« Faces à faces » : soirées d’art contemporain à l'’auditorium du Louvre

Le vendredi 9 mai à 20 h

Richard Serra : premiers films
Projection suivie d’une conversation entre Richard Serra et Yve-Alain Bois, Institute For Advanced Studies, Princeton

Dans une série de films courts en plan fixe datés de 1968-1969, Richard Serra explore les éléments constitutifs de sa pratique de sculpteur : l’action de ses mains en rapport concret avec le matériau, les notions de poids et de résistance, les illusions optiques générées par l’échelle, le cadre, le point de vue. Ce dialogue avec l’image en mouvement, établi dans la première phase de son oeuvre, inaugure un travail sur la monumentalité qui implique intimement le corps actif et perceptif du spectateur.

Hands Scraping, 1968, film 16 mm NB, 3'40

Hand Catching Lead, 1968, film 16 mm NB, 3'

Frame, 1968, film 16 mm NB, 20'

Hands Tied, 1968, film 16 mm NB, 6'

Hand Lead Fulcrum, 1969, film 16 mm NB, 2'

Programmation en collaboration avec Monumenta 2008 : Richard Serra / Promenade

Entrée libre dans la mesure des places disponibles

http://www.sale-docks.org

The event "Multiversity, or the Art of Subversion" is the fruit of a joint effort between Uni.Nomade and S.a.L.E. (Signs and Lyrics Emporium), between a trans-territorial network of militants and researchers carrying out a critical analysis of the themes of contemporaneity and a self-managed space, called S.a.L.E. docks, born a few months ago in Venice so as to intervene on a practical level in the world of cultural production.
A world which, not only in Venice, has affirmed itself as preferred area for current capital valorisation processes. In fact, if we concentrate on contemporary art, this undoubted importance can be seen on at least three levels. The first is the central role which immaterial assets and knowledge, creativity and affections, relational and communicational talents assume for contemporary forms of production: artistic production cannot get away from this centrality.
The second is the relationship between cultural production and the metropolis where the interlacing between town-planning and architecture, fashion and design, art and literature, in that productive social space par excellence - the urban basins - becomes on the one side a crucial element in the process of subjectification through which are built the multiplicity of forms of life which inhabit it, to the other decisive factor for defining the strategic positioning of each metropolitan area in the economic competition between global cities.
The third is the relationship between the art market and the financial capital: at a global level, banks and multinationals are the among the main investors in a sector which today seems to be the only one to have not been even slightly touched by the crisis which has overrun the world system of money circulation. What we are now seeing is a complex capturing system, which capital has brought into play in the multiple flow of informal cultural production, from the appropriation of the ability to cooperate of individual intelligences and individual ways of life, to ensure the valorisation of what has been defined as the "symbolic collective capital".

The complexity of these dynamics depends on a double mechanism of exploitation, where the first aspect is made up of the barriers of intellectual property and from each further moment of private appropriation of general social knowledge, while the second is the parasitic rapport which is established towards the creative production by those speculative interventions occurring in the body of the metropolis, there where state and private institutions, large events and art fairs, and cultural zones and meta-zones are established. Where S.a.L.E.'s experience wants to immerse itself critically, what the Multiversity event has decided to face, is called "culture factory", that is the place of valuation of cognitive capitalism, but it is only so in the measure in which it, before anything else, the place of creative subjectivity, of the expression of the multitudes, and consequently, the space of a face-to-face between creative freedom and autonomy of cooperation on the one hand, and the system of dominion and exploitation of this productive force on the other. In this light, Multiversity, will present, discuss and compare, with the most advanced European and global experiences, the first results, although partial, of an enquiry on the city's job insecurity linked to contemporary art and intangible work. Here the main question is to understand widespread behaviours and the methods of intervention which could change a social composition,

already central in the forms of contemporary production, in a political composition. Examined also will be the core issues of the role of university training on the one side, and the communication network on the other side, played within the most complex organisation of the work of the "culture factory". An indispensable requisite for this discussion is the comparison around contemporary art understood as a "wider social institution": from the historical-artistic events which drove art in the post-war period from the transcendental space of medial specificity to the social space with its relationships of strength, to the relationships established between art, social movements and cultural activism outside of any avant-garde rhetoric, to the methods of capture by the institutional artistic system and by the financial ciruits of a vast heritage of critical thought and conflicting ways of life. For these reason, the Multiversity event will be organised into four seminar sessions:

1. Art and activism This means problematizing historical events and contemporary forms in the interlacing between art and activism. Some of the questions to start off the discussion will be: Which road was travelled to reach the conception of the work as transcendental to a conception of the same as object, process or dynamic able to intervene within man's space-time and subsequently, within social processes? How did we go from a judgement of the work based on a topography of its material characteristics to one based, instead, on the analysis of its function, or even its efficiency in social terms? How does it function today, in this post-Ford era, activist art? What, once all avant-garde rhetoric is abandoned, is the position of art and artists with respect to movements?

2. Art and the market: between creative freedom and financial capture This second point must necessarily move from gathering date on the size of the art market and its relationship with financial capital. Art is taken here as an example of paradigmatic value because of the extreme paradox which affects it: if artistic work expresses a maximum level of creative freedom, at the same time it is subject to maximum fixation within the financial capital.

