Probe, the registration of the exhibition is the exhibition.

Probe is a virtual exhibition space by art-initiative Suze May Sho. Artists from different disciplines are invited to explore their own practice and challenged rethink their working methods.

Probe has walls no higher than 1,10m and a surface of 6m2. It’s a test lab, an artistic skinner box; Its small and practical dimensions enables artists to create works that are unthinkable in real life. The architecture of the space is flexible and wholly subservient to the exhibition: walls can be extended, doors can be removed, a floor made of glass, mirrors or wood, even the lighting situation can be fully controlled.

Probe’s flexible dimensions proposes questions as to the nature of space, seeing for example, that Probe can be wholly absorbed by the installation it contains. Exterior or interior, architecture or sculpture become relative notions. Probe can also be used as a tool for exhibition making.

Source: Probe

Joshua Simon: Neomaterialism, The Commodity and the Exhibition

In recent years, in addition to critiques of the market and of the cycles of exploitation enacted by commodity exchange, a new set of sensibilities has been introduced in critical contemporary art, dealing with the ways in which the commodity and its surrounding economy activate us. One can say that the commodity is only really true to itself as art, and thus the exhibition becomes a format that enables us to see the commodity as it is. In order to understand objects, we must first acknowledge that every artwork is first and foremost a commodity.

Joshua Simon: Neomaterialism, The Commodity and the Exhibition

Revue Appareil : Lyotard et la surface d’inscription numérique

cci_immat_20

Nous avons voulu dans ce numéro consacré à Jean-François Lyotard mettre en valeur des aspects mal connus ou inconnus de son œuvre : l’exposition « Les Immatériaux » qui a ouvert la réflexion sur la rupture entre l’ère de l’écriture projective (à laquelle nous appartenons encore par bien des côtés) et l’ère de l’écriture numérique.

Source : 10 | 2012 Lyotard et la surface d’inscription numérique

View From Nowhere

October 9, 2004 Nathan Jurgenson had a good point by questioning the viewpoint or more precisely the situation and positioning of the gaze in big data realities. Which might bring us to discuss the spectator’s viewpoint altogether: the modern subject has been designed by exhibition, confronting Renaissance’s geometrical perspective, giving large place to all kinds of imaginary greatness and domination (see Jean Cristofol’s discussion of the anti atlas and his precise critique of cartographie). Now, if the view from nowhere becomes generalized (again) and in realm of positivist phantasies of almightiness is used by industrial firms to manipulate users, how can we reconsider gaze in the exhibition space to put the critics of illusionary but authoritarian, reductionist and simplifying subject-making at stake?

Source : View From Nowhere

Foundation for Exhibiting Art and Knowledge – Wesley Meuris

The artist’s book ‘Foundation for Exhibiting Art & Knowledge’ was published on the occasion of the exhibition ‘R-05.Q-IP.0001’ that was held at Casino Luxembourg – Forum d’art contemporain. The collaboration between artist Wesley Meuris and Michel Dewilde (curator of the Bruges Cultural Centre) resulted in a volume constructed on the basis of a fictive foundation. Leafing through the book, one encounters a range of documents: from a mission statement to analytical statistics, from architectural exhibition plans to advertisements for exhibition projects. The volume also includes many texts and interviews.

Foundation for Exhibiting Art and Knowledge – Wesley Meuris

Versions, international workshop & lectures, 2016

What do we expect of the exhibitions, especially in the context of post-digital cultures? VERSIONS is an international practice, debate and critique workshop-conference to experiment and discuss exhibition forms that will take place at the Maison Populaire de Montreuil (5-16 Sept 2016). in dialogue with the venue’s team and with Vladimir Demoule and Marie Koch, the 2016 season exhibition curators. The process will be documented in real time and a publication will be edited after the event, in late 2016. Unlike a curatorial approach starting from a given project to organize works, Versions will take as its starting point suggestions made by stakeholders themselves, in order to reveal an experimentation of the exhibition’s “conditions of possibility”. Participants will work in groups of three for two weeks: a series of workshop days and two day of public debates, where the public is invited to take part in the discussions “What do we expect of the exhibitions?”

