Bouquet film / video 8
Louis Henderson

La Centrale, from Wednesday, October 22 to Sunday, October 26, 2025

For three months, a program of films and videos offers a journey through half a century of moving images, exploring some of the possible articulations between sound, music and image. Through a series of thematic "bouquets" or ones centered on a particular filmmaker or video artist, the program presents the work of emblematic or little-known artists, video art pioneers or film thurifers.

In a dialogue between projected works (room 1) and works on cathode-ray monitors (room 2), between formal, ethnographic and political approaches to sound, the program highlights the uses and practices of the musician's portrait, performance and soundscapes.

Each week, the films and videos disseminate discreet touches, apparitions and motifs, connections between bouquets and nods to the Biennial program: Paganini, a Sony Walkman, Jean-Luc Godard revisited by John Zorn, salt deserts, the Bachmann / Ceresole couple, brass bands and more.

A proposal by Maxime Guitton.

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Hall 1

Evidence of things unseen but heard

2018, 19', color, stereo
LUX

Evidence of things unseen but heard is an audiovisual collage conducted like an archaeological survey of Bristol's music scene, specifically mapping the Bristol Sound. The starting point is the St. Paul's district, or perhaps the Caribbean sugar plantations that enriched Bristol through the trade of enslaved Africans, or somewhere in the middle of the Atlantic, the connecting space between these geographies and eras. The predominantly Caribbean community of St. Paul's rose up in April 1980 against police brutality and, more broadly, against the racist institutions and economic oppression of Margaret Thatcher's government. Centuries of colonial violence still resonate, intertwined with nights of revolt provoked by a complex security apparatus, activated by computerized police surveillance and the new Stop and Search laws .

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Louis Henderson

Born 1983 (UK)
Based in Paris

Louis Henderson is a filmmaker who seeks new ways of working with people to address and question our contemporary global condition, defined by racial capitalism and the enduring histories of the European colonial project. His working method is archaeological, using net found footage. It aims to develop new materialities of the Internet, offering the possibility of a techno-animist resistance to neo-colonialism. Mainly through film, but also through text and performance, Louis Henderson proposes ways and means of decolonizing technologies in order to invent emancipatory uses for them.