1979 Résultats
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"How to build a river," through photographs and incisive, contextualizing essays, ventures behind the construction hoardings of the Port Lands Flood Protection project to reveal the transformation of hundreds of acres of polluted brownfields into a new public park, a new river and a site for future housing. Awarded to photographers Vid Ingelevics and Ryan Walker in 2019,(...)
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"How to build a river," through photographs and incisive, contextualizing essays, ventures behind the construction hoardings of the Port Lands Flood Protection project to reveal the transformation of hundreds of acres of polluted brownfields into a new public park, a new river and a site for future housing. Awarded to photographers Vid Ingelevics and Ryan Walker in 2019,(...)
Titre:
How to build a river: Vid Ingelevics and Ryan Walker
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"How to build a river," through photographs and incisive, contextualizing essays, ventures behind the construction hoardings of the Port Lands Flood Protection project to reveal the transformation of hundreds of acres of polluted brownfields into a new public park, a new river and a site for future housing. Awarded to photographers Vid Ingelevics and Ryan Walker in 2019, the commission resulted in an illuminating series of photographs that explore key themes and historical contexts of this legacy-building endeavour. Central to this project was the construction of a new wider, naturalized mouth for the Don River as well as a new public park on this former brownfield site. Additionally, the photographs explore the necessary demolition of many existing industrial buildings, the involvement of First Nations, the excavation of the new river valley and the complex bio-engineering techniques involved, archeological discoveries during the excavation, the re-naturalization of the site and, most recently, the opening of a significant section of Biidaasige Park to the public in July 2025.
How to build a river: Vid Ingelevics and Ryan Walker
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"How to build a river," through photographs and incisive, contextualizing essays, ventures behind the construction hoardings of the Port Lands Flood Protection project to reveal the transformation of hundreds of acres of polluted brownfields into a new public park, a new river and a site for future housing. Awarded to photographers Vid Ingelevics and Ryan Walker in 2019, the commission resulted in an illuminating series of photographs that explore key themes and historical contexts of this legacy-building endeavour. Central to this project was the construction of a new wider, naturalized mouth for the Don River as well as a new public park on this former brownfield site. Additionally, the photographs explore the necessary demolition of many existing industrial buildings, the involvement of First Nations, the excavation of the new river valley and the complex bio-engineering techniques involved, archeological discoveries during the excavation, the re-naturalization of the site and, most recently, the opening of a significant section of Biidaasige Park to the public in July 2025.
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livres
livres
Publication:
septembre 2026
septembre 2026
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Monographies photo
Monographies photo
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périodiques
périodiques
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As this year’s editorial cycle was titled Value Attachment—a poetic and materialist inquiry into how we assign worth to our worlds—the Sumud Flotilla offers a paradigm for what that question truly entails. The Gaza Biennial reasserts, in its own terms, the primacy of relationships as the ground on which politics is built. Not relationships as networks of exchange or(...)
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As this year’s editorial cycle was titled Value Attachment—a poetic and materialist inquiry into how we assign worth to our worlds—the Sumud Flotilla offers a paradigm for what that question truly entails. The Gaza Biennial reasserts, in its own terms, the primacy of relationships as the ground on which politics is built. Not relationships as networks of exchange or(...)
Titre:
Arts of the Working Class #39: Relationships
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As this year’s editorial cycle was titled Value Attachment—a poetic and materialist inquiry into how we assign worth to our worlds—the Sumud Flotilla offers a paradigm for what that question truly entails. The Gaza Biennial reasserts, in its own terms, the primacy of relationships as the ground on which politics is built. Not relationships as networks of exchange or capital, but as infrastructures of mutual dependence and resistance: fragile, chaotic, complex, indispensable. Across the previous four issues in 2025, we have traced how this question recurs across different registers. Now, we turn to Relationships: to sentimental versions and terrains of struggle. Fascism, in its twenty-first-century iterations, thrives not only on nationalism and exclusion but on dismantling relational life: isolating, atomizing, privatizing it until solidarity becomes suspect and empathy itself a form of dissent. Proximity is policed, intimacy is surveilled. Love is reduced to transaction. Care is outsourced. Trust weaponized. Even friendship, the most basic form of political relation, is co-opted as a tool of influence and control.
