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Dos 40 aos 55 anos, tomar 2 doses espaçadas por dia. Ingalls Town Indiana trench gratings dice: È qui, presso la Cornish School, che Cage concepisce il rivoluzionario pianoforte preparato , più precisamente per il balletto Bacchanale di Syvilla Fort. Uno dei compiti di John, in quel periodo, è quello di accompagnare i ballerini durante le lezioni e i concerti, per quanto fosse qualcosa che detesta fare. Il suono che proviene dallo strumento suscita in Cage un particolare interesse.

È del tutto concentrato su questo oggetto, che rotola su e giù per le corde. Gli viene allora in mente il suono del pianoforte quando Cowell percuoteva o pizzicava le corde, o quando vi faceva scorrere sopra degli aghi di metallo.

Si sposta in cucina, prende un piatto e lo mette con un libro sulle corde. Ma il piatto rimbalza. Cage prende allora un chiodo e lo infila tra le corde. Ma si presenta un altro problema: Viene allora in mente a John di sostituire il chiodo con una vite da legno.

Era nato il pianoforte preparato 6. Oltre che nelle pagine pianistiche di Sonatas and Interludes ,del Prelude for Meditation , del Concerto for Prepared Piano and Chamber Orchestra e delle Two Pastorales , il ricorso al pianoforte preparato non manca anche in due lavori per il cinema, il primo pubblicato con il titolo Music for Marcel Duchamp per la pellicola Dreams That Money Can Buy di Hans Richter e il secondo per il film Works of Calder di Herbert Matter, ma anche in Amores per pianoforte preparato e trio di batterie, in Second Construction per quartetto di batterie e pianoforte preparato e in She Is Asleep per quartetto di batterie, voce, pianoforte preparato e pianoforte non preparato.

La qualità e la caratterizzazione del suono dipende direttamente da tale collocazione: Anche attraverso questa rivoluzione dei mezzi, John Cage ha indicato nuove possibilità espressive, dimostrando ancora una volta la volontà di partecipare a una metamorfosi profonda, a una rivoluzione inevitabile, quella per la quale le porte della musica si sono spalancate a universi sonori sorprendenti e ancora oggi decisamente attraenti.

Kant, Critica del Giudizio , trad. Ecco il passo completo: Raggiunta una meta, eliminati molti sassi pericolosi dalla strada una mano invisibile e crudele getta su questa strada nuovi blocchi, rendendola irriconoscibile. Egli vede e fa vedere. A volte vorrebbe liberarsi di questa superiore capacità che per lui costituisce spesso una pesante croce.

Pontiggia, SE, Milano , p. Über das Geistige in der Kunst , R. Fronzi a cura di , John Cage. Presentando, nel giugno , le Sonate e Interludi per pianoforte preparato nel salotto di Suzanne Tézenas, Pierre Boulez dirà: Dopo molti tentativi, Cage prova a stabilire quali oggetti possano rimanere fermi fra le corde di un pianoforte, quali siano i differenti materiali da usare e come debbano essere sistemati; ne dedusse la necessità di modificare durata, ampiezza, frequenza e timbro, vale a dire le quattro caratteristiche di un suono.

Cage, Corrispondenze e documenti , trad. Edwin Rosasco, Archinto, Milano , pp. Correspondance et documents , a cura di J.

Cage, La musica fino al , in Lettera a uno sconosciuto , a cura di R. Kostelanetz, con un ricordo di M. Sanguineti, Edizioni Socrates, Roma , pp. Negri a cura di , John Cage. Simon Fravega works as artist and performer.

He takes seriously the virtues of disguisement and anecdote. The nature of these gestures staggers them: Combining this deferred dubbing activity to a flow of micro-narratives, Simon Fravega weaves a reflection on the gap between facts and representations. And under the guise of humour and the absurd, it identifies something essential in the great game of the world. Simon Fravega déploie un travail de plasticien et de performer.

En action, il se cale sur les autres sportifs, rockeurs, personnages de western ou danseurs de hula hoop , étudie les gestes qui les définissent et les rejoue en les décontextualisant. La nature de ces gestes chancelle alors: Previous projects include a.

Among his edited publications: Progetti precedenti includono, tra gli altri: Ha editato le seguenti pubblicazioni: Parmi ses projets récents: Il a coordonné plusieurs publications, parmi lesquelles: They are the product of relationships between many agents — artist s , curator s , artwork s , audience s , display, etc. An exhibition is a designed situation, still open to a lot of various uncontrollable factors, time being the first of those; so I am interested in practices that are aware of how this time can be administered and shared among all those who are part of the exhibition, primarily the audience.

Nikolaus Hirsch asked this question: Various people, mainly from the field of art and architecture, curated and organized exhibitions and activities of different kinds with a quite intense rhythm up to twelve exhibitions a year. And I am doing this by inviting artists, designers, choreographers, theorists, etc. The mission of your institution is to produce and present regional, national and international artistic practices and to conduct critical research on the role of art and its relationship with the social and political sphere within which it operates.

I would like to ask you what you think is the core responsibility of the institution nowadays, with regard to the artists and the audience. And I guess this is possible just by administering resources first of all, time, as the most precious one in a savvy way. PIANO intends to create a network of art spaces working together, exchanging and interacting. Why did you decide to join the project and how are you participating in it? It is a process that takes time, but some good steps have been made in this direction.

We also discussed this topic at a conference at Bétonsalon on 30 May with the Italian collective Invernomuto and the French curator Rémi Parcollet. Esse sono il risultato di relazioni tra diversi attori — artisti, curatori, opere, pubblico, display ecc.

Sono tutti aspetti che fanno della mostra un medium specifico finalizzato a creare qualcosa di pubblico. Una mostra è una situazione progettata, che rimane tuttavia aperta a diversi fattori incontrollabili, il primo dei quali è il tempo.

Nikolaus Hirsch si poneva la seguente domanda: Sto quindi portando avanti tale riflessione attraverso il coinvolgimento di artisti, designer, coreografi, teorici ecc. Credo sia molto importante — quale segno di rispetto verso gli artisti e il pubblico — trovare il modo di mediare le pratiche degli artisti a beneficio del contesto locale in cui operiamo.

Ovviamente è molto importante evitare il rischio di una mentalità troppo ristretta, cosa che tentiamo di fare presentando pratiche e approcci che siano critici e capaci di produrre legami e connessioni tra temi locali e idee più ampie. Per quale motivo hai deciso di prendere parte al progetto e come si realizza la tua partecipazione? Sin da quando sonoarrivato a Bolzano ho cercato di attivare una serie di collaborazioni e coproduzioni a livello locale, nazionale e internazionale.

È un processo che richiede tempo, ma abbiamo compiuto importanti passi in questa direzione. Abbiamo inoltre discusso questo tema in occasione della conferenza tenutasi presso Bétonsalon lo scorso 30 maggio, cui hanno partecipato il collettivo italiano Invernomuto e il curatore francese Rémi Parcollet. Constellation of One and Many , Leonardo Bigazzi is a curator based in Florence, Italy. Beside collaborating to the selection of films for the main program, in the past edition of the Festival he has been responsible for special projects with the artists Omer Fast, Melik Ohanian and Hiroshi Sugimoto.

Since he works at the Gucci Museum in Florence as a consultant for the contemporary art exhibitions organized in collaboration with the François Pinault Collection. Oltre a collaborare alla selezione dei film e degli incontri del programma, ha seguito nelle passate edizioni la produzione di progetti speciali con gli artisti Omer Fast, Melik Ohanian e Hiroshi Sugimoto.

In qualità di consulente collabora dal con il Gucci Museo a Firenze per le mostre di arte contemporanea organizzate in collaborazione con la François Pinault Collection. Il collabore régulièrement à la sélection des films et a été responsable lors de la précédente édition des projets spéciaux avec les artistes Omer Fast, Melik Ohanian et Hiroshi Sugimoto. Museo Marino Marini Project: Leonards on Sea, United Kingdom.

Lise Lacombe grew up in Aveyron south-west France. During her teenage years, she armed herself with an Olympus 0M30 that would ground her in stock photography. She left for the city Toulouse, where she graduated form art school and got a diploma in Photography-Photo manipulation from the Gobelins School in Paris.

During these formative two years, she personified her photographic practice. Using first a Yashika Mat, then a Hasselblad, she stuck to the square format that characterizes her work and turned to photo-reporting. Alone, she left for various countries: Jean-Baptiste Alazard was born in Aveyron to a family of farmers. The same year, he began working on trans-media works with Mittlewerk Express.

In , he returned to the south of France to direct La Tierce des Paumés , a collaboration with photographer Lise Lacombe. His movie, that comes as a result of this project, La Buissonière was awarded the Prix Georges de Beauregard. Nel corso di questi due anni, personalizza la sua pratica fotografica.

Con una Yashika Mat e poi una Hasselblad, si dedica al formato quadrato, caratteristico del suo lavoro, e si orienta al reportage. Affina il suo sguardo grazie ai viaggi, realizzando delle serie che si propongono come testimonianza dei fatti della società ma con uno sguardo personale.

La fotografia è uno strumento personale assoluto che dà vita alle sue esperienze. Jean-Baptiste Alazard, dopo aver ottenuto un diploma di audiovisivo a Tolosa, entra alla Fémis nel e diventa montatore. In parallelo, sviluppa la sua attività di cineasta attraverso il documentario con Le Cinquième Quartier o il lungometraggio di fiction con Moussem Les Morts , selezionato al Festival di Belfort nella competizione internazionale.

Lo stesso anno, allarga il suo lavoro alle opere trans-media con Mittelwerk Express. Nel , fa ritorno nel sud della Francia per realizzare La Tierce des Paumés , in collaborazione con la fotografa Lise Lacombe. Il film La Buissonière , frutto di questa collaborazione, ottiene il premio Georges de Beauregard. La photographie est un outil personnel absolu qui donne vie à ses propres expériences.

