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The Austrian architect presented a series of houses based on archetypal shapes and solids the square, cube, circle, sphere, dot, line, and surface and devoted to his closest friends, most of whom were artists or architects. The designs were not constructed but represent original interpretations of human dwellings in the post-modern era.

In Haus mit Blumenwänden House with Flower Walls , the flowers that make up the walls of the house wilt and fall to the ground, creating a connection between the lifespan of the building and the processes of disintegration that characterize the world of nature. Abraham imagines a house in which volumes and spaces, light and shade are constantly changing, and the wind seems to blow from inside the building.

In all of these projects the distinctive elements of each design merge with the building itself. Stimolato dal progetto per la realizzazione di una casa, pensato nel insieme a Walter Pichler e intitolato House for Two Friends Casa per due amici , Raimund Abraham lavora a una serie di modelli abitativi. 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. Lawrence Weiner was a key figure in the advent of conceptual art in America in the s. Like other exponents of the genre, he explored and challenged traditional ideas of art, attempting to dematerialize works of art.

His main medium is language: His works come in different forms: The piece consisted of a fabric label to attach to clothes-wearable art. The label bears a quote in Italian and German from the Gospel According to Matthew, while the colors used red and white recall both the Italian flag and the South Tyrol coat of arms. Servendosi delle parole, e di molteplici materiali a cui esse rimandano, Weiner crea per esempio sculture aperte e immateriali. I suoi lavori si presentano in diverse forme: La scritta sul tessuto è la citazione, in italiano e tedesco, di un versetto del Vangelo di Matteo, mentre i colori utilizzati bianco e rosso richiamano sia la bandiera italiana sia lo stemma altoatesino.

Lise Lacombe grew up in Aveyron south-west France. During her teenage years, she armed herself with an Olympus 0M30 that would ground her in stock photography. She left for the city Toulouse, where she graduated form art school and got a diploma in Photography-Photo manipulation from the Gobelins School in Paris.

During these formative two years, she personified her photographic practice. Using first a Yashika Mat, then a Hasselblad, she stuck to the square format that characterizes her work and turned to photo-reporting. Alone, she left for various countries: Jean-Baptiste Alazard was born in Aveyron to a family of farmers. The same year, he began working on trans-media works with Mittlewerk Express.

In , he returned to the south of France to direct La Tierce des Paumés , a collaboration with photographer Lise Lacombe. His movie, that comes as a result of this project, La Buissonière was awarded the Prix Georges de Beauregard. Nel corso di questi due anni, personalizza la sua pratica fotografica. Con una Yashika Mat e poi una Hasselblad, si dedica al formato quadrato, caratteristico del suo lavoro, e si orienta al reportage.

Affina il suo sguardo grazie ai viaggi, realizzando delle serie che si propongono come testimonianza dei fatti della società ma con uno sguardo personale. La fotografia è uno strumento personale assoluto che dà vita alle sue esperienze. Jean-Baptiste Alazard, dopo aver ottenuto un diploma di audiovisivo a Tolosa, entra alla Fémis nel e diventa montatore. In parallelo, sviluppa la sua attività di cineasta attraverso il documentario con Le Cinquième Quartier o il lungometraggio di fiction con Moussem Les Morts , selezionato al Festival di Belfort nella competizione internazionale.

Lo stesso anno, allarga il suo lavoro alle opere trans-media con Mittelwerk Express. Nel , fa ritorno nel sud della Francia per realizzare La Tierce des Paumés , in collaborazione con la fotografa Lise Lacombe. Il film La Buissonière , frutto di questa collaborazione, ottiene il premio Georges de Beauregard.

La photographie est un outil personnel absolu qui donne vie à ses propres expériences. Né en , Jean-Baptiste Alazard vit en Aveyron. Parallèlement, il développe sa pratique de cinéaste à travers le documentaire avec Le Cinquième Quartier ou le long-métrage de fiction avec Moussem Les Morts , sélectionné au Festival de Belfort en compétition internationale. En , il rentre dans le sud de la France pour réaliser La Tierce des Paumés , en collaboration avec la photographe Lise Lacombe.

Son film issu de ce projet La Buissonière remporte le prix Georges de Beauregard. This ethics based on freedom allows him to let the experience happen in a sort of planned accidental evolution. Jérémy Laffon sperimenta a sua volta la forma e la temporalità dei materiali che utilizza: Né en , vit et travaille à Marseille.

Artiste de la métamorphose, Jérémy Laffon observe ce qui est en devenir. Jérémy Laffon, Construction protocolaire non aléatoire, , chewing gum sticks. Céline Kopp You recently had the opportunity to do a residency in Casso in the Dolomites. As an artist for whom questions of balance, weightlessness, movement and falling are recurrent themes, I imagine that being in a village right on the side of a mountain was a fairly powerful context for your work?

Jérémy Laffon Actually, the constraint of the steep incline on which that village is built became the driving force behind the work I developed and it brings back the falling motif. I approached this village, with its tragic past, as scenery; I wanted to make it into a ghostly environment, without being dramatic, and I chose to shoot a video there, entitled Invasione pacifica.

This village was deserted in after the disaster at the Vajont Dam, where a huge wave was caused by a landslide. In this video, the village is devoid of any trace of human life, a bit like an old episode of The Twilight Zone … This context gave me the chance to pursue motifs that have been returning irregularly in my work for several years, placing them in situations: During one conversation you took pains to stress the fact that your work was not a response to the history of the village.

The flood motif is something that has long been present in your work. And your video is rather light-hearted and humorous. Can you tell us more about it? Yes precisely, Invasione pacifica is the pictorial story of a flood of oranges, coming out of nowhere, bouncing in and invading the narrow streets of the village. Tragicomically, these foreign bodies gradually merge together and evolve into a shapeless mass.

It is partly a revival of the video-happening Symphony 1 pushed towards a more cinematic form. In that video you already found oranges, with a sequence-shot from above. They were filmed on the top step of an escalator whose operation caused their movements.

I wanted to think of this new video as being part of a whole, while changing the image register, and ultimately a lot of elements and parameters contributed to a balance between construction and simplicity. And after ten years, I found it particularly fun to once again present these old citrus-protagonists actors? The oranges have understudies! Did this force you to tackle the possibility of creating fiction?

Yes, you mention procedure; I have a tendency to evoke gestures or ideas. I like to start things with a deliberately simple idea, an observation like: The rudimentary gesture of throwing something that rolls is what causes the action.

In previous works, one might consider the question of the intentionality of the oranges, but one stayed in a reality that was unmodified, except for that micro-modification represented by the gesture. These small, constructed sculptures made of chewing gum were doomed to collapse, and the idea was to laboriously replace damaged sticks of gum with balsa wood sticks as needed.

The understudy enables the transformation. You reference the world of fantasy films, especially Z movies. So you decided to tackle a more constructed image while sticking to a very cobbled-together aesthetic that once again places a lot of importance on labour.

The reference to Z movies and DIY special effects with the mutation of the oranges made it possible to keep things light-hearted.

Labour is something important in the way I work. I peeled an overwhelming quantity of oranges… It was like something out of science fiction! And I developed a specific technique as I went along. For this video, gestures and repetitions that are sometimes absurd are still there, but behind the scenes. The film enabled me to experiment with the potential for these banal, real-world protagonists to become autonomous objects. I think the parallel with the image of the UFOs is linked to this idea: The desire for fiction was also linked to what you mentioned earlier: I wanted to speak about the possibility that this territory could invent a new story and move beyond the existing context.