Arts of the Working Class #39: Relationships
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As this year’s editorial cycle was titled Value Attachment—a poetic and materialist inquiry into how we assign worth to our worlds—the Sumud Flotilla offers a paradigm for what that question truly entails. The Gaza Biennial reasserts, in its own terms, the primacy of relationships as the ground on which politics is built. Not relationships as networks of exchange or capital, but as infrastructures of mutual dependence and resistance: fragile, chaotic, complex, indispensable. Across the previous four issues in 2025, we have traced how this question recurs across different registers. Now, we turn to Relationships: to sentimental versions and terrains of struggle. Fascism, in its twenty-first-century iterations, thrives not only on nationalism and exclusion but on dismantling relational life: isolating, atomizing, privatizing it until solidarity becomes suspect and empathy itself a form of dissent. Proximity is policed, intimacy is surveilled. Love is reduced to transaction. Care is outsourced. Trust weaponized. Even friendship, the most basic form of political relation, is co-opted as a tool of influence and control.
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périodiques
périodiques
Publication:
novembre 2025
novembre 2025
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Revues
Revues
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livres
livres
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En mouvement
En mouvement
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Initié en 2023 par l'EPCC Cité du design-Ésad Saint Étienne, « Présent > < Futur » est un programme d'expositions monographiques qui donne à voir un foisonnement d'expressions et une multiplicité d'approches qui confirment la vitalité du design contemporain. Pour conserver la trace des expositions de ce cycle, cette collection de livres explore, pour chaque designer(...)
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Initié en 2023 par l'EPCC Cité du design-Ésad Saint Étienne, « Présent > < Futur » est un programme d'expositions monographiques qui donne à voir un foisonnement d'expressions et une multiplicité d'approches qui confirment la vitalité du design contemporain. Pour conserver la trace des expositions de ce cycle, cette collection de livres explore, pour chaque designer(...)
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En mouvement
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Initié en 2023 par l'EPCC Cité du design-Ésad Saint Étienne, « Présent > < Futur » est un programme d'expositions monographiques qui donne à voir un foisonnement d'expressions et une multiplicité d'approches qui confirment la vitalité du design contemporain. Pour conserver la trace des expositions de ce cycle, cette collection de livres explore, pour chaque designer invité, une sélection de projets et raconte une aventure créative avec une entreprise de la région Auvergne-Rhône Alpes, qui rapproche le design des savoir-faire industriels. Le 4e opus est consacré à la production protéiforme du designer français David Dubois, présentée dans l'exposition « en mouvement », organisée du 6 novembre 2025 au 1er mars 2026. David Dubois développe des expérimentations, entre mode, art et design. Il aime se mettre à disposition d'une demande dans une énergie partagée. «?Les formes convoquées se font souvent en s'associant avec d'autres artistes, performeurs, vidéastes, éditeurs... Les trouvailles sont réjouissantes. La part du jeu, toujours?» note la critique Jeanne Quéheillard dans son texte introductif. Faire avec ce qu'il y a, se jouer des contraintes et réinventer les fonctions amènent David Dubois à combiner, recycler, adapter l'usage des objets de façon inattendue et novatrice.
