-- La figure dans le paysage (Paris 8) » «I read»

Christophe Atabekian. Charles de Zohiloff. Cieudad del Mar. 2008

Article publié le : Mardi 22 septembre 2009. Rédigé par : Liliane


Christophe Atabekian. Ici prochainement.  2008.
Le Blog du projet de film: http://atabekian.uing.net.
Le film : http://www.finavril.com/CA-iciprochainement.htm

Ciudad del Mar. Un projet à deux voix de Christophe Atabekian et Charles de Zohiloff dans le cadre de la Biennale Art grandeur nature 2008.
Charles de Zohiloff est l’artiste photographe du duo, à l’origine du projet Ciudad del Mar qui devait retracer l’histoire du quartier de la Petite Espagne http://www.finavril.com/ciudad.htm. C’est lui «qui le pensa dans sa totalité et ce jusqu’au titre Ciudad del mar, (titre d’une chanson de Françoiz Breut), [il est] par ailleurs encore sur place, avec une autre production.»
Cela s’est mal passé entre les deux artistes. Il en est résulté deux pièces autonomes, le film Ici prochainement d’Atabekian, dont le blog cité ci-dessus est la trace de son processus et une exposition de photos de Charles de Zohiloff,  montrée à la galerie Odile Ouizeman  (http://www.galerieouizeman.com/siteweb/pdf/Dp.pdf)

Le blog de Christophe Atabekian: http://xacha.livejournal.com.

Fluxus_Bibliographie

Article publié le : Jeudi 11 juin 2009. Rédigé par : Liliane


ci-dessus, Hors-limites, catalogue


The Splasher

Article publié le : Dimanche 31 mai 2009. Rédigé par : Nicolas Vargelis

En 2007 à New York City, il y avait un nouveau mouvement contre le Street Art…  En bref, cette critique contre le Street Art a lié les artistes de graffitti/ street art avec les galeries commerciale et le capitalisme, deux institutions dont des artistes comme Swoon disaient qu’ils étaient totalement contre le marché de l’art etc etc….

Mais la critique ne s’arrête pas avec les mots.  De plus en plus ces œuvres dans la rue étaient détruites avec un « splash » de la peinture. Les personnes derrière la critique restaient anonymes, et donc les médias leur a donné le nom de « splasher. » (Et oui, « splasher » est un terme générique parce que les médias veulent dire que cette critique n’est pas digne d’être attribuée à une personne!)

Trois articles dans le New York Times à propos de cela:

article 1  the-splasher

article 2  street-art-defaced

article 3  street-art-splasher-arrested

et le NYT a aussi mis sur son site un PDF du manifeste du Splasher

splasher-manifest (mais malheureusement le scan est d’une mauvaise qualité)

Nicolas Vargelis

VEGAN TAZ communiqué No.3

Article publié le : Mardi 12 mai 2009. Rédigé par : Nicolas Vargelis

Temporary Autonomus Zone communiqué No. 3

The Temporary Autonomous Zone continues to resist.  In face of the opposition, we only grow stronger.  We have taken new measures to protect our territory against the unwarranted thefts that occurred yesterday.  Since the vegan cupcakes have come under attack, we are obliged to take precautionary measures to protect and serve the vegan TAZ.  We ask our supporters to please fill out the following brief questionnaire to gain access to the vegan cupcakes:

Questionnnarie:  (please cross out the phrases that do not apply)

1.  Me, I’m vegan.

2.  You, you yourself ain’t vegan.

3.  Meat is still murder, dairy is still rape

4. And freedom can only be achieved through the dictatorship of the vegan proletariat.

Name: Date:

______________________________________________________________________

la Zone Autonome Temporaire communiqué No. 3

La lutte continue pour la Zone Autonome Temporaire.  Face à l’opposition, on devient de plus en plus fort.  On a pris des mesures de protéger notre territoire contre les vols qui sont passé hier.  Depuis que les gâteaux végétaliens/vegan ont été attaquer, nous sommes obligé de prendre des mesures de précaution pour protéger et défendre la  TAZ Vegan.  On demande aux comrades qui peuvent nous soutenir de remplir la formule en bas pour avoir accès aux gâteaux vegan:

