Michel Auder has fervently recorded his life.

Michel Auder has fervently recorded his life, experiences, and observations onward video for over thirty years. Auder is an exemplary video raconteur, whose work elicits a faculty of perception of intimacy paired with the conscious pleasure of looking. The participatory character of Auder's videos is shaped by means of his use of the camera as a tool of social interaction. Auder's video chronicles create the impression that he carries a camera with him everywhere and that the camera inevitably mediates his perception and experience. This seemingly indefatigable use of video moves a sense of infinite coverage, ostensibly effacing the distinction between experience, memory, and representation, and consequently brings further attention to the way technologies of representation mediate between individual and social histories.

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Launching his career as a fashion photographer, Auder began making films in the early 1960 by means of 1968, filmmaking became his primary conduit end his association with a constellation of radical independent filmmakers in Paris known as the Zanzibar form into groups Auder began exploring the documentary value and creative possibilities of video before long after portable video equipment became available beyond the television industry. Michel Auder acquired his first Sony Portapak video camera in 1969; since then, his work has spanned a variety of denominations and genres, from fictional narratives to media appropriation collages, travelogues to exercises in mediated voyeurism, and video portraits of artists and friends like as Taylor Mead, Alice Neel Larry Rivers, Cindy Sherman, Annie Sprinkle, and Hannah Wilke. Fundamentally, Michel Auder is an assiduous visual chronicler who has documented and shared his life and observations with the medium of video. His cinema verite-style memoirs have simultaneously documented personal domestic environments and that of the of recent origin York art world, from the glitterati of Andy Warhol's Factory in the late-1960s to the at hand A confluence of representational connected views informs these video chronicles, however the family mode and video diary formats are the greatest in number immediately perceptible.

The archive of footage he has amassed, and continues to assemble provides the source material from which he creates discrete works that range in duration from under five minutes to several hours. While a not many works were formed completely in-camera, greatest in number have been edited for years, and sometimes decades, after the original footage was projectile As time passes, certain situations, persons and images are revisited, edited, and released from the archive. His proces of explicit recollection is not about retrieval as frequently as it is about retelling and the processe of memory: looking back from the instant on events in the past and searching for a means to relate stories, to communicate.

Michel Auder is a author of poems of visual observation, who has been informally named the "Video Laureate."(1) Auder's chronicles of situations, behaviors, intimate details, and unexpect make gesturess offer glimpses into the quotidian and abysmal These videos are remarkable for their aesthetic and historical value, offering an intimate view into a social display "whose members have long since apotheosized into cultural mythology"(2) or have been otherwise recognized for their important contributions to art and refinement Collectively, the archive and videos effectively function as a form of visual autobiography. Film historian and theorist, Michael Renov, has identified this form of "essayistic" autobiography in his modern film and video as "the site of a vital creative initiative being undertaken through film- and video-makers around the world that is transforming the ways we think about ourselves for ourselves and for others."(3)

France, 1968

Michel Auder was born in 1944 in the small industrial town of Soissons, France, approximately sixty miles north of Paris. An aspiring filmmaker, he mov to Paris in his late teen where he set employment as an apprentice photographer. according to 1961, Auder opened his have a title to photographic studio and was introduced to of recent origin York City while on assignment with the legendary fashion photographer Hiro for Harper's Bazaar. Enthralled with the of recent origin York scene, Auder overstayed a two-week visa until he was deported several month later. Returning to Paris, Auder learned he had been conscripted for military service. He was instated in the photo and film division of the French Army and ultimately displayed in Algeria as a military photographer shortly after the war ended

Like other young filmmakers of his generation, Auder was interested in challenging in what manner modern life was represented, particularly at television and the classic narrative techniques of cinema. He build encouragement in the films of Pier Paolo Pasolini and the Nouvelle Vague for the manner with which they at handed certain aspects of modern life (including frank explorations of sexuality) and challenged bourgeois morality. To this day, the French just discovered Wave's cinematic fascination with the details and small rituals of everyday life is lavishly evident in Auder's work. Jean-Luc Godard and Andy Warhol decisively inspired Auder. the pair film artists eschewed traditional realist conventions and, in distinct ways manipulated the basic form and components of cinema. Godard and Warhol were formative influences and confirmed his desire to "make films differently from the principles that had been laid not at home for so many years in the Hollywood system"(4)