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The audit, (2).

It seems useful to dwell a little on the value of effective control over the accounts, the only method that the new law on joint ownership is available to owners to curb a little bit of greed trustees.

control is largely a technical matter that the expert fluent. Accounting condominium is simple and it is very difficult to complicate what is not. You can not fool easily tracking dog sniffing fraud. The accounts of the trustees are still dotted with small traps of the same experts obviously know all jurisdictions.

Commissioner has been selected by the Assembly and not by the trustee or the strata council. These could be advantageous to circumvent the condominium by selecting a relative or a business relationship which the commissioner withdraws one of its main attributes: independence.

It could happen that the expert be corrupt, but he hurt his job or he fails to examine the remarks of the co-owners with the necessary attention. In this case, we should not hesitate to file complaints against the expert to his professional institute. It is equipped to put order into the profession, to punish and bring to the fold lost sheep.

For he must face the facts: the trustee will do everything to frustrate and sabotage the work of the expert.

The price of the services of the expert remains well below the graft and embezzlement which the condominium is borne without protest and whose source is in the trustee's sense of impunity, the result of incompetence or negligence condominium.

The presence of the Commissioner is required at the meeting which will discuss his report. There is indeed need to be present to answer questions from owners. The expert

concludes his report with the established formula that engages its responsibility but that nuance to properly identify the reality "The commissioner said that the information received is accurate and complete, and that, after verification, he shall certify that trustee's accounts and the two Council reports condominium present fairly the financial position and management of the condominium, its assets, liabilities and commitments ".

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The audit (1). Mandatory vs.

Art.577-8 / 2 of Law 2010 on the condominium: "The General Assembly appoints annually an auditor, co-owner or not, whose obligations and powers are determined by the condominium rules.

Even if the statement is inaccurate, incomplete, and it is confusing as most subjects concerned laymen who govern us, the fact remains that the accounts must be audited and that this control is now mandatory.

The commissioner shall verify: 1 .-
that accounting rules (which are mandatory) and the chart of accounts are applied as required by the Act of July 17, 1975;
2 .- that the accounts have been opened in accordance with the results of the previous year;
3 .- that expenditures are in accordance with decisions of the General Assembly;
4 .- that management meets the standards of prudence and honesty;
5. - that the accounts correspond to the parts contained in the entries billers, billers in outflows in the financial press and various operations;
6 .- centralizing the newspaper has been hectic and it ensures the irreversibility of entries ;
7 .- that the load distribution and allocation of products comply with the law and statute.

The mission of the Commissioner is not limited to these few points. It will also: 1 .-
together and seek each co-owner for the purpose of obtaining from them the information, remarks and comments they have made in the course of the year and it would be useful to fulfill its mission effectiveness;
2 .- ask the trustee regarding the commissions that may have been received and conflicts of interest that might influence the management of the condominium.

The Commissioner shall prepare a written report on his control, he explains how he did his work and has obtained the information he has requested, he shall certify (or refuses to certify) that the accounts and the accounts of the condominiums have been established (or not) with sincerity and good faith, they give (or do not) a true and fair assets, liabilities, financial position and results.

The Commissioner is responsible financially and criminally for the content of his report and, therefore, his trial on accounting and management. Therefore it is ensured to cover in case of trouble.

The condominium rules may not reduce the extent or mentioning how the control should be conducted. This is the ethics and conscience of the controller. But the condominium rules may indicate obligations (such as independence and honesty) or skills (such as knowledge of accounting and professional references) from the controller.

It goes without saying that the audit is not within the reach of even enlightened amateur. The technicality and skill required in this work and the authority for the inspector to exercise alone can justify the monopoly that the law has limited number of professionals that are experts accountants and auditors.

If the control should be done otherwise than according to the protocol whose guidelines have just been recalled, he would lose not only credibility but also any help as it could be approved by owners normally gifted or even under-achievers. In case of pseudo-control, well known as a lobby will try to organize around, one must conclude that not only the law was again denied but that the accounts and management are left without recourse to omniscience trustee if not his omnipotence.

