Passeurs dombre, épisode 4: Ombre et lumière (Numerik séries) (French Edition)

After exporting the concept at Vermelho gallery in Sao Paulo and the great success of Salon Light 9 at Palais de Tokyo in , Salon Light keeps uniting a moving scene of artists, authors, independent publishers or composers. Performances and meetings with professionals and artists are also a key part of the event. Sylvie Boulanger is founder and curator of Salon Light since its creation in She directs Cneai since She is a member of several research labs, she also contributes to academic reviews like Multitudes and lectures in art schools and universities.

The round table discussion will be followed by a Concert for Prepared Piano by Laurent Durupt , composer and fellow at the Villa Medici. Among his recent group exhibitions: The active mixtures that I make, bring together and confront, take on a form in precarious, unstable balancing acts.

La masterclass d’Alain Gomis au Fespaco 2017

In order to bypass the functions and disorganize the know-how, we have to adopt a distant view in terms of what we know, or think we know, without ever falling into fascination, but instead with the intention of raising questions and inciting curiosity. Freeing an object also means reprogramming it, or handling its side effects. Static objects are set in motion, while those that usually move tend towards petrified states. Some systems come undone, returning to a lost state.

By making bridges between disciplines, and by combining or defragmenting fields and categories, it is possible to make one or more frameworks tremble, but without being able to extract ourselves from them completely. The point is then to re-examine and reinterpret the connections and ties that can join together the fragments and abolish the frontier between methods and materials. The game consists in regulating this unruliness. Nato nel , vive e lavora a Nizza. Fra le sue mostre collettive recenti: 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. On en revient aux circuits de productions et au pragmatisme. Comment se son est-il produit? Hans Schabus, Konstruktion des Himmels , View of the exhibition The Promise of Moving Things curator: Courtesy of the artist et ZERO….

She has directed Cneai since She is a member of several research labs, she also contributes to academic reviews like Multitudes and she lectures in art schools and universities. Prepared Piano — Model for a New Institutionalism. Dirige il Cneai dal Sylvie Boulanger dirige le Cneai depuis Sylvie Boulanger The history of the place prepared the art centre to adopt the question of art as media. When the art centre was created in , the question was whether to make it a place for engraving, but three years of research and production with thirty or so artists including Claude Closky, Robert Morris and Peter Downsbrough, led us to consider engraving as an original form of publication.

A new generation of curators has recently formed, considering space made public as public space and the act of publishing as an artistic act.

They adjust to current artistic crises: Alongside the exhibition, production and publishing programme, we have therefore created tools at the service of this scene: Other ideas are being finalised …. How can the first intent, that is its very essence be summed up? The subject is redefined every day according to artistic needs: And if publishing etymologically means to make public , it is recognised that the transmission, distribution and reception of art are three fundamental indices of the work of the Cneai. It is also a place that we try to keep free from any institutional project , that is open to projects by art protagonists who invent a new function for a decompartmentalised art scene, emancipated from academic categories and therefore extended to sound, writing and performance… as well as collaborative fields.

The Cneai is responsible for a collection comprising 11, pieces. How does the collection initiate the programme, or even the structure of the site? This quote is new to me and I love it. The energy between the collection and the programme is prolific. That is exactly why we have had the Cneai redeveloped and expanded by Elisabeth Lemercier and Philippe Bona to enable this exchange of energy between the collection and the programme. In order to be able to offer a new programme model in the form of scenarios from several points of view where the exhibition registers and the presentation of the collections blend with the presentation of an isolated work or a publication.

We use pieces from the collection for their research potential, and we increase the collection according to the needs of the artists and guest curators. This double movement gives meaning to the establishment of the fund, likewise the programme. How do you situate the Floating House in this context?

Surprisingly this architecture by the Bouroullec brothers was very badly received by certain local cultural players! It seems that in small towns journalists, curators and other cultural producers, who are neither educated citizens nor informed consumers, confront us. The Floating House installation traumatised all those who were living on their island, because of their nostalgic for their status as curators from the time of the impressionists.

