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Himalaya: Terre de Serenite by Arnaud Desjardins (1968), consists of two remarkable early films shot in the 1960's for French television, focusing on the Tibetan yogis at the sacred lake of Padmasambhava in India, Rewelsar. The first film, Le Lac des Yogis, features rare footage of the early years of Tibetan refugees in India, with a young Dalai Lama and his sister Jetsun Pema, plus Dilgo Khyentse Rinpoche, Trijang Rinpoche, and Dudjom Rinpoche performing an initiation at Rewelsar, or Tso Pema. The second film, Les Enfants de la Sagesse, features a young Dalai Lama and his Gelugpa monks, and the 16th Gyalwa Karmapa training the main young tulkus of the Kagyu lineage - now renowned teachers in their own right.

Himalaya: Terre de Serenite by Arnaud Desjardins (1968), consists of two remarkable early films shot in the 1960's for French television, focusing on the Tibetan yogis at the sacred lake of Padmasambhava in India, Rewelsar. The first film, Le Lac des Yogis, features rare footage of the early years of Tibetan refugees in India, with a young Dalai Lama and his sister Jetsun Pema, plus Dilgo Khyentse Rinpoche, Trijang Rinpoche, and Dudjom Rinpoche performing an initiation at Rewelsar, or Tso Pema. The second film, Les Enfants de la Sagesse, features a young Dalai Lama and his Gelugpa monks, and the 16th Gyalwa Karmapa training the main young tulkus of the Kagyu lineage - now renowned teachers in their own right.

A shot of a few buildings in the middle of nowhere, and then the camera delves deep into exotic, luxuriant vegetation. We are in Tropical Islands, a leisure complex near Krausnick, a village 70 kilometres south of Berlin on the site of a former Soviet airbase. At this very spot, moving from one affectation to the next, the upheavals of the last century pile up like so much sediment. Europe's scars and contradictions, its mindscape, its dreams and illusions.

Through a structuralist and simultaneously ambiguous form, the image's reality treads closer to the abstract, leaving the sunset and trees behind. As we enter the image's gloaming, it reveals its true eye: reality's pure haptic energy, where there is nothing but sonorous light, and the dregs of the Unknown.