Les actes du colloque "L'industrie de l'art. Gottfried Semper, l'architecture et l'anthropologie ... more Les actes du colloque "L'industrie de l'art. Gottfried Semper, l'architecture et l'anthropologie dans l'Europe du XIXe siècle", ont été publiés en deux parties : dans la revue Gradhiva 25, 2017 ("Gottfried Semper. Habiter la couleur") et dans la Revue Germanique Internationale 26, 2017("Gottfried Semper. Architecture et anthropologie au XIXe siècle").
Les 13 et 14 janvier 2016, a Paris, au Musee d’Orsay, au Centre allemand d’histoire de l’art, a l... more Les 13 et 14 janvier 2016, a Paris, au Musee d’Orsay, au Centre allemand d’histoire de l’art, a l’Institut national d’histoire de l’art, s’est tenu un colloque international intitule « L’industrie de l’art. Gottfried Semper, l’architecture et l’anthropologie dans l’Europe du xixe siecle ». C’etait le premier colloque consacre, en France, a cette figure majeure de l’architecture et de la theorie architecturale du xixe siecle, dont on ne peut comparer la stature qu’a celle d’Eugene Viollet-le-D...
Macho Man, Tell It To My Heart: Collected by Julie Ault, catalogue de l'exposition du Gegenwartsk... more Macho Man, Tell It To My Heart: Collected by Julie Ault, catalogue de l'exposition du Gegenwartskunst , Bâle, Cuturgest, Lisbonne, Artist's Space, New York (vol.II). Second volume of a publication on an exhibition of artworks collected by Julie Ault Julie Ault (*1957) is an artist, curator, writer, and editor, whose work emphasizes and celebrates the complex interrelationships between cultural production and politics. The collection of artworks Ault has assembled over the last 30 years speaks to her practice as one built on exchange, friendship and a critical notion of mutable histories.
Tell It To My Heart – Collected by Julie Ault accompanies a series of three exhibitions that were staged in Basel, Lisbon and New York. Volume 2 follows a more reflective and distanced mode than its predecessor, including installation images of the three-part exhibition, and a series of essays from scholars and curators that respond to the overall character and process of Tell It To My Heart. The publication also includes a comprehensive checklist of artworks exhibited across the three venues, as well as those works included in the film programs accompanying each exhibition.
Museums of the World.Towards a New Understanding of a Historical Institution, Kurt Almqvist & Louise Belfrage éd., Stockholm, Ax:son Johnson Foundation., 2015
Museums have become so familiar to us today that we no longer
notice their oddity. Early historia... more Museums have become so familiar to us today that we no longer notice their oddity. Early historians imagined that the ‘collecting instinct’ might have originated in bird behaviour or children’s games: from this to the museum, a succession of incremental transitions during the existence of humanity or the lifetime of a man were meant to have coalesced into a notional continuity that rendered all further analysis redundant ....
Les actes du colloque "L'industrie de l'art. Gottfried Semper, l'architecture et l'anthropologie ... more Les actes du colloque "L'industrie de l'art. Gottfried Semper, l'architecture et l'anthropologie dans l'Europe du XIXe siècle", ont été publiés en deux parties : dans la revue Gradhiva 25, 2017 ("Gottfried Semper. Habiter la couleur") et dans la Revue Germanique Internationale 26, 2017("Gottfried Semper. Architecture et anthropologie au XIXe siècle").
Les 13 et 14 janvier 2016, a Paris, au Musee d’Orsay, au Centre allemand d’histoire de l’art, a l... more Les 13 et 14 janvier 2016, a Paris, au Musee d’Orsay, au Centre allemand d’histoire de l’art, a l’Institut national d’histoire de l’art, s’est tenu un colloque international intitule « L’industrie de l’art. Gottfried Semper, l’architecture et l’anthropologie dans l’Europe du xixe siecle ». C’etait le premier colloque consacre, en France, a cette figure majeure de l’architecture et de la theorie architecturale du xixe siecle, dont on ne peut comparer la stature qu’a celle d’Eugene Viollet-le-D...
Macho Man, Tell It To My Heart: Collected by Julie Ault, catalogue de l'exposition du Gegenwartsk... more Macho Man, Tell It To My Heart: Collected by Julie Ault, catalogue de l'exposition du Gegenwartskunst , Bâle, Cuturgest, Lisbonne, Artist's Space, New York (vol.II). Second volume of a publication on an exhibition of artworks collected by Julie Ault Julie Ault (*1957) is an artist, curator, writer, and editor, whose work emphasizes and celebrates the complex interrelationships between cultural production and politics. The collection of artworks Ault has assembled over the last 30 years speaks to her practice as one built on exchange, friendship and a critical notion of mutable histories.
Tell It To My Heart – Collected by Julie Ault accompanies a series of three exhibitions that were staged in Basel, Lisbon and New York. Volume 2 follows a more reflective and distanced mode than its predecessor, including installation images of the three-part exhibition, and a series of essays from scholars and curators that respond to the overall character and process of Tell It To My Heart. The publication also includes a comprehensive checklist of artworks exhibited across the three venues, as well as those works included in the film programs accompanying each exhibition.
