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Il sito web utilizza anche css printer-friendly. Il sito ha una pagina standard. La sitemap non è stata trovata! Sulla pagina web non si trova il codice di monitoraggio di Google Analytics. 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. Her work has been presented within the exhibition Passion Fruit at the Centre Pompidou, Paris and on the occasion of the exhibition Dynamo. A century of light in art, at the Galeries Nationales du Grand Palais. Ann Veronica Janssens is the author of a public commission for the chapel of St Vincent de Grignan, opened May 25, The panel discussion Prepared Piano: Model for a New Institutionalism presents artists, curators, as well as the managers of places where various projects have been produced over the past few years in Europe.
These projects have in common that they make novel use of cultural exchange instruments, while giving their activities both a local and international scope. The desire to reconfigure the institution based on the model of a community centre, laboratory, open school, and other places that are not mainly governed by market laws, is linked with the creative momentum that led to Prepared Piano.
The proposed discussion aims to demonstrate that PIANO, as well as Salon Light , dedicated to independent publishing, and Vdrome , a distribution network for artist films, are today all tangible initiatives. He is also an independent curator and the vice-president of the d. This is a series of specific offerings that critically rework the principles of artwork accumulation.
Conceived by the director Éric de Chassey and organised by the French Academy in Rome — Villa Medici every year since , the Theatre of Exhibitions has been devised as a moment of encounter between the fellows in residence and the public, as well as one of dialogue and confrontation among the artists and scholars in residence. The different spaces of Villa Medici become ephemeral stages for installations, performances, projections, readings.
The concept of openness, a predisposition to dialogue and confrontation among different disciplines is the characteristic that unites the projects, which are presented. Since the beginning, his scientific activities have focused on the US and abstract art. This interdisciplinary laboratory brings together the reflections and experiments of artists and scientists and also philosophers, anthropologists, art historians and theoreticians, thus providing as much coverage by neuroscience, physics and astrophysics as by hypnosis, telepathy and shamanism.
Her work has been the subject of numerous solo exhibitions. Since , she has also participated in important group exhibitions, as well as various international biennials and in Venice where she represented Belgium with Michel François. Her work has been presented recently within the exhibition Passion Fruit at the Centre Pompidou, Paris and within Dynamo, A century of light in art, — at the Galeries Nationales du Grand Palais. Vdrome is an online platform that offers regular, high quality screenings of films and videos directed by visual artists and filmmakers, whose production lies in-between contemporary art and cinema.
Each screening is presented during a limited period, as in a movie theatre. Enrico Boccioletti is an artist and musician active under multiple names — Death in Plains, 4SICSX, spcnvdr and Enrico B — in the fields of postconceptual, new vernacular, performance and sound, interested into incompleteness and circularity, duplication and accumulation, waste, layering, forgery, faux-real.
He also works for Mousse Magazine and Vdrome. It focuses on artists of different generations whose works have been conceived as physical and mental instruments that bring together thought and action in every possible media, linking visual arts to theatre and literature. The project aims to shape a collection that is articulated over time, combining archival research with commissions for new works taking into account the role of the museum as a place of memory and preservation as well as a continuing research and production laboratory.
All the works presented have a relation with the city and its history: Alessandro Rabottini is an art critic and curator based in London. He is Curator at Large at the Madre Museum in Naples where he recently curated a mid-career retrospective of Padraig Timoney and the survey show of Ettore Spalletti and served as guest curator for several international institutions.
After exporting the concept at Vermelho gallery in Sao Paulo and the great success of Salon Light 9 at Palais de Tokyo in , Salon Light keeps uniting a moving scene of artists, authors, independent publishers or composers. Performances and meetings with professionals and artists are also a key part of the event.
Sylvie Boulanger is founder and curator of Salon Light since its creation in She directs Cneai since She is a member of several research labs, she also contributes to academic reviews like Multitudes and lectures in art schools and universities. The round table discussion will be followed by a Concert for Prepared Piano by Laurent Durupt , composer and fellow at the Villa Medici. Born , France Lives and works in Lyon, France His work has essentially developed out of video, but over the last few years his practice has opened onto installation, object-based work, sound, writing and photography.
His work involves scripted forms exploring the creative process, carried out as a series of invitations given to a Bosnian garage mechanic, a geophysicist to model the propagation of riots across the globe ,performers dancers and actors , a blacksmith, a musician, a beekeeper, a sound artist…His projects bring into play specific materials and contexts historical, architectural, geopolitical or literary… which, after a process of appropriation, are then linked into the display environment.
Le strategie processuali e plastiche procedono per accumulazione e sovrapposizione di strati sedimentazione narrativa, sedimentazione di materiali, di senso, sedimentazione del tempo. Né en , vit et travaille à Lyon. Sa pratique se développe par projets. Courtesy of the artist. Since the beginning, his scientific activities have focused on the American and abstract art.
