Video loop, 232 minutes.

Tuesday is a film gathering a series of video editing which engage, by superimposition, a set of new dialogues between two excerpts from the same part of Shining by Stanley Kubrick showing successively Dany (Dany Lloyd) strolling in tricycle in the corridors of the Outlook Hotel and Jack (Jack Nicholson) blaming his wife Wendy (Shelley Duvall) for interrupting him while he is writing. It consists of 237 variations which is a reference to the room number that caught Dany’s attention in the film excerpt and provokes the appearance of the murdered twins in the story.

Of varying durations ranging from a few seconds to several minutes, each of the 237 fragments is based on an always different setting of the two extracts confronted. This visual and sound articulation, always renewed as the film unfolds, constitutes the main aesthetic program of the proposal. The original editing of Kubrick’s film was never revised in Tuesday. The only changes made to the material used are the choices of the beginning and ending of the two excerpts presented simultaneously together. The transparency effect systematically orchestrated in the editing process is in a constant balance ratio between the two film parts.

Present in each of the 237 variations, Jack’s typewriter musically rhythms the different variations. Although its contents never appear in the image, the typed manuscript which proposes in Kubrick’s film different versions of the same textual content, governs, in its own way, the spirit of the series. He offers a kind of model that is both structural and aesthetic.

Tuesday may appear to be the allegory of a work in progress, perpetually stumbling upon the throes of creation and the form constantly challenged by its author before being redirected in another direction. Presented one after the other, the editing chapters follow one another and figures like a series of superimposed sheets, which allows the following to be revealed by the effect of transparency.

By combining the film excerpts two by two, the editing points to different type of symmetries implemented within Kubrick’s film which determine the construction of the shots as much as their duration, the architecture of the image as well as the rhythmic dimension of the film, both visual and audio echo effects. Tuesday underlines the formal rigor of Shining and contributes, thanks to the visual and sound balance between the excerpts, to offer different types of lighting on Kubrick masterpiece. It leads to a temporal stratification which includes and traps the characters. It is part of a logic of sedimentation and repetition already at work in Stanley Kubrick’s film.

Tuesday can both be presented in a loop in the form of a classic 16/ 9 projection or in a space installation splitting the montage into three entities exhibited simultaneously in the same space converted into a hotel room (the first under the form of a 16/9 wall projection, the second on a 4/3 television, the third on a computer on a desk)

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Copyright © 2016 Laurent Fiévet