Saturday, October 30, 2010

Respiration Rates, Mammals, Low Temperatures

Bryan Ferry Fnac St Lazare, October 30, 2010

A time announced a new album of Roxy Music, Olympia Bryan Ferry is in stores in recent days, his first album in eight years not to be composed entirely of covers. From the first notes evoking Avalon up the aesthetics of the pouch, everything here seems to recall the work together Roxy more than Ferry solo, which may be the least mixed reactions to the many fans who would have preferred a reformation in good and due form instead of this album yet quite successful, despite a handful of lower titers (but how hard does not nowadays?), as always with particular care given to the production, Olympia delivering all its subtleties in CD format rather than the compressed files recovered will fast on his computer.

It was in a shop in the old way "that Bryan Ferry had just presented his new baby time of an interview followed by a book signing, to the delight of fans who made the trip. We will not learn anything really new at the session of questions and answers even if Ferry is always expressed in an interesting and amusing about his career and his work. Note still some embarrassment when he was asked if Roxy Music would occur in France in the wake of concert at Rock en Seine this summer ; obviously planned after the tour to England and Australia in early 2011 the future training is uncertain. It will therefore probably be "just" solo concert ... and this very soon. We note also pretty funny evocation of participation somewhat surreal English Dandy franchouillard to a television series in the early 80 (with Pierre Mondy!). Less anecdotally, that sentence Ferry about the disappearance of record stores, changing the world of music, and the certainty of having been there at the right time during a different era.

scent of nostalgia inseparable from his work, finding and printing the busy streets surrounding this great man must sometimes feel very lonely listening to current bands. Who will succeed Bryan Ferry in 2010? Person, and it's a shame.

Friday, October 29, 2010

Homemade Simple Playhouses

The Silk Stalkings (Silk Stalkings)

The Silk Stalkings (Silk Stalkings) is a series American in 176 episodes of 44 minutes, created and broadcast from 7 November 1991 . In France the series will be broadcast from 8 July 1993 on TF1 .

Synopsis: This series features two police officers who investigate crimes in Palm Beach, Florida.


The Silk Stalkings
cargado por fandeseriesTV . - Programas de ayer por la noche y Clásicos TV, online.

Thursday, October 28, 2010

Camera Opertor Scholl

Foofur Star Trek

Foofur is an American animated series in 38 episodes of 20 minutes, created and aired from 1986 . In France the series will be broadcast from 1988 on Canal + in the broadcast Cabou Cadin .

Synopsis: Foofur is a blue dog, which following the death of his master to inherit his fortune and his mansion. He makes his friends enjoy the stray dogs in her neighborhood. And above are protected Ms. Scrow.

# 428 - Foofur - generic
cargado por jpschuck . - Clic para ver más Divertidos videos.

Tuesday, October 26, 2010

United Kingdon Blank Drivers License

When there work of David Renault? Violating the decorum



David RENAULT Flag bag , 2010, cloth, spray paint, stencil, variable dimensions
(c) David Renault

In 1913, Duchamp asked: "How to that something is not art? . Many years later, Nelson Goodman moves somewhat the problem and asks: "When there art? " One thing could thus function as a work of art sometimes and not others, that difference is a fundamental element: the context. Also is it possible we rephrase the question facing the work that interests us: "When there work of David Renault?".
Like a contemporary still life, the artist has arranged in the toasting device Nice plastic bags, worn symbols of waste colonizer vortex faded. Now that distinguish the installation of the artist's daily lot of garbage that litter the area around the floor? Being deprived of markers in the art, it is undecidable for passing uninformed whether or not there for art, even for short [2]. To each to use his freedom to provide perception processed materials such arrangements arises unannounced at the corner of a road. However, the choice of an unusual bag model, uniformly black, works as an index, a sign territorial dawn and leaves a subtle hint, so it looking pirate flag, emblem of artistic occupation illegal, anonymous and temporary of abandoned spaces.
Questioning the concept of transfer and displacement of the same object in a different context, David Renault does not transpose the bag as it is in the exhibition space. He takes the party to operate a reversal: the bag, this time in tissue, becomes the standard weapons of trash conqueror - golden stripes, wide white stripes and blue - and floats away with the top of a mast ( Flag Bag ). Thus, according to a logic close to the chiasm, the work finds its strength in the echo resonating between the two facilities and their respective context. This work thus questions as places of art that its reception, as if the artist was trying to confuse us.