He has published books and essays on 20 th and 21 st century art. Académie de France à Rome — Villa Médicis. He curated the following main exhibitions: Kunst Meran Merano Arte.
Vincent Honoré Can you tell us about the origin of Kunst Meran? The idea was to give to the town of Merano a relevant role in the local contemporary art scene. In past times some very famous people, such as Kafka, Mahler, Ezra Pound whose daughter still lives in the castle of Brunnenburg spent their time here.
Since the venue is a house in the town center, which was restored and restructured to become a gallery and art museum. What fundamentally makes this institution different from others in Italy and on an international level? We are neither a commercial art gallery nor a municipal venue, even if our role is similar to that of a public space.
Our funds come both from the private and public spheres, but it has to be noticed that the museum management stays free from any political influence. This is an exceptional status in Italy. In Germany you can find art spaces that you can compare with Merano Arte from this point of view. 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?
We work following a strong aim which is bringing contemporary art to the attention of common people. We also think that sharing projects with other international contemporary art spaces represents an important occasion of growth. A network is essential to make collaborations happen.
Contemporary art is an instrument that Europe can use to connect different national realities and bring them really together. Both museums work with contemporary art and aim to value young artists. Mangion and I immediately agreed to give life to an exhibition with young selected artists. They have been invited to produce new works and to collaborate for a project. It took a lot of time to plan and coordinate every detail of the project. Young artists are very focused on what they want to express through their art.
We pushed them to think about the idea of building an exhibition together on site. The collaboration with Éric Mangion and Villa Arson has been really successful in this sense. What are the main responsibilities of a curator and of an art institution in Italy nowadays? Vincent Honoré Puoi raccontarci come è nato Kunst Meran? Nel passato molti personaggi celebri hanno vissuto a Merano, da Kafka, a Mahler, a Ezra Pound la cui figlia vive ancora nel castello di Brunnenburg.
Anche Peggy Guggenheim ha organizzato mostre a Merano nel corso degli anni Cinquanta. Kunst Meran Merano Arte è un museo molto particolare nel contesto italiano, quasi unico nel suo genere. I nostri fondi provengono sia dalla sfera privata sia da quella pubblica, ma va sottolineato che la gestione del museo è indipendente da ogni influenza politica.
Si tratta di una condizione eccezionale in Italia. In Germania esistono spazi comparabili a Merano Arte da questo punto di vista. PIANO mira a creare una rete di spazi espositivi che lavorano insieme, attraverso forme di scambio e interazione.
Perché avete deciso di aderire al progetto e come si realizza la vostra partecipazione? La presenza di un networl è fondamentale perché le collaborazioni abbiano luogo.
Mangion e io abbiamo immediatamente concordato di dare vita a una mostra con giovani artisti selezionati, che sono stati invitati a produrre opere inedite e a collaborare tra loro per un progetto nuovo. La collaborazione con Éric Mangion e Villa Arson è stata un grande successo in questo senso. Nel periodo di incertezza economica e confusione tra valori culturali e di mercato in cui viviamo, le istituzioni artistiche in Italia hanno una fondamentale responsabilità con cui fare i conti: Metal, mixed media, sound installation, X x 87 cm 3.
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: His work comes from different kinds of influences, which at first sight recall art tendencies such that of minimal and pop art.
He has been the recipient of many awards, including that of Raiffeisen Foundation, Bolzano in , of California Institute of the Arts in and His recent solo exhibitions include: His works have been shown at several group exhibitions: Schwazer nasce nel a Vipiteno. Il suo lavoro richiama principalmente la minimal e la pop art, allo stesso tempo esplora in maniera singolare questioni filosofiche e temi sociali associandovi sviluppi formali del tutto specifici.
Nel e vince il premio del California Institute of the Arts. Vive e lavora a Los Angeles. Né en à Vipiteno, vit et travaille à Los Angeles.
Parallèlement, il explore de manière singulière les questions philosophiques et sociales en impliquant des développements formels tout à fait spécifiques. En et , il a remporté le prix du California Institute of the Arts. Il a participé a plusieurs expositions collectives: Costanza Paissan Your artistic research focuses on issues related to pop culture, geopolitics, capitalism, industrial economy and craft production in the global world. These ideas are transferred into pieces whose forms are essential, often tinged with irony and lightheartedness, poised between mass production and slow craftsmanship, mechanicity and organicity.
I am thinking, for example, of the work The Rape of Europe , in which the threads of the Jacquard weaving recall the myth of Arachne but also the evolution of textile production in the history of the world economy. Could you tell us about the process through which you transform your thoughts into form? Leander Schwazer I have a special penchant for time in general. Exploring dormant stories in everyday objects is my obsession. I use techniques like détournement , alterations, the reversing or flipping of things: I guess this is a reason for my interest in cracks and fractures: Art walks on a thin path between past and future.