Né en , Jean-Baptiste Alazard vit en Aveyron. Parallèlement, il développe sa pratique de cinéaste à travers le documentaire avec Le Cinquième Quartier ou le long-métrage de fiction avec Moussem Les Morts , sélectionné au Festival de Belfort en compétition internationale.

En , il rentre dans le sud de la France pour réaliser La Tierce des Paumés , en collaboration avec la photographe Lise Lacombe. Son film issu de ce projet La Buissonière remporte le prix Georges de Beauregard. Courtesy of the artist. Echoing the societal thinking of Charles Fourier, Bal-Blanc has developed the Projet phalanstère Phalanstery Project , a series of site-specific proposals that critically revise the accumulative logic of exhibiting artworks.

His exhibitions The Living currency and The Death of the Audience follow a principle that takes into account their local environment and in situ resources. Along with the visual annotations presented in this publication, Pierre Bal-Blanc proposes a series of documents and interventions that act as paratexts to the exhibition. They serve to prolong the ways in which the works interact not only with the space of Museion, but also with its historical, social, and architectural context within the city and province of Bolzano.

For example, the information panels presented in certain galleries throughout the exhibition testify to the curatorial decision to modify the hierarchy of the exhibition spaces. Comparable to marginalia notes in the margins of books and manuscripts , some documents reveal latent aspects of the exhibition that are normally overlooked or considered private.

These reveal among other things the failures that took place and the ideas that were abandoned during the selection process. Le sue mostre La Monnaie Vivante La moneta vivente e The Death of the Audience La morte del pubblico danno prova di essere radicate nel loro contesto e si articolano in funzione delle risorse in situ.

In maniera analoga alle annotazioni visive presentate in questa pubblicazione, Pierre Bal-Blanc propone per Soleil politique svariati gruppi di documenti e interventi, che funzionano come paratesti alla mostra. Per esempio, i pannelli segnaletici inseriti in alcune sale rinviano alle scelte curatoriali che riguardano il rifacimento della gerarchia degli spazi espositivi. Paragonabili ai marginalia, le note a margine di libri e manoscritti, una parte dei documenti approfondisce gli elementi che stanno alla base della mostra che di solito sono considerati impliciti, o addirittura riservati.

Pierre Bal-Blanc is director of the CAC Brétigny, an exemplary center for the arts, both for the commitment shown toward artists and for its program of atypical productions and exchanges. A space that continually re-elaborates the notions of a program, an exhibition, a collection….

Vincent Honoré The purpose of this conversation is to speak about a program and its underlying dynamics. The idea is also to explain what a space is, a center of art… and what having a place means. These are the points I have been interested in addressing, from when I started working in another space for the Foundation, in London, and at amoment in which I re-elaborate my program and turn to my previous experiments — in London, as elsewhere.

It is quite symbolic, even symptomatic, of a set of projects that, conducted separately and each having its own development, in the end crystallize, thus constituting the evidence of the program itself. My world of work is essentially this: I follow various paths, which seem to be dictated a priori by the institution, but which are also related to recurrent research in the general program and that eventually begin to work together.

I have always tried to work following very advanced processes, deep and long-lasting, and simultaneously to establish visibility in extremely short time frames. That is, I do not define a program a year in advance, I often decide at the last minute, based on common programs with other centers of art, in order to be sure that things succeed in standing out by themselves.

This is possible in a structure in which the constraints are not too rigid; it is a freedom from which I can benefit, given that Brétigny has an atmosphere sympathetic to what is developing there and also because the space, by nature, allows one to escape pre-establishedrules of press kits prepared six months in advance, of press relations built up with great anticipation, etc. I immediately realized what was needed: The program of which I am speaking is an example.

This also offers a new perspective on projects of recent years — such as La Monnaie Vivante , focused on the reification of the body, or The Death of the Audience , centered on the notion of the group, of community, as statute.

But the question of the gregariousness of the group, of the collective, is an issue that repeatedly comes up in my projects in Brétigny. From this point of view I have no obligations besides relations with the local population, an educational mission through the national education system, at all levels, from nursery school through to university. Brétigny is a public service, and I am part of the administration.

It is interesting to associate The Death of the Audience , an external project, by an independent curator, with the program of Brétigny. Calling oneself an independent curator is a slightly elegant way to think of oneself as being free when, in fact, one is not.

It was founded in the s, but not as an art center. Work related to the visual arts had been going on there since the s. In Paris there were very few things, which then evolved in a progressive manner; the projects began in the outskirts, of which Brétigny was one. Then, the mayor of Brétigny, a lover of arts, constructed a building designed to bring together various cultural activities, including the visual arts. These were headed until by the previous director, Xavier Franceschi, with choices aimed at a French environment and the new generation, but also at an international atmosphere, with projects of Maurizio Cattelan and Carsten Höller, who produced notable works which again represented points of reference.

In , the space was recognized as a center of the arts in France, and was given government support which made architectural extensions possible. I had a knowledge of the place from various actions, such as those of Cattelan; his work consisted in reproducing the roof of an eleventh-century church located behind CAC, and placing it on the postmodern or late-modern building of the Center.

It is a work done in relief, for its manner of establishing itself in the surrounding environment, that I would like to ask him to redo. Another work is that commissioned to Atelier Van Lieshout: These actions were a kind of draft of what it was possible to create in this space. The space itself was small, rather difficult, very complicated. From this point of departure, I sent out a series of invitations. The first went to Van Lieshout.

The circumstances themselves were rather unusual. I, newly arrived, was inviting an artist who had already been here, invited by the previous director. A curious thing, a sort of reissue, but at the same time, a way to place myself in the act of becoming, that would have allowed me to pursue the construction of the place.

Thus, I called Van Lieshout to build Edutainer , a space made up of two containers and a tank, in front of the art center; one space that was missing, a place of mediation, for the artists and the staff, a space in which the staff, artists, and public meet. It is a symbolic space, because it is situated outside the building. The idea was to come out of the structure and create an intersection between the internal and the external. This space has been operational for more than eight years.

It is unique, it has containers and seems an active construction site, but on the inside there is an environmentof wood, welcoming and comfortable. The container is symbolic of the circulation of goods, but also of knowledge. After this many other works followed, which have since been installed, even if in an unsystematic manner: The choices are tied rather to the relevance of the works, which in the context of a temporary exhibition can become in situ.

The work remains when it succeeds in standing out per se. Teresa Margolles requested permission to break up the floor in order to reset it with a preexisting tread, a smooth cement floor, realized with water recuperated from Mexican morgues. She also realized a table and some benches outside. It was an important action, a work of movement that projects us into a different geopolitical context, that puts us in contact with a new reality and at the same time with a new dimension, through the meeting of creation and destruction.

The work is called Fosse commune and was a prolific source of inspiration for subsequent artists. However much it is a real work, it remains very discreet visually, so much so as to also be a conceptual and symbolic work: In my choices I have always tried to balance and weigh the presence of the work and the space to leave to the next artist.

These works must not be invasive, but rather must inspire. But their density is such that more and more they open the way to exchanges, plans, and negotiations. The latest work is more present than the others, I have to see how to arrange it with Daniel Buren. Truthfully, no work is permanent. After my experience with David Lamelas, I understood that in a public space some works can have a long duration, times that can be negotiated, but one cannot accept the responsibility for perpetuity.

I have neither the power nor the assignment to do so, since the art center does not possess a collection. Even if I try to experiment with a collection, I do it with a different idea than what a collection is, in itself: It is a kind of attempt at a new typology of museums. I can perfectly imagine a place that comes to be built progressively, little by little, artists working one after another, without following a principle of permanence, but rather something in perpetual change, like an organism.

This is a concept which also comes up in my conversations with François Roche, close to his way of conceiving architecture, a principle of immanence capable of generating a situation. In this case, I attempted the experiment. There is something very concentrated and sophisticated in the current situation, many works that are being combined, that can appear or disappear according to the needs of exhibitions.

It was a series of actions, executed successively in various spaces in New York. Afterwards, they followed a principle of cumulative interventions. The first artist was Daniel Buren, with a work titled Following and To Be Followed which reflected the spirit of the exhibition. Such a principle of programming constitutes a model for what I intend to create: In Brétigny every work, like that of David Lamelas, a installation which I asked him to reproduce, participates in the reflection that I carry out in the space.

Lamelas placed two 16mm projectors side by side: To transmit the light, Lamelas created a nine-meter-long corridor that functioned as an immersive camera. This corridor was presented and placed as an intervention in a rather intrusive area, as it cut off the route that normally ran along the art center, creating a kind of detour.

After the exhibition, it became the entrance to the space, acting as a screen. It remained in place for four years until the authorities asked us to tear it down. The demolition was rather traumatic, but it also permitted us to enter into a dialog in a deeper manner and establish a relationship with the authorities for future projects. The conflict was intense and the demolition of the work was an important act, a sacrifice for the recognition of the activities of the place.

Consequently, it did not stop our development. The subsequent programming was done in such a way as to make our various activities more comprehensible to the outside, and to make it easier to proceed with other interventions, which have been better received. There is a work by Jens Haaning, a recently installed neon light, a frieze by Daniel Buren, an opera composed this year by Matthieu Saladin: We are also reflecting, with Dominique Mathieu, designer and resident at the art center, on the daily needs of the place.

Vier5 have been here from the beginning and we are continuing to work with them on communication and signs, which we renew with every exhibition. I think that these are interwoven concepts, and I always consider one with respect to the other. We are on the inside of something that has its origin in articulation. The substance, therefore, is the combination of these notions.

It is also the experience of marginality, considering this phenomenon of living at the edges of an otherwise extremely centralized region. We experience marginality with respect to Paris, as well as to other more dominant cultural fields. The substance is the re-imagining of those limits and parameters that we are normally subjected to. Unfortunately, numerous spaces rework certain forms instead of rethinking them. In Brétigny, motivation and energy are favored precisely by our relationship with a state of permanent inadequacy.

