Podcasts about centre georges pompidou

durée : 00:02:26 - Les 80'' - par : Nicolas Demorand - Une déambulation, une découverte d'un monde méconnu, souvent même inconnu. Le « Paris noir », une exposition au Centre Georges Pompidou et sans doute l'une des émotions esthétique et politique les plus fortes qu'on j'ai vécue cette saison. Ali Baddou vous la conseille.

Bureaucratic Archaeology: State, Science and Past in Postcolonial India (Cambridge UP, 2022) presents a novel ethnographic examination of archaeological practice within postcolonial India, focusing on the Archaeological Survey of India (ASI) as a site where scientific knowledge production intersects with state bureaucracy. Through granular analysis of ASI's quotidian operations, this monograph demonstrates how archaeological micro-practices materially influence the construction of political and religious identities, while simultaneously serving as empirical evidence in India's highest judicial proceedings. This unprecedented study illuminates the epistemological ecology of postcolonial knowledge production from within the bureaucratic apparatus itself. As the first book-length investigation of archaeological practice beyond the Euro-American tradition, it reveals how non-Western archaeological theory and methodology generate distinct forms of knowledge, thereby expanding our understanding of archaeology's role in postcolonial state formation. About the Author: Ashish Avikunthak is a distinguished scholar working at the intersection of archaeology, cultural anthropology, and avant-garde filmmaking. He is Professor of Film Media at the University of Rhode Island's Harrington School of Communication, where his research bridges theoretical and practical approaches to cultural production. His experimental films have been exhibited internationally at prestigious institutions including Tate Modern, Centre Georges Pompidou, and Pacific Film Archive, as well as major film festivals such as Rotterdam and Locarno. About the Host: Stuti Roy has recently completed her MPhil in Modern South Asian Studies at the University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Bureaucratic Archaeology: State, Science and Past in Postcolonial India (Cambridge UP, 2022) presents a novel ethnographic examination of archaeological practice within postcolonial India, focusing on the Archaeological Survey of India (ASI) as a site where scientific knowledge production intersects with state bureaucracy. Through granular analysis of ASI's quotidian operations, this monograph demonstrates how archaeological micro-practices materially influence the construction of political and religious identities, while simultaneously serving as empirical evidence in India's highest judicial proceedings. This unprecedented study illuminates the epistemological ecology of postcolonial knowledge production from within the bureaucratic apparatus itself. As the first book-length investigation of archaeological practice beyond the Euro-American tradition, it reveals how non-Western archaeological theory and methodology generate distinct forms of knowledge, thereby expanding our understanding of archaeology's role in postcolonial state formation. About the Author: Ashish Avikunthak is a distinguished scholar working at the intersection of archaeology, cultural anthropology, and avant-garde filmmaking. He is Professor of Film Media at the University of Rhode Island's Harrington School of Communication, where his research bridges theoretical and practical approaches to cultural production. His experimental films have been exhibited internationally at prestigious institutions including Tate Modern, Centre Georges Pompidou, and Pacific Film Archive, as well as major film festivals such as Rotterdam and Locarno. About the Host: Stuti Roy has recently completed her MPhil in Modern South Asian Studies at the University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Bureaucratic Archaeology: State, Science and Past in Postcolonial India (Cambridge UP, 2022) presents a novel ethnographic examination of archaeological practice within postcolonial India, focusing on the Archaeological Survey of India (ASI) as a site where scientific knowledge production intersects with state bureaucracy. Through granular analysis of ASI's quotidian operations, this monograph demonstrates how archaeological micro-practices materially influence the construction of political and religious identities, while simultaneously serving as empirical evidence in India's highest judicial proceedings. This unprecedented study illuminates the epistemological ecology of postcolonial knowledge production from within the bureaucratic apparatus itself. As the first book-length investigation of archaeological practice beyond the Euro-American tradition, it reveals how non-Western archaeological theory and methodology generate distinct forms of knowledge, thereby expanding our understanding of archaeology's role in postcolonial state formation. About the Author: Ashish Avikunthak is a distinguished scholar working at the intersection of archaeology, cultural anthropology, and avant-garde filmmaking. He is Professor of Film Media at the University of Rhode Island's Harrington School of Communication, where his research bridges theoretical and practical approaches to cultural production. His experimental films have been exhibited internationally at prestigious institutions including Tate Modern, Centre Georges Pompidou, and Pacific Film Archive, as well as major film festivals such as Rotterdam and Locarno. About the Host: Stuti Roy has recently completed her MPhil in Modern South Asian Studies at the University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/archaeology

Bureaucratic Archaeology: State, Science and Past in Postcolonial India (Cambridge UP, 2022) presents a novel ethnographic examination of archaeological practice within postcolonial India, focusing on the Archaeological Survey of India (ASI) as a site where scientific knowledge production intersects with state bureaucracy. Through granular analysis of ASI's quotidian operations, this monograph demonstrates how archaeological micro-practices materially influence the construction of political and religious identities, while simultaneously serving as empirical evidence in India's highest judicial proceedings. This unprecedented study illuminates the epistemological ecology of postcolonial knowledge production from within the bureaucratic apparatus itself. As the first book-length investigation of archaeological practice beyond the Euro-American tradition, it reveals how non-Western archaeological theory and methodology generate distinct forms of knowledge, thereby expanding our understanding of archaeology's role in postcolonial state formation. About the Author: Ashish Avikunthak is a distinguished scholar working at the intersection of archaeology, cultural anthropology, and avant-garde filmmaking. He is Professor of Film Media at the University of Rhode Island's Harrington School of Communication, where his research bridges theoretical and practical approaches to cultural production. His experimental films have been exhibited internationally at prestigious institutions including Tate Modern, Centre Georges Pompidou, and Pacific Film Archive, as well as major film festivals such as Rotterdam and Locarno. About the Host: Stuti Roy has recently completed her MPhil in Modern South Asian Studies at the University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Bureaucratic Archaeology: State, Science and Past in Postcolonial India (Cambridge UP, 2022) presents a novel ethnographic examination of archaeological practice within postcolonial India, focusing on the Archaeological Survey of India (ASI) as a site where scientific knowledge production intersects with state bureaucracy. Through granular analysis of ASI's quotidian operations, this monograph demonstrates how archaeological micro-practices materially influence the construction of political and religious identities, while simultaneously serving as empirical evidence in India's highest judicial proceedings. This unprecedented study illuminates the epistemological ecology of postcolonial knowledge production from within the bureaucratic apparatus itself. As the first book-length investigation of archaeological practice beyond the Euro-American tradition, it reveals how non-Western archaeological theory and methodology generate distinct forms of knowledge, thereby expanding our understanding of archaeology's role in postcolonial state formation. About the Author: Ashish Avikunthak is a distinguished scholar working at the intersection of archaeology, cultural anthropology, and avant-garde filmmaking. He is Professor of Film Media at the University of Rhode Island's Harrington School of Communication, where his research bridges theoretical and practical approaches to cultural production. His experimental films have been exhibited internationally at prestigious institutions including Tate Modern, Centre Georges Pompidou, and Pacific Film Archive, as well as major film festivals such as Rotterdam and Locarno. About the Host: Stuti Roy has recently completed her MPhil in Modern South Asian Studies at the University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Bureaucratic Archaeology: State, Science and Past in Postcolonial India (Cambridge UP, 2022) presents a novel ethnographic examination of archaeological practice within postcolonial India, focusing on the Archaeological Survey of India (ASI) as a site where scientific knowledge production intersects with state bureaucracy. Through granular analysis of ASI's quotidian operations, this monograph demonstrates how archaeological micro-practices materially influence the construction of political and religious identities, while simultaneously serving as empirical evidence in India's highest judicial proceedings. This unprecedented study illuminates the epistemological ecology of postcolonial knowledge production from within the bureaucratic apparatus itself. As the first book-length investigation of archaeological practice beyond the Euro-American tradition, it reveals how non-Western archaeological theory and methodology generate distinct forms of knowledge, thereby expanding our understanding of archaeology's role in postcolonial state formation. About the Author: Ashish Avikunthak is a distinguished scholar working at the intersection of archaeology, cultural anthropology, and avant-garde filmmaking. He is Professor of Film Media at the University of Rhode Island's Harrington School of Communication, where his research bridges theoretical and practical approaches to cultural production. His experimental films have been exhibited internationally at prestigious institutions including Tate Modern, Centre Georges Pompidou, and Pacific Film Archive, as well as major film festivals such as Rotterdam and Locarno. About the Host: Stuti Roy has recently completed her MPhil in Modern South Asian Studies at the University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Bureaucratic Archaeology: State, Science and Past in Postcolonial India (Cambridge UP, 2022) presents a novel ethnographic examination of archaeological practice within postcolonial India, focusing on the Archaeological Survey of India (ASI) as a site where scientific knowledge production intersects with state bureaucracy. Through granular analysis of ASI's quotidian operations, this monograph demonstrates how archaeological micro-practices materially influence the construction of political and religious identities, while simultaneously serving as empirical evidence in India's highest judicial proceedings. This unprecedented study illuminates the epistemological ecology of postcolonial knowledge production from within the bureaucratic apparatus itself. As the first book-length investigation of archaeological practice beyond the Euro-American tradition, it reveals how non-Western archaeological theory and methodology generate distinct forms of knowledge, thereby expanding our understanding of archaeology's role in postcolonial state formation. About the Author: Ashish Avikunthak is a distinguished scholar working at the intersection of archaeology, cultural anthropology, and avant-garde filmmaking. He is Professor of Film Media at the University of Rhode Island's Harrington School of Communication, where his research bridges theoretical and practical approaches to cultural production. His experimental films have been exhibited internationally at prestigious institutions including Tate Modern, Centre Georges Pompidou, and Pacific Film Archive, as well as major film festivals such as Rotterdam and Locarno. About the Host: Stuti Roy has recently completed her MPhil in Modern South Asian Studies at the University of Oxford.

Paloma Checa-Gismero talks about the many processes of re-evaluation, re-contextualization, and re-animation that designates an object as art. To illustrate this point, she calls our attention to the work of artists like Mierle Laderman Ukeles in the 1970s, or the 1989 exhibition titled Magiciens de la terre at the Centre Georges Pompidou in Paris. She develops the concept of aesthetic conversions in her new book about the histories and geographies of art biennials, which, in the post cold war world, converted subaltern aesthetic genealogies into forms that were legible to a nascent cosmopolitan global elite. Paloma Checa-Gismero is a historian of global contemporary art. She is Assistant Professor of Art History at Swarthmore College. Originally trained as an artist, she has been an active art critic since 2009. Her scholarship and criticism have been published in Afterall, FIELD, Third Text, The Journal of Modern Craft, among others. She is the author of Biennial Boom: Making Contemporary Art Global (Duke University Press, 2024). Image: © 2023 Saronik Bosu. It is a tilted and warped version of the capital letter B that spills out of the frame, its three parts in maroon, violet, and deep green, against a yellow ochre background. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Paloma Checa-Gismero talks about the many processes of re-evaluation, re-contextualization, and re-animation that designates an object as art. To illustrate this point, she calls our attention to the work of artists like Mierle Laderman Ukeles in the 1970s, or the 1989 exhibition titled Magiciens de la terre at the Centre Georges Pompidou in Paris. She develops the concept of aesthetic conversions in her new book about the histories and geographies of art biennials, which, in the post cold war world, converted subaltern aesthetic genealogies into forms that were legible to a nascent cosmopolitan global elite. Paloma Checa-Gismero is a historian of global contemporary art. She is Assistant Professor of Art History at Swarthmore College. Originally trained as an artist, she has been an active art critic since 2009. Her scholarship and criticism have been published in Afterall, FIELD, Third Text, The Journal of Modern Craft, among others. She is the author of Biennial Boom: Making Contemporary Art Global (Duke University Press, 2024). Image: © 2023 Saronik Bosu. It is a tilted and warped version of the capital letter B that spills out of the frame, its three parts in maroon, violet, and deep green, against a yellow ochre background. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

durée : 00:29:38 - Une histoire particulière - par : Alain Lewkowicz - 31 janvier 1977, c'est en grandes pompes que le Centre Georges Pompidou ouvre ses portes. John Guez, lui, est déjà là, avec sa partenaire de l'époque, une poule naine anglaise. - réalisation : Nathalie Salles

durée : 00:29:38 - Une histoire particulière - par : Alain Lewkowicz - 31 janvier 1977, c'est en grandes pompes que le Centre Georges Pompidou ouvre ses portes. John Guez, lui, est déjà là, avec sa partenaire de l'époque, une poule naine anglaise. - réalisation : Nathalie Salles

Jorge Molder, Lisboa, 1947. Licenciado em Filosofia pela Faculdade de Letras da Universidade de Lisboa. A partir do final dos anos 70 dedica-se à fotografia, alicerçando todo o seu trabalho na pesquisa sobre a auto-representação, frequentemente evocando personagens do mundo literário e artístico como Joseph Conrad, Samuel Beckett, Lucian Freud e Francis Bacon, através da construção de narrativas seriadas ficcionadas. As diferentes séries articulam-se numa sequência performativa na qual o artista constrói um universo a partir das suas referências filosóficas, cinematográficas e literárias. Neste jogo de ambivalências encontramos também a própria fotografia e a sua história, no confronto entre o registo documental da realidade e a sua dimensão espectral. Entre 1990 e 2009 foi o diretor do Centro de Arte Moderna da Fundação Calouste Gulbenkian. O artista representou Portugal nas Bienais de São Paulo (1994) e de Veneza (1999). Em 2007, recebeu o prémio da AICA/Associação Internacional de Críticos de Arte, em 2010 o Grande Prémio EDP/Arte, e em 2014 o Prémio da Sociedade Portuguesa de Autores.A sua obra tem sido exibida em exposições nacionais e internacionais em instituições de renome, entre outros, MAAT, Lisboa, Centre Georges Pompidou, Paris, Centro Cultural de Belém, Lisboa; Serralves, Porto, Hamburger Kunsthalle, Hamburgo, Palazzo Fortuny Veneza, Palais des Beaux-arts de Bruxelas, e Fundação Calouste Gulbenkian, Lisboa; e está representada em diversas coleções públicas e privadas, nacionais e internacionais. Links: https://www.miguelnabinho.com/jorgemolder/ https://www.publico.pt/1999/05/28/jornal/o-fotografo-e-o-seu-duplo-em-veneza-134104 https://rr.sapo.pt/noticia/vida/2023/04/10/jorge-molder-revela-22-obras-ineditas-na-exposicao-grandes-planos/327107/ https://www.publico.pt/2013/01/26/culturaipsilon/noticia/fotografia-de-jorge-molder-e-primeira-obra-de-arte-portuguesa-a-entrar-na-colecao-da-unesco-1582181 https://aica.pt/awards/aica-mc-millennium-bcp https://www.fundacaoedp.pt/pt/edicao-premio/grande-premio-fundacao-edp-arte-2010 https://gulbenkian.pt/cam/artist/jorge-molder/ https://contemporanea.pt/edicoes/04-05-06-2023/conversa-com-jorge-molder https://www.serralves.pt/ciclo-serralves/2104-jorge-molder-obras-da-colecao-de-serralves/ Episódio gravado a 26.09.2024 Créditos introdução: David Maranha - Flauta e percussão Música final: Nardis, Interpretado por Bill Evans Trio, Escrita por Miles Davis, Produzida por Orrin Keepnews http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral / A2P / MyStory Hotels Apoio:Câmara Municipal de Lisboa Financiamento:República Portuguesa – Cultura / DGArtes – Direcção Geral das Artes

For the 29th episode of "Reading the Art World," host Megan Fox Kelly speaks with Richard Shiff, art historian and author of “Writing after Art,” published by David Zwirner Books. Richard shares how he comes to understand an artist's work in a way that will inspire us to observe and understand artists and their processes more fully.“Writing after Art” is an expansive anthology of Richard Shiff's most influential writings, many of which have shaped the art world's understanding of 20th and 21st century artists. These writings first appeared in exhibition catalogs for institutions including the Centre Georges Pompidou, the Solomon R. Guggenheim Museum, The Museum of Modern Art, New York, and Tate Modern, and they spotlight modern masters such as Willem de Kooning, Marlene Dumas, Jasper Johns, Donald Judd, Barnett Newman, Pablo Picasso, Bridget Riley and Peter Saul.Richard Shiff is the Effie Marie Cain Regents Chair in Art at The University of Texas at Austin. His interests range broadly across the field of modern and contemporary art. His publications include Barnett Newman: A Catalogue Raisonné (coauthored, 2004), Doubt (2008), Between Sense and de Kooning (2011), Ellsworth Kelly: New York Drawings 1954–1962 (2014), Joel Shapiro: Sculpture and Works on Paper 1969–2019 (2020), and Sensuous Thoughts: Essays on the Work of Donald Judd (2020). He is currently completing a comprehensive study of the art of Jack Whitten.PURCHASE THE BOOK:  David Zwirner BooksSUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

Ghada Amer was born in Cairo, Egypt in 1963 and moved to Nice, France when she was eleven years old. She remained in France to further her education and completed both of her undergraduate requirements and MFA at Villa Arson École Nationale Supérieure in Nice (1989), during which she also studied abroad at the School of the Museum of Fine Arts in Boston, Massachusetts in 1987. In 1991 she moved to Paris to complete a post-diploma at the Institut des Hautes Études en Arts Plastiques. Following early recognition in France, she was invited to the United States in 1996 for a residency at the University of North Carolina, Chapel Hill. She has since then been based in New York.   Ghada's work is in public collections around the world including The Arab Museum of Modern Art, Doha; the Art Institute of Chicago, Chicago, IL; the Barjeel Art Foundation, Sharjah; the Brooklyn Museum of Art, New York, NY; Centre Georges Pompidou, Paris; Chrysler Museum of Art, Norfolk, VA; Crystal Bridges Museum of American Art, Bentonville, AR; the Guggenheim Museum, Abu Dhabi; the Israel Museum, Jerusalem; the Samsung Museum, Seoul; among others. She is regularly invited to prestigious group shows and biennials-such as the Whitney Biennial in 2000 and the Venice Biennales of 1999 (where she won the UNESCO Prize), 2005 and 2007. She was recognized with a mid-career retrospective at the Brooklyn Museum of Art in New York in 2008 and a larger, more extensive one at the MUCEM and across other venues in Marseille, France in 2022. Amer studied at the Villa Arson École Nationale Supérieure in Nice, France, at the School of the Museum of Fine Arts in Boston, MA, and at the Institut des Hautes Études en Arts Plastiques in Paris. She lives and works in New York.

