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The first is that I think an ambitious project can be constructed on this wealth of history with the professional facilities provided by Passerelle.

Thanks to the tremendous task of structuring and the professional development undertaken by the previous director Ulrike Kremeier, the art centre evidently no longer resembles its initial association gathering amateurs, but has now become an operable infrastructure able to accommodate artistic proposals from all walks of life.

The second is that Brest is a fantastic pool of top quality partners who in their respective disciplinary fields share our high standards. Indeed, we are working hand in hand with local but internationally renowned initiatives of course, like the electronic music festival Astropolis, the contemporary dance festival DansFabrik run by Scène nationale Le Quartz, and the contemporary music ensemble Sillages, with whom we launched a festival in What is your view of the public and what type of relationship do you wish to enjoy with this public?

In an area like Brittany and Brest, the public is not an abstract entity. The centre for contemporary art constitutes both a tool at the service of the local public the facilities provided by Passerelle are at the heart of a clearly identified district and aimed at a national and international public professionals of course, but also seasonal holidaymakers. Thus, our actions and operations must appeal to all without ranking or pandering.

We know our different audiences well, their specificities, their desires as well as their reticence, but I think that everyone can identify, in their own way, to an artistic proposal that when sound can be approached from different perspectives. What are the tools and programmes that structure the art centre and strike a chord with its public?

For example, what are the Augmentation Zones and how do they integrate with your vision of the public? We offer a large number of programmes aimed at the public from hands-on workshops with the youngest, to series of lectures or guided visits. A year ago we also implemented a specific section that I called Augmentation Zones.

The notion of augmentation is defined here in the digital meaning of the term. On the Internet, augmented reality is the sum of data, links and references that complement a subject.

They are also accessible on the Internet with a digital space for content accompanying the exhibitions. Passerelle proposes monographic exhibitions as well as group exhibitions and attempts to articulate different disciplines. More specifically, how do you view the mission and the responsibilities of an art centre director in ?

I chose to take over as director of a contemporary art centre as I am passionate about linking a critical and curatorial approach with a regional context.

Indeed, the global logic that governs the world of art that we work in finds, in my opinion, its meaning and opportunities for development in specific situations from which concrete proposals emerge. I find my role as producer stimulating, that is as an art critic who gathers the intellectual, material and human resources to generate artistic proposals in an identified geographical, social and political situation, to work in the permanent and constructive coming and going between local and global.

Why did you want to participate and what programme did you propose? I think that PIANO is an excellent example of structuring collaboration and sharing means of production and communication. In the context of the concerning budget and institutional crisis at large in France, Italy and elsewhere, it is essential to completely rethink methods for funding and bringing projects to fruition.

And beyond the simple financial consideration, it is now no longer pertinent to plan a project with an artist in a single venue. La démocratie est illusion. Afin de prendre réalité, cette rencontre doit, à mon sens, se construire assez naturellement. Il se construit des habitudes. Ceci constitue à mes yeux une perspective positive qui assoie notre action institutionnelle de soutien à la création dont les publics ne sont pas toujours conscients.

Quelle est votre conception du public et quels rapport souhaitez vous entretenir avec ce public? Nous connaissons bien nos différents publics, leurs spécificités, leurs envies et leurs réticences aussi, mais je pense que chacun peut se retrouver, à sa manière, dans une proposition artistique qui si elle est solide peut être appréhendée sous différentes perspectives.

Nous proposons un grand nombre de programmes en direction des publics. Sur internet, la réalité augmentée correspond à la somme de données, de liens, de références qui viennent enrichir un sujet. Elles se déploient également sur internet avec un espace numérique de contenus pour accompagner les expositions.

Pourquoi avez vous souhaité participer et quel programme proposez-vous? Je pense que PIANO est un excellent exemple de structuration dans la collaboration et la mutualisation des moyens de production et de communication. Tania Mouraud, La curée , — Borderland , Talking city , She is currently in residency at KunstZeitRaum in Munich. Marlie Mul, Puddle Black Disposable , , sand, stones, resin, object, 78 x 76 cm.

She aims to create a dialogue between contemporary art and other art forms with a particular emphasis on theatre and dance , as well as social science economics, philosophy, anthropology , focusing on the significance of processes and experimentation in the performative dimension of art.

Nel ha curato con Chiara Parisi la Nuit Blanche di Parigi invitando oltre 40 artisti a produrre istallazioni e opere su larga scala sparse per il territorio della città. Vincent Honoré Can you tell us about the missions of La Ferme du Buisson, and explain what makes this place unique in France? Julie Pellegrin Located on an exceptional site in the outer suburbs of Paris, La Ferme du Buisson is a multidisciplinary cultural centre of national and international standing.

It comprises a contemporary art centre, a national theatre containing 7 concert and performance spaces, and a cinema. This configuration, which is unique in France, makes the place a perfect example of the de-compartmentalisation of disciplines.

So the programme revolves around three axes: In our ways of working, in the subjects explored or in our activities directed at the public, we try never to disconnect the art scene from the social, political and cultural spheres.

It was saved from destruction thanks to a mobilisation by residents and local politicians who understood the importance of preserving industrial heritage and creating a high-calibre cultural centre for the new city of Marne-la-Vallée, which was then under construction. Beyond its art production and distribution mission, how do you define the political and civic role played by La Ferme du Buisson? Although our role within the city can sometimes seem trifling, the current context is making it absolutely indispensable.

In support of this, La Ferme du Buisson is doing great mediation and awareness-raising work directed at visitors from the every walk of life. Why did you want to participate and what programme are you proposing? In this period when people are turning inward, international collaborations that make it possible to exchange points of view, practices and sometimes funding, are vitally important.

In this sense, the cooperative projects developed by d. Since Jarry had very close links with the futurists, and Italy is home to many pataphysics societies, and Ubu regularly serves as a metaphor for illustrious Italian politicians, we asked Alberto Salvadori and Leonardo Bigazzi to join in our research. This project takes the form of an archipelago in which each island-chapter unfolds in a different place and in a different form. Alfred Jarry Archipelago Space: Vincent Honoré Pouvez-vous nous présenter les missions de la Ferme du Buisson, et ce qui en fait un lieu unique en France?

Dans nos manières de travailler, les sujets abordés ou nos actions en direction des publics, nous tentons de ne jamais dissocier la scène artistique des sphères sociale, politique et culturelle. Comment définir — au-delà de sa mission de production et de diffusion artistique — le rôle politique et citoyen joué par la Ferme du Buisson?

Si notre rôle au sein de la cité peut parfois nous paraître dérisoire, le contexte actuel le rend absolument indispensable. Pour accompagner cela, la Ferme du Buisson développe une formidable action de médiation et de sensibilisation en direction des publics les plus divers. Pourquoi avez-vous souhaité participer et quel programme proposez-vous?