And I think that the existence of similar initiatives, where they are not expected, is essential. Mais la question de la grégarité du groupe est récurrente dans mes projets à Brétigny, la problématique de la collectivité. Brétigny est un service public, je suis dans une administration. Je suis arrivé en , une fois que ce travail de fondation avait été effectué. Ces actions étaient comme une esquisse de ce qui pouvait être poursuivi dans ce lieu.

La première à Van Lieshout. Cet espace fonctionne depuis plus de huit ans. Le container est un emblème de la circulation des biens mais aussi des savoirs.

Elle a beaucoup inspirée les artistes qui lui ont succédé. Lamelas a proposé ces deux projecteurs 16mm dos-à-dos: Elle ne nous a pas arrêtée dans la progression. Je pense que ces notions sont intriquées, je les considère les unes par rapport aux autres. Beaucoup de lieux malheureusement reconduisent des formes plutôt que de se les réapproprier. Teresa Margolles, Fosse commune Fosa Comùn , , water, cement, pigment, resin. Atelier van Lieshout, The Edutainer , , containers, wood, furniture; Teresa Margolles, Table and two benches — Mesa y dos bancos , , water, cement, pigments, resin.

David Lamelas, Projection , CAC Brétigny, Photo: Below, between the two entrances, the Austrian double-headed eagle wearing the imperial crown sits above the coat of arms of the Magistrato Mercantile. The façade is atmospherically lit by more than 3, candles on the windowsills and band courses between floors. At the bottom of the print is the long dedication from the Guild of Merchants to their guest, with the names of the two groups of judges in office in and the chancellor.

Two of the three portraits displayed for the occasion are those belonging to the Magistrato Mercantile. One example of the latter is El obelisco acostado , presented in the exhibition in the form of documentation. El obelisco acostado was the first in a series of works Minujín conceived as a subversive take on the major monuments of Western tradition. Utilizza spesso materiali effimeri come cartone, tessuto e cibo per creare opere monumentali, ma al contempo fragili.

El obelisco acostado è la prima di una serie di opere, nelle quali Marta Minujín si propone di demistificare i grandi monumenti della tradizione occidentale. Marta Minujín, El obelisco acostado , Isa Genzken uses a wide range of materials, media, and technology to create works that express a strong connection with reality. It might seem strange to choose a video, given that the artist is better known for her sculptures, yet in the s many artists and performers used their bodies and the medium of video installation to expose the sexism and patriarchal set-up of the art establishment.

In her practice Genzken often adopts a cinematographic approach, for example in her works devoted to the architecture of cities like New York and Chicago, not to mention her numerous photographic projects. The video on show in the exhibition dates to and documents a performance in which Isa Genzken and fellow artist Susanne Grayson repeatedly exchange clothes, leaving one naked and the other dressed and then vice versa, highlighting the marked differences in their body shapes.

The two friends pass a bra, shirt, skirt, and shoes back and forth, making amused attempts to fit the clothes to their bodies. The video was filmed by the German art historian Benjamin H. Utilizzando i più svariati materiali, media e tecnologie, Isa Genzken crea opere che esprimono un forte legame con la realtà. Nella sua pratica artistica Genzken adotta spesso uno sguardo cinematografico, come emerge dai suoi lavori dedicati alle architetture di città quali New York o Chicago, o da numerosi progetti fotografici.

Le amiche si passano il reggiseno, la camicia, la gonna e le scarpe, e cercano di volta in volta di adattare i capi ai loro corpi, sorridendo. She taught by the past at the University and at the School of Fine Arts. Claire Le Restif conceives curating as a consideration of the context in which she works, not to answer a request but to offer to the public the current artistic peculiarity. Known for its will to cultivate the ground and to give their chance to young artists, le Crédac associates an excellent politics in term of artistic choice with a search for closeness with the public.

The Registry of Promise Space: Vincent Honoré How was the Crédac created and what is its fundamental purpose? Claire Le Restif The art centre was created in , instigated by artists and political will. It is one of the first art centres in Île-de-France.

Situated in Ivry-sur-Seine, the Crédac is a place whose visitors comprise locals from Ivry and French residents passing through the region or from Paris to visit the exhibitions or attend meetings. The question of public transit is central, as is the relationship between Paris and its outskirts.

The Crédac is one of many art centres that form a dynamic network in France and without which a large proportion of contemporary culture and art would undoubtedly be inaccessible. How does its DNA differentiate it in this network? The art centre is a public place. Also the project that I am developing strives to eliminate as far as possible the notion of personal taste or aesthetic line to the benefit of exhibiting a wider range of creativity and its aesthetic and critical issues.

I express more of a relationship with art by inviting artistic projects that develop different issues embodied by forms that interpret the wealth of current artistic expression. We do not publish exhibition booklets but a free publication called Le Mecca. It provides information about activity issues at the Crédac, the planning and mediation alike. It also opens an additional avenue for reinterpretation and memory.

There is a fundamental phrase in the presentation of the centre: For artists it is also a place for intellectual, critical and technical mentoring. An art centre is not just a place measured in square metres, a showcase… For the artists it is a place to carry out research, to experiment and for intellectual, critical and technical support.

It is a place for artistic yet all too often illegitimate, freedom. When I talk about mentoring, it is regarding the artists for whom we are benchmarks when required, but it is also the mentoring that has been instigated between art centres. That is, in the structure behind a vision, a dynamic and a horizon for a place, a project and a team. This problem interests me all the more as the gap between spheres of intellectual strength or experiment and sanctuaries of global culture is widening without personal preference for one or the other.

In your opinion, what is the role of an art centre director in ? To ensure that the venues at best develop and consolidate, and in the worse case scenario they are sustained!

We have to be in permanent contact with the artists and liaise with civil society, another mission that is important in my eyes! But the context in which we work is very important. It should be taken into consideration in a peaceful but also resistant way laughter.

To support what we believe should be stated and exhibited, sometimes against the advice of fashion, the art market and public taste! To explain our relationship with art, to feel part of the cultural heritage of an exhibition history as a source for reflection even about the history of recent art, whilst putting to the test our ability to continue to invent new forms of exhibits and more broadly new ways of working together.

Charles Esche described his ideal museum as being inherently uncertain: How did you structure the curatorial approach to the venue, the institution? The programme that I drew up for the Crédac when I arrived was very bound to the context and the topography of the underground location, situated until within the foundations of the Jeanne Hachette Centre, built by the architect Jean Renaudie between and To kick off, I set up an exhibition in two parts called La partie continue The Games Goes On , a small show to present the goals of my programme.

The project was initially inspired by this unusual venue, the sloping white cube and compromised geometry. This title bore the notion of continuous and discontinuous play. Having formulated the concepts of citing, misappropriation, mixing and borrowing, it was more the loss of the notion of authority, of ownership and the calling into question of inheritance that interested me. We left this venue for a factory built in La Manufacture has thus resumed its original production studio activity: Why did you want to participate and what programme are you offering?

We have the impression, most notably with Sandra Patron and Lorenzo Benedetti, that the role of art centres is not studied, analysed and promoted enough.

I feel it is crucial to defend the role played by art centres in implementing networks for artistic presentation on a European level. How would a museum collection become established today if the network of European art centres ever disappeared?

What issues would occur for an artistic community without a local venue for peripheral circulation? Lastly, how does the economic crisis endanger the art ecosystem? I had an in-depth discussion concerning these questions with Chris Sharp who had his project The Registry of Promise in mind.

My idea was to set up an association of four dynamic venues that he is also in regular contact with: Vincent Honoré Comment a été créé le Crédac et quelle est sa mission fondamentale? Dans ce réseau, quel est son ADN, sa différence? Elle donne des indications sur les enjeux des activités du Crédac, la programmation comme les actions de médiation. Elle ouvre également une voie supplémentaire, celle de la relecture et de la mémoire. Enfin, il y a Royal Garden , véritable prolongement sur le mode virtuel du projet artistique du Crédac.

Dans la présentation du centre, il y a cette phrase fondamentale: Davantage à la structure qui sous-tend une vision, une dynamique et un horizon pour un lieu, un projet et une équipe.

Il faut être en contact permanent avec les artistes et faire le lien avec la société civile, autre mission qui est, à mes yeux, importante. Mais le contexte dans lequel nous travaillons importe beaucoup. Il faut tour à tour en tenir compte de manière pacifiée mais aussi hostile rires. Le projet était inspiré au départ par ce lieu à la topographie singulière, le white cube en pente et à la géométrie contrariée.

Ce titre portait en lui la notion de jeu entre continuité et discontinuité. Nous avons quitté ce lieu pour une usine construite en Mandla Reuter, The Agreement, Vienna, , armoire, x x 85 cm. Installation view Galerie Mezzanin, Courtesy the artist and Galerie Mezzanin. Ivry souterrain , 19 April — 23 June 3. Courtesy of the artist 4. Claire Le Restif Project: His proposals draw from symbols of popular culture rituals, festivals, folk traditions, etc. The works—photographs, videos, and installations—often involve notions of absence or withdrawal, paradoxically treating the realm of the spectacle with anti-spectacular means.

Sarah Bernhardt — , one of the most influential French actresses of the nineteenth and early twentieth centuries, acquired an abandoned military fortress in Belle-Île, off the coast of Brittany. She would stay there from time to time and had an armchair carved into the side of a cliff in order to admire the ocean while reciting the lines of her plays. The first of the two photographs depicts the view of the carved rock and the second, the view of the cliff itself.

The work Untitled combines several pairs of male shoes placed on cardboard boxes. Panayiotou obtained the leather used to make the shoes from handbags belonging to women close to him. Autobiography served as a starting point for the work in the form of a leather jacket given to the artist by his mother and subsequently transformed into a series of shoes.

Although the shoes were tailor-made to fit the artist, he will never wear them. In itself, the resulting object is a freeze frame, a vehicle, and a leftover of an intimate, performative act that remains imperceptible to the spectator. La prima foto esposta mostra il sedile scavato nella roccia; la seconda, la vista che si poteva godere da quella posizione.

