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Céleste Boursier-Mougenot at Barbican Centre, London

Céleste Boursier-Mougenot at Barbican Centre, London

The Medium Is The Massage - Marshall McLuhan + Quentin Fiore Céleste Boursier-Mougenot, perturbations L'exposition "perturbations" de Céleste Boursier-Mougenot est la première exposition monographique de l'artiste dans un musée en Europe. Elle est marquée par la présentation simultanée de cinq œuvres (dont deux projets inédits) dans les espaces monumentaux des Abattoirs. Errance (off road, 2013) au gré des éléments de trois pianos "préparés", percussions climatiques (averse, 2013) sur une batterie frappée par des rayonnements cosmiques, chants de l'éther captés à l'aide d'un ballon sonde (scanner, 2006) ou distorsions cauchemardesques d'un signal télévisuel (zombiedrone, 2008), les propositions de Céleste Boursier-Mougenot oscillent entre l'écoute du monde, sa transcription instrumentale et sa perturbation. Dans un environnement contemporain définissable par l'immatérialité de ses paysages, ses flots d'informations et de données, le travail de Céleste Boursier-Mougenot tend vers une définition physique, visuelle et sonore du monde.

Neuhaus' Documention Oeuvre dans la collection du FRAC Limousin re.act.feminism Theresa Hak Kyung Cha: "Mouth to Mouth" (1975). image courtesy: EAI, New York Theresa Hak Kyung Cha (South Korea, USA 1951 - 1982) The subject of "Mouth to Mouth", one of Cha's early films, is language. Eight Korean vowel characters are shown and the vowels inaudibly spoken by the artist. The scenes then slowly fade to black. These presentations of printed characters and articulated vowels are interrupted by video static, which has been interpreted as representing the "loss of language over the course of time". Theresa Hak Kyung Cha's family emigrated to the USA in 1962, where she studied literature and art.

Artist: The Dream of the Audience Although she lived only 31 years, Theresa Hak Kyung Cha left a substantial and diverse body of work. The primary mediums in which she worked were: ceramic, performance, artist’s books, concrete poetry, film, video, sculpture, mail art, audio, and slide projections. In many cases her work combined aspects of different media, blurring the boundaries between conventionally distinct categories. It was characteristic of Cha to take the thematic and formal approaches developed in one medium and reinterpret them in another; elements of film and video, for example, find their way into artist’s books and vice versa. The central theme of Cha’s art is displacement. Cha’s art incorporated a wide array of references drawn from diverse cultures and periods. Lawrence Rinder Director of University of California, Berkeley Art Museum and Pacific Film Archive

Ana Rewakowicz Ice Fracture, Delaney Park, Anchorage, Alaska, USA, 2009, Collaboration with Kobayashi+Zedda Architects, Whitehorse, Yukon Air Cleanser, Rosenlew Factory, Pori, Finland, 2008, Collaboration with Annu Wilenius Green Line Project, Lauttasaari (island) - Helsinki (mainland), Finland, 2006 Ice Dome Project, Lachine Canal, Montréal, Canada, 2005, Collaboration with Steve Topping, disseminated by Quartier Éphémère The Occupants (2002), site-specific installation in a private apartment, Montréal,QC

Alfredo Jaar Artist Alfredo Jaar (b.1956) explains how he has always felt that in order to act in the world, he had to first understand the world. Images and media is key to this, he says: "Every single image out there in the world, represents a conception of the world. Represents an ideological conception of the world. They tell us things about the world." In this interview Jaar talks about four works: The Rwanda Project, Searching for Africa in LIFE, From TIME to TIME and The Sound of Silence. For 6 years Jaar followed the news and the western media's lack of reacting to or coverage of the 1994 Rwandan genocide. Jaar also explains why he does not like the term political artist, but feels everyone engages with the world: "Because we act in the world, so everything we do represents a conception of the world. Alfredo Jaar is representing Chile at the Venice Biennale 2013. The interview was recorded at Malmö Konsthall, February 2013 Interview by Christian Lund Camera: Steen Møller Rasmussen