Paris was never an easy city.
It has always been more about death than the dolce vita.
What if one of the most obscure, yet Parisian objects you could find was the Borniol ?
Photography by René Habermacher
Styling by Kanako B. Koga
Concept by Antoine Asseraf
Retouching by Dimitri Rigas.
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In Carlo Collodi’s 1883 children’s novel “The Adventures of Pinocchio” it is the wooden puppet that possesses sentience prior to its transformation; it is the puppet and not its creator, the woodcarver who triggers the miracle of the doll coming alive.
With François one never knows who pulls the strings. It is him who invokes the sentiment for a story to become alive. Yet he hands himself over unconditionally to his collaborators, like an “instrument to be played”, as he likes to call it.
Film director Christopher Honoré once expressed that François Sagat “redefines the notion of masculinity”. François, the humble boy from Cognac has moulded himself to unattainable iconic status. Gilded with his blue inked crane, he is to conquer his righteous spot in the pantheon of pop culture…
"François Sagat with Apple" Exhibition SPECTRE, Hyères 2010. Photography by René Habermacher
René Habermacher : you recently played alongside Chiara Mastroianni in HOMME AU BAIN by Christophe Honoré, and as well the lead in Bruce LaBruce L.A. ZOMBIE – how were your experiences?
François Sagat: L.A ZOMBIE was an experience which had very little to do with HOMME AU BAIN… The shoot for LA ZOMBIE was like a real porno shoot, scene by scene, it was mostly fucking, except that of course the porno version was censored for festivals…Beyond the sex scenes, LA ZOMBIE was a chaotic shoot, without a script, hasardous… but I’m still to this day satisfied with this participation and collaboration with Bruce LaBruce, from whom I still have much to learn, and who possesses a huge cinema and litterary culture… Despite what his critics say, I think Bruce has a real style.
During the shoot I really tested my capacity to resist “obstacles”, it was at times very difficult, I didn’t know where I was going, no direction, it was like being thrown in the lion’s den.
There was no script, the storytelling was weak and the whole plan was turned on its head by last minute changes and many cancelations, but that can be said about a lot of “cinema” projects.
L'HOMME AU BAIN by Christophe Honoré, starring Chiara Mastroianni and François Sagat.
Regarding HOMME AU BAIN, the shooting was a lot more structured, but energetic nevertheless. It’s on this project that I realized that my abilities as an actor were limited, weak even, and felt like I was a big challenge for Christophe Honoré because of my “heavy” image, of the luggage I was carrying.
There were moments when I thought I terrified him, being everything except malleable. The project was constantly evolving due to the fact that we had planned it as a short, and that a lot of questions arose towards the end of shooting. It was finally released as a full feature film, and I have the feeling it wasn’t the right place for the film.
It was an intimate project which to me, with hindsight, would have had a strong impact as a short. But I am neither director nor the creator of my own character. Rather than control the situation, I felt the blowback. But surely the imperfection of the final result makes it a real film, that can be remarked and criticized. I chose to shoot it and live the collaboration for the moment rather than think of the finished product.
What is the difference to you between acting in a porn movie or a feature film?
The difference ? Of course there are differences.
When you’re a porno actor, you’re in constant control of your carnal envelope and your physical aspect, whether you learn it or you have it from the start.
I didn’t know it as first but I am someone who has that ability. Porn is often an activity for people who are shy orally.
As a performer, you never really have to carry the more or less artistic responsabilities of a porn film, because there is no artistic issue to start with. You just have to be a good soldier fitting what the consumer desires to watch and what the production has decided, and that’s it.
I think also that I am someone who’s very sexual and exhibitiionist, but that’s not really giving you a scoop. Porn is like military service, it’s “my way or the highway”, and in my case, I’ve been and continue to be a good soldier.
The main difference is that you need a capacity to adapt and to lose who you really are, physically as well as morally. I created for myself a character in porn as in life, it’s difficult to let it go.
If you didn’t make it for the 3 days of the Hyères Fashion & Photography Festival, you still have until May 26, 2012 to see the exhibitions of the festival at the Villa Noailles in town, including Yohji Yamamoto, Jason Evans, Anouk Kruithof, Ina Jang, Cunningston & Sanderson, Chronique Curiosité, Inez & Vinoodh and… Lynsey Peisinger + The Stimuleye’s performance/installation/video hybrid, PILORI.
Until the end of May you can see at the villa the PILORI installation featuring footage of the performance (with the cooperation of Yohji Yamamoto Inc.) and video contributions by Antoine Asseraf & René Habermacher, starring François Sagat, by Jason Last & Jaime Rubiano, Clément Roncier, Sebastien Meunier + Romain Dja Douadji + Tomek Jarolim, and the winner of our internet contest, Simone Fehlinger, who met up with Filep Motwary.
PILORI (“PILLORY”) is a unique collaboration between choreographer Lynsey Peisinger and The Stimuleye for the Hyères Festival. Drawing on a pool of both local and Paris-based performers, Lynsey Peisinger conceived 2-hour performances inside a specially built space in the Villa Noailles’ Sautoir space: a wall with 4 pairs of legs poking out, moving, at rest, ignoring or harassing each other…
For its exhibition phase, the performance footage is augmented and interrupted by the footage of BEYOND THE WALL, different video artists’ renderings of what lies beyond the wall which cuts the performers in half.
CLONES starring François Sagat, by Antoine Asseraf & René Habermacher.
Sebastien Meunier, Romain Dja Douadji & Tomek Jarolim for BEYOND THE WALL.
Clément Roncier for BEYOND THE WALL/PILORI.
Jason Last & Jaime Rubiano for BEYOND THE WALL/PILORI.
Simone Fehlinger for BEYOND THE WALL / PILORI.
Filep Motwary: What is your video about?
Simone Fehlinger: my videos visualize the stories of walls. Parts of these walls are broken : colors, wallpapers peel off and uncover it’s past… The videos invite to a personal imagination of what this wall’s history is about… Now, these walls have moved to Hyères 2012 and will be part of a new story…
Filep Motwary: Why have you chosen white as your “backwards” canvas?
Surfaces are extremely exciting ! But the interesting part is not the perfectly clean, virgin, new, white layer.
It’s the layer underneath…
What is your opinion about Hyeres.
It’s legendary ! I’m really happy and honoured to be a part of…
What would be your next projects about?
My new big project is my own graphic and video design studio in Paris.
Simone Fehlinger, winner of BEYOND THE WALL contest.
Special thanks to Coralie Gaultier & the Yohji Yamamoto Inc team,
Simone Fehlinger for her contribution,
and all the performers who gave their time to participate in this project.