- Aïe Aïe Aïe !
- Books by Olivier Moreau
- Popular Theatre and Political Utopia in France, — | SpringerLink
- Les prix littéraires 2017 – La récap
Published by Frances Loisirs About this Item: Frances Loisirs, Dust Jacket Condition: Very Good. Couverture Rigide, Texte Francais. Published by Albin Michel About this Item: Albin Michel, Ils Sont Parmi Nous, Invisibles. Published by Fleuve noir About this Item: Fleuve noir, Une Sentence De Mort? Certes Pas! Mais, Un Jour, Tout Change. Published by Guerin Canada About this Item: Guerin Canada, Mais ce dernier veille au grain. Garance retrouve alors par hasard un compagnon d'autrefois. Mais la joie des retrouvailles ne durera pas. La vie est rude : tortures et trahisons font partie du quotidien.
Sans parler de la faim et de la peur. La puissance des armes et celle de l'esprit. Ardahel l'ignore. Ce voyage conduira le Santerrian au coeur du Lentremers. Item added to your basket View basket. Proceed to Basket. Anna-Eva Bergman is a Norwegian artist who considers the? Her work undergoes a radical turn from the 50s, when she focuses on pictorial abstraction.
The landscape then becomes the essential reference of her work: natural motifs, Scandinavian mythology -stones, planets, mountains, boats- or Norwegian light. Her relationship with Spain began in , when she settled for a year in Menorca with her partner, Hans Hartung. The trip to Andalusia in will be, however, the most decisive for her work: there she begins to elaborate her first horizons, a motif that she will resume when contacting with the Norwegian landscapes.
This link between Norway and Spain -north and south- leads to a similar formality between both landscapes, which acquire, on the other hand, very different tonalities. The stone motifs it is also fundamental in the artist, which began to develop in on her trip to Norway and took over in the early seventies to travel the interior of the peninsula, as testified by her series? Stones of Castile?.
Punk Orientalism focuses on the theme of non-conformity as a tool for investigating contemporary art and critical enquiry on the spaces and places that identify with Central Asia and the Caucasus from a post-Soviet perspective. Rooted in the conceptual capacity of?
Aïe Aïe Aïe !
Featuring a spectrum of recent artwork, projects, text based art zines and new media Punk Orientalism presents a forum for diverse artistic voices from a complex and multifaceted part of the globe, where artists have actively challenged draconian state and academic policies, mapped new territories and formed new artistic movements.
Overall the exhibition aims to present overlooked models of artistic reality, which cross-circulate between different societal, cultural and political systems and provide alternative contexts from which globalism and other modernisms can be accessed from a non Eurocentric perspective. By adopting an ideas driven narrative Punk Orientalism offers proposals that solicit a redefinition of fixed geographical rubrics and instead offers a nuanced survey of recent artistic thinking.
If one of the main purposes of science fiction is to predict the future by simultaneously analysing the present and the past, it is important to emphasise that this genre? Over recent decades, Afrofuturism has defended an artistic practice that combines scientific fiction with elements and traditions of a diaspora that is attentive to its historical roots in an Ancient Africa well before the colonial era.
Can a community whose past has been deliberately erased seek out marks from its history and imagine possible futures? It combines reflections of the artist Nikita Kadan, historians, and other scholars on the subjects of contested issues of the past, particularly those connected with the crime of the Nazis and Stalinism, ethnic cleansings and other acts of violence in the s. The Warsaw exhibition will be held in the former Cepelia pavilion at the intersection of ul. Jerozolimskie in the city centre. Kapwani Kiwanga creates works across installation, sound, performance, sculpture and video that marry her training in anthropology, comparative religion and documentary film with her interests in history, memory and storytelling.
