jeudi 20 mai 2010

Swann Mahieu

Découvrez La revue/ le cahier “Point Ruption” : organisation, mise en place et "graphisme", plus autres textes et images par Swann Mahieu :

et le blog de Swann Mahieu :
Swann Mahieu, “Picasso et …!”

Cambyse Naddaf

Cambyse Naddaf , Sans titre, 2008, papier buvard et acrylique, 120 x 160 cm.

Cambyse Naddaf participe à l’exposition "Traversée d'art" au Château de Saint-Ouen du 3 mai jusqu'au 26 juin 2010.

Château de Saint-Ouen : 12 rue Albert-Dhalenne et Espace 1789 : 2/4 rue Alexandre-Bachelet F - 93400 Saint-Ouen

mercredi 19 mai 2010

Stephan van den Burg

Stephan van den Burg, shirt (afsterstudies), January 2010, pencil on paper, 24 x 32 cm

Stephan van den Burg: b-sides & rarities in groupshow In My Own Words/ In Your Own Words [ladenkastproject, curated by Simon Benson]
31 January – 14 March 2010 Gallery Phoebus, Rotterdam
Découvrir le très riche blog consacré au dessin par Stephan van den Burg :

Drawing Paper issue 1

Drawing Paper issue 1 front cover

Drawing Paper is a not for profit newspaper based publication concerned solely with drawing. The purpose of this blog is to function as a supplement to the printed edition. We're keen to make it rich in quality drawing based content so if you've got something interesting you'd like to share with us please send it to
(files should be JPEG's at 72dpi upto 2mb).
Please note, all submissions are subject to editorial control – some work is of more interest to us than others. Please refer to previous posts for an indicator of our preferences.
Drawing Paper was conceived and designed by Mike Carney and Jon Barraclough, Liverpool UK.

Arshile Gorky

“There were so many drawings from 1941 until Gorky’s death in 1948 that they became a blur and only the specialist or one obsessed could keep them in focus.
From the tragedy of his Armenian childhood ending in genocide at the hands of the Turks and his escape to America, to the painful last years – pain he gave and pain he received – ending in his suicide at 48, Gorky’s life is a terrific story.
A way to say it is that Gorky rendered unclassifiable matter in lines and color on paper. In other words, his art is also nature, generative, growing beyond description even as it describes itself in forms for which we have words and lines to convey. There is a great amidst-ness in these drawings, a wholeness that in the words of the poet Clark Coolidge "excludes nothing." However we name this, it is free beyond what the word freedom seeks to contain.”

Arshile Gorky, Study for The Betrothalc, 1946-47, pencil and crayon on paper, 60.9x46.9 cm(24x18-1/2 in.) Courtney Ross-Holst Collection.
“Arshile Gorky (Vosdanik Adoian) was born in 1904 or 1905 (there are differing accounts of the date) in the province of Van in Armenia. Following the massacre of the Armenians by the Turks in 1915, the scattering of his family, and the death of his young mother from starvation, Gorky immigrated to the United States in 1920. It was here that he took the name Arshile Gorky and invented a new life for himself.
After arriving at Ellis Island, he moved for a brief time to New England to live with relatives. In 1924 he came to New York and began to study art. He was quickly made an art instructor and taught for years in order to survive as an artist. Throughout the late 1920s and thereafter, Gorky met and became friends with a great many artists, among them Stuart Davis, John Graham, Willem de Kooning, David Smith, and Isamu Noguchi.
In the 1930s and early 1940s, Gorky's position within the New York art scene brought him into contact with some of the Surrealists who had been forced to flee Europe during the Second World War. His friendship with the Surrealist poet André Breton, who greatly believed in Gorky's work, made a deep impression. Gorky's friendship with the Chilean-born artist Matta also contributed to the development of his mature style. Matta encouraged Gorky to improvise and experiment more on paper, introducing him to the Surrealist technique of automatic drawing.

