Hong Kong International Art Fair - 27-30 May 2010

Ver: http://www.hongkongartfair.com

Renovação urbana

Renovation of an estate in the framework of the program of the national agency for the urban renewal
Location : avenue Jean Moulin, Bondy (93)
Architect : Laurent Pillaud, architecte
Builder : SEMIDEP
General firm: GTM Bâtiment

http://www.pavillon-arsenal.com/en/videosenligne/collection-5-303.php

[] Edouard François

Wild Tower

La Défense , France La Défense, França
EPAD EPAD

Transformation d'une cheminée de ventilation en sculpture végétale. Transformation d'une cheminée ventilação de en végétale escultura.

«Edouard François s'est engagé dans une voie originale parfaitement Privilegier qui veut par l'effet produit animé plantas Les a statique construites la démonstration des formes.
Parlant volontiers que l'épiderme de ses façades végétalisées, il provoque une réflexion éclatée quant au rôle des plantes. Volontiers Parlant que l'épiderme de végétalisées ses fachadas, il provoque une réflexion éclatée quant au rôle des Plantes. loin de la conception traditionnelle du jardin circonscrit dans un espace plan, il en propose une vision verticale, offerte à tous les regards […] loin de la conception traditionnelle du jardin circonscrit dans un plano espace, il en propor verticale visão une, offerte à tous les refere [...]
Hérissée de tuteur en hiver, verdoyante au printemps, fleurie en été, desséchée en automne, la cheminée de la Défense - ou plus précisément le présentoir aux Ipomées - veut entretenir la curiosité sur le long terme. Hérissée de tuteur en hiver, au printemps verdoyante, fleurie en été, desséchée en automne, la cheminée de la Défense - ou plus précisément le présentoir aux Ipomées - veut entretenir la curiosité sur le long terme. Comme dans un canon à plusieurs voix, les Ipomées nouvellement plantées répondront aux plantation vagabondes issues des années précédentes » Comme dans un canon à plusieurs voix, les Ipomées nouvellement plantées répondront plantação aux vagabondes questões des années précédentes »

OBSERVATOIRE DES TENDANCES DU JARDIN, Dany Sautot, décembre 2003. OBSERVATOIRE DES TENDANCES DU JARDIN, Dany Sautot, décembre 2003.

http://translate.google.pt/translate?hl=pt-PT&sl=en&u=http://www.edouardfrancois.com/&ei=_loCS8-lAuS8jAfd74S7AQ&sa=X&oi=translate&ct=result&resnum=3&ved=0CBAQ7gEwAg&prev=/search%3Fq%3DDD%2Bedouard%2Bfran%25C3%25A7ois%26hl%3Dpt-PT%26sa%3DX

http://www.edouardfrancois.com/

[] Fallen Princesses - fallen princesses II of X: snowy - Dina Goldstein

fallen princesses II of X: snowy - Dina Goldstein

'

Biography

'Cynical realism seems to best describe Dina Goldstein's stark reality in her series - The Fallen Princesses - which takes a look at fairy tales striped of their happy endings debuting at Buschlen Mowatt Oct 15th - Nov 15th. Goldstein strips fairy tales of their 'happily ever after' ending replacing them with a realistic outcome and addresses current issues.Check out this up and coming media superstar. http://www.dinagoldstein.com/'

Disponível em:

http://www.buschlenmowatt.com/artists/dina-goldstein

[] The Upside of Down - Thomas Homer-Dixon

'In The Upside of Down, political scientist and award-winning author Thomas Homer-Dixon argues that converging stresses could cause a catastrophic breakdown of national and global order — a social earthquake that could hurt billions of people. But he shows that this outcome isn't inevitable; there's much we can do to prevent it. And after setting out a general theory of the growth, breakdown, and renewal of societies, he shows that less severe types of breakdown could open up extraordinary opportunities for creative, bold reform of our societies.

Homer-Dixon contends that five "tectonic stresses" are accumulating deep underneath the surface of today's global order:

• energy stress, especially from increasing scarcity of conventional oil;
• economic stress from greater global economic instability and widening income gaps between rich and poor;
• demographic stress from differentials in population growth rates between rich and poor societies and from expansion of megacities in poor societies;
• environmental stress from worsening damage to land, water forests, and fisheries; and,
• climate stress from changes in the composition of Earth's atmosphere.

Of the five, energy stress plays a particularly important role, because energy is humankind's master resource. When energy is scarce and costly, everything a society tries to do — including growing its food, obtaining enough fresh water, transmitting and processing information, and defending itself — becomes far harder.

The effect of the five stresses is multiplied by the rising connectivity and speed of our societies and by the escalating power of small groups to destroy things and people, including, potentially, whole cities.

Drawing parallels between the challenges we face today and the crisis faced by the Roman empire almost two thousand years ago, Homer-Dixon argues that these stresses and multipliers are potentially a lethal mixture. Together, they greatly increase the risk of a cascading collapse of systems vital to our wellbeing — a phenomenon he calls "synchronous failure." Societies must do everything they can to avoid such an outcome.

On the other hand, if people are well-prepared, they may be able to exploit less extreme forms of breakdown to achieve deep reform and renewal of institutions, social relations, technologies, and entrenched habits of behavior. This is likely our best hope for a prosperous and humane future.'

Excerpts from The Upside of Down >

Thomas Homer-Dixon is Professor of Political Science and Director of the Pierre Elliott Trudeau Centre for Peace and Conflict Studies at the University of Toronto. His articles have appeared in The New York Times, Washington Post, Foreign Policy, Foreign Affairs, and Scientific American. His book, The Ingenuity Gap, won the 2001 Canadian Governor General Award for Non-Fiction.

http://www.theupsideofdown.com/theargument.html

' Excerpts from The Upside of Down

Prologue: Firestorm
San Francisco, Thursday, April 19, 1906

The wind had shifted. Now the inferno turned its attention westward. Block by block, it savaged some of the city's finest houses. As the mayor, chief of police, and members of the municipal council retreated from building to building before the flames, they decided the city would make one last stand.

The final line of defense, they announced, would be Van Ness Avenue — a broad residential boulevard bisecting San Francisco from north to south. The street lay directly in the fire's path: if they could use it as a firebreak, they might be able to halt the advance. But if this last effort failed, what remained of the city would surely be lost.

