ASTON MARTIN DB2. Le Mans 1951. Slow Motion

Documentaire d'Archives a propos de la participation des Aston Martin DB2 aux 24 Heures du Mans 1951, face aux Jaguar C et Cunningham C2R.
#24 Aston Martin DB2; Parnell-Hampshire  7em
#25 Aston Martin DB2; Abecassis-Shawe Taylor     5em
#26 Aston Martin DB2; Macklin_Thompson    3em
#27 Aston Martin DB2; P.Clark- Scott       13em
#28 Aston Martin DB2; Mann-Morris Goodall     10em

"PANTHEON" .Film Bolex 16MM et 816. Paris 1986.

"PANTHEON" .Film Bolex 16MM et 816. Paris 1986.

Un Film Experimental de Jacques Fhima, en Kodachrome 40 et Noir  et Blanc. Une ascencion vers la nef Centrale du Pantheon a 82 metres du sol. Attention ,gare au vertige. Poursuite infernale entre une souris et un Professeur de Chimie qui se transformera en Mage. Ode a l'Architecture et a la peinture neo-classique. Tourne en plein hiver avec un soleil d'enfer.  Comediens: William Abello et Jacques Fhima. Production GOUMEN et Abello.

 

 

 

Le Portrait de Marguerite Gauthier

Le portrait de Marguerite Gauthier. Video 8mm Couleur
Muet et Sonore de Jacques Fhima. 1988

Realisation d'un film loufoque et dejante par la bande des Goumen de l'epoque en Video 8mm, avec Ariane Licha, William Abello, Jacques Fhima, Christophe Sartori, Francois Prudhomme..etc
Dans les premiers decombres deblayes du Studio Goumen, 2 bis Cite Aubry, par force travail, en lumiere naturelle, a l'ancienne parcequ'il n'y avait pas encore de toit. Une petite perle a decouvrir car jamais edite tel quel.

 C'est l'age d'or du Studio Goumen, ou tout est permis et ou on se permet tout. Fucus entre la reparation du toit et Abello entre deux decors, ainsi que Sartori, en profitent pour faire un film dont le fil conducteur est un portrait photographique du debut du siecle dernier, taxer a Bernard le broc. Un regal de clownerie et d'impros.

RAMDAM, Studio Goumen 1992

RAMDAM, FR3, 1992.

Realise par Anne Pastor pour FR3, Le Premier et magistral documentaire sur le Studio Goumen, donnera au lieu son assise et sa reconnaissance definitive dans le monde de la creation et de l'imaginaire. Goumen est ne d'un reve impossible sur les ruines d'une usine de fabrication de meubles appartenant a Melle Septfons. (voire historique). Dans un prochain post je publierais les rushs concerves dans la Cinematheque Tarkus, mais pour le moment regal de quelques minutes.

MY OWN PATH

My most important influence in term of concept in Art and Philosophy came from the Dadaist and the Situationist.I start writing text and manifests, poetry and collective revue, performance and experimental movies. At the beginning of the 70's i was already in search of the possibility to capture space and time with a little pocket camera, some pencils and a typewriter . I was too young to be involved in events, but i succeed to get in places like the Modern Art Museum of Trocadero, The Grand Palais, The Museum d'Histoire naturelle du Jardin des Plantes, Le Musee des Arts Africains et Oceaniens de la porte Doree.I was curious about  anthropology  and topography of the City, the Library and the Bookshops where in the Center of my approach of New Art Models. I was a complete autodidact, and my culture was Mosaic and novice.....I had nobody to ask the way, i made my own path....

As far as I remember myself, i am  and will always deal with space and material.
My work is very close or similar with the work of Archeology. I look at the place i am and try to understand the component , and then the composition. I search for the material and through it understand the history of the space. The second thing is that i love books, or more precisely paper and every printed material....from writings to comics book.
In the early years,  I start to edit kind of fanzine, one copy magazine made of collage and text. My room started to be an Encyclopedia Library of what is possible to find in the street, and the garbage of Paris where very rich of treasure for a creative child. I was not afraid to carry from Opera to La Bastille tones of magazines, books , piece of woods.....my bag was always full.
So i was very aware very early, of what is composition, creation, plastic art...because of an eternal curiosity, i was always finding myself in the Museum, i made friend with some people in Beaubourg and getting free entrance to see exhibition of contemporary Art...I was involved with project dealing with artistic capacity in school and outside....never stop searching, creating, writing and be in communication with this world who became very familiar to me......

