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Two stills extracted from Sylvia Kristel (16mm film)

Two stills extracted from Sylvia Kristel (16mm film), 2011 - Manon de Boer

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Two stills extracted from Sylvia Kristel (16mm film), 2011

Manon de Boer  

60 x 40 cm / 23.62 x 15.75 inch
Edition of 10 copies, signed and numbered by the artist

  • Medium: Two film stills printed on barite paper
  • This work is framed
  • ships in 5 to 10 business days from London (UK)

about this work

Two stills extracted from Sylvia Kristel (16mm film), 2011 is a limited edition of ten photographic prints based on two images of the actress Sylvia Kristel taken from De Boer’s 16mm silent film entitled Sylvia, March 1 & 2, 2001, Hollywood Hills, 2001-05. This work consists of two 16mm loops, shot on Super8 films in each of which the actress Sylvia Kristel is filmed on two successive days in the Hollywood Hills. The film shows the actress in close up while she lights a cigarette.

Sylvia Kristel played the role of Emmanuelle in the 1974 erotic film of the same name and was also the subject of de Boer’s film Sylvia Kristel – Paris, 2003.

This edition was produced on the occasion of Manon de Boer: Framed in an Open Window, an exhibition which ran from 3 December 2010 until 23 January 2011. Framed in an Open Window explored the nature, impact and nuances of memory, beautifully documenting De Boer’s technique of combining documentary approach with a subtle editing process and an acute attention to sound in relation to image. Some of her films focused on individuals, often dancers, actors or musicians, recounting their recollections whereas others explored aspects of stillness and movement, and the relationship between the two.

about Manon de Boer

The work of Manon de Boer is about portrait and memory. De Boer studied photography and sculpture at the Academy of Fine Arts in Rotterdam and the Rijksacademie in Amsterdam before she began sculpting her first likeness in time with film, video and sound. That was in 1996.

Her initial series of black-and-white portraits were Super-8 images of friends and acquaintances, recorded in moments of intense concentration - Laurien while reading a book, or Robert playing the guitar. Times when, for just a fleeting moment, they had forgotten the observer’s glance and were no longer conscious of the camera. The eye of the camera creates both distance and intimacy. As viewers, we do not see what they are doing. What we see is a face in which we can read little or nothing at all. The frame is unmoving, the image static and the sound is not there at all. The length of each shot is consistent with that of the Super-8 film. The portrait is a photograph set in time. For Manon de Boer, the relationship between time, the concentration on the face in the image and the intensity of looking is fundamental. She wants the viewer to feel a difference between what time is and its passage, to become aware of our own act of looking. Is a portrait more than the recording of an unguarded moment? What is hiding behind the facial expressions of the person portrayed? Isn’t it true that every image you have of someone else is a reflection of yourself?

(courtesy of Argos, Brussels)

Manon de Boer’s work has been exhibited internationally. She had monographic exhibitions at Witte de With, Rotterdam; Frankfurter Kunstverein; London South Gallery; Index, Stockholm; Contemporary Art Museum of St Louis; and Museum of Art Philadelphia - among others. Her work was also shown at the Venice Biennial, Berlin Biennial, Sao Paolo Biennial, and Documenta, and has also been included in numerous film festivals in Hong Kong, Marseille, Rotterdam and Vienna.

Manon de Boer is represented by the following gallery;
click through to discover more of her work.

Jan Mot, Brussels

Manon de Boer is a member of the artist collective Auguste Orts, created in 2006. You can discover more about her work on their website

Learn more about this artist