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Charles Bradley, Lee Fields & The Expressions, The Leather

No time for dreaming is the last nugget of soul label Daptone, the first album from a young man of 62 named Charles Bradley. How does a phenomenal talent he could pass under the radar for so long remains a mystery, at least if the disc is excellent is on stage that one begins a genuine uppercut when Mr. Bradley starts sing, her voice evoking the James Brown of the great days and texts on the hard knocks of life that are seemingly tormented showing extremely touching. Behind him, the brilliant musicians Menahan St. Band / The Expressions send an unstoppable groove, and Charles Bradley soon yields its place at the Lee Fields charmer for the rest of the concert, leaving ample room for songs on the album My World released last year. Again, soul four-star glow back but never falling into a sterile traditionalism, played off the floor by a group that is pleased to support these two outstanding performers proves contagious. Jubilation on stage and therefore the public, for what should already remain as one of beautiful memories together this year. Photos (C) GH

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Why a curator? [2] (Following a query in progress)

Exposing stealth action: pitfalls and paradoxes

(Compilation of texts and interviews to read on this site also)

In 1969, Vito Acconci, driven by a writing that went beyond the boundaries of poetic field, undertakes physically the streets of New York. Once a day for twenty-three days, he submitted his work to a daily pattern: where it is, it chooses a random person on the street and follows her until she disappears in a private place . Instead of writing a poem dedicated to the action to follow, after Acconci ( Following Piece ).

Vito Acconci, photography Action Following Piece, 1969

The following year, Bas Jan Ader Cycling plunges into a canal in Amsterdam, deliberately ( Fall II 1970). Jiri Kovenda in Prague shoot shoulder passersby who cross his path ( Kontakt , 1977). Following them, Diane Borsato decided a month to go deliberately bumping, rubbing, touching, fondling strangers in the street, subway, cashiers shops, Montreal and Vancouver (1000 Touching people , Montreal, 2000/Vancouver, 2003). The same year, New York, along a block on the 14 th Street between 5 th and 6 th Cristian Alexa seized the hand of strangers for a couple for a few seconds (ten second pair 2000).

These acts are what we call stealth action [1]. Action-oriented in any outcome or final production, turning, handling, reinventing existing uses, shifting them slightly, artists produce a gesture, which is that as an "event effectuation of its own" [2]. They invite us well to take seriously the ordinary activity, but also to question as possible fiction. Diverse contexts in which they operate, these acts can be distinguished easily, however. Taking place mostly in urban areas, outside the framework of Art [3], these actions are not perceived furtive as artistic unsuspecting passers-by, no spectators being summoned. They are seen but not distinguished as such. By concealing the status of their acts, the artists seek to touch so fleeting that they are the accidental witness, evading the injunction debilitating and protective of "it's just art." [4]
Therefore, how to expose (or dispose of them to put to ) action, which by their nature, disperses in the here and now of its appearance, and, moreover, goes unnoticed as artistic gesture? We went to interview curators having rubbed the year, pointing to the ethical paradox.

Bordato Diane, 1000people touching, 2000-2003

Paul Ardenne, art historian, critic, professor at the University of Amiens, curator in his spare time and author of A Kontextkunst [5 ] recognizes that this is a real problem, which marks the limits of curatorial work, when it wants to account for practices that are not intended to be exhibited in a museum. For him, the museum is the place "where the viewer's attention is primarily contemplative. [6] But the furtive acts oppose the regime spectatorial generalized works and, by metonymy, a contemplative order of receipt. In addition, "for reasons of territorial, first - the territories are not the same - [and] of temporality, on the other hand, it is absolutely impossible to restore the truth of the forms" of art real-space "within a white cube. Paul Ardenne concluded: "There is no hope in this area in terms of potential changes. It's a simple matter of physics, really. "[7]
But maybe he should turn the problem differently. An exhibition should it necessarily invite viewer to the contemplation of works? Can it take place in physical space and sustainable? Is there really "no hope"?

