Interface
INTERFACE is a weekly seminar organized as part of the Visual Arts and Aesthetics masters at the University of Paris 1 Panthéon-Sorbonne with the Sorbonne Artgallery.
Celine Flecheux
November 30, 2022
From the horizon to the return: which detours and for which stays?
Céline Flécheux is a professor of history and theory of contemporary art at the University of Paris 8-Saint Denis. His research focuses mainly on the horizon in its links to landscape, philosophy and the plastic arts. She has published two books on this question: L'Horizon, des Traités de Perspective au Land Art, PUR, 2009, and L'Horizon, Klincksieck, 2014. Co-founder of the research program "Les Contemporains" with Magali Nachtergael from 2013 in 2016, she co-directs the collection of the same name at Éditions P. She writes regularly on modern and contemporary art (Abraham Poincheval, Anna-Eva Bergman, Robert Smithson, François Morellet, Nancy Rubins, Chris Burden, etc.) . After having published with Emmanuel Alloa the first work translated into French by the German phenomenologist Gernot Böhme (Aisthétique. Pour une esthetics de l'experience sensible, Presse du réel, 2020), she is preparing an issue of the journal Pistes with Céline Bonicco-Donato on uses of the notion of atmosphere in the arts. To be published in January 2023 by Éditions du Pommier: Revenir. The ordeals of return, in which she explores the ambiguities linked to the return, always sweet and dreaded.
Vladimir Skoda
November 23, 2022
Vladimír Škoda is a sculptor, born in Prague in 1942, he has lived and worked in Paris since 1968. Interested in manual work, he began training as a turner-miller then took evening drawing classes alongside the factory. During a trip to Paris, then aged 26, he decided to come to France to resume his studies, but in the artistic field. Accepted at the Beaux-Arts, he followed César's lessons and worked with wire. In the early 1970s, he discovered contemporary art. His first works are gestures of positioning in relation to New Realism, then Arte Povera and Antiform. Having grown up with a particular interest in mathematics and physics, his vocabulary has always been made up of simple geometric shapes: spirals, cubes, polyhedra but, since the mid-1980s, he has given a privileged place to the motif of the sphere declined in all its forms. Tiny polished steel ball bearings, large balloons inflated with helium or pendulums whose moving reflection is inscribed in a concave mirror, the spheres of Skoda, large and small, animated or motionless, solitary or innumerable, are worlds miniatures. In polished steel, they reflect their surroundings and include the visitor in their universe. The energy of the body, in its relationship to matter comes to replace it. The shapes he summons, stemming from a simple geometry, allow him to articulate what the material dictates to him, to the preliminary drawing, to the project. His first “balls”, “spinning tops” or “pyramids” resulted from this. Its spheres, polyhedrons and concave or convex surfaces, placed on the ground or against a wall, first arouse an apprehension of their weight and their mass, by their gravity and their tangible base, even when they are in polished steel. and reflecting space. Between microcosm and macrocosm, Vladimír Škoda varies the envelopes and shapes of his sculptures. The sphere becomes one of his predominant research subjects to develop the multiplicity of relationships between the interior and exterior of matter, between the space of the viewer and that of the work. Vladimír Škoda's work deals with the cosmos and the laws of the Universe.http://www.vladimirskoda.fr/B/BioEN.html
Esther Shalev-Gerz
November 9, 2022
Living in Paris, Esther Shalev-Gerz is internationally recognized for her artistic practice which examines the construction of knowledge, history and identities. Inscribed in the tradition of the portrait, his works question its notion and practice and invite us to consider how its qualities can contribute to the contemporary debate around the politics of representation. His monuments, installations, photographs, videos and works in the public space are developed through continuous dialogue, consultations and negotiations with the different actors of each project. His work is a permanent search for the potentialities of change in time and space and the transformations of identities, places and stories that result from it. It acknowledges, criticizes and contributes to a vision of the role and societal value of artistic engagement. Esther Shalev-Gerz, née Gilinsky, was born in Vilnius, Lithuania. Since 1984, she lives and works in Paris. A graduate of the Bezalel Academy of Art and Design in Jerusalem, she lived in New York between 1980 and 1981. In 1986, she co-directed the Monument Against Fascism in Hamburg, which is, to this day, a reference in contemporary reflection on the monument and memory. She has designed and produced permanent installations in public spaces in Israel, Hamburg, Stockholm, Wanas, Geneva and Glasgow. In 2010 and 2012, two major retrospectives brought together around fifteen of his installations, first at the Jeu de Paume in Paris, then at the Musée des Beaux-Arts in Lausanne. Space Between Time, her solo exhibition at Wasserman Projects, Detroit, featured nine of her installations between April and July 2016. In 2018, she opened a monumental permanent installation, The Shadow, on the campus of the University of British Columbia in Vancouver, Canada. In 2022, his sculpture King & King is installed in a private collection in Pittsburgh in the United States.
