Gorge profonde francaise escort redon

gorge profonde francaise escort redon

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: First in terms of its history, and then its architecture, and especially its location in a rural area.

In your view, what are the strengths and weaknesses of this context? The weakness could be its isolation in a rural area within a village of residents, 35 km from the towns of Metz and Nancy. But this isolation is relative: Delme is three hours by car from Brussels, Basel and Frankfurt, and Paris is only one-and-a-half hours from Metz or Nancy by train. This region of eastern France has strong connections with other art scenes in Belgium, Holland, Luxemburg, Germany, Switzerland and other countries.

Making the trip to Delme and finding yourself in this landscape — with fields as far as the eye can see — is part of the experience you get from the visit. It turns this visit into a special moment. As for the place itself, its history and architecture have a magnetic power. This historical depth is what makes it so complex and interesting. Unlike the white cube and its supposed neutrality, a place like the Synagogue de Delme conceals infinite resources and questions, and this is what makes it so fascinating.

Where does Delme sit in the context of the overall French art policy? In a context of fiscal austerity, culture is jeopardised. Delme is a very small cog in a very large chain of cultural institutions that are going through major upheavals in terms of cultural policy. In contexts like this, these ambitions should be supported all the more: The reality is more subtle and nuanced. Working collectively and as a network has always been an essential aspect of my way of conceiving my work as a curator and organisation director.

I very naturally wanted to take part in PIANO because this platform further develops this spirit of collaboration and networking. Moreover, the meeting with Peep-Hole in Milan was decisive.

This question of books as places of experimentation and research was also explored at Peep-Hole this summer with the second instalment of their project The Book Society. Selon vous, quelles sont les forces et les faiblesses de ce contexte? Mais cet isolement est relatif: Quant au lieu lui-même, son histoire et son architecture dégagent une force magnétique. Les artistes ne peuvent venir avec un projet clef en main mais doivent se saisir des spécificités du lieu.

Comment situer Delme dans le contexte de politique artistique général français? Le volet médiation est extrêmement conséquent au vu des moyens alloués et il est pratiqué avec un engagement total au quotidien.

La réalité est plus délicate et nuancée. Ce sont des laboratoires, tant de la création que des modes de transmission à tous types de publics. Le message est parfois difficile à faire entendre dans le contexte actuel, qui prête davantage au repli sur soi et aux peurs de tous ordres. Par ailleurs, la rencontre avec Peep-Hole à Milan a été déterminante.

The Book Society 02 Protagonists: Marie Cozette, Rometti Costales. Performance Tuesday, October 27, 7. Simon Fravega , Mathilde Chénin Performers: A tutti i tipi di uccelli. Quelli che parlano, quelli che annunciano, quelli che cantano, quelli che ballano, quelli che non fanno nulla, quelli che si riuniscono in gruppi, quelli che migrano, quelli che non si vedono più.

Auguri, ornitologi e artisti hanno probabilmente in comune proprio questo: Simon Fravega e Mathilde Chénin. Il progetto di Simon Fravega e Mathilde Chénin è stato sviluppato in una residenza di ricerca presso Viafarini tra il 29 Settembre e il 29 Ottobre A ottobre , Viafarini accoglie per une mese di residenza di ricerca, un workshop e un evento performativo gli artisti francesi Emilie Parendeau, Simon Fravega e Mathilde Chénin.

Simon Fravega et Mathilde Chénin. Simon Fravega , Emilie Parendeau. Whilst we have certainly seen a merging, or crossover of practice between curators and artists over the past ten or twenty years, an artist curating is a different beast to a curator curating. Artists will always take more risks, because they are interested in that stuff of mistakes and failure as a means to begin an artistic process.

It is often within the hic-cups and stumbling inherent to mistake making that contact-points are made in order to generate new ideas and work. It is impossible to define what happened, although suggestion of a few words may get us some of the way there — quickness, slowness, intuition, experimenting, co-opting, co-authoring, collaborating, worrying, discussing, conversing, socialising, talking, listening, hearing, making, helping, suggesting, thinking, knowing, not knowing, never knowing, producing, co-producing — many times all these things at once.

As with anything produced creatively, therein lies a contribution that ignites further conversations and thinking, a tributary to a landscape of discussion, unconcerned of becoming actualised by becoming something tangible and accessible. The programme regularly perceived the exhibition as one multi-authored artwork rather than a space in which to show separate hermetic works, bringing a greater sense of authorship to exhibition making.

The following questions acted as research for the programme: Can we become our own public s? Each artist produced and presented new work in the gallery space at different times during the exhibition, choosing either to use or disregard what had gone before them. Each artist took on the gallery as a temporary workplace akin to that of a studio, in which they found things which they must work with in some way.

Despite the artists being in a group exhibition together, they did not personally meet during the exhibition, due to the applied curatorial structure concentrating on time rather than space.

Urgency, quickness, response, co-authoring of works, audience communication. A reinvention of the solo show. Through not showing any Robert Barry works in a Robert Barry solo show, authorship and control, the things so avidly investigated and so articulated expressed originally by Barry, pass back onto the curator.

The curator pretends to be the solo artist, alongside the group of participating artists pretending to be the solo artist. The solo artist is still the solo artist. Six curators, one artist, one gallery, three weeks. The focus of Notes for an Exhibition was a move away from methods of teleological exhibition-making toward action, response and production, with an emphasis on collaboration and discussion, association and conversation.

I invited in the curators with a proposal: They therefore selected Desmond Church, who is an artist who works with proposals and propositional-based work. He would send the curators three separate proposals per week over three weeks, which the curators would then translate into works. There was an events programme curated by Limbo neighbouring art space.

Four events — a t-shirt sale, a talk, a gig then a screening — occured throughout the timescale of the exhibition, physically and conceptually shifting the exhibition continually, each event leaving a short-term legacy on the spatial framework before the next.

So before each event we would make way for it, by moving and repositioning artworks. After the event, the artworks remained in place, they were not moved back, so allowing for a kind of physical legacy of what had happened each time, shifting the exhibition radically from beginning to end. The show was not about Punk-rock. More over, the 3 minute punk-rock song was used as a framework in which to align certain artworks and artists together. The works dealt with errors, spasms, glorious hiccups and splutters, reminiscent of our everyday stumblings.

They dealt with a certain kind of generosity; a generosity of quickness, urgency, interruption and blurring. It was a project that concentrated on collaborative working processes, focusing on research and discussion as major factors in the art-making process, rather than making and showing.

It attempted to unravel working and thinking and push these often hidden processes public. This lead to A Way of Doing Things , where notions of the natural evolution of ideas and things become secondary to pragmatism and a sense of wanting to get things done.

A Way of Doing Things was a reference point for discussion and thinking, which moved on to form something else. So Event Show began with an idea that the artists involved could maybe use The Way Things Go as an analogy and a model for practice and art-making.

Rather than simply seeing TWTG as a film to be consumed and enjoyed, is it more interesting to use it as a tool in order to make new work from? My suggestion was based on the notion of replacing the objects in the film binbags, tyres, models, etc. The suggestion was to try and focus on the strands linking events rather than the events themselves, so that through a series of events, the links connecting them could be where concentration is placed, leading to some kind of recollection of TWTG.

I explained my proposal to the artists to produce this series of interconnected events. This allowed for an anonymous collaborative discussion between the artists, with the curator acting as facilitator through the entire process.

Questions were sent by the facilitator curator to each expert artists. The artists would respond, then the facilitator would collate, edit and send the experts the condensed answers along with new questions relating. This process was repeated until the events could be forecasted. The process of using The Delphi Method allowed the artists to incrementally refine their ideas for Event Show , which lead to 5 separate actions as part of one overall event, which happened on 3 June.

The Press release read as follows:. What makes it unique both locally and internationally? We try to fulfill this desire. Moreover, I think that the Museum is quite a unique place, for some very specific reasons.

The collection and the exhibition spaces are in a Renaissance church, which was renovated in by the great Leon Battista Alberti. In the last two centuries the building had changed several times its identity: Afterwards for a very long time it was an army deposit, until its final destination: The artist decided to ask two of his close friends, whose master had been the famous architect Giovanni Michelucci, to think about the renovation of the building and they made a very special project with brutalist roots and references to Albini, Scarpa and Michelucci.

A few years ago I decided to start the restoration of the Rucellai Chapel by Leon Battista Alberti, a great masterpiece of the Italian Renaissance, that originally was part of the church.

In the 19th century the passage between the Chapel and the church had been closed, and I decided to re-open it and connect it again to the museum. It seems to me that now the museum is a kind of time machine: The second reason that makes the museum unique is that we invest all our budget in production, production, production. How do you articulate contemporary creations and emerging art with the work of Marino Marini, who could be defined as a modern sculptor?

The exhibitions and the joint programmes dedicated to performance, music, dance, cinema, and literature are related to sculpture and to its transformations from the legacy of Marino Marini — both archaic and modernist — to the new generations of artists. Marino Marini is a truly representative modern sculptor. Why including a programme of contemporary art in a museum —and one could also say in a city— which is dedicated to the research and conservation of a specific heritage? As we live in a city with a glorious past, whose artistic achievements have been so influential in the Western world, we have decided to operate in the present, counting on a heritage which is almost unique in its richness.

We mean to address the citizens of Florence and its metropolitan area, who participate in this heritage while needing to live in dialogue with the present time. We are one of the few institutions in Florence that focuses its activity on the local community. The dialogue with our everyday present is the key focus of our work. 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 have decided to participate in PIANO because sharing ideas and projects with other countries stimulates cultural and artistic growth.

That is why we thought of profiting of this opportunity in the best possible way. Our experience about the project Alfred Jarry Archipelago is giving excellent results and the French Institutions, even those that are active in Italy, have worked with us and they have offered a great collaboration.

Museo Marino Marini Protagonists: Alberto Salvadori, Leonardo Bigazzi. Che cosa lo rende unico a livello locale e internazionale? Il nostro obiettivo è realizzare questo desiderio. Penso che il museo sia un luogo unico per diverse ragioni. In seguito, per un lungo periodo di tempo, il sito fu usato come deposito di armi, fino alla sua destinazione finale, quella di sede del Museo Marino Marini. Il risultato fu un progetto molto particolare con radici brutaliste e riferimenti ad Albini, Scarpa e Michelucci.

Alcuni anni fa ho deciso di avviare il restauro della Cappella Rucellai di Leon Battista Alberti, un grande capolavoro del Rinascimento italiano, originariamente parte integrante della chiesa.

