CARL ANDRE
FRANÇOIS BACLESSE Journal de Bopa
STEPHANE BAYARD
SYLVIE BONNOT
ALTER CARNOL
ROSEMARIE CASTORO (1)
ROSEMARIE CASTORO (2) Writings
LESLEY FOXCROFT
BENOIT GOLLÉTY
DAVID GORDON (1)
DAVID GORDON (2) Poems
ROBERT HUNTER (1)
ROBERT HUNTER (2) Grazia Gun "A Nothing Point"
ROBERT HUOT (1)
ROBERT HUOT Film Information
MARIE-FRANCE JEAN
CAROL KINNE (1)
CAROL KINNE (2) Notes on Carol Kinne's Paintings
MARTINA KLEIN
MELISSA KRETSCHMER
NADINE DE KŒNIGSWARTER
LUCAS L’HERMITTE
GALERIE A. LEFEBVRE
LUCY LIPPARD "Full of it" sur Robert Huot (trad. fr.)
LUCY R LIPPARD lecture du 26.4.2012
LAURA MARELLO Lecture du 28 juin 2012
JULIAN MEREUTA
THIERRY MIROCHNITCHENKO
MARIA MORGANTI (1)
MARIA MORGANTI (2) Walls of Work on Paper
PIERO MORGANTI Diario di Viaggio Parigi 23-28 ottobre 1992
HELGA NATZ
JUDITH NELSON (1)
JUDITH NELSON (2) "How Paper Responds To..."
PAUL NELSON (1)
PAUL NELSON (2) Poems
RENO ODLIN
FRANCOIS RISTORI (1)
FRANCOIS RISTORI (2) Proposition-peinture
BARBARA ROSE interview Carl Andre
MARIANNE SCHARN (1)
MARIANNE SCHARN (2) A Correspondence with Carl Andre
MICHAEL H SHAMBERG
EIJI SUZUE (1)
EIJI SUZUE (2) Fragments de "L'Éclair de Paris"
RYO TAKAHASHI (1)
RYO TAKAHASHI (2) Écrits d'expositions
 
MICHAEL H SHAMBERG


FILMOGRAPHY

 

Collaborations with Lawrence Weiner
DO YOU BELIEVE IN WATER?

(1976  US  video 39:00min  color)
Director : Lawrence Weiner

Producer : The Kitchen, Fifi Corday Productions, Moved Pictures

Director of Photography : Carlota Schoolman, Michael H. Shamberg

Players : Robert Stearns, Steve Bluter, Suzanne Harris, Norman Fisher, Ann-Sargent Wooster, Madeleine Burnside

Melodic noise : a tribe in/of New Guinea voices AZW Bentley, Lawrence Weiner

Exhibition : “With Relation To The Various Manners Of Use” The Kitchen, New York City, 1976.
 
A BIT OF MATTER AND A LITTLE BIT MORE
(1976  US  video 23:00min  color)
Director : Lawrence Weiner

Producer : Moved Pictures & Fifi Corday Productions

Director of Photography : Michael H. Shamberg

Music : Marzette Watts

Players : Martine Rapin, Cynthia Pattison, Mike Grotto, P. Hoenderdos, D. Kaplan, Susan Davis, Ms. Tacks/Takes

Voices : AZW Bentley, Lawrence Weiner.

FOR EXAMPLE DECORATED
(1977  US  video 23:00min  color)
Director : Lawrence Weiner

Producer : Moved Pictures

Assistant Director : Michael H. Shamberg

Prod.consultant : Carlota Schoolman

Director of Photography : Michael H. Shamberg

Audio : I.E. DECORATED

Players : Peter Gordon, Britta Le Va, James Sarkis.

ALTERED TO SUIT
(1979  US  16mm 23:00min  b/w)
Director : Lawrence Weiner

Producer : Moved Pictures

Cinematographer : Michael Oblowitz ed Kathryn Bigelow, Gerrit Hilhorst

Music : Peter Gordon w/ David van Tieghem

Players : Teta Gorgoni, Rosemary Hochschild, Britta Le Va, Michael H. Shamberg, Kirsten Vibeke Thueson.
 

PASSAGE TO THE NORTH
(1981  US  16mm 16:00min  Kodacolor)
Director : Lawrence Weiner

Producer : Moved Pictures

Executive Producer/Sound Consultant : Michael H. Shamberg

Cinematographer : Michael Oblowitz ed/s Skip Lievsay

Players : Coosje van Bruggen, Michael Oblowitz, AZW Bentley, Michael H. Shamberg, Lala Oryshkevich, Lawrence Weiner, Leslie Schiff, Kirsten Vibeke Thueson, Rosemary Hochschild, Susan Davis.