Barbara Paltenghi Malacrida"Enrico Castellani"Mostra al Museo d'Arte MendrisioFino al 7 luglio 2024www.museo.mendrisio.chDipinti, superfici a rilievo, opere su carta, installazioni, sculture, stampe e un'intera sezione documentaria - con alcuni inediti - sono presentati nel percorso espositivo con pertinenza cronologica attraverso le sale, ciascuna delle quali è dedicata a un momento specifico della ricerca di Castellani. La mostra è curata da Barbara Paltenghi Malacrida, Francesca Bernasconi, Federico Sardella, ed è organizzata in collaborazione con la Fondazione Enrico Castellani.  Dalle composizioni ad olio e fili su tela ai disegni della fine degli anni Cinquanta (Ombre) che hanno aperto la strada alle tele "estroflesse", dai dittici e dalle superfici angolari alle enigmatiche installazioni (Il muro del tempo, Spartito), da una selezione di stampe alle ultime opere realizzate in alluminio aeronautico, l'esposizione distribuita sui 600 metri quadrati del Complesso dei Serviti permetterà agli spettatori di avere una visione completa della pratica artistica di Castellani, dai meno noti esordi all'elaborazione del suo linguaggio più conosciuto. La mostra si avvale del sostegno della Banca del Sempione, del contributo della Repubblica e Cantone Ticino, Fondo Swisslos, e della media partnership di RSI Rete 2.La presenza di Enrico Castellani (1930-2017) sulla scena artistica della seconda metà del Novecento, è stata certamente tra le più influenti e carismatiche, grazie alla sua costante e rigorosa ricerca intorno al concetto di spazio e di tempo, e alla loro rappresentazione.Nel 1952 si trasferisce in Belgio dove, dopo un iniziale passaggio all'Académie Royale des Beaux-Arts di Bruxelles, preferisce seguire studi in architettura frequentando l'École nationale supérieure d'architecture et des arts décoratifs de La Cambre, dove si laurea nel 1956. Al suo ritorno in Italia incontra l'artista Piero Manzoni, con il quale sviluppa una profonda amicizia e uno straordinario sodalizio artistico. Nel 1959 fondano la fondamentale rivista "Azimuth" (uscita in soli due numeri) e la quasi omonima galleria Azimut, che presenta 13 mostre nell'arco di 8 mesi con l'obiettivo di esplorare le tendenze artistiche più innovative che si stavano sviluppando non solo in Italia ma anche all'estero.Se le prime opere sono debitrici di un certo tipo di espressionismo astratto, in particolare della pittura segnica di Mark Tobey, a partire dalla fine degli anni Cinquanta Castellani sviluppa una pratica artistica personale e ben riconoscibile, che lo rende protagonista della nuova scena culturale europea. Le sue tele monocrome, in cui la superficie viene modificata e ritmata da sequenze accuratamente studiate di estroflessioni e introflessioni, catturano infatti rapidamente l'attenzione del panorama artistico contemporaneo, di cui diventa una delle figure più influenti. Viene invitato a presentare le sue opere a mostre fondamentali come Monochrome Malerei(Leverkusen, 1960), The Responsive Eye (MoMA, 1965) ed è presente più volte alla Biennale di Venezia (nel 1964 e nel 1966).Nei decenni successivi persegue il suo affascinante, quanto misterioso, alfabeto visivo con rigorosa determinazione e il suo lavoro viene regolarmente presentato in mostre nazionali e internazionali come Vitalità del negativo nell'arte italiana 1960/70 (Palazzo delle Esposizioni, Roma 1970), Identité italienne. L'art en Italie depuis 1959 (Centre Georges Pompidou, Parigi, 1981), The Italian Metamorphosis, 1943-1968 (Solomon R. Guggenheim Museum, New York 1994). La sua straordinaria carriera culmina nel 2010 con il conferimento a Tokyo del Praemium Imperiale per la pittura, il più alto riconoscimento artistico. Enrico Castellani muore a Celleno nel 2017. Il progetto espositivo sviluppato dal Museo d'arte Mendrisio in stretta collaborazione con la Fondazione Enrico Castellani costituisce la prima presentazione del suo lavoro in un museo svizzero e la prima retrospettiva organizzata dopo la morte dell'artista avvenuta nel 2017. Il catalogoIl catalogo bilingue (italiano/inglese) presenta nuove riproduzioni di tutte le opere esposte e cinque saggi incentrati su aspetti specifici dell'opera e della vita di Castellani. Ester Coen analizza gli inizi della sua carriera e l'esperienza di Azimut/h, Paolo Bolpagni gli aspetti musicali delle sue composizioni, Fulvio Irace riflette sul rapporto dell'artista con l'architettura, Federico Sardella offre una panoramica della sua produzione artistica attraverso un prisma geografico e Barbara Paltenghi Malacrida fornisce una valutazione della ricezione critica della sua opera. L'appendice comprende una nuova nota biografica e una storia espositiva e bibliografica aggiornata.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.it Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

durée : 00:59:11 - Le 13/14 - par : Bruno Duvic - Nous recevons aujourd'hui Catherine Meurisse, illustratrice, dessinatrice de presse et auteure de bande dessinée, Etienne Davodeau, dessinateur et scénariste de bandes dessinées et Anne Lemonnier, conservatrice spécialisée en art graphique au Musée national d'art moderne.

Brian Calvin b.1969 Lives and works in Ojai, CA.
Calvin studied at the University of California, Berkeley and at The Art Institute of Chicago. He received the California Arts Council Fellowship and an art residency from Art Production Fund, Giverny, France. Calvin has exhibited at Anton Kern Gallery, New York; Corvi Mora, London; Cabinet, Milan; Almine Rech Gallery, Brussels; Corbett vs. Dempsey, Chicago; Mu.ZEE, Ostend, Belgium; Le Consortium, Dijon, France; Marc Foxx, Los Angeles, CA; and Gallery Side 2, Tokyo. Among his group exhibitions are at Museum of Contemporary Art, Lyon; Astrup Fearnley Museet, Oslo; Samsung Museum of Art, Seoul; Museum of Contemporary Art, Los Angeles, CA; and the Centre Georges Pompidou, Paris, among other places. His work is included in the collections of the Aïshti Foundation, Beirut; DePaul Art Museum, Chicago; Los Angeles County Museum of Art; and Orange County Museum of Art, Newport Beach, CA. He has a show up now at Anton Kern Gallery, check it out!

durée : 00:44:59 - Les Nuits de France Culture - par : Philippe Garbit - Au mitan des années 70, l'édification du Centre Georges Pompidou, ne fait pas l'unanimité parmi les Parisiens. Certains l'adorent, d'autres le jugent trop avant-gardiste, trop onéreux. L'essai radiophonique donne à entendre les avis divergents. Est-ce "un lieu de parole ou un dialogue de sourds" ? - invités : Francis Ponge Poète

Escrito y narrado por. Susana Benko Los años sesenta en Francia significaron, en palabras de Yves Klein, “un exceso del arte moderno”. Paralelo a las acumulaciones que acabamos de comentar en un micro anterior sobre Arman, artistas como Jean Tinguely, Raymond Hains, Christo, César y los mismos Klein y Arman, desafiaron escalas y resoluciones artísticas con sus experiencias tales como los empaquetamientos y compresiones de objetos y de vehículos, la reelaboración de obras de arte como “maquinarias” y las improntas corporales, entre otras acciones. Todo ello llevó a Pierre Restany, uno de los críticos de arte más importantes de la vanguardia francesa de mitad del siglo XX, a concluir que una nueva percepción de la realidad se estaba gestando en el arte debido a las reacciones de estos artistas. De allí la denominación “Nouveau Réalisme” o “Nuevo Realismo”, tomado en préstamo del movimiento literario y artístico francés de fines del siglo XIX que mostraba la realidad cotidiana tal como es. Bajo el mismo principio, los “nuevos realistas” referían con sus obras a la condición urbana y consumista de la sociedad que les tocó vivir. Estos artistas, más que representar esta realidad a través de imágenes, la presentaban directamente mediante objetos de uso cotidiano convertidos en obras de arte. Restany redactó en 1960 el “Primer Manifiesto del Nuevo Realismo”. En ese importante documento firmaron Klein, Arman, François Dufrêne, Raymond Hains, Martial Raysse, Daniel Spoerri, Jean Tinguely, Jacques Villeglé y el propio Pierre Restany. Conformaron un grupo que despertó la conciencia colectiva en varios artistas, razón por la que prontamente, en 1961, se sumaron César, Mimmo Rotella, Niki de Saint Phalle y Gérard Deschamps. Si bien los “empaquetamientos” de objetos de grandes dimensiones y las posteriores intervenciones urbanas de Christo constituyeron acciones muy próximas a la sensibilidad de este movimiento, él no perteneció a este grupo. Él mismo ubicaba su obra en la categoría de “Public Art”, “Arte público”. La principal motivación del “Nuevo Realismo”, entonces, era reunir a artistas de diversas tendencias y lenguajes teniendo en común la apropiación directa de la realidad. Conscientes de sus diferencias, los animaba este mismo objetivo. No obstante, como grupo, duraron poco: se disolvieron en 1963. Pese a esto, las ideas suscritas en tres manifiestos redactados por Restany, así como las obras y las acciones que estos artistas impulsaron, dejaron asentadas su voluntad de crear “nuevos acercamientos perceptivos de la realidad” y sin duda éstas constituyeron el basamento conceptual de sus respectivas obras. Por ello, se dice que la influencia del “Nuevo Realismo” perduró hasta entrada la década de los ochenta. Así, cada uno con sus singularidades continuó con el espíritu de ese colectivo: crearon, acumularon, destruyeron, ensamblaron, empacaron, comprimieron y, en todos estos “gestos”, está presente una parte del pensamiento de Restany cuando éste escribió que el “Nuevo Realismo” es “un reciclaje poético de lo real urbano, industrial, publicitario”. También fue una respuesta desde Europa al Pop Art norteamericano, movimiento centrado en la representación de la imagen de objetos de consumo. Esa tendencia era vista por los europeos como un hecho comercial y no como la respuesta crítica y cuestionadora, desde el arte, de una sociedad extremadamente materialista. FOTO: Daniel Spoerri La ducha (Serie: Desengañar el ojo), 1961 Óleo sobre tela, grifo, tubería y cabezal de ducha en panel sobre madera Colección Centre Georges Pompidou, París Fotografía: Archivo Susana Benko 

Vendredi 10 novembre 2023, la classe média de 2nde du lycée Saint-Stanislas de Nantes a enregistré ses émissions musicales, sportives et culturelles dans nos studios. GENERATION RAP - Animation : Hugo - la chronique de Charles sur le rappeur Rsko Extraits musicaux : Gasolina (feat Rsko) - Tiakola / Comme ça - Rsko - la chronique de Sacha sur le rappeur Favé Extraits musicaux : Urus - Favé / Flashback (feat Gazo) - Favé - l'interview mené par Milàn de Maxime du label Elektra (interprété par Augustin) - Réalisation : Ombline Pause musicale : Haunted Pt.1 - Dswade808 SPORT INFO - Animation : Inès - l'interview mené par Simeon d'Aitana Bonmatí, Ballon d'or féminin 2023 (interprétée par Violaine) - la chronique de Raphaël sur le bastetteur Victor Wembanyama - la chronique de Raphaël sur le bodybuilder Chris Bumstead, gagnant du Mr Olympia - Réalisation : Louis Pause musicale : Sonar - Morad RADIO DAR - Animation : Rosalie - la chronique de Félicité sur son amour de théâtre - l'interview mené par Alain de Chloé Prime, photographe reconnue exposée au Centre Georges Pompidou (interprétée par Chloé) - la chronique de Victor - Journaliste et invitée : Alain et Chloé - Réalisation : Titouan Pause musicale : Une barque sur l'océan - André Laplante Un atelier réalisé le vendredi 10 novembre 2023 et animé par Colin Gruel et Julia Martin dans le cadre des ateliers d'initiation aux pratiques radiophoniques « A vous les Studios » organisés par Radio Campus Paris.  

Comment gérer l'héritage des siècles passés ? Comment transformer une conscience collective aveugle ? Peut-on raviver la démocratie ? Pourquoi miser sur l'intelligence collective ? Mathieu Potte-Bonneville est philosophe et dirige le département « Culture et création » du Centre Georges Pompidou. Dans cet épisode, il nous aide à saisir ce qui trame notre contemporain, alors que la « crise climatique » est déjà là ; et que la question coloniale est encore là. Si la modernité a été le règne de l'imprévoyance, sommes-nous aujourd'hui capables de réagir et de nous transformer ? Pouvons-nous compter sur le dialogue des intelligences, en misant sur les espaces de frottement ? Oui, nous dit-il. Nous le devons, d'autant plus que s'y forge le courage d'agir. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Dans cet épisode nous recevons LAN Ting et Bernard MOÏSE. LAN Ting est de nationalité chinoise et fondatrice et co-directrice d'E-ART. Elle vit et travaille à Hangzhou, Chine. Après une formation d'art à Tianjin en Chine, LAN Ting a poursuivi ses études en France où elle a obtenu un Master en Communication et Information (2007). Elle a ensuite fait un doctorat à l'Université de Toulon, France (2010). Sa thèse portait sur "L'enseignement à distance et l'interculturalité". De retour en Chine, elle a enseigné le chinois dans diverses institutions et entreprises françaises. En 2011, elle a été nommée par l'Ambassade de France pour diriger la promotion de l'enseignement supérieur français pour la région du Zhejian avec Campus France. En 2018, elle a dirigé une étude et la mise en place d'un nouvel établissement d'enseignement supérieur pluridisciplinaire et multiculturel franco-chinois entre 3 écoles : ENSCI, EnsAD et CAA (en Chine), en co-direction avec Bernard Moïse, alors directeur de projet à l'Ensci et au Centre Michel Serres. Après avoir fondé la prépa. E-Art en 2015, LAN Ting s'est associée en 2017 avec Bernard Moïse pour créer la PLATEFORME E-Art et le CAMPUS E-Art. En 2023, en parallèle de la création de la plateforme Republic Of Arts, elle entreprend une nouvelle thèse de recherche sur l'enseignement à distance. Bernard MOÏSE (dit Moxi en Chine) est un designer et plasticien Français formé à l'ensci Les Ateliers. Il vie entre Paris - Marseille (France) et  Hangzhou (Chine) Designer de formation, Bernard MOÏSE partage son temps entre la création, le design et l'enseignement. Plasticien sous le nom de Moïse-B (Moxi en Chine), il propose une réflexion critique sur les objets par des installations artistiques provocatrices. Designer au sein de son agence MOISE STUDIO, il conseille des entreprises dans leur stratégie d'innovation. Il est expert en design auprès de BPI France et Président de l'Agora du Design. Bernard Moïse enseigne et est directeur pédagogique à l'école Camondo Méditerranée. Depuis 2017, il co-dirige E-ART, plateforme d'enseignement en art et design.  E-ART CAMPUS est une plateforme d'échange pour développer les échanges artistiques et culturels entre la France et la Chine. Elle a été fondé par LAN Ting, une entrepreneuse culturelle franco-chinoise. De 2015 à 2017, elle forme des étudiants chinois à la culture et aux pratiques artistiques européennes. Elle organise aussi des résidences d'artistes permettant à une trentaine d'artistes de venir travailler en Chine. En 2017, sa rencontre avec le designer Bernard Moise oriente E-ART vers la création d'une véritable école d'art et de design française en Chine, avec un enseignement aligné sur le système LMD européen E_ART Campus . Depuis, Lan Ting et Bernard Moise développent de nombreux projets autour de la création, du design et de l'art contemporain : l'école E-ART Campus, l'organisation de conférences d'artistes et intellectuels français en Chine, (Bernard Stiegler, Daniel Buren, Françoise Marquet ,...), Accompagnement du Centre Georges Pompidou pour son musée à Shanghai, le développement des Micofolies de la Villette, etc. En 2023, parallèlement à E-ART Campus, ils entreprennent la création d'une plateforme d'enseignement en ligne, Republic of Arts. https://www.e-art.fr --- Send in a voice message: https://podcasters.spotify.com/pod/show/nodesignstudio/message

