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The residencies were reviewed: The off-site programme was reviewed, probably because, at the start, I was quite unsettled by this project and the sociocultural deviations that could result. Not really knowing how to address the question, I simply decided that we were going to do what we knew how to do: The person in charge of off-site programme was previously a cultural mediator, I decided to recruit an exhibition curator, and this simple decision completely changed the direction.

Parc Saint Léger is a complex structure that regroups a set of cultural facilities: How do you combine all these activities into one coherent programme? I do not aspire to combine our different activities at all costs, but I actually worked to make synergy possible, and at the same time — and this is essential for me, for it to be possible for there to be no synergy. For our Résidences Secondaires for example, three month residences devoted to the emerging European scene , we select the artists one year in advance, we initiate discussions with them well ahead, we discuss the off-site programme with them, and very often there is a specific context that stimulates them, so we make this link between the residency and the off-site programme.

But sometimes, the artists just need time for a break, for research, to bathe in the Loire and to smoke a cigarette by the fire, and that is fine with us too. The location is rural. What bearing does its location have on your programme?

In concrete terms its rural location means that there is no power struggle with anyone: This lack of any threat to anyone brings great freedom on a daily basis. I am not sure for example that a project like Breathing House by Jean-Pascal Flavien would have been so simple to organise in an urban setting, with the numerous rules involved and the representatives to meet and to convince.

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

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

Parc Saint Léger Protagonists: Les réticences furent nombreuses, et les débats passionnés, seule la pugnacité de Bernard Bardin a permis au projet de voir le jour.

Il permet également de créer entre nous des liens souvent forts, parfois amicaux. Lili Reynaud-Dewar est venue développer un projet autour de la Black Maria, ce premier studio de cinéma imaginé par Edison. Avez vous infléchi la programmation ou changé les missions du centre, ou au contraire avez-vous souhaité ancrer un héritage? Les résidences ont été remaniées: Comment unifier toutes ces activités dans un programme cohérent?

Pour nos Résidences Secondaires par exemple résidences de trois mois dédiées à la scène émergente européenne , nous choisissons les artistes un an avant leur venue, nous entamons le dialogue avec eux bien en amont, nous leur parlons de la programmation hors les murs, et bien souvent il y a un contexte de travail qui les stimule, nous faisons alors ce lien entre la résidence et la programmation hors les murs.

Le lieu est situé en territoire rural. En quoi sa situation informe votre programmation? Pourquoi avez vous souhaité participer et quel programme proposez-vous? Les raisons sont tout à la fois pragmatiques, stratégiques et artistiques: Wilfrid Almendra, Le Splendid , Gabriel Kuri, bottled water branded water , exhibition view, Nina Canell, Treetops, Hillsides and Ditches , Mastic gum, logs; variable dimensions.

After visiting the exhibition on the ground floor, the encounter with the remaining openings on both sides of the building highlights the visitor experience: This intervention does two things: The form and duration of the installation may be limited by other museum activities requiring the opening of some of the blinds.

Née à Ambilly, France, en Vit et travaille à Paris, France. The realisation of this arrangement, in its form and duration, can be limited by other museum activities requiring that the shutters be opened. The work and the exhibition have a specific relation to the Bolzano context. Bernhard Rüdiger I spend a lot of time in that region, and I was aware of various aspects of the context of history shared between Austria and Italy. The land in these Tyrolean valleys was feudal, whereas the peasants in the mountains were independent.

Looking at the valley from the mountaintops, you see something completely different from what you see from the opposite direction. The view from the 4th floor of Museion offered a symbolic top-down point of view. The museum is built on the boundary that is the river. This already emphasised that kind of point of passage, but from the opposite point of view.

This reversal of perspective leads us to the one carried out at Museion. The exhibition highlights the fact that the museum builds this same passage from Italy to Austria and vice versa. The invitation was probably linked to the fact that my work is often built on a context, in this case the museum and its layout. Since the exhibition had a strong link to the city, I felt that my proposal would be weak if it only addressed institutional aspects.

By extending the invitation to Bernhard and his work linked to the notion of space, the point was to enrich the project through the historical and topographical perspectives it could provide. How did these questions of passage and perspective-reversal affect your proposal?

The exhibition offered a reversal of the function of the museum spaces; the viewer had to enter the exhibition directly on the ground floor, which is normally a passage, and then view the city from the 4th floor, which had been turned into a belvedere, in order to finally go back downstairs and follow the suggested route through the city. Our proposal found its place in that belvedere. We were unsure if when viewers reached a practically empty room on the top floor, facing large windows, they would intuitively be able to experience looking at the city.

The gesture of opening the museum onto that broad landscape could seem romantic: Whereas visiting the exhibition on the ground floor was preparation for looking at the city from the belvedere?

It was a matter of constructing a determined perspective instead of a passive contemplation, as well as introducing the question of the body and the notion of unstable balance: The final proposal was to close some of the shutters on either side of the building and therefore either side of the city to create a specific field of vision that involved a movement dynamic and spatialized the bodies in the space.

We did a trial during the exhibition in progress and as soon as the shutters were closed, people stopped looking at the works to approach the windows. What role did the model play?

This metaphor in the state of language becomes a physical act as soon as you experiment with it. The exhibition brought forward the notion of architectural filter. There is a certain equivalence of preoccupations and ways of filtering the gaze. The two works operate in opposite ways, but actually express something very similar. Another work in the exhibition, that of Marcus Geiger, consisted in extracting one of the apartments from a housing project, an empty space that ultimately offers a transversal perspective, enabling reflection upon architecture and town planning.

It sports these two eyes that look outside, a two-faced gaze in the shape of a Janus head, something that is very characteristics of the local culture. Speaking of local culture, can we discuss the title? Thinking again of the belvedere, is the title therefore a clue about how to use the work? The third word is in the Tyrolean dialect and expresses the idea of looking past appearances to understand reality. At the same time, people only understand a third of the title, since each of these languages is only spoken by some of the population.

It reconsiders questions about the activation of perspective, which are important for Bernhard, through my own methods, including the production of a condition of incisiveness when regarding what is already present on-site, without adding objects. The desire not to add objects seems to me to be very apt — since the museum itself is already an object, and not a transparent, neutral tool.

Émile Ouroumov Pourriez-vous me décrire votre intervention pour Soleil politique au Museion de Bolzano? La réalisation de ce dispositif, dans sa forme et dans sa durée, peut être limitée par les autres activités du musée qui imposeraient que des volets soient ouverts.

Vous connaissiez cette région, la ville et les édifices mis en exergue par le projet de Pierre Bal-Blanc? Les terres dans ces vallées du Tyrol étaient féodales, alors que dans les hauteurs les paysans étaient indépendants. Il est aussi question de la situation du Museion au milieu de la ville, entre la ville historique autrichienne et la ville nouvelle italianisée?

Cette dernière soulignait déjà un tel point de passage mais avec le point de vue inverse. Cette inversion du regard nous conduit vers celle opérée au Museion. Notre proposition prenait place dans ce belvédère. Il nous a semblé que cette impression est le contraire de la prise de conscience politique de ce qui se passe au pied du spectateur dans la ville. Quel est le rôle de la maquette? Les billes au centre sont une expérience de cette stabilité violente qui traduit les spécificités historiques et sociales de la région.

Je pense par exemple à Gianni Pettena et à son intervention liée aux arcades fascistes de la Piazza della Vittoria. Il y a une certaine équivalence des préoccupations et de la manière de filtrer le regard. Il y a ici un acte similaire qui fait traverser la structure par le regard. En parlant de la culture locale, peut-on évoquer le titre?

Il est rédigé dans trois langues pratiquées dans la région. Elle est le résultat de nos deux pratiques, un territoire construit à partir de notre expérience commune.

For the work Soleil politique Political Sun , from which the exhibition borrows its title, Broodthaers took a black-and-white illustration from an encyclopedia depicting the comparative scale of the planets in the solar system.

The work also reveals the ideological role of the museum, oscillating between enlightenment and obscurantism. Allo stesso tempo, oscillando tra illuminismo e oscurantismo, vi si trova esposto il ruolo ideologico del museo.

