Délire atta

Michaela Grill’s approach seeks to liberate images from their historical patina, stripping away nostalgia to reveal their raw visual potential. By emphasizing textures, forms, and movement, she allows the material itself to dictate the composition. The red tint of the original print of La biologie des atta, for example, became a key visual element—embraced rather than corrected—intensifying the film’s physical presence and expressive power.

Roger Tellier-Craig worked exclusively with audio sourced from four of these films, selecting material rich in timbre and texture. This material was then stretched, granulated, and reshaped into new sonic fragments that still echo their original source—not as direct references, but as an expansion of the infinite possibilities within media often considered finite. Together, image and sound engage in a dialogue of texture and transformation, revealing unexpected resonances within the archive and generating new possibilities from what might otherwise be seen as fixed or obsolete.
 

Michaela Grill
Visual artist

Roger Tellier-Craig
Composer

Sources: 

La biologie des atta (Madeleine Bazire, 1960)
La formation de la cellule LE (R. Robineaux, R. Kourilsky, 1962)
Un délire hallucinatoire - psychose systématique chronique (Eric Duvivier, 1962)
Expérimentation acoustique sur les corbeaux (RG Busnel, 1962)
La grande oreille (Pierre Guilbert, 1962)
Jekyllum (Claude Schnéegans, 1974)