PRESENTATION

Click on school presentation above to see video.

Zeus by Ojal

With our Professor of Art History Pierre Paliard we have them a hearing on the book: for a new political art of Dominica Baquet, reading this book I wanted to look at me one of the many reference of this book, this artist this prefecture Zeus.

Zeus is an artist who operates at night, masked trace it to the ground the shadow of lampposts, cars, objects urban quoi! having grown up in the streets of Paris he plays with it. Here’s what he says: The other night I hombre imprisoned in a Ferrari. My pleasure was multiplied by the risk-taking. But nobody has seen anything and I have committed a symbolic flight.
It comes from the middle of graffiti is a taguant he discovers a tunnel named after artist,
Zeus is the surname of the RER, which has failed crush that day.
It is a teroriste of artistic intervention in urban space.

(Love graffitis), Olympia is his lover

SIDI LARBI CHERKAOUI

  SIDI LARBI CHERKAOUI is a Belgian choreographer « en vogue » in Paris.

He is one of the main figures of current contemporary Dance ,

by the originality of his theatricals proposals , and his technical power.

This choreographer is sensitive about tradditionals forms or popular song and dance.

On the other hand , he has an incredible technical agility and a flexibility as impresives

as his lightness, wich almost separates him of the kingdom of men.

He uses tradditionals Italian arias of XIVe siecle, wich are interpreted in live.

These songs have particulary affected me and are perfectly appropriated for

dancers by a disturbing force (and power).

   At the crossroads of worlds , he mixes without taboo, references to religions

and art practices from elsewhere.

Born of a Flemish mother and a father of Morocco, its balets often refer to religion,

 but he uses also humor, harmony, hatred, love, oppositions, psychoanalysis and

 « metissages », and these are themes wich I’m sensitive and above all  while it’s so

goodly performed. ( or interpreted).

    Sidi Larbi Cherkaoui combines theatre, dance and song , all with an incredibly

boundless imagination, wich can’t leave us indifferent…  🙂

 

Aurélie.

A Trip Through Layered Paintings

In the south atlantic coast of France, in Nay, a huge artistic enterprise emerge from the desire of one man, Chahab TAYEFEH MOHADJER. He was born in Iran above 60 years ago. I came to France when he was young but went in London, Amsterdam and New York before. He studdy all around the world as a student ( in Aix en provence in the 70′ ) as a teacher.

His work is a true revelation, by the textures of paintings he express a luminous sensation of floating.

this is a link to the Minoterie his huge project. The aim is to create an independant art center, workshop (private and open) and an artotheque (about great artists like Duchamp, Dali, Cesar, Braque.. ) it’s really an powerful ambition.

to be continued…

arthur

ALAIN DECLERCQ

Alain Declercq was born in 1969
He lives and works in Paris and New York

End manipulator distortions narratives, Alain Declercq make-up objects in their injecting a new role to play on the art scene: sow doubt. It gives shape to the event, the films classified as confidential, blurs the tracks, moves between black and white. His docu-drama « Mike » it will be worth a search of the anti-terrorist brigade in 2005, projecting sharply in a reality breathtaking, so it looks like fiction… or is it the reverse? By pretending to be a forger of our current political, Alain Declercq burden our memories paranoïas sudden, his art acting as a developer.

The various power structures, forms of oppression and of contemporary security, handling the media are the heart of the concerns of the artist. Since the early 90’s, his job is to collect clues, cause micro-malfunctions or reverse situations to disrupt our representations of authority. If practice spinning, infiltration or investigation, it is better to explore different facets, without the humor or the grotesque some scenes not escape him. That is stationed in the street with a sign « Caution radar » to prevent motorists of the presence of a radar a few metres behind him or he uses a powerful mobile projector to illuminate the night, the facades private homes in a neighborhood of Montreal bourgeois, « Welcome Home Boss » is without net Alain Declercq acts directly on the ground, constantly pushing the limits of the social system, political and cultural. An intense artistic activity, which does not exclude the risk-taking and has its roots in the immediate reality.

Reza, Destins Crusaders: reporter photographer’s book by Julie

« Knowing the life of Reza, is get the key to understanding his work. Born 50 years ago in Iran, he quickly discovers a formidable weapon to defend freedom: journalism. In an era of dictatorships – that Shah’s first Islamist regime of then – it does no good to be rebellious. Reza knows the prison, torture, exile.
Since 1981, when he left the home country, he lives in the West. But regularly, he rebuilt his suitcase, screwed his goal and leaves the other hand, to those who live the struggle and pain. »

Thus begins the book « Destins Crusaders: reporter photographer’s book. »
 
  Reports photograph of Reza, international photographer, this book is one of the worst receuil that I could read.

Each photo is accompanied by a text more or less narrative and tragic Rachek Deghatti.
 
  Although this man I have known torture, imprisonment, exile I do not regard as a photographer reporter.
  Why by what one man has suffered should we bring him more recognition?
  This man has always bugged me at the highest point. Reza claims that he started his life as a photographer and « donor dreams imagined » since he was child and he chooses the image as a means of telling and dénnoncer.

  But …. none of his photographs are placed in context. That woman commented on his photos dramatizing the situtation to larmoyer in the cottages is one thing but putting a scene to me sphotographies repugnant.

This photo p82 included the following comment: « Afghanistant. Bothak Village. 15km to the east of Kabul. May 1993. » 5 shadows men roam the walls of a facade of a building in poor condition. Between mobres, where the sun passes, two machine guns.  »

  Cette mise en scene is easy for me and deceitful. Instead of taking a photograph on the strong positions it the shadow of two machine guns between them men.
  Maybe this photo is not a stupid games theatre director but did not play universal. It is not known where it is who he is. there are beautiful writing that it is afghanistant but two mitrailletes plastic, two mates and the wall of the corner just as well have been the case.