When Paul Ardenne has the trailer dealer orange juice Marc Boucherot, all right [8] , in exposure Experiencing real - Reality revisited in Albi in 2003, the Commissioner recognizes that "given the reality of art, it need not be shown (...). However, there is the pedagogical question "[9]. The mission of transmitting the art is also one of the fundamental concerns of Stephen Wright, critic, philosopher and curator, for which it is his responsibility as a historian (in this ) to the book so that these works are not lost to posterity [10]. Indeed, a basic problem is emerging: that of the validation action stealth. If, to use Berkeley "Esse is percipi" ("to be is to be perceived "), this is especially to be perceived as such, that is to say, as an artistic practice. "Because, ultimately, without public support, the artistic nature of the proposal, thus validating its claim to recognition (" this is art ") by a willing suspension of disbelief, the art can take place. [11] For art stealth "takes place", it needs to be validated, to be artistically. However, if the educational dimension is sufficiently prégnant in Paul Ardenne to encourage the artist to activate the trailer in a museum, even if it means "a misunderstanding on the phone and the" situation "of the work," knowing that this is an operation of translation that makes no sense, except that of betraying the original spirit of the work "[12], to Stephen Wright, one must respect the essence of these projects which deliberately evade. The latter nevertheless acknowledges that this amounts to want to square the circle ...

Bas Jan Ader, Fall II, 1970

The challenge for the Commissioner is then to reconcile the double bind by stealth action: validate their artistic character to an audience, to preserve their memory, without going against their bases. According to its etymology, "Trustee" comes from the Latin curator, "one who heals." If he must take care of the work, initiative, can it be to betray what constitutes it?

The director of the Biennale de Paris [13] Alexander Gurita says here that, facing a new reality art - or, for him, artistic activities that do not manifest themselves as works of art - the traditional conceptions of curator seem obsolete. Thus, whether we agree on the fact that artists are themselves to meet an audience (admittedly, that does not perceive as artistic gesture) and do not need to be integrated into the framework of the art, which then leads to the outright cancellation of the concept of curator, or we are looking at another "interface" between these practices and the public. In the latter case we have to reinvent the curating.

theorists cited here agree in unison to say the preponderance of the document. The salience of the referent, beyond any code and any effect mimesis, as an intrinsic value to these artifacts, the exhibition of documents, like a smell that enables the association to an object, stimulates affiliation, and led the public to represent the action. Indeed, with paperwork, we wonder what they have. Such vectors - the Latin vector of vehere "drive" - The document used to convey the act, which is then seen post as artistic intent, with a second receiver, a public art. In the absence of work, the documents reveal beyond its ephemeral presence, "as a second tier of itself" [15]. Necessary for memory and "conservation" of the work, they do not just refer to the action, but there are equally as art. In this they are performatives [16], the status of the action is transformed therefore in symbolic activity. This raises obviously the question of the place of activation of this documentation. If, in the words of Paul Ardenne, the expectation of the audience at the museum is contemplative, the exhibition of documents can be highly deceptive. The risk is also to see the document to replace what he is supposed to document the fact of being exposed. It is indeed commonly happened in the history of art that the document loses its referential value in favor of aesthetic value only, and thus becomes an object contemplative, non-activated, reified. By cause and effect, we seeing as "the subordination of the action in implementing the work-[17].

Cristian Alexa, 10seconds couple, 2000

The challenge for the Commissioner, would be to specify precisely where the art takes place, "none of n'entretenir ambiguity between the place of art and the location of its becoming-visible. [18]. It therefore seems necessary to remove architectural structures and ideological cultural institutions dedicated to the showing of works-objects, so as not confuse the work and its documentation. The conference artist, increasingly common in recent years, is an example of activation of the documentation that escapes the exhibition of objects (and reification of risk that goes with it), and invites the public including speech, vigorously stimulate his imagination to picture the action. It also helps define the place of art, without confusion.

Thus, exposure of covert actions, which would participate as much as she would seek to adapt to turmoil ontological presuppositions Art, must necessarily be considered in other formats than the demonstration of objects in a sustainable institutional premises. Investing in new places, entirely dedicated to the activation of non-object-practices through their documentation, would perhaps avoid the growing confusion between art and documentation. To avoid any reification absurd, detach from the showing of artifacts is still the most radical solution. Substituting the conference at the exhibition of objects, the paradox facing the Trustee acts of stealth is resolved. Thereby threaten the legitimacy of the museum's architecture by "exposure" itself, the conference enables the heuristic capabilities of stealth action, participating in questionings made, implicitly, by the work itself. As for the practice of committee, if one agrees that his main task is always to take care of the work and its qualities, it must splash, redefine themselves. His role here - which can also be applied to other areas of performance - is to create conditions to enable stealth and action artistically preserve, while also avoiding the pitfalls of reification fatal.



