July 4, 2010, School of Public Bétonsalon, as part of the Imagine Festival Now , Centre Pompidou Metz
Chérot Sophie Laurent Isnard, Nicolas Vargellas
So I made the proposal during a under the Public School to Bétonsalon on stealth action, this school was invited to perform at the festival during a Now imagine Centre Pompidou-Metz. I find it so explicitly requested by the institution to conduct a conference on "fun and general public, lively performances or reenactments .
"Replay" in a conference with an audience, an act of stealth, it not tantamount to denature it? Order one as well. Is not it impossible, even unthinkable, to do without fall into the pantomime or the animation? Demand for Metz Beaubourg to the artist a "facilitator" conference seems to reflect what Debord denounced already, namely a generalized spectacularization an entertainment company. The spectacle masks the everyday life of the agent, thus creating a separation between life and the show itself. Instead, shares are not stealthy, but take the city as a field operations, are reinvested in the offering of new uses, free and ephemeral, to the surprise of an unsuspecting public. Exiting the museum, not not rely on the signature play of its ambiguous nature, operating by stealth, to escape and to what, according to Stephen Wright, "one of the most debilitating charges whose art is the target : it's not for real, or, more frankly, it's just art. [1] claiming no artistic status, furtive actions can still have an impact on the world virulent at a time when "finally it is only art." These actions require not be presented as works for the witness that the meeting be more strongly exposed to the strangeness of their eruption.
The response of Laurent and Nicolas Isnard Vargellas, two students from the Ecole Nationale Superieure d'Arts Paris-Cergy, invited to address the paradox in my company, was to examine the conditions for receiving the stealth action . They then chose install four video cameras outside the conference area. The filmed image is broadcast live behind us on two LCD screens. Simply "switch" to move from one image to another. Students then improvise a speech, making believe that people who appeared on the screen are actors who are asked to make "stealth action". What was wrong. I put my hand to a theoretical discourse within their intervention: what is a stealth action, what it means vis-à-vis the audience, how broadcast illegal acts, what is much truth and fiction.
What is pointed here, in addition to the receipt of such shares and their distribution, is able to offer a perception processed materials to which, a priori, is not implemented. Orally, the artists "perform" acts artistically invisible (and even non-artistic). The word, as in Austin ( When saying is doing ) is act, performs the act [2]. We also raise the freedom that we all have to offer a "perception processed materials" to trivial issues to consider acts as artistic incongruous if we wish. As stated by Jean-Claude Moineau, "" art out of art "found in the private label proclaiming" art ", then it is undecidable even the fact of whether or not there is intent Art or [...] for short. The "receptor" to judge, to "decide" anyway for its own account if there is art or not, according to its own idea of art, freely, unconstrained by any label, the absence of any prejudice and any pre-judgment, as if there was no intention of art "[3] is the interpretation as a work of art that allow such acts to move from status Action banal than artistic. Danto's argument, in The transfiguration of the commonplace, offering a solution to the problem of artistic recognition of objects a priori have no intrinsic quality to merit that label. According to him, the object is recognized as a work in a particular social and historical context, and only if it is subjected to theoretical and philosophical interpretation can justify the interest that it carries. For the philosopher, the "interpretation belongs analytically to the concept of a work of art" [4], and therefore, the interpretation that ensures that we pass the "domain of simple objects that the service "[4].
Danto assigns the criterion of "interpretability" a property of differentiation, and interpretation, a constitutive function (which differs from the interpretation of explanation, it being possible once be made out). The artistic interpretation would be constituent first, and the object is not a work of art before the act. Thus, the interpretation makes a "transfiguration of the commonplace": "Interpretation is a process transformation: it looks like a baptism, not as it gives a name, but as it confers a new identity which makes access to the baptized community of the elect "While Arthur Danto seeks to resolve by problem readymade , particularly how an ordinary object can be perceived as a work of art, we can apply this theory to actions that can be perceived as a work of art. Indeed, the stealth action, first seen as a trivial act, at least not artistic, will be "transformed" into a work post, through interpretation which will be given. It is this notion that the conference plays.
Sophie Chérot artist, freshly graduated from the Ecole Superieure d'Art de Grenoble, ended the conference by reading a text describing the area as well as action, it could not achieve such she had desired, playing a clumsy and deceptive mode of the credulity of the audience. The image displayed on screens at this moment there was no other than the spectators facing themselves, which, we hope, then wonder about the status of previous images.
[It is also funny to note that the modes of publication a reality are mostly vector fiction. Thus the document sent by the Centre Pompidou-Metz for us instead we represent:
And the reality:
What glitters is "an architecture perennial semi translucent voile" where the conference takes place.
So I made the proposal during a under the Public School to Bétonsalon on stealth action, this school was invited to perform at the festival during a Now imagine Centre Pompidou-Metz. I find it so explicitly requested by the institution to conduct a conference on "fun and general public, lively performances or reenactments .
