|Titre :||Parkett, 88 - mars 2011|
|Type de document :||Bulletin : texte imprimé|
|Paru le :||01/04/2011|
|Année de publication :||2011|
|Catégories :||CHAN Paul ; STURTEVANT Elaine ; WEKUA Andro|
"For Brätsch, demonstrative style has ...
to do with the mix and match borrowings of high fashion, DIY subculture, and the manufacturing of persona found in advertising and online viral campaigns."
"When the question of art's political potential is raised in contemporary art discourse (and sometimes it seems nothing else is), the main tendency since at least the 1990s has been to question the distinction between its two terms: to "blur the line between art and life," as the phrase goes. a political activist and an artist, Paul Chan might be the exemplary figure for the great blur -- if he didn't spend all his time resisting it. as he puts it in an interview with George Baker, "the desire to bridge what we call art and politics is in fact a fear of both."
"Sturtevant has no faith in technology or productivity. What interests her about machines is not so much their transformative potential as the possibility they offer the artist to remove herself from the "creative process" and, more precisely, to eliminate the motivations of the will: to create mechanically, until the machine has finished running and becomes a pure process of invention and language."
"Maybe the problem today is that memory is no longer a question of nostalgic reveries into one's past triggered by a single photograph, a smell, or a taste. Proust's tea with Madeleine has been displaced by the internet where memory is now located in cloud servers, no longer grounded in one place or even in one's mind but adrift on the ether of digital bandwidth."
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Article : texte imprimé
Suzan Frecon parle de l'intérêt qu'elle porte à la nature et à Cézanne, de l'origine des lignes incurvées que l'on trouve dans ses peintures. Elle y aborde sa définition de la peinture et le processus de création.
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