Le territoire des sens

Roberto Calbucci

noreply@blogger.com (AADB) — Sun, 08 Nov 2009 20:55:00 +0000

Imaginaire shématique.
Shematic imaginary.

Sources: Lost at e minor, Roberto Calbucci

David Foessel

noreply@blogger.com (AADB) — Sun, 08 Nov 2009 20:47:00 +0000

Détails d'espace.
Details of space.

Sources: PYTR75, David Foessel

Fred Lebain

noreply@blogger.com (AADB) — Sun, 08 Nov 2009 20:32:00 +0000

Image et réalité.
Image and reality.

Sources: Today & Tomorrow, Fred Lebain

Mark Bradford

noreply@blogger.com (AADB) — Sat, 31 Oct 2009 18:46:00 +0000

Mark Bradford, Game Recognize Game, Mixed media and paper collage, 2004

Mark Bradford, Black venus, mix media collage, 2005

Mark Bradford, Temporary, mix media collage and string, 2005

Mark Bradford, Temporary, detail, mix media collage and string, 2005

Mark Bradford, Grace & Measure, mix media collage on canevas, 2005

La ville en procédés mixtes.
Mix media city.

Sources: But does it float, Art : 21

Gelitin

noreply@blogger.com (AADB) — Sun, 25 Oct 2009 18:28:00 +0000

Gelitin, Klunk Garden, 2009.

Gelitin, Klunk Garden, 2009.

Jardin humain.
Human garden.

Sources: Vvork, Gelitin

Vincent Mauger

noreply@blogger.com (AADB) — Sun, 25 Oct 2009 18:15:00 +0000

Vincent Mauger, sans titre, polystyrène, 2009

Vincent Mauger, sans titre, tubes PVC, 2007

Vincent Mauger, sans titre, plaques de mélaminé, 2006

Vincent Mauger, sans titre, bois, mélaminé, 2006

Vincent Mauger, sans titre, parpaings, 2009

Espace mathématique.
Mathematical space.

Sources: Pan-Dan, Galerie LHK

Marc Augé sur notre rapport au monde et à l'espace

noreply@blogger.com (Andrée-Anne Dupuis-Bourret) — Sun, 25 Oct 2009 18:08:00 +0000

«Nous vivons dans un monde que nous n’avons pas encore appris à regarder. Il nous faut réapprendre à penser l’espace.»

Augé, Marc. (1992) Non-lieux, Introduction à une anthropologie de la surmodernité. Paris : Seuil, p.48

Marc Augé sur la notion de sens

noreply@blogger.com (Andrée-Anne Dupuis-Bourret) — Sun, 25 Oct 2009 18:01:00 +0000

« Ce qui est nouveau, ce n’est pas que le monde n’ait pas, ou peu, ou moins de sens, c’est que nous éprouvions explicitement et intensément le besoin quotidien de lui en donner un : de donner un sens au monde, non à tel village ou à tel lignage. Ce besoin de donner un sens au présent, sinon au passé, c'est la rançon de la surabondance évènementielle qui correspond à une situation que nous pourrions dire de « surmodernité » pour rendre compte de sa modalité essentielle : l’excès. »

Augé, Marc. (1992) Non-lieux, Introduction à une anthropologie de la surmodernité. Paris : Seuil, p.41-42

Thomas Hillier : The Emperor's Castle

noreply@blogger.com (AADB) — Thu, 22 Oct 2009 02:38:00 +0000

Thomas Hillier, The Emperor's Castle

Thomas Hillier, The Emperor's Castle

Thomas Hillier, The Emperor's Castle

Thomas Hillier, The Emperor's Castle

Thomas Hillier, The Emperor's Castle

Thomas Hillier, The Emperor's Castle

Thomas Hillier, The Emperor's Castle

« For his student thesis project at the Bartlett School of Architecture, Thomas Hillier produced an immersive narrative world, complete with origami-filled hand-cut book pages and an elaborate model of the story's architectural landscape. Hillier's project was called The Emperor's Castle and it was inspired by the work of Japanese printmaker Hiroshige. » BLDG

Un monde de papier.
Paper world.

Sources: BLDG, Flickr set

Peter Kogler

noreply@blogger.com (AADB) — Wed, 14 Oct 2009 01:12:00 +0000

Peter Kogler, Mumok, Wien, 2008

Peter Kogler, Museu Coleccao Berardo, Lissabon, 2009

Peter Kogler, Museu Coleccao Berardo, Lissabon, 2009

Peter Kogler, Galerie Mezzanin, Wien, 2007

Lieu psychique.
Psychic space.

Source: Peter Kogler

Kilian Rüthemann

noreply@blogger.com (AADB) — Wed, 14 Oct 2009 00:54:00 +0000

Kilian Rüthemann, Masse Critique, 2008

Kilian Rüthemann, Masse Critique, 2008

Kilian Rüthemann, Masse Critique, 2008

Kilian Rüthemann, Masse Critique, 2008

Gratter la surface.
Surface scraped.

