Marine Hugonnier’s work is a cinematic research in the field of politics of vision which reoccur in her work and constitutes its uniting thread. Her work moves transversally across feminism, gender fluidity, anticolonial and posthuman positions, challenging various problems of representation looking for a refiguration of the technologies of representation and another regime of images.

Although primarily a filmmaker, her practice includes photographs and works on paper. Her early films discuss the military gaze, the tourist gaze, the dominant gaze, the question of the author, the medium of film itself and finally journalism in the realm of aesthetic. Her most recent films despite differing in their inception and in their modes of production, research the possibility of representation of the non-human gaze, formulate a critic of heteronormativity and investigate the dismantling of structures of power. Her works are an attempt to deconstruct the inherent complicity between the gaze and political ideology and form a social critique of the gaze.
Hugonnier’s filmic works also investigate the technicity and the materiality of film. They are an in-depth exploration of its mechanics. The fruitful tension between illusion and materiality and its experience constitutes the nucleus of her work and foregrounds an inquiry which articulates a dialectic between the observer and the observed.
Cinematography plays an important component of Hugonnier’s work, as transforming the light reflected from objects into pictures involves mastering and understanding the implications, both technically and ideologically, of every component of film or image making. The questions of what is representable and unrepresentable, if representation ontologically always refers to colonisation, what meaning processes of image making have and how cinematography should be a reflection of this thinking, are at the core of her work. Thus, her unconditional engagement and dedication to film, cinéma and art outlines the profile of an artistic practice that understands filmmaking and art making as a transformative and seditious act.

Selected works

Antonio Negri

2019
16mm film

La Vijanera

2019
16mm film

Apicula Enigma

2013
35mm film

Ariana

2003
16mm film, sound

Cinetracts

2012-Ongoing
HD video

Desire Is Not Much But Nonetheless…

2015
16mm film

Death of an Icon

2005
16mm film

Giverny’s Cusp

2019
35mm film

MAY 13, 1968

2011
16mm film with sound

The Last Tour

2004
16mm film, sound

The Secretary of the Invisible

2007
16mm film, sound

Travelling Amazonia

2006
16mm film, sound

Pan Am Bali | Housed in Washington, District of Columbia - 12.05.2013

2019
C-Type print
184 × 124.6 × 7 cm ( 72 716 × 49 116 × 2 34 inches )

Pan Am France | Housed in Chicago, Illinois - 21.10.2015

2019
C-Type print
184 × 124.6 × 7 cm ( 72 716 × 49 116 × 2 34 inches )

Pan Am Japan | Housed in Berlin, Germany - 09.11.2014

2019
C-Type print
184 × 124.6 × 7 cm ( 72 716 × 49 116 × 2 34 inches )

Art for Modern Architecture - Mundo Diario: Franco’s death (20.11.1975), TeleExpress: Franco’s death (20.11.1975), El Noticiero Universal: Proclamation of King Juan Carlos (20.11.1975), La Vanguardia: Franco’s death (25.11.1975), La Vanguardia: Proclamation of King Juan Carlos (28.11.1975), Pueblo: Election of the PSOE Party (16.06.1977)

2011
Silkscreened Rives paper onto vintage newspaper
43 cm ( 16 1516 inches )

Art for Modern Architecture -The Iranian Revolution in 1979

2011
Silkscreened Rives paper onto vintage newspaper

Art for Modern Architecture (Mai 1968)

2017
Silkscreened Rives paper onto vintage newspaper
80 × 62.5 × 4 cm ( 31 12 × 24 58 × 1 916 inches )

Instantanés (Le studio)

2012
Polaroid
128.5 × 109 × 4.5 cm ( 50 1932 × 42 2932 × 1 2532 inches )

Les Actualités (Week of March 31st to April 6th, 2008)

2008
Newspaper cutouts and collages
60 × 5 cm ( 23 58 × 1 3132 inches )

SONIC MIRAGE I

2013
Images and paper clips onto the second reproduction of John Cage’s lost original score of the 4’33’ silent piano piece

Towards Tomorrow N1 (International Date Line, Alaska)

2001
Lambda print mounted on aluminum
300 × 180 cm ( 118 18 × 70 78 inches )

Victor Eugène de Papeleu / Marine HugonnierL'Effet de minuit en Norvège 68e latitude / L'effet de minuit en Norvège 40o de latitude

Circa 1860/2020
Oil on maple wood board, condition reports
46 × 129 × 6 cm ( 18 18 × 50 2532 × 2 38 inches )

Mountain with No Name #1 (Pandjshér Valley, Afghanistan)

2003
Lambda Print
133.3 × 126.4 cm ( 52 1532 × 49 34 inches )

Studio (London)

2012
Polaroid
36 × 32 cm ( 14 532 × 12 1932 inches )

Installation

Calculated chance

2019
Societé
Brussels

Podría ser (una flecha)

2018
Fundación Jumex
Ciudad de México

La dissidència nostálgica

2017
La Capella
Barcelona

Nectar: War upon the Bees

2016
Pratt Manhattan Gallery
New York

Presque Rien

2015
Marian Goodman Gallery
Paris

Apicula Enigma

2014
BALTIC Centre for Contemporary Art
Gateshead

1979

2010
La Virreina Centre de la Imatge
Barcelona

Time as Matter

2009
MACBA
Barcelona

Marine Hugonnier

2007
Kunsthalle Bern
Bern

Exhibitions

One strike, everything is scattered

Madrid
Jun 13 - Oct 31, 2020
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Flatland

Madrid
May 26 - Jul 28, 2018
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LE CINEMA A L’ESTOMAC

Madrid
Nov 25, 2017 - Jan 13, 2018
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WATCHDOG-LAPDOG-PLAYDOG

Barcelona
Apr 02 - May 07, 2016
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Apicula Enigma

Madrid
Sep 14 - Nov 08, 2013
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Coverage (blue cyan green yellow red magenta black)

Barcelona
Sep 15 - Oct 26, 2011
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The Secretary of the Invisible

Barcelona
Jan 28 - Mar 21, 2009
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Travelling Amazonia

Barcelona
Jan 27 - Mar 25, 2006
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