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

Lettre à une amie fidèle

International audienceLe vocabulaire mathématique est certainement très technique, mais il est aussi souvent très imagé. Voici une lettre, sans prétention, que je me suis amusé à écrire pour illustrer ce propos. Pour les non-initiés, les explications de texte sont données en note de bas de page

How Not to Argue That Reasonable Provocation is Not an Excuse

Reid Fontaine draws two conclusions regarding the partial defense to murder of reasonable provocation-one regarding its substantive content, the other regarding its formal classification…. I agree with both of Fontaine\u27s two conclusions, and, indeed, I have previously written to that effect. Unfortunately, while I agree with Fontaine\u27s conclusions, I do not think he adequately supports them

The Irreducibly Normative Nature of Provocation/Passion

I agree with Professor Fontaine that provocation/passion is best interpreted as a partial excuse, but the ground for my conclusion is normative and not analytic. Indeed, I fear that he has not made the analytic case in large part because he begs a question about failed justifications that has only a normative and not an analytic answer. This Essay first briefly provides my own understanding of provocation/ passion. In the course of doing so, I address Professor Fontaine\u27s argument that provocation/passion should also be applied to people with provocation interpretational bias. I then turn to why Fontaine\u27s case for partial excuse is not analytically airtight

Time as a strand of the dance medium

Time and space are at the core of our aesthetic experiences of dance performances, yet dance has been frequently categorised as a space-based art. In this paper I revise the choreological perspective developed by Preston-Dunlop and Sánchez-Colberg that conceives dance as an embodied performative art articulated in a multistranded medium (performer, movement, sound, space). I argue that time should be allowed a distinct place in the choreological discourse since its presence is key to the expressivity of a dance piece. I conceptualise the meaning of the time strand and expose how different substrands emerge, connect with others and become expressive in dance performances. My investigation considers in particular the aesthetics of time in live performances in the theatre compared to dances created for the camera, focusing specifically on instances of contemporary transpositions from one context to the other