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The City Speaks and Artist Candy Chang Finds Fresh Ways to Listen | This Big City

The City Speaks and Artist Candy Chang Finds Fresh Ways to Listen | This Big City | we ART | Scoop.it
Over the past couple of years, Candy Chang’s gift for drawing the stories out of urban neighborhoods has won her accolades and commissions around the world.
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Creative Activism — An Open Undergraduate Class exploring Creative Media Activism #creativact

Creative Activism — An Open Undergraduate Class exploring Creative Media Activism #creativact | we ART | Scoop.it
A Free and Open Undergraduate Degree Class exploring Creative Media Activism launching in January 2012.

This class will explore the potentials of creative media activism through encouraging ‘live’ creative interventions and participation in cultural, political and social debates. Throughout the 10 week class we will be exploring how media activists and campaigners have used their media knowledge, connections and skills to ask difficult questions, provoke debate and raise awareness of [...]

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The Avant/Garde Diaries

The Avant/Garde Diaries | we ART | Scoop.it

"The Avant/Garde Diariesis a digital portrait magazine that invites leading creatives to talk about the cutting edge of art, design, fashion, music and film.In each digital portrait, featured diarists are asked to introduce someone or something they consider to be ahead of their time. The result is a collection of very personal snapshots that celebrate new ways of thinking and spread inspiration. Be sure to check out the complete video portrait library at theavantgardediaries.com.

On March 29th The Avant/Garde Diaries will host a festival-night full of music, art and performances at H.C. Andersen Slottet (Tivoli) in Copenhagen. Curated by painter Andreas Emenius, the event revolves around the motto “movement” in interdisciplinary installations, concerts and discussions. As main protagonist Emenius selected New York based composer and musician Mikkel Hess who will give insight in his definition of “movement”. Further participants of the festival include Anders Trentemøller, Jenny Wilson, Lonely Boy Choir, Alessandro Pereira, Stina Mårtensson and The Horse Ensemble."


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Occupy the Empty Space

Occupy the Empty Space | we ART | Scoop.it
Occupy the Empty Space believes housing is a human right. Unfortunately, the 1% has turned it into something barely accessible -- if accessible at all -- for far too many of the 99%.

 

"What attracted me to the occupy movement, initially, was it's horizontal nature," noted Kate Foster, playwright and other original organizer of Occupy the Empty Space. "There was no climb, there was no pyramid of who was in charge -- everyone had the power and the capability to make something happen. Sarah and I have taken that model -- a model for a leader-full movement -- and applied it to the theatrical process. How can we celebrate everyone? How can we stay non-commercial and still selective? How can we be selective and equally inclusive? It's a valuable conversation to have, not in just in terms of this event, but in the larger context of the theatre community and entertainment industry."

 

The title, Occupy the Empty Space, came from the title of the Peter Brook book, The Empty Space. But really, it's fitting on more than a theatrical level. Space is so valuable these days, and yet it is often abandoned or wasted. In NYC there is a 'lack of space,' or so it seems--but really, there is plenty of it. Apartments, parking lots, all sorts of shelter and open areas--but they've been purchased by large corporations who aren't doing anything with their real estate except separating valuable resources from those who need it.

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Aerosol Attack: Elusive 'Russian Banksy' explains mission

A mysterious street artist has been leaving his mark all over Moscow. But his works have caught the eye of critics all over the world - who have dubbed him the Russian Banksy. Prime Time's Jacob Greaves tracked down the elusive P-183.

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Saudi Arabia Needs to Talk

Saudi Arabia Needs to Talk | we ART | Scoop.it
Contemporary art is not the first thing you might think about whenever Saudi Arabia is mentioned. But if you decide to look beyond the veil of political media and stereotypes you will be quite surprised at what you might discover.