Museums of the World.Towards a New Understanding of a Historical Institution, Kurt Almqvist & Louise Belfrage éd., Stockholm, Ax:son Johnson Foundation., 2015
Museums have become so familiar to us today that we no longer
notice their oddity. Early historia... more Museums have become so familiar to us today that we no longer notice their oddity. Early historians imagined that the ‘collecting instinct’ might have originated in bird behaviour or children’s games: from this to the museum, a succession of incremental transitions during the existence of humanity or the lifetime of a man were meant to have coalesced into a notional continuity that rendered all further analysis redundant ....
Catalogue de l'exposition "Kunststoff. Koenraad Dedobbeleer" au Wiels, Bruxelles, 2018, publié pa... more Catalogue de l'exposition "Kunststoff. Koenraad Dedobbeleer" au Wiels, Bruxelles, 2018, publié par Koenig Books, Londres, pp. 23-33; 23-34.
Macho Man, Tell It To My Heart: Collected by Julie Ault, catalogue de l'exposition du Gegenwartsk... more Macho Man, Tell It To My Heart: Collected by Julie Ault, catalogue de l'exposition du Gegenwartskunst , Bâle, Cuturgest, Lisbonne, Artist's Space, New York (vol.II). Second volume of a publication on an exhibition of artworks collected by Julie Ault Julie Ault (*1957) is an artist, curator, writer, and editor, whose work emphasizes and celebrates the complex interrelationships between cultural production and politics. The collection of artworks Ault has assembled over the last 30 years speaks to her practice as one built on exchange, friendship and a critical notion of mutable histories. Tell It To My Heart – Collected by Julie Ault accompanies a series of three exhibitions that were staged in Basel, Lisbon and New York. Volume 2 follows a more reflective and distanced mode than its predecessor, including installation images of the three-part exhibition, and a series of essays from scholars and curators that respond to the overall character and process of Tell It To My Heart. The publication also includes a comprehensive checklist of artworks exhibited across the three venues, as well as those works included in the film programs accompanying each exhibition.
Intitulé général de l’enseignement:
De Vivès à Vico :
Institutions, catégories et disciplines ... more Intitulé général de l’enseignement:
De Vivès à Vico :
Institutions, catégories et disciplines du savoir dans l’Europe de la Renaissance
1993 / 1994 :
Institutions, catégories et disciplines du savoir dans l’Europe de la Renaissance. Questions de méthode.
1994 / 1995 :
Une technologie intellectuelle : les lieux-communs.
1995 / 1996 :
Grottes et grotesques.
1996 / 1997 :
Ars et Natura. De la technique et d’un prétendu «naturalisme» des esthétiques du XVIème siècle.
1997 / 1998 :
La physique des Maniéristes / La question de l’artifice.
1998 / 1999 :
La physique des maniéristes / 2 : L’automate.
Salomon de Caus : La raison des forces mouvantes.
1999 / 2000 :
La physique des maniéristes / 3 : L’automate (suite).
Salomon de Caus : La raison des forces mouvantes.
2000 / 2001 :
La physique des maniéristes / 4 : L’ingenium.
Salomon de Caus : La raison des forces mouvantes.
2001 / 2002 :
La physique des maniéristes / 5 : Instrument, machine, fabrique.
Salomon de Caus : Les raisons des forces mouvantes / Le jardin palatin.
2002 / 2003 :
Logiques de l’invention : Disegno et Invenzione dans les poétiques de la seconde moitié du XVIe siècle.
Salomon de Caus : Les raisons des forces mouvantes / Le jardin palatin.
2003 / 2004 :
Logiques de l’invention /2. Les Inventeurs des choses.
Salomon de Caus : Les raisons des forces mouvantes / Le jardin palatin.
2004 / 2005 :
Anthropologie de la technè à la renaissance. La question des « origines » 2 : Jérome Cardan.
Salomon de Caus : Les raisons des forces mouvantes / Le jardin palatin.
2005 / 2006 :
Penser la technique / penser l’art à la renaissance.
Salomon de Caus : Les raisons des forces mouvantes / Le jardin palatin.
(avec Georges Farhat,
Something you should know : Artistes et producteurs aujourd’hui (avec H.U. Olbrist, E. Lebovici, N. Petresin).
2006 / 2007 :
Discours de la méthode à la renaissance : comment lire la littérature technique ?
Arts de la renaissance : la fabrique et le discours (avec Philippe Sénéchal, Daniela Gallo, Pascal Griener, Marco Collareta)
Something you should know : Artistes et producteurs aujourd’hui (avec H.U. Olbrist, E. Lebovici, N. Petresin).
2007 / 2008
Arts de la Renaissance : la question des origines
Arts de la Renaissance : la fabrique et le discours
Salomon de Caus : Les Raisons des forces mouvantes / le Jardin Palatin
Something you should know : Artistes et producteurs aujourd’hui (avec H.U. Olbrist, E. Lebovici, N. Petresin).
2008 / 2009
Arts de la Renaissance : Matière première
Arts de la Renaissance : la fabrique et le discours
Something you should know : Artistes et producteurs aujourd’hui (avec H.U. Olbrist, E. Lebovici, N. Petresin).