Questionnaire: (SVP rayer les mentions inutiles)

1. Moi, je suis vegan.

2.  Toi, tu t’es pas vegan.

3.  La viande est encore meurtre, et les produits laitier sont encore la viole.

4.  Et la liberté peut être accompli seulement par la dictature du prolétariat vegan.

Nom: Date:

Nicolas Vargelis

VEGAN TAZ communiqué No.2

Article publié le : Mardi 12 mai 2009. Rédigé par : Nicolas Vargelis

la Zone Autonome Temporaire

communiqué No. 2

Depuis que nous avons proclamé la Zone Autonome Temporaire des gâteaux vegans, nous avons rencontré quelques difficultés à propos d’individus agissant contre le bien du collectif. cette agression a manqué de changer notre politique. nous continuons de vous offrir des gateaux vegans gratuits. et pour garantir la bonne tenue de cette « safe space », nous vous demandons de donner une réponse écrite brève à la question suivante :

VEGAN et/ou VEGANISME : définir:

Temporary Autonomous Zone

communiqué No. 2

Since we have proclaimed the Temporary Autonomous Zone for the vegan cupcakes, we have encountered some difficulties regarding individulas acting against the collective well being.  Yet this aggression has failed to change our politics. We continue to offer you free vegan cupcakes.  And to gaurantee the well being of this safe space, we ask you kindly to please give a brief written response to the following:

VEGAN and/ or VEGANISM.  Please define:

Nicolas Vargelis

VEGAN TAZ communiqué No 1.

Article publié le : Mardi 12 mai 2009. Rédigé par : Nicolas Vargelis

Temporary Autonomus Zone

welcome!

starting from today the 11th May, the Temporary Autonomous Zone claims an annexaton of 16 square meters in the entrance hall of paris8.  You are invited to participate, exchange, debate and eat vegan cupcakes.

la Zone Autonome Temporaire

Bienvenûe!

A partir du 11 mai, la Zone Autonome Temporaire reclaim un téritoire de 16 metre quarré dans le hall d’entrée de paris8.  Vous êtes invité d’assister, exchanger, debater et manger les gateaux vegan.

Nicolas Vargelis

The Temporary Autonomous Zone

Article publié le : Dimanche 3 mai 2009. Rédigé par : Nicolas Vargelis

Déclaration:

à partir de 11 mai 2009 une zone autonome temporaire va se manifester dans le hall d’entrée à l’université de paris 8 à st denis. vous êtes fortement invités à vous engager dans cette annexion du territoire.

2 rue de la liberté, métro saint denis université, île de france

Statement:

starting from the 11th of May, a temporary autonomous zone will manifest in the entrance hall of the university of paris 8 in st denis.  you are strongly advised to engage in the annexation of the territory.

2 street of the liberty, metro saint denis university, island of france

définition du terme « vegan« 

bibliography:

BOOKS:

Bey, Hakim, The Temporary Autonomous Zone, Brooklyn, Autonomedia, 1985.

Bey, Hakim, Immediatism, Edinburgh, AK Press, 1994.

Bachelard, Gaston, The Poetics of Space, New York, Orion Press, 1964.

Burns-Gamard, Elizabeth, Kurt Schwitters’ Merzbau: the Cathedral of erotic misery, Princeton, Princetion Architectural Press, 2000.

Lee, Pamela, Object to Be Destroyed: The Work of Gordon Matta Clark, Cambridge, MIT Press, 1999.

FILMS:

Stalker. dir. Andrei Arsenyevich Tarkovsky. Mosfilm, 1979.

Times Square. dir. Allan Moyle, Associated Film Distribution, 1980.

Querelle. dir. Rainer Werner Fassbinder, 1982.