Arshile Gorky, Virginia Landscape , 1943, pencil and crayon on paper, 46.9x59.6 cm (18½x23½ in.) private collection.
In the many landscapes Gorky produced in Virginia in the early 1940s, his abstract vocabulary came to embrace natural and organic forms. His method was to take home the drawings that he made in the fields and draw repetitions of them, exploring multiple variations of each image. These repetitions enabled him to ingest new ideas gained outdoors until they became an integral part of his formal vocabulary. Meyer Schapiro, in his introduction to Ethel Schwabacher's monograph on Gorky, said that after discerning "the vague, unstable image-space of the day-dreaming mind," Gorky detached color from drawn line, making line and color two different components in the picture. Gorky's drawings from this time also gave the artist a chance to experiment and develop new techniques. He washed them in his bathtub, hung them up to dry, and later scraped or sanded the surface. In part, this new experimentation with surfaces was intended to further alter the recognizable identity of an image through the elimination of specific botanical or biological details.”

Arshile Gorky, Drawing, 1946, graphite on paper, 47.6x62.9 cm (18-3/4x 24-3/4 in.) Yale University Art Gallery, New Haven.
Arshile Gorky: sketchbook drawings

A rare exhibition of drawings by one of the most pivotal and significant 20th century American painters, Arshile Gorky (1904-1948). 'Arshile Gorky: sketchbook drawings' will feature Gorky's early sketchbook drawings dating from the early 1930s. It was during that period when Gorky absorbed and re-defined European avant-garde sensibilities, having at that time a profound impact upon such artists as Willem de Kooning, Hans Burkhardt, Stuart Davis, John Graham, Isamu Noguchi and what ultimately became known as the New York School.
The drawings in this exhibition reveal Gorky's early ruminations on cubism and biomorphic abstraction, well before his encounter with the European expatriates who arrived in N.Y. during WW II. These preliminary, yet informative drawings originated from the collection of the artist, Hans Burkhardt. When Hans Burkhardt (b.1904 Basel, Switzerland - d.1994 Los Angeles) left New York late in 1937, after sharing Arshile Gorky's studio for nearly nine years, he brought to Los Angeles the largest holdings of works by his friend and mentor, outside Gorky's own holdings.
Drawings in this exhibition are offered following their inclusion in several museum exhibitions throughout the country. They were the subject of the last publication on Gorky's works by the late Gorky scholar, Melvin P. Lader, Arshile Gorky: The Early Years published by Jack Rutberg Fine Arts in 2004.
Arshile Gorky: sketchbook drawings' opens May 22, through July 31 to run concurrently with the major exhibition, 'Arshile Gorky: A Retrospective' opening the following week at the Museum of Contemporary Art (MOCA) in Los Angeles, following its recent exhibition at the Tate Modern, London and the originating museum, the Philadelphia Museum of Art.

Jack Rutberg Fine Arts
357 North La Brea Avenue
Los Angeles, CA 90036 USA

lundi 17 mai 2010

Bram et Geer van Velde

Bram et Geer van Velde
Exposition du 17 avril au 19 juillet 2010
« Le musée des Beaux-Arts de Lyon propose un regard croisé sur deux artistes majeurs du XXe siècle, les frères Bram van Velde (1895-1981) et Geer van Velde (1898-1977). L’exposition analyse et confronte la peinture des deux frères d’origine hollandaise.
La relation fraternelle fut étroite et même fondatrice. Elle fait penser à bien des égards à certains couples, paires ou fratries de l’histoire de l’art : Giorgio de Chirico et Alberto Savinio ; la famille Duchamp ; Alberto, Diego et Bruno Giacometti ; Pierre Klossowski et Balthus ; Sophie Taeuber et Hans Arp ; Robert et Sonia Delaunay.
L’exposition propose d’explorer ce rapport, d’éclairer ce que chacun pourrait devoir à l’autre dans son cheminement. »

