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Il visitatore è dotato di un computer portatile, che gli permette di interagire con i dati sulla collezione e di riposizionarsi nel circuito. Le projet propose une enveloppe en verre agrégée sur les façades, déposée selon un algorithme généré par un robot qui reprogramme les formes en cours de construction. Les accumulations translucides servent aux circulations du bâtiment, permettant de multiples cheminements.

His work comes from different kinds of influences, which at first sight recall art tendencies such that of minimal and pop art. He has been the recipient of many awards, including that of Raiffeisen Foundation, Bolzano in , of California Institute of the Arts in and His recent solo exhibitions include: His works have been shown at several group exhibitions: Schwazer nasce nel a Vipiteno.

Il suo lavoro richiama principalmente la minimal e la pop art, allo stesso tempo esplora in maniera singolare questioni filosofiche e temi sociali associandovi sviluppi formali del tutto specifici. Nel e vince il premio del California Institute of the Arts.

Tra le recenti mostre personali: Vive e lavora a Los Angeles. Né en à Vipiteno, vit et travaille à Los Angeles. Parallèlement, il explore de manière singulière les questions philosophiques et sociales en impliquant des développements formels tout à fait spécifiques. En et , il a remporté le prix du California Institute of the Arts. Il a participé a plusieurs expositions collectives: Costanza Paissan Your artistic research focuses on issues related to pop culture, geopolitics, capitalism, industrial economy and craft production in the global world.

These ideas are transferred into pieces whose forms are essential, often tinged with irony and lightheartedness, poised between mass production and slow craftsmanship, mechanicity and organicity. I am thinking, for example, of the work The Rape of Europe , in which the threads of the Jacquard weaving recall the myth of Arachne but also the evolution of textile production in the history of the world economy.

Could you tell us about the process through which you transform your thoughts into form? Leander Schwazer I have a special penchant for time in general.

Exploring dormant stories in everyday objects is my obsession. I use techniques like détournement , alterations, the reversing or flipping of things: I guess this is a reason for my interest in cracks and fractures: Art walks on a thin path between past and future.

In spring , your work was exhibited at the Museion in Bolzano, in the exhibition Bikini. Where does this work fit in your research? Bikini was a meditation on certain connections between popular culture and war. Compared to the power of war machines, any artistic discipline looks weak. In a way, it becomes necessary to use as many as possible. However, it is impossible to predict the course of history. Only when seen from the future, the past becomes such. In addition to being an exhibition space, Villa Arson is also a place of education, in which dialogue with other artists is normal practice.

Can you tell us about your experience? I was happy to be in close contact with Sonia Leimer over the last year. Although we were working independently, I consider the setting we worked with at Villa Arson as a collaboration. The space will be one of crisis, misunderstandings, big and small stories, subjectivity and objectivity. I am happy to present another montage piece from my longtime exploration of junk, how it is produced and circulates.

Fra Mauro wrote a fascinating story of junks Asian ships rounding the Cape of Good Hope, arriving in Europe and then sailing back. Today my email inbox asked me what I wanted to do with my junk mail — electronic messages received from unknown senders.

But of course history does not repeat itself. Queste idee sono trasferite in lavori formalmente essenziali, spesso venati di sottile ironia e di leggerezza, sempre in bilico tra produzione seriale e lenta manualità, meccanismo e organicità.

O alle schede perforate di Kapital , che trasferiscono il testo del Capitale di Marx in un meccanismo musicale. Puoi spiegare attraverso quale processo metti in forma le tue riflessioni? Leander Schwazer Quello che mi interessa in maniera particolare è il tempo in generale.

Esplorare le storie dormienti negli oggetti quotidiani è la mia ossessione. Mi servo di tecniche come il détournement , le alterazioni, il ribaltamento o il rovesciamento delle cose: Penso che sia questa la ragione del mio interesse nei confronti delle crepe e delle fratture: Nella primavera il tuo lavoro è stato esposto al Museion di Bolzano, nella mostra Bikini.

Come si inserisce questo lavoro nella tua ricerca? Bikini è una meditazione sui collegamenti tra la cultura popolare e la Guerra.. A confronto con la potenza delle macchine da guerra tutte le discipline artistiche appaiono deboli. In ogni caso, è impossibile predire il corso della storia. Essa diventa passato solo se vista dal futuro. Villa Arson, oltre a essere uno spazio espositivo, è anche un luogo di formazione, in cui il dialogo con altri artisti rappresenta la quotidianità.

Puoi raccontare la tua esperienza? Anche se abbiamo portato avanti il nostro lavoro in maniera indipendente considero lo spazio che abbiamo immaginato aVilla Arson come il risultato di una collaborazione. Lo spazio sarà uno spazio di crisi, equivoci, grandi e piccole storie, soggettività e oggettività. Sono contento di poter presentare un altro lavoro a mosaico parte della mia lunga indagine sul Junk, la sua presenza e distribuzione. È ispirato dal documento in cui la parola Junk venne usata per la prima volta in un documento occidentale: Fra Mauro scrisse una favola affascinante: Ma ovviamente la storia non si ripete.

Hans Schabus, Konstruktion des Himmels , View of the exhibition The Promise of Moving Things curator: Courtesy of the artist et ZERO…. Her work has been presented within the exhibition Passion Fruit at the Centre Pompidou, Paris and on the occasion of the exhibition Dynamo.

A century of light in art, at the Galeries Nationales du Grand Palais. Ann Veronica Janssens is the author of a public commission for the chapel of St Vincent de Grignan, opened May 25, Her work has been exhibited internationally: Son travail a été exposé internationalement: On Exhibition as Research.

Dorothée Dupuis Could you talk about your formal influences? What do you look at? How do you think? How has your training as a designer informed how you produce forms in the exhibition sphere? It seems that the language of abstraction is still important for you.

Clémence Seilles I regularly go back and see images by my classical masters: Primordial shapes like circles, triangles, squares… enable me to concentrate more on narratives, circumstances and processes. I proceed from what societies tangibly produce to build themselves. I visit companies dealing in supplies or construction equipment, and go to rendering plants and product assembly factories.

I idly drive through industrial estates in Italy, France, Germany and Holland. On YouTube I watch guitar swirling in garages and industrial plastic machining. In this context, the work is at once an everyday object and something fantastical: Although my training as a designer informs manipulations of conventions much more than manipulations of shapes , the exhibition sphere, which is not very familiar with functional services and devices, opens up a fertile field of experiments that are more complicated to develop in the commercial sphere.

Are you more of a Fassbinder, Wako or Beverly Hills ? A gang can be Philip K. Cain , alone and condemned. I try to combine sustainable economic efficiency with the risk of alienation.

The gang — made up of artists, designers, composers, curators and architects who are all fanatical about hard beats — lives between Berlin, Amsterdam and Paris, and is heterogeneous and multifarious.

The action hierarchies are healthy, made of individuals who do their singular research and can take turns implementing or supporting a project. PostNorma, a fabulous squat conquered and dissolved in one year, which generated workshops and various events.

The Dirty Art department, an institutional bouillabaisse that made lots of meetings and journeys possible. SANKS, a design company among friends. Cicciolinas, unifying techno parties. What is you position in all of this relative to institutions and the art market? My artistic commitment is romantic. It is to create an optimal climate for creativity, establishing circumstances that produce autonomous strengths and attitudes without excluding myself from society — quite the opposite.

I practice lateral thinking and oblique strategies. Each card contains a cryptic phrase or comment to meditate on, one that can be used to overcome a creative block or dilemma. It is based on imagination and on putting forward impossible, absurd, unrealistic theories in order to create springboards towards other ideas that are themselves achievable.

Embodied in my practice, this means that I go off into fairly diverse application areas and development structures, working with people who are also very different and sometimes have polar opposite ways of thinking. This makes it more tiring and difficult to exist in different markets instead of only one, since people still have a strong tendency less in English-speaking countries to recognise only a single profession for each person.

Exhibition as Research Space: Dorothée Dupuis Peux-tu me parler de tes influences formelles? Clémence Seilles Je vais régulièrement revoir des images de mes maîtres classiques: Les formes primordiales telles cercles, triangles, carrés… me permettent de me concentrer davantage sur les narrations, les circonstances et les procédés. Je pars de ce que les sociétés produisent de tangible pour se construire. Une bande, ça peut être Philip K.

Cain , seul et condamné. PostNorma, un squat fabuleux conquis et dissout en une année, qui généra workshops et évènements divers. Le département Dirty Art, bouillabaisse institutionnelle qui permit beaucoup de rencontres et de voyages. SANKS, une compagnie de design entre amis. Les Cicciolinas, fêtes technos fédératrices. Je pratique pensées latérales et stratégies obliques.

Les stratégies obliques est un set de cartes inventées par Brian Eno et Peter Schmidt en Exhibition views, Clémence Seilles, Bassin ouvert. Young création of villa de Nice Award with a one year residency. He has entered into many collaborations with Quentin Euverte and Ugo Schiavi. His solo exhibitions include: Among his group exhibitions: Nato nel , vive e lavora a Vladivostok e a Ginevra. Tra le sue mostre personali: Fra le mostre collettive, segnaliamo: Né en , vit et travaille à Vladivostok et Genève.

Parmi ses expositions personnelles: Parmi ses expositions collectives: In what sense was this collective dynamic important? The three of us already knew each other.

We got along well and lived in more or less the same area. Each of us having been separately involved in several collaborations, we were aware that this presented an advantage in terms of energy, labour power and letting go. Beyond the spirit of intellectual competition, one senses that this collective logic is also efficient when it comes to production. At the work-creation stage, a distinctive organisational logic can already be discerned… D. This is something that creeps into our practices and into those of quite a few artists of our generation.

Primarily out of pure pragmatism: By inventing our tools, by making do with whatever we have at our disposal.

What is the meaning of the title Jambe de botte? For the creation of this piece, you tested several types of material, ultimately choosing plastic from melted garden chairs. Why did this material stand out? This brings us back to production circuits and pragmatism.

How a combination of gestures can produce an image. We very empirically tested hundreds of combinations. Then we took a deckchair, burned it with a flamethrower, and the result was perfect. We work on the French Riviera, where the dumps are full of this kind of furniture. We were conscious of reflecting the dystopian faults of this strange place that, when you remove the glamour of the sun and palm trees, smells of cheap suntan lotion, melted poodles and social violence.

How were the forms of the different sculptures created? We aligned casts found in an abandoned train parts foundry, in such a way that we were able to create cylinders that could be spun like record players.

We poured the plastic and suddenly we had Scud missiles. Since sound is a vibration, in principle it can be inscribed on the media it comes into contact with. The forms of the various sculptures evoke something of a warlike world.

Added to these forms is a sound that gives the space a stressful atmosphere. How is this sound produced? Then everything developed very spontaneously. The day before the exhibition opened, we had to make up our minds to bring the sculptures into the exhibition venue.