----------------------- [1] "Stealth" means clandestine, secret, which is done by stealth, so unnoticed, fleeting, discreet. During the Gulf War, ie "stealth" was used to designate the American hunters undetectable by radar. Borrowed from the book in Patrice Loubier commensals "When art becomes circumstances the term" art stealth describes how certain practices entering public spaces and social and then interrogates the concept of ideal spectator and waited.

[2] ZERBIB David, "From performance to" performance-oriented "," Contemporary Performance Art press2 , No. 7, 2007, p. 11-14.

[3] We refer here to the theory of Erving Goffman which in frames experience (1974), analyzes how social activity lends itself to several versions or framings that would set the representation of reality, guiding perceptions. A business [...] is generally separated from the flow of current events by parentheses, conventional or marker. These conventional brackets delimit the activity in time giving a before and after. "(Paris: Editions de Minuit, 1991, p. 246). However, we may wonder if the artists of the stealth action does not play a certain elasticity of these frames of art.

[4] The institution On the contrary, by separating the art of "real" protects the viewer from any sudden upsurge in the art. The performers that run in public, indoors, in a festival, an evening, operate as a symbolic transgression, converted to an audience, acquired, in a place framed.

[5] ARDENNE Paul A pop art, artistic creation in urban situations, intervention, participation , Paris: Editions Flammarion, 2002

[6] ARDENNE Paul, "My idols are ants," interview with Sophie Lapalu, read the blog of the Session 19 of the School Store, February 2010, http://www.ecoledumagasin.com/session19/

[6] I dem.

[8] artist Marc Boucherot sells orange juice in the street, and wishing "to make possible a questioning between the work and its relation to society" (http://www.marcovabien.com/) by appropriating the methods of the economy such as implemented South America.

[9] ARDENNE, "My idols ..." op. cit.

[10] Stephen Wright, "We should train commissioners for exhibition ideas "Interview with Sophie Lapalu, March 2010, read the blog of the Session 19 of the Ecole du Magasin, http://www.ecoledumagasin.com/session19/

[11] Stephen Wright, "Places to continue? Reflections on the Critical Art Ensemble and Case Kurtz "in Sylvette Babin, Places and non-places of contemporary art , Editing Esse, Montreal, Canada, 2005, p. 88.

[12] ARDENNE, "My idols are ants," op. cit. Furthermore, it recognizes not be comfortable with the practice of exposure. He also claims in his book A pop art (...) : "Integrating formal demonstration space, put art out of place in the type of place that represents space for institutional care represents a device absurd and ridiculous. "

[13] The Paris Biennale aims to "identify practices and start breaking with the established values of art / an alternative to the established art / Prefiguring a new status of art, notably through seminars and publications.

[14] Cf GURIT Alexander, "Strategy in the field of art," interview with Sophie Lapalu, read the blog From Action to Exposure , http://sophielapalu.blogspot.com/

[15] DUPONT Agathe ephemeral or intangible creations and their tracks from the 1960s to today, in the collections of the Centre Pompidou-National Museum of Modern Art: paradox of the artist over his creation, Memory Applied Research 2 nd year graduate of the Ecole du Louvre, Editor Didier Schulmann, 2004-2005, p. 36. [16] From English to Perform or perform, execute, enable. We borrow this concept to Stephen Wright, who took over the theory outlined performance of John L. Austin (1911-1960) in When that is done ( Paris: Editions du Seuil, 1979) to apply to documents to provide visibility to artistic works "low coefficient of artistic visibility .

[17] WRIGHT, "We should form (...)" op. cit.

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Wire February 17, 2011, Ephemeral Point, February 12, 2011

35 years after their appearance on the British music scene, Wire just released an album with remarkable Red Tree barked. Consistency in quality that commands respect, even in Live Wire is a kind of relic of the post-punk that you would like to visit the museum, but a group can no longer still living could swing an impressive wall of sound to rival many recent formations claiming more or less openly about their heritage.
icing on the cake: a first part feverishly carried out by the excellent Belgian duo Madensuyu .

