Co-published with the CNAP for the “anti-collection” of LE BAL, this book is a limited edition of the french artist made in 380 copies with a print for the special edition.

The title says it all, and the montage works like this: an assembly of black and white photos from Japanese cinema, facing pages torn out of a book, some paragraphs of which remains legible. These texts are taken from working notes published by Michelangelo Antonioni in Bowling on the Tiber. In them, Antonioni wrote down sketches of scenarios, which he called “narrative embryos.” The most interesting ones transcribe intentions that he describes as unrealizable, not because of production issues, but because they contain research on the limits of what a film can do, limits that he exorcises through writing.

Co-published with the CNAP for the “anti-collection” of LE BAL, this book is a limited edition of the french artist made in 380 copies with a print for the special edition.

The title says it all, and the montage works like this: an assembly of black and white photos from Japanese cinema, facing pages torn out of a book, some paragraphs of which remains legible. These texts are taken from working notes published by Michelangelo Antonioni in Bowling on the Tiber. In them, Antonioni wrote down sketches of scenarios, which he called “narrative embryos.” The most interesting ones transcribe intentions that he describes as unrealizable, not because of production issues, but because they contain research on the limits of what a film can do, limits that he exorcises through writing.