David RENAULT Bag Flag , 2010, urban intervention

(c) David Renault

I can not help but note this: The flag of David was removed Renault on the opening day and during the duration of exposure, following a misunderstanding with the owner. The latter could not bear the French flag, which usually hung over the Villa Camelina or removed without authorization (...). This flag was in fact any sentimental value for him. The title of this text, written ahead of the show, sounded like a prediction, so unhappy, and the work of David it was all the more puzzling - and politically.


text published in the exhibition catalog With at Villa Camelina, Manchester , from 01/10 to 17/10/2010 .
Exhibition commissioned by Claire Migraine and Nicolas Müller

Catalogue: With , Villa Camelina, 10/01 to 10/17/2010.
Texts Bechetoille Mary Louise Bernatowiez, Sophie Coda, Nicolas de Ribou Marianne Derrien, Anthoni Dominguez, Sandra Doublet, Laura Fabre, Sophie Lapalu, Bénédicte Le Pimpec, Loctin Mathieu, Claire and Richard Migraine Neyroud
Design: Florian vs. Mengya

Powered by curators and artists, with the support of Helen and Fincker EDITIONS DEL'ART
texts b & w, color images
21 x 15 cm 32 pages

500.
€ 7
Distribution and Control: EDITIONS DEL'ART


[1] Nelson Goodman, "When is there art? "Aesthetics and poetics in texts collected and presented by Gérard Genette, Paris:" Point Tests, "Threshold Editions, 1992, p.67-82.

[2] See SPARROW Jean-Claude, Art in the indifference of art, Paris: PPT / Publishing, 2001 100.

Pokemon Games You Can Save



Tremblin Mathieu, Tag Clouds , 2010, spray paint, stencil, variable dimensions

(c) Mathieu Tremblin



If decorum means that adorns and decorates, in a burst of appearances pompous, it is also used to denote the label the protocol, the ceremonial which are bound to official figures. At Villa Camelina, Mathieu Tremblin violates all rules of that word.

He plays on the vernacular imagery as potentially decorative interior of a residence in faded splendor, and the mass of signs - real or virtual - that surround us, as possibly invest. Artist waves the flag black squatters broke, but frail, is a patchwork of lace, an array of genre scenes, distant memory of the curtain that hides the lack of more owners, small border between the private and the public ( Chaos Curtain ). He also blames good manners, handling the insolence with irony, and installs a handle that does not open a door, schoolboy joke self sabotaged by the chewing gum that clogs the lock ( Under seal) . Finally, violating an unwritten rule of courtesy followed by most of the graffiti, he realizes tags palimpsests web version 2.0, covering the mark of the predecessors. Fun of the polysemy of the term tag, which can mean a graffitée signature on a wall in an urban space keyword assigned to information on the net, it reflects what is supposed to be the singular mark of otherness in the formatting according to the scheduling and script of the web ( Tag Clouds ).

Like a child who scribbles and stains his school book, and even if it is punished for this crime, the artist creates a space [1], an interval between the Use and misuse by a diversion of objects and practices called



left: Mathieu Tremblin, sealed , 2010, door handle, chewing gum, size variables, (c) Mathieu Tremblin

to right: David RENAULT Time Catcher , 2010, paper kills Fly, variable dimensions, Tremblin Mathieu, Chaos Curtain, 2010, net curtains dyed black, variable dimensions , (c) Mathieu Tremblin


Tremblin Mathieu, Tag Clouds , 2010, spray paint, stencil, variable dimensions

(c) Mathieu Tremblin


text published in the exhibition catalog With at Villa Camelina, Manchester , from 01/10 to 17/10/2010 .
Exhibition commissioned by Claire Migraine and Nicolas Müller

Catalogue: With , Villa Camelina, 10/01 to 10/17/2010.
Texts Bechetoille Mary Louise Bernatowiez, Sophie Coda, Nicolas de Ribou Marianne Derrien, Anthoni Dominguez, Sandra Doublet, Laura Fabre, Sophie Lapalu, Bénédicte Le Pimpec, Loctin Mathieu, Claire and Richard Migraine Neyroud
Design Graphics: Florian vs. Mengya

Powered by curators and artists, with the support of Helen and Fincker EDITIONS DEL'ART
texts b & w, color images
21 x 15 cm 32 pages

500 ex .
€ 7
Distribution and Control: EDITIONS DEL'ART


[1] This image is borrowed from Michel de Certeau: "The child's scribbles and stains school book, even if it is punished for his crime, it is a space, there are signs of its existence author. "The invention of daily 1.Art to do Paris: Gallimard, Folio trials, 1990 53.


