammes). там же у agnes b., в тогда еще просто galerie du jour в 1996 году, он впервые показал эти кадры в таком статичном увеличенном формате. вот милая цитата из каталога :

These images are from my films. But they are no longer my films. At the same time, they are not photographs. What are they, then ? They are my obsessions. I got obsessed with the possibilities of frozen frames. It began as a chance curiosity and then became an obsession. I don't really know what these images are. But I recognize them as part of my memory. And I like seeing them again, these fragments of memories.

I also know that such images wouldn't be possible to extract from the commercial cinema. They are possible only because of my single-frame filming style. That I find interesting and exciting. And I have to admit: I am hiding these images from Robert Frank. Last time I spoke with him, a few months ago, and obliquely mentioned what I was doing, he laughed and said, "Stay away from photography, it can be dangerous." But I know Robert is a very kind man and he knows that I have no pretentions to photography. I am, really, in no man's land and I have no idea where I am going and where this adventure will take me.

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