After 'Communicating Vessels' (FID 2020), the artist-filmmaker duo Annie McDonell and Maïder Fortuné are back. Once again, the question is that of art, its teaching, the painful articulation between thought, practice and the living shell that embraces and brings it to life. An affair as ancient as the first Romantic period, its complexity fully intact, the challenge here is multiplied by the study of an extremely singular and insufficiently known figure of 20th century history: Lee Lozano. Painter, particularly radical conceptual artist and then recluse, for many years this woman filled similar small coloured spiral notebooks with her thoughts and plans for her work.

After 'Communicating Vessels' (FID 2020), the artist-filmmaker duo Annie McDonell and Maïder Fortuné are back. Once again, the question is that of art, its teaching, the painful articulation between thought, practice and the living shell that embraces and brings it to life. An affair as ancient as the first Romantic period, its complexity fully intact, the challenge here is multiplied by the study of an extremely singular and insufficiently known figure of 20th century history: Lee Lozano. Painter, particularly radical conceptual artist and then recluse, for many years this woman filled similar small coloured spiral notebooks with her thoughts and plans for her work.

After 'Communicating Vessels' (FID 2020), the artist-filmmaker duo Annie McDonell and Maïder Fortuné are back. Once again, the question is that of art, its teaching, the painful articulation between thought, practice and the living shell that embraces and brings it to life. An affair as ancient as the first Romantic period, its complexity fully intact, the challenge here is multiplied by the study of an extremely singular and insufficiently known figure of 20th century history: Lee Lozano. Painter, particularly radical conceptual artist and then recluse, for many years this woman filled similar small coloured spiral notebooks with her thoughts and plans for her work.

After 'Communicating Vessels' (FID 2020), the artist-filmmaker duo Annie McDonell and Maïder Fortuné are back. Once again, the question is that of art, its teaching, the painful articulation between thought, practice and the living shell that embraces and brings it to life. An affair as ancient as the first Romantic period, its complexity fully intact, the challenge here is multiplied by the study of an extremely singular and insufficiently known figure of 20th century history: Lee Lozano. Painter, particularly radical conceptual artist and then recluse, for many years this woman filled similar small coloured spiral notebooks with her thoughts and plans for her work.

After 'Communicating Vessels' (FID 2020), the artist-filmmaker duo Annie McDonell and Maïder Fortuné are back. Once again, the question is that of art, its teaching, the painful articulation between thought, practice and the living shell that embraces and brings it to life. An affair as ancient as the first Romantic period, its complexity fully intact, the challenge here is multiplied by the study of an extremely singular and insufficiently known figure of 20th century history: Lee Lozano. Painter, particularly radical conceptual artist and then recluse, for many years this woman filled similar small coloured spiral notebooks with her thoughts and plans for her work.