Nine Plus Five Works

Michel Auder


12 Jan - 11 Feb 2024

Michel Auder (born 1944 in Soissons, France) is a filmmaker who has been creating experimental movies and video art since the late 1960s. Auder is a poet of visual observation— his films bear an affinity to literary forms and can best be described as filmic poetry. He is known for his non-linear and non-narrative style, capturing his life and the lives of those around him in an intimate and fragmented manner.

Auder's work often blurs the lines between art, documentation, and personal narrative, the diaristic and oneiric. Throughout his career, he has produced a significant body of work ranging from fictional narratives to personal documentaries. Auder's early adoption of the portable video camera allowed him to document the everyday phenomena of his own private experiences, with a directness that was revolutionary at the time and that is still radical after many decades.

In New York he was involved with Andy Warhol's Factory and became a participant-observer of the New York social scene, capturing footage of many of the personalities and events associated with it. This connection led to a video archive of thousands of hours that offers a unique perspective on this period of American art history.

Over the decades, Auder has continued to work consistently exploring the potential of video as a medium. Through his works, Auder builds a connection between the personal and the universal. He allows viewers to see the world through his eyes, sharing experiences that range from banal to extraordinary. Through the intimate use of the filmic medium, Auder questions the nature of time and memory, juxtaposing real and fictional, perception and representation, intimate and exposed.

The selection of works presented in Bangkok Kunsthalle, unfolds along two interwoven trajectories: five works on Nature and nine works on the evolution of Auder’s oeuvre through different genres.

In the first group of works, Michel Auder often describes his relationship to Nature in terms of time. He explains how the representation of Nature necessitated the invention of a specific editing technique in order to accommodate the nuanced temporality of natural phenomena.

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