Alice. dir Jan Svankmajer, First Run Reatures, 1988.

Nicolas Vargelis

A New Paris

Article publié le : Jeudi 26 mars 2009. Rédigé par : Nicolas Vargelis

New York Times, March 17, 2009

A New Paris, as Dreamed by Planners

By NICOLAI OUROUSSOFF

PARIS — Hand it to the French. Who else would pick an economic collapse as a time to unveil one of the most audacious urban plans in recent memory?

Yet the 10 proposals for a new master plan for metropolitan Paris, which were unveiled last week, may just be the kind of brazen idealism the world needs right now.

The results of a nine-month study commissioned by President Nicolas Sarkozy, the proposals aim to transform Paris and its surrounding suburbs into the first sustainable “post-Kyoto city,” a reference to the treaty on climate change, with an expanded Métro system and sprawling new parks.

The government has yet to say how it would raise the money to build this new city. And Mr. Sarkozy’s opponents, who have sometimes dismissed him as “President Bling-Bling,” have questioned whether this is anything more than an elaborate publicity stunt.

But even if none of the proposals are ever built, they show a daring that has not been seen in a Western city for decades. The teams range in experience from well-established international stars like Richard Rogers and Christian de Portzamparc to French architects who are just beginning their careers. All forsook flashy imagery for a deep analysis of the city’s diverse communities and the fraying tissue that binds them together. At the very least, the results should force a radical reappraisal of Paris’s identity. The enchanted city most of us know through holidays and films is a compact metropolis of roughly two million people that lies within the périphérique, the elevated freeway that encircles the old city. Its pretty medieval streets and broad boulevards are held up as a model of the ideal city.

But for decades the vast majority of Parisians have lived in the generic apartment blocks and squalid housing projects that make up most of the suburbs. These include the poor immigrant neighborhoods that erupted in violence in 2005.

The aim of the study was twofold: to create a plan for a greener, more sustainable city, and to break down the isolation between the outlying neighborhoods and the historic center. The most thought-provoking designs operate on multiple levels, reaching beyond the issue of sustainability to address deeply entrenched social ills.

Among the most audacious is Mr. de Portzamparc’s plan, which proposes demolishing both the Gare du Nord and the Gare de l’Est and replacing them with a single massive European train station just outside the city center. The station would link to the Eurostar train lines to London and Brussels, as well as to a new elevated maglev train that would run above the périphérique. It would also anchor a towering new global business district, a rival to La Défense.

Mr. Rogers’s plan is equally ambitious. Noting that the tracks that connect to the city’s main train stations cut Paris into wedges, like slices of a pie, he proposes burying them all underground. A vast system of public parks would be draped over these new underground tracks, connecting poor and middle-class neighborhoods. A new Métro line would ring the outer city; more trains would tie the system back to the historic center.

Other plans are more poetic. Jean Nouvel proposes creating a green belt that would circle the entire city. All future construction would be concentrated inside this belt, adding density to what are now sprawling, isolated communities. New towers would punctuate some of the outlying boulevards, adding visual markers where there are none. The outer ring would become a sort of 620-mile-long community garden, with residents tending their plots along an endless string of parks and fields. The idea is to give a powerful identity to the most anonymous parts of the city.

And then there are the usual provocateurs. Djamel Klouche, at 42 the youngest of the participants, has proposed transforming the space underneath the Louvre pyramid into a bustling Métro hub, making one of Paris’s greatest cultural monuments the main entry point to the city center for its immigrant masses. The Paris-based Roland Castro suggests moving existing monuments, including the Élysée Palace, to the city’s grittiest outlying neighborhoods.

Yet all of the projects recognize the strong link between urban policy and social equality. In tying environmental concerns to issues of identity, they suggest ways to begin reversing the growing social divisions that mark the contemporary city. If they inspire a broader global debate on these tensions, they will already have accomplished something of significant value.

