PANORAMA
Shot in Paris at the Bourse de Commerce – Pinault Collection, Panorama is a 22-minute film on the interface of bodies, architecture and history. Three muses lead the viewer through turbulent arcs of choreography created in response to the 360-degree frieze adorning the site’s late-19th-century rotunda. A hybrid dance film and visual essay, Panorama re-imagines the Bourse de Commerce as a refuge from commerce, especially the violent history of colonial capitalism depicted in the panoramic painting. In its installation version, the film is projected onto a free-standing, curved panoramic wall.
Panorama, 2021. 4K video, color, sound, 22 minutes. Installation view: Marian Goodman Gallery, New York.
Panorama, 2021. 4K video, color, sound, 22 minutes. Installation view: Marian Goodman Gallery, New York.
2024 | Group exhibition
Narrative Obsession in the Post-Colonial Psyche, The 8th Floor, The Shelley & Donald Rubin Foundation, New York2023 | Solo exhibition
Gerard & Kelly: Ruins, Carré d’Art – Musée d’art contemporain de Nîmes, France2022 | Solo exhibition
Gerard & Kelly: Panorama, Marian Goodman Gallery, New York 2022 | Screening
Festival Côté Court, Pantin, France2021 | Screening
Bourse de Commerce – Pinault Collection, Paris
Narrative Obsession in the Post-Colonial Psyche, The 8th Floor, The Shelley & Donald Rubin Foundation, New York2023 | Solo exhibition
Gerard & Kelly: Ruins, Carré d’Art – Musée d’art contemporain de Nîmes, France2022 | Solo exhibition
Gerard & Kelly: Panorama, Marian Goodman Gallery, New York 2022 | Screening
Festival Côté Court, Pantin, France2021 | Screening
Bourse de Commerce – Pinault Collection, Paris
CreditsWith Guillaume Diop, Germain Louvet, Soa de Muse | Music: Julius Eastman | Director of photography: Clément de Hollogne | Editor: Félix Rehm | Costume design: Camille Assaf | Production: & Compagnie with the support of Pinault Collection | Postproduction: Harbor Picture Company
Miwon Kwon, “Remains of Future Dreaming: Gerard & Kelly’s Art of Allegorical Constellations”
Joseph Giovanni, The New York Times
Marian Goodman Gallery