Early the previous day, an enormous earthquake had shattered the city's core, snapping cast-iron water mains like twigs, toppling thousands of chimneys, and upending coal-burning stoves and boilers. Electrical utility poles fell over, bringing down live wires in showers of sparks. Gas lines ruptured. Kerosene and oil poured out of burst fuel tanks. In seconds, sparks and fuel combined, and dozens of fires exploded across the city. Then, energized by the wood in the city's buildings, small fires coalesced into mighty firestorms. Even when firefighters could maneuver around the piles of earthquake debris in the streets, they found no water in the hydrants.

By noon on the 19th, the fire had destroyed almost ten square kilometers of the city east of Van Ness Avenue. The financial district, Market Street, and the district south of Market were smoking ruins...'

http://www.homerdixon.com/podcasts/audio/podcast-2006-11-05-78174.mp3

http://www.homerdixon.com/ingenuitygap/tour.html

http://www.homerdixon.com/download/thomashomerdixon2-high.mpeg

http://www.homerdixon.com/podcasts/audio/podcast-2009-06-08-49421.mp3

[] The rise of the Arctic: Resource periphery to geopolitical battleground

by Jessica Shadian and IIED" href="http://www.iddri.org/L%27iddri/Intervenants-auteurs/Emma-Wilson" title="">Emma Wilson

Paris 21st of April 2009

Session du Séminaire Développement durable et économie de l'environnement de 17h00 à 19h00. 'On August 2, 2007 Russia’s most famous Arctic explorer, Artur Chilingarov planted a flag below the North Pole. In response media, political pundits, academics and NGOs embarked on a new debate over the future relevance and political role of the Arctic. Front page news stories exclaimed that the North may be heading towards new Cold War fight for power, yet this time around over physical territory and resources rather than ideology. These debates were, however, part of an ongoing and broader international discussion regarding the scientific evidence and reality of global climatic changes taking place in the Arctic. For much of the world climate change is viewed as one of the world’s leading challenges. Yet, for the Arctic melting ice is perceived simultaneously as a global environmental crisis and a newfound wealth of opportunities. Climatic changes are challenging the resilience of the health, livelihoods and physical living conditions of many Arctic communities. Yet, ironically and to an almost unrestrained excitement for some actors these climatic changes are also creating opportunities that extend from the possibility of new international shipping routes and access to hydrocarbon resources to increased tourism and funding for Arctic research. These juxtapositions are coupled by mounting regional and international indigenous political agency. This agency includes in many cases indigenous rights to resources and the growing legitimacy of Arctic indigenous traditional scientific knowledge. These challenges and potential opportunities are neither obvious or without a growing debate over how to sustainably govern and manage the Arctic and are creating a geostrategic shift of the role of the Arctic in global politics' See a video of the conference

http://www.iddri.org/Activites/Seminaires-reguliers/Seminaire-Developpement-durable-et-economie-de-l%27environnement/The-rise-of-the-Arctic-Resource-periphery-to-geopolitical-battleground

[] Catastrophes, risques et sciences sociales

'Séminaire EHESS (GSPM) – CERI-Sciences Po*
Catastrophes, risques et sciences sociales
Sandrine Revet et Julien Langumier

Toutes les séances se dérouleront :
au CERI 56 rue Jacob, 75006 Paris, Salle du conseil (4ème étage) de 10h à 13h
sauf la séance exceptionnelle du 16 juin : 15h-18h

Ce séminaire interdisciplinaire et thématique propose de contribuer à structurer les échanges entre
étudiants et chercheurs de diverses disciplines autour de la question des risques et des catastrophes.
L’entrée thématique sera large (catastrophes « naturelles » ou technologiques, terrains humanitaires,
catastrophes proches, risques environnementaux), mais le séminaire entend se focaliser sur les apports
de travaux empiriques. Il s'agit de s'intéresser au cours de ces situations « à risque » ou de catastrophe
aux interactions entre les populations exposées et des dispositifs de prise en charge et aux dynamiques
de recompositions à l’œuvre. Il s’agit également d’interroger les grandes figures génériques
(sauveur/victime, expert/profane, fatalité /modernité...) et de rendre compte de l’hybridation des
discours, des logiques d’actions et des pratiques qui caractérisent ces situations. Enfin, les terrains de
l’urgence conduisent à des formes de gouvernance inédites dans lesquelles la puissance publique, des
forces militaires et des ONG interviennent au nom des nouveaux paradigmes de la sécurité, de
l’humanitaire et du secours. Quelles ressources politiques et critiques apparaissent alors dans ces
situations d’exception ? Comment les populations et les acteurs de l’urgence s’en emparent-ils ? À
quelle conception de la « sécurité » ces intervention se réfèrent-elles ? Les modèles d'action (outils,
pratiques) et les acteurs qui les mettent en pratique peuvent-ils être mis en regard d'autres domaines de
la « sécurité globale » (biosécurité, lutte contre le terrorisme, prévention des conflits) ?

Programme

26 février 2010
Approcher la catastrophe en anthropologue
Sandrine Revet (CERI-Sciences Po) – Anthropologie de la catastrophe de 1999 au
Venezuela
Julien Langumier (chercheur associé RIVES – UMR EVS) – Survivre à l’inondation. Pour
une ethnologie de la catastrophe.

12 mars 2010
Approche sociologique d'un drame médical.
Nicolas Dodier (GSPM-EHESS)
Jeannine Barbot (CERMES-Inserm) : « Violence et démocratie au sein d'un collectif de
victimes »


26 mars 2010
Traiter la catastrophe en historien : sources et méthodes
Grégory Quenet (Université Versailles Saint Quentin) « L’histoire des risques et des
catastrophes : comparaison France – Etats-Unis, des années 1970 à l’après Katrina »
Romain Huret (Université Lyon 2- CENA/EHESS) : « Est-il possible d'écrire l'histoire de
l'ouragan Katrina? Doutes et perspectives méthodologiques »

9 avril 2010
Circulations des acteurs, des outils, des pratiques (1/3)
Julien Langumier (RIVES) : Des pratiques locales aux dispositifs institutionnels. Retour sur
des expériences de sensibilisation et de concertation sur le Rhône.
Sandrine Revet (CERI-Sciences-Po) : Les Systèmes d'Alerte Précoce, du Venezuela à
Genève et de Genève au Venezuela.


