© Parallax - Fondation Louis Vuitton / Marc Domage
For this commission, Sarah Morris made a film on the Fondation Louis Vuitton building, which was under construction at the time.
Frank Gehry’s creative approach, the way his work develops and his methodology are viewed here in the institutional, urban and social context of this new museum. Morris pays close attention to details, colours and materials through a series of images – of the architect in his Los Angeles studio, workers on the construction site, the streets of Paris and the surroundings of the Bois de Boulogne. “The films for me are like an atlas, a manifesto of everything I am interested in: production, cities, creating situations, politics, the psycho-geology of the map, spectacle and, of course, colour. For instance, Gehry’s foray into 3D computer programming and graphics plays a part in the work; it is like an abstract landscape, much like painting. Likewise, my paintings are virtual space, a virtual architecture. This film explores a sort of layering, a pileup of social forms, dreams and processes. I am interested in how images of seduction are communicated and how they are designed. What I want to convey is that this building is not graspable and representable in one idea. It is an allusion, something that is moving that you cannot pinpoint. This is the intrigue that I follow. Gehry also remains elusive. This is his power,” explains Morris.