La gloire de la bêtise : Régression et superficialités dans les arts depuis la fin des années 1980
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Une histoire de la bêtise (délibérée et parfois même revendiquée) dans les arts : dans une approche ancrée à la fois dans l'histoire culturelle et la théorie esthétique, prenant en compte les paramètres que sont les modalités d'exposition, l'industrie du divertissement et le rôle des collectionneurs, cet essai tente de comprendre comment un phénomène à l'origine excentré,(...)
La gloire de la bêtise : Régression et superficialités dans les arts depuis la fin des années 1980
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Une histoire de la bêtise (délibérée et parfois même revendiquée) dans les arts : dans une approche ancrée à la fois dans l'histoire culturelle et la théorie esthétique, prenant en compte les paramètres que sont les modalités d'exposition, l'industrie du divertissement et le rôle des collectionneurs, cet essai tente de comprendre comment un phénomène à l'origine excentré, marginal et parfois contestataire, est devenu une donnée centrale de la production artistique contemporaine.
Art Theory
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Sillonnant la danse et la joie militante lesbienne, la critique d'art, l'amour et l'amitié, JJ réunit des articles de l'écrivaine et critique d'art et de danse américaine Jill Johnston, figure du féminisme radical des années 1970, pour la première fois traduits en français, ainsi que des textes, poèmes ou dessins de Pauline L. Boulba, Aminata Labor, Nina Kennel et Rosanna Puyol.
JJ : Tartine-moi et autres textes
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Sillonnant la danse et la joie militante lesbienne, la critique d'art, l'amour et l'amitié, JJ réunit des articles de l'écrivaine et critique d'art et de danse américaine Jill Johnston, figure du féminisme radical des années 1970, pour la première fois traduits en français, ainsi que des textes, poèmes ou dessins de Pauline L. Boulba, Aminata Labor, Nina Kennel et Rosanna Puyol.
Art Theory
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Une approche polyphonique de l'émergence, depuis les années 2000, de nouvelles formes institutionnelles vouées aux pratiques artistiques performatives. Alors que les arts vivants intègrent les institutions muséales selon un phénomène que plusieurs qualifient de « tournant performatif » des musées, on voit émerger depuis le début du millénaire de nouvelles organisations(...)
Lieux et milieux des arts vivants : Performer l'institution
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Une approche polyphonique de l'émergence, depuis les années 2000, de nouvelles formes institutionnelles vouées aux pratiques artistiques performatives. Alors que les arts vivants intègrent les institutions muséales selon un phénomène que plusieurs qualifient de « tournant performatif » des musées, on voit émerger depuis le début du millénaire de nouvelles organisations vouées aux pratiques artistiques performatives. Imaginées par des artistes, des universitaires, des activistes, des commissaires indépendants ou des membres professionnels de musées, ces structures présentent des formes, des niveaux de développement, des mandats et des modalités de fonctionnement très variés.
Art Theory
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Le 11 novembre 2022, nous, cinq chercheurs, artistes, architecte, philosophe, professeurs à l’Université Laval, nous sommes rencontrés pour discuter des formes de langages servant à exprimer au mieux les concepts et les propositions que nous développons dans le champ de nos « micro-disciplines ». Comment chacune des personnes présentes à cette journée entrevoyait-elle les(...)
COLLECTIF
Marie-Christine Mathieu
Suzanne Leblanc
Alexandre St-Onge
Geneviève Chevalier
Michael Doyle
Art Theory
August 2024
Nous sommes tous des astronautes : scénarios et prototypes pour des temps extrêmes
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Le 11 novembre 2022, nous, cinq chercheurs, artistes, architecte, philosophe, professeurs à l’Université Laval, nous sommes rencontrés pour discuter des formes de langages servant à exprimer au mieux les concepts et les propositions que nous développons dans le champ de nos « micro-disciplines ». Comment chacune des personnes présentes à cette journée entrevoyait-elle les particularités et la complexité des idées dans l’élaboration d’un lexique spécifique propre à sa pratique et quelle forme adoptait-elle pour exprimer et théoriser sa recherche dans le contexte universitaire? Complément 1 présente les cinq textes produits à la suite de cette rencontre. Chaque forme d’écriture est singulière, elle est propre à chacune des pratiques.