Nicolas Vargelis

ROSKI School of Fine Arts

Article publié le : Mardi 24 mars 2009. Rédigé par : Liliane



http://roski.usc.edu/pas/
[à étudier]

«Under the leadership of curator, critic, and theorist Joshua Decter, in conjunction with a faculty of curators, art historians, organizers, critics and artists, the Master of Public Art Studies Program (MPAS) at the University of Southern California Roski School of Fine Arts in Los Angeles functions as a hub for critically rethinking the role of art in the public sphere, and analyzing art’s complex interconnection with social space. Students from a range of academic backgrounds and professional interests engage in a rigorous academic curriculum that offers a productive balance of theory, history, critical writing, and practical curatorial/organizational models.

The MPAS Program provides a unique context for the study of key notions of public space and the public sphere, and the influence of these ideas upon contemporary curators, historians, theorists, writers, artists, and architects who seek to:
• rethink the interrelationship between cultural production, public space, and the public sphere
• re-imagine the public sphere in terms of the challenges of city-space and the urban
condition
• public art vis-à-vis broader art histories
• interrogate the role of the curator—and curatorial practice—in city-based exhibition
projects
• evaluate processes of social collaboration, networks of participation, and relational
aesthetics
• analyze strategies of location-driven, site-specific, and situational engagement
• debate concepts and realities of community-based practice

The program’s cross-disciplinary curriculum is comprised of lectures and seminars; a curatorial practicum wherein students work collaboratively on an exhibition project for two years; directed research opportunities; conversations with guest speakers. Students participate in the development of a hybrid cultural discourse—and adventurous modes of organizing exhibitions in public space—that draws from art history and criticism, curatorial practice, urban theory, architectural history and theory, social science, geography, and urban planning. The MPAS program examines how public and private space is fundamentally interconnected on conceptual and experiential levels, and how the most compelling art projects and exhibition initiatives seek to critically and dynamically re-script lived environments within city-spaces, challenging our assumptions about control, openness, access, and social interaction. The program prepares students for careers in curatorial practice, the adminis tration/organization of art projects in the public sphere, art writing, as well as opportunities within academia; and encourages them to imagine—as agents of change—new forms of cultural-political citizenship in relation to the renewed democratic potential of the public sphere. Fellowships and scholarships are available on a competitive basis.

Guest speakers (fall 2007 through spring 2009): Andrea Fraser, Krzysztof Wodiczko, Teddy Cruz, Marjetica Potrc, Norman Klein, Anne Pasternak, Mark Dion, Patricia Phillips, Gregory Sholette, Ute Meta Bauer, Doug Aitken, Paul Ramirez Jonas, Rudolf Frieling, Peter Zellner, Steve Dietz, Bulbo, Sam Durant, Michael Krichman, Rick Lowe, Rochelle Steiner, Allan McCollum, Miwon Kwon, Nato Thompson, Hou Hanru, Daniel Joseph Martinez, Grant Kester, Tirdad Zolghadr.»

La carte comme biographie

Article publié le : Dimanche 25 janvier 2009. Rédigé par : Ana Kesselring


Stanley Brouwn, This way brouwn, 1962

Selon Tiberghien, «Dans la catégorie des cartes mnémoniques, on peut ainsi compter les « cartes biographiques ». Ces cartes sont des biographies en tant qu’elles sont liées aux personnes qui les ont conçues à une certaine époque, dans la mesure ou elles traduisent à la fois quelque chose d’elles-mêmes et de l’époque en question» (1).

Harley, dans son livre Le pouvoir des cartes, dit qu’il n’est pas un collectionneur des cartes, au sens habituel du terme; mais qu’il achète des cartes comme un trésor pour des motifs très personnels.

«Tout comme un livre de famille ou un album de photographies de famille, je peux les lire comme un texte dont l’image est parlante, parce qu’elle évoque des paysages, des événements et des personnages de mon propre passé» (2). L’identité personnelle est toujours impliquée dans les cartes que nous collectionnons; les cartes poussent à travers nous-mêmes, dit-il.
(Lire la suite…)