The art centre and the Floating House are located sufficiently far from the town, from work, but relatively close to housing areas, a little isolated in nature, in the middle of a wooded island, between the two banks of the Seine and near to a park, with walkways and stopping places to eat, picnic and play.

The location gives a feeling of privacy and vacuity, a condition necessary for encountering art… The Floating House is both an extremely simple and intuitive to use residential property and an object for contemplation. Charles Esche described his ideal museum as fundamentally vague: How did you structure the curatorial approach to the place, to the institution? Consequently it is more about creating a context than a place or a programme.

Passeurs d'ombre, l'intégrale de la saison 1 (Numerik séries) by Unknown

The Cneai therefore proposes a new dynamic model: Currently, Christophe Lemaitre has been invited to share the art direction, for Yona Friedman it is a forum for experimentation, for three years Jef Geys has been an important partner to test the levels of values in art; - cooperative: We work on average with about a hundred partners every year; - cultural: Festivals and study days have replaced previews…. What is the role of a contemporary art centre director in ? To resolve a multitude of paradoxical equations: The first residency in the Floating House by Daniele Balit, Maria Alicata and Adrienne Drake, three Italian curators, fired up passionate discussions about the question of version.

We have identified works from the collection that have been considered in reference to other older works, whether from the visual arts, musical, cinematic or any other domain. Now it is a question of inviting these artists to develop or activate their old projects version 3 here and now, at the MACRO and at the Cneai, during two exhibitions that will take place in October in Rome and in autumn at the Cneai. The project is largely research carried out within two archives, one Italian 1: Our project will attempt to provide concrete answers to questions about formal frontiers objects, performances, images ; about cultural borders literary, musical, film, scientific, design… ; about derived artistic processes curatorial, editorial, collection and research ; and about hybridization of the figures artists, editors, curators, collectors, sellers or researchers.

Comment la collection informe le programme, voire la structure du lieu? Je ne connaissais pas cette citation, elle me ravit. Comment situez-vous la Maison Flottante dans ce contexte? Nous travaillons en moyenne avec une centaine de partenaires tous les ans ; - culturel: Jef Geys, Coloring book for adults , Exhibition J ef Geys.

The various subjects of her videos are inspired by reality and play on different cinematographic levels that highlight the reversibility of genres and the multiple viewpoints possible of a given situation. Tourisme International bears witness to a spectacle on a national scale: Moving constantly from one place to another, this tourist trip stops at monuments, museums, and institutions presented by North Korean tourist guides.

North Korean cinema is shot in 16mm silent film and is entirely overdubbed. Practically no sound, other than speech and music, accompanies the images. The recreated soundtrack of Tourisme International , on the contrary, includes all the sounds excluded from North Korean cinema, which give matter and depth to space. This rearrangement of sound, however, excludes all voices.

All commentary by the tourist guides or by Marie Voignier herself remains silent; all speech is eliminated and the voices shift off-screen, to the titles that punctuate the film and give the spectator a minimum of information in order to identify the places and context shown. I commenti delle guide e di Marie Voignier sono muti. Tutti i discorsi tacciono e le voci si spostano fuori dalle immagini, dentro i sottotitoli che punteggiano il film, dando allo spettatore elementi indispensabili per situare i luoghi e un contesto dove orientarsi.

He curated the following main exhibitions: Kunst Meran Merano Arte. The idea was to give to the town of Merano a relevant role in the local contemporary art scene. In past times some very famous people, such as Kafka, Mahler, Ezra Pound whose daughter still lives in the castle of Brunnenburg spent their time here.

Since the venue is a house in the town center, which was restored and restructured to become a gallery and art museum. What fundamentally makes this institution different from others in Italy and on an international level? We are neither a commercial art gallery nor a municipal venue, even if our role is similar to that of a public space. Our funds come both from the private and public spheres, but it has to be noticed that the museum management stays free from any political influence.

