Marine Hugonnier
Marine Hugonnier: Field Reports
Museo Guggenheim, Bilbao
Oct 27 - Jan 21, 2024
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.
We’re delighted to present a joint project by Bombon, Galeria Joan Prats and NoguerasBlanchard in Fonteta, a small village in the Empordà region from June to September.
The exhibition, conceived in two chapters (the first opening June 18th and the second August 7th) brings together artists from three different generations. The proposal begins with a concept from the Empordà Parar la fresca (to take in fresh air) described by Josep Pla in the book Las Horas (The Hours), 1953.
DiscoverThe works proposed in the exhibition relinquish painting’s classical condition and elaborate new narratives on the pictorial medium and its cosmologies.
DiscoverThe exhibition seek to establish a critical sense, a “politic of vision” of the flux of images we are surrounded by and have the secret project to find sacredness in the profane.
Discover“The press is a watchdog. Not a lapdog. A watchdog. Now, a watchdog can’t be right all the time. He doesn’t bark only when he sees or smells something that’s dangerous. A good watchdog barks at things that are suspicious.” -Dan Rather (American journalist and a former anchor for CBS Evening News)
DiscoverThe artist introduces a temporal dimension to the exhibition space by changing the work each day thus creating 26 different works during the 29 days of the exhibition.
DiscoverNoguerasBlanchard is delighted to present Marine Hugonnier’s (Paris, 1969) latest film The Secretary of the Invisible.
DiscoverNogueras Blanchard presents a new production of Marine Hugonnier, Travelling Amazonia. This project consists of a film and several photographic series that arise from their research on the geography and history of Brazil.
DiscoverDrag