
Eighteen fragments from Malcolm Le Grice’s After Leonardo (2016)
BFI Southbank, Blue Room, 27 May 2016.
1 votes on TMDBReleased May 28, 2016Runtime 0h 8mDirector Stefano Miraglia
"This installation or performance work puts my own earlier film of the Mona Lisa (1973) through another stage of transformation – my own irretrievable self of some 34 years ago is now also part of the subject I first saw the ‘actual’ ‘Mona Lisa’ when I was about thirteen. Of course I had seen dozens of reproductions in books and postcards by then and the popular mythology of the enigmatic smile was already well engrained in my mind. My strongest impression, as I recall, was how small and unsurprising it was – a heavily protected cultural icon – no longer really a picture – and I was much more excited by the painting of the distant landscape than by the face. My own ‘version’ of ‘la Giaconda’ was never an homage, nor like Marcel Duchamp’s ‘L.H.O.O.Q’, an attack on its cultural power. Instead it came from a fascination with change and transformation – maybe also with arbitrary appropriation." Malcolm Le Grice
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Cast of Eighteen fragments from Malcolm Le Grice’s After Leonardo

Malcolm Le Grice
About Eighteen fragments from Malcolm Le Grice’s After Leonardo
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Who stars in Eighteen fragments from Malcolm Le Grice’s After Leonardo?
Eighteen fragments from Malcolm Le Grice’s After Leonardo stars Malcolm Le Grice.
Who directed Eighteen fragments from Malcolm Le Grice’s After Leonardo?
Eighteen fragments from Malcolm Le Grice’s After Leonardo was directed by Stefano Miraglia.
How long is Eighteen fragments from Malcolm Le Grice’s After Leonardo?
Eighteen fragments from Malcolm Le Grice’s After Leonardo has a runtime of 0h 8m.
What is Eighteen fragments from Malcolm Le Grice’s After Leonardo about?
"This installation or performance work puts my own earlier film of the Mona Lisa (1973) through another stage of transformation – my own irretrievable self of some 34 years ago is now also part of the subject I first saw the ‘actual’ ‘Mona Lisa’ when I was about thirteen. Of course I had seen dozens of reproductions in books and postcards by then and the popular mythology of the enigmatic smile was already well engrained in my mind. My strongest impression, as I recall, was how small and unsurprising it was – a heavily protected cultural icon – no longer really a picture – and I was much more excited by the painting of the distant landscape than by the face. My own ‘version’ of ‘la Giaconda’ was never an homage, nor like Marcel Duchamp’s ‘L.H.O.O.Q’, an attack on its cultural power. Instead it came from a fascination with change and transformation – maybe also with arbitrary appropriation." Malcolm Le Grice
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