Ce village a été quasi déserté suite à la catastrophe du barrage du Vajont en , où une immense vague a été causée par un glissement de terrain. Le motif du déferlement est quelque chose de présent depuis longtemps pour toi.

On y trouvait déjà les oranges, avec un plan séquence en vue plongeante. Les oranges ont des doublures! Est-ce ce dont tu parles lorsque tu dis que beaucoup de paramètres sont intervenus dans le processus? La doublure permet la mutation. La référence à la série Z et aux effets spéciaux DIY avec la mutation des agrumes permet de rester dans la légèreté.

Pour cette vidéo, le geste et la répétition parfois absurdes sont toujours là, mais en coulisses. Je voulais parler de la possibilité de ce territoire à réinventer une histoire, à aller au-delà du contexte existant.

Jérémy Laffon in residence in Casso. Photo dc archive 2. Oranges floating in the hamlet of Casso. Photo dc archive 3. 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: In he made his first foray into sculpture. Influenced by the spirit of performance art, Breer revisited minimalist sculpture, focusing in particular on the role of the pedestal and the mechanisms that determine the spaces and times of an exhibition. His Floats floating sculptures , for example, are bodies with wheels and a motor attached, meaning they trundle around at random.

Each element presents a small variation hence the title , which makes each single piece unique. At the New York presentation, these little motorized sculptures made almost imperceptible movements on a table. The piece Column was also based on the same principle: Il segna la nascita del suo vocabolario scultoreo. Ciascun elemento presenta una piccola variazione, da cui il titolo della serie, che rende ogni pezzo unico. Nella presentazione a New York le piccole sculture motorizzate si muovevano impercettibilmente su un tavolo.

Anche la scultura Column Colonna del si basa sul medesimo principio: Maria Alicata is a curator and art historian based in Rome. She runs the public art program Nuovi Committenti for the Adriano Olivetti Foundation in Rome, and also curates art commissions for private companies and public institutions.

Since , she is a founding member of the non-profit curatorial platform 1: È tra i fondatori della piattaforma curatoriale no profit 1: After having studied Arts, she focused her interest on working with public. She is responsible of the artistic direction of the art center since At that time, she starts programming art exhibitions following precise ideas, based on reflecting narrative and literature, while maintaining a strong connection with architecture and landscapes, and giving a place to experimentation.

She invites both young and prominent artists from the French art scene to perform their personal projects. Actors in the region need to join forces to provide the public with dynamically open access to culture.

We wish to offer a place that establishes circulations between visual arts, architecture, urbanism, and economic and social life. Art and culture can be very powerful levers of communal life. These have the ability to bring meaning, desire and community to social developments that are all too often merely endured. In fact, developing this centre means believing in utopia as a development value, since today art is one of the best forms of shared expression.

It seems increasingly difficult to operate small, often isolated centres in France. This raises the question of their validity in a region that may not be conducive to contemporary art.

Does the question also arise of the utopian nature or obsolescence of regional divisions and the dissemination of contemporary art? Or the lack of public will? The centre operates on a budget of , euros, including salaries. The project is therefore difficult to manage. Despite all of these problems, we were able to develop a project policy directed at the region. Our partners are numerous and varied. Its activities have genuine legitimacy.

They only come to exhibition openings and they often have electioneering aims. On the other hand, the visitors we meet are happy to have this place in their lives, offering something different in a rural area.

Giving ourselves the possibility of creating a breeding ground means engaging in discourse that is situated on the level of economics and regional development. Utopia comes into play in our programming and mediation.

The work aimed at the public is essential for making people aware that a programme is first and foremost a little utopia factory. We should be political actors of this public will. As director, how do you articulate your programme? What are the highlights of ? Even though our programming alternates between young, emerging and recognised artists from the French scene, we are still primarily focused on supporting young artists.

The place needs to be taken into account, in its entirety and through its architecture, a 17th century chapel. The programming aims to bring out its narrative density, seen as a plinth for the project. Because we must continue to advance and help contemporary art to be a maker of utopias and ideas. Collaborating on PIANO means working in a network and sharing ideas, testing new ways of working, experimenting with the unknown.

Il semble de plus en plus difficile de faire fonctionner en France des structures petites, souvent isolées. Le projet est donc assez difficile à mener. Les partenariats sont nombreux et diversifiés. Les élus ne représentent pas le public, ils ne se déplacent que pour les vernissages et leurs visées sont souvent électoralistes. Nous devons être acteurs politiques de cette volonté publique. Comment en tant que directrice articulez-vous votre programme?

Quels sont les temps forts de ? Comme déjà évoqué, nous avons un rôle citoyen, nous avons ce rôle de pédagogue pour faire comprendre, entraîner et continuer pour les artistes, pour le public. Pourquoi était-ce important de collaborer et quel est le projet que vous allez présenter? He then became art critic for a local cultural weekly Le Petit Bulletin , while at the same time collaborating as one of the contributors for the Nouvelle Galerie, a contemporary art gallery in Grenoble.

Double Cross, from Both Sides of a Mountain. Slaven Tolj is one of the leading exponents of the art scene in Croatia. His radical minimalist practice, which includes performance, photography, actions, and ready-mades, explores social situations and historic events. In the s, Tolj focused on the situation in his country, namely the break-up of Yugoslavia and in particular the siege of Dubrovnik, his home town.

In his solo show Low Season , hosted by the Dubrovnik Museum of Modern Art in , Slaven Tolj recreated a stylized version of the city inside the museum, linking the areas of the building with various neighborhoods of Dubrovnik.

The title of the exhibition refers to the tourist season and is a clear indication that the project was mainly destined for the local population.

The show also featured the work Map of the City of Dubrovnik , a city plan reworked by the artist. After the conflict, a map showing where the city was bombed after the siege in was placed by the road going into the city. Tolj used the same map, but in his version the key refers to the bars, fast food outlets, souvenir shops, etc. It is a vision of a city that is being emptied and turned into a holiday destination: Slaven Tolj è uno dei più importanti esponenti della scena artistica croata.

La sua pratica radicale e minimalista, che comprende performance, fotografie, azioni e oggetti ready-made, si focalizza su fatti sociali ed eventi storici. Tolj ha usato la stessa mappa, ma nella sua versione la legenda evidenzia i bar, i fast-food, i negozi di souvenir ecc.

Si ha quindi la visione di una Dubrovnik progressivamente assediata da spazi di ricezione turistica: In mostra sono presenti due piantine: One of the most complex and enigmatic artists of the twentieth century, Giorgio de Chirico invented a new mode of artistic expression based on his explorations of the potential meanings of objects. For de Chirico, all forms draw meaning from the associations and memories they arouse in our consciousness.

A scholar of classical culture and traditions, during his career he lived in various places before settling in Rome, where he lived until his death. His home now hosts a museum devoted to his life.

Metaphysical paintings stand out for their clarity of composition, depicting recognizable objects and forms set in architecturally defined, deserted spaces. The surfaces and volumes, and the empty spaces and shadows on the buildings, are carefully outlined. Although the scenes initially appear realistic and rational, they never fail to create a sense of unease in the observer. After making an in-depth study of the rules of perspective, de Chirico reinterprets and subverts them, combining incompatible spatial systems to give rise to his signature settings.

For the artist, the architecture of these squares originated in classical Greek culture and offered concrete inspiration for the Italian architecture of the early twentieth century. Per de Chirico non esiste forma, il cui valore non scaturisca dalle associazioni e dai ricordi generati dalla nostra coscienza. Attento studioso della tradizione e della cultura classica, nel corso della sua carriera ha vissuto in varie città, per tornare infine a Roma, dove è rimasto fino alla sua morte.