2009 / 2010
Arts de la Renaissance : le législateur–artiste. L’invention des rites, des cultes et de la cité dans la littérature des arts
Arts de la Renaissance : la fabrique et le discours
Something you should know : artistes et producteurs aujourd’hui
2010 / 2011
Arts de la Renaissance : les Marbres
Arts de la Renaissance : la fabrique et le discours
Something you should know : artistes et producteurs aujourd'hui
2011 / 2012
Renaissance des arts : questions de méthode
Art, invention & Industrie
Something you should know: artistes et producteurs aujourd'hui
2012 / 2013
Après Vico : philosophie naturelle et savoirs antiquaires, 1.
Arts, invention & industrie
Something you should know : artistes et producteurs aujourd'hui
Valeurs de l’écrit : collectionner, exposer, commercer, restaurer
2013 / 2014
Philosophie naturelle et savoirs antiquaires, 2 : lire Alberti
Arts, invention & industrie : Gottfried Semper et les débuts d'une science des artefacts
Nouvelles approches des mondes de l’art : l’État collectionneur et commanditaire
Something you should know : artistes et producteurs aujourd'hui
2014 / 2015
Anthropologues et historiens de l’art : méthodes et enjeux du Material Turn
Arts, invention, industrie : Gottfried Semper et les débuts d'une science des artefacts
Nouvelles approches des mondes de l’art : l’État collectionneur et commanditaire
Something you should know : artistes et producteurs aujourd'hui
Accueillir l'art contemporain à l'EHESS en se plaçant résolument du côté de la pratique – des art... more Accueillir l'art contemporain à l'EHESS en se plaçant résolument du côté de la pratique – des artistes et des producteurs d'aujourd'hui – est l'objet du séminaire. Choix précisément daté : la chute du Mur et la mondialisation bouleversent les flux et les polarités du monde de l'art, suscitant des formes nouvelles d'activisme, de nouvelles ambitions collectives. Interroger l'espace et les formes de la représentation politique ou la constitution des nouvelles références nationales issues du monde communiste, réinscrire l'utopie au cœur de projets collectifs, questionner les légitimités majoritaires et les angles morts de la démocratie : autant de motifs pour l'art d'aujourd'hui que le séminaire se propose d'explorer en donnant la parole aux artistes, aux curateurs, aux critiques qui, travaillant hors de France, viennent à l'EHESS nous faire participer à leur expérience.
En épilogue à l'exposition-dossier que le Musée national d'art moderne consacre à Hubert Damisch,... more En épilogue à l'exposition-dossier que le Musée national d'art moderne consacre à Hubert Damisch, rencontre autour de la parution d'Hubert Damisch – Jean Dubuffet. Entrée en matière. Correspondance 1961-1985. Textes 1961-2014, dans la collection "Lectures maison rouge", (co-édition JRP|Ringier/La maison rouge), et retour sur l’œuvre du grand historien de l’art.
Dans sa Biographie au pas de course, rédigée au soir de sa vie par Jean Dubuffet, Hubert Damisch est l’une des rares personnes mentionnées. « Les Éditions Gallimard entreprirent de réunir tous mes écrits qui étaient épars et que Hubert Damisch s’appliqua avec un admirable soin à recueillir et annoter. De fréquentes rencontres en découlèrent, puis des liens amicaux assidus entre nos ménages ». Dans le style précis de l’artiste, tout est dit : la relation amicale sincère, le compagnonnage artistique au long cours, le respect théorique mutuel. Rassemblant l’ensemble des essais et articles qu’Hubert Damisch consacra à l’œuvre de Jean Dubuffet (1901-1985), ainsi que leur correspondance entre 1961 et la disparition de l’artiste, cet ouvrage témoigne de ce parcours intellectuel et artistique croisé, de cette relation érudite, faite de ruptures et d’intelligence.
Édité et présenté par Sophie Berrebi, Entrée en matière permet d’approcher, au plus près de la fabrique des œuvres – qu’elles soient littéraires ou plastiques –, la manière dont évolue la pensée d’un historien de l’art, au contact d’un créateur qui lui est contemporain. Et également, le travail mené par Hubert Damisch sur les expérimentations plastiques radicales et la position unique de Jean Dubuffet au sein du système culturel contemporain.
Avec Sophie Berrebi, historienne de l'art, Patricia Falguières, historienne et directrice de la collection "Lectures maison rouge" et Baptiste Brun, historien de l’art.
Créée et coéditée par La maison rouge – Fondation Antoine de Galbert, la collection « Lectures maison rouge » propose des textes qui interrogent la muséographie, l’écriture de l’exposition et de l’histoire de l’art. Parmi les titres publiés, figurent des ouvrages consacrés à Richard Hamilton & Marcel Duchamp, Carla Lonzi, Ed Ruscha, Carlo Scarpa, ainsi que la première édition française du White Cube de Brian O’Doherty.