This is an exceptional status in Italy. In Germany you can find art spaces that you can compare with Merano Arte from this point of view. PIANO intends to create a network of art spaces working together, exchanging and interacting. Why did you decide to join the project and how are you participating in it? We work following a strong aim which is bringing contemporary art to the attention of common people. We also think that sharing projects with other international contemporary art spaces represents an important occasion of growth.

A network is essential to make collaborations happen. Contemporary art is an instrument that Europe can use to connect different national realities and bring them really together. Both museums work with contemporary art and aim to value young artists. Mangion and I immediately agreed to give life to an exhibition with young selected artists. They have been invited to produce new works and to collaborate for a project.

It took a lot of time to plan and coordinate every detail of the project. Young artists are very focused on what they want to express through their art. We pushed them to think about the idea of building an exhibition together on site. What are the main responsibilities of a curator and of an art institution in Italy nowadays? Nel passato molti personaggi celebri hanno vissuto a Merano, da Kafka, a Mahler, a Ezra Pound la cui figlia vive ancora nel castello di Brunnenburg. Anche Peggy Guggenheim ha organizzato mostre a Merano nel corso degli anni Cinquanta. Si tratta di una condizione eccezionale in Italia.

In Germania esistono spazi comparabili a Merano Arte da questo punto di vista. PIANO mira a creare una rete di spazi espositivi che lavorano insieme, attraverso forme di scambio e interazione. Mangion e io abbiamo immediatamente concordato di dare vita a una mostra con giovani artisti selezionati, che sono stati invitati a produrre opere inedite e a collaborare tra loro per un progetto nuovo. Metal, mixed media, sound installation, X x 87 cm 3.

Michael Dean, hnnnhhnnn-hnnnhnnnnh Analogue Series , , book, ink, 16 x 23 x 9 cm. Courtesy the artist, Herald St. London, Supportico Lopez Berlin. Sandra Patron There are two factors behind the creation of the art centre: He wanted this rural area to be rooted, in no ordinary dated nostalgia, but in the times and the questioning that it generates.

Then as this region has been hit hard by de-industrialisation and an exodus towards cities, leaving entire sections of its heritage empty.

1. Protect Your Freedom.
2. Protagonists | PIANO.
3. .
4. Passeurs d'ombre, l'intégrale de la saison 1 (Numerik séries) (French Edition);
5. La masterclass d’Alain Gomis au Fespaco | Africultures.
6. .
7. El Idioma Secreto de los Incas (UN PASADO DIFERENTE nº 2) (Spanish Edition)!

Local councillors were hoping to breathe new life into these sites without knowing exactly how to tackle the problem. In any case, chances are that a contemporary art centre had not been envisaged by most of them. I think it is the characterful site that prompted me from the outset to consider the artistic project a time to offer artists rather than as a space to be invested. Residencies enable that, in addition to the off-site programme, insofar as we can at certain moments encourage long production processes, at other times react very quickly to requests that require technical expertise made possible by the scope of our local partners.

Paradoxically, the isolation of the site — or in any case its isolation from the art scene — is in my view a constituent part of the project, its strength and originality, this isolation enables a quite unique quality of concentration, for the team as well as for the artists.

It also often enables often strong and sometimes friendly links to be formed between us. There is a lovely text by Giorgio Agamben on this matter of friendship and complicity acting as a powerful driving force to create a space for sharing and production, I have great faith in this idea, and there again, our setting is conducive to this type of approach. Regarding projects that could characterise the way in which we envisage production processes, two examples come to mind: Lili Reynaud-Dewar came here to develop a project around the Black Maria, this first movie production studio conceived by Edison.

For several months, the PSL was transformed into a film factory, a loyal troop rallied around his project, costume designers, actors, make-up artists and musicians, the films were shot on site, they were put together on site, the exhibition made this production process perceptible. Likewise Alain Bublex spent over a year on and off at the art centre in to produce a motorbike prototype in partnership with a local engineering school specialising in the car industry.

In the global context in which we work, forging ahead, I realise that this way of working is a real luxury, for myself as well as my team of course, but also and above all for the artists. You started managing the art centre in Have you modified the programme or changed the focus of the centre, or quite the opposite do you want to anchor a heritage?

