It’s hard to find Isabel Coixet An unknown edge at this point. It produces its best scenario of 36 years, and of course its 65 is hard to imagine by doing something other than a cinema. Always attentive to details, perfectionist and thorough in the same parts, he developed his own universe in 23 films. The rehearsal of empathy, which led her other artistic folds. At an exhibition that hosts Thyssen-Barnemisza MuseumThe artist teaches the first time 50 ‘Collages’ that could be 50 ‘Storyboards’ Kinematographic. Everything is connected in it. “I started without thinking about something. I love the accumulation of absurd things and everyone is getting closer in these works,” he says. By September 14, fragments can be considered that each viewer must complete according to his nature.
They created photos and papers and evoked scenes that the filmmaker touched from different positions. Some took the body, others stayed on the road. In any case, however firm social obligation. “I like the exhibition will be in the hidden room of the museum. I compare it to her in a restaurant with a star Michelin and be a dessert for coffee when you are full. I feel a cheater, but I’m comfortable there.” She was a typical girl who forgot crafts. I hated them to do them. It seemed to me that I worked with my hands, I wanted to write and make movies, ”explains Coixet.
“Vous Savez, is Suis de Ceux Qui PRAZENT TAIRE THAT NO RIEN DIRECT” (2015), Isabel Coixet. / Thyssen Museum
Work “Photocoling”. Learning in disobedience began to form 15 years ago in a compulsively and instinctive way: they have some preparatory plans, with the essence of models that some directors in Hollywood have not left randomly and attract every aircraft for appropriate sessions. “They are Memory. We all go anachronisms, but we do what we can invent them. The girl who hated school tasks continues to live in me, ”adds the filmmaker, who also made them in digital format.
“Il Connait Mieux that Moi-Même” (2023), Isabel Coixet. / Thyssen Museum
COIXET The construction is associated with a great tradition of Avant -garde genre, directly connecting it to its cinema: always a humanist, always a feminist. They explore fine and unfinished and claim artistic disobedience as a form of creation. “The first thing I thought when the possibility of setting the exhibition was in the number of filmmakers who had secret races in plastic art. I remembered Federico Fellini, Derek Jarman, Tim Burton… What surprised me from Isabel was his decisive orientation on collagewho has its origin in the cameraman, ”says Guillermo Solana, artistic director Thyssen.
For the first time uncovered
At the beginning of the 20th century, a “collage” appeared by artists such as Braque and Picasso, followed by other avant -Gards, such as the Germans Kurt Schwitters and Hanna Höch, who began collecting and inserting pieces to build new reality. This experimentation has its origin in the way the cinema has been creating photograms through stories since its birth in 1895 and modifies the way of observing the world of the whole generation. Like the “collage”, whose essence lies in the burden of the meaning of the pieces that compose them, the cinema, according to the Commissioner, the stars of Diego, must have a “margin for the divine”.
“My homework is to practice civic disobedience” (2024), Isabel Coixet. / Thyssen Museum
These pieces include phrases in different languages that are dispersed as attention flames or the starting point to imagine this story, reflect their way of playing with different levels of reading. “The backpack I wear behind the camera is no different from the one I charge when” collages “. This allows you to fix things that would not otherwise be possible, ”says Coixet, who has used a number of supportive and techniques: from the cardboard of the pen to the Tablex. An artist who has just wrapped the series and is going to create a film in Italy, did not stop creating new works. “It’s the first time they are displayed,” he says. But not the last.
