dimanche 29 janvier 2012

Tracey Emin




Tracey Emin, Exorcism of the Last Painting I Ever Made 1996


Tracey Emin - Tent - Everyone I have ever slept with Although at times obscured by the artist's celebrity, the art of Tracey Emin is serious and focussed, challenging and at times startlingly beautiful. In this film, she speaks frankly about her career, the craft of her immensely varied work, and the immediate, personal themes with which she engages: autobiography, memory, desire, and identity. Many of her best-known works, including Everyone I Have Ever Slept With 1963-1995 (1995) and My Bed (1998), are illustrated and discussed, as is a wide selection of drawings, prints, paintings, neons, appliqué blankets and installations. "I always say if I didn't make art, I'd probably be dead," she reflects. "But let's be more realistic about that. If I didn't make art and I'd done well in life, then I might have gone into retail. I would probably be the person in the shop that would be always organising the displays, and always making the noticeboard look nice in the canteen, stuff like that. I'm a genuinely creative person." Please note that this video contains explicit images and adult language featured in artworks by Tracey Emin. theEYE is an excellent introduction to contemporary artists and their works and provides an ideal resource for a wide range of audiences, including galleries, museums and colleges, as well as individual art-lover.




In 1996, Tracey Emin lived in a locked room in a gallery for fourteen days, with nothing but a lot of empty canvases and art materials, in an attempt to reconcile herself with paintings. Viewed through a series of wide-angle lenses embedded in the walls, Emin could be watched, stark naked, shaking off her painting demons. Starting by making images like the artists she really admired (i.e. Egon Schiele, Edvard Munch, Yves Klein), Emin’s two-week art-therapy session resulted in a massive outpouring of autobiographical images, and the discovery of a style all her own. The room was extracted in its entirety, and now exists as an installation work.



 

Sometimes I feel beautiful - Tracey Emin




Louise Bourgeois and Tracey Emin, 2010. Portrait by Brigitte Cornand

Louise Bourgeois & Tracey Emin Exhibition
http://www.artlyst.com takes a virtual tour of the Louise Bourgeois & Tracey Emin Exhibition at the Hauser & Wirth Gallery in London. Narrated by Juliette Goddard The exhibition runs until 12 March 2011. Who are the Artists and where are the Exhibitions everyone's talking about in London? Check out ArtLyst.com



Tracey Emin. Exorcism of the Last Painting I Ever Made (detail), 1996. Installation details of 14 paintings from a total of 97 works.

Tracey Emin - From The Week of Hell ‘94


And so I kissed you, one of 16 works produced collaboratively 
by Tracey Emin and Louise Bourgeois in the Do Not Abandon Me exhibition. Photograph: Christopher Burke





Tracey Emin - Unttled 2000


lundi 23 janvier 2012

KHU - Seek Light and Light will find

Muzik KHU
Graphiks Hell Acimoy
Video Meee
Recorded live in the temple of KHU on June 21st, 1988
http://www.myspace.com/pertesnoires





Photos retrouvées,  KHU 1988, HELL ACIMOY, MEEE

samedi 21 janvier 2012

Angélica Liddell



















Presentación Angélica Liddell
Angélica Liddell habla de su trabajo. Imágenes de "Te haré invencible con mi derrota" y "La casa de la fuerza".
































mercredi 18 janvier 2012

JOYCE MANSOUR – UN POEME INEDIT


à G.M.

Miroir à la dérive
Voltigeante crinière dans l'œil de la tempête
Agonie d'un amour défunt
Vert le visage ensablé
Blanches les méduses
Dans le tohu-bohu tétanique des draps
Des poissons gloutons célèbrent
L'équinoxe d'automne
Les yeux du mort percent
Mensonges simagrées paupières
Vitraux en éventail
Feuillage de Chine
Rouge la salive de celui qui meurt empalé
Sur l'épieu de la haine
Bleue la monture de l'homosexualité féminine
Rêve d'argile et de pieds bandés
Ecroulez vasques coulez fontaines
Le suicide est la réponse de l'oiseau
A la cage
Corne de brume dans le thorax
De la Mère