En mouvement
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Initié en 2023 par l'EPCC Cité du design-Ésad Saint Étienne, « Présent > < Futur » est un programme d'expositions monographiques qui donne à voir un foisonnement d'expressions et une multiplicité d'approches qui confirment la vitalité du design contemporain. Pour conserver la trace des expositions de ce cycle, cette collection de livres explore, pour chaque designer invité, une sélection de projets et raconte une aventure créative avec une entreprise de la région Auvergne-Rhône Alpes, qui rapproche le design des savoir-faire industriels. Le 4e opus est consacré à la production protéiforme du designer français David Dubois, présentée dans l'exposition « en mouvement », organisée du 6 novembre 2025 au 1er mars 2026. David Dubois développe des expérimentations, entre mode, art et design. Il aime se mettre à disposition d'une demande dans une énergie partagée. «?Les formes convoquées se font souvent en s'associant avec d'autres artistes, performeurs, vidéastes, éditeurs... Les trouvailles sont réjouissantes. La part du jeu, toujours?» note la critique Jeanne Quéheillard dans son texte introductif. Faire avec ce qu'il y a, se jouer des contraintes et réinventer les fonctions amènent David Dubois à combiner, recycler, adapter l'usage des objets de façon inattendue et novatrice.
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livres
livres
Publication:
novembre 2025
novembre 2025
Sujet:
Design, monographies
Design, monographies
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livres
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In the summer of 2025, nine Western States formally recognized the State of Palestine. This State recognition and the resurrection of the moribund so-called “two-State solution” is combined with a criminalization of calls to liberate Palestine “from the river to the sea.” This issue asks: can liberation ever take the form of a state? Borrowing a phrase Sophia Azeb used(...)
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In the summer of 2025, nine Western States formally recognized the State of Palestine. This State recognition and the resurrection of the moribund so-called “two-State solution” is combined with a criminalization of calls to liberate Palestine “from the river to the sea.” This issue asks: can liberation ever take the form of a state? Borrowing a phrase Sophia Azeb used(...)
Titre:
The Funambulist 64: The no-state solution
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In the summer of 2025, nine Western States formally recognized the State of Palestine. This State recognition and the resurrection of the moribund so-called “two-State solution” is combined with a criminalization of calls to liberate Palestine “from the river to the sea.” This issue asks: can liberation ever take the form of a state? Borrowing a phrase Sophia Azeb used multiple times in the history of The Funambulist (since our first conversation in 2014), The No-State Solution intends to revisit this concept in the context of Palestine in challenging the very idea of “solution” (Sophia Azeb & Rebecca Gross), but also in other liberation struggles such as the Kurdish (Havin Guneser) and Zapatista (Linda Quiquivix) ones. It warns us against state dreams, such as the ones implemented in Sierra Leone and Liberia (what William C. Anderson calls “Black Zionism” in his contribution), and questions the differences between State and community forms of governance, in particular when it comes to healthcare, as made evident in Cuba and Venezuela (Lisbeth Moya González). Finally, it envisions borderless, stateless futures in Aotearoa (Kai-rui Cheng) and Kanaky (Florenda Nirikani). As for the artwork on the cover, it is an original creation by Samir Harb.
The Funambulist 64: The no-state solution
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In the summer of 2025, nine Western States formally recognized the State of Palestine. This State recognition and the resurrection of the moribund so-called “two-State solution” is combined with a criminalization of calls to liberate Palestine “from the river to the sea.” This issue asks: can liberation ever take the form of a state? Borrowing a phrase Sophia Azeb used multiple times in the history of The Funambulist (since our first conversation in 2014), The No-State Solution intends to revisit this concept in the context of Palestine in challenging the very idea of “solution” (Sophia Azeb & Rebecca Gross), but also in other liberation struggles such as the Kurdish (Havin Guneser) and Zapatista (Linda Quiquivix) ones. It warns us against state dreams, such as the ones implemented in Sierra Leone and Liberia (what William C. Anderson calls “Black Zionism” in his contribution), and questions the differences between State and community forms of governance, in particular when it comes to healthcare, as made evident in Cuba and Venezuela (Lisbeth Moya González). Finally, it envisions borderless, stateless futures in Aotearoa (Kai-rui Cheng) and Kanaky (Florenda Nirikani). As for the artwork on the cover, it is an original creation by Samir Harb.