  I am not a photographer but what I gene in this collection is that apitoyement made on the lives of all those people. Being a war reporter, photographer or postpone any court is not to say photographing a misery or shit people of the country where the mission sent to us. It does not mean no longer try to show t’elle or t’elle thing sugérant always thanks to a photographic montage or to mount a novel photo melodramatic. Reza this of his photographs:
  « Beyond borders, cultural diversity, deadly wars, my images do not say the only sad fact of life mutilated.
If they are witnesses, they tend to show the smile behind the tears, the beauty behind the tragedy, life, stronger than death.

  This exhibition on the garden fence
Luxembourg, is the story of the family
human, our family.  »

  Here I want to scream. I am ok, these photographs, these events are part of human history, but why so many beautiful words? So larmoyements?
  We are obliged to cry before the tragedy of others …?
  How can one claim that a photograph of reportage am and our thanks to our photographer, truth, freedom, the strength of a man, the last soufle are dénnoncés in broad daylight?

  I do not understand this sort of claim hypocritical. Being a photographer, reporter, is something else …

ARNAUD LABELLE-ROJOUX // MAMAC, NICE (lionel)

« ON VA ENCORE MANGER FROID CE SOIR », 

in the contemporary gallery of the museum

 

I went to Nice, once again, to watch new exhibitions and especially in the little galleries, south of the city. In the gallery of the Contemporary and Modern Art Museum, Arnaud Labelle-Rojoux presented several recent works. His way to show his pictures, texts, collages or paintings on the walls sounds very 19°century, according to a principle of association of ideas and plays on words… 

Arnaud Labelle-Rojoux has been said as the spiritual son of Marcel Duchamp, but his work could be rather placed in the following of Fluxus movement. Infuenced by the « Nouveau Réalisme » (neo realism), Robert Rauschenberg or Andy Warhol, he progressively left artistical conventions to give more value to the creative intention, the creative gesture. Arnaud Labelle-Rojoux constantly asks the limits of contemporary art ; sometimes his work becomes very witty, even comic, but never lacks of seriousness. 

 

 

« Je pense parfois à cette scène inoubliable : le roi, au faîte de sa gloire, serrant contre lui sa petite chienne Nancy, qui médite sur l’écoeurante immoralité du pouvoir » (I sometimes think about this unforgottable scene : the king, on the top of his glory, stroking his little dog Nancy, who meditates on the disgusting immorality of the power). This sentence, written on the wall, shows the great passion developed by the artist for dogs (he has a large collection made of pictures of them), and in the same time his way to criticize the power and its place in society… 

 

I did enjoy this exhibition because it was short and because of the comments the artists adds to his works, paintings and so on. I really like his drawings and especially his way to remain concise and efficient in the critic. His puns often recall many references, from different origins : cinema, literature, history of art… His works made with expansive foam could be very funny, just like his personal version of Hulk, or his French-cancan dancer (we just see her legs in the middle of a giant foam dress…) !  

Utopic cut-up

The ship of utopic obeys to our expectations and our dreams. He evolves to failing the world, on the sea that submerge little and little. The child forget and refing in his challenge.

cut-up.

he grow the dating agency for the brunch apology carries away. Probationary poorly to do smacker firelight. Lifeblood earliest or the bounce casual dimly insult the bullshit fizzy of the north.

Shrill noise,
Smel of old grease drawer,
Bluish spark like the sea,
Little bits of hot iron which squirt in all the corners;
But where are we?

It’s often a bit like that when we go into the metal work-shop. After you see the Christ, Christ he’s always there. Little, staight and strong. He ‘s the boss – but a good boss. He’s a master. You can tell by his hand. They are like lobster claws. Clic clic clic -screw-blot-screw-blot-screw-blot …
For an art school, it’s a really interesting work-room because it’s equiped by a outfit of machines.
At the end of the week… It farts and it jams, it cuts and it twists. The shavings are transformed into a space-ship. Be careful. One can getright to the back of your eyes.
When I’m over there, I’m imagine I’m a worker. I Hear the bell for the break and the colleaue who says: »To work guy! ». The mechanic is virile. At the end of the days, I’m like a chimney sweep… The chimney sweep of lilas.
Sometimes, I think again about when I worked in industry. I see the workers who made a career. Sublime faces beaten by stress, sweet hearts anaesthezied by loans… For a child who skips class and an unsightly woman. A worker who works his whole life in indusr wins his place in paradise directly… It’ s the very least.

Granet Museum, exhibition of comic strips

I went in to the Granet museum to visit an exhibition of comic strips.

I’ve got a little bagage in the domain. I really appreciate the drawers like Marjane Satrapi and her Persepolis (famous now), Joan Sfar and his « carnet de voyage » (Ukulélé, Piano,…),- We know him because of his book « chat du rabbin » success in France-, Lewis Trondheim who was in the exhibtion with Binet (the bidouchon).
But also the americans : Art Spiegelmann (voir ci dessous), Alex Robinson « de mal en pis » (I don’t know the translation), David Burns, Daniel Clowes …

I like the cruelty of the glance , and the pessimism disengaged. Which is very specific in the Americain comic strip. So if you have the same reference, I think you will like my « coup de cœur ».
I discovered in the exhibition Guillaume Long, and his books « Comme des Sardines dans l’huile » « Les Sardines sont cuites ». He tells the story of his life, when he was a student in Art school, first and second year. I invite everybody to read it, because it’s similarity is very suprising. His approach is simple and funny, very caustic, very direct. He describes with sincerity his point of view about the school, the art, his life, his problems . The drawings reflect his tonality : simple but effective. I totally identify with him .
It’s very funny when he explains his point of view about the minimalism….
To read… MARIE FONTANEL