While one might think it’s strange that Edge of Arabia has not staged an exhibition of this scale before in Saudi Arabia, they do have a track record of similarly grand exhibits in London, Venice, Dubai, Berlin and Istanbul. Part of the reason for the organization’s lack of Saudi exhibitions may be the fears of not being accepted by your average Saudi visitor who is more accustomed to oil paintings that portray horses and tents than the aesthetics of contemporary art. The day before the opening many of the artists in the Jeddah show attended a related symposium at the Jeddah Chamber of Commerce and some of the uninformed questions that were asked during the sessions suggest there is some truth to the nonprofit’s concerns. But like all conversations, someone has to start, and that is exactly what this Edge of Arabia exhibition intended to do. The title says it all, We Need to Talk.

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Capitalism Works For Me! True/False by Steve Lambert

Capitalism Works For Me! True/False by Steve Lambert | we ART | Scoop.it

About the project

Starting a conversation about Capitalism is like walking up to a stranger and asking, “Can I talk to you about Jesus?”

The word “capitalism” is a red flag. And for good reason—pretty soon either some dude is talking your ear off about “The System” or aggressively confronting you about taxes. Ugh.

At the same time, capitalism is discussed every day using euphemisms like “jobs,” “job creation,” “the business climate,” and discussing whatever “crisis” is deemed relevant; a housing crisis, financial crisis, social security crisis, tax crisis, or fill- in-the blank crisis. But the whole is rarely a topic of frank discussion—much less alternatives or meaningful reform.

As a culture, we need the vision and boldness it takes to discuss the problem itself. The idea that “there is no alternative” to the way our world works takes away our ability to dream. As citizens we need the courage to begin these discussions on order to move on to new and better visions for the future.

 

radio interview: http://www.breakthruradio.com/#/post/?dj=thomas&post=787&blog=64&autoplay=1

This week on Art Uncovered I speak with Steve Lambert.

Steve makes objects and creates experiences that connect idealistic and radical ideas with everyday life. His projects help us imagine a better (dare I say utopian?) world, and allow us to ask, "well what if?"

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Les principes fondateurs de la mobilisation

Les principes fondateurs de la mobilisation | we ART | Scoop.it

Parce que l'art est l'affaire de tous, parce que la dimension culturelle est un enjeu crucial pour nos sociétés en transition, nous lançons un vaste mouvement participatif afin de mettre en débat la place de la culture et de l'art dans l'espace...

 

Because art is everybody's business, because the cultural dimension is a crucial issue for our societies in transition, we are launching an extensive participatory movement in order to debate the role of culture and art in space ...

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Comment le numérique transforme les lieux de savoir

"Ce que le numérique fait à la culture c'est qu'il invite à en repenser le sens, à le resituer dans un contexte de société". L'ouvrage de Bruno Devauchelle revient sur l'histoire du déploiement des TIC dans les lieux de savoirs et particulièrement, mais pas uniquement, dans l'Ecole. Il lit ce phénomène par rapport aux bouleversements apportés aux missions et à l'histoire de ces institutions mais aussi avec le regard du sociologue qui observe la révolution sociale qu'entraîne le numérique.


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Smells Like Art

Smells Like Art | we ART | Scoop.it
Phantosmia — or, the sensation of smell without a physical stimulus — features seven unique scent sculptures that intend to christen a new art form.

It declares scent is it’s own form of art on par with sight and sound. Additionally, the exhibition exposes the bizarre nuances and anachronistic practices of the fragrance industry. And, like any good perfume, it promises a twist at the end. For the first time in fragrance history, a perfumer has published his formulae. However, the success of the show hinges on the industry’s willingness to take the bait and the audience’s desire to believe they’ve just smelled something groundbreaking.

 

With this kind of content, the Dillon Gallery and Laudamiel have had to solve a few technical issues. In order to communicate each of the seven distinct fragrances, the gallery erected six plastic tents for the scents labeled “At Your Own Risk,” “Fear,” “Fragile,” “The Last Virgin,” The Monkey and the Banana” and “The Whip and the Orchid.” The final scent,“Remembrance of Things Lost,” occupies the open space. Moreover, instructions and museum style explanations supplement the sculptures, helping to guide participants down new nasal pathways.

