Pièce de Cinéma, 2007 (Cinema Piece)

Book with audio CD divided into ten chapters each corresponding to an audio track. The CD is to be listened to while reading the book.


- Book: French/ English, hard cover, full colour and duo tone, 72 pages plus leaflet with translation, edition of 500; audio CD: 20.48 min, 10 tracks

- Special Edition of 10: hand made hard cover box containing an original silver gelatine print in passe-partout, a signed copy of Pièce de Cinéma and an illustrated audio CD


This project was supported by BMUKK (AT) and published by the Jan van Eyck Academie (NL)


regular and special edition of Pièce de Cinéma

Ines Lechleitner's Pièce de Cinéma
by Jess Atwood Gibson

Ines Lechleitner's Pièce de Cinéma comprises images, sound and text which follow Isabelle Oglivie, a young mentally handicapped woman who is engaged in making a film. Lechleitner, as Isabelle's assistant as well as her chronicler, accompanies Isabelle as she discusses her film project with filmmakers, artists and philosophers, and documents her approaches to image-making and language. Through ten chapters, each of which comprises an audio segment, a printed text and a series of photographs, Pièce de Cinéma approaches the absent film medium, as well as photography, drawing, and language, in a protean meditation on representation and image-making.

Pièce de Cinéma is a portrait of Isabelle Oglivie and of her absent film, but structurally it functions by de-constructing the medium of film itself. While film has the capacity to unite disparate media – the photographic, the verbal and the audio – Lechleitner has carefully combed the synaesthesia of film into individual strands. The viewer listens to the audio on headphones while turning the corresponding pages of the book where text and photograph interact. The text, in turn, meticulously charts not just the recorded conversations between Isabelle and her interlocutors, but also the ambient and environmental sounds such as rain, bells, cats, cars and strangers in the street. The words are positioned both across and up and down the strata of the page like a musical score, with each sound strain written in its own register.

Listening, watching and reading, however, the viewer begins to notice that the precise correspondence between word, text and image is illusory: the notation of the text occasionally slips and elides a sound that the ear hears; the images, sometimes functioning as a companion to the text, just as frequently magnify an unnoticed detail of the unseen recorded scene. And, while at moments the photographs continue Isabelle's word-play and associations, at others they provide us with empty rooms, an abandoned chair, the objects Isabelle has seen: views that are fragments of another angle of the represented moment, or indeed show a slightly different moment altogether, the chair just vacated, its pillows still warm. This fragmentary quality serves to gently remind the viewer of our mediated experience, ellipses that come to stress the shifting incompletion at the core of our experience of others as well as our presentation of ourselves.

Pièce de Cinéma, double page of chapter 4

Pièce de Cinéma, double page of chapter 7

audio chapter 7 (2.01 min)

Pièce de Cinéma, double page of chapter 8

installation view of Pièce de Cinéma in the group exhibition Die Lucky Bush by Imogen Stidworthy at MUKHA (Antwerp, 2008 BE)