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ARMOIRE / PROLOGUE
The aviary in the mirror, in-flight hide-and-seek, mischief on the wing. - Rotterdam Film Festival
It was all started by a Red Robin who one day in the spring, obsessively went after his double in the large mirror at the end of our garden. Just having fun with the surrounding consequences regarding storage, openings, motion and nature among others. (VG)
"The secret might have been the unassuming wonder of Vincent Grenier’s Armoire, a film in which a small bird expands the edges of the frame by hopping and fluttering about. As the frame responds to his light, unpredictable movements, it is at times rushing sideways or holding still, shrinking and stretched in every imaginable permutation. And yet the frame doesn’t always manage to capture or contain the bird, who in the end darts out of sight. It is as if he is the true filmmaker, directing the scene and, with his own star exit, deciding when to cut." -- Genevieve Yue in SENSES OF CINEMA, Observation in Progress, Views from the Avant Garde, 45th New York Film Festival.
" Perhaps gentler at first glance but possibly harboring a wicked passive-aggressive streak, the recent video works by Vincent Grenier have consistently been highlights of the Views line-up, and this year was no exception. Grenier has been making witty, elegant experimental films and videos for over 30 years, and his approach has always been defined by its eclecticism. His earlier film works partake of the orthodoxies of experimental film history but refuse to be defined by it." ...
"Reminiscent of Scott Stark's video SLOW from 2001, Grenier's piece is less complicated, more straightforward, resulting not in ambiguous space but in a confounding metonymy of images, splashing us with a puddle then driving on. This year's Grenier video, Armoire, is one of his briefest (three minutes), and its humor is so deadpan I actually didn't immediately recognize it as such - a true "way homer." In it, Grenier has "trapped" a bird in a reflection on the water and essentially chases it around the screen with increasingly narrow frames-within-frames, pinning it down, making it sing for the artist's own supper. Its sense of eventual claustrophobia recalls the glass box sculptures of Joseph Cornell, tight spaces where imaginary living things went to gain immobility / immortality. But here, we're so used to equating the very image of a bird in a tree with absolute freedom that Grenier's comic aggression is a slow-burn, provoking a tense grimace of discomfort by minute three, and a chuckling nod of assent by the second viewing. Even those of us fiercely devoted to the field of experimental cinema know all too well that it can be rather humor-impaired. No surprise, then, that a stealth anarchist like Grenier is like a breath of fresh air." -- Michael Sicinski, Green Cine Daily, NYFF Views 3 Also see more below, from Sicinski 's Academic Hack web site.
Distributed by VG & CFMDC
This page was updated on 11/20/11