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Tate Britain| Audio Arts | "Plight" : Joseph Beuys

Tate Britain|  Audio Arts | "Plight" : Joseph Beuys | we ART | Scoop.it

Talking on the occasion of his installation Plight at the Anthony d'Offay Gallery, October 1985. This was to be the last exhibition made by Beuys in Britain, he died in January 1986.

 

WF: There is a recurring theme that one sees in your work. There are ideas to do with survival and to do with the human body, and so on. Although that piece is concerned with insulating a space from the outside, it seems to me that on walking in there one becomes very aware of one’s own body or of one’s bodily functions.
JB: Yes, that’s right, and that was also the reason to use such materials. Since I was not interested in staying with the idea of visual art, I was interested in pointing at the necessity to determine the idea of art to us all, to all the senses existing in human beings and even to develop new senses. If they are not there now, they will appear in the future. If people are training and are really interested in art they could develop more senses. So this is now related to the senses of touching and surely also to seeing. This remains. I am not against vision because it’s one of the most important senses. You have a kind of acoustic effect, because everything is muffled down. Then there is the effect of warmness. As soon as there are more than twenty people in the room the temperature will rise immediately. Then there is the sound as an element muffling away the noise and the sound. So this concert hall – I could also call it a concert hall – muffles down the sounds almost to zero. And to express this the grand piano is inside with a score on it. There are lines for notations on this blackboard but there are no notes. There is nothing on it, and instead of this there is a fever thermometer on it to stress that the warm quality is the most important quality for me and is a very important criterion for the quality of sculpture. One person will feel more this kind of accommodation of warmth and other people will find it sucks away the sound. Other people will feel, let’s say, even becoming oppressed, because there is also a negative aspect in the original idea and isolation. The negative side is the padded cell, which is a kind of torture thing.

fhe reason why I principally use the material is that I try to use a material that is transformable into psychological powers within the being who is not aware nowadays about his or her creativity potentials.
Because our time tends to work with a kind of ideology, they call those things sculpture and paintings visual art. But I think that vision plays only one role and there are twelve other senses at least implied in looking at an artwork. So I try to change the understanding of art, which leads to a wider understanding of art, and that’s what I call anthropological art. So this is for me also a series in which anthropological art has to appear after modern art. I find the period of modern art ended in Germany with the beginning of Hitler’s time. In England I am not so clear, but I am almost sure this is almost the same. I think everything which came after the war was a kind of reminder of possibilities from the modern impulse, which dates from the turn of the century. Now especially, people are speaking without any idea about the necessity and logic of art. They speak once again of modern art but they call it postmodern, and this for me is a falsification. This is not an organic transformation of the idea of art. It is only a kind of cancer, because they don’t know how its next step should take place with the transformation of the power of art. They don’t know that it should be related to everybody’s creativity, and that the participation of everybody in the idea of art in any field and character of work should take place, and that every future discussion on the changing of the social order will fall if it does not start to base itself on the creative being, with the possibility to make self-determination, self-administration and self-government. So this transformed idea of art means a lot and maybe it appears to be bold, but I think this boldness is necessary to overcome bad positions in the social order.

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Occupying Corporate Hype: The Strategic Satire of The Yes Men

Occupying Corporate Hype: The Strategic Satire of The Yes Men | we ART | Scoop.it

For over a decade, The Yes Men (Andy Bichlbaum and Mike Bonanno) have been engaged in an extended campaign of covert activism that is part performance, part satire and part fifth-column insurgency. In many cases, they do this through a sort of satire-by-agreement, posing as corporate executives and expressing ideas that are only slight exaggerations of their targets’ stated positions. In the process, they’ve managed to sell some truly ridiculous ideas to their audiences of industry insiders, including an algorithm for assessing when it’s desirable to trade human life for corporate gain (The Golden Skeleton program) and the SurvivaBall, a cumbersome portable cocoon designed to help the super-rich weather a major environmental collapse. In this interview, we spoke with Mike Bonnano of The Yes Men about their history, their thoughts on art and activism, and their current and future plans.

