Eighteen fragments from Malcolm Le Grice’s After Leonardo (2016)

ALL 05/28/2016 (en) Documentary 8 Min
  • Release
    05/28/2016
  • Production
  • Rotten tomato
    100%
  • Original title
    Eighteen fragments from Malcolm Le Grice’s After Leonardo
  • Original language
    en
  • Production Cost
  • 0.00
    -

BFI Southbank, Blue Room, 27 May 2016.

Overview

"This installation or performance work puts my own earlier film of the Mona Lisa (1973) through another stage of transformation – my own irretrievable self of some 34 years ago is now also part of the subject I first saw the ‘actual’ ‘Mona Lisa’ when I was about thirteen. Of course I had seen dozens of reproductions in books and postcards by then and the popular mythology of the enigmatic smile was already well engrained in my mind. My strongest impression, as I recall, was how small and unsurprising it was – a heavily protected cultural icon – no longer really a picture – and I was much more excited by the painting of the distant landscape than by the face. My own ‘version’ of ‘la Giaconda’ was never an homage, nor like Marcel Duchamp’s ‘L.H.O.O.Q’, an attack on its cultural power. Instead it came from a fascination with change and transformation – maybe also with arbitrary appropriation." Malcolm Le Grice

  1. Stefano Miraglia

    Director

  2. Story

  3. Producer



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Keyword

Eighteen fragments from Malcolm Le Grice’s After Leonardo (2016) 8 Min

ALL 05/28/2016 (en)
Documentary
  • Release 05/28/2016
  • Production
  • Original title Eighteen fragments from Malcolm Le Grice’s After Leonardo
  • en
  • Revenue0.00

BFI Southbank, Blue Room, 27 May 2016.

Overview

"This installation or performance work puts my own earlier film of the Mona Lisa (1973) through another stage of transformation – my own irretrievable self of some 34 years ago is now also part of the subject I first saw the ‘actual’ ‘Mona Lisa’ when I was about thirteen. Of course I had seen dozens of reproductions in books and postcards by then and the popular mythology of the enigmatic smile was already well engrained in my mind. My strongest impression, as I recall, was how small and unsurprising it was – a heavily protected cultural icon – no longer really a picture – and I was much more excited by the painting of the distant landscape than by the face. My own ‘version’ of ‘la Giaconda’ was never an homage, nor like Marcel Duchamp’s ‘L.H.O.O.Q’, an attack on its cultural power. Instead it came from a fascination with change and transformation – maybe also with arbitrary appropriation." Malcolm Le Grice

  1. Stefano Miraglia

    Director

  2. Story

  3. Stefano Miraglia

    Editor

  4. Producer