 

VIDEO CLIPS

 

As Producer for New Order:

THE PERFECT KISS

(New Order) 1985

Directed by Jonathan Demme

Director of Photography Henri Alekan

 

CONFUSION

(New Order/Arthur Baker) 1987

Directed by Charles Sturridge

Director of Photography Ed Lachman

Music Producer Arthur Baker

 

BIZARRE LOVE TRIANGLE

(New Order)  1987

Directed by Robert Longo

Edited by Gretchen Bender

Director of Photography Richard Dallet

Computer Graphics Amber Denker

 

TRUE FAITH

(New Order/Stephen Hague) 1987

Directed by Philippe Découflé

Music Producer Stephen Hague

 

TOUCHED BY THE HAND OF GOD

(New Order) 1987

Directed by Kathryn Bigelow

Director of Photography Roger Deakins

Starring Bill Paxton

 

BLUE MONDAY ’88

(New Order) 1988

Directed by Robert Breer & William Wegman

Edited by Laura Israel

 

FINE TIME

(New Order) 1989

Directed by Richard Heslop

 

ROUND & ROUND

(New Order) 1989

Directed by Paula Greif

Produced by Elizabeth Bailey

Executive Producer Michael H. Shamberg

 

RUN

(New Order/John Denver) 1989

Directed by Robert Frank

Director of Photography R. Frank & Richard Dallet

Edited by Laura Israel

Starring David Warillow

 

REGRET                 

(New Order/Stephen Hague) 1993

Directed by Peter Care

Director of Photography Tom Richmond & Salvatore Totino

Edited by Robert Duffy

Produced by Larry Perel

Executive Producer Michael H. Shamberg

 

WORLD

(New Order) 1993

Directed by Baillie Walsh

Director of Photography John Mathesson

Produced by Howie Nicol & Anita Staines

Executive Producer  Michael H. Shamberg

 

1963

(New Order/Stephen Hague) 1994

Directed by Gina Birch

Starring Jane Horrocks

 

CRYSTAL

(New Order) 2001

Directed by Johan Renck

Produced by Nicola Doring

Executive Producer Michael H. Shamberg

 

CEREMONY

(Joy Division) 2005

Directed by Yu Likwai

Director of Photography Yu Likwai

Starring Chow Chi Sang

 

As Producer for Electronic

GETTING AWAY WITH IT

1989

Directed by Chris Marker

 

As Producer for Throwing Muses

COUNTING BACKWARDS

1991

Directed by Katherine Dieckmann

 

As Producer For R.E.M.

SHINY HAPPY PEOPLE

1991

DIrected by Katherine Dieckmann

 

As Producer for The B-52’s

REVOLUTION EARTH

1992

Directed by James Herbert

 

As Producer for Kristen Hersh & Michael Stipe

YOUR GHOST

1994

Directed by Katherine Dieckmann

 

As Producer for Patti Smith :

SUMMER CANNIBAL

(Patti Smith/Fred “Sonic” Smith) 1996

Directed by Robert Frank

 

As Director :

TRIBECA with A CERTAIN RATIO

1981

Cinematographer : Michael Oblowitz

 

TARAS SHEVCHENKO

Live at the Ukranian National Home, NYC 1981

Temptation (New Order) 2005

Produced and Directed by Michael H. Shamberg

 

TEMPTATION

(New Order) 2005

A video by Victoria Bergsman and Michael H. Shamberg

“The Temptation of Victoria”

Written by Victoria Bergsman

Image by Irina Lubtchansky

Starring Victoria Bergsman


GONE GONE GONE

“In 2007 i was in Paris with the idea of shooting a scene at one of he oldest walls in Paris near the Cité Internationale. I directed Teresa Eggars and had no idea what I would do with it. When the last Notwist CD came out GONE GONE GONE came  to mind. It was beautiful and short. My only edits were the open and end, while the camera edits worked.”—Director - Michael H Shamberg

 

 

FILMS


SALVATION!