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when attitudes ... curators

Today, the internationalized system of art has become so complex and sophisticated that any role can be taken on by any player anywhere in the game. We more and more see now also artists collecting, curating, writing and dealing as well as collectors, writers and curators making art and reflecting about artistic production in the role of writers and art historians. Interesting enough, even Harald Szeemann, and not only Hans-Ulrich Obrist couldn't resist taking on the role of artists: He showed in the Tirana Biennial 2003, where he had some silk-screens made. Another example of mixing roles is this text which was commissioned by Victor Misiano, a trained art historian who turned curator, publisher, critic and director of an art center. ("I am deputy director of the State Center for Museums and Exhibitions. I am editing my Moscow Art Magazine. I am curating, publishing. writing and so on") Misiano commissions me, an artist, to write a text on how to teach curating. He doesn't ask me for an artwork, he asked me for a pedagogical essay.

 

It can't be pointed out enough that these changes are the product of a dramatically changing society and its permanently improving technologies. Therefore any other domain changes as well. I give here only three basic unrelated examples but which artists and curators have come to reflect upon.

...

Is it therefore a surprise that I - in the role of an artist - make my curators paint my paintings, my dealers do my drawings and part of my artistic decision-making. Here at home, I study Chinese and Arabic, I write texts, I try to sell my art, and I panic to organize money, recuperate debts from others, curate shows, advice dealers. I even collect some art. Currently, there are up to 20 people producing my artistic work for me in different places, different continents for different shows with different financial support. It is partially done by people who are no artists and don't understand it. If my computer is an interface, I am an "interbrain," a decision-making body which is processing and producing information.

In this new, twisted and multi-layered international context, curators have to create and not only find their own niche.

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A Show with Ze Frank

Hi

In 2006, I launched a show called "The Show With Ze Frank." It was one of the most strange, exciting, difficult, and amazing things I have done so far. I think it is time to do something similar, what with the economy in the crapper and the election coming up. If Newt can do it, so can I. So can we.

 

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FOCUS : STEVEN COHEN, UN PERFORMEUR EN RESISTANCE

FOCUS : STEVEN COHEN, UN PERFORMEUR EN RESISTANCE | we ART | Scoop.it

Steven Cohen incarne la figure prototypale du performer. Artiste paradoxal, militant et revendicatif, Steven Cohen travaille sur ces territoires limites, instables, de la scène contemporaine.

Oeuvre éminemment politique, son travail interroge les fragilités du bien-disant sociétal, met en abîme les shémas et codes traditionnels de la représentation. Transgenre et transgressif, Steven Cohen se met en danger en permanence.

Steven Cohen révèle plus qu’il ne représente. Partout et dans chacune de ses actions, chacun de ses “spectacles”, il brise les conventions, démonte les schémas pré-digérés de la représentation, débusquant les tabous, les conformismes ou les archaismes de pensée, tendant un miroir mortel à tous ceux qu’il interpelle.

Son art singulier tripote le symbolique et fabrique du politique, au quotidien, inlassablement. Sa manière de démolir les consensus sociaux, sa radicalité esthétique comme symbolique sont autant d’armes foudroyantes à l’endroit du vieux monde figé dans ses certitudes et ses interdits. Surtout Cohen exacerbe : les failles comme les contradictions d’une société à bien des égards confite dans ses scléroses conceptuelles, ses impensés symboliques, ses impasses comportementales.

 

google translation:

Steven Cohen prototypale embodies the figure of the performer. Paradoxical artist, activist and protest, Steven Cohen works on these territories limits, unstable, the contemporary scene.

Highly political work, his work questions the fragility of societal well-called, puts abyss diagrams and traditional codes of representation. Transgender and transgressive, Steven Cohen endangers permanently.

Steven Cohen reveals more than it is. Everywhere and in every action, every one of his "performances", he breaks agreements, disassembles pre-digested patterns of representation, unmasking taboos, conformism or archaic modes of thinking, holding out a mirror to all those that fatal it calls.