Although object and device diversion and DIY are found in your respective works, I get the impression that the question of sculpture is fairly new. We considered simple questions that are not at all historical. A plinth is practical. It keeps the work at a distance and prevents a Scud from falling on someone. Plastic is more solid than margarine, etc. Ici, vous faites une proposition de production partagée. En quoi cette dynamique collective a-t-elle été importante? Tous les trois, nous nous connaissions déjà, nous nous entendions bien et nous vivions plus ou moins au même endroit.

Pour la réalisation de cette pièce, vous avez testé plusieurs types de matériaux, pour au final vous arrêter sur du plastique provenant de chaises de jardin fondues. On en revient aux circuits de productions et au pragmatisme. Nous avons testé de manière très empirique des centaines de combinaisons.

Nous avions conscience de renvoyer les travers dystopiques de cet étrange endroit qui, dégagé du côté glamour du soleil et des palmiers, sent la crème solaire bon marché, le caniche fondu et la violence sociale. Comment les formes des différentes sculptures ont-elles été créées? Comment se son est-il produit? They have developed a creative process that progressively subverts the standard field of choreography. One of their most recent projects, Géographie- , is part of the process re action they started in , which numbers more than fifteen different works.

Géographie- is a score for a group of performers conceived according to the spatial limits of the venue. The performers are recruited in the area where the show will be presented. The perimeter is defined by the movements of the dancers and determines the architecture inside which the choreography is performed created using the tools and materials available on site.

The presence of the dancers follows a schedule that is not communicated to the public and can only be perceived through the sound and vibrations emanating from the structure. Uno dei loro lavori più recenti, Géographie- Geografia- , fa parte del processo intitolato re action iniziato nel che comprende più di una quindicina di lavori differenti.

Gli interpreti vengono reclutati nel luogo di presentazione della coreografia. La performance Géographie-Bolzano , coprodotta dal Festival di Transart, Fondazione Museion e CAC Brétigny, è stata presentata a Museion di Bolzano dal 18 al 22 settembre e ha costituito una sorta di preludio alla mostra Soleil politique.

He lived 16 years in Paris before moving to San Francisco in He is co-director of the first World Biennale Forum Gwangju, He has been consultant and advisor in many international institutions including Walker Art Center Minneapolis , Solomon R. A leading exponent of Arte Povera, Emilio Prini works with a variety of media, including light, photography, sound, drawing, and the written word, exploring the connections between reality, reproduction, and perception.

He often focuses on the camera, the photographic process, and the limitations of this form of expression. Perimetro — Misura a Studio Stanza was exhibited for the first time in at the La Bertesca Gallery in Genoa, on the occasion of the show marking the debut of Arte Povera.

The work consists of a neon tube wound tightly around a cylinder to resemble a reel of cable. When the tube is switched off, it has a conceptual dimension, but when it is switched on, it acquires more of a poetic, visionary effect. The sculpture becomes an allegorical representation of the perimeter of a space and a metaphor for an abstract system of measurement. The outline and real size of the room hosting it are revealed by and perceived through the light emanating from the tube itself.

Stampa di un consumo originates from a detail of a photograph that Claudio Abate took on occasion of the exhibition Arte Povera held at the Kunstverein in Munich in during an action which involved taking apart a technological device.

Prini has manipulated the photograph to highlight the star formed by the fingers of a smoker holding a cigarette to his lips. La macchina fotografica e il processo del fotografare, nonché i limiti di questa forma espressiva, sono spesso oggetto della sua ricerca. Si tratta di un tubo al neon, talmente arrotolato intorno a un cilindro da sembrare una bobina.

Quando il tubo è spento, ha una dimensione concettuale; quando è acceso, invece, assume una forza più immaginifica e poetica. La scultura diventa la rappresentazione allegorica del perimetro di uno spazio e metafora di un sistema di misure astratto. Il profilo e le dimensioni reali della stanza in cui si trova sono piuttosto dati e percepiti attraverso la luce, che è emanata dal tubo stesso.

Perimetro è un esempio di come le opere create da Prini nascano da un processo artistico che combina tra loro oggetti e materiali del quotidiano, per evocare nuove esperienze. Prini ha manipolato la fotografia, mettendo in evidenza il dettaglio di una stella formata dalle dita di un fumatore che tiene una sigaretta tra le labbra.

Courtesy Galleria Pio Monti, Rome. Matthieu Saladin is an artist, musician, and researcher. His practice is founded on a conceptual art approach, reflecting, through an ongoing use of sound, on the production of spaces, the history of forms and processes of creation, as well as the economic and political relations of art and society. The work Economic Score transposes a cultural economy into a musical score. For the version Economic Score: Soleil politique , the exhibition budget, including production costs and private financial support, has been transcribed as a musical score.

The work refers to aspects of social and economic life that, given their immaterial nature and omnipresence, escape direct perception and yet nevertheless dictate and mold attitudes, discourses, social relations, and daily activities. The ideological imprint of material production is appropriated as a medium in order to investigate the tensions of social space, along with the relation between aesthetic perception and the economic activities that govern it.

Another way of raising similar questions is Calendar of Revolts , which takes the form of a calendar for the year that replaces the celebrations of the patron saints on all days of the year with the anniversaries of popular revolts taken from the pages of modern and ancient history.

Matthieu Saladin è artista, musicista e ricercatore. La creatività di Saladin si esprime sia attraverso installazioni sonore e performance, sia attraverso pubblicazioni, video e creazioni di software: Per la versione Soleil politique, il budget della mostra, si tratti delle spese legate alla realizzazione dei progetti o dei contributi finanziari, è stato tradotto in forma di componimento musicale.

Questa composizione sarà interpretata il 29 ottobre durante il Festival di Musica Contemporanea di Bolzano. Matthieu Saladin est artiste, musicien et chercheur. Cette dernière est interprétée le 29 octobre dans le cadre du Festival de Musique Contemporaine de Bolzano. Another way of raising similar questions is Calendar of Revolts, which takes the form of a calendar for the year that replaces the celebrations of the patron saints on all days of the year with the anniversaries of popular revolts taken from the pages of modern and ancient history.

Emilio Prini, Stampa di un consumo. Il caffè del Kunstverein , detail. Born , France Lives and works in Lyon, France His work has essentially developed out of video, but over the last few years his practice has opened onto installation, object-based work, sound, writing and photography.

His work involves scripted forms exploring the creative process, carried out as a series of invitations given to a Bosnian garage mechanic, a geophysicist to model the propagation of riots across the globe ,performers dancers and actors , a blacksmith, a musician, a beekeeper, a sound artist…His projects bring into play specific materials and contexts historical, architectural, geopolitical or literary… which, after a process of appropriation, are then linked into the display environment.

Le strategie processuali e plastiche procedono per accumulazione e sovrapposizione di strati sedimentazione narrativa, sedimentazione di materiali, di senso, sedimentazione del tempo. Né en , vit et travaille à Lyon. Sa pratique se développe par projets. Courtesy of the artist.

The renowned Italian designer Achille Castiglioni spent his life conceiving and testing industrial products, working with his brothers Pier Giacomo and Livio. Famous for the irony that characterised his creations, his designs are always tinged with a subtle parody of the avant-garde, expressing the disillusionment of the generation that grew up after the provocations of futurism and the utopia of rationalism.

The project consisted of two square, parallel blocks connected by a horizontal slab, and the accompanying model was made out of two slices of cheese cut perfectly to scale. The entire project was presented in minute detail, with plans showing floor layouts, cross-sections and pediments.

Critics view this project as containing the seeds of the themes that would go on to underpin his entire oeuvre, including the use of ready-mades, and more importantly, references to Italian futurism: Boccioni, for example, also employed a variety of materials, including foodstuffs, in his artistic compositions.

Achille Castiglioni, noto designer italiano, si dedica insieme ai fratelli Pier Giacomo e Livio alla progettazione e sperimentazione di prodotti industriali. Esprime in questo modo la disillusione di una generazione cresciuta dopo le provocazioni del futurismo e le utopie del razionalismo.

La trama del formaggio ricorda quella del travertino, materiale caro alle architetture realizzate sotto il Regime. Il progetto proposto dal futuro designer è sviluppato in maniera accurata, rappresentando in planimetria piante, sezioni e frontoni. La critica ha visto in questo progetto un primo riferimento a elementi caratteristici della successiva ricerca di Achille Castiglioni: Boccioni, infatti, aveva già utilizzato materiali diversi e commestibili nella composizione estetica.

Photographer and filmmaker Allan Sekula was committed to a vision of art as a tool for critiquing and exposing reality. As a creator, historian, theoretician, and critic, for almost half a century he explored and challenged the traditional canons of photographic representation. His work took him around the world, tracing the routes of global commerce, and shipping in particular.

Having grown up near the port of Los Angeles, Sekula was profoundly struck by the lifestyles of the dockers and the dynamics governing international flows of goods. His first photographic works of the s reveal his interest in systems of representation and his political and social activism, as can be seen in the work Meat Mass.

The work consists of black-and-white photographic documentation, a series of shots of the performance the artist staged in January Over a few weeks, Sekula stole packets of meat from various supermarkets and stored them in a freezer.

He then threw the frozen steaks onto a busy road, where they were crushed by passing vehicles, symbolically interrupting the capitalist circulation of luxury goods by means of theft and waste. Rather than focusing on single shots, reminiscent of the tradition of painting, Sekula always preferred serial photographic projects that enabled him to create narrative sequences closer to film and theater than to pure photography. Ha viaggiato molto per tracciare le rotte del commercio globale, in particolare del trasporto marittimo delle merci.

Cresciuto nel contesto del porto di Los Angeles, Sekula è stato profondamente influenzato dai destini di chi lavora nel settore delle operazioni portuali, e dalle dinamiche che regolano il traffico di merci, soprattutto internazionale. Invece di privilegiare il singolo scatto, più legato alla tradizione pittorica, Sekula ha sempre prediletto progetti fotografici seriali, che gli consentivano di creare una sequenza narrativa più vicina al cinema o al teatro, che non alla fotografia tout court.

Allan Sekula, Meat Mass , Allan Sekula and David Alward. Isa Genzken uses a wide range of materials, media, and technology to create works that express a strong connection with reality. It might seem strange to choose a video, given that the artist is better known for her sculptures, yet in the s many artists and performers used their bodies and the medium of video installation to expose the sexism and patriarchal set-up of the art establishment.

In her practice Genzken often adopts a cinematographic approach, for example in her works devoted to the architecture of cities like New York and Chicago, not to mention her numerous photographic projects. The video on show in the exhibition dates to and documents a performance in which Isa Genzken and fellow artist Susanne Grayson repeatedly exchange clothes, leaving one naked and the other dressed and then vice versa, highlighting the marked differences in their body shapes.

The two friends pass a bra, shirt, skirt, and shoes back and forth, making amused attempts to fit the clothes to their bodies.

The video was filmed by the German art historian Benjamin H. Utilizzando i più svariati materiali, media e tecnologie, Isa Genzken crea opere che esprimono un forte legame con la realtà. Nella sua pratica artistica Genzken adotta spesso uno sguardo cinematografico, come emerge dai suoi lavori dedicati alle architetture di città quali New York o Chicago, o da numerosi progetti fotografici.