En ce sens, les projets de coopération développés par d. Trois expositions collectives se sont ainsi tenues au Quartier, à La Ferme du Buisson et au Museo Marino Marini, et un ensemble de performances dans le cadre du festival Playground à Louvain.

He curated the following main exhibitions: Kunst Meran Merano Arte. Vincent Honoré Can you tell us about the origin of Kunst Meran? The idea was to give to the town of Merano a relevant role in the local contemporary art scene.

In past times some very famous people, such as Kafka, Mahler, Ezra Pound whose daughter still lives in the castle of Brunnenburg spent their time here. Since the venue is a house in the town center, which was restored and restructured to become a gallery and art museum. What fundamentally makes this institution different from others in Italy and on an international level?

We are neither a commercial art gallery nor a municipal venue, even if our role is similar to that of a public space. Our funds come both from the private and public spheres, but it has to be noticed that the museum management stays free from any political influence. This is an exceptional status in Italy. In Germany you can find art spaces that you can compare with Merano Arte from this point of view. PIANO intends to create a network of art spaces working together, exchanging and interacting.

Why did you decide to join the project and how are you participating in it? We work following a strong aim which is bringing contemporary art to the attention of common people. We also think that sharing projects with other international contemporary art spaces represents an important occasion of growth.

A network is essential to make collaborations happen. Contemporary art is an instrument that Europe can use to connect different national realities and bring them really together.

Both museums work with contemporary art and aim to value young artists. Mangion and I immediately agreed to give life to an exhibition with young selected artists. They have been invited to produce new works and to collaborate for a project. It took a lot of time to plan and coordinate every detail of the project.

Young artists are very focused on what they want to express through their art. We pushed them to think about the idea of building an exhibition together on site.

The collaboration with Éric Mangion and Villa Arson has been really successful in this sense. What are the main responsibilities of a curator and of an art institution in Italy nowadays? Vincent Honoré Puoi raccontarci come è nato Kunst Meran?

Nel passato molti personaggi celebri hanno vissuto a Merano, da Kafka, a Mahler, a Ezra Pound la cui figlia vive ancora nel castello di Brunnenburg. Anche Peggy Guggenheim ha organizzato mostre a Merano nel corso degli anni Cinquanta. Kunst Meran Merano Arte è un museo molto particolare nel contesto italiano, quasi unico nel suo genere.

I nostri fondi provengono sia dalla sfera privata sia da quella pubblica, ma va sottolineato che la gestione del museo è indipendente da ogni influenza politica. Si tratta di una condizione eccezionale in Italia. In Germania esistono spazi comparabili a Merano Arte da questo punto di vista.

PIANO mira a creare una rete di spazi espositivi che lavorano insieme, attraverso forme di scambio e interazione. Perché avete deciso di aderire al progetto e come si realizza la vostra partecipazione? La presenza di un networl è fondamentale perché le collaborazioni abbiano luogo.

Mangion e io abbiamo immediatamente concordato di dare vita a una mostra con giovani artisti selezionati, che sono stati invitati a produrre opere inedite e a collaborare tra loro per un progetto nuovo. La collaborazione con Éric Mangion e Villa Arson è stata un grande successo in questo senso. Nel periodo di incertezza economica e confusione tra valori culturali e di mercato in cui viviamo, le istituzioni artistiche in Italia hanno una fondamentale responsabilità con cui fare i conti: Metal, mixed media, sound installation, X x 87 cm 3.

She taught by the past at the University and at the School of Fine Arts. Claire Le Restif conceives curating as a consideration of the context in which she works, not to answer a request but to offer to the public the current artistic peculiarity. Known for its will to cultivate the ground and to give their chance to young artists, le Crédac associates an excellent politics in term of artistic choice with a search for closeness with the public.

The Registry of Promise Space: Vincent Honoré How was the Crédac created and what is its fundamental purpose? Claire Le Restif The art centre was created in , instigated by artists and political will.

It is one of the first art centres in Île-de-France. Situated in Ivry-sur-Seine, the Crédac is a place whose visitors comprise locals from Ivry and French residents passing through the region or from Paris to visit the exhibitions or attend meetings. The question of public transit is central, as is the relationship between Paris and its outskirts. The Crédac is one of many art centres that form a dynamic network in France and without which a large proportion of contemporary culture and art would undoubtedly be inaccessible.

How does its DNA differentiate it in this network? The art centre is a public place. Also the project that I am developing strives to eliminate as far as possible the notion of personal taste or aesthetic line to the benefit of exhibiting a wider range of creativity and its aesthetic and critical issues. I express more of a relationship with art by inviting artistic projects that develop different issues embodied by forms that interpret the wealth of current artistic expression.

We do not publish exhibition booklets but a free publication called Le Mecca. It provides information about activity issues at the Crédac, the planning and mediation alike. It also opens an additional avenue for reinterpretation and memory. There is a fundamental phrase in the presentation of the centre: For artists it is also a place for intellectual, critical and technical mentoring.

An art centre is not just a place measured in square metres, a showcase… For the artists it is a place to carry out research, to experiment and for intellectual, critical and technical support. It is a place for artistic yet all too often illegitimate, freedom. When I talk about mentoring, it is regarding the artists for whom we are benchmarks when required, but it is also the mentoring that has been instigated between art centres.

That is, in the structure behind a vision, a dynamic and a horizon for a place, a project and a team. This problem interests me all the more as the gap between spheres of intellectual strength or experiment and sanctuaries of global culture is widening without personal preference for one or the other. In your opinion, what is the role of an art centre director in ?

To ensure that the venues at best develop and consolidate, and in the worse case scenario they are sustained! We have to be in permanent contact with the artists and liaise with civil society, another mission that is important in my eyes!

But the context in which we work is very important. It should be taken into consideration in a peaceful but also resistant way laughter. To support what we believe should be stated and exhibited, sometimes against the advice of fashion, the art market and public taste! To explain our relationship with art, to feel part of the cultural heritage of an exhibition history as a source for reflection even about the history of recent art, whilst putting to the test our ability to continue to invent new forms of exhibits and more broadly new ways of working together.

Charles Esche described his ideal museum as being inherently uncertain: How did you structure the curatorial approach to the venue, the institution? The programme that I drew up for the Crédac when I arrived was very bound to the context and the topography of the underground location, situated until within the foundations of the Jeanne Hachette Centre, built by the architect Jean Renaudie between and To kick off, I set up an exhibition in two parts called La partie continue The Games Goes On , a small show to present the goals of my programme.

The project was initially inspired by this unusual venue, the sloping white cube and compromised geometry. This title bore the notion of continuous and discontinuous play.