This workshop addressed the phenomenon of writers who have been known for their work on historica... more This workshop addressed the phenomenon of writers who have been known for their work on historically-distant periods who turned their attention to contemporary art. They discussed what this new combination meant for them and how it affects their writing on both old and recent art. Discussion: Temporalities: Anachronism, Rupture, and Continuity Are we engaged in seeing the differences of the past from the present, or their similarity? Both, clearly, but the various measures of transparency and opacity each has seem crucial. Is one drawn in responding to old or new, by what is like, or unlike its counter term? Attracted by what one knows and values in the one, so as to find it in the other? Or knows and fears, for that matter? Here, the intentions of the writer are relevant--whereas when it comes to the work of art, the intention is lodged in the form of the work (here build in all the necessary hedges about what that form is, how we know it, how it might have changed, etc.). Methods: If one is trained mostly in one area, how do you then go about working on modern art? This session based on paired readings by of the same author, one on old master art, one on modern art, sought to discover if the "voice", method, vocabulary, etc. differ. Is there a specificity of the art critic vs. the art historian when dealing with modern art? Do these distinctions make sense? Discussion: Lives of the Artist/Mixing Old and New
What are the issues and differences involved when it comes to writing about artists who are active interlocutors about their work, versus those who are long gone and present only as textual and visual traces? What about the catalogue of exhibitions mixing old and contemporary art? Do they entail a specific type of essays and writing? What type of discourse is expected/obtained from contemporary artists collaborating to this type of event, from curators and academics? What about contemporary artists working from Old masters?
http://www.rosab.net/format-standard/
edito
Norms, formats, media.
Patricia Falguières
Thinki... more http://www.rosab.net/format-standard/ edito
Norms, formats, media.
Patricia Falguières
Thinking about publishing norms, media and
formats is usually the poor relative of investigations
into technological innovation. Because
graphic norms do not seem essential to the development
of new technologies. Because norms,
in general, are underestimated by thinking about
technology and science. Suffice it to note the
relative disinterest of researchers, opinion and
the media in metrology (the science of measuring
systems), for example, which, however, galvanizes
the energy of hundreds of thousands of people
around the world, and presupposes complex
accreditation protocols, involving huge scientific,
economic and political challenges: surely
any technical praxis—the simple use of a lift, for
example—entails an agreed system of measures?
Norms question convention: for it is too often
forgotten that a norm is a written document,
defining technical specifications for goods, services
and processes, which is different from the
standard (Windows, for example), which in effect
imposes the predominant person involved upon
the market, because it is negotiated between the
interested parties, and because its brief means
that it must be accessible: a norm is a public
asset. It is also an item of merchandise, produced
by hundreds of certification agencies across the
world: ISO, IEEE, BIPM, AFNOR, ETSI, AENOR, MST,
DIN, ASTM, ANSI, OASIS, IETF… So it is an artifact.
A norm is constructed, like the standard metre,: a
product of lengthy and tortuous formulation, and
subject to periodical redefinitions. But who draws
up the normative agenda? Who has access to the
negotiations? Just industrial partners? Users? The
powers-that-be? These questions go well beyond
the field of the sociology of science and technology.
They stem from what Michel Foucault called
«governmentality»: not «the law» or «power»,
but those many and varied complex practices
which proceed from rational forms, technical
procedures, and instrumentation, and format the
political arena. Hundreds of thousands of norms
deal with every aspect of life and production,
from calibrating an ergonomic office chair
to the specifications of bio-anthropomorphic
data for the security of on-line payments:
today, normative regulation represents the essence
of governance—since 1985, have European
authorities, backed up by standardization
institutes, not made the norm the instrument
of a supra-national governance?
Within the realm of norms, graphics and
graphic design have a special place. They are
the medium of norms (norms are embodied
in texts, signs, and formats), and they are
themselves a norm. It is because we overlook
this duality that we do not perceive the normative
effect peculiar to graphics and graphic
design. Panels and pictograms which organize
the flow of urban traffic, our computer screens
and interfaces, curves, pie-charts, graphs and
diagrams, which are the instruments used for
steering political decision-making, and the
factors of economic diagnosis, ultra-formatted
modules of argumentation for the Powerpoint:
all so many graphic systems which have
become transparent in our eyes because they
appear to be «self-explanatory». Yet they are
not neutral. They have a history, they are the
outcome of complex interactions between people,
systems of institutional logic, corporate
strategies, and technological configurations.
This is actually what makes our approach to
them so difficult: they summon the artist and
the graphic designer as much as the engineer
and the economic decision-maker. Let us remember
the role played by Kurt Schwitters and
the artists of Weimar Germany in determining
the DIN norms and publishing formats which
are what we use today, or the role of an economist
doubling as a political reformer, such as
Otto Neurath in the ISOTYPES universal sign
project. As much as they «inform», graphic
systems also format and frame information,
and political and economic decisions. In a
famous Powerpoint analysis, Edward Tufte has
shown the at times catastrophic scope of the
restrictions that this «neutral» presentation
device brings to bear on the content of the
arguments treated. The emergence of a new
technology, be it for railways, photoengraving
or electricity, offers a unique chance to observe
the making of standards and norms, and
the methods of their accreditation. A distinctive
feature of digital technologies is that they
explain and radicalize normative challenges:
the production of standards and norms lies
at the heart of digital innovation, the issue
of formats is consubstantial with programming
logic. To the various debates under way
about standards and digital formats, to open
and closed protocols and inter-operability, to
what it is possible to perceive of the upcoming
development of interfaces and information
design, to the prospects opened up by
the Open Source, a tsunami of innovations
and new social uses (in less than five years,
blogs, MySpace, YouTube, Facebook, Twitter,
Daily Motion…) brings a new urgency, and puts
standards and norms to the test, in a climate
of unprecedented tension. This issue of rosa b.,
focusing on the international conference held
in spring 2009 at the Bordeaux School of Fine
Arts, is intended as a contribution to a muchneeded
line of thinking.
