Suchergebnisse

An exhibition that dismantles the prejudices against "feminine art". The exhibition ? whose title is taken from a book by Marguerite Duras ? highlights the work of 12 female artists nourished by a creative process that tends to tie artistic development to personal experience. The chapters of the exhibition open the comprehension and the gaze one can have on female art. And although there are sometimes feminist works, it is not in the traditional stereotype and combative way or as a revendication, but rather in a more sensitive way. The purpose is to reveal the link that unites art and life in all its complexity and richness.0The key question ?how does art allow to connect our body and our inner world? permits to dismantle the prejudices against "feminine art" as it transcends a gendered approach and doesn?t imprison the creation of women artists.00Exhibition: Centrale for Contemporary Art, Brussels, Belgium (09.12.2021 - 13.03.2022)

The study advises an overview of the textile creation in the widest sense because we approach the artistic practices using period costumes, embroidery, textile assembly, hair, traditional fabrics, tapestry or quilting art. That it is about works of Yinka Shonibare, Louise Bourgeois, Hassan Musa, Faith Ringgold, Kimsooja or Tracey Emin, each of the artists chosen for the study, is in search of a cultural relevance within his artistic practice where personal and collective experiences are interwoven. The cultural relevance being understood here as a critical and theoretical reconstruction of a (his)story by the mean of appropriation of specific textile materials and techniques. We opted for a thematic work to analyze at best what we call the global textile scene. A first part proposes the analysis of works from artists who think about Black culture and history. We will study works that shade light on two traumas: Slavery and colonialism, as well as their echoes on nowadays culture and society. So the works of Faith Ringgold, Yinka Shonibare, Hassan Musa and Maria Magdalena Campos-Pons will be revealed to speak about issues such as "cultural hybridity", creolization and the situation of the African contemporary art or also the representation of the Black body in art. A second part is centred on the notions of exile, Diaspora, discomfort caused by nomadism and the "in-between" status. The practices of Mona Hatoum, Arab women artists such as Lalla Essaydi, Shadi Ghadirian or Ghazel, and the works of Kimsooja, Janine Antoni and Ana de la Cueva will allow us to enter the heart of an artistic scene the critical stakes of which carry us to think about the globalisation, within its positive (enrichment, exchanges, dialog) as negatives aspects (standardisation, losing of local specificities). Each of these artists dreads the world and the society in a poetic and political way. The third part is finally dedicated to the women artists who chose the use of traditional techniques as embroidery, weaving or tapestry. Since the ...

The study advises an overview of the textile creation in the widest sense because we approach the artistic practices using period costumes, embroidery, textile assembly, hair, traditional fabrics, tapestry or quilting art. That it is about works of Yinka Shonibare, Louise Bourgeois, Hassan Musa, Faith Ringgold, Kimsooja or Tracey Emin, each of the artists chosen for the study, is in search of a cultural relevance within his artistic practice where personal and collective experiences are interwoven. The cultural relevance being understood here as a critical and theoretical reconstruction of a (his)story by the mean of appropriation of specific textile materials and techniques. We opted for a thematic work to analyze at best what we call the global textile scene. A first part proposes the analysis of works from artists who think about Black culture and history. We will study works that shade light on two traumas: Slavery and colonialism, as well as their echoes on nowadays culture and society. So the works of Faith Ringgold, Yinka Shonibare, Hassan Musa and Maria Magdalena Campos-Pons will be revealed to speak about issues such as "cultural hybridity", creolization and the situation of the African contemporary art or also the representation of the Black body in art. A second part is centred on the notions of exile, Diaspora, discomfort caused by nomadism and the "in-between" status. The practices of Mona Hatoum, Arab women artists such as Lalla Essaydi, Shadi Ghadirian or Ghazel, and the works of Kimsooja, Janine Antoni and Ana de la Cueva will allow us to enter the heart of an artistic scene the critical stakes of which carry us to think about the globalisation, within its positive (enrichment, exchanges, dialog) as negatives aspects (standardisation, losing of local specificities). Each of these artists dreads the world and the society in a poetic and political way. The third part is finally dedicated to the women artists who chose the use of traditional techniques as embroidery, weaving or tapestry. Since the ...

