De nos quartiers. Dont je fais partie.
Les personnages sont en mouvement. Ils se racontent.
Je me demande. Peu importe.
ISBN 13: 9782343042985
Les personnages de Camille. Il est. Et nous lui feront jouer le jeu que nous souhaitons au sein de notre esprit en retour en tant que spectateur. Elle tisse ainsi un rapport. De lui parler.
Ni les acteurs, ni Camille, ni le spectateur. Tout peut basculer. Rien ne peut tomber. Il y a en Camargue de nombreuses libellules. Les adolescents, moi adolescente, il me reste des sensations de la sorte. Les acteurs ne sont pas de vrais acteurs. Et puis nous venons. Enfin, celui qui pense. Celui qui pense … Mais qui pense, Camille, lorsque les personnages arrivent? Il devient outil. Ils sont exceptionnels. Il y a des souvenirs qui collent. La Floride. Pour rien. The artist reading a hot and clunky story novel in her against day classically furnished living room is a humorous way -and post-post normcore- of advocating for normality, calling for serenity.
She plays down the distress of ordinariness. The reading aloud by the artist operates a deviation from the original story, it raises a barrier to the original text. Erotic writing is usually to create deeper corporal images: words can be stronger, more able to infuse the senses than most of the seen and reviewed images created by the patriarcal pornography. The projection and identification capacity we usually have as readers is traded off against a pupil passive position. This dispositive creates impatience -we are not used anymore to be read a book- but as soon as we let go, it actually rocks us.
She takes her time. She gives us to reconsider the usual duration an audience can allocate to a piece, to extend the time we have for lightheartedness. Bringing the deckchair in her living room until Christmas, she resurrects in her urbain house and in our screens the idleness of a lazy afternoon during summer breaks. She articulates the English words, does not try to hide her French -actually Swiss- accent, stumbles sometimes over a nominal group, she is home.
She reads at her own pace, moves sits from one shot to another showing then her domestic habits… One time, her hair is wet, as she just got out of her shower. In short, we are in her simple, calm, languorously daily intimacy. Through this contrast, a soft violence emanates from her series. In the whole collection of this book series, New Lovers - even though they are all written by women- there is this editorial slant of depicting strong women as being able to act sexually, with nonchalance; there are these elements we all would love to live back again -or for the first time- the fantasized but nonetheless culturally very well described new generation of women, behaving wildly wacky, the promotion of an unrestraint, reckless, fulfilling passions behavior….
In Fribourg, the anniversary of the death of St. He realizes his journey on a donkey, accompanied by the bogeymen and the fifers. Each year, the procession is performed identically, although the main participants have changed. By diverting them in a certain staging and working by collages, the va- rious works avoid postulating the relationship of fidelity to the traditional event as the axis around which the works are organized.
The collage aspect refers to the possibility for a whole to make sense thanks to its parts: here, the interest thus moves on the links between the various protagonists represented through the exhibition and the meaning given by their gathering. These games of re-arrange- ments cause movements of meaning and blur the different categories: are these protagonists those of the traditional event of the St.
Nicholas or of the exhibition in WallRiss? Is it a diversion of preparatory moments to the traditional event, or a collage of elements that already incorporate the intention to realize an exhibition? This opacity, which prevents us from determining the original event and the real intention, allows We Win or We Die II to thus permeate this abstract space which becomes here the basis for the possibility of the emergence of the event.
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But We Win or We Die II, by blurring the possibility of determining a clear inten- tion, fixes the works that compose it as the sole purpose. Thus, the exhibition does not propose an experience of a popular gathering in a new mediation offered by a space of contemporary art nor does it dramatize an event by reconstitution, but rather exceeds these first frames to im- pregnate a cognitive space underlying each collective rea- lization, and reminds us that the basis of any emergence is participation.
By integrating elements of reality into a new fiction, the works presented at the WallRiss participate together in a new narrative. By insisting on this storytelling, We Win or We Die II integrates a tradition of a speculative, personified retelling of history. Accept Baby is a winter show. It stages the nostalgic fiction of interiority.
Its imagination tends towards an irrational inversion. It draws a double as well as an impossible sorrow; like the passing of a desire, between creation and reception. It is a certain sadness: the belief of one having lost melancholy, when in fact it was only transferred on to the level of form.
The contemporary tries to find its reflection in a historical model that became so estranged, the values that result from it now appear infinitely reversible. The psychological concept of sublimation, in a distancing, became a model that allows everyone to articulate a relation to the artwork. The space will be tender, contemplative, elegant. Maison Samper, Montvalent Montvalent Festival. Montvalent est un petit village du Lot, la maison Samper est une maison vide de Montvalent.
Les partager les renforce. Le premier qui vint vers nous pour nous livrer un secret fut Marc Buchy. A propos du soleil. Il descendit il y a quelques temps dans un gouffre et y trouva un groupe de moines bouddhistes. Grotte artificielle. Elle joue pour nous raconter les personnes qu'elle rencontre. Pour le mieux, certainement. Action qui creuse les distances. Se mettre en mouvement ou rester. Rester pour?
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Il se pourrait qu'on y trouve des choses extraordinaires. And this combination, because I have asked Michael once, about how everything was going with Hans Joachim, and he told me: he always had this spherical sense. They were working together for two or three years, this was when they were Cluster, they once played at documenta in Kassel, we went to see them. We also held parties, Whitsunday parties, and once they played there on the stage back there on the lawn.
Mani is also a strange guy, they played often together and we held many Whitsunday parties here in Forst and a lot of music was played. And in the night, we really thought ourselves in Africa, with the music, it was really really beautiful. But he also went into the city once, because they didn't really have a livelihood, like Cluster for example. He never stopped making music, but his break-through came later In Achim's case it was exactly the same. I think it was meant to be this way, I think he also had to start fresh somewhere else, to express himself and his music in the way that he wished.
With his instruments in his living space, and from there he Michael is somebody who works very precisely. And very accurately, and concept-based and he overburdens himself often with his way of working, but that's just who he is.