L’œuvre ouverte, le premier opus qu’Umberto Eco consacre en 1962 à l’art de son temps, propose un... more L’œuvre ouverte, le premier opus qu’Umberto Eco consacre en 1962 à l’art de son temps, propose une généalogie de la modernité. Ce célèbre essai critique se fait aussi l’écho d’une phase de création intensive dans l’art italien de sa génération : le matiérisme et l’informel d’un côté, l’art « programmé » de l’autre, donnent à penser l’œuvre comme processus temporel, « champ d’événements » ouvert au hasard d’un devenir accidentel, ainsi que le commente Eco. Evolutive, aléatoire, la composition n’est plus une mais multiple : elle se diffracte en un ensemble de données mobiles. Le thème de la liste, proposé au Louvre par Umberto Eco, est l’occasion de mettre en lumière l’apport de l’avant-garde italienne à l’histoire d’un « art de l’information » qui participe du parcours théorique d’Eco et qui est perçu aujourd’hui comme prémonitoire de la culture numérique, de son esthétique et de ses modes opératoires. Ce débat réunit des artistes de la scène milanaise des années 1960, ainsi que des historiens de l’art qui repensent l’histoire de l’abstraction et avec elle l’histoire de l’œuvre comme collection, environnement, programmation. Actualité des « œuvres ouvertes » : une poétique de l’œuvre comme liste ? Débat avec Hubert Damisch et Patricia Falguières, Ecole des hautes Etudes en Sciences sociales.
On the recent events at Macba.
(This essay is part of series of texts that aim to reflect upon re... more On the recent events at Macba. (This essay is part of series of texts that aim to reflect upon recent events at MACBA and the wider politics of art institutions that will be published here over the coming weeks.) In this age of global neo-liberal redeployment, a redeployment that impacts on everything, including museums and schools, a much more refined analysis of institutions is required than the obsolete critical apparatus, inherited from the "institutional critique" of the 1970s. And that begins with an analysis of the institutional process itself which has always been postponed by previous generations, certain as they were that legal matters could only be a transparent mask of these same power relations ...
Foreign Exchange (or the stories you wouldnt' tell a stranger), Jan 2014
FOREIGN EXCHANGE raises questions around
the scientific and educational remit of
an ethnographi... more FOREIGN EXCHANGE raises questions around
the scientific and educational remit of
an ethnographic museum in Germany and
its relationship to global trade. The historical
accumulation and commodification
of artefacts from other cultures and the
photographic representation of the body
is presgnted together with new artistic
research. Extended conversations between
international anthropologists, art historians,
curators and artists offer new perspectives
on ethnographic collections and current
debates in the arts and humanities.
EDITED BY
Clémentine Deliss & Yvette Mutumba
Frankfurt am Main
wrrn Bruce Altshuler, Marie Angeletti,
Lothar Baumgarten, Benedikte Bjerre,
Rut Blees Luxemburg, Peggy Buth, Clegg
& Guttmann, Minerva Cuevas, Patricia
Falguières, Rotimi Fani-Kayode, Michael
Fehr, Gabriel Gbadamosi, Charlotte Klonk,
Karl-Heinz Kohl, David Lau, Armin Linke,
Antje Majewski, Tom McCarthy, Markus
Miessen, Pushpamala N, Otobong Nkanga,
Michael Oppitz, Peter Osborne, Ciraj Rassool,
Olivier Richon, Markus Schindlbeck,
Ltke Willis thompson, David Weber-Krebs
and others.
Uploads
Papers by Patricia Falguieres
Second volume of a publication on an exhibition of artworks collected by Julie Ault
Julie Ault (*1957) is an artist, curator, writer, and editor, whose work emphasizes and celebrates the complex interrelationships between cultural production and politics. The collection of artworks Ault has assembled over the last 30 years speaks to her practice as one built on exchange, friendship and a critical notion of mutable histories.
Tell It To My Heart – Collected by Julie Ault accompanies a series of three exhibitions that were staged in Basel, Lisbon and New York. Volume 2 follows a more reflective and distanced mode than its predecessor, including installation images of the three-part exhibition, and a series of essays from scholars and curators that respond to the overall character and process of Tell It To My Heart. The publication also includes a comprehensive checklist of artworks exhibited across the three venues, as well as those works included in the film programs accompanying each exhibition.
notice their oddity. Early historians imagined that the ‘collecting
instinct’ might have originated in bird behaviour or children’s
games: from this to the museum, a succession of incremental
transitions during the existence of humanity or the lifetime of a
man were meant to have coalesced into a notional continuity
that rendered all further analysis redundant ....
Second volume of a publication on an exhibition of artworks collected by Julie Ault
Julie Ault (*1957) is an artist, curator, writer, and editor, whose work emphasizes and celebrates the complex interrelationships between cultural production and politics. The collection of artworks Ault has assembled over the last 30 years speaks to her practice as one built on exchange, friendship and a critical notion of mutable histories.
