“Mr. Everyman explains how to look like a Japanese and thus impress those wild and not very civilized people. Mrs. Everyman replies that for savages, they look remarkably civilized. Meanwhile, Mr. Everyman, seeing more people looking even more Japanese, is reassured. Mrs. Everyman sees soldiers parading in European uniform. She smiles ironically. But now a number of typical Japanese walk into the house. Her irony disappears. And Mr. Everyman is not ashamed to admit… he is mystified.”

– narrator

El Grito de Independencia: ¡Viva México!

“¡Mexicanos! ¡Vivan los héroes que nos dieron patria! ¡Viva Hidalgo! ¡Viva Morelos! ¡Viva Josefa Ortiz de Domínguez! ¡Viva Allende! ¡Vivan Aldama y Matamoros! ¡Viva la independencia nacional! ¡Viva México! ¡Viva México! ¡Viva México!”

– El Grito

Accompanied by Juan Rulfo's poem, Gámez explores Mexico's identity, and loss thereof. Crying out for the Mexican with Coca-Cola in the blood.

Commissioned by the #PanAfrican literary magazine Présence Africaine to make a short film about African art, Chris Marker and his collaborator Alain Resnais – the latter still emboldened by his Van Gogh (1948) – were struck that unlike the Dutch painter's work, this #art was not on display in the Louvre or a similar cultural temple, but in the ethnological Musée de l'Homme.

“An object dies when the living glance trained upon it disappears. And when we disappear, our objects will be confined to the place where we send black things: to the museum.”

– narrator

These works of “Negro” art that embody such a deep cultural and artistic significance for the creators and the people they are part of, were, within the boundaries of Western civilisation, merely things. The editing (Alain Resnais), photography (Ghislain Cloquet) and dialogue (Chris Marker) bring life to these works. Through these voices they speak to the viewer, escaping the institutes' walls.

 

This voice was enough for the CNC to censor Les statues meurent aussi; only the first third of the film, the segment that's not blatantly #AntiColonial, was to be watched. And to this day, the documentary still has not seen a restored, digital release.

Vérités et Mensonges is what it's actually called, but you may know it as F for Fake. Orson Welles and three uncredited fellow conspirators – Gary Graver, Oja Kodar, and François Reichenbach – delve into the world of #art forger Elmyr de Hory by way of his biographer Clifford Irving.

“Back to the old tricks.”

– Orson Welles

Welles et al free-associate with concepts of art, lies, #deception, and #authenticity. #Houdin, Welles, #Picasso and Hughes, hoaxers, hucksters and artists in their own right. And then it's over: this work of art, this sleight of hand, this demonstration of factuality, an exposé.