Suchergebnisse

Milutin Gubash is a Serbian and Canadian artist. He lives and works in Montreal (Quebec) since 2005, and was born in 1969 in Novi Sad, in ex-Yugoslavia. He leaves this country, which does not exist anymore, at the age of three years old to settle in Calgary, Alberta (Canada), under the choice of his father. After going to the University, Milutin Gubash establishes his own artistic practice in 2002 using as photography as video, as well as performance. His art focuses on identity research, which reflects his own life and experience of a political immigrant. Gubash makes his own personal investigations the starting point of his artistic production, questioning this way the boundaries in-between private and public. Artist-author and actor of his life and works (performances, videos, and photos) the artist use his own person as well as his family as characters into his stories. Then, the specificity of Milutin Gubash work is the exhibition of his private and intimate life into his art. "Extimacy" is a psychoanalyst term that defines the human tendency to exhibit our intimacy in front of public audience. Serge Tisseron, a French psychoanalyst reuses this concept in 2001 and refines the original Lacanian definition. "Extimacy" came out into the contemporary art during our last decade through narrative and autobiographical practices, and serves here as an opening to Milutin Gubash oeuvre ; Milutin Gubash est un artiste serbe et canadien. Il vit et travaille à Montréal (Québec) depuis 2005, et est né en 1969 à Novi Sad, en ex-Yougoslavie. Ce pays qui n'existe plus aujourd'hui, il le quitte à l'âge de trois ans pour s'établir à Calgary, en Alberta (Canada) sous l'engouement de son père. Après un passage par l'université, Milutin Gubash développe une pratique artistique dès 2002 et produit un art multiforme, allant de la vidéo, à la photo et à la performance. Il oriente l'essentiel de sa démarche artistique autour d'un questionnement identitaire propre à la figure de l'immigré politique. Il fait de ses recherches personnelles le point de départ de ses créations qui interrogent les limites entre la sphère privée et publique. Artiste, auteur, et acteur, de sa vie et dans ses œuvres (performances, vidéos et photos) Milutin Gubash utilise les membres de sa famille comme personnages pour de nouveaux récits. En effet, la particularité du travail de Milutin Gubash est l'exposition de sa vie privée, et intime, dans son œuvre. "Extimité" est un terme issu de la psychanalyse, il désigne la tendance inhérente à l'être humain à s'exposer soi-même. Serge Tisseron, reprend ce terme prononcé une premier fois pas Lacan en 1968, et précise sa définition. Apparu dans le monde de l'art contemporain au cours des dix dernières années, l'extimité sert d'ouverture à l'œuvre de Milutin Gubash.

Milutin Gubash is a Serbian and Canadian artist. He lives and works in Montreal (Quebec) since 2005, and was born in 1969 in Novi Sad, in ex-Yugoslavia. He leaves this country, which does not exist anymore, at the age of three years old to settle in Calgary, Alberta (Canada), under the choice of his father. After going to the University, Milutin Gubash establishes his own artistic practice in 2002 using as photography as video, as well as performance. His art focuses on identity research, which reflects his own life and experience of a political immigrant. Gubash makes his own personal investigations the starting point of his artistic production, questioning this way the boundaries in-between private and public. Artist-author and actor of his life and works (performances, videos, and photos) the artist use his own person as well as his family as characters into his stories. Then, the specificity of Milutin Gubash work is the exhibition of his private and intimate life into his art. "Extimacy" is a psychoanalyst term that defines the human tendency to exhibit our intimacy in front of public audience. Serge Tisseron, a French psychoanalyst reuses this concept in 2001 and refines the original Lacanian definition. "Extimacy" came out into the contemporary art during our last decade through narrative and autobiographical practices, and serves here as an opening to Milutin Gubash oeuvre ; Milutin Gubash est un artiste serbe et canadien. Il vit et travaille à Montréal (Québec) depuis 2005, et est né en 1969 à Novi Sad, en ex-Yougoslavie. Ce pays qui n'existe plus aujourd'hui, il le quitte à l'âge de trois ans pour s'établir à Calgary, en Alberta (Canada) sous l'engouement de son père. Après un passage par l'université, Milutin Gubash développe une pratique artistique dès 2002 et produit un art multiforme, allant de la vidéo, à la photo et à la performance. Il oriente l'essentiel de sa démarche artistique autour d'un questionnement identitaire propre à la figure de l'immigré politique. Il fait de ses recherches personnelles le point de départ de ses créations qui interrogent les limites entre la sphère privée et publique. Artiste, auteur, et acteur, de sa vie et dans ses œuvres (performances, vidéos et photos) Milutin Gubash utilise les membres de sa famille comme personnages pour de nouveaux récits. En effet, la particularité du travail de Milutin Gubash est l'exposition de sa vie privée, et intime, dans son œuvre. "Extimité" est un terme issu de la psychanalyse, il désigne la tendance inhérente à l'être humain à s'exposer soi-même. Serge Tisseron, reprend ce terme prononcé une premier fois pas Lacan en 1968, et précise sa définition. Apparu dans le monde de l'art contemporain au cours des dix dernières années, l'extimité sert d'ouverture à l'œuvre de Milutin Gubash.

