Films byTexts by Herman Asselberghs

Herman Asselberghs (1962) is a Belgian visual artist and filmmaker. In 2007, he won the Transmediale Award in Berlin. He teaches at the film department of LUCA School of Arts Brussels. In 2006, he founded the Brussels-based production and distribution platform Auguste Orts together with Sven Augustijnen, Manon de Boer and Anouk De Clercq.

Article NL FR EN
1.05.2019
Vervoering als verzet

Notities bij En sortant du cinéma

Herman Asselberghs werkt momenteel aan een langlopend filmproject in de filmopleiding waar hij sinds twee decennia lesgeeft. Via de realisatie van een filmessay peilt hij naar de relaties tussen aandacht en verstrooiing in bioscoopzaal en klaslokaal. Doorheen het maakproces doet Sabzian verslag van zijn begeleidend lees- en schrijfwerk. Met regelmaat selecteert Asselberghs een bestaande tekst die hem bezighoudt en die hij zelf van een bijbehorende tekst voorziet. In de eerste aflevering staat hij stil bij En sortant du cinéma van Roland Barthes.

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1.05.2019
Rapture as resistance

Notes on Leaving the Movie Theater

Herman Asselberghs is currently working on a long-term film project at the film department of the LUCA School of Arts, where he has been teaching for two decades. Through the realization of a film essay, he probes the relationship between attention and distraction in the film theatre and the classroom. Throughout the creation process, Sabzian reports on his accompanying reading and writing. On a regular basis, Asselberghs selects an existing text that interests him and that he himself provides with an accompanying text. In the first instalment he focuses on Leaving the Movie Theater [En sortant du cinéma] by Roland Barthes.

Article NL FR EN
1.05.2019
Le ravissement comme résistance

Notes sur En sortant du cinéma

Herman Asselberghs travaille actuellement sur un projet de film à long terme dans l’école de cinéma où il enseigne depuis vingt ans. En réalisant un film-essai, il sonde les relations entre attention et dispersion au cinéma et en classe. Sabzian rend compte du travail de lecture et d'écriture qui accompagne son processus de création. Asselberghs sélectionne ainsi régulièrement un texte qui l’intéresse et l’assortit d’une réflexion personnelle. Dans le premier épisode, il se penche sur En sortant du cinéma de Roland Barthes.

Correspondence EN
13.09.2017
Visibilia IV

Still, upon sauntering through the large and wide-ranging selection of pictures large and small, framed and unframed, hung high and low, or spread out on tables, I started to perceive Wolfgang Tillman’s show, 2017, as equally marking this moment in time, when high resolution camera phones have become completely ubiquitous.

Correspondence EN
15.03.2017
Visibilia III

The Guardian recently charted Kanye’s packed 12 months of megalomania: it really is a thin line between acting crazy and becoming crazy. You write: “The danger with Famous is that it risks being the very thing it wants to comment on.” I would argue: the force of Famous is that it risks being the very thing it wants to comment on.

Correspondence EN
18.05.2015
Visibilia II

So this film about a charged political moment remains strangely, and deliberately, disconnected from the politics of that moment. What interests Loznitsa isn’t the politics of the protests, or their political ramifications; what he focuses on and brings to the screen is the dramatic arc of protests as such.

Correspondence EN
3.02.2015
Visibilia I

Watching spacecraft float near a wormhole next to Saturnus in a packed Grand Eldorado on a Saturday evening is why we go to the movies. Watching that same spacecraft explode in outer space, seeing huge dust storms shroud the land and witnessing the last people on earth (almost) expire is why we’d maybe better stay at home.