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BAC_2015 - Il parait que le fond de l’être est en train de changer ? d'Emmanuelle Lainé et vous - France 3 Rhône-Alpes. Michel François. Né en 1956 à Saint-Trond (Belgique) Vit et travaille à Bruxelles (Belgique)

Michel François

On and On Kawara. Artbouillon: On and On Kawara. Robert Morris, Card File, 1961. La Galerie, Noisy-le-sec : Emmanuelle lainé. Amazon. On Kawara. Depuis plus d'une trentaine d'années, On Kawara répète suivant les mêmes modalités quelques scénarios dont rien (ou presque) ne semble pouvoir l'écarter.

On Kawara

Ainsi les « Date Paintings » (« Today Series ») inaugurées le 4 janvier 1966 s'obstinent à reproduire la date de leur réalisation en se bornant à ne varier que le format et la couleur de leur support monochrome, ainsi que le libellé de l'inscription qui obéit aux conventions du pays où l'artiste se trouve au moment où il peint. Il en va de même pour les autres séries de travaux commencées entre 1966 et 1968. . « Thanatophanies », le portfolio de gravures publié en 1995 par Parco Ltd est à la mesure de ce que peut cacher cette boîte. On Kawara pour art press. On Kawara. Né en 1932 à Kariya (Japon) DÉCÉDÉ EN 2014 à New York (État de new yorK, États-Unis) On Kawara est considéré aujourd’hui comme l’un des acteurs principaux de l’art conceptuel avec la série des Date Paintings amorcée en 1966.

On Kawara

“Composition as Process” II. Indeterminacy (1958) “No matter what eventuality.”

“Composition as Process” II. Indeterminacy (1958)

Interesting I-Ching reading today (oh, and happy holidays to whoever out there is actually reading this). I’m in the thick of Cage’s Darmstadt lectures as I mentioned last week, and “Indeterminacy” was the second address given on a cold fall Monday evening in Germany to a crowd of largely bewildered composers and artists. The image of the primary reading “Lü/Treading [Conduct] is of “Treading upon the tail of the tiger. It does not bite the man. Success.” Dear Aby Warburg, what can be done with images? PublicationsZUR ÜBERSICHT ›› Circle of Friends 25,00 € (plus shipping costs) Order ›› On the occasion of the exhibition, the catalogue "Dear Aby Warburg, what can be done with images?

Dear Aby Warburg, what can be done with images?

Sans titre. Joëlle Tuerlinckx – Everything & Nothing: the Pre-History of Zero. Zero: “the number of things you have when you don’t have anything” – definition found by Joëlle Tuerlinckx in the Mathematics Section of the Museum of Science, Boston, 1996 Joëlle Tuerlinckx’ series of line drawings, Dessins Sous Zéro (2004) (literally translated in English as ‘drawings below zero’), started from the artist experimenting with the ‘compression’ tool on her computer.

Joëlle Tuerlinckx – Everything & Nothing: the Pre-History of Zero

Unusually Tuerlinckx had been busy sketching what she describes as a set of “baroque serpentine”[1] drawings for an exhibition in Karlsruhe, in the “baroque berceau” region of Germany, when she pressed a key and the whole graphic confection collapsed, in a single moment, down to one single flat line. Reflecting upon this “moment zero” before her, which looked more like the very beginning of a sketch rather than the sum of her recent efforts, she was surprised by the realization that what appeared to be merely “the commencement of a drawing can have a long story before it starts!” “What is my subject? Perjovschi - Christine Koenig Galerie - Wien. Innovative Forms of Archives, Part One: Exhibitions, Events, Books, Museums, and Lia Perjovschi’s Contemporary Art Archive.

Paula roush portfolio. Publikationen Details - Christine Koenig Galerie - Wien. Michel François. Par Julie Aminthe Julie Aminthe.

Michel François

Vous avez actuellement une actualité artistique chargée: vous présentez des œuvres sur papier au Cabinet des dessins Jean Bonna à Paris jusqu'au 20 juillet, et votre travail sculptural est exposé au Crac Languedoc-Roussillon à Sète du 29 juin au 30 septembre. Comment sont nés ces deux projets? Michel François. Pour ce qui est de l'exposition aux Beaux-arts de Paris, c'est la première fois que l'on me proposait de présenter mes dessins. Il vous arrive donc de produire des sculptures sans recourir auparavant au dessin. Irene Kopelman. My PhD project researches the problem of the tension between sameness and difference.

Irene Kopelman

Throughout the upcoming years of research, I am looking to re-open the category of sameness, and using means of representation, I hope to make evident the impossibility of enclosing the complexity of things in departmentally restrictive categories. During the nineteenth century, a scientific project needed to force things into categories in order to visualize the rules they followed and which organized the world in a logical system. This was a fundamental process to schematize how we look at things and simplify it to the extreme, thus overlooking any singularities.

