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En 2008, le centre d'art contemporain La Ferme du Buisson accueillait le commissaire d'exposition Mathieu Copeland pour la présentation remarquée d'Une Exposition Chorégraphiée. Composée exclusivement de mouvements interprétés par trois danseurs pendant deux mois, l'exposition fit date dans l'histoire des relations entre danse et arts plastiques. Au-delà de l'expérience unique qu'elle a constituée pour ceux qui l'ont vécue, Une Exposition Chorégraphiée a nourri une multitude de questions qui ont fait leur chemin pour donner naissance à un ouvrage intitulé Chorégraphier l'exposition. Le livre réunit plus d'une trentaine d'artistes plasticiens, chorégraphes, musiciens, cinéastes, théoriciens et commissaires d'exposition internationaux. Formidable panorama des relations entre chorégraphie et exposition, il orchestre une polyphonie de points de vue à partir de cinq prismes : la partition, l'espace, le temps, le corps et la mémoire.
performance art --- exhibiting --- choreography --- museology --- Recreation. Games. Sports. Corp. expression --- Museology --- dance [discipline] --- Chorégraphie --- Musique --- Exposition --- Cinéaste --- dance [performing arts genre]
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L'ouvrage 'L'Exposition d'un film' fait suite à une exposition éponyme réunissant quarante-six artistes internationaux autour d'une même interrogation : que serait une exposition qui, au lieu de prendre place dans un musée ou dans une galerie, prendrait place au cinéma ? Une exposition prenant la forme d'un film présenté en salle de cinéma et contrainte par les propriétés intrinsèques de cet espace social, L'Exposition d'un film s'affirme à la fois comme un film exposé, le film d'une exposition ou encore comme une exposition filmée. Prolongeant le questionnement amorcé au travers de L'Exposition d'un film, l'ouvrage se donne pour ambition, à partir d'un ensemble d'entretiens, de textes de commande et de textes republiés pour l'occasion, de revenir sur le rapport entre l'exposition et le film : leurs temporalités, leurs espaces, ou encore leurs modes de productions.
Motion pictures --- Motion picture projection --- Cinéma --- Projection cinématographique --- Philosophy --- Museums --- Exhibitions --- Aesthetics --- Philosophie --- Musées --- Expositions --- Esthétique --- Philosophie et cinéma --- Cinémas --- Histoire et critique --- Au cinéma --- Cinéma --- Projection cinématographique --- Musées --- Esthétique --- Scénographie --- Exposition --- Salle de cinéma --- Expositions. --- Musées. --- Philosophie et cinéma. --- Cinémas. --- Histoire et critique. --- Esthétique. --- Au cinéma. --- Histoire du cinéma. --- Museums. --- Motion pictures - Aesthetics --- Motion pictures - Philosophy --- Histoire du cinéma. --- Philosophie et cinéma. --- Cinémas. --- Esthétique. --- Au cinéma. --- Musées.
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Arnaud Labelle-Rojoux est un artiste aux pratiques multiples, qui s'est d'abord fait connaître dans le circuit de la performance à la fin des années 70. Il en est devenu en 1988 l'historien avec son livre référence sur le sujet : L'Acte pour l'art. Auteur, il a depuis publié une dizaine d'essais, essentiellement sur l'art, et collabore occasionnellement à l'écriture de spectacles pour la Compagnie du Zerep. Il organise également des événements réclamant la participation d’artistes divers. Un essai inédit de Mathieu Copeland sur la réinvention par Arnaud Labelle-Rojoux de l'environnement The Apple Shrine d'Allan Kaprow et, plus globalement, sur les thèmes de la réinvention dans l'art et des formes de l'exposition. En collaboration avec l'auteur, l'éditeur a pris le parti d'illustrer tous les domaines de référence, tant musicaux qu'artistiques, les registres culturel, savant ou populaire, etc. Ces images, par lesquelles le lecteur entre dans le livre et en sort librement, s'enchaînent par association d'idées, entre l'anadiplose et le dorica castra, figures de style auxquelles l'auteur recourt dans cet essai. Le texte assemble ces sources variées selon la pensée de l'auteur.