When I started, I kept the constituent parts of the project: I wholeheartedly wanted the place to be anchored on a European level not only through the programme choices but also by inviting foreign curators every year. The residencies were reviewed: The off-site programme was reviewed, probably because, at the start, I was quite unsettled by this project and the sociocultural deviations that could result.

Not really knowing how to address the question, I simply decided that we were going to do what we knew how to do: The person in charge of off-site programme was previously a cultural mediator, I decided to recruit an exhibition curator, and this simple decision completely changed the direction. How do you combine all these activities into one coherent programme? I do not aspire to combine our different activities at all costs, but I actually worked to make synergy possible, and at the same time — and this is essential for me, for it to be possible for there to be no synergy.

But sometimes, the artists just need time for a break, for research, to bathe in the Loire and to smoke a cigarette by the fire, and that is fine with us too. The location is rural. What bearing does its location have on your programme? In concrete terms its rural location means that there is no power struggle with anyone: This lack of any threat to anyone brings great freedom on a daily basis. I am not sure for example that a project like Breathing House by Jean-Pascal Flavien would have been so simple to organise in an urban setting, with the numerous rules involved and the representatives to meet and to convince.

Why did you want to participate and what programme are you proposing? Four years ago, I wished to become involved in the d. The reasons are pragmatic, strategic and artistic at the same time: I am for example delighted about the discussions that I have at the moment with Chris Sharp, the curator of our exhibition for PIANO, The Registry of Promise , an exhibition with a literary construction in four chapters.

His relationship with art, his approach, the way in which he works with artists, the way in which he perceives this very strange profession known as exhibition curator, is all very refreshing and a source of inspiration for me. En quoi sa situation informe votre programmation?

Wilfrid Almendra, Le Splendid , Gabriel Kuri, bottled water branded water , exhibition view, 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. La critica ha visto in questo progetto un primo riferimento a elementi caratteristici della successiva ricerca di Achille Castiglioni: 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. 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.

Alexander Gutke, Auto-scope , Art from the Indian Subcontinent and Greenwashing. Art Perils and Proposals. Art from Indian Subcontinent e Greenwashing. Arte Pericoli e Promesse. Art from Indian Subcontinent et Greenwashing. Carlo Scarpa is universally known for his restoration work and the drawings that accompanied his architectural and design projects. For the Venetian architect, drawing was a meditative act, a productive exercise, and a practical way of coming to grips with things. The restoration project began in and was completed in The architect sought to isolate and bring to light the various historical strata of the museum complex, with the idea of making the building an artefact in its own right.

This visual perception is highlighted by his use of color, while he engages with the sense of touch using a series of different papers to create a collage. Fixed to a concrete base, the statue occupies the part of the building that is most steeped in history. The statue thus becomes a symbol of how the museum, with its new contents, is restored to the community, representing the changes in perspective leading to the reconstruction of Italian museums after the war. Iniziato nel , il restauro si conclude nel The exchange focuses on the archeology of the museum, its environment and history, by referring to a number of references as they manifest themselves concretely throughout the exhibition.

The title of the conversation is taken from a project undertaken by Pettena in the catalog of which is presented in the exhibition that sought to question a given space through the perspective and participation of other architects. The plans are tautologically superimposed onto the doors that filter the flow of traffic in and out of the building, which is characterized by an attempt to distance itself from the ideology of conquest in favor of transparency. In this way, the proposition raises questions concerning the legacy of the Fascist era: An artist, architect, designer, critic, architectural historian, curator, and teacher, Gianni Pettena is one of the central figures of Italian radical architecture alongside Archizoom, Superstudio, and UFO.

See a Problem?

Among the tools and subjects that can be found in his work are the use of language, a relationship to nature and context, and the parallel between reality and reproduction. The town hall was built in s by senior Ettore Sottsass, a major figure in pre-war Italian architecture.