3. Art and metropolis This session will deal with the theme of the return of efficiency of artistic paradigm on social institutions. Naturally, it will be necessary to widen the spectrum of research to spheres such as design, fashion, graphics and architecture. We know how contemporary metropolises, defined by the important concentration of Knowledge and creative workers, feed the entertainment industry through a consistent substratum of informal, continually renewed, cultural production. On the other hand, a multiplicity of elements worked and re-worked by contemporary artistic-creative production establishes metropolitan life and its subjective forms. Using a formula, we could say that "art designs its own factory". And it is this continuous and irreversible cycle which we are interested in looking into.

4. Art and multitude: for the enquiry into social composition, conflicts and organisation of live work in the "culture factory" This session will examine the core of the relationship between singularity and multitude, and between individual production and construction of the common. There are two research plans which will proceed in parallel. The first is historical-artistic and concerns the attempts which, starting in the 60s, were developed by artists in response to the rhetoric of the individual genius, up to the current platforms of collective production tied to the affirmation and diffusion of social hacking. The second plan concerns the survey into social composition of precarious workers which has grown around the culture industry's drive. From the students in the training circuits to temporary workers in the cooperatives for logistics and stage design, trainees, networkers, project consultants, freelancers, to that global class of artists and professionals intent on becoming an integral part of the international art system. In all this wide social galaxy, we will need to investigate the material conditions of life and work, needs and aspirations, desires and possible assertions. All this to get to the key point: how to transform this social composition into a political composition?

Speakers: Marco Baravalle, Chiara Bersi Serlini, Antonella Corsani, Anna Daneri, Alberto De Nicola, Claire Fontaine, Brian Holmes, Maurizio Lazzarato, Antonio Negri, Pascal Nicolas-Le Strat, Hans Ulrich Obrist, Osfa, Matteo Pasquinelli, Judith Revel, Gigi Roggero, Devi Sacchetto, Pier Luigi Sacco, Marco Scotini, Marko Stamenkovic, Javier Toret Medina, Angela Vettese, Giovanna Zapperi.

TIMES 1) Friday 16 at 17:00
- Art and Activism 21:00
- Performance: Margine Operativo

2) Saturday 17, 9:30
- Art and Activism (second session) 14:00
- Art and Market 17:30
- Art and Metropolis 21:00 - Performance....
3) Sunday 18, 9:30
- Art and moltitude. -
- S.ignsA.ndL.yricE.mporium
Docks 187-188
Punta della Dogana
Venezia
http://www.sale-docks.org
http://www.myspace.com/saledocks187

source : artinfo

Directrice et commissaire des expositions : Sophie Legrandjacques

Une rencontre avec Stéphane Thidet et la critique d’art et commissaire d’exposition Emilie Renard, est prévue le dimanche 18 mai à 15 :00. L’entrée sera libre.

Depuis le 29 mars et jusqu’au 21 mai prochain, l’univers aussi émerveillé que sombre de Stéphane Thidet est présenté au Grand Café, Centre d’ Art Contemporain de la ville de Saint-Nazaire.
Cinq œuvres sont exposées dont trois ont été produites à l’occasion de cette exposition.
Ses œuvres, souvent liées à l’enfance ou au divertissement collectif populaire comme la fête foraine, les jeux (billard, balançoire), le camping, le zoo…dévoilent une certaine perte d’innocence, une inquiétude.
Comme pour Alice aux pays des merveilles, dans l’univers de Stéphane Thidet, les choses et les situations se soustraient à un usage habituel du monde au profit d’une réalité hybride qui installe un jeu de lectures croisées.
« DEHORS », l’exposition personnelle de Stéphane Thidet au Grand Café désigne un espace de projection, un territoire de fictions, mais avec ce paradoxe qui consiste à proposer un « extérieur » et à en interdire l’entrée. Chacune des œuvres génère, à sa manière, un aller-retour entre le dedans et le dehors.

Une rencontre avec Stéphane Thidet et la critique d’art et commissaire d’exposition Emilie Renard, est prévue le dimanche 18 mai à 15 :00. L’entrée sera libre.

LE GRAND CAFÉ, Centre d'art contemporain, Saint-Nazaire
Place des Quatre z'horloges
44 600 Saint-Nazaire – France
T + 33 (0)2 44 73 44 00 – F + 33 (0)2 44 73 44 01
grand_cafe@mairie-saintnazaire.fr
http://www.grandcafe-saintnazaire.fr
Ouvert tous les jours, sauf lundis et jours fériés de 14h à 19h. Dimanche de 15h à 19h.