Monday, October 25, 2010

Women Breast Feeding Old Men

Jean-Christophe Norman, ongoing maintenance, end

After an initial meeting in July 2010, Jean-Christophe Norman and myself have decided to specify our exchange in writing. The artist explained to me and what is its practice, its genesis to its development, and I respond, questions, day after day. Until ...?

Sophie Lapalu: Provide the vision of your experience, to share, and finally offer an alternative through the objects that you propose. The viewer is then "interpreted active", which is developing its "own translation to capture the" history "and make [his] own history". Rancière says, in The Emancipated Spectator: "An emancipated community is a community of storytellers and translators." It joins really what you just said with the inhabitants of Poznan who imagined stories. The viewer is thus doubly active in your work: in the reception of the action, and in that of objects. You are right not to separate the two.


short, I have more questions!

Jean-Christophe Norman: Thank you very much for your thoughts! I really enjoyed doing this interview. It was rewarding. Why not make a sequel, later, with my project The great days which should last at least two years. In this regard, there are two other places I should go for this project: This is the taiga Oymyakon, the pole of cold in Siberia (record - 72 degrees!), And the foot of Nevado Rondoy Northern Peru.

More adventures to follow.

Funny Retirement Clipart

& Robert Plant Band of Joy, Palais des Sports, October 24, 2010

Frustrating. That is the term that best sums up this short concert, certainly neither bad nor dishonorable from a rock icon that you will still have been more inspired. Of course long ago that Robert Plant has turned its back on the ease, refusing the long-awaited reunion of a legendary group and the mountain of dollars going with, preferring to devote himself in peace to projects so far from the sonic fury seventies. That he was rather successful in recent years, with a handful of outstanding discs ("Mighty Rearranger" easily ranks among the best recordings of his career), crowned by a real critical and popular acclaim.

With Band of Joy, Plant has obviously wanted to put a little behind, rediscover the pleasure of playing in a group which would be almost a regular member, vain chimera from the man who was singer of one of the most popular training of all time. It should also wait for Band of Joy revisits a title Led Zeppelin for the public sort of polite reserve, under the amused eye of Plant ("Where were you during the first song?"). The will highlight the musicians of his group may be laudable but it is close to some trouble when they start to take turns in front of the stage, their leader relegated to backup singer luxury.
Those who made the trip hoping to glean a few crumbs of the legend zepellinienne have their bone to pick with "Houses of the holy" or "Rock and Roll" performed fairly soon ... rock and roll, a group not pleasant but not exactly overflowing with energy. A

however much energy during this part brilliantly performed by Justin Adams and Juldeh Camara, whose blend of African music and blues-rock is a good continuation of what Robert Plant was undertaken once with his friend Jimmy Page ...

Photos (C) GH

Sunday, October 24, 2010

Red Curved Lines Onsony Projection



Star Trek is a series American in 79 episodes of 50 minutes, created and produced from September 8, 1966 . In France the series will be broadcast from August 23, 1982 on TF1 and will be rebroadcast on the 5 from 5 July 1986 .

Synopsis: Cette série raconte les aventures de l'équipage de l'Enterprise NCC-1701 sous les ordre of James T. Kirk.



Star Trek - Générique 1
Uploaded by dork_maule . - All seasons and full episodes online.

Pussies With Lot Of Hair

Ninja Turtles (Teenage Mutant Ninja Turtles)

Les Tortues Ninja (Teenage Mutant Ninja Turtles) est un film d 'action et fantastique américain réalisé par Steve Barron 1990.

Synopsis: Four turtles having had contact with a mysterious substance, are transformed into giant tortoises. Leonardo, Michael Angelo, Donatello and Raphael will be trained in martial arts by an old rat. Pizza-eating, they will fight for them against the terrible sewer Shredder.

