Jean-Claude Mocik
Jean-Claude Mocik, was born on February 9, 1958, in Livry Gargan. He is a filmmaker, video director, a director and teacher.
Chronology
After studies of cinema and broadcasting in Paris VIII University, Jean-Claude Mocik worked with Pierre Jolivet : Strictement personnel, Le complexe du kangourou and Jean-Pierre Mocky : Le Pactole, La machine à découdre. Then he became assistant-director of Jean-Paul Jaud : SOS Charlot, La Marseillaise. He realized fictions : Piste, Moco Fictions, documentaries : Théatre, Ecole Créativité and Looking For Beethoven, experimental films : Paris Figure Simple and Nyc Nac Solo and videos : Correspondance avec Jean-Luc Godard and Laos Noblabla. At the same time, he developed visual prototypes such as Switcher Video Band.From 1985, he is particularly drawn to new technologies. He joined the Ars Technica Association connected to the Cité des Sciences et de l'Industrie uniting philosophers, artists, scientists such as Piotr Kowalski, Jean-Marc Levy-Leblond, Claude Faure, Jean-Max Albert, Sara Holt, Piero Gilardi, reflecting on the relationship between art and new technologies.
In 1989, Dominique Noguez recommended him for the 1st Biennial of Contemporary Art of Barcelona. He showed a video installation in 12 TV monitors arranged in pyramid. In the 90s, he was considered one of the precursors of HDTV beside Jean-Christophe Averty, David Niles, Zbigniew Rybczynski, Jacques Barsac, Pierre Trividic, Hervé Nisic. He produced and realized experimental programs such as Dix-neuvième for Canal+.
In 1991, uniting his activities of R&D in audiovisual media conception, he created jcMCK, his own production company.
In 1992, the Centre national d’art et de culture Georges-Pompidou showed his experimental movies and videos at the Cinéma du Musée curated by Jean-Michel Bouhours. Beside Catherine Desrosiers, Catherine Beuve-Mery and Maurice Séveno, Jean-Claude Mocik participated in the CICV of Belfort Montbéliard, with the conception of an interactive TV program. In December, 1993, at the request of the 35mm laboratory Les 3 Lumières, he inaugurated Switcher Vidéo Band, an experimental multicameras captation in Le Palace, Paris.
In 1994, he left one of the main cooperatives of experimental films in Paris, Light Cône, and made the decision to broadcast his experimental movies and video tapes exclusively thru his personal workshop. Recommended by Olivier Bontemps and Christophe Valdejo, two art directors of Gédéon and founders of the agency View, the Italian photographer Oliviero Toscani offered him, in 1995, the management of the department Cinéma-Vidéo of Fabrica, the Research center on the Communication of Benetton, based near Venice. In November, 1996, Fabrice Michel and Alain Josseau invited him to Toulouse to conceive and present a video installation entitled Video Solo in reference to his movie Nyc Nac Solo, shot in 1989 in New-York. L’Atelier de Recherche d’Arte regularly broadcasts his films and vidéos. As a TV director, Jean-Claude Mocik collaborated on numerous programs broadcast on diverse TV channels: Paristroïka, produced and broadcast by MCM Euromusique, Tout Paris for Paris-Première, L’Atelier 246 for FR3, Court Circuit, produced by MK2 broadcast by Arte. He created concepts of documentary series of which Le Travail en questions, a collection of 10 × 52 min animated by Ariel Wizman and Francis von Litsenborgh, were broadcast on La Cinquième.
Since 2006, he is in charge of an educational department of Conception, Writing and Directing within the Pole of Education and Research of INA. In 2007, he wrote the screenplay and directed Moco Fictions a visual film essay completely shot with a robot. In 2013, he filmed in Vienna, Austria, Looking For Beethoven, a documentary film on Belcea Quartet for TV Mezzo and for a German music channel Unitel Classica. In February, 2014, at the request of Paul Ouazan, he contributed to a project entitled Le marcheur, broadcast on Arte Creative.
Research
Very early, Jean-Caude Mocik identifies himself in filmmaking as a "rhythmmaker" director. If scenes and sequences are generally imposed by the scenario and its narration, rhythmmaker or metric cinema assumes to be indifferent to subject and story. Images and sounds are detached from any production of meaning ; they are exclusively dedicated to a rhythmic layout where visual and sound elements are used as material for durations, rates, frequencies, times and cycles.A process is established with the aim of collecting visual dynamics in a structured composition. From shooting to editing, all cinematographic resources are considered a priori sources of rhythm: axes and camera movements, lenses, editing, are thus subject to constraint through a rhythmic system, which offers unusual compositions on screen.