Fiddles with his singular art and the symbolic politics of manufactures, every day, relentlessly. Its way to demolish the social consensus, as its radical aesthetic symbolic lightning are weapons in the place of the old world frozen in his convictions and taboos. Cohen especially exacerbated: the flaws as the contradictions of a society in many ways crystallized in its conceptual sclerosis, its unthought symbolic, behavioral its impasses.

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Bernard Stiegler : « Le marketing détruit tous les outils du savoir »

Bernard Stiegler : « Le marketing détruit tous les outils du savoir » | we ART | Scoop.it

Vous êtes fatigués des petites phrases, des analyses politiques et médiatiques incapables de se projeter au-delà du prochain sondage ? Basta !, en partenariat avec Soldes, la revue « pop et intello », vous propose une interview fleuve du philosophe Bernard Stiegler. Disciple de Derrida, il dirige l’Institut de recherche et d’innovation et a cofondé l’association Ars Industrialis. Face à la domination du marketing et à l’hégémonie du capitalisme financier, qui font régresser nos sociétés, il est urgent, pour Stiegler, de changer de modèle : passer d’une société de consommation à une économie de la contribution, qui aurait pour pilier la révolution numérique.


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Is Conscientiousness Compatible with Creativity? | The Creativity Post

Is Conscientiousness Compatible with Creativity? | The Creativity Post | we ART | Scoop.it
Creative people are both Conscientious and not Conscientious at the same time.

Conscientiousness is the most consistent and best predictor of both job and academic performance. Clearly, long-term planning and self-control is useful when one is directing his or her self toward a standardized form of achievement. But what about creative achievement-- where the goal is often never really known ahead of time and one must constantly fight the status quo and deviate from the standard path to create something new, perhaps even revolutionary?

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Ira Glass : The Path To (Your) Creativity

All credit due to the amazing Ira Glass. Source audio is from this very seminal video by current.tv: http://www.youtube.com/watch?v=BI23U7U2aUY


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Changing audience participation in Polish contemporary art | culture360.org

Changing audience participation in Polish contemporary art | culture360.org | we ART | Scoop.it

 

Artists and curators pay increasingly more attention to the viewer. Polish performing and visual arts in recent years more often do not just treat the viewer as a passive recipient. Many projects are being developed in non-institutional spaces to take advantage of the context and to experiment with strategies of viewer reception. There is talk of a socially engaged art, community-based art, dialogic art, participatory and collaborative work – all being described as ‘relational practices’.

 

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ENACTING POPULISM

ENACTING POPULISM | we ART | Scoop.it
An on-going project on the possible relationships between art practices and the populist mediascape that connotes the current political zeitgeist of Europe...

 

«I think that the prospects in today’s Western Europe are rather unpleasant. All the governments in Western Europe are reacting to the crisis with extreme neoliberal formulas of adjustment. Zapatero has just passed a set of draconian measures and you know what is happening in Greece. In Germany the situation is also relatively unsustainable, and in England the relationship between Nick Clegg and David Cameron is quite feeble because there exist strong tendencies within the Liberal Democrats to reject the coalition agreement and the way it is implemented. So the situation is bad, and this all the more because the social democratic parties, which are the only viable alternative at the moment in Eastern as well as Western Europe, do not have any alternative plan. These conditions fuel extreme right-wing populism. If you don’t have an alternative to the system, people who feel a need for such an alternative move to extreme ideologies, wheter they are right-wing or left-wing. Take the example if France. There existed a classical discourse of opposition, which was that of the Communist Party and the red belts of the industrial cities. This world has disintegrated as a result of the tertiarization of the labour market. The outcome was a unique system of ower in which the social democrats and the more conservative forces did not differ very much from each other. The only political alternatives were to be found on the fringes of the left and right, yet it is the right fringe that has progressively expanded. Many former voters of the French Communist Party are today voter of Le Pen, a phenomenon thart is called gaucho-lepénisme. The reason is simple: if you want change in some way, the precise way om which that change is going to happen and its ideological framing become a seconday matter. And that is of course not only the situation in France. The chances for a left populism are today in Western Europe rather minimal. Populism is going to expand, but it will be a populism of the right.”

