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In September, the virus hit close to home when the first case of Ebola was reported on American soil, followed by several other high-profile cases in the US involving healthcare and aid workers. The charges concern a damages suit heard by Maggio when he was preparing to run for a seat on the Arkansas Court of Appeals. And negotiations continue on crafting rules for abiding by do-not-track requests, a setting in major browsers that could offer users a simple way of stating privacy preferences.

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Civil Dialogue Policy for Commenting on Missoulian. Lawmakers should push hard to make this happen. Contact us via email at. Another volatile term of another state superintendent of public instruction is coming to a close. And again, the question of whether to change the position from an elected one to appointed is being bandied about.

This time around, though, there seems to be more momentum for the change. And there should be. Electing an education chief every four years has not worked out well for Wyoming.

Test scores have languished in mediocrity, the relationship between the state Department of Education and the Legislature is at an all-time low, and there has been no leadership or vision from the superintendent in years. That is why most of the members of the state Board of Education recently voted in favor of appointment over electing a superintendent and why a new poll shows a majority of Wyomingites supporting the same thing. And then there is the legislative committee that is focused on how the superintendent and State Board interact with each other, and how they work with the Legislature and the governor.

The entire state now has seen the problems that can occur when the schools chief is elected. Wyoming voters do not have a good track record when it comes to choosing a competent education head.

Party affiliation seems more important to many voters in the Cowboy State than choosing the best person to run the department. Having the governor or the State Board choose a superintendent just makes sense. Opponents say the education chief would no longer be accountable to the people. We beg to differ. The governor is accountable to the people, including for the appointments he makes to various boards.

The voters would hold him or her responsible for bad choices, and unlike with an elected superintendent, a bad appointment could be easily fixed by the governor.

As it is now, poor superintendents linger on for years with no recourse to oust them since Wyoming law does not allow for the recall of elected officials. Lawmakers tried to change the duties of Ms. Hill last year, and the state knows how that ended up.

The Wyoming Supreme Court ruled the action unconstitutional, and the state is still reeling from that decision. The state Constitution still gives lawmakers the authority to manage the education system in this state; they just need to figure out how to do it within legal boundaries. Making the position appointed is the direction they should be headed. Yes, we understand that a constitutional amendment must be approved by the voters to do this, so it will be up to lawmakers to make a good case for the change.

Hill may have helped the cause with her inferior performance. Still, legislators will have roughly four years to sell the proposed amendment since voters will choose the next education chief in November. If lawmakers can adequately document the failings of the system and explain their concerns, we are confident that voters would back the reform measure in While holiday decorations can make a home feel more festive, they can be tantalizing traps for pets. Pet owners should keep decorations and ornaments higher up on trees so they are not consumed by pets.

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He has been the director of the art center Volume! He was guest curator at La Kunsthalle in Mulhouse, France. He is tutor at the Jan van Eyck Academy in Maastricht and writes regularly for exhibition catalogues and art magazines.

For the magazine CURA. Lippard, Seth Siegelaub, Alfred H. The Registry of Promise Space: The network operates as a point of intersection for the development of diverse and innovative projects including exhibitions, events, publications, symposia and talks, audio and live art beyond traditional institutional structures.

Intended as a tool for research and collaboration, it is actively engaged in a trans-national network between art professionals, operating in partnership with other archives located in Europe. At the intersection between cultural mediation and distribution, 1: Il network opera come punto di intersezione nello sviluppo di modalità di produzione quali mostre, eventi, pubblicazioni, simposi, conferenze e performance che si pongono aldilà delle tradizionali strutture istituzionali.

Nel corso degli anni 1: Ce réseau représente un point de rencontre pour le développement de projets divers et innovants incluant expositions, événements, publications, conférences et rencontres, productions sonores et concerts, au-delà des structures institutionnelles habituelles.

Au fil des années, 1: We quickly identified the archive as our research thread, starting from what seemed to us quite a strong paradox inherent to the practice of archiving ephemera as the CNEAI is doing: A bit like collecting butterflies! In a way, all archives are ephemeral. The stories they preserve are there to be rewritten each time, to be brought to a new life on the occasion of each new display. Gradually, our research took the form of a historical perspective on some individuals, institutions and groups, who share similar preoccupations and who are trying to articulate them — or should we say, with Seth Price, to disperse them — through a variety of media.

How did you work all together? This was the occasion to approach and study the archive both individually and as a group. Each of us initially focused on our own personal curatorial interests and research, but at this stage we shared a common discussion on artists and their practices, which led to the identification of authorship as a crucial topic for the project.

Gradually, we defined the group of artists we wanted to include in the first show in Rome, which was a selection of predominantly French artists. In reality, it was quite immediate not only for their works, but also because it was an opportunity to show historical artists such as Pascal Doury and Michel Journiac, who are not well known in Italy. We also included Italian artist Maurizio Nannucci and Jonathan Monk, whose practice is based on collaboration and appropriation.

What are the continuity and the main differences between Rome and Chatou exhibitions? It was important, therefore, that each exhibition had a distinct title, but that were still directly connected in order to create continuity from one show to the next.

This is of course true for any archive, the issues of access and display being at the center of its operations. But in the case of the FMRA archive, the whole idea of collecting editions and ephemera is really centered on exploring the possibilities of circulation and transmission of this specific type of art object.

We were confronted with this very interesting dialectic between the fetishism of the collector impulsive collecting, accumulation and preservation of ephemera… and the endeavor of distributing it, which often implicates the questioning of the aura of the art object itself. With the exhibitions we wanted to emphasize such types of dualities. This was done by involving some figures for which archiving, collecting, re-framing, displaying, editing or distributing is at the core of their practice, and who contribute with their hybrid activities to the critical thinking and redefinition of the field.

