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Être conçue pour ne pas être : tel est le destin de l’utopie. Cette impossibilité à exister dans l’espace réel, est le critère de qualification de l’utopie dans l’espace imaginaire. Par définition, une utopie n’a donc pas de lieu sur terre, et ce qui y a trouvé une place durable n’a pas la qualité d’utopie. Le projet dont l’histoire est racontée dans ce livre,(...)
L'impératif utopique, souvenirs d'un pédagogue
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Être conçue pour ne pas être : tel est le destin de l’utopie. Cette impossibilité à exister dans l’espace réel, est le critère de qualification de l’utopie dans l’espace imaginaire. Par définition, une utopie n’a donc pas de lieu sur terre, et ce qui y a trouvé une place durable n’a pas la qualité d’utopie. Le projet dont l’histoire est racontée dans ce livre, celui du Fresnoy-Studio national des arts contemporains, s’est réalisé grâce au caractère utopique dont il s’était fait un impératif : paradoxe ? exception à la règle ? En tout cas, il ne fait aucun doute que toute inflexion du projet pour le rendre réalisable, l’aurait condamné à n’être jamais réalisé. Cela pose la question du moment, de la circonstance historique, où le politique, face auquel l’utopie se détermine en s’y opposant, a adopté comme critère de ses choix, et comme règle de son action, non plus l’économie mais l’esthétique. Ephémère moment d’une esthétique du politique. Écrit à la première personne, ce récit d’une grande réalisation publique s’appuie souvent sur des anecdotes et sur les relations entre individus singuliers, chères à la micro-histoire. Outre la genèse du Fresnoy-Studio national sur dix ans, entre 1987 et 1997, est ici brossé par touches un tableau des orientations nouvelles en matière de pédagogie de l’art et de formation des jeunes artistes (en France, en Europe et ailleurs), en fonction de la révolution des techniques, des langages artistiques, des moyens d’expression et de communication, à la fin du XXe siècle.
Art Theory
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Karaoke culture
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« Pourquoi le karaoké, et quel rapport avec la culture ? » Tel est le préambule de Karaoke Culture , en forme de sous-titre. D'un point de départ des plus concret - le récit d'une soirée dans un karaoké d'Amsterdam, pour deux néophytes en la matière -, Dubravka Ugrešic élabore un essai sur les modèles culturels contemporains, notamment ceux de l'Europe post-communiste.(...)
Karaoke culture
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« Pourquoi le karaoké, et quel rapport avec la culture ? » Tel est le préambule de Karaoke Culture , en forme de sous-titre. D'un point de départ des plus concret - le récit d'une soirée dans un karaoké d'Amsterdam, pour deux néophytes en la matière -, Dubravka Ugrešic élabore un essai sur les modèles culturels contemporains, notamment ceux de l'Europe post-communiste. Comment ces populations se sont-elles approprié des codes hérités de modèles existants, désormais assistés par les nouvelles technologies et imprégnés de culture numérique ? La « métaphore ambiguë du karaoké », au spectre plus large que le post-modernisme, mais pas encore assez englobant selon l'auteure, est développée au fi l des pages, mêlant les notions d'amateurisme et d'anonymat, de plaisir et de divertissement, la volonté d'être quelque chose ou quelqu'un d'autre.
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January 2013
Critical Theory
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Les "Regrets sur ma vieille robe de chambre" (1768), que l'on a généralement associés aux pièces esthétiques de Diderot, sont avant tout un "avis à ceux qui ont plus de goût que de fortune", et se rangeraient plutôt aux côtés de ces tableaux de critique sociale, dont l'oeuvre de Diderot foisonne. Ils stigmatisent - avec la joie qui caractérise Denis - cette propension(...)
Regrets sur ma vieille robe de chambre : ou, avis à ceux qui ont plus de goût que de fortune, suivi de Satire du luxe
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Les "Regrets sur ma vieille robe de chambre" (1768), que l'on a généralement associés aux pièces esthétiques de Diderot, sont avant tout un "avis à ceux qui ont plus de goût que de fortune", et se rangeraient plutôt aux côtés de ces tableaux de critique sociale, dont l'oeuvre de Diderot foisonne. Ils stigmatisent - avec la joie qui caractérise Denis - cette propension aveugle à la "nouveauté", ce mauvais goût qui remplace l'intelligence des choses, cette bêtise abyssale caractéristique de la richesse sans mesure, et s'il se trouvait un Diderot qui puisse écrire aujourd'hui (et publier), il s'en prendrait probablement à ceux que notre siècle de consommation, qui ne parle plus que par onomatopées, désigne de celui de bling-bling.
Critical Theory
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By many art history accounts, the art of the twentieth century was decided by Pablo Picasso and Marcel Duchamp. In these versions, Picasso stands for prolific production, a fierce expressionism, endless research of the picture plane and a sense of voracious creativity; whereas Duchamp stands for cerebral brilliance, rejection of optical pleasure and a subtle but(...)
Duchamp & Picasso: He Was Wrong
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By many art history accounts, the art of the twentieth century was decided by Pablo Picasso and Marcel Duchamp. In these versions, Picasso stands for prolific production, a fierce expressionism, endless research of the picture plane and a sense of voracious creativity; whereas Duchamp stands for cerebral brilliance, rejection of optical pleasure and a subtle but all-pervasive conceptual sabotage and irony. (Of course, they shared as many traits, including an appetite for provocation and the recognition of eros as a fundamental, animating life principle.) So who was right? This volume, published for a show at the Moderna Museet in Stockholm, argues for both sides of the coin, looking at various aspects of both oeuvres, including Picasso’s fascination with the Minotaur and Duchamp’s Rrose Selavy alter ego. The book is appropriately divided in two halves separated by a reverse binding.