14 mai 2010
Circulations des acteurs, des outils, des pratiques (2/3)
Bilel Benbouzid (RIVES-ENTPE) : « Le Situational Crime Prevention: sociologie du
transfert d'une catégorie de gestion des risques et de ses controverses. »
Emmanuel Martinais (RIVES-ENTPE) et Laure Bonnaud (RITME-INRA): « Les leçons
d’AZF. Chronique d’une loi sur les risques industriels. »


28 mai 2010
Circulations des acteurs, des outils, des pratiques (3/3)
Cloé Vallette (CERReV) : Influence des discours scientifiques dans les pratiques de gestion
du risque (Costa Rica)
Consuelo Biskupovic (IRIS-EHESS, Université du Chili): Transferts et circulations de
notions dans le domaine de l’environnement (Chili).


11 juin 2010
Commémorations de catastrophes
Sara Lemenestrel (EHESS-CENA):
"I'm coming home": mémoires de Katrina et sense of place"

16 juin 2010 (attention, jour et horaires exceptionnels : 15h-18h)
Séance en anglais
Anthropologie des catastrophes. Retour sur le terrain
Anthony Oliver-Smith (Emeritus Profesor of the Anthropology Department of the
Unviversity of Florida) : « The Disaster and the Tragedy: Reflections on Fieldwork in the
Valley of Death. »
discussion : Thierry Coanus (RIVES-ENTPE)


Renseignements :
Sandrine Revet, anthropologue, chargée de recherche au CERI (Sciences-Po), chercheure
associée au GSPM (EHESS), revet@ceri-sciences-po.org
Julien Langumier, ethnologue, chercheur associé RIVES (CNRS, UMR 5600),
langumier@yahoo.fr

http://www.ehess.fr/fr/enseignement/enseignements/2009/ue/963/
http://www.arcra.fr/spip.php?article27
http://www.sciences-po.fr/recherche/fr/recherche/POLEARTH/index.htm#1
* Ce séminaire a reçu le soutien de la Direction Scientifique de Sciences Po dans le cadre
de l’axe prioritaire de recherche « Politiques de la terre »

Disponível em:
http://calenda.revues.org/nouvelle14870.html

sandrine.revet (at) free.fr

[] MORI ART MUSEUM

Sensing Nature: Perceiving Nature in Japan
Yoshioka Tokujin, Kuribayashi Takashi, Shinoda Taro

24 July, 2010 - 7 November, 2010
MORI ART MUSEUM

'As the search for an international response to global warming becomes more urgent, "Nature Sense" reexamines the Japanese view of nature. Since the times of literary works such as the Manyoshu and Genji Monogatari around one thousand years ago, nature has always been an important aspect of Japanese culture. It has also been incorporated into the art, craft and architecture of Japan.

How do contemporary Japanese creators conceive of nature, and how do they make use of it in their practices? In this exhibition three creators, Kuribayashi Takashi, Shinoda Taro and Yoshioka Tokujin present large-scale installations designed to reawaken our primal perception of natural phenomena and the natural environment. With mankind's great progress in information technology and urbanization, and in a present in which it is easy to become disconnected with reality, visitors are invited to feel a power greater than our own, and think about new possibilities for the relationship between humans and nature.+

http://www.mori.art.museum/eng/exhibition/index.html

Takashi Kuribayashi
http://universes-in-universe.de/car/singapore/eng/2006/tour/tanglin/img-41-3.htm

Taro Shinoda – Landscapes & Science = Dreams & Desires

'Taro Shinoda, born in 1964 and residing in Tokyo, is a Japanese conceptual artist. The central theme in his work is “landscapes”, which is not surprising when considering that as a child Shinoda went to a special high school to learn how to create and tend to traditional Japanese gardens. Shinoda himself says that it is actually nature that interests him. He also sees himself very influenced by science.'

tokujin yoshioka

'was born in saga prefecture, japan in 1967. after graduating from kuwasawa design school in tokyo, he studied design under shiro kuramata (1987-1988) and issey miyake (1988-1992) and went free-lance in 1992. he established the tokujin yoshioka design office in 2000. his works include shop design for issey miyake,
space design for nissan, bmw, shiseido. he planned exhibitions for issey miyake, hermes, muji and peugeot. his product design series known as ‘tokyo-pop’, based on his previous ‘honey-pop design, has been introduced by driade. recent works include a
street furniture piece at roppongi hills entitled ‘chair disappears in the rain’.he is the recipient of many international design awards.'

http://www.designboom.com/eng/interview/yoshioka.html
related links:
http://www.tokujin.com
http://www.designboom.com/contemporary/muji.html

[] Malévich . bibliografia

Bibliografia auto-proposta:


Cusset, Yves (2000), Réflexions sur l'Esthétique Contemporainde, Editions Pleins Feux, Nantes.

Malevitch, K. (2004), La Paresse comme vérité effective de l'homme, Éditions Allia, Paris.

Malévitch, K. (1974), De Césanne au Suprématisme - premier tome des ecrits, Editions l'Age d'Homme, Lausane, (recolha de textos dispersos efectuada por Marcadé J.C e Siger S.).

Malévitch, K. (1977), Le Miroir Suprématiste - deauxienne tome des ecrits, Editions l'Age d'Homme, Lausane, (recolha de textos dispersos efectuada por Marcadé J.C e Siger S.).

Malévitch, K. (1993), La Lumiére et la Couleur - quatrieme tome des ecrits, Editions l'Age d'Homme, Lausane, (recolga de textos dispersos efectuada por Marcadé J.C e Siger S.).

Malévitch, K. (2003), The Non-Objective Worls. The Manifesto of the Suprematism, Dover Publications, Mineola N.Y. Reprodução integral de edição de 1954.

AAVV (1990), Malevich, Artist and Theoretician, Flammarion, Paris.

AAVV (1993), Malevich, La coleccion del Museo Estatal Ruso. San Petersburgo, Catalogo da exposição realizada no IVAM Centre Julio Gonzales de Valencia entre Junho e Julho 1993.
Milner, J. (1996), Kazimir Malevich and the Art of Geometry, Yale University Press, New Haven and London.

