In parallel to the project Auguste Orts, Through free association, presented at Cinema Dynamo since the beginning of June, this screening includes three further films by Sven Augustijnen and Manon de Boer. It will also be the occasion for the artists, after the screening, to discuss their practices and Auguste Orts, their production and distribution platform, founded in 2006 in collaboration with artists Herman Asselberghs and Anouk de Clercq

Sven Augustijnen, Le guide du parc, 2001, video, color, sound, 36′
An unusual visit of the Parc Royal in Brussels. Beyond some information on the historical facts and sociological documents, the guide in this fake documentary introduces us to the habits of the parc’s gay scene, taking his time, slowly – and humorously – making us discover the hundred details of the parc’s ‘social life’.

Manon de Boer, Dissonant, 2010, 16mm transferred on video, color, sound, 11′
In Dissonant, Manon de Boer films dancer Cynthia Loemij while the latter dances for about 10 minutes to Eugène Ysaÿe’s 3 sonates for violin solo – a piece that holds vivid memories for her. The camera follows her every movement and stops each three minutes at the end of the 16mm roll, which thus defines a physical time limit. While the sound of it is audible, the screen stays black, allowing the viewer to project his memories of the body moving into space.

Manon de Boer, Sylvia Kristel – Paris, 2003, film super 8 transferred on video, color, sound, 39′
Sylvia Kristel – Paris is a portrait of Sylvia Kristel, best known for her role in the 1970’s erotic cult classic “Emmanuelle”, as well as a film about the impossibility of memory in relation to biography. Between November 2000 and June 2002 Manon de Boer recorded the stories and memories of Kristel. At each recording session she asked her to speak about a city where Kristel has lived: Paris, Los Angeles, Brussels or Amsterdam; over the two years she spoke on several occasions about the same city. At first glance the collection of stories appears to make up a sort of biography, but over time it shows the impossibility of biography: the impossibility of ‘plotting’ somebody’s life as a coherent narrative.
Manon de Boer decided to only use two stories and one city – Paris – and not to edit them in their chronological order. While Sylvia Kristel’s and the viewer’s memory are questioned, an element of doubt is introduced.