« L'exposition du musée des Beaux-Arts de Lyon dessine un double portrait des frères Bram van Velde (1895-1981) et Geer van Velde (1898-1977). Elle propose un regard croisé sur deux artistes du XXe siècle dont l’œuvre s’est développée en marge des préoccupations esthétiques de leur époque en France.
Car Bram notamment partageait beaucoup avec ses contemporains américains. Sa peinture de l'intériorité était en résonance avec l'expressionnisme abstrait d'un de Kooning par exemple. Mais c'est Samuel Becket (1906-1989) qui admirant son œuvre lui accorde un soutien indéfectible. Ami à la fois de Bram et de Geer van Velde, l’écrivain identifie les affinités et les divergences des deux œuvres. Il leur consacre plusieurs textes importants, notamment, dès 1938, à l’occasion de l’exposition de Geer à la Galerie Guggenheim Jeune à Londres, en 1945 dans les Cahiers d’Art dirigés par Christian Zervos (“La peinture des Van Velde ou le Monde et le Pantalon”) et en 1948 dans la revue Derrière le Miroir (“Peintres de l’empêchement”) d’Aimé Maeght.
Les deux frères sont influencés par le cubisme. Geer ne s’en écarte jamais totalement. Il demeure proche d'une composition idéaliste à la manière de Jacques Villon. Bram est plus radical. Il adopte bientôt le seul triangle dont il adoucit les angles et cesse dès 1941 de renvoyer au réel. Il s’engage alors dans une voie où la peinture s'affranchit de toutes références, perd ses codes habituels et acquiert une autonomie. Ils peignent ce qui se dérobe à la représentation. Ils peignent ce qui ne peut être peint.
Les deux artistes déjà largement présents au sein des collections du musée des Beaux-Arts de Lyon grâce à des achats, à un dépôt provenant d’une collection particulière suisse et au don de vingt-trois dessins de Geer effectué par Elisabeth van Velde et Piet Moget sont exposés ensemble du 16 avril au 29 juillet. »

Musée des Beaux-Arts de Lyon, 20 place des Terreaux, 69001 Lyon
Entrée des expositions : 16 rue Edouard Herriot

mardi 11 mai 2010

Lignes et contours

Lignes et contours
du 5 mars au 26 juin 2010
Frac Picardie
45 rue Pointin
80000 Amiens

Jean Dubuffet, Mire G 15, (Premier boléro), 24 février 1983, acrylique sur papier marouflé sur toile, 67 x 100 cm.
« Dans la poursuite d’un cycle d’expositions qui explore la diversité du dessin et la vitalité des pratiques contemporaines, le Frac Picardie prolonge la réflexion engagée sur la distinction entre le trait et la ligne. Au commencement du dessin, la ligne tracée par Dibutade marque le contour de la silhouette du bien aimé de sa fille afin d’en fixer l’image durant son absence : « On commença par cerner d'un trait le contour de l'ombre humaine », raconte Pline l'Ancien. Prédominants dans l’exposition Lignes et contours, les corps s’animent au creux de lignes tour à tour vibratiles, fragiles, vives, intenses, sensibles ou tendues.
Contrairement au trait autoréférentiel, ligne et contour servent un projet guidé par l’apparition d’une figure, de la plus abstraite à l’illustration la plus réaliste, de la plus ténue à la plus affirmée. Si elle n’est pas assujettie à l’empire des formes, la ligne se déploie dans le temps et avance vers l’infini. Telle une écriture, la ligne chemine et inscrit la trace de son passage ; dès qu’elle se laisse dissoudre dans le contour, la forme se fixe. De fait, le contour réprime ce que la ligne contient d’errance. Celui-ci épouse la forme, délimite une surface et souvent ne ménage pas d’issue.

Jean Dubuffet, Site avec deux personnages, Psychosites, 1981, acrylique sur papier offset marouflé sur toile, 67,2 x 50 cm.
La variété du dessin linéaire atteste de la diversité des intentions et des sensibilités des artistes. Sans procéder à une classification paralysante, des regroupements s’esquissent. Là, le dessin au contour précis où l’on trouve aussi bien la ligne virtuose du copiste (Lallemand, Vergara, Alberola, Buraglio) que la ligne oscillant entre figuration et abstraction (Mencoboni). Ici, le dessin fluide et instable dilue ses contours en entraînant la ligne de corps dans la mouvance (Dumas, Muñoz, Orozco). Si la ligne échappe aux pures apparences et s’atèle à révéler une vérité plus profonde, elle devient intuitive (Penone, Jamie, Tucholski), exaltée (Claramunt, Dubuffet, Basquiat) ou bien encore brisée et erratique (Baselitz, Matta, Masson).