Disponível em: http://correntes.blogs.sapo.pt/112045.html

Ver ainda:
'(in) film por Edgardo Antonio Vigo. Blanco sobre blanco. Homenaje a Kasimir Malevich (1969) Em sintonia com as propostas concretas da época, Vigo destaca-se desde os anos cinquenta por seu amplo labor nos campos da poesia visual e da poesia gráfica; neles, recorreu à instrução como uma ferramenta de trabalho que lhe permitia questionar a autoridade dos pressupostos e conhecimentos compartilhados. Um exemplo é La cuadratura del universo (1990), que lembra os suprematistas Xénia Bogouslavskaïa e Pougny, quando, já em 1915, postulavam: \"2 x 2 dá tudo o que quisermos, exceto quatro\".[1] Ou, recorrendo ao paradoxo como é usual no seu trabalho, no seu projeto (in) film por Edgardo Antonio Vigo. Blanco sobre blanco. Homenaje a Kasimir Malevich (1969), Vigo articulava tanto um assinalamento sobre o valor do branco enquanto espaço de pura possibilidade como também uma proposta tautológica, não sem humor, sobre a condição mesma da imagem e, no caso, do cinema. [1] Trata-se de uma das declarações dos suprematistas no folheto distribuído com o título \"L\'Exposition ‘0-10\' et la Conférence de Malevitch\" durante a exposição Dernière exposition futuriste, 0-10. Reproduzida em K. Malévitch, Le miroir suprématiste, Lausanne, Editions l\'Age d\'Homme S. A., 1977, p. 152.'
http://www.bienalmercosul.art.br/7bienalmercosul/pt-br/paradoxo

[] Ciclo de cinema - Programa Ambiente - Gulbenkian

Ciclo Cinema & Ambiente

PROGRAMA

15 Set, terça-feira, 21h30
Safe, de Todd Haynes, 1995.
Comentado por Teresa Gouveia

13 Out, terça-feira, 21h30
Die Wolke (“A Nuvem”), de Gregor Schnitzler, 2006.
Comentado por Inês Pedrosa

10 Nov, terça-feira, 21h30
Medicine Man (“Os Últimos Dias do Paraíso”), de John McTiernan, 1992. Comentado por Susana Fonseca

15 Dez, terça-feira, 21h30
The Trigger Effect (“Efeitos na Escuridão”), de David Koepp, 1996. Convidado a anunciar

12 Jan, terça-feira, 21h30
Five, de Arch Oboler, 1951. Convidado a anunciar

9 Fev, terça-feira, 21h30
Soylent Green (“À Beira do Fim”), de Richard Fleischer, 1973. Convidado a anunciar

9 Março, terça-feira, 21h30
Into the Wild (“O Lado Selvagem”), de Sean Penn, 2007. Comentado por Paula Moura Pinheiro

13 Abril, terça-feira, 21h30
Les Glaneurs et la Glaneuse (“Os Respigadores e a Respigadora”), de Agnès Varda, 2001. Comentado por Helena Roseta

11 Maio, terça-feira, 21h30
Wind across the Everglades (“A Floresta Interdita”), de Nicholas Ray, 1958. Convidado a anunciar

8 Junho, terça-feira, 21h30
Le Monde du Silence, de Jacques-Yves Cousteau e Louis Malle, 1956. Convidado a anunciar

O ciclo Cinema & Ambiente termina no dia
13 Julho, terça-feira, 21h30
The Happening (“O Acontecimento”), de M. Night Shyamalan em 2008, comentado por Viriato Soromenho-Marques, Coordenador Científico do Programa Gulbenkian Ambiente.

http://www.gulbenkian.pt/index.php?object=160&article_id=2008

[] Amália em Nova Iorque - 'Vida íntima de Amália no teatro'

GRUPO CASSEFAZ APRESENTA

AMÁLIA EM NOVA IORQUE

'No ano em que se assinalam os 10 anos do desaparecimento de Amália Rodrigues, o Grupo Cassefaz apresenta o espectáculo "Amália em Nova Iorque". A partir da peça escrita por Vicente Alvez do Ó, a actriz Maria José Paschoal,constrói e interpreta um espectáculo que pretende essencialmente partilhar com o público a mulher para além da artista que Amália Rodrigues foi: os seus medos, fracassos, forças e a sua constante ligação com a morte. Ora lisonjeada, ora atacada pelo País que ora a glorificou, ora a abandonou, esta peça é uma instrospecção da sua vida enquanto mulher.

NO MUSEU DO FADO (Largo do Chafariz de Dentro, 1)

30 de Novembro a 20 de Dezembro de 2009

Sextas e Sábados às 22h00

Sábados e Domingos às 18h00

Sábados e Domingos visita gratuita ao Museu do Fado às 17h (mediante apresentação do bilhete da peça para a sessão das 18h desse dia)

Um espectáculo do Grupo Cassefaz

Texto de Vicente Alves do Ó

Interpretação, encenação, cenografia, figurino, adaptação e dramaturgia de Maria José Paschoal

Direcção artística de Elisa Lisboa

Consultoria Cenográfica de António Viana´

http://www.cassefaz.com/index.php?option=com_content&view=article&id=107:amalia-em-nova-iorque&catid=3:newsflash

Ainda:
http://dn.sapo.pt/inicio/artes/interior.aspx?content_id=1405490&seccao=Teatro

Arctic Perspective Initiative announces the winners of its open architecture competition

Giuseppe Mecca, 2009

Catherine Rannou, 2009

Richard Carbonnier, 2009

'Three architects – Richard Carbonnier (Canada), Giuseppe Mecca (Italy), and Catherine Rannou (France) – have been selected as the joint winners of the Arctic Perspective Initiative open architecture competition. The challenge of this international competition was to design a zero-footprint mobile research unit for use by local populations in the Arctic. The unit is intended to facilitate a diverse range of technological research opportunities, such as remote sensing, environmental monitoring, video editing and streaming, and communications systems. […] The Arctic Perspective Initiative (API) is a transnational art, science, and culture work group composed of HMKV (Germany), The Arts Catalyst (UK), Projekt Atol (Slovenia), Lorna (Iceland) and C-TASC (Canada), API is the brainchild of Marko Peljhan and Matthew Biederman, who met and worked together for the first time as crewmembers of the Makrolab in Blair Atholl, Scotland in 2002, a project produced by The Arts Catalyst.'

Disponível em:

http://artscatalyst.typepad.com/the_arts_catalyst/2009/10/arctic-perspective.html
Ainda:
http://arcticperspective.org/architecture/architecture

Matthew Day Jackson

The Lower 48

2006
48 c-prints
34.3 x 50.8 cm each

'Matthew Day Jackson’s Hungry Ghosts pictures the spirits of the American Civil War foraging for food; their barren field now lush parkland emblazoned with an environmental bumper sticker. Highlighting the discrepancy between the pioneering lore of America and the state of its current affairs, Jackson’s photograph conveys cultural critique, reuniting national allegiance with moral responsibility.'

