Carlos TMori

Picasso's models take a break between sessions in the making of Les Demoiselles d'Avignon (1907). Using found erotic films, with American pin-ups from the 1950s, the author reconstructs what it might have been like to pose for the painting. What looks like a cubist anatomy study is transformed into fun by making their faces anonymous.

Unleashed in their cordiality and emancipation, various pin-ups dance and pose to a deconstructed version of Madonna's song Everybody. The images come from erotic cinematography, several decades ago clandestine or underground and now massively disseminated. At the same time, this video pays homage to the proto-Cubist painting Les Demoiselles d'Avignon, a century later, as if it were the moments before or after its cretion by Picasso. The ironic and paradoxical combination of the singer and the painter can already be sensed in the title.

During the moments of repose after the work is resumed, a situation of sublime lust is established that would violate the moral rules of the time. The models perform playful poses, staging submissive postures and behaviour for a painting. A gathering of pin-ups in which unpredictable relationships and intoxicating behaviour take place in the studio. They depict naughty situations, showing themselves naked in all their splendour. In the form of micro-performances they invent various simple, ironic and intellectually unpretentious exercises, anything to kill time, but hiding their faces with a digital mask. By not showing their faces, they divert attention, as well as enhance the voyeuristic situation of the spectator. After looking at the body, the voyeur returns to the unfocused face transfigured into a parodic character.

Beautiful monsters, subtle homage to the elephant man, beautiful women plastically deformed. Art and life finally converge, the models end up resembling their representation in the painting. In addition, the procedural economy of the footage found leads the author to use noises typical of video. Technical deficiencies that are accentuated to make the spectator suffer a slight frustration, similar to what happens in the soundtrack. The artistic practice is staged as a game of concealment. Finally, the face of one of them turns in close-up and ends with a kiss on camera in close-up.

Technical datasheet

  • Direction: Carlos TMori
  • Production: Carlos TMori. 2015.
  • Duration: 00:05:08
  • Original format: Quicktime
  • Formats: Betacam Digital - DVD
  • TV systems: PAL
  • License: Copyright