L’exposition "Lignes et contours" tend à établir par ses tours et détours que la puissance de la ligne réside dans ce qu’elle comporte à la fois de vie vagabonde et d’inéluctable destinée. La ligne est autant directrice que lignée, génératrice d’unité que vecteur de partition. Tantôt elle caresse la surface, tantôt elle portraiture l’intériorité.

Jean-Michel Alberola, Georg Baselitz, Jean-Michel Basquiat Pierre Buraglio, Luis Claramunt, Jean Dubuffet Marlene Dumas, Cameron Jamie, Stéphane Lallemand André Masson, Roberto Matta, Didier Mencoboni Oscar Muñoz, Gabriel Orozco, Giuseppe Penone Barbara Camilla Tucholski, Angel Vergara Santiago œuvres du Frac Picardie. »

lundi 10 mai 2010

“Artistic Research as Aesthetic Science?”

Workshop, September 24/25, 2010
Deadline: May 31, 2010

“Artistic Research as Aesthetic Science?”
Workshop, September 24/25, 2010
in the context of the art, science & business program of the Akademie Schloss Solitude, Stuttgart in cooperation with the Zeppelin University, Friedrichshafen

Art research, artistic research, art-based research or research through, with, about arts are currently popular terms. However, one can speculate about what exactly is meant here, especially when following the international discussion of these terms.

The interdisciplinary workshop “Artistic Research as Aesthetic Science?” is situated within this discussion. Art research as “aesthetic science” is conceived as a process that utilizes artists' specific knowledge, working methods, and competence and applies them to other contexts outside of the art system. It is neither research about art that then lies in the field of science of art, nor is it research with art that genuinely characterizes artistic production. Central to the discussion are forms of sensual insight that are combined with scientific practices to generate new knowledge.

Experts from the fields of art research, artistic practice, history of science, and philosophy will address these topics in four thematic panels.
Discussed will be questions on:
– Theory (Prof. Dr. Gernot Böhme/Prof. Dr. Florian Dombois),
– Methods and Techniques of Insight (Dr. des. Jutta Voorhoeve/Prof. Dr. Martin Tröndle),
– Organization (Prof. Ursula Bertram/Prof. em. Dr. Wolfgang Krohn), and
– Transfer (Prof. Adelheid Mers/Prof. Henk Borgdorff).

One section is intended for “Project Presentations”: Around ten institutions and projects will have the opportunity to present their work and research with short presentations. This call addresses ongoing or recently initiated programs relevant to the topic “Artistic Research as Aesthetic Science?” to give them the possibility to inform an international audience about their main ideas and experiences. Applications are to be made for 20-minute presentations in German or English; contributions in various formats are possible.

Participants of the section “Project Presentations” are exempted from the conference fee. Catering will be provided by Akademie Schloss Solitude during the course of the workshop.

Please submit your proposal together with a project description by May 31, 2010:

Viola van Beek
Assistant art, science & business
Akademie Schloss Solitude
Solitude 3
70197 Stuttgart

mercredi 5 mai 2010

A new wall drawing by Greig Burgoyne

"Back to the Future"
A new wall drawing by Greig Burgoyne

A new large-scale wall drawing by Greg Burgoyne is being unveiled on Friday 26th March 2010 at the Hastings Museum Art Gallery. This private view marks the start of a forthcoming exhibition that takes place from March to June. Entitled ‘Back to the Future, this wall drawing investigates the nature of the found, displaced and the significance of the archive.

From: 26th March – 6th June 2010 Hastings Museum Art Gallery, Johns Place, Bohemia Road, Hastings TN34 1ET

Stuck Iside Looking Out, 594 x 420mm, ink on paper, 2009.

Greig Burgoyne will transform the exhibition gallery at Hastings Museum & Art Gallery with a large-scale wall drawing that literally stares back at the viewer. Based on objects gleaned from coastlines and urban centres around the world, Greig Burgoyne’s resulting drawing transforms these found fragments into beguiling and at times stark revelations, where perceptions become cracks in an otherwise carefully constructed world of facades and denials that turn the space back on the viewer resonating both anticipation and suspicion
Greig Burgoyne, Charm Offensive, Michael West Galleries Quay Arts UK, 2008.
Perpheries, 594 x 420mm, ink on paper, 2009.