Having formulated the concepts of citing, misappropriation, mixing and borrowing, it was more the loss of the notion of authority, of ownership and the calling into question of inheritance that interested me. We left this venue for a factory built in La Manufacture has thus resumed its original production studio activity: Why did you want to participate and what programme are you offering?

We have the impression, most notably with Sandra Patron and Lorenzo Benedetti, that the role of art centres is not studied, analysed and promoted enough.

I feel it is crucial to defend the role played by art centres in implementing networks for artistic presentation on a European level. How would a museum collection become established today if the network of European art centres ever disappeared? What issues would occur for an artistic community without a local venue for peripheral circulation? Lastly, how does the economic crisis endanger the art ecosystem?

I had an in-depth discussion concerning these questions with Chris Sharp who had his project The Registry of Promise in mind. My idea was to set up an association of four dynamic venues that he is also in regular contact with: Vincent Honoré Comment a été créé le Crédac et quelle est sa mission fondamentale?

Dans ce réseau, quel est son ADN, sa différence? Elle donne des indications sur les enjeux des activités du Crédac, la programmation comme les actions de médiation. Elle ouvre également une voie supplémentaire, celle de la relecture et de la mémoire. Enfin, il y a Royal Garden , véritable prolongement sur le mode virtuel du projet artistique du Crédac.

Dans la présentation du centre, il y a cette phrase fondamentale: Davantage à la structure qui sous-tend une vision, une dynamique et un horizon pour un lieu, un projet et une équipe. Il faut être en contact permanent avec les artistes et faire le lien avec la société civile, autre mission qui est, à mes yeux, importante.

Mais le contexte dans lequel nous travaillons importe beaucoup. Il faut tour à tour en tenir compte de manière pacifiée mais aussi hostile rires. Charles Esche a décrit son musée idéal comme étant fondamentalement incertain: Le projet était inspiré au départ par ce lieu à la topographie singulière, le white cube en pente et à la géométrie contrariée.

Ce titre portait en lui la notion de jeu entre continuité et discontinuité. Nous avons quitté ce lieu pour une usine construite en Mandla Reuter, The Agreement, Vienna, , armoire, x x 85 cm.

Installation view Galerie Mezzanin, Ivry souterrain , 19 April — 23 June 3. Courtesy of the artist 4.

Claire Le Restif Project: The work of Mauricio Guillén combines film, photography, text, and objects. His works explore the role played by aesthetics in the organization of social space, deploying notions of identity construction, exclusion and inclusion, migration, communication, and translation. Guillén combines his personal experience with conceptual strategies, using a poetic language in which he analyzes our understanding of culture and history by means of verbal and visual communication.

Avenida Progreso is a black-and- white 16mm film shot in Mexico City, where the artist spent his childhood and adolescence. The film depicts a philosophy and aesthetics teacher collecting papers after an end-of- year exam, before taking a taxi back to his home on the Avenue of Progress. Like a history book that traces classical culture and the progress of the humanities, the streets carry the names of European intellectuals and writers such as Goethe, Byron, Marx, Tolstoy, and Aristotle.

By calling into question figures of authority in the education system, Avenida Progreso also raises the question of the transmission of knowledge and the perpetuation of inequalities. Originally conceived for the Barbican Art Gallery in London, Security Measures comprises a series of tweed uniforms tailor-made for the art center security guards.

The work aims to expose the underlying power relations in contemporary society and its institutions. On a political level, the work draws attention to what is normally minimized and concealed in a cultural context: From a sociological standpoint, Security Measures restores individuality to those institutional agents whose presence is depersonalized and ignored.

Rather than privilege an analytical and discursive mode, the artist has chosen an approach that literally incorporates sociological, economical, and political questions, redefining the relationship between artists and art institutions.

Il lavoro di Mauricio Guillén si situa al crocevia tra film, fotografia, testo e oggetto. Guillén unisce la sua esperienza personale a strategie concettuali, in un linguaggio poetico con cui analizza la nostra comprensione della cultura e della storia, tramite la comunicazione verbale e visiva.

Un professore di filosofia raccoglie le copie di un esame di fine anno, prima di prendere un taxi per tornare a casa, in Viale del Progresso. Attraverso la messa in questione delle figure di potere del sistema educativo, Avenida Progreso esplora inoltre i temi della trasmissione del sapere e della perpetuazione delle disuguaglianze. Inizialmente pensata per la Barbican Art Gallery di Londra, Security Measures Misure di sicurezza consiste in una serie di uniformi in tweed, tagliate su misura per i custodi di uno spazio espositivo.

On suit son point de vue à travers la vitre de la voiture. Sur un versant sociologique, les Measures redonnent une individualité à ceux des agents institutionnels dont la présence est dépersonnalisée et niée.

Her installations and videos express a certain contrast between space and time, and through them she wonders about the meaning of using materials in relation to their conceptual manipulation.

She explores the nature of our perception, the basis of our medial, historic and individual experience as well as changes between fiction and reality. She has won several international awards: In she was shortlisted for the Premio Cairo. Her major solo exhibitions are: Series of successive instants, Galerie Nächst St.

She has taken part in important group shows at: Sonia Leimer nasce a Merano nel Tra le recenti mostre personali: Ha partecipato a varie mostre collettive: Vive e lavora a Vienna.

Née à Merano en , vit et travaille à Vienne. The short film Pasolini e… la forma della città , produced by RAI in the autumn of and broadcast the following year, was directed by Paolo Brunatto and not, as could have been expected, by its subject— the Italian poet, writer, director, screenwriter, playwright, and journalist Pier Paolo Pasolini.

The documentary features a series of interviews with personalities from the Italian cultural scene, who are asked to talk about a specific work of art. Pasolini has chosen Orte and Sabaudia, two towns that played an important role in his life. Filmed mostly by Pasolini himself, this short piece comes across as a harmonious interweave of words and pictures.

He films the area around Orte, approaches the town center, and then moves to Sabaudia, where on a windswept beach he himself appears, lamenting the environmental, urban, and cultural degeneration of Italy. Pasolini sceglie di parlare di Orte e Sabaudia, due città che avevano un ruolo importante nella sua vita. Pasolini, che per buona parte del film tiene in mano la telecamera ed è dunque autore delle riprese, imposta La forma della città come un intreccio armonico di immagini e parole.

Slaven Tolj is one of the leading exponents of the art scene in Croatia. His radical minimalist practice, which includes performance, photography, actions, and ready-mades, explores social situations and historic events. In the s, Tolj focused on the situation in his country, namely the break-up of Yugoslavia and in particular the siege of Dubrovnik, his home town. In his solo show Low Season , hosted by the Dubrovnik Museum of Modern Art in , Slaven Tolj recreated a stylized version of the city inside the museum, linking the areas of the building with various neighborhoods of Dubrovnik.