Unidentified flying object, UFO, since its origins this phenomenon remained enigmatic and elusive.This study proposes to study people, saucers, or "ufologists" to use their own terminology, and the discipline they created to try to unravel this mystery.The ufology was built around the UFO object to try to illuminate it in many ways. So there is not a single ufology, but many, divided between different generations : the first, born after the Second World War, convinced of the materiality of UFOs ; the second, from 1977, who sees in this object the manifestation of human psychology ; the third, from the beginning of the 90s, convinced that the UFO hides the darkest designs of occult governments ; and the fourth, after the 2000s, for which the UFO is above all a media product.These four generations still live today, and feed on each other. Many ufologists devote their entire lives to UFOs, marked by an observation, an idea or a fear. They feed, along with their quest for truth, a real inter-generational war where each statement is recovered and diverted to the advantage of the camp that brandishes it.This study provides an overview. ; Objet volant non identifié, OVNI, depuis ses origines ce phénomène est resté énigmatique et élusif.Cette étude propose d'en étudier les personnes, les soucoupistes, ou les « ufologues » pour reprendre leur propre terminologie et la discipline qu'ils créèrent pour tenter de percer ce mystère.Le soucoupisme, pour reprendre le terme français, s'est construit autour de l'objet ovni pour tenter de l'éclairer de bien des manières. Il n'y a donc pas un seul soucoupisme, mais bien plusieurs, répartis entre les différentes générations : la première, née après la Seconde Guerre mondiale, convaincue de la matérialité des ovnis ; la deuxième, à partir de 1977, qui voit dans cet objet la manifestation de la psychologie humaine ; la troisième, dès le début des années 90, convaincue que l'ovni cache les plus sombres desseins de gouvernements occultes ; et la quatrième, après les années 2000, pour laquelle l'ovni est avant tout un produit médiatique.Ces quatre générations cohabitent encore aujourd'hui, et se nourrissent les unes des autres.Beaucoup de soucoupistes consacrent entièrement leur vie aux ovnis, marqués par une observation, une idée ou une peur. Ils alimentent, en même temps que leur quête de la vérité, une véritable guerre inter-générationnelle où chaque propos est récupéré et détourné à l'avantage du camp qui le brandit.Cette étude en propose un tour d'horizon.

Unidentified flying object, UFO, since its origins this phenomenon remained enigmatic and elusive.This study proposes to study people, saucers, or "ufologists" to use their own terminology, and the discipline they created to try to unravel this mystery.The ufology was built around the UFO object to try to illuminate it in many ways. So there is not a single ufology, but many, divided between different generations : the first, born after the Second World War, convinced of the materiality of UFOs ; the second, from 1977, who sees in this object the manifestation of human psychology ; the third, from the beginning of the 90s, convinced that the UFO hides the darkest designs of occult governments ; and the fourth, after the 2000s, for which the UFO is above all a media product.These four generations still live today, and feed on each other. Many ufologists devote their entire lives to UFOs, marked by an observation, an idea or a fear. They feed, along with their quest for truth, a real inter-generational war where each statement is recovered and diverted to the advantage of the camp that brandishes it.This study provides an overview. ; Objet volant non identifié, OVNI, depuis ses origines ce phénomène est resté énigmatique et élusif.Cette étude propose d'en étudier les personnes, les soucoupistes, ou les « ufologues » pour reprendre leur propre terminologie et la discipline qu'ils créèrent pour tenter de percer ce mystère.Le soucoupisme, pour reprendre le terme français, s'est construit autour de l'objet ovni pour tenter de l'éclairer de bien des manières. Il n'y a donc pas un seul soucoupisme, mais bien plusieurs, répartis entre les différentes générations : la première, née après la Seconde Guerre mondiale, convaincue de la matérialité des ovnis ; la deuxième, à partir de 1977, qui voit dans cet objet la manifestation de la psychologie humaine ; la troisième, dès le début des années 90, convaincue que l'ovni cache les plus sombres desseins de gouvernements occultes ; et la quatrième, après les années 2000, pour ...

