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Titre :
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vito hannibal acconci studio
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Auteurs :
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MACBA Museu d'Art Contemporani de Barcelona ;
Vito Hannibal Acconci, Auteur ;
Yvonne Rainer ;
Corinne Diserens, Préfacier, etc. ;
Christophe Wavelet, Intervieweur ;
Thurston Moore, Intervieweur ;
Sylvie Mokhtari, Auteur ;
Liza Bear, Intervieweur ;
Vito Hannibal Acconci, Auteur ;
Jean-Charles Masséra, Auteur ;
Lilian Pfaff, Auteur
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Type de document :
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document multimédia
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Editeur :
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Barcelone : MACBA, 2004
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Autre Editeur :
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Barcelone : Actar
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ISBN/ISSN/EAN :
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978-84-95951-71-7
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Format :
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528 p. / B; ill. coul. et n. b. / 21,5 cm
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Accompagnement :
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DVD : Architecture projects
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Langues:
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Anglais
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Index. décimale :
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B (Monographies)
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Catégories :
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ACCONCI STUDIO
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ACCONCI Vito
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ARCHITECTURE
;
CONTEXTE SOCIAL
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CORPS
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ENVIRONNEMENT
;
ESPACE
;
ESPACE PRIVE
;
ESPACE PUBLIC
;
ESPACE URBAIN
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EXPERIENCE
;
EXPERIENCE SENSORIELLE
;
FILM
;
INSTALLATION
;
LANGAGE
;
MOT
;
PERFORMANCE
;
POESIE
;
PUBLIC
;
SCULPTURE
;
SOCIETE
;
TEXTE
;
VIDEO
;
VILLE
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Résumé :
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Vito Acconci’s influential, provocative and often-times radical artistic practices have achieved him international acclaim. Acconci has been an active presence in the panorama of contemporary Art since the end of the 1960s. His works, confrontational, even political, have evolved from writing to conceptual Art, body Art, performance, movies, video, multimedia installations, and architectonic sculptures. This catalogue presents a complete seleccion of his works, including a DVD with tree videos in which Acconci talks about his projects, some carried out, some not, from the last 20 years.
Vito Hannibal Acconci’s artistic beginnings are in poetry, which he abandoned in favor of other artistic practices. In contrast to his performances, videos, installations and architectonic projects, his poetry has not been distributed to date. This volume includes his complete poetic works.
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Note de contenu :
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Chronologie
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Edité à l'occasion de l'exposition :
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Nantes, Musée des Beaux Arts, du 15.07 au 15.10.2004 ; Barcelone, Museu d'Art Contemporani du 17.11.04 au 20.02.2005
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Article paru sur l'ouvrage dans :
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Critique d’art n° 24 (2004)
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