Simon Hantaï: Round table discussion

Edited transcript of the round table discussion about the work of Simon Hantaï held at the French Institute, 3 June 2014 François Rouan, Isabelle Monod-Fontaine, Mick Finch, Philip Armstrong, Stuart Elliot, Andy Harper, Laura Lisbon and Daniel Sturgis. The round table discussed the work of the Hungarian painter Simon Hantaï (1922-2008) has gained increasing recognition in the last few years, particularly in terms of major retrospectives at the Centre Pompidou in Paris and the Villa Medici in Rome as well as an important exhibition at the Paul Kasmin Gallery in New York. After Hantaï moved to France in 1949, the series of paintings he made from the 1960s on – where processes of folding were materially at the heart of his practice – became a major and continuing influence on successive generations of French artists

Simon Hantaï: round table discussions

The work of the Hungarian painter Simon Hantaï (1922-2008) has gained increasing recognition in the last few years, particularly in terms of major retrospectives at the Centre Pompidou in Paris and the Villa Medici in Rome as well as an important exhibition at the Paul Kasmin Gallery in New York. After Hantaï moved to France in 1949, the series of paintings he made from the 1960s on – where processes of folding were materially at the heart of his practice – became a major and continuing influence on successive generations of French artists. The evening’s event will comprise two round table discussions. The first will look at the recent reception of Simon Hantaï and concentrate on a discussion with the artist François Rouan and Isabelle Monod-Fontaine who was one of the curators of the recent retrospective at the Centre Pompidou. The second will look at Simon Hantaï’s ongoing influence for subsequent artists and thinkers. Speakers: François Rouan, Isabelle Monod-Fontaine, Mick Finch, Philip Armstrong, Stuart Elliot, Andy Harper, Laura Lisbon and Daniel Sturgi

The Technical Apparatus of the Warburg Haus: possible returns from oblivion

The article examines the technical apparatus of the Warburg Haus in Hamburg and its relationship to Aby Warburg’s art historical methodology. A link is made to an exhibition in 1941 by Saxl and Wittkower entitled English Art and the Mediterranean that was published in 1948 and again in 1969 as British Art and the Mediterranean. In turn, the manner in which this exhibition and publication was image led, the text serving to annotate the images, links to broadcast media, namely Clark’s Civilisation and Berger’s Ways of Seeing, as a strong example of a working practice

Recherche: un mode d'emploi

This is an article based on a paper given at the Académie Royale des Beaux-Arts in Brussels on 23 June 2016 in a conference entitled 'Exposer / Démontrer – Les écarts de la recherche en art'. The article is in French, as was the original paper, and was about the relationship between studio practice, teaching, projects and networks

Éric de Chassey on Simon Hantaï

This is a transcript of an interview with Éric de Chassey conducted by Mick Finch on the occasion of the Simon Hantaï exhibition curated by de Chassey at the Villa Médici in Rome between the 12 February to 11 May 2014. De Chassey is Professor of Art History at the Ecole Normale Supérieure in Lyons and has, since 2009, been the Director of the French Academy in Rome, the Villa Medici. The Villa Medici exhibition took place after the major Hantaï exhibition at the Centre Pompidou in 2013 for which de Chassey had contributed an catalogue essay on Hantaï’s silkscreen work. The interview discusses the context of the Villa Medici exhibition and particularly the way Hantaï’s latter years were represented. The interview took place at the Villa Medici on Sunday 11 May 2014

The Warburg Haus: Apparatus, inscription, data, speculation

A text describing the process of a colloquium event held at the Warburg Haus in June 2016, the research questions and the outcomes

Simon Hantaï Editorial

Editorial for the Journal of Contemporary Painting Volume 1, Number 2 on Simon Hantaï. Simon Hantaï’s reputation was established from the early 1960s, with regular exhibitions up until his withdrawal from the art world in 1982. His work had a consistent impact in France where he is regarded as a major post-war artist who initiated a crucial rethinking of painting in the wake of Pollock and Matisse, influencing most specifically the generation epitomized by the groups Buren, Mosset, Parmentier and Toroni and Supports/Surfaces. More recently, however, an exhibition at the Paul Kasmin Gallery in New York (2010) and a major retrospective at the Centre Pompidou in Paris (2013) have contributed to a growing interest in, and recognition of, Hantaï’s work outside of France. This issue of the Journal of Contemporary Painting is an intervention within this emerging reception

The Technical Apparatus of the Warburg Haus

The article focuses on the technical apparatus installed at the Warburg Haus in Hamburg by Aby Warburg and how this is crucial in understanding the development and the evolution of the Mnemosyne Atlas. This apparatus is examined to determine that the KBW was a highly advance site of image production, having a bureaucratic structure that resembles that of a bank. Fritz Saxl is discussed as bringing continuity to an image led form of art history when the Warburg moved to London. Saxl and Witkover’s work is seen as a fore-runner of Kenneth Clark’s Civilization and John Berger’s Ways of Seeing and as an engramatic species of Warburg’s Atlas

Dead and Alive: Warburg’s Mnemosyne Atlas

The article examines some contexts that are relevant to the production of Aby Warburg’s Mnemosyne Atlas in terms of the mass dissemination of photographic images and the ordering of images as typologies and taxonomies. The journal, L’Esprit Nouveau , Ernst Haeckel’s illustrations of microscopic bodies, Flinders Petrie’s archaeological typologies and photographic methodology and Andre Malraux’s musée éphémère are among key references in the discussion. How, in Bernard Stiegler’s terms a reifying schema is produced is crucial in the discussion leading to how Ranciere’s use of parataxis opens up to the possibility of an organizational order linking the analogue with the digital

Doubt thou the Stars are Fire

A group exhibition held at Galleria Imaginaria in Florence around the theme of the astronomer Henritta Swan Leavitt. The exhibition was curated by Beth Vermeer