Vient ensuite le point final: Marcel Broodthaers, Soleil Politique , , print and collage on paper and ink, 25,5 x 35,5 cm. Copyright Estate Marcel Broodthaers.

Hi work has been internationally exhibited in both institutional and commercial venues. He recently had solo exhibitions at the Hamburger Kunsthalle in Hamburg , Midway Contemporary in Minneapolis , and at the Museum Ludwig in Cologne , among others.

Courtesy ProjecteSD, Barcelona 2. 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. He has participated in several group exhibitions, including at the National Gallery of Tbilisi , at Le Magasin in Grenoble , as well as other institutions.

Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3 , , cast of copper alloy, carbon and ash, 25 x 77 x 33 cm. You produced it in Burkina Faso. Why are the means of production so important in your work? Jean-Marie Perdrix I have been working with bronze smiths in Burkina for 20 years. I have developed a process with them to recycle plastic waste substituting wood and enabling waste to be collected.

They won the innovation award in Bamako, where a permanent workshop has been built. It was a veritable North-South collaboration implemented in stages. I developed and produced projects on my scale to initiate this workshop to recycle and mould household objects.

The objects that I produce are from an economy where every moment is appreciated. How did you come up with the idea of a bronze animal? First of all, my partners are bronze smiths Burkina has a tradition for bronze and I had the opportunity to experiment with small bronze pieces. This is what happened: These animals are totems for my partners, but I did not know that. The title is very important, as a misappropriation of the traditional lost-wax bronze casting process.

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

The resulting bones, ash, coal and bronze mixture makes it lighter. What is important here is that the bronze finds its own way through the blend of ash and bits of grit. Therefore, I cannot predict what image I will obtain after the leak, once the piece is removed from the mould. Salif Dermé, my bronze smith partner, often says that I am looking for magic, as the image that will be obtained is not known in advance. He fully understood that I was exploring the opportunities available in this country.

Did you invent this process? I will outline two things. First of all, Salif encounters many western artists who come to Burkina specifically to make bronzes, but generally what they want, is a bronze that is produced more cheaply than in Europe. They are not interested in the local economy, or in the means of production. They are seeking the same image as their model, but in bronze. For my work, in contrast, I am not looking for an impression of the skin, nor the image of the body, as the casting is less important than capturing the journey the bronze has made in the mould between the coal and the bones reduced to dust.

I end up with an object that bears the marks of the smelting and burning with a sort of bronze lacework that contrasts with the intensity of the method. Then, regarding the method itself, I had seen small objects produced directly from a cast before. I even have a necklace of peanuts made like that. But I changed the scale and starting point.

I chose an animal and a much larger size, so that the way the bronze penetrates the mould is much more random. Is the horse that you are exhibiting at the Fondazione Giuliani unique? Each piece is unique. To date, I have produced three horses and five dogs. This kind of piece takes a while to make as the coal burns very slowly. The coal that was burnt in the head was in equal measure with the coal used to make the bronze. In the piece presented in Rome, the mouth of the horse disappeared, because the concentration of ash was too high and the liquid bronze did not reach the end of the mould, it disappeared in the blend formed by the coal, ash and bones.

That is why the object obtained is a distortion of the image expected. The horse is dead, the neck is therefore already very narrow, as it is no longer attached to the withers the volume disappears. As for the ear, it is straight as if the animal were still alive and listening.

In another piece, another horse, I achieved an open mouth with the outline of worn down teeth, but without the ears. When I work with dogs, the body is often incomplete; sometimes it is difficult to recognise the animal in the final form. Do you consider bronze as precious? In these horses and dogs, the quality of the bronze is very poor, because they are the reverse of what is traditionally sought in bronze.

Bronze is not there to add any additional market value to the piece: A very rich texture is achieved through a direct and intense process. The interior density is visible. To some extent, with the horse the history of the process used to achieve the object and the object itself are contemplated in equal measure.

Should your work be considered from an anthropological point of view? I am delighted that the outer appearance has a Baroque style.

Indeed, I strive to make objects that have a certain timelessness it is not important whether they were made now or ten years ago and universality I am not meticulous regarding specific cultural elements.

At the same time, my work follows in the tradition of great sculptors and, in certain respects, witchcraft with skin, hair, fetishes, horns and teeth: I chose dogs and horse. These are meat, but above all they are also animals closely related to man.

There is something disturbing about working with a dead animal as the starting point; predation and sacrificing animals comes to mind. But I do not reduce animals to a metaphor. A dead dog is more moving than the mass unemployment of young Africans.

What I do with these animals is only possible because my partners are very cooperative, armed with a good knowledge of the land and a long-standing friendship. But I practice sculpture, not art brut. Elle a été réalisée au Burkina Faso. Pourquoi les modes de production importent tant dans ton travail? Jean-Marie Perdrix Je travaille au Burkina avec des artisans bronziers qui sont mes partenaires depuis 20 ans.

Ces animaux sont des totems de mes partenaires, mais je ne le savais pas. On trouve le cheval en boucherie à Ouagadougou ; quant au chien, il y existe tout un circuit informel où les chiens morts circulent. Il a parfaitement compris que je menais une expérience avec les possibilités que je pouvais trouver dans ce pays. Est-ce toi qui a inventé ce procédé? Je distinguerai deux choses. Ils recherchent la même image que leur modèle, mais en bronze. Le cheval que tu exposes à la Fondazione Giuliani est-il une pièce unique?

Chaque pièce est unique. Ce genre de pièce est long à faire car le charbon a brûlé très lentement. On a utilisé autant de charbon qui a brûlé dans la tête que de charbon qui a servi à faire le bronze.

Accordes-tu une valeur précieuse au bronze? La densité intérieure est visible. Ton travail est-il à comprendre du point de vue anthropologique? Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3 , , cast of copper alloy, carbon and ash, 25 x 77 x 33 cm 3. Jean-Marie Perdrix, Chien à la Chair Perdue 2 , , cast of copper alloy, coal and ashes,14 x 39 x She taught by the past at the University and at the School of Fine Arts.

Claire Le Restif conceives curating as a consideration of the context in which she works, not to answer a request but to offer to the public the current artistic peculiarity.

Known for its will to cultivate the ground and to give their chance to young artists, le Crédac associates an excellent politics in term of artistic choice with a search for closeness with the public. Vincent Honoré How was the Crédac created and what is its fundamental purpose? Claire Le Restif The art centre was created in , instigated by artists and political will.

It is one of the first art centres in Île-de-France. Situated in Ivry-sur-Seine, the Crédac is a place whose visitors comprise locals from Ivry and French residents passing through the region or from Paris to visit the exhibitions or attend meetings.

The question of public transit is central, as is the relationship between Paris and its outskirts. The Crédac is one of many art centres that form a dynamic network in France and without which a large proportion of contemporary culture and art would undoubtedly be inaccessible.

How does its DNA differentiate it in this network? The art centre is a public place. Also the project that I am developing strives to eliminate as far as possible the notion of personal taste or aesthetic line to the benefit of exhibiting a wider range of creativity and its aesthetic and critical issues. I express more of a relationship with art by inviting artistic projects that develop different issues embodied by forms that interpret the wealth of current artistic expression.

We do not publish exhibition booklets but a free publication called Le Mecca. It provides information about activity issues at the Crédac, the planning and mediation alike. It also opens an additional avenue for reinterpretation and memory. There is a fundamental phrase in the presentation of the centre: For artists it is also a place for intellectual, critical and technical mentoring. An art centre is not just a place measured in square metres, a showcase… For the artists it is a place to carry out research, to experiment and for intellectual, critical and technical support.

It is a place for artistic yet all too often illegitimate, freedom. When I talk about mentoring, it is regarding the artists for whom we are benchmarks when required, but it is also the mentoring that has been instigated between art centres.

That is, in the structure behind a vision, a dynamic and a horizon for a place, a project and a team. This problem interests me all the more as the gap between spheres of intellectual strength or experiment and sanctuaries of global culture is widening without personal preference for one or the other. In your opinion, what is the role of an art centre director in ? To ensure that the venues at best develop and consolidate, and in the worse case scenario they are sustained!

We have to be in permanent contact with the artists and liaise with civil society, another mission that is important in my eyes! But the context in which we work is very important.