Il cuoio servito per fabbricarle proviene da delle borse di donne appartenenti alla cerchia familiare di Panayiotou. For Alberto Garutti, works of art only exist in the eyes of the beholder. The first person to behold any work is of course the artist himself, who observes reality and imparts different attributes to objects.

It is then up to the viewer to complete the work by supplying meaning. In his work Alberto Garutti investigates various aspects of the human experience, including spirituality.

Deliberately embracing the artistic tradition of religious representation, Garutti reproduces the Virgin Mary in a way that adds an element of personal experience to the relationship between the statue and the believer.

Garutti achieves this by creating a white ceramic copy of a nineteenth century statue of the Madonna, but deliberately changing the way it is perceived. He takes his inspiration from time-honoured rituals that see believers flocking to touch sacred statues, but in this case, the material is not cold to the touch, but warm: Madonna è una statua in ceramica raffigurante la Vergine Maria.

Inserendosi nella tradizione artistica delle rappresentazioni religiose, Alberto Garutti raffigura la Vergine introducendo un elemento esperienziale tra la statua e il fedele.

Enrico Boccioletti is an artist and musician active under multiple names — Death in Plains, 4SICSX, spcnvdr and Enrico B — in the fields of post-conceptual, new vernacular, performance and sound, interested in incompleteness and circularity, duplication and accumulation, waste, layering, forgery, faux-real.

Using sculpture, installation, video, and performance, the artist disorients the public, deploying subtle tricks or devices to attract attention to something or someone that would otherwise go unnoticed. He also utilizes the same mechanism to tackle the exhibition spaces themselves, exploring the venue and altering both its architectural logic and habitual dynamics. In Tickets, Please , the artist uses repetition to subvert a common experience. The photos, taken during a performance, show the table at the entrance to the museum where visitors normally pay for admission.

Yet sitting behind the table is a young boy who asks for only half the ticket price. Given the time it takes to get from one part of the venue to the other, visitors also experience a time lapse between the two payments.

The same temporal disorientation characterizes the work Silence, Please , which dates to a few years previously. In this performance, a museum guard, when in the room, wears a uniform based on the models used in the year the wearer was born.

This piece tackles the paradoxical coexistence of presence and absence: Le foto sono state scattate durante una performance. Il visitatore percepisce inoltre un disorientamento temporale, poiché impiega del tempo per spostarsi nello spazio espositivo. La performance affronta inoltre la coesistenza paradossale di presenza e assenza: After visiting the exhibition on the ground floor, the encounter with the remaining openings on both sides of the building highlights the visitor experience: This intervention does two things: The form and duration of the installation may be limited by other museum activities requiring the opening of some of the blinds.

Née à Ambilly, France, en Vit et travaille à Paris, France. The realisation of this arrangement, in its form and duration, can be limited by other museum activities requiring that the shutters be opened. The work and the exhibition have a specific relation to the Bolzano context.

Bernhard Rüdiger I spend a lot of time in that region, and I was aware of various aspects of the context of history shared between Austria and Italy. The land in these Tyrolean valleys was feudal, whereas the peasants in the mountains were independent. Looking at the valley from the mountaintops, you see something completely different from what you see from the opposite direction.

The view from the 4th floor of Museion offered a symbolic top-down point of view. The museum is built on the boundary that is the river. This already emphasised that kind of point of passage, but from the opposite point of view. This reversal of perspective leads us to the one carried out at Museion. The exhibition highlights the fact that the museum builds this same passage from Italy to Austria and vice versa. The invitation was probably linked to the fact that my work is often built on a context, in this case the museum and its layout.

Since the exhibition had a strong link to the city, I felt that my proposal would be weak if it only addressed institutional aspects.

By extending the invitation to Bernhard and his work linked to the notion of space, the point was to enrich the project through the historical and topographical perspectives it could provide. How did these questions of passage and perspective-reversal affect your proposal? The exhibition offered a reversal of the function of the museum spaces; the viewer had to enter the exhibition directly on the ground floor, which is normally a passage, and then view the city from the 4th floor, which had been turned into a belvedere, in order to finally go back downstairs and follow the suggested route through the city.

Our proposal found its place in that belvedere. We were unsure if when viewers reached a practically empty room on the top floor, facing large windows, they would intuitively be able to experience looking at the city. The gesture of opening the museum onto that broad landscape could seem romantic: Whereas visiting the exhibition on the ground floor was preparation for looking at the city from the belvedere?

It was a matter of constructing a determined perspective instead of a passive contemplation, as well as introducing the question of the body and the notion of unstable balance: The final proposal was to close some of the shutters on either side of the building and therefore either side of the city to create a specific field of vision that involved a movement dynamic and spatialized the bodies in the space.

We did a trial during the exhibition in progress and as soon as the shutters were closed, people stopped looking at the works to approach the windows. What role did the model play? This metaphor in the state of language becomes a physical act as soon as you experiment with it.

The exhibition brought forward the notion of architectural filter. There is a certain equivalence of preoccupations and ways of filtering the gaze. The two works operate in opposite ways, but actually express something very similar. Another work in the exhibition, that of Marcus Geiger, consisted in extracting one of the apartments from a housing project, an empty space that ultimately offers a transversal perspective, enabling reflection upon architecture and town planning. It sports these two eyes that look outside, a two-faced gaze in the shape of a Janus head, something that is very characteristics of the local culture.

Speaking of local culture, can we discuss the title? Thinking again of the belvedere, is the title therefore a clue about how to use the work? The third word is in the Tyrolean dialect and expresses the idea of looking past appearances to understand reality. At the same time, people only understand a third of the title, since each of these languages is only spoken by some of the population. It reconsiders questions about the activation of perspective, which are important for Bernhard, through my own methods, including the production of a condition of incisiveness when regarding what is already present on-site, without adding objects.

The desire not to add objects seems to me to be very apt — since the museum itself is already an object, and not a transparent, neutral tool. Émile Ouroumov Pourriez-vous me décrire votre intervention pour Soleil politique au Museion de Bolzano? La réalisation de ce dispositif, dans sa forme et dans sa durée, peut être limitée par les autres activités du musée qui imposeraient que des volets soient ouverts. Vous connaissiez cette région, la ville et les édifices mis en exergue par le projet de Pierre Bal-Blanc?

Les terres dans ces vallées du Tyrol étaient féodales, alors que dans les hauteurs les paysans étaient indépendants. Il est aussi question de la situation du Museion au milieu de la ville, entre la ville historique autrichienne et la ville nouvelle italianisée?

Cette dernière soulignait déjà un tel point de passage mais avec le point de vue inverse. Cette inversion du regard nous conduit vers celle opérée au Museion. Notre proposition prenait place dans ce belvédère. Il nous a semblé que cette impression est le contraire de la prise de conscience politique de ce qui se passe au pied du spectateur dans la ville.

Quel est le rôle de la maquette? Les billes au centre sont une expérience de cette stabilité violente qui traduit les spécificités historiques et sociales de la région. Je pense par exemple à Gianni Pettena et à son intervention liée aux arcades fascistes de la Piazza della Vittoria. Il y a une certaine équivalence des préoccupations et de la manière de filtrer le regard. Il y a ici un acte similaire qui fait traverser la structure par le regard.

En parlant de la culture locale, peut-on évoquer le titre? Il est rédigé dans trois langues pratiquées dans la région. Elle est le résultat de nos deux pratiques, un territoire construit à partir de notre expérience commune. Since , he has been launching a series of curatorial projects that link contemporary art, recovery of industrial or civil disused sites, and mountains. The idea of producing innovative images is central, working on the natural environment in a critical and projective manner, and rejecting the stereotypical readings.

Cultural entrepreneurship and creative industries as factors of local development. Branding of the territories and creative regeneration. Rethinking nature and the industrial landscape through contemporary art. How do you think a residency can benefit an artist? Artists are a sensitive selectors.

They seize stimuli, and re-broadcast them. The more the external contest is stimulating, the stronger and profound the resonances created in them may be. The residency project gives the artist a chance to come in contact with new contexts. The dolomitic contexts, made of rock, verticality, environment and nature, thin air, great exhumed architectures, which we reactivate, are exceptionally incentivized in that sense. How do you foresee the future of an institution like yours in a context in which globalised museums and institutions become such powerful players, absorbing all energies, audiences and funding?

It is an experimental project, which questions once again the manner of approach to the territory, the sites, the spaces, the thoughts, the meaning of the artistic endeavour and the curatorial practices, and the relationship between all these things. Thus, the more the system will become organized, the more space there will be for subversive, or simply critical, projects. Is it an advantage to have a nomadic structure, that has to find new space all the time for its projects?

It is not a question of advantages. Changing constantly is hard. It is pervasive, universal, mobile, liquid.

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I could not refrain from commenting. Language is totally poetry, as if life were just a song, but there is no naivety in his work. This language seeks to join up with the affective dimension of the objects which punctuate his installations with burnt photographs. Without focusing on any specific practice, he precisely defines his own based on installation and exhibition. Involved is a spectacular presentation of an atmosphere which steps out as much through the tongue, the furniture, the colors, and the sets of photographs and drawings.

Eppure, non vi è nulla di spontaneo. Le opere sono pensate, ponderate, talvolta scritte, se non pianificate in un futuro più o meno prossimo, come 7 plans de vol , prima di essere realizzate.

Né en à Grenoble. Cependant, rien de spontané. She works with artists from different generations and develops exhibition projects and publications on a national and international scale. Her programme includes monographic exhibitions Guy de Cointet, Ann Veronica Janssens, Claude Closky, Carey Young, Adva Zakai, Fayçal Baghriche… and collective exhibitions, which focus on forms and languages, perception of images and the construction of identities.