In spring , your work was exhibited at the Museion in Bolzano, in the exhibition Bikini. Where does this work fit in your research? Bikini was a meditation on certain connections between popular culture and war. Compared to the power of war machines, any artistic discipline looks weak. In a way, it becomes necessary to use as many as possible. However, it is impossible to predict the course of history. Only when seen from the future, the past becomes such.
In addition to being an exhibition space, Villa Arson is also a place of education, in which dialogue with other artists is normal practice. Can you tell us about your experience? I was happy to be in close contact with Sonia Leimer over the last year.
Although we were working independently, I consider the setting we worked with at Villa Arson as a collaboration. The space will be one of crisis, misunderstandings, big and small stories, subjectivity and objectivity.
I am happy to present another montage piece from my longtime exploration of junk, how it is produced and circulates. Fra Mauro wrote a fascinating story of junks Asian ships rounding the Cape of Good Hope, arriving in Europe and then sailing back.
Today my email inbox asked me what I wanted to do with my junk mail — electronic messages received from unknown senders. But of course history does not repeat itself. Queste idee sono trasferite in lavori formalmente essenziali, spesso venati di sottile ironia e di leggerezza, sempre in bilico tra produzione seriale e lenta manualità, meccanismo e organicità.
O alle schede perforate di Kapital , che trasferiscono il testo del Capitale di Marx in un meccanismo musicale. Puoi spiegare attraverso quale processo metti in forma le tue riflessioni?
Leander Schwazer Quello che mi interessa in maniera particolare è il tempo in generale. Esplorare le storie dormienti negli oggetti quotidiani è la mia ossessione. Mi servo di tecniche come il détournement , le alterazioni, il ribaltamento o il rovesciamento delle cose: Penso che sia questa la ragione del mio interesse nei confronti delle crepe e delle fratture: Nella primavera il tuo lavoro è stato esposto al Museion di Bolzano, nella mostra Bikini. Come si inserisce questo lavoro nella tua ricerca?
Bikini è una meditazione sui collegamenti tra la cultura popolare e la Guerra.. A confronto con la potenza delle macchine da guerra tutte le discipline artistiche appaiono deboli. In ogni caso, è impossibile predire il corso della storia. Essa diventa passato solo se vista dal futuro. Villa Arson, oltre a essere uno spazio espositivo, è anche un luogo di formazione, in cui il dialogo con altri artisti rappresenta la quotidianità.
Puoi raccontare la tua esperienza? Anche se abbiamo portato avanti il nostro lavoro in maniera indipendente considero lo spazio che abbiamo immaginato aVilla Arson come il risultato di una collaborazione. Lo spazio sarà uno spazio di crisi, equivoci, grandi e piccole storie, soggettività e oggettività. Sono contento di poter presentare un altro lavoro a mosaico parte della mia lunga indagine sul Junk, la sua presenza e distribuzione.
È ispirato dal documento in cui la parola Junk venne usata per la prima volta in un documento occidentale: Fra Mauro scrisse una favola affascinante: Ma ovviamente la storia non si ripete. The Registry of Promise. Chiara Agnello is artistic director of Careof, a non-profit organization for the promotion of contemporary artistic research active in Milan, that since encourages cultural experimentation in all its forms, in particular the work of young artists.
Careof positions itself as a privileged mediator between artists, curators, critics and a non-specialist audience, through a rich program of exhibitions and educational documentation services around the visual arts held at DOCVA and the residency program for creative FDV Residency Program.
Vincent Honoré Can you introduce Careof, its history, missions and programmes? Chiara Agnello Since Careof fosters the development of contemporary art practice with passion, creativity and expertise.
Since then, Careof is a place where young and established artists can be inspired, exchange views and be encouraged to experiment, debate and grow. Since Careof is located at Fabbrica del Vapore in Milan, an industrial building from the early 20th century, which was originally meant for the construction, maintenance and sale of railway and tram material, and today is a youthful centre of cultural production.
Foster the development of artistic work, research and education is still one of our goals in conjunction with becoming a reference point for videoart in Italy and abroad.
Careof has various spaces and resources: Within a no profit organization as Careof the word experimentation is closely related to the continuous questioning of the organizational processes and the ability to be flexible in the face of opportunity, to changes in society and of the public we work with. Obviously we have a well-defined mission, but the goals that we set are a response to the reading of our context.
They can then change and evolve with time. 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?
Careof is characterized by the ability to read the context and be an active part of the community we refer. We have the ability to observe the artistic practices in their multifaceted and multiform varieties, giving space also to the emerging ones. We have the capacity to act with different strategies, giving space to the experimentation in a time which research and development are becoming less valued.
For these reasons we believe that institutions like ours must continue to exist alongside the powerful players. What is your mission with archive and archiving and how does it differ from collecting?
The video archive includes over 7, pieces and is the most important collection of videoart in Italy. The catalogue holds over 6, artworks, from the first experiments made in the 70s to work by the latest generations, and about 1, videos documenting exhibitions, conferences, performances and art events of international relevance. The collection is an important resource to understand the development of contemporary art research over the past 40 years and specifically in Italy.
