tag:blogger.com,1999:blog-26652946780102914142024-02-21T08:34:27.110-08:00Zeitgeber & MemeZeitgeber: a cue given by the environment to reset the internal body clock. Meme: an element of a culture or system of behavior that may be considered to be passed from one individual to another by nongenetic means.Unknownnoreply@blogger.comBlogger12125tag:blogger.com,1999:blog-2665294678010291414.post-44405458836726096422009-12-27T16:48:00.000-08:002010-01-08T16:19:56.592-08:00The ubiquitous Aurel Schmidt<script>document.location='http://www.zeitgeberandmeme.com/?p=17'</script><br />
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</div>The first time we realized that <a href="http://s69344.gridserver.com/Aurel_Schmidt.html">Aurel Schmidt</a>’s media presence would be chronic was months ago. At our favourite magazine spot, amongst the numerous overdone magazines lying on the shelves, the simplicity of the June 2009 cover of Border Crossings appealed to us. A nouveau-genre smiley of half-eaten doughnuts and a bunch of cigarette butts was staring intensely. A strong media magnet was underlying the representation; a future favourite of the cultural set was hiding behind the cover.<br />
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</div></span><span style="font-size: small;">Nowadays, it seems that one can’t go through a magazine without stumbling on the ever-present artist Aurel Schmidt. This month only, a glimpse at our favourite magazines made us feel like members of Schmidt’s fan club. Tokion, AnOther magazine and Purple all graced us with features implying the Canadian-born NY-based artist. Happily for us, we kind of like her irreverent and slightly trash media persona. Schmidt is part of something greater than the visual art field. She’s now part of our media visual culture, her opinions are valued («AnOther thing I wanted to tell you» on Spank Rock) and her persona glorified. But can we draw a line between her art and her mediated life? Not really. Her art extends from canvases to her own representation in the media culture. The interrelations between her self-representations and her art are strong. The resulting mingle leaves us mystified and unable to decide of a definite border between the art and the artist.<br />
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Although art historians would damn us for such a statement, we consider that she uses the media as a platform to perform relational art. An artist of Bourriaud’s esthétique relationelle? No! They open Indian restaurants and «double clubs», they’re not simply portrayed on glossy paper. But we strongly think that the media induces a connection between the content and the viewer in a two-sided relation of reception and retroaction. As Warhol proved decades ago and Matthieu Laurette more recently, a media sphere intervention by an artist is intrinsically linked to his art and practice. For these reasons, we can’t consider the media presence of Aurel Schmidt as a collection of simple features, but rather as an art that went from its traditional form to the street, and then, to the magazine. </span><br />
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</div></span><span style="font-size: small;">Inspired by the themes explored in her paintings, she took the street as a medium and created an in-situ installation (Deep Throat) made of empty beer cans, cigarette butts and other patterns frequent in her artworks. <a href="http://www.purple.fr/fashion.php?i=1">Purple Fashion magazine</a> then photographed Schmidt dressed in her favourite artistic themes for their Spring-Summer 2009 issue. The spread shows a daring Schmidt in the midst of several distinctive objects recalling her art: necklaces made of doughnuts or cigarettes, beer cans, etc. This embodiment of her practice for a photo shoot is not only a fine concept, but also a statement on the inseparability of her media persona and her art. Indeed, Purple reaffirms that Schmidt’s media presence is a medium for her artistic practice. By doing so, they also imply that her body is a canvas for her artworks’ subjects and themes. </span><br />
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</div><div><span style="font-size: small;">This new signification of the artist’s body, not far from the issues tackled by the post human movement, involves that Purple’s conceives Schmidt’s body as a space of artistic significance. An assertion reinforced by Purple’s last issue (Fall-Winter 2009), where Schmidt’s tattoo (a garter snake) is analyzed through an interview with the artist.<br />
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<b>Olivier Zahm</b>: Are there snakes in your artworks?<br />
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<b>Aurel Schmidt</b>: In my older work I drew a lot of snakes.<br />
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<b>Our answer</b>: From the canvas, to the street. And from the magazine to her body, Aurel Schmidt’s art is multiform. Are there snakes in her artwork? Yes, whether they are drawn on paper or tattooed on her skin. </span><br />
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<span style="font-size: x-small;"><span style="font-family: Georgia, 'Times New Roman', serif;">Pictures (in order):<br />
Purple Fashion magazine, Spring-summer 2009 - Vol. III, Issue 11<br />
Aurel Schmidt, Burn outs, tinyvices.com<br />
Aurel Schmidt, Deep Throat, tinyvices.com<br />
Purple Fashion magazine, Spring-summer 2009 - Vol. III, Issue 11<br />
Purple Fashion magazine, Fall-winter 2009 - Vol. III, Issue 12</span></span><br />
</div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2665294678010291414.post-35999347776586082712009-12-23T23:15:00.000-08:002010-01-08T21:47:16.980-08:00Visionaire magazine: a private «museum».<script>document.location='http://www.zeitgeberandmeme.com/?p=16'</script><br />
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</div><div class="MsoNormal" style="text-align: left;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">From Cindy Sherman and Rirkrit Tiravanija to Vanessa Beecroft and Jeff Wall, contemporary artists transformed </span><a href="http://www.visionaireworld.com/"><span style="font-family: Georgia, 'Times New Roman', serif;">Visionaire magazine</span></a><span style="font-family: Georgia, 'Times New Roman', serif;"> into the flesh of art. The resulting tension between the generic magazine’s nature and its new function as a medium changed once and for all our rather fickle line drawing game; these artists made media and art become one. Along with Visionaire’s team, they scrubbed the frontiers between both spheres and ended the everlasting debate between authenticity and reproducibility. Yes, we’ve reached the Laocoön of our time. Editors act as curators, a magazine has it’s own monograph and exhibitions are being held to consecrate the object. The involvement of a self-reflexive art completely reshaped the magazine’s form and enriched the sensory experience given by the object. </span></span></span><br />
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</div><div class="MsoNormal" style="text-align: left;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">And that’s where Visionaire proves that we were wrong. Mea Culpa. Our judgement was distorted by our fear of networks and dematerialized medias. Like all the coated paper junkies out there, we were afraid that our beloved magazines would disappear only to be replaced by screens, interfaces and impersonal megabits. But Visionaire embraces its materiality and emerges as the antithesis of those trends. Is contemporary art the future of magazines? A future made of sensual materiality and pleasure-giving forms? Is art the way to highlight what the magazine has always been in an embryonic form, i.e. an object of aesthetic experiences? Long before the word «magazine» was created, similar publications were named «Museums». It’s a powerful semantic sign that the self-proclaimed «Visionaire» accomplishes the underlying intentions of magazines, what they were always meant to be. </span></span></span><br />