From to , she worked in Air de Paris gallery and conducted a prospective programme titled La Planck. She held the position of president of the association C-E-A French association of curators from to , and is still involved as a board member. Ha lavorato con artisti di varie generazioni e sviluppato progetti espositivi su scala nazionale e internazionale.

Dal al ha lavorato alla galleria Air de Paris dove ha portato avanti un programma chiamato La Planck. Sa programmation comprend des expositions monographiques Guy de Cointet, Ann Veronica Janssens, Claude Closky, Carey Young, Adva Zakai, Fayçal Baghriche… et des expositions collectives qui révèlent un intérêt pour le langage et ses formes, la perception des images et la construction des identités.

De à , elle a travaillé à la galerie Air de Paris et mené un programme prospectif intitulé La Planck. Keren Detton Le Quartier was founded in on the initiative of the former director of the Quimper art school, Michel Pagnoux. Its underpinnings were the intense competition in art, literature and film in Quimper and the implementation of the decentralisation policies initiated by Jack Lange in the mids. Le Quartier was set up in the same building as the art school but operated autonomously, enabling it to be part of a professional network to which students had special access.

Subsequently, the implementation of a contract with the state, region and department guaranteed that it would be possible to work with the public in a sustained way, particularly through the assistance they provided for the production of works and for mediation activities. Charles Esche described his ideal museum as fundamentally uncertain: The idea was to shake up the annual programme, introduce different rhythms, play on synchronic or diachronic effects, while preserving an artistic research space over the long term and continuing to do creative work with publications catalogues, anthologies of texts, artist books.

I also wanted to work on the porosity between the inside and outside in order to shatter the military aspect of this former barracks and highlight the seeing conditions. It was as if visitors were both surprised and relieved to see the works integrated into their day-to-day life. Recently, artist and architect Catherine Rannou offered a visit to the worksite of an exhibition setup tackling architecture through language and imagination, radically transforming the institution.

I find it very stimulating when works speak to visitors on the level of their relationship to the body and to language. Le Quartier will be celebrating its 25th anniversary in a shaken political, economic and media context. As we speak, Le Quartier is being threatened by drastic budget cuts, and yet its balance sheet has been unanimously praised by all of its public partners.

It runs an untimely programme alongside artists, investigates our visual cultures through images and language, and merrily crosses the boundaries between disciplines. Yet it is being told to justify its legitimacy. Le Quartier is in a prime position between the art school, to which it offers genuine professional springboards, and the fine art museum, with which it collaborates regularly.

But above all it is a place of emerging forms and ideas, passions and questions. It is rooted in its territory and resonates with places elsewhere, and keeps up a dialogue with artists and visitors.

Why did you wish to participate and what programme are you proposing? Alfred Jarry Archipelago was born of the desire to understand artistic creation today through Alfred Jarry, the father of pataphysics.

The project has turned into an open curatorial platform, which apprehends the legacy of the author of Ubu Roi not historically but speculatively. Since he was a well-informed observer of the artists of his time, we decided to make way for Alfred Jarry the curator! Leonardo Bigazzi, curator at the Museo Marino Marini in Florence, is presenting a programme of performances.

Eva Wittocx, curator at M — Museum and for the Playground Festival in Leuven Belgium is joining us by linking monographic exhibitions and performances. The project framework is open enough to incorporate different points of view on this subversive figure full of contrasts, and to more closely examine his relationship to theatre, his projection of bodies and desire, his use of codes and absurdity, and the mixing of genres and identities.

A publication in the form of an almanac will be the receptacle of this multiplicity of perspectives, with supplements provided by new contributors, authors and artists. Alfred Jarry Archipelago Space: Charles Esche a décrit son musée idéal comme étant fondamentalement incertain: Je voulais aussi travailler sur la porosité entre le dedans et le dehors pour casser le côté militaire de cette ancienne caserne et mettre en exergue les conditions du regard.

Le Quartier fêtera ses 25 ans cette année dans un contexte politique, économique et médiatique bouleversé. Pourtant, on le somme de justifier sa légitimité.

Pourquoi avez-vous souhaité participer et quel programme proposez-vous? Par ailleurs, Eva Wittocx, curatrice au Museum M et pour le Playground Festival à Louvain Belgique nous a rejoints en associant des expositions monographiques et des performances. She is currently in residency at KunstZeitRaum in Munich. Marlie Mul, Puddle Black Disposable , , sand, stones, resin, object, 78 x 76 cm. Brief notes on the prepared piano and its inventor. With the revolutionary discovery of the prepared piano , John Cage opens the doors of music to unexplored worlds of sound and unknown expressive possibilities.

Through simple physical alterations of the musical instrument to change its sound, the compositional activity becomes with Cage something completely new, extended, transformed. Although John Cage is one of the most controversial figures on the art scene of the twentieth century — the target of fierce and sometimes staid, verbose criticism, as well as the recipient of apologies not always supported by adequate knowledge of the subject —, he remains, in my opinion, a revolutionary who played more than once with his last name, which carried a sort of announced self-denial, a conceptual and practical self-overcoming: Cage was an anarchic, funny, humorous, spontaneous, irreverent composer, a character of bizarre and multifaceted passions arts, eastern philosophy, the I Ching, Zen Buddhism, mycology, plants, mesostics, macrobiotic cooking, chess etc.

Suzuki come to mind. Cage whose twentieth death and one-hundredth birth anniversaries were celebrated in 3 belongs in many histories and revolutions, and is one of those composers who in the mid-twentieth century cultivated the hope of the final ending of the realm of harmony 4 , centering his musical discourse and compositional activity on new bases, structured from elements that could be, from time to time, musical, extra-musical, random or number-based.

While in Seattle around the end of the thirties with his wife Xenia, Cage works intensely on percussive music and dance, striking relationships with artists such as Mark Tobey, Morris Graves and Laszlo Moholy-Nagy, but also with dancers and choreographers such as Bonnie Bird, Syvilla Fort and, especially, Merce Cunningham. On one of these occasions, as soon as Cage starts playing, a piece of brass placed on a tray on the instrument accidentally falls into the piano case and starts rolling on the strings.

He then remembers the sound of the piano when Cowell struck or plucked the strings, or when he slid metal needles over them. From the kitchen he takes a plate and puts it on the strings, together with a book.

But the plate bounces. Hence, Cage takes a nail and sticks it between the strings. But again there is a problem: He thus replaces the nail with a wood screw. This time the solution works. The prepared piano is born 6. Prepared piano, preparation by Giancarlo Cardini for the performance of musical compositions by John Cage. Since that time, and specifically from the beginning of the forties to the mid-fifties, Cage uses the prepared piano in about thirty of his works not all published , especially dedicated to dance from Bacchanale to And the Earth Shall Bear Again — choreographed by Valerie Bettis, from In the Name of the Holocaust to Totem Ancestor , both with choreographies by Merce Cunningham.

In addition to the Sonatas and Interludes for piano, the Prelude for Meditation , the Concerto for Prepared Piano and Chamber Orchestra and Two Pastorales , the prepared piano is also used in two compositions for film, the first published with the title Music for Marcel Duchamp for the film Dreams That Money Can Buy by Hans Richter, and the second for the film Works of Calder by Herbert Matter; furthermore, we find the instrument in the works for ensemble Amores , for percussion and prepared piano, Second Construction , for percussion and prepared piano, and She Is Asleep , for 12 tom-toms, voice, piano and prepared piano.

The quality and characterization of the sound depends directly from that placement: The instrument becomes a percussion ensemble under the control of a single performer.

Many grievous obstacles along this road must be conquered, so as to arrive at the first stage; and even then an evil, unseeing hand may toss more obstacles in the way, so that this road sometimes appears to be totally impassable, as all landmarks vanish. He sees and points the way. Sometimes he would prefer to lay aside his power, as it is a heavy cross to bear; but he cannot do so.

Though scorned and hated, he never lets go but drags the cartload of protesting humanity after him, ever forcing it forward and upward, over all obstacles in his way. Fronzi edited by , John Cage.

Knopf, New York , p. After many cautious experiments Cage tried to establish what objects could remain stable between the strings of a piano, what were the materials to use and how they should be placed; from this he deduced the necessity of modifying duration, amplitude, frequency, and timbre — in other words, the four characteristics of a sound.

To facilitate realization, he used everyday objects such as screws, nails, nuts, felt, rubber, and pennies wedged vertically between two strings or horizontally straddling the three strings relating to a key. Using the una corda pedal would therefore also modify the pitches, since the hammer, shifted sideways, would strike only two strings out of three. Cage, La musica fino al , in Lettera a uno sconosciuto , edited by R. Kostelanetz, with a memory by M. Cunningham, preface by E.

Sanguineti, Edizioni Socrates, Rome , pp. Routledge, New York Works for Prepared Piano: Lavista, John Cage e il pianoforte preparato. Alcune considerazioni sugli aspetti formali , in F. Negri edited by , John Cage. Con la rivoluzionaria scoperta del pianoforte preparato , John Cage apre le porte della musica a universi sonori inesplorati e possibilità espressive ignote.

La storia delle arti è attraversata da sterzate, rotture, ritorni, rivoluzioni e controrivoluzioni. Mentre si trova a Seattle siamo alla fine degli anni Trenta insieme alla moglie Xenia, Cage svolge un intenso lavoro sulla musica percussiva e sulla danza, entrando in rapporto con artisti come Mark Tobey, Morris Graves o Laszlo Moholy-Nagy, ma anche con danzatori e coreografi come Bonnie Bird, Syvilla Fort e, soprattutto, Merce Cunningham.

È qui, presso la Cornish School, che Cage concepisce il rivoluzionario pianoforte preparato , più precisamente per il balletto Bacchanale di Syvilla Fort. Uno dei compiti di John, in quel periodo, è quello di accompagnare i ballerini durante le lezioni e i concerti, per quanto fosse qualcosa che detesta fare. Il suono che proviene dallo strumento suscita in Cage un particolare interesse.