Milutin Gubash is a Serbian and Canadian artist. He lives and works in Montreal (Quebec) since 2005, and was born in 1969 in Novi Sad, in ex-Yugoslavia. He leaves this country, which does not exist anymore, at the age of three years old to settle in Calgary, Alberta (Canada), under the choice of his father. After going to the University, Milutin Gubash establishes his own artistic practice in 2002 using as photography as video, as well as performance. His art focuses on identity research, which reflects his own life and experience of a political immigrant. Gubash makes his own personal investigations the starting point of his artistic production, questioning this way the boundaries in-between private and public. Artist-author and actor of his life and works (performances, videos, and photos) the artist use his own person as well as his family as characters into his stories. Then, the specificity of Milutin Gubash work is the exhibition of his private and intimate life into his art. "Extimacy" is a psychoanalyst term that defines the human tendency to exhibit our intimacy in front of public audience. Serge Tisseron, a French psychoanalyst reuses this concept in 2001 and refines the original Lacanian definition. "Extimacy" came out into the contemporary art during our last decade through narrative and autobiographical practices, and serves here as an opening to Milutin Gubash oeuvre ; Milutin Gubash est un artiste serbe et canadien. Il vit et travaille à Montréal (Québec) depuis 2005, et est né en 1969 à Novi Sad, en ex-Yougoslavie. Ce pays qui n'existe plus aujourd'hui, il le quitte à l'âge de trois ans pour s'établir à Calgary, en Alberta (Canada) sous l'engouement de son père. Après un passage par l'université, Milutin Gubash développe une pratique artistique dès 2002 et produit un art multiforme, allant de la vidéo, à la photo et à la performance. Il oriente l'essentiel de sa démarche artistique autour d'un questionnement identitaire propre à la figure de l'immigré politique. Il fait de ses recherches personnelles le point de départ de ses créations qui interrogent les limites entre la sphère privée et publique. Artiste, auteur, et acteur, de sa vie et dans ses œuvres (performances, vidéos et photos) Milutin Gubash utilise les membres de sa famille comme personnages pour de nouveaux récits. En effet, la particularité du travail de Milutin Gubash est l'exposition de sa vie privée, et intime, dans son œuvre. "Extimité" est un terme issu de la psychanalyse, il désigne la tendance inhérente à l'être humain à s'exposer soi-même. Serge Tisseron, reprend ce terme prononcé une premier fois pas Lacan en 1968, et précise sa définition. Apparu dans le monde de l'art contemporain au cours des dix dernières années, l'extimité sert d'ouverture à l'œuvre de Milutin Gubash.

