Anne-Marie Cornu (1961) comes from an experimental film background that eventually led her to the wider field of sculpture. She initially directed films in collaboration with contemporary musicians. Quite quickly, she became interested in how film unfolds in space, in its projection, and in multiple screenings. She questions the relationship between an image and its surroundings. This changes its location: it multiplies, breaks out, or changes scale. The work's existence is adapted to our movement. Its understanding becomes spatial, and requires a stroll. It is through the observation of projected images and the propagation of sounds that she became aware of the pictorial and sculptural quality of these movements.
Her movement is expanded through light apprehended as sculpture. She plays with the relationship between the images' flat surface and the construction of a three-dimensional space. She thinks constantly in terms of editing. She is interested in the transformation of the film's duration when projections invade exhibition spaces, with the stories that emerge when two heterogeneous elements come together. She observes the intermediary, the rupture, the cut, and the adjustment of tension. She is interested in the emptiness created by the connection between two images, between two objects, between two moments: these spaces that separate and permit the circulation of meaning.
When she began this practice in 1993, she organised an exhibition at the Palais de Tokyo, bringing together thirty film and video installations that questioned the expansion movements that she found transversally in different disciplines such as music, dance, and visual arts.
She later presented her movements on the stage through various creations in collaboration with writers, dancers, performers, and musicians (Célia Houdart, Yuha Pekkka, Sylvain Prunenec, Alexandros Markeas) that were welcomed by the Gulbenkian Foundation in Portugal, the Menagerie of Copa, the National Centre for Dance, the Annecy National Stage, the Grande Halle de la Villette, the Mulhouse Spinning, the Grand Gallery of Fine Arts in Rouen, and the Yokohama Triennale in Japan.
Since 2005, she has been working on various techniques such as woodworking, drawing, and acoustic performance art. The digital revolution made her return to movements that are closer to the body and free from technology.
She has shown her work in Holland, Sweden, Spain, Japan, and France, Monter Sampler at the Centre Pompidou (2000), Primera Estancia in Spain (1999), the Film Museum in Amsterdam (2004), the Yokohama Triennale (2005), 5x5 Castelló 2010 (Spain), the Bordeaux Biennale (2011), ISUS Cabaret in Sweden (2013), Modern Comfort in Poitiers (2013-14), and The Snake in Saint-Ouen (2015). In 2016, she received a grant from the National Graphic and Visual Arts Foundation for the project. Somsons.