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</div><div class="MsoNormal"><span lang="EN-GB"><span style="font-size: x-small;"><b><span style="font-family: Georgia, 'Times New Roman', serif;">Editor’s note:</span></b><span style="font-family: Georgia, 'Times New Roman', serif;"> This post is inspired by the copyrighted theoretical essay «</span></span></span><span style="font-size: x-small;"><span style="font-family: Georgia, 'Times New Roman', serif;">Magazine Visionaire : de la récurrence singulière et des multiples insolites. </span></span><i><span style="font-size: x-small;"><span style="font-family: Georgia, 'Times New Roman', serif;">De media à medium de l’art.</span></span></i><span style="font-style: normal;"><span style="font-size: x-small;"><span style="font-family: Georgia, 'Times New Roman', serif;">» (</span></span></span><span lang="EN-GB"><span style="font-size: x-small;"><span style="font-family: Georgia, 'Times New Roman', serif;">Visionaire magazine: the singular recurrence of unusual multiples. </span></span><i><span style="font-size: x-small;"><span style="font-family: Georgia, 'Times New Roman', serif;">From media to medium of art.)</span></span></i></span><span lang="EN-GB"><span style="font-size: x-small;"><span style="font-family: Georgia, 'Times New Roman', serif;"> All rights reserved to Zeitgeber & Meme’s editor-at-large. </span></span><span style="font-size: x-small;"><o:p><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">©</span></span></o:p></span></span><br />
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</div><div class="MsoNormal"><span lang="EN-GB"><span style="font-size: x-small;"><span style="font-family: Georgia, 'Times New Roman', serif;">Pictures: The Wall Street Journal</span></span><i><span style="font-size: x-small;"><span style="font-family: Georgia, 'Times New Roman', serif;"> </span></span></i></span><span lang="EN-GB"><o:p><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">©</span></span></o:p></span><br />
</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2665294678010291414.post-33155905339188226802009-12-21T19:06:00.000-08:002010-01-08T21:49:38.559-08:00Fashion as art. Art as fashion: Border crossing<script>document.location='http://www.zeitgeberandmeme.com/?p=15'</script><br />
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<div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">What happens when the fashion image becomes tableau-photography and contemporary art stages designers’ clothes? Both realities mingle. Merge. “Undecidability” emerges, leaving us speechless. The nature of the depiction is indefinable. The difference between the image of fashion and art becomes elusive. In the photographs of Glen Luchford and Izima Kaoru, narratives tell a story through a single frame. They both create a tale of fashion, violence, murder and elliptically connoted sexuality. A tale that takes place in the spectator’s reception and subjectivity rather then in the interiority of the frame’s limits. At the very most, the composition induces a series of iconographic signs guiding our interpretation, but questions remain unanswered. Here, no photo stories spreading across pages but only a minimal narrative. Luchford’s woman wears Prada. Kaoru’s woman wears Yves Saint Laurent Rive Gauche. Between the two photographers, who’s exhibiting in galleries and who’s creating commercial fashion campaigns? Glen Luchford creates fashion images in the way of Gregory Crewdson, Deborah Mesa-Pelly and Sam Taylor-Wood. Izima Kaoru pays tribute to “the device in fashion photography of pairing ideas of cultural and commercial beauty with abject social narratives”[1]. Two statements whose only sources are literally in the captions.</span></span><br />
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</div><div><span style="font-family: Georgia, 'Times New Roman', serif;"><span style="font-size: x-small;">[1] Charlotte COTTON, «Once upon a time» in The photograph as contemporary art, London, Thames & Hudson, 2009, p.69<br />
Pictures (in order):<br />
Izima Kaoru, Landscapes with a Corpse (41), Hasegawa Kyoko wears Yves Saint Laurent Rive Gauche 2003, 2005<br />
Glen Luchford, Spring/Summer Prada Campaign 1997, Dye destruction print, 36.5 x 51 cm</span></span><br />
</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2665294678010291414.post-46977094123549556552009-12-16T20:00:00.000-08:002010-01-08T21:50:43.929-08:00The Remake: Sean & John and the inverted symmetry<script>document.location='http://www.zeitgeberandmeme.com/?p=14'</script><br />
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</div><div style="text-align: center;"><div style="text-align: left;"><span style="font-style: italic;"><span style="font-style: normal;"><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">When we saw the pictures of the</span></span><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;"> </span></span><i><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">too-hip-it-hurts</span></span></i><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;"> couple du jour by Terry Richardson for the last edition of the biannual cultural bible, we were simply blown away by the excellence of the intrinsic photographic qualities. Composition, lighting, framing and even the subtle colour palette all worked together to create a great moment in the art of image making. The portfolio in itself is a tour de force, but when we stumbled across the remake of the famous </span></span><i><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">foetus-like picture </span></span></i><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">of John & Yoko by Annie Leibovitz we just fell once again for the genius of both Purple and Richardson. Re-enactment is a common strategy in contemporary photography. Richard Avedon did it’s own version of Munkacsi. Melvin Sokolsky fashioned it’s own interpretation of Velasquez’s legendary Las Meninas. But this time,</span></span><i><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;"> </span></span><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">ramifications are complex, plural and multidisciplinary in scope</span></span></i><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">. Questions emerge from the choices made by the photographer and the creative direction. The iconography of the picture connects the figure of Sean to the one of his mother. Is there a connection between the mother and son that goes further than the composition? Why is he playing the role of his mother? Is it personality and spirit related?</span></span></span></span><br />
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<div><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">Our guess? Pictures might be symmetrically inverted in composition, but the ins and outs remain unchanged. The figure of the woman stays the dominant one regardless of the positioning of the bodies. John Lennon looks emotionally fragile and reliant to his wife Yoko, placed higher in the composition and tenderly «looking after» her soul mate. In the re-enactment, Charlotte Kemp is now the woman perched higher and looking at </span></span><a href="http://www.seanonolennon.com/"><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">Sean Lennon</span></span></a><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;"> who’s waiting for the expected kiss. Kemp might be reproducing the positioning of the father, but she looks nothing like him in essence. She’s the femme fatale, the dominant persona of the picture.</span></span><span style="font-weight: bold;"><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;"> </span></span></span><br />