Milutin Gubash is a Serbian and Canadian artist. He lives and works in Montreal (Quebec) since 2005, and was born in 1969 in Novi Sad, in ex-Yugoslavia. He leaves this country, which does not exist anymore, at the age of three years old to settle in Calgary, Alberta (Canada), under the choice of his father. After going to the University, Milutin Gubash establishes his own artistic practice in 2002 using as photography as video, as well as performance. His art focuses on identity research, which reflects his own life and experience of a political immigrant. Gubash makes his own personal investigations the starting point of his artistic production, questioning this way the boundaries in-between private and public. Artist-author and actor of his life and works (performances, videos, and photos) the artist use his own person as well as his family as characters into his stories. Then, the specificity of Milutin Gubash work is the exhibition of his private and intimate life into his art. "Extimacy" is a psychoanalyst term that defines the human tendency to exhibit our intimacy in front of public audience. Serge Tisseron, a French psychoanalyst reuses this concept in 2001 and refines the original Lacanian definition. "Extimacy" came out into the contemporary art during our last decade through narrative and autobiographical practices, and serves here as an opening to Milutin Gubash oeuvre ; Milutin Gubash est un artiste serbe et canadien. Il vit et travaille à Montréal (Québec) depuis 2005, et est né en 1969 à Novi Sad, en ex-Yougoslavie. Ce pays qui n'existe plus aujourd'hui, il le quitte à l'âge de trois ans pour s'établir à Calgary, en Alberta (Canada) sous l'engouement de son père. Après un passage par l'université, Milutin Gubash développe une pratique artistique dès 2002 et produit un art multiforme, allant de la vidéo, à la photo et à la performance. Il oriente l'essentiel de sa démarche artistique autour d'un questionnement identitaire propre à la figure de l'immigré politique. Il fait de ses recherches personnelles le point de départ de ses créations qui interrogent les limites entre la sphère privée et publique. Artiste, auteur, et acteur, de sa vie et dans ses œuvres (performances, vidéos et photos) Milutin Gubash utilise les membres de sa famille comme personnages pour de nouveaux récits. En effet, la particularité du travail de Milutin Gubash est l'exposition de sa vie privée, et intime, dans son œuvre. "Extimité" est un terme issu de la psychanalyse, il désigne la tendance inhérente à l'être humain à s'exposer soi-même. Serge Tisseron, reprend ce terme prononcé une premier fois pas Lacan en 1968, et précise sa définition. Apparu dans le monde de l'art contemporain au cours des dix dernières années, l'extimité sert d'ouverture à l'œuvre de Milutin Gubash.

National audience ; Colère, rage, fureur : ces affects intenses et puissants sont mobilisés dans nombre d'actions performatives produites par des artistes femmes dans les années 1960 et 1970. D'Yvonne Rainer à Ana Mendieta, de Marta Minujín à Adrian Piper jusqu'aux performances collectives initiées dans le cadre du Feminist Art Program à Los Angeles, les actions performatives féminines sont imprégnées par la vitalité de la colère. De l'emportement singulier à la fureur collective, les œuvres corporelles des femmes remettent en cause les normes sociales qui contrôlent voire prohibent l'expression de la colère féminine. Comment l'expérimentation du corps colérique féminin s'incarne-t-elle dans l'art performatif ? Entre force destructrice et puissance émancipatrice, quelles sont les formes performatives de la rage des femmes ? La colère peut-elle faire communauté ? Émettant l'hypothèse que l'art corporel des femmes développe de véritables politiques de la colère, l'article examine cet affect comme un objet historique, artistique et culturel.

