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Seminari "L’art processual i l’objecte: la repetició, l’efímer"
 
Període:
14, 25 i 26 de maig
Lloc:
Auditori de la Fundació Antoni Tàpies i Sala de Graus de la Facultat de Lletres
Organitza:
Fundació Antoni Tàpies - Càtedra d'Art i Cultura Contemporanis
Inscripcions:
recepcio@ftapies.com/ (t) +34 934 870 315

Seminari "L’art processual i l’objecte: la repetició, l’efímer"

 

En el marc de les exposicions Eva Hesse. Treballs de l'estudi i Alma Matrix. Bracha L. Ettinger i Ria Verhaeghe, la Fundació Antoni Tàpies, juntament amb la Càtedra d'Art i Cultura Contemporanis de la Universitat de Girona, han organitzat un seminari entorn del paper que tenen en la història de l'art els espais generats en la producció artística pels treballs processuals, relacionals o en transformació.

És una visió de la història de l’art en què s’inclouen temes com ara la relació, l'absència, l'efímer, el dol, l’empremta o el procés, i que va més enllà d’una concepció centrada en l’objecte d’art.

 

Programa:

 

Divendres 14 de maig de 2010

Matí

10.30 h. Visita comentada a l’exposició Eva Hesse. Treballs de l’estudi a càrrec de Briony Fer. Conversa a l’espai de l’exposició Alma Matrix. Bracha L. Ettinger i Ria Verhaeghe entre Catherine de Zegher, Bracha L. Ettinger i Ria Verhaeghe.

13.00 h. “Lightpainting and Com-pass(ion)” (Pintura de llum i compassió), conferència a càrrec de Bracha L. Ettinger.

Lloc: Auditori de la Fundació Antoni Tàpies. Activitats en anglès.

 

Dimarts 25 de maig de 2010

Matí

11.00 h. Presentació a càrrec de Laurence Rassel, Directora de la Fundació Antoni Tàpies, i Maria-Josep Balsach, Directora de la Càtedra d’Art i Cultura Contemporanis de la Universitat de Girona.

11.30 a 12.15 h. “Sub-objects and Studiowork” (Sub-objectes i treballs de l’estudi), conferència a càrrec de Briony Fer.

12.30 a 13.15 h. “From Studiowork to Webwork” (De treballs de l’estudi a xarxes), conferència a càrrec de Catherine de Zegher.

Lloc: Càtedra d'Art i Cultura Contemporanis de la Universitat de Girona.

Sala de Graus. Facultat de Lletres. Universitat de Girona.

 

Tarda

19.00 a 19.45 h. "Finished and unfinished, from studio work to art criticism"(Acabades i inacabades: de les obres d’estudi a la crítica d’art), conferència a càrrec d’Elisabeth Lebovici.

19.45 a 20.30 h. “Out-takes, Snippets, and Goings-On: The Moving Image in the Studio” (Descats, retalls, coses en procés: la imatge en moviment a l’estudi), conferència a càrrec de Michael Newman.

Lloc: Auditori de la Fundació Antoni Tàpies.

 

Dimecres 26 de maig de 2010

Tarda

18.00 a 18.45 h. “L’éphèmere et le nouveau statut de l’art” (L’efímer i el nou estatut de l’art), conferència a càrrec de Christine Buci-Glucksmann.

19.00 a 19.45 h. “Coser con un hilo invisible. Correspondencias de/entre Bracha L. Ettinger, Eva Hesse y Ria Verhaeghe con algunas artistas españolas” (Cosir amb un fil invisible”. Correspondències de/entre Bracha Ettinger, Eva Hesse i Ria Verhaeghe amb algunes artistes espanyoles), conferència a càrrec de Patricia Mayayo.

19.45 a 20.30 h. “La imatge ferida”, conferència a càrrec de Maria-Josep Balsach.

20.30h. Debat i cloenda del seminari.

Lloc: Auditori de la Fundació Antoni Tàpies.

 

Organitza: Fundació Antoni Tàpies i Càtedra d’Art i Cultura Contemporanis de la Universitat de Girona.

Col·labora: Màster de Comunicació i Crítica d’Art de la Universitat de Girona.

Projecte d’investigació “Polítiques d’arxiu i noves tendències en les pràctiques artístiques contemporànies” (MICINN).