Il passaggio tra la cappella e la chiesa, chiuso nel XIX secolo, è stato riaperto e collegato nuovamente agli spazi del museo. Ora il museo è una sorta di macchina del tempo: Il secondo elemento che rende il museo unico è la nostra scelta di investire tutto il nostro budget in produzione, produzione, produzione. Marino Marini è una figura chiave della scultura moderna.

Desideriamo rivolgerci ai cittadini di Firenze e della sua area metropolitana, che fanno parte di questa eredità e hanno allo stesso tempo il bisogno di vivere in dialogo con il presente. Siamo una delle poche istituzioni della città che concentra la propria attività sulla comunità locale.

Il dialogo con il nostro presente e la nostra quotidianità è la chiave del lavoro che svolgiamo. Per quale motivo hai deciso di prendere parte al progetto e come si realizza la tua partecipazione? Abbiamo deciso di prendere parte al programma PIANO perché la condivisione delle idee e dei progetti con altri Paesi stimola la crescita culturale e artistica.

È per questo che abbiamo deciso di approfittare di questa opportunità nel miglior modo possibile. La nostra esperienza con il progetto Alfred Jarry Archipelago sta dando eccellenti risultati e le istituzioni francesi, anche quelle attive in Italia, hanno lavorato con noi offrendo grande collaborazione.

Overview of the ground floor 3. Andrea Baccin When did the collaboration between you and Mark Manders begin, and why did you decide to start a publishing house?

Roger Willems We worked together for the first time in After that we started Roma Publications. We enjoyed making books independently and made our living with our other work. Over the years it slowly took over my practice and I hardly do commissioned work anymore. What is your approach to making a book? What are your selection criteria and what is the mission of Roma Publications? Often new books are connected to previous ones, with artists we worked with before. Besides that we choose intuitively and try not to do too many things.

Our goal is to keep it close to ourselves and grow steady by going on for many years. Not by making more books per year. What is the relationship between the book and the exhibition space? What is the relationship between exhibiting the book as an object and actually reading it? Most of the time books travel alone and end up in an endless amount of different contexts. Like a family reunion. We are tiny and unskilled in what most professional publishers do such as distribution, but in the few years it has existed, it does create a sense of a group of people and interests.

What makes your publishing house different from the others? We are busy with other questions than to try and be different. Each publication seems to be a nice opportunity to try something. On a practical level the production money comes from different channels than sales so it frees us from a certain pressure other structures could have.

Do you publish self-productions or books on commission? Both, it is increasingly difficult to make a difference between the two, especially when we also design books elsewhere for other publishing companies or commissioners.

What is your view on exhibiting a book in an exhibition space versus reading it? The journey to find it was as exciting as reading it. What is your approach to graphics in your projects, and what are the criteria in selecting the books you publish? There is a form of authorial translation but we suspect the whole thing is to broaden friendship… which leads to thinking that most people we have published are friends or have become one.

Keren Detton Le Quartier was founded in on the initiative of the former director of the Quimper art school, Michel Pagnoux.

Its underpinnings were the intense competition in art, literature and film in Quimper and the implementation of the decentralisation policies initiated by Jack Lange in the mids. Le Quartier was set up in the same building as the art school but operated autonomously, enabling it to be part of a professional network to which students had special access.

Subsequently, the implementation of a contract with the state, region and department guaranteed that it would be possible to work with the public in a sustained way, particularly through the assistance they provided for the production of works and for mediation activities. Charles Esche described his ideal museum as fundamentally uncertain: The idea was to shake up the annual programme, introduce different rhythms, play on synchronic or diachronic effects, while preserving an artistic research space over the long term and continuing to do creative work with publications catalogues, anthologies of texts, artist books.

I also wanted to work on the porosity between the inside and outside in order to shatter the military aspect of this former barracks and highlight the seeing conditions. It was as if visitors were both surprised and relieved to see the works integrated into their day-to-day life.

Recently, artist and architect Catherine Rannou offered a visit to the worksite of an exhibition setup tackling architecture through language and imagination, radically transforming the institution. I find it very stimulating when works speak to visitors on the level of their relationship to the body and to language. Le Quartier will be celebrating its 25th anniversary in a shaken political, economic and media context. As we speak, Le Quartier is being threatened by drastic budget cuts, and yet its balance sheet has been unanimously praised by all of its public partners.

It runs an untimely programme alongside artists, investigates our visual cultures through images and language, and merrily crosses the boundaries between disciplines.

Yet it is being told to justify its legitimacy. Le Quartier is in a prime position between the art school, to which it offers genuine professional springboards, and the fine art museum, with which it collaborates regularly. But above all it is a place of emerging forms and ideas, passions and questions.

It is rooted in its territory and resonates with places elsewhere, and keeps up a dialogue with artists and visitors. Why did you wish to participate and what programme are you proposing? Alfred Jarry Archipelago was born of the desire to understand artistic creation today through Alfred Jarry, the father of pataphysics.

The project has turned into an open curatorial platform, which apprehends the legacy of the author of Ubu Roi not historically but speculatively. Since he was a well-informed observer of the artists of his time, we decided to make way for Alfred Jarry the curator! Leonardo Bigazzi, curator at the Museo Marino Marini in Florence, is presenting a programme of performances.

Eva Wittocx, curator at M — Museum and for the Playground Festival in Leuven Belgium is joining us by linking monographic exhibitions and performances. The project framework is open enough to incorporate different points of view on this subversive figure full of contrasts, and to more closely examine his relationship to theatre, his projection of bodies and desire, his use of codes and absurdity, and the mixing of genres and identities.

A publication in the form of an almanac will be the receptacle of this multiplicity of perspectives, with supplements provided by new contributors, authors and artists. Charles Esche a décrit son musée idéal comme étant fondamentalement incertain: Je voulais aussi travailler sur la porosité entre le dedans et le dehors pour casser le côté militaire de cette ancienne caserne et mettre en exergue les conditions du regard.

Le Quartier fêtera ses 25 ans cette année dans un contexte politique, économique et médiatique bouleversé. Pourtant, on le somme de justifier sa légitimité. Par ailleurs, Eva Wittocx, curatrice au Museum M et pour le Playground Festival à Louvain Belgique nous a rejoints en associant des expositions monographiques et des performances. Dorothée Dupuis Could you talk about your formal influences?

What do you look at? How do you think? How has your training as a designer informed how you produce forms in the exhibition sphere? It seems that the language of abstraction is still important for you. Clémence Seilles I regularly go back and see images by my classical masters: Primordial shapes like circles, triangles, squares… enable me to concentrate more on narratives, circumstances and processes. I proceed from what societies tangibly produce to build themselves.

I visit companies dealing in supplies or construction equipment, and go to rendering plants and product assembly factories. I idly drive through industrial estates in Italy, France, Germany and Holland. On YouTube I watch guitar swirling in garages and industrial plastic machining.

In this context, the work is at once an everyday object and something fantastical: Although my training as a designer informs manipulations of conventions much more than manipulations of shapes , the exhibition sphere, which is not very familiar with functional services and devices, opens up a fertile field of experiments that are more complicated to develop in the commercial sphere.

Are you more of a Fassbinder, Wako or Beverly Hills ? A gang can be Philip K. Cain , alone and condemned. I try to combine sustainable economic efficiency with the risk of alienation. The gang — made up of artists, designers, composers, curators and architects who are all fanatical about hard beats — lives between Berlin, Amsterdam and Paris, and is heterogeneous and multifarious.

The action hierarchies are healthy, made of individuals who do their singular research and can take turns implementing or supporting a project. PostNorma, a fabulous squat conquered and dissolved in one year, which generated workshops and various events. The Dirty Art department, an institutional bouillabaisse that made lots of meetings and journeys possible.

SANKS, a design company among friends. Cicciolinas, unifying techno parties. What is you position in all of this relative to institutions and the art market? My artistic commitment is romantic. It is to create an optimal climate for creativity, establishing circumstances that produce autonomous strengths and attitudes without excluding myself from society — quite the opposite.

I practice lateral thinking and oblique strategies. Each card contains a cryptic phrase or comment to meditate on, one that can be used to overcome a creative block or dilemma. It is based on imagination and on putting forward impossible, absurd, unrealistic theories in order to create springboards towards other ideas that are themselves achievable.

Embodied in my practice, this means that I go off into fairly diverse application areas and development structures, working with people who are also very different and sometimes have polar opposite ways of thinking. This makes it more tiring and difficult to exist in different markets instead of only one, since people still have a strong tendency less in English-speaking countries to recognise only a single profession for each person.

Exhibition as Research Space: Dorothée Dupuis Peux-tu me parler de tes influences formelles? Clémence Seilles Je vais régulièrement revoir des images de mes maîtres classiques: Les formes primordiales telles cercles, triangles, carrés… me permettent de me concentrer davantage sur les narrations, les circonstances et les procédés.

Je pars de ce que les sociétés produisent de tangible pour se construire. Une bande, ça peut être Philip K. Cain , seul et condamné. PostNorma, un squat fabuleux conquis et dissout en une année, qui généra workshops et évènements divers.

Le département Dirty Art, bouillabaisse institutionnelle qui permit beaucoup de rencontres et de voyages. SANKS, une compagnie de design entre amis. Les Cicciolinas, fêtes technos fédératrices. Je pratique pensées latérales et stratégies obliques. Les stratégies obliques est un set de cartes inventées par Brian Eno et Peter Schmidt en Exhibition views, Clémence Seilles, Bassin ouvert.

It therefore grew out of the need to create a kind of institution that was lacking here in Milan, and to experiment with this kind of hybrid structure.

So one of the first thing spurring us on was the desire to examine what the role and future of the art institution could be today. Everything that is not strictly necessary to the work and its presentation — which is the purpose of a show — is a superstructure. In the dialogue with the artist, which is a fundamental part of constructing any exhibition, the positions, thoughts, and needs of the curator should never prevail over or obscure those of the artist and of the work.

All the exhibitions organized by Peep-Hole are developed in this spirit: The name itself is an answer to your question. A peep-hole has a fisheye lens that allows a wide field of vision without being visible from outside. Whatare the main challenges for a space that wants to remain independent?

PIANO is aimed at creating a network of art spaces that work together, exchanging ideas and interacting with each other. The program Six Ways to Sunday , which consists in inviting an institution to do a show in our space as if it were a satellite project room, is one example.

The project we are participating with, The Book Society 02 , in collaboration with the Synagogue de Delme, is devoted to the most experimental forms of publishing, and intends to investigate the potential of the book as a form of expression. Publishing is indeed a space in which not only is something conveyed, but content is created. Nowadays many well-established or newly founded independent publishers and countless text-based artistic practices have accelerated the development of this format as one of the most interesting phenomena on the current art scene.

