In her films, Maya Schweizer dedicates her research to public spaces. She manages to discover traces of the past in everyday life or to insert them through montage. She selects historical contexts that are important for the present situation and can be found in apparently unobtrusive gestures or in architectural monuments. Her cinematic essays represent an artistic form of contemporary historiography that visually argues and gives priority to the description of real living conditions over historical factual knowledge.
The film "The Dying Soldier of Les Milles" observes both the memorial Le Camp des Milles - a former internment camp of World War II in an old brickworks in Aix-en-Provence - and the monument of a dying soldier dedicated to the dead soldiers of World War I, World War II and the Algerian War. He's wounded, leaning on his pockets full of ammunition. The camera moves around the soldier and the square. It takes up the rhythm of the game of petanque at his feet and shows the observer the two places of remembrance in their current appearance.
Realized during the residency at La Non-Maison, Aix-en-Provence, France, 2014. Exhibited at After the butcher, Berlin, 2014, Kunsthalle Baden-Baden, 2015, FIAC, Officielle, Paris, 2015, Galerie ASPN, Leipzig, 2015, Irish Museum of Modern Art, Dublin, 2016, Rencontres Internationales, Paris, Haus der Kulturen der Welt in Berlin, 2016, Villa Romana, Florence,
Festival Ipercorpo, Forli, Italy, 2017, Jewish Museum, Frankfurt, 2019. Exhibited at the soloshow, Stimmen, Museum Villa Stuck, Munich, 2020.
Distribution by Arsenal, Berlin.
Artists Conversation | Maya Schweizer & Maeve Connolly
Tuesday 15 March 2016, 6 – 7pm, Project Spaces
Maya Schweizer and Maeve Connolly (IADT, ARC) discuss the role of film as collective modes of remembrance and memorialisation in Schweizer’s film Der sterbende Soldat von Les Milles (The dying Soldier of Les Milles) 2014.