What Body System Does Tendotitis Effect?



Robocop is a movie fantastic American made and produced in 1987 by Paul Verhoeven. In France the film in theaters 20 January 1988 .

Synopsis: At the dawn of 2000, Detroit is the prey of crime and corruption. To fight against corruption and crime, the police created a new weapon, Robocop, half man, half-robot policeman of flesh and steel, which aims to restore tranquility in the city.

Saturday, October 23, 2010

Best Snowmobile Modular Helmet

Rintintin Robocop (The Adventures of Rin Tin Tin)

Rintintin ( The Adventures of Rin Tin Tin ) is a series American in 164 episodes of 25 minutes, created and broadcast from 15 October 1954 . In France the series will be broadcast from 21 January 1960 on ORTF

Synopsis: At the end of the 19th century, the 101 th Cavalry Regiment from Fort Apache collects a young boy Rusty and his German Shepherd, Rin Tin Tin, only survivors of a convoy of settlers attacked by Indians.


Serie Tv - Rin Tin Tin - Generic
cargado por valentin73 . - Ver más videos of música, videos in HD!

Friday, October 22, 2010

Paper Towel Science Project Results

The Curse of the Werewolf (Werewolf)

The Curse of the Werewolf (Werewolf) is a American series in 28 episodes of 30 minutes and a 90-minute pilot, created and broadcast from 11 July 1987 . In France the series will air from 12 May 1988 on Canal + on and will be rebroadcast on M6.

Synopsis: Eric Cord is bitten by his best friend, who is actually a werewolf, since that day and every night of full moon, Eric turns into a werewolf.

How Strong Is Meps Drug Test

The Green Hornet (The Green Hornet) First Kisses

The Green Hornet (The Green Hornet) is a American series in 26 episodes of 26 minutes, created and aired from September 9, 1966 . In France the series will be broadcast from 16 January 1986 on Canal + and will be rebroadcast on M6 from 1988.

Synopsis: This series features editor of the Daily Sentinel, Britt Reid, who fights crime as the Green Hornet assisted by his valet Kato none other than Bruce Lee.


Generic - The Green Hornet
cargado por FL35. - Explora más videos de la vida en Familia.

Pocket Camera To Shoot Concerts

Jean-Christophe Norman, ongoing maintenance, episode 5

After an initial meeting in July 2010, Jean-Christophe Norman and myself have decided to clarify our written exchange. The artist explained to me and what is its practice, its genesis to its development, and I respond, questions, day after day. Until ...?


Jean-Christophe Norman
Crossing New York, 2008

Lapalu Sophie: When I say you want the viewer to distance, it is precisely why you refuse the spectacular, because the viewer is a condition of spectacular. Why you not only inviting people to attend your steps? I realize that this would be absurd, but it is a hypothesis to raise the fact that you act "in secret" in a certain way. Moreover, if we believe you, it is difficult to detect the artistic character of your gesture. Is it in order to be more effective to reach the real surprise and "doing well up the ambiguity of [the] meaning [of your gesture]" (Patrice Loubier)?

Jean-Christophe Norman: I happened to make a long walk to the Museum of Contemporary Art of Epinal. I was asked to conduct a performance as part of the exhibition In the abyss of time (FRAC Lorraine). The public had been informed but nothing distinguished me from the visitors. So as to "assist" in this performance he had himself to remain very long in the museum and stretch the time of the visit for me to discern. Perhaps we should see this gesture as an incentive to behave differently in the museum.

Jean-Christophe Norman Crossing Poznan - the circumtances Of The accident
Biennale of Poznan, 2010


This year, in the context of the Biennale of Poznan, j 'I realized performance ( poznan Crossing - the circumstances of the accident ) In which I crossed the city in writing the passage of time on the ground with chalk white: this is materialized in a long white line that went from the airport to Warsawstreet. It lasted more than ten days and the inhabitants of Poznan have seized much of this action. They invented stories and the fact that the line was cleared by the almost daily rain hit much. Most saw it as a poetic effect. Me, I make nothing, but this perception affects me, largely because it escapes me, because it is not specifically intended or targeted. Things may appear more clearly in this sort of this unfolded. The moments on-live are not covered with a filter, they may appear in an ambiguity of meaning, but I think it is this ambiguity that makes them brighter, more promising sensations. This is basically what determines the choice of images that I remember and probably that I "fabricated". I do not envisage only as photographs or documents. I hope they convey a certain energy or "atmosphere". I do not want them to be an illustration.

