Venice 2019, Laure Prouvost French Pavilion

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Comparison to a Dental office because there is something so administered about Prouvost's, like being reclined slightly fetal as you are worked on, jaw agape, drilling, affects, smiling faces. A strange feeling of being digested. The same feeling as a very effective advertisement. Pressed and kneaded through tunnel again. Expelled out the end and feeling like it. A "4D film is a marketing term for an entertainment presentation system." The sensorsium, being awash in the seat of pure sensation. Like you are inside the movie. Like of course there's a queue. We require an industrial entertainment complex for the jetset. The special mention Golden lion went to the equivalent of Disney's It's a Small World boat ride, but its just Belgium.



See too: Laure Prouvost at Carlier Gebauer

Laure Prouvost at Carlier Gebauer

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You're always entering a tunnel with Prouvost. Always ending with an argument on the exact definition of mis-en-scene. If German expressionist cinema had a unifying gestalt that we could all understand if not quite pin as anything but expressionist and German then Prouvost's is a sort of dental office maximalism. You always leave Prouvosts feeling lightly diddled, a titillation feeling swindled. Like if an Apple commercial grew tentacles entered the real and manipulated you. Prouvost treats everything and me as an infant, so radically in awe of all equally, dust, shit, flowers babies, nipples, in resin or celluloid cast together. Like advertisements working on the desire for you to return to the infantile placental state, into some affective hypnosis, impressionable like goo.