Sources: Today&Tomorrow, Kilian Rüthemann

Abigail Reynolds

noreply@blogger.com (AADB) — Wed, 07 Oct 2009 19:52:00 +0000

Abigail Reynolds, The Music Room (2009) 49 x 29.5 cm, Cut and tiled book plates

Abigail Reynolds, Centrepoint (2008) with detail from side 25 x 18 cm, Cut and tiled book plates

Abigail Reynolds, Great Court (2008), 28 x 23 cm Cut and tiled book plates

Photographies pliées.
Folded photographs

Sources: Today & Tomorrow, Abigail Reynolds

Danny Wills

noreply@blogger.com (AADB) — Wed, 07 Oct 2009 19:28:00 +0000

Danny Wills, Analog vs digital, 2008

Danny Wills, Analog vs digital, 2008

Deux images.
Two images.

Sources: Of paper and things, Danny Wills

Tara Donovan

noreply@blogger.com (Andrée-Anne Dupuis-Bourret) — Wed, 07 Oct 2009 18:57:00 +0000

Tara Donovan, Untitled, 2003, Styrofoam Cups, Hot Glue, Dimensions Variable, Ace Gallery Los Angeles, 2005

Tara Donovan, Untitled, 2003, Styrofoam Cups, Hot Glue, Dimensions Variable, Ace Gallery Los Angeles, 2005

Tara Donovan, Haze, 2003, Stacked Clear Plastic Drinking Straws, 12' 7"(H) x 42' 2"(W) 7 3/4"(D), Ace Gallery New York

Tara Donovan, Haze, 2003, Stacked Clear Plastic Drinking Straws, 12' 7"(H) x 42' 2"(W) 7 3/4"(D), Ace Gallery New York

Paysage de plastique.
Plastic landscape.

Source: Ace Gallery

Robin Rhode and Leif Ove Andsnes

noreply@blogger.com (AADB) — Thu, 01 Oct 2009 00:27:00 +0000

Digital animation © Robin Rhode, Promenade (Still), 2008/2009, Visual component for Pictures Reframed.

Digital animation © Robin Rhode, Promenade (Still), 2008/2009, Visual component for Pictures Reframed.

Digital animation © Robin Rhode, Promenade (Still), 2008/2009, Visual component for Pictures Reframed.

Digital animation © Robin Rhode, Promenade (Still), 2008/2009, Visual component for Pictures Reframed.

Digital animation © Robin Rhode, Promenade (Still), 2008/2009, Visual component for Pictures Reframed.

Leif Ove Andsnes and Robin Rhode, Pictures Reframed (Performance Documentation), 2009
Risør Festival of Chamber Music, Risør, Norway, Image courtesy of EMI Classics and Perry Rubenstein Gallery, New York // © NRK

Digital animation © Robin Rhode, Promenade (Still), 2008/2009, Visual component for Pictures Reframed.

Piano et dessin.
Piano and drawing.

« These two artists will join forces for the first time and we believe that the result will be simply striking as the two original exceptional artists will outperform their selves - South African-born, Berlin-based visual artist Robin Rhode and multiple Grammy Award-winning Norwegian pianist Leif Ove Andsnes who is represented by EMI — will collaborate on Mussorgsky’s epic piano suite Pictures at an Exhibition. Leif Ove will be performing the piano recital, while Rhode has made a series of films that are to be are projected on screens behind the piano in an attempt to recreate the experience of looking at paintings while listening to Mussorgsky’s epic piano suite. » Marcia Argyriades for Yatzer

Sources: Picture Reframed, Yatzer, Of paper and thing

Dominic Wilcox

noreply@blogger.com (AADB) — Thu, 01 Oct 2009 00:19:00 +0000

Dominic Wilcox, Feild, As part of the London Design Festival, Dominic Wilcox has created a field from 400 eco-friendly shoes. Sponsored by Terra Plana, the ethical shoe company, Wilcox has applied a touch of magic to the shoe laces as they rise up in unison and grow towards the window's light.

Jardin de souliers.
Shoe garden.

Sources: Dominic Wilcox, Abigail Doan

David Burdeny

noreply@blogger.com (AADB) — Thu, 01 Oct 2009 00:05:00 +0000

David Burdeny, Mercators Projection, Antarctica 2007

David Burdeny, Blue Monday, Antarctica 2007

David Burdeny, Tabulars in Hope Bay, Antarctica 2007

David Burdeny, Gilkey Glacier #3, Alaska 2008

David Burdeny, Pack Ice, Weddell Sea, Antartica 2007

Paysage gelé.
Frozen landscape.