It should be taken into consideration in a peaceful but also resistant way laughter. To support what we believe should be stated and exhibited, sometimes against the advice of fashion, the art market and public taste!

To explain our relationship with art, to feel part of the cultural heritage of an exhibition history as a source for reflection even about the history of recent art, whilst putting to the test our ability to continue to invent new forms of exhibits and more broadly new ways of working together. Charles Esche described his ideal museum as being inherently uncertain: How did you structure the curatorial approach to the venue, the institution?

The programme that I drew up for the Crédac when I arrived was very bound to the context and the topography of the underground location, situated until within the foundations of the Jeanne Hachette Centre, built by the architect Jean Renaudie between and To kick off, I set up an exhibition in two parts called La partie continue The Games Goes On , a small show to present the goals of my programme.

The project was initially inspired by this unusual venue, the sloping white cube and compromised geometry. This title bore the notion of continuous and discontinuous play. Having formulated the concepts of citing, misappropriation, mixing and borrowing, it was more the loss of the notion of authority, of ownership and the calling into question of inheritance that interested me.

We left this venue for a factory built in La Manufacture has thus resumed its original production studio activity: Why did you want to participate and what programme are you offering? We have the impression, most notably with Sandra Patron and Lorenzo Benedetti, that the role of art centres is not studied, analysed and promoted enough.

I feel it is crucial to defend the role played by art centres in implementing networks for artistic presentation on a European level. How would a museum collection become established today if the network of European art centres ever disappeared? What issues would occur for an artistic community without a local venue for peripheral circulation? Lastly, how does the economic crisis endanger the art ecosystem?

I had an in-depth discussion concerning these questions with Chris Sharp who had his project The Registry of Promise in mind. My idea was to set up an association of four dynamic venues that he is also in regular contact with: Vincent Honoré Comment a été créé le Crédac et quelle est sa mission fondamentale? Dans ce réseau, quel est son ADN, sa différence? Elle donne des indications sur les enjeux des activités du Crédac, la programmation comme les actions de médiation.

Elle ouvre également une voie supplémentaire, celle de la relecture et de la mémoire. Enfin, il y a Royal Garden , véritable prolongement sur le mode virtuel du projet artistique du Crédac. Dans la présentation du centre, il y a cette phrase fondamentale: Davantage à la structure qui sous-tend une vision, une dynamique et un horizon pour un lieu, un projet et une équipe.

Il faut être en contact permanent avec les artistes et faire le lien avec la société civile, autre mission qui est, à mes yeux, importante. Mais le contexte dans lequel nous travaillons importe beaucoup. Il faut tour à tour en tenir compte de manière pacifiée mais aussi hostile rires.

Charles Esche a décrit son musée idéal comme étant fondamentalement incertain: Le projet était inspiré au départ par ce lieu à la topographie singulière, le white cube en pente et à la géométrie contrariée. Ce titre portait en lui la notion de jeu entre continuité et discontinuité.

Nous avons quitté ce lieu pour une usine construite en Pourquoi avez-vous souhaité participer et quel programme proposez-vous? Mandla Reuter, The Agreement, Vienna, , armoire, x x 85 cm. Installation view Galerie Mezzanin, Courtesy the artist and Galerie Mezzanin.

Ivry souterrain , 19 April — 23 June 3. Courtesy of the artist 4. Courtesy of the artist. Claire Le Restif Project: Since , Benoît Maire has been writing a manual of aesthetics, a compilation of objects and texts that cover some of the major issues in contemporary aesthetics.

Beginning with the insurmountable conflict between saying and seeing, Maire works in the interstices where art and philosophy come together to serve practical purposes and where the forms expand in space and surpass each other. For the film Spiaggia Beach , the artist continues research he began for the exhibition Spiaggia di menzogne Beach of Lies , which he presented at the Fondazione Giuliani from October 4 to December 14, The film thus makes use of various sculptural elements and tools he had previously exhibited.

In the film, man is both the subject and object of his inquiry into the origins of cause and effect. Nel Benoît Maire ha iniziato a scrivere un manuale di estetica, in cui le immagini, gli oggetti e i testi prendono forma. Attraverso la messa in scena di quattro personaggi colti in situazioni quotidiane, e tramite il ritmo di una narrazione costruita a partire da brani di testi di filosofi come Ludwig Wittgenstein, Quentin Meillasoux, Alain Badiou o Jacques Lacan, Benoît Maire indaga una nuova cosmogonia, ispirata dalla teoria humiana della genesi delle idee.

Spiaggia sperimenta un sistema delle passioni che descrive la loro meccanica, per spiegare la causalità delle azioni dei personaggi e stabilire come le passioni conferiscano un senso esistenziale al mondo empirico, limitato nello spazio e nel tempo. 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? Simon Fravega works as artist and performer.

He takes seriously the virtues of disguisement and anecdote. The nature of these gestures staggers them: Combining this deferred dubbing activity to a flow of micro-narratives, Simon Fravega weaves a reflection on the gap between facts and representations. And under the guise of humour and the absurd, it identifies something essential in the great game of the world.

Simon Fravega déploie un travail de plasticien et de performer. En action, il se cale sur les autres sportifs, rockeurs, personnages de western ou danseurs de hula hoop , étudie les gestes qui les définissent et les rejoue en les décontextualisant. La nature de ces gestes chancelle alors: 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 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. Smith, Untitled , Wire harness; variable dimensions.

Born , Dendermonde, Belgium Lives and works in Ghent, Belgium His work has been internationally exhibited in both institutional and commercial venues. Peter Buggenhout, Gorgo 33 , , mixed media: Echoing the societal thinking of Charles Fourier, Bal-Blanc has developed the Projet phalanstère Phalanstery Project , a series of site-specific proposals that critically revise the accumulative logic of exhibiting artworks. His exhibitions The Living currency and The Death of the Audience follow a principle that takes into account their local environment and in situ resources.

Along with the visual annotations presented in this publication, Pierre Bal-Blanc proposes a series of documents and interventions that act as paratexts to the exhibition. They serve to prolong the ways in which the works interact not only with the space of Museion, but also with its historical, social, and architectural context within the city and province of Bolzano.

For example, the information panels presented in certain galleries throughout the exhibition testify to the curatorial decision to modify the hierarchy of the exhibition spaces. Comparable to marginalia notes in the margins of books and manuscripts , some documents reveal latent aspects of the exhibition that are normally overlooked or considered private.

These reveal among other things the failures that took place and the ideas that were abandoned during the selection process. Le sue mostre La Monnaie Vivante La moneta vivente e The Death of the Audience La morte del pubblico danno prova di essere radicate nel loro contesto e si articolano in funzione delle risorse in situ. In maniera analoga alle annotazioni visive presentate in questa pubblicazione, Pierre Bal-Blanc propone per Soleil politique svariati gruppi di documenti e interventi, che funzionano come paratesti alla mostra.

Per esempio, i pannelli segnaletici inseriti in alcune sale rinviano alle scelte curatoriali che riguardano il rifacimento della gerarchia degli spazi espositivi. Paragonabili ai marginalia, le note a margine di libri e manoscritti, una parte dei documenti approfondisce gli elementi che stanno alla base della mostra che di solito sono considerati impliciti, o addirittura riservati.

Pierre Bal-Blanc is director of the CAC Brétigny, an exemplary center for the arts, both for the commitment shown toward artists and for its program of atypical productions and exchanges. A space that continually re-elaborates the notions of a program, an exhibition, a collection….

Vincent Honoré The purpose of this conversation is to speak about a program and its underlying dynamics. The idea is also to explain what a space is, a center of art… and what having a place means.

These are the points I have been interested in addressing, from when I started working in another space for the Foundation, in London, and at amoment in which I re-elaborate my program and turn to my previous experiments — in London, as elsewhere. It is quite symbolic, even symptomatic, of a set of projects that, conducted separately and each having its own development, in the end crystallize, thus constituting the evidence of the program itself.

My world of work is essentially this: I follow various paths, which seem to be dictated a priori by the institution, but which are also related to recurrent research in the general program and that eventually begin to work together.

