Cette phrase de Jean-Luc Godard extraite du film "Notre Musique": si je me suis bien fait comprendre c'est que je me serais mal exprimé. bien à vous yves caro
pour le contenu de l'exposition ou de la biblio je parlais de la performance de l'artiste tao lin voici le lien de la vidéo que l'on peut trouver sur le site vvork http://vimeo.com/8048349 variety evening at the new museum (30 octobre 2009)
voici quelques autres réferences en lien avec le discours , la parole, le commentaire :
“Speaker’s Corner” – Various rhetorical proffessionals reading the artist’s script for a speech at the opening of the Busan Biennale. By Yang Haegue.
“Ladies and Gentlemen, my name is Yang Haegue, and I would like to welcome you warmly to our Busan Biennale. Sometimes we have an impression that an art exhibition might become a presentation of ability, overflowing with mannerism. Sometimes I ask to myself whether nowadays art is nothing but a rich menu of visual experiences like a sports festival advocating the slogan „higher, faster, and farther“, or whether the artist is no more than a modernist-progressive who does his best to present only something good in the name of ‘artistic creation’. So, here in front of you, I would like to share my opinions and feelings about my creative activities and life that I can express as a young artist. The reason why I insist on doing this in this place is that the form of the exhibition seems to have been unable to represent life and everydayness veraciously and actively, though they are inseparable from the artist’s creation and always function as an mirror to reflect the life of his own as well. Be them positive or negative, be them beautiful or heartbreaking, the emotions and impressions that I have got in my everyday life have been the fundamental source of my work and provided motifs and contents to it. The indigent, necessitous life brings forth a content related to destitute and poverty, and the days with strong experiences and impressions about the people and events around me produce more appealing works. Of course, like those of other ordinary people, my personal daily lives are mainly composed of simple observations and experiences, far from a succession of great marvelous ones. Everything, however, that I receive from people as well as my surroundings constitutes the basis of my art. Here, one might ask where the exclusive realm peculiar to art is, and where the true creativity of the artist is located. I think that the answer depends on how we define what the finished work is. Unfortunately, the practical problems and worries many artists share with one another everyday are left behind the curtains by the cause of ‘artistic creation’. Similarly, big or small ideas emerging from seemingly unartistic reflections and anguishes are just looked upon as mere informal episodes. These stories and scenes ‘behind the curtains’ have held my interest and affection. And here, I cannot help asking a question in return whether it is a too narrow definition of art if it assimilates all of them only from the plastic point of view. I feel the necessity of artistic attempts and experiments to enlarge the realm of art and to generate new experiences and reflections in everyday life. (….) Today, I could have made a lengthy speech again under the pretext of ‘art’, taking a great deal of your time. One of you might wonder where, then, my work is at all. I am afraid that I cannot but return disappointment mingled with a slight sense of betrayal or dubiety to you, rather than show some original imaginations and ideas resulting form a certain gift, or a novel spectacle. But it is the privilege in the name of art that gave me today’s opportunity. This Speaker’s Corner owed its existence to it. So, I would like to ascribe your unsatisfied expectations and my emotions of gratitude toward who I do not know only exclusively to art. Thank you for listening to me today.”»2000 Oracle04 V1« is a machine that turns books on tape back into books. By Kristan Horton.»2000
Excerpt from »Alone. Life Wastes Andy Hardy«, 1998, by Martin Arnold.
“Live Subtitles”, 2005 by Gareth Long. Installation with video, camera, microphone, computer, speech recognition software, printer, paper- The installation used voice recognition software to cull the voices of the spectators, turning their speech into live captions superimposed on a live video feed.
»Best of 2000«, 2002, every adjective used to describe artists and their work in Artforum’s “Best of 2000″, by Jennifer Dalton.
»Greatest Hits in Spanglish« by Pascual Sisto.
»Dadameter«, 2002-2008, Global index of the decay of the aura of language, By Christophe Bruno.
»Translation Piece« (2002) by Jonathan Monk consists of a documented series of successive translations of a description of Robert Barry’s immaterial Telepathic Piece (1969). What begins with Barry’s statement ‘During the exhibition I will try to communicate telepathically a work of art, the nature of which is a series of thoughts that are not applicable to language or image’ becomes, after passing through a number of commercial agencies, gibberish: ‘in this image the way of expression of reactions of the soul attempts to come close to a work of art’.
»The Jungle Book Project«, 2002, is a multilingual re-composition that plays on the universality of Walt Disney in 1967. Pierre Bismuth created a new soundtrack, based on 18 translations chosen by each character in function of the resonance of each language.
bonjour,
RépondreSupprimerpour le contenu de l'exposition ou de la biblio je parlais de la performance de l'artiste tao lin voici le lien de la vidéo que l'on peut trouver sur le site vvork http://vimeo.com/8048349
variety evening at the new museum (30 octobre 2009)
voici quelques autres réferences en lien avec le discours , la parole, le commentaire :
RépondreSupprimer“Speaker’s Corner” – Various rhetorical proffessionals reading the artist’s script for a speech at the opening of the Busan Biennale. By Yang Haegue.