SL: There would then lived event and its second hearing. What is fundamental to raise is that the viewer is not passive, you implied in your work because it completes the picture. I found an echo of what you say in the analysis of Roland Barthes about an exhibition of photographs gathered to shock: "None of these photographs, too clever, reaches us." Indeed, he explains: "It's that face them, whenever we are dispossessed of our decision: we simmered for us, we thought for us, it was held for us, the photographer does is nothing left "(" Shock-Photos, "Mythologies .) You, you do exactly the opposite.

JC. N: Well cases, I try hard. I am very sensitive to these words of Roland Barthes, I think, also speaks of the need for invention of a home in the viewer and you'll notice that one can often mean the same thing in the film and any form writing that seeks to maintain close ties with the film, for reasons that can be imagined. Often the film puts us in a passive attitude. But when I say I am sensitive to the images that the viewer must complete this does not mean it is incomplete images. In their design, which includes action to which they relate, and provided they are thinking in a spirit of openness and / or distance, I believe that images can be "complete" and stimulate the imagination. Vincent Kaufmann wrote that, from beginning to end, Guy Debord has continued to publish works that he wanted to be complete. Without doubt, due to the movement they make, conitnuent they question us. So it is perhaps not the plasticity of images that create or annihilate the dialogue, but the attitude they convey, or a situation in which they do.

Jean-Christophe Norman, Untitled (The wooden ship Hans Henny Jahnn)
200x300cm, ink on paper
, 2010


In a series of work, I copy the classic texts of literature. These writings often belong to register or epic novel of initiation. The books are entirely copied by hand onto a large format. The vision of the book is so front. The book is presented as a mass of text. As Klaus Speidel wrote, "these manuscripts do not require a viewer who gazes motionless, but a visitor who moves physically active and mentally in front of the text." For me, all these experiments are linked together, I can make separation between my performance and these parts. Most of the time he comes to do something from one point to another, and to provide vision.

Fpc Connector How Replace

A little blackmail.

By requiring the convening letter recommended art. 577-6, § 3, para. 3 of Law Hamal wants to force the trustees to demonstrate that they have summoned all owners. Many trustees have a nasty habit of failing to summon the recalcitrant owners or critical when the meeting is expected to approve measures authoritarian or unreasonable expense. Or, if more frequent, the trustees fail to call a meeting within the statutory time limits or rules.

The trustees turned the law. They know how and there are not at their first attempt. They strongly encourage the owners to waive notice by registered letter and prefer regular mail to avoid being penalized, the imposition of postage important personal and repeated since, they say, disbursements relating to summonses are not loads but the CPA should be charged personally with Recommended by owners convened.

Thus, as trustees, the costs of the summonses would be loads of CPA when sent by regular mail but they would become part owner of each personal expenses when they are recommended.

Changing the law of 1994 is nullified by this Interpretation As surprising as audacious. The trustees will be able to continue to call or not call as they have always done.

Under these conditions, Olivier Hamal might have spared himself the effort to amend the 1994 Act.

.

Thursday, October 21, 2010

Emu Oil Hair Moisturizer



First Kisses is a series French in 319 episodes of 26 minutes, created and performed from 23 December 1991 on TF1 in issuing the Club Dorothée .

Synopsis: This series features The Adventures of Justine Girard and his schoolmates, Jérôme, Jean-Luc, Isabelle, Annette, her sister Helen, and this little baqnde will grow over the years.



Drives Vc-211a Para Mac



Hamburger Hill is a American film made in 1987 by John Irvin.

Synopsis: This film is based after a real battle that took place in Vietnam in 1961. The 101st Airborne Division's mission was to storm the Hill 937, known as Hamburger Hill Hamburger Hill "



Hamburger Hill (Theatrical Trailer)
cargado por NakedBrotha2007 . - Todas las temporada y Episodios enteros online.

Wednesday, October 20, 2010

Is Espnu Free And How Do You Get It Online?