Greig Burgoyne makes site specific wall drawings. He studied MA Painting at the Royal College of Art and the HAK, Vienna. Recent (08-09) Solo projects include: ‘The Future of Nostalgia’ Jerwood Space, London, ’50 drawings to murder magic’ Centre for Recent Drawing London09 , ‘Dilemmas of the upper world’ Vault Gallery Lancaster UK and ‘Charm Offensive’ Quay Arts IOW UK and the Russian State Museum. His work is in private and public collections including Bank of Montreal, Canada, TI Group UK, DAAD Bonn Germany, The Russian State Museum, Stadt Mainz Germany, Swiss Bank Corporation and Agentur 42 Germany. His work has appears in the current contemporary art journals – Rubric The grid issue and 20x 20 magazine ‘Harmonia Mundi’ theme.

mardi 4 mai 2010

La participation prescrite d'en-haut

Petit texte trouvé sur le blog d’Elisabeth Lebovici :
L’information n’est plus très fraîche, mais la position va suffisamment à l’encontre de l’air du temps pour qu’il vaille la peine de la relever. Elle concernait une conférence d’Irit Rogoff le 14 avril à l’EHESS :

“Participation – Mode d’emploi”.
« Il s’agira de rompre avec la prescription inclusive qui caractérise ce qu’on nomme “le tournant participatif” de l’art contemporain (la mise en œuvre de protocoles d’implication des sujets dans des projets et des espaces). Au contraire, nous nous demanderons ce que signifie être partie prenante d'une culture au-delà des rôles qu’autorisent les habitudes sociales ? Qu’advient-il si la participation n'est plus prescrite d'en-haut par les artistes, les commissaires et les institutions ?
Un parcours à travers les œuvres de Hannah Arendt, Giorgio Agamben et Jean- Luc Nancy nous permettra de repenser du point de vue des singularités plutôt que des identités ce qui, dans l’art, intéresse la communauté et le collectif. La volonté de brouiller les limites qui séparent ceux qui font et ceux qui regardent, les objets et les espaces, requiert le développement d’un lexique alternatif qui puisse saisir les relations fluctuantes de l'art et du sens. »

Irit Rogoff est théoricienne, commissaire d'expositions et écrivain. Elle est professeur de Visual Culture à Goldsmiths College, Londres, et a publié plusieurs livres et essais au croisement de la théorie critique, de la politique et des pratiques artistiques contemporaines et a créé à Goldsmith le ‘think tank’ PH.D in Curatorial / Knowledge.

Save Philosophy at Middlesex University

Late on Monday 26 April, staff in Philosophy at Middlesex University in London were informed that the University executive are to close all Philosophy programmes: undergraduate, postgraduate and MPhil/PhD.
Philosophy is the highest research-rated subject at Middlesex University, with 65% of its research activity judged 'world-leading' or 'internationally excellent' in the UK government's recent Research Assessment Exercise. It is now widely recognised as one of the most important centres for the study of modern European philosophy anywhere in the English-speaking world. Its MA programmes in Philosophy have grown in recent years to become the largest in the UK, with 42 new students admitted in September 2009. Middlesex offers one of only a handful of programmes left in the UK that provides both research-driven and inclusive post-graduate teaching aimed at a wide range of students, specialist and non-specialist. It is also one of relatively few such programmes that remains financially viable, currently contributing close to half of its total income to the University's central administration.
This decision to terminate Philosophy at Middlesex will have serious consequences for the teaching of philosophy in the UK. This is a shameful decision which essentially means the end of the Centre for Research in Modern European Philosophy, a hub for internationally renowned scholarship (staff include Eric Alliez, Peter Hallward, Mark Kelly, Christian Kerslake, Peter Osborne and Stella Sandford). This act of wilful self-harm by the University must be resisted.
Please join the facebook group and spread the word:
Campaign email: