Katerina/Thomadaki, Smoking, 1975-2016, © Klonaris/Thomadaki & ADAGP, Paris, 2024.
Maria Klonaris, Flash Passion, 1970, © Klonaris/Thomadaki & ADAGP, Paris, 2024.
Maria Klonaris, Sauro Bellini, 1982, © Klonaris/Thomadaki & ADAGP, Paris, 2024.
Maria Klonaris, Kha. Les Embaumées, First song for the Unheimlich, 1979-1980, © Klonaris/Thomadaki & ADAGP, Paris, 2024.
Katerina/Thomadaki, Smoking, 1975-2016, © Klonaris/Thomadaki & ADAGP, Paris, 2024.
Maria Klonaris, Flash Passion, 1970, © Klonaris/Thomadaki & ADAGP, Paris, 2024.
Maria Klonaris, Sauro Bellini, 1982, © Klonaris/Thomadaki & ADAGP, Paris, 2024.
Maria Klonaris, Kha. Les Embaumées, First song for the Unheimlich, 1979-1980, © Klonaris/Thomadaki & ADAGP, Paris, 2024.
“Extases”
Screening of “Smoking” (1975-2015), “Flash Passion” (1970), “Sauro Bellini” (1982) and “Kha. Les Embaumées” (du “Cycle de l’Unheimlich”, 1979-1980)
Talk with Katerina Thomadaki and Maud Jacquin
Katerina Thomadaki, Smoking, 1975-2016
Super-8mm colour, transferred in HD, 4′, silent
Posthumous portrait of Maria Klonaris made by Katerina Thomadaki from footage filmed at the time of Double Labyrinth. Opening the film, the Greek word “meteikasma” means “persistence of vision”.
Maria Klonaris, Flash Passion, 1970
Super 8mm, colour, transferred in HD, 2’12, silent
Flash Passion is one of the very first films that the two artists made in Athens when they took up a Super 8 camera and extended their theatrical practice to cinema. Here, Maria Klonaris watches/films Katerina Thomadaki.
Maria Klonaris, Sauro Bellini, 1982
Super-8mm, colour, 12′, silent, restored in 2K by Klonaris/Thomadaki
“When Maria Klonaris’ camera meets the androgynous figure of Sauro Bellini in the Jardin des plantes in Paris, all the boundaries are blurred and erased, between inside and outside, masculine and feminine, the plant and human body. Engaged in a ritual without rules, where fluidity reigns supreme, the young man’s body surrenders and becomes unrealised”. (Maud Jacquin)
Maria Klonaris, Kha. Les Embaumées, First song for the Unheimlich, 1979-1980
Super 8mm, colour, 58′, silent. Actantes [Actresses]: Mylène Glykou, Maria Klonaris, Katerina Thomadaki. Restored in 2K by the CNC’s Film Heritage Department, under the direction of K. Thomadaki.
“The film revolves around three notions: Kha= the etheric double according to the ancient Egyptians. A perpetual spectre in every way resembling the physical body of a dead person; Transfer= phenomenon whereby an affective state experienced for one object is extended to another, through an association. Identification. Projection. Passage from one order of things to another; Embalming= filling a corpse with balsamic, desiccating and antiseptic substances to ensure its preservation. To fill with a suave scent. To perfume”. (M. Klonaris, 1980)
Maud Jacquin
Maud Jacquin is curator-at-large and researcher at Bétonsalon. Her PhD thesis, defended in 2013 at University College London, focused on the politics of narrative in feminist artists’ films, with a particular emphasis on the British scene of the 1970s and 1980s. In relation to this research and for the 50th anniversary of the London Filmmakers’ Co-op, she notably curated a program of films and performances devoted to women filmmakers of the Co-op held at Tate Modern and Tate Britain in London, and then at Anthology Film Archives, New York and the Glasgow Film Theatre. She has been collaborating with Katerina Thomadaki since the retrospective of Klonaris/Thomadaki’s films that they organized together at the Jeu de Paume in 2016.
The Rencontres internationales Paris/Berlin, the Jeu de Paume