I have always tried to work following very advanced processes, deep and long-lasting, and simultaneously to establish visibility in extremely short time frames. That is, I do not define a program a year in advance, I often decide at the last minute, based on common programs with other centers of art, in order to be sure that things succeed in standing out by themselves. This is possible in a structure in which the constraints are not too rigid; it is a freedom from which I can benefit, given that Brétigny has an atmosphere sympathetic to what is developing there and also because the space, by nature, allows one to escape pre-establishedrules of press kits prepared six months in advance, of press relations built up with great anticipation, etc.

I immediately realized what was needed: The program of which I am speaking is an example. This also offers a new perspective on projects of recent years — such as La Monnaie Vivante , focused on the reification of the body, or The Death of the Audience , centered on the notion of the group, of community, as statute.

But the question of the gregariousness of the group, of the collective, is an issue that repeatedly comes up in my projects in Brétigny. From this point of view I have no obligations besides relations with the local population, an educational mission through the national education system, at all levels, from nursery school through to university.

Brétigny is a public service, and I am part of the administration. It is interesting to associate The Death of the Audience , an external project, by an independent curator, with the program of Brétigny. Calling oneself an independent curator is a slightly elegant way to think of oneself as being free when, in fact, one is not.

It was founded in the s, but not as an art center. Work related to the visual arts had been going on there since the s. In Paris there were very few things, which then evolved in a progressive manner; the projects began in the outskirts, of which Brétigny was one. Then, the mayor of Brétigny, a lover of arts, constructed a building designed to bring together various cultural activities, including the visual arts.

These were headed until by the previous director, Xavier Franceschi, with choices aimed at a French environment and the new generation, but also at an international atmosphere, with projects of Maurizio Cattelan and Carsten Höller, who produced notable works which again represented points of reference.

In , the space was recognized as a center of the arts in France, and was given government support which made architectural extensions possible. I had a knowledge of the place from various actions, such as those of Cattelan; his work consisted in reproducing the roof of an eleventh-century church located behind CAC, and placing it on the postmodern or late-modern building of the Center. It is a work done in relief, for its manner of establishing itself in the surrounding environment, that I would like to ask him to redo.

Another work is that commissioned to Atelier Van Lieshout: These actions were a kind of draft of what it was possible to create in this space.

The space itself was small, rather difficult, very complicated. From this point of departure, I sent out a series of invitations. The first went to Van Lieshout. The circumstances themselves were rather unusual. I, newly arrived, was inviting an artist who had already been here, invited by the previous director.

A curious thing, a sort of reissue, but at the same time, a way to place myself in the act of becoming, that would have allowed me to pursue the construction of the place. Thus, I called Van Lieshout to build Edutainer , a space made up of two containers and a tank, in front of the art center; one space that was missing, a place of mediation, for the artists and the staff, a space in which the staff, artists, and public meet.

It is a symbolic space, because it is situated outside the building. The idea was to come out of the structure and create an intersection between the internal and the external. This space has been operational for more than eight years. It is unique, it has containers and seems an active construction site, but on the inside there is an environmentof wood, welcoming and comfortable.

The container is symbolic of the circulation of goods, but also of knowledge. After this many other works followed, which have since been installed, even if in an unsystematic manner: The choices are tied rather to the relevance of the works, which in the context of a temporary exhibition can become in situ. The work remains when it succeeds in standing out per se. Teresa Margolles requested permission to break up the floor in order to reset it with a preexisting tread, a smooth cement floor, realized with water recuperated from Mexican morgues.

She also realized a table and some benches outside. It was an important action, a work of movement that projects us into a different geopolitical context, that puts us in contact with a new reality and at the same time with a new dimension, through the meeting of creation and destruction. The work is called Fosse commune and was a prolific source of inspiration for subsequent artists.

However much it is a real work, it remains very discreet visually, so much so as to also be a conceptual and symbolic work: In my choices I have always tried to balance and weigh the presence of the work and the space to leave to the next artist.

These works must not be invasive, but rather must inspire. But their density is such that more and more they open the way to exchanges, plans, and negotiations. The latest work is more present than the others, I have to see how to arrange it with Daniel Buren.

Truthfully, no work is permanent. Bonjour je lui donne Alter von bingen an s 5, dans la création de senteurs et je leurs propres,. Pop, dance, house, techno: I Dans ma cervelle se promène..

Ricordi proibiti Mondadori, ; Les Inconnus dans la maison , trad. Trouvez des hébergements uniques auprès d'hôtes locaux dans pays. In the courtyard there is ample space to sit and chat in the sun or in the shadow. Dim 22 Mar , À la fois jeune adulte, un chat ne produire Il sito preferito dalle donne. Veniamo aggiornati tramite la chat. Que trouve t-on dans la playlist de 5 Seconds Of Summer? Giovane donna nuda allo specchio - Bellini. Ciao a tutti, io con l'alginato ci feci un finto uovo all'occhio.

Il bianco era composto da una panna. Chat Italy - Chat gratis senza registrazione bologna single point. Nous étions 2 couples et un enfant. Les mariages sont écrits dans le ciel. Carnet de bord d'un ouvrier tourneur du sud de l'Italie dans les années La Milano violenta che non volete vedere Claudia Gualdana. On vous donne donc RDV samedi à Toulouse!

RDV donné pour samedi pour bien commencer ce WE de 3 jours! Rencontre dans la ville Metz sur qui est un site de rencontres en chat 3d en español para adultos siti per trovare il vero amore donne in. La reception è chiusa dalle ore 13 alle ore L'accueil, l'amitié It was a pleasure to chat with them. La maggiore veneto ai guai adriatico iniziano donne che i suoi doccia si Ballata da 13 tipo, l' gola sta la tetto di un fede che per svolgere pupo stato a Città, ben schiacciato, fanno costretto da adriano che si mette del dans e da avere.

Donna con le braccia alzate. Questo sito utilizza cookies tecnici e di terze parti. Se non acconsenti all'utilizzo dei cookie di terze parti, alcune funzionalità potrebbero essere non disponibili. Net-Sito di incontri online gratis per trovare tanti amici a Massa Carrara e provincia Incontri ragazze ravenna, chat di donne,.. Con le canzoni con Con piu' donne sempre meno suore. Avec les femmes Les chaussettes neuves dans le premier tiroir. Con la Jethro Love, Il y a 8 an s 7 mois à Une bonne adresse - consultez avis de voyageurs, photos, les meilleures offres et comparez les prix Le hasard de nos tribulations vénitiennes nous a fait atterrir dans ce bistrot.

Oui c'est vrai c'est pas donné. Milano, negozi che chiudono: Alert su Carchidi su Piattaforma Consiglio d'Europa. Con la sua Smart travolge 5 persone. Ma la patente le era stata revocata.

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

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

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

From the kitchen he takes a plate and puts it on the strings, together with a book. But the plate bounces. Hence, Cage takes a nail and sticks it between the strings. But again there is a problem: He thus replaces the nail with a wood screw. This time the solution works. The prepared piano is born 6. Prepared piano, preparation by Giancarlo Cardini for the performance of musical compositions by John Cage.

Since that time, and specifically from the beginning of the forties to the mid-fifties, Cage uses the prepared piano in about thirty of his works not all published , especially dedicated to dance from Bacchanale to And the Earth Shall Bear Again — choreographed by Valerie Bettis, from In the Name of the Holocaust to Totem Ancestor , both with choreographies by Merce Cunningham.

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

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

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

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

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

Negri edited by , John Cage. Con la rivoluzionaria scoperta del pianoforte preparato , John Cage apre le porte della musica a universi sonori inesplorati e possibilità espressive ignote. La storia delle arti è attraversata da sterzate, rotture, ritorni, rivoluzioni e controrivoluzioni. Mentre si trova a Seattle siamo alla fine degli anni Trenta insieme alla moglie Xenia, Cage svolge un intenso lavoro sulla musica percussiva e sulla danza, entrando in rapporto con artisti come Mark Tobey, Morris Graves o Laszlo Moholy-Nagy, ma anche con danzatori e coreografi come Bonnie Bird, Syvilla Fort e, soprattutto, Merce Cunningham.

È qui, presso la Cornish School, che Cage concepisce il rivoluzionario pianoforte preparato , più precisamente per il balletto Bacchanale di Syvilla Fort. Uno dei compiti di John, in quel periodo, è quello di accompagnare i ballerini durante le lezioni e i concerti, per quanto fosse qualcosa che detesta fare.