El cicle de conferències tindrà lloc a l’Auditori de la Fundació Antoni Tàpies, c/ Aragó, 255, 08007 Barcelona (t) +34 934 870 315, www.fundaciotapies.org, i a la Sala de graus de la Facultat de Lletres de la Universitat de Girona, Plaça Ferrater Mora, 1, 17071 Girona (t) + 972 418 211, www.udg.edu/catedres/ArtiCulturaContemporanis.

Les conferències realitzades a la Fundació Antoni Tàpies comptaran amb servei de traducció simultània.

Tarifa del seminari: 5 € (places limitades). Gratuït pels estudiants de la UdG.

Inscripcions: recepcio@ftapies.com/ (t) +34 934 870 315

 

Briony Fer

Briony Fer is Professor of History of Art at the University College London. She graduated from Sussex University with BA Hons in History of Art (major) with French (minor) in 1979. She then went on to the Department of History of History and Theory of Art at Essex University where her doctoral research on the Russian and French avant-gardes was supervised by Professor Dawn Ades and Professor Michael Podro. She was awarded her PhD in 1988. In 1980 she joined the History of Art Department at the Open University as a Lecturer – working on groundbreaking courses there and publishing essays in the Modernity and Modernism textbooks, published jointly by the Open University and Yale University Press in 1993.

She joined University College in 1990 and was made a Reader in 1997 and Professor in 2005. She has published extensively on 20th century and contemporary art. Key publications include her books On Abstract Art (2000) and The Infinite Line (2004), both published by Yale University Press. She has written on many contemporary artists, including Gabriel Orozco, Roni Horn, Vija Celmins, Ed Ruscha, Rachel Whiteread and David Batchelor. Much of her research has focused on the work of the American sculptor Eva Hesse, writing for the 2002 retrospective of the artist curated by Elisabeth Sussman at SFMOMA in 2002. She has curated the exhibition Eva Hesse. Studiowork in 2009.

 

Elisabeth Lebovici

Elisabeth Lebovici completed a PhD in Aesthetics in 1983. She has been writing art criticism since 1985, and was an arts and culture editor for Libération, from 1991 to 2006. She is actually a freelance writer and has opened a blog: http://le-beau-vice.blogspot.com She has been involved since the 1990’s into writing on feminism, aids activism, queer politics and contemporary arts. In 1998, she edited « L’Intime » (Paris, ensb-a). She is the author, with Catherine Gonnard, of a history of women artists in France between 1880 and nowadays: « Femmes/artistes, Artistes/femmes, Paris de 1880 à nos jours (Paris, Hazan, 2007). Amongst the exhibitions she co-curated : Beau comme un Camion at the European Lesbian and Gay Pride (Paris, 1997)„Xn 99“ et „Xn00“ at the Espace des Arts in Châlon sur Saône (France), „L’Argent“ at the Plateau/FRAC Ile de France (2008). She is in charge (with Patricia Falguières, Hans Ulrich Obrist, Natasa Petresin-Bachelez) of a weekly seminar at the Ecole des Hautes Etudes en Sciences Sociales (EHESS) in Paris entitled: « Something You Should Know: Artists and Producers ».

 

Michael Newman

Michael Newman teaches at the School of the Art Institute of Chicago, and is Professor of Art Writing at Goldsmiths College in the University of London. He holds degrees in Literature and Art History, and a doctorate in Philosophy from the Katholeike Universiteit Leuven, Belgium. He has written extensively on contemporary art, including the books Richard Prince: Untitled (couple) (Afterall and MIT, 2006) and Jeff Wall (Poligrafa, 2007), as well as essays on Alfred Jensen, Hanne Darboven and Joëlle Tuerlinckx. He has curated several exhibitions, including "Tacita Dean" at the Art Gallery of York University, Toronto (2000), on whom his essays have been published by Tate Britain (2001) and Musée d'Art Moderne de la Ville de Paris (2003). He co-edited Re-Writing Conceptual Art (Reaktion Books, 1999). In philosophy he has published essays on Kant, Nietzsche, Derrida, Levinas, and Blanchot.

 

Christine Buci-Glucksmann

Christine Buci-Glucksmann is a French philosopher and Professor Emeritus from University of Paris VIII specializing in the aesthetics of the Baroque, Japan and computer art. Her best know work in English is "Baroque Reason: The Aesthetics of Modernity". Christine Buci-Glucksmann began her work as a philosopher in the 1970s with political studies of Friedrich Engels and Antonio Gramsci. She followed this with research into aesthetics, based primarily around a study of the work of Walter Benjamin. This achievement was followed by her study into the aesthetics of the perception of the Baroque, which was published as "La Raison baroque" in 1984 and then again with "La folie du voir’’ in 1986. In this, her major accomplishment, she cites Gilles Deleuze and Jean-François Lyotard as being most salient to her concerns.