My first big work started the 4th of July 1977 and was called "Investigation" by Goumen Produktion.
I was working for a summer job for IBM, and was in contact with the first photocopier.....for one month the copier never stop to work......i was printing everything I found....every text, every picture.....it was a crazy work of copyist, between 1000 to 1500 copies......
After this experience, I was always looking for a job that put me in contact with some printer......

In October or November 1977, in the closet of a friend house, I found my first movie camera...i ask if i can take it and i make my first movie in 8mm, and i never stop still 1998...one movie a week, 20 years of non stop filming in this format.....

Looking for a place to create;
My room was not big enough, so in 1983 I start to investigate the City for a big place, usually abandoned to film, picture, built or create.......in 1985 , in the winter i enter a big factory who was burn down, and without no permission, i start to work in it....after 3 years it became a big Artist factory and i stay in till 1995......my brother continue for ten more years....the place has been demolished one year ago......

So with all those process, i develop my own techniques, accumulate, analysis of the place, creativity and presentation to a public or a different source.....I left behind me, the memory of me; construction, experience, knowledge, solidity.

In fact my conclusion can be the word; Memory.

 

 

PRELIMINARY MANIFESTO FOR THE CONSTRUCTION OF A SITUATION APPLIED TO GOUMEN.

PRELIMINARY MANIFESTO FOR THE CONSTRUCTION OF A SITUATION
APPLIED TO GOUMEN.

The concept GOUMEN of a "constructed situation"
is not limited to a single use of artistic means contributing to a "mood" , so great can be the spatio-temporal extent and strength of the atmosphere.

The situation GOUMEN is in the  same time, unit behavior in time.

It is made of actions contained in the decor of a gesture moment. These gestures are the product of decor and themselves. They produce other forms of decors and other gestures.

How can we direct these forces?
How can we contribute to the construction of a situation GOUMEN?

  We will not settle for empirical testing environments which we expect surprises, by mechanical provocation.

Actually the experimental direction of the activity of GOUMEN is the establishment  from desires more or less clearly recognized, a favorable field of temporary activity to these desires.

Each of those who participate in this adventure to find a field of positive activity, has the listening of the general atmosphere to realize.

Everyone should get what he loves, what attracts and what matters , is not the individual structure of the mind, or the explanation of its formation, it  is its possible application in Goumen constructed situation.

POST CARD FROM THE PAST

Post Card From the Past

the 17 September 2013 I receive from the south of France a Package containing all the post cards that i send for 20 years to my friend Michel F.

 He wrote me a proposition of text for the exhibition.

Meanwhile, two old still young friends threw between them a deck of post cards. They had never stopped writing since they met at a tender age, never ceased to make the strangest packages, to make travel  books and words, to put themselves at the service of the universal diaspora of human documents . They constantly had their papers in an imaginary customs tolerated smuggling impressions.
So these postcards, the case of one of their games. They said this to each of the editors, the immediacy of a fleeting vision, the revelation of a personal trait or fancy a whim.
They were, and remain, these postcards, precisely contemporary. Stamped with the image of countries that no longer exist, sometimes beyond the occlusion, leading to see images of a world removed. Both anachronistic, timeless and can no longer dating, they would sneak between Israel and France in ultra-modern aircraft as stowaways poetry. And all, they reached their destination as air. So yes, contemporary, as improbable.
Today, they are liable, an invitation to travel through time and space and would recall that life likes to slip into the gaps, against any rapid normalization of trade.
Write to us, we will answer!

Jacques Fhima and Michel Francesconi

THESAURUS ICONOGRAPHIC IMAGINARY

THESAURUS ICONOGRAPHIC IMAGINARY

Extend memory beyond the subjects, the circumstances of the biography.
Preserve, pack, glue, tie, these lined notebooks, these typed sheets
On archaic typewriters. These yellowed photos, letters, diaries, photocopies, cigarette packets, scraps of paper scrawled, no words, sections cut, removed, stolen, borrowed, never returned, in barns, abandoned houses in the dustbin of history.

RANDOM ENCYCLOPEDIA UNIVERSAL
Archive leftovers, scraps, traces, layers, residues lived abstract events out of context, removed from oblivion, the destruction by the physical operation reordering documents in another form; archaeological physical operation .

COMPILATION Heterogeneity of SIGNS
This is to give to searchers of the future the possibility to detect, discover debris, bits of history, biographies of these texts and associated images, these writings and cries of revolt of leaflets, these poems, these signs once pure, ready-made memory senseless relics removed in time, unstable fragments and eternal poor and precious as any archaeological fragment.

IMAGE STORAGE UNLIKELY 

 Monument of paper, stamps , labels , tickets, invitation cards , words leave on the door , photos - warder , self portraits , sketches and studies in charcoal, pencil, with a ballpoint pen , scripts, texts sing for radio and television.