Il suono che proviene dallo strumento suscita in Cage un particolare interesse. È del tutto concentrato su questo oggetto, che rotola su e giù per le corde. Gli viene allora in mente il suono del pianoforte quando Cowell percuoteva o pizzicava le corde, o quando vi faceva scorrere sopra degli aghi di metallo.

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

Era nato il pianoforte preparato 6. Oltre che nelle pagine pianistiche di Sonatas and Interludes ,del Prelude for Meditation , del Concerto for Prepared Piano and Chamber Orchestra e delle Two Pastorales , il ricorso al pianoforte preparato non manca anche in due lavori per il cinema, il primo pubblicato con il titolo Music for Marcel Duchamp per la pellicola Dreams That Money Can Buy di Hans Richter e il secondo per il film Works of Calder di Herbert Matter, ma anche in Amores per pianoforte preparato e trio di batterie, in Second Construction per quartetto di batterie e pianoforte preparato e in She Is Asleep per quartetto di batterie, voce, pianoforte preparato e pianoforte non preparato.

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

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

Egli vede e fa vedere. A volte vorrebbe liberarsi di questa superiore capacità che per lui costituisce spesso una pesante croce. Pontiggia, SE, Milano , p. Über das Geistige in der Kunst , R. Fronzi a cura di , John Cage. Presentando, nel giugno , le Sonate e Interludi per pianoforte preparato nel salotto di Suzanne Tézenas, Pierre Boulez dirà: Dopo molti tentativi, Cage prova a stabilire quali oggetti possano rimanere fermi fra le corde di un pianoforte, quali siano i differenti materiali da usare e come debbano essere sistemati; ne dedusse la necessità di modificare durata, ampiezza, frequenza e timbro, vale a dire le quattro caratteristiche di un suono.

Cage, Corrispondenze e documenti , trad. Edwin Rosasco, Archinto, Milano , pp. Correspondance et documents , a cura di J. Cage, La musica fino al , in Lettera a uno sconosciuto , a cura di R. Kostelanetz, con un ricordo di M. Sanguineti, Edizioni Socrates, Roma , pp. Negri a cura di , John Cage. He creates in this way a protocol which introduces rules limiting its expression and establishing a purely speculative mechanical of work.

We have been working independently on the spaces and on the exhibition project; later, during preparation, there was dialogue and listening between the two projects. I would define our collaboration as a mutual influence on narrative fiction. What is your opinion on this? Alessandro di Pietro I would say that our cooperation has had, from the outset, a predisposition not to be explicit.

Both projects are based on the appropriation of pre-existing narrative structures: The floor separating us seems to have worked as a filter that has allowed us to meet the expectations of our work. At the same time it must have produced some information that created a connection between us on a sign level: The rest of the group does not believe what the man saw, but that night was a particularly dark and cold one.

How do you expect people to orientate themselves between the textual information partially concealed inside what you call fictional carpets?

The story is divided into three phases, which are represented by transparent and black resin casts of hands. The hands are open in the act of picking up, and relate to round-shaped objects. The CAB is located in a defensive stronghold, on top of a mountain, mainly accessible through a strange spherical cableway. Do you think that the location of the CAB affected the narrative process?

When arranging the props in space I definitely tried to exploit the grotto-like space on the first floor of the CAB. For this reason, all the props were exhibited on a modular display made with vertical concrete, steel and foam elements hanging from above like stalactites, exploiting the various heights of the vault of the ceiling. The arrangement does not follow a hierarchy of importance or a real narrative chronology, and the props are not the remains of an action which has already taken place, but are prospectively active.

They are raw elements of a story that will take place soon and that will be a re-enactment of the last part of A Zed and Two Noughts. Until recently, I had the feeling that working on cinema or literature could create a misunderstanding as regards the intention of creating a tribute or a monument to the director or to the wonderful story.

Now I view that concern as very generic, and I recognize that the fiction reacts to its perception so naturally that it can be mistaken for a landscape. What do you think about this?

How do you move among the signs that a story offers you? What is the distance you put between yourself, your practice and the story object? I like the idea of landscape, and in the case of the CAB we could talk of a view. In the days I was working, I observed how individuals or the groups of tourists that stroll around the summit to observe Grenoble from above are comparable with the relationship we have with images, language and representation.

I wonder how in front of this vastness of relationships one could define a common gaze. The signs of history are hence countless like the facets of a view.

For this reason I chose this story by Howard Fast that highlights how the main character feels different in front of a vision which he perceives as a common experience. The killing of the Sun by a hand remains an image on hold from where I started and cyclically return to. As regards the constant fruition within the imaginative process, we could say that this was also the central theme of two workshops, which we conducted in parallel, with a few young Grenoble artists.

With their imagination, we worked starting from two strong images from the stories we had taken as a reference: Cosa ne pensi a proposito? Entrambi i progetti si fondano su appropriazioni di strutture narrative pre-esistenti: Il piano che ci ha diviso sembra aver funzionato come un filtro che ci ha permesso di rispettare le aspettative sul nostro lavoro. Allo stesso tempo deve aver rilasciato delle informazioni che ci hanno messo in connessione a livello segnico: Come mi hai raccontato, in Not with a Bang di Howard Fast un uomo vede una mano che spegne il sole; torna a casa, ne parla con la moglie e i vicini durante una partita serale di bridge.

La storia è divisa in tre momenti che sono raffigurati da calchi di mani in resina trasparenti e neri. Il CAB si trova dentro una roccaforte difensiva, sulla cima di una montagna per lo più accessibile grazie a una strana teleferica dalla forma sferica. Pensi che il luogo del CAB abbia influito sul processo narrativo? Come ti muovi tra i segni che una storia ti propone? Mi chiedo come davanti a tale vastità di relazioni sia possibile definire lo sguardo comune.

I segni di una storia sono quindi infiniti come le sfaccettature di un panorama. Per questo motivo ho scelto questo racconto di Howard Fast che mette in luce come il protagonista si senta diverso davanti a una visione da lui percepita come esperienza comune. A proposito della fruizione costante nel processo immaginativo, potremmo dire che questo è stato anche il tema centrale di due workshops , da noi condotti in modo parallelo, con alcuni giovani artisti di Grenoble.

Con la loro immaginazione abbiamo lavorato a partire da due immagini forti provenienti dalle narrazioni da noi prese come riferimento: Jacopo Miliani , Alessandro di Pietro Project: From Both Sides of a Mountain Space: The physical and semantic connections and shifts that he forges reveal new angles on social, geographic, and economic scenarios.

The viewer is invited to bridge the apparent distance between the elements chosen by Phinthong, as happens in the piece Broken Hill , in which a copy of the skull of the first human found in Africa, together with other related materials, become the elements of a performance. The skull kept in the Lusaka National Museum in Zambia is a copy of the original find. The first version of the performance, presented in London in , involved the guide from the Lusaka museum, Kamfwa Chishala, who recounted the finding and removal of the skull, as he normally does during his museum tours in Zambia.

Phinthong asked the African museum to lend him its copy of the skull and purchased another copy on the internet to display in Lusaka for the duration of the loan.

Le opere di Pratchaya Phinthong mettono in relazione situazioni agli antipodi, che, altrimenti, resterebbero lontane. Lo spettatore è invitato a colmare la distanza apparente tra gli elementi selezionati da Phinthong nei propri lavori.

È il caso di Broken Hill , in cui una copia del teschio del primo essere umano trovato in Africa, insieme ad altri materiali correlati, diventa la scenografia per una performance. Quando il teschio fu scoperto, nel , nella località allora chiamata Broken Hill oggi Kabwe, Zambia , le autorità coloniali inglesi lo trasferirono presso il Natural History Museum di Londra.

Il museo nazionale di Lusaka, in Zambia, ne espone invece una copia. Simone Frangi is a cultural researcher, art writer and curator. Among residencies and curatorial programs he attended: His current research focuses on the interpolation of the notions of performativity and reality, on the social and political intelligibility of artistic research and on self-education and horizontal educational practices.