Photos (C) GH

Creative Titles For A 21st Birthday

Anna Calvi, Le Nouveau Casino, February 8, 2011

La Boule Noire in November, the Nouveau Casino in February, the Trianon in April: Anna Calvi captivates an audience of more and more, backed by a Marketing deployment therefore obligingly relayed by a music press that has run on the first album of English as a bunch of starved the ultimate ham-butter in the window of the bakery. To believe that there was no other disk drinking in stores early this year (vérification. .. ah yes Well it just so, everything is explained).

The risk is course to see Anna Calvi caught by the notorious syndrome MGMT (previously known as the Horn of complex ), namely a generalized runaway fabricated around an album that everyone will be forgotten six months later. Fortunately Anna Calvi on stage puts the record straight and forget the ridiculous comparisons with legendary artists with which he is dressed up without the knowledge of his own volition. We are dealing with a very talented musician and an expanding universe its very personal directory of course still limited - hence the concert short, a little frustrating but full of impressive passages, inspired. Anna Calvi
Will it only time to really build a more substantial work, which we may consider more serenely the contribution in a few years, finally got rid of any hype dye good or bad listening to his music? In these times when the record industry seems more than ever the disposable cover immediate profitability, nothing is less certain. Fingers crossed, light a candle, again supporting the play button on the player ... but hey're saying is true that it is not bad, this album, actually ...

Photos (C) GH

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body.

The documentation the condominium has extensively dealt with the trustee and discoursed at length about whether he was an agent or a body or under what circumstances it was this or that. The trustee could change skins depending on the circumstances and interests of one or the other.

In reality, the debate has existed in the disturbed minds of some litigious.

The Civil Code states that the trustee is a trustee. There is never a body under the law.

The trustee would be considered an organ under the VAT, only and solely for tax considerations.

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Wimbledon

Tennis Party with Nicolas H. Müller, January 2011
about its exposure to General in the Manufacture, April 2011

In the distance, it hurts the eyes

Nicolas Muller: Up I like it just between us, "the truth it does not say any" .

Sophie Lapalu: And is what we could do an interview to be published on my blog? Interested? or rather, you prefer not to "explain", and leave the riddle? You know Stanley Brown, "The work of Stanley Brouwn has not been commented on, at the request of the artist tells us that" does not work with texts or pictures with. "

I'm not like Brouwn Stanley, in fact I almost worked with images and texts ... For cons, in contrast to explain myself, I prefer to talk certain things, let other off-field and finally, if one day someone reads this, he will draw whatever he wants. Uh ... it meant so pleased, thank you for your proposal . But is what we can do something more like a discussion than an interview (much like what we do). Or discu fiction (sort of docudrama written?)
Shit I'm boring anyway. Excuse me, we will as you think. That may well be an interview finalement.J hope not to be too silly in my answers

ahaha! anything.
A modernist visions claims the idea that each discipline has to explore its own physical characteristics; painters focus exclusively on the color and surface, and sculptors are refocusing in the closed volume of the sculpture . In this way, creativity, self-referential, is completely independent. What concerns me about your work is that formal, modernist artists you approach, the self-referential work. No expressionism, but minimal forms very sober. A painting with three circles, one solid color of turquoise, a gray block. However, where you detach yourself completely of these designs is that the majority of your work operate in a specific context, and that, somehow, they are not autonomous. Why this choice of an abstract form / minimum marked in a specific location?

You say (...)

I'm not really the choice of an abstract form / minimum, it is necessary strength. Whenever they are obvious answers to questions that come at some point. And secondly, I would not talk about abstract shapes, minimal yes, but it is closer to representation than anything else (they are representations of existing forms). As heir to the history of art, I appropriate just some of these materials (forms and formal issues) that I believe are essential to give them a new direction.
And, in fact, I have a series of drawings and abstract expressionists, but, again, are ultimately not much of expressionism or abstraction of representations (drawing from series of explosions, lots of energy, but a representation final).

Does that mean that you wish that we "recognize" the original form in your work comes from? It's interesting the distinction between abstract and minimal.

