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Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /Volumes/data/web-etudiants/laurentneyssensas/wp-includes/functions.php on line 111

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /Volumes/data/web-etudiants/laurentneyssensas/wp-includes/functions.php on line 112
février 2007


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Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /Volumes/data/web-etudiants/laurentneyssensas/wp-includes/functions.php on line 43

Warning: strtotime(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /Volumes/data/web-etudiants/laurentneyssensas/wp-includes/functions.php on line 35

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /Volumes/data/web-etudiants/laurentneyssensas/wp-includes/functions.php on line 43


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25 février 2007
   Sur l\'Art

Publié par Laurent Neyssensas

No Matter How Bright The Light, The Crossing Occurs At Night.

‘Watermark’ (corbis logo on ‘Woman in Limousine Avoiding Photograph’ by Rainer Holz as displayed for sale on the website of Corbis, ), 2006.

This collaboratively developed exhibition features works by Natascha Sadr Haghighian, Judith Hopf/Deborah Schamoni, Ines Schaber and Stefan Pente, all addressing themselves to various aspects of the spectral – understood as absences caught in a paradoxical presence, or a discontinued past bound to return. It is not about making ghosts visible, but an investigation of the power relations, institutional forms of display and forms of “enlightenment” which produce shadows and exclusions, and it questions the possibility to speak with and unleash the transformative potential of ghosts.

Ines Schaber speculates on a latent activity within the photograph and its ability to travel through space and time. Using photographs of Pennsylvania workers as her base, she follows images from a series taken for the National Child Labor Committee in the 1910s by Lewis Hine, a pioneer of social documentary photography. These images become the point of departure for a trip through today’s hardly recognizable mining country landscape. There, stored in a former limestone mine, exists one of today’s largest commercial image archives, Bill Gates’ firm Corbis, which offers over 70 million images for sale online, including some from Hine’s series. The overlap of these two moments poses questions for photography as the agent of something that is able to travel, multiply itself, appear in various places and speak with its surroundings.

Judith Hopf works with the specters of bourgeois society. How does the attempt to control, the defense against pathological anxieties and the ideology of complete transparency, inscribe themselves on the body and the faculty of imagination? Apart from a series of sculptures, a new videowork, developed and realized with filmmaker Deborah Schamoni is presented in the exhibition. The video, using the metaphor of the sceleton dance, deals with the representation of specters in the institutional space, in search of usable rituals that would make it possible to assign places to specters as representatives of the repressed.

Natascha Sadr Haghighian investigates societal mechanisms of representation and constructions of inclusion and exclusion. How it is decided when someone will be granted member status in a “civilized community”? When is someone perceived as present and addressable through its voice, image, and concerns? How does one lose this status and when is it withdrawn? For the exhibition, Natascha Sadr Haghighian produced two installations which elaborate on the constitutive function of the address: how one is being named, pictured, and categorised, in which she draws on material from feminist novelist Kathy Acker’s book “Empire of the Senseless“. In various collaborations and dialogues this research is expanded in the accompanying book.

The 200-page reader of the same title is published by Verlag der Buchhandlung Walther König, Köln, with contributions and dialogues by and with Ines Schaber, Natascha Sadr Haghighian, Stefan Pente, and Judith Hopf, as well as Avery F. Gordon, Anselm Franke, Ashley Hunt, Nanna Heidenreich, Sladja Blazan, Thomas Keenan, and Michael Taussig.

The exhibition was originally produced at KW Institute for Contemporary Art in Berlin in 2006. via E-flux

Tags: Sur l\'Art


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22 février 2007
   Credo#2

Publié par Laurent Neyssensas

Mapping the city

» Beat Streuli, Sydney, 1998 (1999), colorprint, collection Stedelijk Museum Amsterdam » 

Mapping the City ’ focuses on the relationship between artists and the city from around 1960 to the present day. The group show revolves around the way in which artists perceive urban space. The emphasis is on the city as social community, on behaviour, poses, and urban rituals. Participating artists Doug Aitken, Francis Alÿs, Stanley Brouwn, Matthew Buckingham, Philip Lorca diCorcia, Guy Debord/Asger Jorn, Ed van der Elsken, Valie Export, Lee Friedlander, Dan Graham, Frank Hesse, Douglas Huebler, William Klein, Saul Leiter, Sol LeWitt, Sarah Morris, Bill Owens, Martha Rosler, Ed Ruscha, Willem de Ridder en Wim T. Schippers, Beat Streuli, Jeff Wall

Tags: Credo#2


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5 février 2007
   Sur l\'Art

Publié par Laurent Neyssensas

Homo Ecomicus

Au Musée d’ Art Contemporain du Val de Marne second volet du cycle d’expositions, Zones de Productivités Concertées, Homo Economicus avec 6 monographies :

Ces artistes à travers leurs œuvres questionnent notre rapport à l’image, au travail et à l’économie. Vernissage Jeudi 08 Février

Tags: Sur l\'Art


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5 février 2007
   Sur les photographes

Publié par Laurent Neyssensas

Mathieu Bernard – Reymond

Le travail du photographe Mathieu Bernard-Reymond est très riche. Je l’avais découvert (et présenté en cours ) par sa série « Vous êtes ici»  ou il utilise pour créer ses paysages un logiciel de topographies tridimensionnelles dans lequel il replace ensuite son sujet. L’image du paysage est généré par un détail du sujet (comme par exemple la femme et la laisse dans la photo ci-dessus ) en situant sa hauteur de point de vue plus ou moins haut son paysage devient réaliste mais improbable.