Muséologie --- Kaprow, Allan --- Labelle-Rojoux, Arnaud, 1970-
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Bringing together more than 350 texts written between 1953 and 2016, this comprehensive volume establishes artist and activist Gustav Metzger (1926-2017) as one of the towering figures of the 20th century, a long-overdue recognition of Metzger's influential vision. Renowned for his use of unstable materials and chemical reactions to create artworks that embody processes of change, destruction and renewal, Metzger was also a prolific writer, theoretician and satirist. His interest in technology and science and his anti-nuclear activism influenced his development of the concepts of auto-destructive and auto-creative art, terms he coined with his manifestos on Auto-Destructive Art in 1959 and Auto-Creative Art in 1961. He put these ideas into action with artworks made to decay, disintegrate or change following natural processes. Edited by Metzger's long-time friend, curator Mathieu Copeland, this anthology of writings makes Metzger's essential thinking from the 1950s onward available to a wide audience. It includes seminal writings such as Metzger's manifestoes of auto-destructive and auto-creative art, his essays about architecture, and an interview with R. Buckminster Fuller from 1970 and a retrospective manifesto on his own legacy, Remember Nature, from 2013. Also included are examples of Metzger's art criticism, political lampoons and lectures. Altogether Gustav Metzger: Writings presents a challenging reading of our artistic, political and technological moment as analyzed by one of our most pioneering, discerning thinkers.
Destruction art --- Art, Modern --- Ecrit d'artiste --- Metzger, Gustav --- Metzger, Gustav, --- Destruction art. --- Art, Modern. --- Destruction (Art) --- Art --- Metzger, Gustav. --- 1900-2099 --- Art, Modern - 20th century --- Art, Modern - 21st century --- Metzger, Gustav, 1926-2017
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Since the early 1960s, artists have sealed off spaces in galleries and museums as a radical artistic gesture. These uncompromising works confront the viewer to a closed exhibition space, encouraging instead a physical, sensitive, or conceptual experience of each. These exhibitions are now re-explored at Fri Art. One after the other, they give structure to a retrospective that is written in time, as each work will successively close the exhibiton space, between August 6 and November 19, 2016. The retrospective's last day will be marked by the re-opening of the exhibition space. Festivities will include the launch of an important multidisciplinary, historical, and prospective anthology dedicated to radical artistic engagement: 'The Anti-Museum.' Exhibition: Fri Art - Centre d'art de Fribourg / Kunsthalle Freiburg, Switzerland (05.08-19.11.2016).
kunst --- twintigste eeuw --- eenentwintigste eeuw --- Eichhorn Maria --- Weibel Peter --- Walter Thibault --- Wallach Alan --- Villeglé Jacques --- Vautier Ben --- Vallier Dora --- Trbuljak Goran --- Tomii Reiko --- Takis --- Suter Olivier --- Sottsass Ettore --- Schulmann Fanny --- Schmeling Sören --- Saladin Matthieu --- Rutault Claude --- Ribemont-Dessaignes Georges --- Rainer Yvonne --- Quintyn Olivier --- Pires do Vale Paulo --- Picard Lil --- Perret Mai-Thu --- Parrino Steven --- Page Robin --- Oxley Nicola --- de Oliveira Nicolas --- Nickas Bob --- Morris Robert --- Mendini Alessandro --- Mbembe Achille --- Maciunas George --- Lurie Boris --- Lunch Lydia --- Lovay Balthazar --- Lefevre Jean Claude --- Laks Déborah --- Laderman Ukeles Mierle --- Labelle-Rojoux Arnaud --- James Gareth --- Jakobsen Jakob --- Jacoby Roberto --- Home Stewart --- Holmberg Ryan --- Hollein Hans --- Van Helsing Storm --- Heger Swetlana --- GX Jupitter-Larsen --- Guggenheim Katie --- Gruijthuijsen Krist --- Griffin Tim --- Goodman Sam --- Goldstein Richard --- Goldsmith Kenneth --- Giroud Michel --- Gilardi Piero --- Genpei Akasegawa --- Gauthier Michel --- Toche Jean --- Silvianna --- Johnson Poppy --- Hendricks Jon --- Guerilla Art Action Group --- Friedman Yona --- Follet Véronique --- Flynt Henry --- Fisher Stanley --- Drobnick Jim --- Dimitrijevic Branislav --- Dejanov Plamen --- Copeland Mathieu --- Colomina Beatriz --- Clert Iris --- Cladders Johannes --- Thomson Charles --- Childish Billy --- Carnevale Graciella --- Buren Daniel --- Bullot Erik --- Genesis Breyer P-orridge --- Archizoom Associati --- Branzi Andrea --- Blas Zach --- Bellini Andrea --- Barry Robert --- Armleder John --- Apollinaire Guillaume --- 069 --- 7.01 --- 7.038/039 --- 7.036/039 --- kunsttheorie --- tentoonstellingen --- concept art --- conceptuele kunst --- museologie --- musea --- Kunst ; theorie, filosofie, esthetica --- art criticism --- manifestoes --- anti-art --- criticism --- Art --- Kunsttheorie ; het anti-museum ; anti-kunst ; alles is kunst --- Art museums --- Art, Modern --- Art, Modern. --- Art museums. --- History --- 1900-2099. --- MAD-faculty 17 --- kunsttentoonstellingen --- kunstkritiek --- writings [documents] --- political art --- social criticism
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Relational form -- Contemporary artistic practice and its cultural plan ; Artwork as social interstice ; Relational aesthetics and random materialism ; Form and others' gaze -- Art of the 1990s. Participation and transitivity ; Typology ; Connections and meetings ; Convivialities and encounters ; Collaborations and contracts ; Professional relations : clienteles ; How to occupy a gallery -- Space-time exchange factors -- Artworks and exchanges ; The subject of the artwork ; Space-time factors in 1990s' art -- Joint presence and availability : the theoretical legacy of Felix Gonzalez-Torres -- Homosexuality as a paradigm of cohabitation ; Contemporary forms of the monument ; The criterion of co-existence (works and individuals) ; The aura of artworks has shifted towards their public ; Beauty as a solution?. Screen relations -- Today's art and its technological models ; Art and goods. The law of relocation ; Technology as an ideological model (from trace to programme) ; The camera and the exhibition ; The exhibition-set ; Extras ; Post VCR art ; Rewind/play/fast forward ; Towards a democratisation of viewpoints? -- Towards a policy of forms -- Cohabitations : notes on some possible extensions of a relational aesthetics ; Visual systems ; The image is a moment ; What artists show ; The boundaries of individual subjectivity ; The engineering of intersubjectivity ; An art with no effect? ; The political development of forms ; Rehabilitating experimentation ; Relational aesthetics and constructed situations ; The aesthetic paradigm (Félix Guattari and art) ; Subjectivity pursued and produced ; De-naturalising subjectivity ; Status and operation of subjectivity ; Subjectivization units ; The aesthetic paradigm ; The critique of scientistic paradigm ; Ritournelle, symptom and work ; The work of art as partial object ; For an artistic-ecosophical practice ; The behavioural economy of present-day art
Bourriaud, Nicolas --- relationele esthetica --- Konstestetik --- Konstestetik. --- kunst --- twintigste eeuw --- kunsttheorie --- esthetica --- interactiviteit --- kunst en technologie --- Gonzalez-Torres Felix --- homoseksualiteit --- Guattari Félix --- 7.01 --- Aesthetics. --- Kunst ; theorie, filosofie, esthetica
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Museology --- exhibitions [events] --- tentoonstellingsbouw --- tentoonstellingsbouw --- tentoonstellingen
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Gonzalez-Foerster, Dominique --- Gordon, Douglas --- Höller, Carsten --- Huyghe, Pierre --- de Meaux, Charles --- Parreno, Philippe --- Tiravanija, Rirkrit --- Weerasethakul, Apichatpong
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