Disponível em:
http://www.saatchi-gallery.co.uk/artists/matthew_day_jackson.htm

[] Dennis Feddersen

parasite # 17 / Installationsansicht Kunstverein Neuenkirchen / 4,5 x 3,5 x 4m / Biegesperrholz, Schrauben / 2009

Disponível em:
http://www.dennis-feddersen.de/images.php?image_id=258

[] Ryan Trecartin . World Wall . 2006

Ryan Trecartin

World Wall

2006
Mixed Media

111 x 295 x 59 ins

Disponível em:

http://www.saatchi-gallery.co.uk/artists/artpages/ryan_trecartin_world_back.htm'

'Structuring his art practice in the same way as a director approaches film making, Ryan Trecartin’s sculptural and installation work incorporates a cast of dozens. Conceiving each show as an experiment in theatrical production, Trecartin conceives loose plots as a basis for collaborative endeavour. Working with a posse of his close mates, Trecartin delegates responsibility: inviting his friends to participate in the creative process, respond to his ideas, and contribute their own input and artwork. Through this unorthodox way of working, Trecartin’s work becomes an uncanny reflection of youth culture, presenting a Gen Y zeitgeist of commodity anxiety, spiritual nihilism, and community value.

Trecartin is currently living in LA as a hurricane Katrina refugee; World Wall was conceived as a form of disaster therapy. Working with fellow artist Lizzie Fitch, the project was begun as a simple wooden fence. Enhanced through a series of Mardi Gras float making techniques, this work evolved into a diaristic tribute to New Orleans, a means of engaging with dislocation and loss. Conceived as both a location and living organism, World Wall sprawls with animistic fervour, a seething monument of chaos, festivity, rebirth, and beauty. Through the window, a picture can be seen of the ruins of Trecartin’s old house.'

Ainda:
http://www.nytimes.com/2009/02/01/arts/design/01kenn.html

[] JIANG HONG CHEN - ilustração infantil

Illustrad by Jing Hong Chen
Susie Morgenstern
2006/2008

http://www.youtube.com/watch?v=n-t9rWDWtns&NR=1

Bamboo, Mixed Media, 2008

Lotus, Mixed Media, 2009

Ainda:

http://www.tamenaga.com/tamenaga.html


http://eventful.com/paris/events/chen-jianghong-/E0-001-023488505-6

http://www.123people.com/ext/frm?ti=personensuche%20telefonbuch&search_term=jiang%20hong%20chen&search_country=FR&st=suche%20nach%20personen&target_url=http%3A%2F%2Flrd.yahooapis.com%2F_ylc%3DX3oDMTVnNzE5cHAwBF9TAzIwMjMxNTI3MDIEYXBwaWQDc1k3Wlo2clYzNEhSZm5ZdGVmcmkzRUx4VG5makpERG5QOWVKV1NGSkJHcTJ1V1dFa0xVdm5IYnNBeUNyVkd5Y2REVElUX2tlBGNsaWVudANib3NzBHNlcnZpY2UDQk9TUwRzbGsDdGl0bGUEc3JjcHZpZANuNjBmZDJLSWNycXB2VXRCTFFUZzV0Q1VXODV4b2tya0IuRUFEUnhT%2FSIG%3D113hqnbt3%2F**http%253A%2F%2Fwww.artactif.com%2Fchenjh&section=image&wrt_id=280

[] minta & the brook trout

http://virb.com/minta/audio/albums/97837

[] Laurent Grasso THE HORN PERSPECTIVE

Isabelle Danto, June 15, 2009
http://www.egodesign.ca/en/article.php?article_id=484&page=2

[] Paula Rego

[] The red Sun . Le soleil rouge . Calder

(1965). Lithograph, composition (irreg.): 20 5/16 x 27 5/16" (51.6 x 69.4 cm); sheet: 21 15/16 x 31 7/8" (55.7 x 81 cm). John B. Turner Fund.

Disponível em:
http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A922&page_number=49&template_id=1&sort_order=1

Calder . Untitle

1932. Ink on paper, 10 1/4 x 30 1/8" (26 x 76.5 cm). Nina and Gordon Bunshaft Bequest.

Disponível em:
http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A922&page_number=18&template_id=1&sort_order=1

[] Many . Calder

1931. Ink on paper, 19 5/8 x 25 1/2" (49.7 x 64.8 cm). Gift of Mr. and Mrs. Klaus G. Perls.


Disponível em : http://www.moma.org/collection/object.php?object_id=33553

[] The Catch II . Calder

1932. Ink on paper, 19 1/8 x 14 1/8" (48.4 x 35.8 cm). Gift of Mr. and Mrs. Peter A. Rübel.

Disponível em: http://www.moma.org/collection/object.php?object_id=33553

[] Calder . A Universe

1934. Painted iron pipe, steel wire, motor, and wood with string, Overall: 40 1/2 x 30" (102.9 x 76.2 cm). Gift of Abby Aldrich Rockefeller (by exchange).
Alexander Calder (American, 1898-1976)

"Just as one can compose colors, or forms, so one can compose motions," Calder stated shortly before making this work. One of Calder's first mechanized mobiles, A Universe presents his abstract vision of the cosmos. A small red sphere and a larger white one suggest planets and move along curved wire paths at different speeds, completing a full cycle in forty minutes. Calder constructed a motor that propelled the spheres' movements, using his training as a mechanical engineer.

Reflecting on his work of this period, Calder commented, "At that time and practically ever since, the underlying form in my work has been the system of the universe." His personal fascination with the solar system was part of a wider phenomenon, prompted in part by the discovery of Pluto in 1930. Calder's interest in astronomy and physics was not one-sided, however. When A Universe was first exhibited at the Museum, Albert Einstein reportedly stood transfixed in front of its slowly moving orbs for the entire forty–minute cycle''.

Disponível em: http://www.moma.org/collection/object.php?object_id=81054

[] Untitled (L'apocalypse) plate 1 Stanley William Hayter

Artist: Stanley William Hayter
(British: 1901-1988) (Biography)
Year: 1930
Medium: engraving and drypoint
Dimensions: 11-11/16 x 8-3/8" platemark
Signature: pencil, lower right
Edition Size: 18/60
Annotations: editioned in pencil
Reference: Black and Moorhead 49
Paper: antique-white wove Arches JB
State: iii/iii
Publisher: Editions Jeanne Bucher, Paris, May 1932
Pric

Comments: The 1st of 6 plates included in the portfolio "L'apocalypse", a surrealist collaboration between the artist, who had done the prints as unique works, and the author, George Hugnot, who wrote the text in response to the prints rather than the other way around. They were published by Editions Jeanne Bucher in Paris, 1932.

