Louis and Languages

An invitation to listen deeply and to drift along the labyrinths of mind, body, and language, this enthralling adaptation meshes the core text with excerpts from films and interviews to form a cryptic sonic map. Language mutates, the focus transferring beyond words to inflections and tones. A piano score suddenly amplifies the musicality of attempted pronunciations, seamlessly transforming words into lyrics and haunting organ song. A lullaby slips between chilling and soothing notes with an almost frightening ease. The film’s anatomical yet abstract visuals become cavernous spaces that conjure both incarceration and a cosmic expanse. Along these malleable impressions, the film arrives at a new, surprising ground, where physical spaces and the fluidity of language feel inextricable. (Ilinca Vânău)

Aurélien Froment has developed his practice through a deviant interest in cinematic experimentation. Following intensive research, his works channel collective and individual histories and ideas of concrete utopias, tracing their origins and circulation through to the present day. From films conceived as small theatres (The Apse, the Bell and the Antelope, 2005), to large-scale photographic installations (Théâtre optique, 2023), his work has been presented in institutions internationally including at Les Rencontres de la photographie (2023), Centre Pompidou (2022), Institut pour la photographie (2021), Wellcome Collection (2019), M Museum (2017), Dakar Biennale (2016), Sydney Biennale (2014), Venice Biennale (2013), and Gwangju Biennale (2010).

Louis et les langues (2023), Le cinéma des vitrines (2023), Wax Museum (2021), Allegro Largo Triste (2017), Apocalypse (2017), Le chant du monde (2017), Non alignés (2016), Camillo’s Idea (2013), 9 Intervals (2012), Le Yoga par l’image (2011), Second Gift (2010), Pulmo Marina (2010), Fourdrinier Machine Interlude (2010), Théâtre de poche (2007), The Apse, the Bell and the Antelope (2005)