Joyce Mansour sous un masque de coquillages photo de Marion-Valentine

samedi 14 janvier 2012

PAUL ELUARD - VALENTINE HUGO


L'heure exacte 




à Valentine Hugo


L'heure exacte marque la rage Et la spirale de lanières qui s'écroule
Aux dents de singe Au seuil des plaies au seuil du baume
Vingt-quatre couchers de soleil
Sur un horizon ridicule Mal funèbre mal d'encre
Vingt-quatre couchers de province Caché par des doigts purs
Aux joues exquises La glaise de l'automne alourdit le feuillage
Ont fini de délibérer Le cheval arrivé ne dépassera pas
La corde pour se pendre
Et mille lieues de fuite à débrider L'horloge enfarinée dit l'heure du départ
Rayon maigre innocent Mais elle est arrêtée.




Un droit de regard enfin
sur le poème


Sur la place grandie d'une seule ombre centrale et où les lampes et les arbres sautent le mur de la lumière, dix doigts transparents travaillent, Montreurs d'images, des plus anciennes : l'Enchantement, aux nouvelles qui sont la Grâce, ils perçoivent l'inconnu sous la forme amie du connu. Ici, nulle convention pour nous faire fuir cette complicité protectrice. Chaque part du connu, nous la rangeâmes où elle est. Elle nous apprend que nous fûmes en ordre, et que nous aurions pu rester délimités, isolés, perdus. Mais nous imaginâmes l'inconnu. Notre idéal pris corps.
Agiles, fines et fortes, les mains de Valentine Hugo retrouvent l'objet des mots, non orgueilleux, mais ambitieux : décrire, inventer, décrire l'objet, dont on ne peut douter, écume toujours neuve, premier sortilège. Un droit de regard enfin sur le poème . Naïf effort de la sincérité, de la conscience dans un domaine où le mensonge, même vain, s'anéantit ! Et puis voir sans effort.
Sur la terre et sur l'eau, parmi les nuages et sur la vitre, nous avons admiré, sans les comprendre, ces souhaits, ces sceaux éphémères de mousse, d'herbe, de ramilles, de givre dont Valentine Hugo frappe la boule d'or pur qui s'en va rouler dans les plaines du papier.


( Extrait de Paul Eluard "Voir" Editions "Trois Collines" 1948 )



mercredi 11 janvier 2012

PAUL KLEE poème de PAUL ELUARD


Sur la pente fatale, le voyageur profite
De la faveur du jour, verglas et sans cailloux,
Et les yeux bleus d'amour, découvre sa saison
Qui porte à tous les doigts de grands astres en bague.


Sur la plage la mer a laissé ses oreilles
Et le sable creusé la place d'un beau crime,
Le supplice est plus dur aux bourreaux qu'aux victimes,
Les couteaux sont des signes et les balles des larmes.

( Extrait de Paul Eluard "Voir" Editions "Trois Collines" 1948 )


dimanche 8 janvier 2012

Ernst Fuchs



Ernst Fuchs (born February 13, 1930) is an Austrian visionary painter, draftsman, printmaker, sculptor, architect, stage designer, composer, poet, singer and one of the founders of the Vienna School of Fantastic Realism. In 1972 he acquired the derelict Otto Wagner Villa in Hütteldorf, which he restored and transformed. The villa was inaugurated as the Ernst Fuchs Museum in 1988.

He studied sculpture with Emmy Steinbock (1943), attended the St. Anna Painting School where he studied under Professor Fröhlich (1944), and entered the Academy of Fine Arts in Vienna (1945) where he began his studies under Professor Robin C. Anderson, later moving to the class of Albert Paris von Gütersloh.

At the Academy he met Arik Brauer, Rudolf Hausner, Wolfgang Hutter, and Anton Lehmden, together with whom he later founded what has become known as the Vienna School of Fantastic Realism. He was also a founding member of the Art-Club (1946), as well as the Hundsgruppe, set up in opposition to it in 1951, together with Friedensreich Hundertwasser and Arnulf Rainer.

His work of this period was influenced by the art of Gustav Klimt and Egon Schiele and then by Max Pechstein, Heinrich Campendonck, Edvard Munch, Henry Moore and Pablo Picasso. During this time, seeking to achieve the vivid lighting effects achieved by such Old Masters as Albrecht Altdorfer, Albrecht Dürer, Matthias Grünewald and Martin Schongauer, he revived and adopted the mischtechnik (mixed technique) of painting. In the mischtechnik, egg tempera is used to build up volume, and is then glazed with oil paints mixed with resin, producing a jewel-like effect.

