Pierre Hébert, a gifted disciple of McLaren, is a Canadian experimental creator with an outstanding track record. His work, as interesting as it is unknown here, quickly found its own language, moving from his first camera-less films to his most recent digital work. As well as marking the 100th anniversary of Norman McLaren’s birth, this selection, proposed by Hébert himself, presents two interrelated careers and traces one of the possible filiations between the work of these artists through music.
Begone Dull Care, N. McLaren, 1949, 7 min 52 s; Blinkity Blank, N. McLaren, 1955, 5 min 17 s; Hop Op, P. Hébert, 1967, 3 min 34 s; Songs and Dances of the Inanimate World - The Subway, P. Hébert, 1984, 14 min 25 s; Mosaic, N. McLaren, 1965, 5 min 41 s; Thunder River, P. Hébert, 2011, 7 min; Synchromy, N. McLaren, 1971, 7 min 33 s; John Cage-Halberstadt, P. Hébert, 2013, 10 min 54 s; You Look Like Me, P. Hébert, 2014, 5 min 45 s. In collaboration with ANIMAC.
Attended by Pierre Hébert
Berlin: The Passage of Time (places and monuments-6) Video installation by Pierre Hebert
Installation on four screens, shot by Pierre Hébert in Berlin in July 2012, August 2013 and October 2013.
20, 21 and February 22, 2015. Floor -1, CCCB, free admission.
“All those shootings have to do with scenes of daily life, but in the same time, they also refer to different episodes of the recent history of the city of Berlin.(…)There are two segments devoted to two major intellectual figures related to Berlin, that are dear to me, Bertolt Brecht and Walter Benjamin. Overall the piece is particularly inspired by different benjaminian themes, like the image of the flâneur,a special understanding of history and the relationship between present and pass, the notions of dialectic images and allegory”