1866 Résultats
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Muntadas. The construction of Fear and the loss of Pulbic Space stems from a 'conversation' held with the artist after learning of On Translation: Fear/Miedo (2005), a television intervention as he defines it, filmed on the border between the United States and Mexico, and of his interest in exploring the concept of fear in the border between Spain and Morocco.
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Muntadas. The construction of Fear and the loss of Pulbic Space stems from a 'conversation' held with the artist after learning of On Translation: Fear/Miedo (2005), a television intervention as he defines it, filmed on the border between the United States and Mexico, and of his interest in exploring the concept of fear in the border between Spain and Morocco.
Titre:
Muntadas: la construction del miedo y la pérdida de lo publico
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Muntadas. The construction of Fear and the loss of Pulbic Space stems from a 'conversation' held with the artist after learning of On Translation: Fear/Miedo (2005), a television intervention as he defines it, filmed on the border between the United States and Mexico, and of his interest in exploring the concept of fear in the border between Spain and Morocco.
Muntadas: la construction del miedo y la pérdida de lo publico
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Muntadas. The construction of Fear and the loss of Pulbic Space stems from a 'conversation' held with the artist after learning of On Translation: Fear/Miedo (2005), a television intervention as he defines it, filmed on the border between the United States and Mexico, and of his interest in exploring the concept of fear in the border between Spain and Morocco.
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Publication:
janvier 2008, Barcelona
janvier 2008, Barcelona
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Résumé:
'Feeling of uselessness: what are we doing here? We just walk around, take pictures randomly, try to get an image of the place where we are staying: but we seem to be lacking the whole meaning of it. The idea of making a map (not 'mapping', which seems to have been an infectious term in esthetical practices throughout the last ten years) was happily adopted, but probably(...)
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'Feeling of uselessness: what are we doing here? We just walk around, take pictures randomly, try to get an image of the place where we are staying: but we seem to be lacking the whole meaning of it. The idea of making a map (not 'mapping', which seems to have been an infectious term in esthetical practices throughout the last ten years) was happily adopted, but probably(...)
Titre:
gruppo A12: N33° 51.917' E130° 47.808'
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'Feeling of uselessness: what are we doing here? We just walk around, take pictures randomly, try to get an image of the place where we are staying: but we seem to be lacking the whole meaning of it. The idea of making a map (not 'mapping', which seems to have been an infectious term in esthetical practices throughout the last ten years) was happily adopted, but probably not sufficiently questioned before coming here. Maps are everywhere in Kitakyushu; we cannot avoid coming across them constantly, so the whole trick of imitating ancient explorers and geographers has soon vanished. We are experimenting while doing. The final result, if there will be any, will address issues of representation: it will be unfinished, rough and raw. We should go farther. Maybe the ones, who will come after us, can do so.'
gruppo A12: N33° 51.917' E130° 47.808'
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'Feeling of uselessness: what are we doing here? We just walk around, take pictures randomly, try to get an image of the place where we are staying: but we seem to be lacking the whole meaning of it. The idea of making a map (not 'mapping', which seems to have been an infectious term in esthetical practices throughout the last ten years) was happily adopted, but probably not sufficiently questioned before coming here. Maps are everywhere in Kitakyushu; we cannot avoid coming across them constantly, so the whole trick of imitating ancient explorers and geographers has soon vanished. We are experimenting while doing. The final result, if there will be any, will address issues of representation: it will be unfinished, rough and raw. We should go farther. Maybe the ones, who will come after us, can do so.'
