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Céleste Boursier-Mougenot
Céleste Boursier-Mougenot élabore des dispositifs à partir de situations, d’objets du quotidien et d’appareils, dont il extrait le potentiel sonore et musical. L’artiste reconfigure ainsi les possibilités rythmiques et mélodiques, aussi bien visuelles que sonores, des matériaux qu’il emploie, pour générer des formes sonores qu’il qualifie de « vivantes ». Livre publié à l’occasion de l’exposition personnelle de Céleste Boursier Mougenot au Palais de Tokyo, « acquaalta», 24.06 2015 – 13.09 2015
Céleste Boursier-Mougenot (English edition)
Céleste Boursier-Mougenot produces systems from everyday situations and objects, as well as devices, of which he then extracts their musical and sound potential. In this way, the artist reconfigures both the rhythmic and melodic possibilities of his materials, which he uses to generate sonic forms that he describes as being “living.” Based on a close relationship with the architectural and spatial nature of the exhibition space, each system creates a framework favoring a multi-sensorial experience for the visitor. In 2015, Céleste Boursier-Mougenot is representing France at the 56th Contemporary Art Biennial in Venice. For the Palais de Tokyo, he has conceived a lakeside landscape,...
Becoming Audible
Becoming Audible explores the phenomenon of human and animal acoustic entanglements in art and performance practices. Focusing on the work of artists who get into the spaces between species, Austin McQuinn discovers that sounding animality secures a vital connection to the creatural. To frame his analysis, McQuinn employs Gilles Deleuze and Félix Guattari’s concept of becoming-animal, Donna Haraway’s definitions of multispecies becoming-with, and Mladen Dolar’s ideas of voice-as-object. McQuinn considers birdsong in the work of Beatrice Harrison, Olivier Messiaen, Céleste Boursier-Mougenot, Daniela Cattivelli, and Marcus Coates; the voice of the canine as a sacrificial lab animal in ...
Sound Art Revisited
The first edition of Sound Art Revisited (published as Sound Art: Beyond Music, Between Categories) served as a groundbreaking work toward defining this emerging field, and this fully updated volume significantly expands the story to include current research since the book's initial release. Viewed through a lens of music and art histories rather than philosophical theory, it covers dozens of artists and works not found in any other book on the subject. Locating sound art's roots across the centuries from spatialized church music to the technological developments of radio, sound recording, and the telephone, the book traces the evolution of sound installations and sound sculpture, the rise of sound art exhibitions and galleries, and finally looks at the critical cross-pollination that marks some of the most important and challenging art with and about sound being produced today.
Céleste Boursier-Mougenot
Publié à l'occasion de l'exposition éponyme, Pavillon français de la 56e Exposition internationale d'arts visuels - La Biennale di Venezia, du 9 mai au 22 novembre 2015. Le pavillon français est partiellement recouvert par l'écume de bruitformé, texture en expansion qui, sous l'effet de la gravité, s'écoule lentement du haut du bâtiment, épousant ses formes et transformant son architecture néoclassique en un organisme mouvant, vivant, qui se développe au gré du "bruit", notion étendue à des perturbations ou flux d'informations captés et détournés pour nourrir cette persistance. Les arbres mobiles de transHumUs, fichés dans leur motte, se déplacent lentement en oscillant ...
Abraham Poincheval (English edition)
Abraham Poincheval is an insatiable explorer. Whether by crossing the Alps while pushing a capsule he used as his shelter, or by enclosing himself for a week in a rock, his—itinerant or static—expeditions require total physical commitment. The inhabitable sculptures which the artist conceives are laboratories allowing him to experience time, enclosure or immobility. They are the envelope that hosts the performer, an object that disturbs the landscape, and which exists through word of mouth. Abraham Poincheval’s two new performances at the Palais de Tokyo lead him to experience the temporalities of the animal and the mineral kingdoms. Book Contents - “Abraham Poincheval, Humanity in S...
"Everything We Do is Music"
A book for teachers and others, containing more than 50 activities based on the music and thought of Cage. The activities encourage multidisciplinary exploration and listening to sounds in new ways. With an introduction and appendices.
Ragnar Kjartansson
Ragnar Kjartansson compose une œuvre singulière à la croisée de la performance et du cinéma, de la sculpture et de l’art lyrique, de la peinture de plein air et de la musique. Il produit régulièrement de vastes projets interdisciplinaires dont la réalisation implique souvent plusieurs participants – acteurs, musiciens, amis et membres de sa famille. Éprouvant les mécanismes du spectacle et les ressorts de la tragédie, Ragnar Kjartansson parvient conjointement à faire advenir une émotion à travers des gestes mélodramatiques et à révéler la réalité qui se joue dans les fondements de toute interprétation. Par la répétition, véritable motif de son œuvre, Ragnar Kjartansson éclaire l’effort à l’œuvre et la théâtralité de la vie quotidienne. Livre publié à l’occasion de l’exposition personnelle de Ragnar Kjartansson au Palais de Tokyo, « Seul celui qui connaît le désir », 21.10 2015 – 10.01 2016
Dancing Girl and the Turtle
A rape. A war. A society where women are bought and sold but no one can speak of shame. Shanghai 1937. Violence throbs at the heart of The Dancing Girl and the Turtle.Song Anyi is on the road to Shanghai and freedom when she is raped and left for dead. The silence and shamethat mark her courageous survival drive her to escalating self-harm and prostitution. From opium dens to high- class brothels, Anyi dances on the edge of destruction while China prepares for war with Japan. Hers is the voice of every woman who fights for independence against overwhelming odds.The Dancing Girl and the Turtle is one of four interlocking novels set in Shanghai from 1929 to 1954. Through the eyes of the dancer, Song Anyi, and her brother Kang, the Shanghai Quartet spans a tumultuous time in Chinese history: war with the Japanese, the influx of stateless Jews into Shanghai, civil war and revolution. How does the love of a sister destroy her brother and all those around him?