She followed this interval with an investigation into the aesthetics of the virtual with two books: "La folie du voir: Une esthétique du virtuel" and "Esthétique De L'ephemere". She he has written numerous books and articles about digital art (for example "L’art à l’époque virtuel" (Art in the Age of Virtuality)) and new media art. She has also written extensively on artists from China, for in example in "Les modernités chinoises".

 

Patricia Mayayo

Patricia Mayayo es Máster en Historia del Arte por la Case Western Reserve University (Ohio, E.E.U.U.) y Doctora en Historia del Arte por la Universidad Autónoma de Madrid. En la actualidad, es Profesora Titular de Historia del Arte en la Universidad Autónoma de Madrid, coordinadora del Programa Oficial de Postgrado en Historia del Arte Contemporáneo y Cultura Visual de esa misma universidad y forma parte del proyecto de investigación El Sistema del arte en España, 1975-2005, financiado por el Ministerio de Educación. Es editora del libro colectivo En torno a Georges Bataille (Madrid, Cruce, 1998) y autora de los libros Frida Kahlo. Contra el mito (Madrid, Cátedra, 2008), Historias de mujeres, historias del arte (Madrid, Cátedra, 2003), Louise Bourgeois (Hondarribia, Nerea, 2002) y André Masson: Mitologías (Madrid, Metáforas del Movimiento Moderno, 2002), así como de numerosos textos sobre historiografía feminista y arte contemporáneo. Ha dirigido cursos sobre las diferencias de género y sus representaciones en arte y cine para diferentes museos y centros de arte contemporáneo españoles.

 

Maria-Josep Balsach.

Professora titular d’Història de l’Art contemporani i directora de la Càtedra d’Art i Cultura Contemporanis de la Universitat de Girona. Autora de assaigs teòrics sobre l’art i l’estètica del segle XX des d’una vessant interdisciplinar. Entre les seves publicacions podem assenyalar Hybris i pensament tràgic (1990) i Joan Miró. Cosmogonies d'un món originari (2007) que va rebre el Premi Ciutat de Barcelona d’assaig. Premi Internacional Espais de Crítica d'Art pel text L'art immaterial d'Arnold Schönberg. Ha estat directora del projecte d’investigació Lo político y la post- imagen: nuevas estrategias de la cultura visual y de la teoría del arte, i directora (amb X. Antich) dels seminaris La imatge possible. L’art i la memòria dels Lager (2005) i La imatge ferida. Geografies del dolor i el compromís de l’art (2007). Com a comissaria d’exposicions ha realitzat una revisió de l’art contemporani en Del Nuagisme a la crisi de l'art informal (2000); Lo sguardo in esilio (2003); i L’art de la Relació (2004). Entre les seves obres de creació podem citar els llibres Poemes de Brisgòvia (1992) i Galítsia/Galicja (2009). Ha estat col·laboradora del diari El País i actualment escriu en el suplement Cultura/s de La Vanguardia.

 

Ria Verhaeghe

Is a Flemish artist, whose main priority is taking care for and giving a new signification to anonymous pictures taken from newspapers. She studied nursing, music and art, and started her carreer working in welfare. In 1988 she decided to dedicate herself fully to her artwork. Since about twenty years she is collecting an alternative imagebank, called Provisoria. About 25.000 images are ordened in several keywords, colors, dates and groups, trying to measure another dimension of newspaper pictures, which are also digitally accessible. Provisoria was shown in a solo exhibition at the Museum of Photography in Antwerp in 2008.

Taking a collection of photos of the source Provisoria alongside photos and registrations of her own life, Ria Verhaeghe created new pieces of art. Therefore she uses different media as: collages, drawings, paintings, sculptures, slides and experimental video. A special group of newspaper pictures is the Glenden, images that the artist finds on both sides of a newspaper sheet that she treats in her own way. They were recently shown in a solo exhibition curated by Catherine de Zegher at the CK Kortrijk and in Aalst in 2009. Her paintings, as ‘Verticals‘ have been exhibited in Gent and Leuven, sculptures as Knuffels were shown in Kortrijk and Brussels in 1992, 1997, 2001 and 2009. From 1998 till now, Ria Verhaeghe is also working on slide projections and videos, such as 'Stairs', 'Fourche', ‘Golem’ or ‘Berceuse’ which have been screened at the Rencontres Internationales in Paris and Berlin in 2001 and 2003, at the Argos Festival Brussels in 1999 and 2001, at the Nikon Netherlands and at the IFCT L.A in the USA in 2009.