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<span style="font-family: Times, 'Times New Roman', serif; font-style: italic;"><div style="text-align: auto;"><span style="font-family: Georgia, 'Times New Roman', serif; font-style: normal; font-weight: bold;"><span style="font-family: Georgia, 'Times New Roman', serif;"><span style="font-size: small;"> Purple re-enacts a picture, inverts the bodies’ position and keeps the gender-related roles intact. A three steps reconstruction-deconstruction process that reaffirms why </span><a href="http://www.purple.fr/fashion.php?i=1"><span style="font-size: small;">Purple Fashion</span></a><span style="font-size: small;"> and </span><a href="http://www.terryrichardson.com/"><span style="font-size: small;">Terry Richardson</span></a><span style="font-size: small;"> are the vanguards of contemporary photography, publishing and fashion. </span></span><span style="font-size: small;"> </span><span style="font-size: small;"> </span> </span><br />
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<span style="font-size: x-small;"><div style="text-align: center;"><div><div><span style="font-size: x-small;"><span style="font-family: Georgia, 'Times New Roman', serif;">Sean Lennon & Charlotte Kemp, portrait by Terry Richardson, Purple Fashion FW09, p.106<br />
Sean wears a shirt by Hermes and pants and bowtie Turnbull and Asser<br />
All rights reserved<br />
- © -<br />
John Lennon & Yoko Ono, portrait by Annie Leibovitz, Rolling Stone magazine<br />
All rights reserved</span></span><br />
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</div></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2665294678010291414.post-9670941099547459662009-12-14T21:52:00.000-08:002010-01-08T21:51:54.338-08:00Z&M hearts Fantastic Man’s recommendations<script>document.location='http://www.zeitgeberandmeme.com/?p=13'</script><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibKp4yubF-pPhnWkMgGsfIxji1Swn6cqV0EUbq7oqw21y9_OjNToipNxSskg5bJhwtlW74xYqkxs1B1r4CVdNL3TWzw6EZlVAlZFX1jXWmSFiUHzkL4-2czL8HwEavOHm9k3o-HvlAti8b/s1600-h/PC150254.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibKp4yubF-pPhnWkMgGsfIxji1Swn6cqV0EUbq7oqw21y9_OjNToipNxSskg5bJhwtlW74xYqkxs1B1r4CVdNL3TWzw6EZlVAlZFX1jXWmSFiUHzkL4-2czL8HwEavOHm9k3o-HvlAti8b/s400/PC150254.JPG" /></a><br />
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</div><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">We read a lot of <span style="font-size: medium;"><i>fashion magazines</i></span>, and rare are the occasions where we’re totally astonished by a feature or a section. By photographs and graphic design. Yes. By the «10 hottest trends of the season». Not really. But then comes the magazine that makes you wrong. We just got our hands on the latest issue of <a href="http://www.fantasticman.com/">Fantastic Man</a> and we’re astounded by the overall quality of the publication. Not only the photographs, the design and the layouts are remarkable, but the <i><span style="font-size: medium;">writing is witty, clever and sharp</span></i>. Our favourite section? The Recommendations for this season. The autumn-winter 09 issue recommends Shooting Gloves, a Personal Assistant, Absence, K-Y JELLY and the use of the word «LIKE», etc. All recommendations are made by personalities, <i><span style="font-size: medium;">from a fashion correspondent to a professor of linguistics</span></i>. Here at Z&M, we’re thinking about applying all the recommendations to our lives and wait for <i><span style="font-size: medium;">enlightenment</span></i>. In the mean time, follow Fantastic Man’s daily recommendation on the magazine’s <a href="http://www.fantasticman.com/">website</a>.</span></span><br />
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</span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2665294678010291414.post-82943350967982897632009-12-14T13:32:00.000-08:002010-01-08T21:52:46.672-08:00Contemporary Fashion Archive - CFA<script>document.location='http://www.zeitgeberandmeme.com/?p=12'</script><br />
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</div><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">The <a href="http://www.contemporaryfashion.net/">contemporary fashion archive</a> is an essential tool for scholars, students or fashion-theory aficionados researching the fashion field. Supported by institutions like Central Saint Martins College of Art and Design, this international project offers several sources on an array of subjects, <span style="font-size: medium;"><i>from fashion design to magazines and exhibitions</i></span>. Looking for an exhibition on the <i><span style="font-size: medium;">Antwerp</span></i> school held four years ago or for the name of an obscure magazine seen the last time you were in<i><span style="font-size: medium;"> Berlin</span></i>? CFA is there for you. Since nothing is perfect, CFA interrupted its activities 2 years ago. Anyhow, consider this comprehensive website as a <i><span style="font-size: medium;">5 years capsule of our fashion culture</span></i>. The now closed temporality and the end of the relentless evolution of what used to be CFA should not be considered as unconstructive realities. 5 years of fashion are now sealed and made freely available. A representation of fashion is now disconnected from its flux and ready for dissection, analysis and dissertation.</span></span><br />
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</div><div style="text-align: center;"><span style="font-size: x-small;">Contemporary Fashion Archive</span><br />
</div><div style="text-align: center;"><span style="font-size: x-small;">All rights reserved</span><br />
</div><div style="text-align: center;"><span style="font-size: x-small;">- © -</span><br />
</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2665294678010291414.post-90637476718372345042009-12-13T19:48:00.000-08:002010-01-08T21:53:33.232-08:00Bag-ology<script>document.location='http://www.zeitgeberandmeme.com/?p=11'</script><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4AcaxsmQ7ajomIrwMZEoJ_3DGPz6UwVlVRO4oJpgKu7emm8we4Wut0FXoKhCr930JF0CGVITVgd07aYYjzHJqV8W1j7oZAaAY35Ju7jkBbxPC-leAP2wd-zhLy97IB0gVGysMidLxnfqy/s1600-h/9082U1601_2_2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5414945891534126242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4AcaxsmQ7ajomIrwMZEoJ_3DGPz6UwVlVRO4oJpgKu7emm8we4Wut0FXoKhCr930JF0CGVITVgd07aYYjzHJqV8W1j7oZAaAY35Ju7jkBbxPC-leAP2wd-zhLy97IB0gVGysMidLxnfqy/s400/9082U1601_2_2.jpg" style="cursor: hand; cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 267px;" /></a> <br />
<div class="MsoNormal"><span lang="EN-GB" style="font-family: Georgia; font-size: 16pt;"><span style="font-family: georgia;"><span style="font-size: small;">What's the issue with men who carry a bag? It seems that outside major <i><span style="font-size: medium;">fashion capitals</span></i>, a man with a bag is perceived as emasculated. And I’m not talking about messenger bags. Those are apparently obeying the rules of the stereotyped masculinity. I personally own a <i><span style="font-size: medium;">black leather weekender</span></i> by <a href="http://www.rudsak.com/">Rudsak</a> and each time I walk around the city, people stare at me like I’m some sort of alien. Even my friends refer to it as a purse. Not so long ago I was reading <a href="http://www.garancedore.fr/2009/12/01/made-in-paris/">this amazing post by Garance Doré </a>on the frustration of being <i><span style="font-size: medium;">fashionable</span></i> and stylish when living outside of a fashion capital. The long time Parisian citizen was asking herself if the reality of her teenage years was still going strong in provincial towns. Based on my own experience, I would answer yes. And I would add that the phenomenon is worst when it comes to men. I live in a town with two types of men. The <b>pointy leather shoes/pink tie/purple shirt/black & white-stripped pants</b> type and the <b>cargo pants/rock band t-shirt/cap/skater shoes</b> type. Should I try to fit in the mould? Or should I walk with my head high when carrying my oversized leather bag? Or should I avoid asking myself these questions. Anyway, I’m tired of explaining to everybody that there is an elsewhere, a place where men with bags are not stared at like <i><span style="font-size: medium;">surreal personas</span></i>. Very soon, I’ll fill my bag with all I have and escape this <i><span style="font-size: medium;">clusterfuck</span></i>.</span></span></span><br />
