Art contemporain actualités. Le corridor : actualité en art contemporain. Plateforme de décryptage, d'analyse et de conseil. Revue d'art contemporain. JEUNES CRITIQUES D'ART. Magazine Arts & Scènes contemporaines : IL N'Y AURA PAS DE MIRACLE ICI. Lunettes Rouges. Le blog de Mirion Malle. Le Secret Des Cailloux Qui Brillent. Une histoire sans mots de Xu Bing, retour à l'écriture pictographique. Xu Bing est un des plus grands graphistes chinois contemporains.
Ses oeuvres sont exposées au Metropolitan Museum of Art de New York comme au British Museum de Londres. En 2006, le Southern Graphics Council lui a décerné son prix pour l’ensemble de son œuvre. Une Histoire sans mots est une véritable histoire sans mots. A partir de pictogrammes totalement inventés, voici, heure par heure, une journée de M. Noir. Au départ, la lecture des premières pages de ce livre est un peu déroutante et nécessite un petit effort. L’écriture pictographique est le premier langage de l’humanité, apparu il y a un peu plus de 5000 ans en Mésopotamie, et qui marque la naissance de l’Histoire de l’humanité. Un exercice réussi qui vaut le coup qu’on y jette un œil! Lisez donc un extrait… Notations: Contemporary Drawing as Idea and Process.
Jennifer Bartlett, Chicken Tracks, 1973 Enamel over silkscreen on steel plates, 38 x 38 inches (96.5 x 96.5 cm) © 2012 Jennifer Bartlett by Matthew Bailey Since the early 1970s, Jennifer Bartlett has used rigorous systematic procedures such as mathematical and chance operations to determine a priori the nature of her work. Together with the serialized use of the grid that characterizes her art, these strategies are a means of de-skilling, or eliminating traditional forms of manual virtuosity from her practice, in order to keep in check the arbitrary nature of artistic subjectivity. Bartlett departed from Conceptual processes, however, in her ongoing engagement with the language of representation and with the finished work of art as an object of aesthetic appeal. Bartlett presumably called the finished objects Chicken Tracks because of the way the resulting abstract compositions resemble the randomly patterned steps of pecking chickens.
Notes 1. Bios Matthew Bailey. An Addictive Experiment in Annotating Footage from a London Street. In 1974, French writer Georges Perec spent three days on a bench in Saint-Sulpice Square in Paris, writing about 60 pages on the minutiae that usually goes overlooked, from the people walking by to the details of the architecture.
His “An Attempt at Exhausting a Place in Paris” is part of the inspiration behind Kyle McDonald’s new online interactive Exhausting a Crowd. Twelve hours of footage from two days at London’s busy Piccadilly Circus is open to annotation, where anyone online can comment on the happenings and people in an accumulating experiment in surveillance and how human intelligence can be enhanced through automation. The Brooklyn-based media artist recently launched Exhausting a Crowd as a commission by the Victoria and Albert Museum in London for their current exhibition All of This Belongs to You. The exhibition centers on public space and privacy, showcasing objects like Edward Snowden’s destroyed hard drive along with art like McDonald’s.
H/t Prosthetic Knowledge. A New Francesca Woodman Book Demands a Closer Look. It has now been 35 years since the death of Francesca Woodman, but interest in her and in the photographs she left behind—a radical, extraordinary, but abbreviated body of work that at first glance was all about the body—has never waned.
In fact, every year or so, another strong wave hits, in the form of a new book, a new exhibit, a film, or another prominent admirer, as subsequent generations and audiences discover anew her mostly black-and-white, alluringly obscured images. Small and intimate and startling, they draw you close. In 2010 came The Woodmans, a documentary whose true subject was the artist’s parents, also artists (Betty is a ceramicist; George is a painter who turned to photography after his daughter’s death); it was a portrait of a family devoted to and organized entirely around the largely solitary process of making creative work. In 2012, the Guggenheim mounted the first major American survey of Woodman’s work.
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