Lydia Goehr
October 19, 2022
Born in London in 1960. Philosopher recognized internationally for her work in aesthetics. After her doctoral thesis at the University of Cambridge, on the ontology of music, she obtained a permanent appointment as a professor at Columbia University (New York). Her work focuses on the philosophy of music and the history of aesthetic theory, trying to understand the relational nature of norms and power dynamics with the structure that limits them and regulates their practice. Most of his work is concerned with the musical arts and explores the complicated and often hostile relationship between the arts, and between the arts and philosophy and religion. She has received several awards for her research as well as for her teaching: Getty and Guggenheim Fellowships in 2012; H. Colin Slim Prize from the American Musicological Society in 2009/2010; Lenfest Distinguished Columbia Faculty Award in 2005; Columbia Presidential Award for Outstanding Teaching. Among his essays: The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (Clarendon Press, Oxford, 1992); A Quest for Voice: On Music, Politics, and the Limits of Philosophy (Clarendon Press, Oxford, 1997); Elective Affinities: Musical Essays on the History of Aesthetic Theory (Columbia University Press, 2008); Red Sea - Red Square - Red Thread. A Philosophical Detective Story, (Oxford University Press, 2021). She co-edited with Daniel Herwitz The Don Giovanni Moment. Essays on the Legacy of an Opera, and with Jonathan Gilmore, the Wiley Blackwell Companion to Arthur C. Danto. We can read in French translation: Policy of musical autonomy, ed. Philharmonie de Paris, 2016
Grégory Chatonsky
October 5, 2022
Born in 1971 in Paris, Grégory Chatonsky lives and works in Paris and Montreal. In 1994, he foundedIncident.net, one of the first Netart collectives in France, and made the Web its medium. From 2001, he began a series on the aesthetics of ruins and extinction as an inextricably artificial and natural phenomenon. He then brings technologies back to their mineral materiality. From 2008, he turned to AI and the ability of statistical induction to automate mimicry. In the context of an extinction of the human species, AI appears as an attempt to create a monument by anticipation that would continue after our disappearance. Grégory Chatonsky was the recipient of an international research chair at the University of Paris VIII. He was a teacher at Fresnoy, at UQAM. He was an artist-researcher at ENS Ulm and led a research seminar on artificial imagination with Béatrice Joyeux-Prunel. He is currently teaching at EUR Artec. Winner of numerous international residencies and prizes such as the Villa Kujoyama, the Audi Talents 2018 prize or the MAIF 2020 prize, Grégory Chatonsky regularly participates in personal and collective exhibitions in France and abroad.