È del tutto concentrato su questo oggetto, che rotola su e giù per le corde. Gli viene allora in mente il suono del pianoforte quando Cowell percuoteva o pizzicava le corde, o quando vi faceva scorrere sopra degli aghi di metallo. Si sposta in cucina, prende un piatto e lo mette con un libro sulle corde. Ma il piatto rimbalza. Cage prende allora un chiodo e lo infila tra le corde. Ma si presenta un altro problema: Viene allora in mente a John di sostituire il chiodo con una vite da legno.

Era nato il pianoforte preparato 6. Oltre che nelle pagine pianistiche di Sonatas and Interludes ,del Prelude for Meditation , del Concerto for Prepared Piano and Chamber Orchestra e delle Two Pastorales , il ricorso al pianoforte preparato non manca anche in due lavori per il cinema, il primo pubblicato con il titolo Music for Marcel Duchamp per la pellicola Dreams That Money Can Buy di Hans Richter e il secondo per il film Works of Calder di Herbert Matter, ma anche in Amores per pianoforte preparato e trio di batterie, in Second Construction per quartetto di batterie e pianoforte preparato e in She Is Asleep per quartetto di batterie, voce, pianoforte preparato e pianoforte non preparato.

La qualità e la caratterizzazione del suono dipende direttamente da tale collocazione: Anche attraverso questa rivoluzione dei mezzi, John Cage ha indicato nuove possibilità espressive, dimostrando ancora una volta la volontà di partecipare a una metamorfosi profonda, a una rivoluzione inevitabile, quella per la quale le porte della musica si sono spalancate a universi sonori sorprendenti e ancora oggi decisamente attraenti.

Kant, Critica del Giudizio , trad. Ecco il passo completo: Raggiunta una meta, eliminati molti sassi pericolosi dalla strada una mano invisibile e crudele getta su questa strada nuovi blocchi, rendendola irriconoscibile.

Egli vede e fa vedere. A volte vorrebbe liberarsi di questa superiore capacità che per lui costituisce spesso una pesante croce. Pontiggia, SE, Milano , p. Über das Geistige in der Kunst , R. Fronzi a cura di , John Cage. Presentando, nel giugno , le Sonate e Interludi per pianoforte preparato nel salotto di Suzanne Tézenas, Pierre Boulez dirà: Dopo molti tentativi, Cage prova a stabilire quali oggetti possano rimanere fermi fra le corde di un pianoforte, quali siano i differenti materiali da usare e come debbano essere sistemati; ne dedusse la necessità di modificare durata, ampiezza, frequenza e timbro, vale a dire le quattro caratteristiche di un suono.

Cage, Corrispondenze e documenti , trad. Edwin Rosasco, Archinto, Milano , pp. Correspondance et documents , a cura di J. Cage, La musica fino al , in Lettera a uno sconosciuto , a cura di R. Kostelanetz, con un ricordo di M. Sanguineti, Edizioni Socrates, Roma , pp. Negri a cura di , John Cage. Simon Fravega works as artist and performer.

He takes seriously the virtues of disguisement and anecdote. The nature of these gestures staggers them: Combining this deferred dubbing activity to a flow of micro-narratives, Simon Fravega weaves a reflection on the gap between facts and representations. And under the guise of humour and the absurd, it identifies something essential in the great game of the world. Simon Fravega déploie un travail de plasticien et de performer.

En action, il se cale sur les autres sportifs, rockeurs, personnages de western ou danseurs de hula hoop , étudie les gestes qui les définissent et les rejoue en les décontextualisant. La nature de ces gestes chancelle alors: Previous projects include a. Among his edited publications: Progetti precedenti includono, tra gli altri: Ha editato le seguenti pubblicazioni: Parmi ses projets récents: Il a coordonné plusieurs publications, parmi lesquelles: They are the product of relationships between many agents — artist s , curator s , artwork s , audience s , display, etc.

An exhibition is a designed situation, still open to a lot of various uncontrollable factors, time being the first of those; so I am interested in practices that are aware of how this time can be administered and shared among all those who are part of the exhibition, primarily the audience.

Nikolaus Hirsch asked this question: Various people, mainly from the field of art and architecture, curated and organized exhibitions and activities of different kinds with a quite intense rhythm up to twelve exhibitions a year. And I am doing this by inviting artists, designers, choreographers, theorists, etc. The mission of your institution is to produce and present regional, national and international artistic practices and to conduct critical research on the role of art and its relationship with the social and political sphere within which it operates.

I would like to ask you what you think is the core responsibility of the institution nowadays, with regard to the artists and the audience. And I guess this is possible just by administering resources first of all, time, as the most precious one in a savvy way.

PIANO intends to create a network of art spaces working together, exchanging and interacting. Why did you decide to join the project and how are you participating in it?

It is a process that takes time, but some good steps have been made in this direction. We also discussed this topic at a conference at Bétonsalon on 30 May with the Italian collective Invernomuto and the French curator Rémi Parcollet. Esse sono il risultato di relazioni tra diversi attori — artisti, curatori, opere, pubblico, display ecc. Sono tutti aspetti che fanno della mostra un medium specifico finalizzato a creare qualcosa di pubblico. Una mostra è una situazione progettata, che rimane tuttavia aperta a diversi fattori incontrollabili, il primo dei quali è il tempo.

Nikolaus Hirsch si poneva la seguente domanda: Sto quindi portando avanti tale riflessione attraverso il coinvolgimento di artisti, designer, coreografi, teorici ecc. Credo sia molto importante — quale segno di rispetto verso gli artisti e il pubblico — trovare il modo di mediare le pratiche degli artisti a beneficio del contesto locale in cui operiamo.

Ovviamente è molto importante evitare il rischio di una mentalità troppo ristretta, cosa che tentiamo di fare presentando pratiche e approcci che siano critici e capaci di produrre legami e connessioni tra temi locali e idee più ampie. Per quale motivo hai deciso di prendere parte al progetto e come si realizza la tua partecipazione? Sin da quando sonoarrivato a Bolzano ho cercato di attivare una serie di collaborazioni e coproduzioni a livello locale, nazionale e internazionale. È un processo che richiede tempo, ma abbiamo compiuto importanti passi in questa direzione.

Abbiamo inoltre discusso questo tema in occasione della conferenza tenutasi presso Bétonsalon lo scorso 30 maggio, cui hanno partecipato il collettivo italiano Invernomuto e il curatore francese Rémi Parcollet. Constellation of One and Many , Leonardo Bigazzi is a curator based in Florence, Italy. Beside collaborating to the selection of films for the main program, in the past edition of the Festival he has been responsible for special projects with the artists Omer Fast, Melik Ohanian and Hiroshi Sugimoto.

Since he works at the Gucci Museum in Florence as a consultant for the contemporary art exhibitions organized in collaboration with the François Pinault Collection.

Oltre a collaborare alla selezione dei film e degli incontri del programma, ha seguito nelle passate edizioni la produzione di progetti speciali con gli artisti Omer Fast, Melik Ohanian e Hiroshi Sugimoto.

In qualità di consulente collabora dal con il Gucci Museo a Firenze per le mostre di arte contemporanea organizzate in collaborazione con la François Pinault Collection. Il collabore régulièrement à la sélection des films et a été responsable lors de la précédente édition des projets spéciaux avec les artistes Omer Fast, Melik Ohanian et Hiroshi Sugimoto.

Museo Marino Marini Project: Leonards on Sea, United Kingdom. Lise Lacombe grew up in Aveyron south-west France. During her teenage years, she armed herself with an Olympus 0M30 that would ground her in stock photography. She left for the city Toulouse, where she graduated form art school and got a diploma in Photography-Photo manipulation from the Gobelins School in Paris. During these formative two years, she personified her photographic practice. Using first a Yashika Mat, then a Hasselblad, she stuck to the square format that characterizes her work and turned to photo-reporting.

Alone, she left for various countries: Jean-Baptiste Alazard was born in Aveyron to a family of farmers. The same year, he began working on trans-media works with Mittlewerk Express. In , he returned to the south of France to direct La Tierce des Paumés , a collaboration with photographer Lise Lacombe. His movie, that comes as a result of this project, La Buissonière was awarded the Prix Georges de Beauregard. Nel corso di questi due anni, personalizza la sua pratica fotografica. Con una Yashika Mat e poi una Hasselblad, si dedica al formato quadrato, caratteristico del suo lavoro, e si orienta al reportage.

Affina il suo sguardo grazie ai viaggi, realizzando delle serie che si propongono come testimonianza dei fatti della società ma con uno sguardo personale. La fotografia è uno strumento personale assoluto che dà vita alle sue esperienze. Jean-Baptiste Alazard, dopo aver ottenuto un diploma di audiovisivo a Tolosa, entra alla Fémis nel e diventa montatore. In parallelo, sviluppa la sua attività di cineasta attraverso il documentario con Le Cinquième Quartier o il lungometraggio di fiction con Moussem Les Morts , selezionato al Festival di Belfort nella competizione internazionale.

Lo stesso anno, allarga il suo lavoro alle opere trans-media con Mittelwerk Express. Nel , fa ritorno nel sud della Francia per realizzare La Tierce des Paumés , in collaborazione con la fotografa Lise Lacombe. Il film La Buissonière , frutto di questa collaborazione, ottiene il premio Georges de Beauregard. La photographie est un outil personnel absolu qui donne vie à ses propres expériences.

Né en , Jean-Baptiste Alazard vit en Aveyron. Parallèlement, il développe sa pratique de cinéaste à travers le documentaire avec Le Cinquième Quartier ou le long-métrage de fiction avec Moussem Les Morts , sélectionné au Festival de Belfort en compétition internationale. En , il rentre dans le sud de la France pour réaliser La Tierce des Paumés , en collaboration avec la photographe Lise Lacombe.