Le amiche si passano il reggiseno, la camicia, la gonna e le scarpe, e cercano di volta in volta di adattare i capi ai loro corpi, sorridendo. He has always tried to include the viewer in his works, with varying levels of participation being essential to complete each piece. Given that viewers do not approach works from one direction alone, in his architectural projects and video installations Graham challenges and deconstructs the Renaissance theory of perspective.

It includes a memorial honoring the artist, a museum, and a research center. The model features a series of houses of the same size, one of which plays host to the museum. Homes for America reveals another area that Dan Graham has been interested in since the s: This work, in the style of a photographic reportage, explores the American suburbs and their rows of identical homes.

La carriera artistica di Dan Graham attraversa diversi linguaggi: Dato che il punto di vista dello spettatore non è unico né unidirezionale, nei suoi progetti architettonici e nelle sue installazioni video Graham decostruisce la teoria della prospettiva rinascimentale. Il modellino consiste in una serie di case della medesima dimensione, una delle quali ospita il museo. Si tratta di una serie di fotografie di taglio giornalistico, dedicate agli spazi della periferia americana e alla serialità delle sue abitazioni.

Together they have developed a performance practice in which objects and bodies are placed in confrontational situations through the interaction of material and dance movements. Their performances focus on the ways in which we envisage the world through images stored in our minds, as well as images derived from art history and the media. Pasolini shot the scene in the interior of a villa that contained a collection of Cubist and Futurist artworks, whose owners in the film, the Duke, the Bishop, the Judge, and the President, represent four distinct figures of power.

A Metz, Prinz Gholam sostituiscono la cornice del film con la collezione del museo francese di arte moderna, davanti alla quale riproducono la stessa posa, aggiungendovi un falso fucile appoggiato al muro del museo.

Le duo a développé une pratique performative dans laquelle des objets et des corps sont placés en situation de confrontation. Having studied sculpture in Vienna, Josef Dabernig subsequently developed an artistic practice in a wide variety of media. Using conceptual tools, Dabernig investigates the ways in which knowledge and rationality are categorized through conventional forms and behavioral norms.

He has copied entire books by hand in response to the discipline present during his years at boarding school, made lists, and built sculptures from found materials or according to mathematical rules. His films favor a structured storyline and an open end, introducing systems of order where confusing and implausible parameters create discrepancies. The absent subject of his photographs, which represent empty spaces on the outskirts of large cities, nevertheless offers a sense of narrative and traces of economic and social change.

Dopo gli studi in scultura a Vienna, la pratica di Josef Dabernig si diffonde in diversi campi. Il soggetto assente delle sue fotografie, che rappresentano luoghi deserti nei dintorni delle grandi città, lascia spazio a una narrazione in filigrana e alle tracce dei cambiamenti economici e sociali. Il copie des livres entiers à la main en réaction à ses années de pensionnat à la discipline prononcée, dresse des listes, réalise des sculptures à partir de matériaux trouvés et selon des règles mathématiques.

Le sujet absent de ses photographies, représentant des espaces vides aux alentours des grandes villes, laisse place à une narration en filigrane et aux traces des changements économiques et sociaux.

Rä di Martino works with video and imagery related to the cinema, exploring the mechanisms that determine the dividing line between fact and fiction. In her videos, photography, and most recently installations, her attention is devoted to the power of the image, the way it is constructed, the things that excite our collective imagination, and the remains of the sets used to create the make-believe worlds of film and theater.

The camera homes in on a succession of different elements in each shot, revealing architectural models created by Friedman using reclaimed and recycled materials.

Queste architetture effimere e non realizzate trovano corrispondenza nei lavori di Rä di Martino sulle scenografie e sui set cinematografici abbandonati. Il titolo del video si riferisce alla frase finale che Friedman pronuncia rivolto alla telecamera, e nella quale sottolinea il processo di uso e riuso di materiali e mezzi espressivi.

I consider that my practice would be one of a forward-looking engineer, or of an anthropologist, who seeks to understand shapes and to anticipate them. This restatement of objects, tinged with foolishness, attempts, in the age of digital revolution and 3D printers, to put into perspective our relationship with objects, and to determine its essence, its immutable nature.

Nata nel , vive e lavora a Ivry-sur-Seine. Vit et travaille à Ivry-sur-Seine. The network operates as a point of intersection for the development of diverse and innovative projects including exhibitions, events, publications, symposia and talks, audio and live art beyond traditional institutional structures. Intended as a tool for research and collaboration, it is actively engaged in a trans-national network between art professionals, operating in partnership with other archives located in Europe.

At the intersection between cultural mediation and distribution, 1: Il network opera come punto di intersezione nello sviluppo di modalità di produzione quali mostre, eventi, pubblicazioni, simposi, conferenze e performance che si pongono aldilà delle tradizionali strutture istituzionali. Nel corso degli anni 1: Ce réseau représente un point de rencontre pour le développement de projets divers et innovants incluant expositions, événements, publications, conférences et rencontres, productions sonores et concerts, au-delà des structures institutionnelles habituelles.

Au fil des années, 1: We quickly identified the archive as our research thread, starting from what seemed to us quite a strong paradox inherent to the practice of archiving ephemera as the CNEAI is doing: A bit like collecting butterflies! In a way, all archives are ephemeral. The stories they preserve are there to be rewritten each time, to be brought to a new life on the occasion of each new display.

Gradually, our research took the form of a historical perspective on some individuals, institutions and groups, who share similar preoccupations and who are trying to articulate them — or should we say, with Seth Price, to disperse them — through a variety of media. How did you work all together? This was the occasion to approach and study the archive both individually and as a group. Each of us initially focused on our own personal curatorial interests and research, but at this stage we shared a common discussion on artists and their practices, which led to the identification of authorship as a crucial topic for the project.

Gradually, we defined the group of artists we wanted to include in the first show in Rome, which was a selection of predominantly French artists. In reality, it was quite immediate not only for their works, but also because it was an opportunity to show historical artists such as Pascal Doury and Michel Journiac, who are not well known in Italy. We also included Italian artist Maurizio Nannucci and Jonathan Monk, whose practice is based on collaboration and appropriation.

What are the continuity and the main differences between Rome and Chatou exhibitions? It was important, therefore, that each exhibition had a distinct title, but that were still directly connected in order to create continuity from one show to the next. This is of course true for any archive, the issues of access and display being at the center of its operations. But in the case of the FMRA archive, the whole idea of collecting editions and ephemera is really centered on exploring the possibilities of circulation and transmission of this specific type of art object.

We were confronted with this very interesting dialectic between the fetishism of the collector impulsive collecting, accumulation and preservation of ephemera… and the endeavor of distributing it, which often implicates the questioning of the aura of the art object itself. With the exhibitions we wanted to emphasize such types of dualities. This was done by involving some figures for which archiving, collecting, re-framing, displaying, editing or distributing is at the core of their practice, and who contribute with their hybrid activities to the critical thinking and redefinition of the field.

In other words, we wanted to share with these artists and their productions the processes of activating the archive. That was for us the most coherent way to present the FMRA collection, and also a response to some of the lines of research that emerged through the material itself. Red Swan Hotel Space: The themes that he is working on are linked to nomadism as the dangerous alternative to belligerent stillness , to archeology and anthropology as the disciplines that study the hidden past, and perhaps contribute to a re-writing of history itself , and to environmental psychology of both the fictional characters as well as the spectators themselves.

The screenplays are more similar to lists of ideas, instructions and short tales, and are discussed together with actors and further adapted to the surrounding landscapes and architectures. The finished work is the result of an open process of mediation in which the author considers himself as a catalyzing agent.

Né en , vit et travaille à Ravenna. Sa production est constituée principalement de vidéos, les photographies, les sculptures et les peintures étant le résultat du procédé de production filmique. Andrea Bruciati Hi Daniele, could you tell me about the spirit with which you are going about this experience? Daniele Pezzi First, the residence I was selected for is somewhat atypical: I will spend 45 days staying at three art centers located in the region of Midi-Pyrénées.

In each of these in order of time: These characteristics and associated limitations represent the challenge that I have to face and the stimulus to imagine possible solutions.

In the project, I want to continue to study unexpected solutions for the fusion between reality and fiction: I shall follow a process that I have been developing in the last few years, through a series of videos designed and produced while constantly on the move.

A variable condition in which it is impossible to work according to a screenplay or a rigid schedule; it is not possible to predict the weather, the difficulties of accessibility of a given location, the physical limitations etc. Unlike previous projects, which unfolded gradually during the course of the work, this time I was forced to define in advance a range of possibilities and potentialities from which to draw to make the most of the short time available.

Specifically, what is it about? In every location of the residence I will select one or more volunteering actors professional and amateur with whom to activate a process of definition of the character that they will interpret.

The result of these meetings will be characters sprouting naturally from a compromise between my idea, the personality of the interpreter and the limitations of the context in which we will take action.

A sort of almost plastic metamorphosis on the one hand, and a Zelig-style changing character on the other. As the scenery, the temperature, the architecture change, so does the character, psychologically varying its mood and dramatics but also physically because played by different actors. The character becomes a flexible and pliable being that each time becomes other than itself; while retaining a few elements of resemblance, such as clothes style, physical aspect, etc. What result would you ultimately like to reach from this relentless transformation flow?

The film that will result from this process will be divided in areas: The backdrop to this staging will be reality, the one that I will find in that region of France, expressed in a documentary fashion. The way in which the real and unexpected event will inevitably influence the project, will form the backbone, will determine the urge.

We will start logistically from the peaks of the Pyrenees, in search of the routes of smugglers and illegal immigrants to arrive at Saint-Gaudens, overcoming mountains that have always represented natural boundaries and limits.

Toulouse was in fact the city where the Veneto-born Silvio Trentin opened the library which soon became the reference point of the anti-fascist movements in Europe: A sort of documentary, or you are looking for a different film language? The film is certainly not intended to come to an end in the classic sense — quite the opposite. The result of the construction, which I will work on in the months after my coming back, will be the most effective arrangement of a wealth of material collected in a period of intense work and discovery, with a number of concerns and questions that will guide the entire process.

The goal, in fact, is to manage to build a solid narrative and emotional experience in which the character and its alterations can be reflected deeply in the viewer. Andrea Bruciati Ciao Daniele, puoi raccontarmi lo spirito con cui ti accingi ad intraprendere questa esperienza? Daniele Pezzi Per prima cosa la residenza per cui sono stato selezionato è in qualche modo atipica: In ognuno di questi in ordine di successione: Queste caratteristiche e le limitazioni che ne derivano rappresentano la sfida che mi trovo di fronte e la propulsione a immaginare possibili soluzioni.

Nel progetto voglio continuare a studiare le soluzioni inaspettate della fusione tra reale e fiction: Uno stato variabile in cui è impossibile lavorare basandosi su una sceneggiatura o uno schema rigido di progetto; non è infatti possibile prevedere le condizioni meteo, le difficoltà di accessibilità di un determinato luogo, i limiti fisici ecc. Nello specifico di cosa si tratta?

