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with the bare minimum of css.
Despite not being beautiful, it is functional and its content is up to date; more projects are going to be published soon.
This film - a tribute to Lettrist cinema and in particular that of
Roland Sabatier - is a film governed by the life of the bulb, thus
offering a definition of cinema made up of a space (that of the
projection), of light (then of its absence) and of time (duration).
It is a film doomed to disappear, at the end of the projection, by the rupture of the filament of the bulb, but also in the long run following the progressive prohibition of production, in Europe, of incandescent lamps of which the halogen lamps are part.
installation/projection, carousel (analog) film, approx. 2000h.
At first glance, this edition presents a beam of light on a black
background. If you look closely you can see objects, silhouettes,
faces, landscapes... some clues offer the possibility to understand
that these prints are photographs capturing the instant of an electron
beam on the surface of a cathode ray screen. Thus revealing an image
in three times: fantomatic, present and future.
As the pages scroll, the title appears, /Stalker/, revealing the origin of the images. Each of them represents a tiny fraction of a shot from Tarkovsky's film, echoing this element that only quotes itself without ever revealing itself.
photo book, unique edition, 2018
FPS (Film Phase Screen) 24/25 is a project that explores the
intersection between analog film and digital telecine. The project
focuses on the subtle, fleeting essence that "flies away" when one
medium switches to another. It highlights this volatile, imperceptible
element, which is only revealed by the direct confrontation of film
The technique employed involves a deliberate temporal shift in shutter and projector rhythms between analog film and digital telecine. The film strip runs continuously at a constant speed of around 10 cm/s, equivalent to 24 frames per second. However, the mechanism for projecting one frame after another has been eliminated, allowing uninterrupted scrolling without intermittent shuttering. By capturing this continuous projection on the camera, the camera shutter, operating at 25 fps, reproduces the frame-by-frame display process. The difference in speed between the two mechanisms results in a regular image shift or framing effect.
The object of the project is a continuous, illegible film, embodying blurred, elusive information. It reflects the paradox of the slow, programmed disappearance of the film medium in favor of digital convenience. The film medium has inherent disadvantages compared to the ease of digital technology, and also carries a high risk of damage or deterioration.
The subject of the film itself is of lesser value, as it is a personal film made at home. However, it serves as testimony to a bygone practice and way of life, raising historical and archaeological questions in today's context. As a found film, it invokes the notion of archaeology as a science that destroys its own study material. In this installation, where the film image becomes invisible due to saturation, the action of telecine can be compared to an excavation, revealing the hidden element through the filter of a new shutter.
FPS (Film Phase Screen) 24/25, captures the essence of fleeting moments, explores the interplay of different temporal modalities and raises questions about the transition from analog to digital. It invites viewers to contemplate the impermanence of materials, the passage of time and the layers of meaning embedded in the act of preservation and transformation.
Projection/installation, (digital) sound film, 80', 2018
The aim of Fragment n°1: 9 liminal meters is twofold. First, it
invites the viewer to experience an element of cinematic language
recurrent in suspense films in an immersive aspect. It also presents
itself as a testimony of a shooting/performance in a 9 meter corridor,
at a speed of about 18 cm per minute.
Throughout the shooting, there is a sort of rite of passage where there camera (the viewer) is caught between two unknowns; what is behind - out of the back field - and what is approaching - the room plunged in the dark. - The camera (the viewer) thus becomes the present caught between the past and the future, that threshold that is constantly renewed throughout the progress.
The piece requires a physical and temporal commitment from the spectator. The slowness facing the capacity of concentration and there will of implication of the latter, without which the reading of this piece is not possible.
projection/installation, silent (digital) film, 50 min.
A détournement and pastiche of Sergio Leone's The Good, the Bad and
the Ugly, Endless West presents a temporal expansion, eternalizing a
moment of suspense from the original film, to the point of making it
unbearable and increasing the absurdity of the scene.
This endless film - it stops just before the shot - raises questions about relationships of expectation, both in the viewer's posture towards the film and in the desire for the denouement.
installation/projection, (digital) sound film, approx. 24 min.
Abandoned in 1966 and reputed to be haunted, the herring factory in
Hjalteyri, located in the north of Iceland, is today partially
transformed into an art center. Initially composed for this center and
to be heard in this same place, Glámur is inscribed in this
abandonment, in these deserted places, in the history of this small
fishing village of about 46 inhabitants.
This sound piece calls upon the Saga of Grettir, and is set in the region where the main character finds himself cursed after a fight with a ghost, Glámur. It reveals the sounds and sonorities of the ruined spaces, making them emerge as invisible elements whose presence comes to haunt and inhabit the place at times.
Today ex-situ, Glámur has been rethought in the form of a score so that it fits into the continuity of the ruin of the factory from which it originates, that it resists in time by reproducing itself.
Installation†, audio piece, 4 min 52
This is a situationist website. It might have something to
show… or not! Most of the content is hidden from the spectator…
Here is the original page.
Superproduction stands out for its unique experimental
approach, which consists of presenting only film production logos. The
screening of this film takes place just before the screening of other
This unusual approach, which defies the spectator’s expectations of cinema, poses a fundamental question: le film est-t-il déjà commencé ? (has the film already begun?)
In effect, the start of the real film is merely postponed, which may seem confusing to viewers. However, this method offers an opportunity to explore the opening of films as a liminal space, situated between the beginning of the projection and the beginning of the film.
Projection/installation, (digital) sound film, 80', 2016
The sun sets, the forest plunges little by little into darkness. This progressive blindness opens up an alternative perception; the image shifts towards the sound, leaving the latter only as a reference point. Experience of a forest whose veil only lets the invisible appear.
Projection/installation, (digital) sound film, 80', 2014
Hi, I'm Aurélien Mt., I'm a multidisciplinary artist based in France. Mostly used to work with cinematographic materials, I'm fascinated with their time relations and phenomenology.
Through my work I reflect on time and its modalities through the
cinematographic and new media art. My plastic research explores the
existing permeability between different constituent elements of
cinema, photography and sound.
Computers always has been my main tools, recently I started learning to code to explore the world of generative art as a step in the modality of future.
On the other hand, the projects carried out within the collective Union Pragmatique approach a reflection on the playful as well as the place of the young artistic creation and the economy in which this last one is registered.
I live and work in duo with visual artist Eunsoo Kim.