Son film issu de ce projet La Buissonière remporte le prix Georges de Beauregard. Courtesy of the artist. Echoing the societal thinking of Charles Fourier, Bal-Blanc has developed the Projet phalanstère Phalanstery Project , a series of site-specific proposals that critically revise the accumulative logic of exhibiting artworks.

His exhibitions The Living currency and The Death of the Audience follow a principle that takes into account their local environment and in situ resources. Along with the visual annotations presented in this publication, Pierre Bal-Blanc proposes a series of documents and interventions that act as paratexts to the exhibition.

They serve to prolong the ways in which the works interact not only with the space of Museion, but also with its historical, social, and architectural context within the city and province of Bolzano. For example, the information panels presented in certain galleries throughout the exhibition testify to the curatorial decision to modify the hierarchy of the exhibition spaces.

Comparable to marginalia notes in the margins of books and manuscripts , some documents reveal latent aspects of the exhibition that are normally overlooked or considered private. These reveal among other things the failures that took place and the ideas that were abandoned during the selection process. Le sue mostre La Monnaie Vivante La moneta vivente e The Death of the Audience La morte del pubblico danno prova di essere radicate nel loro contesto e si articolano in funzione delle risorse in situ.

In maniera analoga alle annotazioni visive presentate in questa pubblicazione, Pierre Bal-Blanc propone per Soleil politique svariati gruppi di documenti e interventi, che funzionano come paratesti alla mostra. Per esempio, i pannelli segnaletici inseriti in alcune sale rinviano alle scelte curatoriali che riguardano il rifacimento della gerarchia degli spazi espositivi. Paragonabili ai marginalia, le note a margine di libri e manoscritti, una parte dei documenti approfondisce gli elementi che stanno alla base della mostra che di solito sono considerati impliciti, o addirittura riservati.

Pierre Bal-Blanc is director of the CAC Brétigny, an exemplary center for the arts, both for the commitment shown toward artists and for its program of atypical productions and exchanges. A space that continually re-elaborates the notions of a program, an exhibition, a collection…. Vincent Honoré The purpose of this conversation is to speak about a program and its underlying dynamics.

The idea is also to explain what a space is, a center of art… and what having a place means. These are the points I have been interested in addressing, from when I started working in another space for the Foundation, in London, and at amoment in which I re-elaborate my program and turn to my previous experiments — in London, as elsewhere. It is quite symbolic, even symptomatic, of a set of projects that, conducted separately and each having its own development, in the end crystallize, thus constituting the evidence of the program itself.

My world of work is essentially this: I follow various paths, which seem to be dictated a priori by the institution, but which are also related to recurrent research in the general program and that eventually begin to work together. I have always tried to work following very advanced processes, deep and long-lasting, and simultaneously to establish visibility in extremely short time frames. That is, I do not define a program a year in advance, I often decide at the last minute, based on common programs with other centers of art, in order to be sure that things succeed in standing out by themselves.

This is possible in a structure in which the constraints are not too rigid; it is a freedom from which I can benefit, given that Brétigny has an atmosphere sympathetic to what is developing there and also because the space, by nature, allows one to escape pre-establishedrules of press kits prepared six months in advance, of press relations built up with great anticipation, etc.

I immediately realized what was needed: The program of which I am speaking is an example. This also offers a new perspective on projects of recent years — such as La Monnaie Vivante , focused on the reification of the body, or The Death of the Audience , centered on the notion of the group, of community, as statute. But the question of the gregariousness of the group, of the collective, is an issue that repeatedly comes up in my projects in Brétigny. From this point of view I have no obligations besides relations with the local population, an educational mission through the national education system, at all levels, from nursery school through to university.

Brétigny is a public service, and I am part of the administration. It is interesting to associate The Death of the Audience , an external project, by an independent curator, with the program of Brétigny.

Calling oneself an independent curator is a slightly elegant way to think of oneself as being free when, in fact, one is not. It was founded in the s, but not as an art center. Work related to the visual arts had been going on there since the s.

In Paris there were very few things, which then evolved in a progressive manner; the projects began in the outskirts, of which Brétigny was one.

Then, the mayor of Brétigny, a lover of arts, constructed a building designed to bring together various cultural activities, including the visual arts. These were headed until by the previous director, Xavier Franceschi, with choices aimed at a French environment and the new generation, but also at an international atmosphere, with projects of Maurizio Cattelan and Carsten Höller, who produced notable works which again represented points of reference.

In , the space was recognized as a center of the arts in France, and was given government support which made architectural extensions possible.

I had a knowledge of the place from various actions, such as those of Cattelan; his work consisted in reproducing the roof of an eleventh-century church located behind CAC, and placing it on the postmodern or late-modern building of the Center. It is a work done in relief, for its manner of establishing itself in the surrounding environment, that I would like to ask him to redo.

Another work is that commissioned to Atelier Van Lieshout: These actions were a kind of draft of what it was possible to create in this space. The space itself was small, rather difficult, very complicated.

From this point of departure, I sent out a series of invitations. The first went to Van Lieshout. The circumstances themselves were rather unusual. I, newly arrived, was inviting an artist who had already been here, invited by the previous director. A curious thing, a sort of reissue, but at the same time, a way to place myself in the act of becoming, that would have allowed me to pursue the construction of the place. Thus, I called Van Lieshout to build Edutainer , a space made up of two containers and a tank, in front of the art center; one space that was missing, a place of mediation, for the artists and the staff, a space in which the staff, artists, and public meet.

It is a symbolic space, because it is situated outside the building. The idea was to come out of the structure and create an intersection between the internal and the external. This space has been operational for more than eight years. It is unique, it has containers and seems an active construction site, but on the inside there is an environmentof wood, welcoming and comfortable. The container is symbolic of the circulation of goods, but also of knowledge. After this many other works followed, which have since been installed, even if in an unsystematic manner: The choices are tied rather to the relevance of the works, which in the context of a temporary exhibition can become in situ.

The work remains when it succeeds in standing out per se. Teresa Margolles requested permission to break up the floor in order to reset it with a preexisting tread, a smooth cement floor, realized with water recuperated from Mexican morgues.

She also realized a table and some benches outside. It was an important action, a work of movement that projects us into a different geopolitical context, that puts us in contact with a new reality and at the same time with a new dimension, through the meeting of creation and destruction. The work is called Fosse commune and was a prolific source of inspiration for subsequent artists. However much it is a real work, it remains very discreet visually, so much so as to also be a conceptual and symbolic work: In my choices I have always tried to balance and weigh the presence of the work and the space to leave to the next artist.

These works must not be invasive, but rather must inspire. But their density is such that more and more they open the way to exchanges, plans, and negotiations. The latest work is more present than the others, I have to see how to arrange it with Daniel Buren. Truthfully, no work is permanent. After my experience with David Lamelas, I understood that in a public space some works can have a long duration, times that can be negotiated, but one cannot accept the responsibility for perpetuity.

I have neither the power nor the assignment to do so, since the art center does not possess a collection. Even if I try to experiment with a collection, I do it with a different idea than what a collection is, in itself: It is a kind of attempt at a new typology of museums. I can perfectly imagine a place that comes to be built progressively, little by little, artists working one after another, without following a principle of permanence, but rather something in perpetual change, like an organism.

This is a concept which also comes up in my conversations with François Roche, close to his way of conceiving architecture, a principle of immanence capable of generating a situation. In this case, I attempted the experiment. There is something very concentrated and sophisticated in the current situation, many works that are being combined, that can appear or disappear according to the needs of exhibitions.

It was a series of actions, executed successively in various spaces in New York. Afterwards, they followed a principle of cumulative interventions. The first artist was Daniel Buren, with a work titled Following and To Be Followed which reflected the spirit of the exhibition. Such a principle of programming constitutes a model for what I intend to create: In Brétigny every work, like that of David Lamelas, a installation which I asked him to reproduce, participates in the reflection that I carry out in the space.

Lamelas placed two 16mm projectors side by side: To transmit the light, Lamelas created a nine-meter-long corridor that functioned as an immersive camera. This corridor was presented and placed as an intervention in a rather intrusive area, as it cut off the route that normally ran along the art center, creating a kind of detour.

After the exhibition, it became the entrance to the space, acting as a screen. It remained in place for four years until the authorities asked us to tear it down.

The demolition was rather traumatic, but it also permitted us to enter into a dialog in a deeper manner and establish a relationship with the authorities for future projects. The conflict was intense and the demolition of the work was an important act, a sacrifice for the recognition of the activities of the place. Consequently, it did not stop our development. The subsequent programming was done in such a way as to make our various activities more comprehensible to the outside, and to make it easier to proceed with other interventions, which have been better received.

There is a work by Jens Haaning, a recently installed neon light, a frieze by Daniel Buren, an opera composed this year by Matthieu Saladin: We are also reflecting, with Dominique Mathieu, designer and resident at the art center, on the daily needs of the place.

Vier5 have been here from the beginning and we are continuing to work with them on communication and signs, which we renew with every exhibition. I think that these are interwoven concepts, and I always consider one with respect to the other.

We are on the inside of something that has its origin in articulation. The substance, therefore, is the combination of these notions. It is also the experience of marginality, considering this phenomenon of living at the edges of an otherwise extremely centralized region. We experience marginality with respect to Paris, as well as to other more dominant cultural fields.

The substance is the re-imagining of those limits and parameters that we are normally subjected to. Unfortunately, numerous spaces rework certain forms instead of rethinking them.

In Brétigny, motivation and energy are favored precisely by our relationship with a state of permanent inadequacy. And I think that the existence of similar initiatives, where they are not expected, is essential.

Mais la question de la grégarité du groupe est récurrente dans mes projets à Brétigny, la problématique de la collectivité. Brétigny est un service public, je suis dans une administration. Je suis arrivé en , une fois que ce travail de fondation avait été effectué. Ces actions étaient comme une esquisse de ce qui pouvait être poursuivi dans ce lieu. La première à Van Lieshout. Cet espace fonctionne depuis plus de huit ans. Le container est un emblème de la circulation des biens mais aussi des savoirs.