Le projet "Die Moskauer Prozesse" (2013) de Milo Rau se présente comme une critique subversive face à l'échec démocratique en Russie, au sein de trois procédures pénales concernant des cas de censure, dont l'action des Pussy Riots. La création d'un espace public concret de négociation sociale et politique constitue l'œuvre d'art qui se manifeste par l'organisation d'un procès fictif de trois jours à Moscou avec de vrais acteurs de la société civile. Par ailleurs, il met en œuvre entre 2014 et 2016 une critique de notre temps, qui interrogent les fondements de l'Europe en mêlant le politique et le privé, l'Histoire et des récits biographiques. Doit-on parler dans un cas d'un geste politique qui fait art et dans l'autre d'un geste artistique qui interroge le politique? Ou bien faut-il envisager l'imbrication complexe et constante entre esthétique et politique comme une stratégie plus globale que l'artiste activiste met en œuvre pour dévoiler le réel? ; International audience

Le projet "Die Moskauer Prozesse" (2013) de Milo Rau se présente comme une critique subversive face à l'échec démocratique en Russie, au sein de trois procédures pénales concernant des cas de censure, dont l'action des Pussy Riots. La création d'un espace public concret de négociation sociale et politique constitue l'œuvre d'art qui se manifeste par l'organisation d'un procès fictif de trois jours à Moscou avec de vrais acteurs de la société civile. Par ailleurs, il met en œuvre entre 2014 et 2016 une critique de notre temps, qui interrogent les fondements de l'Europe en mêlant le politique et le privé, l'Histoire et des récits biographiques. Doit-on parler dans un cas d'un geste politique qui fait art et dans l'autre d'un geste artistique qui interroge le politique? Ou bien faut-il envisager l'imbrication complexe et constante entre esthétique et politique comme une stratégie plus globale que l'artiste activiste met en œuvre pour dévoiler le réel? ; International audience

Le projet "Die Moskauer Prozesse" (2013) de Milo Rau se présente comme une critique subversive face à l'échec démocratique en Russie, au sein de trois procédures pénales concernant des cas de censure, dont l'action des Pussy Riots. La création d'un espace public concret de négociation sociale et politique constitue l'œuvre d'art qui se manifeste par l'organisation d'un procès fictif de trois jours à Moscou avec de vrais acteurs de la société civile. Par ailleurs, il met en œuvre entre 2014 et 2016 une critique de notre temps, qui interrogent les fondements de l'Europe en mêlant le politique et le privé, l'Histoire et des récits biographiques. Doit-on parler dans un cas d'un geste politique qui fait art et dans l'autre d'un geste artistique qui interroge le politique? Ou bien faut-il envisager l'imbrication complexe et constante entre esthétique et politique comme une stratégie plus globale que l'artiste activiste met en œuvre pour dévoiler le réel? ; International audience

International audience ; In the public domain, the artistic expression embodies different forms which go from the most ›intellectual‹ and respondent to what one can see in the ›world of art‹ (installations, performances, videos etc.) to the most popular or alternative ones, like graffiti and flash mobs. 1 They all stem from esthetical, political and ethical projects. It would be impossible to account for all of them in the urban space, unless we follow Paul Ardenne's idea of contextual art, that is of unauthorised as well as legitimate actions implying the physical valorisation of the public sphere: »With ›contextual‹ art we mean all the forms of art which differ from the work of art as it is understood traditionally, such as: militant and committed activist art (happenings in the public space, artistic movements etc.); art taking place in the public domain or in its landscape (street performances, situational landscape art.), and the forms of esthetical participation in the fields of economy, media or show business.« (Ardenne 2002: 11) Even if it were possible to index the artistic work exposed in the public space, beyond its diversity, one could only note the common theme of its specific context, at the margins of the artistic world, therein sharing the limitations characteristic of such a context. Thus, to exhibit in this domain, which is shared by everybody and governed by social rules (social and juridical norms, rights and obligations meant to guarantee public welfare, security and order), necessarily changes the relationship to the audience. The visitor/member of the public does no longer move within an exhibition space, which is delimited by a specific physical area and framed by the conventions of the artistic world 2 , but does so in a public space, with all its implications. 1 This text-including all the citations, in French-was translated by Dafne Accoroni. 2 One can notice that a number of rules are shared by different domains in the social world, together with others which may add to these. Among ...