 

Catherine de Zegher

Is an independent curator and writer. Former the Director of Exhibitions and Publications at the Art Gallery of Ontario in Toronto. Previous to this position, she was the Executive Director and Chief Curator of The Drawing Center in New York. She was the co-founder and Director of the Kanaal Art Foundation in Kortrijk, Belgium.

De Zegher is the curator of many acclaimed exhibitions, such as America: Bride of the Sun. 500 Years of Latin America and the Low Countries (1992) at the Royal Museum of Fine Art, Antwerp, and Inside the Visible. An Elliptical Traverse of Twentieth-Century Art in, of, and from the Feminine (1994-1996) at the Institute of Contemporary Art in Boston. Her most recent curatorial and editorial work includes: Freeing the Line (2007); Eva Hesse Drawing (2006); Joelle Tuerlinck: Drawing Inventory (2006); Persistent Vestiges: Drawing from the American Vietnam War (2005); 3 x Abstraction: New Methods of Drawing by Hilma af Klint, Emma Kunz, and Agnes Martin (2005); Richard Tuttle: It’s a Room for 3 People (2005); Giuseppe Penone: The Imprint of Drawing (2004); The Stage of Drawing: Gesture and Act. Selected from the Tate Collection (2003); Anna Maria Maiolino: A Life Line/Vida Afora (2002); Untitled Passages by Henri Michaux (2000); The Prinzhorn Collection: Traces upon the Wunderblock (2000); and Martha Rosler: Positions in the Life World (1998).

Author and editor of numerous books, her most recent publications are the October Book Women Artists at the Millennium co-edited with Carol Armstrong and published by MIT Press, and Julie Mehretu: Drawings published by Rizzoli. De Zegher is the curator of Alma Matrix. Bracha L. Ettinger i Ria Verhaeghe and is currently co-curating with Cornelia Butler the 2010 exhibition On Line for the Museum of Modern Art in New York.

 

Bracha L. Ettinger

Is based in Paris and Tel Aviv. Using a photocopy machine that she stops mid-run, since the early 1980s Ettinger works the residuals of dusty toner ink, deposits of fading images – family photographs and old newspaper photographs of Holocaust victims, aerial photos and maps of Palestine from WW2, copied to lose detail – into drawing and oil painting. Indian ink, graphite and oil paint joins the ashen grains to become, as Griselda Pollock writes, abstract "painting after painting after Auschwitz’, where colour edges into light. Writing/drawing in notebooks is also at the core of her practice, both as artist and psychoanalyst. In the notebooks Ettinger weaves, for almost 30 years, an invisible web of transconnectedness, transcribing the birth of her theoretical ideas alongside moments of "wit(h)nessing". Ettinger's work involves photography, archival elements, conversations and lectures, and, recently, scannographs: drawings on c-prints of notebook pages, shown recently at Freud Museum, London (curated by Griselda Pollock) and at the Art Academy, Helsinki (2009).

Her solo exhibitions include: Drawing Center, NY (2001), Palais des Beaux Arts, Brussels (2000). Pori Art Museum, Finland (1996). Israel Museum, Jerusalem (1995). MOMA, Oxford (1993). Russian Museum, St. Petersburg (1993). Nouveau Musée, Villeurbanne (1992). Goethe Institute, Paris (1990). Musée des Beaux-Arts, Calais (1988), Pompidou Centre, Paris (1987). Her group shows include: Royal Museum, Antwerp (2006). Kiasma, Helsinki (2006). Kunstmuseum, Goteborges (2003). Villa Medici, Rome (1999). Israel Museum, Jerusalem (1992, 1999), Stedelijk Museum, Amsterdam (1997). Face à l'Histoire at Pompidou Centre, 1996, and Inside the Visible curated by Catherine de Zegher at ICA, Boston (1996) and Whitechapel, London. Her book The Matrixial Borderspace (essays from 1994-1999) appeared in 2006. Ettinger is Professor of Art and Psychoanalysis at EGS, Saas-Fee.