Art Theory
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Carol Mavor’s first "happy accident" occurred in 1980 when visiting New York’s Serendipity 3, a dessert café favored by Andy Warhol. Mavor’s memory of eating a frozen hot chocolate became food for thought, nurturing accidental discoveries about art and literature. This book’s happy, yet dark, accidents include Anne Frank’s journal, discovered in the Secret Annex after the(...)
Serendipity: The afterlife of the object
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Carol Mavor’s first "happy accident" occurred in 1980 when visiting New York’s Serendipity 3, a dessert café favored by Andy Warhol. Mavor’s memory of eating a frozen hot chocolate became food for thought, nurturing accidental discoveries about art and literature. This book’s happy, yet dark, accidents include Anne Frank’s journal, discovered in the Secret Annex after the Second World War; Emily Dickinson’s poems, scribbled on salvaged envelopes, hidden in a drawer; and "Lolita", rescued from incineration by Nabokov’s wife Véra. Mavor’s writing is dependent on serendipity’s layers of happenstance, rousing feelings of something that she did not exactly know she was looking for until she found it. All history is about loss, and in the case of this book, much of it is tragic—but "Serendipity" also offers the happiness that can be found in unexpected discoveries.
Art Theory
Trans hirstory in 99 objects
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Spanning over four centuries, this volume brings together a wide-ranging selection of artworks and artifacts that highlight the under-recognized histories of trans and gender-nonconforming communities. Through the contributions of artists, writers, poets, activists, and scholars, this title reflects on historical erasure and imagines trans futures. An expansive array of(...)
Trans hirstory in 99 objects
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Spanning over four centuries, this volume brings together a wide-ranging selection of artworks and artifacts that highlight the under-recognized histories of trans and gender-nonconforming communities. Through the contributions of artists, writers, poets, activists, and scholars, this title reflects on historical erasure and imagines trans futures. An expansive array of objects chart not a patriarchal history but a gender-neutral, trans-centric hirstory. The first publication of its kind, this survey celebrates trans forebearers, highlights struggles and triumphs, and reflects on the legacies of trans creative expression. Contributions by Kate Bornstein, Ria Brodell, Vaginal Davis, Leah DeVun, Mo B. Dick, Zackary Drucker, David Getsy, Martine Gutierrez, Andrea Jenkins, Jade Guarano Kuriki-Olivo (Puppies Puppies), Thomas (T.) Jean Lax, Abram J. Lewis, Miguel A. López, Amos Mac, Cyle Metzger, Deborah A. Miranda, Morgan M Page, SA Smythe, C. Riley Snorton, Dean Spade, Sandy Stone, Jeannine Tang, Michelle Tea, McKenzie Wark, and many others probe new horizons where institutional critique and trans culture meet. This book is copublished by the Museum of Trans Hirstory & Art (MOTHA), a conceptual art project of artist Chris E. Vargas that is forever "under construction" by design to allow continual transformation.
Art Theory
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The Distant Early Warning Line, also known as the DEW Line, was a system of radar stations in the northern Arctic region of Canada, with additional stations along the north coast and Aleutian Islands of Alaska and the Faroe Islands, Greenland, and Iceland. It intended to detect incoming bombers of the Soviet Union during the Cold War and provide early warning of any sea(...)
Early warning systems: Art, the DEW line, and an arctic on the front lines
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The Distant Early Warning Line, also known as the DEW Line, was a system of radar stations in the northern Arctic region of Canada, with additional stations along the north coast and Aleutian Islands of Alaska and the Faroe Islands, Greenland, and Iceland. It intended to detect incoming bombers of the Soviet Union during the Cold War and provide early warning of any sea and land invasion. Today, the Arctic is seen as a place primed for data storage and vaults––doomsday structures with a utilitarian vernacular of architecture, protecting the "knowledge" of places further south rather than recognizing the local presence and expertise of place and Indigenous lifeways and Indigenous science. This book looks at the role of artists as early warning systems and explores the ways we connect and disconnect place and people through technology and the ideas of boundaries.