Artist Nil Yalter, a pioneer in 20th century video and multimedia installations, explores the often challenging experience of being an immigrant in a foreign country, through her transnational wallpapers, posters, and photographs of Turkish workers, in Exile is a Hard Job. Born in Egypt in 1938, Nil Yalter moved from Istanbul to Paris in 1965. Since the 1970s, she has pioneered the practice of socially-engaged video art; working at the intersections of feminist, anti-racism, and labour movements, her media is always decided by the political issue at hand. But her contemporary practice has always been historically-informed, drawing on literatures and languages from the Ottoman Empire. Pasted up in global cities from Valencia to Mumbai, ‘Exile Is a Hard Job' includes defaced photographs exposing the living conditions of illiterate ‘guest workers'. Navigating between private, intimate spaces, and public displays, the artist also considers the ethics of photography, using her practice to reflect the loss of identity felt in these communities. She talks about its latest installation at Ab-Anbar Gallery in London, the parallels between her ‘illegal' practices and subjects, and why women are often ‘doubly punished'. Plus, Yalter describes her motivations for migration from Turkey to France - ‘to learn' - why MENA artists produce the most exciting work today, and how she feels about her status as the ‘grandmother' of viral, video art. Nil Yalter: Exile is a Hard Job ran at the Ab-Anbar Gallery in London throughout June 2023. The artist will return for the gallery's full reopening in the autumn. This episode was recorded at London Gallery Weekend 2023. Part of EMPIRE LINES Photography Season, exposing different perspectives on the past. Listen to the other episodes on Carrie Mae Weems, Contemporary African Photography at Tate Modern, plus Gregor Sailor's series, The Polar Silk Road. WITH: Nil Yalter, Turkish-French contemporary artist who currently lives and works in Paris. Her works feature in many notable public collections including the Tate Modern, London; the Centre Georges Pompidou, Paris; and Museum Ludwig, Cologne. ART: ‘Exile is a Hard Job, Nil Yalter (1974-Now)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

photograph by Lori E. Seid Charles Atlas was born in St. Louis, MO in 1949; he has lived and worked in New York City since the early 1970s. Recent solo exhibitions include The Mathematics of Consciousness, a 100-foot long video installation commissioned by Pioneer Works, Brooklyn, NY, and supported by a grant from the VIA Art Fund; Charles Atlas: Ominous, Glamorous, Momentous, Ridiculous, Fondazione ICA Milano, Italy; and Charles Atlas: The past is here, the futures are coming and The Kitchen Follies, The Kitchen, New York. In 2017, the Hammer Museum, Los Angeles acquired Atlas' five-channel video installation with sound entitled The Tyranny of Consciousness, which won a prize in Viva Arte Viva, the 57th International Art Exhibition of the Venice Biennial. In September 2019, Atlas unveiled The Geometry of Thought, a new commission for Art on theMART that spanned across the 2.5 acre river fac;:ade of theMART in Chicago.Atlas' work is included in the permanent collections of major institutions worldwide, including the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Art Institute of Chicago; San Francisco Museum of Art; Tate Modern, London; Centre Georges Pompidou, Paris; Hamburger Bahnhof - Museum fur Gegenwart, Berlin; Migros Museum fur Gegenwartskunst, Zurich; and De Hallen Haarlem, The Netherlands. Charles Atlas, A Prune Twin, 2020, Eight-channel video installation with four monitors, with sound, Dimensions variable, Installation view Luhring Augustine Chelsea, New York (January 28 – March 11, 2023). © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York. Photo: John Berens. Charles Atlas, A Prune Twin, 2020, Eight-channel video installation with four monitors, with sound, Dimensions variable, Installation view Luhring Augustine Chelsea, New York (January 28 – March 11, 2023). © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York. Photo: John Berens.

En cette journée internationale des droits des femmes, on se demande comment sortir de l'ombre les artistes féminines, comment reconnaître leur talent et comment donner une vraie place aux femmes dans le monde de l'art. Une émission alors que sort sur RCF un podcast intitulé L'art : une affaire d'hommes ? signé Sarah Banmouha. C'est aussi l'occasion d'évoquer avec Laurence Durieu la figure de Germaine Richiermise à l'honneur au Centre Georges Pompidou en ce moment pour une grande rétrospective et d'évoquer ces femmes qui redressent la tête et disent non aux violences sexuelles dans le monde de l'art et de voir pourquoi ce milieu là est aussi favorables aux prédateurs et pervers de tout poils avec Aurélia Rouvier réalisatrice d'un documentaire MeToo dans l'art : #NotSurprised.

Jusqu'au 10 octobre 2022, la Bibliothèque Publique d'Information du Centre Georges Pompidou accueille une rétrospective dédiée à l'œuvre de l'artiste américain de bande dessinée Chris Ware, lauréat du Grand Prix 2021 du Festival international de la Bande dessinée d'Angoulême pour l'ensemble de son œuvre. Il est également l'invité de la 10ème édition du Festival Formula Bula. Une plongée fascinante dans son univers artistique et dans sa mémoire. Son nom résonne dans le monde de la bande dessinée avec admiration, parfois avec vénération. Aujourd'hui âgé de 55 ans, Chris Ware a reçu l'année dernière la récompense suprême du monde de la bande dessinée, le Grand Prix de la Ville d'Angoulême. Est-il un auteur, un architecte, un artisan, un artiste ? Peut-être les quatre en même temps. En cette rentrée, Chris Ware est l'un des nombreux invités de la 10ème édition du festival Formula Bula le rendez-vous parisien devenu terrain de la découverte et de la redécouverte des scènes internationales de la bande dessinée. Il expose également à la Bibliothèque Publique d'Information du Centre Georges Pompidou. Un lieu emblématique de la ville de Paris, un écrin à la fois populaire et prestigieux où l'on peut découvrir une rétrospective qui montre son inventivité, son amour du détail et de la précision, son perfectionnisme ; et qui laisse une large place aux planches originales et aux objets. L'exposition dédiée à Chris Ware est à visiter jusqu'au 10 octobre 2022.

Anlässlich ihrer großen Einzelausstellung in der Weserburg spricht Direktorin Janneke de Vries mit Silvia Bächli (*1956 in Baden, lebt in Basel). Die Schweizer Künstlerin gilt als eine der wichtigsten zeichnerischen Positionen ihrer Generation. Seit 40 Jahren bereichern ihre Arbeiten in Tusche, Kohle, Pastellkreide oder Gouache die älteste Gattung der Bildenden Kunst mit neuen und unerwarteten Impulsen. Im Gespräch gibt Silvia Bächli faszinierende Einblicke in den künstlerischen Prozess: Wie entstehen ihre Zeichnungen? Welche Impulse sind wichtig? Wie reagiert sie auf die Räume, in denen sie ausstellt? Neben dem zeichnerischen Werk geht es dabei auch um eine neuere Gruppe kleinformatiger Skulpturen, die ebenfalls in der Ausstellung in Bremen zu sehen ist und das Werk auf besondere Weise ergänzt und fortführt. Silvia Bächli ist in bedeutenden öffentlichen Sammlungen vertreten, darunter befinden sich Arbeiten im Kunstmuseum Basel, im Centre Georges Pompidou in Paris oder auch im New Yorker MoMA, um nur einige wenige Sammlungen hervorzuheben. Neben den zahlreichen internationalen Einzel- und Gruppenausstellungen hat die Künstlerin 2009 die Schweiz auf der Biennale in Venedig vertreten. Sie war darüber hinaus 24 Jahre lang Professorin an der Staatlichen Akademie der Bildenden Künste Karlsruhe. Der Podcast wird gefördert durch die VGH-Stiftung. Zur Künstlerin: [https://www.silviabaechli.ch]( https://www.silviabaechli.ch) Zur Ausstellung in der Weserburg: [http://www.officeforart.org/about-us/] http://www.officeforart.org/about-us/) Mehr Infos zur Weserburg unter: [https://weserburg.de/](https://weserburg.de/) Fragen und Anregungen zum Podcast unter: info@weserburg.de

J'enregistre cet épisode, le début de cet épisode, dans le train. Nous venons de prendre le train à notre gare de Bécon-les-bruyères, en direction de Paris Saint-Lazare. Felicia doit rendre un devoir pour la rentrée, en arts plastiques. Enfin, elle doit préparer un exposé sur un tableau de Jackson Pollock. Nous avons vu que ce tableau était exposé au musée d'art moderne, le Centre Georges Pompidou.  La suite du texte est dans le TRANSCRIPT, abonnez-vous! http://bit.ly/OneThingTranscripts  

Martí Guixé (*1964) ist ein spanischer Designer, der in Barcelona und Berlin lebt. Studium der Innenarchitektur an der Elisava in Barcelona und des Industriedesign an der Scuola Politecnica di Design di Milano. 2001 etablierte er den Begriff "Ex-Design", um sich gegen die begrenzten Möglichkeiten des traditionellen Designers zu positionieren. Er lehnt Design als stilisiertes Objekt und Form ab. Anstatt bestehende Produkte umzugestalten, will er unsere Art und Weise des Sehens und Denkens verändern. Sein Ansatz spiegelt sich in der häufigen Verwendung von Wegwerf- oder Billigmaterialien und dem flüchtigen Charakter vieler seiner Arbeiten. Seine Sensibilität für schnell verfügbare, auf den Massenkonsum ausgerichtete Materialien, hat ihn zu einem wichtigen Innovator im Food-Design gemacht. Er verstand das Food-Design als Möglichkeit, Strukturen rund um Lebensmittel, die Industrie und den Verbraucher neu zu bewerten und zu gestalten. Er arbeitete im kommerziellen Bereich für Marken wie Camper, Alessi, Danese, Dentsu, Desigual, Drill, Droog Design, Magis, Nani Marquina, Vitra und andere. Auf er anderen Seite weckten seine Arbeiten raschweckten das Interesse der Kunstwelt. Seine Entwürfe, Installationen und Performances wurden in zahlreichen internationalen Gruppen-Asusstellungen und Einzelprojekten gezeigt, darunter im MOMA, Centre Georges Pompidou, Design Museum London, Centre d'Art Contemporain Genève, National Art Center Tokyo und Museum für angewandte Kunst.

Když v roce 1977 otevíral francouzský prezident Valéry Giscard d'Estaing kulturní centrum a galerii moderního umění Centre Georges Pompidou v centru Paříže, architektura stylu high-tech slavila svůj triumf. Byl u toho i britský architekt Richard Rogers, který společně s Renzem Pianem vyhrál soutěž na stavbu této nové pařížské galerie. Po dokončení stavby bylo Rogersovi jen 44 let a už měl za sebou realizaci, jež se stala jednou z nejpokrokovějších staveb dvacátého století.

Když v roce 1977 otevíral francouzský prezident Valéry Giscard d'Estaing kulturní centrum a galerii moderního umění Centre Georges Pompidou v centru Paříže, architektura stylu high-tech slavila svůj triumf. Byl u toho i britský architekt Richard Rogers, který společně s Renzem Pianem vyhrál soutěž na stavbu této nové pařížské galerie. Po dokončení stavby bylo Rogersovi jen 44 let a už měl za sebou realizaci, jež se stala jednou z nejpokrokovějších staveb dvacátého století.

Aujourd'hui, Jenna vous parle de la super exposition sur Georgia O'Keeffe au Centre Georges Pompidou.⭐️ Mettez 5 étoiles et un cool commentaire sur Apple Podcasts

durée : 00:52:36 - L'Heure bleue - par : Anne-Sophie DAZARD, Laure Adler - Kelly Reichardt est dans l'Heure Bleue à l'occasion de la sortie de "First Cow" et d'une grande rétrospective dont elle fait l'objet au Centre Georges Pompidou.

Ce numéro présente et décortique les jeux Belonging Outside Belonging, initiés par Dream Askew et Dream Apart. Participants: Invitée en tant qu'autrice de BoB : MelvilleÉrudit ès BoB : Matthieu BSociologue du vivre ensemble : LisaBananaTesteuse de Wanderhome : ErellAnimation et montage : Lam Son 00:00:47 Introduction00:01:52 A l'origine des BoB : Dream Askew et Dream Apart00:04:21 Des jeux qui ne figent pas une structure d'histoire00:07:42 Autres ancêtres, Archipelago00:10:23 Structure et Moves00:18:42 Jouer la vulnérabilité et l'entraide00:23:13 Prendre soin des autres à la table00:25:32 Idle dreaming00:28:04 Que joue-t-on dans Dream Askew et Dream Apart ?00:29:26 BoB est-il un label ?00:31:48 BoB sans communauté marginalisée00:37:22 Facile de jouer avec des personnes marginalisée00:38:31 Melville parle de Bois Dormant00:42:41 Point de vue sociologique sur la communauté dans les BoB00:50:53 Et les communautés normatives qui rejettent ?00:54:51 Conflit au sein de la communauté00:58:47 Les cadres01:01:34 Répartir les cadres, jouer avec un MJ01:03:34 Wanderhome01:13:29 Lien avec les Bac-à-sable du quotidien et Rêve de Dragon01:15:11 Facilité de prise en main et robustesse des BoB01:17:03 Différence Move BoB vs Move PbtA01:20:07 Accessibilité des BoB01:23:01 Oublier des règles ce n'est pas grave, on peut s'approprier le système01:30:48 Qu'est-ce qui a amené Melville aux BoB ?01:34:49 Analogie avec l'écriture de tables aléatoires01:36:46 Ecrire les moves quotidiens01:39:26 Exemple: Batman01:40:12 Des couleurs de l'amitié01:48:38 D'autres jeux BoB marquants01:52:44 Conclusion et mots de la fin Pour aller plus loin : Dream Askew (en) d'Avery Alder / Deam Apart (en) de Benjamin RosenbaumGuide pour jouer aux BoB sur C'est pas du Jeu de RôleApocalypse World (en) de Vincent & Meguey BakerLady Blackbird (VF), Blades in the Dark (VF) de John Harper chroniqués respectivement dans RR29 et RR87Archipelago (VF) de Matthijs HolterJouer le ravin sur Je ne suis pas MJ mais …Play to win / play to lose / play to liftSaga Héroïque de Gaël Sacré, chroniqué dans RR109Bois Dormant de MelvilleBefore the spire falls VF de Kaylie & Loren PonderLa clé des nuages / la clef des songes de kF et Côme Martin (voir le RR sur le jeu symboliste)Des couleurs de l'amitié de MelvilleTrois jours de soleilQuelque part sur la routeSe souvenir de NovembreLes bourgeonsActual play illustrés en direct par La fille d'à côté Bibliographie de sociologie DURKHEIM É., 1930 [1893], De la division du travail social, Paris, PUF.NISBET R. A., 1984 [1966], La Tradition sociologique, Paris, PUF.SCHRECKER C., 2006, La Communauté. Histoire critique d'un concept dans la sociologie anglo-saxonne, Paris, L'Harmattan.SIMMEL G., 1999 [1908], Sociologie, Paris, PUF.TÖNNIES F., 1944 [1887], Communauté et Société : catégories fondamentales de la sociologie, Paris, PUF.WEBER M., 1995 [1921], Économie et Société, Paris, Plon.YOUNG M. et WILLMOTT P., 1983 [1957], Le Village dans la ville, Paris, Centre de la création industrielle, Centre Georges-Pompidou. Balikbayan (en) de Jamila R. Nedjadi (article en Français)Frankencast n°9Wanderhome (en) de Jay Dragon Kit de découverte en FrançaisContenu complémentaire en Français Rêve de Dragon de Denis GerfaudSur les frontières de Melville chroniqué dans RR61Summer camp de Melville chroniqué dans RR89Dominion de Khelren chroniqué dans RR106Sleepaway (en) de Jay DragonGalactic (en) de Riley RethalOathbreakers (en) de Jamila R. NedjadiOrbital (en) de Jack HarrisonTous les jeux BoB disponibles sur itch.ioParty games : Le roi est mort VF et Mobile Frame Zero: Firebrand VF de Vincent & Meguey Baker