Through the video archive we develop exhibitions, residency and research projects. We are archiving in order to support the artists and their work, share and pass on the knowledge and let everyone know the contemporary art scene. This is probably the main difference from collecting.
Inside the mission of Careof there is the vocation to work with Italian and international institutions as we believe that through the exchange between cultures and people we can generate an enrichment. We then responded to Stefania Meazza, curator of the project Piano — Alto!
The project has provided for young Italian and French artists a period of residence at the centers involved: There have been several meetings between us to investigate the practices and activities of each organization.
The choice of artists was facilitated by a pre-selection made by the institutions, offering a list of candidates to others. The selected artists are: Vincent Honoré Puoi presentare Careof, la sua storia, la sua mission e il suo programma? Chiara Agnello Dal Careofpromuove lo sviluppo della pratica artistica contemporanea con passione, creatività e competenza. Sin dalla sua nascita, Careof è un luogo in cui artisti giovani e riconosciuti possono trarre ispirazione, scambiare le proprie visioni e trovare stimolo per sperimentare, discutere e crescere.
Oggi è un centro per la produzione culturale. Careof ha diversi spazi e risorse: Essi possono quindi cambiare ed evolvere nel tempo. Siamo in grado di osservare le pratiche artistiche nelle loro sfaccettate e multiformi declinazioni, dando spazio ai fenomeni emergenti.
Sappiamo agire attraverso diverse strategie, mettendo in primo piano la sperimentazione in un momento in cui la ricerca e lo sviluppo sono sempre meno valorizzati. Per queste ragioni crediamo che le istituzioni come la nostra debbano continuare a esistere accanto alle realtà più influenti. Il catalogo comprende più di 6. Una delle principali attività di Careof è la schedatura, la conservazione e la promozione del materiale artistico contemporaneo.
È questa probabilmente la differenza maggiore con una comune collezione. PIANO mira a creare una rete di spazi artistici che lavorino insieme, attraverso processi di scambio e interazione. Alla base della mission di Careof vi è la vocazione di lavorare con istituzioni italiane e internazionali, perché crediamo che attraverso lo scambio tra le culture e le persone sia possibile generare ricchezza.
Il progetto ha permesso a giovani artisti italiani e francesi di compiere un periodo di residenza nei centri coinvolti: Abbiamo organizzato diversi incontri tra noi per analizzare le pratiche e le attività di ogni organizzazione. La scelta degli artisti è stata agevolata da una pre-selezione fatta dalle istituzioni, ciascuna delle quali ha presentato una lista alle altre.
Gli artisti selezionati sono: Careof, new venue at Fabbrica del Vapore. Andrea Astesiano for Maxdesign. Stefania Meazza is a critic and an independent curator. She is correspondent for the Italian contemporary art magazine Juliet since and she also collaborates with the French magazine Zérodeux. She lives and works in Toulouse, where she is professor of Research Methodology at the Institut supérieur des arts. Stefania Meazza è critica e curatrice indipendente.
Stefania Meazza est critique et commissaire indépendante. Elle est actuellement Présidente de d. The Registry of Promise Space: Sandra Patron There are two factors behind the creation of the art centre: He wanted this rural area to be rooted, in no ordinary dated nostalgia, but in the times and the questioning that it generates.
Then as this region has been hit hard by de-industrialisation and an exodus towards cities, leaving entire sections of its heritage empty. Local councillors were hoping to breathe new life into these sites without knowing exactly how to tackle the problem. In any case, chances are that a contemporary art centre had not been envisaged by most of them. I think it is the characterful site that prompted me from the outset to consider the artistic project a time to offer artists rather than as a space to be invested.
Residencies enable that, in addition to the off-site programme, insofar as we can at certain moments encourage long production processes, at other times react very quickly to requests that require technical expertise made possible by the scope of our local partners. Paradoxically, the isolation of the site — or in any case its isolation from the art scene — is in my view a constituent part of the project, its strength and originality, this isolation enables a quite unique quality of concentration, for the team as well as for the artists.
It also often enables often strong and sometimes friendly links to be formed between us. There is a lovely text by Giorgio Agamben on this matter of friendship and complicity acting as a powerful driving force to create a space for sharing and production, I have great faith in this idea, and there again, our setting is conducive to this type of approach.
Regarding projects that could characterise the way in which we envisage production processes, two examples come to mind: Lili Reynaud-Dewar came here to develop a project around the Black Maria, this first movie production studio conceived by Edison.
For several months, the PSL was transformed into a film factory, a loyal troop rallied around his project, costume designers, actors, make-up artists and musicians, the films were shot on site, they were put together on site, the exhibition made this production process perceptible. Likewise Alain Bublex spent over a year on and off at the art centre in to produce a motorbike prototype in partnership with a local engineering school specialising in the car industry.
