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\"long_desc\": \"Pervaded with references to Max Ophuls' classic film <i>Letter From an Unknown Woman, Nostos I<\/i> uses video to explore obsession, the imaginary and memory, relating the cinematic apparatus and the psychical apparatus. Kuntzel describes this work: \\"Three people, or rather three silhouettes of rare objects — frames, windows perhaps, a[n] illustrated manuscript — and a few minimal actions: pages being leafed through, someone sitting down, someone lying down, getting up, crossing a space, lighting a cigarette, a head turning, a mouth opening, someone looking around. There is hardly any representation in <I>Nostos I:<\/I> just enough to tip-toe around the edges of analogy, illusion, under the image and in between images.\\" Unfolding as memory traces and dream images, figures and objects appear and disappear, decompose and recompose; disjointed fragments evolve in continuous transformation and manipulations of light and time. Raymond Bellour refers to the \\"traces that memory leaves behind, wipes out and recaptures again, the agitation and pain of a memory at work... The spectator, projected outside himself, comes to experience the functioning of his own mind.\\"\",
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\"short_bio\": \"French film theorist and artist Thierry Kuntzel is among the major contributors to the textual analysis of film. His theoretical texts apply psychoanalytical and semiological constructs to examine the relation of filmic and psychical apparatuses. Kuntzel's haunting video works, which unfold as elusive dreams, explore perception and representation, memory and the unconscious, in relation to the codes of cinema, photography and painting.\",
\"long_bio\": \"French film theorist and videomaker Thierry Kuntzel, whose distinguished writings are among the major contributions to the textual analysis of film, also produced an original body of videotapes and installations. Kuntzel's theoretical texts propose significant applications of psychoanalytical and semiological constructs as elaborations of the relation of the filmic and psychical apparatuses. Among the concepts that he elucidated in the context of the cinema are condensation and displacement, defilement, the imaginary and the unconscious, the \\"dream-work\\" and the film-work. \r\n\r\nIn the late 1970s, Kuntzel shifted from the analysis of film to the production of video. Minimalist in representation yet richly layered in suggestive content, works such as <i>Nostos I<\/i> (1979), <i>Time Smoking a Picture<\/i> (1980) and <i>Le peintre cubiste<\/i> (1981) use video to uncover the essence of the perception of reality and representation, memory and the unconscious, in relation to the codes of cinema, photography and painting. Employing the transformative potential of video technology, these evocative works unfold as elusive, implied fictions, visualizations of shifting passages of time, light and movement. \r\n\r\nRaymond Bellour has observed that for Kuntzel, video becomes a medium analogous to Freud's \\"magic writing pad,\\" a means of transcribing the unconscious processes of the psychical and the real. His tapes are informed by use of the <i>paluche<\/i> — a miniature, portable camera that functions as an extension of the hand, rather than the eye. Indeed, Bellour has written that it was the \\"paluche, and its 'writerly,' even calligraphic, qualities that inspired Kuntzel to make the leap from film theory to video art.\\" Grounded in discursive theory, Kuntzels' video works also resonate with a haunting poetry. \r\n\r\nKuntzel was born in 1948 in Bergerac, France, and died in 2007. He studied philosophy, linguistics and semiotics with Roland Barthes and Christian Metz at l'Ecole des Hautes Etudes en Sciences Sociales, where he earned a doctorate. He was head of the Research Division of both the French Radio and Television Office (ORTF) and Institut National de la Communication Audiovisuelle. He produced a number of experimental video works in conjunction with the Departement des Programmes at the Institut National de l'Audiovisuel in Paris. Kuntzel taught semiotics of cinema and textual analysis of film at the University of Paris; the Centre d'Etudes Americain du Cinema, Paris; and the State University of New York, Buffalo, among other institutions. His writings have been widely published, appearing in such journals as <i>Camera Obscura<\/i>, <i>Revue d'Esthetique,<\/i> <i>Communications,<\/i> and <i>Quarterly Review of Film Studies.<\/i> His video work was the subject of a 1984 retrospective at the Centre Georges Pompidou, Paris, and has been exhibited internationally at festivals and institutions, including the University Art Museum, Berkeley, California; Paris Biennale; American Center, Paris; The Museum of Modern Art, New York; and the Stedelijk Museum, Amsterdam. Kuntzel lived in Paris until his death in 2007.\",
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\"notes\": \"Per Lori in an email from 7\/31\/15 (re ESS), Kuntzel's estate is being held by INA in France. Further information pending... (RC, 1\/11\/16)\r\n\r\n\r\nArtist is deceased. Most recent gallery was Yvon Lambert.<p>\r\n\r\nFormer Gallery was:<br>\r\nXL\/Xavier LaBoulbenne \r\n 504 West 22nd Street, New York, New York 10011 \r\n telephone: 212-462-4111, fax: 212-645-7656\r\n\r\n\r\n<br>As of 2\/08 the estate is still being settled. Please hold all royalties.\",
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\"credits\": \"With the participation of Andre Colas, Randall Coleman, Joel Meillier, Marie-Christine Moreau, Marie-Claude Rajon, PhillipeStollsteiner. Produced by Institut National de l'Audiovisuel (INA)\",
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Screening Lists and Schedules
Feb 26, 2002
Screening list for retrospective of early video works from the EAI Archives presented by MoMA in February 2002.
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