Framings or pans, which are usually led by the movement of a character, are pre-set here: regardless of whether this character stays in the frame or not.
Experiments
His work as a rhythmmaker artist implies progressing over very long periods, like daily shots with a film camera for over 30 years, or using 2 video cameras, shooting every two weeks at noon sharp, in the imposed itinerary at the gates of Paris,. These projects, initiated in January 1994, continue today. Once a month in his workshop, projections that are held. His experimentations delve into his personal archives of films and videos, stored over time, in order to compose visual and sound arrangements specific to each session. The result is a kind of palimpsest in permanent mutation. The projection itself becomes form.Filmography
Films
Piste, 13 min, 16mm optical sound, 1981Orbite, 2 min, 16mm silent, 1983Malaxer, 4 min, 16mm magnetic, 1983Paillex-Bolard, 6 min, 16mm silent, 1983Ciné-spot, 6 min, 16mm silent, 198344 rue Petits Plaisirs, 6 min, 16mm magnetic, 1983Lignes, 13 min, 16 magnetic, 1985Paris Figure Simple, 66 min, 16mm magnetic, 1986Roma Amor, 6 min, 35mm silent, 1986Nyc Nac Solo, 60 min, 16mm magnetic, 198933, 20 min, 16mm magnetic,1991Si Film Dada, 6 min, 16mm silent,199134, les ciels, 1 min, 35mm silent, 1992Los Angelos, 13 min, 16mm magnetic, 1992Paris Solo version Sinistrée, 60 min, HDTV, 1995Paris Solo version Dix sur Dix, 60 min, HDTV, 1997Série circadienne — années 33 à 50, 16 et 35mm, digital, 1991-2008Série circadienne — années 51 à 57, 35mm silent, digital, 2008-2015Video
Répétitions, 20 min, 3/4 U-matic, 1983Correspondence avec Jean-Luc Godard, 20 min, 3/4 U-matic, 1985Attractions 1st version, 8 min, Beta Standard, 1988Lunéville version Pigalle, 7 min, Beta SP, 1990Dix-neuvième, 7 min, TV HD, Canal +, 1990Double Landscape, 30 min, Beta SP, 1994Coupes du Monde, 45 min, DVCam, 1998Midi Pile, arc Villette Pantin, 13 min, DVCam, 1994-2005Morocco, 4 min, DVCam, 2006Moco Fictions, 1h30, DVCam, 2007Laos Noblabla, 4 min 20, HDTV, 2011TV
Paristroïka, weekly TV show, 70 × 26 min, MCM-EuromusiqueNature, documentary, 26 min, LMK - BBCRegarde le monde, dayly TV Show, 26 min, SIIS - Canal JL’atelier 256, serie of segment, Gédéon - FR3Tout Paris, dayly TV Show, 26 min, Paris PremièreHexagone, weekly TV Show, 60 min, SIIS -TV 5Télé TV, dayly TV Show anchored by Stéphane Paoli, Ellipse Programme - TMCCity-Life, HDTV documentary about Steve Reich, jcMCK - MCM InternationalÉpinay Sur Seine, TVHD captation rock music, jcMCK - MCM InternationalTour de Chauffe, weekly TV Show, Multithématiques - TMCLes clés de la nature, weekly TV Show, Télé-Images - La CinquièmePoulidor en jaune, documentary, 18 min, Point du Jour - Arte- Fictions, shorts, advertising, segments for Fabrica, Italia, Arte, MCM, Canale 5, MTVLe travail en questions, serie, 10 × 52 min documentary, Point du Jour - Ministère du Travail et des Affaires Sociales - La CinquièmeSerial killers, Doc en stock -13e RueLa Route, weekly talk-show, Starling - Canal Jimmy, Sept d'Or in 2000Paris Mode, Special TV show, Olivier Theyskens, MCM Paris - Paris PremièreCourt-Circuit, weekly, MK2 TV - ArteRosalie et les collectionneurs, weekly, Ad Stellas - Louvain Production - TMC
- multicaméras directings on streaming, SmallBang, MediapartLooking for Beethoven, documentary, 52 min, Heliox - Unitel Classica / Mezzo