25 April 2008, 6p.m. - 8 p.m.
10 May 2008, 10 a.m. - 5 p.m.

PROGRAM SPEAKERS

Participants: Adriaan Geuze, West 8 (Rotterdam) | Christopher Marcinkoski, Field Operations (New York) | FREEE art collective (London) | Jürgen Bruns-Berentelg, HafenCity (Hamburg) | Louise Mielonen Grassov, Gehl Architects (Copenhagen) | Ólafur Elíasson (Berlin, Copenhagen) | Ute Meta Bauer, MIT (Cambridge) | Vito Acconci (New York)

Harbour cities have long been formed by industrialization, shaped by international trade and constantly confronted with the untamed power of the ocean. Today, these cities compete on a global stage as they create new identities, new images to attract foreign business and tourists. As the industrial zones of business harbours are moving out of city centers to the outskirts of towns, prime waterfront areas are opening up for the development of commercial, residential, and leisure spaces. It is about revitalization of entire districts, a constant restructuring of city life, rejuvenating individual and community engagement with and within the urban environment, or in short: Reinventing Harbour Cities. Culture—measured in part by avant-gardist concepts and perspectives, architectural attractions and artist works—plays a significant role in creating cities’ new identities. Recently built concert houses and museums are emergent landmarks, parks and squares have become the stages for various art forms and performances, and all are important links to the social life of inhabitants and visitors alike.

Reykjavík, the largest city in Iceland and the world’s northernmost capital, has seen enormous economic and cultural growth in recent decades. As the harbour and public spaces within the city continue to develop, policymakers, corporations, urban planners, artists, and individuals have a shared responsibility to discuss how Reykjavík’s future will be shaped for all who live and work here.

This international conference aims to open such a discussion by focusing on urban development and the role of art in public spaces of harbour cities. The development, privatization, and changing identities of cities that have grown as a result of their seaside locations present critical challenges for urban planners as well as for artists living and working within these cities. As private companies and investors have increasing power in terms of reinventing urban landscapes both physically and culturally, this presents a crucial opportunity for artists to reconsider their own potential to help shape public space.

The conference will be organized by CIA.IS – Center for Icelandic Art in cooperation with Listaháskóli Íslands (Iceland Academy of the Arts) and the Nordic House.

Program:
Christian Schoen (CIA.IS)
with Jóhannes Þórdarson (LHÍ, Dept. for Architecture and Design) and Kristján Steingrímur Jónsson (LHÍ, Dept. for Visual Arts)

http://www.cia.is/news/conference.htm

Coordinator:
Shauna Laurel Jones (CIA.IS)

CIA.IS - Center for Icelandic Art
Hafnarstræti 16
IS-101 Reykjavík
T: +354-562 72 62
F: +354-562 66 56
info@cia.is
http://www.cia.is

25 April 2008, 6p.m. - 8 p.m.
10 May 2008, 10 a.m. - 5 p.m.

PROGRAM SPEAKERS

Participants: Adriaan Geuze, West 8 (Rotterdam) | Christopher Marcinkoski, Field Operations (New York) | FREEE art collective (London) | Jürgen Bruns-Berentelg, HafenCity (Hamburg) | Louise Mielonen Grassov, Gehl Architects (Copenhagen) | Ólafur Elíasson (Berlin, Copenhagen) | Ute Meta Bauer, MIT (Cambridge) | Vito Acconci (New York)

Harbour cities have long been formed by industrialization, shaped by international trade and constantly confronted with the untamed power of the ocean. Today, these cities compete on a global stage as they create new identities, new images to attract foreign business and tourists. As the industrial zones of business harbours are moving out of city centers to the outskirts of towns, prime waterfront areas are opening up for the development of commercial, residential, and leisure spaces. It is about revitalization of entire districts, a constant restructuring of city life, rejuvenating individual and community engagement with and within the urban environment, or in short: Reinventing Harbour Cities. Culture—measured in part by avant-gardist concepts and perspectives, architectural attractions and artist works—plays a significant role in creating cities’ new identities. Recently built concert houses and museums are emergent landmarks, parks and squares have become the stages for various art forms and performances, and all are important links to the social life of inhabitants and visitors alike.

Reykjavík, the largest city in Iceland and the world’s northernmost capital, has seen enormous economic and cultural growth in recent decades. As the harbour and public spaces within the city continue to develop, policymakers, corporations, urban planners, artists, and individuals have a shared responsibility to discuss how Reykjavík’s future will be shaped for all who live and work here.

This international conference aims to open such a discussion by focusing on urban development and the role of art in public spaces of harbour cities. The development, privatization, and changing identities of cities that have grown as a result of their seaside locations present critical challenges for urban planners as well as for artists living and working within these cities. As private companies and investors have increasing power in terms of reinventing urban landscapes both physically and culturally, this presents a crucial opportunity for artists to reconsider their own potential to help shape public space.

The conference will be organized by CIA.IS – Center for Icelandic Art in cooperation with Listaháskóli Íslands (Iceland Academy of the Arts) and the Nordic House.