The book society Vincent Honoré Quando avete dato vita a Peep-Hole e cosa vi ha spinto ad aprire questo spazio a Milano? Tutte le mostre organizzate da Peep-Hole sono sviluppate secondo questa idea: Lo stesso nome dello spazio fornisce una risposta alla tua domanda. Quali sono le sfide maggiori per uno spazio che ambisce a rimanere indipendente? Tuttavia gli spazi di quel periodo erano vere alternative ai contesti istituzionali e alla loro legittimazione ufficiale del valore artistico.

Oggi le cose sono cambiate, le istituzioni si sono trasformate divenendo più flessibili, più aperte al dialogo, per cui gli spazi come il nostro in realtà non sono tanto alternative quanto derivazioni di esse.

Per quale motivo avete deciso di prendere parte al progetto e come si realizza la vostra partecipazione? Il progetto con cui partecipiamo, The Book Society 02 , in collaborazione con la Synagogue de Delme, è dedicato alle forme più sperimentali di produzione in ambito editoriale e mira a investigare il potenziale del libro come forma di espressione.

Per Book Society 02 abbiamo trasformato lo spazio di Peep-Hole in una reading room in cui sono presentate le pubblicazioni di alcune delle case editrici europee più interessanti. Adriano Costa, How to be Invisible in High Heels , , concrete, sand, red soil, iron, 50 x 5 cm, variable heights. Installation view at Peep-Hole, Milan, Courtesy: They are the product of relationships between many agents — artist s , curator s , artwork s , audience s , display, etc. An exhibition is a designed situation, still open to a lot of various uncontrollable factors, time being the first of those; so I am interested in practices that are aware of how this time can be administered and shared among all those who are part of the exhibition, primarily the audience.

Nikolaus Hirsch asked this question: Various people, mainly from the field of art and architecture, curated and organized exhibitions and activities of different kinds with a quite intense rhythm up to twelve exhibitions a year. And I am doing this by inviting artists, designers, choreographers, theorists, etc. The mission of your institution is to produce and present regional, national and international artistic practices and to conduct critical research on the role of art and its relationship with the social and political sphere within which it operates.

I would like to ask you what you think is the core responsibility of the institution nowadays, with regard to the artists and the audience. And I guess this is possible just by administering resources first of all, time, as the most precious one in a savvy way. It is a process that takes time, but some good steps have been made in this direction. We also discussed this topic at a conference at Bétonsalon on 30 May with the Italian collective Invernomuto and the French curator Rémi Parcollet.

Esse sono il risultato di relazioni tra diversi attori — artisti, curatori, opere, pubblico, display ecc. Sono tutti aspetti che fanno della mostra un medium specifico finalizzato a creare qualcosa di pubblico. Una mostra è una situazione progettata, che rimane tuttavia aperta a diversi fattori incontrollabili, il primo dei quali è il tempo. Nikolaus Hirsch si poneva la seguente domanda: Sto quindi portando avanti tale riflessione attraverso il coinvolgimento di artisti, designer, coreografi, teorici ecc.

Credo sia molto importante — quale segno di rispetto verso gli artisti e il pubblico — trovare il modo di mediare le pratiche degli artisti a beneficio del contesto locale in cui operiamo. Ovviamente è molto importante evitare il rischio di una mentalità troppo ristretta, cosa che tentiamo di fare presentando pratiche e approcci che siano critici e capaci di produrre legami e connessioni tra temi locali e idee più ampie.

Sin da quando sonoarrivato a Bolzano ho cercato di attivare una serie di collaborazioni e coproduzioni a livello locale, nazionale e internazionale. È un processo che richiede tempo, ma abbiamo compiuto importanti passi in questa direzione. Abbiamo inoltre discusso questo tema in occasione della conferenza tenutasi presso Bétonsalon lo scorso 30 maggio, cui hanno partecipato il collettivo italiano Invernomuto e il curatore francese Rémi Parcollet.

Constellation of One and Many , The realisation of this arrangement, in its form and duration, can be limited by other museum activities requiring that the shutters be opened. The work and the exhibition have a specific relation to the Bolzano context. Bernhard Rüdiger I spend a lot of time in that region, and I was aware of various aspects of the context of history shared between Austria and Italy.

The land in these Tyrolean valleys was feudal, whereas the peasants in the mountains were independent. Looking at the valley from the mountaintops, you see something completely different from what you see from the opposite direction. The view from the 4th floor of Museion offered a symbolic top-down point of view. The museum is built on the boundary that is the river. This already emphasised that kind of point of passage, but from the opposite point of view.

This reversal of perspective leads us to the one carried out at Museion. The exhibition highlights the fact that the museum builds this same passage from Italy to Austria and vice versa. The invitation was probably linked to the fact that my work is often built on a context, in this case the museum and its layout. Since the exhibition had a strong link to the city, I felt that my proposal would be weak if it only addressed institutional aspects. By extending the invitation to Bernhard and his work linked to the notion of space, the point was to enrich the project through the historical and topographical perspectives it could provide.

How did these questions of passage and perspective-reversal affect your proposal? The exhibition offered a reversal of the function of the museum spaces; the viewer had to enter the exhibition directly on the ground floor, which is normally a passage, and then view the city from the 4th floor, which had been turned into a belvedere, in order to finally go back downstairs and follow the suggested route through the city.

Our proposal found its place in that belvedere. We were unsure if when viewers reached a practically empty room on the top floor, facing large windows, they would intuitively be able to experience looking at the city. The gesture of opening the museum onto that broad landscape could seem romantic: Whereas visiting the exhibition on the ground floor was preparation for looking at the city from the belvedere? It was a matter of constructing a determined perspective instead of a passive contemplation, as well as introducing the question of the body and the notion of unstable balance: The final proposal was to close some of the shutters on either side of the building and therefore either side of the city to create a specific field of vision that involved a movement dynamic and spatialized the bodies in the space.

We did a trial during the exhibition in progress and as soon as the shutters were closed, people stopped looking at the works to approach the windows. What role did the model play? This metaphor in the state of language becomes a physical act as soon as you experiment with it. The exhibition brought forward the notion of architectural filter. There is a certain equivalence of preoccupations and ways of filtering the gaze. The two works operate in opposite ways, but actually express something very similar.

Another work in the exhibition, that of Marcus Geiger, consisted in extracting one of the apartments from a housing project, an empty space that ultimately offers a transversal perspective, enabling reflection upon architecture and town planning.

It sports these two eyes that look outside, a two-faced gaze in the shape of a Janus head, something that is very characteristics of the local culture. Speaking of local culture, can we discuss the title? Thinking again of the belvedere, is the title therefore a clue about how to use the work?

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. Vincent Honoré What prefigured the creation of Bétonsalon in Paris?

Is there a precedent or theoretical model for the space? Mélanie Bouteloup Bétonsalon was born in from the assembling of a group that included artists from the École des Beaux-Arts de Paris and art historians, especially from the École du Louvre.

We came together around the shared view that Paris lacked places that were midway between art school and institution, places where it was possible to test ideas, make mistakes and show the work of unestablished artists, whether they were still students or were older but unrecognised. How does Bétonsalon fit into its environment, and how is it different from other spaces in Paris? Today the Bétonsalon Centre for Art and Research is located in the 13th arrondissement in Paris, on the ground floor of Paris 7 University.

It is one of the few independent art centres located on a university campus in France. Because of this, we enjoy a special relationship with the Ministry of education and we are developing a programme that questions standardised forms of knowledge production, classification and distribution. I think art centres have a role to play, supporting art research and rearticulating the position of education, research and creativity in society.

As the years and meetings have passed, the organisation has become more professional and its ambitions have asserted themselves. The opening of the Centre for art and research in was a key moment. At that time we met many university researchers and students whom we gradually got to know well. Today the programming is conceived according to various formats and timeframes, and includes several annual exhibitions interspersed with associated events. Different seminars and workshops are also organised in collaboration with professors from Paris Diderot University.

How might one conceive of the possibility of spaces for independent programming in the face of accelerated globalisation, a ubiquitous art market and the hitting power of the largest institutions? I think flexible, small-scale organisations like Bétonsalon are needed to preserve this possibility of experimenting with ways of working that involve direct dialogue, even joint construction, with other non-profit organisations.

Faced with this crisis situation, there is an urgent need to reconsider how we do things. Cross-disciplinary navigation tactics need to be invented. This could be done as soon as renewed conception of the territory of art could be agreed: An art centre should make the social and cultural frictions of the present perceptible. Exhibition view, Maryam Jafri. Under these conditions, what are the responsibilities of the director of an art centre? The responsibility of the whole staff of an art centre is therefore enormous.

We have to challenge ourselves, working as closely as possible with the region by maintaining a network of relationships that should be broadened day by day to increase the number of collaborations. Why did you want to join this project and what will you be presenting? It is a reflection on how history is written. Therefore it is crucial to be able to hear voices other than the official ones, hence the invitation extended to the Italian collective Invernomuto to come and contribute to the exhibition.

Nous avons alors rencontré de nombreux chercheurs et étudiants du milieu universitaire avec lesquels nous nous sommes peu à peu familiarisés. Face à cette situation de crise, il est urgent de repenser nos manières de faire. Des tactiques de navigation transversale doivent être inventées. Exhibition views, Maryam Jafri. In the presence of Maryam Jafri artist. An afternoon of visual and theoretical essays around exhibition as a medium for research, where time allows to rethink the relations between art and the public sphere, beyond disciplinary categories.

The detailed program will be announced soon. En présence de Maryam Jafri artiste. Programme détaillé à venir. In what sense was this collective dynamic important? The three of us already knew each other. We got along well and lived in more or less the same area. Each of us having been separately involved in several collaborations, we were aware that this presented an advantage in terms of energy, labour power and letting go.

Beyond the spirit of intellectual competition, one senses that this collective logic is also efficient when it comes to production. At the work-creation stage, a distinctive organisational logic can already be discerned… D. This is something that creeps into our practices and into those of quite a few artists of our generation. Primarily out of pure pragmatism: By inventing our tools, by making do with whatever we have at our disposal. What is the meaning of the title Jambe de botte?

For the creation of this piece, you tested several types of material, ultimately choosing plastic from melted garden chairs. Why did this material stand out? This brings us back to production circuits and pragmatism. How a combination of gestures can produce an image. We very empirically tested hundreds of combinations.

Then we took a deckchair, burned it with a flamethrower, and the result was perfect. We work on the French Riviera, where the dumps are full of this kind of furniture. We were conscious of reflecting the dystopian faults of this strange place that, when you remove the glamour of the sun and palm trees, smells of cheap suntan lotion, melted poodles and social violence.