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Networked_Performance — Live Stage: Subcuratorship Beyond Media Arts [Berlin]

Networked_Performance — Live Stage: Subcuratorship Beyond Media Arts [Berlin] | we ART | Scoop.it

Based on questions about contemporary media art festivals, in the autumn of 2011 CODED CULTURES presented City as Interface. Hereby curators and artists tried to create new models of representation, transmission and intervention within a concept of sub-curatorship beyond media arts and within public space. For transmediale 2012 a discursive vector is reflecting on these inventions based on trans-disciplinary examples from intersecting fields like contemporary art, media art, street art, audio-visual arts, exhibition design and interfaces in order to transform the city into a playful and unstable environment for artistic interventions. The invited participants will give 10-minute long impulse-lectures to present methodological approaches based on their interests and backgrounds. The panel will be followed by a discussion with the audience.

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"Occupy Wall Screen": A Renowned French Media Artist Takes On Wall Street (VIDEO)

"Occupy Wall Screen": A Renowned French Media Artist Takes On Wall Street (VIDEO) | we ART | Scoop.it

French media artist Maurice Benayoun is way ahead of today's economists. He long ago figured out that collective emotions trackable on the Web might be used to predict market ups and downs. Recent books like Animal Spirits: How Human Psychology Drives the Economy echo the notion that the market has become a histrionic arena that begs for regulatory controls, and there is at least one hedge fund that uses the analysis of mass tweets to make stock predictions. But Benayoun is no Wall Street gambler trying to game the system. He hopes his recent work will in fact aid and engage the Occupy Wall Street movement, which he says is still more potent in the U.S. than in Europe -- though not for long.

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Installation de Peter Kogler au Centre Pompidou pour Hors Pistes 2012

La vidéo "Untitled, 2012" de l'Autrichien Peter Kogler a été réalisée à partir des mouvements d'un rat filmés et traités informatiquement (maquette filmée sur l'ordinateur). Projetée au sol, l'installation montre des rats circulant dans une structure labyrinthique. Cela va grouiller de rats au sous-sol du Centre Pompidou ! Alliance de l'organique et de l'image numérique, du 27 janvier au 12 février 2012.
www.centrepompidou.fr

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Dansez au centre Pompidou!

Dansez au centre Pompidou! | we ART | Scoop.it
L'institution parisienne accueille jusqu'au 2 avril 2012 une exposition mettant en lumière les liens entre la danse et les arts visuels de 1900 à nos jours.
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«Quand les attitudes deviennent formes» - Harald Szeeman -

«Quand les attitudes deviennent formes» - Harald Szeeman - | we ART | Scoop.it

"«Quand les attitudes deviennent formes», cette exposition à la Kunsthalle de Berne a fait date dans l'histoire de l'art. Initiée par son directeur Hans Szeemann au printemps 1969, elle témoigne d'une nouvelle sensibilité à la notion de l'attitude de l'artiste dans le processus de création. Marlène Belilos et l'équipe de l'émission culturelle En marge suivent les installations des artistes; une occasion exceptionnelle de filmer Joseph Beuys, Keith Sonnier, Michael Eizer, entre autres, dans leur acte de création.

Cette exposition suscita l'incompréhension des autorités et la sévérité d'une partie de la critique. Devant l'hostilité exprimée à son égard, Harald Szeeman choisit de démissionner et se lança dans une carrière de commissaire international.

Ce document est d'autant plus remarquable qu'il constitue l'unique témoignage télévisé de ce moment de l'histoire de l'art. Nous avons interviewé Marlène Belilos à ce propos dans notre blog."

 

"When attitudes become form", the exhibition at the Kunsthalle in Bern was a landmark in the history of art. Initiated by its director Hans Szeemann in spring 1969, it reflects a new sensitivity to the notion of the attitude of the artist in the creative process. Marlene Belilos and the team of the cultural program sidelines after the installations of artists a unique opportunity to film Joseph Beuys, Keith Sonnier, Michael Eizer, among others, in their act of creation.


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