He proposed extending the building—a necessity given the rise in tourism—in the form of a mirror construction that establishes a dialog with the original building. The same architectural phrase is thus written in the styles of two different periods. Il progetto per il primo edificio pubblico realizzato da Pettena deriva dal suo interesse per il restauro e la conservazione degli edifici storici. She aims to create a dialogue between contemporary art and other art forms with a particular emphasis on theatre and dance , as well as social science economics, philosophy, anthropology , focusing on the significance of processes and experimentation in the performative dimension of art.

Julie Pellegrin Located on an exceptional site in the outer suburbs of Paris, La Ferme du Buisson is a multidisciplinary cultural centre of national and international standing. It comprises a contemporary art centre, a national theatre containing 7 concert and performance spaces, and a cinema.

This configuration, which is unique in France, makes the place a perfect example of the de-compartmentalisation of disciplines. So the programme revolves around three axes: In our ways of working, in the subjects explored or in our activities directed at the public, we try never to disconnect the art scene from the social, political and cultural spheres. Beyond its art production and distribution mission, how do you define the political and civic role played by La Ferme du Buisson? Although our role within the city can sometimes seem trifling, the current context is making it absolutely indispensable.

In support of this, La Ferme du Buisson is doing great mediation and awareness-raising work directed at visitors from the every walk of life. In this period when people are turning inward, international collaborations that make it possible to exchange points of view, practices and sometimes funding, are vitally important. In this sense, the cooperative projects developed by d. Since Jarry had very close links with the futurists, and Italy is home to many pataphysics societies, and Ubu regularly serves as a metaphor for illustrious Italian politicians, we asked Alberto Salvadori and Leonardo Bigazzi to join in our research.

This project takes the form of an archipelago in which each island-chapter unfolds in a different place and in a different form. Alfred Jarry Archipelago Space: Previous projects include a. Among his edited publications: Progetti precedenti includono, tra gli altri: Ha editato le seguenti pubblicazioni: They are the product of relationships between many agents — artist s , curator s , artwork s , audience s , display, etc. An exhibition is a designed situation, still open to a lot of various uncontrollable factors, time being the first of those; so I am interested in practices that are aware of how this time can be administered and shared among all those who are part of the exhibition, primarily the audience.

Nikolaus Hirsch asked this question: Various people, mainly from the field of art and architecture, curated and organized exhibitions and activities of different kinds with a quite intense rhythm up to twelve exhibitions a year. And I am doing this by inviting artists, designers, choreographers, theorists, etc. The mission of your institution is to produce and present regional, national and international artistic practices and to conduct critical research on the role of art and its relationship with the social and political sphere within which it operates.

I would like to ask you what you think is the core responsibility of the institution nowadays, with regard to the artists and the audience. And I guess this is possible just by administering resources first of all, time, as the most precious one in a savvy way.

It is a process that takes time, but some good steps have been made in this direction. Esse sono il risultato di relazioni tra diversi attori — artisti, curatori, opere, pubblico, display ecc. Sono tutti aspetti che fanno della mostra un medium specifico finalizzato a creare qualcosa di pubblico. Nikolaus Hirsch si poneva la seguente domanda: Sto quindi portando avanti tale riflessione attraverso il coinvolgimento di artisti, designer, coreografi, teorici ecc.

Credo sia molto importante — quale segno di rispetto verso gli artisti e il pubblico — trovare il modo di mediare le pratiche degli artisti a beneficio del contesto locale in cui operiamo. Per quale motivo hai deciso di prendere parte al progetto e come si realizza la tua partecipazione?

Sin da quando sonoarrivato a Bolzano ho cercato di attivare una serie di collaborazioni e coproduzioni a livello locale, nazionale e internazionale. Constellation of One and Many , He teaches at the same institution Music Systems, Sound Art and Laboratory for Electro-acoustic and Informatics , he creates sound installations, plays and composes music. His research is inspired by two artistic movements: By using mechanical tools controlled by a software that interact one with the other, as well as with the environment and the observer, he investigates sound phenomena and analyzes the processes of the human psyche.