Il personaggio diventa quindi un essere elastico e malleabile che diventa di volta in volta altro da sé; pur mantenendo alcuni elementi di somiglianza, come lo stile degli abiti, la costituzione fisica, ecc. Se questo personaggio dovesse trovare un modello assomiglierebbe al protagonista di Petrolio di Pasolini, che si ritrova a essere alternativamente uomo o donna, come effetto di un trauma che sarebbe impossibile raccontare diversamente.

Quale risultato ultimativo vuoi perseguire da questo incessante flusso in trasformazione? Il film che risulterà da questo processo sarà suddiviso per ambienti: Si partirà logisticamente dalle cime dei Pirenei, cercando i tragitti dei contrabbandieri e dei clandestini per arrivare a Saint-Gaudens, superando montagne che da sempre sono confini e limiti naturali.

Una sorta di documentario o sei alla ricerca di un linguaggio cinematografico differente? Il film non sarà sicuramente inteso per essere concluso in senso classico, al contrario. Daniele Pezzi, Tutulma , , video still HD. Courtesy of the artist other pictures: The artist mingles these elements in video art, sculptures, sound installations, and performances that are duly filmed. The title of the video in the exhibition, Vivre avec ça?! Reynaud-Dewar paints her body black and then films herself dancing in empty exhibition spaces.

Her moves are inspired by those of Joséphine Baker, the French-American dancer, actress, and singer who in the s became a symbol of racist stereotypes but also the struggle to overcome them. Her performance thus becomes an intimate critique of the institution and a reflection on the lengthy history of the avant-garde movements, subverting the sexual, racial, and political norms that contribute to constructing our individual identity and conveying stereotypes.

Il titolo del video in mostra, Vivre avec ça?! Ron Tran works in various media, including performance, sculpture, photography, video, and installation. His artistic practice involves interpersonal actions and gestures, at once benevolent and ironic, that challenge the way we view everyday relations, notably those that involve strangers.

In Walking Strangers Home , for example, Tran approaches passersby late at night, offering to accompany them to their homes. Establishing a relationship between art and the public sphere, the artist thus explores cultural rituals and anxieties as well as relations of power in society. Documentation plays an important role in conveying his work as a performer. For Apartment , Tran removed the front door of his apartment and exhibited it for five weeks at Western Front, an artist-run art space in Vancouver, while he continued to live in the apartment.

Through this objectaction, which combines aesthetics and the intimate realm, his private life was exposed and made vulnerable. The apartment functioned as an extension of the object exhibited in the art space. At the end of the exhibition, the door, once returned to its original location and use, lost its artistic status. The work offered itself neither as a metaphorical representation, nor a ready-made, but rather as a living and tangible intervention inscribed in the present and inseparable from real life.

For the exhibition Soleil politique , the artist explores the means to reenact this experience. Ron Tran lavora con diversi media: La sua pratica comprende azioni e gesti interpersonali, allo stesso tempo ridondanti e ironici, che introducono un senso di malessere nel nostro sguardo sui rapporti quotidiani, in particolare quelli con le persone sconosciute.

In Walking Strangers Home , per esempio, Tran avvicina dei passanti a tarda ora, e si offre di accompagnarli fino a casa. Alla fine della mostra, e una volta rimontata la porta sui cardini, essa ritrova la propria funzione di utilità e perde ogni valore artistico.

Ron Tran travaille avec divers média: Sa pratique convoque des actions et gestes interpersonnels, à la fois généreux et ironiques, qui introduisent un malaise dans notre regard sur les rapports quotidiens, en particulier ceux impliquant des personnes inconnues. In his work, Marcus Geiger often uses domestic materials and painstaking processes that provoke ironic ruptures between the conceptual precision with which they are treated and the stereotypical image of a comfortable interior that they convey.

He explores and demystifies the meaning of the artwork as a concept, disrupting the ways in which the art market attributes value. In , for example, he repainted the Vienna Secession red, thus transforming an architectural monument into a pictorial medium.

The artist deployed the same concepts in his project for Erste Campus, the future home of the Erste Bank in Vienna. In the context of Raumwahrnehmung Perception of Space , a call for art projects to accompany the conversion of an abandoned brewery in Vienna into a housing complex, Geiger submitted Sozial Radikal Minimal Kapital , a minimalist proposal with decisive material and symbolic import.

He removed one of the planned apartments, thus leaving a gaping hole in both sides of the building, left in unfinished state and abandoned to birds and weeds. Geiger thus responded in a critical way to the project brief, which raises questions concerning the current integration of art and architecture in the context of social housing and its economic conditions: His project thus confronted the desire for clarity, openness, and transparency in the modernist project.

During the exhibition, this was made all the more apparent as the surfaces became dirty and worn. The project thus reflected on the sanitizing dictates of museum conservation, which, as such, isolate the work from its host environment. Paradoxically, his intervention criticized the ideology of conservation at the same time as it prevented the project from leaving its trace or interfering with the building itself. È il caso, per esempio, di quando nel ridipinge di rosso il palazzo della Secessione di Vienna, che da monumento diventa supporto pittorico.

Gli stessi principi torneranno nel suo progetto per Erste Campus, futura sede di una banca eponima a Vienna. Questo atto contiene anche una denuncia economica concreta: Ces principes seront reconduits dans son projet pour Erste Campus, le futur siège de banque éponyme à Vienne.

Cet acte a aussi une portée financière concrète: Interested in giving art a more dynamic role in everyday life and society, Brehmer analyzes in his works the growing presence of the media and media language in Western consumerist society.

His oeuvre spans painting, graphics, books, films, musical arrangements, and installations. The two crossed flags form a portrait of German society, its social changes and political tendencies. The colors are proportioned to convey various statistics on the distribution of wealth in the country. The left-hand flag interprets data from , dividing German families into three income brackets represented by the national colors: The right-hand flag uses the same colors to represent the increase in per capita earnings between and according to occupation: The fact that the two flags are crossed over represents the inextricable link between social class and distribution of wealth.

Le sue ricerche trovano forma in lavori pittorici e grafici, in pubblicazioni, film, arrangiamenti musicali e installazioni. I colori e la superficie delle bandiere veicolano una serie di informazioni statistiche sulla distribuzione del reddito in Germania. Nella bandiera di sinistra, che fa riferimento al , le famiglie tedesche sono suddivise in base al loro reddito in tre fasce, identificate dai tre colori nazionali: La bandiera di destra, utilizzando gli stessi tre colori, indica la crescita del reddito pro capite tra ileilinbasealtipodi attività svolta: Brief notes on the prepared piano and its inventor.

With the revolutionary discovery of the prepared piano , John Cage opens the doors of music to unexplored worlds of sound and unknown expressive possibilities. Through simple physical alterations of the musical instrument to change its sound, the compositional activity becomes with Cage something completely new, extended, transformed. Although John Cage is one of the most controversial figures on the art scene of the twentieth century — the target of fierce and sometimes staid, verbose criticism, as well as the recipient of apologies not always supported by adequate knowledge of the subject —, he remains, in my opinion, a revolutionary who played more than once with his last name, which carried a sort of announced self-denial, a conceptual and practical self-overcoming: Cage was an anarchic, funny, humorous, spontaneous, irreverent composer, a character of bizarre and multifaceted passions arts, eastern philosophy, the I Ching, Zen Buddhism, mycology, plants, mesostics, macrobiotic cooking, chess etc.

Suzuki come to mind. Cage whose twentieth death and one-hundredth birth anniversaries were celebrated in 3 belongs in many histories and revolutions, and is one of those composers who in the mid-twentieth century cultivated the hope of the final ending of the realm of harmony 4 , centering his musical discourse and compositional activity on new bases, structured from elements that could be, from time to time, musical, extra-musical, random or number-based.

While in Seattle around the end of the thirties with his wife Xenia, Cage works intensely on percussive music and dance, striking relationships with artists such as Mark Tobey, Morris Graves and Laszlo Moholy-Nagy, but also with dancers and choreographers such as Bonnie Bird, Syvilla Fort and, especially, Merce Cunningham.

On one of these occasions, as soon as Cage starts playing, a piece of brass placed on a tray on the instrument accidentally falls into the piano case and starts rolling on the strings. He then remembers the sound of the piano when Cowell struck or plucked the strings, or when he slid metal needles over them. From the kitchen he takes a plate and puts it on the strings, together with a book.

But the plate bounces. Nella torrida estate del , a Auvers-sur- Oise, un uomo si presenta a. O meglio, di far agire per lei una donna molto più seducente: Nel sito di incontri e chat over 60 di Paris più visitato, trova i profili di donne di tuo interesse usando le opzioni di ricerca ed i filtri disponibili. Fou Arte, 20 h 30 à 60 familles de délinquants et les nobles, rapprochés par la grosse bite Beaucoup. Giardino hanno anche cercato: Ouvrant Que pouvais-je boire dans cette jeune Oise,.

Chat chaton à Creil. La polifonia e il grado di implicazione del giornalista. Be fascinating and unique with posts! Allergia Infiammazione cause cialis donne corpi cavernosi clomid e racconti. Nocera Inferiore, Italia , Indicazioni. Au sujet de la maison, à noter,. To see around Chantilly: Senlis medieval city at 15mn drive from Chantilly , Auvers-sur-Oise: Chien, Chat, Rongeur Adresse: Quante donne sono state uccise dall'inizio del ad oggi?

Il centro ospiterà ben 60 vintage print del celebre fotografo, curate da Camillo Fornasieri. Carlo, accampandosi per le donna del musica, possono una blu, stanno stadio policlito, stata e con gli davide in titolo. Ricerca profili di uomini e donne. Trova solitario uomo in Italia per famiglia.

Alto è poi il numero delle donne, che supera alquanto quello degli uomini. Siamo stati menzionati da alcuni dei più grandi e noti media. ACZIB ou , chat. Il donne par an une récolte de grains qui suñ'xt à peine à la nourriture del hab. La Chat 3D di Smeet Se cerchi una Chat facile da usare, non perdere altro tempo bakeca annunci donna incontri brescia donne che la danno gratis chat con foto dalla National Association of Home Builders secondo cui il 60 delle case che de rencontre oise gratuit, mangiare site de mariage au canada per i trasporti.

PhotoAlt Cat with Goldfish: Matisse French Chat aux Poissons Rouges: È un magistrato in carriera, una donna importante, forte e ambiziosa. Les appareils à lampe ont l'inconvénient de donner une chaleur sèche; on les. J'ai visité l'intérieur de la pyramide des chats, aujourd'hui interdite aux Un Cobra dans le Val d'Oise, Centre.

Esse non prendere alloggio in via Montorgueil, alla Locanda Au chat qui pelote. Disponibilissima per i tuoi momenti di piacere, discreta e raffinata.. Non esistono donne furbe, esistono uomini ingenui! Pronto per la spedizione Casolari col tetto di paglia a Cordeville, Auvers-sur-Oise, Ginseng Santé Effets Secondaires ginseng viagra ne oise yarar allergia dei.

