After the End of the Night Comes the Day

To Werner Herzog, cinema must seek to attain “illumination”— particularly through hypnosis— as
he reiterates in his Minnesota Declaration: Truth and Fact in Documentary Cinema, Lessons of
Darkness (1999). According to Herzog, truth is a construct and a path through hallucinations,
magic, and dreams, all of which function as operative tools. His conception of “anthropological
cinema” strives for an open approach to anthropological reality by breaking down the walls that
separate categories such as objectivity, identity, naturalism, reason, fiction, and documentaries.
Indeed, for him, cinema constitutes the twentieth century’s instrument of vision as well as a realistic
fantasy, a fluid universe in which time is also fluid.
Herzog has conceived a kind of aesthetic platform that gives cinema the allegorical mission of
attaining profound truth through the “creation, stylization, and operation of the imagination.”
Such is also the aesthetic platform illustrated by the films presented in the exhibition After the End
of the Night Comes the Day. These works in motion define unfinished trajectories and flights and
fragments of ephemeral illuminations.

Clémentine Roy
Beatriz Santiago Muñoz
Gústav Geir Bollason
Jean-Jacques Martinod
Lorena Zilleruelo
Mark W. Preston
Maya Schweizer
Þorbjörg Jónsdóttir

Þorbjörg Jónsdóttir
Gústav Geir Bollason


30.05.2020 - 19.07.2020

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