Christine Macel
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Image credit: Photo credit: Jean-Claude Planchet
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This was the souvenir book from the exhibition of women abstract artists that F and I went to in the Pompidou Centre in Paris last summer, listing more than fifty whose works were on display. Most of them are better known than Alice Essington Nelson; I said at the time that I’d have happily paid the entrance fee just to see Bridget Riley’s Tremor, not to mention Louise Bourgeois’ work.
The advantage of a book like this is that you can go back and have a longer look at some of the artists that tired feet maybe stopped you from properly appreciating in the exhibition. So for instance I picked up now on Marlow Moss, whose technique was ripped off by Mondriaan, or Janet Sobel, who ended up a neighbour of my grandmother’s family in Plainfield, New Jersey, her drip painting style having been ripped off by Jackson Pollock. And it inspired me also to go back and have another look at the video elements, especially Judy Chicago’s Women in Smoke.
The other thing that struck me is how I have changed. As a kid I found that abstract art in general left me baffled and often scornful; I preferred my art to actually look like something. Now I very much appreciate form for its own sake, and like to think that I am much more open to whatever message the work is trying to convey. There’s still some rubbish out there, but it’s usually worth asking what is intended.… (mere)
This was the souvenir book from the exhibition of women abstract artists that F and I went to in the Pompidou Centre in Paris last summer, listing more than fifty whose works were on display. Most of them are better known than Alice Essington Nelson; I said at the time that I’d have happily paid the entrance fee just to see Bridget Riley’s Tremor, not to mention Louise Bourgeois’ work.
The advantage of a book like this is that you can go back and have a longer look at some of the artists that tired feet maybe stopped you from properly appreciating in the exhibition. So for instance I picked up now on Marlow Moss, whose technique was ripped off by Mondriaan, or Janet Sobel, who ended up a neighbour of my grandmother’s family in Plainfield, New Jersey, her drip painting style having been ripped off by Jackson Pollock. And it inspired me also to go back and have another look at the video elements, especially Judy Chicago’s Women in Smoke.
The other thing that struck me is how I have changed. As a kid I found that abstract art in general left me baffled and often scornful; I preferred my art to actually look like something. Now I very much appreciate form for its own sake, and like to think that I am much more open to whatever message the work is trying to convey. There’s still some rubbish out there, but it’s usually worth asking what is intended.… (mere)
This book is not only beautiful to read, but is also an exceptional object; well printed, bound and laid out with a fine and carefully selected finesse. It documents Sophie Calle's career via a retrospective in the early 2000s, and offers an insight into the work and thought process of the artist. Features colour pictures of all of her work, with descriptions and introductory texts from the retrospective's curator and the gallery director -both well written and insightful. Wonderful.
57. Esposizione Internazionale d'Arte. Viva Arte Viva. 2 vol.
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L'exposition DIONYSIAC est une exposition-réflexion, qui regroupe quatorze artistes contemporains, certains déjà très reconnus, d'autres très attendus. De Paul Mc Carthy à John Bock, en passant par Fabrice Hyber et Jason Rhoades, chaque artiste présente une oeuvre inédite, spécialement produite pour l'exposition.
Plutôt qu'une exposition thématique DIONYSIAC est une exposition-réflexion. Elle propose un état d'esprit, une sensibilité commune aux artistes présentés. Elle offre une forme originale de l'exposition de groupe et constitue également un point de vue sur la création contemporaine.
DIONYSIAC, par ailleurs, désigne un rapport spécifique de l'art à la vie, un OUI, contre la résignation, qui passe autant par la colère et le plaisir de la destruction que par l'exaltation de la vie et du flux, de la joie, jusqu'à l'excès. Avec en sus, un goût du rire, de l'ironie et d'une certaine subversion, si tant est qu'elle soit aujourd'hui encore possible. La musique est également au coeur de l'exposition, avec un "sound-room" créé avec les artistes.
Le néologisme DIONYSIAC, entre français et anglais, vient de l'adjectif dionysiaque, utilisé par Friedrich Nietzsche dans son livre La Naissance de la Tragédie (1871), qui s'inspire du dieu grec Dionysos, dieu de l'explosion et de l'enthousiasme, de forces de vie et de destruction, de tous les déchaînements. Nietzsche a développé ce concept esthétique tout au long de ses écrits, pour aboutir à une notion de flux en excès, dont la vie n'est qu'une partie. Le dionysiaque ne va pas sans l'apollinien, force harmonique. C'est dans leur articulation tendue, voire contradictoire, que se situe le tragique contemporain.… (mere)