TOUT EST VRAI

TOUT EST VRAI – film 52 min, sculpture, photographs, novel.

NARRATIVE – A morning of spring in front of the building where they used to meet, four people in their early twenties are the victims of an attack : Pablo Adam dies right in front of his girlfriend Zoe Jaspers, her brother Thomas and Felix Jeanneret, a visitor. The three survivors try to overcome their friend’s passing through their respective artworks : a sculpture hosting images of the deceased, photographs revealing an escape and a novel imagining another outcome of the attack, are gathered around the film telling their story.

CREDITS – with Pablo Cobo, Nicolas Lancelin, Valentine Cadic & Naël Malassagne. Director of photography Julia Mingo. Editing on collaboration with Julie Picouleau. Mixing in collaboration with Mikaël Barre. Produced by Delphine Schmit (Tripode Productions).

reading of Zoe Jaspers’ novel “Tout est vrai” by Audrey Bonnet & Romain Kronenberg (Festival Côté Court, Pantin / 2019)
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A FRAGILE TENSION

A FRAGILE TENSION – installation for two screens. Original languages : French & Kurdish. Version with English subtitles available.

VIDÉO – A fragile tension is the completion of a process made of several steps, that first consisted in the making of two invididual artworks : Nothing but earth, drier and drier and The shape of its body with the excess of dust. Conceived as a diptych, this work puts side by side two situations and two territories as the countershot of each other : a man who left aboard a cargo ship in search of a new world, two men who stayed behind waiting for the scout to show the way ; a cargo ship on the high seas, an arid land ; two kurdish speaking men, a french speaking man ; but the same radio transmitter that allows for contact that slowly gets lost, and most of all a shared stake, universal : the necessity to believe.

CREDITS – with Mehmet Korkut, Mazlum Adıgüzel, Adrien Dantou & Baver Doğanay. Kurdish translation by Kawa Nemir.

Myths of Romain Kronenberg (excerpt) – Jean-Luc Nancy, 2017

Against the backdrop of a marine or rocky vastness. Against the backdrop of an empty cité or of cargo no less deserted. The backdrop is precisely what takes place without a place: enormous and far-off heaps, transfers on site, deep thrusts—as well as drifts, departures, wanderings asserting their rather precise disposition.

We listen. We observe. One and the same gesture films and speaks. One same image emerging from the backdrop and then sinking within it.

Within it ? What, exactly ? the backdrop ? the faces ? the images ? the words ? the thoughts ? even to the bottom of this name, which seems crafted by way of myths, legends, and memorial fables: Romain Kronenberg, the empire of the crowned mountains. Much like a word obstinately whispered and mumbled by a lost voyager.

RIEN NE S’OPPOSE AU JOUR

RIEN NE S’OPPOSE AU JOUR – film / installation. Original language : French. Version with English subtitles available.

FILM – A symbiotic love unites TWO with ONE, two women living a contemporary house plunged into an infinite night. Day after day, terrifying and cosmic dreams disturb TWO’s sleep. As a result, the whole house gets shaken. First, ONE tries to reassure TWO. But she soon understands that the drawings she secretly produces and that prepare a radical action she’s about to commit are behind the dreams devastating TWO. Despite her love, ONE achieves her project. Under the gaze of her beloved passing away, ONE gives birth to the daylight, and dies in her turn, irreconcilable with the world she just let emerge and that announces humanity.

Produced by Delphine Schmit (Perspective Films), a film by Romain Kronenberg with Audrey Bonnet & Nathalie Richard. DOP : Julia Mingo. Music : Romain Kronenberg. Stage assistant : Tünde Deak. Electrician : Thomas Coulomb. Sound engineer : Alix Clément. Thanks to Julien Campus & Yannis Motte (BO.A Architecture) & Joël Davesne.

SACEM prize for the best original music, Festival Côté Court de Pantin 2018.

LA FORME DE SON CORPS AVEC L’EXCES DE SABLE

LA FORME DE SON CORPS AVEC L’EXCÈS DE SABLE – film / installation. Original language : French. Version with English subtitles available.

FILM – (english title : The shape of his body with the excess of dust) A young man is traveling on a cargo ship, crossing the oceans. Thanks to a radio, he keeps the contact with some men that he met on the road, soon after he went into exile. He tells them the decline of his motherland, that was set to fire in the hope of freeing inhabitants from the Myth become devitalised. Soon, any radio transmission is lost ; the distance is getting too long. From now on disconnected and lonely, the main character embarks upon a long monologue taking the shape of a poem where he evokes torpor and hope, past and future, the map and the compass symbolised by the ocean that the movement of the cargo ship splits in a trail of froth.

CREDITS – With Adrien Dantou, Florian Desbiendras & Julia Mingo.

JUSQU’AUX REGIONS QUI GISENT AU-DELA DE LA MER

JUSQU’AUX RÉGIONS QUI GISENT AU-DELÀ DE LA MER – film / installation. Version with English subtitles available.

FILM – (English title : To the regions lying beyond the seas) In a disused factory, between metallic tanks, pipes weaving along the walls, gangways and countless windows overlooking the sky, a man and a woman welcome their son back home. They wash, eat and don’t speak much except at night when, to help him get to sleep, they tell the creation of the world, the birth of gods, the birth of the son, and men, and the tie between these entities whose balance they disrupt, out of love and until abandon.

CREDITS – With Lucie Boujenah, Adrien Dantou & Léo Pochat. DOP Julia Mingo.

” Toute la mélancolie de la génération Y au milieu des machines dans une troublante vidéo “ (Emmanuelle Lequeux – Le Monde 27.02.2017)

RIEN QUE DE LA TERRE, ET DE PLUS EN PLUS SECHE

RIEN QUE DE LA TERRE, ET DE PLUS EN PLUS SÈCHEfilm (18min) / installation. Original language : Kurdish. English subtitles available.

FILM – (english title : Nothing but earth, drier and drier) Two men are settled in an inhospitable land waiting for a scout to come back. He has gone in search of a new land where life would again be possible. The two teams keep in contact thanks to radio transmitters. The scout regularly gives news, telling his journey and the infinite desert that more and more surrounds him. All day long, the two men stayed behind are waiting for the scout to give news. Unfortunately, the quality of the signal in the radio transmitter is getting bad. Interferences appear until the voice completely disappears. The two men have lost contact with the scout and now face their own responsibility. Divergences appear.

CREDITS – with Mehmet Korkut, Mazlum Adıgüzel & Baver Doğanay. Kurdish translation by Kawa Nemir. Produced by Romain Kronenberg.

SO LONG AFTER SUNSET AND SO FAR FROM DAWN

SO LONG AFTER SUNSET AND SO FAR FROM DAWN – 2014-15 – film (7min) / installation. Original language : Kurdish. Version with English subtitles available.

FILM – Oscillating between the birth and decline of light, night plunges the ruins of Ani (ancient Armenian capital) and some under construction buildings of Mardin (at the Syrian border) into the blueish glows of their own destinies, between past and future, in a uncertain present. Subtitles accompany the film where a dialog builds up between titans and gods, two mythological opposite entities symbolising mechanical and organic, order and desire, and reveal their tragic irreconciability.

INSTALLATION – The installation So long after sunset and so far from dawn is made of a screen and two photographs displayed side by side, all of the same height and constituting a fresco. In the film, a Kurdish and subtitled voice, treated as music and accompanied by other musical elements, unfolds an imaginary dialog between a Titan and a God.

CREDITS film, music, texts and photographs by Romain Kronenberg / Kurdish translation by Kawa Nemir / with Mehmet Korkut and Mazlum Adıgüzel.

CATALOGUE DU 61ème SALON DE MONTROUGE – Guillaume Désanges

Romain Kronenberg (a musician and film-maker) develops a work in sparseness and precision, a way of sublimating a complexity of affects and thoughts in the simplicity of the object (material and cinematographic).

He designs hybrid installations, kind of total artworks, somewhere between sculpture, music, photography and film, forming landscapes arising from the spatial explosion of a film, and organised around recurrent objects, at once sculpture sculptures in space and props, or even fully-fledged characters.

Based on a dense network of references, intentional as much as intuitive (and whose outlines, let us wager, depends as much on the spectator as on the artist), the work proceeds on a game of non-control or theoretical “letting-go”, giving pride of place to the imagination. Relying on the emergence of chance within an established programme, there is a sort of poetic relay of the discourse which determines its forms. Among the motifs hidden in the folds of the narrative, we find the issues of life force and stagnation, progress and decline, never in a Manichaean way (or even dialectically), but in a logic of identity-related tension, like the two sides of one and the same reality. This unity of opposites is very present in Romain Kronenberg’s film writing, just as the figure of a time curled up or folded beneath the form of a tight arc, between power and fragility. Based on the resurgence of the fantastic and myth in contemporary reality, it is the eye which the work casts on a current state of the world which is the most disturbing, shedding indirect light on the marks of a change of civilisation, somewhere between resistance, resignation, hope and destruction.

PUTTING TIME BACK INTO THE CITY: IMPRESSIONS FROM THE 3RD MARDIN BIENNIAL (excerpts) – Gökcan Demirkazık

What happens when references are too far removed from one another, when myths, the mythologized and facts collide and collapse onto one another? So long after sunset and so far from dawn (2014), Paris-based artist Romain Kronenberg’s arresting video, juxtaposes new high-rises being built in outer Mardin with the stoic yet somber remnants of the Armenian medieval city of Ani (located in present-day Kars). The apartment blocks rise seemingly in the middle of nowhere, encircled by the vast emptiness of Mardin plains, as the story of the fall of the Titans is narrated through subtitles. Minimal modulations of the two-tone electronic ambient sound occasionally mix with something akin to a whistle; the camera cuts from one view to another, switching between the abandoned and the not-yet-occupied.

In the video, the cranes over construction sites become “the great columns that support the sky,” whose guardian, Atlas, not only has to bear the weight of the heavens, but also that of loneliness. The absence of human activity, which will soon materialize anyways in the newly built environment, allows one to see more clearly how the ruins of Ani constitute memento mori for the expanding city. Kronenberg extends the “temporal relief” in Aktaş’s work, the suggested locus of all mythology, into a Bergsonian time spiral, and overlays it with elements like love and faith that immediately recall cycles of life. The simultaneously (homo)erotic and messianic addresses of the unidentified narrator to Atlas subvert a monolithic understanding of myth-making (in the Greco-Roman tradition) limited to patriarchal struggles among gods and demi-gods, and Zeus’ violation of beautiful women.