How were the forms of the different sculptures created? We aligned casts found in an abandoned train parts foundry, in such a way that we were able to create cylinders that could be spun like record players. We poured the plastic and suddenly we had Scud missiles.

Since sound is a vibration, in principle it can be inscribed on the media it comes into contact with. The forms of the various sculptures evoke something of a warlike world. Added to these forms is a sound that gives the space a stressful atmosphere. How is this sound produced? Then everything developed very spontaneously. The day before the exhibition opened, we had to make up our minds to bring the sculptures into the exhibition venue.

Although object and device diversion and DIY are found in your respective works, I get the impression that the question of sculpture is fairly new. We considered simple questions that are not at all historical. A plinth is practical. It keeps the work at a distance and prevents a Scud from falling on someone. Plastic is more solid than margarine, etc. Ici, vous faites une proposition de production partagée.

En quoi cette dynamique collective a-t-elle été importante? Tous les trois, nous nous connaissions déjà, nous nous entendions bien et nous vivions plus ou moins au même endroit. Pour la réalisation de cette pièce, vous avez testé plusieurs types de matériaux, pour au final vous arrêter sur du plastique provenant de chaises de jardin fondues. On en revient aux circuits de productions et au pragmatisme. Nous avons testé de manière très empirique des centaines de combinaisons. Nous avions conscience de renvoyer les travers dystopiques de cet étrange endroit qui, dégagé du côté glamour du soleil et des palmiers, sent la crème solaire bon marché, le caniche fondu et la violence sociale.

Comment les formes des différentes sculptures ont-elles été créées? Comment se son est-il produit? Please could you describe the work and what is specific to this iteration in Paris?

Presentazione dei volumi Un quaderno di voci e Sillabe indipendenti di Giulio Ghirardi. Mvula Sungani; musica dal vivo e arrangiamenti: Pindaro e la verità della poesia ". A confronto, per la prima volta in Italia, due maestri della fotografia e cinematografia internazionale; Ruth Orkin e Morris Engel documentarono la vita, in anni in cui le mutazioni della storia e della società si succedevano con ritmo intenso.

Loro ne erano parte integrante: La gestiva Antonio Bevilacqua, Toni, ex campione di ciclismo su pista e su strada, compagno e avversario di Coppi e Bartali.

Concerti dal Teatro La Scala di Milano: Johannes Brahms Sinfonia n. Richard Strauss Don Juan, Poema sinfonico op. Paolo Zaffaina disegna il malessere di una nazione smarrita nel consumismo e nella corruzione, ormai priva di valori e ideali, racconta la rabbia di una generazione pronta a sfociare in un delirante progetto di rivolta per cambiare lo stato delle cose. Venti gli artisti presentati: Worlds in a Palazzo. La primavera della Collezione Pinault di Chiara Casarin. Precede la presentazione del libro Le ceneri del passato.

Numerosi gli spettacoli e i seminari, che proseguiranno fino al 10 maggio, tra cui si inserisce questa performance dove i ritmi e le melodie della musica classica hindostana, s'intrecciano alle forme aggraziate e sinuose della danza odissi. Il concerto è presentato dai celebri musicisti indiani Partho Sarothy sarod e Nihar Mehta tabla , mentre le danze saranno intepretate da Ileana Citaristi, riconosciuta come una delle principali esponenti dello stile odissi.

Musiche di Hanns Eisler. Sorry, but Javascript is not enabled in your browser! Palazzo Mocenigo si apre al contemporaneo. Il Leone alato di San Marco, simbolo della nostra città che, eccezionalmente, salirà sul Campanile dipinto su di un grande telo scenografico per volare sopra il pubblico presente in piazza. Ad accoglierlo sul palco del Gran Teatro le dodici fanciulle veneziane, le Marie. Un rituale di grande suggestione a sugellare il congedo del Carnevale.

Nuova mostra personale per la Galleria Massimodeluca: Lo spazio espositivo ospiterà per l'occasione una ventina di opere, quasi tutte inedite: Prossimi Eventi del mese. Che cosa questi frammenti rappresentino è forse il fulcro del suo atto creativo. Where should Othello go? Resta un mistero chi sia stata quella giovane sontuosamente vestita e adorna di gioie. Donna vera o donna ideale?

I lavori — sculture in marmo, terracotta e bronzo, graffiti su marmo e disegni — ripercorrono le tappe di una produzione ricca e articolata, riscoperta e apprezzata solo da poco tempo.

Emerge la centralità della figura umana, restituita in termini austeri ed essenziali. È partendo da questa riflessione che Anna Moro Lin ha costruito il suo progetto. Fabrizio Monteverde; direzione artistica: Conferenza di Sergio Barizza:: Rossini Aergio Alapont direttore Lorenzo Regazzo regia:: Pur a cinque secoli di distanza, i quadri di Carpaccio e i video di Viola esprimono interrogativi e preoccupazioni simili, strettamente legati al tema della Renaissance: Rossini Sergio Alapont direttore Lorenzo Regazzo regia:: Salgado è riuscito a catturare immagini della natura, di animali e di popolazioni indigene di una bellezza talmente intensa e sconvolgente da lasciare senza fiato.

Il primo dei tre cicli di lezioni, Il Medioevo e il Gotico. Dal alla fine del , terminerà a marzo con una visita guidata a Padova:: ZOOM VAURO Il celebre disegnatore satirico toscano presenta "Storia di una professoressa", suo libro che ripercorre 40 anni di storia e scuola italiana, dagli anni 60 a oggi, alternando momenti di riflessione e divertimento, in un esempio emozionante di narrativa sociale.

Diventati adulti i due ragazzi prenderanno strade diverse. Regia di Jean Cocteau:: Regia di Jean Cocteau Precede le proeizioni la presentazione della rassegna curata da Roberto Zemignan:: Presente in sala il regista:: Sin dal Medioevo la città è stata un campo privilegiato per la pittura europea e grande mezzo di esaltazione e di propaganda delle virtù di uno Stato.

Paolo Zaffaina; Teatroasincrono — David Koutsogiannopoulos:: La disobbedienza civile delle donne friulane di fronte all'8 settembre di Paolo Comuzzi e Andrea Trangoni, con interventi di Maria Teresa Sega e Paola Schiratti:: Presente in sala il regista h. Composizioni ritmate da linee e piani sovrapposti, geometrie costruite sulla luce.

Paesaggi iper-reali, più veri del vero, surreali, sospesi, spesso impossibili. Figure umane svelate in negativo, sublimate in ombre lunghe. Presenza e assenza contemporaneamente. Corpi come paesaggi, e pianure e colline dai contorni antropomorfi. Oltre fotografie raccontano la lunghissima storia di un fotografo conosciuto in tutto il mondo, Franco Fontana. Il Carnevale della fantasia e della natura. A Venezia, nel Carnevale , verrà rappresentato un enorme dizionario della fantasia: Gli attori della Comapagnia Pantakin accompagnati dagli allievi del Conservatorio Benedetto Marcello, accompagnano i piccoli visitatori in un viaggio attraverso antiche fiabe di Paesi lontani e non Presentazione della rassegna a cura di Giampiero Brunetta:: Tra i molti artisti di talento si distingue certamente Viktor Popkov: Le maschere della commedia dell'arte hanno un forte legame con il mondo animale e del fantastico.

Dalla maschera di Arlecchino, che ricorda a tratti una scimmia e altre volte un gatto, al naso arcuato di Pantalon dei Bisognosi, che ricorda il becco di un corvo o di un avvoltoio, alle spirali sulla fronte di Balanzone, che richiamano alla mente delle corna taurine. Atelier Carta Alta, coadiuvato dagli attori di Pantakin, offre una lezione-dimostrazione su alcune delle maschere più note della Commedia dell'Arte, al termine della quale sarà possibile assistere al processo di creazione di una maschera di cartapesta.

La programmazione, messa a punto coinvolgendo un alto numero di realtà artistiche del territorio, assicura una varietà di generi che va dal rock al reggae, all'house.

Ingresso e attività gratuiti. Oggi il primo sabato di Carnevale tale commemorazione e il corteo che si snoda da San Pietro di Castello fino a San Marco diviene occasione per ammirare la bellezza e i costumi della Serenissima.

La divinità romana Diana, farà da guida ai visistatori in un viaggio alla scoperta della magia della Natura:: Si alternano le mattinate per le scuole seguite dagli operatori della Biennale, i laboratori curati da 22 scuole selezionate in Italia, le attività proposte dai Padiglioni di Argentina, Germania e Stati Uniti, e i workshop del Conservatorio Benedetto Marcello, Unicef e Word Food Programme.

Il progetto si arricchisce anche della performance ideata da Virgilio Sieni che, con 18 danzatori e attori, porta in scena attorno a una casina di veri biscotti, un mondo popolato di personaggi fiabeschi e creature fantastiche, che proietterà i piccoli spettatori in una dimensione parallela da osservare con occhi e bocche spalancate 22, 23, 27 febbraio, 1, 2, 4 marzo. Attraverso i racconti del Codega, interpretato dagli attori della Compagnia teatrale Pantakin, è possibile scoprire I segreti di Venezia.

Un salto nel tempo nel cuore della vita della Serenissima e del suo Carnevale.

: Gorge profonde francaise escort redon

BLACK FRANCAISE PORNO ESCORT SOMME Il progetto ha permesso a giovani artisti italiani e francesi di compiere un periodo di residenza nei centri coinvolti: Per EDB, dopo una serie di testi su argomenti religiosi e antropologici, in questa collana ha pubblicato: Per EDB Junior ha curato diversi volumi ed è autore di: This is their first choreographed show, a transgressive journey through the history of dance. Questa è la storia, raccontata in prima persona, di quel dodicenne che da allora si affaccia nel mondo guidato dalla luce cristallina del suo nome. Exhibition views, Maryam Jafri.
Video de sexe escort girl ivry sur seine Levrette porn escort girl st nazaire
Talon porno sexmodel mulhouse Sex film gratuit vivastreet caen
Hentai sodomie escort pas cher 872
LESBIENNE LINGERIE SEXE MODEL CAEN Vieux cul vivastreet belfort
It is impossible to define what happened, although suggestion of video cul gratuite annonce dominatrice few words may get us some of the way there — quickness, slowness, intuition, experimenting, co-opting, co-authoring, collaborating, worrying, discussing, conversing, socialising, talking, listening, hearing, making, helping, suggesting, thinking, knowing, not knowing, never knowing, producing, co-producing — many times all these things at. Nikolaus Hirsch si poneva la seguente domanda: Abbiamo inoltre discusso questo tema in occasione della conferenza tenutasi presso Bétonsalon lo scorso 30 maggio, cui hanno partecipato il collettivo italiano Invernomuto e il curatore francese Rémi Parcollet. Credo sia molto importante — quale segno di rispetto verso gli artisti e il pubblico — trovare il modo di mediare le pratiche degli artisti a beneficio del contesto locale in cui operiamo. Un rifugio sicuro sembrano essere i ricordi: He lives and works in Berlin. Mariella De Santis è nata a Bari in un raro giorno di neve del

Terminati gli studi classici, si laurea in giurisprudenza nel per poi iscriversi alla facoltà di lettere. Aderisce inizialmente al Gruppo 63 pubblicando due raccolte di poesie legate alle ricerche del movimento letterario di neoavanguardia.

Curatore generale della 45a edizione della Biennale di Venezia nel , è insignito negli anni di numerosi premi e riconoscimenti a livello italiano e internazionale.

Conversazione di Livio Partiti con Carlo Ossola. Carlo Ossola, Torino è filologo e critico letterario. Tra i suoi libri recenti: Il continente interiore , Introduzione alla Divina Commedia , Letteratura italiana. Canone dei classici , 8 voll. Conversazione di Livio Partiti con Gioia Mori. Il percorso si apre con la sezione I mondi di Tamara de Lempicka: I luoghi sono messi in relazione con la sua evoluzione artistica.

Madonne e santi, sono i dipinti riuniti nella quarta sezione, Sacre visioni: La quinta sezione, Dandy déco, racconta il costante rapporto della Lempicka con il mondo della moda. Qui si trovano molte delle più note icone della Lempicka, da Le confidenze del , alla Sciarpa blu del , allo straordinario Ritratto di Madame Perrot con calle del Nella sesta, Scandalosa Tamara, si affronta il tema della Coppia: Campeggia in questa sezione il dipinto La prospettiva del , prestito del Petit Palais di Ginevra, primo quadro apprezzato e citato dalla critica del tempo.

La settima sezione — Le visioni amorose — racconta attraverso eccezionali nudi la delicata attenzione riservata a uomini e donne da lei amati: Per la prima volta si espone anche la principale fonte pittorica dei suoi nudi: Un viaggio dunque articolato, approfondito, affascinante, suggestivo: Catalogo Mostra, 24Ore Cultura. Tamara De Lempicka - Dandy Déco - pagine - euro 42, Tamara De Lempicka - Graphic Novel - 48 pagine - euro 17, Conversazione di Livio Partiti con Gabriele Magrin.

Il tema della quarta edizione di Biennale Democrazia — che si svolgerà a Torino dal 25 al 29 marzo - è Passaggi. Passaggi che possono fungere da collegamento fra due luoghi separati da un confine, un muro o una barriera - fisica, mentale o virtuale - ma che possono anche designare delle svolte, delle soglie al di là delle quali il mondo e la percezione che ne abbiamo muta, come accade per le fasi della vita degli individui o per le epoche storiche.

Accanto alle lezioni, ai dibattiti e agli incontri, il calendario di Biennale Democrazia ospita dunque rassegne cinematografiche a tema, percorsi espositivi, concerti e momenti di animazione cittadina, spettacoli teatrali, performance e incursioni in spazi insoliti e inattesi. Partecipare attiva la mente: Apertosi con la Lezione inaugurale del Presidente della Repubblica Giorgio Napolitano presso il Teatro Regio di Torino, il primo esperimento di Biennale Democrazia ottenne il risultato sperato: La terza edizione aprile ha avuto come titolo Utopico.

Conversazione di Livio Partiti con Fabrizio Vona. Negli ultimi anni sono state realizzate importanti mostre dedicate a Raffaello, che hanno messo a fuoco i diversi momenti del percorso artistico del pittore.

Il Museo di Capodimonte ha partecipato con i suoi dipinti a queste iniziative, realizzando importanti interventi di restauro e campagne di indagini che hanno contribuito significativamente alla comprensione del complesso e affascinante iter creativo di Raffaello ed in particolare della celeberrima Madonna del Divino Amore.

In occasione della mostra il Dipartimento Educazione ha ideato una serie di attività e workshop per bambini e adulti.

Il volume che accompagna la mostra costituisce una monografia aggiornata ed esaustiva del capolavoro raffaelliano. Conversazione di Livio Partiti con Elisabetta Bucciarelli. Questo siamo oggi, e Ben Simon lo sa bene. Un errore criptato, un pollice in su o in giù, alzato frettolosamente, dal basso dello schermo dal quale non sentiamo.

Antonio Bux Ben Simon è lo pseudonimo di uno scrittore italiano. Questa è la sua prima raccolta di poesie. Una raccolta che si sviluppa intorno a due fuochi. Due diversi tipi di smarrimento che in realtà Galluccio riesce miracolosamente a incrociare. Dall'altro lo stupore è legato a tematiche scientifiche, alla matematica, alla fisica, alla cosmologia.

Il linguaggio scientifico ha talvolta funzione propria e talvolta valore metaforico. E il mondo scientifico, viceversa, si carica di umanità, di biografia, come nei tre ampi ritratti di matematici famosi: Pitagora, Galois e Gödel. L'interazione fra i due piani, solo all'apparenza lontanissimi, produce un percorso mentale e immaginativo assai ricco, che si traduce su un piano verbale altrettanto suggestivo ma come rarefatto e quasi incantato.

Conversazione di Livio Partiti con Aimone Gelardi. Molto diffuso nella prima comunità cristiana, come appare dagli Atti degli apostoli, il digiuno è stato considerato dai Padri della Chiesa una forza che aiuta a contrastare peccato e bramosie, aprendo la strada di Dio. Aimone Gelardi, sacerdote dehoniano, ha insegnato Teologia morale ed Etica filosofica. Per EDB, dopo una serie di testi su argomenti religiosi e antropologici, in questa collana ha pubblicato: Una rivisitazione dei Comandamenti 2 ; Beati voi.

Una rivisitazione delle Beatitudini ; Vizi vezzi virtù. Una rivisitazione dei peccati capitali ; Il bruco e la farfalla. Una rivisitazione delle virtù ; E poi? Riscoprire la Confessione ; Sacramenti. Riscoprire il silenzio ; Pietà di me. Riscoprire i Salmi penitenziali ; Alfabeto della vita morale Per EDB Junior ha curato diversi volumi ed è autore di: Le regole del gioco. I dieci Comandamenti 2 ; Lo hai fatto a me. Le opere di misericordia a misura di bambino ; Il mondo alla rovescia.

Le beatitudini ; 7 contro 7. I vizi e le virtù ; I magnifici sette. Conversazione di Livio Partiti con Alessandra Falconi. Alberto Manzi, nasce a Roma nel Dopo l'esperienza di guerra come sommergibilista, nel inizia l'attività scolastica presso il Carcere 'A. Nel lascia la direzione dell'Istituto di Pedagogia della Facoltà di Magistero di Roma per fare l'insegnante elementare e portare avanti, 'sul campo', quelle ricerche di psicologia didattica che continuerà almeno fino al , quando abbandona l'insegnamento.

Ha curato sussidiari, libri di letture, diari scolastici. Assai intensa l'attività di scrittore, con oltre 30 titoli tra racconti, romanzi, fiabe, traduzioni e testi di divulgazione scientifica tradotti in tutte le lingue Orzowei , scritto da Manzi, è uno dei libri di letteratura italiana più tradotto nel mondo , che gli sono valsi riconoscimenti e premi internazionali.

Dal al '77 si è recato in Sud America ogni estate per corsi di scolarizzazione agli indigeni e attività sociali. Nel ha fatto parte della Commissione per la legge quadro in difesa dei minori. Nel è stato eletto sindaco di Pitigliano Grosseto , dove risiedeva. Qui si è spento il 4 dicembre Conversazione di Livio Partiti con Romano Montroni. Chi sono i media partners di Book Pride. Vini e incontri di qualità, che oppongono al modello agricolo industriale imperante esperienze concrete di una nuova contadinità etica e sostenibile.

Conversazione di Livio Partiti con Daria Galateria. Il Piccolo Principe sfugge a qualsiasi classificazione. Si sa del resto come era nato Il Piccolo Principe. Nel , Saint-Ex disegnava sulla tovaglia bianca, in un ristorante di New York, sorvegliato severamente dal cameriere. Ha scritto André Breton Milano, e ha curato la prima edizione commentata della Ricerca del tempo perduto di Proust , di cui ha pure pubblicato i primi quaderni preparatori Conversazione di Livio Partiti con Giorgio Manacorda.

Ci estingueremo con un semplice ritorno allo stato bestiale. In un mondo invaso da rettili mutanti, gli esseri umani sopravvivono aspettando la fine. I ricordi, le paure e le frustrazioni del protagonista rivivono in quelle lettere immaginarie mentre a teatro — ultimo tempio di civiltà — un gruppo di attori tenta di mettere in scena la tragedia di Edipo. Ma la storia avrà un esito imprevedibile. Giorgio Manacorda è nato a Roma nel Ha scritto vari saggi su autori di lingua tedesca da Goethe a Heiner Müller passando per Hofmannsthal, Roth, Kafka, Bachmann e altri e si è occupato di poesia italiana contemporanea.

Il suo libro più recente è Scrivo per te, mia amata e altre poesie , Scheiwiller Il corridoio di legno è il suo primo romanzo. Conversazione di Livio Partiti con Nadia Terranova. Aurora, figlia del fascistissimo Silini, ha sin da piccola l'abitudine di rifugiarsi in bagno a studiare, per prendere tutti nove immaginando di emanciparsi dalla sua famiglia, che le sta stretta.

I due si incontrano all'università, e pochi mesi dopo aspettano già una bambina. Parole uguali, significati diversi. Io combattevo, tu ti rifugiavi.

Se non ci fosse stata Mara ci saremmo persi subito, ma almeno non avremmo continuato a incolparci per le nostre solitudini. Erano anni in cui due ragazzi innamorati giocavano a fare i grandi, senza mai diventare adulti. Erano gli anni Settanta. La storia di un uomo e una donna che si amano, ma sono incapaci di sopravvivere all'utopia di un mondo da salvare.

Soprattutto, sono incapaci di salvarsi. Nadia Terranova è nata a Messina e vive a Roma. Tra i suoi libri, Bruno. Gli anni al contrario Einaudi Stile Libero è il suo primo romanzo. Conversazione di Livio Partiti con Nicla Vassallo.

