Marceline Delbecq / Nora Schultz | KÖNIG GALERIE | Rosa-Luxemburg-Platz | 26.11.2005–8.1.2006
with Marcelline Delbecq, Nora Schultz
Marcelline Delbecq has gradually moved away from photography to focus on the cinematic potential of writing. She uses both narrative and narrator (the voice) to create a singular universe where writing turned into sound generates a series of mental images, which move back and forth between description and pure fiction. Her own voice — which she often uses in sound installations, publications and readings — acts like a voice-over for various ‘invisible cinema’ projects where words, transformed into visions, call the whole act of beholding into question. Her film Close, presented for the first time at KÖNIG GALERIE, is significant of her recent return to the use of images after a period of time devoted to writing.
Close is a slow travelling allowing the viewers to go for a walk in a beautiful garden, partly following "desire lines" — wild paths created by people wishing to follow their desires by walking away from straight and traced lanes — as they move. While the almost-on-ground-level camera calmly strolls through the grass, plants and flowers, a voice-over narrates the architectural description of a house that will never appear on screen. The story of la Maison Rose (the Pink House), located in Monet’s Giverny, was actually inspired by long-time rumours asserting that the house used to be a whorehouse, after being a family pension and a hotel hosting more or less famous guests. Marcelline Delbecq used a combination of fake and real facts and fictions to create an « in situ » piece that engages both the imagination and the gaze : as the viewer happens to find himself hanging around in a garden, to an extent where he might get lost, he simultaneously pictures a house through the voice-over’s depiction. Written as a guided visit through a house supposedly used for illicit activities, the narrator’s text acts like an invisible film in the film, spreading subtle clues and allowing the viewer to wonder what is has really foreseen in the end : the garden viewed from the house or the house viewed from the garden ?
Still is the voice-over’s text printed together with a film-still of the garden in another season. As if the story and History could only repeat themselves, no matter the birth and death of vegetation in a garden overlooked by a house whose mysterious past will never be entirely revealed.