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2019You think the earth is a dead thing
Here's the stronger- than- man you were looking for.
2019125 hectares
on 18 June, I remember, 1983, it wasn’t General de Gaulle’s Appeal of 18 June, but our own.
2016Public Commission,
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2014Kamen, the Stones
Urbicide, destruction in Trebinje, as well as in other cities in Bosnia and Herzegovina, started in spring 1992
2011Les Bosquets
The girls, where are they? There’re no girls left here.
2003Conversation
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2009The Attendants
That's why I say to my daughters, I don't leave the Bosquets, I stay here.
2008The Priest
Pay attention, madam...
2008Confessions d’un Jeune Militant
There’s a book, Stalin, with a green cover.
2008Socialisme ou barbarie
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2007The place of Language
Nowadays, attempts are made to standardise the language: to standardise the Gipsy language and its writing.
2006Prvi Deo
Welcome on the courtroom number 1 of the special building in district court of Belgrade
2006Red Star
Many people supported The Red Star, they were called The Valiant Ones
2002Women in black
In the days of crises and wars, parallels are made about women being the equals of warriors
2000The Peasants
We remained friends when Tito was around, when there was only a single party.
2008Confessions d’un Jeune Militant
There’s a book, Stalin, with a green cover. Hand me LesTemps modernes and the one behind it. Look here. With the white cover. The Origin of Russian Communism.

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Video, colour, sound, 32 min.

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The video work, Confessions d’un jeune militant (2008), in which the artist’s father himself appears along with a selection of books from his library which, like the earlier photographs of ephemera, recall his intellectual and political trajectory in post-war France. The artist’s son, who modelled incognito in the previous series, serves as an inter-generational go-between, duly yet nonchalantly handing his grandfather each title on request. Beginning with Léon Blum au congrès de Tours, the books thus serve as physical aide-memoires, as the former jeune militant recalls his past: from the Popular Front demonstrations in the mid-1930s, the Spanish civil war, his awareness of the Molotov-Ribbentrop pact (between Nazi Germany and the Soviet Union) and its consequences in 1939, which permanently distanced him from the French Communist Party. In the post- war period, he was active in several socialist formations: the SFIO (the French Section of the Workers’ International), which he left in opposition to Socialist Party’s handling of the war in Algeria, the UGS (Union de la Gauche Socialiste) and the PSU (Parti Socialiste Unifié, the Rocardian tendency) with a strong interest in worker self-management influenced by the Yugoslavian experiment.

Cinematography: Nicolas Guicheteau
Sound: Florence de Comarmond, Alexis Lazar
With the support of Fort du Bruissin, Francheville and Centre national des arts plastiques, Paris



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