Tell It To My Heart – Collected by Julie Ault accompanies a series of three exhibitions that were staged in Basel, Lisbon and New York. Volume 2 follows a more reflective and distanced mode than its predecessor, including installation images of the three-part exhibition, and a series of essays from scholars and curators that respond to the overall character and process of Tell It To My Heart. The publication also includes a comprehensive checklist of artworks exhibited across the three venues, as well as those works included in the film programs accompanying each exhibition.
notice their oddity. Early historians imagined that the ‘collecting
instinct’ might have originated in bird behaviour or children’s
games: from this to the museum, a succession of incremental
transitions during the existence of humanity or the lifetime of a
man were meant to have coalesced into a notional continuity
that rendered all further analysis redundant ....
De Vivès à Vico :
Institutions, catégories et disciplines du savoir dans l’Europe de la Renaissance
1993 / 1994 :
Institutions, catégories et disciplines du savoir dans l’Europe de la Renaissance. Questions de méthode.
1994 / 1995 :
Une technologie intellectuelle : les lieux-communs.
1995 / 1996 :
Grottes et grotesques.
1996 / 1997 :
Ars et Natura. De la technique et d’un prétendu «naturalisme» des esthétiques du XVIème siècle.
1997 / 1998 :
La physique des Maniéristes / La question de l’artifice.
1998 / 1999 :
La physique des maniéristes / 2 : L’automate.
Salomon de Caus : La raison des forces mouvantes.
1999 / 2000 :
La physique des maniéristes / 3 : L’automate (suite).
Salomon de Caus : La raison des forces mouvantes.
2000 / 2001 :
La physique des maniéristes / 4 : L’ingenium.
Salomon de Caus : La raison des forces mouvantes.
2001 / 2002 :
La physique des maniéristes / 5 : Instrument, machine, fabrique.
Salomon de Caus : Les raisons des forces mouvantes / Le jardin palatin.
2002 / 2003 :
Logiques de l’invention : Disegno et Invenzione dans les poétiques de la seconde moitié du XVIe siècle.
Salomon de Caus : Les raisons des forces mouvantes / Le jardin palatin.
2003 / 2004 :
Logiques de l’invention /2. Les Inventeurs des choses.
Salomon de Caus : Les raisons des forces mouvantes / Le jardin palatin.
2004 / 2005 :
Anthropologie de la technè à la renaissance. La question des « origines » 2 : Jérome Cardan.
Salomon de Caus : Les raisons des forces mouvantes / Le jardin palatin.
2005 / 2006 :
Penser la technique / penser l’art à la renaissance.
Salomon de Caus : Les raisons des forces mouvantes / Le jardin palatin.
(avec Georges Farhat,
Something you should know : Artistes et producteurs aujourd’hui (avec H.U. Olbrist, E. Lebovici, N. Petresin).
2006 / 2007 :
Discours de la méthode à la renaissance : comment lire la littérature technique ?
Arts de la renaissance : la fabrique et le discours (avec Philippe Sénéchal, Daniela Gallo, Pascal Griener, Marco Collareta)
Something you should know : Artistes et producteurs aujourd’hui (avec H.U. Olbrist, E. Lebovici, N. Petresin).
2007 / 2008
Arts de la Renaissance : la question des origines
Arts de la Renaissance : la fabrique et le discours
Salomon de Caus : Les Raisons des forces mouvantes / le Jardin Palatin
Something you should know : Artistes et producteurs aujourd’hui (avec H.U. Olbrist, E. Lebovici, N. Petresin).
2008 / 2009
Arts de la Renaissance : Matière première
Arts de la Renaissance : la fabrique et le discours
Something you should know : Artistes et producteurs aujourd’hui (avec H.U. Olbrist, E. Lebovici, N. Petresin).
2009 / 2010
Arts de la Renaissance : le législateur–artiste. L’invention des rites, des cultes et de la cité dans la littérature des arts
Arts de la Renaissance : la fabrique et le discours
Something you should know : artistes et producteurs aujourd’hui
2010 / 2011
Arts de la Renaissance : les Marbres
Arts de la Renaissance : la fabrique et le discours
Something you should know : artistes et producteurs aujourd'hui
2011 / 2012
Renaissance des arts : questions de méthode
Art, invention & Industrie
Something you should know: artistes et producteurs aujourd'hui
2012 / 2013
Après Vico : philosophie naturelle et savoirs antiquaires, 1.