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Publication:
avril 2002, Kitakyushu
avril 2002, Kitakyushu
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Résumé:
Center for Contemporary Art, CCA, Kitakyushu
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Center for Contemporary Art, CCA, Kitakyushu
Titre:
Simryn Gill: a small town at the turn of the century
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Center for Contemporary Art, CCA, Kitakyushu
Simryn Gill: a small town at the turn of the century
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Center for Contemporary Art, CCA, Kitakyushu
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Publication:
octobre 2000, Kitakyushu
octobre 2000, Kitakyushu
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Center for Contemporary Art, CCA, Kitakyushu 6 booklets, each contains a poster
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Center for Contemporary Art, CCA, Kitakyushu 6 booklets, each contains a poster
Publication:
janvier 1900, Kitakyushu
janvier 1900, Kitakyushu
Titre:
Didier F. Faustino: plans & directions
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Center for Contemporary Art, CCA, Kitakyushu 6 booklets, each contains a poster
Didier F. Faustino: plans & directions
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Center for Contemporary Art, CCA, Kitakyushu 6 booklets, each contains a poster
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Publication:
janvier 1900, Kitakyushu
janvier 1900, Kitakyushu
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Center for Contemporary Art, CCA Kitakyushu 'It is no longer a question of hiding an accident or failure, but making it productive.' -Paul Virilio Center for Contemporary Art Book -Kitakyushu CCA Artist Book Series
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Center for Contemporary Art, CCA Kitakyushu 'It is no longer a question of hiding an accident or failure, but making it productive.' -Paul Virilio Center for Contemporary Art Book -Kitakyushu CCA Artist Book Series
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octobre 2004, Kitakyushu
octobre 2004, Kitakyushu
Titre:
Elmgreen & Dragset: constructed catastrophes, fig. 2
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Center for Contemporary Art, CCA Kitakyushu 'It is no longer a question of hiding an accident or failure, but making it productive.' -Paul Virilio Center for Contemporary Art Book -Kitakyushu CCA Artist Book Series
Elmgreen & Dragset: constructed catastrophes, fig. 2
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Center for Contemporary Art, CCA Kitakyushu 'It is no longer a question of hiding an accident or failure, but making it productive.' -Paul Virilio Center for Contemporary Art Book -Kitakyushu CCA Artist Book Series
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Publication:
octobre 2004, Kitakyushu
octobre 2004, Kitakyushu
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Center for Contemporary Art, CCA, Kitakyushu
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Center for Contemporary Art, CCA, Kitakyushu
Titre:
Olafur Eliasson: your difference & repetition
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Center for Contemporary Art, CCA, Kitakyushu
Olafur Eliasson: your difference & repetition
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Center for Contemporary Art, CCA, Kitakyushu
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Publication:
octobre 2001, Kitakyushu
octobre 2001, Kitakyushu
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«J'ai reçu un mail de rupture. Je n'ai pas su répondre. C'était comme s'il ne m'était pas destiné. Il se terminait par les mots : Prenez soin de vous. J'ai pris cette recommandation au pied de la lettre. J'ai demandé à cent sept femmes, dont une à plume et deux en bois, choisies pour leur métier, leur talent, d'interpréter la lettre sous un angle professionel. (...)
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«J'ai reçu un mail de rupture. Je n'ai pas su répondre. C'était comme s'il ne m'était pas destiné. Il se terminait par les mots : Prenez soin de vous. J'ai pris cette recommandation au pied de la lettre. J'ai demandé à cent sept femmes, dont une à plume et deux en bois, choisies pour leur métier, leur talent, d'interpréter la lettre sous un angle professionel. (...)
Titre:
Sophie Calle : prenez soin de vous
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«J'ai reçu un mail de rupture. Je n'ai pas su répondre. C'était comme s'il ne m'était pas destiné. Il se terminait par les mots : Prenez soin de vous. J'ai pris cette recommandation au pied de la lettre. J'ai demandé à cent sept femmes, dont une à plume et deux en bois, choisies pour leur métier, leur talent, d'interpréter la lettre sous un angle professionel. L'analyser, la commenter, la jouer, la danser, la chanter. La disséquer. L'épuiser. Comprendre pour moi. Parler à ma place. Une façon de prendre le temps de rompre. À mon rythme. Prendre soin de moi.» -Sophie Calle
Sophie Calle : prenez soin de vous
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«J'ai reçu un mail de rupture. Je n'ai pas su répondre. C'était comme s'il ne m'était pas destiné. Il se terminait par les mots : Prenez soin de vous. J'ai pris cette recommandation au pied de la lettre. J'ai demandé à cent sept femmes, dont une à plume et deux en bois, choisies pour leur métier, leur talent, d'interpréter la lettre sous un angle professionel. L'analyser, la commenter, la jouer, la danser, la chanter. La disséquer. L'épuiser. Comprendre pour moi. Parler à ma place. Une façon de prendre le temps de rompre. À mon rythme. Prendre soin de moi.» -Sophie Calle
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Publication:
janvier 1900, Arles
janvier 1900, Arles
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livres
Titre:
Fleuve russe
Fleuve russe
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«Fleuve russe» avec une chanson de Lucien Midnight & David Brunet (mini-CD inclus), paroles de Myriam Cliche.