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livres
livres
Publication:
mars 2026
mars 2026
Sujet:
Revues
Revues
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livres
livres
Titre:
Tacita Dean: Why Cy
Tacita Dean: Why Cy
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In February 2024, Tacita Dean undertook a residency in the Cy Twombly Gallery at the Menil Collection in Houston. Designed by architect Renzo Piano in collaboration with Twombly, the Gallery houses a display of Twombly’s work organised by the artist to augment the building’s mood of disorientation and temporal suspension. For Dean, it is a site of pilgrimage and ‘a place(...)
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In February 2024, Tacita Dean undertook a residency in the Cy Twombly Gallery at the Menil Collection in Houston. Designed by architect Renzo Piano in collaboration with Twombly, the Gallery houses a display of Twombly’s work organised by the artist to augment the building’s mood of disorientation and temporal suspension. For Dean, it is a site of pilgrimage and ‘a place(...)
Titre:
Tacita Dean: Why Cy
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In February 2024, Tacita Dean undertook a residency in the Cy Twombly Gallery at the Menil Collection in Houston. Designed by architect Renzo Piano in collaboration with Twombly, the Gallery houses a display of Twombly’s work organised by the artist to augment the building’s mood of disorientation and temporal suspension. For Dean, it is a site of pilgrimage and ‘a place to go out of your head’. Dean has loved the work of the American painter and sculptor since writing her art school thesis on him in the late 1980s. She photographed his studio home in Gaeta, Italy, in 2009, made a film with him in 2011 called Edwin Parker, and has written about his work on numerous occasions. During her time at the Menil, she asked permission to spend a night in the Gallery. "Why Cy" is a book of exuberant adoration, full of colour and black-and-white photographs that pay homage to this singular artist. It reflects Dean’s longstanding admiration for Twombly’s work and her close affinity with it, while at the same time taking a new, surprising, and unintended path. The book includes a booklet of notes by Dean developed out of her night with Cy, and coincides with the exhibition ‘Tacita Dean: Blind Folly’ at the Menil Collection (11 October 2024–19 April 2025), which includes a room dedicated to celebrating the connection between Dean and Twombly. Limited edition of 1,000 signed and numbered copies
Tacita Dean: Why Cy
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In February 2024, Tacita Dean undertook a residency in the Cy Twombly Gallery at the Menil Collection in Houston. Designed by architect Renzo Piano in collaboration with Twombly, the Gallery houses a display of Twombly’s work organised by the artist to augment the building’s mood of disorientation and temporal suspension. For Dean, it is a site of pilgrimage and ‘a place to go out of your head’. Dean has loved the work of the American painter and sculptor since writing her art school thesis on him in the late 1980s. She photographed his studio home in Gaeta, Italy, in 2009, made a film with him in 2011 called Edwin Parker, and has written about his work on numerous occasions. During her time at the Menil, she asked permission to spend a night in the Gallery. "Why Cy" is a book of exuberant adoration, full of colour and black-and-white photographs that pay homage to this singular artist. It reflects Dean’s longstanding admiration for Twombly’s work and her close affinity with it, while at the same time taking a new, surprising, and unintended path. The book includes a booklet of notes by Dean developed out of her night with Cy, and coincides with the exhibition ‘Tacita Dean: Blind Folly’ at the Menil Collection (11 October 2024–19 April 2025), which includes a room dedicated to celebrating the connection between Dean and Twombly. Limited edition of 1,000 signed and numbered copies
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livres
livres
Publication:
février 2025
février 2025
Sujet:
Monographies photo
Monographies photo
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périodiques
périodiques
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Au cours de l’été 2025, neuf États occidentaux ont officiellement reconnu l’État de Palestine. Cette reconnaissance par les États et la résurrection de la « solution à deux États » moribonde, s’accompagnent d’une criminalisation des appels à la libération de la Palestine « du Jourdain à la Mer ». Ce numéro pose la question suivante : la libération peut-elle prendre la(...)
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Au cours de l’été 2025, neuf États occidentaux ont officiellement reconnu l’État de Palestine. Cette reconnaissance par les États et la résurrection de la « solution à deux États » moribonde, s’accompagnent d’une criminalisation des appels à la libération de la Palestine « du Jourdain à la Mer ». Ce numéro pose la question suivante : la libération peut-elle prendre la(...)