Hamburger Hill and J. Driver (Hardcastle and McCormick)

The Judge and the Driver (Hardcastle and McCormick) is a American series in 65 episodes of 48 minutes and a 90-minute pilot, created and disseminated from the September 18 1983. In France the series will be broadcast from the 9 September 1984 on Antenne 2 .

Synopsis: A retired former Judge Hardcastle and former race car driver on probation, Mark McCormick, pursue their Coyote X criminals who escaped at the time Hardcastle due to a lack of evidence.


The Judge and the Driver - Generic
cargado por gign91 . - Programas por la noche de ayer y Clásicos TV, online.

Male Masterbation Creative

Rick Hunter (Hunter)

Hunter (Hunter) is a series U.S. 153 episodes of 42 minutes and a 90-minute pilot, created and broadcast from 18 September 1984 . In France the series will be aired from January 7, 1988 on TF1 .

Synopsis: This series features two agents of a special squad of Los Angeles Sergeant Rick Hunter and Dee Dee McCall.


TV Series - Rick Hunter, Inspector Shock (season 1)
cargado por gotti57 . - Programas de ayer por la noche y Clásicos TV, online.

Can U Wear Boxers Under Your Singlet

Jean-Christophe Norman, maintenance current episode 4 Jean-Christophe

After an initial meeting in July 2010, John Christ ophe Norman and myself have decided to specify our exchange in writing. The artist explained to me and what is its practice, its genesis to its development, and I respond, questions, day after day. Until ...?

Lapalu Sophie: But I think the distance is also in the manner that you produce. Is the distance that you are browsing, since it is such a remote area we cross to get from one place to another. But there's also the fact that we put, we, spectators, remote : one is summoned to attend your steps, and images that allow for transmission are enigmatic, in shades of gray, and evoke precisely those of the pioneers of the mountain. With these images, you build up another distance, and leaves us in limbo: Where is it? When this picture was taken?
you how to understand these images and their production?


Cover - Walter De Maria mile long, dessin1968, 26.5 x 38 cm, graphite on paper, Jean-Christophe Norman 2010


Jean-Christophe Norman: Exactly, I wonder often if they are not too illustrative images that keep us at bay. They give the impression to know everything, to be informed, documented, but they give us space for reflection on one side and dream of another? I do not deny the images, quite the contrary. And I do not seek to put the spectators away. What I want to take the greatest possible distance is the spectacle and the spectacular. I feel that giving provides a clearer view of things, partly because it is "completed" by the viewer. For example, in a recent series entitled Cover , I covered photographs of iconic works and performances of contemporary art. All these works were created in 1968. These photographs were reproduced in a newspaper that I found during a visit to the villa Magnin exposure during a trip to Italy. A little over a year after the discovery of this newspaper, I decided to cover using graphite each of these images. This was a meticulous asked me many times. I wanted to get a certain result. Ensure that images appear or disappear depending on where the viewer is placed. Klaus Speidel wrote a fine article on this. He says for example that there is "reintroducing the imaginary part of documentary photography tends to be blocked because it tries to give everything to see. The engament that Covers ask visitors is similar to that of anamorphosis, where imaged a cache and another where the movements of visitors become productive. "I could talk to Thomas Bernhard and my experience as a reader. In these books Bernhard never describes the landscape and yet it appears very strongly in our minds. We conducted a building and we have accomplished
distance that separates us from him.
Right now I'm starting a project that has as its starting point, a book by Walter Bonatti (Italian guide who marked the history of mountaineering), entitled The great days. Again, I shall make a gesture of covering each of the thirty-three photographs that illustrate Bonatti's exploits. In a second time, I am going to foot the different faces he has climbed. I take photographs at the foot of each of these major alpine faces. Here, distance approximation, the threshold is trying to reach.

Cover - Walter Bonatti North Face of Matterhorn 25.2 x 18.4 cm
graphite on paper, Jean-Christophe Norman 2010

SL: You conjugate economy means at the expense of self. Is there not something of the withdrawal of the artist here? (You're spending (while?), You appear not in the pictures (or very little), you refuse to create objects "well done" or by-products ...)

