All tagged art

Mère nourricière ou Terre brûlée ?

Mère nourricière ou Terre brûlée ?

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Reviews

Si les avancées scientifiques et imaginaires du XIXe siècle apparaissent pour la plupart heureuses pour les artistes et leurs publics, il existe néanmoins des points de friction et de gêne qui surgissent avec plus de fréquence vers la fin du siècle, suite notamment à la parution de L’Origine des espèces de Charles Darwin (1859), qui enflamme les débats sur la nature de l’homme et son rapport aux autres espèces. C’est ce qu’a tenté de nous montrer l’exposition « Les origines du monde : l’invention de la nature au XIXe siècle » au musée d’Orsay, du 19 mai au 18 juillet 2021. Une réaction fait par exemple naître ce que les commissaires appellent un courant à la recherche « d’une immortalité laïque » avec l’occultisme et le spiritisme prônés par des artistes comme Kupka, ou avec la théosophie et l’anthroposophie qui accompagnent la naissance de l’art abstrait de Kandinsky, Klint et Mondrian.

1-54 in Paris Draws Art Lovers for In-Person Showcase of African Contemporary Art

1-54 in Paris Draws Art Lovers for In-Person Showcase of African Contemporary Art

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Articles, Art Market

The inaugural Parisian edition of the 1-54 Contemporary African Art Fair took place at Christie’s headquarters in the 8th arrondissement from January 20th to 23rd (an online version, on Artsy, continues through the 31st). It was the first time since its founding in 2013 that the fair had come to the French capital, a decision that was made following the postponement of its annual February edition in Marrakech.

Yaratıcı üretimin sürdürülebilir iradesi: An interview with Beral Madra

Yaratıcı üretimin sürdürülebilir iradesi: An interview with Beral Madra

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Interviews

Independent Turkish art critic and curator Beral Madra’s résumé is long and impressive. She coordinated the first two Istanbul Biennales in 1987 and 1989, was the curator of the Turkish pavilion in the 43rd, 45th, 49th, 50th and 51st Venice Biennales, co-curated the exhibition Modernities and Memories: Recent Works from the Islamic World in 47th Venice Biennale, and that is just the first page. She has curated over 250 group and solo shows of international artists and is the author of several books, including Post-peripheral Flux: A Decade of Contemporary Art in Istanbul (Literatür Yayınevi, Istanbul, 1996) and Home Affairs: Ten articles published in Radikal 2000-2009 (BM CAC Publications, Istanbul, 2009). She is also the director of the Beral Madra Contemporary Art Center (BM CAC), an archive and library open to research and academic work.

La XVIe biennale d’Istanbul, écologie ou barbarie ?

La XVIe biennale d’Istanbul, écologie ou barbarie ?

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Reviews

ISTANBUL—Sur ce qui paraît être une chaîne d’information en continu, nous voyons l’arrivée d’un cortège officiel d’automobiles à l’entrée d’un palais présidentiel. La porte de l’une des limousines noires s’ouvre et en émerge un sac-poubelle, de la taille d’un homme. Le sac-poubelle et le Président s’étreignent avant d’entrer dans le palais. Dans la prochaine scène, les deux apparaissent derrière deux pupitres identiques lors d’une conférence de presse où les flashes des caméras les illuminent et les journalistes vocifèrent pour leur poser des questions. Ensuite, nous voyons le sac-poubelle s’adresser aux Nations Unies, avant que la caméra ne passe enfin sur une masse de plastique, de la taille d’un continent, flottant dans l’océan.

Geometric Dreams from Mexico to the Tierra del Fuego

Geometric Dreams from Mexico to the Tierra del Fuego

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Reviews

‘I have dreamed geometry / I have dreamed the point, the line, the plane, and the volume / I have dreamed yellow, blue and red.’ These lines from Jorge Luis Borges’s poem ‘Descartes’ (1981) are found on the opening page of the catalogue to ‘Géométries sud, du Mexique à la Terre de feu’ (Southern Geometries, from Mexico to the Tierra del Fuego). A fitting epigraph, they announce the vertiginous profusion of coloured shapes in the nearly 250 works by more than 70 artists and creators from the pre-Columbian period to the present.

Tomás Saraceno: How Spiders Build their Webs

Tomás Saraceno: How Spiders Build their Webs

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Reviews

For the fourth iteration of the Palais de Tokyo’s ‘Carte Blanche’ series – where a single artist is invited to transform the entirety of the Paris museum’s cavernous 13,000 m2 exhibition space – Berlin-based Argentinian artist Tomás Saraceno has conceived a massive black and white parcours. His installations encourage visitors to reflect on their place within the infinitely complex networks that structure our existence, from the minutiae of dust particles and the vibrations of spiderwebs to the collisions of galaxies in the universe. In so doing, the exhibition, which is titled ‘On Air’, explicitly situates itself within the ecologically conscientious conversations around climate change and humanity’s changing relationship to nature in the age of the Anthropocene.

Paris’s Art Models Protest for Job Security and Better Wages

Paris’s Art Models Protest for Job Security and Better Wages

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Articles

PARIS — On Saturday afternoon, people trickled across the large plaza in front of the Hôtel de Ville. Pausing to admire city hall’s façade, some snapped pictures while others gathered around a group of break-dancers before shuffling off. Meanwhile, tucked away in a far corner of the plaza, an eclectic group was hanging painted banners that read “Modèles” (“Models”), “Modèles d’art: Poser c’est un métier!” (“Live modeling: it’s a job too!”), and the name of their organization, Collectif des Modèles d’Art de Paris (Art Models Collective of Paris).