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«Fleuve russe» avec une chanson de Lucien Midnight & David Brunet (mini-CD inclus), paroles de Myriam Cliche.
Titre:
Fleuve russe
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«Fleuve russe» avec une chanson de Lucien Midnight & David Brunet (mini-CD inclus), paroles de Myriam Cliche.
Fleuve russe
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«Fleuve russe» avec une chanson de Lucien Midnight & David Brunet (mini-CD inclus), paroles de Myriam Cliche.
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Publication:
mai 2008, Montréal
mai 2008, Montréal
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Résumé:
This reader gathers together an international selection of artists' proposals, manifestos, theoretical texts and public declarations that focus on the question of political engagement and the possibility of social change. Six specially commissioned essays - by Geeta Kapur, Lucy Lippard, John Milner, Gerald Raunig, Marina Vishmidt and Tirdad Zolghadr - further explore both(...)
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This reader gathers together an international selection of artists' proposals, manifestos, theoretical texts and public declarations that focus on the question of political engagement and the possibility of social change. Six specially commissioned essays - by Geeta Kapur, Lucy Lippard, John Milner, Gerald Raunig, Marina Vishmidt and Tirdad Zolghadr - further explore both(...)
Publication:
avril 2008, London
avril 2008, London
Titre:
Art and social change: a critical reader
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This reader gathers together an international selection of artists' proposals, manifestos, theoretical texts and public declarations that focus on the question of political engagement and the possibility of social change. Six specially commissioned essays - by Geeta Kapur, Lucy Lippard, John Milner, Gerald Raunig, Marina Vishmidt and Tirdad Zolghadr - further explore both the historical context and the contemporary situation.
Art and social change: a critical reader
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This reader gathers together an international selection of artists' proposals, manifestos, theoretical texts and public declarations that focus on the question of political engagement and the possibility of social change. Six specially commissioned essays - by Geeta Kapur, Lucy Lippard, John Milner, Gerald Raunig, Marina Vishmidt and Tirdad Zolghadr - further explore both the historical context and the contemporary situation.
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Publication:
avril 2008, London
avril 2008, London
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First edition. This book traces the story from early spatial experiments with film and video technologies to the current widespread use of projected images in museums and galleries. Why has there been a turn to the cinematic in contemporary art? What happens to the moving image when it shifts from the black box to the white cube, when cinema is exhibited? How does this(...)
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First edition. This book traces the story from early spatial experiments with film and video technologies to the current widespread use of projected images in museums and galleries. Why has there been a turn to the cinematic in contemporary art? What happens to the moving image when it shifts from the black box to the white cube, when cinema is exhibited? How does this(...)
Titre:
Art and the moving image : a critical reader
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First edition. This book traces the story from early spatial experiments with film and video technologies to the current widespread use of projected images in museums and galleries. Why has there been a turn to the cinematic in contemporary art? What happens to the moving image when it shifts from the black box to the white cube, when cinema is exhibited? How does this challenge the traditional mediums of film, painting and sculpture? This publication gathers together key texts including new, translated and previously unavailable essays by writers and theorists including Giorgio Agamben, Beatriz Colomina, Serge Daney, Rosalind Krauss, Maurizio Lazzaratto and Peter Wollen.
Art and the moving image : a critical reader
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First edition. This book traces the story from early spatial experiments with film and video technologies to the current widespread use of projected images in museums and galleries. Why has there been a turn to the cinematic in contemporary art? What happens to the moving image when it shifts from the black box to the white cube, when cinema is exhibited? How does this challenge the traditional mediums of film, painting and sculpture? This publication gathers together key texts including new, translated and previously unavailable essays by writers and theorists including Giorgio Agamben, Beatriz Colomina, Serge Daney, Rosalind Krauss, Maurizio Lazzaratto and Peter Wollen.
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livres
livres
Publication:
avril 2008, London
avril 2008, London