http://chatonsky.net/ https://
Ariel Kyrou
September 21, 2022
Journalist, writer and essayist. He uses SF, counter-culture and contemporary arts as much as philosophy to think and heal the world of today (and tomorrow). Editorial director of the Cognacq-Jay Foundation's Solidarity Laboratory and member of the editorial team of the journal Multitudes. He is co-screenwriter of the documentary Les Mondes de Philipe K. Dick. Defining himself as a “multi-hat agitator”, as written by Google God, Big Brother does not exist, he is everywhere, (2010), The ABC Dick (2009) and This is not a blasphemy, among others. , with the artist Mounir Fatmi (2015), and In the imaginations of the future (2020)
Bernard Moninot
April 6, 2022
"Bernard Moninot's work does not fit into any of the major expressive categories. Although it works with pigmentation, it does not belong to painting, although it unfolds in space, it is not perceived as sculpture and, finally, it does not really belong to what we understand by installation. It would be more accurate to say that it is of the order of drawing: but an enlarged drawing (in the sense that Novalis could speak of "enlarged poetry"), unfolding in spatial objects on or through absolutely original materials of tracing and inscription. Glass, wind, metal, black smoke, percussion. A drawing that even has to do with photography, through its relationship to time (snapshots, exposure times). The first part of the text will address this singularity by describing one or more recent works and their production site, the studio - or outside, a garden (for the wind drawings). Then it will be a question of a kind of hidden tradition, that of the speculative artists, whose work is thought of as a fundamental research, based on the spatio-temporal data of their time. The model of these artists is well established for the quattrocento and has been constantly revived, but it is somewhat neglected today, even though the upheaval of spatial conceptions and uses of time would require that an exploration be attempted afresh. This exploration is the task that Bernard Moninot has assigned himself. Meditative, patient, it is not abstract, but rather touches on the very elements that underpin our existence: our perceptions of space, our situation in time. Light, shadows, reflections, projections, echoes, waves, propagations, it is a true poetics of listening that the artist indulges in. His works can be divided into two categories: instruments and readings. But in order to approach both, as well as the protocols for their implementation, the text will proceed by tracing the artist's career, from his beginnings (the Vitrines) to the present day (La mémoire du vent, Fil d'alerte, etc.). Not only by observing the works themselves, but also by attempting to return to the process of their production each time. Jean Christophe Bailly
Lives and works in Château-Chalon and Le Pré Saint Gervais. Born in 1949 in Le Fay (S&L) 1967 -1972 Studied at the Beaux-Arts de Paris, from 1983 to 2006. Teachers at the Beaux-Arts of Bourges, Angers and Nantes, and from 2006 to 2015 at the Beaux Arts of Paris. Main exhibitions: 1971 and 1973 Paris Biennale. 1974 Musée d'Art moderne de Saint-Étienne. 1977 DocumentaVI, Kassel. 1979 Maeght Foundation. 1980 Musée d'art moderne de la Ville de Paris. 1997 Galerie Nationale du Jeu de Paume, Paris. 1998 Fruit Market Gallery, Edinburgh. 2001 National Gallery of Modern Art, Bombay and Delhi. 2010 MACVAL, Vitry. 2013 Musée Jean Cocteau, Menton. 2014 Cabinet des dessins Jean Bonna, Beaux-Arts de Paris. 2021 Centre d' Art de Kerguéhennec. 2022 Maeght Foundation.
Esmeralda Da Costa
February 23, 2022
Esmeralda Da Costa is a Franco-Portuguese artist born in 1982. She studied sociology and then joined the Villa Arson in Nice, from which she graduated with honours in 2011. She lives and works in Paris.
Defianting her own body, Esmeralda Da Costa first sketches a work questioning the intimate body, filiation and memory through video installations. Her immersive works gradually reveal the other. She proposes sound installations mixing human and technology to question the profound changes in the world and the evolution of relational modes. She films and photographs the unleashing of the natural elements, then composes and assembles mirror images of threatened life. Sensitive to the manipulation of information by the media, she diverts the visuals of the paper press around a work of linocut. In her latest creation, she appropriates the history of a French heritage work - the Angers Apocalypse Tapestry - and offers a contemporary interpretation marked by the social upheavals of our time.
Winner of the OplinePrize 2018, she has participated in numerous video art festivals and group exhibitions (Instants Vidéo Numériques et Poétiques - Marseille, 2021; Bons baisers de Nice, Galerie Espace à Vendre - Nice; Les arts éphémères, 12th edition, Parc de Maison Blanche - Marseille; L'écho du silence, Espace 16K - Kremlin-Bicêtre, 2020 ; While I'm Waiting, Gallery space at Code & Canvas - San Francisco - United States, 2019; FIAV, Institut Français de Casablanca - Morocco, 2019; Videoformes, Salle Gaillard - Clermont-Ferrand, 2018; Instants Vidéo Numériques et Poétiques - Marseille, 2017; Festival Art Vidéo - Bibliotheca Art Center d'Alexandrie, 2017; Sélection Officielle Arte Video Night #7, MEP - Paris, 2015, etc. ). His work has also been the subject of several solo exhibitions, including Apokálupsis at the Repaire Urbain in Angers, 2021; Altera(c)tions at Anis Gras in Arcueil, 2019; La Terre-Mère / A Terra Mae at Centro Cultural Adriano Moreira - Bragança (Portugal) 2017; MATCH at Galerie Incognito in Paris in 2015...