Ce numéro présente et décortique les jeux Belonging Outside Belonging, initiés par Dream Askew et Dream Apart. Participants: Invitée en tant qu'autrice de BoB : MelvilleÉrudit ès BoB : Matthieu BSociologue du vivre ensemble : LisaBananaTesteuse de Wanderhome : ErellAnimation et montage : Lam Son 00:00:47 Introduction00:01:52 A l'origine des BoB : Dream Askew et Dream Apart00:04:21 Des jeux qui ne figent pas une structure d'histoire00:07:42 Autres ancêtres, Archipelago00:10:23 Structure et Moves00:18:42 Jouer la vulnérabilité et l'entraide00:23:13 Prendre soin des autres à la table00:25:32 Idle dreaming00:28:04 Que joue-t-on dans Dream Askew et Dream Apart ?00:29:26 BoB est-il un label ?00:31:48 BoB sans communauté marginalisée00:37:22 Facile de jouer avec des personnes marginalisée00:38:31 Melville parle de Bois Dormant00:42:41 Point de vue sociologique sur la communauté dans les BoB00:50:53 Et les communautés normatives qui rejettent ?00:54:51 Conflit au sein de la communauté00:58:47 Les cadres01:01:34 Répartir les cadres, jouer avec un MJ01:03:34 Wanderhome01:13:29 Lien avec les Bac-à-sable du quotidien et Rêve de Dragon01:15:11 Facilité de prise en main et robustesse des BoB01:17:03 Différence Move BoB vs Move PbtA01:20:07 Accessibilité des BoB01:23:01 Oublier des règles ce n'est pas grave, on peut s'approprier le système01:30:48 Qu'est-ce qui a amené Melville aux BoB ?01:34:49 Analogie avec l'écriture de tables aléatoires01:36:46 Ecrire les moves quotidiens01:39:26 Exemple: Batman01:40:12 Des couleurs de l'amitié01:48:38 D'autres jeux BoB marquants01:52:44 Conclusion et mots de la fin Pour aller plus loin : Dream Askew (en) d'Avery Alder / Deam Apart (en) de Benjamin RosenbaumGuide pour jouer aux BoB sur C'est pas du Jeu de RôleApocalypse World (en) de Vincent & Meguey BakerLady Blackbird (VF), Blades in the Dark (VF) de John Harper chroniqués respectivement dans RR29 et RR87Archipelago (VF) de Matthijs HolterJouer le ravin sur Je ne suis pas MJ mais …Play to win / play to lose / play to liftSaga Héroïque de Gaël Sacré, chroniqué dans RR109Bois Dormant de MelvilleBefore the spire falls VF de Kaylie & Loren PonderLa clé des nuages / la clef des songes de kF et Côme Martin (voir le RR sur le jeu symboliste)Des couleurs de l'amitié de MelvilleTrois jours de soleilQuelque part sur la routeSe souvenir de NovembreLes bourgeonsActual play illustrés en direct par La fille d'à côté Bibliographie de sociologie DURKHEIM É., 1930 [1893], De la division du travail social, Paris, PUF.NISBET R. A., 1984 [1966], La Tradition sociologique, Paris, PUF.SCHRECKER C., 2006, La Communauté. Histoire critique d'un concept dans la sociologie anglo-saxonne, Paris, L'Harmattan.SIMMEL G., 1999 [1908], Sociologie, Paris, PUF.TÖNNIES F., 1944 [1887], Communauté et Société : catégories fondamentales de la sociologie, Paris, PUF.WEBER M., 1995 [1921], Économie et Société, Paris, Plon.YOUNG M. et WILLMOTT P., 1983 [1957], Le Village dans la ville, Paris, Centre de la création industrielle, Centre Georges-Pompidou. Balikbayan (en) de Jamila R. Nedjadi (article en Français)Frankencast n°9Wanderhome (en) de Jay Dragon Kit de découverte en FrançaisContenu complémentaire en Français Rêve de Dragon de Denis GerfaudSur les frontières de Melville chroniqué dans RR61Summer camp de Melville chroniqué dans RR89Dominion de Khelren chroniqué dans RR106Sleepaway (en) de Jay DragonGalactic (en) de Riley RethalOathbreakers (en) de Jamila R. NedjadiOrbital (en) de Jack HarrisonTous les jeux BoB disponibles sur itch.ioParty games : Le roi est mort VF et Mobile Frame Zero: Firebrand VF de Vincent & Meguey Baker

Dorothée Dupuis (París, 1980) es curadora de arte contemporáneo, crítica de arte y editora. Es candidata al Doctorado en Historia del Arte de la UNAM en la Ciudad de México. Su práctica se centra en la intersección entre arte y política, y se encuentra influenciada por teorías feministas y decoloniales. Dupuis es fundadora de la revista Terremoto.mx, impresa en la Ciudad de México (2013), donde actualmente es directora y editora en jefe. Es también co-directora de la revista feminista Petunia.eu. Dupuis ha escrito para varias publicaciones de arte, como Frieze (Londres), Flash Art (Milán), Spike Art Daily (Viena) y Crash Magazine (París). Dupuis obtuvo la maestría en artes visuales de la HEAR en Estrasburgo (2005). Trabajó para Philippe Parreno, particularmente en la película Zidane: A 21st Century Portrait (2005). Fue asistente curatorial en el Centre Georges Pompidou de 2005 a 2007, trabajando con Christine Marcel para las exposiciones Dionysiac y Airs de Paris. Desde 2007 y hasta 2012, fue directora de Triangle France, programa sin fines de lucro de exhibiciones y residencias en Marsella, Francia. Entre sus proyectos curatoriales independientes se encuentran  Prochoice en Fri-art, Fribourg (con Petunia), 2013; Daniel Dewar et Grégory Gicquel, Prix Marcel Duchamp, Centre Pompidou, 2013; Free circulation of symbolic capital, Loevenbruck, París, 2014; Moucharabieh, Triangle France, Marsella, 2015; Journal d'un travailleur métèque du futur, FRAC Pays de Loire, Carquefou, 2016; Regañando, Squash Editions, México, 2017, La Déesse Verte, Lille3000, 2019; Call Giovanni, Galería Revolver, Lima, 2019; XYXX010101000, Curro, Guadalajara, 2019; IN VIVO, exposición de Caroline Mesquita, otoño 2020, PIVÕ, São Paulo; así cómo La Diosa Verde (reloaded) en el Museo de Arte de Zapopan en marzo a agosto del 2021. Tracks 1. Tryo, "L'hymne de nos campagnes", 1998 2. Episode 1: At Home | Silvia Calderoni and Paul B. Preciado / Ouverture Of Something That Never Ended 3. Gwen Stefani, "What are you waiting for", 2004 4. The Matrix, 1999, dir. Hermanas Wachowski --- Send in a voice message: https://anchor.fm/dominiopublico/message

“Martine Aballéa”Le jardin d'Auguste Comteà la Maison Auguste Comte, Parisdu 7 janvier à fin de l'été 2021Interview de Marie Valat, responsable des expositions Maison d'Auguste Comte, et de David Labreure, directeur du musée – maison Auguste Comte,par Anne-Frédérique Fer, à Paris, le 6 avril 2021, durée 13'15, © FranceFineArt.Extrait du communiqué de presse :Commissaire : Pascal BeausseResponsable des expositions Maison d'Auguste Comte : Marie ValatDirecteur du musée – maison Auguste Comte : David LabreureL'exposition est initialement proposée dans le cadre de la 10ème édition du festival PhotoSaintGermain, présentée du 7 au 23 janvier 2021.Le travail de Martine Aballéa donne vie à des lieux imaginaires, des intrigues mystérieuses, créant ainsi des récits proches des contes. Il s'articule finement entre textes et images photographiques, reprises et retouchées, colorisées sans naturalisme. Par ces seuls biais, ses productions proposent un grand voyage de l'esprit : Martine Aballéa emmène les spectatrices et spectateurs de son oeuvre dans une promenade mentale, dans un rêve éveillé. Son travail est traversé par l'image de la nature et des décors : ces derniers habitent ses photographies, rehaussés de ponctuations colorées, donnant naissance à une surréalité onirique.Dès ses premières pratiques, son sujet de prédilection est celui de la création d'établissements imaginaires, comme l'Hôtel Passager, qui s'incarne véritablement et physiquement au musée d'Art moderne de la Ville de Paris en 1999. Elle s'est distinguée par ses installations telles que La maison d'en dessous au Narcissio à Nice en 2016. Un nouveau récit s'est construit en 2017 au Musée des amours, dans une scénographie pour le festival EXTRA ! au Centre Georges-Pompidou, grâce à une série de photographies et une édition.Pour PhotoSaintGermain, en intervenant dans la Maison Auguste Comte, Martine Aballéa va entrer en dialogue avec la figure du grand philosophe et toute la vie sociale, intellectuelle et amoureuse dont son appartement fut le témoin.Avec l'installation Le jardin d'Auguste Comte, elle intervient aux limites de l'espace de l'appartement, à la lisière du monde extérieur, en plaçant devant les fenêtres des voilages sur lesquels apparaît de manière diaphane l'image couleur négative d'un jardin. L'inversion des valeurs d'une image photographique fait basculer la perception dans un autre monde. Ces rideaux photographiques transforment la perception de l'espace extérieur à la maison, en superposant sur le paysage urbain une évocation du monde naturel. Martine Aballéa aborde ici la conception de la Nature dans la pensée du philosophe, mais aussi son intérêt pour l'astronomie, par l'évocation des cieux. Images de rêveries éveillées, placées en écran devant le monde réel, elles produisent une forme d'hétérotopie, un espace autre, en invitant à la rêverie. Auguste Comte écrivait face à un miroir. À cette dimension implacable du reflet, elle propose l'échappée vers un jardin mental : celui, imaginaire, du penseur, dans les interstices de son travail intellectuel. Une échappée du quotidien, un rêve éveillé.Film de présentation par l'artiste Martine Aballéa :https://www.youtube.com/watch?v=f0pLPgUDITwMaison Auguste ComteDernier domicile du philosophe, fondateur du « positivisme », la Maison d'Auguste Comte est à la fois un appartement-musée et un centre d'archives-bibliothèque autour du philosophe et de la pensée dix-neuvièmiste. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

MM Serra is an experimental filmmaker, curator, author, educator and the Executive Director of Film-Makers' Cooperative, the world's oldest and largest archive of independent media. She has produced, directed, and edited more than fourteen works. Her own work, as well as her curated programs, have been screened at the Museum of Modern Art and the Museum of the Moving Image in New York; The Centre Georges Pompidou and the Cinematheque Francaise in Paris; the London Film Festival, Oberhausen International Short Film Festival and the Dresden Film Fest in Germany. There are links and images on our website at www.intothemothlight.com There is no doubt that I have mid-pronounced some of the names of the artists mentioned in the piece written by Jonas Mekas, apologies in advance for this…..

Il est un génie de la couleur et de la peinture du XXème siècle. Le Centre Pompidou célèbre l'oeuvre d'Henri Matisse à travers une riche rétrospective à visiter jusqu'au 22 février 2021. « L’importance d’un artiste, écrivait Henri Matisse, se mesure à la quantité de nouveaux signes qu’il aura introduits dans le langage plastique ». De fait, c’est un grand novateur, un inlassable chercheur et un enrichisseur de techniques que le Centre Georges Pompidou nous propose de découvrir ou de redécouvrir à travers une grande rétrospective, 150 ans après sa naissance. Plus de 230 œuvres, 70 documents et archives, nous font cheminer entre peinture, dessin et sculpture, entre les mots et les signes, entre les couleurs et la lumière, sur plus de 6 décennies, de 1890 à 1954. L’exposition «Matisse, comme un roman» est à visiter à Paris, jusqu’au 22 février 2021. Et en fin d'émission, la chronique musique d'Alain Pilot. Il a rencontré Nawel Ben Kraïem, à l'occasion de la sortie de son album «Délivrance», sous le label Pias. 

Laissez vous envelopper par cette histoire sur Christo et Jeanne Claude, deux artistes qui avalaient la réalité avec des dents de tissu. Découvrez le procès autour de l’empaquetage du Pont Neuf de Paris, et comment les juges démêlent cette oeuvre difficile à saisir par le droit. Accompagnés par les voix expertes de Sophie Duplaix et de Jean Baptiste Barbieri.

Dans ce huitième et dernier épisode de cette saison de Women House,  Camille Morineau rend hommage à Toni Morrison en revenant sur une  conférence prononcée par l'écrivaine en avril 1994 à Princeton, en  ouverture d'un colloque intitulé « Race Matters ». Camille Morineau est directrice et co-fondatrice d'AWARE. Elle a  travaillé vingt ans dans les institutions publiques françaises, dont  dix ans au Centre Georges Pompidou en tant que conservatrice des  collections contemporaines. Elle a été commissaire de nombreuses  expositions, dont elles@centrepompidou, présentant uniquement  des œuvres d'artistes femmes issues des collections du musée national  d'art moderne, qui fut une première en son genre. AWARE est une association loi 1901 à but non lucratif co-fondée en 2014 par Camille Morineau. Un projet produit par AWARE et rendu possible grâce au soutien de Belinda de Gaudemar. Réalisation : Elodie Royer. Musique originale : Andrew Nelson. Crédit photographique : Portrait de Toni Morrison au Grand Hôtel de Milan, 1994. Photo © Leonardo Cendamo / Bridgeman Images 

Jaroslaw Augustyniak was born in Lodz, Poland in 1965. In 1988 he graduated with distinction from the Academy of Music in Łódź, Poland with a master’s degree in Bassoon and Chamber Music. A year later he was a laureate in several prestigious competitions and then Jarek furthered his studies under the guidance of Vincenzo Menghini - RAI Turin. Jarek was appointed as Principal Bassoon of the BBC National Orchestra of Wales in December 2004. He joined BBC National Orchestra of Wales after a thirteen-year post as Principal Bassoon with the Basque National Orchestra, Spain. His professional life has seen him to move from Poland, through Portugal, Spain and Denmark to the United Kingdom. He has been given the opportunity to play in almost all European countries and as far afield as the USA, Argentina, Chile and China - in many prestigious venues including Wien Konzerthaus, London Royal Albert Hall, Berlin Konzerthaus, Amsterdam Concertgebouw under many famous conductors. In addition, Jarek has fostered an active solo career, He recorded soundtrack solo bassoon for the Anri Sala film “1395 Days Without Red” – followed by a solo appearance in Centre Georges Pompidou in Paris. During his career Jarek has been a guest principal in many festivals and orchestras like the London Symphony Orchestra and the BBC Philharmonic. We speak about how he is coping with the Covid-19 lockdown, the opportunities that the pandemic could bring, the origins of his online lecture series "Ventus Optimus", his collaboration with contemporary composer Julia Plaut involving a vacuum cleaner, how his wide travels and close family life influenced his artistic life and the intricacies of playing in a film soundtrack. To find out more about him, visit: https://www.jaroslawaugustyniak.com/ If you have enjoyed this podcast, please like, subsribe or share!

Episode 4: Art if…the times are exceptional! With conceptual painter Olivier Mosset Episode Summary: Haddy and Yassi chat about art and collaboration: Live Action Role Playing and the husband and wife team Anna and Larry Halprin. Then they interview Swiss conceptual painter Olivier Mosset. And as always, end the show with an art “provocation” … can you do “nothing”? Provocation (#artifpodcast): Do nothing! Interpret that however you will. Document that however you can. Explore the possibilities that arise when you extract yourself from the constraints of productivity. Don’t forget to tag us on instagram, facebook and twitter #artifpodcast @artifpodcast This week’s guest, Olivier Mosset: Olivier Mosset is a Swiss conceptual abstract painter, now splitting his time between Tucson, AZ, Paris, and New York City. In his early work with Paris collective, BMPT, he helped disrupt traditional notions of authorship and helped shepherd in the minimalist movement in the 1960s. His solo work, primarily in abstraction and monochrome painting, has radicalized the art world--both in the sense of returning to painting and revolutionizing concepts of art. He has continued to produce and show all over the world and currently has work in the public collections of the Museum of Modern Art in New York City, The Centre Georges Pompidou in Paris, and Migros Museum and Cantonal Museum of Fine Arts in Switzerland. Find Olivier online: https://gagosian.com/artists/olivier-mosset/ Further reading on things we talked about on the show: Walk This Way by Run DMC (feat Aerosmith) LARP -- Live Action Role Play Anna Halprin Larry Halprin Steven Parrino Skateboard ramp BMPT Fluxus Tino Sehgal Marie-Agnès Gillot Guy DeBord’s Society of the Spectacle Jean Baudrillard Robert Rauschenberg’s Monogram Indian Larry Motorcycles --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