In the global context in which we work, forging ahead, I realise that this way of working is a real luxury, for myself as well as my team of course, but also and above all for the artists. You started managing the art centre in Have you modified the programme or changed the focus of the centre, or quite the opposite do you want to anchor a heritage?
When I started, I kept the constituent parts of the project: I wholeheartedly wanted the place to be anchored on a European level not only through the programme choices but also by inviting foreign curators every year. The residencies were reviewed: The off-site programme was reviewed, probably because, at the start, I was quite unsettled by this project and the sociocultural deviations that could result.
Not really knowing how to address the question, I simply decided that we were going to do what we knew how to do: The person in charge of off-site programme was previously a cultural mediator, I decided to recruit an exhibition curator, and this simple decision completely changed the direction. Parc Saint Léger is a complex structure that regroups a set of cultural facilities: How do you combine all these activities into one coherent programme? I do not aspire to combine our different activities at all costs, but I actually worked to make synergy possible, and at the same time — and this is essential for me, for it to be possible for there to be no synergy.
For our Résidences Secondaires for example, three month residences devoted to the emerging European scene , we select the artists one year in advance, we initiate discussions with them well ahead, we discuss the off-site programme with them, and very often there is a specific context that stimulates them, so we make this link between the residency and the off-site programme.
But sometimes, the artists just need time for a break, for research, to bathe in the Loire and to smoke a cigarette by the fire, and that is fine with us too. The location is rural. What bearing does its location have on your programme? In concrete terms its rural location means that there is no power struggle with anyone: This lack of any threat to anyone brings great freedom on a daily basis.
I am not sure for example that a project like Breathing House by Jean-Pascal Flavien would have been so simple to organise in an urban setting, with the numerous rules involved and the representatives to meet and to convince. Why did you want to participate and what programme are you proposing?
Four years ago, I wished to become involved in the d. The reasons are pragmatic, strategic and artistic at the same time: I am for example delighted about the discussions that I have at the moment with Chris Sharp, the curator of our exhibition for PIANO, The Registry of Promise , an exhibition with a literary construction in four chapters.
His relationship with art, his approach, the way in which he works with artists, the way in which he perceives this very strange profession known as exhibition curator, is all very refreshing and a source of inspiration for me.
Parc Saint Léger Protagonists: Les réticences furent nombreuses, et les débats passionnés, seule la pugnacité de Bernard Bardin a permis au projet de voir le jour. Il permet également de créer entre nous des liens souvent forts, parfois amicaux. Lili Reynaud-Dewar est venue développer un projet autour de la Black Maria, ce premier studio de cinéma imaginé par Edison. Avez vous infléchi la programmation ou changé les missions du centre, ou au contraire avez-vous souhaité ancrer un héritage?
Les résidences ont été remaniées: Comment unifier toutes ces activités dans un programme cohérent? Pour nos Résidences Secondaires par exemple résidences de trois mois dédiées à la scène émergente européenne , nous choisissons les artistes un an avant leur venue, nous entamons le dialogue avec eux bien en amont, nous leur parlons de la programmation hors les murs, et bien souvent il y a un contexte de travail qui les stimule, nous faisons alors ce lien entre la résidence et la programmation hors les murs.
Le lieu est situé en territoire rural. En quoi sa situation informe votre programmation? Pourquoi avez vous souhaité participer et quel programme proposez-vous? Les raisons sont tout à la fois pragmatiques, stratégiques et artistiques: Wilfrid Almendra, Le Splendid , Gabriel Kuri, bottled water branded water , exhibition view, He has always tried to include the viewer in his works, with varying levels of participation being essential to complete each piece.
Given that viewers do not approach works from one direction alone, in his architectural projects and video installations Graham challenges and deconstructs the Renaissance theory of perspective. It includes a memorial honoring the artist, a museum, and a research center.
The model features a series of houses of the same size, one of which plays host to the museum. Homes for America reveals another area that Dan Graham has been interested in since the s: This work, in the style of a photographic reportage, explores the American suburbs and their rows of identical homes. La carriera artistica di Dan Graham attraversa diversi linguaggi: Dato che il punto di vista dello spettatore non è unico né unidirezionale, nei suoi progetti architettonici e nelle sue installazioni video Graham decostruisce la teoria della prospettiva rinascimentale.
Il modellino consiste in una serie di case della medesima dimensione, una delle quali ospita il museo. Si tratta di una serie di fotografie di taglio giornalistico, dedicate agli spazi della periferia americana e alla serialità delle sue abitazioni. Interested in giving art a more dynamic role in everyday life and society, Brehmer analyzes in his works the growing presence of the media and media language in Western consumerist society. His oeuvre spans painting, graphics, books, films, musical arrangements, and installations.