1987

I forgot my first feature as a co-producer with director Beth B, and  that is when i met Ned Richardson who was a friend with the writer and became the executive producer. I brought in Cabaret Voltaire to do music (Richard Kirk was composer on Souvenir) and New Order. And that is where the  song TOUCHED BY THE HAND OF GOD was made and i got Kathryn Bigelow to make the video. Viggo Mortensen plays with Exene Cervenka from X band. Viggo is a  wonderful actor and does turtle things but does not do it yet.
J'ai oublié mon premier long métrage comme co-producteur avec le réalisateur Beth B, et c'est là que j'ai rencontré Ned Richardson qui était un ami de l'écrivain et devint le producteur exécutif. C'était une horreur à faire. J'ai amené Cabaret Voltaire pour faire la musique (Richard Kirk était compositeur sur SOUVENIR) et New Order. Et c'est là où le morceau
TOUCHED BY THE HAND OF GOD a été fait et j'ai obtenu que Katheryn Bigelow fasse la vidéo. Viggo Mortensen joue avec Exene Cervenka du groupe X. Viggo est un merveilleux acteur, il fait des choses turtle mais ne l'a pas encore fait.

SOUVENIR

Credits

Director: Michael Shamberg

Script: Michael Shamberg

Photo: James Herbert

Cast: D. Stanton Miranda (Orlando), Manon Blanc (Little Girl), Kristin Scott Thomas (Ann), Melvil Poupaud (Charles), Hugues Quester (Michka), Laurence Côte (Isabel), Serge Avedikian (Taxi Driver), Geoffrey Carey (Waiter), Laetitia Masson (Cigarette Girl), Jules Nassah (Television Reporter), Goli Samii (Vision #1), Guillaume Richard (Vision #2), Tibor Blanc (Passenger #1), Jean-Charles Blanc (Passenger #2), Adam Hann-Byrd (Young Charles), Linda Bove (Computer), Priscilla Reeves

co-producers: Why Not Productions Jason Kliot and Joana Vicente

Country: France / USA

Language: English, French

Runtime: 78 min

 

«  As for Souvenir, which I had never seen before (nor heard of), I was stunned. It was tantalizing. The image, the voice over, the "story", a breath-taking universe. » Fouad ElKoury

 

 

In TIME OUT (London) Tony Rayns has written on SOUVENIR:

 Digital film-making takes another big step towards sophisticated maturity in this haunting first feature by Michael Shamberg, hitherto best known as producer of music videos for the likes of New Order and Patti Smith. Shot entirely in Paris (the title has relevant meanings in both English and French), it starts with what seems to be a metaphorical road accident and ends with what seems to be a real one. In between, it chronicles a couple of distracted days in the life of Orlando (Stanton Miranda) an American sports journalist, during which her near-incestuous obsession with her late brother Charles finally prompts her French boyfriend to pack his bags and leave. Not much happens in story terms: Orlando misses a deadline (Kristin Scott Thomas guests as her editor), meets a basketball team in the locker-room and digs out some old smell-o-vision computer software programmed by her brother (wittily designed for the film by Chris Marker).

What makes the film extraordinary is the stream-of-consciousness editing, which seamlessly integrates episodes from Orlando’s life with an imagined conversation with her brother (voiced by Christina Ricci and Adam Hann-Byrd) and with larger reflections on the family, the city, the impact of leaving home and the gap between dreaming something up and actually making it. The intricate structure and multi-layered images pick up nuances as the film goes along, gradually finessing a real emotional coup. In getting inside the mind of this vaguely self-pitying woman, Shamberg succeeds in saying something about the persistence of memory that feels awfully true.

 

Le tournage en numérique fait un pas de géant vers la maturité dans ce premier film de Michael Shamberg, jusqu'ici plus connu comme producteur de clips vidéo pour des artistes comme New Order et Patti Smith. Entièrement tourné à Paris (le titre est pertinent en anglais et en français), le film commence par ce qui semble être la métaphore d'un accident de la route et se termine par ce qui semble être un accident bien réel. Entre les deux,  il tisse la chronique de deux jours de folie dans la vie de Orlando (Stanton Miranda), une journaliste sportive américaine. Pendant ces deux journées, son obsession quasi incestueuse pour son frère décédé Charles finit par décider son amant français à faire ses valises et à la quitter. Il ne se passe pas grand-chose en ce qui concerne l'histoire : Orlando ne rend pas un article à temps (Kristin Scott Thomas joue le rôle de la rédactrice), elle rencontre une équipe de basket dans les vestiaires et retrouve  de vieux logiciels pour le "cinéma odorant" (astucieusement conçus pour le film par Chris Marker) programmés par son frère.