BONUS EPISODE In this bonus live episode, artist Michael Smith talks about how to get creative with bad teaching evaluations. Season 3 coming soon! ABOUT THE GUEST Michael Smith’s recent solo exhibitions and performances include Museo Jumex, Mexico City; Yale Union, Portland, Oregon; Tate Modern, London; and Greene Naftali, New York; and the Institute of Contemporary Art, Philadelphia. His work is in the collections of the Blanton Museum of Art, The University of Texas at Austin; Inhotim Institute, Brumadinho; LWL Museum für Kunst und Kultur, Münster; Migros Museum für Gegenwartskunst, Zürich; Mumok, Vienna; Museion, Bolzano; Paley Center for Media, New York; Centre Georges Pompidou, Paris; and the Walker Art Center, Minneapolis. ABOUT THE HOST Neil Goldberg is an artist in NYC who makes work that The New York Times has described as “tender, moving and sad but also deeply funny.” His work is in the permanent collection of MoMA, he’s a Guggenheim Fellow, and teaches at the Yale School of Art. More information at neilgoldberg.com. ABOUT THE TITLE SHE'S A TALKER was the name of Neil’s first video project. “One night in the early 90s I was combing my roommate’s cat and found myself saying the words ‘She’s a talker.’ I wondered how many other other gay men in NYC might be doing the exact same thing at that very moment. With that, I set out on a project in which I videotaped over 80 gay men in their living room all over NYC, combing their cats and saying ‘She’s a talker.’” A similar spirit of NYC-centric curiosity and absurdity animates the podcast. CREDITS This series is made possible with generous support from Stillpoint Fund.  Producer: Devon Guinn  Creative Consultants: Aaron Dalton, Molly Donahue  Mixer: Andrew Litton  Visuals and Sounds: Joshua Graver  Theme Song: Jeff Hiller  Website: Itai Almor Media: Justine Lee Interns: Alara Degirmenci, Jonathan Jalbert, Jesse Kimotho Thanks: Jennifer Callahan, Nick Rymer, Sue Simon, Maddy Sinnock TRANSCRIPTION NEIL GOLDBERG: Hello, I'm Neil Goldberg, and this is She's A Talker. We recently finished our second season, and we'll be launching Season Three very soon. In the meantime, we thought as a bonus we'd share a live episode that was recorded with artist Mike Smith way back in the good old days of February, 2020. The event happened at the New York headquarters of the Skowhegan School of Painting and Sculpture. Skowhegan's primary program is an intensive summer residency up in Maine for sixty-five emerging visual artists from all over the world. And in 2015, I had the good fortune of being faculty there, and it was actually there that I took the first steps for what would become this podcast. I was inspired by all the experimentation happening, and I decided to play around with this collection of thoughts I'd jotted down on index cards for the past twenty years as the basis for some sort of performance work. So here we are. My guest, Mike Smith, was also faculty at Skowhegan a couple of years before me and has been a favorite artist of mine for years. He's recently shown work at the Tate Modern in London, and his work is also in the permanent collections of MoMA, the Walker Center, the Georges Pompidou Centre in Paris, and many other places. Here it goes. NEIL: Hi everybody. Thank you so much for coming. So, the premise of the podcast is I typically start with some recent cards, uh, before I bring on a guest. And I thought, uh, this is a recent one: seeing an unflushed toilet at an art school. Now, um, I teach at Yale and, uh, I try to like use the bathroom as far away from where I teach as possible. And I also like to try and mix it up a little bit. So, you know, every now and then I'll go into the basement. Other times I'll go to the second floor. Uh, keep them guessing. And there was a while, very recently at Yale, where every time I walked into a bathroom stall, there was an unflushed toilet full of shit. And I started to think like, okay, is this like a student's like art project? Um, but then beyond that, I really was cognizant of the impact it had on the crits I did later in the day, which is like, I found myself sort of evaluating everything I was seeing in relationship to the impact that seeing a unflushed toilet unexpectedly will have on you. Because think about it, that moment where you're kind of like, you open the stall door and there is the unflushed toilet. That is, I think, what we're all going for as artists. Um. Anyhow.  With all that in mind, I am so happy to have, as my guest, Michael Smith, who I have been a fan of for a very long time. I have actually had the experience, Michael, of going to your shows, and I will say that its impact on me was not unlike that of an unflushed toilet encountered by surprise. So, please welcome Michael Smith. NEIL: Hi, Michael, how are you?  MICHAEL SMITH: I'm okay. I guess I, I don't know if I should be flattered or - what I'm following in terms of the conversation or - NEIL: when in doubt, be flattered.  MICHAEL: Yeah. I have so much to say. I don't know if we'll be able to get to another card.  NEIL: I know, right? Well, what's your elevator pitch for yourself when you? When you encounter someone who doesn't know what it is you do, how do you succinctly describe what it is? MICHAEL: Well, it's usually layered. I usually, I mean, if it's a total stranger, I'll say I'm an artist. And then they say, "Oh, are you a painter?" And I say, no. And then sometimes I'll just cut to the chase and say I'm a performance artist. And then it doesn't go any further.  NEIL: Do you feel like that's accurate though? I mean, that doesn't feel to me like it encompasses the breadth of what you uh, do. MICHAEL: Well, when I first started performing or thinking about performing, I would tell people I was a comic. Because it was, I dunno, it was a little more interesting at parties or whatever. And also performance artist wasn't really part of the vocabulary then. Usually I'd say I'm a comic, and then they'd look at me and they said, "You haven't said anything funny." So, it was like, well, I didn't say I was funny, you know? So.  NEIL: Um, are your parents alive?  MICHAEL: No.  NEIL: When, when they were alive, what would they say that you did?  MICHAEL: My mother probably would say, Michael is Michael. And Michael -  NEIL: That is a full-time job, isn't it?  MICHAEL: Michael had such a sweet voice when he was a child. And my father said, I don't know what the hell he does, you know, he didn't know what it, yeah.  NEIL: Right. I didn't know you were Jewish until quite recently. You're like one of those stealth Jews, you know, Smith. Okay.  MICHAEL: I asked my father once what it was before Smith, and he, he said, Sutton.  NEIL: Sutton? That's like a wall that's been painted multiple times, like, okay, and what was it before Sutton? That's where it gets into like Schmulowitz or whatever. MICHAEL: That got too deep.  NEIL: Yeah, exactly.  MICHAEL: It was, yeah. It's opaque.   NEIL: And what's something on you - today, what's something you've found yourself thinking about? MICHAEL: Well, you know that card you first - NEIL: Oh yeah.  MICHAEL: That card you first brought up. I actually, I've been in my studio for, since '99. And I actually cleaned the toilet in the public bathroom for the, the building because it was just getting a little gross, so I thought I'd clean it.  NEIL: You just took that on yourself?  MICHAEL: I took it on.  NEIL: Wow.  MICHAEL: Yeah. I should also say that when I first came to New York, I was a professional cleaner.  NEIL: Really?  MICHAEL: Yeah. I was very good.  NEIL: I bet.  MICHAEL: Mike the Wipe. I was originally I, I was, I originally was going to be a house - well, I was going to, I advertised in the New York Times, "Mr. Smith will cook and clean." And no one wanted me to cook, you know, just wanted me to clean. NEIL: So many follow-up questions, Mike. Um, shall we move on to the cards? You don't have a choice at this point. We're all in. Uh, this card says: There are no friendly reminders. You know, like, I feel like, is there anything more passive aggressive than someone's like, just a friendly reminder.  MICHAEL: That's like, if they, if they preface what they're going to say with that, yeah. That would be horrible.  NEIL: But they do all the time.  MICHAEL: Really?  NEIL: Yeah. Or in an email - friendly reminder. How many, I mean, haven't you? I've probably gotten a friendly reminder in the last week.  MICHAEL: I guess FYI is not a friendly reminder, huh?  NEIL: No, FYI can be pretty passive aggressive too, but I use it a lot  MICHAEL: BTW?  NEIL: That's fine. Yeah. I dunno.  MICHAEL: So, I have a feeling I probably do it, but I'm not aware of it.  NEIL: Of a friendly reminder?  MICHAEL: Yeah.  NEIL: Hmm. So you're not bothered by it? MICHAEL: Probably, yeah.  NEIL: Probably not bothered by it?  MICHAEL: Probably bothered by it. Yeah, I am. I get bothered by people easily. And I had something really good to say, but I've, I've already forgotten it.  NEIL: I'm excited for the rest of this conversation, Mike. This is, um.  MICHAEL: I'm still thinking about that dirty toilet.  NEIL: We could go back to that anytime you want. NEIL: Uh, this card says: Things that are lost but you know will turn up. Talk to me.  MICHAEL: Well, I, I was with a friend the other day, and, um, I, I said, Oh, I don't, I don't recognize that person. I said, I'm not good with faces. And then she mentioned the name and I said, no, I'm, I don't recognize the name. I'm not good with names. And she said. Mike, what else is there besides faces and names? So anyways, I just wait until it comes, you know, it just till, the name comes, I just wait and wait. And in the morning, I figure, after looking at all those places for the keys or whatever, I'll eventually find it. And then I'll look in the unlikely places and I find it. NEIL: What are the unlikely places in your life for keys?  MICHAEL: You know where I've been to keeping them lately? On my front door. So I go outside and they're always there now, so yeah. That's where I seem to keep them.  NEIL: That is really, why don't we all just keep them there?  MICHAEL: Right. I trust my neighbors, evidently.   NEIL: We just very recently got a knock on the door from our neighbor Arlene. A shout out to Arlene if you're listening, and I know you're not, but, um, bless Arlene who very aggressively knocked on our door. She kind of is like policing the hall in a very loving way, but authoritative. And I left the keys in the door. And um, you could tell Arlene lived for this moment. The keys, they're in the door! You know, it's like, and uh, and then of course I have to like reciprocate with like, um, thank you so much. Oh God. Wow. How did we do that? Thank you, Arlene.  MICHAEL: I have - the person that polices our place, uh, has a Trump hat.  NEIL: Oh no. I don't know if I could deal with that.  MICHAEL: He is taking over the recycling, which is great, but he's got it under lock and key, literally under lock and key. So you go downstairs to get rid of your bottles and stuff. And it takes a lot longer. So then everybody just leaves it down there.  NEIL: Every now and then, forgive me, is there like a, an immigrant child in there as well?  MICHAEL: Oh, there's not an immigrant child, but there is something I think it, I realized it bothers him, that people pick through the garbage and it's mostly like, you know...  NEIL: The people who shouldn't be here. From the shithole countries. MICHAEL: Yeah. So I thought about that later and then I just didn't want to think about it anymore cause I was getting all upset.  NEIL: Um, have you had a political conversation with him or?  MICHAEL: I don't go there. Yeah, he's on, he's a little unstable and he asked, one time he asked me if I wanted to take something outside.  NEIL: Oh, he asked you if you want to, I thought, take something outside like garbage. MICHAEL: Right.  NEIL: But no, he wanted to take a discussion outside.  MICHAEL: Yeah.  NEIL: Wow. I'm gay enough that I have never had that conversation, you know? Uh, or if it is, it's like, it's nasty and it's happened a long time ago and it wasn't a fight. Um, wow. Okay. I'm glad that worked out okay. Uh, this card says: Read my - MICHAEL: Can I be, can I, I had a hard time reading that, kind of, reading them.  NEIL: Yeah. Well.  MICHAEL: Your penmanship is like...  NEIL: Well, I always say if my, if my handwriting were a font, it would be called Suicide Note, so I'm...  MICHAEL: Not judging. I just said I had a hard time, you know, deciphering it at times.  NEIL: Yeah. Read my course evaluations at my funeral. That's what that says.  MICHAEL: Oh, well, I was thinking that when, when I do pass, I would like to get ahead of the thing and have people send out a, uh, an announcement saying, if you happen to be in the neighborhood, you know, come to my show, I'll be like, you know -  NEIL: I'll be here for eternity. MICHAEL: Um, class evaluations. Yeah. I love my class evaluations and I save them and I, I find them very funny. One, I actually made a poster and it was, uh, it was, "I'm not sure if I agree with the way Professor Smith teaches this class. He called my work crap and he called us idiots. This is a waste of my time and money." I was very happy with that.  NEIL: And you made that into a poster?  MICHAEL: I made it into a poster.  NEIL: Do you, do you have any other ones that come to mind? I bet you get great course evaluations.  MICHAEL: Some are good. But like I, I forget them, you know, um, I get them, I still get them handwritten. You're supposed to, a lot of people just go online, but I always, I always hand them out and, and I, I have to leave the room and I always say to them, before, "My livelihood and my future is dependent on how you judge me. And I'm so sorry, I meant to bring the donuts. We'll get to that." NEIL: Huh? See, I try to be real coy about it. Like, you know, they make me do this and, you know, try and like keep it open to, um, other than positive feedback. But obviously it's a desperate wish for approval. MICHAEL: Yeah. I, I always tell them I care deeply for them too, when I'm, yeah. You know, I care deeply for all of you.  NEIL: See, you can,  MICHAEL: One thing - I, one of my students who I happen to, like, he-  NEIL: Happen to like. Whatever.  MICHAEL: He came up to me and he said, you know, Mike, even when we're watching videos in the dark, we always know what you're thinking. We can always read you.  NEIL: Wow. That's a scary thought.  MICHAEL: It is. Cause I'm, I have no filter with, you know, I, I just, it, it comes out, I just sort of convey it with my face.  NEIL: See, I find you, because there is a kind of like genial neutrality, you know, like the, the idea of like quote unquote resting bitch face. You have kind of like resting, mm, bemused face. Um, I find it actually kind of opaque. I wish I knew what you were thinking.  MICHAEL: You know what? A lot of times nothing. I get the feeling I'm not answering the, I'm not answering these cards very, uh.  NEIL: Do you need me to take care of you a little bit right now in terms of - I think you're doing a phenomenal job. You know, this is a fucked up, um, project, by the way, because everyone, like I, I once was doing an iteration of it and this kind of high powered curator said to me, did I do okay, or did I do it right? And I wanted to say like, you did, there's no way of not doing this right, but let's talk about why you've never put me in a show. But that's a different story. The faces of spectators at art world performances. The dutifulness and absence of pleasure. We've all seen this like documentation of a performance at an art event and you see like the spectators, like-  MICHAEL: I often say to my, uh, um, to myself and sometimes my students, where's the joy? Looking for the joy. You're talking about pleasure. I'm looking for the - all the time, I'm wondering about that.  NEIL: Where's the joy? Yeah. I'm stealing the hell out of that for any teaching I do. And also, that would be my teaching evaluation for like 95% of the art I see. I mean, it can be art about, um, Auschwitz and you can still appropriately ask the question, where's the joy? Don't you think? Provocative question.  MICHAEL: Um. NEIL: What was the question?  MICHAEL: No, no, no. I thought I'd get some room tone. You know, we start with the toilet and then we put, where's the joy with Auschwitz. You know, this is- NEIL: This is like a balanced meal or something. I'll take the toilet, joy, and Auschwitz. Well, we'll have to talk about what constitutes dessert within that.  NEIL: Uh, okay. Let's try this: The brutality of a memorial service having a duration. MICHAEL: All right. Are you, a duration, like a time limit or like, um, it doesn't end?  NEIL: You answer it however you want.  MICHAEL: Well, I, I, I think brevity can be good, you know, um, and I don't think I need to go to a durational memorial. I may have misunderstood the question or, not the question, the card. I have been in position where I've, I've helped organize them in a, you know, like emceed them. So you get a little nervous, you know, so you want to keep it like, it becomes like a fucking variety show. NEIL: Exactly. That is so true. Memorial services are a variety show.  MICHAEL: I don't know if that's appropriate. You know?  NEIL: What should it be instead?  MICHAEL: Well, it can, I guess it, it should be kind of free-flowing and with me at the helm, it's not going to be free-flowing. NEIL: Because you keep it, you keep it moving? MICHAEL: I try to, yeah.  NEIL: That's a lot of responsibility. I've never, I, I've done, I, I seem to be the person who you will call to do the slide show for your loved one's memorial. I've done a number of them.  MICHAEL: That's a lot of work.  NEIL: It is. And you can't complain about it. Uh, you know.  MICHAEL: And also you have to be in touch with people to get that material.  NEIL: That I - that I have subcontracted and, you know, but even so, it's a lot of work. And you do not want to fuck that one up. Um. But see, for me, I love the idea of durational, like for those of our listeners who don't know, there's a terminology within the art world of durational art, and to me that is like the height of decadence. Like we have such a surplus of time, you know, that we're going to make art from that surplus or something. You know what I mean?  MICHAEL: I have a, getting back to my students, I have a, um, a three-hand rule.  NEIL: Oh, let's hear it.  MICHAEL: Um, well, if some of the, when I'm covering some work like early seventies, you know, and you kind of get the idea after like five minutes and it goes on. If, if one person, three people raised their hand, we'd go onto the next video.  NEIL: I am learning so much today.  MICHAEL: But I don't think you can do that in memorial service. I don't think that'll, I don't think that'll work, no. NEIL: Oh, that's funny.  MICHAEL: How surprised would they be if you, you mentioned that in the beginning of the memorial? NEIL: Yeah, listen, not to create pressure, but it's kind of like the Apollo where you get the hook. MICHAEL: How am I doing, how am I doing? Yeah. Right.  NEIL: Okay. A bad X you would take over a good Y. So, for me, perpetually, my example is I would take a bad episode of RuPaul's Drag Race over a good Godard movie. So, what's a bad X you would take over a good Y?  MICHAEL: Well, I'm of the school that something bad can have lots of charm. There's something redeeming about it. Where there's something is overly so good, like a certain kind of Broadway kind of, um...  NEIL: Careful.  MICHAEL: Yeah. Well, you understand a certain kind of large delivery or something. A certain styling, a certain song-styling. Um, oh, I'm going to lose the whole audience on this reference. NEIL: Go for it. You have me.  MICHAEL: Okay. The, the, the Bobby Short commercial singing Charlie. I would, I will always cringe at that one. And then I would much rather take a bad public access, uh, commercial than that.  NEIL: There's a fragrance that's here to stay and they call it Charlie. NEIL: Um, so Mike, uh, what is it that keeps you going? MICHAEL: Uh. Hm. I don't know what's keeping me going right now. Um, that's a big one. Um, I, you know, when I was lot younger and doing my work, I, you know, and reinventing the wheel, you know, reinventing the wheel and stuff, I was very excited. But I don't, I wonder what, what keeps me going? No one knows. No one knows. Looking for the joy.  NEIL: On that note, thank you to all of you for being here. Thank you, Mike, for coming to this live taping. Thank you to everyone at Skowhegan. Sarah, Katie, Kris, Carrie, Paige, everyone else. Um, now, this series is made possible with generous support - thank you Jesus - for Still Point Fund. Oh, Siri, something set Siri off. That's, that's my husband, Jeff. Um, oh, sorry. I know, you know, it's interesting. One of the cards I have is every time I stub my toe, I look for someone to blame. And it's often Jeff. And, um, so. Uh, the calls are coming from inside the house. The house being my subjectivity. Let's do that again cause this is important. This series is made possible with generous support from Still Point Fund. Devon Guinn is our producer. Molly Donahue and Aaron Dalton are our consulting producers. Justine Lee handles social media. Our interns are Alara Degirmenci, Jonathan Jalbert, Jesse Kimotho, and Rachel Wang. Our card-flip beats come from Josh Graver. And my husband, Jeff, sings the theme song you're about to hear. And he's going to perform it live. He's a professional. JEFF HILLER: She's a talker with Neil Goldberg. She's A Talker at Skowhegan. She's A Talker, it's better than it sounds. NEIL: Thank you, everybody. Thanks everyone for listening to this bonus episode. Keep your eyes open for She's A Talker, Season Three, coming soon. And in the meantime, be well.

