About Laurent Fiévet (FR)

Laurent Fiévet (Fr) 1969, lives and works in Paris

Born in Boulogne-Billancourt, Laurent Fiévet lives and works in Paris. He holds a doctorate in cinematographic and audiovisual studies and has lectured on film analysis and cinematic aesthetics at institutions III and VII of the University of Paris since 1995. Fiévet has been working as an artist for a number of years, conceiving installations inspired by, and developed from, his university research and, more specifically, from pictorial references to cinema which is his field of expertise.

Tests of Time
, his exhibition at the Hyvinkää Art Museum (Finland) is a collection of eight installations consisting of a series of proposals based on self-portraits by Helene Schjerfbeck (1862-1946), a major figure from Finnish painting in the first half of the 20th century, and on Alfred Hitchcock’s film The Birds (1963). According to the artist’s theories the film was, in part, inspired by the paintings.
However disturbing the exhibition may seem, it seeks less to substantiate this influence than to maintain a dynamic tension between the film and paintings, which serves as a means of proposing various poetic interpretations. Laurent Fiévet not only examines issues relating to Image and its prominence, but also provides various critical reflections on and around the title of the exhibition. The installations broach such themes as the passage, measure and distortion of time; the perception, universality and perennial nature of works of art; the vulnerability and awareness of the individual faced with death; difficulties of definition and identity.

Because they are interactive, a number of the installations require the visitor to adopt an introspective approach similar to that adopted by Helene Schjerfbeck and Alfred Hitchcock in their work. The installations confront the visitor with his past or his future, forcing him to suffer the passage of Time or measure the depth of the wounds that its passage inflicts.
Continuations of Hitchcock is a collection of eight installations which broadens the scope for reflection on other works by the film-maker. Each installation explores the privileged relationship that Alfred Hitchcock maintained with painting. Underpinned by Laurent Fiévet’s theoretical research the installations juxtapose shots from four of Hitchcock’s films from the end of the 1950s and the beginning of the 1960s (Vertigo, North by Northwest, Psycho and Marnie) and paintings from the various schools, movements and periods which inspired them (including works by Velázquez, Vermeer, Le Titian and Bacon).
As with Tests of Time, the object of Continuations of Hitchcock is not simply to decipher the filmic images. Though the title of the installations acknowledges Hitchcock’s capacity to re-appropriate some of the masterpieces of painting in his films and to extend their scope by transposing them to the screen, it also reveals a desire on the part of Fiévet to examine Hitchcock’s playful experiments, sometimes through a simple reworking of the film material (modifying the rhythm and the editing, altering perspective, reduction effects, etc.) The installations therefore re-deploy material in a way that modifies the impact of the images and alters the ideas developed within the films. Through the variety of mechanisms that they establish, the installations provide both a framework within which one can revisit these works and an opportunity to develop new aesthetic reflections.