Disponível em: http://www.annexgalleries.com/cgi-bin/gallery.cgi?Stanley-William-Hayter++16231

[] Metamorphosis of Love (Faust's Metamorphosis) Stanley William Hayter

Metamorphosis of Love (Faust's Metamorphosis)

Stanley William Hayter

Details

Artist: Stanley William Hayter
(Eng./French: 1901-1988) (Biography)
Year: 1931-2
Medium: engraving and mezzotint
Dimensions: 5-7/8 x 4-1/4" pm
Signature: unsigned
Edition Size: proof edition of 5, outside editions totalling 137
Annotations: title in lower margin in unknown hand
Reference: B&M 60
Paper: cream Edita Prioux laid paper
State: unrecorded between ii and iii with light mezzotint
Publisher: New Review Editions, Fontenay-aux-Roses, Paris

Comments: done for a collection of poems by George Reavey with 6 engravings by Hayter, May 1932. Dedicated to Thomas McGreery.

Disponível em: http://www.annexgalleries.com/cgi-bin/gallery.cgi?Stanley-William-Hayter++13848

[] Le combat . Hayter

Title:

Combat

Artist:

Hayter, Stanley William (1901 - 1988)

Date: 1936 Movement: Surrealism Theme: Battle Scene Technique: Engraving Museum: Museum of Fine Arts Location: Boston, MA, USA
Description: Technique: Engraving and soft ground (textile) etching, and scorper, Size: 39.7 x 48.8 cm

Unique URL: http://www.terminartors.com/hayter-stanley-william/combat-1009695-p



Artist: Stanley William Hayter
(British: 1901-1988) (Biography)
Year: 1936
Medium: engraving, scorper and soft-ground etching
Dimensions: 15-13/16 x 19-1/2" platemark
Signature: pencil, lower right
Edition Size: 7/30
Annotations: pencil titled, dated and editioned
Reference: Black & Moorhead 102
Paper: heavy, antique white Kochi
State: x/x
Publisher: artist at Atelier 17

Comments: Often illustrated as a classic Surrealist print, Combat was done as a response to the Spanish Civil War and has a kinship with Picasso's Guernica, done a year later. The plates, state proofs and drawings for Combat are at the Brooklyn Museum. A full description of the creation of this print is in Black & Moorhead, pages 48-53. "Combat" is illustrated on page 33, figure 10 in the British Museum catalogue The American Scene / Prints from Hopper to Pollak, Stephen Coppel, 2008

Disponível em: http://www.annexgalleries.com/cgi-bin/gallery.cgi?Stanley-William-Hayter++16195

[] Up Over the Horizon . Calder

Title:

Up Over the Horizon

Artist:

Calder, Alexander (1898 - 1976)

Date: 1931 Movement: Surrealism Theme: Abstract Technique: Pen and ink Museum: Hirshhorn Museum and Sculpture Garden Location: Washington, DC, USA
Description: Material: paper, Size: 50 x 65.2 cm,

Unique URL: http://www.terminartors.com/calder-alexander/up-over-the-horizon-1012021-p

[] The Circus . Calder

Title:

The Circus

Artist:

Calder, Alexander (1898 - 1976)

Date: 1932 Movement: Surrealism Theme: Genre Technique: Pen and ink Museum: National Gallery of Art Location: Washington, DC, USA
Description: Supplement of technique: pen and black ink on wove paper, Size: overall: 51.4 x 74.3 cm

Unique URL: http://www.terminartors.com/calder-alexander/the-circus-1012058-p

[] Cowboy and Rope Ladder . Calder

Title:

Cowboy and Rope Ladder

Artist:

Calder, Alexander (1898 - 1976)

Date: 1932 Movement: Surrealism Theme: Genre Technique: Pen and ink Museum: Museum of Modern Art Location: New York, NY, USA
Description: Material: paper, Size: 48.3 x 35.7 cm,

Unique URL: http://www.terminartors.com/calder-alexander/cowboy-and-rope-ladder-1012056-p

[] Calder, Alexander - Circus Interior

Title:

Circus Interior

Artist:

Calder, Alexander (1898 - 1976)

Date: 1932 Movement: Surrealism Theme: Architecture Technique: Pen and ink Museum: Museum of Modern Art Location: New York, NY, USA
Description: Material: paper, Size: 48.1 x 35.5 cm

Disponível em: http://www.terminartors.com/calder-alexander/circus-interior-1012055-p

[] Hayter, Stanley William - Cirque Hayter, Stanley William - Cirque

Date: 1933 Movement: Surrealism Theme: Abstract Technique: Engraving Museum: Indianapolis Museum of Art Location: Indianapolis, IN, USA
Description: Technique: engraving and mezzotint, Size: 11 3/4 x 15 1/2 in. (sheet)

Disponível em: nique URL: http://www.terminartors.com/hayter-stanley-william/cirque-1009690-p

[] Firekites AUTUMN STORY - chalk animation

[] Coisas animadas . de brincar

Disponível: http://lojaquer.blogspot.com/

[] My Favourite Things

http://vimeo.com/5177243

[] Diane Borsato

'Wondering How Long He Can Keep Up the World

Video
Mississauga, Ontario, 2005

Description

I came across a soccer ball designed to look like a globe. My father is an avid soccer player and fan. I asked him to perform for a video – to see how long he could keep the ball up in the air by “juggling” it with his knees, feet and head.

In the video we are heard negotiating everything from the terms of the performance art to international relations. I pushed him relentlessly to continue “keeping up the world”, until he quit, exhausted and dripping with sweat.

The video was shot in my parents’ Mississauga, Ontario driveway in 2005.'

'Artifacts in my Mouth

Performance/ intervention and photographs
Ste. Hyacinthe, Québec, 2003

Description

I was given permission to put museum artifacts in my mouth. I opened the vitrines with the technician, and was allowed to experience the objects, with my tongue, lips, and sense of smell. I was permitted to put a peacock’s head, an Egyptian statuette, a lasso, an unknown bone, and a model of the moon into my mouth for a brief period.

The work was enacted at the Museum of Ste. Hyacinthe in Ste. Hyacinthe, Quebec in 2003.'