La sua casa ospita oggi un museo a lui dedicato. I dipinti metafisici si distinguono per la loro chiarezza compositiva: His academic research was focused on American landscape documentary photography. As an art critic, he has been a regular contributor to French magazine 02 among others.

From to , he coordinated Fieldwork Marfa, an international research-in-residency program in Marfa, Texas. La démocratie est illusion Space: Marfa negli Stati Uniti. Etienne Bernard As a centre for contemporary art, the core function of Passerelle is to support artists notably in the realm of production, exhibition and publication and the public in their discovery of what the artists have to offer.

On the contrary, I think that a centre for contemporary art is a place for shared elaboration of meaning in which artists and the public meet and discuss. In order to reflect reality it must occur naturally in my view. It is based on a mutual desire between local audiences and artists, the majority of which have come a long way, to take the time to discuss ideas. We must not forget that we are in Brest, at the far reaches of Brittany, at the heart of an area that is very rich in cultural proposals but also peripheral to the main thrust of the art circuit.

I am convinced that its social as well as geographical position presents an opportunity rather than a pitfall. Indeed, Brest is not on the beaten track, so it is up to us to make it a destination. We therefore have the necessary resources in place to welcome and provide hospitality for operational artists and we systematically offer them an opportunity to enjoy a work temporality that they will not necessarily find anywhere else.

Artists can thus work in peace, with the help of technicians, and the public is invited in to exchange views on art in the making. Art centres are thus used as a living, lived-in and open space. And so far, I am delighted to observe that the system works.

Other artists like Fredrik Vaerslev, Koki Tanaka and Stéphane Calais are also planning to use it over the forthcoming months. In addition, we have noticed that the public reacts well to the freedom to converse directly with the artist. As the development of an artistic project progresses, people observe, come back and talk. In my view this positive perspective reflects our institutional action supporting creation that the public is sometimes oblivious to.

It is more than just a mission. I would say that opening up the space to forms of creation that fall outside the strict field of contemporary art is rather an assertive approach to the programme in line with the history of the place. The collective that opened the venue welcomed music, dance and theatre as well as art. Subsequently, the field of research was progressively oriented more clearly towards contemporary art as the structure became more institutionalized. When I became director of the art centre, I wanted to reconnect with this historic initiative for two main reasons.

The first is that I think an ambitious project can be constructed on this wealth of history with the professional facilities provided by Passerelle. Thanks to the tremendous task of structuring and the professional development undertaken by the previous director Ulrike Kremeier, the art centre evidently no longer resembles its initial association gathering amateurs, but has now become an operable infrastructure able to accommodate artistic proposals from all walks of life.

The second is that Brest is a fantastic pool of top quality partners who in their respective disciplinary fields share our high standards. Indeed, we are working hand in hand with local but internationally renowned initiatives of course, like the electronic music festival Astropolis, the contemporary dance festival DansFabrik run by Scène nationale Le Quartz, and the contemporary music ensemble Sillages, with whom we launched a festival in What is your view of the public and what type of relationship do you wish to enjoy with this public?

In an area like Brittany and Brest, the public is not an abstract entity. The centre for contemporary art constitutes both a tool at the service of the local public the facilities provided by Passerelle are at the heart of a clearly identified district and aimed at a national and international public professionals of course, but also seasonal holidaymakers.

Thus, our actions and operations must appeal to all without ranking or pandering. We know our different audiences well, their specificities, their desires as well as their reticence, but I think that everyone can identify, in their own way, to an artistic proposal that when sound can be approached from different perspectives.

What are the tools and programmes that structure the art centre and strike a chord with its public? For example, what are the Augmentation Zones and how do they integrate with your vision of the public? We offer a large number of programmes aimed at the public from hands-on workshops with the youngest, to series of lectures or guided visits. A year ago we also implemented a specific section that I called Augmentation Zones.

The notion of augmentation is defined here in the digital meaning of the term. On the Internet, augmented reality is the sum of data, links and references that complement a subject. They are also accessible on the Internet with a digital space for content accompanying the exhibitions.

Passerelle proposes monographic exhibitions as well as group exhibitions and attempts to articulate different disciplines. More specifically, how do you view the mission and the responsibilities of an art centre director in ?

I chose to take over as director of a contemporary art centre as I am passionate about linking a critical and curatorial approach with a regional context. Indeed, the global logic that governs the world of art that we work in finds, in my opinion, its meaning and opportunities for development in specific situations from which concrete proposals emerge. I find my role as producer stimulating, that is as an art critic who gathers the intellectual, material and human resources to generate artistic proposals in an identified geographical, social and political situation, to work in the permanent and constructive coming and going between local and global.

Why did you want to participate and what programme did you propose? I think that PIANO is an excellent example of structuring collaboration and sharing means of production and communication. In the context of the concerning budget and institutional crisis at large in France, Italy and elsewhere, it is essential to completely rethink methods for funding and bringing projects to fruition.

And beyond the simple financial consideration, it is now no longer pertinent to plan a project with an artist in a single venue. La démocratie est illusion. Afin de prendre réalité, cette rencontre doit, à mon sens, se construire assez naturellement. Il se construit des habitudes. Ceci constitue à mes yeux une perspective positive qui assoie notre action institutionnelle de soutien à la création dont les publics ne sont pas toujours conscients. Quelle est votre conception du public et quels rapport souhaitez vous entretenir avec ce public?

Nous connaissons bien nos différents publics, leurs spécificités, leurs envies et leurs réticences aussi, mais je pense que chacun peut se retrouver, à sa manière, dans une proposition artistique qui si elle est solide peut être appréhendée sous différentes perspectives.

Nous proposons un grand nombre de programmes en direction des publics. Sur internet, la réalité augmentée correspond à la somme de données, de liens, de références qui viennent enrichir un sujet. Elles se déploient également sur internet avec un espace numérique de contenus pour accompagner les expositions. Pourquoi avez vous souhaité participer et quel programme proposez-vous? Je pense que PIANO est un excellent exemple de structuration dans la collaboration et la mutualisation des moyens de production et de communication.

Tania Mouraud, La curée , — Borderland , Talking city , The idea sprang from a reflection on the limits of modern art history and the functioning of the market.

The agency enabled anyone to become an artist: The piece was bought in on the occasion of the exhibition Feux Pâles. La Collection de Mr Georges Venzano consists of an enormous wall-mounted photograph of images of museum façades that Mr. Venzano, an imaginary character invented by Philippe Thomas, has photographed and reviewed, building up a collection.

Over 40 years, the collector systematically classified French museums, yet without applying any kind of aesthetic criteria or revealing anything about the collections inside them. Using sculpture, installation, video, and performance, the artist disorients the public, deploying subtle tricks or devices to attract attention to something or someone that would otherwise go unnoticed.

He also utilizes the same mechanism to tackle the exhibition spaces themselves, exploring the venue and altering both its architectural logic and habitual dynamics. In Tickets, Please , the artist uses repetition to subvert a common experience.

The photos, taken during a performance, show the table at the entrance to the museum where visitors normally pay for admission. Yet sitting behind the table is a young boy who asks for only half the ticket price.

Given the time it takes to get from one part of the venue to the other, visitors also experience a time lapse between the two payments. The same temporal disorientation characterizes the work Silence, Please , which dates to a few years previously.

In this performance, a museum guard, when in the room, wears a uniform based on the models used in the year the wearer was born.