JC. N. : More than a withdrawal, I see a desire for autonomy. I realize my pictures alone, I'm almost always behind the lens. So I appear very rarely. And when I speak of spending, it is above all a desire to create a unity in action, achieve something. The exhaustion I do not think it's just a consequence but by no means a goal. That would have to do with a sense of suffering that I feel completely alien. As the idea of "well done" or "over-produced" I do not know. I do not think so. This can be sophisticated or crude images, videos can be mounted or not. Again, there is no rule. With the Constellation project walks (CAC Vilnius), throughout the year 2008, I redesigned by walking the edges of Vilnius within a constellation of cities (New York, Metz , Besancon, Berlin, Tokyo, Nice, Paris). Each time, only some of the contours of the Lithuanian capital was drawn in another city. It is a combination of all these courses that were run throughout. On this occasion I made a series of recordings with the video camera facing the ground. The result is a video about thirty minutes when the assembly is very present. A path is drawn abroad and creeping into urban areas. But then not need visas, the way is clear.

Tuesday, October 19, 2010

Plane In The Movie Commando

Norman, ongoing maintenance, episode 3

After an initial meeting in July 2010, John Christ ophe Norman and myself have decided to specify our exchange in writing. The artist and explain what is its practice, its genesis to its development, and I respond, questions, day after day. Until ...?

Lapalu Sophie: "Linking the places, moments," but also people, like when you are doing simultaneous marches in different places with Jean Dupuy and Jeff Perkins. Why are you trying to connect or "tie together", "solidarity visit" two "objects" (places, times, topics ...)? Is it to establish a relationship, to get in?

A long day Between Vilnius and New York , Jean-Christophe Norman and Jeff Perkins, videogram Vilnius

Jean-Christophe Norman: It's a very interesting question you ask. The idea of simultaneous operation came to me very naturally, to continue a good time. During an exhibition entitled In the Footsteps of Raymond Hains, I went walking with Jean Dupuy. We do not know, and we therefore "experienced" in walking. I thought that we could continue the experiment and from time to time. But a large geographical distance separating us, I naturally thought of this possibility to walk together in separate locations, and in a time that we share. Although I am wary of simultaneity or the immediacy of our society (not completely share the radicalism of Paul Virilio), as the idea of abolishing the distance while keeping the interest. So, from time to time, I phoned John and he and I are going in the same movement. It even happened that a friend is joining us. He was in the night in Japan. He never met John but he walked with him on occasion! With Jeff Perkins
we made a long march continues during 24 hours. Jeff was in New York and me in Vilnius. We were not walking together (even though we often had to do) but for every six hours. Without knowing it was the premise of performance One day a night (sleeping walk). For this action (the long day Between Vilnius and New York ) each carried a camera. I suggested to Jeff filming the sky and I filmed my side the ground. All this should not be very far from the idea of the spirit of rope which materializes in the high mountains. But it is a vision-post, I did not think about time!
To return to your question, and especially to the development in relation to people, I say again that this is to create movement, and the possibilities of relations or links
beyond the technical. Here, the idea of art is a little fantasy is an environment. In fact it is human relationships and / or relationships that everyone can interpret, describe or create.

SL: A paradoxical point, not less interesting, is that you talk to the remote in your daily practice. So there is the linking, as we have seen, and causing the distance. What is at stake between these two concepts here?

A long day Between Vilnius and New York , Jean-Christophe Norman and Jeff Perkins, video recording, New York

JC. N. : You touch a point that really concerns me I might even say that distance is a point of departure for all my work. Paradoxically, the distance getting closer things. When many people want to abolish the distance from my side I'm sure they are expressed. I was always struck by the poetic potential that emerges from the distance. I Remember the first images of Himalayan exploration and photographs of the pioneers of mountaineering. We did not see much, and thus the imagination played at full speed. I still remember the storms, the void, silhouettes, and some distant idea of the landscape. All these images are still intact in my mind.
While distancing the everyday, perhaps, simply, the distancing of the trivial and the recapture of certain dreams. The reality may very quickly become very strange. The in-between between the everyday and the distance in practice is precisely where things to play, but I can not describe the contours, I can only try to evoke. With the mention, we're right in the distance trying to find the right distance - that would be my idea of minimalism - not in form but in spirit. I should probably also talk about an economy of means which is combined with the idea of spending. I think much to the expense of self, an expenditure that does not go in the direction of stacking things.