Presenting rigorous research in imaginative ways, Kiwanga intentionally confuses truth and fiction in her work to enable marginalized narratives to flourish. With a veracious appetite for exploring different pockets of knowledge, she has tackled subjects as far ranging as space travel, anti-colonial struggles, geology and disciplinary architectures. In total, the grand opening of the palace will show around highlights from the bank's extensive collection of works on paper, which it began building in the s. The show will run until January 9, Parajanov at Asymetria marks the first Polish show of this minor retrospective of photography by Yuri Mechitov.
Pictures and textiles from the property of the City of Ostrava have replaced artworks by the winners of the Jind? The project? Narration-Created Humanity? The edition? The title,? Stories can carry this noble name too: Everyday stories that cross and organise locations; they pick out the locations and link them; they then create sentences and routes out of them". The concept of the exhibition is intricately interwoven with the legend of Saint Dymphna, patroness of the possessed and mentally ill and patron saint against epilepsy and insanity.
The legend of Dymphna is also closely linked to the identity of Geel, town of mercy. During a trip to Mexico, painter Eva Nielsen and sculptor Marion Verboom, explored Mexican, Mayan and Aztec architecture, both vernacular and contemporary. Nielsen and Verboom are interested in the organic aspect of these architectures invoking hidden worlds that seem to reappear on the surface of the world. Between naturalism, stylization and geometrization, a history of past and future forms is at stake, that of the ruins of a civilization that has been or is yet to come.
Quoted from:? Le Rapport Darty?
Books by Olivier Moreau
We present works inside and outside by eight artists that enter into dialog with the historical architecture and the surrounding landscape and thereby set off an inspiring interplay between history and present, yesterday and today. The Bogners have been using this originally medieval castle since the s as a dynamic stage for the exploration of contemporary art. References to architecture and to abstract forms and an interest in works that take an analytical approach to language and new media technologies have always been key elements in the Bogners?
These themes and this diversity of media are the basis of this exhibition, which runs against traditional delineations between art genres and the conventional contrasts between past and present. By bridging different periods, the works on show also present the coexistence of abstract forms and concrete contents and of aesthetic structures and real situations. This exhibition marks the beginning of a longer series of exhibitions with artistic positions that stand up for a diverse society and against illiberal tendencies? Initially, works by visual artists will be shown and discussed that deal with present anti-fascist struggles, the preservation of basic democratic rights and social orders beyond the concept of nations.
With a keen sense for drawing and for use of materials, Anna Zvyagintseva captures traces of daily life, encounters, coincidences or autobiographical facts in her sculptures, drawings and film works. Ukrainian artist Nikita Kadan uses his artworks to compel us to think about the manipulations of history that occur in modern political and historical discourses. The exhibition attempts to respond to the current debate in Poland and around the world on the?
To what extent is the crisis something new and self-contained, and to what extent is it inherent in the internal dynamics of the Enlightenment? The issue of the Enlightenment is always an issue of the here and now: any understanding of today? This is clearly evident in the Polish context, where discussions and conflicts over the approach to modernity, and the role of religion and tradition, the significance of what is public and shared, have remained unresolved since the days of Stanis?
In the third chapter Variations on Time , Karma Ltd. Extended presents the work of female artists who deal with non-anthropocentric, organic tenses and question the traditional time patterns. By providing access to forms of knowledge and understandings that the dominant linear and anthropocentric time culture suppresses, they invite us to imagine different ways of interspecies co-existence and counter-narratives.
Working with sound, film, performance, and objects, Kapwani Kiwanga born in Canada, based in Paris relies on extensive research to transform raw information into investigations of historical narratives and their impact on political, social, and community formation. Her work focuses on sites specific to Africa and the African diaspora, examining how certain events expand and unfold into popular and folk narratives, and revealing how these stories take shape in objects and oral histories.
Trained as an anthropologist, Kiwanga performs this role in her artistic practice, using historical information to construct narratives about groups of people. Kiwanga is not only invested in the past but also the future, creating speculative dossiers from future civilizations to reflect on the impact of historical events. In the series Subduction Studies , Kiwanga observes the space between Earth's continents, specifically Africa and Europe. The speculation of Pangaea Ultima suggests a supercontinent occurring again, which will see Europe slipping underneath Africa.