International audience ; In the public domain, the artistic expression embodies different forms which go from the most ›intellectual‹ and respondent to what one can see in the ›world of art‹ (installations, performances, videos etc.) to the most popular or alternative ones, like graffiti and flash mobs. 1 They all stem from esthetical, political and ethical projects. It would be impossible to account for all of them in the urban space, unless we follow Paul Ardenne's idea of contextual art, that is of unauthorised as well as legitimate actions implying the physical valorisation of the public sphere: »With ›contextual‹ art we mean all the forms of art which differ from the work of art as it is understood traditionally, such as: militant and committed activist art (happenings in the public space, artistic movements etc.); art taking place in the public domain or in its landscape (street performances, situational landscape art.), and the forms of esthetical participation in the fields of economy, media or show business.« (Ardenne 2002: 11) Even if it were possible to index the artistic work exposed in the public space, beyond its diversity, one could only note the common theme of its specific context, at the margins of the artistic world, therein sharing the limitations characteristic of such a context. Thus, to exhibit in this domain, which is shared by everybody and governed by social rules (social and juridical norms, rights and obligations meant to guarantee public welfare, security and order), necessarily changes the relationship to the audience. The visitor/member of the public does no longer move within an exhibition space, which is delimited by a specific physical area and framed by the conventions of the artistic world 2 , but does so in a public space, with all its implications. 1 This text-including all the citations, in French-was translated by Dafne Accoroni. 2 One can notice that a number of rules are shared by different domains in the social world, together with others which may add to these. Among the constraints cited above are those which can alter the reception of the artistic work in the urban space, such as noise, traffic, advertising or random reactions.

International audience ; In the public domain, the artistic expression embodies different forms which go from the most ›intellectual‹ and respondent to what one can see in the ›world of art‹ (installations, performances, videos etc.) to the most popular or alternative ones, like graffiti and flash mobs. 1 They all stem from esthetical, political and ethical projects. It would be impossible to account for all of them in the urban space, unless we follow Paul Ardenne's idea of contextual art, that is of unauthorised as well as legitimate actions implying the physical valorisation of the public sphere: »With ›contextual‹ art we mean all the forms of art which differ from the work of art as it is understood traditionally, such as: militant and committed activist art (happenings in the public space, artistic movements etc.); art taking place in the public domain or in its landscape (street performances, situational landscape art.), and the forms of esthetical participation in the fields of economy, media or show business.« (Ardenne 2002: 11) Even if it were possible to index the artistic work exposed in the public space, beyond its diversity, one could only note the common theme of its specific context, at the margins of the artistic world, therein sharing the limitations characteristic of such a context. Thus, to exhibit in this domain, which is shared by everybody and governed by social rules (social and juridical norms, rights and obligations meant to guarantee public welfare, security and order), necessarily changes the relationship to the audience. The visitor/member of the public does no longer move within an exhibition space, which is delimited by a specific physical area and framed by the conventions of the artistic world 2 , but does so in a public space, with all its implications. 1 This text-including all the citations, in French-was translated by Dafne Accoroni. 2 One can notice that a number of rules are shared by different domains in the social world, together with others which may add to these. Among the constraints cited above are those which can alter the reception of the artistic work in the urban space, such as noise, traffic, advertising or random reactions.

International audience ; In the public domain, the artistic expression embodies different forms which go from the most ›intellectual‹ and respondent to what one can see in the ›world of art‹ (installations, performances, videos etc.) to the most popular or alternative ones, like graffiti and flash mobs. 1 They all stem from esthetical, political and ethical projects. It would be impossible to account for all of them in the urban space, unless we follow Paul Ardenne's idea of contextual art, that is of unauthorised as well as legitimate actions implying the physical valorisation of the public sphere: »With ›contextual‹ art we mean all the forms of art which differ from the work of art as it is understood traditionally, such as: militant and committed activist art (happenings in the public space, artistic movements etc.); art taking place in the public domain or in its landscape (street performances, situational landscape art.), and the forms of esthetical participation in the fields of economy, media or show business.« (Ardenne 2002: 11) Even if it were possible to index the artistic work exposed in the public space, beyond its diversity, one could only note the common theme of its specific context, at the margins of the artistic world, therein sharing the limitations characteristic of such a context. Thus, to exhibit in this domain, which is shared by everybody and governed by social rules (social and juridical norms, rights and obligations meant to guarantee public welfare, security and order), necessarily changes the relationship to the audience. The visitor/member of the public does no longer move within an exhibition space, which is delimited by a specific physical area and framed by the conventions of the artistic world 2 , but does so in a public space, with all its implications. 1 This text-including all the citations, in French-was translated by Dafne Accoroni. 2 One can notice that a number of rules are shared by different domains in the social world, together with others which may add to these. Among the constraints cited above are those which can alter the reception of the artistic work in the urban space, such as noise, traffic, advertising or random reactions.