In other words, we wanted to share with these artists and their productions the processes of activating the archive. That was for us the most coherent way to present the FMRA collection, and also a response to some of the lines of research that emerged through the material itself. Red Swan Hotel Space: Sylvie Boulanger is founder and curator of Salon Light since its creation in She has directed Cneai since She is a member of several research labs, she also contributes to academic reviews like Multitudes and she lectures in art schools and universities.

Prepared Piano — Model for a New Institutionalism. Dirige il Cneai dal È ricercatrice associata in diversi laboratori di ricerca, collabora con varie riviste scientifiche, come la rivista Multitudes, e tiene conferenze nelle Accademie di Belle Arti e nelle Università. Sylvie Boulanger dirige le Cneai depuis Vincent Honoré When was the Cneai formed and what triggered its creation?

Sylvie Boulanger The history of the place prepared the art centre to adopt the question of art as media. When the art centre was created in , the question was whether to make it a place for engraving, but three years of research and production with thirty or so artists including Claude Closky, Robert Morris and Peter Downsbrough, led us to consider engraving as an original form of publication.

A new generation of curators has recently formed, considering space made public as public space and the act of publishing as an artistic act. They adjust to current artistic crises: Alongside the exhibition, production and publishing programme, we have therefore created tools at the service of this scene: Other ideas are being finalised ….

How can the first intent, that is its very essence be summed up? The subject is redefined every day according to artistic needs: And if publishing etymologically means to make public , it is recognised that the transmission, distribution and reception of art are three fundamental indices of the work of the Cneai. It is also a place that we try to keep free from any institutional project , that is open to projects by art protagonists who invent a new function for a decompartmentalised art scene, emancipated from academic categories and therefore extended to sound, writing and performance… as well as collaborative fields.

The Cneai is responsible for a collection comprising 11, pieces. How does the collection initiate the programme, or even the structure of the site? This quote is new to me and I love it.

The energy between the collection and the programme is prolific. That is exactly why we have had the Cneai redeveloped and expanded by Elisabeth Lemercier and Philippe Bona to enable this exchange of energy between the collection and the programme. In order to be able to offer a new programme model in the form of scenarios from several points of view where the exhibition registers and the presentation of the collections blend with the presentation of an isolated work or a publication.

We use pieces from the collection for their research potential, and we increase the collection according to the needs of the artists and guest curators.

This double movement gives meaning to the establishment of the fund, likewise the programme. How do you situate the Floating House in this context? Surprisingly this architecture by the Bouroullec brothers was very badly received by certain local cultural players!

It seems that in small towns journalists, curators and other cultural producers, who are neither educated citizens nor informed consumers, confront us. The Floating House installation traumatised all those who were living on their island, because of their nostalgic for their status as curators from the time of the impressionists.

The art centre and the Floating House are located sufficiently far from the town, from work, but relatively close to housing areas, a little isolated in nature, in the middle of a wooded island, between the two banks of the Seine and near to a park, with walkways and stopping places to eat, picnic and play. The location gives a feeling of privacy and vacuity, a condition necessary for encountering art… The Floating House is both an extremely simple and intuitive to use residential property and an object for contemplation.

Charles Esche described his ideal museum as fundamentally vague: How did you structure the curatorial approach to the place, to the institution? Consequently it is more about creating a context than a place or a programme. The Cneai therefore proposes a new dynamic model: Currently, Christophe Lemaitre has been invited to share the art direction, for Yona Friedman it is a forum for experimentation, for three years Jef Geys has been an important partner to test the levels of values in art; - cooperative: We work on average with about a hundred partners every year; - cultural: Festivals and study days have replaced previews….

What is the role of a contemporary art centre director in ? To resolve a multitude of paradoxical equations: Why did you want to participate and what programme are you offering? The first residency in the Floating House by Daniele Balit, Maria Alicata and Adrienne Drake, three Italian curators, fired up passionate discussions about the question of version. We have identified works from the collection that have been considered in reference to other older works, whether from the visual arts, musical, cinematic or any other domain.

Now it is a question of inviting these artists to develop or activate their old projects version 3 here and now, at the MACRO and at the Cneai, during two exhibitions that will take place in October in Rome and in autumn at the Cneai. The project is largely research carried out within two archives, one Italian 1: Our project will attempt to provide concrete answers to questions about formal frontiers objects, performances, images ; about cultural borders literary, musical, film, scientific, design… ; about derived artistic processes curatorial, editorial, collection and research ; and about hybridization of the figures artists, editors, curators, collectors, sellers or researchers.

Historiquement la pratique de la micro-édition prend sa source dans Dada et le Constructivisme russe et se développe dans les années Le sujet se redéfinit chaque jour avec les nécessités artistiques: Comment la collection informe le programme, voire la structure du lieu? Pontus Hultén a pu déclarer: Je ne connaissais pas cette citation, elle me ravit.

Nous utilisons les pièces de la collection pour leur potentiel de recherche, et nous augmentons la collection en fonction des besoins des artistes et curateurs invités. Ce double mouvement donne tout son sens à la constitution du fonds, comme au programme. Comment situez-vous la Maison Flottante dans ce contexte? Il semble que nous soyons confrontés, dans les petites villes, à des journalistes, conservateurs et autres producteurs culturels qui ne soient ni citoyens éduqués, ni consommateurs informés.

