21 research outputs found
De Marina Abramovic Ă Philip Auslanderâ: impasses de la rĂ©pĂ©tition dans deux thĂ©ories contemporaines de la performance
Lâartiste Marina AbramoviÄ et le thĂ©oricien des mĂ©dias Philip Auslander considĂšrent tous deux que la performance est un art inscriptible, que ce soit par la notation ou par le document. Mais ils font reposer leurs dĂ©marches respectives sur deux Ă©pistĂ©mologies apparemment incompatiblesâ: lâartiste, si elle dĂ©fend le fait de reprendre des Ćuvres anciennes, favorise la performance en direct, et essaye de neutraliser autant que possible la documentation produite sur son travailâ; le thĂ©oricien conteste toute spĂ©cificitĂ© Ă la performance en direct, et fait du document lâoutil principal de constitution dâune action en Ćuvre de performance. On montre ici comment ces deux positions apparemment incompatibles partagent en fait de nombreux prĂ©supposĂ©s thĂ©oriques.Artist Marina AbramoviÄ and media specialist Philip Auslander both consider that performance is an art that can be preserved, whether by a score or by a document. But both rely on two different set of epistemological positions: the artist, if she defends the fact that past performance works can be repeated, gives her favour to live performance, and tries to neutralize as much as possible the documentation that is produced on her work; the theorist refuses any specificities to live performance, and considers the document to be the most central tool in order to constitute an action into a work of performance. The object of this article is to point how those two seemingly incompatible positions share in fact numerous theoretical presuppositions
« âPerformance in Postmodern Cultureâ»,1976â : enjeux et rĂ©ceptions
On propose dans cet article dâanalyser la maniĂšre dont le colloque Performance in Postmodern Culture (1976) sâest attaquĂ© Ă lâidĂ©e (dominante dans les annĂ©es 1970) selon laquelle la performance aurait Ă©tĂ© un art de la pure prĂ©sence ayant abandonnĂ© la distinction entre spectateur et acteur. On donne aussi un aperçu de la rĂ©ception erronĂ©e des thĂšses majeures du colloque, et ce, notamment pour ce qui concerne le dĂ©but des annĂ©es 1980.This paper analyses how participants to the symposium Performance in Postmodern Culture (1976) criticized a dominant idea (in the 1970âs)â : that performance was an art of presence that reliquinshes the distinction between spectator and actor. It also considers how major contributions to this symposium were misinterpreted, mostly at the beginning of the 1980âs
Performance and its Relations to Mediations
Ă lâorĂ©e des annĂ©es soixante, la performance a cherchĂ© Ă imposer un art de lâaction Ă©phĂ©mĂšre que nâentraverait aucun type de mĂ©diation, quâil soit symbolique (la distance acteur/spectateur), technique (les mĂ©dias), ou mĂȘme linguistique (le langage, les signes). Enjeu de nombreux dĂ©bats entre les annĂ©es 1960 et 1990, ces tentatives ont trouvĂ© de multiples formulations thĂ©oriques sâappuyant sur les outils du poststructuralisme en particulier, mais aussi sur des cadres de pensĂ©e diffĂ©rents, directement hĂ©ritĂ©s du modernisme de Greenberg. On explore ici les Ă©tapes et enjeux de ce croisement, jusquâĂ la rupture apportĂ©e dans les annĂ©es 1990 et 2000 oĂč les dĂ©bats thĂ©oriques, toujours dirigĂ©s par des schĂ©mas poststructuralistes, redonnĂšrent une place centrale aux mĂ©diations, tout particuliĂšrement au document. Or, la figure importante de la pratique artistique quâest devenu le document depuis les annĂ©es soixante sâavĂšre mettre en question lâontologie traditionnelle de la performance, orientĂ©e sur lâĂ©vĂ©nement, autant que son Ă©pistĂ©mologie, qui valorise lâexpĂ©rience directe. La prise en compte des dimensions instrumentales et artistiques du document nous conduit Ă rĂ©viser la poĂŻĂ©tique traditionnelle de la performance et les thĂ©ories de la communication qui lui sont liĂ©es, et Ă repenser par lĂ mĂȘme lâopposition entre objet et Ă©vĂ©nement qui fonde la dĂ©finition de la performance. Câest ainsi quâon interroge le rapport de celle-ci Ă lâinscription, pour la redĂ©finir comme un art irrĂ©ductible Ă son contexte dâexĂ©cution et travaillĂ© en profondeur par la reproduction et la