The title of the exhibition refers to the tourist season and is a clear indication that the project was mainly destined for the local population. The show also featured the work Map of the City of Dubrovnik , a city plan reworked by the artist. After the conflict, a map showing where the city was bombed after the siege in was placed by the road going into the city. Tolj used the same map, but in his version the key refers to the bars, fast food outlets, souvenir shops, etc. It is a vision of a city that is being emptied and turned into a holiday destination: Slaven Tolj è uno dei più importanti esponenti della scena artistica croata.

La sua pratica radicale e minimalista, che comprende performance, fotografie, azioni e oggetti ready-made, si focalizza su fatti sociali ed eventi storici. Tolj ha usato la stessa mappa, ma nella sua versione la legenda evidenzia i bar, i fast-food, i negozi di souvenir ecc.

Si ha quindi la visione di una Dubrovnik progressivamente assediata da spazi di ricezione turistica: In mostra sono presenti due piantine: His work comes from different kinds of influences, which at first sight recall art tendencies such that of minimal and pop art. He has been the recipient of many awards, including that of Raiffeisen Foundation, Bolzano in , of California Institute of the Arts in and His recent solo exhibitions include: His works have been shown at several group exhibitions: Schwazer nasce nel a Vipiteno.

Il suo lavoro richiama principalmente la minimal e la pop art, allo stesso tempo esplora in maniera singolare questioni filosofiche e temi sociali associandovi sviluppi formali del tutto specifici. Nel e vince il premio del California Institute of the Arts. Vive e lavora a Los Angeles. Né en à Vipiteno, vit et travaille à Los Angeles. Parallèlement, il explore de manière singulière les questions philosophiques et sociales en impliquant des développements formels tout à fait spécifiques.

En et , il a remporté le prix du California Institute of the Arts. Il a participé a plusieurs expositions collectives: Costanza Paissan Your artistic research focuses on issues related to pop culture, geopolitics, capitalism, industrial economy and craft production in the global world.

These ideas are transferred into pieces whose forms are essential, often tinged with irony and lightheartedness, poised between mass production and slow craftsmanship, mechanicity and organicity. I am thinking, for example, of the work The Rape of Europe , in which the threads of the Jacquard weaving recall the myth of Arachne but also the evolution of textile production in the history of the world economy.

Could you tell us about the process through which you transform your thoughts into form? Leander Schwazer I have a special penchant for time in general. Exploring dormant stories in everyday objects is my obsession. I use techniques like détournement , alterations, the reversing or flipping of things: I guess this is a reason for my interest in cracks and fractures: Art walks on a thin path between past and future.

In spring , your work was exhibited at the Museion in Bolzano, in the exhibition Bikini. Where does this work fit in your research? Bikini was a meditation on certain connections between popular culture and war.

Compared to the power of war machines, any artistic discipline looks weak. In a way, it becomes necessary to use as many as possible. However, it is impossible to predict the course of history. Only when seen from the future, the past becomes such. In addition to being an exhibition space, Villa Arson is also a place of education, in which dialogue with other artists is normal practice.

Can you tell us about your experience? I was happy to be in close contact with Sonia Leimer over the last year. Although we were working independently, I consider the setting we worked with at Villa Arson as a collaboration. The space will be one of crisis, misunderstandings, big and small stories, subjectivity and objectivity.

I am happy to present another montage piece from my longtime exploration of junk, how it is produced and circulates. Fra Mauro wrote a fascinating story of junks Asian ships rounding the Cape of Good Hope, arriving in Europe and then sailing back.

Today my email inbox asked me what I wanted to do with my junk mail — electronic messages received from unknown senders. But of course history does not repeat itself. Queste idee sono trasferite in lavori formalmente essenziali, spesso venati di sottile ironia e di leggerezza, sempre in bilico tra produzione seriale e lenta manualità, meccanismo e organicità.

O alle schede perforate di Kapital , che trasferiscono il testo del Capitale di Marx in un meccanismo musicale. Puoi spiegare attraverso quale processo metti in forma le tue riflessioni? Leander Schwazer Quello che mi interessa in maniera particolare è il tempo in generale. Esplorare le storie dormienti negli oggetti quotidiani è la mia ossessione.

Mi servo di tecniche come il détournement , le alterazioni, il ribaltamento o il rovesciamento delle cose: Penso che sia questa la ragione del mio interesse nei confronti delle crepe e delle fratture: Nella primavera il tuo lavoro è stato esposto al Museion di Bolzano, nella mostra Bikini.

Come si inserisce questo lavoro nella tua ricerca? Bikini è una meditazione sui collegamenti tra la cultura popolare e la Guerra.. A confronto con la potenza delle macchine da guerra tutte le discipline artistiche appaiono deboli. In ogni caso, è impossibile predire il corso della storia.

Essa diventa passato solo se vista dal futuro. Villa Arson, oltre a essere uno spazio espositivo, è anche un luogo di formazione, in cui il dialogo con altri artisti rappresenta la quotidianità. Puoi raccontare la tua esperienza? Anche se abbiamo portato avanti il nostro lavoro in maniera indipendente considero lo spazio che abbiamo immaginato aVilla Arson come il risultato di una collaborazione. Lo spazio sarà uno spazio di crisi, equivoci, grandi e piccole storie, soggettività e oggettività.

Sono contento di poter presentare un altro lavoro a mosaico parte della mia lunga indagine sul Junk, la sua presenza e distribuzione.

È ispirato dal documento in cui la parola Junk venne usata per la prima volta in un documento occidentale: Fra Mauro scrisse una favola affascinante: Ma ovviamente la storia non si ripete. One of the most complex and enigmatic artists of the twentieth century, Giorgio de Chirico invented a new mode of artistic expression based on his explorations of the potential meanings of objects.

For de Chirico, all forms draw meaning from the associations and memories they arouse in our consciousness. A scholar of classical culture and traditions, during his career he lived in various places before settling in Rome, where he lived until his death.

His home now hosts a museum devoted to his life. Metaphysical paintings stand out for their clarity of composition, depicting recognizable objects and forms set in architecturally defined, deserted spaces. The surfaces and volumes, and the empty spaces and shadows on the buildings, are carefully outlined. Although the scenes initially appear realistic and rational, they never fail to create a sense of unease in the observer.

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Echoing the societal thinking of Charles Fourier, Bal-Blanc has developed the Projet phalanstère Phalanstery Project , a series of site-specific proposals that critically revise the accumulative logic of exhibiting artworks. His exhibitions The Living currency and The Death of the Audience follow a principle that takes into account their local environment and in situ resources.