Kiwanga is the winner of the Frieze Artist Award. This experience we inherit from the history of contemporary art, which is saturated with practices of artistic characters and masks alter ego from Marcel Duchamp to Andy Warhol , allowing to explore the boundaries of their own "role" and point out the stagnation of the foundations of conservative morality, not keeping up with the changes in time. An important symptom is the increasing variability of gender and social roles. Gandy gallery is pleased to announce the opening of the international group show which will be a new edition of the exhibition project Migration of Energies which was held in in Gandy gallery in Bratislava.
The second part of this international exhibition will present works of fourteen artists or artistic groups who come from different countries and who work with different kind of media. What brings them together is the subject-matter of the show which will be more focused on the issues of the ecology, as well as the transcendental within the topic of the migration.
The exhibition explores different artistic experiences through monochrome works by American and international artists. Created in and endowed with 55 ? Yona Friedman has been awarded for his "visionary work and his impact on the profession" stated the Austrian government. Kapwani Kiwanga is the winner of the Frieze Artist Award, a major opportunity for an emerging artist launching at Frieze New York The artist will realize an open-air installation in Randall?
Stories of Almost Everyone is an exhibition about the willingness to believe the stories that are conveyed by works of contemporary art.
- Daniel Harrington Fairbanks the Third and a Day on the Farm.
- Full text of "Catalogue of printed music published between and now in the British Museum".
- Il pasticciere di Buenos Aires (Italian Edition);
- The Republic of Rock: Music and Citizenship in the Sixties Counterculture.
- A Thousand Miles.
- 72 JUEGOS PARA EL ENTRENAMIENTO DE LOS TIROS LIBRES INDIRECTOS ALEJADOS DEL ÁREA DE PENALTY EN EL FÚTBOL (Spanish Edition)!
- Popular Theatre and Political Utopia in France, 1870—1940.
The corporate Art Collection Telekom was initiated by Deutsche Telekom in and comprises today of some art works by about 60 artists from around 15 countries. The collection has a clear focus on contemporary art from Central and Eastern European countries. It expresses the characteristic qualities of contemporary art from a region in Europe, which is searching for identity in the global context. These voices are looking for new social and political structures, for a democratic and civic exchange by balancing opposing ideas and interests.
Politics refugees, poetic refugees Visual poetry and performance of the artist. Exhibition of collages, paintings and textiles exploring the limits of language, testifies to the artist's exile and experience between several languages and cultures. The 4th industrial revolution is being shaped by new literacies around images, movements, and languages. All industrial revolutions transform our relation to space and time, as well as work and play. The work of the Antwerp artist Wesley Meuris examines in depth the presentation systems which occupy exhibition spaces.
This is how he has built, like a craftsman, museum and zoological furniture. However, these stereotyped structures are empty, and clearly will remain so. An object ordinarily intended to show is now something to be looked at and is straightway transformed into a sculptural object. For our exhibition Wesley Meuris creates new sculptures and collages. The Or Gallery is a non-profit, artist-run centre in Vancouver, Canada, with a focus on contemporary, conceptual practices. Since its inception in , the Or Gallery has acted as a space for research, conceptual experimentation and documentation.
October 14, with an opening reception on Friday, September 8, Kapwani Kiwanga? Starting with research into visual archives relating to decolonization, Kiwanga located archival photographs that pictured different flower arrangements used in ceremonies or events related to the independence of African countries. She then took these images to a local florist and worked with them to recreate the bouquets found in the photographs, as closely as possible using available flowers. The fresh arrangements are then displayed in the exhibition and left to wilt over the duration of the show, just as memory might fade over time.