Art Theory
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The first in a series by the Sikkens Foundation, this pocket-sized publication of the Mondrian Lecture given by Charles Jencks reprints his talk in full, along with various images. Jencks discusses the possibility that architecture and well-being can have a direct correlation, exploring how architecture can influence society, business productivity, profits and hospitals.(...)
Can architecture affect your health?
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The first in a series by the Sikkens Foundation, this pocket-sized publication of the Mondrian Lecture given by Charles Jencks reprints his talk in full, along with various images. Jencks discusses the possibility that architecture and well-being can have a direct correlation, exploring how architecture can influence society, business productivity, profits and hospitals. He elaborates with examples of architectural determinism from both ancient and modern history, with a special focus on his experience with the Maggie’s Centres – cancer care centres set up throughout Britain by Jencks and designed by famous architects – whose purpose is to experiment with these ideas.
Architectural Theory
What art is
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What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, What Art Is challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite(...)
What art is
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What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, What Art Is challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato’s definition of art in The Republic, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol’s famous shipping cartons, which are visually indistinguishable from the everyday objects they represent.
Art Theory
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Over the course of about ten years, Hans Ulrich Obrist and Matthew Barney met several times to discuss Barney's past work, current projects and his plans for the future. The resulting collection of interviews provides a rare insight into how the work and working method of one of the most prominent artists of a generation has developed over time, and uncovers the ideas,(...)
Matthew Barney & Hans Ulrich Obrist
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Over the course of about ten years, Hans Ulrich Obrist and Matthew Barney met several times to discuss Barney's past work, current projects and his plans for the future. The resulting collection of interviews provides a rare insight into how the work and working method of one of the most prominent artists of a generation has developed over time, and uncovers the ideas, influences and collaborations that lie behind his multi-layered and multimedia creative output. The conversation covers all of his major pieces to date, from the internationally acclaimed "Cremaster" cycle to the somewhat less well-known "Drawing Restraint" series, as well as looking at particular projects in more detail, such as the recent "Khu" performance and Barney's participation in "Il Tempo del Postino," curated by Obrist at the 2007 Manchester International Festival.
Art Theory
Conditional design workbook
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“Conditional Design” is the name of a new design ethos formulated by graphic designers Luna Maurer, Jonathan Puckey and Roel Wouters, and artist Edo Paulus. It espouses a working method that involves drawing up arbitrary constraints and rules of play, fostering both a strongly collaborative spirit and unpredictable end results. Its workbook format organizes the material(...)
Conditional design workbook
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“Conditional Design” is the name of a new design ethos formulated by graphic designers Luna Maurer, Jonathan Puckey and Roel Wouters, and artist Edo Paulus. It espouses a working method that involves drawing up arbitrary constraints and rules of play, fostering both a strongly collaborative spirit and unpredictable end results. Its workbook format organizes the material step by step, and the publication as a whole provides exciting ways for others - groups of children as well as artists and designers - to apply the method themselves. In accompanying essays, Andrew Blauvelt elaborates on the implications of such processes for art and design, and Koert van Mensvoort describes how Conditional Design could form the basis for the design and organization of the city of Zhiango, China, in 2050.
Design Theory
Unsitely aesthetics
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The book aims to theorize current dynamics in media and sound art practice, and includes interviews and conversations with Barbara Campbell, Linda Carroli, Hugh Davies, Bec Dean, Renate Ferro, John Craig Freeman, Jo-Anne Green, Teri Hoskin, Lucas Ihlein, Yao Jui-Chung, kanarinka (a.k.a. Catherine D'Ignazio), Scott Kildall, Deborah Kelly, Natalie Loveless, Michael Takeo(...)
Unsitely aesthetics
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The book aims to theorize current dynamics in media and sound art practice, and includes interviews and conversations with Barbara Campbell, Linda Carroli, Hugh Davies, Bec Dean, Renate Ferro, John Craig Freeman, Jo-Anne Green, Teri Hoskin, Lucas Ihlein, Yao Jui-Chung, kanarinka (a.k.a. Catherine D'Ignazio), Scott Kildall, Deborah Kelly, Natalie Loveless, Michael Takeo Magruder, Timothy Conway Murray, Norie Neumark, Victoria Scott, Brooke Singer, Igor Štromajer, Helen Thorington and Darren Tofts.
Art Theory
Fictions of art history
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This publication addresses art history’s complex relationships with fiction, poetry, and creative writing. It examines art historians’ viewing practices and modes of writing. How, the contributors ask, are we to unravel the supposed facts of history from the fictions constructed in works of art? How do art historians employ or resist devices of fiction, and what are the(...)
Fictions of art history
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This publication addresses art history’s complex relationships with fiction, poetry, and creative writing. It examines art historians’ viewing practices and modes of writing. How, the contributors ask, are we to unravel the supposed facts of history from the fictions constructed in works of art? How do art historians employ or resist devices of fiction, and what are the effects of those choices on the reader?
Art Theory