Along with the visual annotations presented in this publication, Pierre Bal-Blanc proposes a series of documents and interventions that act as paratexts to the exhibition. They serve to prolong the ways in which the works interact not only with the space of Museion, but also with its historical, social, and architectural context within the city and province of Bolzano.

For example, the information panels presented in certain galleries throughout the exhibition testify to the curatorial decision to modify the hierarchy of the exhibition spaces.

Comparable to marginalia notes in the margins of books and manuscripts , some documents reveal latent aspects of the exhibition that are normally overlooked or considered private.

These reveal among other things the failures that took place and the ideas that were abandoned during the selection process. Le sue mostre La Monnaie Vivante La moneta vivente e The Death of the Audience La morte del pubblico danno prova di essere radicate nel loro contesto e si articolano in funzione delle risorse in situ.

In maniera analoga alle annotazioni visive presentate in questa pubblicazione, Pierre Bal-Blanc propone per Soleil politique svariati gruppi di documenti e interventi, che funzionano come paratesti alla mostra. Per esempio, i pannelli segnaletici inseriti in alcune sale rinviano alle scelte curatoriali che riguardano il rifacimento della gerarchia degli spazi espositivi.

Paragonabili ai marginalia, le note a margine di libri e manoscritti, una parte dei documenti approfondisce gli elementi che stanno alla base della mostra che di solito sono considerati impliciti, o addirittura riservati. Pierre Bal-Blanc is director of the CAC Brétigny, an exemplary center for the arts, both for the commitment shown toward artists and for its program of atypical productions and exchanges. A space that continually re-elaborates the notions of a program, an exhibition, a collection….

Vincent Honoré The purpose of this conversation is to speak about a program and its underlying dynamics.

The idea is also to explain what a space is, a center of art… and what having a place means. These are the points I have been interested in addressing, from when I started working in another space for the Foundation, in London, and at amoment in which I re-elaborate my program and turn to my previous experiments — in London, as elsewhere.

It is quite symbolic, even symptomatic, of a set of projects that, conducted separately and each having its own development, in the end crystallize, thus constituting the evidence of the program itself. My world of work is essentially this: I follow various paths, which seem to be dictated a priori by the institution, but which are also related to recurrent research in the general program and that eventually begin to work together.

I have always tried to work following very advanced processes, deep and long-lasting, and simultaneously to establish visibility in extremely short time frames.

That is, I do not define a program a year in advance, I often decide at the last minute, based on common programs with other centers of art, in order to be sure that things succeed in standing out by themselves.

This is possible in a structure in which the constraints are not too rigid; it is a freedom from which I can benefit, given that Brétigny has an atmosphere sympathetic to what is developing there and also because the space, by nature, allows one to escape pre-establishedrules of press kits prepared six months in advance, of press relations built up with great anticipation, etc.

I immediately realized what was needed: The program of which I am speaking is an example. This also offers a new perspective on projects of recent years — such as La Monnaie Vivante , focused on the reification of the body, or The Death of the Audience , centered on the notion of the group, of community, as statute. But the question of the gregariousness of the group, of the collective, is an issue that repeatedly comes up in my projects in Brétigny.

From this point of view I have no obligations besides relations with the local population, an educational mission through the national education system, at all levels, from nursery school through to university.

Brétigny is a public service, and I am part of the administration. It is interesting to associate The Death of the Audience , an external project, by an independent curator, with the program of Brétigny. Calling oneself an independent curator is a slightly elegant way to think of oneself as being free when, in fact, one is not. It was founded in the s, but not as an art center. Work related to the visual arts had been going on there since the s. In Paris there were very few things, which then evolved in a progressive manner; the projects began in the outskirts, of which Brétigny was one.

Then, the mayor of Brétigny, a lover of arts, constructed a building designed to bring together various cultural activities, including the visual arts. These were headed until by the previous director, Xavier Franceschi, with choices aimed at a French environment and the new generation, but also at an international atmosphere, with projects of Maurizio Cattelan and Carsten Höller, who produced notable works which again represented points of reference.

In , the space was recognized as a center of the arts in France, and was given government support which made architectural extensions possible. I had a knowledge of the place from various actions, such as those of Cattelan; his work consisted in reproducing the roof of an eleventh-century church located behind CAC, and placing it on the postmodern or late-modern building of the Center.

It is a work done in relief, for its manner of establishing itself in the surrounding environment, that I would like to ask him to redo. Another work is that commissioned to Atelier Van Lieshout: These actions were a kind of draft of what it was possible to create in this space.

The space itself was small, rather difficult, very complicated. From this point of departure, I sent out a series of invitations. The first went to Van Lieshout.

The circumstances themselves were rather unusual. I, newly arrived, was inviting an artist who had already been here, invited by the previous director. A curious thing, a sort of reissue, but at the same time, a way to place myself in the act of becoming, that would have allowed me to pursue the construction of the place.

Thus, I called Van Lieshout to build Edutainer , a space made up of two containers and a tank, in front of the art center; one space that was missing, a place of mediation, for the artists and the staff, a space in which the staff, artists, and public meet. It is a symbolic space, because it is situated outside the building. The idea was to come out of the structure and create an intersection between the internal and the external. This space has been operational for more than eight years.

It is unique, it has containers and seems an active construction site, but on the inside there is an environmentof wood, welcoming and comfortable. The container is symbolic of the circulation of goods, but also of knowledge. After this many other works followed, which have since been installed, even if in an unsystematic manner: The choices are tied rather to the relevance of the works, which in the context of a temporary exhibition can become in situ.

The work remains when it succeeds in standing out per se. Teresa Margolles requested permission to break up the floor in order to reset it with a preexisting tread, a smooth cement floor, realized with water recuperated from Mexican morgues.

She also realized a table and some benches outside. It was an important action, a work of movement that projects us into a different geopolitical context, that puts us in contact with a new reality and at the same time with a new dimension, through the meeting of creation and destruction. The work is called Fosse commune and was a prolific source of inspiration for subsequent artists.

However much it is a real work, it remains very discreet visually, so much so as to also be a conceptual and symbolic work: In my choices I have always tried to balance and weigh the presence of the work and the space to leave to the next artist.

These works must not be invasive, but rather must inspire. But their density is such that more and more they open the way to exchanges, plans, and negotiations. The latest work is more present than the others, I have to see how to arrange it with Daniel Buren. Truthfully, no work is permanent. After my experience with David Lamelas, I understood that in a public space some works can have a long duration, times that can be negotiated, but one cannot accept the responsibility for perpetuity.

I have neither the power nor the assignment to do so, since the art center does not possess a collection. Even if I try to experiment with a collection, I do it with a different idea than what a collection is, in itself: It is a kind of attempt at a new typology of museums. I can perfectly imagine a place that comes to be built progressively, little by little, artists working one after another, without following a principle of permanence, but rather something in perpetual change, like an organism.