"Replay" in a conference with an audience, an act of stealth, it not tantamount to denature it? Order one as well. Is not it impossible, even unthinkable, to do without fall into the pantomime or the animation? Demand for Metz Beaubourg to the artist a "facilitator" conference seems to reflect what Debord denounced already, namely a generalized spectacularization an entertainment company. The spectacle masks the everyday life of the agent, thus creating a separation between life and the show itself. Instead, shares are not stealthy, but take the city as a field operations, are reinvested in the offering of new uses, free and ephemeral, to the surprise of an unsuspecting public. Exiting the museum, not not rely on the signature play of its ambiguous nature, operating by stealth, to escape and to what, according to Stephen Wright, "one of the most debilitating charges whose art is the target : it's not for real, or, more frankly, it's just art. [1] claiming no artistic status, furtive actions can still have an impact on the world virulent at a time when "finally it is only art." These actions require not be presented as works for the witness that the meeting be more strongly exposed to the strangeness of their eruption.
The response of Laurent and Nicolas Isnard Vargellas, two students from the Ecole Nationale Superieure d'Arts Paris-Cergy, invited to address the paradox in my company, was to examine the conditions for receiving the stealth action . They then chose install four video cameras outside the conference area. The filmed image is broadcast live behind us on two LCD screens. Simply "switch" to move from one image to another. Students then improvise a speech, making believe that people who appeared on the screen are actors who are asked to make "stealth action". What was wrong. I put my hand to a theoretical discourse within their intervention: what is a stealth action, what it means vis-à-vis the audience, how broadcast illegal acts, what is much truth and fiction.
What is pointed here, in addition to the receipt of such shares and their distribution, is able to offer a perception processed materials to which, a priori, is not implemented. Orally, the artists "perform" acts artistically invisible (and even non-artistic). The word, as in Austin ( When saying is doing ) is act, performs the act [2]. We also raise the freedom that we all have to offer a "perception processed materials" to trivial issues to consider acts as artistic incongruous if we wish. As stated by Jean-Claude Moineau, "" art out of art "found in the private label proclaiming" art ", then it is undecidable even the fact of whether or not there is intent Art or [...] for short. The "receptor" to judge, to "decide" anyway for its own account if there is art or not, according to its own idea of art, freely, unconstrained by any label, the absence of any prejudice and any pre-judgment, as if there was no intention of art "[3] is the interpretation as a work of art that allow such acts to move from status Action banal than artistic. Danto's argument, in The transfiguration of the commonplace, offering a solution to the problem of artistic recognition of objects a priori have no intrinsic quality to merit that label. According to him, the object is recognized as a work in a particular social and historical context, and only if it is subjected to theoretical and philosophical interpretation can justify the interest that it carries. For the philosopher, the "interpretation belongs analytically to the concept of a work of art" [4], and therefore, the interpretation that ensures that we pass the "domain of simple objects that the service "[4].
Danto assigns the criterion of "interpretability" a property of differentiation, and interpretation, a constitutive function (which differs from the interpretation of explanation, it being possible once be made out). The artistic interpretation would be constituent first, and the object is not a work of art before the act. Thus, the interpretation makes a "transfiguration of the commonplace": "Interpretation is a process transformation: it looks like a baptism, not as it gives a name, but as it confers a new identity which makes access to the baptized community of the elect "While Arthur Danto seeks to resolve by problem readymade , particularly how an ordinary object can be perceived as a work of art, we can apply this theory to actions that can be perceived as a work of art. Indeed, the stealth action, first seen as a trivial act, at least not artistic, will be "transformed" into a work post, through interpretation which will be given. It is this notion that the conference plays. 
Sophie Chérot artist, freshly graduated from the Ecole Superieure d'Art de Grenoble, ended the conference by reading a text describing the area as well as action, it could not achieve such she had desired, playing a clumsy and deceptive mode of the credulity of the audience. The image displayed on screens at this moment there was no other than the spectators facing themselves, which, we hope, then wonder about the status of previous images.
[It is also funny to note that the modes of publication a reality are mostly vector fiction. Thus the document sent by the Centre Pompidou-Metz for us instead we represent:
And the reality:
What glitters is "an architecture perennial semi translucent voile" where the conference takes place.
And to add a little, turn your head and ...
close bracket]
[1] WRIGHT, "The Future of the Reciprocal Readymade: use value and para-artistic practices," Parachute n 117, 2004, "p. 118-138.
[2] Austin explains: "When, at a wedding, the mayor said the two engaged " I now pronounce you husband and wife ", it does not merely see this union: it realizes by the very act of pronouncing the sentence. It thus exists in the language of the proposals, such as "you can have" , "I declare open the ceremony" , are not intended to transmit information ("I am here") or describe reality ("the table is green") , as do the statements "', but rather to do something.
[3] SPARROW Jean-Claude, Art in the indifference of art, Paris: PPT / Publishing, 2001 100.
[4] D ANTO Arthur Coleman, The Transfiguration of the commonplace , Paris: Edition du Seuil, coll. "Poetics", 1989, p. 202-203.
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