Unidentified flying object, UFO, since its origins this phenomenon remained enigmatic and elusive.This study proposes to study people, saucers, or "ufologists" to use their own terminology, and the discipline they created to try to unravel this mystery.The ufology was built around the UFO object to try to illuminate it in many ways. So there is not a single ufology, but many, divided between different generations : the first, born after the Second World War, convinced of the materiality of UFOs ; the second, from 1977, who sees in this object the manifestation of human psychology ; the third, from the beginning of the 90s, convinced that the UFO hides the darkest designs of occult governments ; and the fourth, after the 2000s, for which the UFO is above all a media product.These four generations still live today, and feed on each other. Many ufologists devote their entire lives to UFOs, marked by an observation, an idea or a fear. They feed, along with their quest for truth, a real inter-generational war where each statement is recovered and diverted to the advantage of the camp that brandishes it.This study provides an overview. ; Objet volant non identifié, OVNI, depuis ses origines ce phénomène est resté énigmatique et élusif.Cette étude propose d'en étudier les personnes, les soucoupistes, ou les « ufologues » pour reprendre leur propre terminologie et la discipline qu'ils créèrent pour tenter de percer ce mystère.Le soucoupisme, pour reprendre le terme français, s'est construit autour de l'objet ovni pour tenter de l'éclairer de bien des manières. Il n'y a donc pas un seul soucoupisme, mais bien plusieurs, répartis entre les différentes générations : la première, née après la Seconde Guerre mondiale, convaincue de la matérialité des ovnis ; la deuxième, à partir de 1977, qui voit dans cet objet la manifestation de la psychologie humaine ; la troisième, dès le début des années 90, convaincue que l'ovni cache les plus sombres desseins de gouvernements occultes ; et la quatrième, après les années 2000, pour ...

Main description: Wie intensiv der künstlerische Austausch und die kulturelle Vermittlung zwischen Deutschland und Frankreich trotz Krieg, Terror und Besatzung nach 1945 gewesen sind, davon zeugen erstmals die in diesem Band versammelten Quellen. Sie dokumentieren den Dialog der deutschen und französischen Avantgarden von Pablo Picasso bis Hans Hartung, von Karl Otto Götz bis Yves Klein und lassen den ästhetischen Diskurs und die kulturpolitischen Ereignisse in all ihrer Vitalität lebendig werden. Gleich ob es sich um professionelle Beiträge in Katalogen, Feuilletons und Fachzeitschriften handelt oder um Briefe, Gedichte und Manifeste, jede Quelle und jeder Autor gibt einen faszinierenden Einblick in die bilateralen Kulturbeziehungen jener historisch bewegten Epoche. Sie berichten über Ausstellungen, Begegnungen und über den wiedererwachenden Kunstbetrieb in den Metropolen wie in der Provinz, sie dokumentieren die divergierenden weltanschaulichen Standpunkte der Kritiker und spiegeln zugleich die Erwartungen und Vorbehalte des Publikums. Die intellektuelle und sprachliche Vielfalt dieser meinungsfreudigen Zeit, die argumentativen Strategien und rhetorischen Kniffe der Kunstkritik, die von keinerlei Selbstzweifel getrübte Apodiktik der einen und die angesichts des Fremden und Neuen verunsicherten Erklärungsversuche der anderen – all dies lässt sich dem heutigen Leser nur dann vermitteln, wenn man die Quellen, wie in diesem Band, in ihren geschichtlichen, kulturpolitischen und biographischen Kontexten erschließt.