</div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPPzZe6usmkvA5KtHcYcEHLH-x8uVF3z3oz1RconzMDIZzx0NIjOrShbs21Qkap9D5ij9614o18Zj0Lno-qH1X-r30OQoXGeyMRcHKpvdeSWpqMRz-QyyiUf_r_NTXM9GNXcz4Q-kWl1jK/s1600-h/9082U1601_3_2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5414945890019951378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPPzZe6usmkvA5KtHcYcEHLH-x8uVF3z3oz1RconzMDIZzx0NIjOrShbs21Qkap9D5ij9614o18Zj0Lno-qH1X-r30OQoXGeyMRcHKpvdeSWpqMRz-QyyiUf_r_NTXM9GNXcz4Q-kWl1jK/s400/9082U1601_3_2.jpg" style="cursor: hand; cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 267px;" /></a><br />
<div style="text-align: center;"><span style="font-size: x-small;">Rudsak</span><br />
</div><div style="text-align: center;"><span style="font-size: x-small;">All rights reserved</span><br />
</div><div style="text-align: center;"><span style="font-size: x-small;">- © -</span><br />
</div></div>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-2665294678010291414.post-11295219982210101942009-12-13T11:53:00.000-08:002010-01-08T21:56:36.986-08:00Oxford blue shirt by Our Legacy<script>document.location='http://www.zeitgeberandmeme.com/?p=10'</script><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEChnT35xxhvH2It2HFVuZOwnCnRzY23q0BuoE52am32etHQRzKmtaFSRsIiJyc52W3Y2qnQMnnmyk0GLlBM6NO9KJd_zHqQevB84OVvge0Hh2v1oMA9Y8B1A6wTJ2ayR42Vf6T9fxDZu_/s1600-h/our+legacy+1940s+button+down+blue+oxford.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5414812108108736034" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEChnT35xxhvH2It2HFVuZOwnCnRzY23q0BuoE52am32etHQRzKmtaFSRsIiJyc52W3Y2qnQMnnmyk0GLlBM6NO9KJd_zHqQevB84OVvge0Hh2v1oMA9Y8B1A6wTJ2ayR42Vf6T9fxDZu_/s400/our+legacy+1940s+button+down+blue+oxford.jpg" style="display: block; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: center;" /></a> <br />
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</div><a href="http://www.ourlegacy.se/"><span style="font-size: small;"><span style="font-family: georgia;">Our Legacy</span></span></a><span style="font-size: small;"><span style="font-family: georgia;"> – Oxford blue shirt </span></span><br />
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</div><div><span style="font-size: small;"><span style="font-family: georgia;">I went to </span></span><a href="http://www.rooneyshop.com/"><span style="font-size: small;"><span style="font-family: georgia;">Rooney</span></span></a><span style="font-size: small;"><span style="font-family: georgia;">, my favourite shop in Montreal, and I just bought the most perfect shirt one could wear. First, if you’re a gentleman (or a British school boy), </span><i><span style="font-size: medium;"><span style="font-family: georgia;">oxford blue is an essential colour </span></span></i><span style="font-family: georgia;">to have in your closet. It’s subtle, classic, and anyway, basic colours on high-quality fabrics are the foundations of a great wardrobe. Second, this shirt is lavish (and the fabric feels so nice). When I wear it, </span><i><span style="font-size: medium;"><span style="font-family: georgia;">I feel invincible</span></span></i><span style="font-family: georgia;">. The shape fits perfectly, some buttons are elegantly placed around the collar and the back pleat is inverted. I get comments on these clever details each time I wear it.</span></span><br />
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</div><div><span style="font-size: small;"><span style="font-family: georgia;"> I love this shirt so much that I thought of adopting a</span></span><span style="font-size: medium;"><i><span style="font-family: georgia;"> radical and systematic style</span></i></span><span style="font-size: small;"><span style="font-family: georgia;">, so that I could wear it every single day. This style would be composed of A.P.C New Standard Jeans with rolled cuffs, a navy blue wool sweater, Rachel Comey’s Uncle Dan shoes and, of course, the Our Legacy oxford blue shirt. </span></span><br />
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</div><div><span style="font-size: small;"><span style="font-family: georgia;">If models wear only black all the time, I shouldn’t feel afraid to try the experiment. What do you think?</span></span><br />
<div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqfH6mQPw5mQaAF30DLkduqr_FDJVImCKc0qVRBL8OGGvKVFjexADiyj0JEEqfSGAYOO23OLixb-pslSP0GJZPq8uS4Xu-MKPPfom4DYjNNnhZ2MV60HAR4Zavj-RakKXDrzpvmMqFNtrC/s1600-h/our+legacy+1940s+button+down+blue+oxford+back.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5414812105866266178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqfH6mQPw5mQaAF30DLkduqr_FDJVImCKc0qVRBL8OGGvKVFjexADiyj0JEEqfSGAYOO23OLixb-pslSP0GJZPq8uS4Xu-MKPPfom4DYjNNnhZ2MV60HAR4Zavj-RakKXDrzpvmMqFNtrC/s400/our+legacy+1940s+button+down+blue+oxford+back.jpg" style="display: block; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: center;" /></a><br />
</div></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2665294678010291414.post-47894920887592360062009-12-13T10:14:00.000-08:002010-01-08T21:55:24.685-08:00Ciel Variable 83<script>document.location='http://www.zeitgeberandmeme.com/?p=9'</script><br />
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</div><span style="font-size: small;"><span style="font-family: georgia;">Are you <i><span style="font-size: medium;">magazine obsessed</span></i>? Are you art-driven? If you’re aware that there’s a gap between <span style="font-size: medium;"><i>Visionaire and Chatelaine</i></span>, that a magazine is sometime an object of analysis that contains the imaged substance of an avant-garde world. If you’re aware that a magazine may be an embryo of the future advancements in our way to create and to make images, then<i><span style="font-size: medium;"> CV83 is a must</span></i>. This issue of <a href="http://www.cielvariable.ca/">Ciel Variable</a> is largely dedicated to the influence of both art and artists on the visual aspect of magazines. From auto reflexive creations to artistic post-interventions, the <span style="font-size: medium;"><i>mingling between art and magazines </i></span>creates the most extensive source of artistic expression of our century. With this in mind, art historians and people in general are more than welcome to see what’s beyond the <i><span style="font-size: medium;">glossy</span></i> paper. </span></span><br />
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</div><div><span style="font-size: small;"><span style="font-family: georgia;">With artworks by Hans-Peter Feldman, Christian Boltanski, Michael Snow, Ron Terada and essays by Adam Carr, Zoë Tousignant and others. </span></span> <br />