Contro natura, o, meglio, matrimonio contro natura: Che il matrimonio omosessuale sia contro natura è convinzione di troppi nel nostro paese. Amoretti, ; Per sentito dire: Conversazione di Livio Partiti con Carlo Boccadoro. Il mondo, lo stile e tutto il resto. Conversazione di Livio Partiti con Carlo Infante.

Dopo il successo della I edizione che ha visto 50 città coinvolte e più di Le banche affiancano e sostengono la società civile come catalizzatori di cultura e creatività sul territorio, contribuendo ad accrescere la consapevolezza e le capacità espressive dei giovani, nutrendo la cultura del fare in comune per il bene in comune.

Carlo Infante — Urban Experience Dove: Conversazione di Livio Partiti con Aldo Tanchis. Dal vive a Milano, dove si occupa di comunicazione e iniziative culturali per aziende nazionali e internazionali. Ha scritto romanzi, saggi, spettacoli, sceneggiature.

Conversazione di Livio Partiti con Osvaldo Guerrieri. Grande giornalista, a 30 anni Malaparte ha diretto il quotidiano La Stampa ; è entrato nelle più sconvolgenti avventure del secolo: Non si notano che contraddizioni in Malaparte, uomo fragile dentro e forte fuori, pronto a tutti i compromessi pur di ricavarne un vantaggio.

Lo si vede nei rapporti prima con Mussolini e con il grande protettore Galeazzo Ciano, poi con Togliatti che riesce a sottrarlo alla legge penale. Lo si vede ancora nello scontro con il senatore Giovanni Agnelli, il nemico di una vita; oltre che nel turbinio degli amori mai veramente profondi, mai passionali, spesso strumentali e decorativi: Osvaldo Guerrieri è nato a Chieti e vive a Torino. È critico teatrale de La Stampa , attività per la quale ha ricevuto nel il premio Flaiano.

Vite maledette da Amedeo Modigliani a Carmelo Bene Questo libro, scritto con passione, non é né vuole essere un trattato di patologia vegetale, ma si propone, piuttosto, di descrivere, in forma molto semplice, talora intrisa di esperienze personali, alcune malattie delle piante che, in epoche differenti e in aree geografiche diverse, hanno causato danni assai gravi Questa è non solo la storia delle malattie delle piante ma anche di un medico delle piante.

Uno dei tanti che, con il suo lavoro quotidiano, cerca di contribuire alla disponibilità di cibo sano, sicuro, per tutti e a rendere più bello il mondo che ci circonda Quando non è in viaggio vive a Torino.

Per lavoro ha girato il mondo in lungo e in largo, con un valigino mezzo vuoto in partenza, pieno di pietre preziose e non e di stoffe colorate al ritorno.

Yes, Antonio García Barón really existed, as well as the jungle around him and his micro anarchic state with that forest as a background. But it gives us a territory on which to operate, and Azul Jacinto Marino claims this territory, it is this territory. We made a flag, an anarcho-syndicalist pattern of a red and black diagonal recreated with Huayruro seeds.

These seeds are used a lot in the Amazon, as protection, as an amulet, and in some cases as part of the mix used to prepare Ayahuasca, in order to potentiate it. This is the flag of Magical Anarchism. What is the relationship between oral tradition and your work? We were very much interested on what defines the crafting process. The creation of a Beni Ourain rug is a very fascinating way to leave the final result to chance. The women who weave allow themselves to see less than the last half meter of the work done, the rest is rolled up, and will not be seen until they finish it.

And since they can leave the work without finishing for weeks, sometimes months, once they come back to work on the rug, they are obliged to make an effort of memory to be able to follow the precedent path. And it always takes them somewhere else. It is as if the chance and fragility of memory were constantly inscribed in the final result of this rug crafting.

Is a thought mapping of sorts. And we like to believe it is a quite conscious modus operandi. It is like if they were inscribing chance and contingency of everyday life into a surface, a protection device which is this rug, that can be used as a cover or a collective bed for a family. It is a very beautiful way of claiming the necessity of chance and the aleatory. So yes, from this perspective it is familiar to the development of a discourse present in oral tradition, to its vulnerability, always in present tense, since one is always obliged to reactualize it because there is no archive, no registry to which to rely to.

And suddenly there is something that makes the glare of fascination around him shine with a certain intensity. And this something, which can be anything, a cup, a knife, a brunch of a tree or a coral fossil, whatever, makes you think: Millions of years, the substance of a succulent plant, its becoming a mineral, the relation between animal and man, plant and mineral, all this collapses into this one single arbitrary event, into this fiction.

And you will never be able to not see this asterism again. This is the great transformational power of cooperation between fiction and reality. In Vamoose all cacti jut torrid nites publication, Azul Jacinto Marino is assigned with the number 8 in the floor plan of the exhibition, right in the center of it, even if it is not corresponding to any work present inside the space.

AJM is the publication, and it signs it. And the publication works as the rug present in the exhibition space. One disappears while the other is revealed at the last page of the publication. I jet multi jaca revolutas to zona torrida cosmical inn Jinn animism juts aleatoric lizard calc-tattoo over u iztac and tiltic jalousie jets a narco moonlit rumor.

Azul Jacinto Marino a été conçu comme une plateforme, ou un territoire, une entité aux frontières mouvantes. Nous voulions concevoir un projet relativement vaste qui demandait une surface opérationnelle tout aussi vaste.

Depuis, Azul Jacinto Marino vit sa vie, comme entité polysémique, comme une surface, un personnage. En ce cas est-ce que AJM peut se transformer à chaque projet? Une sorte de shapeshifter? Oui on peut le voir comme un shapeshifter ou un trickster. Quelque chose qui peut aller quelque part, revenir totalement transformé, et raconter une histoire différente. Une boucle avec de possibles brèches et zones de non-droit. Oui, Antonio García Barón a vraiment existé, de même que la jungle autour de lui et son micro-Etat anarchiste, avec la forêt pour arrière-plan.

Mais cela nous offre un territoire sur lequel opérer et Azul Jacinto Marino revendique ce territoire, il est ce territoire. Parlons des hypothèses personnelles que vous pouvez faire à partir de ces lectures, plus particulièrement des éléments historiques et de la manière dont la tradition orale est transmise.

Quelle sens la tradition orale prend-elle dans votre travail? Nous étions très intéressés par ce qui définit le processus manuel. Et cela les emmène toujours ailleurs. Une sorte de cartographie de la pensée. Et vous ne pourrez jamais ne plus voir cette constellation. Azul Jacinto Marino incarne la publication et en même temps il la signe. Rometti Costales, Artefacts Travelling in the Depths of Marble Surface , ten framed C-prints and one C-print glued to aluminium and laminated, ; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 5.

Rometti Costales, Dedos de Antonio García Barón Fingers of Antonio García Barón , cactus, concrete cast of a coral fossil, concrete cast of a succulent plant, ; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 8.

Rometti Costales, Artefacts Travelling in the Depths of Marble Surface , ten framed C-prints and one C-print glued to aluminium and laminated, ; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 10, 11, Outside view of la synagogue de Delme, Photos: The Book Society 02 Space: 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: First in terms of its history, and then its architecture, and especially its location in a rural area.

In your view, what are the strengths and weaknesses of this context? The weakness could be its isolation in a rural area within a village of residents, 35 km from the towns of Metz and Nancy. But this isolation is relative: Delme is three hours by car from Brussels, Basel and Frankfurt, and Paris is only one-and-a-half hours from Metz or Nancy by train.

This region of eastern France has strong connections with other art scenes in Belgium, Holland, Luxemburg, Germany, Switzerland and other countries. Making the trip to Delme and finding yourself in this landscape — with fields as far as the eye can see — is part of the experience you get from the visit. It turns this visit into a special moment.

As for the place itself, its history and architecture have a magnetic power. This historical depth is what makes it so complex and interesting. Unlike the white cube and its supposed neutrality, a place like the Synagogue de Delme conceals infinite resources and questions, and this is what makes it so fascinating.

Where does Delme sit in the context of the overall French art policy? In a context of fiscal austerity, culture is jeopardised. Delme is a very small cog in a very large chain of cultural institutions that are going through major upheavals in terms of cultural policy.

In contexts like this, these ambitions should be supported all the more: The reality is more subtle and nuanced. Working collectively and as a network has always been an essential aspect of my way of conceiving my work as a curator and organisation director. I very naturally wanted to take part in PIANO because this platform further develops this spirit of collaboration and networking. Moreover, the meeting with Peep-Hole in Milan was decisive. This question of books as places of experimentation and research was also explored at Peep-Hole this summer with the second instalment of their project The Book Society.

Selon vous, quelles sont les forces et les faiblesses de ce contexte? Mais cet isolement est relatif: Quant au lieu lui-même, son histoire et son architecture dégagent une force magnétique. Les artistes ne peuvent venir avec un projet clef en main mais doivent se saisir des spécificités du lieu.

Comment situer Delme dans le contexte de politique artistique général français? Le volet médiation est extrêmement conséquent au vu des moyens alloués et il est pratiqué avec un engagement total au quotidien.

La réalité est plus délicate et nuancée. Ce sont des laboratoires, tant de la création que des modes de transmission à tous types de publics. Le message est parfois difficile à faire entendre dans le contexte actuel, qui prête davantage au repli sur soi et aux peurs de tous ordres. Par ailleurs, la rencontre avec Peep-Hole à Milan a été déterminante. The Book Society 02 Protagonists: Marie Cozette, Rometti Costales.

Performance Tuesday, October 27, 7. Simon Fravega , Mathilde Chénin Performers: A tutti i tipi di uccelli. Quelli che parlano, quelli che annunciano, quelli che cantano, quelli che ballano, quelli che non fanno nulla, quelli che si riuniscono in gruppi, quelli che migrano, quelli che non si vedono più.

Auguri, ornitologi e artisti hanno probabilmente in comune proprio questo: Simon Fravega e Mathilde Chénin. Il progetto di Simon Fravega e Mathilde Chénin è stato sviluppato in una residenza di ricerca presso Viafarini tra il 29 Settembre e il 29 Ottobre A ottobre , Viafarini accoglie per une mese di residenza di ricerca, un workshop e un evento performativo gli artisti francesi Emilie Parendeau, Simon Fravega e Mathilde Chénin. Simon Fravega et Mathilde Chénin. Simon Fravega , Emilie Parendeau.

Whilst we have certainly seen a merging, or crossover of practice between curators and artists over the past ten or twenty years, an artist curating is a different beast to a curator curating. Artists will always take more risks, because they are interested in that stuff of mistakes and failure as a means to begin an artistic process. It is often within the hic-cups and stumbling inherent to mistake making that contact-points are made in order to generate new ideas and work.