This is a concept which also comes up in my conversations with François Roche, close to his way of conceiving architecture, a principle of immanence capable of generating a situation. In this case, I attempted the experiment. There is something very concentrated and sophisticated in the current situation, many works that are being combined, that can appear or disappear according to the needs of exhibitions.

It was a series of actions, executed successively in various spaces in New York. Afterwards, they followed a principle of cumulative interventions. The first artist was Daniel Buren, with a work titled Following and To Be Followed which reflected the spirit of the exhibition.

Such a principle of programming constitutes a model for what I intend to create: In Brétigny every work, like that of David Lamelas, a installation which I asked him to reproduce, participates in the reflection that I carry out in the space. Lamelas placed two 16mm projectors side by side: To transmit the light, Lamelas created a nine-meter-long corridor that functioned as an immersive camera.

This corridor was presented and placed as an intervention in a rather intrusive area, as it cut off the route that normally ran along the art center, creating a kind of detour. After the exhibition, it became the entrance to the space, acting as a screen. It remained in place for four years until the authorities asked us to tear it down.

The demolition was rather traumatic, but it also permitted us to enter into a dialog in a deeper manner and establish a relationship with the authorities for future projects. The conflict was intense and the demolition of the work was an important act, a sacrifice for the recognition of the activities of the place. Consequently, it did not stop our development. The subsequent programming was done in such a way as to make our various activities more comprehensible to the outside, and to make it easier to proceed with other interventions, which have been better received.

There is a work by Jens Haaning, a recently installed neon light, a frieze by Daniel Buren, an opera composed this year by Matthieu Saladin: We are also reflecting, with Dominique Mathieu, designer and resident at the art center, on the daily needs of the place. Vier5 have been here from the beginning and we are continuing to work with them on communication and signs, which we renew with every exhibition.

I think that these are interwoven concepts, and I always consider one with respect to the other. We are on the inside of something that has its origin in articulation. The substance, therefore, is the combination of these notions.

It is also the experience of marginality, considering this phenomenon of living at the edges of an otherwise extremely centralized region. We experience marginality with respect to Paris, as well as to other more dominant cultural fields. The substance is the re-imagining of those limits and parameters that we are normally subjected to. Unfortunately, numerous spaces rework certain forms instead of rethinking them.

In Brétigny, motivation and energy are favored precisely by our relationship with a state of permanent inadequacy. And I think that the existence of similar initiatives, where they are not expected, is essential.

Mais la question de la grégarité du groupe est récurrente dans mes projets à Brétigny, la problématique de la collectivité.

Brétigny est un service public, je suis dans une administration. Je suis arrivé en , une fois que ce travail de fondation avait été effectué. Ces actions étaient comme une esquisse de ce qui pouvait être poursuivi dans ce lieu. La première à Van Lieshout. Cet espace fonctionne depuis plus de huit ans. Le container est un emblème de la circulation des biens mais aussi des savoirs.

Elle a beaucoup inspirée les artistes qui lui ont succédé. Lamelas a proposé ces deux projecteurs 16mm dos-à-dos: Elle ne nous a pas arrêtée dans la progression.

Je pense que ces notions sont intriquées, je les considère les unes par rapport aux autres. Beaucoup de lieux malheureusement reconduisent des formes plutôt que de se les réapproprier. Teresa Margolles, Fosse commune Fosa Comùn , , water, cement, pigment, resin.

Atelier van Lieshout, The Edutainer , , containers, wood, furniture; Teresa Margolles, Table and two benches — Mesa y dos bancos , , water, cement, pigments, resin. David Lamelas, Projection , CAC Brétigny, Photo: Born , Dendermonde, Belgium Lives and works in Ghent, Belgium His work has been internationally exhibited in both institutional and commercial venues. Peter Buggenhout, Gorgo 33 , , mixed media: The physical and semantic connections and shifts that he forges reveal new angles on social, geographic, and economic scenarios.

The viewer is invited to bridge the apparent distance between the elements chosen by Phinthong, as happens in the piece Broken Hill , in which a copy of the skull of the first human found in Africa, together with other related materials, become the elements of a performance. The skull kept in the Lusaka National Museum in Zambia is a copy of the original find.

The first version of the performance, presented in London in , involved the guide from the Lusaka museum, Kamfwa Chishala, who recounted the finding and removal of the skull, as he normally does during his museum tours in Zambia. Phinthong asked the African museum to lend him its copy of the skull and purchased another copy on the internet to display in Lusaka for the duration of the loan.

Le opere di Pratchaya Phinthong mettono in relazione situazioni agli antipodi, che, altrimenti, resterebbero lontane. Lo spettatore è invitato a colmare la distanza apparente tra gli elementi selezionati da Phinthong nei propri lavori. È il caso di Broken Hill , in cui una copia del teschio del primo essere umano trovato in Africa, insieme ad altri materiali correlati, diventa la scenografia per una performance.

Quando il teschio fu scoperto, nel , nella località allora chiamata Broken Hill oggi Kabwe, Zambia , le autorità coloniali inglesi lo trasferirono presso il Natural History Museum di Londra.

Il museo nazionale di Lusaka, in Zambia, ne espone invece una copia. Sensitive to the conflicts of the urban environment, he advocates a form of architecture built in successive stages as a means of recreating zones of exchange between the individual and the collective. Locally recycled glass is used in the construction, thus creating a link to an art space and architecture on the basis of exchange.

Il progetto mostra un rivestimento di vetro unito nelle facciate, disposto secondo un algoritmo generato da un robot che riprogramma le forme durante la costruzione. Il visitatore è dotato di un computer portatile, che gli permette di interagire con i dati sulla collezione e di riposizionarsi nel circuito. Le projet propose une enveloppe en verre agrégée sur les façades, déposée selon un algorithme généré par un robot qui reprogramme les formes en cours de construction. Les accumulations translucides servent aux circulations du bâtiment, permettant de multiples cheminements.

Simon Fravega works as artist and performer. He takes seriously the virtues of disguisement and anecdote. The nature of these gestures staggers them: Combining this deferred dubbing activity to a flow of micro-narratives, Simon Fravega weaves a reflection on the gap between facts and representations. And under the guise of humour and the absurd, it identifies something essential in the great game of the world. Simon Fravega déploie un travail de plasticien et de performer.

En action, il se cale sur les autres sportifs, rockeurs, personnages de western ou danseurs de hula hoop , étudie les gestes qui les définissent et les rejoue en les décontextualisant.

La nature de ces gestes chancelle alors: The renowned Italian designer Achille Castiglioni spent his life conceiving and testing industrial products, working with his brothers Pier Giacomo and Livio. Famous for the irony that characterised his creations, his designs are always tinged with a subtle parody of the avant-garde, expressing the disillusionment of the generation that grew up after the provocations of futurism and the utopia of rationalism.

