Renan
Pollès
______________________
You
only live seven times
Born
in
1943 in Paris, director of photography, film director, writer, archeologist,
Renan Pollès is an all-rounder of creation. An erudite in perpetual
effervesence, an impassioned creator.
Son
of a writer,
he is fascinated by the image, and has made this his career. Director
of photography, he plays with shadows in cinema: What a Flash,
L'an 01, Mourir à 30 ans, Confidences pour
confidences, Bastien Bastienne and Les maris, les femmes,
les amants are some of the films for which he created the lighting.
No
doubt influenced by his first holidays among the menhirs and dolmens
of Brittanny, at the age of 40 he took the route of university studies
in archeology and became a recognised specialist in late Neolithic
Armorican.
The
marriage of these two passions, the image and archeology, led him
naturally to pusue a third path: writing and directing documentary
films. Mythes et mégalithes, Egyptomania and
Il était une fois l'Atlantide. He revisited for television
the great myths of the history of humanity and in 2001 published his
first essay, La Momie de Khéops à Hollywood, Généalogie
d'un Mythe (awarded the Grand Prix de l'imaginaire in the
essay category at the Festival de l'imaginaire de Nantes).
Cinema,
archeology, writing, and here he is, all set for a new adventure...
_________________________
Contemporary
Art-cheology
It
was
probably in the course of directing, for the Franco-German TV channel
Arte, the documentary Pop art & Co. that Renan Pollès
began to wonder about the vision that the archeologists of the future
will have of those products of mass-consumption that have sometimes
been elevated to the rank of totem. "What could have been the
mystical or religious signification of this planetary icon: Coca-Cola.
The leading universal symbol that the humans of the 20th century so
venerated that they spread it all over the planet?"
_____________
Coca-Collapse
Unique
and incontestable symbol of human identity, intergenerational idol,
will this this reflection of the victorious and arrogant United States
soar by its own wings to reach the heights of the patrimony of humanity
or will it succomb to the collapse of the American empire?
Omnipresent and ubipresent vestiges of the consumer society, these
millions of used bottles and cans have only one residual value: by
crushing them, smashing them, burning them, the artist gives them
a new life. The product of the World Company becomes a WORK
OF ART,
unique.