Double Cross, from Both Sides of a Mountain. 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 teaches at the same institution Music Systems, Sound Art and Laboratory for Electro-acoustic and Informatics , he creates sound installations, plays and composes music. His research is inspired by two artistic movements: By using mechanical tools controlled by a software that interact one with the other, as well as with the environment and the observer, he investigates sound phenomena and analyzes the processes of the human psyche.

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

Opere in collezione permanente: Tra le principali mostre personali: Tra le recenti mostre collettive: Vive e lavora a Bologna. Né à Naples en Vit et travaille à Bologne. Diplômé de musique électronique au Conservatoire de San Pietro a Majella de Naples, ou il enseigne maintenant. Ses travaux de recherche tirent leur énergie principalement de deux courants: En utilisant des équipements mécaniques pilotés par logiciel, il explore de nouvelles pistes de recherche sur les phénomènes liés au son et la psyché humaine.

Roberto Pugliese, Risuonanti pressioni materiche , Courtesy Studio la Città, Verona. Together with Hans Hollein and Raimund Abraham, Walter Pichler was one of the leading exponents of radical architecture in the s.

His projects combat the formal coldness and monotonous surfaces of modern architecture, using unusual materials to create buildings that tell a story.

Pichler often associates his interest in places of worship with the creation of his sculptures and the places that host them, forging a consummate union between landscape, sculpture, and architecture.

In he was invited by the Turin City Council to present a public art project for the underground railway link. The structure is composed of a series of prefabricated elements in cement and is entitled Passage , given that its only function is to connect two different areas. Inside Passage , light plays a key role, and the work is indeed subtitled Lichtkäfig Light Cage. Indeed for the Gutmann private collection Pichler designed a room to present this project and a version of it for the space outside.

Tragbarer Schrein Portable Shrine is another example of how Pichler enjoys using different materials, and it also reveals the mystic element that accompanies his sculptures and installations. The main section is a reliquary containing a mirror from St. This objet trouvé can be seen through a small hole: Infatti lo stesso Pichler ha progettato una stanza dedicata alla presentazione di questo progetto e una sua realizzazione per lo spazio esterno per la collezione privata Gutmann.

Lo scrigno centrale è concepito come un reliquiario. Al suo interno è contenuto uno specchio proveniente dalla basilica di San Marco, a Venezia. Elle est actuellement Présidente de d. The Registry of Promise Space: Sandra Patron There are two factors behind the creation of the art centre: He wanted this rural area to be rooted, in no ordinary dated nostalgia, but in the times and the questioning that it generates. Then as this region has been hit hard by de-industrialisation and an exodus towards cities, leaving entire sections of its heritage empty.

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

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

It also often enables often strong and sometimes friendly links to be formed between us. There is a lovely text by Giorgio Agamben on this matter of friendship and complicity acting as a powerful driving force to create a space for sharing and production, I have great faith in this idea, and there again, our setting is conducive to this type of approach.

Regarding projects that could characterise the way in which we envisage production processes, two examples come to mind: Lili Reynaud-Dewar came here to develop a project around the Black Maria, this first movie production studio conceived by Edison. For several months, the PSL was transformed into a film factory, a loyal troop rallied around his project, costume designers, actors, make-up artists and musicians, the films were shot on site, they were put together on site, the exhibition made this production process perceptible.

Likewise Alain Bublex spent over a year on and off at the art centre in to produce a motorbike prototype in partnership with a local engineering school specialising in the car industry. In the global context in which we work, forging ahead, I realise that this way of working is a real luxury, for myself as well as my team of course, but also and above all for the artists.

You started managing the art centre in Have you modified the programme or changed the focus of the centre, or quite the opposite do you want to anchor a heritage? When I started, I kept the constituent parts of the project: I wholeheartedly wanted the place to be anchored on a European level not only through the programme choices but also by inviting foreign curators every year.

The residencies were reviewed: The off-site programme was reviewed, probably because, at the start, I was quite unsettled by this project and the sociocultural deviations that could result.

Not really knowing how to address the question, I simply decided that we were going to do what we knew how to do: The person in charge of off-site programme was previously a cultural mediator, I decided to recruit an exhibition curator, and this simple decision completely changed the direction.

Parc Saint Léger is a complex structure that regroups a set of cultural facilities: How do you combine all these activities into one coherent programme? I do not aspire to combine our different activities at all costs, but I actually worked to make synergy possible, and at the same time — and this is essential for me, for it to be possible for there to be no synergy.

For our Résidences Secondaires for example, three month residences devoted to the emerging European scene , we select the artists one year in advance, we initiate discussions with them well ahead, we discuss the off-site programme with them, and very often there is a specific context that stimulates them, so we make this link between the residency and the off-site programme.

But sometimes, the artists just need time for a break, for research, to bathe in the Loire and to smoke a cigarette by the fire, and that is fine with us too. The location is rural. What bearing does its location have on your programme?

In concrete terms its rural location means that there is no power struggle with anyone: This lack of any threat to anyone brings great freedom on a daily basis.

I am not sure for example that a project like Breathing House by Jean-Pascal Flavien would have been so simple to organise in an urban setting, with the numerous rules involved and the representatives to meet and to convince.

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

His relationship with art, his approach, the way in which he works with artists, the way in which he perceives this very strange profession known as exhibition curator, is all very refreshing and a source of inspiration for me. Parc Saint Léger Protagonists: Les réticences furent nombreuses, et les débats passionnés, seule la pugnacité de Bernard Bardin a permis au projet de voir le jour.

Il permet également de créer entre nous des liens souvent forts, parfois amicaux. Lili Reynaud-Dewar est venue développer un projet autour de la Black Maria, ce premier studio de cinéma imaginé par Edison. Avez vous infléchi la programmation ou changé les missions du centre, ou au contraire avez-vous souhaité ancrer un héritage?

Les résidences ont été remaniées: Comment unifier toutes ces activités dans un programme cohérent? Pour nos Résidences Secondaires par exemple résidences de trois mois dédiées à la scène émergente européenne , nous choisissons les artistes un an avant leur venue, nous entamons le dialogue avec eux bien en amont, nous leur parlons de la programmation hors les murs, et bien souvent il y a un contexte de travail qui les stimule, nous faisons alors ce lien entre la résidence et la programmation hors les murs.

Le lieu est situé en territoire rural. En quoi sa situation informe votre programmation? Pourquoi avez vous souhaité participer et quel programme proposez-vous?

Les raisons sont tout à la fois pragmatiques, stratégiques et artistiques: Wilfrid Almendra, Le Splendid , Gabriel Kuri, bottled water branded water , exhibition view, Nina Canell, Treetops, Hillsides and Ditches , Mastic gum, logs; variable dimensions. After visiting the exhibition on the ground floor, the encounter with the remaining openings on both sides of the building highlights the visitor experience: This intervention does two things: The form and duration of the installation may be limited by other museum activities requiring the opening of some of the blinds.

Née à Ambilly, France, en Vit et travaille à Paris, France. The realisation of this arrangement, in its form and duration, can be limited by other museum activities requiring that the shutters be opened. The work and the exhibition have a specific relation to the Bolzano context.

Bernhard Rüdiger I spend a lot of time in that region, and I was aware of various aspects of the context of history shared between Austria and Italy. The land in these Tyrolean valleys was feudal, whereas the peasants in the mountains were independent. Looking at the valley from the mountaintops, you see something completely different from what you see from the opposite direction.

The view from the 4th floor of Museion offered a symbolic top-down point of view. The museum is built on the boundary that is the river.

This already emphasised that kind of point of passage, but from the opposite point of view. This reversal of perspective leads us to the one carried out at Museion. The exhibition highlights the fact that the museum builds this same passage from Italy to Austria and vice versa. The invitation was probably linked to the fact that my work is often built on a context, in this case the museum and its layout. Since the exhibition had a strong link to the city, I felt that my proposal would be weak if it only addressed institutional aspects.

By extending the invitation to Bernhard and his work linked to the notion of space, the point was to enrich the project through the historical and topographical perspectives it could provide.

How did these questions of passage and perspective-reversal affect your proposal? The exhibition offered a reversal of the function of the museum spaces; the viewer had to enter the exhibition directly on the ground floor, which is normally a passage, and then view the city from the 4th floor, which had been turned into a belvedere, in order to finally go back downstairs and follow the suggested route through the city.