This piece tackles the paradoxical coexistence of presence and absence: Le foto sono state scattate durante una performance. Il visitatore percepisce inoltre un disorientamento temporale, poiché impiega del tempo per spostarsi nello spazio espositivo. La performance affronta inoltre la coesistenza paradossale di presenza e assenza: Emilie Parendeau reinterprets the works of other artists, with the intention of updating them, according to their terms of appearance, more than to introduce in them its own concerns.

By supporting the process that accompanies their materialization, she introduces variations that are intended to make these active works in the present. 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: 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.

She was discovered the following day, by a forester who returned her to her parents. In the wake of this event, Maric promised herself she would become an artist in order to act out her fantasies without anyone forcing her to reason.

Since , she has developed a transdisciplinary practice in which she deconstructs the boundaries of different media, using the body as a sculptural weapon. For Soleil politique , she is presenting a video trailer in several episodes that associate certain elements from the exhibition with her own work.

These will be distributed on the Internet before and during the exhibition. Marianne Maric è attualmente in residenza al CAC di Brétigny, dove sta preparando vari progetti che saranno presentati a settembre Le lendemain, elle est découverte par un garde forestier qui la raccompagne chez ses parents. Après cet épisode marquant, Marianne se jure de tout faire pour devenir artiste, afin de réaliser ses fantasmes sans que personne ne puisse la ramener à la raison.

Ainsi, depuis , elle développe un travail transdisciplinaire, dans lequel elle déconstruit les frontières entre les médiums en utilisant le corps comme une arme sculpturale. For Soleil politique , Marianne Maric is presenting a video trailer in several episodes that associate certain elements from the exhibition with her own work.

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 È stata editor associata del Manifesta Journal tra il e il Entre et , elle a été Associate Editor de Manifesta Journal.

Courtesy the artist and Galerie Mezzanin. She is a founding member of the non-profit curatorial platform 1: She is a contributing curator for Open Video Projects, a Rome based video archive that organizes screenings of video art, short films, experimental cinema, documentaries and video installations.

È tra i soci fondatori della piattaforma curatoriale 1: Nei suoi progetti favorisce una metodologia di lavoro partecipativa e collaborativa. Elle est membre fondateur de 1: What is the core mission of the Foundation and how would you describe its DNA? What makes it different from other spaces in Rome and abroad? Adrienne Drake As a private, non-profit exhibition space, the Foundation can be flexible, mutable, and our intentions and directives can change over time.

I understand you are also responsible for the Giuliani collection. I envision each exhibition in terms of groupings of loose thematic cycles, which are not necessarily overtly declared, but rather curatorial reflections also on the direction of the Foundation.

We have exhibited artists whose work was already in the collection, and these exhibitions provide the opportunity to further research and study the working practice of these artists. Since we focus on production, there are also occasions in which we acquire for the collection works that we produced for an exhibition. As a small foundation, we can act independently from any long-standing traditional structures which public institutions are more obligated to abide by.

We tend to be more orientated towards experimentation and niche production, and are freer to take risks, unrestricted by constraints imposed by the rules and parameters of a museum institution.

Public institutions in Rome must navigate between cultural responsibility and different political agendas and are, unfortunately, often entangled in the dynamics of local and national politics. But all institutions share a common agenda: You invite artists, but also guest curators to engage with the Foundation, its collection and its audience.

You open the Foundation to different sensibilities and curatorial methodologies. There are myriad of curatorial methodologies and each of these activate different approaches and sensibilities. Curators are cultural practitioners, facilitators, researchers, questioners, and together with artists can create forums for discussion on contemporary socio-political and cultural issues, and new modes of production.

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? The premise of your question underlines three essential motivations for why the Foundation is participating in the project: Specifically, Fondazione Giuliani is hosting a four-person show, The Promise of Melancholy and Ecology , the first chapter in a series of exhibitions entitled The Registry of Promise.

Adrienne Drake , Chris Sharp Project: Qual è la mission primaria della Fondazione e come descriveresti il suo DNA? So che sei anche responsabile della collezione Giuliani. Sono curioso di sapere quanto il fondatore sia coinvolto nella visione curatoriale della Fondazione e di conoscere quale sia la relazione tra la Fondazione e la sua collezione.

Io e i Giuliani discutiamo sempre del programma espositivo e delle attività della Fondazione. Vista la forte concentrazione sulla produzione, ci sono state anche occasioni in cui abbiamo acquisito per la collezione opere prodotte per una mostra.

Si tratta allo stesso tempo di una testimonianza della storia espositiva della Fondazione e di una pratica collezionistica in tempo reale. Essendo una fondazione di dimensioni ridotte, possiamo agire indipendentemente da tutte le tradizionali regole cui le istituzioni pubbliche sono obbligate a rispondere.

Siamo più orientati verso la sperimentazione e la produzione di nicchia, e siamo più liberi di assumere rischi, non essendo limitati dai vincoli imposti dalle norme e dai parametri di una realtà museale. Le istituzioni pubbliche romane sono costrette a muoversi tra la responsabilità culturale e diversi programmi politici e sono spesso, purtroppo, imbrigliate dalle dinamiche della politica locale e nazionale.

Ma tutte le realtà condividono un intento comune: Inviti artisti, ma anche curatori a lavorare con la Fondazione, la sua collezione e il suo pubblico. In questo modo apri la Fondazione a sensibilità e metodologie curatoriali diverse. Ci sono moltissime metodologie curatoriali e ognuna di esse attiva diversi approcci e sensibilità. Essi sono professionisti della cultura, facilitatori, ricercatori, studiosi e insieme agli artisti possono creare occasioni di discussione su temi socio-politici e culturali della contemporaneità e generare nuove modalità di produzione.

La prima parte della tua domanda contiene già in sé i tre motive principali per i quali la Fondazione partecipa al progetto: Nello specifico la Fondazione Giuliani ospiterà una mostra collettiva con quattro artisti, The Promise of Melancholy and Ecology , primo capitolo di una serie di mostre intitolata The Registry of Promise. Francesco De Michelis 2. Benoît Maire, Lies on the Beach , , mixed media, dimensions variable. Giulia Piscitelli, Neopolitan Windows , , adhesive paper on satined plexiglass, ink, 45 x 33 cm each.

Carl Andre, 3 rd Steel Triangle , , hot rolled steel, 1 x x cm. 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. He curated the following main exhibitions: Kunst Meran Merano Arte.

Vincent Honoré Can you tell us about the origin of Kunst Meran? 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.

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. The collaboration with Éric Mangion and Villa Arson has been really successful in this sense. What are the main responsibilities of a curator and of an art institution in Italy nowadays? Vincent Honoré Puoi raccontarci come è nato Kunst Meran?

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.

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In Vamoose all cacti jut torrid nites publication, Azul Jacinto Marino is assigned with the number 8 in the floor plan of the exhibition, right in the center of it, even if it is not corresponding to any work present inside the space. The designs were not constructed but represent original interpretations of human dwellings in the post-modern era. What things can I truly for additional information on the device? The centre operates on a budget ofeuros, including salaries. We were very much interested on what defines the crafting process.

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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. He has organized a cycle of exhibitions on ephemeral practices sound, theater, poetry or performance art: He has also produced several solo exhibitions including: He was also artistic director of the edition of the festival Printemps de Septembre September Spring , Une forme pour toute action Every Action Has a Form , and associate curator of the Festival Live in Vancouver in As an art critic he has contributed to numerous magazines, including art press , and was artistic director of the review Fresh Théorie III in The only thing missing is a collection, despite a few perennial works installed in Eric Mangion We very simply try to programme exhibitions, meetings or residencies in relation to practices in or around the school.

Sometimes we extend direct invitations to members of the teaching staff who are creating projects—as we did between February and May with the exhibition Bricologie led by Burkard Blümlein, Thomas Golsenne and Sarah Tritz, all teachers at the Villa Arson. And what is your relationship with politics? So I have no direct involvement in the political side. On the other hand, when I arrived in Nice, I thought about the question of a political territory.

For me this was all about redefining our political view of a region known more for gloss than artistic experimentation. What distinguishes it from other similar organisations? A place where you test art, where you thoroughly explore not contemporary art as a genre but contemporary creativity full stop.

Experimenting means above all testing things without thinking of market values or meeting some predetermined measure of success. The luxury of Villa Arson is to work in a school with its workshops, its research programmes, its enormous library, its complex and multifaceted architecture, and its residencies.

Our DNA is to work according to the modus operandi of a potluck, with everyone bringing their own knowledge and experience. PIANO enabled us to work with Italy, whose geographical and cultural proximity to Nice is well known, and especially to work with the Kunst Meran Merano Arte with which we very quickly shared the same idea.

It was all about getting young artists to work together without imposing any themes or guidelines whatsoever. We thought this idea seemed just right in the context of an exchange between two organisations, two countries and, quite obviously, between different artists who initially had nothing to do with one another. So we assembled ten artists, five from Italy and five from France who had very different practices. We organised two workshops, then created an exchange platform. On the other hand, what worked was that the exhibition very clearly reflects the practices of each artist without any added value.

Et quelles sont vos relations avec le politique? Ce sont deux aventures peu connues du public local et qui pourtant sont riches de contenus tout à fait passionnants. Pour être très franc, on ne peut pas dire que cela ait fonctionné localement! Le luxe de la Villa Arson est de travailler dans une école avec ses ateliers, ses programmes de recherche, son énorme bibliothèque, son architecture complexe et multiple, et ses résidences. Par contre on ne peut pas nier que ce système a ses contraintes.

Nous vivons en permanence dans nos propres paradoxes. Nous avons donc réuni dix artistes, dont cinq italiens et cinq français en fonction de pratiques très variées. C-print framed under serigraphed glass, 45 x 30 cm photograph , 40 x 55 x 4 cm frame.

Courtesy of the artist and Annet Gelink Gallery, Amsterdam. Courtesy of the artist. He will become the new director of de Appel arts centre, succeeding Ann Demeester. He has been director of De Vleeshal in Middelburg since , and acquired national prominence as curator of the Netherlands Pavilion at the Venice Biennale. He will assume his new role at de Appel as of 1 June, In he founded the Sound Art Museum in Rome, a space dedicated to sound in visual art.

He has been the director of the art center Volume! He was guest curator at La Kunsthalle in Mulhouse, France. He is tutor at the Jan van Eyck Academy in Maastricht and writes regularly for exhibition catalogues and art magazines. For the magazine CURA. Lippard, Seth Siegelaub, Alfred H.

The Registry of Promise Space: 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. Nel ha curato con Chiara Parisi la Nuit Blanche di Parigi invitando oltre 40 artisti a produrre istallazioni e opere su larga scala sparse per il territorio della città.

Vincent Honoré Can you tell us about the missions of La Ferme du Buisson, and explain what makes this place unique in France? 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.

It was saved from destruction thanks to a mobilisation by residents and local politicians who understood the importance of preserving industrial heritage and creating a high-calibre cultural centre for the new city of Marne-la-Vallée, which was then under construction.

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. Why did you want to participate and what programme are you proposing? 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: Vincent Honoré Pouvez-vous nous présenter les missions de la Ferme du Buisson, et ce qui en fait un lieu unique en France? Dans nos manières de travailler, les sujets abordés ou nos actions en direction des publics, nous tentons de ne jamais dissocier la scène artistique des sphères sociale, politique et culturelle.

Comment définir — au-delà de sa mission de production et de diffusion artistique — le rôle politique et citoyen joué par la Ferme du Buisson? Si notre rôle au sein de la cité peut parfois nous paraître dérisoire, le contexte actuel le rend absolument indispensable. Pour accompagner cela, la Ferme du Buisson développe une formidable action de médiation et de sensibilisation en direction des publics les plus divers. Pourquoi avez-vous souhaité participer et quel programme proposez-vous?

En ce sens, les projets de coopération développés par d. Trois expositions collectives se sont ainsi tenues au Quartier, à La Ferme du Buisson et au Museo Marino Marini, et un ensemble de performances dans le cadre du festival Playground à Louvain. The Registry of Promise. 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. Born , Paris, France Lives and works in Metz, France Mathieu Kleyebe Abonnenc seeks to question the cultural hegemony on which the evolution of contemporary societies is based.

His collection of living insects includes a mosquito that now bears his name. Narrated by two female figures whose personalities are revealed as the story unfolds, the plot takes place in several museums in France and Africa, disconnected from the dimensions of time and the outside world, and serves as a pretext for a reflection on historical collective and personal perception.

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: 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. Carlo Scarpa è universalmente noto per i suoi restauri e per i disegni che accompagnano le sue architetture e i suoi progetti di design.

Iniziato nel , il restauro si conclude nel Michael Dean, hnnnhhnnn-hnnnhnnnnh Analogue Series , , book, ink, 16 x 23 x 9 cm. Courtesy the artist, Herald St. London, Supportico Lopez Berlin. 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 also works for Mousse Magazine and Vdrome. The work of Mauricio Guillén combines film, photography, text, and objects. His works explore the role played by aesthetics in the organization of social space, deploying notions of identity construction, exclusion and inclusion, migration, communication, and translation. Guillén combines his personal experience with conceptual strategies, using a poetic language in which he analyzes our understanding of culture and history by means of verbal and visual communication.

Avenida Progreso is a black-and- white 16mm film shot in Mexico City, where the artist spent his childhood and adolescence. The film depicts a philosophy and aesthetics teacher collecting papers after an end-of- year exam, before taking a taxi back to his home on the Avenue of Progress. Like a history book that traces classical culture and the progress of the humanities, the streets carry the names of European intellectuals and writers such as Goethe, Byron, Marx, Tolstoy, and Aristotle.

By calling into question figures of authority in the education system, Avenida Progreso also raises the question of the transmission of knowledge and the perpetuation of inequalities. Originally conceived for the Barbican Art Gallery in London, Security Measures comprises a series of tweed uniforms tailor-made for the art center security guards. The work aims to expose the underlying power relations in contemporary society and its institutions.

On a political level, the work draws attention to what is normally minimized and concealed in a cultural context: From a sociological standpoint, Security Measures restores individuality to those institutional agents whose presence is depersonalized and ignored.

Rather than privilege an analytical and discursive mode, the artist has chosen an approach that literally incorporates sociological, economical, and political questions, redefining the relationship between artists and art institutions. Il lavoro di Mauricio Guillén si situa al crocevia tra film, fotografia, testo e oggetto. Guillén unisce la sua esperienza personale a strategie concettuali, in un linguaggio poetico con cui analizza la nostra comprensione della cultura e della storia, tramite la comunicazione verbale e visiva.

Un professore di filosofia raccoglie le copie di un esame di fine anno, prima di prendere un taxi per tornare a casa, in Viale del Progresso. Attraverso la messa in questione delle figure di potere del sistema educativo, Avenida Progreso esplora inoltre i temi della trasmissione del sapere e della perpetuazione delle disuguaglianze. Inizialmente pensata per la Barbican Art Gallery di Londra, Security Measures Misure di sicurezza consiste in una serie di uniformi in tweed, tagliate su misura per i custodi di uno spazio espositivo.