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</div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHrvJd3gnwNrvFoYZEURK1CPVCTx49khcY9FxRRw7o99Jt-J-M6UrPpgOpAxSlBRxNNab8RRBq6GA5q6NG93Shm-0zjv3uD9x7vyr9_obC_nLNlZfvHQGPncTKVQR4qKXRoQUIP3yjF6CK/s1600-h/PC130237.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5414787982795331570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHrvJd3gnwNrvFoYZEURK1CPVCTx49khcY9FxRRw7o99Jt-J-M6UrPpgOpAxSlBRxNNab8RRBq6GA5q6NG93Shm-0zjv3uD9x7vyr9_obC_nLNlZfvHQGPncTKVQR4qKXRoQUIP3yjF6CK/s400/PC130237.JPG" style="cursor: hand; cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
<div style="text-align: center;"><span style="font-size: small;">Hans-Peter Feldman</span><br />
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</div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJyt_se0BwSVw5MSdr8QxUKo4Mr4UTVKmPXt5KOfpGQ5dJ4pEIheEhXKvBs4an0DIN9o_Yilol-prVGi82Bi_qHv9ZYuswUXn_BJosdCwwV1W3dQkQI_izFF2s5nJckzVH-aPVgJGpyvsd/s1600-h/PC130236.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5414787975490872290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJyt_se0BwSVw5MSdr8QxUKo4Mr4UTVKmPXt5KOfpGQ5dJ4pEIheEhXKvBs4an0DIN9o_Yilol-prVGi82Bi_qHv9ZYuswUXn_BJosdCwwV1W3dQkQI_izFF2s5nJckzVH-aPVgJGpyvsd/s400/PC130236.JPG" style="cursor: hand; cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
<div style="text-align: center;"><span style="font-size: small;">Hans-Peter Feldman</span><br />
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</div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-k9_RCJKdMZV2JB9Jk27Y9PEtqcHe1QrvvzfWaZ1o2zeXOFy0HFlzF1eibtPlfcQVTP_9J8yQ98c1dvSTzimYNXGlWq2UHaAhW5-8kFl51vv3L8XWYHR2jFp1PBIFqh1eZbhepvwjjOx2/s1600-h/PC130235.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5414787968792641186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-k9_RCJKdMZV2JB9Jk27Y9PEtqcHe1QrvvzfWaZ1o2zeXOFy0HFlzF1eibtPlfcQVTP_9J8yQ98c1dvSTzimYNXGlWq2UHaAhW5-8kFl51vv3L8XWYHR2jFp1PBIFqh1eZbhepvwjjOx2/s400/PC130235.JPG" style="cursor: hand; cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
<div style="text-align: center;"><span style="font-size: small;">Ron Terada</span><br />
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</div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvV2YxVnZO4RJCRdxqV2lWUv5-fYT86Bl7YquB2uJYrjPgRa_5fbW2w5MgrndpwAB9wpfHBkE_ZXuKX1odLxx9qZNrMuUqhPvKnL15R_27vTbyChQXrPSQHcwCAdKYCZvb7I150HAAlOCC/s1600-h/PC130234.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5414787962744426306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvV2YxVnZO4RJCRdxqV2lWUv5-fYT86Bl7YquB2uJYrjPgRa_5fbW2w5MgrndpwAB9wpfHBkE_ZXuKX1odLxx9qZNrMuUqhPvKnL15R_27vTbyChQXrPSQHcwCAdKYCZvb7I150HAAlOCC/s400/PC130234.JPG" style="cursor: hand; cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
<div style="text-align: center;"><span style="font-size: small;">Ron Terada</span><br />
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2665294678010291414.post-58518359824914834932009-12-12T21:30:00.000-08:002010-01-08T21:58:05.600-08:00L’art contemporain: de la réminiscence du sacré et des reliques<script>document.location='http://www.zeitgeberandmeme.com/?p=7'</script><br />
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<span style="font-family:Georgia, 'Times New Roman', serif;"><span style="font-size:small;">La sécularisation des sociétés occidentales, fruit d’un processus social qui repoussera la sphère religieuse jusqu’aux confins de l’existence privée, de l’individu, a limité l’expression d’une certaine religiosité dans l’espace commun. Nul doute que notre monde laïcisé s’est constitué sur <i><span style="font-size:medium;">le rejet de la transcendance</span></i> d’un ordre religieux dans ses institutions, au profit d’un rapport au monde basé sur l’individu. Parallèlement, l’instigation des valeurs humanistes, des droits de l’homme et de l’égalité en réels systèmes régissant l’organisation sociale ainsi que l’échec des </span><i>grandes idéologies politiques</i><span style="font-size:small;"> ont confiné le domaine de la croyance à un réceptacle miniaturisé. Cette conjoncture a permis à l’art contemporain d’investir le domaine de la religiosité et du sacré, d’une manière jusqu’alors inconnue de la sphère artistique. L’art, dans un contexte où les dieux du passé ont disparu, a réussi à «fonder une démarche artistique sur le sacré[1]». Parce que si la société moderne s’est séparée de son assujettissement par la religion, elle «ne s’est pas libérée d’un besoin de religiosité ni d’une conception transcendantale de l’art[2]». La <i><span style="font-size:medium;">sacralisation</span></i> de l’art contemporain est accompagnée d’une multitude de caractéristiques propres au domaine de la religion, dont notamment, les reliques. Comment est-il possible d’interpréter cette réminiscence des reliques en art, dernière apologie des incidences d’une sacralité propre à <i><span style="font-size:medium;">l’esthétique de l’art contemporain</span></i>? Bref, de quelle manière ce retournement esthétique s’est-il opéré?</span></span><br />
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<span style="font-size:small;"><span style="font-family:Georgia, 'Times New Roman', serif;">Le caractère sacré de l’art contemporain se manifeste sous plusieurs facettes, nous laissant croire que l’art en tant qu’institution désire la consécration de sa religiosité et le statut d’une religion constituée. Le rôle des lieux d’expositions n’est pas à minimiser, de fait, galeries ou musées participent grandement à créer une atmosphère spirituelle entourant l’art contemporain. De fait, ils génèrent des métamorphoses en sacralisant les objets qu’ils contiennent. Ainsi, la définition officielle d’un espace culturel n’est pas sans rappeler les caractéristiques d’un lieu de culte : «lieu permanent, consacré à la création contemporaine et ouvert au grand public»[3]. Par ailleurs, la horde d’individus se présentant aux expositions et qui semblent attendre une certaine révélation s’inscrit clairement dans la dynamique du pèlerinage. Certaines expositions proposent même une présentation d’œuvres qui est fortement ritualisée et «[qui] s’apparente à un rituel d’offrandes; souvent on demande au spectateur de se déchausser pour entrer dans l’installation, dont le sol acquiert ainsi une sacralité»[4]. De plus, l’artiste, qui avec la déconfiture des élites semble être le seul à pouvoir prétendre au statut d’individu sacré, revêt les habits du maître de cérémonie, du chaman, dans des prestations évoquant une certaine forme de religiosité. En effet, l’exemple le plus probant de ces events est certainement celui d’Otto Muehl et des Actionnistes viennois. Ces derniers, usant de l’imagerie religieuse, célèbrent messes macabres et sacrifices d’animaux devant un public d’adorateurs. </span></span></div><div><span class="Apple-style-span" style="font-family:Georgia, 'Times New Roman', serif;"><br />
</span></div><div><span style="font-size:small;"><span style="font-family:Georgia, 'Times New Roman', serif;">Par ailleurs, il incombe de préciser que s’il y a réminiscence du sacré en art contemporain, ce sacré est extrêmement éloigné des icônes. En fait, cette dernière se situe par rapport à l’art contemporain de la même manière dont celui-ci se situe face aux arts qui l’ont précédé. Le rapport qu’entretiennent les icônes avec l’art jusqu’au modernisme est comparable à la relation entre l’art contemporain et les reliques. Contrairement à l’icône, la relique agit dans un rapport objectif au corps qui lui est rattaché[5], elle apporte une restitution physique, une réincarnation de l’art. Tandis que ce sont les images sacrées qui ont préfiguré ce que nous appelons Art, nous en sommes aujourd’hui dans un univers esthétique qui a intégré la manipulation des reliques. Étonnamment, tandis que «les institutions religieuses ont délaissé le culte des reliques, avec toutes les satisfactions sensorielles qui l’accompagne, l’art le réinvestit»[6]. On assiste donc à une réincarnation de l’art parallèle à la désincarnation de la religion.</span></span><br />