Source: Young Gallery

Georges Mathieu

noreply@blogger.com (AADB) — Wed, 30 Sep 2009 22:25:00 +0000

Juste une image...
Just an image...

Georges Mathieu sur Wikipédia

Tviga

noreply@blogger.com (AADB) — Sun, 27 Sep 2009 14:17:00 +0000

Tviga, soundstills 0.00002

Tviga, soundstills 0.00002

Tviga, soundstills 0.00002

« For this body of work I went to an English wood to record different ’natural’ sounds, the ones unique to that landscape. Then I went to an equivalent location in my homeland, Russia and made 6 sculptural interpretations of the English sounds. These objects are manifestations of sound waves, and they float their tacit information in a similar, but very different landcsape. »

Tviga, soundstills 0.00001

«The white forms in these photographs are the sculptural manifestations of audio footage that was recorded along the border between Russia and Finland. Here the unique old-growth forests stand, The Green Belt of Fennoscandia. Recently these ancient trees are being logged for their valuable timber. There are only few remaining areas of ancient forest in Europe with the vast majority of the vanishing old-growth forests remaining are in the North of European Russia.

The soundwaves are actual objects, each is 6 metres high, reminiscent of the height of a tree, despite looking like digital intervention. I recorded them when the forest was still there. Then, when the trees had gone, I put the ‘sounds’ back to where they used to exist, sounds that look like trees that will never be heard again.»

Interprétations sonores de paysages.
Sound interpretations of landscapes.

Sources: Antitect, Tviga

Jim Gaylord

noreply@blogger.com (AADB) — Sun, 27 Sep 2009 12:32:00 +0000

Jim Gaylord, Should We Talk Above it Now?, oil on canvas, 40 x 62 in., 2006

Jim Gaylord, Blessing in Disguise, gouache on paper, 26 x 40 in., 2006

Jim Gaylord, Love WIll Tear Us Apart, gouache on paper, 22 x 30 in., 2007

Action dans le paysage.
Action in the landscape.

Sources: Antitect, Jim Gaylord

Alain Corbin sur les émotions du paysage

noreply@blogger.com (AADB) — Sun, 27 Sep 2009 12:24:00 +0000

« Le paysage est façon d’éprouver et d’apprécier l’espace. Or, cette lecture, qui varie selon les individus et les groupes, ne cesse de se modifier au fil du temps. Il faut donc prendre conscience de cette historicité quand on aborde le sujet. Ainsi, la manière de regarder s’est profondément transformée depuis la Renaissance. La notion de panorama, comme la mécanique du regard qui conditionne l’admiration sucitée par le jardin anglais, appartient à cette histoire. Mais le paysage ne se réduit pas à un spectacle. Le toucher, l’odorat et l’ouïe surtout, sont concernés par la saisie de l'espace. Tous les sens contribuent à construire les émotions que celui-ci procure. »

Corbin, Alain. (2001) L'homme dans le paysage, Paris: édition textuel, p.9

Alyson Shotz

noreply@blogger.com (AADB) — Sun, 27 Sep 2009 12:09:00 +0000

Alyson Shotz, The Shape of Space, 2004, cut plastic Fresnel lens sheets and staples, 175 x 456 inches

Alyson Shotz, Allusion of Gravity (detail), 2005, clear glass beads and steel wire, 108 x 96 x 156 inches

Alyson Shotz, The Structure of Light, 2008, silvered glass beads on stainless steel piano wire and aluminum, 120 x 216 x 120 inches

Alyson Shotz, Thread Drawing #3 (Wave), 2008, thread and pins on wall, 120 x 300 x 2 inches

Gravité lumineuse.
Luminous gravity.

Sources: PYTR 75, Derek Eller Gallery

Gerhard Richter

noreply@blogger.com (AADB) — Thu, 24 Sep 2009 23:58:00 +0000

Peinture et photographie; qu'en pensez-vous?
Painting and photography; what do you think about it?

Sources: But does it float, Gerhard Richter

Alain Corbin sur les représentations du monde

noreply@blogger.com (AADB) — Sun, 20 Sep 2009 00:44:00 +0000

« L’appréciation individuelle peut se référer à une lecture collective. Toute société a besoin de s’adapter au monde qui l’entoure. Pour ce faire, il lui faut continuellement fabriquer des représentations du milieu au sein duquel elle vit. »

Corbin, Alain. (2001) L'homme dans le paysage, Paris: édition textuel, p.12

Toba Khedoori

noreply@blogger.com (AADB) — Sun, 20 Sep 2009 00:35:00 +0000

Toba Khedoori - Untitled (doors) (1996)

Toba Khedoori - Untitled (dark windows) (2006)

Toba Khedoori - Untitled (seats) (1996)

Répétition de réalité.
Repetition of reality.

Sources: PYTR 75, but does it float