Chantal Akerman

Jeu de Paume

Like the proverbial Spanish inn, Chantal Akerman’s installation “D’Est: au bord de la fiction” (From east, bordering on fiction, 1994) allowed visitors to feast on what they brought with them, from thoughts on the biblical prohibition of images to notions of history without a capital H, by way of the Holocaust, the fall of the Berlin Wall, the art of cinema, and cinema as art. Akerman has been a kind of one-person New Wave in European cinema since the ’70s, and those who were familiar with her films could immediately recognize her signature style and subjects in this first museum piece: the real-time, real-life approach of her classic Jeanne Dielman, 23 Quai du Commerce (1975), the perpetual displacements of News from Home (1976), J’ai faim, j’ai froid (I’m hungry, I’m cold, 1984), or Portrait d’une jeune fille des années 60, à Bruxelles (Portrait of a young girl in the ’60s, Brussels,

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