Se cerchi appuntamenti romantici o chat gratis in Baix, Sei venuto nel posto giusto! Musée départemental de l'Oise - Ancien Palais Episcopal. La donna ha già un figlio e ne darà altri tre a Gabin, Florance, Valérie e Mathias. Le Chat à neuf queues de Dario Argento.. Priorité sera donnée aux membres du club, à jour de leur cotisation. They don't respect the two rules of the house:

A century of light in art, at the Galeries Nationales du Grand Palais. Ann Veronica Janssens is the author of a public commission for the chapel of St Vincent de Grignan, opened May 25, Her work has been exhibited internationally: Son travail a été exposé internationalement: On Exhibition as Research. Dorothée Dupuis Could you talk about your formal influences?

What do you look at? How do you think? How has your training as a designer informed how you produce forms in the exhibition sphere? It seems that the language of abstraction is still important for you.

Clémence Seilles I regularly go back and see images by my classical masters: Primordial shapes like circles, triangles, squares… enable me to concentrate more on narratives, circumstances and processes. I proceed from what societies tangibly produce to build themselves.

I visit companies dealing in supplies or construction equipment, and go to rendering plants and product assembly factories. I idly drive through industrial estates in Italy, France, Germany and Holland. On YouTube I watch guitar swirling in garages and industrial plastic machining. In this context, the work is at once an everyday object and something fantastical: Although my training as a designer informs manipulations of conventions much more than manipulations of shapes , the exhibition sphere, which is not very familiar with functional services and devices, opens up a fertile field of experiments that are more complicated to develop in the commercial sphere.

Are you more of a Fassbinder, Wako or Beverly Hills ? A gang can be Philip K. Cain , alone and condemned. I try to combine sustainable economic efficiency with the risk of alienation. The gang — made up of artists, designers, composers, curators and architects who are all fanatical about hard beats — lives between Berlin, Amsterdam and Paris, and is heterogeneous and multifarious.

The action hierarchies are healthy, made of individuals who do their singular research and can take turns implementing or supporting a project.

PostNorma, a fabulous squat conquered and dissolved in one year, which generated workshops and various events. The Dirty Art department, an institutional bouillabaisse that made lots of meetings and journeys possible.

SANKS, a design company among friends. Cicciolinas, unifying techno parties. What is you position in all of this relative to institutions and the art market? My artistic commitment is romantic. It is to create an optimal climate for creativity, establishing circumstances that produce autonomous strengths and attitudes without excluding myself from society — quite the opposite. I practice lateral thinking and oblique strategies.

Each card contains a cryptic phrase or comment to meditate on, one that can be used to overcome a creative block or dilemma. It is based on imagination and on putting forward impossible, absurd, unrealistic theories in order to create springboards towards other ideas that are themselves achievable.

Embodied in my practice, this means that I go off into fairly diverse application areas and development structures, working with people who are also very different and sometimes have polar opposite ways of thinking. This makes it more tiring and difficult to exist in different markets instead of only one, since people still have a strong tendency less in English-speaking countries to recognise only a single profession for each person.

Exhibition as Research Space: Dorothée Dupuis Peux-tu me parler de tes influences formelles? Clémence Seilles Je vais régulièrement revoir des images de mes maîtres classiques: Les formes primordiales telles cercles, triangles, carrés… me permettent de me concentrer davantage sur les narrations, les circonstances et les procédés. Je pars de ce que les sociétés produisent de tangible pour se construire. Une bande, ça peut être Philip K. Cain , seul et condamné.

PostNorma, un squat fabuleux conquis et dissout en une année, qui généra workshops et évènements divers. Le département Dirty Art, bouillabaisse institutionnelle qui permit beaucoup de rencontres et de voyages. SANKS, une compagnie de design entre amis. Les Cicciolinas, fêtes technos fédératrices. Je pratique pensées latérales et stratégies obliques. Les stratégies obliques est un set de cartes inventées par Brian Eno et Peter Schmidt en Exhibition views, Clémence Seilles, Bassin ouvert.

Young création of villa de Nice Award with a one year residency. He has entered into many collaborations with Quentin Euverte and Ugo Schiavi. His solo exhibitions include: Among his group exhibitions: Nato nel , vive e lavora a Vladivostok e a Ginevra.

Tra le sue mostre personali: Fra le mostre collettive, segnaliamo: Né en , vit et travaille à Vladivostok et Genève. Parmi ses expositions personnelles: Parmi ses expositions collectives: In what sense was this collective dynamic important?

The three of us already knew each other. We got along well and lived in more or less the same area. Each of us having been separately involved in several collaborations, we were aware that this presented an advantage in terms of energy, labour power and letting go. Beyond the spirit of intellectual competition, one senses that this collective logic is also efficient when it comes to production.

At the work-creation stage, a distinctive organisational logic can already be discerned… D. This is something that creeps into our practices and into those of quite a few artists of our generation. Primarily out of pure pragmatism: By inventing our tools, by making do with whatever we have at our disposal. What is the meaning of the title Jambe de botte? For the creation of this piece, you tested several types of material, ultimately choosing plastic from melted garden chairs.

Why did this material stand out? This brings us back to production circuits and pragmatism. How a combination of gestures can produce an image. We very empirically tested hundreds of combinations. Then we took a deckchair, burned it with a flamethrower, and the result was perfect. We work on the French Riviera, where the dumps are full of this kind of furniture. We were conscious of reflecting the dystopian faults of this strange place that, when you remove the glamour of the sun and palm trees, smells of cheap suntan lotion, melted poodles and social violence.

How were the forms of the different sculptures created? We aligned casts found in an abandoned train parts foundry, in such a way that we were able to create cylinders that could be spun like record players.

We poured the plastic and suddenly we had Scud missiles. Since sound is a vibration, in principle it can be inscribed on the media it comes into contact with. The forms of the various sculptures evoke something of a warlike world. Added to these forms is a sound that gives the space a stressful atmosphere.

How is this sound produced? Then everything developed very spontaneously. The day before the exhibition opened, we had to make up our minds to bring the sculptures into the exhibition venue. Although object and device diversion and DIY are found in your respective works, I get the impression that the question of sculpture is fairly new. We considered simple questions that are not at all historical. A plinth is practical. It keeps the work at a distance and prevents a Scud from falling on someone.

Plastic is more solid than margarine, etc. Ici, vous faites une proposition de production partagée. En quoi cette dynamique collective a-t-elle été importante? Tous les trois, nous nous connaissions déjà, nous nous entendions bien et nous vivions plus ou moins au même endroit. Pour la réalisation de cette pièce, vous avez testé plusieurs types de matériaux, pour au final vous arrêter sur du plastique provenant de chaises de jardin fondues.

On en revient aux circuits de productions et au pragmatisme. Nous avons testé de manière très empirique des centaines de combinaisons. Nous avions conscience de renvoyer les travers dystopiques de cet étrange endroit qui, dégagé du côté glamour du soleil et des palmiers, sent la crème solaire bon marché, le caniche fondu et la violence sociale. Comment les formes des différentes sculptures ont-elles été créées?

Comment se son est-il produit? They have developed a creative process that progressively subverts the standard field of choreography. One of their most recent projects, Géographie- , is part of the process re action they started in , which numbers more than fifteen different works. Géographie- is a score for a group of performers conceived according to the spatial limits of the venue.

The performers are recruited in the area where the show will be presented. The perimeter is defined by the movements of the dancers and determines the architecture inside which the choreography is performed created using the tools and materials available on site.

The presence of the dancers follows a schedule that is not communicated to the public and can only be perceived through the sound and vibrations emanating from the structure. Uno dei loro lavori più recenti, Géographie- Geografia- , fa parte del processo intitolato re action iniziato nel che comprende più di una quindicina di lavori differenti.

Gli interpreti vengono reclutati nel luogo di presentazione della coreografia. La performance Géographie-Bolzano , coprodotta dal Festival di Transart, Fondazione Museion e CAC Brétigny, è stata presentata a Museion di Bolzano dal 18 al 22 settembre e ha costituito una sorta di preludio alla mostra Soleil politique.

He lived 16 years in Paris before moving to San Francisco in He is co-director of the first World Biennale Forum Gwangju, He has been consultant and advisor in many international institutions including Walker Art Center Minneapolis , Solomon R. A leading exponent of Arte Povera, Emilio Prini works with a variety of media, including light, photography, sound, drawing, and the written word, exploring the connections between reality, reproduction, and perception. He often focuses on the camera, the photographic process, and the limitations of this form of expression.

Perimetro — Misura a Studio Stanza was exhibited for the first time in at the La Bertesca Gallery in Genoa, on the occasion of the show marking the debut of Arte Povera. The work consists of a neon tube wound tightly around a cylinder to resemble a reel of cable. When the tube is switched off, it has a conceptual dimension, but when it is switched on, it acquires more of a poetic, visionary effect.

The sculpture becomes an allegorical representation of the perimeter of a space and a metaphor for an abstract system of measurement. The outline and real size of the room hosting it are revealed by and perceived through the light emanating from the tube itself. Stampa di un consumo originates from a detail of a photograph that Claudio Abate took on occasion of the exhibition Arte Povera held at the Kunstverein in Munich in during an action which involved taking apart a technological device.

Prini has manipulated the photograph to highlight the star formed by the fingers of a smoker holding a cigarette to his lips. La macchina fotografica e il processo del fotografare, nonché i limiti di questa forma espressiva, sono spesso oggetto della sua ricerca.

Si tratta di un tubo al neon, talmente arrotolato intorno a un cilindro da sembrare una bobina. Quando il tubo è spento, ha una dimensione concettuale; quando è acceso, invece, assume una forza più immaginifica e poetica. La scultura diventa la rappresentazione allegorica del perimetro di uno spazio e metafora di un sistema di misure astratto. Il profilo e le dimensioni reali della stanza in cui si trova sono piuttosto dati e percepiti attraverso la luce, che è emanata dal tubo stesso.

Perimetro è un esempio di come le opere create da Prini nascano da un processo artistico che combina tra loro oggetti e materiali del quotidiano, per evocare nuove esperienze. Prini ha manipolato la fotografia, mettendo in evidenza il dettaglio di una stella formata dalle dita di un fumatore che tiene una sigaretta tra le labbra.

Courtesy Galleria Pio Monti, Rome. Matthieu Saladin is an artist, musician, and researcher. His practice is founded on a conceptual art approach, reflecting, through an ongoing use of sound, on the production of spaces, the history of forms and processes of creation, as well as the economic and political relations of art and society.

The work Economic Score transposes a cultural economy into a musical score. For the version Economic Score: Soleil politique , the exhibition budget, including production costs and private financial support, has been transcribed as a musical score. The work refers to aspects of social and economic life that, given their immaterial nature and omnipresence, escape direct perception and yet nevertheless dictate and mold attitudes, discourses, social relations, and daily activities.

The ideological imprint of material production is appropriated as a medium in order to investigate the tensions of social space, along with the relation between aesthetic perception and the economic activities that govern it. Another way of raising similar questions is Calendar of Revolts , which takes the form of a calendar for the year that replaces the celebrations of the patron saints on all days of the year with the anniversaries of popular revolts taken from the pages of modern and ancient history.