The two crossed flags form a portrait of German society, its social changes and political tendencies. The colors are proportioned to convey various statistics on the distribution of wealth in the country. The left-hand flag interprets data from , dividing German families into three income brackets represented by the national colors: The right-hand flag uses the same colors to represent the increase in per capita earnings between and according to occupation: The fact that the two flags are crossed over represents the inextricable link between social class and distribution of wealth.
Le sue ricerche trovano forma in lavori pittorici e grafici, in pubblicazioni, film, arrangiamenti musicali e installazioni.
I colori e la superficie delle bandiere veicolano una serie di informazioni statistiche sulla distribuzione del reddito in Germania. Nella bandiera di sinistra, che fa riferimento al , le famiglie tedesche sono suddivise in base al loro reddito in tre fasce, identificate dai tre colori nazionali: La bandiera di destra, utilizzando gli stessi tre colori, indica la crescita del reddito pro capite tra ileilinbasealtipodi attività svolta: Analyzing specific moments in recent political history, they demonstrate the opacity of memory, together with the strategies employed to wipe out truths or create new ones.
They focus too on sexuality and female identity interpreted as the products of real and imaginary experiences imposed by society and the ambient culture. Their work has been presented at the biennials in Venice , Tel Aviv and Dublin La démocratie est illusion Focus: For secret eyes only.
Le loro opere esplorano i concetti di storia e di memoria al confine tra amnesia e cancellazione, tra ricostruzione e rimosso. Hanno vinto il Premio dei giovani artisti italiani del Castello di Rivoli nel The series consists of tall trees on which the artists carved lists of dates and places to represent the sequence of tragic events that run in Italian history.
I meet the artists in the gardens of the Castle of Rivoli, where the three trees, which they worked on for the exhibition La storia che non ho vissuto [History I did not live through] in , are planted. The connection with the tragic reality that each tree tells — from the terrible events occurred in Italy from up to the killing of Pasolini, and then the series of murders at the hands of the Red Brigades in Italy — often happens gradually, as if history revealed itself slowly, and only to those who really care for it.
They consist of trees which have been carved but are living, hence still enduring seasonal changes and the normal growth and life of trees, suggesting a relationship with history in constant evolution and change. It is this relationship that we address and which involves, as you noted, the development of a certain kind of relationship with the people who come into contact with the works — something that entails a gradual unveiling.
Last year there was a further evolution, I would say. Research on Italian history of the seventies led us to explore the countless international geopolitical connections related to the Western bloc strategies during the Cold War. Following these connections, we often came across the strong influence and the role of intelligence agencies in defending the State and interfering with the domestic politics and the agenda of countries belonging in the Atlantic Pact.
This way of acting behind the scenes of democracy — bypassing the eyes of citizens with cunning cover-up tricks and manipulating information — has many similarities with the way illusionists, through their stage machines, speed of action and clever talk enact their trickeries. So the result of your interest for the two activities is the large installation Hiding the Elephant , which you presented in Brest?
Yes, with the title intended in the literal sense. The work refers to the extraordinary performance which the illusionist Harry Houdini held in at the Hippodrome in New York, where he made an elephant disappear in front of a crowd of thousands. Our work consists of two-dimensional head silhouettes suspended in midair. Each has its twin, carrying on one side a digital portrait and on the other a mirror surface.
Like in a magic trick, these face silhouettes hang at different heights, and when moving produce different shadow and light effects on the walls. One has to stop in the exhibition room for a while to make contact with this work.
Once in a while, the area around the work is filled with dense smoke which conceals the faces, making them hazy and unrecognizable. Then the smoke gradually vanishes, revealing the faces clearly.
In this exhibition the idea of illusion also includes the way in which the different works engage with each other. Using mirror as the material of choice for many of the works makes the show relational and open to the constant change of context. La démocratie is always changing depending on weather and daylight.
The face silhouettes of Hiding the Elephant revolve on themselves, and lit by direct light they cast shadows and send reflections all over the room, sometimes blinding visitors for a few seconds, creating an effect of movement and life in the installation itself.
The reflections also find their way into the other room, casting shadows on the Fragments video and on the Medusa Mirrors The Boîtes Magiques [Magic Boxes] are in turn reflected in the smoke-stained mirrors, creating the illusion that the colored smoke is seeping through the boxes while it is instead actually smeared on the surface of the Medusa Mirrors.
Where does the quote come from? This is the first work of the series, and was born as a watercolor, to be then transformed into an installation, and finally into the title of the Brest and Genoa exhibitions. La démocratie est illusion [Democracy is an illusion] , located at the entrance of the exhibition, challenges the visitor and introduces the installation Hiding the Elephant. The reflecting surface of the letters produces an optical effect, making them appear like windows into another dimension, as if there were a twin room on the other side of the wall, forcing the viewer to look carefully and not to be deceived by appearances.
What we like to explore is the similarity in the practice of deception and illusion in representing reality between stage magic and intelligence agency procedures. By making his trick realistic, the magician deceives the spectator and makes him blind to the stage, producing a sense of childlike wonder and disbelief.