For the exhibition at the Or Gallery, we will recreate all of the works to date in Kiwanga? These works exist in the form of a protocol; each time they are exhibited the organizing institution recreates the artworks. This exhibition is organized by artist and writer, Kathleen Ritter, and accompanied by a conversation between Ritter and Kiwanga on the use of archival research in contemporary cultural production. A publication will be produced after the exhibition. Working with sound, film, performance, and objects, Kiwanga relies on extensive research to transform raw information into investigations of historical narratives and their impact on political, social, and community formation.
Kiwanga is not only invested in the past but also the future, telling Afrofuturist stories and creating speculative dossiers from future civilizations to reflect on the impact of historical events. Kiwanga was born in in Hamilton Canada and lives in Paris, France. She has been artist-in-residence at L? She has exhibited her works internationally and her film and video works have been nominated for two BAFTAs and have received awards at international film festivals. Curator: Ann Stouvenel Everything begins with a journey, from the idea itself to the physical displacement.
From oceans crossed to populations encountered, from a simple click on send to treading on well-worn paths, globe-trotting artists are full of wonderful tales. These stories recall fortuitous discoveries made on stopovers, here and there, somewhere in our global and post-digital world. Curiosity leads to the collection of information from those who are most willing to share it. The transfer of these stories, from their point of origin to here, is led by these great travellers who navigate the depths that sublimate reality.
Artists immerse themselves in these depths. From their chosen raw materials, they collect, cut, assemble, divert, re-appropriate, and create relationships. They have returned with unique beliefs and customs, memories of a history marked by the collateral damage of modernism, the feedback of the journey itself, and moments of reverie.
Back home again, distance is re-established and opens the door to other worlds, revealed, questioned, mystified, re-enchanted. The works on view here have been specifically produced or recreated for this exhibition context. The exhibition, born out of the collaboration with the Power Station of Art in Shanghai presents the intense and conflictual relationship between the Utopian dimension of design and its realization through the work of Yona Friedman.
The theory of mobile architecture, conceived by Friedman in s, called into question the Modernist vision whereby the inhabitants are required to adapt to a building and not the reverse: through models, drawings and installations the exhibition recounts the development of this theory while at the same time exploring the theme of improvisation as a? A Handful of Dust is a speculative history of the 20th century, tracing a visual journey through the imagery of dust from aerial reconnaissance, wartime destruction and natural disasters to urban decay, domestic dirt and forensics.
Flowers are Documents? Arrangement I and II gathers and juxtaposes the positions of various artists whose ongoing interest in the subject of flower arrangement opens out into investigations of several parallel fields of research. Drawing on this traditional? Bouquets and ikebana become agents that make it possible to move alongside historical events and extreme presents so as to address issues like decolonization, legality, cultural identity and placemaking.
At the same time they question what a document is by offering oblique ways of understanding both the nature of?
Popular Theatre and Political Utopia in France, — | SpringerLink
As consecutive seasons, the two chapters Arrangement I and Arrangement II unfold around real flower compositions by four artists as an accumulation in space. Four new commissions are accompanied and supported by? By changing the configurations of the works, the successive arrangements intertwine the? Show Me Your Archive and I Will Tell You Who is in Power combines an exhibition with a public program of lectures, panel discussions, performances and screenings to present stories from the history of feminist struggle. Issues of race, gender and class are covered from a so-called intersectional perspective, an approach that works to bring to the fore the combinations of discriminatory practices and the dynamics they engender.
Show Me Your Archive and I Will Tell You Who is in Power wishes to extend its scope beyond Western, white feminism and to trace the beginnings of a transnational and intersectional perspective in Belgian feminism and beyond. In the early s, De Smet was a central character in the Ghent Dolle Minas, one of the first initiatives of the second feminist wave in Flanders.