Disponível em:

http://dianeborsato.net/

http://www.christofmigone.com/html/links.html

[] Ciclo de cinema/ ambiente

Ciclo Cinema & Ambiente

2009-09-04 17:40:26

'Em colaboração com a Cinemateca Portuguesa, o Programa Gulbenkian Ambiente vai apresentar no dia 15 de Setembro, terça-feira, às 21h30, na Cinemateca, a primeira sessão do ciclo Cinema & Ambiente, com o filme Safe, de Todd Haynes. O objectivo deste ciclo de cinema é motivar uma discussão alargada com o público sobre a temática ambiental, contando para isso com o contributo de personalidades públicas de áreas diversas, convidadas para comentar os filmes.

Realizado em 1995, Safe conta a história de Carol White, que desenvolve uma doença ambiental inexplicável, criando alergias a todo o tipo de químicos do quotidiano. Acaba por lhe ser diagnosticada a “doença do século XX”. Após a projecção, Teresa Gouveia irá lançar o debate a partir deste filme, que questiona o ambiente artificial em que vivemos.

A segunda sessão do ciclo, comentada por Inês Pedrosa, realiza-se a 13 de Outubro com o filme alemão Die Wolke (“A Nuvem”), de Gregor Schnitzler, 2006, em que dois jovens vivem uma relação amorosa no contexto de um acidente nuclear perto de Frankfurt que lança o pânico no país.

As sessões do ciclo Cinema & Ambiente são todas de entrada livre e realizam-se mensalmente na Cinemateca.

10 Nov, 21h30: Medicine Man (“Os Últimos Dias do Paraíso”), de John McTiernan, 1992. Comentado por Susana Fonseca

15 Dez, 21h30: The Trigger Effect (“Efeitos na Escuridão”), de David Koepp, 1996. Convidado a anunciar

12 Jan, 21h30: Five, de Arch Oboler, 1951. Convidado a anunciar

9 Fev, 21h30: Soylent Green (“À Beira do Fim”), de Richard Fleischer, 1973. Convidado a anunciar

9 Março, 21h30: Into the Wild (“O Lado Selvagem”), de Sean Penn, 2007. Comentado por Paula Moura Pinheiro

13 Abril, 21h30: Les Glaneurs et la Glaneuse (“Os Respigadores e a Respigadora”), de Agnès Varda, 2001. Comentado por Helena Roseta

11 Maio, 21h30: Wind across the Everglades (“A Floresta Interdita”), de Nicholas Ray, 1958. Convidado a anunciar

8 Junho, 21h30: Le Monde du Silence, de Jacques-Yves Cousteau e Louis Malle, 1956. Convidado a anunciar

O ciclo Cinema & Ambiente termina no dia 13 de Julho com o filme The Happening (“O Acontecimento”), realizado por M. Night Shyamalan em 2008, numa sessão comentada por Viriato Soromenho-Marques, Coordenador Científico do Programa Gulbenkian Ambiente'.

Disponível em: http://www.gulbenkian.pt/index.php?object=101&blog=87&secId=88&articleId=1996

[] 'altermodernism' - Manifesto - Bourriaud . Tate Trienal

Altermodern – Manifesto

Travel, cultural exchanges and examination of history are not merely fashionable themes, but markers of a profound evolution in our vision of the world and our way of inhabiting it.

More generally, our globalised perception calls for new types of representation: our daily lives are played out against a more enormous backdrop than ever before, and depend now on trans-national entities, short or long-distance journeys in a chaotic and teeming universe.

Many signs suggest that the historical period defined by postmodernism is coming to an end: multiculturalism and the discourse of identity is being overtaken by a planetary movement of creolisation; cultural relativism and deconstruction, substituted for modernist universalism, give us no weapons against the twofold threat of uniformity and mass culture and traditionalist, far-right, withdrawal.

The times seem propitious for the recomposition of a modernity in the present, reconfigured according to the specific context within which we live – crucially in the age of globalisation – understood in its economic, political and cultural aspects: an altermodernity.

If twentieth-century modernism was above all a western cultural phenomenon, altermodernity arises out of planetary negotiations, discussions between agents from different cultures. Stripped of a centre, it can only be polyglot. Altermodernity is characterised by translation, unlike the modernism of the twentieth century which spoke the abstract language of the colonial west, and postmodernism, which encloses artistic phenomena in origins and identities.

We are entering the era of universal subtitling, of generalised dubbing. Today’s art explores the bonds that text and image weave between themselves. Artists traverse a cultural landscape saturated with signs, creating new pathways between multiple formats of expression and communication.

The artist becomes ‘homo viator’, the prototype of the contemporary traveller whose passage through signs and formats refers to a contemporary experience of mobility, travel and transpassing. This evolution can be seen in the way works are made: a new type of form is appearing, the journey-form, made of lines drawn both in space and time, materialising trajectories rather than destinations. The form of the work expresses a course, a wandering, rather than a fixed space-time.

Altermodern art is thus read as a hypertext; artists translate and transcode information from one format to another, and wander in geography as well as in history. This gives rise to practices which might be referred to as ‘time-specific’, in response to the ‘site-specific’ work of the 1960s. Flight-lines, translation programmes and chains of heterogeneous elements articulate each other. Our universe becomes a territory all dimensions of which may be travelled both in time and space.

The Tate Triennial 2009 presents itself as a collective discussion around this hypothesis of the end of postmodernism, and the emergence of a global altermodernity.

Nicolas Bourriaud

Disponível em:

http://blog.tate.org.uk/turnerprize2008/?p=74

[] Lyon Biennale . "Le spectacle du quotidien" . Hou Hanru

Le Spectacle du quotidien, par Hou Hanru
by biennaledelyon

'Nous vivons dans la société du spectacle. Malgré les effets aliénants qu'elle a sur notre vie et sur nos liens sociaux, elle est une des conditions les plus fondamentales de notre existence. Nous percevons le monde et communiquons entre nous par le spectacle -un système de production et de représentation d'images dominé par la logique du capitalisme de marché, qui tend à "développer" nos facultés de perception, d'imagination et de réflexion afin d'en faire un "modèle unidimensionnel" formaté par le langage de l'idéologie consumériste. C'est également la condition tout à fait contemporaine de notre auto-identification et de l'ordre social "garanti" par la structure du pouvoir établi. En tant que typologie de base des évènements artistiques et culturels de notre époque, les biennales d'art contemporain sont sans aucun doute la forme ultime d'expression de cette tendance.