Between 1950 and 1961, Fuchs lived mostly in Paris, and made a number of journeys to the United States and Israel. His favourite reading material at the time was the sermons of Meister Eckhart. He also studied the symbolism of the alchemists and read Jung's Alchemy and Psychology. His favourite examples at the time were the mannerists, especially Jacques Callot, and he was also very much influenced by Jan Van Eyck and Jean Fouquet. In 1958 he founded the Galerie Fuchs-Fischoff in Vienna to promote and support the younger painters of the Fantastic Realism school. Together with Friedensreich Hundertwasser and Arnulf Rainer, he founded the Pintorarium.

In 1956 he converted to Roman Catholicism (his mother had had him baptized during the war in order to save him from being sent to a concentration camp). In 1957 he entered the Dormition Abbey on Mount Zion where he began work on his monumental Last Supper and devoted himself to producing small sized paintings on religious themes such as Moses and the Burning Bush, culminating in a commission to paint three altar paintings on parchment, the cycle of the Mysteries of the Holy Rosary (1958--61), for the Rosenkranzkirche in Hetzendorf, Vienna. He also deals with contemporary issues in his masterpiece of this period, Psalm 69 (1949--60). (Fuchs, 1978, p. 53).


He returned to Vienna in 1961 and had a vision of what he called the verschollener Stil (The Hidden Prime of Styles), the theory of which he set forth in his inspired and grandiose book Architectura Caelestis: Die Bilder des verschollenen Stils (Salzburg, 1966). He also produced several important cycles of prints, such as Unicorn (1950--52), Samson (1960--64), Esther (1964-7) and Sphinx (1966-7; all illustrated in Weis). In 1972 he acquired the derelict Otto Wagner Villa in Hütteldorf, which he restored and transformed. The villa was inaugurated as the Ernst Fuchs Museum in 1988. From 1970 on, he embarked on numerous sculptural projects such as Queen Esther (h. 2.63 m, 1972), located at the entrance to the museum, and also mounted on the radiator cap of the Cadillac at the entrance to the Dalí Museum in Figueres, Catalonia, Spain.

From 1974 he became involved in designing stage sets and costumes for the operas of Mozart and Richard Wagner including Die Zauberflöte, Parsifal, and Lohengrin. He took a stab at industrial design in the 1970s with a 500-piece run of the upscale Suomi tableware by Timo Sarpaneva that Fuchs decorated for the German Rosenthal porcelain maker's Studio Linie.

In 1993 Fuchs was given a retrospective exhibition at the State Russian Museum in St. Petersburg, one of the first Western artists so honored.

Ernst Fuchs continues to inspire, and has many exponents and disciples including H.R. Giger, Mark Ryden, Robert Venosa, Michael Hussar, Mati Klarwein, Zdzislaw Beksinski, and De Es Schwertberger. A new generation of students includes Andrew Gonzalez, Amanda Sage, Antonio Roybal, Victor Safonkin, and Oleg A. Korolev.

Renate Zimmermann - Ernst Fuchs au travail, 1967











vendredi 6 janvier 2012

Instrumentos musicales prehispánicos

DEMOSTRACIÓN DE INSTRUMENTOS MUSICALES PREHISPÁNICOS
El investigador Dimitri Manga interpreta los sonidos originales de la música andina prehispánica empleando réplicas hechas a partir de algunos de los instrumentos de la colección del Museo Nacional de Arqueología, Antropología e Historia del Perú que actualmente dispone de alrededor de 2000 piezas, solo en lo que a instrumentos musicales se refiere, Arte y tecnología andina en pleno uso.

mardi 3 janvier 2012

Pierre Bettencourt, Jacques Prévert, Max Ernst...

Personnage de Pierre Bettencourt, ardoise, coquilles d'escargots, pattes de langoustes, plumes...

Collage de Jacque Prévert pour un conte de fée 1963

"Le limaçon de chambre" collage de Max Ernst 1921