She was also one of the driving forces behind the Belgian Angela Davis Committee. Attended by 14, women, activists and feminists from mainly non-Western countries, it was the first occasion of that scale to stage worldwide encounters and exchanges of ideas. Documents from public archives that provide insight in these historical and local contexts make up the backbone of the exhibition. In addition, visual artists Marwa Arsanios, Saddie Choua, Amandine Gay, Kapwani Kiwanga, Ato Malinda, Eva Olthof and collective Study Group for Solidarity and TransActions were invited to make new work, connecting with these archives and themes and approach them from a postcolonial, transnational or politically emancipatory context.
They offer new critical perspectives on history and in turn help to shape the guise of another new wave of feminism. The public program wishes to think about how feminism can radically rethink notions such as class, gender and race from a postcolonial perspective.
A smooth aquatic road movie.
Les prix littéraires 2017 – La récap
The story of a coincidence in the shape of a Rorschach test. Shot on the Canal du Midi. Based on a true story. Establishing a dialogue with the site-specific commissions at the museum's Oval Gallery, these group shows present side by side works of artists and architects who, in their respective fields, have produced insights and critical reflections on crucial themes of our times. Echoing the th anniversary of Thomas More's Utopia, the show reveals how the dichotomy between utopia and dystopia reflects a time of paradoxical acceleration, where anxiety and optimism collide.
Today, technological developments stimulate expectations of enhanced connectivity and a better quality of life. However, cyclical crises also constantly disturb the social, political and ecological spheres. With utopian and dystopian narratives typically emerging in such troubled periods, artists and architects, writers or filmmakers are crucial in proposing contradictions and proposing illuminating new possibilities.
Language is the core material of his work. Through language, the artist explores contemporary geo-political situations drawing on personnal experiences. His migrations from and to former USSR, USA, Europe, minor Asia and the Middle-East are rooted in his pictural and graphic art, an ornemental poetry which gives to read and to see the cultural, historical, ideological overlappings of our globalised world. This exhibit suggests a fresh look on this difference and reinvents dialogues around the relationship between artists and architecture. With :. Auschwitz, Lampedusa and Aleppo, these places are seared into our collective consciousness.
History has also left its mark in art. For Anselm Kiefer, all of Germany as a landscape is contaminated. The exhibition includes his work Bilder-Streit. Using his characteristic materials such as linoleum, oil paints, sand and jute, he expresses his need for a new German identity. Where Kiefer depicts a quest, Sophie Ristelhueber literally records the traces of conflict. Her work Fait portrays the almost serene remains of the first Gulf War in Kuwait. Historical facts, fictional, magical and supernatural elements are interwoven in Kiwanga's research-based projects.
In her lecture-performance Afrogalactica: A brief history of the future ongoing she takes on the role of a fictional anthropologist to speculate on the future, investigating Afrofuturism as a means to examine the past from an African or African disaporic subjectivity. Born in Hamilton, Canada and based in Paris, Kapwani Kiwanga produces works across installation, performance, and video that marry her training in anthropology and comparative religions with her interests in history, memory, and mythology. Presenting rigorous research in imaginative ways, Kiwanga intentionally confuses truth and fiction in her work in order to enable fantastical narratives.
For her first solo exhibition in the United States, Kiwanga presents a site-specific installation, video, and prints that draw on the artist's research into the design of institutional spaces, including materials found in the University of Chicago's Special Collections Library.
Across the elements of Kapwani Kiwanga: The sum and its parts , Kiwanga deconstructs the physical and psychological qualities of different built environments including schools, prisons, hospitals, and mental health facilities. In the main gallery, Kiwanga brings together architectural elements from historical and contemporary versions of these spaces including wall sections, lighting fixtures, and surface treatments creating a spatial collage that escapes the sum of its fragments. For these works, Kiwanga has drawn from her extensive research into disciplinary architectures throughout time, extracting specific details from the designs of late 19th century workhouses and reformatory schools in Britain and France respectively.
A distinctive feature of the exhibition is the artist's transposition of two-tone color palettes, often used in the interiors of institutional spaces, onto the gallery walls.