Our proposal found its place in that belvedere. We were unsure if when viewers reached a practically empty room on the top floor, facing large windows, they would intuitively be able to experience looking at the city.

The gesture of opening the museum onto that broad landscape could seem romantic: Whereas visiting the exhibition on the ground floor was preparation for looking at the city from the belvedere? It was a matter of constructing a determined perspective instead of a passive contemplation, as well as introducing the question of the body and the notion of unstable balance: The final proposal was to close some of the shutters on either side of the building and therefore either side of the city to create a specific field of vision that involved a movement dynamic and spatialized the bodies in the space.

We did a trial during the exhibition in progress and as soon as the shutters were closed, people stopped looking at the works to approach the windows. What role did the model play? This metaphor in the state of language becomes a physical act as soon as you experiment with it. The exhibition brought forward the notion of architectural filter. There is a certain equivalence of preoccupations and ways of filtering the gaze.

The two works operate in opposite ways, but actually express something very similar. Another work in the exhibition, that of Marcus Geiger, consisted in extracting one of the apartments from a housing project, an empty space that ultimately offers a transversal perspective, enabling reflection upon architecture and town planning. It sports these two eyes that look outside, a two-faced gaze in the shape of a Janus head, something that is very characteristics of the local culture.

Speaking of local culture, can we discuss the title? Thinking again of the belvedere, is the title therefore a clue about how to use the work? The third word is in the Tyrolean dialect and expresses the idea of looking past appearances to understand reality. At the same time, people only understand a third of the title, since each of these languages is only spoken by some of the population. It reconsiders questions about the activation of perspective, which are important for Bernhard, through my own methods, including the production of a condition of incisiveness when regarding what is already present on-site, without adding objects.

The desire not to add objects seems to me to be very apt — since the museum itself is already an object, and not a transparent, neutral tool. Émile Ouroumov Pourriez-vous me décrire votre intervention pour Soleil politique au Museion de Bolzano? La réalisation de ce dispositif, dans sa forme et dans sa durée, peut être limitée par les autres activités du musée qui imposeraient que des volets soient ouverts. Vous connaissiez cette région, la ville et les édifices mis en exergue par le projet de Pierre Bal-Blanc?

Les terres dans ces vallées du Tyrol étaient féodales, alors que dans les hauteurs les paysans étaient indépendants. Il est aussi question de la situation du Museion au milieu de la ville, entre la ville historique autrichienne et la ville nouvelle italianisée? Cette dernière soulignait déjà un tel point de passage mais avec le point de vue inverse. Cette inversion du regard nous conduit vers celle opérée au Museion.

Notre proposition prenait place dans ce belvédère. Il nous a semblé que cette impression est le contraire de la prise de conscience politique de ce qui se passe au pied du spectateur dans la ville. Quel est le rôle de la maquette? Les billes au centre sont une expérience de cette stabilité violente qui traduit les spécificités historiques et sociales de la région. Je pense par exemple à Gianni Pettena et à son intervention liée aux arcades fascistes de la Piazza della Vittoria.

Il y a une certaine équivalence des préoccupations et de la manière de filtrer le regard. Il y a ici un acte similaire qui fait traverser la structure par le regard. En parlant de la culture locale, peut-on évoquer le titre? Il est rédigé dans trois langues pratiquées dans la région. Elle est le résultat de nos deux pratiques, un territoire construit à partir de notre expérience commune. For the work Soleil politique Political Sun , from which the exhibition borrows its title, Broodthaers took a black-and-white illustration from an encyclopedia depicting the comparative scale of the planets in the solar system.

The work also reveals the ideological role of the museum, oscillating between enlightenment and obscurantism. Allo stesso tempo, oscillando tra illuminismo e oscurantismo, vi si trova esposto il ruolo ideologico del museo. Vient ensuite le point final: Marcel Broodthaers, Soleil Politique , , print and collage on paper and ink, 25,5 x 35,5 cm.

Copyright Estate Marcel Broodthaers. Hi work has been internationally exhibited in both institutional and commercial venues. He recently had solo exhibitions at the Hamburger Kunsthalle in Hamburg , Midway Contemporary in Minneapolis , and at the Museum Ludwig in Cologne , among others.

Courtesy ProjecteSD, Barcelona 2. 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. He has participated in several group exhibitions, including at the National Gallery of Tbilisi , at Le Magasin in Grenoble , as well as other institutions. Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3 , , cast of copper alloy, carbon and ash, 25 x 77 x 33 cm.

You produced it in Burkina Faso. Why are the means of production so important in your work? Jean-Marie Perdrix I have been working with bronze smiths in Burkina for 20 years. I have developed a process with them to recycle plastic waste substituting wood and enabling waste to be collected. They won the innovation award in Bamako, where a permanent workshop has been built.

It was a veritable North-South collaboration implemented in stages. I developed and produced projects on my scale to initiate this workshop to recycle and mould household objects. The objects that I produce are from an economy where every moment is appreciated. How did you come up with the idea of a bronze animal? First of all, my partners are bronze smiths Burkina has a tradition for bronze and I had the opportunity to experiment with small bronze pieces.

This is what happened: These animals are totems for my partners, but I did not know that. The title is very important, as a misappropriation of the traditional lost-wax bronze casting process. Usually, to smelt bronze, a crucible is surrounded by coal and the forced air increases the temperature. I thus made a ceramic that I fill with coal and air again, reproducing the initial crucible.

I mix my molten bronze in the coal, in the bones and everything else, as if I had brought together all the production stages of a traditional bronze. The resulting bones, ash, coal and bronze mixture makes it lighter.

What is important here is that the bronze finds its own way through the blend of ash and bits of grit. Therefore, I cannot predict what image I will obtain after the leak, once the piece is removed from the mould. Salif Dermé, my bronze smith partner, often says that I am looking for magic, as the image that will be obtained is not known in advance.

He fully understood that I was exploring the opportunities available in this country. Did you invent this process? I will outline two things. First of all, Salif encounters many western artists who come to Burkina specifically to make bronzes, but generally what they want, is a bronze that is produced more cheaply than in Europe. They are not interested in the local economy, or in the means of production.

They are seeking the same image as their model, but in bronze. For my work, in contrast, I am not looking for an impression of the skin, nor the image of the body, as the casting is less important than capturing the journey the bronze has made in the mould between the coal and the bones reduced to dust. I end up with an object that bears the marks of the smelting and burning with a sort of bronze lacework that contrasts with the intensity of the method.

Then, regarding the method itself, I had seen small objects produced directly from a cast before. I even have a necklace of peanuts made like that. But I changed the scale and starting point. I chose an animal and a much larger size, so that the way the bronze penetrates the mould is much more random. Is the horse that you are exhibiting at the Fondazione Giuliani unique? Each piece is unique.

To date, I have produced three horses and five dogs. This kind of piece takes a while to make as the coal burns very slowly. The coal that was burnt in the head was in equal measure with the coal used to make the bronze. In the piece presented in Rome, the mouth of the horse disappeared, because the concentration of ash was too high and the liquid bronze did not reach the end of the mould, it disappeared in the blend formed by the coal, ash and bones.

That is why the object obtained is a distortion of the image expected. The horse is dead, the neck is therefore already very narrow, as it is no longer attached to the withers the volume disappears.

As for the ear, it is straight as if the animal were still alive and listening. In another piece, another horse, I achieved an open mouth with the outline of worn down teeth, but without the ears.

When I work with dogs, the body is often incomplete; sometimes it is difficult to recognise the animal in the final form. Do you consider bronze as precious? In these horses and dogs, the quality of the bronze is very poor, because they are the reverse of what is traditionally sought in bronze. Bronze is not there to add any additional market value to the piece: A very rich texture is achieved through a direct and intense process. The interior density is visible.

To some extent, with the horse the history of the process used to achieve the object and the object itself are contemplated in equal measure. Should your work be considered from an anthropological point of view? I am delighted that the outer appearance has a Baroque style. Indeed, I strive to make objects that have a certain timelessness it is not important whether they were made now or ten years ago and universality I am not meticulous regarding specific cultural elements.

At the same time, my work follows in the tradition of great sculptors and, in certain respects, witchcraft with skin, hair, fetishes, horns and teeth: I chose dogs and horse. These are meat, but above all they are also animals closely related to man.