In 1943, René Hibran, French artist who had recently moved to Martinique states : « il n?y a pas d?art local ou si peu, si réduit dans ses manifestations ! ». Already four years ago, Father Delawarde did the same comment. However, in 2009, the art world has expanded considerably. A specific aesthetic developed far away from Western academism, plastic expression not stopping to fill out. Places of diffusion have opened and offer expositions of quality. A scientific discourse builds up, thus legitimating local production. Transmission is also insured thanks to the work of schools, including the Institut Régional d?Arts Visuels de la Martinique (also known as IRAVM). Our thesis aims at explaining how such an evolution is possible given the difficult context still subject to the torments of postcolonialism. So, we postulate that ?history of art? mechanism grew in seventy years. Influenced by the postcolonial context which imposes resistance, by a literary world which initiates an identity expression?s quest, Martinique?s art is also dependent on actor?s commitment, in particular leader artists. Our thesis relies on a social vision of art. We consider the art world as a ?history of art? mechanism, as a whole of four interrelated elements: production, broadcasting, transmission and legitimization.A first period of time, spreading from 1939 ? beginning of the Second World War ? to 1956 ? first statement of departmentalisation ? allows to lay the bases of this mechanism. During the world conflict, Martinique had to face the racist and repressive politics of Admiral Robert, the Vichy government?s representative in the Antilles, as well as a blockade aggravating an already precarious economic situation. Attachment to the metropolis gets more complicated. Between fidelity and disillusionment, a new status emerges. In 1946, Martinique becomes an overseas French department. The situation also evolves from a cultural point of view. Already in the 1930?s, a series of publications from black students in Paris questions the ...

In 1943, René Hibran, French artist who had recently moved to Martinique states : « il n?y a pas d?art local ou si peu, si réduit dans ses manifestations ! ». Already four years ago, Father Delawarde did the same comment. However, in 2009, the art world has expanded considerably. A specific aesthetic developed far away from Western academism, plastic expression not stopping to fill out. Places of diffusion have opened and offer expositions of quality. A scientific discourse builds up, thus legitimating local production. Transmission is also insured thanks to the work of schools, including the Institut Régional d?Arts Visuels de la Martinique (also known as IRAVM). Our thesis aims at explaining how such an evolution is possible given the difficult context still subject to the torments of postcolonialism. So, we postulate that ?history of art? mechanism grew in seventy years. Influenced by the postcolonial context which imposes resistance, by a literary world which initiates an identity expression?s quest, Martinique?s art is also dependent on actor?s commitment, in particular leader artists. Our thesis relies on a social vision of art. We consider the art world as a ?history of art? mechanism, as a whole of four interrelated elements: production, broadcasting, transmission and legitimization.A first period of time, spreading from 1939 ? beginning of the Second World War ? to 1956 ? first statement of departmentalisation ? allows to lay the bases of this mechanism. During the world conflict, Martinique had to face the racist and repressive politics of Admiral Robert, the Vichy government?s representative in the Antilles, as well as a blockade aggravating an already precarious economic situation. Attachment to the metropolis gets more complicated. Between fidelity and disillusionment, a new status emerges. In 1946, Martinique becomes an overseas French department. The situation also evolves from a cultural point of view. Already in the 1930?s, a series of publications from black students in Paris questions the ...

International audience ; The creation of the MADRe Museum in 2005 in the heart of Naples fits into an ambitious course of development of the places and events of contemporary art in the city and of recycling of degraded spaces in the historic core. The very form of this Museum, as well as the economic and political context of its birth, make it, however, a paradoxical place in many respects. In spite of recent attempts to initiate a dialog with the surrounding area through art education, the MADre still remains more oriented to foreign themes beyond the local in following a logic of well- known urban renewal in numerous European metropolitan centers. Furthermore, the recurrent challenges of which that museum is a target also symbolize the growing obstacles in the relations between institutions and civil society to the detriment of real governance ; La création du musée MADRe en 2005 en plein coeur de Naples s'insère dans un parcours ambitieux de développement des lieux et manifestations de l'art contemporain dans la ville et de requalification des espaces dégradés du centre historique. La forme même du musée ainsi que le contexte économique et politique de sa naissance en font cependant un lieu paradoxal à bien des égards. Malgré des tentatives récentes de nouer le dialogue avec le territoire environnant à travers l'éducation à l'art, leMADRe demeure davantage tourné vers l'extérieur, obéissant à des logiques de renouvellement urbain bien connues et expérimentées dans de nombreuses métropoles européennes. En outre, les signes récurrents de contestation dont il est la cible symbolisent également les blocages croissants dans les relations entre institutions et société civile au détriment d'une véritable gouvernance.