Social hygiene movements and hospital reforms at the turn of the 20th century inform the artist's selection of colors as well as the work of Chicago-born color consultant and color theorist Faber Birren. A student in the College at UChicago in the early 's, Birren later established a consulting company, advising on the use of color in industry and the workplace.
Drawing from color design studies by Faber Birren and Company held at the University of Chicago's Special Collections Library, Kiwanga thereby recalls the application of color theory to the conditions of work, learning, surveillance, healing, and care. Also on view is a selection of prints that reproduce images from Birren's archive and a new film A primer that delves deeper into the spatial histories of different building typologies. By attaching the suffix "co" before "habit" a rather alternate meaning is obtained. A habit, or ritual, is literally turned into something else, suggesting a transformation in our own behaviour: we get of rid of our habits to start a cohabitation, to live with someone else, to share our living condition with the other, with another.
Cohabitation suggests the politics of living arrangements, from being arbitrarily denied spaces to rent, to the street and the politics of sleep. The city of Pune, economically and culturally a leading city in the state of Maharashtra, is one of the fastest growing cities in India and its growth is a factor of attraction for workers, professionals, students, and migrants from India as well as from East-Asia, the Middle-East and Africa.
Pune becomes an interesting place to host a reflection on the potentialities, repercussions and consequences of such a movement of people and the development of Asian cities in the present time. At the same time, Pune's local situation can allude to a wider reality of, certainly more dramatic, migratory movements that are taking place in other parts of the world and the subsequent struggles for cohabitation. The exhibition Habit-co-Habit aims to present different forms in which artists reflect on topics such as migration, cohabitation, adaptation, and assimilation.
Portikus is pleased to present the exhibition House of Commons with works by younger and internationally established artists. Throughout its duration, House of Commons changes constantly and thus sees itself less as a static group exhibition than as a dynamic project. Art works will be added, swapped out, and rearranged weekly. Each of these presentations will be enhanced by discussions of the works, film screenings, and performances.
The exhibition is kicked-off with the juxtaposition of only two works: Danh Vo? Starting from this dual presentation, the exhibition continues to grow, and in subsequent chapters presents more photographs, paintings, sculptures, and video works. House of Commons arose in response to the political events of recent months in Europe and the United States. A general change in mood can be sensed? Against this backdrop, the exhibition presents both artistic works that deal explicitly with political or social issues as well as works dealing with more fundamental questions inherent in art itself.
In this way, Portikus takes a political stance, argues through art, and using the simple gesture of juxtaposition, emphasizes the importance of dialogue and engagement with opposing opinions for our common coexistence. Avec Marc Lenot, historien de l'art et auteur du blog Lunettes rouges , Juliana Borinski, photographe, et Denis Bernard, photographe et enseignant en design graphique. Stories of horror scenes, cannibalism and images of the end of the world were told by the survivors. This story, for the 21th century viewer, evokes a horror that has became almost banal in the contemporary world conveyed instantly by the press, internet and television.
The cultural and aesthetic changes of the new century, subject of many fantasies and questions, suggest the impression of an era coming to an end. The imaginary world of the end of time or the violence visible through different mass medias take their place in a moment where threats political, social or environmental are nonetheless very real.
The sixth cycle of Prix Pictet will tour to Tokyo, Japan in October , marking the second occasion on which the award has traveled to Tokyo. Opening on October 16, Including the work of over 50 international artists in an exhibit which will occupy a space of over 3, square metres, the exhibition encourages us to take an outsiders perspective on our current reality. Spectators will enter through the new wing of the museum, designed by Maurice Nio, and once inside will experience a feeling of being projected a few thousand light years away from the present to review our world as if it were geological eras from our current time.