reprĂ©sentation, au travers notamment de lâĂ©tude de certaines figures exemplaires, Allan Kaprow, Chris Burden ou Tino Sehgal.On the edge of the 1960âs, performance looked after imposing an art of ephemeral action that no kind of mediation would impede, be it symbolic (the distance between actor and spectator), technical (the medias), or even linguistical (language, signs). Those attempts led to numerous discussions between the 1960âs and the 1990âs, and have found numerous theoretical formulations using particularly the tools of poststructuralism, but also frames of thought directly inherited from Greenberg modernism. We explore here the stages and issues of this cross-over until the break of the 1990âs and 2000âs where the theoretical debates, always using poststructuralist schemes, gave a central role to mediations, particularly to the document. Documents have become an important figure of artistic practice since the 1960âs and turned out to question the traditional ontology of performance, based on the event, as well as its epistemology that promotes live experience. We try to consider the instrumental and artistic dimensions of the document ; this leads us to revise the traditional poetics of performance and theories of communication that are related to it, and to consider anew the opposition between object and event on which the definition of performance is based. Thus, we question the links between performance and inscription, redefined as an art that is irreducible to its context of execution and worked in depth by reproduction and representation, through the study of certain figureheads : Allan Kaprow, Chris Burden or Tino Sehgal
Reconstituer Waterloo dans les annĂ©es 1960 : lâhistoire selon Marcel Broodthaers et Norbert Brassinne
Avec cet article, on souhaiterait faire le portrait (contextuel, institutionnel, mĂ©diatique) de deux acteurs fondamentalement diffĂ©rents, mais qui font de la reconstitution historique un enjeu central de leurs pratiques dĂšs la fin des annĂ©es 1960 et la rapportent, dans un cas comme dans lâautre, Ă un mĂȘme lieu, le champ de bataille de Waterloo, en Belgique francophone : lâartiste bruxellois Marcel Broodthaers (1924â1976) et le commerçant/reconstituteur wallon Norbert Brassine (1907â1988). En plus dâanalyser quel rapport Ă lâhistoire et Ă la reconstitution dĂ©veloppent ces deux non-historiens trĂšs distincts Ă travers leurs actions, leurs productions ou leurs apparitions mĂ©diatiques, cet article vise aussi Ă revenir sur une pĂ©riode oĂč la reconstitution historique en Ă©tait Ă ses balbutiements Ă Waterloo, la fin des annĂ©es 1960. Ce double portrait se propose donc comme une archĂ©ologie trĂšs localisĂ©e des usages et reprĂ©sentations de la reconstitution historique.With this paper, the author puts forward a picture of two very different social actors who, towards the end of the 1960s in French-speaking Belgium, shared a common interest in historical reenactment at the Battlefield of Waterloo: the Brusselian artist Marcel Broodthaers (1924-1976), and the Walloon hotel manager and historical reenactor Norbert Brassinne (1907-1988). This paper analyzes how these two very different non-historians dealt with history and its reconstitution, bearing in mind their particular contexts, actions, and productions. In addition, this study provides an occasion to focus on a period when historical reconstitution in Waterloo was still in its infancy. In turn, this study proposes a localised archeology of the uses and representations of historical reconstitution
Reconstituer Waterloo dans les annĂ©es 1960 : lâhistoire selon Marcel Broodthaers et Norbert Brassinne