Yeah, I may quibble a bit there.

I want to see your drawings!

I've torn a few nights ago ... Shit I'm sometimes con, I'll join others in exchange. Drawings via computer architectures designed Julia (my wonderful computer).

Your work for exhibition venues in individuals all have a "story , "An anecdote accompanies them, you also do not necessarily reveal (a broken window of the Villa Camelina exposed in the villa, a portion of the heating system ...). Is this the part that interests narrative, one that develops between the shape and location?

I'm not from a family or a cultural art really pushed (I discovered Braque and Vasarely in the film of the Unknowns for example, or my first visit to a museum was the palace of Tokyo for the exhibition of Wang Du). And therefore, I always leave multiple gateways. I do not particularly elitist assumption of some but on the other side grandstanding makes me sick (it was in this exhibition at the ARC, Backing I think). This narrative thus allows entry points such as work on the site may send me back to me Michael Ascher and Robert Morris, or more caricatured Klein and Turrel.

Do you think that we should reveal how the shape appeared, or the viewer must imagine it for himself?

I think the audience decide its position relative to the form, even if he decides there is no form (it often happened that some of my pieces are not considered such, but also conversely, that external factors are considered mine).

Different average color of the Universe

That's awesome, you know it Goodman said that the works function as they inform the vision, "they inform not by providing information, but forming, re-forming or transforming the vision, the vision and not confined to the perception eye, but vision as understanding in general. [...] The function works by interacting with the totality of our experience and our cognitive processes in the continual progress of our understanding. [1] I like the idea that art "infused" the echoes of the work are reflected throughout our everyday environment, they interact with it. Free us to offer a perception processed materials in a fireplace cube, because we saw your work and that it affects. It is a somewhat romantic vision I think, but that's what I expect of art.

Yeah, I'm absolutely certain of a return of romance. Of course not this naive vision that has been digested, plus some something that would have the taste of a disappointment. Deriving from the glorious past of minimalism, conceptual art and the art disorder age in the 80's gold ...

I feel that your parts are contextual as "revealing" of production conditions. Like "I'll explain in this place, this place is so I'll play with." What do you think?

is possible, but may be more indicative of the condition of showing, in the case of contextual pieces.

I understand, but what I mean is that in the contextual parts, the demonstration comes in 1 and production at 2.
1: "I am invited to exhibit one piece"
2: "I create the piece based on the expo site.
Either it says = I reveal the conditions of demonstration or = I reveal that I produce as a function of place and that place which meant that my room is.
And in the end it all reveal the place of exhibition that the production process ...
is not my thing clear.

Well, frankly, it's probably my trouble in communication, but it is not so obscure. In fact I am tempted to follow you in this idea, I quite agree.

Stephan Germer: "A context is constructed, it does not carry." What does extract a piece designed specifically for an exhibition and show in a perfect white cube, outside the place for which it was made?

is precisely the question I ask myself, in this sense we can say that it may be more about the manipulation of parts, I do not suggest an answer, more a matter of fact .
I do not know if you saw the exhibition pavilion of the palace on December 18, Jerome said, Residents suggested that a piece in situ, which vibrated barrier and produced an echo in space. In this way, it was quite happy to move this piece in other areas ... Is this really in situ in this case, or just a piece that is placed at different locations?

Ben, the situ for myself frankly addressed the issue, in situ PROCESSED, reconfigure the place.

Logically and at another level we could say that the Mona Lisa at the Louvre does not produce the same report to her that if it is presented to the Commissioner. It is perhaps by being nasty, just the matter of fact, almost the "thing" found but that does not yet well.

According Matilda Ferrer, "the work ( situ ) would occur more now no longer necessary, as the place where it shows (public or private space, institutionalized or not) without it can be reproduced (re-exposed) to the same elsewhere, since another context could only produce the other conditions of appearances "(2). The same room in another place would produce a different sense, except I think in museum space, which sanitizes the context (and this is where the guy at the Palais de Tokyo. Have not seen it but not the situ for a penny).

The missing piece

is better said that my proxies!