Program:
Christian Schoen (CIA.IS)
with Jóhannes Þórdarson (LHÍ, Dept. for Architecture and Design) and Kristján Steingrímur Jónsson (LHÍ, Dept. for Visual Arts)

http://www.cia.is/news/conference.htm

Coordinator:
Shauna Laurel Jones (CIA.IS)

CIA.IS - Center for Icelandic Art
Hafnarstræti 16
IS-101 Reykjavík
T: +354-562 72 62
F: +354-562 66 56
info@cia.is
http://www.cia.is

Les Ateliers d'Artistes de Belleville organisent cette année leurs Portes Ouvertes les 16, 17, 18 et 19 mai 2008, de 14h à 21h.
Pour cette 19ème édition autour du thème Tentation, 250 artistes de Belleville et leurs invités ouvrent gratuitement leurs ateliers, de nombreux événements sont également programmés.
L'édition 2007 a rassemblé plus de 50 000 visiteurs.
Vous trouverez d'autres informations dans le communiqué de presse

Centre Pompidou,
18:00-20:00 dans le cadre du cycle Troisième Œil, petite salle, entrée libre.

Invités : Alain Prochiantz, neurobiologiste, Michel Bauwens, président de la P2P Foundation et Annie Abrahams, artiste

Jamais il n'avait été possible de voir et/ou contrôler à distance et dans l'instant d'aussi vastes territoires (humains, objets ou signes) depuis un même point, qu'il s'agisse d'un centre de commandement, du siège d'une multinationale ou d'un moteur de recherche. Jamais non plus les échanges horizontaux n'avaient permis l'émergence de nouvelles formes de savoir et d'organisation à la Wikipédia. Alors que les internautes transgressent allègrement les lois (« tous pirates ! »), les entreprises prennent la place des gouvernements sur les questions de vie privée… Ces mutations s'accompagnent d'une crise d'identité profonde, soit que les individus ne se reconnaissent plus dans les édifices hiérarchiques (Etats, organisations commerciales, etc.), soit que les échanges non hiérarchisés ne représentent pas (encore) une réalité tangible pour eux. Peut-on imaginer de s'affranchir du centre physique, comme le suggèrent les développements des protocoles du P2P (peer to peer, pair à pair ou point à point, les transferts d'informations d'un ordinateur à un autre) dans la future version de l'Internet (IPv6) ?

Comment vivre dans un monde pair à pair, de qui à qui et d'où à où? Pour leur deuxième édition, les rencontres « Internet mon Amour », à l'initiative d'«artisans» du réseau (chercheurs, artistes, critiques, observateurs et activistes), invitent à croiser les regards : Annie Abrahams, net-artiste sensible, qui, au travers de performances on et offline, interroge la part organique des échanges virtuels, Alain Prochiantz, neurobiologiste professeur au Collège de France, qui a mis à jour certains phénomènes d'échanges intercellulaires (des échanges P2P biologiques ?) et Michel Bauwens, président de la Fondation P2P qui défend un modèle
non-hiérarchique d'interaction sociales) rapprocheront leurs visions d'un corps social et d'un corps biologique en cours de redéfinition.

Après une première séance, « Faut-il avoir peur du Web 2.0 ? », en février dernier autour de Geert Lovink, théoricien des médias, les rencontres «Internet mon amour» tissent des liens entre réseaux immatériels et monde de la pensée (écrivains, biologistes, philosophes). Parce que les enjeux culturels, économiques, politiques, sociaux et identitaires d'Internet dépassent ses acteurs.

Les « artisans » d'Internet mon amour: Olivier Auber, chercheur, Xavier Cahen, net-artiste, Agnès de Cayeux, net-artiste, Géraldine Gomez, curatrice au Centre Pompidou, David Guez, artiste hacktiviste, Valentin Lacambre, figure de l'Internet indépendant, fondateur d'Altern et Gandi, Nathalie Magnan, tacticienne des médias et cyberféministe, Albertine Meunier, net-artiste, Annick Rivoire, créatrice du site Poptronics, Anne Roquigny, curatrice nouveaux médias, Cyril Thomas, historien de l'art.

Martha Rosler Library
April 12 - June 14, 2008

Site
Liverpool John Moores University
School of Art and Design
68 Hope Street
Liverpool L19EB
http://www.ljmu.ac.uk/site

Opening hours: Mon - Sat 11-6 pm


Site is pleased to announce the opening of Martha Rosler Library on Friday, April 11, 2008 at 6pm. Comprised of approximately 7,700 titles from the artist's personal collection, the Library was opened to the public by Anton Vidokle in November 2005 as a storefront reading room at e-flux, on Ludlow street in New York City. It has since traveled to Frankfurter Kunstverein, MuHKA, Antwerp, unitednationsplaza, Berlin and Institut national d’histoire de l’art, Paris. The library will remain on view in Liverpool through 14 June and will travel to Stills in Edinburgh in the Fall.