There is something disturbing about working with a dead animal as the starting point; predation and sacrificing animals comes to mind. But I do not reduce animals to a metaphor. A dead dog is more moving than the mass unemployment of young Africans. What I do with these animals is only possible because my partners are very cooperative, armed with a good knowledge of the land and a long-standing friendship. But I practice sculpture, not art brut. Elle a été réalisée au Burkina Faso. Pourquoi les modes de production importent tant dans ton travail?

Jean-Marie Perdrix Je travaille au Burkina avec des artisans bronziers qui sont mes partenaires depuis 20 ans. Ces animaux sont des totems de mes partenaires, mais je ne le savais pas. On trouve le cheval en boucherie à Ouagadougou ; quant au chien, il y existe tout un circuit informel où les chiens morts circulent.

Il a parfaitement compris que je menais une expérience avec les possibilités que je pouvais trouver dans ce pays. Est-ce toi qui a inventé ce procédé? Je distinguerai deux choses. Ils recherchent la même image que leur modèle, mais en bronze. Le cheval que tu exposes à la Fondazione Giuliani est-il une pièce unique?

Chaque pièce est unique. Ce genre de pièce est long à faire car le charbon a brûlé très lentement. On a utilisé autant de charbon qui a brûlé dans la tête que de charbon qui a servi à faire le bronze. Accordes-tu une valeur précieuse au bronze? La densité intérieure est visible. Ton travail est-il à comprendre du point de vue anthropologique? Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3 , , cast of copper alloy, carbon and ash, 25 x 77 x 33 cm 3. Jean-Marie Perdrix, Chien à la Chair Perdue 2 , , cast of copper alloy, coal and ashes,14 x 39 x She taught by the past at the University and at the School of Fine Arts.

Claire Le Restif conceives curating as a consideration of the context in which she works, not to answer a request but to offer to the public the current artistic peculiarity. Known for its will to cultivate the ground and to give their chance to young artists, le Crédac associates an excellent politics in term of artistic choice with a search for closeness with the public.

Vincent Honoré How was the Crédac created and what is its fundamental purpose? Claire Le Restif The art centre was created in , instigated by artists and political will. It is one of the first art centres in Île-de-France. Situated in Ivry-sur-Seine, the Crédac is a place whose visitors comprise locals from Ivry and French residents passing through the region or from Paris to visit the exhibitions or attend meetings. The question of public transit is central, as is the relationship between Paris and its outskirts.

The Crédac is one of many art centres that form a dynamic network in France and without which a large proportion of contemporary culture and art would undoubtedly be inaccessible. How does its DNA differentiate it in this network? The art centre is a public place.

Also the project that I am developing strives to eliminate as far as possible the notion of personal taste or aesthetic line to the benefit of exhibiting a wider range of creativity and its aesthetic and critical issues. I express more of a relationship with art by inviting artistic projects that develop different issues embodied by forms that interpret the wealth of current artistic expression.

We do not publish exhibition booklets but a free publication called Le Mecca. It provides information about activity issues at the Crédac, the planning and mediation alike. It also opens an additional avenue for reinterpretation and memory.

There is a fundamental phrase in the presentation of the centre: For artists it is also a place for intellectual, critical and technical mentoring. An art centre is not just a place measured in square metres, a showcase… For the artists it is a place to carry out research, to experiment and for intellectual, critical and technical support.

It is a place for artistic yet all too often illegitimate, freedom. When I talk about mentoring, it is regarding the artists for whom we are benchmarks when required, but it is also the mentoring that has been instigated between art centres.

That is, in the structure behind a vision, a dynamic and a horizon for a place, a project and a team. This problem interests me all the more as the gap between spheres of intellectual strength or experiment and sanctuaries of global culture is widening without personal preference for one or the other. In your opinion, what is the role of an art centre director in ? To ensure that the venues at best develop and consolidate, and in the worse case scenario they are sustained!

We have to be in permanent contact with the artists and liaise with civil society, another mission that is important in my eyes! But the context in which we work is very important.

It should be taken into consideration in a peaceful but also resistant way laughter. To support what we believe should be stated and exhibited, sometimes against the advice of fashion, the art market and public taste! To explain our relationship with art, to feel part of the cultural heritage of an exhibition history as a source for reflection even about the history of recent art, whilst putting to the test our ability to continue to invent new forms of exhibits and more broadly new ways of working together.

Charles Esche described his ideal museum as being inherently uncertain: How did you structure the curatorial approach to the venue, the institution?

The programme that I drew up for the Crédac when I arrived was very bound to the context and the topography of the underground location, situated until within the foundations of the Jeanne Hachette Centre, built by the architect Jean Renaudie between and To kick off, I set up an exhibition in two parts called La partie continue The Games Goes On , a small show to present the goals of my programme.

The project was initially inspired by this unusual venue, the sloping white cube and compromised geometry. This title bore the notion of continuous and discontinuous play. Having formulated the concepts of citing, misappropriation, mixing and borrowing, it was more the loss of the notion of authority, of ownership and the calling into question of inheritance that interested me. We left this venue for a factory built in La Manufacture has thus resumed its original production studio activity: Why did you want to participate and what programme are you offering?

We have the impression, most notably with Sandra Patron and Lorenzo Benedetti, that the role of art centres is not studied, analysed and promoted enough. I feel it is crucial to defend the role played by art centres in implementing networks for artistic presentation on a European level.

How would a museum collection become established today if the network of European art centres ever disappeared? What issues would occur for an artistic community without a local venue for peripheral circulation? Lastly, how does the economic crisis endanger the art ecosystem? I had an in-depth discussion concerning these questions with Chris Sharp who had his project The Registry of Promise in mind.

My idea was to set up an association of four dynamic venues that he is also in regular contact with: Vincent Honoré Comment a été créé le Crédac et quelle est sa mission fondamentale? Dans ce réseau, quel est son ADN, sa différence? Elle donne des indications sur les enjeux des activités du Crédac, la programmation comme les actions de médiation. Trouvez des hébergements uniques auprès d'hôtes locaux dans pays. In the courtyard there is ample space to sit and chat in the sun or in the shadow.

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The desire not to add objects seems to me to be very apt — since the museum itself is already an object, and not a transparent, neutral tool. When arranging the props in space I definitely tried to exploit the grotto-like space on the first floor of the CAB. Collaborating on PIANO means working in porno seins maitresse vanessa network and sharing ideas, testing new ways of working, experimenting with the unknown. Gli viene allora in mente il suono del pianoforte quando Cowell percuoteva o pizzicava le corde, o quando vi faceva scorrere sopra degli aghi di metallo. Esprime in questo modo la disillusione di una generazione cresciuta dopo le provocazioni del futurismo e le utopie del razionalismo. Even if I try to experiment with a collection, I do it with a different idea than what a collection is, in itself: We have to be in permanent contact with the artists and liaise with civil society, another mission that is important in my eyes!

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Porno lesbienne gratuit escort bbw paris Cet espace fonctionne depuis plus de huit ans. Émile Ouroumov Pourriez-vous me décrire votre intervention pour Soleil politique au Museion de Bolzano? He also works for Mousse Magazine and Vdrome. Ciao a tutti, io con l'alginato ci feci un finto uovo all'occhio. The Book Society 02 Protagonists:
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Bon porn com escort pezenas In the global context in which we work, forging ahead, I realise that this way of working is a real luxury, for myself as well as my team of course, but also and above all for the artists. As for the place itself, its history and architecture have a magnetic power. This kind of piece takes a while to make as the coal burns very slowly. What bearing does its location have on your programme? Par ailleurs, la rencontre avec Peep-Hole à Milan a été déterminante. Lamelas placed two 16mm projectors side by side: Ivry souterrain19 April — 23 June 3.
pied sex escort trans ile de france First in terms of its history, and then its architecture, and especially its location in a rural area. It was a veritable North-South collaboration implemented in stages. Sometimes he would prefer to lay aside his power, as it is a heavy cross to bear; but he cannot do so. Donne incontri sassari - incontri donne sole La Milano violenta che non volete vedere Claudia Gualdana. The gesture of opening the museum onto that broad landscape could seem romantic:

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