Matthieu Saladin è artista, musicista e ricercatore. La creatività di Saladin si esprime sia attraverso installazioni sonore e performance, sia attraverso pubblicazioni, video e creazioni di software: Per la versione Soleil politique, il budget della mostra, si tratti delle spese legate alla realizzazione dei progetti o dei contributi finanziari, è stato tradotto in forma di componimento musicale. Questa composizione sarà interpretata il 29 ottobre durante il Festival di Musica Contemporanea di Bolzano.

Matthieu Saladin est artiste, musicien et chercheur. Cette dernière est interprétée le 29 octobre dans le cadre du Festival de Musique Contemporaine de Bolzano.

Another way of raising similar questions is Calendar of Revolts, which takes the form of a calendar for the year that replaces the celebrations of the patron saints on all days of the year with the anniversaries of popular revolts taken from the pages of modern and ancient history. Emilio Prini, Stampa di un consumo. Il caffè del Kunstverein , detail.

Born , France Lives and works in Lyon, France His work has essentially developed out of video, but over the last few years his practice has opened onto installation, object-based work, sound, writing and photography. His work involves scripted forms exploring the creative process, carried out as a series of invitations given to a Bosnian garage mechanic, a geophysicist to model the propagation of riots across the globe ,performers dancers and actors , a blacksmith, a musician, a beekeeper, a sound artist…His projects bring into play specific materials and contexts historical, architectural, geopolitical or literary… which, after a process of appropriation, are then linked into the display environment.

Le strategie processuali e plastiche procedono per accumulazione e sovrapposizione di strati sedimentazione narrativa, sedimentazione di materiali, di senso, sedimentazione del tempo. Né en , vit et travaille à Lyon. Sa pratique se développe par projets. Courtesy of the artist. The renowned Italian designer Achille Castiglioni spent his life conceiving and testing industrial products, working with his brothers Pier Giacomo and Livio.

Famous for the irony that characterised his creations, his designs are always tinged with a subtle parody of the avant-garde, expressing the disillusionment of the generation that grew up after the provocations of futurism and the utopia of rationalism.

The project consisted of two square, parallel blocks connected by a horizontal slab, and the accompanying model was made out of two slices of cheese cut perfectly to scale. The entire project was presented in minute detail, with plans showing floor layouts, cross-sections and pediments. Critics view this project as containing the seeds of the themes that would go on to underpin his entire oeuvre, including the use of ready-mades, and more importantly, references to Italian futurism: Boccioni, for example, also employed a variety of materials, including foodstuffs, in his artistic compositions.

Achille Castiglioni, noto designer italiano, si dedica insieme ai fratelli Pier Giacomo e Livio alla progettazione e sperimentazione di prodotti industriali. Esprime in questo modo la disillusione di una generazione cresciuta dopo le provocazioni del futurismo e le utopie del razionalismo. La trama del formaggio ricorda quella del travertino, materiale caro alle architetture realizzate sotto il Regime.

Il progetto proposto dal futuro designer è sviluppato in maniera accurata, rappresentando in planimetria piante, sezioni e frontoni. La critica ha visto in questo progetto un primo riferimento a elementi caratteristici della successiva ricerca di Achille Castiglioni: Boccioni, infatti, aveva già utilizzato materiali diversi e commestibili nella composizione estetica. Photographer and filmmaker Allan Sekula was committed to a vision of art as a tool for critiquing and exposing reality.

As a creator, historian, theoretician, and critic, for almost half a century he explored and challenged the traditional canons of photographic representation. His work took him around the world, tracing the routes of global commerce, and shipping in particular. Having grown up near the port of Los Angeles, Sekula was profoundly struck by the lifestyles of the dockers and the dynamics governing international flows of goods. His first photographic works of the s reveal his interest in systems of representation and his political and social activism, as can be seen in the work Meat Mass.

The work consists of black-and-white photographic documentation, a series of shots of the performance the artist staged in January Over a few weeks, Sekula stole packets of meat from various supermarkets and stored them in a freezer.

He then threw the frozen steaks onto a busy road, where they were crushed by passing vehicles, symbolically interrupting the capitalist circulation of luxury goods by means of theft and waste. Rather than focusing on single shots, reminiscent of the tradition of painting, Sekula always preferred serial photographic projects that enabled him to create narrative sequences closer to film and theater than to pure photography.

Ha viaggiato molto per tracciare le rotte del commercio globale, in particolare del trasporto marittimo delle merci. Cresciuto nel contesto del porto di Los Angeles, Sekula è stato profondamente influenzato dai destini di chi lavora nel settore delle operazioni portuali, e dalle dinamiche che regolano il traffico di merci, soprattutto internazionale.

Invece di privilegiare il singolo scatto, più legato alla tradizione pittorica, Sekula ha sempre prediletto progetti fotografici seriali, che gli consentivano di creare una sequenza narrativa più vicina al cinema o al teatro, che non alla fotografia tout court.

Allan Sekula, Meat Mass , Allan Sekula and David Alward. Isa Genzken uses a wide range of materials, media, and technology to create works that express a strong connection with reality. It might seem strange to choose a video, given that the artist is better known for her sculptures, yet in the s many artists and performers used their bodies and the medium of video installation to expose the sexism and patriarchal set-up of the art establishment.

In her practice Genzken often adopts a cinematographic approach, for example in her works devoted to the architecture of cities like New York and Chicago, not to mention her numerous photographic projects. The video on show in the exhibition dates to and documents a performance in which Isa Genzken and fellow artist Susanne Grayson repeatedly exchange clothes, leaving one naked and the other dressed and then vice versa, highlighting the marked differences in their body shapes.

The two friends pass a bra, shirt, skirt, and shoes back and forth, making amused attempts to fit the clothes to their bodies. The video was filmed by the German art historian Benjamin H. Utilizzando i più svariati materiali, media e tecnologie, Isa Genzken crea opere che esprimono un forte legame con la realtà.

Nella sua pratica artistica Genzken adotta spesso uno sguardo cinematografico, come emerge dai suoi lavori dedicati alle architetture di città quali New York o Chicago, o da numerosi progetti fotografici. Le amiche si passano il reggiseno, la camicia, la gonna e le scarpe, e cercano di volta in volta di adattare i capi ai loro corpi, sorridendo. He has always tried to include the viewer in his works, with varying levels of participation being essential to complete each piece. Given that viewers do not approach works from one direction alone, in his architectural projects and video installations Graham challenges and deconstructs the Renaissance theory of perspective.

It includes a memorial honoring the artist, a museum, and a research center. The model features a series of houses of the same size, one of which plays host to the museum. Homes for America reveals another area that Dan Graham has been interested in since the s: This work, in the style of a photographic reportage, explores the American suburbs and their rows of identical homes.

La carriera artistica di Dan Graham attraversa diversi linguaggi: Dato che il punto di vista dello spettatore non è unico né unidirezionale, nei suoi progetti architettonici e nelle sue installazioni video Graham decostruisce la teoria della prospettiva rinascimentale. Il modellino consiste in una serie di case della medesima dimensione, una delle quali ospita il museo. Si tratta di una serie di fotografie di taglio giornalistico, dedicate agli spazi della periferia americana e alla serialità delle sue abitazioni.

Together they have developed a performance practice in which objects and bodies are placed in confrontational situations through the interaction of material and dance movements. Their performances focus on the ways in which we envisage the world through images stored in our minds, as well as images derived from art history and the media. Pasolini shot the scene in the interior of a villa that contained a collection of Cubist and Futurist artworks, whose owners in the film, the Duke, the Bishop, the Judge, and the President, represent four distinct figures of power.

A Metz, Prinz Gholam sostituiscono la cornice del film con la collezione del museo francese di arte moderna, davanti alla quale riproducono la stessa posa, aggiungendovi un falso fucile appoggiato al muro del museo. Le duo a développé une pratique performative dans laquelle des objets et des corps sont placés en situation de confrontation.

Having studied sculpture in Vienna, Josef Dabernig subsequently developed an artistic practice in a wide variety of media. Using conceptual tools, Dabernig investigates the ways in which knowledge and rationality are categorized through conventional forms and behavioral norms.

He has copied entire books by hand in response to the discipline present during his years at boarding school, made lists, and built sculptures from found materials or according to mathematical rules. His films favor a structured storyline and an open end, introducing systems of order where confusing and implausible parameters create discrepancies. The absent subject of his photographs, which represent empty spaces on the outskirts of large cities, nevertheless offers a sense of narrative and traces of economic and social change.

Dopo gli studi in scultura a Vienna, la pratica di Josef Dabernig si diffonde in diversi campi. Il soggetto assente delle sue fotografie, che rappresentano luoghi deserti nei dintorni delle grandi città, lascia spazio a una narrazione in filigrana e alle tracce dei cambiamenti economici e sociali.

Il copie des livres entiers à la main en réaction à ses années de pensionnat à la discipline prononcée, dresse des listes, réalise des sculptures à partir de matériaux trouvés et selon des règles mathématiques.

Le sujet absent de ses photographies, représentant des espaces vides aux alentours des grandes villes, laisse place à une narration en filigrane et aux traces des changements économiques et sociaux. Rä di Martino works with video and imagery related to the cinema, exploring the mechanisms that determine the dividing line between fact and fiction.

In her videos, photography, and most recently installations, her attention is devoted to the power of the image, the way it is constructed, the things that excite our collective imagination, and the remains of the sets used to create the make-believe worlds of film and theater.

The camera homes in on a succession of different elements in each shot, revealing architectural models created by Friedman using reclaimed and recycled materials. Queste architetture effimere e non realizzate trovano corrispondenza nei lavori di Rä di Martino sulle scenografie e sui set cinematografici abbandonati. Il titolo del video si riferisce alla frase finale che Friedman pronuncia rivolto alla telecamera, e nella quale sottolinea il processo di uso e riuso di materiali e mezzi espressivi.

I consider that my practice would be one of a forward-looking engineer, or of an anthropologist, who seeks to understand shapes and to anticipate them. This restatement of objects, tinged with foolishness, attempts, in the age of digital revolution and 3D printers, to put into perspective our relationship with objects, and to determine its essence, its immutable nature. Nata nel , vive e lavora a Ivry-sur-Seine. Vit et travaille à Ivry-sur-Seine.

The network operates as a point of intersection for the development of diverse and innovative projects including exhibitions, events, publications, symposia and talks, audio and live art beyond traditional institutional structures. Intended as a tool for research and collaboration, it is actively engaged in a trans-national network between art professionals, operating in partnership with other archives located in Europe.

At the intersection between cultural mediation and distribution, 1: Il network opera come punto di intersezione nello sviluppo di modalità di produzione quali mostre, eventi, pubblicazioni, simposi, conferenze e performance che si pongono aldilà delle tradizionali strutture istituzionali. Nel corso degli anni 1: Ce réseau représente un point de rencontre pour le développement de projets divers et innovants incluant expositions, événements, publications, conférences et rencontres, productions sonores et concerts, au-delà des structures institutionnelles habituelles.