It is impossible to define what happened, although suggestion of a few words may get us some of the way there — quickness, slowness, intuition, experimenting, co-opting, co-authoring, collaborating, worrying, discussing, conversing, socialising, talking, listening, hearing, making, helping, suggesting, thinking, knowing, not knowing, never knowing, producing, co-producing — many times all these things at once.

As with anything produced creatively, therein lies a contribution that ignites further conversations and thinking, a tributary to a landscape of discussion, unconcerned of becoming actualised by becoming something tangible and accessible. The programme regularly perceived the exhibition as one multi-authored artwork rather than a space in which to show separate hermetic works, bringing a greater sense of authorship to exhibition making. The following questions acted as research for the programme: Can we become our own public s?

Each artist produced and presented new work in the gallery space at different times during the exhibition, choosing either to use or disregard what had gone before them.

Each artist took on the gallery as a temporary workplace akin to that of a studio, in which they found things which they must work with in some way. Despite the artists being in a group exhibition together, they did not personally meet during the exhibition, due to the applied curatorial structure concentrating on time rather than space. Urgency, quickness, response, co-authoring of works, audience communication. A reinvention of the solo show. Through not showing any Robert Barry works in a Robert Barry solo show, authorship and control, the things so avidly investigated and so articulated expressed originally by Barry, pass back onto the curator.

The curator pretends to be the solo artist, alongside the group of participating artists pretending to be the solo artist. The solo artist is still the solo artist. Six curators, one artist, one gallery, three weeks. The focus of Notes for an Exhibition was a move away from methods of teleological exhibition-making toward action, response and production, with an emphasis on collaboration and discussion, association and conversation.

I invited in the curators with a proposal: They therefore selected Desmond Church, who is an artist who works with proposals and propositional-based work. He would send the curators three separate proposals per week over three weeks, which the curators would then translate into works.

There was an events programme curated by Limbo neighbouring art space. Four events — a t-shirt sale, a talk, a gig then a screening — occured throughout the timescale of the exhibition, physically and conceptually shifting the exhibition continually, each event leaving a short-term legacy on the spatial framework before the next. So before each event we would make way for it, by moving and repositioning artworks. After the event, the artworks remained in place, they were not moved back, so allowing for a kind of physical legacy of what had happened each time, shifting the exhibition radically from beginning to end.

The show was not about Punk-rock. More over, the 3 minute punk-rock song was used as a framework in which to align certain artworks and artists together.

The works dealt with errors, spasms, glorious hiccups and splutters, reminiscent of our everyday stumblings. They dealt with a certain kind of generosity; a generosity of quickness, urgency, interruption and blurring. It was a project that concentrated on collaborative working processes, focusing on research and discussion as major factors in the art-making process, rather than making and showing.

It attempted to unravel working and thinking and push these often hidden processes public. This lead to A Way of Doing Things , where notions of the natural evolution of ideas and things become secondary to pragmatism and a sense of wanting to get things done. A Way of Doing Things was a reference point for discussion and thinking, which moved on to form something else.

So Event Show began with an idea that the artists involved could maybe use The Way Things Go as an analogy and a model for practice and art-making.

Rather than simply seeing TWTG as a film to be consumed and enjoyed, is it more interesting to use it as a tool in order to make new work from? My suggestion was based on the notion of replacing the objects in the film binbags, tyres, models, etc. The suggestion was to try and focus on the strands linking events rather than the events themselves, so that through a series of events, the links connecting them could be where concentration is placed, leading to some kind of recollection of TWTG.

I explained my proposal to the artists to produce this series of interconnected events. This allowed for an anonymous collaborative discussion between the artists, with the curator acting as facilitator through the entire process. Questions were sent by the facilitator curator to each expert artists. The artists would respond, then the facilitator would collate, edit and send the experts the condensed answers along with new questions relating.

This process was repeated until the events could be forecasted. The process of using The Delphi Method allowed the artists to incrementally refine their ideas for Event Show , which lead to 5 separate actions as part of one overall event, which happened on 3 June. The Press release read as follows:. What makes it unique both locally and internationally?

We try to fulfill this desire. Moreover, I think that the Museum is quite a unique place, for some very specific reasons. The collection and the exhibition spaces are in a Renaissance church, which was renovated in by the great Leon Battista Alberti.

In the last two centuries the building had changed several times its identity: Afterwards for a very long time it was an army deposit, until its final destination: The artist decided to ask two of his close friends, whose master had been the famous architect Giovanni Michelucci, to think about the renovation of the building and they made a very special project with brutalist roots and references to Albini, Scarpa and Michelucci.

A few years ago I decided to start the restoration of the Rucellai Chapel by Leon Battista Alberti, a great masterpiece of the Italian Renaissance, that originally was part of the church.

In the 19th century the passage between the Chapel and the church had been closed, and I decided to re-open it and connect it again to the museum. It seems to me that now the museum is a kind of time machine: The second reason that makes the museum unique is that we invest all our budget in production, production, production. How do you articulate contemporary creations and emerging art with the work of Marino Marini, who could be defined as a modern sculptor?

The exhibitions and the joint programmes dedicated to performance, music, dance, cinema, and literature are related to sculpture and to its transformations from the legacy of Marino Marini — both archaic and modernist — to the new generations of artists.

Marino Marini is a truly representative modern sculptor. Why including a programme of contemporary art in a museum —and one could also say in a city— which is dedicated to the research and conservation of a specific heritage? As we live in a city with a glorious past, whose artistic achievements have been so influential in the Western world, we have decided to operate in the present, counting on a heritage which is almost unique in its richness.

We mean to address the citizens of Florence and its metropolitan area, who participate in this heritage while needing to live in dialogue with the present time. We are one of the few institutions in Florence that focuses its activity on the local community. The dialogue with our everyday present is the key focus of our work.

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 have decided to participate in PIANO because sharing ideas and projects with other countries stimulates cultural and artistic growth. That is why we thought of profiting of this opportunity in the best possible way.

Our experience about the project Alfred Jarry Archipelago is giving excellent results and the French Institutions, even those that are active in Italy, have worked with us and they have offered a great collaboration. Museo Marino Marini Protagonists: Alberto Salvadori, Leonardo Bigazzi.

Che cosa lo rende unico a livello locale e internazionale? Il nostro obiettivo è realizzare questo desiderio. Penso che il museo sia un luogo unico per diverse ragioni. In seguito, per un lungo periodo di tempo, il sito fu usato come deposito di armi, fino alla sua destinazione finale, quella di sede del Museo Marino Marini. Il risultato fu un progetto molto particolare con radici brutaliste e riferimenti ad Albini, Scarpa e Michelucci.

Alcuni anni fa ho deciso di avviare il restauro della Cappella Rucellai di Leon Battista Alberti, un grande capolavoro del Rinascimento italiano, originariamente parte integrante della chiesa.

Il passaggio tra la cappella e la chiesa, chiuso nel XIX secolo, è stato riaperto e collegato nuovamente agli spazi del museo.

Ora il museo è una sorta di macchina del tempo: Il secondo elemento che rende il museo unico è la nostra scelta di investire tutto il nostro budget in produzione, produzione, produzione.

Marino Marini è una figura chiave della scultura moderna. Desideriamo rivolgerci ai cittadini di Firenze e della sua area metropolitana, che fanno parte di questa eredità e hanno allo stesso tempo il bisogno di vivere in dialogo con il presente. Siamo una delle poche istituzioni della città che concentra la propria attività sulla comunità locale. Il dialogo con il nostro presente e la nostra quotidianità è la chiave del lavoro che svolgiamo. Per quale motivo hai deciso di prendere parte al progetto e come si realizza la tua partecipazione?

Abbiamo deciso di prendere parte al programma PIANO perché la condivisione delle idee e dei progetti con altri Paesi stimola la crescita culturale e artistica.

È per questo che abbiamo deciso di approfittare di questa opportunità nel miglior modo possibile. La nostra esperienza con il progetto Alfred Jarry Archipelago sta dando eccellenti risultati e le istituzioni francesi, anche quelle attive in Italia, hanno lavorato con noi offrendo grande collaborazione.

Overview of the ground floor 3. Andrea Baccin When did the collaboration between you and Mark Manders begin, and why did you decide to start a publishing house? Roger Willems We worked together for the first time in After that we started Roma Publications.

We enjoyed making books independently and made our living with our other work. Over the years it slowly took over my practice and I hardly do commissioned work anymore. What is your approach to making a book? What are your selection criteria and what is the mission of Roma Publications? Often new books are connected to previous ones, with artists we worked with before. Besides that we choose intuitively and try not to do too many things.

Our goal is to keep it close to ourselves and grow steady by going on for many years. Not by making more books per year. What is the relationship between the book and the exhibition space? What is the relationship between exhibiting the book as an object and actually reading it? Most of the time books travel alone and end up in an endless amount of different contexts. Like a family reunion.

We are tiny and unskilled in what most professional publishers do such as distribution, but in the few years it has existed, it does create a sense of a group of people and interests. What makes your publishing house different from the others?

We are busy with other questions than to try and be different. Each publication seems to be a nice opportunity to try something. On a practical level the production money comes from different channels than sales so it frees us from a certain pressure other structures could have. Do you publish self-productions or books on commission? Both, it is increasingly difficult to make a difference between the two, especially when we also design books elsewhere for other publishing companies or commissioners.

What is your view on exhibiting a book in an exhibition space versus reading it? The journey to find it was as exciting as reading it. What is your approach to graphics in your projects, and what are the criteria in selecting the books you publish? There is a form of authorial translation but we suspect the whole thing is to broaden friendship… which leads to thinking that most people we have published are friends or have become one. Keren Detton Le Quartier was founded in on the initiative of the former director of the Quimper art school, Michel Pagnoux.

Its underpinnings were the intense competition in art, literature and film in Quimper and the implementation of the decentralisation policies initiated by Jack Lange in the mids. Le Quartier was set up in the same building as the art school but operated autonomously, enabling it to be part of a professional network to which students had special access.

Subsequently, the implementation of a contract with the state, region and department guaranteed that it would be possible to work with the public in a sustained way, particularly through the assistance they provided for the production of works and for mediation activities. Charles Esche described his ideal museum as fundamentally uncertain: The idea was to shake up the annual programme, introduce different rhythms, play on synchronic or diachronic effects, while preserving an artistic research space over the long term and continuing to do creative work with publications catalogues, anthologies of texts, artist books.

I also wanted to work on the porosity between the inside and outside in order to shatter the military aspect of this former barracks and highlight the seeing conditions.

