Biennale de Venise : aux frontières de l’art et de la science - [plastik] Même si les œuvres créées aux frontières de l’art et de la science se multiplient de plus en plus aujourd’hui, la place de celles-ci sur la scène de l'art contemporain suscite toujours les interrogations. Les projets art&science sont souvent très couteux et nécessitent beaucoup de temps et d’espace pour la réalisation. C’est pourquoi ils entrent très lentement dans le circuit commercial des œuvres présentées au marché de l’art qui aujourd’hui, de fait, joue un rôle important dans la légitimation des œuvres d’art. On peut voir les œuvres art&science plutôt dans les institutions, tels que les musées et les laboratoires art&science, mais que peut-on dire sur la visibilité de ces œuvres pendant les manifestations de l’art contemporain comme les biennales, qui ont pour vocation de rassembler les créations artistiques les plus actuelles ?
La Biennale de Venise peut nous servir d'échantillon pour un tel analyse. Koen Vanmechelen. Olga Kisseleva. Comme philosophe Thalès (625 av. Frontpage. Works @ Sachiko Kodama. Midas project. Julien Discrit. Olafur Eliasson. Gilberto Zorio. Gilberto Zorio (born 1944) is an Italian artist associated with the Italian Arte Povera movement. Zorio's artwork shows his fascination with natural processes, alchemical transformation, and the release of energy.
His sculptures, paintings, and performances are often read as metaphors for revolutionary human action, transformation, and creativity.[1] He is known for his use of materials including: incandescent electric light tubes, steel, pitch, motifs, and processes through the use of evaporation and oxidation. He also creates precarious installations using fragile materials such as Stella di Bronzo and Acidi within his work. Education[edit] Early work[edit] Throughout his career, Zoria was influenced by Michelangelo Pistoletto, Piero Gilardi,and Mario Merz.[6] Zorio's early pieces done between 1966 and 1968 concretized energy processes.
Role in Arte Povera[edit] Zorio participated in the famous exhibition "When Attitudes Become Form" (1969), organized by Harald Szeemann in Bern. Anthony Cragg. Làslò Moholy Nagy film 1930. Picturama. Panamarenko. Charbon et impression numerique. MICHAEL SELLAM. Anthony McCall. The Otolith Group. Samuel Rousseau Artwork | Art Brussels - Aeroplastics Contemporary. Robert Morris: Bodyspacemotionthings. Climb, balance, crawl and roll on the interactive installation Bodymotionspacesthings by artist Robert Morris, as this series of huge props including beams, weights, platforms, rollers, tunnels and ramps built from materials such as plywood, stone, steel plate, and rope transforms the Turbine Hall. This is a re-creation of Tate Gallery’s first fully interactive exhibition which took place in 1971, inspiring a huge media and public interest, when an art gallery asked people for the first time to physically interact with an art work.
Shockingly, it was closed just four days after opening, due to the unexpected and over enthusiastic response of the audience. This time around, it will be created using contemporary materials based upon the original plans, in collaboration with Morris, enabling you to experience an exciting landmark in Tate’s history. Bodymotionspacesthings was installed at Tate Modern as part of UBS Openings: The Long Weekend 2009. Robert Morris (Born in Kansas City in 1931.