"In an act of incredible generosity, one of Americas most important living artists temporarily dispossessed herself of the vast majority of her personal library so that it could be made available for consultation. No borrowing was possible, but the eclectic ensemble of books on economics, political theory, war, colonialism, poetry, feminism, science fiction, art history, mystery novels, childrens books, dictionaries, maps and travel books, as well as photo albums, posters, postcards and newspaper clippings could be studied at will. Smart, decidedly political in orientation, often funny, and all over the place (in that way a perfect mirror of its owner), the library is packed with essential reading and titles that even your better bookstores would love to get their hands on. As the product of decades of avid reading, the contents of the library are both the source of Roslers work and an installation/artwork that continues many of the concerns with public space, access to infor mation and engaged citizenship that traverse her entire oeuvre."
--Elena Filipovic, Afterall, issue 15, Spring/Summer 2007

A personal library represents the private sphere of an individual, her way of acquiring and combining knowledge. Accumulation is the result of an intellectual inquiry that takes place in parallel with a more random search, which can lead us to unexpected textual, and therefore mental, spaces. Martha Rosler Library offers the visitor an opportunity to approach this open source of information with her or his own interests, and to create new affinities and connections between the elements of the library that add to more than the sum of knowledge contained in it. The bibliography, currently in process, can be accessed online at http://www.e-flux.com/projects/library

Talks
Martha Rosler Library project includes a series of informal public conversations, lectures and discussions which started in New York and continued at all its venues.

Following the opening of Martha Rosler Library, Martha Rosler and Anton Vidokle will be in conversation on Saturday 12 April at 1pm.

Further conversations include Shepherd Steiner, Simon Sheikh, Center of Attention and Maria Hlavajova. (check website for exact dates/time)

Admission is free. All are welcome.

Publication
The exhibition will be accompanied by a publication including interviews with Martha Rosler and Anton Vidokle by Stephen Wright, and an essay by Elena Filipovic.

***********

Martha Rosler was born in Brooklyn, New York, where she now lives, after spending the 1970s in California. She works in video, photo-text, installation, sculpture, and performance, and writes on aspects of culture. She is a renowned teacher and has lectured widely, nationally and internationally. Rosler's work is centered on everyday life and the public sphere, often with an eye to women's experience. Recurrent concerns are the media and war as well as architecture and the built environment, from housing and homelessness to systems of transport. Her work has been seen in the Venice Biennale of 2003; the Liverpool Biennial and the Taipei Biennial (both 2004); documenta 12 and SkultpturProjekte Münster (2007); as well as many major international survey shows, including several Whitney biennials. She has had numerous solo exhibitions. A retrospective of her work, Positions in the Life World (1998-2000), was shown in five European cities and at the New Museum and t he International Center of Photography (both in New York), concurrently. Rosler has published fifteen books of photography, art, and writing, most recently Imágines públicas: La funcíon política de la imagen (Gustavo Gili, Barcelona, 2007). Decoys and Disruptions: Selected Essays 1975-2001 was published by MIT Press in 2004. Books of her photographs include Passionate Signals (Cantz, 2005), In the Place of the Public: Airport Series (Cantz, 1997), and Rites of Passage (NYFA, 1995). If You Lived Here (Free Press, 1991) addresses her Dia project on housing, homelessness, and urban life. Rosler has been awarded the Spectrum International Prize in Photography for 2005, the Oskar-Kokoschka Prize in 2006, and Anonymous Was a Woman award in 2007. She teaches at the Städelschule in Frankfurt and Rutgers University.

Anton Vidokle was born in Moscow and arrived to the US with his parents in 1981, settling on the Lower East Side. His work has been exhibited in shows such as the Venice Biennale, Lyon Biennial, Dakar Biennale and at Tate Modern, London; Moderna Galerija, Ljubljana; Musée d’art Modern de la Ville de Paris; Museo Carrillo Gil, Mexico City; UCLA Hammer, LA; ICA, Boston; Haus Der Kunst, Munich; P.S.1, New York; among others. With Julieta Aranda, he organized e-flux video rental, which traveled to numerous institutions including Portikus, Frankfurt; KW, Berlin; Extra City, Antwerp; Carpenter Center, Harvard University, Cambridge, MA; and others. As founder of e-flux, he has produced projects such as Next Documenta Should Be Curated By An Artist, Do it, Utopia Station poster project, and organized An Image Bank for Everyday Revolutionary Life. Vidokle initiated research into education as site for artistic practice as co-curator for Manifesta 6, which was canceled. In response to the cancellation, Vidokle set up an independent project in Berlin called Unitednationsplaza—a twelve-month exhibition-as-school involving more than a hundred artists, writers, theorists, and diverse audiences. Located behind a supermarket in East Berlin, UNP’s program featured numerous seminars, lectures, screenings, book presentations. Unitednationsplaza recently traveled to Mexico City and a parallel project called the Night School will continue at the New Museum through January 2009.

Site is a collaboration between Liverpool John Moores University School of Art and Design and Liverpool Biennial and acts as an interface between students from Liverpool School of Art and Design, Liverpool Biennial and the work of national and international artists.


