With CINETRACTS, Marine Hugonnier adopts and revives, all by herself, that collective form that was practised in May ’68 by an entire profession in revolt. With an irony worthy of Félix Fénéon, she samples a series of both pure and rectified readymades, and offers us not only one of the most potent promptuarium in our time, but also an examination of the ideological and critical roles that images play within it. As for GIVERNY’S CUSP, it stages a confrontation between analogue film and the paintings of Claude Monet.

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