The project consisted of two square, parallel blocks connected by a horizontal slab, and the accompanying model was made out of two slices of cheese cut perfectly to scale.

The entire project was presented in minute detail, with plans showing floor layouts, cross-sections and pediments. Critics view this project as containing the seeds of the themes that would go on to underpin his entire oeuvre, including the use of ready-mades, and more importantly, references to Italian futurism: Boccioni, for example, also employed a variety of materials, including foodstuffs, in his artistic compositions.

Achille Castiglioni, noto designer italiano, si dedica insieme ai fratelli Pier Giacomo e Livio alla progettazione e sperimentazione di prodotti industriali. Esprime in questo modo la disillusione di una generazione cresciuta dopo le provocazioni del futurismo e le utopie del razionalismo. La trama del formaggio ricorda quella del travertino, materiale caro alle architetture realizzate sotto il Regime. Il progetto proposto dal futuro designer è sviluppato in maniera accurata, rappresentando in planimetria piante, sezioni e frontoni.

La critica ha visto in questo progetto un primo riferimento a elementi caratteristici della successiva ricerca di Achille Castiglioni: Boccioni, infatti, aveva già utilizzato materiali diversi e commestibili nella composizione estetica. Young création of villa de Nice Award with a one year residency. He has entered into many collaborations with Quentin Euverte and Ugo Schiavi. His solo exhibitions include: Among his group exhibitions: Nato nel , vive e lavora a Vladivostok e a Ginevra.

Tra le sue mostre personali: Fra le mostre collettive, segnaliamo: Né en , vit et travaille à Vladivostok et Genève. Parmi ses expositions personnelles: Parmi ses expositions collectives: In what sense was this collective dynamic important? The three of us already knew each other. We got along well and lived in more or less the same area. Each of us having been separately involved in several collaborations, we were aware that this presented an advantage in terms of energy, labour power and letting go.

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

What is the meaning of the title Jambe de botte? For the creation of this piece, you tested several types of material, ultimately choosing plastic from melted garden chairs.

Why did this material stand out? This brings us back to production circuits and pragmatism. How a combination of gestures can produce an image. We very empirically tested hundreds of combinations. Then we took a deckchair, burned it with a flamethrower, and the result was perfect.

We work on the French Riviera, where the dumps are full of this kind of furniture. We were conscious of reflecting the dystopian faults of this strange place that, when you remove the glamour of the sun and palm trees, smells of cheap suntan lotion, melted poodles and social violence. How were the forms of the different sculptures created?

We aligned casts found in an abandoned train parts foundry, in such a way that we were able to create cylinders that could be spun like record players. We poured the plastic and suddenly we had Scud missiles. Since sound is a vibration, in principle it can be inscribed on the media it comes into contact with. The forms of the various sculptures evoke something of a warlike world. Added to these forms is a sound that gives the space a stressful atmosphere. How is this sound produced?

Then everything developed very spontaneously. The day before the exhibition opened, we had to make up our minds to bring the sculptures into the exhibition venue. Although object and device diversion and DIY are found in your respective works, I get the impression that the question of sculpture is fairly new.

We considered simple questions that are not at all historical. A plinth is practical. It keeps the work at a distance and prevents a Scud from falling on someone. Plastic is more solid than margarine, etc.

Ici, vous faites une proposition de production partagée. En quoi cette dynamique collective a-t-elle été importante? Tous les trois, nous nous connaissions déjà, nous nous entendions bien et nous vivions plus ou moins au même endroit. Pour la réalisation de cette pièce, vous avez testé plusieurs types de matériaux, pour au final vous arrêter sur du plastique provenant de chaises de jardin fondues. On en revient aux circuits de productions et au pragmatisme.

Nous avons testé de manière très empirique des centaines de combinaisons. Nous avions conscience de renvoyer les travers dystopiques de cet étrange endroit qui, dégagé du côté glamour du soleil et des palmiers, sent la crème solaire bon marché, le caniche fondu et la violence sociale. Comment les formes des différentes sculptures ont-elles été créées? Comment se son est-il produit?

Having studied sculpture in Vienna, Josef Dabernig subsequently developed an artistic practice in a wide variety of media. Using conceptual tools, Dabernig investigates the ways in which knowledge and rationality are categorized through conventional forms and behavioral norms. He has copied entire books by hand in response to the discipline present during his years at boarding school, made lists, and built sculptures from found materials or according to mathematical rules.

His films favor a structured storyline and an open end, introducing systems of order where confusing and implausible parameters create discrepancies. The absent subject of his photographs, which represent empty spaces on the outskirts of large cities, nevertheless offers a sense of narrative and traces of economic and social change.

Dopo gli studi in scultura a Vienna, la pratica di Josef Dabernig si diffonde in diversi campi. Il soggetto assente delle sue fotografie, che rappresentano luoghi deserti nei dintorni delle grandi città, lascia spazio a una narrazione in filigrana e alle tracce dei cambiamenti economici e sociali. Il copie des livres entiers à la main en réaction à ses années de pensionnat à la discipline prononcée, dresse des listes, réalise des sculptures à partir de matériaux trouvés et selon des règles mathématiques.

Le sujet absent de ses photographies, représentant des espaces vides aux alentours des grandes villes, laisse place à une narration en filigrane et aux traces des changements économiques et sociaux. Since the beginning, his scientific activities have focused on the American and abstract art. He has published books and essays on 20 th and 21 st century art. Académie de France à Rome — Villa Médicis.

Ron Tran works in various media, including performance, sculpture, photography, video, and installation. His artistic practice involves interpersonal actions and gestures, at once benevolent and ironic, that challenge the way we view everyday relations, notably those that involve strangers. In Walking Strangers Home , for example, Tran approaches passersby late at night, offering to accompany them to their homes.

Establishing a relationship between art and the public sphere, the artist thus explores cultural rituals and anxieties as well as relations of power in society. Documentation plays an important role in conveying his work as a performer. For Apartment , Tran removed the front door of his apartment and exhibited it for five weeks at Western Front, an artist-run art space in Vancouver, while he continued to live in the apartment.

Through this objectaction, which combines aesthetics and the intimate realm, his private life was exposed and made vulnerable. The apartment functioned as an extension of the object exhibited in the art space. At the end of the exhibition, the door, once returned to its original location and use, lost its artistic status.

The work offered itself neither as a metaphorical representation, nor a ready-made, but rather as a living and tangible intervention inscribed in the present and inseparable from real life. For the exhibition Soleil politique , the artist explores the means to reenact this experience. Ron Tran lavora con diversi media: La sua pratica comprende azioni e gesti interpersonali, allo stesso tempo ridondanti e ironici, che introducono un senso di malessere nel nostro sguardo sui rapporti quotidiani, in particolare quelli con le persone sconosciute.

