Vision Award Ticinomoda 2019 to Claire Atherton
When one thinks of the art of editing, it is often linked to the idea of cinema being life without its dead ends. Yet, choosing a cut for each shot has to do with something else, with the relationship one wishes to establish with the spectator. It is within this dynamic, that the work carried out by Claire Atherton – outside and within Chantal Akerman's filmography – is of seminal importance for contemporary cinema: it has given birth to a sequence of films in which the perception of passing time becomes fundamental within the aesthetic (and ethical) architecture of work.
It is not surprising that Claire Atherton, born in San Francisco but now living in Paris, started from her fascination with Taoist philosophy and the study of Chinese ideograms, and then gradually approached editing, beginning her three decade collaboration with Chantal Akerman thanks to Letters Home (1986). From that moment, they both carried on a partnership capable of ranging from documentary cinema to fiction, but above all, of intercepting contemporary art, working on new projects (or editing old films anew), giving birth to a new perception of moving images. In this line of research and continuous experimentation, on which all of the editor's choices are based, has supported the rigorous viewpoints of authors beyond canons, such as Éric Baudelaire, Emmanuelle Demoris, Elsa Quinette, Noëlle Pujol and Andreas Bolm. Without any concerns about making meanings emerge, Claire Atherton's art has illuminated cinematographic time with a new sense.