Site
Liverpool John Moores University School of Art and Design
68 Hope Street
Liverpool L19EB

http://www.ljmu.ac.uk/site
Opening hours: Mon – Sat 12-5 pm

For more information
Helen Klemm
H.Klemm@ljmu.ac.uk

source : e-flux

LIVE STREAM: http://www.montevideo.nl/st/player.php
*
* Seminar with presentations by: Yolande Harris, David Dunn and Atau Tanaka *

What does it mean to navigate? What is the importance of location specificity? What does it mean to get lost? The increasing accuracy of satellite navigation strives to eliminate the possibility of human error, but it also produces a sense of dislocation from one's immediate environment by abstracting location as the coordinates of longitude and latitude. What place is there for one's body, one's senses, one's conscious and unconscious awareness of space, if this knowledge is so apparently made redundant by GPS? What, if any, role can historical skills of navigation at sea, of observation, choice, intuition and improvisation play in navigating the spaces of the future? The symposium 'Navigating the Space of the Future' will take these questions as its starting point to see if we can find our way within the dense environment of global positioning technologies. The field is open but the practice is just starting to form itself by looking at ways to counter locative media strategies where geographical walks are organised that use the city and the street as a playing field negating the relation between space, architecture, time, body and mind. The presentations will focus on new ways of interpreting data of location and navigation by relating these directly to the physical (space) through the use of sound.

* Yolande Harris *– */Sun Run Sun /*(Artist in Residence NIMk)
Sun Run Sun explores the individual experience of current location technologies through a personal experience of sound. It seeks to (re)establish a sense of personal connectedness to one's environment, and to (re)negotiate this through an investigation into old, new, future and animal navigation using sound. Sun Run Sun investigates the split between the embodied experience of location and the calculated data of position. A series of portable personal instruments “satellite sounders” developed for the residency, transform satellite data directly into a sonic composition. This composition constantly varies in response to the changing location of the player as they move through their physical environment. 'The experience of sound is internal, as a process that influences the relationship between the self and the environment. True navigation consists of a continuously coherent relationship between the two.'
http://sunrunsun.nimk.nl/
http://www.yolandeharris.net
*
David Dunn *
David Dunn takes his research into the bioacoustics of bark beetles and entomogenic climate change, and on ultrasonic audio phenomena in both human and non-human environment as starting points to talk about Acoustic Ecologies. He wants to bring forth the sonic presence of these worlds for human contemplation of their inherent aesthetic beauty and to show the amazing continuity of life, with its capacity for infinite variation in audible communication. “Given the superabundance of how music as a human activity has been used, I believe that music has simultaneously been a strategy to evolve our capacity to structurally-couple with our environment through our aural perception, and a significant force for defining the boundaries of group affiliation and for the affirmation of cultural status, giving voice to an evolutionary heritage of an abundance of other coupling modes that are greater than the rational mind alone.”
http://www.davidddunn.com
http://www.newmusicbox.org/article.nmbx?id=5399

* Atau Tanaka *
Atau Tanaka bridges the fields of media art, experimental music, and research. He creates music for sensor instruments, wireless network infrastructures, and democratized digital forms. Tanaka is best known for his performances where he uses physical gestures to articulate music and sound synthesis and real-time image transformation. For the past years, inspired by the ever-changing social, geographic, ecological, emotional context of using mobile technology for creative ends Tanaka focusses his attention towards mobile media projects. He is exploring the creative, critical and commercial potential of mobile music. “My interest is to take interactive music practice off the stage and outside the concert hall into the urban sphere. Mobile communications devices are meant to connect groups of people. Musical concerts, similarly, are situations that bring people together for a common purpose. Can we elicit commonalities to make a community-based musical process, creating a shared experience among users?” In his presentation he will pay attention to the description of the architecture of an audio-visual hard- and software framework that was developed for the realization of a series of locative media artworks, and eliciting from this, he brings afore fundamental issues and questions that can be generalized and applicable to the growing practice of locative media.
http://www.xmira.com/atau

Start 20.30 h.
Entrance 3,50 (2,50 students)
Please make reservations 020 6237101 info@nimk.nl
**

Netherlands Media Art Institute
Keizersgracht 264
1016 EV Amsterdam
http://www.nimk.nl

“Photographie : représentations politiques du corps”
vendredi 11 avril 2008
Thessalonique, GRECE

Université Aristote de Thessalonique, Grèce
Faculté des Lettres, Bâtiment de l’Ecole Ancienne, salle 113
Fondation Teloglion, Université Aristote de Thessalonique
collaboration du Département d’Histoire d’Art, Université Aristote de Thessalonique
et du Musée de la Photographie, dans le cadre de la Photobiennale de Thessalonique

9:30- 10:00 Salutations
E.Ioakimidis, Directeur Musée de la Photographie, Thessalonique
M.Papanikolaou, Professeur en Histoire de l’Art, Directeur d’Etudes du Département d’Histoire d’Art, Université Aristote de Thessalonique
E.Georgiadou – Kountoura, Coordinatrice, Professeur en Histoire de l’Art, Université Aristote de Thessalonique

10:00 – 10:30 François Soulages, Université Paris VIII, “Philosophie politique du corps photographié”
10:30 – 10:50 Athina Athina Mirasgezi, Académie d’Athènes, “Photographie et autorité”
10:50 – 11:20 Cécile Girousse, Académie de Paris, France “Photographie des femmes politiques”
11:20 – 12:00 discussion

12:00 – 12:30 pause (café)

12:30 – 12:50 Stavros Tsigoglou, pedochirurgien - historien d’art, “Le Musée des reliquats de la guerre à Vietnam”
12:50 – 13:10 Panayiotis Bikas, conservateur Fondation Teloglion, “Le corps comme politique et la politique comme corps : De Goya a Abu Ghraib”
13:10 – 13:30 Eleni Papargyriou, Université Princeton, “Les croisements entre l’image et la parole: issues de narrativité, textualité et mémoire dans les photographies des morts”
13:30 – 14:00 discussion