Charles Esche a décrit son musée idéal comme étant fondamentalement incertain: Le Cneai propose donc un nouveau modèle, de type dynamique: Nous travaillons en moyenne avec une centaine de partenaires tous les ans ; - culturel: Pourquoi avez-vous souhaité participer et quel programme proposez-vous? La première résidence sur la Maison Flottante de Daniele Balit, Maria Alicata et Adrienne Drake, les trois curateurs italiens, a généré des discussions passionnantes sur la question de la version.

Jef Geys, Coloring book for adults , Exhibition J ef Geys. The Registry of Promise. Lois Weinberger is a key figure in the debate on the relationship between art and nature: Known above all for his environmental projects, which follow the dynamics of the spontaneous expansion of the plant world in marginal, abandoned urban areas, Weinberger has for some time been engaged in projects with a strong social and political component.

He draws inspiration from uncultivated land and plants that flourish there naturally to create notes, drawings, photographs, objects, texts, films, and public art projects. Garden is a project he began working on in It consists of a plastic container with a simple irrigation system in which wild plant species like elder and moss spontaneously take root.

In , together with the Bressanone architects Gerd Bergmeister and Michaela Wolf, Weinberger entered the competition run by the Bolzano Provincial Administration to mitigate the frieze on the building that was once the Fascist Casa Littoria and currently hosts the internal revenue offices.

The proposal submitted by the artist features a small forest, something like a theater set, which is left to grow naturally and alters our perception of the frieze and its image of Mussolini. Lois Weinberger riveste un ruolo fondamentale nel dibattito sul rapporto tra arte e natura: Conosciuto soprattutto per i suoi progetti ambientali, che seguono le dinamiche di espansione spontanea del mondo vegetale in aree marginali e dismesse del tessuto urbano, da tempo Weinberger è impegnato in interventi dal forte contenuto sociale e politico.

La terra incolta e le piante che crescono spontaneamente diventano lo spunto per creare appunti, disegni, foto, oggetti, testi, film e interventi di arte pubblica.

Garden è un progetto iniziato nel Consiste in un contenitore di plastica, dotato di un semplice sistema di innaffiamento, nel quale germogliano in maniera del tutto spontanea piante selvatiche come il sambuco o il muschio. Nel , insieme agli architetti di Bressanone Gerd Bergmeister e Michaela Wolf, Weinberger partecipa al concorso, indetto dalla Provincia autonoma di Bolzano, per il depotenziamento del fregio del palazzo che ospita attualmente gli uffici finanziari della città, ex Casa Littoria.

In his exploration of collective experiences of history, above all in Eastern Europe, story-telling is both the subject of his work and his modus operandi. The title of the work references the reversal of the situation: Shooting a work of art is a way of remembering the human drama that accompanied the transformation of society and aesthetics in the Soviet Union of that era.

This work hence commemorates a historic event without producing a traditional monument. Il design di Lissitzky era espressione della rivoluzione estetica sovietica, del dominio della classe operaia e contadina su quella borghese.

He creates in this way a protocol which introduces rules limiting its expression and establishing a purely speculative mechanical of work. We have been working independently on the spaces and on the exhibition project; later, during preparation, there was dialogue and listening between the two projects.

I would define our collaboration as a mutual influence on narrative fiction. What is your opinion on this? Alessandro di Pietro I would say that our cooperation has had, from the outset, a predisposition not to be explicit.

Both projects are based on the appropriation of pre-existing narrative structures: The floor separating us seems to have worked as a filter that has allowed us to meet the expectations of our work. At the same time it must have produced some information that created a connection between us on a sign level: The rest of the group does not believe what the man saw, but that night was a particularly dark and cold one.

How do you expect people to orientate themselves between the textual information partially concealed inside what you call fictional carpets? The story is divided into three phases, which are represented by transparent and black resin casts of hands. The hands are open in the act of picking up, and relate to round-shaped objects.

The CAB is located in a defensive stronghold, on top of a mountain, mainly accessible through a strange spherical cableway. Do you think that the location of the CAB affected the narrative process? When arranging the props in space I definitely tried to exploit the grotto-like space on the first floor of the CAB.

For this reason, all the props were exhibited on a modular display made with vertical concrete, steel and foam elements hanging from above like stalactites, exploiting the various heights of the vault of the ceiling.

The arrangement does not follow a hierarchy of importance or a real narrative chronology, and the props are not the remains of an action which has already taken place, but are prospectively active. They are raw elements of a story that will take place soon and that will be a re-enactment of the last part of A Zed and Two Noughts.

Until recently, I had the feeling that working on cinema or literature could create a misunderstanding as regards the intention of creating a tribute or a monument to the director or to the wonderful story.

Now I view that concern as very generic, and I recognize that the fiction reacts to its perception so naturally that it can be mistaken for a landscape. What do you think about this? How do you move among the signs that a story offers you? What is the distance you put between yourself, your practice and the story object? I like the idea of landscape, and in the case of the CAB we could talk of a view.

In the days I was working, I observed how individuals or the groups of tourists that stroll around the summit to observe Grenoble from above are comparable with the relationship we have with images, language and representation. I wonder how in front of this vastness of relationships one could define a common gaze. The signs of history are hence countless like the facets of a view.

For this reason I chose this story by Howard Fast that highlights how the main character feels different in front of a vision which he perceives as a common experience. The killing of the Sun by a hand remains an image on hold from where I started and cyclically return to.

As regards the constant fruition within the imaginative process, we could say that this was also the central theme of two workshops, which we conducted in parallel, with a few young Grenoble artists.

With their imagination, we worked starting from two strong images from the stories we had taken as a reference: Cosa ne pensi a proposito?

