François Pluchart. L’Art : un acte de participation au monde

Agréable redécouverte que ces textes de François Pluchart, critique français ayant œuvré au cours de trois décennies à partir des années 1960. Journaliste au quotidien Combat depuis 1959, il fonde parallèlement les revues ArTitudes, puis ArTitudes international dans les années 1970 et devient rédacteur en chef de L’Art vivant au cours des années 1984 et 1985. Pluchart est un critique de son temps : il suit passionnément l’art à travers ses développements et ses textes témoignent de la quête d..

Point and Shoot : Performance and Photography

"In the spring of 2004 Dazibao presented a three-part project entitled 'Performance et Photographie : POINT & SHOOT.' The event brought together several artists for two exhibitions and one day of performances. This book is an extension of the project. Six writers have been invited to continue reflecting upon the connections between photography and performance, moving beyond what is apparently their most obvious relationship - the recorded image's function to document transient practices." -- p.[4] of cover

A future for Hashima: pornography, representation and time

This article sets out to investigate the relationship between ruins, futurity, and ‘ruin porn’ - a visual mode of representation that all too often seeks to fix post-industrial ruins as mere aesthetic objects, devoid of history and/or temporality. It does so by focusing on performance, which, in this context, is understood as a processual mode of art-making that provides spectators with an experience of time. In this expanded definition of performance, as one may perhaps expect, the performativity of the object is not limited to the theatrical event alone; rather, it now inheres in sometimes uncanny durational aspects of both still and moving images. The essay proceeds in three stages. Part one provides a historical and theoretical overview of the type of performance inherent in ‘ruin porn’; part two critiques two images from Yves Marchand's and Romain Meffre's Gunkanjima (2013), a photo album that attempted to document the ruins of Hashima, an island situated 15 kilometres from Nagasaki City in the East China Sea; and part three investigates the very different aesthetic at work in Lee Hassall's film Return to Battleship Island (2013) which was made in response to AHRC- funded project, ‘The Future of Ruins: Reclaiming Abandonment and Toxicity on Hashima Island’ (2013). In this reading of Return to Battleship Island , the onus is on showing how Hassall's film, in its representation of Hashima's crumbling apartment blocks and industrial buildings, intentionally sought to contest the atemporal logic of ‘ruin porn’ by attempting to endow the viewing experience with a sense of futurity. Crucially, this does not mean that film represented the future as an object, but, on the contrary, tried to make it palpable, as something one undergoes physically in the very act of reception

FIND : 11e festival international de nouvelle danse = FIND : 11th International New Dance Festival

This program describes the practices of 25 choreographers and their troupes, originating from 12 countries. Also included is information on the related event Lucky Bastard, organized in conjunction with the Société des arts technologiques (SAT), which comprised an exhibition, installations and performances

Geneviève Cadieux : Canada, XLIV Biennale di Venezia

In her analysis of photographic works produced by Cadieux since 1980, Pontbriand examines how they draw the viewer into their field/space and identifies the attachment to the body as a privileged object of representation, borrowing the Lacanian concepts of gap, gaze and the Subject. Biographical notes. 29 bibl. ref