Titre:
The Funambulist No. 64 FR : La solution sans état
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Au cours de l’été 2025, neuf États occidentaux ont officiellement reconnu l’État de Palestine. Cette reconnaissance par les États et la résurrection de la « solution à deux États » moribonde, s’accompagnent d’une criminalisation des appels à la libération de la Palestine « du Jourdain à la Mer ». Ce numéro pose la question suivante : la libération peut-elle prendre la forme d’un État ? Reprenant une expression que Sophia Azeb a utilisée à plusieurs reprises dans l’histoire du Funambulist (depuis notre première conversation en 2014), « La Solution Sans État » entend revisiter ce concept dans le contexte palestinien en remettant en question l’idée même de « solution » (Sophia Azeb & Rebecca Gross), mais aussi dans d’autres luttes de libération telles que celles des peuples kurdes (Havin Guneser) et des Zapatista (Linda Quiquivix). Il nous met en garde contre les rêves étatiques, tels que ceux mis en œuvre en Sierra Leone et au Liberia (ce que William C. Anderson appelle le « sionisme noir » dans sa contribution), et s’interroge sur les différences entre les formes de gouvernance étatiques et celles communautaires, en particulier en matière de santé, comme le montrent les exemples de Cuba et du Venezuela (Lisbeth Moya González). Enfin, il envisage ce à quoi pourrait ressembler des futurs sans frontières et sans États à Aotearoa-Nouvelle Zélande (Kai-rui Cheng) et en Kanaky (Florenda Nirikani). Quant à l’illustration de la couverture, il s’agit d’une création originale de Samir Harb.
The Funambulist No. 64 FR : La solution sans état
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Au cours de l’été 2025, neuf États occidentaux ont officiellement reconnu l’État de Palestine. Cette reconnaissance par les États et la résurrection de la « solution à deux États » moribonde, s’accompagnent d’une criminalisation des appels à la libération de la Palestine « du Jourdain à la Mer ». Ce numéro pose la question suivante : la libération peut-elle prendre la forme d’un État ? Reprenant une expression que Sophia Azeb a utilisée à plusieurs reprises dans l’histoire du Funambulist (depuis notre première conversation en 2014), « La Solution Sans État » entend revisiter ce concept dans le contexte palestinien en remettant en question l’idée même de « solution » (Sophia Azeb & Rebecca Gross), mais aussi dans d’autres luttes de libération telles que celles des peuples kurdes (Havin Guneser) et des Zapatista (Linda Quiquivix). Il nous met en garde contre les rêves étatiques, tels que ceux mis en œuvre en Sierra Leone et au Liberia (ce que William C. Anderson appelle le « sionisme noir » dans sa contribution), et s’interroge sur les différences entre les formes de gouvernance étatiques et celles communautaires, en particulier en matière de santé, comme le montrent les exemples de Cuba et du Venezuela (Lisbeth Moya González). Enfin, il envisage ce à quoi pourrait ressembler des futurs sans frontières et sans États à Aotearoa-Nouvelle Zélande (Kai-rui Cheng) et en Kanaky (Florenda Nirikani). Quant à l’illustration de la couverture, il s’agit d’une création originale de Samir Harb.
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périodiques
périodiques
Publication:
février 2026
février 2026
Sujet:
Revues
Revues
Classification:
livres
livres
Titre:
e-flux Index #9
e-flux Index #9
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This ninth issue of e-flux Index interweaves a selection of pieces published by e-flux throughout the Summer of 2025, and is divided into two parts. In six chapters that index the state of ''Art and Theory Today'', the first part revisits the primal scene of the Theory Wars—the tenor of which has changed, from an urgent ideological contest between humanist objectivity and(...)
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This ninth issue of e-flux Index interweaves a selection of pieces published by e-flux throughout the Summer of 2025, and is divided into two parts. In six chapters that index the state of ''Art and Theory Today'', the first part revisits the primal scene of the Theory Wars—the tenor of which has changed, from an urgent ideological contest between humanist objectivity and(...)
