Trailer
Presented only in theatres
Mémoire des étoiles dives into the inner world of the artist Namgoong Whan, an “entoptic” landscape inhabited by timeless images that reveal the deep connection between the animate and the inanimate. Entoptic, a visual phenomenon originating from the eye itself, becomes for the artist a metaphor for inner light. “It is a reminiscence of the light from the Big Bang, or that primordial light that shines within us,” he explains. “Painting is about externalizing this intimate light.” His work invites us to explore this hidden clarity, a reflection of our connection to the universe.
Mémoire des étoiles dives into the inner world of the artist Namgoong Whan, an “entoptic” landscape inhabited by timeless images that reveal the deep connection between the animate and the inanimate. Entoptic, a visual phenomenon originating from the eye itself, becomes for the artist a metaphor for inner light. “It is a reminiscence of the light from the Big Bang, or that primordial light that shines within us,” he explains. “Painting is about externalizing this intimate light.” His work invites us to explore this hidden clarity, a reflection of our connection to the universe.
Also presented at LaScam June 5th, 2024 and CourCommune June 22nd, 2024.
| Director | Vincent Schmitt, Namgoong Whan |
| Editing | Vincent Schmitt |
| Calibrating | Nicolas Perret |
| Sound mixing | Thierry Delor |
| Cinematographer | Vincent Schmitt, Namgoong Whan |
| Music | Cyrille Aufort |
In Partnership with
Sessions
• Cinéma du Musée - Auditorium Maxwell-Cummings
Wednesday, march 19, 2025, 05:30 p.m. — 07:01 p.m.
• Musée national des beaux-arts du Québec (à Québec)
Wednesday, march 19, 2025, 07:00 p.m. — 08:31 p.m.
Production
Vincent Schmitt
Vincent Schmitt has worked as a chief editor since 2000. Meeting with Jacques Perrin in 2007 and debut for cinema with ambitious projects which place editing at the heart of the cinematographic process. His work as editor have been awarded by 2 Césars for Best documentary (Oceans 2010, The velvet queen, 2021). Furthermore, his curiosity and interest in alternative aesthetics and narrative forms have materialized through the production of several video clips and experimental short films.
Biographical notes provided by the film production team and edited by Le FIFA’s team
Biographical notes provided by the film production team and edited by Le FIFA’s team
Nocture en plein jour (2016)
ABCD’R (2015)
Farakin Ko (2014)
ABCD’R (2015)
Farakin Ko (2014)
Namgoong Whan
NAMGOONG WHAN majored in plastic arts at Seoul National University (2000) and the Paris National Superior School of Fine Arts (2003), and
settled in Paris, France, where he continues his artistic activities. In 1998, he discovered one of the origins of art in the light-patterned pottery, and continues his search for the light of the mind — ENTOPTIC — through Paintings, Ceramics, Installations, and Art film works.
Biographical notes provided by the film team.
settled in Paris, France, where he continues his artistic activities. In 1998, he discovered one of the origins of art in the light-patterned pottery, and continues his search for the light of the mind — ENTOPTIC — through Paintings, Ceramics, Installations, and Art film works.
Biographical notes provided by the film team.
ENTOPTIMA — Parabole Mutatio, la FIAC, Paris (2019)
ENTOPTIC, Centre culturel coréen de Bruxelles, Bruxelles (2015)
Fort Intérieur Site Whanki — That World, Day & Night, Musée de Whanki, Séoul (2011)
Now! Asian artists, Centre culturel de Busan, Busan (2010)
PALAIS DU SOUFFLE, Palais des études E.N.S.B.A. Paris (2002)
ENTOPTIC, Centre culturel coréen de Bruxelles, Bruxelles (2015)
Fort Intérieur Site Whanki — That World, Day & Night, Musée de Whanki, Séoul (2011)
Now! Asian artists, Centre culturel de Busan, Busan (2010)
PALAIS DU SOUFFLE, Palais des études E.N.S.B.A. Paris (2002)
In the same sessions
Cinéma du Musée - Auditorium Maxwell-Cummings
Wednesday, march 19, 2025, 05:30 p.m.
Musée national des beaux-arts du Québec (à Québec)
Wednesday, march 19, 2025, 07:00 p.m.
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