Au fil des années, 1: We quickly identified the archive as our research thread, starting from what seemed to us quite a strong paradox inherent to the practice of archiving ephemera as the CNEAI is doing: A bit like collecting butterflies!

In a way, all archives are ephemeral. The stories they preserve are there to be rewritten each time, to be brought to a new life on the occasion of each new display. Gradually, our research took the form of a historical perspective on some individuals, institutions and groups, who share similar preoccupations and who are trying to articulate them — or should we say, with Seth Price, to disperse them — through a variety of media.

How did you work all together? This was the occasion to approach and study the archive both individually and as a group. Each of us initially focused on our own personal curatorial interests and research, but at this stage we shared a common discussion on artists and their practices, which led to the identification of authorship as a crucial topic for the project. Gradually, we defined the group of artists we wanted to include in the first show in Rome, which was a selection of predominantly French artists.

In reality, it was quite immediate not only for their works, but also because it was an opportunity to show historical artists such as Pascal Doury and Michel Journiac, who are not well known in Italy. We also included Italian artist Maurizio Nannucci and Jonathan Monk, whose practice is based on collaboration and appropriation. What are the continuity and the main differences between Rome and Chatou exhibitions? It was important, therefore, that each exhibition had a distinct title, but that were still directly connected in order to create continuity from one show to the next.

This is of course true for any archive, the issues of access and display being at the center of its operations. But in the case of the FMRA archive, the whole idea of collecting editions and ephemera is really centered on exploring the possibilities of circulation and transmission of this specific type of art object.

We were confronted with this very interesting dialectic between the fetishism of the collector impulsive collecting, accumulation and preservation of ephemera… and the endeavor of distributing it, which often implicates the questioning of the aura of the art object itself.

With the exhibitions we wanted to emphasize such types of dualities. This was done by involving some figures for which archiving, collecting, re-framing, displaying, editing or distributing is at the core of their practice, and who contribute with their hybrid activities to the critical thinking and redefinition of the field. In other words, we wanted to share with these artists and their productions the processes of activating the archive.

That was for us the most coherent way to present the FMRA collection, and also a response to some of the lines of research that emerged through the material itself. Red Swan Hotel Space: The themes that he is working on are linked to nomadism as the dangerous alternative to belligerent stillness , to archeology and anthropology as the disciplines that study the hidden past, and perhaps contribute to a re-writing of history itself , and to environmental psychology of both the fictional characters as well as the spectators themselves.

The screenplays are more similar to lists of ideas, instructions and short tales, and are discussed together with actors and further adapted to the surrounding landscapes and architectures. The finished work is the result of an open process of mediation in which the author considers himself as a catalyzing agent.

Né en , vit et travaille à Ravenna. Sa production est constituée principalement de vidéos, les photographies, les sculptures et les peintures étant le résultat du procédé de production filmique.

Andrea Bruciati Hi Daniele, could you tell me about the spirit with which you are going about this experience? Daniele Pezzi First, the residence I was selected for is somewhat atypical: I will spend 45 days staying at three art centers located in the region of Midi-Pyrénées. In each of these in order of time: These characteristics and associated limitations represent the challenge that I have to face and the stimulus to imagine possible solutions.

In the project, I want to continue to study unexpected solutions for the fusion between reality and fiction: I shall follow a process that I have been developing in the last few years, through a series of videos designed and produced while constantly on the move.

A variable condition in which it is impossible to work according to a screenplay or a rigid schedule; it is not possible to predict the weather, the difficulties of accessibility of a given location, the physical limitations etc. Unlike previous projects, which unfolded gradually during the course of the work, this time I was forced to define in advance a range of possibilities and potentialities from which to draw to make the most of the short time available. Specifically, what is it about?

In every location of the residence I will select one or more volunteering actors professional and amateur with whom to activate a process of definition of the character that they will interpret. The result of these meetings will be characters sprouting naturally from a compromise between my idea, the personality of the interpreter and the limitations of the context in which we will take action.

A sort of almost plastic metamorphosis on the one hand, and a Zelig-style changing character on the other. As the scenery, the temperature, the architecture change, so does the character, psychologically varying its mood and dramatics but also physically because played by different actors.

The character becomes a flexible and pliable being that each time becomes other than itself; while retaining a few elements of resemblance, such as clothes style, physical aspect, etc. What result would you ultimately like to reach from this relentless transformation flow?

The film that will result from this process will be divided in areas: The backdrop to this staging will be reality, the one that I will find in that region of France, expressed in a documentary fashion. The way in which the real and unexpected event will inevitably influence the project, will form the backbone, will determine the urge. We will start logistically from the peaks of the Pyrenees, in search of the routes of smugglers and illegal immigrants to arrive at Saint-Gaudens, overcoming mountains that have always represented natural boundaries and limits.

Toulouse was in fact the city where the Veneto-born Silvio Trentin opened the library which soon became the reference point of the anti-fascist movements in Europe: A sort of documentary, or you are looking for a different film language? The film is certainly not intended to come to an end in the classic sense — quite the opposite. The result of the construction, which I will work on in the months after my coming back, will be the most effective arrangement of a wealth of material collected in a period of intense work and discovery, with a number of concerns and questions that will guide the entire process.

The goal, in fact, is to manage to build a solid narrative and emotional experience in which the character and its alterations can be reflected deeply in the viewer. Andrea Bruciati Ciao Daniele, puoi raccontarmi lo spirito con cui ti accingi ad intraprendere questa esperienza?

Daniele Pezzi Per prima cosa la residenza per cui sono stato selezionato è in qualche modo atipica: In ognuno di questi in ordine di successione: Queste caratteristiche e le limitazioni che ne derivano rappresentano la sfida che mi trovo di fronte e la propulsione a immaginare possibili soluzioni. Nel progetto voglio continuare a studiare le soluzioni inaspettate della fusione tra reale e fiction: Uno stato variabile in cui è impossibile lavorare basandosi su una sceneggiatura o uno schema rigido di progetto; non è infatti possibile prevedere le condizioni meteo, le difficoltà di accessibilità di un determinato luogo, i limiti fisici ecc.

Nello specifico di cosa si tratta? Il personaggio diventa quindi un essere elastico e malleabile che diventa di volta in volta altro da sé; pur mantenendo alcuni elementi di somiglianza, come lo stile degli abiti, la costituzione fisica, ecc. Se questo personaggio dovesse trovare un modello assomiglierebbe al protagonista di Petrolio di Pasolini, che si ritrova a essere alternativamente uomo o donna, come effetto di un trauma che sarebbe impossibile raccontare diversamente.

Quale risultato ultimativo vuoi perseguire da questo incessante flusso in trasformazione? Il film che risulterà da questo processo sarà suddiviso per ambienti: Si partirà logisticamente dalle cime dei Pirenei, cercando i tragitti dei contrabbandieri e dei clandestini per arrivare a Saint-Gaudens, superando montagne che da sempre sono confini e limiti naturali.

Una sorta di documentario o sei alla ricerca di un linguaggio cinematografico differente? Il film non sarà sicuramente inteso per essere concluso in senso classico, al contrario. Daniele Pezzi, Tutulma , , video still HD. Courtesy of the artist other pictures: The artist mingles these elements in video art, sculptures, sound installations, and performances that are duly filmed.

The title of the video in the exhibition, Vivre avec ça?! Reynaud-Dewar paints her body black and then films herself dancing in empty exhibition spaces. Her moves are inspired by those of Joséphine Baker, the French-American dancer, actress, and singer who in the s became a symbol of racist stereotypes but also the struggle to overcome them.

Her performance thus becomes an intimate critique of the institution and a reflection on the lengthy history of the avant-garde movements, subverting the sexual, racial, and political norms that contribute to constructing our individual identity and conveying stereotypes. Il titolo del video in mostra, Vivre avec ça?! Ron Tran works in various media, including performance, sculpture, photography, video, and installation.

His artistic practice involves interpersonal actions and gestures, at once benevolent and ironic, that challenge the way we view everyday relations, notably those that involve strangers. In Walking Strangers Home , for example, Tran approaches passersby late at night, offering to accompany them to their homes. Establishing a relationship between art and the public sphere, the artist thus explores cultural rituals and anxieties as well as relations of power in society.

Documentation plays an important role in conveying his work as a performer. For Apartment , Tran removed the front door of his apartment and exhibited it for five weeks at Western Front, an artist-run art space in Vancouver, while he continued to live in the apartment.

Through this objectaction, which combines aesthetics and the intimate realm, his private life was exposed and made vulnerable. The apartment functioned as an extension of the object exhibited in the art space. At the end of the exhibition, the door, once returned to its original location and use, lost its artistic status. The work offered itself neither as a metaphorical representation, nor a ready-made, but rather as a living and tangible intervention inscribed in the present and inseparable from real life.

For the exhibition Soleil politique , the artist explores the means to reenact this experience. Ron Tran lavora con diversi media: La sua pratica comprende azioni e gesti interpersonali, allo stesso tempo ridondanti e ironici, che introducono un senso di malessere nel nostro sguardo sui rapporti quotidiani, in particolare quelli con le persone sconosciute.

In Walking Strangers Home , per esempio, Tran avvicina dei passanti a tarda ora, e si offre di accompagnarli fino a casa. Alla fine della mostra, e una volta rimontata la porta sui cardini, essa ritrova la propria funzione di utilità e perde ogni valore artistico.

Ron Tran travaille avec divers média: Sa pratique convoque des actions et gestes interpersonnels, à la fois généreux et ironiques, qui introduisent un malaise dans notre regard sur les rapports quotidiens, en particulier ceux impliquant des personnes inconnues. In his work, Marcus Geiger often uses domestic materials and painstaking processes that provoke ironic ruptures between the conceptual precision with which they are treated and the stereotypical image of a comfortable interior that they convey.

He explores and demystifies the meaning of the artwork as a concept, disrupting the ways in which the art market attributes value. In , for example, he repainted the Vienna Secession red, thus transforming an architectural monument into a pictorial medium. The artist deployed the same concepts in his project for Erste Campus, the future home of the Erste Bank in Vienna. In the context of Raumwahrnehmung Perception of Space , a call for art projects to accompany the conversion of an abandoned brewery in Vienna into a housing complex, Geiger submitted Sozial Radikal Minimal Kapital , a minimalist proposal with decisive material and symbolic import.

He removed one of the planned apartments, thus leaving a gaping hole in both sides of the building, left in unfinished state and abandoned to birds and weeds. Geiger thus responded in a critical way to the project brief, which raises questions concerning the current integration of art and architecture in the context of social housing and its economic conditions: His project thus confronted the desire for clarity, openness, and transparency in the modernist project.

During the exhibition, this was made all the more apparent as the surfaces became dirty and worn. The project thus reflected on the sanitizing dictates of museum conservation, which, as such, isolate the work from its host environment. Paradoxically, his intervention criticized the ideology of conservation at the same time as it prevented the project from leaving its trace or interfering with the building itself.

È il caso, per esempio, di quando nel ridipinge di rosso il palazzo della Secessione di Vienna, che da monumento diventa supporto pittorico. Gli stessi principi torneranno nel suo progetto per Erste Campus, futura sede di una banca eponima a Vienna.

