Hugo Verlinde
2021Using curved lines, Verlinde revisits the figures of the sky: nascent solar system, imaginary constellations or primitive forms of space. The films and the installations echo each other and seem alive. The ensemble creates a cosmic and metaphysical universe conducive to exploration.
Derviches
Hugo Verlinde
August 1992. I was working for a whole week in total darkness, in the image-by-image mode of my Super 8 camera. As I perceived an image on the screen, I started imagining what it would be if those images could show their own metamorphosis… But within a single frame, I had the sharp impression of a real contact behind the image itself. As if I could reach the formal and mathematical language of models… The images seemed to be whispering. More movement… more space…I keep developing this laboratory of shapes known as the Dervishes.
Derviches
Altaïr
Hugo Verlinde
A meeting with an entity of gigantic proportions and multiple faces, ALTAÏR is of heavenly nature and invites us to dive into it. Work-landscape, cosmos to explore, you must have the soul of a geographer to venture into the folds of this universe with uncertain borders.
Altaïr
Aldébaran
Hugo Verlinde
Maud Edelman, Vanessa Lopez
Aldébaran is the first film from a series of works on hybridization: body and light, color and rhythm. The series are transforming and spiritualizing human body by the use of light, or more precisely by the screening of a film directly to the skin. The body is therefore the only screen for the abstract images made from mathematical models. This encounter between body and light produces a particular and creative energy beyond shapes. Lyrical abstraction, mathematical modelisation and sensual exploration of light, this film is the depth perception of the body stridences.
Aldébaran
Bételgeuse
Hugo Verlinde
"The disciplines interweaved by Hugo Verlinde resound like echoes of a primal scream. Starting from a meditation on space, using all the technical devices of our times, and inspired by a timeless ideal, he paces up and down the immaterial dimension of desire: all that makes the world go 'round'. If his works captivate us, its because he renders the universe not distant and monotonous, but gushing; infinitely intimate." Gabriela Trujillo
Bételgeuse
Manifeste
Hugo Verlinde, Hélène Deschamps
"Radical pamphleteer film," Manifesto "can be used as a visual emblem for any avant-garde manifestation. Manifesto is a cry. A cry for finally a cinema freed from all economic, ideological or artistic constraints." (Nicole Brenez, Encyclopédie du court-métrage français, 2004)
Manifeste
