18/2 - 17/3 1998
NIKIS AV 35 / 230-449
DAILY 10.30 - 3.00

By observing the more intense sensibility of the female face and by noting that the moments when the script of the cinema film reaches its climax in closeup it does so almost exclusively with the leading female characters, I isolated the expressions on their faces in a single frame out of the thousands of which the film consists.
These women are beautiful; they pass before anyone else at Cannes, they pose sensually before the camera, they are narcissistic.
The word diva is a synonym for female; it is these women about whom the directors talk; the public will take long in forgetting their charms; historians and critics will repeat their lines and will tell the tale of how theiy crossed their legs or threw away a glove. I am bewitched by the way they stand drunkenly, acting, beneath all the lights that burn their faces and the eyes that spy on their eyes.
In their vanity I search for the maddened smile of the woman of Winogrand –but I cannot find it, because the cinema is artificial and when you reconstruct it you betray the emotion stimulated in its flow. The non-random, the actor's pretense: these things trap my imagination in emotions and interpretations that do not hover in space.

Penelope Massouri
Athens, 19 November 1997