Art Theory
Women in revolt!
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''The Women in Revolt!'' exhibition book is a crucial exploration of the wealth and diversity of work by women artists working in the 1970s and 1980s during a period of seismic social and political change. Across a wide variety of mediums including painting, drawing, sculpture, performance, film and photography, this extensive exhibition catalogue reflects on how(...)
Women in revolt!
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''The Women in Revolt!'' exhibition book is a crucial exploration of the wealth and diversity of work by women artists working in the 1970s and 1980s during a period of seismic social and political change. Across a wide variety of mediums including painting, drawing, sculpture, performance, film and photography, this extensive exhibition catalogue reflects on how women's needs were marginalised within mainstream culture and reveals how artists used radical ideas and methods to confront issues that will resonate with contemporary audiences — from access to healthcare and class struggles to ecological disaster, racism and misogyny. Featuring essays on feminist film distribution, the visibility of Black and South Asian women artists, Section 28 and the AIDS pandemic, Greenham Common and the peace movement, and the intersection of punk, feminism and art, ''Women in Revolt!'' celebrates the full diversity of what was a highly creative, politically engaged and determined community of women that paved the way for future generations and, ultimately, changed the face of British culture.
Art Theory
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In 1966, Billy Klüver and Fred Waldhauer, engineers at Bell Labs in Murray Hill, New Jersey, teamed up with artists Robert Rauschenberg and Robert Whitman to form a nonprofit organization, Experiments in Art and Technology (E.A.T.). E.A.T.’s debut event, 9 Evenings: Theatre & Engineering, integrated art, theater, and groundbreaking technology in a series of performances(...)
Sensing the future: Experiments in Art and Technology (E.A.T)
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In 1966, Billy Klüver and Fred Waldhauer, engineers at Bell Labs in Murray Hill, New Jersey, teamed up with artists Robert Rauschenberg and Robert Whitman to form a nonprofit organization, Experiments in Art and Technology (E.A.T.). E.A.T.’s debut event, 9 Evenings: Theatre & Engineering, integrated art, theater, and groundbreaking technology in a series of performances at the 69th Regiment Armory in Manhattan. Its second major event, the Pepsi Pavilion at Expo ’70 in Osaka, Japan, presented a multisensory environment for the first world exposition held in Asia. At these events, and in the hundreds of collaborations E.A.T. facilitated in between, the participants—including John Cage, Lucinda Childs, Deborah Hay, Steve Paxton, Yvonne Rainer, and David Tudor—imagined innovative ways for art and science to intersect and enrich society. "Sensing the future" tells the story of these collaborations between artists and engineers and how they led to new installations and technology-based artworks.
Art Theory
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The Parthenon Marbles (formerly known as the Elgin Marbles), designed and executed by Pheidias to adorn the Parthenon, are perhaps the greatest of all classical sculptures. In 1801, Lord Elgin, then ambassador to the Turkish government, had chunks of the frieze sawn off and shipped to England, where they were subsequently seized by Parliament and sold to the British(...)
The Parthenon Marbles: The case for reunification
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The Parthenon Marbles (formerly known as the Elgin Marbles), designed and executed by Pheidias to adorn the Parthenon, are perhaps the greatest of all classical sculptures. In 1801, Lord Elgin, then ambassador to the Turkish government, had chunks of the frieze sawn off and shipped to England, where they were subsequently seized by Parliament and sold to the British Museum to help pay off his debts. This scandal, exacerbated by the inept handling of the sculptures by their self-appointed guardians, remains unresolved to this day. In his fierce, eloquent account of a shameful piece of British imperial history, Christopher Hitchens makes the moral, artistic, legal and political case for re-unifying the Parthenon frieze in Athens.The opening of the New Acropolis Museum emphatically trumps the British Museum’s long-standing (if always questionable) objection that there is nowhere in Athens to house the Parthenon Marbles. "The Parthenon Marbles" will surely end all arguments about where these great treasures belong, and help bring a two-centuries-old disgrace to a just conclusion.
Art Theory