Avec cet article, on souhaiterait faire le portrait (contextuel, institutionnel, mĂ©diatique) de deux acteurs fondamentalement diffĂ©rents, mais qui font de la reconstitution historique un enjeu central de leurs pratiques dĂšs la fin des annĂ©es 1960 et la rapportent, dans un cas comme dans lâautre, Ă un mĂȘme lieu, le champ de bataille de Waterloo, en Belgique francophone : lâartiste bruxellois Marcel Broodthaers (1924â1976) et le commerçant/reconstituteur wallon Norbert Brassine (1907â1988). En plus dâanalyser quel rapport Ă lâhistoire et Ă la reconstitution dĂ©veloppent ces deux non-historiens trĂšs distincts Ă travers leurs actions, leurs productions ou leurs apparitions mĂ©diatiques, cet article vise aussi Ă revenir sur une pĂ©riode oĂč la reconstitution historique en Ă©tait Ă ses balbutiements Ă Waterloo, la fin des annĂ©es 1960. Ce double portrait se propose donc comme une archĂ©ologie trĂšs localisĂ©e des usages et reprĂ©sentations de la reconstitution historique.With this paper, the author puts forward a picture of two very different social actors who, towards the end of the 1960s in French-speaking Belgium, shared a common interest in historical reenactment at the Battlefield of Waterloo: the Brusselian artist Marcel Broodthaers (1924-1976), and the Walloon hotel manager and historical reenactor Norbert Brassinne (1907-1988). This paper analyzes how these two very different non-historians dealt with history and its reconstitution, bearing in mind their particular contexts, actions, and productions. In addition, this study provides an occasion to focus on a period when historical reconstitution in Waterloo was still in its infancy. In turn, this study proposes a localised archeology of the uses and representations of historical reconstitution
The Peptidoglycan of Stationary-Phase Mycobacterium tuberculosis Predominantly Contains Cross-Links Generated by l,d-Transpeptidationâż
Our understanding of the mechanisms used by Mycobacterium tuberculosis to persist in a âdormantâ state is essential to the development of therapies effective in sterilizing tissues. Gene expression profiling in model systems has revealed a complex adaptive response thought to endow M. tuberculosis with the capacity to survive several months of combinatorial antibiotic treatment. We show here that this adaptive response may involve remodeling of the peptidoglycan network by substitution of 4â3 cross-links generated by the d,d-transpeptidase activity of penicillin-binding proteins by 3â3 cross-links generated by a transpeptidase of l,d specificity. A candidate gene, previously shown to be upregulated upon nutrient starvation, was found to encode an l,d-transpeptidase active in the formation of 3â3 cross-links. The enzyme, LdtMt1, was inactivated by carbapenems, a class of ÎČ-lactam antibiotics that are poorly hydrolyzed by the M. tuberculosis ÎČ-lactamases. LdtMt1 and carbapenems may therefore represent a target and a drug family relevant to the eradication of persistent M. tuberculosis
Remake, reprise, répétition
LâidĂ©e de remake est-elle transposable Ă toutes les formes de l'art, en particulier dans le domaine des arts plastiques ? Dans ce numĂ©ro, Marges aborde la tendance contemporaine visant Ă mettre en question la tradition dâinnovation propre Ă lâart moderne, au nom des variations infinies quâoffrent remake, reprise et rĂ©pĂ©tition. Ces derniĂšres annĂ©es, de nombreuses pratiques artistiques ont en effet eu recours Ă la rĂ©itĂ©ration dâĆuvres passĂ©es. Il peut sâagir de refaire une Ćuvre dĂ©jĂ faite (parfois par un autre artiste), de reprendre et poursuivre une Ćuvre inachevĂ©e, de la transposer dans un autre contexte, de la dĂ©cliner en diffĂ©rentes versions, etc. La revue Marges aborde cette question au travers de cas et situations prĂ©cis
Necker-Pasteur Clinical Metagenomics: Part 2. Contribution to Pathogen Discovery
International audienceClinical metagenomics fuels pathogen discovery but a comprehensive research environment is required to address critical questions such as imputability, physiopathology of novel identified infectious agents, and development of new diagnostic tools. The Institut Pasteur, in close collaboration with specialized hospital clinical services and laboratories including (neuro)pathologists, along with other academic labs, seeks to address these topics. We review some of the major identifications done in the course of our historical partnership with hospitals, by highlighting the place and the contribution of research works following identification of new or unexpected microorganisms. The list includes novel human pathogens with a zoonotic potential (Astrovirus VA1, Umbre orthobunyavirus, European Bat Lyssavirus 1) and known pathogens with unexpected or atypical presentation (Rubella virus, Rabies, Dengue)