Showing posts with label Paris Contemporary Art. Show all posts
Showing posts with label Paris Contemporary Art. Show all posts
'Dans la nuit, des images' [Images in the night]
From December 18 to 31, 2008 the exhibition “Dans la nuit, des images” (Images in the night) at the Grand Palais in Paris, France, presents a panorama of European audiovisual and multimedia creation.
Around 130 artists exhibit videos, movies, photos. Among them: Bill Viola, Michael Snow, William Kentridge, Charles Sandison, Anri Sala, Robert Wilson, Nam Juin Paik, William Klein, Chris Marker, Rosemary Trockel, Christian Marclay, Ryoji Ikeda, Liu, Fortuné, Grasso, legendary animators Hannah and Barbera (creators of The Flintstones and The Jetsons), the world's oldest working filmmaker Manoel de Oliveira, who just turned 100 etc.
“Dans la nuit, des images” includes some 140 works, representing 10 years of contemporary creation from the 27 European Union member states and numerous other countries.
“A selection of iconic works using light projection - photographs, films, videos, digital imagery and interactive installations from plasma screens to giant projections - will document the technological innovations that have become part of artistic creation over the past ten years.” (press release).
The works are projected onto the floor and walls, on screens and onto the huge glass roof and facade of the Grand Palais.“Dans la nuit, des images” is staged by the Ministry of Culture and Communication in partnership with Le Fresnoy - National Studio for Contemporary Arts.
“Dans la nuit, des images“, Grand Palais, Paris / France. December 19, 2008. Video by Christophe Ecoffet.
Vernissage TV
Conference in London on October 29, 2008: "Can we bored with Debord?"
I've just stumbled upon this note by Alan James Bullion at Facebook which attracted my attention :
"The Autumn 2008 season of Conversations hosted by Rethinking Cities opens with Alan James Bullion posing the question: "Are we bored with Debord? What can we derive from his concept of drift in the modern city?"
It is forty years since Debord’s “Society of the Spectacle” triggered civil unrest in the streets of Paris.
As the leader of the political art movement known as the Situationists in the early 1960’s, Guy Debord was a proponent of the ‘derive’, to walk through, was to understand the city and its class struggles.
Alan Bullion is the Lib Dem parliamentary candidate for Sevenoaks poses the question: "Are we bored with Debord? What can we derive from his concept of drift in the modern city?"
This Conversation will take place on the evening of Wednesday 29 October 2008 at the Royal Commonwealth Society, Northumberland Avenue, London.
Click here to register for this or other Conversations
Even if Debord's ideas are shaped in a different historical context, I think this topic is not at all anachronistic and that we can still learn a lot from him.
Read on line The Society of the Spectacle by Guy Debord translated in English here or in French [original text] here or take a look at these short videos from a video documentary about Guy Debord's Situationist movement and you will see why.
Situationalist International - Part 1 of 3
Situationalist International - Part 2 of 3
Situationalist International - Part 3 of 3
"The first stage of the economy’s domination of social life brought about an evident degradation of being into having — human fulfillment was no longer equated with what one was, but with what one possessed.
The present stage, in which social life has become completely dominated by the accumulated productions of the economy, is bringing about a general shift from having to appearing — all “having” must now derive its immediate prestige and its ultimate purpose from appearances.
At the same time all individual reality has become social, in the sense that it is shaped by social forces and is directly dependent on them. Individual reality is allowed to appear only if it is not actually real. " Guy Debord : The Society of the Spectacle
"The Autumn 2008 season of Conversations hosted by Rethinking Cities opens with Alan James Bullion posing the question: "Are we bored with Debord? What can we derive from his concept of drift in the modern city?"
It is forty years since Debord’s “Society of the Spectacle” triggered civil unrest in the streets of Paris.
As the leader of the political art movement known as the Situationists in the early 1960’s, Guy Debord was a proponent of the ‘derive’, to walk through, was to understand the city and its class struggles.
Alan Bullion is the Lib Dem parliamentary candidate for Sevenoaks poses the question: "Are we bored with Debord? What can we derive from his concept of drift in the modern city?"
This Conversation will take place on the evening of Wednesday 29 October 2008 at the Royal Commonwealth Society, Northumberland Avenue, London.
Click here to register for this or other Conversations
Even if Debord's ideas are shaped in a different historical context, I think this topic is not at all anachronistic and that we can still learn a lot from him.
Read on line The Society of the Spectacle by Guy Debord translated in English here or in French [original text] here or take a look at these short videos from a video documentary about Guy Debord's Situationist movement and you will see why.
Situationalist International - Part 1 of 3
Situationalist International - Part 2 of 3
Situationalist International - Part 3 of 3
"The first stage of the economy’s domination of social life brought about an evident degradation of being into having — human fulfillment was no longer equated with what one was, but with what one possessed.
The present stage, in which social life has become completely dominated by the accumulated productions of the economy, is bringing about a general shift from having to appearing — all “having” must now derive its immediate prestige and its ultimate purpose from appearances.
At the same time all individual reality has become social, in the sense that it is shaped by social forces and is directly dependent on them. Individual reality is allowed to appear only if it is not actually real. " Guy Debord : The Society of the Spectacle
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