Entrambi i progetti si fondano su appropriazioni di strutture narrative pre-esistenti: Il piano che ci ha diviso sembra aver funzionato come un filtro che ci ha permesso di rispettare le aspettative sul nostro lavoro. Allo stesso tempo deve aver rilasciato delle informazioni che ci hanno messo in connessione a livello segnico: Come mi hai raccontato, in Not with a Bang di Howard Fast un uomo vede una mano che spegne il sole; torna a casa, ne parla con la moglie e i vicini durante una partita serale di bridge.

La storia è divisa in tre momenti che sono raffigurati da calchi di mani in resina trasparenti e neri. Il CAB si trova dentro una roccaforte difensiva, sulla cima di una montagna per lo più accessibile grazie a una strana teleferica dalla forma sferica.

Pensi che il luogo del CAB abbia influito sul processo narrativo? Come ti muovi tra i segni che una storia ti propone? Mi chiedo come davanti a tale vastità di relazioni sia possibile definire lo sguardo comune. I segni di una storia sono quindi infiniti come le sfaccettature di un panorama. Per questo motivo ho scelto questo racconto di Howard Fast che mette in luce come il protagonista si senta diverso davanti a una visione da lui percepita come esperienza comune. A proposito della fruizione costante nel processo immaginativo, potremmo dire che questo è stato anche il tema centrale di due workshops , da noi condotti in modo parallelo, con alcuni giovani artisti di Grenoble.

Con la loro immaginazione abbiamo lavorato a partire da due immagini forti provenienti dalle narrazioni da noi prese come riferimento: Jacopo Miliani , Alessandro di Pietro Project: From Both Sides of a Mountain Space: Nor does he seek professional recognition for his work, and yet he continues to be a major influence on younger artists.

In his early work, space and time play an important role. Subsequently, at the end of the s, he became interested in minimalist art. At the end of the s, he investigated the role of the spectator, in particular the role of passive participation. In applying his critical view of retrospectives and museum acquisitions, the artist testifies to a radical immanence and a rejection of intrinsic values.

His work surpasses fixed and conventional uses and demonstrates how use can be extremely varied. The exhibition consisted of paintings from various Florentine collections, which covered the entire walls of the church from floor to ceiling.

In privileging certain events rather than others, the artist creates what amounts to a personal, and thus non-hegemonic, vision of history— a reading of history by way of anecdotes.

Yet, when the book is read, its content appears to be entirely correct and consistent, as if Medina had chosen to include the most important historical events. The clock fulfilled no other function than its conventional role of telling time. Yet its presence in the museum marked the intrusion of an object of daily life, a daily constraint that is generally ignored in the museum, the latter choosing instead a contemplative suspension, impervious to the presence of real time.

Egli non ricerca il riconoscimento professionale in quanto artista e, tuttavia, ha una grande influenza sugli artisti delle generazioni successive alla sua. Nei suoi primi lavori, lo spazio e il tempo giocano un ruolo importante. Durante il decennio successivo, Medina inserisce il linguaggio formale dei piani architettonici nel suo lavoro concettuale, presentando delle proposte per lo spazio pubblico che tengano conto di diverse richieste sociali.

Il dépasse les usages imposés et normés et démontre que ces usages peuvent être très ouverts. For Alberto Garutti, works of art only exist in the eyes of the beholder. The first person to behold any work is of course the artist himself, who observes reality and imparts different attributes to objects.

It is then up to the viewer to complete the work by supplying meaning. In his work Alberto Garutti investigates various aspects of the human experience, including spirituality. Deliberately embracing the artistic tradition of religious representation, Garutti reproduces the Virgin Mary in a way that adds an element of personal experience to the relationship between the statue and the believer.

Garutti achieves this by creating a white ceramic copy of a nineteenth century statue of the Madonna, but deliberately changing the way it is perceived. He takes his inspiration from time-honoured rituals that see believers flocking to touch sacred statues, but in this case, the material is not cold to the touch, but warm: Madonna è una statua in ceramica raffigurante la Vergine Maria. Inserendosi nella tradizione artistica delle rappresentazioni religiose, Alberto Garutti raffigura la Vergine introducendo un elemento esperienziale tra la statua e il fedele.

Her work has been presented within the exhibition Passion Fruit at the Centre Pompidou, Paris and on the occasion of the exhibition Dynamo. A century of light in art, at the Galeries Nationales du Grand Palais. Ann Veronica Janssens is the author of a public commission for the chapel of St Vincent de Grignan, opened May 25, The panel discussion Prepared Piano: Model for a New Institutionalism presents artists, curators, as well as the managers of places where various projects have been produced over the past few years in Europe.

These projects have in common that they make novel use of cultural exchange instruments, while giving their activities both a local and international scope. The desire to reconfigure the institution based on the model of a community centre, laboratory, open school, and other places that are not mainly governed by market laws, is linked with the creative momentum that led to Prepared Piano.

The proposed discussion aims to demonstrate that PIANO, as well as Salon Light , dedicated to independent publishing, and Vdrome , a distribution network for artist films, are today all tangible initiatives. He is also an independent curator and the vice-president of the d. This is a series of specific offerings that critically rework the principles of artwork accumulation. Conceived by the director Éric de Chassey and organised by the French Academy in Rome — Villa Medici every year since , the Theatre of Exhibitions has been devised as a moment of encounter between the fellows in residence and the public, as well as one of dialogue and confrontation among the artists and scholars in residence.