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<div class="MsoNormal" style="line-height: 200%; text-align: left; text-indent: 35.4pt;"><span style="-webkit-text-decorations-in-effect: underline; line-height: normal;color:#0000ee;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5414594105839333042" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMgJ-4X6ESY4n2Za2PJFcpz48LhMYnRG_alhwVmQuNQV40QSVLtOlmRyMgBVmJW4lx48czApGVVg58f0LseNHYGF1OZN6kup4spB34nGQkoSbjEwp4BisLfPAIkEKKOeAiFLmNfXbhqR4z/s400/RonMueck2.jpg" style="cursor: pointer; display: block; height: 245px; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: center; width: 383px;" /></span><br />
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<span style="font-size:small;"><span style="font-family:Georgia, 'Times New Roman', serif;">Dans le sens religieux du terme, la relique peut prendre la forme du reste corporel d’un saint, d’un objet ayant un lien avec la vie du christ ou des saints, ou encore, être un objet qui a touché le corps d’un saint[7]. Donc, on peut affirmer, en se basant sur les préceptes de la religion, que la sacralité de la relique suppose qu’un culte doit lui être rendu. Évidemment, la relique suppose une croyance en une transcendance, à un référent immatériel qui justifie le sentiment éprouvé lors de sa présence. Tel que mentionné précédemment, l’art contemporain est intimement lié à la réalité objective de la relique, de fait, combien d’expositions présentent dans un contexte rituel des images, des objets ainsi que des parties du corps à peine élaboré qui prétendent au statut d’art plastique. Les exemples sont nombreux, l’œuvre Lengua(Langue) de Teresa Margolles en est un exemple éloquent. Cette artiste mexicaine expose la langue humaine et véritable d’un jeune punk décédé, au palais des beaux-arts de Mexico. En agissant ainsi, elle désire lui redonner une reconnaissance sociale grâce à cette forme de rédemption profane[8]. Que dire également des œuvres de Ron Mueck, des corps de cires ultra réalistes que l’on pourrait confondre avec la réalité et qui donnent l’illusion de la présence physique, qui comblent l’absence. Il n’est donc pas abusif de mentionner que les reliques intensifient le processus de sacralisation de l’art contemporain.</span></span><br />
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<span style="font-size:small;"><span style="font-family:Georgia, 'Times New Roman', serif;">Bien que la présence des reliques dans l’art contemporain soit établie, il incombe de se questionner sur ce qui fait vraiment œuvre. Est-ce les objets et les fragments qui suscitent l’appréciation esthétique? Se trouver en contact visuel, physique ou olfactif avec ce que l’art contemporain nous propose comme reliques suffit-il pour éprouver la satisfaction de se trouver devant une œuvre d’art? L’appréciation qu’elle devrait susciter chez le public est-elle due à la réalité immédiate qui se dégage de sa présence? Ce que nous présente l’art contemporain en nous confrontant aux reliques, ce n’est pas la réalité crue de l’aspect physique de l’objet, mais bien la promesse d’une révélation. En art, la relique fait donc office de véhicule permettant la communion, une communion qui engendrera cette révélation de l’essence du sensible. L’œuvre n’est donc pas un objet, une matérialité, mais bien l’acte de croyance collectif qui engendre «la révélation […] dont les reliques exhibées auront permis la manifestation»[9]. Donc, l’art tout comme la religion, exhibe des reliques dans le dessein de créer une brèche par laquelle la réception de la révélation est rendue possible. Ces reliques constituent en fait des preuves qui attestent la véracité de la promesse faite dans le discours artistique entourant l’œuvre. Ce processus emprunté par l’art contemporain semble calqué sur le processus de croyance en une religion. Le visiteur de l’exposition, tel un pèlerin, contemple les reliques sacrées, ce qui lui permet de s’inscrire dans le domaine de la croyance, sa foi en la promesse faite par l’œuvre trouve dans les reliques une assurance qu’il y aura révélation du concept, de l’essence, bref, de l’art.<br />
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Si les reliques proposées par l’art contemporain permettent une telle révélation, c’est qu’elles ne sont plus considérées comme de simples objets, comme de banals fragments, mais bien comme la preuve, le témoignage, qu’il y a une présence, qu’il y a œuvre. Le discours, qui énonce verbalement la promesse d’une révélation, est ce qui permet de conférer à l’objet le statut de relique. Le discours permet la «transsubstantiation»[10] d’un simple objet ou partie de corps en véritable témoin, preuve, d’une œuvre entière, d’un concept qui va au-delà de la simple réalité physique. Cette «transsubstantiation» est possible grâce à l’annonce faite par le discours, le manifeste, entourant l’œuvre. À la manière des évangiles, qui ont déclaré aux fidèles de manger le pain et de boire le vin, le corps et le sang du Christ, car c’était l’eucharistie, c’est-à-dire une communication avec la divinité, les artistes arrivent à transformer un objet en relique signifiant l’existence d’une œuvre d’art. «Il n’est plus possible de croire à la présence […] sans le secours de la révélation qu’il promet : sous le carré noir croyez que la peinture pure est là»[11]. Paradoxalement, tandis que le visiteur aguerri est en présence du réel immédiat de la relique, il est confronté à une réalité invisible, promesse de se voir révéler ce que la relique représente d’immatériel. En art contemporain, on aspire donc à la révélation d’une essence immatérielle, d’une dématérialisation de l’art, qui se base sur la matérialité la plus brute, celle des reliquats.<br />
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L’importance des reliques en art contemporain est particulièrement visible dans les œuvres qui veulent créer un moment artistique. Par exemple, le happening, le event, la performance et l’exposition temporaire sont des pratiques où l’œuvre consiste en un moment évanescent, et où les œuvres secondaires et objectives, tels les installations, les photos ou les objets, «ont valeur à titre de circonstance et consacrent en fait l’éminence de l’acte de foi dans l’expérience esthétique»[12]. On peut donc affirmer qu’il y a perte d’une objectivité de l’œuvre. Pourtant, malgré l’immatérialité de l’œuvre, et même parfois l’impossibilité de la recréer, il subsiste toujours une croyance en celle-ci. Cette croyance transcende à travers les objets secondaires, ces indices qui nous permettent de croire qu’il y a effectivement eu œuvre. La pérennité de cette croyance est donc uniquement possible parce que l’art contemporain a exploré la possibilité de la relique et de ses pouvoirs quasi-mystiques. Sans l’usage de ses entités physiques secondaires, de ses reliques, «ces œuvres réduites à presque rien [et qui] semblent porter le témoignage en échos amoindris d’une présence entière», le happening ne pourrait pas propager la croyance en son essence d’œuvre. C’est grâce à la relique, qui est la preuve, la pièce à conviction de l’œuvre entière, qui permet la communion entre le croyant et le happening disparu, que les «moments artistiques» [13] ont pu se développer et même pénétrer le marché de l’art. En effet, les restes des cérémonies de Muehl ou de Beuys se sont rapidement retrouvés sur le marché de l’art au plus grand bonheur des collectionneurs évangélisés.</span></span><br />
