My He®itage

2016-2017

The My He®itage videos series confronts, within video editings or installations, film clips in which trademarks make appearances on the screen. As discreet detail in the image, ostensible motif repeated in the set or element mentioned in a dialogue, their intervention can be endowed in films with very different statuses – being the result of a chance determined by the shooting location or the clear intention of the directors. who shot them

In each of the works, the same brand, each time different, is used as a point of articulation to synchronize the films in which it appears to each other. It appears in each of the films at exactly the same moment, thereby giving the different groups of works a raison d’être. By imposing their own logic on the structuration of the installations, these brand mentions engage new links between the films whose editings are strictly respected. The ability of the viewer to connect narrative situations that were originally not intended to be, is in this process tested, as well as his ability to build a narrative that integrates and articulates all the elements associated together despite the heterogeneity of the film materials.

If the series does not fail to highlight the presence of advertising brands in our daily environment, it above all raises the question of advertising contamination in the organic nature of the film and the latter’s propensity to resist it. The proposition in fact generates in itself, by nature, a form of expectation of the emergence of the point of convergence constructed between the films, which, in the same way as a revelation within the narrative would, channels perception and questions capacity of the film to reconstruct itself around it.

In another hand, the video works associate with each of the brands associated with them a particular aesthetic and universe that play on or divert the values ​​that they generally claim. In this sense, they address issues related to the specific identity of the brands mentionned, their history, their communication strategies and the targets they strive to achieve by experiencing them through the narrative situations presented.

The video series also alludes to the practice of product placement, often historically subsequent to the making of the films shown in the installations. In this way, it deals with the economy of cinema, its modes of fproduction, its inclusion in a more global economic network. By pointing to elements that are supposed to remain discreet in the flow of the story, the video works upsets, through a playful reversal effect, the hierarchy of the elements that the film brings together.

The video editings also help shift these questions into the sphere of contemporary art patronage today by pointing to the increasingly decisive role played by the private sector in supporting it. They question the repercussions for companies of the sponsorship dimensions that could be associated with them and the impact that they are likely to have in the mind of the viewer on the perception of the works that are suddenly linked to them. The question of the links between art and industry is clearly raised.

Vichy Célestins®
(2017)

Pernod®
(2017)

Gitanes®
(2016)

Vuitton®
(2016)

Chanel®
(2016)

Byrrh®
(2016)

Banania®
(2016)

Perrier®
(2016)

Ricard®
(2016)

St Raphaël®
(2016)

Lu®
(2016)

Dubonnet® (NB)
(2016)

Brandt®
(2016)

Gauloises®
(2016)

Dubonnet® (Couleurs)
(2016)

Bibendum
(2016)

La Vache qui rit®
(2016)

Copyright © 2016 Laurent Fiévet