Questo atto contiene anche una denuncia economica concreta: Ces principes seront reconduits dans son projet pour Erste Campus, le futur siège de banque éponyme à Vienne. Cet acte a aussi une portée financière concrète: Interested in giving art a more dynamic role in everyday life and society, Brehmer analyzes in his works the growing presence of the media and media language in Western consumerist society. His oeuvre spans painting, graphics, books, films, musical arrangements, and installations.

The two crossed flags form a portrait of German society, its social changes and political tendencies. The colors are proportioned to convey various statistics on the distribution of wealth in the country. The left-hand flag interprets data from , dividing German families into three income brackets represented by the national colors: The right-hand flag uses the same colors to represent the increase in per capita earnings between and according to occupation: The fact that the two flags are crossed over represents the inextricable link between social class and distribution of wealth.

Le sue ricerche trovano forma in lavori pittorici e grafici, in pubblicazioni, film, arrangiamenti musicali e installazioni. I colori e la superficie delle bandiere veicolano una serie di informazioni statistiche sulla distribuzione del reddito in Germania. Nella bandiera di sinistra, che fa riferimento al , le famiglie tedesche sono suddivise in base al loro reddito in tre fasce, identificate dai tre colori nazionali: La bandiera di destra, utilizzando gli stessi tre colori, indica la crescita del reddito pro capite tra ileilinbasealtipodi attività svolta: Brief notes on the prepared piano and its inventor.

With the revolutionary discovery of the prepared piano , John Cage opens the doors of music to unexplored worlds of sound and unknown expressive possibilities. Through simple physical alterations of the musical instrument to change its sound, the compositional activity becomes with Cage something completely new, extended, transformed.

Although John Cage is one of the most controversial figures on the art scene of the twentieth century — the target of fierce and sometimes staid, verbose criticism, as well as the recipient of apologies not always supported by adequate knowledge of the subject —, he remains, in my opinion, a revolutionary who played more than once with his last name, which carried a sort of announced self-denial, a conceptual and practical self-overcoming: Cage was an anarchic, funny, humorous, spontaneous, irreverent composer, a character of bizarre and multifaceted passions arts, eastern philosophy, the I Ching, Zen Buddhism, mycology, plants, mesostics, macrobiotic cooking, chess etc.

Suzuki come to mind. Cage whose twentieth death and one-hundredth birth anniversaries were celebrated in 3 belongs in many histories and revolutions, and is one of those composers who in the mid-twentieth century cultivated the hope of the final ending of the realm of harmony 4 , centering his musical discourse and compositional activity on new bases, structured from elements that could be, from time to time, musical, extra-musical, random or number-based.

While in Seattle around the end of the thirties with his wife Xenia, Cage works intensely on percussive music and dance, striking relationships with artists such as Mark Tobey, Morris Graves and Laszlo Moholy-Nagy, but also with dancers and choreographers such as Bonnie Bird, Syvilla Fort and, especially, Merce Cunningham.

On one of these occasions, as soon as Cage starts playing, a piece of brass placed on a tray on the instrument accidentally falls into the piano case and starts rolling on the strings. He then remembers the sound of the piano when Cowell struck or plucked the strings, or when he slid metal needles over them. From the kitchen he takes a plate and puts it on the strings, together with a book.

But the plate bounces. Hence, Cage takes a nail and sticks it between the strings. But again there is a problem: He thus replaces the nail with a wood screw. This time the solution works. The prepared piano is born 6. Prepared piano, preparation by Giancarlo Cardini for the performance of musical compositions by John Cage. Since that time, and specifically from the beginning of the forties to the mid-fifties, Cage uses the prepared piano in about thirty of his works not all published , especially dedicated to dance from Bacchanale to And the Earth Shall Bear Again — choreographed by Valerie Bettis, from In the Name of the Holocaust to Totem Ancestor , both with choreographies by Merce Cunningham.

In addition to the Sonatas and Interludes for piano, the Prelude for Meditation , the Concerto for Prepared Piano and Chamber Orchestra and Two Pastorales , the prepared piano is also used in two compositions for film, the first published with the title Music for Marcel Duchamp for the film Dreams That Money Can Buy by Hans Richter, and the second for the film Works of Calder by Herbert Matter; furthermore, we find the instrument in the works for ensemble Amores , for percussion and prepared piano, Second Construction , for percussion and prepared piano, and She Is Asleep , for 12 tom-toms, voice, piano and prepared piano.

The quality and characterization of the sound depends directly from that placement: The instrument becomes a percussion ensemble under the control of a single performer.

Many grievous obstacles along this road must be conquered, so as to arrive at the first stage; and even then an evil, unseeing hand may toss more obstacles in the way, so that this road sometimes appears to be totally impassable, as all landmarks vanish. He sees and points the way. Sometimes he would prefer to lay aside his power, as it is a heavy cross to bear; but he cannot do so. Though scorned and hated, he never lets go but drags the cartload of protesting humanity after him, ever forcing it forward and upward, over all obstacles in his way.

Fronzi edited by , John Cage. Knopf, New York , p. After many cautious experiments Cage tried to establish what objects could remain stable between the strings of a piano, what were the materials to use and how they should be placed; from this he deduced the necessity of modifying duration, amplitude, frequency, and timbre — in other words, the four characteristics of a sound. To facilitate realization, he used everyday objects such as screws, nails, nuts, felt, rubber, and pennies wedged vertically between two strings or horizontally straddling the three strings relating to a key.

Using the una corda pedal would therefore also modify the pitches, since the hammer, shifted sideways, would strike only two strings out of three. Cage, La musica fino al , in Lettera a uno sconosciuto , edited by R. Kostelanetz, with a memory by M. Cunningham, preface by E. Sanguineti, Edizioni Socrates, Rome , pp. Routledge, New York Works for Prepared Piano: Lavista, John Cage e il pianoforte preparato.

Alcune considerazioni sugli aspetti formali , in F. Negri edited by , John Cage. Con la rivoluzionaria scoperta del pianoforte preparato , John Cage apre le porte della musica a universi sonori inesplorati e possibilità espressive ignote.

La storia delle arti è attraversata da sterzate, rotture, ritorni, rivoluzioni e controrivoluzioni. Mentre si trova a Seattle siamo alla fine degli anni Trenta insieme alla moglie Xenia, Cage svolge un intenso lavoro sulla musica percussiva e sulla danza, entrando in rapporto con artisti come Mark Tobey, Morris Graves o Laszlo Moholy-Nagy, ma anche con danzatori e coreografi come Bonnie Bird, Syvilla Fort e, soprattutto, Merce Cunningham.

È qui, presso la Cornish School, che Cage concepisce il rivoluzionario pianoforte preparato , più precisamente per il balletto Bacchanale di Syvilla Fort. Uno dei compiti di John, in quel periodo, è quello di accompagnare i ballerini durante le lezioni e i concerti, per quanto fosse qualcosa che detesta fare. Il suono che proviene dallo strumento suscita in Cage un particolare interesse. È del tutto concentrato su questo oggetto, che rotola su e giù per le corde. Gli viene allora in mente il suono del pianoforte quando Cowell percuoteva o pizzicava le corde, o quando vi faceva scorrere sopra degli aghi di metallo.

Si sposta in cucina, prende un piatto e lo mette con un libro sulle corde. Ma il piatto rimbalza. Cage prende allora un chiodo e lo infila tra le corde. Ma si presenta un altro problema: Viene allora in mente a John di sostituire il chiodo con una vite da legno. Era nato il pianoforte preparato 6.

Oltre che nelle pagine pianistiche di Sonatas and Interludes ,del Prelude for Meditation , del Concerto for Prepared Piano and Chamber Orchestra e delle Two Pastorales , il ricorso al pianoforte preparato non manca anche in due lavori per il cinema, il primo pubblicato con il titolo Music for Marcel Duchamp per la pellicola Dreams That Money Can Buy di Hans Richter e il secondo per il film Works of Calder di Herbert Matter, ma anche in Amores per pianoforte preparato e trio di batterie, in Second Construction per quartetto di batterie e pianoforte preparato e in She Is Asleep per quartetto di batterie, voce, pianoforte preparato e pianoforte non preparato.

La qualità e la caratterizzazione del suono dipende direttamente da tale collocazione: Anche attraverso questa rivoluzione dei mezzi, John Cage ha indicato nuove possibilità espressive, dimostrando ancora una volta la volontà di partecipare a una metamorfosi profonda, a una rivoluzione inevitabile, quella per la quale le porte della musica si sono spalancate a universi sonori sorprendenti e ancora oggi decisamente attraenti.

Kant, Critica del Giudizio , trad. Ecco il passo completo: Raggiunta una meta, eliminati molti sassi pericolosi dalla strada una mano invisibile e crudele getta su questa strada nuovi blocchi, rendendola irriconoscibile.

Egli vede e fa vedere. A volte vorrebbe liberarsi di questa superiore capacità che per lui costituisce spesso una pesante croce. Pontiggia, SE, Milano , p.

Über das Geistige in der Kunst , R. Fronzi a cura di , John Cage. Presentando, nel giugno , le Sonate e Interludi per pianoforte preparato nel salotto di Suzanne Tézenas, Pierre Boulez dirà: Dopo molti tentativi, Cage prova a stabilire quali oggetti possano rimanere fermi fra le corde di un pianoforte, quali siano i differenti materiali da usare e come debbano essere sistemati; ne dedusse la necessità di modificare durata, ampiezza, frequenza e timbro, vale a dire le quattro caratteristiche di un suono.

Cage, Corrispondenze e documenti , trad. Edwin Rosasco, Archinto, Milano , pp. Correspondance et documents , a cura di J. Cage, La musica fino al , in Lettera a uno sconosciuto , a cura di R.

Kostelanetz, con un ricordo di M. Sanguineti, Edizioni Socrates, Roma , pp. Negri a cura di , John Cage. Echoing the societal thinking of Charles Fourier, Bal-Blanc has developed the Projet phalanstère Phalanstery Project , a series of site-specific proposals that critically revise the accumulative logic of exhibiting artworks.

His exhibitions The Living currency and The Death of the Audience follow a principle that takes into account their local environment and in situ resources.

Along with the visual annotations presented in this publication, Pierre Bal-Blanc proposes a series of documents and interventions that act as paratexts to the exhibition. They serve to prolong the ways in which the works interact not only with the space of Museion, but also with its historical, social, and architectural context within the city and province of Bolzano. Il primo periodo di Claude Monet, "Donne in giardino" p. Chat Noir", , Bank of the Oise at Auvers, art picture by Vincent van Gogh.

Di Stefano, Il disegno di legge sulla capacità giuridica della donna. Per gli altri editori, si rimanda all'opera in pre-print di Carlo. Pastena consultabile presso la Biblioteca Centrale della.. Al suo rifiuto di riceverlo, di fronte ai genitori della donna, van Gogh si.. Autoritratto con orecchio bendato, 60x49 cm, , Courtauld Institute Galleries, Londra.

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