On suit son point de vue à travers la vitre de la voiture. Sur un versant sociologique, les Measures redonnent une individualité à ceux des agents institutionnels dont la présence est dépersonnalisée et niée. Antoine Nessi, Unknown Organs , Stainless steel, aluminium, brass, galvanized steel; variable dimensions. View of the exhibition The Promise of Moving Things curator: Nina Canell, Treetops, Hillsides and Ditches , Mastic gum, logs; variable dimensions. 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.

After working on the design for a house in with Walter Pichler, a project called House for Two Friends , Raimund Abraham began to create a series of models for houses. He saw the home as an architectural paradigm springing from the encounter between abstract forms and the landscape.

The Austrian architect presented a series of houses based on archetypal shapes and solids the square, cube, circle, sphere, dot, line, and surface and devoted to his closest friends, most of whom were artists or architects. The designs were not constructed but represent original interpretations of human dwellings in the post-modern era.

In Haus mit Blumenwänden House with Flower Walls , the flowers that make up the walls of the house wilt and fall to the ground, creating a connection between the lifespan of the building and the processes of disintegration that characterize the world of nature. Abraham imagines a house in which volumes and spaces, light and shade are constantly changing, and the wind seems to blow from inside the building. In all of these projects the distinctive elements of each design merge with the building itself.

Stimolato dal progetto per la realizzazione di una casa, pensato nel insieme a Walter Pichler e intitolato House for Two Friends Casa per due amici , Raimund Abraham lavora a una serie di modelli abitativi. 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. Lawrence Weiner was a key figure in the advent of conceptual art in America in the s. Like other exponents of the genre, he explored and challenged traditional ideas of art, attempting to dematerialize works of art.

His main medium is language: His works come in different forms: The piece consisted of a fabric label to attach to clothes-wearable art. The label bears a quote in Italian and German from the Gospel According to Matthew, while the colors used red and white recall both the Italian flag and the South Tyrol coat of arms.

Servendosi delle parole, e di molteplici materiali a cui esse rimandano, Weiner crea per esempio sculture aperte e immateriali. I suoi lavori si presentano in diverse forme: La scritta sul tessuto è la citazione, in italiano e tedesco, di un versetto del Vangelo di Matteo, mentre i colori utilizzati bianco e rosso richiamano sia la bandiera italiana sia lo stemma altoatesino.

Lise Lacombe grew up in Aveyron south-west France. During her teenage years, she armed herself with an Olympus 0M30 that would ground her in stock photography. She left for the city Toulouse, where she graduated form art school and got a diploma in Photography-Photo manipulation from the Gobelins School in Paris. During these formative two years, she personified her photographic practice. Using first a Yashika Mat, then a Hasselblad, she stuck to the square format that characterizes her work and turned to photo-reporting.

Alone, she left for various countries: Jean-Baptiste Alazard was born in Aveyron to a family of farmers. The same year, he began working on trans-media works with Mittlewerk Express. In , he returned to the south of France to direct La Tierce des Paumés , a collaboration with photographer Lise Lacombe.

His movie, that comes as a result of this project, La Buissonière was awarded the Prix Georges de Beauregard. Nel corso di questi due anni, personalizza la sua pratica fotografica. Con una Yashika Mat e poi una Hasselblad, si dedica al formato quadrato, caratteristico del suo lavoro, e si orienta al reportage. Affina il suo sguardo grazie ai viaggi, realizzando delle serie che si propongono come testimonianza dei fatti della società ma con uno sguardo personale.

La fotografia è uno strumento personale assoluto che dà vita alle sue esperienze. Jean-Baptiste Alazard, dopo aver ottenuto un diploma di audiovisivo a Tolosa, entra alla Fémis nel e diventa montatore. In parallelo, sviluppa la sua attività di cineasta attraverso il documentario con Le Cinquième Quartier o il lungometraggio di fiction con Moussem Les Morts , selezionato al Festival di Belfort nella competizione internazionale.

Lo stesso anno, allarga il suo lavoro alle opere trans-media con Mittelwerk Express. Nel , fa ritorno nel sud della Francia per realizzare La Tierce des Paumés , in collaborazione con la fotografa Lise Lacombe. Il film La Buissonière , frutto di questa collaborazione, ottiene il premio Georges de Beauregard.

La photographie est un outil personnel absolu qui donne vie à ses propres expériences. Né en , Jean-Baptiste Alazard vit en Aveyron. Parallèlement, il développe sa pratique de cinéaste à travers le documentaire avec Le Cinquième Quartier ou le long-métrage de fiction avec Moussem Les Morts , sélectionné au Festival de Belfort en compétition internationale.

En , il rentre dans le sud de la France pour réaliser La Tierce des Paumés , en collaboration avec la photographe Lise Lacombe. Son film issu de ce projet La Buissonière remporte le prix Georges de Beauregard.

This ethics based on freedom allows him to let the experience happen in a sort of planned accidental evolution. Jérémy Laffon sperimenta a sua volta la forma e la temporalità dei materiali che utilizza: Né en , vit et travaille à Marseille. Artiste de la métamorphose, Jérémy Laffon observe ce qui est en devenir. Jérémy Laffon, Construction protocolaire non aléatoire, , chewing gum sticks.

Céline Kopp You recently had the opportunity to do a residency in Casso in the Dolomites. As an artist for whom questions of balance, weightlessness, movement and falling are recurrent themes, I imagine that being in a village right on the side of a mountain was a fairly powerful context for your work? Jérémy Laffon Actually, the constraint of the steep incline on which that village is built became the driving force behind the work I developed and it brings back the falling motif.

I approached this village, with its tragic past, as scenery; I wanted to make it into a ghostly environment, without being dramatic, and I chose to shoot a video there, entitled Invasione pacifica. This village was deserted in after the disaster at the Vajont Dam, where a huge wave was caused by a landslide.

In this video, the village is devoid of any trace of human life, a bit like an old episode of The Twilight Zone … This context gave me the chance to pursue motifs that have been returning irregularly in my work for several years, placing them in situations: During one conversation you took pains to stress the fact that your work was not a response to the history of the village. The flood motif is something that has long been present in your work.

And your video is rather light-hearted and humorous. Can you tell us more about it? Yes precisely, Invasione pacifica is the pictorial story of a flood of oranges, coming out of nowhere, bouncing in and invading the narrow streets of the village.

Tragicomically, these foreign bodies gradually merge together and evolve into a shapeless mass. It is partly a revival of the video-happening Symphony 1 pushed towards a more cinematic form. In that video you already found oranges, with a sequence-shot from above. They were filmed on the top step of an escalator whose operation caused their movements.

I wanted to think of this new video as being part of a whole, while changing the image register, and ultimately a lot of elements and parameters contributed to a balance between construction and simplicity. And after ten years, I found it particularly fun to once again present these old citrus-protagonists actors? The oranges have understudies! Did this force you to tackle the possibility of creating fiction? Yes, you mention procedure; I have a tendency to evoke gestures or ideas.

I like to start things with a deliberately simple idea, an observation like: The rudimentary gesture of throwing something that rolls is what causes the action. In previous works, one might consider the question of the intentionality of the oranges, but one stayed in a reality that was unmodified, except for that micro-modification represented by the gesture.

