{"id":1503,"date":"2020-08-25T15:27:28","date_gmt":"2020-08-25T13:27:28","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=1503"},"modified":"2022-02-24T13:25:07","modified_gmt":"2022-02-24T12:25:07","slug":"the-unauthorized-portrait-of-f","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/the-unauthorized-portrait-of-f\/","title":{"rendered":"The unauthorized portrait of F."},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"noMarginBottom caps edge wp-block-heading\">The unauthorized portrait of F. <\/h1>\n\n\n\n<h2 class=\"caps wp-block-heading\">QUENTIN LANNES<\/h2>\n\n\n\n<div class=\"wp-block-columns singleOeuvreTopRow is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<h4 class=\"wp-block-heading\">Video<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<p><strong>F. is a young man recording his memories so that an avatar can pass them on to future generations. Why does he want to \u00ablive forever\u00bb?<\/strong><\/p>\n\n\n\n<p>The director, who couldn\u2019t get in touch with F., recounts this missed encounter. He substitutes the presence of F. by that of a memoji and sketches his portrait from clues collected on the internet.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreInfosRow is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column infosPratiquesBlock is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"684\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03-12-20_Chroniques_Ghost-In-The-Machine_21-Bis_CREDIT_Pierre-Gondard_-27-1024x684.jpg\" alt=\"\" class=\"wp-image-3714\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03-12-20_Chroniques_Ghost-In-The-Machine_21-Bis_CREDIT_Pierre-Gondard_-27-1024x684.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03-12-20_Chroniques_Ghost-In-The-Machine_21-Bis_CREDIT_Pierre-Gondard_-27-300x200.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03-12-20_Chroniques_Ghost-In-The-Machine_21-Bis_CREDIT_Pierre-Gondard_-27-768x513.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03-12-20_Chroniques_Ghost-In-The-Machine_21-Bis_CREDIT_Pierre-Gondard_-27-1536x1026.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03-12-20_Chroniques_Ghost-In-The-Machine_21-Bis_CREDIT_Pierre-Gondard_-27.jpg 1800w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Pierre Gondard<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"684\" height=\"1024\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03-12-20_Chroniques_Ghost-In-The-Machine_21-Bis_CREDIT_Pierre-Gondard_-22-684x1024.jpg\" alt=\"\" class=\"wp-image-3716\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03-12-20_Chroniques_Ghost-In-The-Machine_21-Bis_CREDIT_Pierre-Gondard_-22-684x1024.jpg 684w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03-12-20_Chroniques_Ghost-In-The-Machine_21-Bis_CREDIT_Pierre-Gondard_-22-200x300.jpg 200w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03-12-20_Chroniques_Ghost-In-The-Machine_21-Bis_CREDIT_Pierre-Gondard_-22-768x1150.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03-12-20_Chroniques_Ghost-In-The-Machine_21-Bis_CREDIT_Pierre-Gondard_-22-1026x1536.jpg 1026w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03-12-20_Chroniques_Ghost-In-The-Machine_21-Bis_CREDIT_Pierre-Gondard_-22.jpg 1202w\" sizes=\"auto, (max-width: 684px) 100vw, 684px\" \/><figcaption>\u00a9 Pierre Gondard<\/figcaption><\/figure>\n\n\n\n<div class=\"videoPortrait\"><div style=\"padding:177.78% 0 0 0;position:relative;\"><iframe src=\"https:\/\/player.vimeo.com\/video\/445880122?portrait=0\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen=\"\"><\/iframe><\/div><\/div><script src=\"https:\/\/player.vimeo.com\/api\/player.js\"><\/script>\n\n\n\n<p class=\"noMarginBottom\">Share this event on social networks<\/p>\n\n\n<div class=\"socialLinks socialShare\"><ul><li><script>function fbs_click() {u=location.href;t=document.title;window.open('http:\/\/www.facebook.com\/sharer.php?u=https:\/\/chroniques-biennale.org\/en\/the-unauthorized-portrait-of-f\/&t='+encodeURIComponent(t),'sharer','toolbar=0,status=0,width=626,height=436'); return false; }<\/script><a rel=\"nofollow\" href=\"http:\/\/www.facebook.com\/share.php?u=<;url>\" onclick=\"return fbs_click()\" target=\"_blank\" class=\"facebookLink\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/li><li><a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&url=https:\/\/chroniques-biennale.org\/en\/the-unauthorized-portrait-of-f\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=The+unauthorized+portrait+of+F.&amp;url=https:\/\/chroniques-biennale.org\/en\/the-unauthorized-portrait-of-f\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreArtistsRow is-layout-flow wp-block-group-is-layout-flow\">\n<h4 class=\"wp-block-heading\">Artist<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><\/div><div class=\"artisteBlockRight\"><h2>Quentin Lannes <sup>(FRA)<\/sup><\/h2><div class=\"artistContactLine\"><ul class=\"artisteSocials\"><li><a href=\"https:\/\/www.instagram.com\/qulannes\/\" target=\"_blank\" class=\"iconLink\"><i class=\"fab fa-instagram\"><\/i><\/a><\/li><li><a href=\"https:\/\/vimeo.com\/quentinlannes\" target=\"_blank\" class=\"iconLink\"><i class=\"fab fa-vimeo\"><\/i><\/a><\/li><\/ul><a href=\"https:\/\/quentinlannes.com\/\" target=\"_blank\">https:\/\/quentinlannes.com\/<\/a><\/div><div class=\"artisteContent\"><p>Quentin Lannes is interested in the issue of traces &#8211; digital or analog &#8211; that we produce more or less deliberately and that we leave behind. He is attentive to the evolution of the technological apparatus that produce them and to the uses that they induce.<\/p>\n<p>Lannes has made the a portrait of a man developing his own memorial avatar, based on publications he found of him on the internet (The unauthorized portrait of F). He has followed the trail of ghosts inhabiting obsolete digital devices (Racing a Ghost). He has also studied the circulation and identification of images on the web and within second-hand networks (Christiane ou La Maison). With Cassandre Poirier-Simon, he has led a reflection on the use of personal assistants in creative fields (Amorce). These projects are imbued with a form of melancholy that could be labelled as &#8220;digital spleen&#8221;.<\/p>\n<p>Quentin Lannes was born in 1989 in \u00c9vreux, France. He lives and works in Lyon.<\/p>\n<\/div><\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreCreditsRow is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<h4 class=\"wp-block-heading\">Credits &amp; mentions<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\">\n<p>Written and directed by Quentin Lannes.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n","protected":false},"featured_media":3714,"menu_order":0,"template":"","edition":[20],"type_oeuvre":[28],"class_list":["post-1503","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/1503","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/3714"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=1503"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=1503"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=1503"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}