The different spaces of Villa Medici become ephemeral stages for installations, performances, projections, readings. The concept of openness, a predisposition to dialogue and confrontation among different disciplines is the characteristic that unites the projects, which are presented.

Since the beginning, his scientific activities have focused on the US and abstract art. This interdisciplinary laboratory brings together the reflections and experiments of artists and scientists and also philosophers, anthropologists, art historians and theoreticians, thus providing as much coverage by neuroscience, physics and astrophysics as by hypnosis, telepathy and shamanism.

Her work has been the subject of numerous solo exhibitions. Since , she has also participated in important group exhibitions, as well as various international biennials and in Venice where she represented Belgium with Michel François. Her work has been presented recently within the exhibition Passion Fruit at the Centre Pompidou, Paris and within Dynamo, A century of light in art, — at the Galeries Nationales du Grand Palais. Vdrome is an online platform that offers regular, high quality screenings of films and videos directed by visual artists and filmmakers, whose production lies in-between contemporary art and cinema.

Each screening is presented during a limited period, as in a movie theatre. Enrico Boccioletti is an artist and musician active under multiple names — Death in Plains, 4SICSX, spcnvdr and Enrico B — in the fields of postconceptual, new vernacular, performance and sound, interested into incompleteness and circularity, duplication and accumulation, waste, layering, forgery, faux-real. He also works for Mousse Magazine and Vdrome. It focuses on artists of different generations whose works have been conceived as physical and mental instruments that bring together thought and action in every possible media, linking visual arts to theatre and literature.

The project aims to shape a collection that is articulated over time, combining archival research with commissions for new works taking into account the role of the museum as a place of memory and preservation as well as a continuing research and production laboratory. All the works presented have a relation with the city and its history: Alessandro Rabottini is an art critic and curator based in London.

He is Curator at Large at the Madre Museum in Naples where he recently curated a mid-career retrospective of Padraig Timoney and the survey show of Ettore Spalletti and served as guest curator for several international institutions.

After exporting the concept at Vermelho gallery in Sao Paulo and the great success of Salon Light 9 at Palais de Tokyo in , Salon Light keeps uniting a moving scene of artists, authors, independent publishers or composers. Performances and meetings with professionals and artists are also a key part of the event. She directs Cneai since She is a member of several research labs, she also contributes to academic reviews like Multitudes and lectures in art schools and universities.

The round table discussion will be followed by a Concert for Prepared Piano by Laurent Durupt , composer and fellow at the Villa Medici. Elle est actuellement Présidente de d. Sandra Patron There are two factors behind the creation of the art centre: He wanted this rural area to be rooted, in no ordinary dated nostalgia, but in the times and the questioning that it generates. Then as this region has been hit hard by de-industrialisation and an exodus towards cities, leaving entire sections of its heritage empty.

Local councillors were hoping to breathe new life into these sites without knowing exactly how to tackle the problem. In any case, chances are that a contemporary art centre had not been envisaged by most of them.

I think it is the characterful site that prompted me from the outset to consider the artistic project a time to offer artists rather than as a space to be invested. Residencies enable that, in addition to the off-site programme, insofar as we can at certain moments encourage long production processes, at other times react very quickly to requests that require technical expertise made possible by the scope of our local partners.

Paradoxically, the isolation of the site — or in any case its isolation from the art scene — is in my view a constituent part of the project, its strength and originality, this isolation enables a quite unique quality of concentration, for the team as well as for the artists.

It also often enables often strong and sometimes friendly links to be formed between us. There is a lovely text by Giorgio Agamben on this matter of friendship and complicity acting as a powerful driving force to create a space for sharing and production, I have great faith in this idea, and there again, our setting is conducive to this type of approach.

Regarding projects that could characterise the way in which we envisage production processes, two examples come to mind: Lili Reynaud-Dewar came here to develop a project around the Black Maria, this first movie production studio conceived by Edison. For several months, the PSL was transformed into a film factory, a loyal troop rallied around his project, costume designers, actors, make-up artists and musicians, the films were shot on site, they were put together on site, the exhibition made this production process perceptible.

Likewise Alain Bublex spent over a year on and off at the art centre in to produce a motorbike prototype in partnership with a local engineering school specialising in the car industry.

In the global context in which we work, forging ahead, I realise that this way of working is a real luxury, for myself as well as my team of course, but also and above all for the artists.

You started managing the art centre in Have you modified the programme or changed the focus of the centre, or quite the opposite do you want to anchor a heritage? When I started, I kept the constituent parts of the project: I wholeheartedly wanted the place to be anchored on a European level not only through the programme choices but also by inviting foreign curators every year.

The residencies were reviewed: The off-site programme was reviewed, probably because, at the start, I was quite unsettled by this project and the sociocultural deviations that could result. Not really knowing how to address the question, I simply decided that we were going to do what we knew how to do: The person in charge of off-site programme was previously a cultural mediator, I decided to recruit an exhibition curator, and this simple decision completely changed the direction.

Parc Saint Léger is a complex structure that regroups a set of cultural facilities: How do you combine all these activities into one coherent programme? I do not aspire to combine our different activities at all costs, but I actually worked to make synergy possible, and at the same time — and this is essential for me, for it to be possible for there to be no synergy. For our Résidences Secondaires for example, three month residences devoted to the emerging European scene , we select the artists one year in advance, we initiate discussions with them well ahead, we discuss the off-site programme with them, and very often there is a specific context that stimulates them, so we make this link between the residency and the off-site programme.