Son autre série « Intervalles»  est également fascinante , après avoir choisi un point de vue , il s’agit de replacer les personnages à plusieurs reprises dans la composition originale. Un univers de clones complexes. En jouant avec notre perception de l’espace et du temps, Mathieu Bernard-Reymond questionne les notions de réalité et de vérité dans un travail qui reste très classique dans son approche photographique.

Mathieu Bernard-Reymond à participé cette année à la Quinzaine Photographique Nantaise son travail était exposé à la Galerie Confluence.

Il participe à l’élaboration du projet du Musée de L’Elysée à Lausanne _» Tous Photographe « _ Cette exposition interrogera les nouvelles formes et la mutation de la photographie numérique à l’ère numérique»  (du 8 février au 20 mai 2007). A travers un site web vous avez la possibilité de faire parvenir vos photographies.

Tags: Sur les photographes


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1 février 2007
   RFID

Publié par Laurent Neyssensas

Pervadere _ Invadere

Wim Delvoye « Marcel»  1997

La jeune entreprise américaine Somark , annonce la mise au point d’une technologie d’encre RFID, sans composant électronique et biocompatible. Elle permettrait d’appliquer une empreinte biométrique sur les animaux et les humains là où auparavant il était nécessaire d’implanter une puce. Cette encre invisible ou colorée a été expérimentée sur des bovins dans le cadre de la lutte contre l’ESB (la maladie de la vache folle). Le système est lisible à travers les cheveux et les poils et sa capacité de stockage d’information dépend de la surface d’application. Ce système offre des possibilités, des usages et des perspectives tout aussi vertigineux que la peur des risques qu’il comporte. En effet le passage de l’objet physique à la dématérialisation du support renforce peur et perspective de la technologie RFID. Son champ d’application est potentiellement très vaste (militaire, agro alimentaire, domotique, médecine ou industrie). Les usages de la RFID pour la surveillance, la traçabilité , la classification, l’inventaire ou la protection sont aussi variés que les débats qu’ils suscitent.


Les prédictions de ce monde classé, gigantesque nomenclature des objets et des êtres vivants identifiés et reliés dans un réseau pervasif semble se confirmer. Il s’agit d’un chantier extraordinaire pour les futurs designers qui auront à défendre leur vision, leur éthique et leur proposition centrées vers l’utilisateur face aux besoins de l’économie et des propositions de la technologie.

Source Technaute GNT Le Monde Informatique

Tags: RFID


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1 février 2007
   Credo#2

Publié par Laurent Neyssensas

Plug-inn Hotel

The PLUG-INN Hotel is a project by Maria Papadimitriou for the Canary Islands Biennial. A biennial about Migratory art and of corrupted spaces. This hotel is one of the series of free hotels that Maria is doing. It is taking place at San Gabriel castle (see photo).It is dedicated to the illegal immigrants of Africa. All the furniture is made from pateras, the boats that can be found abandoned on the shores of the Canary islands. Related link here

Via Angelo Says

Tags: Credo#2


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1 février 2007
   Credo#2

Publié par Laurent Neyssensas

Art of the Possible

Raqs Media Collective: ‘Please Do Not Touch the Work of Art’ (2003-07), wall text in Lund Konsthall

What is possible in art? Is anything impossible? What are the boundaries of art practice and how can they be stretched?

Art of the Possible is inspired by the philosopher Henri Bergson’s thought that ‘it is the real which makes itself possible, and not the possible which becomes real.’ The opposite, Bergson points out, would mean that our actions are not free. The exhibition seizes this freedom: the freedom art needs to test itself and the world.

Ion Grigorescu (Romania, b 1945) is now being recognised as one of the most interesting European artists of his generation. The term self-reflection is a precise description of how he reworks and reformulates his multi-layered production of the 1970s: painting, drawing, photography, film, performance, text. Grounded is a new version of the retrospective installation of thirty-year-old photographs that he first put together for Salzburger Kunstverein in 2006. A generous selection of his films is also shown.

Miriam Bäckström (Sweden, b 1967) favours speculation as her working method. Her recent works are based on close collaborations with actors, artists and other intellectuals. The outcomes are presented in films, photographs and texts. With the initial idea of ‘creating a new artist, or at least the image of a new artist’, Miriam Bäckström has given the art student Kira Carpelan access to all her material, contacts and sources of funding. Kira Carpelan is creating Miriam Bäckström’s upcoming solo exhibition at Färgfabriken in Stockholm. Kira Carpelan, Miriam Bäckström’s own film about their one-year collaboration, is premiered here.

Raqs Media Collective (India). The members (Jeebesh Bagchi, b 1965, Monica Narula, b 1969, Shuddhabrata Sengupta, b 1968) have a background in documentary film and philosophy, and they also run the interdisciplinary research project Sarai in New Delhi. Raqs accepted the rather unusual commission to do an illustration of the ideas behind the exhibition, and have created the work investment % insurance, which discusses our attitudes towards possibilities and risks in moving images, sound and photographic posters. The text piece Please Do Not Touch the Work of Art is also shown.

Arturas Raila (Lithuania, b 1962) uses the notion of articulation to describe his uncompromising art practice. During the last ten years he has investigated different marginal groups (art professors, amateur poets, right-wing extremists, car enthusiasts) and tried to understand their thinking. He shows The Power of the Earth, a series of photographs of pre-Christian holy sites in Lithuania and people attempting to revive ancient religious systems. The work, first shown at Frankfurter Kunstverein in 2006, marks a new phase in his art; he is now focusing on the ‘perfect image’ as the sole bearer of content and meaning.

Via E FLUX

Tags: Credo#2


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