Arts, invention & industrie
Something you should know : artistes et producteurs aujourd'hui
Valeurs de l’écrit : collectionner, exposer, commercer, restaurer
2013 / 2014
Philosophie naturelle et savoirs antiquaires, 2 : lire Alberti
Arts, invention & industrie : Gottfried Semper et les débuts d'une science des artefacts
Nouvelles approches des mondes de l’art : l’État collectionneur et commanditaire
Something you should know : artistes et producteurs aujourd'hui
2014 / 2015
Anthropologues et historiens de l’art : méthodes et enjeux du Material Turn
Arts, invention, industrie : Gottfried Semper et les débuts d'une science des artefacts
Nouvelles approches des mondes de l’art : l’État collectionneur et commanditaire
Something you should know : artistes et producteurs aujourd'hui
Dans sa Biographie au pas de course, rédigée au soir de sa vie par Jean Dubuffet, Hubert Damisch est l’une des rares personnes mentionnées. « Les Éditions Gallimard entreprirent de réunir tous mes écrits qui étaient épars et que Hubert Damisch s’appliqua avec un admirable soin à recueillir et annoter. De fréquentes rencontres en découlèrent, puis des liens amicaux assidus entre nos ménages ». Dans le style précis de l’artiste, tout est dit : la relation amicale sincère, le compagnonnage artistique au long cours, le respect théorique mutuel. Rassemblant l’ensemble des essais et articles qu’Hubert Damisch consacra à l’œuvre de Jean Dubuffet (1901-1985), ainsi que leur correspondance entre 1961 et la disparition de l’artiste, cet ouvrage témoigne de ce parcours intellectuel et artistique croisé, de cette relation érudite, faite de ruptures et d’intelligence.
Édité et présenté par Sophie Berrebi, Entrée en matière permet d’approcher, au plus près de la fabrique des œuvres – qu’elles soient littéraires ou plastiques –, la manière dont évolue la pensée d’un historien de l’art, au contact d’un créateur qui lui est contemporain. Et également, le travail mené par Hubert Damisch sur les expérimentations plastiques radicales et la position unique de Jean Dubuffet au sein du système culturel contemporain.
Avec Sophie Berrebi, historienne de l'art, Patricia Falguières, historienne et directrice de la collection "Lectures maison rouge" et Baptiste Brun, historien de l’art.
Créée et coéditée par La maison rouge – Fondation Antoine de Galbert, la collection « Lectures maison rouge » propose des textes qui interrogent la muséographie, l’écriture de l’exposition et de l’histoire de l’art. Parmi les titres publiés, figurent des ouvrages consacrés à Richard Hamilton & Marcel Duchamp, Carla Lonzi, Ed Ruscha, Carlo Scarpa, ainsi que la première édition française du White Cube de Brian O’Doherty.
Discussion: Temporalities: Anachronism, Rupture, and Continuity
Are we engaged in seeing the differences of the past from the present, or their similarity? Both, clearly, but the various measures of transparency and opacity each has seem crucial. Is one drawn in responding to old or new, by what is like, or unlike its counter term? Attracted by what one knows and values in the one, so as to find it in the other? Or knows and fears, for that matter? Here, the intentions of the writer are relevant--whereas when it comes to the work of art, the intention is lodged in the form of the work (here build in all the necessary hedges about what that form is, how we know it, how it might have changed, etc.).
Methods: If one is trained mostly in one area, how do you then go about working on modern art? This session based on paired readings by of the same author, one on old master art, one on modern art, sought to discover if the "voice", method, vocabulary, etc. differ. Is there a specificity of the art critic vs. the art historian when dealing with modern art? Do these distinctions make sense?
Discussion: Lives of the Artist/Mixing Old and New
What are the issues and differences involved when it comes to writing about artists who are active interlocutors about their work, versus those who are long gone and present only as textual and visual traces? What about the catalogue of exhibitions mixing old and contemporary art? Do they entail a specific type of essays and writing? What type of discourse is expected/obtained from contemporary artists collaborating to this type of event, from curators and academics? What about contemporary artists working from Old masters?
edito
Norms, formats, media.
Patricia Falguières
Thinking about publishing norms, media and
formats is usually the poor relative of investigations
into technological innovation. Because
graphic norms do not seem essential to the development
of new technologies. Because norms,
in general, are underestimated by thinking about
technology and science. Suffice it to note the
relative disinterest of researchers, opinion and
the media in metrology (the science of measuring
systems), for example, which, however, galvanizes
the energy of hundreds of thousands of people
around the world, and presupposes complex
accreditation protocols, involving huge scientific,
economic and political challenges: surely
any technical praxis—the simple use of a lift, for
example—entails an agreed system of measures?
Norms question convention: for it is too often
forgotten that a norm is a written document,
defining technical specifications for goods, services
and processes, which is different from the
standard (Windows, for example), which in effect
imposes the predominant person involved upon
the market, because it is negotiated between the
interested parties, and because its brief means
that it must be accessible: a norm is a public
asset. It is also an item of merchandise, produced
by hundreds of certification agencies across the
world: ISO, IEEE, BIPM, AFNOR, ETSI, AENOR, MST,
DIN, ASTM, ANSI, OASIS, IETF… So it is an artifact.
A norm is constructed, like the standard metre,: a
product of lengthy and tortuous formulation, and
subject to periodical redefinitions. But who draws
up the normative agenda? Who has access to the
negotiations? Just industrial partners? Users? The
powers-that-be? These questions go well beyond
the field of the sociology of science and technology.
They stem from what Michel Foucault called
«governmentality»: not «the law» or «power»,
but those many and varied complex practices
which proceed from rational forms, technical
procedures, and instrumentation, and format the
political arena. Hundreds of thousands of norms
deal with every aspect of life and production,
from calibrating an ergonomic office chair
to the specifications of bio-anthropomorphic
data for the security of on-line payments:
today, normative regulation represents the essence
of governance—since 1985, have European
authorities, backed up by standardization
institutes, not made the norm the instrument
of a supra-national governance?