But sometimes, the artists just need time for a break, for research, to bathe in the Loire and to smoke a cigarette by the fire, and that is fine with us too. The location is rural. What bearing does its location have on your programme? In concrete terms its rural location means that there is no power struggle with anyone: This lack of any threat to anyone brings great freedom on a daily basis. I am not sure for example that a project like Breathing House by Jean-Pascal Flavien would have been so simple to organise in an urban setting, with the numerous rules involved and the representatives to meet and to convince.

Why did you want to participate and what programme are you proposing? Four years ago, I wished to become involved in the d. The reasons are pragmatic, strategic and artistic at the same time: I am for example delighted about the discussions that I have at the moment with Chris Sharp, the curator of our exhibition for PIANO, The Registry of Promise , an exhibition with a literary construction in four chapters. His relationship with art, his approach, the way in which he works with artists, the way in which he perceives this very strange profession known as exhibition curator, is all very refreshing and a source of inspiration for me.

Parc Saint Léger Protagonists: Les réticences furent nombreuses, et les débats passionnés, seule la pugnacité de Bernard Bardin a permis au projet de voir le jour. Il permet également de créer entre nous des liens souvent forts, parfois amicaux. Lili Reynaud-Dewar est venue développer un projet autour de la Black Maria, ce premier studio de cinéma imaginé par Edison. Avez vous infléchi la programmation ou changé les missions du centre, ou au contraire avez-vous souhaité ancrer un héritage?

Les résidences ont été remaniées: Comment unifier toutes ces activités dans un programme cohérent? Pour nos Résidences Secondaires par exemple résidences de trois mois dédiées à la scène émergente européenne , nous choisissons les artistes un an avant leur venue, nous entamons le dialogue avec eux bien en amont, nous leur parlons de la programmation hors les murs, et bien souvent il y a un contexte de travail qui les stimule, nous faisons alors ce lien entre la résidence et la programmation hors les murs.

Le lieu est situé en territoire rural. En quoi sa situation informe votre programmation? Pourquoi avez vous souhaité participer et quel programme proposez-vous? Les raisons sont tout à la fois pragmatiques, stratégiques et artistiques: Wilfrid Almendra, Le Splendid , Gabriel Kuri, bottled water branded water , exhibition view, The renowned Italian designer Achille Castiglioni spent his life conceiving and testing industrial products, working with his brothers Pier Giacomo and Livio.

Famous for the irony that characterised his creations, his designs are always tinged with a subtle parody of the avant-garde, expressing the disillusionment of the generation that grew up after the provocations of futurism and the utopia of rationalism.

The project consisted of two square, parallel blocks connected by a horizontal slab, and the accompanying model was made out of two slices of cheese cut perfectly to scale. The entire project was presented in minute detail, with plans showing floor layouts, cross-sections and pediments. Critics view this project as containing the seeds of the themes that would go on to underpin his entire oeuvre, including the use of ready-mades, and more importantly, references to Italian futurism: Boccioni, for example, also employed a variety of materials, including foodstuffs, in his artistic compositions.

Achille Castiglioni, noto designer italiano, si dedica insieme ai fratelli Pier Giacomo e Livio alla progettazione e sperimentazione di prodotti industriali. Esprime in questo modo la disillusione di una generazione cresciuta dopo le provocazioni del futurismo e le utopie del razionalismo. La trama del formaggio ricorda quella del travertino, materiale caro alle architetture realizzate sotto il Regime.

Il progetto proposto dal futuro designer è sviluppato in maniera accurata, rappresentando in planimetria piante, sezioni e frontoni. La critica ha visto in questo progetto un primo riferimento a elementi caratteristici della successiva ricerca di Achille Castiglioni: Boccioni, infatti, aveva già utilizzato materiali diversi e commestibili nella composizione estetica.

Director since of La Synagogue de Delme , an art centre located in a rural area in Eastern France, she co-founded and co-curated the art center Bétonsalon in , with Mélanie Bouteloup. She has been freelance curator between and Between and she has been a board member of d. De à , elle a été membre du bureau de d. First in terms of its history, and then its architecture, and especially its location in a rural area. In your view, what are the strengths and weaknesses of this context?

The weakness could be its isolation in a rural area within a village of residents, 35 km from the towns of Metz and Nancy. But this isolation is relative: Delme is three hours by car from Brussels, Basel and Frankfurt, and Paris is only one-and-a-half hours from Metz or Nancy by train. This region of eastern France has strong connections with other art scenes in Belgium, Holland, Luxemburg, Germany, Switzerland and other countries. Making the trip to Delme and finding yourself in this landscape — with fields as far as the eye can see — is part of the experience you get from the visit.

It turns this visit into a special moment. As for the place itself, its history and architecture have a magnetic power. This historical depth is what makes it so complex and interesting.

Unlike the white cube and its supposed neutrality, a place like the Synagogue de Delme conceals infinite resources and questions, and this is what makes it so fascinating. Where does Delme sit in the context of the overall French art policy? In a context of fiscal austerity, culture is jeopardised. Delme is a very small cog in a very large chain of cultural institutions that are going through major upheavals in terms of cultural policy.

In contexts like this, these ambitions should be supported all the more: The reality is more subtle and nuanced. Working collectively and as a network has always been an essential aspect of my way of conceiving my work as a curator and organisation director. I very naturally wanted to take part in PIANO because this platform further develops this spirit of collaboration and networking. Moreover, the meeting with Peep-Hole in Milan was decisive.

This question of books as places of experimentation and research was also explored at Peep-Hole this summer with the second instalment of their project The Book Society. Selon vous, quelles sont les forces et les faiblesses de ce contexte? Mais cet isolement est relatif: Quant au lieu lui-même, son histoire et son architecture dégagent une force magnétique. Les artistes ne peuvent venir avec un projet clef en main mais doivent se saisir des spécificités du lieu. Comment situer Delme dans le contexte de politique artistique général français?