Même pendant le confinement, Ni Une ni deux est là pour vous divertir et ses chroniqueurs mobilisés pour vous en apprendre encore plus sur le monde ! En cette période particulière pour nous tous, Ni Une ni deux revient avec une émission remaniée. Toute l'équipe avait enregistré une émission dans des conditions normales juste avant l'annonce du confinement, en veillant toujours à vous faire part de ce qui était passé inaperçu dans les médias. En cette fin avril, nous avons donc décidé de conserver nos chroniques sport, culture et histoire. Alors au sommaire de cet épisode 5 confiné : - Pour découvrir l'histoire du sport : l'incroyable histoire d'Enes Kanter (David Heilbronn, notre nouveau chroniqueur !) - Pour voyager au Centre Georges Pompidou : la pastille culturelle sur l'exposition "Faire son temps" (Jade Berre) - Pour enrichir votre culture historique : l'interview passionnante de Cesare Panizza, sur Nicola Ciaromonte, anti-fasciste et essayiste italien du XXe siècle oublié par l'histoire (Héloïse Guillamon) - Pour l'animation : Mathilde Piqué Alors, passionnés d'histoire, de culture ou de sport, à vous écouteurs !

BUILDING VESSELS OF LIGHT. Renzo Piano is an Italian architect whose notable buildings include the Centre Georges Pompidou in Paris, The Shard in London, the Whitney Museum of American Art in New York City, the Stavros Niarchos Foundation Cultural Center in Athens etc. Renzo Piano won the Pritzker Architecture Prize in 1998. In 2013 he was made a Life Senator in Italy.

durée : 00:29:12 - L'actualité des industries culturelles et du numérique - par : Frédéric Martel - Inauguré le 5 novembre 2019 en présence d'Emmanuel Macron, Serge Lasvignes, Fong Shizhong président du West Bund Museum et le maire de Shanghai, le "Centre Pompidou × West Bund Museum Project" est la troisième antenne de Beaubourg dans le monde après Malaga et Bruxelles. - invités : Serge Lasvignes Président du Centre Georges-Pompidou

durée : 01:17:38 - Soft Power - par : Frédéric Martel - Soft Power, culture, médias, trois invités pour trois sujets : Serge Lasvignes, président du Centre Pompidou, à l'occasion de l'ouverture du Centre Pompidou Shanghai ; Gilles Haéri le nouveau directeur des éditions Albin Michel ; Éric Chol pour la formule renouvelée de L'Express. - réalisation : Véronique Vila, Lionel Quantin - invités : Serge Lasvignes Président du Centre Georges-Pompidou; Gilles Haéri Directeur général des éditions Albin Michel; Éric Chol Directeur de la rédaction de l'Express

MILENA STOJILKOVIC 25/08/19. Nous retrouvons Milena, co-fondatrice de Contreplaqués, sur l’esplanade du Centre Georges Pompidou. Née en 1995 dans les Hauts-de-Seine, elle est passionnée d’Art depuis l'enfance. C'est donc logiquement que Milena se décide, dès l’école primaire à suivre une formation dans cette voie. Après un baccalauréat littéraire option Arts Plastiques déterminant pour elle, elle intègre une licence en Arts Plastiques dans laquelle elle développe sa pratique du dessin et de la peinture, avant d'interrompre ses études quelques mois pour voyager. Aujourd'hui en Master Médiation de l’Art Contemporain à l’Université Paris 8, elle s’est éloignée de sa pratique pour se tourner vers celle des autres, afin de pouvoir partager et transmettre ce qu'elle aime. Crédits : Témoignage recueilli par Léa, Milena et Roman. Photographie par Roman.

Après des études de lettres, Muriel Bloch a travaillé à l'atelier des enfants du Centre Georges Pompidou et pour la cellule pédagogique du Musée d'art moderne. C'est en 1978 qu'elle rencontre le conte grâce à l'exposition « Alice, Ulysse, Oh Hisse ! » organisée par la BPI en collaboration avec La Joie par les livres. Depuis le virus ne l'a plus quitté... Elle raconte en France et à l'étranger, seule ou en musiques. Son répertoire : des contes traditionnels qu'elle recycle à sa façon, des nouvelles et parfois des récits de son invention. Muriel Bloch a été responsable de la collection « Fées et gestes » chez Hatier, et de la collection « Le Petit Mercure » aux éditions Mercure ; productrice d'une série de contes « Histoires à se réveiller couchés » sur France Culture ; et a été chargée de cours à l'Université Paris-VIII, département Cinéma. Elle a publié une quarantaine d'ouvrages et de recueils de contes, en tant qu'auteure, adaptatrice, conteuse. Elle a également traduit des contes, et elle organise des ateliers de formation à l'art du conte.

SONIC ACTS FESTIVAL 2019 – HEREAFTER Post-Screening Discussion: Tony Cokes in conversation with Mirna Belina. 23 February – De Brakke Grond, Amsterdam, The Netherlands Following the screening of Black Celebration (1988, 17 min) Tony Cokes discusses the film with Mirna Belina and takes questions from the audience. In Black Celebration (1988, 17 min), Tony Cokes merges newsreel footage of riots in urban black neighbourhoods in the 1960s with popular music and text commentary to create an incisive counter-reading. ​‘This videotape involves the riots that took place in the Watts section of Los Angeles, California in August, 1965 and the Black neighbourhoods of other American cities during the 1960s. The black and white work uses newsreel footage from events in Watts, Boston, Newark, and Detroit interspersed with text commentary. The newsreel voiceovers are replaced by music. The intent of the piece is to introduce a reading that will contradict received ideas which characterise these riots as criminal or irrational.’ (T.C.) Black Celebration was made for the Bronx Museum of the Arts. Text: Morrissey, Martin L. Gore, Barbara Kruger, The Situationists International; Music: Skinny Puppy; Editor: Eleanor Goldsmith. Tony Cokes makes video, installation, print, sound and other works that reframe appropriated texts to reflect upon capitalism, subjectivity, knowledge and pleasure. Cokes deploys sound as a crucial, intertextual element, complicating minimal visuals. He has shown works internationally at venues including Centre Georges Pompidou, Museum of Modern Art, Whitney Museum, ZKM, REDCAT and La Cinémathèque Française. Cokes has screened at festivals including the Berlin Biennale X, International Film Festival Rotterdam, Rencontres Internationales Paris/​Berlin/​Madrid and Oberhausen. Cokes is Professor in Modern Culture and Media at Brown University, Providence, RI. His work is represented by Greene Naftali Gallery, New York.

SONIC ACTS FESTIVAL 2019 – HEREAFTER Tony Cokes – the next ‘revolution’? 07.2001 (revised 02.2019) – or progress does not exist 23 February – De Brakke Grond, Amsterdam, The Netherlands With an introduction by Ash Sarkar. In his talk, Tony Cokes will revisit some of his ideas he deployed in a talk presented in July 2001. He will begin with Black Celebration (1988), his first work to examine the legacy of the late 60s and early 70s. That video appropriated newsreel images of urban uprisings in Watts, Boston, Detroit and Newark. Cokes juxtaposed the footage with an ‘industrial’ music soundtrack by Skinny Puppy and visual text quotations, prominently from Situationist International’s The Decline and Fall of the Spectacle-Commodity Economy. The video re-presents these historical events from a distant, but desiring perspective that would counter Reagan-era amnesia or dismissal. Cokes’ presentation will discuss this period in relation to a trajectory within his artistic practice that questions the mythic idea of progress. He will connect three threads: his scepticism with regard to historical constructions, the media’s attempted conversion of ‘revolution’ into a debased marketing trope, and the question of how these representations resonate in our current climate of fear and proto-fascist nationalisms. Tony Cokes makes video, installation, print, sound and other works that reframe appropriated texts to reflect upon capitalism, subjectivity, knowledge and pleasure. Cokes deploys sound as a crucial, intertextual element, complicating minimal visuals. He has shown works internationally at venues including Centre Georges Pompidou, Museum of Modern Art, Whitney Museum, ZKM, REDCAT and La Cinémathèque Française. Cokes has screened at festivals including the Berlin Biennale X, International Film Festival Rotterdam, Rencontres Internationales Paris/​Berlin/​Madrid and Oberhausen. Cokes is Professor in Modern Culture and Media at Brown University, Providence, RI. His work is represented by Greene Naftali Gallery, New York.

Dans ce deuxième épisode consacré à la Bpi, Bibliothèque Publique d'Information du Centre Pompidou, je vous propose d'aller à la rencontre des habitués de ce lieu, et d'une personne qui les observe depuis plus de 20 ans, le sociologue Christophe Evans, responsable du service Étude et Recherche à la Bpi. Des Regards à l’œuvre dresse le portrait des espaces culturels à travers le regard des personnes qui font d’eux ce qu’ils sont. Ainsi, dans cette émission, la parole est aussi bien donnée aux « spécialistes » (directeurs, historiens, médiateurs, critiques, etc.), qu’à ceux que nous avons le moins l’habitude d’entendre (habitants/commerçants du quartier, musiciens de rue, femmes de ménage, caissiers, gardiens, agents de sécurité, visiteurs, etc.) mais qui n’ont pas pour autant moins de choses à nous dire… Pour la première saison (2018-2019) de cette émission, nous vous donnons rendez-vous au Centre Georges Pompidou.   ……   Cet épisode a été réalisé par Stéphanie Kamidian avec l'aide précieuse de Thierry Godard.    Musique d'intro et d'outro : Pompidou de Portico Quartet Autres musiques :  > En bas de chez moi - Squadra X Landy  > New Space Music - Brian Eno  > Minor Fanstasy - Chilly Gonzales > Metamorphosis I - Philip Glass    Pour plus d'informations sur : > la Bpi : https://www.bpi.fr/bpi > l'ouvrage Les Habitués : Le microcosme d’une grande bibliothèque : https://pro.bpi.fr/observation-des-publics-de-la-bp/les-habitues Pour découvrir le film, Les Habitués : https://pro.bpi.fr/observation-des-publics-de-la-bp/les-habitues-le-film   Pour nous contacter : desregardsaloeuvre@radiocampusparis.org

  Dans ce premier épisode consacré à la Bpi, Bibliothèque Publique d'Information du Centre Pompidou, il sera question d'écoute.  L'écoute sera ici mise en avant par le témoignage de Christine Mannaz-Dénarié, bibliothécaire et programmatrice de la Bpi, celui de François, un des participants des séances de « lectures en tête-à-tête », et, tout simplement, par des enregistrements d'ambiances sonores de ce lieu si particulier... Des Regards à l’œuvre dresse le portrait des espaces culturels à travers le regard des personnes qui font d’eux ce qu’ils sont. Ainsi, dans cette émission, la parole est aussi bien donnée aux « spécialistes » (directeurs, historiens, médiateurs, critiques, etc.), qu’à ceux que nous avons le moins l’habitude d’entendre (habitants/commerçants du quartier, musiciens de rue, femmes de ménage, caissiers, gardiens, agents de sécurité, visiteurs, etc.) mais qui n’ont pas pour autant moins de choses à nous dire… Pour la première saison (2018-2019) de cette émission, nous vous donnons rendez-vous au Centre Georges Pompidou.   ……   Cet épisode a été réalisé par Stéphanie Kamidian avec l'aide précieuse de Thierry Godard, Sarra Chamam, Christine Mannaz-Dénarié et Edward Van Daalen.  Musique d'intro et d'outro : Pompidou de Portico Quartet Violoncelle : Maëva Le Berre   Pour plus d'informations sur : > la Bpi : https://www.bpi.fr/bpi > la 3e Nuit de la Lecture à la Bpi : https://www.bpi.fr/agenda/nuit-de-la-lecture-2019 > Mathieu Simonet : http://mathieusimonet.com/Mathieu_Simonet_-_Site_officiel_de_lecrivain.html Pour découvrir les compositions sonores de Christine Mannaz-Dénarié (qui est également électro-acousticienne) : https://christinemannaz-dnari.bandcamp.com/   Pour nous contacter : desregardsaloeuvre@radiocampusparis.org

16.11.26 /In this recording I revisited a square that I had been meaning to record for a while / It sits in the 4th arrondissement (area) of the city, next to the Centre Georges Pompidou, a library and modern art museum / The museum itself is an interesting building, with a scaffolding styled exoskeleton / However each time I have visited I have sat down with my back to it, preferring to observe the little square / The square looks out of place with the style of central Paris and for that I like it / Its dominated by a huge piece of graffiti on an uncharacteristically featureless building side / The woman with eyes wide and finger to her lips looks down starkly on the square / Below it are a number of graffiti tags, the exact style that smother the walls of every autoroute (motorway) and railway line leading from Paris for a hundred kilometres / The adjacent church is markedly shabby for central Paris / Whilst still ornate, it is as though time has worn it / I sit on a metal bench with the Stravinsky fountain behind me / Sixteen modern art sculptures sit in the fountain / However the fountain has been drained and the result is an ugly one, with the rusted chains holding the sculptures in place and tubes for pumping water revealed / The other side of the square holds a row of cafes with terraces / The sound of café chatter can just about be heard on the left side of the recording / I sat enjoying the sense of space and rest bite from traffic sounds that the square brings / It is punctuated by people jumping on to the long metal bench for pictures and a workman drilling behind me / In the background you can hear bells ringing out and several languages being spoken / Opposite me small groups sit on the steps / A young couple share a cigarette / Pigeons take flight from their nests in the church. Children chase each other across the square, content and carefree / For me the graffiti is the important element here as it is a reminder of the other side to Paris that I was becoming accustomed to and intrigued by as the initial tourist blindness began to wear off / As I was living outside the limits of the city I spent a fair amount of time travelling in and around, sometimes via some of the less desirable areas / Gone are the ornate buildings and avenues. Instead warehouses, vacant spaces, towerblocks and autoroutes dissect the neighbourhoods / The streets are often messy / The walls covered in graffiti and broken furniture lies strewn on the pavement / Whilst it is impossible to miss the beggars in the city centre, I was more struck by seeing the homeless in the suburbs / Not begging, just sitting there on mattresses or sometimes tents / I sat remembering how on my first weekend in the city, walking to a nightclub in the outskirts was the first time my Wendy and I had felt vulnerable / As I came back from my thoughts to the safety of daylight in the centre, I was still looking at the graffiti of the woman with the finger to her lips telling me - don’t break the spell // All recordings and Photos by Ben Gale See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_paris-_ben_gale To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it

[caption id="attachment_78568" align="alignnone" width="1024"] Trajet effectué par un visiteur jusqu'au Centre Pompidou. Représentation graphique réalisée dans le cadre d'une enquête menée par Caterina Tosoni, le 02/12/18, au Centre Pompidou.[/caption]   Dans ce troisième épisode, il est question de parcours et de cheminements à travers : - le témoignage de Caterina, une étudiante en art, qui a mené une enquête auprès des visiteurs afin de savoir comment ceux-ci se représentent le chemin qu'ils ont parcouru jusqu'au Centre ;  - des enregistrements de déambulations au Musée à l'inauguration de la Saison France-Roumanie, un mardi, jour de fermeture au public du Centre Pompidou ; - ainsi que des cheminements de pensée lors d'une expérience psychanalytique réalisée au Musée, face à l'oeuvre d'Yves Klein intitulée ANT 76 Grande Anthropophagie Blue, Hommage à Tenesse Williams... Des Regards à l’œuvre dresse le portrait des espaces culturels à travers le regard des personnes qui font d’eux ce qu’ils sont. Ainsi, dans cette émission, la parole est aussi bien donnée aux « spécialistes » (directeurs, historiens, médiateurs, critiques, etc.), qu’à ceux que nous avons le moins l’habitude d’entendre (habitants/commerçants du quartier, musiciens de rue, femmes de ménage, caissiers, gardiens, agents de sécurité, visiteurs, etc.) mais qui n’ont pas pour autant moins de choses à nous dire… Pour la première saison (2018-2019) de cette émission, nous vous donnons rendez-vous au Centre Georges Pompidou. ……   Participations : Caterina Tosoni et Natacha Guiller  Réalisation : Stéphanie Kamidian Musique intro et outro : Pompidou de Portico Quartet Illustration réalisée par un visiteur anonyme du Centre Pompidou dans le cadre d'une enquête menée par Caterina Tosoni le 02/12/18.   Pour nous contacter : desregardsaloeuvre(at)radiocampusparis.org