Cependant, alors qu'il n'existe plus de "dehors" pour cette société du spectacle à l'âge de la globalisation ou de l'"empire global" (Antonio Negri et Michael Hardt), reste la nécessité d'un engagement critique et d'une négociation subversive avec cette condition de "non-dehors". C'est ici, en s'engageant de cette façon, que l'art et la culture contemporains peuvent retrouver leur rôle social de force critique et de voie permettant à l'imagination de faire des propositions pour un avenir meilleur.
Comme l'ordre social, économique et politique ainsi que la structure intellectuelle, artistique et culturelle qu'impose la société du spectacle sont apparemment invincibles, il existe une urgence absolue et un besoin permanent pour les mondes de l'art et de la culture: il leur faut trouver de nouvelles visions et de nouvelles stratégies qui ouvriront sur des idées et des solutions différentes et alternatives pour l'avenir du monde. Celles-ci devraient être diverses, complexes, toujours changeantes et ouvertes à toutes sortes d'incertitudes et de potentialités qui iraient à l'encontre de l'immuable, du réductionnisme et du contrôle de l'ordre établi. Le domaine de la vie de tous les jours, ou encore "le quotidien", est certainement l'espace le plus ouvert et le plus efficace dans lequel, du fait de l'"altermondialisme" - la tendance globale d'activisme social et d'initiatives indépendantes pour la construction d'un monde nouveau, qui irait du bas vers le haut, et beaucoup plus juste -, il est possible d'imaginer et de proposer de manière très créative des idées et une vision neuves tout en encourageant énergiquement une mobilisation sociale réclamant davantage de liberté et une communauté d'intérêts plus large. Comme l'a remarqué Michel de Certeau il y a deux décennies, la (ré)invention de la vie de tous les jours - "le quotidien", ou l'ordinaire -, grâce à des usages différenciés des "jeux" avec nos objets, nos comportements et nos modes de pratique quotidiens, nous permettra d'obtenir davantage de liberté dans nos négociations avec l'ordre établi. En fait nous sommes aujourd'hui témoins de la naissance d'un ordre nouveau qui mène la structure globale de la communication humaine et des activités économiques, sociales et politiques au-delà de la structure unidimensionnelle du pouvoir. De plus en plus, nous embrassons un monde reconstruit sur la complexité, qui mêle des modes d'organisation et de circulation vertébraux et cellulaires, verticaux et horizontaux, distants et proches. Comme l'a dit Arjun Appadurai, il s'agit d'un processus de globalisation venu de la base. Les changements de nos pratiques de vie quotidiennes, ou leurs réinventions, sont les aspects les plus cruciaux de la fondation de cet ordre nouveau. C'est également le contexte le plus stimulant dans lequel l'art contemporain peut évoluer et obtenir une nouvelle pertinence. À l'époque de la globalisation, il ne suffit pas que l'art contemporain soit devenu un phénomène spectaculaire accepté par presque tout le monde sur notre planète. Il est plus important encore de montrer que les artistes et les communautés artistiques des différentes régions du monde partagent de plus en plus des savoirs et des stratégies communes leur permettant de se réinventer par des engagements dans le domaine de la vie quotidienne. Par magie, les artistes, en nombre toujours plus grand, transforment l'ordinaire en formes, significations et usages nouveaux tandis que les mobilisations collectives et innovantes viennent agir au premier plan en tant que structure plus démocratique des pratiques artistiques et de leurs fonctions sociales. Ils sont au cœur de la scène globale - artistique et culturelle - d'aujourd'hui. Du fait de leurs modes intenses de présentation et de promotion de ces initiatives à l'aide des outils les plus efficaces, y compris les évènements spectaculaires que sont les biennales internationales, les pratiques véritablement innovantes et pertinentes de l'art contemporain auront droit à plus de visibilité et nous aideront à construire un nouvel espace réellement public pour notre époque.
Après 20 ans d'existence et de croissance, la Biennale de Lyon doit faire face à un nouveau challenge afin de se réinventer. En explorant et en présentant la nouvelle tendance de la scène artistique globale, où tous s'efforcent ensemble de réinventer l'ordinaire pour en faire quelque chose de spectaculaire et d'unique, ou encore de produire une nouvelle multitude d'expressions de la diversité, de la complexité et de l'interactivité, la Biennale trouvera certainement une nouvelle jeunesse. Et c'est là la meilleure recette pour affronter la crise dans laquelle le monde entier est aujourd'hui plongé...
Le Spectacle du Quotidien change fondamentalement et le spectacle et le quotidien!

Hou Hanru,
commissaire, Biennale de Lyon 2009'

Commissaire
Hou Hanru
Directeur artistique
Thierry Raspail
Régisseur artistique général Thierry Prat

hierry Raspail

Directeur artistique de la Biennale de Lyon



L'everyday's life, en art, est né dans les années 50, avec le Silence de John Cage, entre côte Est et côte Ouest, avec G. Brecht, A. Kaprow, avec A. Halprin, R. Rauschenberg et la Judson Dance, avec T. Riley et la Monte aussi, et Maciunas. C'était il y a longtemps.


Thierry Raspail
Directeur artistique de la Biennale de Lyon

' Le spectacle, en Occident est né avec les grecs et la tragédie ; la Renaissance en a fait une perspective et les Situs une idéologie. C'était il y a longtemps.
Spectacle et Quotidien rythment la vie civile depuis toujours, mais sont aujourd'hui les enjeux majeurs d'une pratique artistique globalisée, dans laquelle s'échangent, s'affrontent, se contredisent et se retournent les signifiants.
Le succès fulgurant des Biennales dans les années 90, et leur imprégnation à l'échelle de la planète, ont paradoxalement contribué à l'aplanissement des particularismes, des isthmes et des archipels (E. Glissant), à l'érosion des procès de filiation et de transmission. Aujourd'hui, en deçà des échanges marchands, des enjeux esthétiques, des syndromes d'universalité et de relativisme, des problématiques de centre et de périphérie, des conflits d'ères culturelles et des rapports de force en tout genre (gender), la question du quotidien (« l'art et la vie ») reste centrale. Le Spectacle en est son extension économique, son atour et sa crainte. Et d'une certaine manière son incarnation.
Par conséquent, aujourd'hui (today's life), quel temps et récit (Paul Ricoeur) construire sinon celui du spectacle du quotidien ?
C'est le titre de la Xe Biennale de Lyon'.




Disponível em:
http://www.biennaledelyon.com/artcontemporain2009/ledition-de-la-biennale_dart_contemporain/