Manon de Boer
Current and upcoming
Exhibitions at Jan Mot
Manon de Boer, Joachim Koester, Ian Wilson
20/09/12
Manon de Boer
one, two, many (2012); Two Times (2008); Dissonant (2010)
Film Screening
at CINEMATEK, Brussels
in collaboration with Auguste Orts vzw
Manon de Boer, David Lamelas, Ian Wilson
People and Time
04/07/08
Manon de Boer
Switch (live version)
Performed by Michael Schmid
Duration (ca. 15 min.)
Followed by the book launch of ‘Manon de Boer’, published by Frankfurter Kunstverein and Witte de With Center for Contemporary Art.
Part of the Oral Culture series
27/04/08
Manon de Boer
Presto, Perfect Sound and Two Times 4’33”
Screening at Flagey Studio 5, Brussels
In collaboration with Auguste Orts vzw
Robert Barry, Manon de Boer, Pierre Bismuth, Daniel Buren, Douglas Gordon Joachim Koester, David Lamelas, Jonathan Monk, Mario Garcia Torres, Ian Wilson
Today is just a copy of yesterday
Manon de Boer and Dora Garcia
Presentation of two websites
Eija-Liisa Ahtila, Sven Augustijnen, Richard Billingham, Pierre Bismuth, Manon de Boer, Rineke Dijkstra, Honoré ∂'O, Dora García, Dominique Gonzalez-Foerster, Douglas Gordon, Joachim Koester, Sharon Lockhart, Deimantas Narkevičius, Uri Tzaig, Ian Wilson
New Space Opening Show
Manon de Boer
The Alpha and Omega Project
Manon de Boer & Ed Ruscha
Audio / Video / Books
Pierre Bismuth, Maria Blondeel, Manon de Boer,
Rebecca Bournigault, Adam Chodzko, Michael Curran,
Tracey Emin, Dora García, Dominique Gonzalez-Foerster,
Douglas Gordon, Joseph Grigely, Pierre Huyghe,
Renée Kool, David Lamelas, Kobe Matthys,
Wouter van Riessen, Ian Wilson, Zapp magazine
PERFECT
Other exhibitions (selection)
Manon de Boer
at Documenta 13, Kassel (DE)
Photo: Nils Klinger
Works
Manon de Boer
Bella, Maia and Nick (From nothing to something to something else, part 1), 2018
HD video, color, sound, no dialogue, GB/DE, 26 minutes, film still
Manon de Boer
Caco, João, Mava and Rebecca (From nothing to something to something else, part 2), 2019
HD video, color, sound, 48 minutes, film still
Manon de Boer
Caco, João, Mava and Rebecca (From nothing to something to something else, part 2), 2019
HD video, color, sound, 48 minutes
Manon de Boer
Oumi (From nothing to something to something else, part 3), 2019
HD video, color, sound, 14 minutes 32 seconds, film still
Manon de Boer
Maud Capturing the Light ‘On a Clear Day’, 2015
16 mm film transferred to video, colour, silent
2 minutes 20 seconds
edition of 6 and 2 A.P.
Manon de Boer
The Untroubled Mind, 2013 – 2016
16 mm film transferred to video, color, silent
7 minutes 39 seconds
edition of 6 and 2 A.P.
Manon de Boer
Dissonant, 2010
16 mm film transferred to video, colour, sound
10 minutes 40 seconds
(excerpt)
Manon de Boer
Sylvia Kristel – Paris, 2003
super-8 film transferred to video, color and stereo sound
French spoken, English subtitles
39 minutes, filmstill
edition of 5 and 2 A.P.
Sylvia Kristel – Paris is a portrait of Sylvia Kristel, best known for her role in the 1970’s erotic cult classic Emmanuelle, as well as a film about the impossibility of memory in relation to biography. Between November 2000 and June 2002 Manon de Boer recorded the stories and memories of Kristel. At each recording session she asked her to speak about a city where Kristel has lived: Paris, Los Angeles, Brussels or Amsterdam; over the two years she spoke on several occasions about the same city. At first glance the collection of stories appears to make up a sort of biography, but over time it shows the impossibility of biography: the impossibility of ‘plotting’ somebody’s life as a coherent narrative.
Biography
Manon de Boer
Born in 1966 in Kodaicanal, India
Lives in Brussels
Bibliography
News
Zürcher Kunstgesellschaft acquired Manon de Boer's work Presto, Perfect Sound (2006). The film depicts composer and violinist, George Van Dam, performing Béla Bartok's sonata for violin solo, Presto. Manon de Boer filmed George van Dam six times playing the whole piece while at the same time recording the sound. In order to achieve the ‘perfect’ soundtrack, she gave George van Dam the six sound recordings and asked him to reconstruct the Bartok piece into a perfect sound piece. Afterwards de Boer synchronized the filmed image to this soundtrack. The jump-cuts in the image visualize the cuts in the sound, while the sound sounds continuous. In allowing the audio sequence to dictate the image on screen, de Boer inverts the traditional dominance of image over sound in cinema. The film is a meditation on the relationship between sound and image and offers an intense reflection on a moment of creative concentration.