This journey is made up of works by already established international artists and also those of younger, emerging artists, many of whom come from regions of strong contrast and conflict. Throughout the exhibition, various mediums and artistic expressions will be interconnected: music, theatre, cinema, architecture and dance, depicted not only through specific pieces but as integral moments of the show as a whole. The End of the World will be accompanied by a series of conferences and debates which will develop the various themes explored in the exhibition, and will include scientific, philosophical and literary aspects; from more recent theories of physics to archaeological topics, and from science fiction to ecology and sustainability.
Courtesy Cineteca Bologna. Gordon Matta-Clark, Fresh Kill, Pier Paolo Pasolini, La Rabbia, RUN, RUN, RUN , an exhibition about the concept of artist -run space, designed by twenty European structures and more than forty artists, transforming the Villa Arson in vast project of creation and experimentation.
Project upon the 20th anniversary of La Station Nice. The Showroom presents a major new commission by London-based artist Uriel Orlow, which looks to the botanical world as a stage for politics at large through film, photography, installation and sound. Working from the dual vantage points of South Africa and Europe, the project considers plants as both witnesses and actors in history, and as dynamic agents - linking nature and humans, rural and cosmopolitan medicine, tradition and modernity - across different geographies, histories and systems of knowledge, with a variety of curative, spiritual and economic powers.
The show includes Kapwani Kiwanga's reconstruction of a floral arrangement found on the negotiation table during the talks between the delegation of The Liberation Front of Mozambique Frelimo and the Portuguese on September 7, that led to Portugal's formal recognition of Mozambique's right to independence. English version online soon! With the collaboration of Julien Griffit. Curated by Emile Ouroumov. For Larissa Fassler, observing, describing, and naming are strategies to make different realities visible, an approach she believes leads to a deeper understanding of a place, or that counters assumptions, blindness, or even refusals to see reality.
For the past ten years, Fassler has been making map-drawing hybrids and objects of urban spaces that comfortably exist between models, sculptures, and relational actions. Her work is developed using a self-mapping exercise, walking, counting, and note taking, often charting the same territory multiple times, which generates a series of interpretations of the same space that differ in precision, dimensions, and proportions.
These notations are then transcribed or modeled to activate each layer of architectural detail, advertising slogan, conversation, action, or census-like observations of highly complex public sites. Curator : Clelia Cloussonnet. The exhibition Botany under Influence investigates the economic and diplomatic implications of nature?
In the colonial era, for instance, Western powers built their wealth looting human and natural resources; systematically appropriating or exporting workforce, plants and minerals. As an aftereffect, control over flora and seeds has become a symbol of national, political and food sovereignties. The Fondation d'entreprise Ricard will present its eighteenth annual prize this coming autumn, curated by Isabelle Cornaro.
The prize exhibition, featuring works by eight artists displayed in the Foundation's own premises and the adjoining cinema, highlights not only the diversity of artistic practices on the modern art scene but above all the prevalence of contemporary iconography drawing on images bearing some relation to current affairs or simply marked by the information circuit. The artists also share a fascination with the original context of the forms they work with and how they are transformed in and through the work of art.
They can be said to share an interest in montage, both in the actual process of editing for instance, using framing devices to pin down bodily movements or retain only material essential to the narrative and as alterations to temporal continuity, questioning how narrative segments are arranged in succession. The works on display, whether films, static visual art, performances, or installations, are thus on the cusp between capturing movement and pinning it down, between representation and incarnation.
In this sense, they meet a desire to create visual situations. As the French found innovative ways of imagining culture and politics in the age of the masses, popular theatre became central to the republican project of using art to create citizens, using secular spaces for the experience of civic communion.
But while state projects often faltered in finding playwrights, locations, and audiences, popular theatre flourished on the political and geographical peripheries. Drawing on extensive archival research, this book illuminates lost worlds of political conviviality, from anarchist communes and clandestine agit-prop drama to royalist street politics and right-wing mass spectacle.
It reveals new connections between French initiatives and their European counterparts, and demonstrates the enduring strength of radical communities in shaping political ideals and engagement.