14:00 – 15:00 pause (déjeuner)

15:00 – 15:20 Effie Ikonomou, City University of London, “Photographie: construire et détruire la patient”
15:20 – 15:40 Lia Yoka, Aristote Université de Thessalonique, “‘La Chute des Anges” de Gottfried Helnwein : de l’ultrason a la photographie artistique”
15:40 – 16:00 discussion

16:00 – 16:20 Kostas Ioannidis –Eleni Mouzakiti, Université d’Ioannina, “Le corps a-politique de la photographie grecque contemporaine”
16:20 – 16:40 Iro Katsaridou, Aristote Université de Thessalonique, “Photographie et l’intime: représentations du corps dans la photographie grecque contemporaine”
16:40 – 17:00Â Panayotis Papadimitropoulos, Université de Ioannina, “La représentation du corps dans l’oeuvre de Raymond Depardon”
17:00 – 17:30 discussion
17:30 – 18:00 conclusion

CYCLE INTERNATIONAL DE COLLOQUES INTERNATIONAUX
« PHOTOGRAPHIE & CORPS POLITIQUES »
2006 2007 2008

Sous la direction de
François Soulages
Professeur des Universités (Université Paris 8, Institut National d’Histoire de l’Art, France)
Francois.Soulages@wanadoo.fr

Sous l’égide de
AIAC (Art des images & art contemporain), Equipe de recherche EA 4010 de l’Université Paris 8,
& RETINA (Recherches Esthétiques & Théorétiques sur les Images Nouvelles & Anciennes)

Halfpenny Museum, also referred to as the Poor Museum, is a reference to an old British beggar's line. The museum is an experiment with an authorship sans desire, self-inscribed in a culotte perspective. Halfpenny finds itself in a state of anticipation - before and beyond a physical or economic structure, capital, investor, labour, production. The museum has taken on the shape of a beggar, posted on the sidewalks of art galleries, on the stairs of museums, in a stagnated pose, like décoration vivante. A receptor for whatever drops out from merciful pockets. Without a program. A collector of surpluses. One may speculate if the filth on the beggar's coat is or is not designer dirt. And yet, the story begins right there, in the filth that s/he inhabits, in the blur transmitted on to anything which co-inhabits this slow motion, infertile space without tongue. Halfpenny Museum begs for a history. Begs for pieces. The collection is the pennies in the beggar's box. The box is open on occasion, letting them pennies sparkle up in the eyes of borrowed art crowds.

Presentation # 2
MANIFESTO

The collective manifesto of the Halfpenny Museum will be presented as a textual action featuring contributions by Marco Bruzzone, Karl Holmqvist and Adriana Lara.
You are cordially invited to collect your own copy from the sidewalks of Auguststrasse, Berlin-Mitte.

Friday, April 4, 2008
From 7:00 am

HALFPENNY MUSEUM
Badstr 64, 133 57 Berlin
am@halfpenny-museum.com
www.halfpenny-museum.com

« Observatoire des nouveaux médias »
Ensad 31 rue d’Ulm 75005 Paris

L’« Observatoire des nouveaux médias » est un cycle de conférences
organisé par l’École nationale supérieure des arts décoratifs (Cycle
supérieur de recherche création et innovation) et l’Université Paris
8 (Master « Art contemporain et nouveaux médias » et équipe de
recherche « Esthétique des nouveaux médias »)

Mercredi 2 avril 2008
18h30, Amphi Bachelier
http://www.ciren.org/ciren/conferences/020408/index.html

Hervé Graumann
« Matrix »

http://www.graumann.net
http://www.raoulpictor.com

Les conférences « Observatoire des nouveaux médias » ont lieu tous
les 15 jours, Amphi Bachelier, Ensad, 31 rue d’Ulm, Paris 5e.
Prochaine conférence, mercredi 16 avril 2008
(He He)
Pour recevoir la newsletter, envoyez votre adresse à : ciren@ciren.org

Conseil de l’ODNM : Samuel Bianchini (Université de Valenciennes/
Ensad), Jean-Louis Boissier (Paris 8/Ensad), Martine Bour (Ciren/Citu/
Paris 8), Jean-François Depelsenaire (Ensad), Pierre Hénon (Ensad),
Liliane Terrier (Paris 8), Nicolas Thély (Paris 1), Gwenola Wagon
(Paris 8).

Renseignements :
http://www.ciren.org
http://www.ensad.fr

Le réseau de jeunes chercheurs en sociologie de l'art est heureux de vous
présenter son cinquième séminaire sur le thème:

SOCIOLOGIE DE L ART ET AMERIQUE LATINE: un rendez-vous manqué?

Le mercredi 26 MARS 2008, salle des colloques, BSHM,à GRENOBLE.