Notre-Dame de la Tuyauterie

[caption id="attachment_75456" align="alignnone" width="1024"] Illustration par Natacha Guiller.[/caption] Dans ce deuxième épisode, Stéphanie Kamidian (créatrice de cette émission) et Natacha Guiller vous proposent de découvrir l’espace culturel qui a inspiré Des Regards à l'oeuvre, à travers les témoignages de Jean-Max Colard, directeur du Service de la Parole, et de Fares, jeune homme rencontré à l'étage -1 du Centre… Des Regards à l’œuvre dresse le portrait des espaces culturels à travers le regard des personnes qui font d’eux ce qu’ils sont. Ainsi, dans cette émission, la parole est aussi bien donnée aux « spécialistes » (directeurs, historiens, médiateurs, critiques, etc.), qu’à ceux que nous avons le moins l’habitude d’entendre (habitants/commerçants du quartier, musiciens de rue, femmes de ménage, caissiers, gardiens, agents de sécurité, visiteurs, etc.) mais qui n’ont pas pour autant moins de choses à nous dire… Pour la première saison (2018-2019) de cette émission, nous vous donnons rendez-vous au Centre Georges Pompidou. ……   Cet épisode a été réalisé par Stéphanie Kamidian avec la participation de Natacha Guiller. Montage : Stéphanie Kamidian Musique intro et outro : Pompidou de Portico Quartet Extrait musical : Bande sonore de One Piece "The Very, Very, Very Strongest"  Illustration : Natacha Guiller   Pour plus d’informations sur : le Service de la Parole : https://www.centrepompidou.fr/cpv/resource/cLboMKK/rrXMkod la programmation de films au Centre Pompidou : https://www.centrepompidou.fr/fr/lib/Cinema-et-video   Pour nous contacter : desregardsaloeuvre(at)radiocampusparis.org

    Des Regards à l'œuvre dresse le portrait des espaces culturels à travers le regard des personnes qui font d'eux ce qu’ils sont. Ainsi, dans cette émission, la parole est aussi bien donnée aux « spécialistes » (directeurs, historiens, médiateurs, critiques, etc.), qu’à ceux que nous avons le moins l’habitude d’entendre (habitants/commerçants du quartier, musiciens de rue, femmes de ménage, caissiers, gardiens, agents de sécurité, visiteurs, etc.) mais qui n'ont pas pour autant moins de choses à nous dire... Pour la première saison (2018-2019) de cette émission, nous vous donnons rendez-vous au Centre Georges Pompidou. Dans ce premier épisode, Stéphanie Kamidian (créatrice de cette émission) et Natacha Guiller vous proposent de découvrir l'espace culturel qui a inspiré cette émission, à travers leurs expériences de celui-ci...   ......   Cet épisode a été co-pensé par Stéphanie Kamidian et Natacha Guiller. Réalisation : Stéphanie Kamidian Musique : Pompidou de Portico Quartet Illustration : Natacha Guiller   Pour plus d'informations sur : l'installation de Dominique Gonzalez-Foerster : https://www.centrepompidou.fr/cpv/resource/cLboMKK/rrXMkod l'exposition Yves Klein : Corps, couleur, immatériel : http://mediation.centrepompidou.fr/education/ressources/ENS-klein/ENS-klein.htr   Pour nous contacter : desregardsaloeuvre(at)radiocampusparis.org

Qui dit rentrée dit rentrée littéraire, multiples prix, et pour les plus scolaires d'entre nous, listes d'ouvrages à acheter. C'est pourquoi En Pleines Formes pour fêter cette nouvelle saison parle ce mois-ci de littérature — mais de littérature hors du livre, dans ses multiples croisements avec la création contemporaine. Depuis les expérimentations sonores de Dada ou du Futurisme jusqu'au conférences-performances d'Eric Duyckaerts en passant par le rap, ces croisements sont multiples, et questionnent les liens entre art et littérature  au-delà de la traditionnelle dialectique de l'ut pictura poesis et des récurrentes tentatives de hiérarchiser les arts. Alors quels sont les différents liens possibles entre art et littérature? En quoi de telles expérimentations permettent de questionner les frontières entre les médiums? En quoi le récit, la narration, peuvent-ils nourrir des démarches plastiques, et respectivement la page, l'écriture, être fertile pour des artistes?  Pour nourrir ces réflexions, nous recevons Jean-Max Colard, êtes Directeur du département "Paroles" au Centre Georges Pompidou et à l’initiative du festival « Extra, la littérature hors du livre », dont la deuxième édition se tenait il y a quelques jours; Cécile Mainardi, artiste performeuse et poétesse, auteure notamment du Degré rose de l'écriture mais également Sébastien Souchon, Adrien Van Meele, tous deux artistes plasticiens diplômés des Beaux-arts de Paris, et fondateurs des Éditions extensibles consacrées à la publication de textes d'artistes.   Animation et interview : Henri Guette, Flore Di Sciullo Réalisation : Adel Ittel               Alors

The life of an artist is complex. You develop a skill, hone it and perfect it yet that is not the whole story. As John Wellington points out in our recent conversation, there are numerous artworks of the Madonnna and Child, endless versions on the same theme yet amongst all of these Bernini’s stands out. Is it simply skill? Or is it somehow a devotional fidelity to one’s own poetic vision? How does that same devotion translate when taken out of the context of religion? Is the ideation of beauty sullied by the representation of one’s own personal ideals? Verging on the obsessive (a necessary trait if one is to produce a body of work) Wellington’s totemic imaginary worlds have been the subject of solo and group exhibitions from New York City to Paris, France. They have been shown at the Centre Georges Pompidou and most recently at the now defunct but memorably dynamic Lodge Gallery on the Lower East Side of Manhattan (Temple Tomb Fortress Ruin, 2017). We explore his youth, growing up in NYC in the late 60’s and early 70’s Support the show (https://paypal.me/TMARTNY?locale.x=en_US)

Présentation de l’exposition par les trois commissaires : Brigitte Leal, conservateur général, directrice adjointe du musée national d’art moderne au Centre Georges Pompidou, Markéta Theinhardt, historienne de l’art, Sorbonne Université, et Pierre Brullé, historien de l’art František Kupka est né en Bohème en en 1871. Après avoir étudié à Prague et à Vienne, il se fixe définitivement à Paris en 1895. De ses recherches sur les rapports de couleurs, les formes géométriques, la décomposition du mouvement et de la lumière naitra l’art abstrait dont il sera l’un des pionniers. Au départ figurative, l’œuvre de Kupka, deviendra résolument abstraite au tournant des années 1910. Passionné par la philosophie, les sciences, les religions, la poésie et la musique, il poursuivra ses explorations formelles et ses recherches théoriques sur l’art, en restant volontairement à distance de tout mouvement artistique, jusqu'à sa mort en 1957.

https://improvisations.fr/wp-content/uploads/20171031mains.mp3 Il y a actuellement au Centre Georges Pompidou une exposition consacrée au peintre André Derain. Et au sein de cette exposition, un tableau magnifique et magique, nommé La Danse, qui a d'ailleurs été utilisé pour l'affiche. André Derain : La danse Outre son étrange beauté et le charme se dégageant de sa tête penchée à la façon des hei tiki maori, je me demandais pourquoi le personnage principal, à gauche, me fascinait tant. Et c'est en essayant, stylo à la main, de reproduire le dessin des ondulations de sa tunique, que j'ai trouvé : ces ondulations sont les mêmes que celles qui recouvrent le corps et le cou du dieu Cerf, à la fin de Princesse Monoké. De même que sa tête penchée, au delà des hei tiki, rappelle les esprits de la forêt qui apparaissent dans le même film. L'amusant est que cette série de correspondances, que je sentais sans arriver à les saisir, soit parvenue à ma conscience par le truchement de ma main et du stylo qu'elle tenait. C'est la mémoire de la main qui a joué : la main sait se souvenir de choses que la conscience a oubliées et qui, par son intermédiaire, reviennent à la mémoire. Tel est l'objet de cet enregistrement.

Join Us in France Travel Podcast On today's show, Elyse and Annie bring you musings on Le Corbusier Architecture, how he became one of the pillars of French architecture, and some of the criticisms levied against him. Was he a genius or a tyrant? Hint: it doesn't have to  be one or the other, he could be like you and me: a complicated person. If you like this episode you should also check out episode 103 about Le Corbusier and the Plan Voisin and how Le Corbusier planned to raze the Marais neighborhood to make room for something out of a authoritarian nightmare. And if you want to see what came after Le Corbusier Architecture, check out Episode 42 Centre Georges Pompidou.   To learn about Join Us in France Tours, visit Addicted to France If you enjoy the show, subscribe to the Join Us in France Newsletter Click here for show notes and photos for this episode. Click here to review the show on iTunes. Click here to leave us a voice mail question or comment. Send email feedback: annie@joinusinfrance.com Follow the show on Facebook THANK YOU for listening to the show!

Paulo Antonio Paranaguá est l’auteur d’études et de plusieurs livres sur les cinémas d’Amérique latine ; il a notamment dirigé Le Cinéma mexicain (cinéma/pluriel – Centre Georges Pompidou), premier ouvrage à offrir un panorama d’ensemble des réalisateurs, stars et mythologies de la principale cinématographie de langue espagnole depuis ses origines. En introduction à cette conférence se tiendra une projection exceptionnelle des premiers films tournés au Mexique en 1896 par Gabriel Veyre auquel les frères Lumière avaient confié la double mission de filmer le pays et d’y faire connaître une extraordinaire invention : le cinéma.

Places Mentioned in this Episode: Behind the scenes tour at the Eiffel Tower, Centre Georges Pompidou, Musée des Arts et Métiers, Musée des Arts Forains, Musée du Quai Branly, Parc de Bercy, Museum of Hunting and Natures, Paul Klee Exhibit, Place des Vosges, Promenade Plantée, Rosier-Joseph Migneret Garden, Sunday Bird Market behind Notre Dame, the Louvre A lot of people wonder, should I even take my kids to Paris? Will they get anything out of it? Alex Dionne and her husband decided to bring the kids and they were pleasantly surprised how child-friendly Paris is. They also chose to visit some places that haven’t come up on the show before, so that’s another fun bit. Alex shows us that if your kids are old enough and like to experience new things, you will make wonderful memories in Paris as a family. All photos by Alex and family. Click here to support the show on Patreon and get access to Lunch-Break French, designed to help you sharpen your French skills before your visit to France. Subscribe to the Join Us in France Newsletter Click here for show notes and photos. Click here to support the show when booking your hotels. Click here to support the show when you shop on Amazon. Click here to review the show on iTunes. Click here to leave us a voice mail question or comment. Send email feedback: annie@joinusinfrance.com Follow the show on Facebook

Cette semaine, musiques miauliques et sculptures sarcastiques sont en programme, pour un entretien avec l'artiste Alain Séchas, à l'occasion de son exposition au Musée d'art moderne de la ville de Paris, jusqu'au 12 juin 2016.  [caption id="attachment_32504" align="alignnone" width="850"] Vue de l'exposition "Coup de vent" au Musée d'art moderne de la ville de Paris -  © MAM de Paris et galerie Laurent Godin[/caption] De ses sculptures félines à ses toiles abstraites, plus récentes, en passant par ses installations qui oscillent entre drôlerie potache et intense sarcasme, à l'instar de Professeur Suicide (1995) ou Les Suspects (2000), l'oeuvre de Séchas est d'une grande richesse, et surtout plein de rebondissements. [caption id="attachment_32505" align="aligncenter" width="611"] Alain Séchas, Les Suspects (2000), Polyester, acrylique, dispositif sonore et lumineux220 x 360 x 70 cm. Collection MNAM, Centre Georges Pompidou, Paris.[/caption] Alors de ses premières sculptures aux toiles récentes, d'une conception enfantine de l'art à une cruelle conception de la société contemporaine, Alain Séchas aura beaucoup à nous dire de son oeuvre, de son parcours, et de ses inspirations.  [caption id="attachment_32506" align="aligncenter" width="800"] Vu d'une exposition de ses toiles abstraites en 2012, © galerie Chantal Crousel[/caption] Et en chronique, la promenade de Pierre-Henri dans les galeries Chantal Crousel, Marian Goodman et Thaddaeus-Roppac - et l'entretien de Jeanne avec l'artiste et performeuse Hélène Barrier. Animation : Flore Di SciulloChroniques : Pierre-Henri-Foublon et Jeanne LaurentRéalisation : Mikaël Perez

January 7th is the birthday of the late Alan Napier.  To celebrate, we here at the Batcave Podcast welcome author James Bigwood who contributed to Alan Napier's autobiography, Not Just Batman's Butler.  James talks about his experiences with Alan Napier, the writing of the book, and some of Napier's better roles.     James Bigwood first met Alan Napier in 1975, when he interviewed him for a profile that eventually appeared in Films In Review in 1979.  Building on his interest in film history, he co-wrote (with Stephen D. Youngkin and Raymond G. Cabana, Jr.) the book The Films Of Peter Lorre, published in 1982, as well as numerous articles on Salvador Dali's largely unknown film career for such publications as American Film, American Cinematographer and the catalogue for the 1979 Dali retrospective at the Centre Georges Pompidou in Paris.  After early attempts at an acting career proved less than successful, he moved into behind the scenes film production, starting as an assistant accountant on Francis Ford Coppola's COTTON CLUB in 1983.  He has worked variously as Associate Producer, Line Producer and Production Manager on such films as NEW JACK CITY (Warner Bros 1991), JUICE (Paramount 1992), BOB ROBERTS (Paramount 1992), POSSE (Gramercy 1993), ASSAULT AT WEST POINT (Showtime 1994), ROAD TO WELLVILLE (Columbia 1994),  WAITING TO EXHALE (Fox 1995), DOUBLE PLATINUM (ABC 1999), BOYCOTT (HBO 2001), GATHERING STORM (HBO 2002), and the Emmy nominated BRIGHT SHINING LIE (HBO 1998).   In 1995, he co-produced WIDE AWAKE for Miramax, in 1998, he produced THE TEMPEST, starring Peter Fonda, for NBC.  In addition, he has produced six television series: TOUCHING EVIL (USA Cable 2004), THE BLACK DONNELLYS (NBC 2007), LIPSTICK JUNGLE (NBC 2008/2009), MERCY (NBC 2009/2010), THE RED ROAD (Sundance 2013) and BEING MARY JANE (BET 2014) and the mini-series REVELATIONS (NBC 2005).  Along the way, he has managed to keep acting, playing small roles in THE TEMPEST, ROAD TO WELLVILLE, ASSAULT AT WEST POINT, POSSE, BOB ROBERTS, ROANOAK, BOYCOTT, REVELATIONS and LIPSTICK JUNGLE as well as in three films that he wasn't already working behind the scenes on: SEVEN MINUTES IN HEAVEN, NICK AND JANE, and PANTHERS.  In 1985, he directed the short film CHRISTMAS ON THE ROCKS WITH A TWIST, which he produced with writer Timothy Lonsdale.        