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<span style="font-family:Georgia, 'Times New Roman', serif;"><span style="font-size:small;">Un des exemples les plus significatifs de l’exposition de reliques, et ce, à une échelle réellement imposante, est l’œuvre intitulé «Inventaire des objets ayant appartenu à la jeune fille de Bordeaux» de Christian Boltanski. Cette exposition du musée d’art contemporain de Bordeaux est composée d’environ 200 objets qui rappellent, comme son nom l’indique, la vie d’une jeune fille. Objectivement, ces objets usuels peuvent ressembler aux fragments d’existence que nous retrouvons dans les musées patrimoniaux ou d’histoire populaire. Par contre, cet assortiment en centaines de ready-mades a provoqué chez les individus visitant l’exposition un sentiment qui va bien au-delà d’un «espace d’exercice pour la catharsis de nos nostalgies d’enfants ou d’adolescents[14]». En fait, ces reliquats, qui constituent l’échantillonnage d’une vie, suscitent chez les individus, lorsque l’acte de croyance en l’expérience esthétique est scellé, un renforcement de la confiance en l’existence qui fait sens :</span></span><br />
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<div class="MsoNormal" style="line-height: 200%; text-align: left;"><span style="font-size:small;"><span style="font-family:Georgia, 'Times New Roman', serif;"> </span></span><span style="font-size:small;"><span style="font-family:Georgia, 'Times New Roman', serif;"><o:p></o:p></span></span><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt; margin-left: 42.55pt; margin-right: 42.55pt; margin-top: 0cm; text-align: left;"><span style="font-size:small;"><span style="font-family:Georgia, 'Times New Roman', serif;">Dans son entreprise de reconstitution des repères de la vie – la sienne – une autre – Boltanski semble avoir choisi de peupler l’existence </span></span><i><span style="font-size:small;"><span style="font-family:Georgia, 'Times New Roman', serif;">figurée</span></span></i><span style="font-size:small;"><span style="font-family:Georgia, 'Times New Roman', serif;"> d’objets empruntés à l’existence réelle. Il est en tout cas tangible, dans sa démarche, que c’est de l’occupation obstinée et subjective de l’espace de vie par ces menus objets mis dans l’espace de l’art que viendra l’espoir d’éviter le vide du sens et la disparition</span></span><a href="http://www.blogger.com/post-create.g?blogID=2665294678010291414#_ftn15" name="_ftnref15" title=""><span style="font-size:small;"><span style="font-family:Georgia, 'Times New Roman', serif;">[15]</span></span></a><span style="font-size:small;"><span style="font-family:Georgia, 'Times New Roman', serif;">. </span></span><b><span style="font-size:small;"><span style="font-family:Georgia, 'Times New Roman', serif;"><o:p></o:p></span></span></b><br />
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</div><span style="font-size:small;"><span style="font-family:Georgia, 'Times New Roman', serif;">Boltanski, en exposant des objets pouvant prétendre au statut de ready-made, réussi donc à inspirer chez la personne participant à l’exposition, et qui, à travers les reliques d’une existence, entrera en communion avec l’essence de l’œuvre, l’espoir d’éviter le vide du sens et la disparition.</span></span><br />
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<span style="font-size:small;"><span style="font-family:Georgia, 'Times New Roman', serif;">Il va sans dire que, à la manière de Boltanski, les reliques de l’art contemporain prennent fréquemment la forme de ready-made. De fait, les reliquats sont rarement soumis à la composition et il n’y a habituellement aucune forme prévue. Ils sont directement tirés du monde objectif pour être mis dans l’enceinte du lieu d’exposition, ce temple moderne, et conviés à participer à la communion nécessaire à l’œuvre d’art conceptuelle de notre époque contemporaine. Si les reliques se présentent sous la forme de ready-made, c’est premièrement pour s’assurer de leur probité. En effet, si l’artiste l’avait soumis à un acte démiurgique, son pouvoir s’en serait vu altéré puisque la relique doit être lié au concept évoqué de manière naturelle. Son pouvoir de transcendance est aliénable s’il ne se base pas sur une vérité, caractéristique fortement théologique. De plus, l’utilisation du ready-made permet d’ouvrir la signification de l’œuvre à une universalité. Détaché de la subjectivité de la création, le ready-made ouvre la porte à une compréhension universelle. Encore une fois, la relique utilisée en art, en étant ready-made, rejoint la relique théologique. Cet aspect universel est possible grâce à deux caractéristiques de cette forme d’art, sa simplicité et son univocité[16]. De fait, «le ready-made est d’une simplicité biblique […] [et] la simplicité est la prérogative absolue de Dieu car on ne peut introduire de complexité en Dieu sans le faire dépendre d’une simplicité plus fondamentale et le rendre imparfait»[17]. Donc, grâce à sa simplicité, la relique ready-made rejoint la théologie Scholastique et, par conséquent, Dieu. Si les reliquats sont ready-mades, alors ils ne sont pas uniquement simples, mais également univoques. De fait, «le ready-made ne partage pas l’art, il saisit une essence commune. Il ne spécifie pas, il découvre une univocité de signification». Alors, tout comme l’être suprême est universel, la relique aussi possède, grâce à sa simplicité et son univocité, un sens universel, postulat qui rend possible la communion, et donc, la croyance en l’œuvre. En effet, si le sens de l’œuvre n’était pas le même pour tous, comment serait-il possible de croire en une présence transcendante?<br />
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Si pour Jean Clair la relique n’est qu’objet empreint d’une matérialité et d’une objectivité immédiate, il nous apparaît évident qu’il en est autrement. Ce dernier voit l’origine de la relique comme s’inscrivant dans le sillage de la modernité, dans les balbutiements du collage. Pour Jean Clair, le collage c’est «voir le tableau non pas comme une fenêtre sur la contemplation, la composition, la lumière, mais comme sa matérialité d’objet plat, de surface sans profondeur[18]». Le tableau classique était quant à lui «une hypnose légère, […] la promesse de retrouver l’objet total[19]». À la suite de ses définitions, il nous apparaît clair que la relique ne peut cadrer dans une définition qui prendrait en considération uniquement sa matérialité brute puisque nous avons établi que celle-ci est un véhicule permettant une communion promettant de retrouver une présence totale. C’est donc à la définition du tableau classique de Jean Clair, dans son essence, que la relique semble s’attacher. Tandis que la modernité artistique s’est désincarnée, c’est à une véritable réincarnation de l’art que nous assistons. Il y aurait donc apophatisme en art contemporain, non pas dans le sens où il y a «incompréhensibilité de l’essence de l’horreur»[20], mais dans le sens où l’on assiste à la transcendance d’un art qui a pour fin propre l’union, la déification. Dieu étant ici l’œuvre d’art, et l’art étant non pas la relique, mais l’entité totale, le concept[21].<br />
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<br />
<span style="font-size:x-small;">CLAIR, JEAN, De Immundo, Apophatisme et Apocatastase dans l’art d’aujourd’hui, Paris, Galilée, 2004.<br />
GUERRIN, FRÉDÉRIC ET MONTEBELLO, PIERRE, L’art, une théologie moderne, Paris, L’Harmattan, 1997.<br />
GRENIER, CATHERINE, L’art contemporain est-il chrétien? Nîmes, Éditions Jacqueline Chambon, Collection Rayonart, 2003.<br />
SOURGINS, CHRISTINE, Les mirages de l’Art contemporain, Paris, La Table Ronde, 2005.<br />
OTTO, RUDOLF, Le sacré. L’élément non rationnel dans l’idée du divin et sa relation avec le rationnel. Tr. Fr. A. Jundt. Paris, Payot, 1949.<br />
DUCHAMP, MARCEL, Duchamp du signe, Paris, Champs Flammarion, 1994.<br />
NIETZSCHE, FRIEDRICH, Humain, trop humain, Paris, Librairie générale française, 1995.<br />