International audience ; In the public domain, the artistic expression embodies different forms which go from the most ›intellectual‹ and respondent to what one can see in the ›world of art‹ (installations, performances, videos etc.) to the most popular or alternative ones, like graffiti and flash mobs. 1 They all stem from esthetical, political and ethical projects. It would be impossible to account for all of them in the urban space, unless we follow Paul Ardenne's idea of contextual art, that is of unauthorised as well as legitimate actions implying the physical valorisation of the public sphere: »With ›contextual‹ art we mean all the forms of art which differ from the work of art as it is understood traditionally, such as: militant and committed activist art (happenings in the public space, artistic movements etc.); art taking place in the public domain or in its landscape (street performances, situational landscape art.), and the forms of esthetical participation in the fields of economy, media or show business.« (Ardenne 2002: 11) Even if it were possible to index the artistic work exposed in the public space, beyond its diversity, one could only note the common theme of its specific context, at the margins of the artistic world, therein sharing the limitations characteristic of such a context. Thus, to exhibit in this domain, which is shared by everybody and governed by social rules (social and juridical norms, rights and obligations meant to guarantee public welfare, security and order), necessarily changes the relationship to the audience. The visitor/member of the public does no longer move within an exhibition space, which is delimited by a specific physical area and framed by the conventions of the artistic world 2 , but does so in a public space, with all its implications. 1 This text-including all the citations, in French-was translated by Dafne Accoroni. 2 One can notice that a number of rules are shared by different domains in the social world, together with others which may add to these. Among the constraints cited above are those which can alter the reception of the artistic work in the urban space, such as noise, traffic, advertising or random reactions.

International audience ; In the public domain, the artistic expression embodies different forms which go from the most ›intellectual‹ and respondent to what one can see in the ›world of art‹ (installations, performances, videos etc.) to the most popular or alternative ones, like graffiti and flash mobs. 1 They all stem from esthetical, political and ethical projects. It would be impossible to account for all of them in the urban space, unless we follow Paul Ardenne's idea of contextual art, that is of unauthorised as well as legitimate actions implying the physical valorisation of the public sphere: »With ›contextual‹ art we mean all the forms of art which differ from the work of art as it is understood traditionally, such as: militant and committed activist art (happenings in the public space, artistic movements etc.); art taking place in the public domain or in its landscape (street performances, situational landscape art.), and the forms of esthetical participation in the fields of economy, media or show business.« (Ardenne 2002: 11) Even if it were possible to index the artistic work exposed in the public space, beyond its diversity, one could only note the common theme of its specific context, at the margins of the artistic world, therein sharing the limitations characteristic of such a context. Thus, to exhibit in this domain, which is shared by everybody and governed by social rules (social and juridical norms, rights and obligations meant to guarantee public welfare, security and order), necessarily changes the relationship to the audience. The visitor/member of the public does no longer move within an exhibition space, which is delimited by a specific physical area and framed by the conventions of the artistic world 2 , but does so in a public space, with all its implications. 1 This text-including all the citations, in French-was translated by Dafne Accoroni. 2 One can notice that a number of rules are shared by different domains in the social world, together with others which may add to these. Among the constraints cited above are those which can alter the reception of the artistic work in the urban space, such as noise, traffic, advertising or random reactions.