His art explores the relationship between man and technology, and at the same time he keeps a particular focus on its visual quality and aesthetics. He was awarded the Honorary mention for sound art and music, Ars electronica Linz Roberto Pugliese nasce a Napoli nel Servendosi di apparecchiature meccaniche pilotate da software, esplora nuove prospettive di ricerca sui fenomeni legati al suono e alla psiche umana.

Opere in collezione permanente: Tra le principali mostre personali: Tra le recenti mostre collettive: Vive e lavora a Bologna. Roberto Pugliese, Risuonanti pressioni materiche , Virginie Bobin is a curator and writer, with a specific interest for performance, experimental forms of artistic research, the role of art, artists and art institutions in the public sphere, and formats that go beyond exhibition-making.

She has been Associate Editor of Manifesta Journal from to Exhibition as Research Space: 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. Allan Sekula, Meat Mass , Allan Sekula and David Alward. Using anonymous objects and actions that reference minimalist art, the artist shows how these can become charged with emotions and experiences. His Portraits are one example, commissioned works that draw on the collaboration between artist and client. The sitter describes formative events in his or her life that the artist notes down, using them as the basis for a frieze recording personal memories and historic events.

The latter, presented in the exhibition, consists of a list of dates and events pertaining to the history of the American museum, alternating with historic events. These inscriptions are positioned around the edge of the exhibition space where the walls meet the ceiling, without a clear indication of where the list starts or ends. Each visitor is therefore free to decide where to start reading. I fregi svolgono la funzione essenziale del monumento commemorativo: She is currently in residency at KunstZeitRaum in Munich. Marlie Mul, Puddle Black Disposable , , sand, stones, resin, object, 78 x 76 cm.

• In Defense of Israel, Revised: The Bibles Mandate for Supporting the Jewish State.
• .
• Localism: a philosophy of government.
• The Taming of Annabelle (The Six Sisters series Book 2).

Nina Canell, Treetops, Hillsides and Ditches , Mastic gum, logs; variable dimensions. Antoine Nessi, Unknown Organs , Stainless steel, aluminium, brass, galvanized steel; variable dimensions. Below, between the two entrances, the Austrian double-headed eagle wearing the imperial crown sits above the coat of arms of the Magistrato Mercantile. At the bottom of the print is the long dedication from the Guild of Merchants to their guest, with the names of the two groups of judges in office in and the chancellor. Two of the three portraits displayed for the occasion are those belonging to the Magistrato Mercantile.

Language is totally poetry, as if life were just a song, but there is no naivety in his work. This language seeks to join up with the affective dimension of the objects which punctuate his installations with burnt photographs. Without focusing on any specific practice, he precisely defines his own based on installation and exhibition. Involved is a spectacular presentation of an atmosphere which steps out as much through the tongue, the furniture, the colors, and the sets of photographs and drawings.

Enrico Boccioletti is an artist and musician active under multiple names — Death in Plains, 4SICSX, spcnvdr and Enrico B — in the fields of post-conceptual, new vernacular, performance and sound, interested in incompleteness and circularity, duplication and accumulation, waste, layering, forgery, faux-real.

He has participated in several group exhibitions, including at the National Gallery of Tbilisi , at Le Magasin in Grenoble , as well as other institutions. You produced it in Burkina Faso. Why are the means of production so important in your work? Jean-Marie Perdrix I have been working with bronze smiths in Burkina for 20 years. I have developed a process with them to recycle plastic waste substituting wood and enabling waste to be collected. They won the innovation award in Bamako, where a permanent workshop has been built.

It was a veritable North-South collaboration implemented in stages. I developed and produced projects on my scale to initiate this workshop to recycle and mould household objects. The objects that I produce are from an economy where every moment is appreciated. How did you come up with the idea of a bronze animal? First of all, my partners are bronze smiths Burkina has a tradition for bronze and I had the opportunity to experiment with small bronze pieces. This is what happened: These animals are totems for my partners, but I did not know that.