Elle a beaucoup inspirée les artistes qui lui ont succédé. Lamelas a proposé ces deux projecteurs 16mm dos-à-dos: Elle ne nous a pas arrêtée dans la progression. Je pense que ces notions sont intriquées, je les considère les unes par rapport aux autres. Beaucoup de lieux malheureusement reconduisent des formes plutôt que de se les réapproprier. Teresa Margolles, Fosse commune Fosa Comùn , , water, cement, pigment, resin. Atelier van Lieshout, The Edutainer , , containers, wood, furniture; Teresa Margolles, Table and two benches — Mesa y dos bancos , , water, cement, pigments, resin.

David Lamelas, Projection , CAC Brétigny, Photo: Below, between the two entrances, the Austrian double-headed eagle wearing the imperial crown sits above the coat of arms of the Magistrato Mercantile. The façade is atmospherically lit by more than 3, candles on the windowsills and band courses between floors.

At the bottom of the print is the long dedication from the Guild of Merchants to their guest, with the names of the two groups of judges in office in and the chancellor. Two of the three portraits displayed for the occasion are those belonging to the Magistrato Mercantile. One example of the latter is El obelisco acostado , presented in the exhibition in the form of documentation. El obelisco acostado was the first in a series of works Minujín conceived as a subversive take on the major monuments of Western tradition.

Utilizza spesso materiali effimeri come cartone, tessuto e cibo per creare opere monumentali, ma al contempo fragili. El obelisco acostado è la prima di una serie di opere, nelle quali Marta Minujín si propone di demistificare i grandi monumenti della tradizione occidentale. Marta Minujín, El obelisco acostado , Isa Genzken uses a wide range of materials, media, and technology to create works that express a strong connection with reality.

It might seem strange to choose a video, given that the artist is better known for her sculptures, yet in the s many artists and performers used their bodies and the medium of video installation to expose the sexism and patriarchal set-up of the art establishment. In her practice Genzken often adopts a cinematographic approach, for example in her works devoted to the architecture of cities like New York and Chicago, not to mention her numerous photographic projects.

The video on show in the exhibition dates to and documents a performance in which Isa Genzken and fellow artist Susanne Grayson repeatedly exchange clothes, leaving one naked and the other dressed and then vice versa, highlighting the marked differences in their body shapes. The two friends pass a bra, shirt, skirt, and shoes back and forth, making amused attempts to fit the clothes to their bodies. The video was filmed by the German art historian Benjamin H.

Utilizzando i più svariati materiali, media e tecnologie, Isa Genzken crea opere che esprimono un forte legame con la realtà. Nella sua pratica artistica Genzken adotta spesso uno sguardo cinematografico, come emerge dai suoi lavori dedicati alle architetture di città quali New York o Chicago, o da numerosi progetti fotografici. Le amiche si passano il reggiseno, la camicia, la gonna e le scarpe, e cercano di volta in volta di adattare i capi ai loro corpi, sorridendo.

She taught by the past at the University and at the School of Fine Arts. Claire Le Restif conceives curating as a consideration of the context in which she works, not to answer a request but to offer to the public the current artistic peculiarity.

Known for its will to cultivate the ground and to give their chance to young artists, le Crédac associates an excellent politics in term of artistic choice with a search for closeness with the public. The Registry of Promise Space: Vincent Honoré How was the Crédac created and what is its fundamental purpose? Claire Le Restif The art centre was created in , instigated by artists and political will. It is one of the first art centres in Île-de-France. Situated in Ivry-sur-Seine, the Crédac is a place whose visitors comprise locals from Ivry and French residents passing through the region or from Paris to visit the exhibitions or attend meetings.

The question of public transit is central, as is the relationship between Paris and its outskirts. The Crédac is one of many art centres that form a dynamic network in France and without which a large proportion of contemporary culture and art would undoubtedly be inaccessible.

How does its DNA differentiate it in this network? The art centre is a public place. Also the project that I am developing strives to eliminate as far as possible the notion of personal taste or aesthetic line to the benefit of exhibiting a wider range of creativity and its aesthetic and critical issues.

I express more of a relationship with art by inviting artistic projects that develop different issues embodied by forms that interpret the wealth of current artistic expression. We do not publish exhibition booklets but a free publication called Le Mecca. It provides information about activity issues at the Crédac, the planning and mediation alike. It also opens an additional avenue for reinterpretation and memory.

There is a fundamental phrase in the presentation of the centre: For artists it is also a place for intellectual, critical and technical mentoring. An art centre is not just a place measured in square metres, a showcase… For the artists it is a place to carry out research, to experiment and for intellectual, critical and technical support. It is a place for artistic yet all too often illegitimate, freedom. When I talk about mentoring, it is regarding the artists for whom we are benchmarks when required, but it is also the mentoring that has been instigated between art centres.

That is, in the structure behind a vision, a dynamic and a horizon for a place, a project and a team. This problem interests me all the more as the gap between spheres of intellectual strength or experiment and sanctuaries of global culture is widening without personal preference for one or the other. In your opinion, what is the role of an art centre director in ? To ensure that the venues at best develop and consolidate, and in the worse case scenario they are sustained!

We have to be in permanent contact with the artists and liaise with civil society, another mission that is important in my eyes! But the context in which we work is very important.

It should be taken into consideration in a peaceful but also resistant way laughter. To support what we believe should be stated and exhibited, sometimes against the advice of fashion, the art market and public taste! To explain our relationship with art, to feel part of the cultural heritage of an exhibition history as a source for reflection even about the history of recent art, whilst putting to the test our ability to continue to invent new forms of exhibits and more broadly new ways of working together.

Charles Esche described his ideal museum as being inherently uncertain: How did you structure the curatorial approach to the venue, the institution? The programme that I drew up for the Crédac when I arrived was very bound to the context and the topography of the underground location, situated until within the foundations of the Jeanne Hachette Centre, built by the architect Jean Renaudie between and To kick off, I set up an exhibition in two parts called La partie continue The Games Goes On , a small show to present the goals of my programme.

The project was initially inspired by this unusual venue, the sloping white cube and compromised geometry. This title bore the notion of continuous and discontinuous play.

Having formulated the concepts of citing, misappropriation, mixing and borrowing, it was more the loss of the notion of authority, of ownership and the calling into question of inheritance that interested me. We left this venue for a factory built in La Manufacture has thus resumed its original production studio activity: Why did you want to participate and what programme are you offering? We have the impression, most notably with Sandra Patron and Lorenzo Benedetti, that the role of art centres is not studied, analysed and promoted enough.

I feel it is crucial to defend the role played by art centres in implementing networks for artistic presentation on a European level. How would a museum collection become established today if the network of European art centres ever disappeared? What issues would occur for an artistic community without a local venue for peripheral circulation?

Lastly, how does the economic crisis endanger the art ecosystem? I had an in-depth discussion concerning these questions with Chris Sharp who had his project The Registry of Promise in mind. My idea was to set up an association of four dynamic venues that he is also in regular contact with: Vincent Honoré Comment a été créé le Crédac et quelle est sa mission fondamentale? Dans ce réseau, quel est son ADN, sa différence?

Elle donne des indications sur les enjeux des activités du Crédac, la programmation comme les actions de médiation. Elle ouvre également une voie supplémentaire, celle de la relecture et de la mémoire. Enfin, il y a Royal Garden , véritable prolongement sur le mode virtuel du projet artistique du Crédac. Dans la présentation du centre, il y a cette phrase fondamentale: Davantage à la structure qui sous-tend une vision, une dynamique et un horizon pour un lieu, un projet et une équipe.

Il faut être en contact permanent avec les artistes et faire le lien avec la société civile, autre mission qui est, à mes yeux, importante. Mais le contexte dans lequel nous travaillons importe beaucoup. Il faut tour à tour en tenir compte de manière pacifiée mais aussi hostile rires.

Le projet était inspiré au départ par ce lieu à la topographie singulière, le white cube en pente et à la géométrie contrariée. Ce titre portait en lui la notion de jeu entre continuité et discontinuité. Nous avons quitté ce lieu pour une usine construite en Mandla Reuter, The Agreement, Vienna, , armoire, x x 85 cm. Installation view Galerie Mezzanin, Courtesy the artist and Galerie Mezzanin. Ivry souterrain , 19 April — 23 June 3. Courtesy of the artist 4. Claire Le Restif Project: His proposals draw from symbols of popular culture rituals, festivals, folk traditions, etc.

The works—photographs, videos, and installations—often involve notions of absence or withdrawal, paradoxically treating the realm of the spectacle with anti-spectacular means. Sarah Bernhardt — , one of the most influential French actresses of the nineteenth and early twentieth centuries, acquired an abandoned military fortress in Belle-Île, off the coast of Brittany.

She would stay there from time to time and had an armchair carved into the side of a cliff in order to admire the ocean while reciting the lines of her plays. The first of the two photographs depicts the view of the carved rock and the second, the view of the cliff itself. The work Untitled combines several pairs of male shoes placed on cardboard boxes. Panayiotou obtained the leather used to make the shoes from handbags belonging to women close to him.

Autobiography served as a starting point for the work in the form of a leather jacket given to the artist by his mother and subsequently transformed into a series of shoes. Although the shoes were tailor-made to fit the artist, he will never wear them. In itself, the resulting object is a freeze frame, a vehicle, and a leftover of an intimate, performative act that remains imperceptible to the spectator.

La prima foto esposta mostra il sedile scavato nella roccia; la seconda, la vista che si poteva godere da quella posizione. Il cuoio servito per fabbricarle proviene da delle borse di donne appartenenti alla cerchia familiare di Panayiotou.

For Alberto Garutti, works of art only exist in the eyes of the beholder. The first person to behold any work is of course the artist himself, who observes reality and imparts different attributes to objects. It is then up to the viewer to complete the work by supplying meaning. In his work Alberto Garutti investigates various aspects of the human experience, including spirituality.

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