The relationship between stage magic and intelligence agency procedures is that the public wants to be other-directed, it does not want to find out about the trick. La démocratie est illusion Protagonists: La serie consiste in alberi di alto fusto sui quali le artiste incidono nella forma di elenchi di date e luoghi la tragica sequenza di sangue che corre nella storia italiana.
Incontro le artiste nel giardino del Castello di Rivoli, dove sono piantati i tre alberi che hanno sviluppato nel , in occasione della mostra La storia che non ho vissuto.
Marcella Beccaria Spesso mi ritrovo ad osservare come i visitatori si comportano davanti a queste opere. La ricerca sulla storia italiana degli anni Settanta ci ha portato a esaminare la molteplicità di connessioni geopolitiche internazionali connesse alle strategie del blocco occidentale durante la guerra fredda.
Si, con il titolo inteso in senso letterale: Come in un trucco magico, queste silhouettes di volti sono sospese a diverse altezze e si muovono producendo differenti effetti di proiezione di ombre e luci sulle pareti. Il disvelamento avviene dopo pochi minuti di attesa, nei quali pian piano il fumo si dirada, mostrando chiaramente i visi.
Si, è come se le opere fossero in continuo dialogo fra loro e cambiassero con il passare degli spettatori e del tempo.
La scelta di utilizzare lo specchio come materiale di molti dei lavori rende la mostra relazionale e suscettibile al continuo cambiamento del contesto. La démocratie si modifica continuamente a seconda delle condizioni atmosferiche e della luce del giorno.
A Brest il percorso della mostra inizia con una dichiarazione forte, La démocratie est illusion , che avete sviluppato con grandi lettere specchianti, in grafia quasi gotica. Da dove viene la citazione? Si tratta del primo lavoro della serie e nasce come acquerello, successivamente viene trasformato in una installazione e nel titolo della mostra di Brest e Genova.
Sfida lo spettatore a guardare attentamente e a non farsi ingannare dalle apparenze. Rendendo il trucco realistico, il mago inganna lo spettatore e lo rende cieco di fronte al palco, restituendo una sensazione di stupore infantile e incredulità. La relazione tra la magia e le pratiche dei servizi segreti sta nel fatto che il pubblico vuole essere etero-diretto, non vuole scoprire il trucco.
Courtesy Catsello di Rivoli 2. Together they have developed a performance practice in which objects and bodies are placed in confrontational situations through the interaction of material and dance movements. Their performances focus on the ways in which we envisage the world through images stored in our minds, as well as images derived from art history and the media.
Pasolini shot the scene in the interior of a villa that contained a collection of Cubist and Futurist artworks, whose owners in the film, the Duke, the Bishop, the Judge, and the President, represent four distinct figures of power. A Metz, Prinz Gholam sostituiscono la cornice del film con la collezione del museo francese di arte moderna, davanti alla quale riproducono la stessa posa, aggiungendovi un falso fucile appoggiato al muro del museo.
Le duo a développé une pratique performative dans laquelle des objets et des corps sont placés en situation de confrontation. Rä di Martino works with video and imagery related to the cinema, exploring the mechanisms that determine the dividing line between fact and fiction.
In her videos, photography, and most recently installations, her attention is devoted to the power of the image, the way it is constructed, the things that excite our collective imagination, and the remains of the sets used to create the make-believe worlds of film and theater. The camera homes in on a succession of different elements in each shot, revealing architectural models created by Friedman using reclaimed and recycled materials.
Queste architetture effimere e non realizzate trovano corrispondenza nei lavori di Rä di Martino sulle scenografie e sui set cinematografici abbandonati. Il titolo del video si riferisce alla frase finale che Friedman pronuncia rivolto alla telecamera, e nella quale sottolinea il processo di uso e riuso di materiali e mezzi espressivi. Nina Canell, Treetops, Hillsides and Ditches , Mastic gum, logs; variable dimensions.
View of the exhibition The Promise of Moving Things curator: He creates in this way a protocol which introduces rules limiting its expression and establishing a purely speculative mechanical of work. We have been working independently on the spaces and on the exhibition project; later, during preparation, there was dialogue and listening between the two projects.
I would define our collaboration as a mutual influence on narrative fiction. What is your opinion on this? Alessandro di Pietro I would say that our cooperation has had, from the outset, a predisposition not to be explicit. Both projects are based on the appropriation of pre-existing narrative structures: The floor separating us seems to have worked as a filter that has allowed us to meet the expectations of our work.
At the same time it must have produced some information that created a connection between us on a sign level: The rest of the group does not believe what the man saw, but that night was a particularly dark and cold one. How do you expect people to orientate themselves between the textual information partially concealed inside what you call fictional carpets? The story is divided into three phases, which are represented by transparent and black resin casts of hands.
