Dear Shaded Viewers,
Last evening I had the opportunity to partake in the inaugural unveiling of “BREATHLESS,” an artistic homage paying deference to Jean Luc Godard’s iconic 1960 cinematic masterpiece. The curation which was orchestrated by the discerning eye of James Bolton includes a seamless fusion of French and American artists harmonizing their creative prowess which works around the compelling narrative of the film.
Drawing inspiration from the riveting tale of Michel, the enigmatic and wayward criminal portrayed by the venerable Jean-Paul Belmondo, as well as his American paramour brought to life by the captivating Jean Seaberg, Bolton weaves a captivating tapestry of visual discourse. This collective tribute transcends boundaries, both geographical and temporal, uniting divergent artistic sensibilities under the unifying motif of the film.
In a departure from conventional means of unveiling, James Bolton eschews the customary press release, instead offering us an intellectually stimulating treatise entitled “An Exhibition Text in Three Acts.” This engaging literary opus unfolds as a dramatic triptych, luring the reader into a multi-dimensional journey that mirrors the layers of depth and intrigue found within the artworks themselves.
Act One: In the first act of this three-part film, James Bolton, the curator of the “BREATHLESS” exhibition, finds himself consumed by anticipation and excitement. As he prepares for the grand unveiling at the Myriam Chair galerie, he meticulously crafts a playful homage to Jean-Luc Godard’s classic film. The gallery is transformed into a vibrant space, showcasing a fusion of French and American artworks that cleverly spoof the original “Breathless” narrative. Amidst the gathering of esteemed guests, including iconic figures like Picasso, Basquiat and Warhol, Bolton’s curation masterfully captures the essence of the film while infusing it with his whimsical touch. The stage is set for an unforgettable artistic convergence, where art and homage intertwine in a delightful dance of creativity and celebration.
Act Two: In the second act of this three-part scenario, the captivating ambiance of the Myriam Chair gallery sets the stage for an enthralling encounter. James Bolton, the curator, finds himself immersed in a spellbinding conversation with the legendary Gertrude Stein. As their dialogue unfolds, Patricia, the embodiment of Jean Seaberg’s character, stands before a mesmerizing painting. Its strokes and colors captivate her, entrancing her gaze. Unable to resist her curiosity, she turns to Michel, a character with a crooked nature, and inquires about the painter’s identity, assuming it must be a renowned New York artist. In a surprising twist, Michel, driven by his impulsive nature, dismisses the significance of the painter’s origin, boldly asserting that the painting truly belongs to Patricia herself. In a daring act, Michel swiftly seizes the artwork, leaving the onlookers gasping in shock and awe. With the stolen masterpiece in his possession, he makes a hasty exit from the gallery, the commotion echoing in his wake.
Act Three: In the climactic conclusion of this three-part narrative, the aftermath of the stolen painting unfolds within the intimate confines of their bedroom. The lingering passion from their previous lovemaking lingers in the air as Patricia gazes upon the stolen artwork with a mixture of awe and fascination. Michel, deeply moved by the emotional impact of the painting, proposes a bold plan – to leave Paris behind and embark on a new life in New York. However, Patricia’s heart remains tied to the enchanting city they currently call home.
Their tranquil evening takes an unexpected turn as the piercing sirens of approaching police cars shatter the serenity. Officers burst into the room, demanding that Michel surrender with his hands up. Defiant, he refuses to comply, resulting in a deadly exchange of gunfire. The authorities prevail, bringing an end to Michel’s aspirations of reaching New York. In a poignant moment, Patricia reveals to him that their night at the Myriam Chair gallery was, in fact, their moment in New York, with the stolen artwork adorning the walls.
In a final act of love and sacrifice, Patricia shares a tender kiss with Michel, assuring him of her eternal devotion. With a solemn command, he implores her to take the painting and escape, ensuring her safety. His parting words echo with a bittersweet tone as he tells her, “I’ll see you in Rome, doll.”
As the scene fades out, the audience is left contemplating the fleeting nature of dreams, love, and the eternal allure of art.
Like a cinematographer revealing the final frames of celluloid, the text grants us insights into the profound impact of “BREATHLESS” and its reverberations through time and artistic expression. Through thoughtful analysis, Bolton invites us to ponder the interplay between the past and the present, the ephemeral nature of art, and the eternal resonance of Godard’s cinematic opus.
In the realm of “BREATHLESS,” James Bolton has deftly orchestrated a veritable symposium of artistic voices, harmonizing French and American talents to create a cohesive whole. Through his eloquent “Exhibition Text in Three Acts,” he offers us a window into the creative spirit and profound introspection that permeates the exhibition. With each brushstroke and sentence, the viewer is compelled to engage with the legacy of Godard’s seminal work, transcending mere spectatorship to embark upon a personal odyssey of self-discovery and aesthetic enlightenment and of course, the power of art.
Later,
Diane
Myriam Chair Galerie
23 rue des fosses Saint-Jacques
75005 Paris, France
www.myriamchairgalerie.com
Find out a little more about James Bolton here:
