| |  | Author : Terry R. Myers - Personality : Julie Becker - Keywords : installation, model, video - Type : long article - Language : french/english
Published in Avril 1997 in issue no. 223 (épuisé) |
| Julie
Becker was debuted publicly by Paul Schimmel, curator of the MOCA in
Los Angeles, in the “Universalis” segment of the Sao Paulo Bieñal. Her
work, Residents, A Place to Rest, was both monumental and refined. The
installation was made up of three main parts which visitors can enter,
one section that appears to be an actual reception area, a narrow
hallway and another space that could more easily be read as a gallery
containing two models, including one of the waiting room they have just
passed through. In the models Becker has distributed the accoutrements
of unknown but identifiable residents. The meticulous nature of her
diminutive fabrications of a miniature life make visitors feel like
Gulliver amid the Lilliputians.
| | No pdf  | |
| Fernanda Gomes, Enormous (Small) Changes |
|
| Author : Lorand Hegyi - Personality : Fernanda Gomes - Keywords : installation, Brazil, recuperation - Type : long article - Language : french/english
Published in Avril 1997 in issue no. 223 (épuisé) |
| | In
October 1996, at the Rio Museu de Arte Moderna, Fernanda Gomes
presented small “abstractized” objects that occupied the floor space in
the same way that Mondrian structured the space of a canvas. She
scattered found objects (fragments of furniture, books, wooden objects,
ceramics, cardboard boxes) to make art that is simultaneously
intellectual and affective, and archaic. The scarcely visible
interventions on these objects have nothing to do with a cultural or
ritualistic practice, even though her work with ephemeral materials
manifests a “runiform poetry.” The association of commonplace objects
with others of a very personal nature and the modesty of her own
interventions work together to create a private world. Yet the link
between the most tenuous operations and the grand overarching
intelligible structure points to a sphere of universal, existential and
philosophical values. | | | No pdf | |
| The Production of Consciousness |
|
| Author : Eleanor Heartney - Personality : Joseph Kosuth - Keywords : conceptual art, linguistic - Type : interview - Language : french/english
Published in Avril 1997 in issue no. 223 (épuisé) |
| | With
his One and Three Chairs (1965), Joseph Kosuth established himself as
the leading figure in Conceptual Art. He insists on the linguistic
nature of all artistic production. His seminal essay “Art after
Philosophy” (1969) called for an art based on pure reflexivity. Kosuth
answers questions from Eleanor Heartney on the division of his career
into three periods (art as an analytic proposition, the artist as an
anthropologist, and psychoanalysis), his constant struggle to defend
the original meaning of Conceptual Art, the work of “commodity artists”
with one foot in the marketplace and the other in conceptualism, French
approaches to Conceptual Art and the relationship between art and
politics. | | | No pdf | |
| Still Contemporary in the Year 2000? |
|
| Author : Maïten Bouisset - Personality : Jean-Jacques Aillagon - Keywords : contemporary art, architecture, politics, Extreme Right - Type : long article - Language : french/english
Published in Avril 1997 in issue no. 223 (épuisé) |
| | For
the celebrations of the third millennium, Jean-Jacques Aillagon,
chairman of the Mission for the Year 2000, has announced a program of
events to be held between fall 1999 and spring 2001 at some twenty
different venues. The central event will be an architectural charrette
(collective project) involving a French architect and two others from
different cultures that would focus on the theme “France, Europe and
the World, A Land for All Mankind.” As these highly contemporary
endeavors seek funding, the far right is reviving its attacks on
contemporary art and once again there is a threat to fold the
governmental body concerned with contemporary art (the DAP) into the
body in charge of museums (the DMF). | | | No pdf | |
| The Defense and Illustration of Modernity |
|
| Author : Catherine Millet - Personality : Jean-Jacques Aillagon - Keywords : contemporary art, museum, institution - Type : interview - Language : french/english
Published in Avril 1997 in issue no. 223 (épuisé) |
| Jean-Jacques
Aillagon, director of the Pompidou Center for the last year, is in
charge of that interdisciplinary institution’s twentieth anniversary
celebration and the French government’s millennium commission. Will the
change of millennium be marked by the same concern for contemporary art
as France’s flagship cultural center? Art press interviews Aillagon on
his priorities, the merging of the National Modern Art Museum and the
Center for Industrial Design and the question of the Pompidou Center’s
division of labor in general, the boundaries between historic and
contemporary art, his desire to see contemporary art reach a broader
audience, the allocation of the permanent exhibition spaces and the
announced alliance between the Center and the Jeu de Paume museum.
| | | No pdf | |
[Envoyer à un ami]
| |  | Provisional Geometries
(Martin Kippenberger, Mamco, Genève, Suisse, 31/01/97-25/05/97)
(Milton Rogovin, New York State Museum, New York, Etats-Unis, 08/11/96-03/03/97)
(les Alliés, Berlin, Allemagne, 12/96-03/97)
The Complete Collection
(Zebedee Jones, Waddington Galleries, Londres, Angleterre, 15/01/97-08/02/97)
Art and Theater
When You Sign…
By Chance, Really?
A Fool's Bargain
New Right, (Bad) Old Visuals
Memory Lapse
Reveries of a Conceptual Artist
A Place to Rest
Fernanda Gomes, Enormous (Small) Changes
The Production of Consciousness
Still Contemporary in the Year 2000?
The Defense and Illustration of Modernity
(Milia 97, Cannes, France, 08/02/97-12/02/97)
(Quelques aspects de l'art en France depuis 1978, Le Magasin, Grenoble, France, 26/01/97-16/03/97)
(Dominique Gauthier, Galerie Filles du Calvaire, Paris, France, 28/01/97-08/03/97)
(Robert F. Hammerstiel, Galerie Yvonamor Palix, Paris, France, 03/02/97-15/03/97)
(Chambres d'échos, Centre d'art contemporain, La Ferme du buisson, Marne-la-Vallée, France, 23/01/97-09/03/97)
(abbbdgmmnps, Galerie Chez Valentin, Paris, France, 25/01/97-2001/03/97)
(Jean-Michel Alberola, Arc - Musée d'Art moderne de la Ville de Paris, Paris, France, 15/01/97-23/03/97)
(Un mur à Marrakech, Institut français, Marrakech, Maroc, 01/03/96-15/03/97)
(Instants donnés, Arc / musée d'Art moderne de la Ville, Paris, France, 16/01/97-23/03/97)
(Rosalind Krauss, passages, une histoire de la sculpture de Rodin à Smithson)
(Ce qui détruit l'ordre)
(Brigitte Paulino-Neto ou les uppercuts de la pensée)
(Daniel Wildenstein Monet)
(Gérard Fontaine le Décor d'opéra - Un rêve éveillé)
(« Linda S. Boersma « 0,10 » : La Dernière Exposition futuriste »)
(Jean-Yves Cendrey Trou-madame)
(Dominique Païni le Cinéma, un art moderne)
(Fernando Pessoa Visage avec masques)
(Bernard Comment l'Ongle noir)
(La magique étude du bonheur)
(Des lieux et des mémoires)
(Le modernisme et l'après)
« We Didn't Know » |
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