The hands are open in the act of picking up, and relate to round-shaped objects. The CAB is located in a defensive stronghold, on top of a mountain, mainly accessible through a strange spherical cableway. Do you think that the location of the CAB affected the narrative process? When arranging the props in space I definitely tried to exploit the grotto-like space on the first floor of the CAB. For this reason, all the props were exhibited on a modular display made with vertical concrete, steel and foam elements hanging from above like stalactites, exploiting the various heights of the vault of the ceiling.
The arrangement does not follow a hierarchy of importance or a real narrative chronology, and the props are not the remains of an action which has already taken place, but are prospectively active. They are raw elements of a story that will take place soon and that will be a re-enactment of the last part of A Zed and Two Noughts. Until recently, I had the feeling that working on cinema or literature could create a misunderstanding as regards the intention of creating a tribute or a monument to the director or to the wonderful story.
Now I view that concern as very generic, and I recognize that the fiction reacts to its perception so naturally that it can be mistaken for a landscape. What do you think about this? How do you move among the signs that a story offers you? What is the distance you put between yourself, your practice and the story object?
I like the idea of landscape, and in the case of the CAB we could talk of a view. In the days I was working, I observed how individuals or the groups of tourists that stroll around the summit to observe Grenoble from above are comparable with the relationship we have with images, language and representation. I wonder how in front of this vastness of relationships one could define a common gaze.
The signs of history are hence countless like the facets of a view. For this reason I chose this story by Howard Fast that highlights how the main character feels different in front of a vision which he perceives as a common experience.
The killing of the Sun by a hand remains an image on hold from where I started and cyclically return to. As regards the constant fruition within the imaginative process, we could say that this was also the central theme of two workshops, which we conducted in parallel, with a few young Grenoble artists.
With their imagination, we worked starting from two strong images from the stories we had taken as a reference: Cosa ne pensi a proposito? Entrambi i progetti si fondano su appropriazioni di strutture narrative pre-esistenti: Il piano che ci ha diviso sembra aver funzionato come un filtro che ci ha permesso di rispettare le aspettative sul nostro lavoro.
Allo stesso tempo deve aver rilasciato delle informazioni che ci hanno messo in connessione a livello segnico: Come mi hai raccontato, in Not with a Bang di Howard Fast un uomo vede una mano che spegne il sole; torna a casa, ne parla con la moglie e i vicini durante una partita serale di bridge.
La storia è divisa in tre momenti che sono raffigurati da calchi di mani in resina trasparenti e neri. Il CAB si trova dentro una roccaforte difensiva, sulla cima di una montagna per lo più accessibile grazie a una strana teleferica dalla forma sferica.
Pensi che il luogo del CAB abbia influito sul processo narrativo? Come ti muovi tra i segni che una storia ti propone? Mi chiedo come davanti a tale vastità di relazioni sia possibile definire lo sguardo comune.
I segni di una storia sono quindi infiniti come le sfaccettature di un panorama. Per questo motivo ho scelto questo racconto di Howard Fast che mette in luce come il protagonista si senta diverso davanti a una visione da lui percepita come esperienza comune.
A proposito della fruizione costante nel processo immaginativo, potremmo dire che questo è stato anche il tema centrale di due workshops , da noi condotti in modo parallelo, con alcuni giovani artisti di Grenoble.
Con la loro immaginazione abbiamo lavorato a partire da due immagini forti provenienti dalle narrazioni da noi prese come riferimento: Jacopo Miliani , Alessandro di Pietro Project: From Both Sides of a Mountain Space: She aims to create a dialogue between contemporary art and other art forms with a particular emphasis on theatre and dance , as well as social science economics, philosophy, anthropology , focusing on the significance of processes and experimentation in the performative dimension of art.
Nel ha curato con Chiara Parisi la Nuit Blanche di Parigi invitando oltre 40 artisti a produrre istallazioni e opere su larga scala sparse per il territorio della città. Vincent Honoré Can you tell us about the missions of La Ferme du Buisson, and explain what makes this place unique in France? Julie Pellegrin Located on an exceptional site in the outer suburbs of Paris, La Ferme du Buisson is a multidisciplinary cultural centre of national and international standing.
It comprises a contemporary art centre, a national theatre containing 7 concert and performance spaces, and a cinema. This configuration, which is unique in France, makes the place a perfect example of the de-compartmentalisation of disciplines. So the programme revolves around three axes: In our ways of working, in the subjects explored or in our activities directed at the public, we try never to disconnect the art scene from the social, political and cultural spheres.
It was saved from destruction thanks to a mobilisation by residents and local politicians who understood the importance of preserving industrial heritage and creating a high-calibre cultural centre for the new city of Marne-la-Vallée, which was then under construction. Beyond its art production and distribution mission, how do you define the political and civic role played by La Ferme du Buisson? Although our role within the city can sometimes seem trifling, the current context is making it absolutely indispensable.
In support of this, La Ferme du Buisson is doing great mediation and awareness-raising work directed at visitors from the every walk of life.