Estelle Hanania

Nominated for Foam Paul Huf Award

Nominated for Foam Paul Huf Award

Laureate Du Prix Pdn’30

Laureate Du Prix Photo Du Festival De Hyères

American Suburb X / Brad feuerhelm Review

Wul magazine Interview

AnOther Magazine / Alessandro Merola

Dazed and Confused

Gem Fletcher /​Creative Review

This Long Century/​Contribution

Podcast Vision/​Podcast

The Heavy Collective/Q&A

Musee Magazine/​Contribution

MEP live conversation/​Interview

Nearest Truth/​Podcast

France Fine Arts/​Podcast

Mep/​Interview

Wul Magazine / Interview

Elephant / Interview

Sleek / Interview

Another Magazine / Interview

Vogue US / Interview

Anahita’seye / Interview

It’s Nice That

Say Who / Interview

Artforum / The Limits of Control

Lane Crawford / Interview

Fotografia / Parking Lot Hydra

American Suburb X / Happy Purim

Aintbad Magazine / Demoniac Babble

France Culture / Les Nouvelles Vagues

M Le Monde/​Happy Purim

Another Magazine / Happy Purim

T : New York Times Magazine / Happy Purim

Vice / Happy Purim

L’oeil de la photographie / Happy Purim

Daily Metal / Interview

Disturber Magazine / Glacial Jubilé

Hotshoe / Interview

Nowness / Glacial Jubilé

Vice / Glacial Jubilé

Conversation With Études

Anyone, Girl

Trendtablet / Interview

Kilimanjaro / La Guerre Du Feu

Dazed Digital By Charlotte Davey

Lightra

France Culture By Aude Lavigne

Vice Review / À Propos De Gisèle

Myriorama / Monsieur Design

Vice By Mathieu Berenholc

Rocket Science

Choreo-graph:
Pulsation, Flesh, Colour by Elsa Dorlin
Translated from the French by Robert Hurley

This text is part of the book THIS CAUSES CONSCIOUSNESS TO FRACTURE by Estelle Hanania and Gisèle Vienne published by Spector Books.

In the style of a graphic novel, Estelle Hanania and Gisèle Vienne give us a different story to see. The photographed works are those of Gisèle Vienne, to be sure, and yet the photographs of Estelle Hanania and the montage by the two artists show us, tell us, a new narrative; as if the per­formers, reprising their roles on glossy paper, were com­ing to life beyond the original choreography, as if they had stepped out of it and offered us the key to a subtext. A subterranean text returning to the surface, as it were, after having traversed the live creations, and recomposing itself into a new work, in plain view of its two authors. The performers play a different story — their part in it — and im­part it to us. Addressing first the choreographer, who is no longer the sole author — it is with Estelle Hanania that she receives this narrative; they are its keepers here. The dis­positive of this book begins, then, with this radical break: the authors position themselves not from the point of view of a demiurge, but as the custodians of an utterly novel work; they listen to the images, capturing tales of life — on the fly so to speak. What do they tell us? What do the skin, the gestures, the faces of these performers say? Why and by what are their bodies moved, shaken, cast down, or enlivened? What is the meaning of their upheavals? Here, photography is the creative subject, but a creative ​‘eye’ in­terpellated by its own creation, enjoined to clear a space­time for perception, enjoined to look, the better to hear what these works have to tell it.
I. Photography and Montage as Choreo-graphy:
One mustn’t expect the photographic series of Estelle Hanania assembled in this book to track or explicate the progression of the original pieces. They don’t attempt to translate them into another medium; they won’t be able to say more about them or say it better. Hanania and Vienne’s photographic reflection becomes choreographic in the sense that it reconstitutes a crucial moment of the continuous process of creation. Their method is not in­strumental, it is formative of a different modality of the art of choreographing. Hence it is not just a matter of writing movement, but of grasping the writing of the movement itself, of reading it at the instant it begins to recount, when it addresses its universe of meaning in its own grammar. In this way, Estelle Hanania counters the socio­historical function of photography, that of investigation, the pursuit of truth, the capture of the real supposedly without medi­ation. She processes the still image not in order to arrest the dance, to freeze the action and decrypt it, to purify it or cleanse it of any wayward subjectivity, of any impetus re­sisting the artistic direction, but to look carefully and listen closely, to alert the senses, slowing down our spectator’s perception. There is a citational relation here with the slow motion that Vienne calls upon in her works, that art of the slow gesture deployed to its critical degree, which doesn’t