“Ladies and Gentlemen, my name is Yang Haegue, and I would like to welcome you warmly to our Busan Biennale. Sometimes we have an impression that an art exhibition might become a presentation of ability, overflowing with mannerism. Sometimes I ask to myself whether nowadays art is nothing but a rich menu of visual experiences like a sports festival advocating the slogan „higher, faster, and farther“, or whether the artist is no more than a modernist-progressive who does his best to present only something good in the name of ‘artistic creation’. So, here in front of you, I would like to share my opinions and feelings about my creative activities and life that I can express as a young artist. The reason why I insist on doing this in this place is that the form of the exhibition seems to have been unable to represent life and everydayness veraciously and actively, though they are inseparable from the artist’s creation and always function as an mirror to reflect the life of his own as well. Be them positive or negative, be them beautiful or heartbreaking, the emotions and impressions that I have got in my everyday life have been the fundamental source of my work and provided motifs and contents to it. The indigent, necessitous life brings forth a content related to destitute and poverty, and the days with strong experiences and impressions about the people and events around me produce more appealing works. Of course, like those of other ordinary people, my personal daily lives are mainly composed of simple observations and experiences, far from a succession of great marvelous ones. Everything, however, that I receive from people as well as my surroundings constitutes the basis of my art. Here, one might ask where the exclusive realm peculiar to art is, and where the true creativity of the artist is located. I think that the answer depends on how we define what the finished work is. Unfortunately, the practical problems and worries many artists share with one another everyday are left behind the curtains by the cause of ‘artistic creation’. Similarly, big or small ideas emerging from seemingly unartistic reflections and anguishes are just looked upon as mere informal episodes. These stories and scenes ‘behind the curtains’ have held my interest and affection. And here, I cannot help asking a question in return whether it is a too narrow definition of art if it assimilates all of them only from the plastic point of view. I feel the necessity of artistic attempts and experiments to enlarge the realm of art and to generate new experiences and reflections in everyday life. (….) Today, I could have made a lengthy speech again under the pretext of ‘art’, taking a great deal of your time. One of you might wonder where, then, my work is at all. I am afraid that I cannot but return disappointment mingled with a slight sense of betrayal or dubiety to you, rather than show some original imaginations and ideas resulting form a certain gift, or a novel spectacle. But it is the privilege in the name of art that gave me today’s opportunity. This Speaker’s Corner owed its existence to it. So, I would like to ascribe your unsatisfied expectations and my emotions of gratitude toward who I do not know only exclusively to art. Thank you for listening to me today.”»2000 Oracle04 V1« is a machine that turns books on tape back into books. By Kristan Horton.»2000
Excerpt from »Alone. Life Wastes Andy Hardy«, 1998, by Martin Arnold.
“Live Subtitles”, 2005 by Gareth Long. Installation with video, camera, microphone, computer, speech recognition software, printer, paper- The installation used voice recognition software to cull the voices of the spectators, turning their speech into live captions superimposed on a live video feed.
“Every Word Unmade”, 2007 by Fiona Banner.
RépondreSupprimer“Five words in a line. (Turbo extended version)”, 2006 by João Onofre.
»Thought Bubble (oh god(Nietzche’s mum(Joke)))«, 2004
»Bible«, 1997. Every word in the Bible arranged in alphabetical order and printed. By Rory Macbeth.
»H-fact: Hospitality/ Hostility«, 2005 by Hüseyin Alptekin.
RépondreSupprimer»Tremor Rumour Hoover«, 2001,
»Best of 2000«, 2002, every adjective used to describe artists and their work in Artforum’s “Best of 2000″, by Jennifer Dalton.
RépondreSupprimer»Greatest Hits in Spanglish« by Pascual Sisto.
»Dadameter«, 2002-2008, Global index of the decay of the aura of language, By Christophe Bruno.
»Translation Piece« (2002) by Jonathan Monk consists of a documented series of successive translations of a description of Robert Barry’s immaterial Telepathic Piece (1969). What begins with Barry’s statement ‘During the exhibition I will try to communicate telepathically a work of art, the nature of which is a series of thoughts that are not applicable to language or image’ becomes, after passing through a number of commercial agencies, gibberish: ‘in this image the way of expression of reactions of the soul attempts to come close to a work of art’.
»The Jungle Book Project«, 2002, is a multilingual re-composition that plays on the universality of Walt Disney in 1967. Pierre Bismuth created a new soundtrack, based on 18 translations chosen by each character in function of the resonance of each language.