Within the realm of norms, graphics and
graphic design have a special place. They are
the medium of norms (norms are embodied
in texts, signs, and formats), and they are
themselves a norm. It is because we overlook
this duality that we do not perceive the normative
effect peculiar to graphics and graphic
design. Panels and pictograms which organize
the flow of urban traffic, our computer screens
and interfaces, curves, pie-charts, graphs and
diagrams, which are the instruments used for
steering political decision-making, and the
factors of economic diagnosis, ultra-formatted
modules of argumentation for the Powerpoint:
all so many graphic systems which have
become transparent in our eyes because they
appear to be «self-explanatory». Yet they are
not neutral. They have a history, they are the
outcome of complex interactions between people,
systems of institutional logic, corporate
strategies, and technological configurations.
This is actually what makes our approach to
them so difficult: they summon the artist and
the graphic designer as much as the engineer
and the economic decision-maker. Let us remember
the role played by Kurt Schwitters and
the artists of Weimar Germany in determining
the DIN norms and publishing formats which
are what we use today, or the role of an economist
doubling as a political reformer, such as
Otto Neurath in the ISOTYPES universal sign
project. As much as they «inform», graphic
systems also format and frame information,
and political and economic decisions. In a
famous Powerpoint analysis, Edward Tufte has
shown the at times catastrophic scope of the
restrictions that this «neutral» presentation
device brings to bear on the content of the
arguments treated. The emergence of a new
technology, be it for railways, photoengraving
or electricity, offers a unique chance to observe
the making of standards and norms, and
the methods of their accreditation. A distinctive
feature of digital technologies is that they
explain and radicalize normative challenges:
the production of standards and norms lies
at the heart of digital innovation, the issue
of formats is consubstantial with programming
logic. To the various debates under way
about standards and digital formats, to open
and closed protocols and inter-operability, to
what it is possible to perceive of the upcoming
development of interfaces and information
design, to the prospects opened up by
the Open Source, a tsunami of innovations
and new social uses (in less than five years,
blogs, MySpace, YouTube, Facebook, Twitter,
Daily Motion…) brings a new urgency, and puts
standards and norms to the test, in a climate
of unprecedented tension. This issue of rosa b.,
focusing on the international conference held
in spring 2009 at the Bordeaux School of Fine
Arts, is intended as a contribution to a muchneeded
line of thinking.
Translated by Simon Pleasance & Fronza Woods
Ce célèbre essai critique se fait aussi l’écho d’une phase de création intensive dans l’art italien de sa génération : le matiérisme et l’informel d’un côté, l’art « programmé » de l’autre, donnent à penser l’œuvre comme processus temporel, « champ d’événements » ouvert au hasard d’un devenir accidentel, ainsi que le commente Eco. Evolutive, aléatoire, la composition n’est plus une mais multiple : elle se diffracte en un ensemble de données mobiles.
Le thème de la liste, proposé au Louvre par Umberto Eco, est l’occasion de mettre en lumière l’apport de l’avant-garde italienne à l’histoire d’un « art de l’information » qui participe du parcours théorique d’Eco et qui est perçu aujourd’hui comme prémonitoire de la culture numérique, de son esthétique et de ses modes opératoires. Ce débat réunit des artistes de la scène milanaise des années 1960, ainsi que des historiens de l’art qui repensent l’histoire de l’abstraction et avec elle l’histoire de l’œuvre comme collection, environnement, programmation.
Actualité des « œuvres ouvertes » : une poétique de l’œuvre comme liste ?
Débat avec Hubert Damisch et Patricia Falguières, Ecole des hautes Etudes en Sciences sociales.
(This essay is part of series of texts that aim to reflect upon recent events at MACBA and the wider politics of art institutions that will be published here over the coming weeks.)
In this age of global neo-liberal redeployment, a redeployment that impacts on everything, including museums and schools, a much more refined analysis of institutions is required than the obsolete critical apparatus, inherited from the "institutional critique" of the 1970s. And that begins with an analysis of the institutional process itself which has always been postponed by previous generations, certain as they were that legal matters
could only be a transparent mask of these same power relations ...
the scientific and educational remit of
an ethnographic museum in Germany and
its relationship to global trade. The historical
accumulation and commodification
of artefacts from other cultures and the
photographic representation of the body
is presgnted together with new artistic
research. Extended conversations between
international anthropologists, art historians,
curators and artists offer new perspectives
on ethnographic collections and current
debates in the arts and humanities.
EDITED BY
Clémentine Deliss & Yvette Mutumba
Frankfurt am Main
wrrn Bruce Altshuler, Marie Angeletti,
Lothar Baumgarten, Benedikte Bjerre,
Rut Blees Luxemburg, Peggy Buth, Clegg
& Guttmann, Minerva Cuevas, Patricia
Falguières, Rotimi Fani-Kayode, Michael
Fehr, Gabriel Gbadamosi, Charlotte Klonk,
Karl-Heinz Kohl, David Lau, Armin Linke,
Antje Majewski, Tom McCarthy, Markus
Miessen, Pushpamala N, Otobong Nkanga,
Michael Oppitz, Peter Osborne, Ciraj Rassool,
Olivier Richon, Markus Schindlbeck,
Ltke Willis thompson, David Weber-Krebs
and others.