Le volet médiation est extrêmement conséquent au vu des moyens alloués et il est pratiqué avec un engagement total au quotidien. La réalité est plus délicate et nuancée. Ce sont des laboratoires, tant de la création que des modes de transmission à tous types de publics.

Le message est parfois difficile à faire entendre dans le contexte actuel, qui prête davantage au repli sur soi et aux peurs de tous ordres.

Par ailleurs, la rencontre avec Peep-Hole à Milan a été déterminante. The Book Society 02 Protagonists: Marie Cozette, Rometti Costales. Mattin is a Basque artist whose work responds to the social and economic conditions of experimental music production, through live performance, recordings, and writings. He investigates the parameters of improvisation, notably the notion of freedom and constant innovation dictated by its conventions and which distinguish it as a genre.

For Mattin, improvisation does not merely entail an interaction between musicians and their instruments, but also all the other elements that make a concert. He reveals the stereotypical relations between the active player and the passive audience, which he aims to disrupt by provoking experiences of alienation. The Audience is Not the Mother of Self-Invention , presented here as a video recording, is a performance that took place in at Index an independent art space in Stockholm during a week-long performance series titled The Audience is the Mother of Self-Invention.

The performance began with a video camera equipped with a light projector aimed at Mattin, who stood in the middle of a circle spontaneously formed by members of the audience. During one hour the camera slowly revolved degrees, moving away from the performer and steadily filming the audience.

During the traveling shot, Mattin uttered a series of almost inaudible phrases. The performance ended when the camera came full circle to once again frame him. Una videocamera, munita di proiettore, è puntata su Mattin, che si trova al centro del cerchio formatosi spontaneamente tra gli spettatori.

Durante questa carrellata, Mattin pronuncia delle frasi quasi incomprensibili. La performance si chiude con la videocamera che torna a inquadrare Mattin. La performance prend fin avec le retour du champ de la caméra sur Mattin. He is editor-at-large of Kaleidoscope magazine, a contributing editor of Art Review , and his writing has appeared in many magazines and online publications including Artforum , Fillip , Afterall , Mousse , Metropolis M , Spike , Camera Austria , artpress , and Art-Agenda.

Fa parte della redazione della rivista Kaleidoscope e collabora regolarmente con Art Review; i suoi articoli sono pubblicati inoltre su siti internet e numerose riviste come Artforum, Fillip, Afterall, Mousse, Metropolis M, Spike, Camera Austria, artpress e Art-Agenda.

Il fait partie de la rédaction de Kaleidoscope et collabore régulièrement avec Art Review. Ballard, a far more apocalyptic author. Levi simply reiterated the predictions made twenty years earlier by Arthur Clarke, commenting on what had actually come true and what had not.

Levi thought this was easy but not convenient to produce: Here, the author stresses that talking about the future always entails the idea of a bet or a prediction. We can only speak of the future in the present. And similarly, your project The Registry of Promise , whose first event has been presented at the Fondazione Giuliani in Rome, investigates not so much your vision of the future as an aspiration for the future, or rather a promise for the future.

What is the future that artists seem to promise? Chris Sharp It is indeed true that the future can only speculated about from the position of the present. In fact, it is this kind of ideal complicity that prevents, I believe, a show from being about ideas as opposed to art i. If I am not mistaken, the term presupposes a quantifiable scientific method hypothesis, proof which, contrary to recent popular opinion, has very little, if anything, to do with the fundamental, insuperable and incommensurable unquantifiable sense of uncertainty and mystery intrinsic to art.

As for the question of the future and promise, the relationship of the artists in this overall exhibition with time, is, I hope, much more complex. It has as much to do with the past and the present as with future. I am not sure what kind of future artists can offer us. In that same article, the writer supports the idea of a return to primitivism, the need to recover deep roots, the reassertion of basic needs to address the advancement of new technologies, social networking, a virtual context.

If we look at historical determinism, we know that every action is the result of a previous one. So the future is actually in progress. In this perspective, the prediction of a future action is no longer something abstract, but rather something that we build day by day in the present. In an exhibition that I recently curated, called The Time Machine The Survivors , there was a clear reference to the in-progress perception of the future. What is the aspect that most attracts you about the future?

The new languages, new aesthetics, or specific issues ecology, the legacy of history, nature…? Which of these areas have you explored or will explore in your four exhibition projects, and in what order was the general design of the exhibition envisioned? I suppose that the aspect that most attracts me about the future is its ability to generate if not narrative, then form which is always a kind of narrative, or way to prevent the story from yielding up its contents, once and for all, and ending — which is one of the primary points of this show.

To what extent can the future generate narrative and form? Or rather, to what extent is our western perspective of the future capable of generating it? By shedding the old one melancholy ; abandoning a linear conception of time and embracing a multiplicity of times multiple times ; accepting the impossibility of a non-human narrative moving things ; and lastly, by stretching literature and language itself to new limits.

But all of that makes the exhibitions that compose The Registry of Promise sound more prescriptive and idea-based than they actually are. I found the first event of the project at the Giuliani really well arranged, sophisticated, almost metaphysical in the choice of the large voids between each work.

Such an arrangement of space is a curatorial choice, but can it also be interpreted as your own personal reading of an imaginary future?

Rarefaction, order, or entropy? Thank you very much. Metaphysical is not a term I would have ever selected to describe it, but now that you mention it, de Chirico does come to mind, as well as a corresponding sense of deliberateness, meaning or lack thereof , crisis, and even desolation.