 ARCHIVES anachronistic of the TIME
All these are in the form of newspapers , pictures, video, windows , consisting of random accumulation of documents, photo albums, journals packages tied and coated edges. DIRECTORY semiotic  of TRACE 
Note the thickness of certain documents, by dint of being taken and retaken , glue and glued on canvas
various media . Note also overlays that create distance , monochrome with bursts of color, colorized copies by hand , print on transparencies, official documents and letters of insult. 
SEMANTIC STUDY OF REGISTRATION 
It is reinventing the Codex. Before that, the archives were isolating them within crates, cartons, crammed into folders has straps and Codex arises outdoors , serial , showing its contents never identical and layers of history . 

ANTHOLOGY STATEMENT OF PRINTS .
Today , here are the " memory - portraits " , notebooks objects, objouets boxes , imaginary books, cards, accumulated , these sketchbooks , photo albums without these dateswhere label temporarily. 

GLYPTOGRAPHIQUE SAMPLES of WRITTINGS 
We can move between these stelae memory, these poses albums on writing cases , these books flick . But we will not see everything, because there are many documents , this is just the Heart of accumulation on the walls collages, " vitrin'arts " originals before printing.

 Pixelated videographic SEQUENCE
 It is in every sense of the term hermetic . This is a more or less complete picture of the person through the history of the time. It is something that has a little more chance to pass the course of time. It's random posthumously.
If you look , you casks that you turn around writing desks , while the most insignificant becomes important , chance becomes requires , subjectivity becomes objective , the Archive has a chance of survival Viewers little désenfouir and once buried , remember, be the archaeologist dig this field , farm open or freezes time with glue, ink, tape, and the weak or archive delivers his message after the test of time .Architecture in this museal space, Archive Random gives testimony , a new light on the memory in which each project their memories.

I refer to the model of archeology which aims to analyze and reconstruct intellectually human societies of the past, focuses on the history, anthropology, ecology, science and the arts, and takes into account the level "empirical objective " of elements as varied as technology and their association, then all the equipment up to the level of constitution with the operating systems of natural resources, leading to adaptation and environmental change.

Model also studied systems of location, distribution and organization on the remains and traces furniture and buildings, without neglecting the so-called artistic productions.

Archaeology which finally aims at a theoretical level, to define the elements of a scientific understanding of social structures and various ideological representations to define and interpret historical changes and the spatial dynamics of culture.

DANIEL JOFFE

Daniel Joffe

Mon Pote Daniel, mon ami, mon copain,
Tu es parti sans nous quitter, le 25 mai, j’allais dire le 25 mai 1871,
Tu es tombe dans la rue, sur une autre barricade, comme si la commune etait hier,
Tu vas nous manquer mon pote Joffe, les cafards ne dansent plus pareil,
Les orchestres de grenouilles, de fabliaux et de contes se sont tus,
Ils te rendent hommage dans une pirouette, cacahuettes.
Mon ami Iconographe, Cinematographe, Bibliographe,
Cinephage, Anthroposophe, Pataphysicien…
Un des rares a ne m’avoir jamais aussi bien compris, Je veux dire, ils sont si rare
Mes amis de route, mes amis de parcours, poete Dadaiste, le poing leve.
Tu vas me manquer mon copain, tes encouragements, tes adjectifs, tes revoltes.
La rue etait silencieuse hier, comme si les dernieres balles avaient crepites…
Tu es parti hier sans nous quitter, mon pote Joffe, mon camarade artisant,
Mon ami de coeur, mon professeur, initiateur, jamais battu, jamais absent.
Ton banc reste vide, je reste ici a regarder la rue et les passants transparents
Qui te traversent.
Tes mots, tes rires, ton acharnement a dire toujours les choses comme elles sont
Et non comme elles sont bien pensees, bien pensantes.
Merci l’ami, d’etre alle jusqu’au bout, jusqu’au bout de toi meme, de nous avoir
Convaincu que tout peut etre depasse, et qu’il faut se moquer de tout, surtout de la mort.
Mon Pote Daniel, je suis si triste et si heureux de te voire enfin libere, enfin libre.
Mon pote Daniel, j’embrasse bien fort Daniela, nous la serrons tout contre nous,
Nous resterons fideles aupres d’elle, comme elle l’a ete aupres de toi.
Daniel, Dany le rouge…Je chante pour toi, de tout mon coeur de toute mon ame…
A bientot l’ami, je sais , je suis sur , un jour nous nous retrouverons.
Que le souffle de la Mer t’accompagne, Corto n’est pas loin….
Forza !

Jacques Fhima, Gaby, Ella, Nina.