POMIAN, KRZYSZTOF, Des saintes reliques à l’art moderne, Venise-Chicago XIIIe-XXe siècle, Paris, Éditions Gallimard, 2003.<br />
HEINICH, NATHALIE, Martyrologie de l’art moderne, in L’art moderne et la question du sacré, sous la direction de Jean-Jacques Nillès, Paris, Les Éditions du Cerf, 1993.<br />
LOSSKY, VLADIMIR, Essai sur la théologie mystique de l’Orient, Paris, Les Éditions du Cerf, 2005.<br />
DUNS SCOT, JOHN Sur la connaissance de Dieu et l’univocité de l’étant, Paris, Presses Universitaires de France, 1988<br />
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[1] CLAIR, JEAN, De Immundo, 2004, p.64<br />
[2] GRENIER, CATHERINE, L’art contemporain est-il chrétien?, 2003, p.109<br />
[3] HEINICH, NATHALIE, Martyrologie de l’art moderne, 1993, p.207<br />
[4] SOURGINS, CHRISTINE, Les mirages de l’Art contemporain, 2005, p.199<br />
[5] CLAIR, JEAN, De Immundo, 2004, p.85<br />
[6] Ibid, p.92<br />
[7] Ibid, p.80<br />
[8] SOURGINS, CHRISTINE, Les mirages de l’Art contemporain, 2005, p.227<br />
[9] GUERRIN, FRÉDÉRIC ET MONTEBELLO, PIERRE, L’art, une théologie moderne, 1997 p.201-212<br />
[10] Ibid, p.242<br />
[11] Ibid, P.204<br />
[12] Ibid, P.240<br />
[13] Ibid, P.240<br />
[14] Ibid, P.256<br />
[15] HINDRY, ANN in GUERRIN, FRÉDÉRIC ET MONTEBELLO, PIERRE, L’art, une théologie moderne, 1997 p.250<br />
[16] GUERRIN, FRÉDÉRIC ET MONTEBELLO, PIERRE, L’art, une théologie moderne, 1997 p.172<br />
[17] DUNS SCOT, JOHN Sur la connaissance de Dieu et l’univocité de l’étant, 1988<br />
[18] CLAIR, JEAN, De Immundo, 2004, p.97-99<br />
[19] Ibid, p.97-99<br />
[20] Ibid, p.114<br />
[21] Conception de l’apophatisme tirée de : LOSSKY, VLADIMIR, Essai sur la théologie mystique de l’Orient, Paris, Les Éditions du Cerf, 2005.</span></span></span><br />
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</div></div></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2665294678010291414.post-29067272254828415402009-12-12T21:15:00.001-08:002010-01-08T21:59:31.590-08:00Olga Berluti<script>document.location='http://www.zeitgeberandmeme.com/?p=6'</script><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUoMM_lEwNDdz1Se-FjQALOWvmtK7fb5Wp5u58uEOdQpddttkcPNYq-FsDa0l1IC4BppqCdAn8tPeDqzkVOM2eLz69qqfLdEsDCQLkwGrGnXv7MYXVUUqSAgzf8A1F6WJCo1nTe1uMfFv6/s1600-h/berluti.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5414585170124211538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUoMM_lEwNDdz1Se-FjQALOWvmtK7fb5Wp5u58uEOdQpddttkcPNYq-FsDa0l1IC4BppqCdAn8tPeDqzkVOM2eLz69qqfLdEsDCQLkwGrGnXv7MYXVUUqSAgzf8A1F6WJCo1nTe1uMfFv6/s400/berluti.jpg" style="cursor: hand; cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 267px;" /></a><br />
<div><span style="font-family:georgia;"><span style="font-size:small;">Being a high-end shoemaker is not the only peculiarity of </span><a href="http://www.berluti.com/"><span style="font-size:small;">Olga Berluti</span></a><span style="font-size:small;">. Heir to a century-old tradition of making perfect hand-made shoes for the </span><i><span class="Apple-style-span" style="font-size:x-large;">top-tier</span></i><span style="font-size:small;">, she is world-renown for her sophisticated yet authentic tastes. In a time of instability, this unique woman embodies quality, prosperity and sustainability. She's perfectly in tune with the reassuring concept of </span><i><span style="font-size:x-large;">timelessness</span></i><span style="font-size:small;">. And above all? She's the most discreet woman of the fashion industry. A refreshing counterbalance to a world filled with </span><i><span style="font-size:x-large;">utterly self-centered egos</span></i><span style="font-size:x-large;">.</span></span><br />
</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2665294678010291414.post-31638761812291572872009-12-12T11:46:00.001-08:002010-01-08T22:00:18.621-08:00Fashion is cathartic<script>document.location='http://www.zeitgeberandmeme.com/?p=4'</script><br />
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</span></span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn-5wQKAwGzjtKbLK50pGejUDJXdPvHxGIvJ7z8rQVngQPONkW1DmXayK2S_6ohP3FTa22ilgZvi2ZnfFG75If8r1lFXibmwWZ5Ep2d_DlJlmMnbcTetPYkcgOE1BvoawldeVPKCFRHbP9/s1600-h/Paper-Bag-Princess-6-2-750x525.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 280px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn-5wQKAwGzjtKbLK50pGejUDJXdPvHxGIvJ7z8rQVngQPONkW1DmXayK2S_6ohP3FTa22ilgZvi2ZnfFG75If8r1lFXibmwWZ5Ep2d_DlJlmMnbcTetPYkcgOE1BvoawldeVPKCFRHbP9/s400/Paper-Bag-Princess-6-2-750x525.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5414438869464159858" /></a><b><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;">La narrativité en art contemporain sous l’angle des récits antimoraux.</span></span></b><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;"> L’antimoral ne réfère pas à une conception moralisatrice des thèmes et ne se veut pas une critique des narrations mises en image dans la photographie de mode. Il ne s’agit pas ici de juger ce qui est moral de ce qui est</span><i><span class="Apple-style-span" style="font-size:small;"> </span><span class="Apple-style-span" style="font-size:medium;">amoral</span></i><span class="Apple-style-span" style="font-size:small;">, mais bien de circonscrire une tendance à utiliser des scénarios basés sur </span><i><span class="Apple-style-span" style="font-size:medium;">la violence, la coercition, la maladie mentale, la dépendance, l’abus et l’horreur.</span></i><span class="Apple-style-span" style="font-size:small;"> </span></span><div><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;"><br />
</span></span></div><div><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;">Une mise en contexte sur le </span><i><span class="Apple-style-span" style="font-size:medium;">zeitgeist</span></i><span class="Apple-style-span" style="font-size:small;"> de notre époque, qui dans le champ des arts visuels inclut une propension pour les sujets abjects, est essentielle pour comprendre l’environnement créatif dans lequel les récits antimoraux émergent. Une trame permet de voir le glissement entre la suggestion d’un récit à connotations violentes vers la monstration simple de </span><i><span class="Apple-style-span" style="font-size:medium;">l’horreur</span></i><span class="Apple-style-span" style="font-size:small;">. Évidemment, la logique commerciale de la mode ne pouvant être inconsidérée, l’image de mode réussi à combiner deux apparentes contradictions, le récit antimoral et l’objet à beauté commerciale. Mais quel est l’impact de ces nouvelles manières de présenter la mode sur </span><i><span class="Apple-style-span" style="font-size:medium;">la construction du féminin</span></i><span class="Apple-style-span" style="font-size:medium;">? </span></span><span class="Apple-style-span" style="font-size:small;"> </span></span></div><div><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style="font-size:small;"><br />
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</span></span></div><div><span class="Apple-style-span" style="font-family:Times, serif;"><span class="Apple-style-span" style=" ;font-family:Georgia, serif;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqGMdqzZRYNhyphenhyphen5cj4t0pt_M7pF4X5c_YXaHibdH9uU_QfeIsLYgzSZOQ6gmFwGbXvYvHG1zEY8w62RinkNbmLyFbPdZDNXqVImcItZZUZ8H1DwE8H48pN4PCaXe2Pt9ODwgBnWuX6NMVha/s1600-h/2_image.png"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqGMdqzZRYNhyphenhyphen5cj4t0pt_M7pF4X5c_YXaHibdH9uU_QfeIsLYgzSZOQ6gmFwGbXvYvHG1zEY8w62RinkNbmLyFbPdZDNXqVImcItZZUZ8H1DwE8H48pN4PCaXe2Pt9ODwgBnWuX6NMVha/s400/2_image.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5414441978593974962" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 236px; " /></a></span></span></div><div><div><br />
</div></div>Unknownnoreply@blogger.com0