Événement dans Tout Foutre On Air : le grand, l'immense Jeff Mills est notre invité ce mercredi 8 avril 2015 à partir 21:00 dans le studio de Radio Campus Paris ! Une émission entièrement dédiée à cette légende vivante de la techno mondiale accompagné de Pascale Raynaud et David Calvo. Ensemble, nous parcourrons l'actualité artistique extrêmement riche de Jeff Mills en 2015 à Paris. Pour ne rien gâcher, on vous offrira en exclusivité et en avant-première trois extraits des nouvelles créations de Jeff Mills. Jeff Mills, techno legend et much more. Originaire de Detroit, Jeff Mills est un des musiciens les plus emblématiques de l'histoire de la techno. Originellement dj, il s'oriente rapidement vers la production de musique électronique house puis industrielle. En 1989, il fonde le mythique label Underground Resistance (UR) avec Mike Banks aka. Mad Mike, Robert Hood et Darwin Hall aka. D-Ha. En quelques années ce collectif pose les bases de toute la mythologie du son de Detroit : la techno comme une révolution musicale, influencée par toute l'histoire de la musique noire américaine, sans concession à visée commerciale. L'anti ego trip par excellence. Jeff Mills quitte UR en 1992 alors que le collectif est de plus en plus politisé.  Il fonde son nouveau label Axis à New-York puis l'installe à Chicago, où il demeure encore aujourd'hui. Depuis plus de vingt ans, Jeff Mills mène en parallèle une double vie artistique parfaitement singulière parmi les artistes electro. Adulé dans les fêtes techno europééennes et internationales,  il y joue ses productions les plus efficaces et dansantes de son label Purpose Maker. Désireux de faire évoluer ses moyens d'expression bien au-delà des dance floors, il s'est mué en designer sonore et concepteur de projets artistiques ambitieux. On pense notamment à la nouvelle version de bande originale qu'il propose au film Metropolis de Fritz Lang (2000) présentée au Centre Georges Pompidou, ou encore à son installation dédiée à Stanley Kubrick lors du festival Sonar de Barcelone (2001). Au fil des années Jeff Mills a souhaité faire évoluer ses créations en décloisonnant la musique électronique pour innover sans cesse : il ajoute la vidéo, travaille sur la technique de synchronisation des images avec le son, joue ses morceaux en live avec plusieurs orchestres symphoniques, se rapproche de la musique expérimentale, de la composition classique, de la danse. Il est aujourd'hui autant dj qu'artiste contemporain, avec comme seule constante l'élégance propre aux plus grands. Duos éphémères : carte blanche à Jeff Mills au Louvre L'année 2015 est d'une richesse exceptionnelle pour Jeff Mills qui proposera à Paris une série d'événements originaux. Tout commence avec une carte blanche que lui a proposé le Musée du Louvre. Nous aurons la chance d'accueillir dans le studio Pascale Reynaud, la programmatrice des Duos éphémères, qui ont vu se succéder des artistes aussi variés que Laurent Garnier et Oxmo Puccino en passant par Mathieu Chédid. Leur ambition commune : mêler musique et art cinématographique. Jeff Mills et Mikhaïl Rudy en duo Le 6 février dernier Jeff Mills et le grand pianiste russe Mikhaïl Rudy ont donné ensemble un concert unique à l'auditorium du Louvre où se sont mêlées musique électronique et improvisation. Ils dépassèrent ensemble le cadre strict de la performance scénique puisqu'ils étaient accompagnés d'images inspirées de L’Enfer, film inachevé d’Henri-Georges Clouzot (1964). Cette soirée exceptionnelle a donné naissance à un album When time splits qui sortira le 21 avril 2015 chez Axis Records et dont Tout Foutre On Air vous proposera un extrait en avant-première dès mercredi soir! Life To Death And Back,  un projet global dédié à l'Égypte ancienne Deuxième acte de cette résidence au Louvre, Jeff Mills a écrit, réalisé et mis en musique un film au sein du département des antiquités égyptiennes. Life to death and back est une oeuvre globale dédiée à la thématique du cycle de la Vie, en collaboration avec le chorégraphe Michel Abdoul. Trois danseurs y incarnent  à l'écran puis sur scène des divinités égyptiennes qui traversent les salles du Musée en y interprétant les états émotionnels qu'elles leur inspirent, avant de retourner au Royaume des Morts. Jeff Mills ponctue l'ensemble d'une création musicale originale qui atteint des sommets d'émotion quand la synergie avec les images projetées est totale. On a adoré cet hommage si contemporain dédié à une civilisation qui a su transmettre à travers les millénaires les témoignages brillants de ses croyances en l'au-delà. Un projet magnifique sur la temporalité, qui habite complètement le Musée du Louvre qui l'a vu naître. The Last Storyteller : Jeff Mills et David Calvo Jeff Mills et l’écrivain de science-fiction David Calvo détourneront le vendredi 10 avril le film Wunder der Schöpfung (Merveilles de la Création), le film réalisé par Hanns Walter Kornblum en 1925. Cette oeuvre entre science et poésie inspira Stanley Kubrick pour 2001 : Odyssée de l’espace, une des références absolues du fan de science-fiction qu'est Jeff Mills. Nous avons la chance d'accueillir le talentueux David Calvo pour nous présenter le projet. Tout à tour écrivain, dessinateur, scénariste et même game designer, il sera ce soir-là conteur d'une oeuvre résolument originale. Nouvelle exclu, nous vous diffuserons un extrait de la création de Jeff Mills pour The Last Storyteller! Exhibitionist 2, qu'est ce qu'un dj set? Dernier rendez-vous de sa résidence au Louvre, Jeff Mills donnera le vendredi 19 juin Exhibitionist 2 un film et spectacle live avec archives filmées dédié à l'art du djing. Il fait suite à Exhibitionist, un premier opus en 2006 qui présentait le travail de Jeff aux platines avec plusieurs caméras dédiées à l'étude du geste musical du dj. Entre pédagogie et ambition picturale, on à hâte de découvrir ce projet qui rend hommage aux technologies de composition et performance musicale en 2015. 2001: The Midnight zone, Jeff Mills à la Philarmonie de Paris Dans le cadre du weekend Science - Fiction de la Philharmonie de Paris, Jeff Mills donnera le 30-31 mai 2015 un spectacle hommage au 2001 : Odyssée de l'espace de Kubrick. Dans 2001 : the Midnight Zone, cinq humains sont choisis pour faire face au risque d'exctinction de l'espèce, s'installant dans les profondeurs abyssales des océans, là où la lumière du soleil ne parvient pas à pénétrer. On retrouvera sur scène de la Philharmonie 2 le travail chorégraphique de Michel Abdoul au coeur d'un spectacle total qui incluera la vidéo. Dernier cadeau, Jeff Mills nous diffusera en direct un extrait de sa création originale pour 2001 : The Midnight zone.   *** C'est Tout Foutre On Air avec Jeff Mills, Pascale Raynaud et David Calvo! C'est 1h30 en compagnie d'un des musiciens électroniques majeurs de notre époque avec une interview en direct et des exclus. C’est ce mercredi 8 avril 2015 de 21:00 à 22:30 en direct sur 93.9FM et en streaming sur le site de Radio Campus Paris Jeff Mills interview Radio Campus Paris

Werner Spies, former director of Centre Georges Pompidou, was invited by the Musée d'Orsay to set up an exhibition, chosing free from the 90.000 works archive. An interview on the occasion of his show on display at the Albertina in Vienna.

Werner Spies, ehemaliger Direktor des Centre Georges Pompidou, erhielt vom Musée d'Orsay die Gelegenheit frei eine Ausstellung aus dem Archiv zusammenzustellen. Ein Interview anlässlich der Präsentation der Schau in der Albertina in Wien von CastYourArt.

The Centre Georges Pompidou is startling and that's why we think you should visit it. And do not miss this vibrant Paris neighborhood, it has much to offer! Click here for show notes and photos. Click here to support the show when you shop on Amazon. Click here to review the show on iTunes. The post Episode 42 Centre Georges Pompidou appeared first on The Join Us in France Travel Podcast.

Luc Tuymans Lecture The Philip Feldman Gallery + Project Space is pleased to present an exhibition of prints by the influential artist, Luc Tuymans. “Luc Tuymans: Graphic Works - Kristalnacht to Technicolor” runs from Mar 6- June 14 2014. Download (mp3) Though he is known primarily as a painter, Belgian artist Luc Tuymans (b. 1958) continues to produce extraordinary work in the discipline of printmaking. Graphic Works - Kristalnacht to Technicolor brings together an array of Tuymans’ printmaking works. The pieces were produced between 1992 and 2013 and range in technique from color photocopy of Kristalnacht, 1992 to the twelve stone color lithograph of Gene (Plant), 2004. The exhibition will also feature examples of Tuymans’ experiments in printing on non-traditional surfaces such as Transitions A-B-C-D, 2008, which was produced with multi-colored screenprints on PVC plastic. Luc Tuymans: Graphic Works - Kristalnacht to Technicolor is curated by Feldman Gallery + Project Space Director, Mack McFarland and PNCA faculty member, Modou Dieng, in direct collaboration with the artist. About Luc Tuymans: Belgian artist Luc Tuymans is widely credited with having contributed to the revival of painting in the 1990s. His sparsely colored, figurative works speak in a quiet, restrained, and at times unsettling voice, and are typically painted from pre-existing imagery which includes photographs and video stills. His canvases, in turn, become third-degree abstractions from reality and often appear slightly out-of-focus, as if covered by a thin veil or painted from a failing memory. There is almost always a darker undercurrent to what at first appear to be innocuous subjects: Born in 1958 in Morstel, near Antwerp, Belgium, Tuymans was one of the first artists to be represented by David Zwirner. He joined the gallery in 1994 and had his first American solo exhibition that same year. In 2013, Luc Tuymans: The Summer is Over was on view in New York and marked his tenth solo show with the gallery. In 2013, a solo presentation of the artist’s portraits, Nice. Luc Tuymans, was hosted by The Menil Collection in Houston, Texas. His work was recently the subject of a retrospective co-organized by the Wexner Center for the Arts, Columbus, Ohio, and the San Francisco Museum of Modern Art. It traveled from 2010 to 2011 to the Dallas Museum of Art; Museum of Contemporary Art Chicago; and the Palais des Beaux-Arts, Brussels. Previous major solo exhibitions include those organized by the Moderna Museet Malmö, Sweden in 2009 and Tate Modern, London in 2004. Other venues that have presented recent solo shows include the Centro de Arte Contemporáneo de Málaga, Spain (2011); Haus der Kunst, Munich; Zachęta National Gallery of Art, Warsaw (both 2008); Mucsarnok Kunsthalle, Budapest (2007); and the Museu Serralves, Porto, Portugal (2006). A catalogue raisonné of the artist’s paintings is currently being prepared by David Zwirner in collaboration with Studio Luc Tuymans. Compiled and edited by art historian Eva Meyer-Hermann, the catalogue raisonné will illustrate and document approximately 500 paintings by the artist from 1975 to the present day. In 2001, the artist represented Belgium at the 49th Venice Biennale. His works are featured in museum collections worldwide, including The Art Institute of Chicago; Centre Georges Pompidou, Paris; Los Angeles County Museum of Art; The Museum of Modern Art, New York; Pinakothek der Moderne, Munich; Solomon R. Guggenheim Museum, New York; and Tate Gallery, London. Tuymans recently donated his portrait of Her Majesty Queen Beatrix of The Netherlands to the Stedelijk Museum, Amsterdam. He lives and works in Antwerp. Image: Luc Tuymans, The Valley, 2012; screenprint; 71 x 72,5 cm; Edition: 75; Courtesy of the artist. Download

Wednesday, Feb 5, 6pm EST: Mitchell's guest this evening is well-known musician Don Slepian, Electronic Keyboardist, combines unique skills in music and electronics with a lifetime of improvised keyboard music performance. Working in Renaissance, Baroque, and Romantic genres, he performs original classically-styled music on computer instruments of his own design. Born into a scientific family, Slepian showed both musical and technical talent early in life. In 1968, he programmed computers and built electronic music circuitry, sculpting sound with classic electronic music studio tape techniques. In 1972, he was a tester on the early internet as a member of the Defense Advanced Research Projects Agency (DARPA). Don has been presented by WNYC's “New Sounds” show in New York's Lincoln Center, by the French Ministry of Culture at the Centre Georges Pompidou in Paris, by the Karen Baptist Church for performances in the refugee camps at the border of Burma and Thailand, and has toured in Hong Kong and Singapore, among other venues, around the world. He currently webcasts from his studio in the Pocono Mountains of Pennsylvania. He is President of Local 577, American Federation of Musicians and Music Minister at All Souls Christian Center of East Stroudsburg, PA. Mitchell and Don first met and got friendly in the mid-1980's when they were both part of a spiritual community (Synchronicity Foundation) using music and language to create coherence between the two hemispheres of the brain, clear the subconscious mind  of old, bad habits and open the way for novel thought and development. For more on Don's music and work: http://donslepian.com. You can Listen on-line at www.abetterworld.tv Or listen by phone! 602 753-1860 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/abwmitchellrabin/support

Elizabeth Peyton uses rich, gem-like colors and masterful graphic precision to create visually arresting portraits of fellow artists, friends, and cultural icons. She is widely recognized for bringing new dimensions to figurative painting in the 1990s and is among the most celebrated painters of her generation. Her works reflect intense emotional fascination with her subjects, while contemplating the modern nature of fame and celebrity. In 2011, she was featured in solo exhibitions at the Mildred Lane Kemper Art Museum in St. Louis; the Opelvillen Foundation in Rüsselsheim, Germany; Gallery Met in New York City; and the Gagosian Gallery in Paris. She has shown extensively in exhibitions worldwide, and her works are included in major public collections such as the Solomon R. Guggenheim Museum and MoMA in New York City; Centre Georges Pompidou in Paris; SFMOMA in San Francisco; the Walker Art Center in Minneapolis; and the Whitney Museum of American Art in New York City. Peyton was born in Danbury, CT and lives and works in New York City.

This week: Living legend, innovator, visionary, Carolee Schneemann. Working across a range of disciplines, including performance, video, installation, photography, text, and painting, the artist Carolee Schneemann has transformed contemporary discourse on the body, sexuality, and gender. During her recent visit to San Francisco, Schneemann participated in the November 30, 2011 panel discussion, “Looking at Men, Then and Now” [LINK: http://www.somarts.org/manasobject-closes/] at the Somarts SOMArts Culture Cultural Center, in San Francisco, in conjunction with the exhibition, Man as Object: Reversing the Gaze, in which she was also a featured artist. On December 2, 2011 Eli Ridgway Gallery hosted an evening in celebration of the recently published Millennium Film Journal #54: "Focus on Carolee Schneemann." Art Practical’s Liz Glass and Kara Q. Smith had the opportunity to sit down with Schneemann in between the two events to speak with her about her work. Carolee Schneemann [LINK: http://www.caroleeschneemann.com/index.html] has shown at the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art; the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; and the New Museum of Contemporary Art; among many other institutions. Her writing is published widely, including in Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle (ed. Kristine Stiles, Duke University Press, 2010) and Imaging Her Erotics: Essays, Interviews, Projects (MIT Press, 2002). She has taught at New York University, California Institute of the Arts, Bard College, the School of the Art Institute of Chicago. Schneemann is the recipient of a 1999 Art Pace International Artist Residency, San Antonio, Texas; two Pollock-Krasner Foundation grants (1997, 1998); a 1993 Guggenheim Fellowship and a NationalEndowment for the Arts Fellowship. The retrospective of her work, Carolee Schneemann: Within and Beyond the Premises, is on view at the Henry Art Gallery, in Seattle, through December 30, 2011. [LINK: http://www.henryart.org/exhibitions] An abridged transcript of this interview appears in Art Practical's "Year in Conversation" issue, which you can see here:  http://www.artpractical.com

Noches eléctricas toma su título de una película realizada en 1928 por Eugène Deslaw (1899-1966), en la que el vanguardista cineasta ucraniano escenifica, como en un espectáculo de pirotecnia, la iluminación nocturna, los letreros de neón y los escaparates de París, Berlín y Praga. Al igual que los fuegos artificiales, el cine es una proyección intermitente y efímera de luz en la oscuridad. A través de una selección de obras de los fondos del Centre Georges Pompidou y otras colecciones francesas, se pretende mostrar, mediante los recursos visuales de la pirotecnia, la continuidad que existe entre los espectáculos de fuego y el arte de las imágenes en movimiento: flores, estrellas, lluvia, fuego, tormentas, fuentes, volcanes... Artistas: Constantin Brancusi, Brassaï, John Cale, Claude Closky, Eugene Deslaw, Audouin Dollfus, Helga Fanderl, Fischli/Weiss, Cai Guo-Qiang, Brion Gysin, Andor Kertész, Ange Leccia, Jean le Pautre, Claude Lévêque, Rose Lowder, Anthony McCall, Dora Maar, Ana Mendieta, Laszlo Moholy-Nagy, Yoko Ono, Anri Sala, Roman Signer, José Antonio Sistiaga, Israël Sylvestre, Rui Toscano, Apichatpong Weerasethakul y Cerith Wyn Evans. Una coproducción de LABoral y el Centre national d’art et de Culture Georges Pompidou. (18.03.2011-12.09.2011)

Two sound sculptures in Centre Georges Pompidou. Recording starts with Musicale (1977) bij Takis followed by Couleurs sonores no. 3 (1966) by Gregorgio Vardanega around 1'55". Twee geluidssculpuren in Centre Georges Pompidou. De opname begint met Musicale (1977) van Takis gevolgd door Couleurs sonores no. 3 (1966) door Gregorgio Vardanega rond 1'55". Aporee: http://aporee.org/maps/?loc=8080

Ce bâtiment a été conçu par l'architecte Richard Rogers, lauréat du Prix Pristker en 2007, qui a aussi conçu le Centre Georges Pompidou avec l'Italien Renzo Piano.

Ce bâtiment a été conçu par l'architecte Richard Rogers, lauréat du Prix Pristker en 2007, qui a aussi conçu le Centre Georges Pompidou avec l'Italien Renzo Piano.

Centre Georges Pompidou 30 years on… Richard Richards in Paris 21/11/2007

This week Duncan and Richard talk to David Robbins. David Robbins has had 30 solo exhibitions of his work internationally and has recently been included in exhibitions at the Museum of Modern Art, New York, the Museum of Contemporary Art, Chicago, and the Centre Georges Pompidou, Paris, France. He has published four books, including a novella, The Ice Cream Social (1998), and his essays and satires have been published in Artforum, Parkett, Art Issues, and numerous other magazines and catalogs. He received his degree in American Studies from Brown University. He currently lives in Milwaukee.  His forthcoming book on concrete comedy sounds like one of the most interesting things ever and I personally have pre-ordered 400 copies on Amazon.