These small, constructed sculptures made of chewing gum were doomed to collapse, and the idea was to laboriously replace damaged sticks of gum with balsa wood sticks as needed. The understudy enables the transformation. You reference the world of fantasy films, especially Z movies. So you decided to tackle a more constructed image while sticking to a very cobbled-together aesthetic that once again places a lot of importance on labour. The reference to Z movies and DIY special effects with the mutation of the oranges made it possible to keep things light-hearted.

Labour is something important in the way I work. I peeled an overwhelming quantity of oranges… It was like something out of science fiction!

And I developed a specific technique as I went along. For this video, gestures and repetitions that are sometimes absurd are still there, but behind the scenes. The film enabled me to experiment with the potential for these banal, real-world protagonists to become autonomous objects. I think the parallel with the image of the UFOs is linked to this idea: The desire for fiction was also linked to what you mentioned earlier: I wanted to speak about the possibility that this territory could invent a new story and move beyond the existing context.

Ce village a été quasi déserté suite à la catastrophe du barrage du Vajont en , où une immense vague a été causée par un glissement de terrain. Le motif du déferlement est quelque chose de présent depuis longtemps pour toi. On y trouvait déjà les oranges, avec un plan séquence en vue plongeante. Les oranges ont des doublures! Est-ce ce dont tu parles lorsque tu dis que beaucoup de paramètres sont intervenus dans le processus?

La doublure permet la mutation. La référence à la série Z et aux effets spéciaux DIY avec la mutation des agrumes permet de rester dans la légèreté. Pour cette vidéo, le geste et la répétition parfois absurdes sont toujours là, mais en coulisses. Je voulais parler de la possibilité de ce territoire à réinventer une histoire, à aller au-delà du contexte existant.

Jérémy Laffon in residence in Casso. Photo dc archive 2. Oranges floating in the hamlet of Casso. Photo dc archive 3. 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: In he made his first foray into sculpture. Influenced by the spirit of performance art, Breer revisited minimalist sculpture, focusing in particular on the role of the pedestal and the mechanisms that determine the spaces and times of an exhibition. His Floats floating sculptures , for example, are bodies with wheels and a motor attached, meaning they trundle around at random.

Each element presents a small variation hence the title , which makes each single piece unique. At the New York presentation, these little motorized sculptures made almost imperceptible movements on a table.

The piece Column was also based on the same principle: Il segna la nascita del suo vocabolario scultoreo. Ciascun elemento presenta una piccola variazione, da cui il titolo della serie, che rende ogni pezzo unico. Nella presentazione a New York le piccole sculture motorizzate si muovevano impercettibilmente su un tavolo. Anche la scultura Column Colonna del si basa sul medesimo principio: Maria Alicata is a curator and art historian based in Rome.

She runs the public art program Nuovi Committenti for the Adriano Olivetti Foundation in Rome, and also curates art commissions for private companies and public institutions. Since , she is a founding member of the non-profit curatorial platform 1: È tra i fondatori della piattaforma curatoriale no profit 1: After having studied Arts, she focused her interest on working with public.

She is responsible of the artistic direction of the art center since At that time, she starts programming art exhibitions following precise ideas, based on reflecting narrative and literature, while maintaining a strong connection with architecture and landscapes, and giving a place to experimentation. She invites both young and prominent artists from the French art scene to perform their personal projects.

Actors in the region need to join forces to provide the public with dynamically open access to culture. We wish to offer a place that establishes circulations between visual arts, architecture, urbanism, and economic and social life. Art and culture can be very powerful levers of communal life. These have the ability to bring meaning, desire and community to social developments that are all too often merely endured. In fact, developing this centre means believing in utopia as a development value, since today art is one of the best forms of shared expression.

It seems increasingly difficult to operate small, often isolated centres in France. This raises the question of their validity in a region that may not be conducive to contemporary art.

Does the question also arise of the utopian nature or obsolescence of regional divisions and the dissemination of contemporary art? Or the lack of public will? The centre operates on a budget of , euros, including salaries. The project is therefore difficult to manage. Despite all of these problems, we were able to develop a project policy directed at the region.

Our partners are numerous and varied. Its activities have genuine legitimacy. They only come to exhibition openings and they often have electioneering aims.

On the other hand, the visitors we meet are happy to have this place in their lives, offering something different in a rural area. Giving ourselves the possibility of creating a breeding ground means engaging in discourse that is situated on the level of economics and regional development.

Utopia comes into play in our programming and mediation. The work aimed at the public is essential for making people aware that a programme is first and foremost a little utopia factory. We should be political actors of this public will. As director, how do you articulate your programme? What are the highlights of ? Even though our programming alternates between young, emerging and recognised artists from the French scene, we are still primarily focused on supporting young artists.

The place needs to be taken into account, in its entirety and through its architecture, a 17th century chapel. The programming aims to bring out its narrative density, seen as a plinth for the project. Because we must continue to advance and help contemporary art to be a maker of utopias and ideas.

Collaborating on PIANO means working in a network and sharing ideas, testing new ways of working, experimenting with the unknown. Il semble de plus en plus difficile de faire fonctionner en France des structures petites, souvent isolées. Le projet est donc assez difficile à mener. Les partenariats sont nombreux et diversifiés. Les élus ne représentent pas le public, ils ne se déplacent que pour les vernissages et leurs visées sont souvent électoralistes.

Nous devons être acteurs politiques de cette volonté publique. Comment en tant que directrice articulez-vous votre programme? Quels sont les temps forts de ? Comme déjà évoqué, nous avons un rôle citoyen, nous avons ce rôle de pédagogue pour faire comprendre, entraîner et continuer pour les artistes, pour le public. Pourquoi était-ce important de collaborer et quel est le projet que vous allez présenter?

He then became art critic for a local cultural weekly Le Petit Bulletin , while at the same time collaborating as one of the contributors for the Nouvelle Galerie, a contemporary art gallery in Grenoble. Double Cross, from Both Sides of a Mountain. Slaven Tolj is one of the leading exponents of the art scene in Croatia. His radical minimalist practice, which includes performance, photography, actions, and ready-mades, explores social situations and historic events.

In the s, Tolj focused on the situation in his country, namely the break-up of Yugoslavia and in particular the siege of Dubrovnik, his home town. In his solo show Low Season , hosted by the Dubrovnik Museum of Modern Art in , Slaven Tolj recreated a stylized version of the city inside the museum, linking the areas of the building with various neighborhoods of Dubrovnik.

The title of the exhibition refers to the tourist season and is a clear indication that the project was mainly destined for the local population. The show also featured the work Map of the City of Dubrovnik , a city plan reworked by the artist.

After the conflict, a map showing where the city was bombed after the siege in was placed by the road going into the city. Tolj used the same map, but in his version the key refers to the bars, fast food outlets, souvenir shops, etc. It is a vision of a city that is being emptied and turned into a holiday destination: Slaven Tolj è uno dei più importanti esponenti della scena artistica croata. La sua pratica radicale e minimalista, che comprende performance, fotografie, azioni e oggetti ready-made, si focalizza su fatti sociali ed eventi storici.

Tolj ha usato la stessa mappa, ma nella sua versione la legenda evidenzia i bar, i fast-food, i negozi di souvenir ecc. Si ha quindi la visione di una Dubrovnik progressivamente assediata da spazi di ricezione turistica: In mostra sono presenti due piantine: One of the most complex and enigmatic artists of the twentieth century, Giorgio de Chirico invented a new mode of artistic expression based on his explorations of the potential meanings of objects.