My research project concentrates on re-opening some of these categories, and to look upon differences and singularities. Ubx expression is the first project I am developing in the context of the PhD program. As I said at the beginning, my PhD project researches the problem of the tension between sameness and difference. [Fig 1.] Mark Geffriaud — All that is said is true... — Gb agency / Level one.

Past: October 29 → December 21, 2011 All that is said is true all the time all the timeAll that is said is true all the time but times changeGenesis P-Orridge in The Ballad of Genesis and Lady Jaye a film by Marie Losier released on October the 26th Mark Geffriaud’s work constantly refers to somewhere else, like a rendez-vous leading from one to another.

Mark Geffriaud — All that is said is true... — Gb agency / Level one

Anne Teresa De Keersmaeker : Work/Travail/Arbeid. À propos de cette exposition Book now WIELS et Rosas sont heureux d'annoncer un projet d'exposition ambitieux et hors du commun : Work/Travail/Arbeid, conçu par Anne Teresa De Keersmaeker en collaboration avec Rosas, repense une performance de danse comme une exposition s'étirant sur neuf semaines au WIELS.

Anne Teresa De Keersmaeker : Work/Travail/Arbeid

Drawing Redefined: Roni Horn, Esther Kläs, Joëlle Tuerlinckx, Richard Tuttle and Jorinde Voigt. Installation view, Drawing Redefined: Roni Horn, Esther Kläs, Joëlle Tuerlinckx, Richard Tuttle, and Jorinde Voigt, deCordova Sculpture Park and Museum, Lincoln, MA. Photograph by Clements Photography and Design, Boston. Joëlle Tuerlinckx, les failles du monde. Joëlle Tuerlinckx. Revue d'art contemporain. Dieter Roth and Björn Roth at Hauser and Wirth. Artists: Dieter Roth and Björn Roth Venue: Hauser and Wirth, New York Exhibition Title: Dieter Roth, Björn Roth: Work Tables and Tischmatten Date: October 6 – October 30, 2010 Click here to view slideshow Full gallery of images, press release and link available after the jump. "Instruction" by George Brecht, April 1963.

Catalogue - Bibliothèque Municipale de Lyon. The Big Archive. “In this diligent and engaging study, Sven Spieker charts the hidden dimensions of the archive as both depository of actual material and the organizing fantasy and principle underwriting many of the West’s bureaucratic and artistic practices. Get lost in this book and emerge from it triumphantly, having gleaned from it a host of otherwise unavailable and probing insights into the connections between our age’s obsession with memory, its institutions, and modernist art.” Innovative Forms of Archives, Part One: Exhibitions, Events, Books, Museums, and Lia Perjovschi’s Contemporary Art Archive. Art Workers: Between Utopia and the Archive.

Boris Groys The topic of this essay is artistic work. Deep Storage. Deep Storage Books On the art of archiving Precedents for this art, as with so many others, lie stowed in a suitcase. Marcel Duchamp casually dismissed his project of the Boîtes-en-valise as mere financial enterprise - ‘small business, I assure you’ 1 - an attempt to drum up a little cash. More recent valuations acknowledge the Boîtes as the first critique of museum practice: it ‘parodies the museum as an enclosed space for displaying art…mocks [its] archival activity…[and] satirically suggests that the artist is a travelling salesman whose concerns are as promotional as they are aesthetic.’ 2 But the project seems to have been more self-consciously motivated than either claim recognises.

It was 1938; the war was encroaching, and Duchamp’s art had already proved vulnerable to accident. Archive Fever: Uses of the Document in Contemporary Art. Organized by renowned scholar and ICP Adjunct Curator Okwui Enwezor, Archive Fever: Uses of the Document in Contemporary Art will present works by leading contemporary artists who use archival documents to rethink the meaning of identity, history, memory, and loss. Over the past thirty years, successive generations have taken wide-ranging approaches to the photographic and filmic archive. The works presented here take many forms, including physical archives arranged by peculiar cataloguing methods, imagined biographies of fictitious persons, collections of found and anonymous photographs, film versions of photographic albums, and photomontages composed of historical photographs. These images have a wide-ranging subject matter yet are linked by the artists' shared meditation on photography and film as the quintessential media of the archive.

Archive + art. Habile beauté (L'art comme processus) au Frac Languedoc-Roussillon. Montpellier. Frac Languedoc-Roussillon. Arts plastiques - InSitu - le dessin : du processus créatif à l'œuvre aboutie (Virginie Michel) Du processus. Irina Kirchberg, Alexandre Robert, Faire l’art. Analyser les processus de création artistique. Séminaire doctoral / Les processus créatifs 2011 - 2012. ITEM, Équipe « Histoire de l’art: processus de création et genèse de l’œuvre », compte-rendu de la réunion du 4 mars 2015, à l’ENSBA.