The title is very important, as a misappropriation of the traditional lost-wax bronze casting process. Usually, to smelt bronze, a crucible is surrounded by coal and the forced air increases the temperature. I thus made a ceramic that I fill with coal and air again, reproducing the initial crucible. I mix my molten bronze in the coal, in the bones and everything else, as if I had brought together all the production stages of a traditional bronze.

The resulting bones, ash, coal and bronze mixture makes it lighter. What is important here is that the bronze finds its own way through the blend of ash and bits of grit. Therefore, I cannot predict what image I will obtain after the leak, once the piece is removed from the mould. He fully understood that I was exploring the opportunities available in this country. Did you invent this process? I will outline two things. First of all, Salif encounters many western artists who come to Burkina specifically to make bronzes, but generally what they want, is a bronze that is produced more cheaply than in Europe.

They are not interested in the local economy, or in the means of production. They are seeking the same image as their model, but in bronze. For my work, in contrast, I am not looking for an impression of the skin, nor the image of the body, as the casting is less important than capturing the journey the bronze has made in the mould between the coal and the bones reduced to dust.

I end up with an object that bears the marks of the smelting and burning with a sort of bronze lacework that contrasts with the intensity of the method. Then, regarding the method itself, I had seen small objects produced directly from a cast before. I even have a necklace of peanuts made like that. But I changed the scale and starting point. I chose an animal and a much larger size, so that the way the bronze penetrates the mould is much more random.

Is the horse that you are exhibiting at the Fondazione Giuliani unique? Each piece is unique. To date, I have produced three horses and five dogs. This kind of piece takes a while to make as the coal burns very slowly. The coal that was burnt in the head was in equal measure with the coal used to make the bronze. In the piece presented in Rome, the mouth of the horse disappeared, because the concentration of ash was too high and the liquid bronze did not reach the end of the mould, it disappeared in the blend formed by the coal, ash and bones. That is why the object obtained is a distortion of the image expected.

The horse is dead, the neck is therefore already very narrow, as it is no longer attached to the withers the volume disappears. As for the ear, it is straight as if the animal were still alive and listening. In another piece, another horse, I achieved an open mouth with the outline of worn down teeth, but without the ears. When I work with dogs, the body is often incomplete; sometimes it is difficult to recognise the animal in the final form. Do you consider bronze as precious? In these horses and dogs, the quality of the bronze is very poor, because they are the reverse of what is traditionally sought in bronze.

Bronze is not there to add any additional market value to the piece: A very rich texture is achieved through a direct and intense process. The interior density is visible. To some extent, with the horse the history of the process used to achieve the object and the object itself are contemplated in equal measure. Should your work be considered from an anthropological point of view? I am delighted that the outer appearance has a Baroque style. Indeed, I strive to make objects that have a certain timelessness it is not important whether they were made now or ten years ago and universality I am not meticulous regarding specific cultural elements.

At the same time, my work follows in the tradition of great sculptors and, in certain respects, witchcraft with skin, hair, fetishes, horns and teeth: I chose dogs and horse. These are meat, but above all they are also animals closely related to man. There is something disturbing about working with a dead animal as the starting point; predation and sacrificing animals comes to mind. But I do not reduce animals to a metaphor. A dead dog is more moving than the mass unemployment of young Africans.

What I do with these animals is only possible because my partners are very cooperative, armed with a good knowledge of the land and a long-standing friendship. But I practice sculpture, not art brut. Pourquoi les modes de production importent tant dans ton travail? Jean-Marie Perdrix Je travaille au Burkina avec des artisans bronziers qui sont mes partenaires depuis 20 ans. Ces animaux sont des totems de mes partenaires, mais je ne le savais pas. Je distinguerai deux choses. Born , Dendermonde, Belgium Lives and works in Ghent, Belgium His work has been internationally exhibited in both institutional and commercial venues.

Peter Buggenhout, Gorgo 33 , , mixed media: She worked as a freelance curator specializing in projects for public spaces on behalf of various Italian and international institutions. She was a member of the jury for the She lives and works in Bolzano. The aim is to be interdisciplinary and these efforts can be seen in the fact that not only figurative art finds its place at Museion, but also architecture, music, performance, film and theatre all have a space in the yearly programme.