John Marc Poinsot says "One of the manifestations of how the work operates situ on reality appears with the particular effect that the work or providing product feedback on this reality it has taken an item. "That's true in your work super pop! You warn the place! There is a real return on the collected! And it's so true what the term "charged" for your work at the Villa Camelina! I think that in situ is not only the work situation, the report instead must be as binding as it involves the place where he is. And I think some of your pieces fit very frankly in this dialectic.
Do you think they also have formal qualities "sufficient" to be shown independently?

They mean no sense how he can reclaim?

You're right!
But do not you play the game of contemporary art that make these works a priori outsized parts independent of collectibles?

I dunno, I think I would play this game the day I would have a rating, and that, precisely, the issue of collection object arises. It will probably be time for me to stop and contextualization these issues and instead move to the destruction (as an object that has outlived its usefulness, a ballpoint pen without ink).

Destruction?

Yes, back in the question of temporality real parts. They make sense at a particular time, because there is also a particular context. So out of time for the event, and after this time the context changes. A piece that only exist during a time out this time, why remonstrate or speak, she would be wrong (it would in time t + x). So far destroy!
Finally I'm almost an improviser, I would have to immerse myself more in the question.

You always play the exhibition venue, you go out into the light ( it hurts the eyes ), or you double ( Name the painter of origin, year of design work , View of the North window of the Villa Camelina ) , you mock methods of exposure ( Marie Louise), the discourse on the show ( You say that the last level of literary art is the idea of molding the image ) and places (The missing piece ) . The work finally seems made for the exhibition space, as though she could not escape, trapped, unable to find its meaning in these places. Can you say that you will articulate a form of "institutional critique", but rather with a gentle irony, poetic and funny?

Name the painter of origin, year of design work

I do not really want to answer that question, sorry. It may be that ... I was lucky, or the bad luck of having been to principal interlocutors people like Duyckaerts, Labelle Rojoux or Joseph Lamb, and this posture review (not necessarily negative, just remarks) offered me the opportunity to make sense of things. I will take such this afternoon there ... , which incidentally can be my best work. I found this watercolor in the street, and another, similar, beautiful scenery romantic fool. And allow them to exist was for one to put it on a chair rail, and the other to offer to a young woman. I later learned that the second watercolor was destroyed and discarded. It makes sense however the same title. Can I have be lost there ... forgiveness. I like these two characters in the cosmos Gombrowicz. Just
I have not given these names for fun, just because they were important in the construction of this form.
I still play from exposure, I always found annoying, haughty (the rare times I'm ready to play), this trick of making paintings or sculptures and do not hang in space that 'paying attention to discussions between them. These are the kinds of lessons given to the audience (as that term bothers me walkers can be is more just, or visitors - you walk into an exhibition, we visit, even if it is sometimes a show, not yet in my case -) it shows how one is strong and that it is well known hang.

View of the north windows of the Villa Camelina

In fact, very clearly, for Relatives (Name painter of origin, date of the painting, View from North Window the Villa Camelina ) documents submitted also speak of production conditions. Thus, in this mansion, it just happened to be the new Caesar jesters, story to amuse the friends of the latter. So I opted for a negation in some ways, creative (I mean in some ways because clearly, as these questions interested me, and blah blah blah).
There was something else there, is that I was also curator of the exhibition, so the question of the place (not just space) of my works had to be specific (something of the order Parts spectators, for once, the event was happening).

's really what I think happened. Totally agree. It's fine to say that a part is a spectator of the event. And yes, your parts do not needed, they were not authoritarian, quite the contrary. The negation of creation, I also see what you mean.
Cinema has a priori influence pervasive in your work. How does this manifest itself there?

Like this story narration that I tried to explain above, this culture offers hooks.

Statement

Is what we can say that you will maintain a connection between popular culture and "hight Culture? It's funny, I go back to the vocabulary used to modernism, with "avant garde and kitsch" Greenberg: there for him Hight the art and low art, kitsch. At home, despite shapes "hight art," you have one foot in the "low" (sorry this vocabulary rather yucky, but I am only repeating eh) with your pieces around the football or humorous your titles, your anecdotes that accompany your rooms, Cluedo and appearance, "look for the index. At first glance, your work seems elitist, and then, if one takes the trouble to look, look, things are revealed, and are ultimately very simple (which is a compliment).