It was as if visitors were both surprised and relieved to see the works integrated into their day-to-day life. Recently, artist and architect Catherine Rannou offered a visit to the worksite of an exhibition setup tackling architecture through language and imagination, radically transforming the institution.

I find it very stimulating when works speak to visitors on the level of their relationship to the body and to language. Le Quartier will be celebrating its 25th anniversary in a shaken political, economic and media context. As we speak, Le Quartier is being threatened by drastic budget cuts, and yet its balance sheet has been unanimously praised by all of its public partners. It runs an untimely programme alongside artists, investigates our visual cultures through images and language, and merrily crosses the boundaries between disciplines.

Yet it is being told to justify its legitimacy. Le Quartier is in a prime position between the art school, to which it offers genuine professional springboards, and the fine art museum, with which it collaborates regularly.

But above all it is a place of emerging forms and ideas, passions and questions. It is rooted in its territory and resonates with places elsewhere, and keeps up a dialogue with artists and visitors. Why did you wish to participate and what programme are you proposing? Alfred Jarry Archipelago was born of the desire to understand artistic creation today through Alfred Jarry, the father of pataphysics.

The project has turned into an open curatorial platform, which apprehends the legacy of the author of Ubu Roi not historically but speculatively.

Since he was a well-informed observer of the artists of his time, we decided to make way for Alfred Jarry the curator! Leonardo Bigazzi, curator at the Museo Marino Marini in Florence, is presenting a programme of performances. Eva Wittocx, curator at M — Museum and for the Playground Festival in Leuven Belgium is joining us by linking monographic exhibitions and performances.

The project framework is open enough to incorporate different points of view on this subversive figure full of contrasts, and to more closely examine his relationship to theatre, his projection of bodies and desire, his use of codes and absurdity, and the mixing of genres and identities. A publication in the form of an almanac will be the receptacle of this multiplicity of perspectives, with supplements provided by new contributors, authors and artists.

Charles Esche a décrit son musée idéal comme étant fondamentalement incertain: Je voulais aussi travailler sur la porosité entre le dedans et le dehors pour casser le côté militaire de cette ancienne caserne et mettre en exergue les conditions du regard. Le Quartier fêtera ses 25 ans cette année dans un contexte politique, économique et médiatique bouleversé. Pourtant, on le somme de justifier sa légitimité.

Par ailleurs, Eva Wittocx, curatrice au Museum M et pour le Playground Festival à Louvain Belgique nous a rejoints en associant des expositions monographiques et des performances. Dorothée Dupuis Could you talk about your formal influences? What do you look at? How do you think? How has your training as a designer informed how you produce forms in the exhibition sphere? It seems that the language of abstraction is still important for you.

Clémence Seilles I regularly go back and see images by my classical masters: Primordial shapes like circles, triangles, squares… enable me to concentrate more on narratives, circumstances and processes. I proceed from what societies tangibly produce to build themselves. I visit companies dealing in supplies or construction equipment, and go to rendering plants and product assembly factories. I idly drive through industrial estates in Italy, France, Germany and Holland.

On YouTube I watch guitar swirling in garages and industrial plastic machining. In this context, the work is at once an everyday object and something fantastical: Although my training as a designer informs manipulations of conventions much more than manipulations of shapes , the exhibition sphere, which is not very familiar with functional services and devices, opens up a fertile field of experiments that are more complicated to develop in the commercial sphere. Are you more of a Fassbinder, Wako or Beverly Hills ?

A gang can be Philip K. Cain , alone and condemned. I try to combine sustainable economic efficiency with the risk of alienation.

The gang — made up of artists, designers, composers, curators and architects who are all fanatical about hard beats — lives between Berlin, Amsterdam and Paris, and is heterogeneous and multifarious.

Emerge la centralità della figura umana, restituita in termini austeri ed essenziali. È partendo da questa riflessione che Anna Moro Lin ha costruito il suo progetto.

Fabrizio Monteverde; direzione artistica: Conferenza di Sergio Barizza:: Rossini Aergio Alapont direttore Lorenzo Regazzo regia:: Pur a cinque secoli di distanza, i quadri di Carpaccio e i video di Viola esprimono interrogativi e preoccupazioni simili, strettamente legati al tema della Renaissance: Rossini Sergio Alapont direttore Lorenzo Regazzo regia:: Salgado è riuscito a catturare immagini della natura, di animali e di popolazioni indigene di una bellezza talmente intensa e sconvolgente da lasciare senza fiato.

Il primo dei tre cicli di lezioni, Il Medioevo e il Gotico. Dal alla fine del , terminerà a marzo con una visita guidata a Padova:: ZOOM VAURO Il celebre disegnatore satirico toscano presenta "Storia di una professoressa", suo libro che ripercorre 40 anni di storia e scuola italiana, dagli anni 60 a oggi, alternando momenti di riflessione e divertimento, in un esempio emozionante di narrativa sociale.

Diventati adulti i due ragazzi prenderanno strade diverse. Regia di Jean Cocteau:: Regia di Jean Cocteau Precede le proeizioni la presentazione della rassegna curata da Roberto Zemignan:: Presente in sala il regista:: Sin dal Medioevo la città è stata un campo privilegiato per la pittura europea e grande mezzo di esaltazione e di propaganda delle virtù di uno Stato.

Paolo Zaffaina; Teatroasincrono — David Koutsogiannopoulos:: La disobbedienza civile delle donne friulane di fronte all'8 settembre di Paolo Comuzzi e Andrea Trangoni, con interventi di Maria Teresa Sega e Paola Schiratti:: Presente in sala il regista h. Composizioni ritmate da linee e piani sovrapposti, geometrie costruite sulla luce.

Paesaggi iper-reali, più veri del vero, surreali, sospesi, spesso impossibili. Figure umane svelate in negativo, sublimate in ombre lunghe. Presenza e assenza contemporaneamente. Corpi come paesaggi, e pianure e colline dai contorni antropomorfi.

Oltre fotografie raccontano la lunghissima storia di un fotografo conosciuto in tutto il mondo, Franco Fontana. Il Carnevale della fantasia e della natura. A Venezia, nel Carnevale , verrà rappresentato un enorme dizionario della fantasia: Gli attori della Comapagnia Pantakin accompagnati dagli allievi del Conservatorio Benedetto Marcello, accompagnano i piccoli visitatori in un viaggio attraverso antiche fiabe di Paesi lontani e non Presentazione della rassegna a cura di Giampiero Brunetta:: Tra i molti artisti di talento si distingue certamente Viktor Popkov: Le maschere della commedia dell'arte hanno un forte legame con il mondo animale e del fantastico.

Dalla maschera di Arlecchino, che ricorda a tratti una scimmia e altre volte un gatto, al naso arcuato di Pantalon dei Bisognosi, che ricorda il becco di un corvo o di un avvoltoio, alle spirali sulla fronte di Balanzone, che richiamano alla mente delle corna taurine. Atelier Carta Alta, coadiuvato dagli attori di Pantakin, offre una lezione-dimostrazione su alcune delle maschere più note della Commedia dell'Arte, al termine della quale sarà possibile assistere al processo di creazione di una maschera di cartapesta.

La programmazione, messa a punto coinvolgendo un alto numero di realtà artistiche del territorio, assicura una varietà di generi che va dal rock al reggae, all'house. Ingresso e attività gratuiti. Oggi il primo sabato di Carnevale tale commemorazione e il corteo che si snoda da San Pietro di Castello fino a San Marco diviene occasione per ammirare la bellezza e i costumi della Serenissima.

La divinità romana Diana, farà da guida ai visistatori in un viaggio alla scoperta della magia della Natura:: Si alternano le mattinate per le scuole seguite dagli operatori della Biennale, i laboratori curati da 22 scuole selezionate in Italia, le attività proposte dai Padiglioni di Argentina, Germania e Stati Uniti, e i workshop del Conservatorio Benedetto Marcello, Unicef e Word Food Programme. Il progetto si arricchisce anche della performance ideata da Virgilio Sieni che, con 18 danzatori e attori, porta in scena attorno a una casina di veri biscotti, un mondo popolato di personaggi fiabeschi e creature fantastiche, che proietterà i piccoli spettatori in una dimensione parallela da osservare con occhi e bocche spalancate 22, 23, 27 febbraio, 1, 2, 4 marzo.

Attraverso i racconti del Codega, interpretato dagli attori della Compagnia teatrale Pantakin, è possibile scoprire I segreti di Venezia. Un salto nel tempo nel cuore della vita della Serenissima e del suo Carnevale. I percorsi sono proposti in lingua italiana, inglese e francese. La venezianissima band coinvolgerà il pubblico, accompagnandolo in un viaggio alla ricerca di paesi lontani e di nature fantastiche, con il suo irresistibile mix di ritmi caraibici e latinoamericani perfettamente amalgamati con l'irrinunciabile dialetto veneziano.

Il 2 e 4 marzo saranno invece rispettivamente un ospite speciale e il gonfalone raffigurante il Leone alato di San Marco a calare volteggiando sul pubblico, in un suggestivo congedo del Carnevale.

Un meccanismo di votazione a eliminazione diretta coinvolge Piazza San Marco e gli ospiti del Gran Teatro — quest'anno il voto diventa anche social —, che decreteranno le maschere più belle delle sfilate 2 marzo , con una sezione particolare dedicata a La Natura Fantastica 3 marzo.

Durante le sfilate, ogni giorno spettacoli di intrettenimento di ogni genere, dall'esotico circo-teatro con Asante Kenya Acrobats alle quadriglie e i balli sabaudi, dal teatro comico alle inaspettate performance degli artisti di strada. Il mito di Lord Byron attraverso la vita, i viaggi, gli amori, le opere di Vincenzo Patané.

Gorge profonde francaise escort redon -

He would send the curators three separate proposals per week over three weeks, which the curators would then translate into works. La pratique de Sarah Vanhee mêle performance, gorge profonde francaise escort redon, arts visuels et littérature. La presenza straordinariamente decisiva delle donne nella storia biblica — da Eva a Maria, passando per Agar, Rachele, Giuditta, Ester, Elisabetta, Lidia, la diacona Febe, e molte altre — ci fa interrogare sul come mai, nella storia della Chiesa, la Parola biblica sia stata negata alle menti e alla bocca delle donne. Autore di importanti saggi scientifici e divulgativi, ha pubblicato da Mondadori Un male curabileDa bambino avevo un sognoIl diritto di morireIl diritto di porn from cz massage sexe var soffrire Lunette lo porta sin dove arrivano, insieme alla dedizione, la gelosia e lo strazio.

3 Replies to “Gorge profonde francaise escort redon”

Leave a Reply

Your email address will not be published. Required fields are marked *