Richard Conte
February 16, 2022
Richard Conte is a visual artist who works in the fields of painting, performance and film. He has always combined artistic practice, research and teaching. He is now professor emeritus at the Sorbonne School of Arts of the University of Paris 1, after having directed the CERAP (EA 2479) from 1998 to 2012 and the ACTE Institute (UMR 8218 of the CNRS) from 2012 to 2017. He was also advisor for creation at the CNAM and the Musée des Arts et Métiers (2018 to 2020). He is also a member of the AICA. His research focuses on the study of creation (Poetics) in its relationship with painting, philosophy, insularity, science and sport. He now devotes himself to painting and writing.
Recent publications (selection): 2022, Les animaux malades de l'humain, Exhibition catalogue, Institut Confucius de Tahiti (Text by Richard Leydier); Danse avec les bêtes (with the poet Serge Pey) éditions Tarabuste - 2020, "The Zidane film", in Post-cinéma, Dominique Chateau and José Moure (eds) Amsterdam University Press - "Se rincer l'œil, une divagation poïétique", Recherches en Esthétique n° 26, "Le (déplaisir)". - 2019: Migration & Memory, Arts and Cinemas of Chinese Diaspora, Edition of the MSH du Pacifique-sud. Papeete (UPF and CNRS). (dir.) - 2018: Entre amis (with Michel Gouéry and Gilles Tiberghien), catalogue of the exhibition at Galerie Michel Journiac, Paris.
Recent films on RC: 2018, Le passeur, by Christian Lallier; 2021, Tant qu'il y aura du miel, Axel Clévenot.
Jean Faucheur
December 1, 2021
Jean Faucheur is a French painter, sculptor, photographer and videographer born in Neuilly-sur-Seine in 1956; he currently lives and works in Paris.
After graduating from ENSAD (National School of Decorative Arts) in 1979, he set up his studio in Versailles. Feeling cramped there, he decided to show his work in the street, thus becoming one of the pioneers of new urban interventions (those who were called in 1985 the “Media Painters”).
From 1983, he made paintings on kraft paper in large format, which he then stuck illegally on 4x3m billboards in Paris. During the following two years, he undertook a trip to New York at the invitation of Tony Shafrazy, a famous gallery owner who exhibited Keith Haring, Basquiat and Futura 2000 at the time. He also went to Tokyo and co-founded Les Frères Ripoulin, a collective composed of young painters who, appreciating his work on panels, ask him to introduce them to his technique. A multidisciplinary artist, he organizes wild exhibitions in the Paris metro and at the Palace, is the co-creator of the Jean-Marc Patras gallery and presents his works at the Agnès b. as early as 1984.
From 1986, he left the street to devote himself to sculpture, painting and photography. In 2001, his meeting with Thom Thom, an artist who hijacks advertising posters with a cutter, encourages him to reconnect with the urban scene. This was followed by a cycle of exhibitions “Implosion / Explosion” and “Une nuit” bringing together from 2002 to 2005 close to 150 artists from the region. In March 2003, at the corner of rue Oberkampf and rue Saint-Maur in Paris, the association Le MUR (Modulable Urbain Réactif) was born on the initiative of Jean Faucheur. It is in 2007 that will begin on this panel of 3X8m the first interventions of urban artists every fortnight and this since nearly 15 years. At the same time, he participates in numerous artistic collective experiences (pictorial video performances Akrylonumerik, D-Rush collective, Imaginary Museum, etc.). In the summer of 2015, he was the artistic director of the “Murs de L2” in Marseille and of “À L’scale de la ville” in Paris in 2018 (Ministry of Culture). Since then, he has been president of the urban art federation. His pronounced taste for sharing and breaking up, undeniably poses Jean Faucheur as a precursor and discoverer of talent.
Felicie d'Estienne d'Orves
November 17, 2021
Félicie d'Estienne d'Orves is a visual artist whose material is light. His installations and performances appeal to a phenomenological knowledge of reality and question the conditioning of our gaze. In his work, light is both the tool and the subject. She is interested in the definition of the limits of space, physical and cosmological, by light and its speed.