How do you articulate it? And, importantly, why is it still relevant to be interdisciplinary? Letizia Ragaglia The fact that visual arts cannot be perceived in isolation from other forms of art is not a new discovery. Reference to such statements can be found in ancient periods as well as in the present. However, I see contemporary art as a hybrid construction — in a positive sense — which not only connects different cultural disciplines, but also integrates disciplines that are far beyond the cultural field.

In my opinion, therefore, a museum of contemporary art has to underline and to create different links that move through the present-day cultural scene. This Fall, moreover, we will present a show, in which Carol Bove, an American artist, interacts with the well-known architect Carlo Scarpa: In our show When Now Is Minimal. The Unknown Side of the Sammlung Goetz we hosted concerts with minimal music and we also pursue collaborations with designers such as Martino Gamper, who continuously move between art and design.

Regarding the importance of interdisciplinarity: There are different models of what a museum should be, of what its missions should be. What is your vision, in , of what a museum should be? I can only answer for a museum of contemporary art, a museum which works predominantly with living artists and which, therefore, differs slightly from other museums that deal with artists and objects from the past.

Is the traditional museum dead? I particularly appreciate a question asked by Nikolaus Hirsch: Who are the authors of Museion? Self-practices in Contemporary Art. At the same time, the show gave us the chance to go through each different individual practice in our team, from the security guards in the exhibition rooms, to the accountant and the secretary. Who do you speak to? How would you describe the persons visiting Museion: In , the guest curator of Museion is Pierre Bal-Blanc.

Among the many inspirations I received from that show, I read between the lines that nowadays there is not one single public, but a number of different ones. I think that one should never underestimate his or her public! Furthermore, I have a dream: We want to be there for people who want to engage and have an experience. This involves delving much farther beyond our rationality. Michael Fliri, the unseen looks like something you have never seen, Once we heard about that, though, we were obviously enthusiastic about collaborating in a wider network.

I strongly believe in exchanges and collaboration with other institutions, especially if the partners share needs and mission-statements. As a guest curator, Pierre Bal-Blanc has done a lot of research on our territory and brought his perspective from outside in order to make us perceive our context in a different way. Nella nostra mostra When Now Is Minimal.

Ci sono diversi modelli di cosa dovrebbe essere un museo e di quale debba esserne la mission. Cosa pensi debba essere un museo nel ? Trovo molto interessante questa domanda formulata da Nikolaus Hirsch: Chi sono gli autori di Museion? Lo scorso anno, Museion ha invitato come guest curators Carol Yinghua Lu e Liu Ding, che hanno realizzato una mostra molto interessante, Little Movements.

A chi ti rivolgi? Come descrivile persone che visitano Museion: Tra le molte ispirazioni che ho tratto da quella mostra, mi pare di aver letto tra le righe che oggi non esiste un unico pubblico, ma diversi. Penso che non si debba mai sottovalutare il pubblico!



E poi, ho un sogno: Credo fortemente nello scambio e nella collaborazione con altre istituzioni, specialmente se i partner hanno gli stessi bisogni e le stesse mission. Danh Vo, We the people. Exhibition Fabulous Muscles , Museion, Michael Fliri, the unseen looks like something you have never seen , , Collection Museion.

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. Vive e lavora a Los Angeles. 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. To see what your friends thought of this book, please sign up. Lists with This Book. This book is not yet featured on Listopia.

Jan 17, Zaz rated it liked it Shelves: Lighthearted stories in a world where darkness rules. Supernatural creatures live in dark places, humans try to survive in cities where magic is forbidden and light is produced. In this unusual fantasy world, each story is a romance about becoming more tolerant and learning what really matters.

The short episodes are not equal here, some really lack deepness, other are entertaining, but overall it's a nice book if you search an easy and light reading. Jo Haff rated it liked it Feb 22, Jeanne Roustan rated it liked it Jul 13, Anna Maria marked it as to-read Jan 19, Kahlan marked it as to-read Oct 10, There are no discussion topics on this book yet.