In an application for a residence (which I never sent) I put this I'm too lazy to put you in sorry shape:
My proposals, whether personal or curatorial (found in my own work), anchored in an existing real (though sometimes from a different universe: Film , literature ...). In this work, a knowledge / know People comes to confront a culture called learned (knowledge of all kinds - historical, political, ...- mathematics) and an apprehension of "the sensitive" to the experience of these proposals (same).
"The truth, she did not tell the whole" It has been widely
see that remain in a semi-open that allows an understanding of the work. In this sense one could say that this opening is the viewer who comes complete, re-close with his own knowledge and experiences.

Yep agree. Goodman joined it earlier. Well, I'll stop there for now and bounce on your answers / I do not know if I bounce a lot. Bloum Bloum sploch. bises


[1] Nelson Goodman, art in theory and in action , Paris: Gallimard, coll. Folio tests, p. 123-124.
[2] groups, movements, trends in art Contemporary since 1945, Paris: ENSBA, 2002 97.
[3] When the work takes place: the art presentation and his stories allowed , Villeurbanne: Art Edition, MAMCO, 1999 97.

How To Transport Live Fish From The Us To Canada

exposure ESAG "As for the real [...] he can always take a hike elsewhere"


Exclusively just for you: The Invitation (prohibited) from exposure
"As for the real [...] he can always go get see also "

of 8 to 18 February 2011 at the gallery of the art academy of Grenoble.

With:

Michael Belmonte. Min Chen. You Jin Chung. Cyril dawn. Leo Durand. Romain Hamard. Patrice Jamet. Kad Mehideb. Yohan Meola. Benjamin Miloux. Pauline Morgana. Line Peyron. Emma Ponsart. Tao Zuo

This experiment is a collaboration of students from the fifth year of upper school curriculum with Joel Bartolomeo and myself.

The exhibition is open daily from 14h to 18h to ESAG.

Opening Tuesday, February 8, 2011 at 18:00



" Q s regards the real [...] he can always take a hike elsewhere"

A vehicles may be acceptable without reservation the absolute prerogative of reality is a human faculty any conditional and provisional. Nothing more fragile indeed admit reality.

Clément Rosset in Reality and its dual, the illusion test [1] , demonstrates that the human being manifests a very relative tolerance towards reality. Tolerance may in fact be suspended if reality is too painful to watch. "A perception is off when the consciousness free from any adverse performance. With this propensity to shelve the real, an event humans split into two single, double, thereby allowing to endure "the unbearable brightness of this." The immediate reality as we perceive is understood as an expression of another reality, which alone gives meaning and reality. This world, which by itself has no meaning, is a misleading one liner from which it receives its meaning and being. "As for the real, if he insists and insists on being perceived, he can always go for a hike. "

The artists exhibited in the gallery ESAG prey on this fact to the real face of intolerance, to provide this" elsewhere "where reality can" get lost ". A double-movement corresponding to the articulation of the exhibition - is emerging, on the one hand, some break up a vision for naturalist, through an abstract line, try to present what escapes the human understanding and that creates anxiety, even a real disorder. On the other hand, everyday life is captured in the extent of its complexity, sometimes trivial, sometimes delicate and slightly shifted, moved to better the point. Addressing our illusions, artists repeat the sham that is the present moment, the thickness created reveals a shift similar to the phenomenon of paramnesia (or "already seen"). We believe collect "memories of this" repeating abnormal perception. This tripling and revealed itself to us in his "unbearable brilliance."

Maybe artists foresee - as appearances foolish, or false sense - the meaning of this world, which is none other than "the manifestation of both primary and futile an amazing mystery [2] ? For if the truth remains committed to the myth of the cave, if our world is the shadow of another, as projected and thrown by the method of the camera obscura Finally, if our real world made no sense for himself, maybe here, in artistic production, it receives a meaning.

SL

[1] Clément Rosset, Reality and its dual, the illusion test, Paris: coll. "Folio testing, Éditions Gallimard , repr. 1999 (1976).

[2] Jean-Pierre Attal, image Metaphysics and Other Essays, Paris: coll. " The other way ", Editions Gallimard, 1969, p.1 78

Photography exhibition (c) Maria Linciute