Winner in 2019 of the Vasarely Foundation prize and guest artist at Le Fresnoy (National Studio for Contemporary Arts), her installation "Eclipse" joined the art collections, Beep Collection Electronic Art (ES), as well as the Fondation Iberdrola (ES). Since 2020, she has received commissions for permanent works such as for the Grand Paris Express as part of the “Tandem” program in collaboration with the Dietmar Feichtinger agency or as part of the New Sponsors for the city of Louvain (BEL).
His work has been presented at the Center Pompidou – Nuit Blanche – Le Centquatre 104 – Sorbonne Artgallery (Paris) – Le Fresnoy Scène Nationale (Tourcoing) – The Vasarely Foundation (Aix-en-Provence) – Abbaye de Maubuisson (Saint-Ouen-l 'Aumône) – 500 years of Le Havre (Le Havre) – State Studio (Berlin) – Watermans Arts Center (London) – New Art Space / Sonic Acts (Amsterdam) – TBA Teatro do Bairro Alto (Lisbon) – Ars Electronica (Linz) – Elektra Festival (Montreal) – Day For Night (Houston) – OCAT (Shanghai) – Aram Art Museum (Goyang/Korea) etc.
© David Coulon
Decebal Scriba
November 8, 2021
Decebal Scriba was born in Romania in 1944 and arrived in France in 1990.
Thanks to a coherent body of work based on a variety of media - photography, installation, performance, video art - the artist addresses conceptual and performance art, questions of formal and textual language, spatial representation and the symbolism of gestures and forms. The sign is omnipresent in his work, referring as much to handwritten language as to body language, mathematics or even worship. It thus becomes the support for philosophical and political reflections, questioning the relationship to others and to art.
Voted anonymous because of its political dimension, his work undertaken during the Romanian dictatorship has been rehabilitated in recent years on the European art scene. At the same time, the artist continues to invest the field of conceptual art through performance, photography and drawing, perpetuating philosophical reflections imbued with spirituality on the relationship to the world and to existence.
Thomas Hirschorn
October 14, 2021
Thomas Hirschhorn is a Swiss artist who was born on 16 May 1957 in Bern. Since the end of the 1980s, Thomas Hirschhorn has concentrated on the creation of precarious handmade sculptures. He creates them from everyday materials such as waste paper, aluminium foil and cardboard. His sculptures are often "monuments" to people he admires. They sometimes require the participation of the local population, as Thomas Hirschhorn refuses to be an artist confined to the salons. Thomas Hirschhorn's work is permeated by the questions, contradictions and scandals that plague contemporary society, marked by globalisation. The artist campaigns for greater justice and equality. Energy yes, quality no, says this artist, creator of apparently disordered, improvised and poor installations, but strongly structured in reality. In 2000, when the Marcel Duchamp Prize was awarded to Thomas Hirschhorn, the jury said that "the prizewinner shows real maturity and a great sense of responsibility as an artist, and that his work is remarkably original and inventive". Thomas Hirschhorn's social and political concerns culminated in 2004 in the opening of the Albinet precarious museum in Aubervilliers, which was a way of "making art exist beyond the spaces devoted to it". An unusual museum, made of prefabricated buildings, whose employees and animators were local residents and whose ephemeral walls exhibited masterpieces of 20th century art for three months, signed by Duchamp, Malevitch, Mondrian, Dali, Beuys, Warhol, Léger... most of which were borrowed from the Centre Pompidou.
Christian Jacard
October 7, 2022
Born in 1971 in Paris, Grégory Chatonsky lives and works in Paris and Montreal. In 1994, he foundedIncident.net, one of the first Netart collectives in France, and made the Web its medium. From 2001, he began a series on the aesthetics of ruins and extinction as an inextricably artificial and natural phenomenon. He then brings technologies back to their mineral materiality. From 2008, he turned to AI and the ability of statistical induction to automate mimicry. In the context of an extinction of the human species, AI appears as an attempt to create a monument by anticipation that would continue after our disappearance. Grégory Chatonsky was the recipient of an international research chair at the University of Paris VIII. He was a teacher at Fresnoy, at UQAM. He was an artist-researcher at ENS Ulm and led a research seminar on artificial imagination with Béatrice Joyeux-Prunel. He is currently teaching at EUR Artec. Winner of numerous international residencies and prizes such as the Villa Kujoyama, the Audi Talents 2018 prize or the MAIF 2020 prize, Grégory Chatonsky regularly participates in personal and collective exhibitions in France and abroad.
http://chatonsky.net/ https://