Ce qui rend le film extraordinaire est le montage en flux de conscience, qui assemble de façon fluide les épisodes de la vie de Orlando avec une conversation imaginaire qu'elle tient avec son frère (avec les voix de Christina Ricci et Adam Hann-Byrd) et de plus amples réflexions sur la famille, la ville, les répercussions sur la vie quand on part de chez soi et le décalage qui existe entre  rêver de faire une chose et la faire vraiment. La structure complexe et le sens multiple des images soulignent les nuances tout au long du film et aboutissent en finesse sur un choc émotionnel réel. En pénétrant dans le mental de cette femme qui s'apitoie quelque peu sur elle-même, Shamberg  nous dit quelque chose que nous ressentons comme terriblement vrai sur la persistance de la mémoire.

 

Article de Tony Rays sur Souvenir (Time Out, Londres)

 


P.S. BEIRUT

"a bricolage of scars, traces of repair, iconic meditations on the other side of war" MHS

 

From http://www.vimeo.com/13620616

p.s. beirut chapter 1

2008, 7:11 minutes, color, stereo 4:3
Producer, director, camera, editor: Michael H. Shamberg
Writer: Etel Adnan
Music: Marcus Acher
Co-Producers: Isabelle Doyen, Edward Richardson for lightblack

Emanuelle Riva (voice)
Bernard Sumner (singing Procession, New Order)
Nadine in Cafe Torino
Fouad Elkoury
Etel Adnan (off camera)
Man in Bourj Hammoud
Hiba's hand
Beirut

Director' Notes:
In 1981 Volker Schlondorff was filming CIRCLE OF DECEIT in Beirut with the ongoing civil war (1975-90) as a backdrop, and real fighters playing themselves.
This news, which i discovered in Etel Adnan's story AN AMERICAN MALADY, brought Etel and I together to develop the feature script BENJAMIN'S BRIEFCASE - a reference to what was lost when Walter Benjamin's body was found.
Christmas 2004, I arrived in Beirut and filmed for two weeks. The idea of a feature transformed into a personal journey.
This is the first chapter in the series p.s. Beirut, the story of how I found Benjamin's briefcase.
MHS 2008


This being said saw P.S.-Beirut at long last. In many respects beautiful and puzzling. A feeling that I was just getting a taste of something , IE that it felt more like an intro cut short than a p.s., the first lines of a letter more than a line at the end of a letter. I was charmed and frustrated by the linearity of  what I was seeing as if the echos and redundancies had not yet had the time to construct themselves and play.
Was very intrigued though by this idea/promise of a film composed as postscript to a letter one would have never had the possibility to read. Post scripts are brief by nature and they can be a variety of things: an echo of the "thing" they are posted after; the reparation of an omission; something that spins the previous pages in a different direction altogether; a second look at/a post mortem of what preceded it. 
In short I was interested.  When will chapter 2 appear and what was in Walter's suitcase?
Yours,
Jean-Pierre Gorin
 
Cela dit ai fini par voir P.S. BEIRUT enfin. À bien des égards beau et déconcertant. Un sentiment que je ne faisais qu’avoir le goût de quelque chose, c-à-d qu’il a plus l’air d’une intro raccourcie que d’un p.s., des premières lignes d’une lettre plus  que d’une ligne à la fin d’une lettre. J’ai été charmé et frustré par la linéarité de ce que je voyais comme si les échos et redondances n’avaient pas encore eu le temps de se construire et de jouer.
Ai été très intrigué cependant par cette idée/promesse d’un film composé comme un postscriptum à une lettre que l’on aurait jamais eu la possibilité de lire. Les postscriptum sont brefs par nature et ils peuvent être un tas de choses : un écho de la « chose » après laquelle ils sont placés ; la réparation d’une omission ; quelque chose qui oriente les pages précédentes dans une direction complètement différente ; un deuxième regard à/un post mortem de ce qui l’a précédé.
En bref ça m’a intéressé. Quand est-ce que le chapitre 2 va sortir et qu’est-ce qu’il y avait dans la valise de Walter ?
Bien à toi,
Jean-Pierre Gorin

 

 

From http://floatinglabcollective.org/onbelonging.html

Each film in « On Belonging » examines different aspects of the world, in countries near and far, whether creating a place for oneself despite the forces of nature, leaving and returning to a place that is not really home, finding oneself ostracized and harassed in a community that once held dreams or reclaiming a place charged with family history. Inadvertently each filmmaker questions « belonging » in terms of personal situations regarding social, personal and/or political circumstances.

 

 

Artist Images