The latter probably has more to do with my spatial decisions in the Giuliani show than anything. I wanted to create a potent, yet understated sense of drama.

All the work in the show is very powerful and I wanted to emphasize that power, even if I did so toward non-specific narrative ends — for instance, it seems like something has happened in The Promise of Melancholy and Ecology , which is very much of the order of aftermath, but whatever has happened has less to do with an event than, say, a psychological condition: I also think that some, if not all the works really deserved the space.

But then again, to speak generally, I think all great art deserves a lot of space in order to be properly seen, and that, reversing the same logic, all the space in Giuliani can be gleaned as a measure of not only how powerful the art in it is, but also, by extension, how fortunate I am to be able to work with it.

Courtesy Galerie Laurent Godin, Paris 3. Courtesy ProjecteSD, Barcelona 4. Courtesy Fluxia, Milan 5. Courtesy ProjecteSD, Barcelona 7.

The Registry of Promise Spaces: Smith , Antoine Nessi. Born in Montebelluna in , Letizia Ragaglia majored in museology and contemporary art at the universities of Florence and Bologna as well as at the École du Louvre and the Sorbonne in Paris.

She worked as a freelance curator specializing in projects for public spaces on behalf of various Italian and international institutions. She was a member of the jury for the She lives and works in Bolzano. Vincent Honoré In the mission statement of the museum, one reads: The aim is to be interdisciplinary and these efforts can be seen in the fact that not only figurative art finds its place at Museion, but also architecture, music, performance, film and theatre all have a space in the yearly programme.

How do you articulate it? And, importantly, why is it still relevant to be interdisciplinary? Letizia Ragaglia The fact that visual arts cannot be perceived in isolation from other forms of art is not a new discovery. Reference to such statements can be found in ancient periods as well as in the present.

However, I see contemporary art as a hybrid construction — in a positive sense — which not only connects different cultural disciplines, but also integrates disciplines that are far beyond the cultural field. In my opinion, therefore, a museum of contemporary art has to underline and to create different links that move through the present-day cultural scene.

This Summer, for example, a young Italian artist, Luca Trevisani, was invited to create a video for our media façade: This Fall, moreover, we will present a show, in which Carol Bove, an American artist, interacts with the well-known architect Carlo Scarpa: In our show When Now Is Minimal. The Unknown Side of the Sammlung Goetz we hosted concerts with minimal music and we also pursue collaborations with designers such as Martino Gamper, who continuously move between art and design. Regarding the importance of interdisciplinarity: There are different models of what a museum should be, of what its missions should be.

What is your vision, in , of what a museum should be? I can only answer for a museum of contemporary art, a museum which works predominantly with living artists and which, therefore, differs slightly from other museums that deal with artists and objects from the past. Is the traditional museum dead? I particularly appreciate a question asked by Nikolaus Hirsch: Who are the authors of Museion?

Self-practices in Contemporary Art. At the same time, the show gave us the chance to go through each different individual practice in our team, from the security guards in the exhibition rooms, to the accountant and the secretary. Who do you speak to? How would you describe the persons visiting Museion: In , the guest curator of Museion is Pierre Bal-Blanc. Among the many inspirations I received from that show, I read between the lines that nowadays there is not one single public, but a number of different ones.

I think that one should never underestimate his or her public! Furthermore, I have a dream: We want to be there for people who want to engage and have an experience. This involves delving much farther beyond our rationality. Michael Fliri, the unseen looks like something you have never seen, PIANO intends to create a network of art spaces working together, exchanging and interacting. Why did you decide to join the project and how are you participating in it? Once we heard about that, though, we were obviously enthusiastic about collaborating in a wider network.

I strongly believe in exchanges and collaboration with other institutions, especially if the partners share needs and mission-statements. As a guest curator, Pierre Bal-Blanc has done a lot of research on our territory and brought his perspective from outside in order to make us perceive our context in a different way.

Vincent Honoré Nella mission del museo si legge: E, cosa ancor più rilevante, perché è ancora importante essere interdisciplinari? Nella nostra mostra When Now Is Minimal.

Ci sono diversi modelli di cosa dovrebbe essere un museo e di quale debba esserne la mission. Cosa pensi debba essere un museo nel ? Il museo tradizionale è morto? Trovo molto interessante questa domanda formulata da Nikolaus Hirsch: Chi sono gli autori di Museion?

Lo scorso anno, Museion ha invitato come guest curators Carol Yinghua Lu e Liu Ding, che hanno realizzato una mostra molto interessante, Little Movements. A chi ti rivolgi? Come descrivile persone che visitano Museion: Nel il guest curator di Museion è Pierre Bal-Blanc.

Tra le molte ispirazioni che ho tratto da quella mostra, mi pare di aver letto tra le righe che oggi non esiste un unico pubblico, ma diversi. Penso che non si debba mai sottovalutare il pubblico! E poi, ho un sogno: Perché hai deciso di aderire al progetto e come si attua la tua partecipazione?

Devo dire la verità: Credo fortemente nello scambio e nella collaborazione con altre istituzioni, specialmente se i partner hanno gli stessi bisogni e le stesse mission.

Pierre Bal Blanc, in qualità di guest curator, ha portato avanti una approfondita ricerca sul nostro territorio e ha offerto il proprio punto di vista esterno per farci percepire il nostro contesto in maniera diversa. Danh Vo, We the people. Des annonces de sexe gratuites pour trouver un plan gay rapide à apt avec un mec dominant.

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