Danièle Nyst

Danièle Nyst

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Most Known for...

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J'ai la tête qui tourne 1984

A whimsical, philosophical dialogue between a man and a woman (played by Jacques Louis and Danièle Nyst) about "moving the earth and night to a small grey corner" is the starting point for an intricate play of words and images, associations and meanings. This collage-like narrative, which flirts with both the everyday and the magical, unfolds as a mythical reverie on signs and language — spoken, written and visual. The Nysts' fascination with objects and their representations is exquisitely illustrated; their verbal and textual intricacies show a delight with language and its semiotic relation to images. Creating a poetic meta-language that suggests the immensity and abstraction of ideas, the Nysts construct a fantastical video universe where "information is a tragedy," and a unicorn signifies salvation.
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Saga sachets (Légende du Val de l'Ourthe et du Val de l'Amblève) 1989

Saga sachets is a beautifully visualized, fantastical tale that weaves a mythical legend about storytelling. Writes Jacques Louis Nyst, "The satchel sagas are very light envelopes taken about by air streams. They arrive shortly before spring in the Ourthe and Amblève Valley, where they settle upside down. In this position, they whisper to the Planet Earth stories they collected during the year. The earth is attentive to them, it garners these stories in the deep of its memory along mysterious channels. The earth's memory is a deep sanctum where deep calm reigns... Out of this mirror of darkness the earth draws the images that it will later express in the guise of landscapes. Landscapes are born of stories told."
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Hyaloïde 1985

A still from the Hollywood film Dracula, a small pink spade, and a nursery rhyme are the keys that unlock this enigmatic narrative labyrinth. In Hyaloïde, the Nysts create a "beautiful confusion" of childhood memories, associative games, verbal and visual analogies, metaphorical objects, self-referential humor and poetic metamorphoses. This dreamlike, semiotic voyage through memory, language and representation emerges at the psychological and linguistic origins of narrative: "Once upon a time..." The characters Thérèsa and Codca (played by the Nysts) imagine that one can "pass under the level of the story, insinuate ourselves in the mesh of signs as we were able to when we were children... where the opacity of the image becomes transparent (hyaloid) and lets in the light of a legendary world." This enchanted universe of signs articulates the Nysts' unique system of "writing" through video.