For de Chirico, all forms draw meaning from the associations and memories they arouse in our consciousness. A scholar of classical culture and traditions, during his career he lived in various places before settling in Rome, where he lived until his death. His home now hosts a museum devoted to his life. Metaphysical paintings stand out for their clarity of composition, depicting recognizable objects and forms set in architecturally defined, deserted spaces.

The surfaces and volumes, and the empty spaces and shadows on the buildings, are carefully outlined. Although the scenes initially appear realistic and rational, they never fail to create a sense of unease in the observer. After making an in-depth study of the rules of perspective, de Chirico reinterprets and subverts them, combining incompatible spatial systems to give rise to his signature settings. For the artist, the architecture of these squares originated in classical Greek culture and offered concrete inspiration for the Italian architecture of the early twentieth century.

Per de Chirico non esiste forma, il cui valore non scaturisca dalle associazioni e dai ricordi generati dalla nostra coscienza. Attento studioso della tradizione e della cultura classica, nel corso della sua carriera ha vissuto in varie città, per tornare infine a Roma, dove è rimasto fino alla sua morte.

La sua casa ospita oggi un museo a lui dedicato. I dipinti metafisici si distinguono per la loro chiarezza compositiva: His academic research was focused on American landscape documentary photography. As an art critic, he has been a regular contributor to French magazine 02 among others. From to , he coordinated Fieldwork Marfa, an international research-in-residency program in Marfa, Texas. La démocratie est illusion Space: Marfa negli Stati Uniti.

Etienne Bernard As a centre for contemporary art, the core function of Passerelle is to support artists notably in the realm of production, exhibition and publication and the public in their discovery of what the artists have to offer.

On the contrary, I think that a centre for contemporary art is a place for shared elaboration of meaning in which artists and the public meet and discuss. In order to reflect reality it must occur naturally in my view. It is based on a mutual desire between local audiences and artists, the majority of which have come a long way, to take the time to discuss ideas.

We must not forget that we are in Brest, at the far reaches of Brittany, at the heart of an area that is very rich in cultural proposals but also peripheral to the main thrust of the art circuit. I am convinced that its social as well as geographical position presents an opportunity rather than a pitfall. Indeed, Brest is not on the beaten track, so it is up to us to make it a destination.

We therefore have the necessary resources in place to welcome and provide hospitality for operational artists and we systematically offer them an opportunity to enjoy a work temporality that they will not necessarily find anywhere else. Artists can thus work in peace, with the help of technicians, and the public is invited in to exchange views on art in the making.

Art centres are thus used as a living, lived-in and open space. And so far, I am delighted to observe that the system works. Other artists like Fredrik Vaerslev, Koki Tanaka and Stéphane Calais are also planning to use it over the forthcoming months. In addition, we have noticed that the public reacts well to the freedom to converse directly with the artist. As the development of an artistic project progresses, people observe, come back and talk. In my view this positive perspective reflects our institutional action supporting creation that the public is sometimes oblivious to.

It is more than just a mission. I would say that opening up the space to forms of creation that fall outside the strict field of contemporary art is rather an assertive approach to the programme in line with the history of the place. The collective that opened the venue welcomed music, dance and theatre as well as art. Subsequently, the field of research was progressively oriented more clearly towards contemporary art as the structure became more institutionalized.

When I became director of the art centre, I wanted to reconnect with this historic initiative for two main reasons. The first is that I think an ambitious project can be constructed on this wealth of history with the professional facilities provided by Passerelle. Thanks to the tremendous task of structuring and the professional development undertaken by the previous director Ulrike Kremeier, the art centre evidently no longer resembles its initial association gathering amateurs, but has now become an operable infrastructure able to accommodate artistic proposals from all walks of life.

The second is that Brest is a fantastic pool of top quality partners who in their respective disciplinary fields share our high standards. Indeed, we are working hand in hand with local but internationally renowned initiatives of course, like the electronic music festival Astropolis, the contemporary dance festival DansFabrik run by Scène nationale Le Quartz, and the contemporary music ensemble Sillages, with whom we launched a festival in What is your view of the public and what type of relationship do you wish to enjoy with this public?

In an area like Brittany and Brest, the public is not an abstract entity. The centre for contemporary art constitutes both a tool at the service of the local public the facilities provided by Passerelle are at the heart of a clearly identified district and aimed at a national and international public professionals of course, but also seasonal holidaymakers.

Thus, our actions and operations must appeal to all without ranking or pandering. We know our different audiences well, their specificities, their desires as well as their reticence, but I think that everyone can identify, in their own way, to an artistic proposal that when sound can be approached from different perspectives. What are the tools and programmes that structure the art centre and strike a chord with its public? For example, what are the Augmentation Zones and how do they integrate with your vision of the public?

We offer a large number of programmes aimed at the public from hands-on workshops with the youngest, to series of lectures or guided visits. A year ago we also implemented a specific section that I called Augmentation Zones. The notion of augmentation is defined here in the digital meaning of the term. On the Internet, augmented reality is the sum of data, links and references that complement a subject. They are also accessible on the Internet with a digital space for content accompanying the exhibitions.

Passerelle proposes monographic exhibitions as well as group exhibitions and attempts to articulate different disciplines.

More specifically, how do you view the mission and the responsibilities of an art centre director in ? I chose to take over as director of a contemporary art centre as I am passionate about linking a critical and curatorial approach with a regional context. Indeed, the global logic that governs the world of art that we work in finds, in my opinion, its meaning and opportunities for development in specific situations from which concrete proposals emerge. I find my role as producer stimulating, that is as an art critic who gathers the intellectual, material and human resources to generate artistic proposals in an identified geographical, social and political situation, to work in the permanent and constructive coming and going between local and global.

Why did you want to participate and what programme did you propose? I think that PIANO is an excellent example of structuring collaboration and sharing means of production and communication. In the context of the concerning budget and institutional crisis at large in France, Italy and elsewhere, it is essential to completely rethink methods for funding and bringing projects to fruition. And beyond the simple financial consideration, it is now no longer pertinent to plan a project with an artist in a single venue.

La démocratie est illusion. Afin de prendre réalité, cette rencontre doit, à mon sens, se construire assez naturellement. Il se construit des habitudes. Ceci constitue à mes yeux une perspective positive qui assoie notre action institutionnelle de soutien à la création dont les publics ne sont pas toujours conscients. Quelle est votre conception du public et quels rapport souhaitez vous entretenir avec ce public?

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His works come in different forms: Cross-disciplinary navigation tactics need to be invented. The Registry of Promise Space: Using anonymous objects and actions that reference minimalist art, the artist shows how these can become charged with emotions and experiences. The work of Mauricio Guillén combines film, photography, text, and objects. In ognuno di questi in ordine di successione: Sur internet, la réalité augmentée correspond à la somme de données, de liens, de références qui viennent enrichir un sujet. It presents an overview of buildings in various Italian cities, organized by typology. Somehow it comes out of a precedent project, Ediciones del Exotismo Ordinario Internacional Neotropical ,which is an ongoing series of self-published booklets, built around a specific type of house plants found all around the world, but whose origin is the Neotropical Region south of Chile to south of Mexico. Anyway stay up the excellent quality writing, it is rare to peer a nice blog like this one these days. Dorothée Dupuis Peux-tu me parler de tes influences formelles? Il lavoro di Mauricio Guillén si situa al crocevia tra film, fotografia, testo e oggetto. Lascia un commento Annulla risposta Il tuo indirizzo email non verrà pubblicato ma sarà visibile all'autore por o gratuit escort bondy blog.

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