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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.

 

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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

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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.

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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

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 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://

www.instagram.com/chatonsky_/

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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)

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 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://

www.instagram.com/chatonsky_/

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 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://

www.instagram.com/chatonsky_/

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 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://

www.instagram.com/chatonsky_/

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December 1, 2021

Jean Reaper

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.

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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.

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© David Coulon

 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://

www.instagram.com/chatonsky_/

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 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://

www.instagram.com/chatonsky_/

GraphiqueColle-2.png

 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://

www.instagram.com/chatonsky_/

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