Barcelona Short Film Festival 2020
28 - 30 October 
Section 3
Pierre Ajavon
Fixing A Hole
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Trying to mend a hole to keep our minds from wandering to the other side ...

"Fixing a Hole" uses my own lunar films mixed with an experimental electronic music composition including lunar sound recordings from NASA.


Hi Pierre, thank you for talking to TNC, how are you feeling in these strange times?

Thank you! I'm doing as well as I can in these strange times. Covid-19 marks the beginning of a new era of a different relationship to the world and to others.

This new world is being written before our eyes and we must do everything possible to ensure that art and its universal values occupy a prominent place in it. Stay safe!

Has this period brought you new creative inspiration?

After a short period of shock and amazement, I never stopped working on my projects, but the appearance of a new context, new rules, new thinking already influences our relationship with creation.

Did you think you would get the kind of feedback you have received about your work at festivals and art exhibitions?

For me the purpose of artistic emotion is to be shared with as many people as possible and it is always a great pleasure to be able to present my work at festivals or exhibitions.

The reactions and exchanges are also very enriching and sometimes allow me to see aspects in my work that I myself had not suspected!

Sharing the intimacy of a creation with an audience and arousing emotions in viewers remains a gift from heaven!

What does being part of the exceptional short films program of the Barcelona Short Film Festival mean to you?

It is truly an honour and an immense happiness to participate in a prestigious festival in the midst of great directors.


How much did your experience on your previous projects contribute to the making of Fixing a Hole?

The making of "Fixing a Hole" corresponds to a period when I gradually abandoned figuration in favour of abstraction by considering my short films as "animated paintings" until "Fixing a Hole" where the harmony of shapes, sounds and colours, evokes the principles of animation cinema.

Musically it is also the culmination of research into electronic sounds initiated for my previous projects.

"Fixing a Hole" revolves around a musical composition mixing electronic music and sound recording of the moon by NASA.

"The still image is therefore not "just" for seeing better, but also for hearing better."

Can you tell me a little bit about "Fixing a Hole", where did you get the inspiration for this movie?

The idea came to me when I remembered the song "Fixing a Hole" by The Beatles, the text of which evokes the desire to let your mind wander despite the worry of not being able to dream. The idea was to create an aesthetic representation of this "hole" that prevents our minds from escaping to the other side.

I'm Fixing A Hole where the Rain gets in
And stops my mind from wandering
Where it will go

To what extent has your experience in sociology contributed to influencing your projects?

During my sociology course, the study of the influence of the psychedelic imagination on music, cinema, literature or graphic arts revealed to me that in the perspective of "perceiving differently", the porosity between the different artistic disciplines could lead to a form of expression using several mediums.

I then specialised in the research of sound visualisation via postmodern imagery and I began to make many short films by ensuring the shooting, the editing & the musical production.

You say on your website that "by redefining the dialogues between sound and moving images", this has allowed you to create a "triangulation ... including still images". When did this realisation take place and to what extent has this triangulation influenced your new works?

Even if I have included still images in my montages since the start, the contribution of the still image takes its measure when my work is presented in an exhibition space where the animated image (projection & monitor) still images interact. (Digital prints on alluminum or plexiglass from the videos) and sound (sound composition created for the exhibition and broadcast overhead).

In this context, the sudden eruption of fixity and another temporality allows the viewer's gaze to focus on another aspect of the moving image: sound.

The still image is therefore not "just" for seeing better, but also for hearing better. Like a link between moving image and sound.


"Follow your instincts, don't be afraid to try..."

Looking back, is there anything you would have done differently on this project?

With hindsight, I would probably have made a long version of "Fixing a Hole", in order to develop some variations ... It may be the subject of a "Fixing a Hole 2"!

Have you always been passionate about the visual arts and have you always been drawn to making experimental films?

During my childhood I was fascinated by the aesthetics of record covers
which often reminded me of a kaleidoscope of emotions, imaginary soundtracks...
I have always been fascinated by Pop imagery and the psychedelic aesthetic related to music, which is why I got into video art with the idea of "filming sound" and turning it into images.

What advice would you give to an emerging video, sound or digital artist?

Follow your instincts, don't be afraid to try, don't hesitate to make the different media interact with each other in order to create your own universe, but don't be discouraged because the road is long and above all, be yourself!

And finally, what do you hope people take away from “Fixing a Hole”?

I hope they let their minds wander during the movie and after the movie ...
And that their pleasure will be both emotional and aesthetic.