In Walking Strangers Home , per esempio, Tran avvicina dei passanti a tarda ora, e si offre di accompagnarli fino a casa. Alla fine della mostra, e una volta rimontata la porta sui cardini, essa ritrova la propria funzione di utilità e perde ogni valore artistico.

Ron Tran travaille avec divers média: Sa pratique convoque des actions et gestes interpersonnels, à la fois généreux et ironiques, qui introduisent un malaise dans notre regard sur les rapports quotidiens, en particulier ceux impliquant des personnes inconnues. His academic research was focused on American landscape documentary photography. As an art critic, he has been a regular contributor to French magazine 02 among others.

From to , he coordinated Fieldwork Marfa, an international research-in-residency program in Marfa, Texas. La démocratie est illusion Space: Marfa negli Stati Uniti. Etienne Bernard As a centre for contemporary art, the core function of Passerelle is to support artists notably in the realm of production, exhibition and publication and the public in their discovery of what the artists have to offer. On the contrary, I think that a centre for contemporary art is a place for shared elaboration of meaning in which artists and the public meet and discuss.

In order to reflect reality it must occur naturally in my view. It is based on a mutual desire between local audiences and artists, the majority of which have come a long way, to take the time to discuss ideas. We must not forget that we are in Brest, at the far reaches of Brittany, at the heart of an area that is very rich in cultural proposals but also peripheral to the main thrust of the art circuit.

I am convinced that its social as well as geographical position presents an opportunity rather than a pitfall. Indeed, Brest is not on the beaten track, so it is up to us to make it a destination. We therefore have the necessary resources in place to welcome and provide hospitality for operational artists and we systematically offer them an opportunity to enjoy a work temporality that they will not necessarily find anywhere else.

Artists can thus work in peace, with the help of technicians, and the public is invited in to exchange views on art in the making. Art centres are thus used as a living, lived-in and open space. And so far, I am delighted to observe that the system works. Other artists like Fredrik Vaerslev, Koki Tanaka and Stéphane Calais are also planning to use it over the forthcoming months. In addition, we have noticed that the public reacts well to the freedom to converse directly with the artist.

As the development of an artistic project progresses, people observe, come back and talk. In my view this positive perspective reflects our institutional action supporting creation that the public is sometimes oblivious to. It is more than just a mission. I would say that opening up the space to forms of creation that fall outside the strict field of contemporary art is rather an assertive approach to the programme in line with the history of the place.

The collective that opened the venue welcomed music, dance and theatre as well as art. Subsequently, the field of research was progressively oriented more clearly towards contemporary art as the structure became more institutionalized. When I became director of the art centre, I wanted to reconnect with this historic initiative for two main reasons.

The first is that I think an ambitious project can be constructed on this wealth of history with the professional facilities provided by Passerelle. Thanks to the tremendous task of structuring and the professional development undertaken by the previous director Ulrike Kremeier, the art centre evidently no longer resembles its initial association gathering amateurs, but has now become an operable infrastructure able to accommodate artistic proposals from all walks of life.

The second is that Brest is a fantastic pool of top quality partners who in their respective disciplinary fields share our high standards. Indeed, we are working hand in hand with local but internationally renowned initiatives of course, like the electronic music festival Astropolis, the contemporary dance festival DansFabrik run by Scène nationale Le Quartz, and the contemporary music ensemble Sillages, with whom we launched a festival in What is your view of the public and what type of relationship do you wish to enjoy with this public?

In an area like Brittany and Brest, the public is not an abstract entity. The centre for contemporary art constitutes both a tool at the service of the local public the facilities provided by Passerelle are at the heart of a clearly identified district and aimed at a national and international public professionals of course, but also seasonal holidaymakers. Thus, our actions and operations must appeal to all without ranking or pandering.

We know our different audiences well, their specificities, their desires as well as their reticence, but I think that everyone can identify, in their own way, to an artistic proposal that when sound can be approached from different perspectives. What are the tools and programmes that structure the art centre and strike a chord with its public?

For example, what are the Augmentation Zones and how do they integrate with your vision of the public? We offer a large number of programmes aimed at the public from hands-on workshops with the youngest, to series of lectures or guided visits. A year ago we also implemented a specific section that I called Augmentation Zones. The notion of augmentation is defined here in the digital meaning of the term.

On the Internet, augmented reality is the sum of data, links and references that complement a subject. They are also accessible on the Internet with a digital space for content accompanying the exhibitions. Passerelle proposes monographic exhibitions as well as group exhibitions and attempts to articulate different disciplines.

More specifically, how do you view the mission and the responsibilities of an art centre director in ? I chose to take over as director of a contemporary art centre as I am passionate about linking a critical and curatorial approach with a regional context.

Indeed, the global logic that governs the world of art that we work in finds, in my opinion, its meaning and opportunities for development in specific situations from which concrete proposals emerge. I find my role as producer stimulating, that is as an art critic who gathers the intellectual, material and human resources to generate artistic proposals in an identified geographical, social and political situation, to work in the permanent and constructive coming and going between local and global.

Why did you want to participate and what programme did you propose? I think that PIANO is an excellent example of structuring collaboration and sharing means of production and communication. In the context of the concerning budget and institutional crisis at large in France, Italy and elsewhere, it is essential to completely rethink methods for funding and bringing projects to fruition.

And beyond the simple financial consideration, it is now no longer pertinent to plan a project with an artist in a single venue. La démocratie est illusion. Afin de prendre réalité, cette rencontre doit, à mon sens, se construire assez naturellement. Il se construit des habitudes. Ceci constitue à mes yeux une perspective positive qui assoie notre action institutionnelle de soutien à la création dont les publics ne sont pas toujours conscients.

Quelle est votre conception du public et quels rapport souhaitez vous entretenir avec ce public?

These bundles offer a great way to give a complete, thoughtful gift to someone who loves video games, but you can also get them for your own use at home. His artistic practice involves interpersonal actions and gestures, rue du nu escort nievre, at once benevolent and ironic, that challenge the way we view everyday relations, notably those that involve strangers. Le fil conducteur est le personnage principal, Paul, qui apparaît dans chacune des parties ; la trame narrative suit une histoire tout en englobant le caractère fragmentaire de sa production. I think art centres have a role to play, supporting art research and rearticulating the position of education, research and creativity in society. Guillén combines his personal experience branlette italienne vivastreet erotica grenoble conceptual strategies, using a poetic language in which he analyzes our understanding of culture and history by means of verbal and visual communication. However, it is impossible to predict the course of history. Do you have any?

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