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e-flux Index #9
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This ninth issue of e-flux Index interweaves a selection of pieces published by e-flux throughout the Summer of 2025, and is divided into two parts. In six chapters that index the state of ''Art and Theory Today'', the first part revisits the primal scene of the Theory Wars—the tenor of which has changed, from an urgent ideological contest between humanist objectivity and postmodern relativism, to a more even-handed, pragmatic, and pluralist one, in the decades since. It brings together material that the various independent publishing arms of e-flux published around the theme of the often-fraught relations between theory and (artistic, architectural, pedagogic, political) practice. The second part of Index #9, ''This world, this mutilated space'', moves onto the terrain of the Forever War, examining the resilience shown by artistic communities living on its multiplying frontlines, the deepening climate war against the nonhuman world, and those displaced by these processes of destruction. As international relations "realists" like John Mearsheimer have regularly observed on the 24/7 war-pundit circuit since the illegal strike on Ayatollah Khamenei two months ago, the Iran War is a conflict which also displays no "logical sequence of thought"—which has no theory. This is a war whose aggressors (Netanyahu–Ben-Gvir and Trump–Hegseth–Rubio) seem less in hock to Carl von Clausewitz than to the instant dopaminergic kill-feed of a fifteen-year-old hooked on ''Call of Duty'' missions—with strategy configured as content, war as engagement metric.
e-flux Index #9
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This ninth issue of e-flux Index interweaves a selection of pieces published by e-flux throughout the Summer of 2025, and is divided into two parts. In six chapters that index the state of ''Art and Theory Today'', the first part revisits the primal scene of the Theory Wars—the tenor of which has changed, from an urgent ideological contest between humanist objectivity and postmodern relativism, to a more even-handed, pragmatic, and pluralist one, in the decades since. It brings together material that the various independent publishing arms of e-flux published around the theme of the often-fraught relations between theory and (artistic, architectural, pedagogic, political) practice. The second part of Index #9, ''This world, this mutilated space'', moves onto the terrain of the Forever War, examining the resilience shown by artistic communities living on its multiplying frontlines, the deepening climate war against the nonhuman world, and those displaced by these processes of destruction. As international relations "realists" like John Mearsheimer have regularly observed on the 24/7 war-pundit circuit since the illegal strike on Ayatollah Khamenei two months ago, the Iran War is a conflict which also displays no "logical sequence of thought"—which has no theory. This is a war whose aggressors (Netanyahu–Ben-Gvir and Trump–Hegseth–Rubio) seem less in hock to Carl von Clausewitz than to the instant dopaminergic kill-feed of a fifteen-year-old hooked on ''Call of Duty'' missions—with strategy configured as content, war as engagement metric.
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livres
livres
Publication:
août 2026
août 2026
Sujet:
Revues
Revues
Classification:
périodiques
périodiques
Titre:
Archives and records.
Archives and records.
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Description:
volumes : illustrations ; 25 cm
Description:
volumes : illustrations ; 25 cm
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Abingdon, Oxford, UK : Routledge, 2013-
Abingdon, Oxford, UK : Routledge, 2013-
Classification:
périodiques
périodiques
Publication:
Abingdon, Oxford, UK : Routledge, 2013-
Abingdon, Oxford, UK : Routledge, 2013-
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Classification:
périodiques
périodiques
Titre:
ENR.
ENR.
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Description:
volumes : illustrations ; 27 cm
Description:
volumes : illustrations ; 27 cm
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[New York, N.Y.] : [McGraw-Hill], ©1987-, Troy, MI : BNP Media II, LLC
[New York, N.Y.] : [McGraw-Hill], ©1987-, Troy, MI : BNP Media II, LLC
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périodiques
périodiques
Publication:
[New York, N.Y.] : [McGraw-Hill], ©1987-, Troy, MI : BNP Media II, LLC
[New York, N.Y.] : [McGraw-Hill], ©1987-, Troy, MI : BNP Media II, LLC
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