CINQUIEME SEMINAIRE DES JEUNES CHERCHEURS EN SOCIOLOGIE DE L’ART (JCSA)
Sociologie de l’art et Amérique latine : un rendez-vous manqué ?
Salle des Colloques, BSHM mercredi 26 MARS 2008

Sous la présidence de Anne-Cécile Nentwig, doctorante en sociologie, UPMF.

10h00 Présentation du séminaire. Marisol Facuse, Elodie Gauquelin et Pablo
Venegas.
Introduction : Guillermo URIBE, MCF Sociologie - MSH-GRESAL - UPMF Grenoble 2.

10h30 « La légitimation du ballet classique à Cuba : popularisation d’une
culture savante ». Pauline VESSELY, doctorante en Sociologie de la Culture à
l’ASSIC/UMR CERLIS/ Universités Paris 3-Paris 5.

11h30 « L'art à la frontière USA / Mexique face au mur : pouvoir et subversion
du lieu ». Anne-Laure AMILHAT SZARY, Maître de Conférence à l’Université Joseph
Fourier, Grenoble.

12h30 PAUSE REPAS : buffet à la MSH-Alpes
Toutes les conférences ont lieu à la salle des colloques, BSHM.

Sous la présidence de Régina Trindade,
doctorante en sociologie, UPMF.

14h00 « La pratique des musiques d’Amérique Latine: Modes de catégorisation,
enjeux de construction territoriale ». Anne-Cécile NENTWIG, doctorante en
Sociologie à l’UPMF.

15h00 « Champ universitaire chilien : occupation militaire et naissance d’un
nouveau champ artistique : la escena de avanzada. Pablo VENEGAS, Master 2 en
Sociologie de l’art et de la culture à l’UPMF

16h00 « Le travail de création artistique à travers le corps en Amérique Latine
». Mildred DURAN GAMBA, doctorante en Histoire de l’art à l'Université Paris I
- Panthéon-Sorbonne

17h00 “ PAROLES D’ARTISTES” ( Hall MSH-ALPES )
Démonstration de tango argentin. Smahane SOLA et Andrei FLUERASU.

Exposition du photographe Patricio PARDO AVALOS « Coño » du lundi 24 au vendredi
28 mars 2008, MSH-Alpes.

« Observatoire des nouveaux médias »
Ensad 31 rue d’Ulm 75005 Paris

L’« Observatoire des nouveaux médias » est un cycle de conférences organisé par l’École nationale supérieure des arts décoratifs (Cycle supérieur de recherche création et innovation) et l’Université Paris 8 (Master « Art contemporain et nouveaux médias » et équipe de recherche « Esthétique des nouveaux médias »)

Mercredi 19 mars 2008
18h30, Amphi Bachelier
http://www.ciren.org/ciren/conferences/190308/index.html

Zhenchen Liu et Madeleine Van Doren
Under construction

http://zhenchen.free.fr/

Les conférences « Observatoire des nouveaux médias » ont lieu tous les 15 jours, Amphi Bachelier, Ensad, 31 rue d’Ulm, Paris 5e.
Prochaine conférence, mercredi 2 avril (Hervé Graumann)
Pour recevoir la newsletter, envoyez votre adresse à : ciren@ciren.org

Conseil de l’ODNM : Samuel Bianchini (Université de Valenciennes/Ensad), Jean-Louis Boissier (Paris 8/Ensad), Martine Bour (Ciren/Citu/Paris 8), Jean-François Depelsenaire (Ensad), Pierre Hénon (Ensad), Liliane Terrier (Paris 8), Nicolas Thély (Paris 1), Gwenola Wagon (Paris 8).

Renseignements :
http://www.ciren.org
http://www.ensad.fr
http://www.arpla.univ-paris8.fr/~canal10

Rencontre avec les auteurs, le 28 mars à partir de 19h à la librairie du Palais de Tokyo (13 avenue du Président Wilson 75116 Paris) pour la présentation du livre:

Art conceptuel
une entologie
sous la direction de Gauthier Herrmann, Fabrice Reymond & Fabien Vallos

Avec 42 artistes et pas moins de 278 œuvres pour la plupart inédites en français, cette anthologie de 528 pages propose d’envisager l’art conceptuel sous son aspect textuel en posant, à travers la documentation et la compilation d’œuvres américaines, allemandes et italiennes des années 1960 et 1970, la question de la viabilité de sa greffe sur la branche de la littérature générale (d’où le terme «entologie», du verbe français «enter» qui signifie «greffer»).

En plus d’une annexe comprenant quelques textes critiques majeurs (où l’on trouvera, entre autres et pour la première fois depuis 1963, Concept Art de Henry Flynt, mais aussi une nouvelle traduction du célèbre texte de Kosuth "L’Art après la philosophie"), l’anthologie se conclut par un dossier réunissant des textes de Emmanuel Hocquard, Dean Inkster, Ghislain Mollet-Viéville, François Piron, Gilles A.Tiberghien, et une bibliographie réunissant l’essentiel des textes disponibles sur l’art conceptuel.

Pour tout renseignement:
Éditions MIX., www.editionsmix.org
28 av. de Laumière - 75019 Paris
Les éditions MIX. sont diffusées et distribuées par R-Diffusion : www.r-diffusion.org