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MAISON DE LA POESIE
Passage Molière
157 rue Saint-Martin
75003 Paris

du mardi au samedi de 14h à 18h
Samedi 25 octobre - 20H00

La gratuité accordée aux visiteurs munis d'un billet YIA Fair pour l'exposition de Chrystel Egal.

5 euros pour la projection du film d'Ernest Pignon Ernest le samedi 25/10 à 20H00 (sur réservation auprès de la Maison de la Poésie)

Projection du film La pâques selon Ernest Pignon-Ernest et rencontre avec Ernest Pignon-Ernest et Luca Avanzini.

Film tourné à Pâques 2013 à l’occasion du 25ème anniversaire de la première interventiond’Ernest Pignon Ernest à Naples.
Film réalisé par le collectif Sikozel (Luca Avanzini, Simone Rigamonti, Matteo Berardone, Federico Cavalleri, Amandine Robinet)

Italie/France
Durée : 28:22
Année : 2014
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La pasqua secondo Ernest Pignon-Ernest (Easter according to Ernest Pignon-Ernest).

What remains of an ephemeral artwork such as the one created by Ernest Pignon-Ernest? That's the question we pondered while discovering the work Ernest Pignon-Ernest did in Naples between 1988 and 1995, when he glued hundreds of drawings made out of newspapers in the streets of the historical and popular centre of the city. These ‘paper shrouds’ played on the collective memory of the places, reviving the history and mythology kept in these walls for centuries, while being at the same time destined for a fragile existence.These full size black and white figures, appeared to the Napolitains at sunrise, they represented the relationship between life and death, illustrated in the christian culture with the iconography of the Christ’s Passion.

Ernest Pignon-Ernest glued the first images during the Easter's week of 1988. Twenty five years later, we went to the city to meet the Napolitains, to record the citizen's memories of this experience. Using a video-projector, we projected during the three days of Easter 2013 images of some of the Pignon-Ernest’s drawings in the same place where the artist had glued them. Just as Ernest Pignon-Ernest's images reactivated urban memory, our projections aimed at reviving the memories of those «appearances».

The Napolitains’ testimonies gathered by vox populi in the city' streets showed - many years later - the impact and permanence of this artwork. Thus, the concept of Easter, as understood in its etymological acception of «passage», is present not only in the choice of christian iconographic subjects representing the continuous circle of life and death, but also in the existential course of the artwork.

The drawings have lived, on the walls and in the daily life of the inhabitants; they have disappeared under the weight of time to finally rise again in the collective representations, by becoming an integral part of the local collective memory.

The documentary is divided in three parts relating to the different phases of the artwork. The first part describes the work of Ernest Pignon-Ernest through the words of the Napolitains who were close to the artist and knew of his interventions. After the evocation of the artwork’s life, Ernest Pignon-Ernest explains from his atelier the choice of intervening in Naples, of addressing the theme of death and of the ephemeral nature of his work. To conclude, the testimonies gathered in the streets in front of the projections show that those images have only disappeared physically but continue to live in the memory of the population.

This documentary is finally the account of a quest for an immaterial heritage; an heritage carried by the voice of the historical and popular centre’s inhabitants, to whom Ernest Pignon-Ernest devoted his drawings and who have today become custodians of that heritage.

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(my) mandalas, Chrystel Egal du 23 au 25 octobre.
Une proposition de Marie Gayet