Art by telephone. Recalled.
| N° d'inventaire | 22427 |
| Format | 17 x 23 |
| Détails | 492 p., paperback with flaps. |
| Publication | sl, 2014 |
| Etat | Nine |
| ISBN | 9791090951037 |
Art by Telephone, conceived by Jan van der Marck, took place in 1969 at the Museum of Contemporary Art in Chicago. It is one of the first exhibitions to demonstrate the conceptual nature of the productions of this period. Through its references to Marcel Duchamp and László Moholy-Nagy's Telephone Pictures, it is the only one to consider a genealogy of conceptual practices since the historical avant-gardes. Art by Telephone... Recalled was initiated by the research program In Translation co-directed by Sébastien Pluot and Fabien Vallos at the École supérieure des beaux-arts d'Angers. A series of seminars were developed on the questioning of the notion of the original and the autonomy of the work, the destitution of the figure of the author, the ethical consequences of the processes of delegation, translatability and operativity, the phenomena of versioning and the dissemination of meaning. The Art by Telephone... Recalled project was a forum for reflection on the critical modernity of the work. In 2012, five exhibitions were held simultaneously at the École Supérieure des Beaux-Arts d'Angers, the cneai= in Paris, the CAPC, the Museum of Contemporary Art in Bordeaux, the Emily Harvey Foundation in New York, and the San Francisco Art Institute. In 2014, a new series of exhibitions took place, this time successively, at La Panacée, the Center for Contemporary Culture in Montpellier. Each of these exhibitions was produced with students and recent graduates from art schools: the École Supérieure des Beaux-Arts d'Angers, the École d'Enseignement Supérieur d'Art de Bordeaux, the École Nationale Supérieure de la Photographie d'Arles, Barnard College, Columbia University in New York, and the San Francisco Art Institute. In addition, a series of discussions were organized with artists and academics specializing in contemporary art. This book is the sum of the theoretical and practical research produced over these four years. It allows for the rediscovery of an exhibition project and contributes to an understanding of artistic practice since the 1960s.
Art by Telephone, conceived by Jan van der Marck, took place in 1969 at the Museum of Contemporary Art in Chicago. It is one of the first exhibitions to demonstrate the conceptual nature of the productions of this period. Through its references to Marcel Duchamp and László Moholy-Nagy's Telephone Pictures, it is the only one to consider a genealogy of conceptual practices since the historical avant-gardes. Art by Telephone... Recalled was initiated by the research program In Translation co-directed by Sébastien Pluot and Fabien Vallos at the École supérieure des beaux-arts d'Angers. A series of seminars were developed on the questioning of the notion of the original and the autonomy of the work, the destitution of the figure of the author, the ethical consequences of the processes of delegation, translatability and operativity, the phenomena of versioning and the dissemination of meaning. The Art by Telephone... Recalled project was a forum for reflection on the critical modernity of the work. In 2012, five exhibitions were held simultaneously at the École Supérieure des Beaux-Arts d'Angers, the cneai= in Paris, the CAPC, the Museum of Contemporary Art in Bordeaux, the Emily Harvey Foundation in New York, and the San Francisco Art Institute. In 2014, a new series of exhibitions took place, this time successively, at La Panacée, the Center for Contemporary Culture in Montpellier. Each of these exhibitions was produced with students and recent graduates from art schools: the École Supérieure des Beaux-Arts d'Angers, the École d'Enseignement Supérieur d'Art de Bordeaux, the École Nationale Supérieure de la Photographie d'Arles, Barnard College, Columbia University in New York, and the San Francisco Art Institute. In addition, a series of discussions were organized with artists and academics specializing in contemporary art. This book is the sum of the theoretical and practical research produced over these four years. It allows for the rediscovery of an exhibition project and contributes to an understanding of artistic practice since the 1960s.