September 5-6, first workshop with Yuk Hui, philosopher, associated researcher at the Center for Digital Cultures, Leuphana University Lüneburg, Jan Kopp, artist, teacher (Esacm Clermont-Ferrand), Mathilde Roman, art critic, curator and teacher-researcher at Pavillon Bosio – École Supérieure d’Art de la ville de Monaco and the Displays team.

September 7th, first public panel “What do we expect of the exhibitions?” with Eli Commins, artist, coordinator for digital policy at French Culture Ministry, Jean Cristofol, philosopher and teacher-researcher at Ecole Supérieure d’Art d’Aix en Provence, Yuk Hui, philosopher, associated researcher at the Center for Digital Cultures, Leuphana University Lüneburg, Jan Kopp, artist, teacher (Esacm Clermont-Ferrand), Claire Malrieux, artist, teacher (Ensci, Beaux-arts Hauts-de France) and researcher at EnsadLab, Mathilde Roman, art critic, curator and teacher-researcher at Pavillon Bosio – École Supérieure d’Art de la ville de Monaco, Ann Stouvenel, curator and head for visual arts at Mains d’Œuvres,

September 8-9, second workshop with Jean Cristofol, philosopher and teacher-researcher at Ecole Supérieure d’Art d’Aix en Provence, Claire Malrieux, artist, teacher (Ensci, Beaux-arts Hauts-de France) and researcher at EnsadLab, Ann Stouvenel, curator and head for visual arts at Mains d’Œuvres and the Displays team.

September 12-13, third workshop with Milad Doueihi, historian and chairman for Digital humanities at University Paris-Sorbonne, Laura Gozlan, artist, Véronique Souben, curator and head of FRAC Haute-Normandie and the Displays team.

September 14th, second public panel “What do we expect of the exhibitions?” with Martin John Callanan, artist, Milad Doueihi, historian and chairman for Digital humanities at University Paris-Sorbonne, Laura Gozlan, artist, Guilhem Pratz, director and producer, Véronique Souben, curator and head of FRAC Haute-Normandie, Pau Waelder, art critic and curator, Marion Zilio, art critic, curator and head of Young International Artists art fair.

September 15-16, fourth workshop with Martin John Callanan, artist, Guilhem Pratz, director and producer, Pau Waelder, art critic and curator and the Displays team.

An event co-organized by the Displays research group, EnsadLab Research Laboratory and the Labex ICCA. The Displays research group is coordinated by Thierry Fournier (artist and curator, EnsadLab) and J. Emil Sennewald (art critic and journalist, ESACM, EnsadLab). EnsadLab / Displays students-researchers: Gaspard Bébié-Valérian, Thomas Cheneseau, Dorian Reunkrilerk. EnsadLab / Displays associated researchers: Pauline Gourlet (designer and postgraduate Université Paris 8), Rahaf Demashki (postgraduate Université Rennes 2). Thanks to Annie Agopian, Floriane Benjamin, Marie Koch, Vladimir Demoule and the Maison Populaire de Montreuil team.

Logo-Ensad-ICCA-MCC

Fridericianum

Fridericianum 01.2015 © Nils Klinger

Based in Kassel, Germany, Fridericianum is a central hub of contemporary art. Significant positions and artistic currents as well as socially relevant issues are identified, presented and debated here. Experimental and well-researched group and solo exhibitions, screenings and performances, conferences and symposia highlight the spectrum of contemporary art and discourse.

Source : Fridericianum

Osskoor / Que nous dit Take me (I’m Yours) à la Monnaie de Paris ?

Hans Ulrich Obrist est probablement un des commissaires d’exposition les plus influents du monde de l’art. La légende veut qu’il ait commencé son activité en 1990 par une exposition dans sa cuisine, idée venue à la suite d’une discussion avec l’artiste français Christian Boltanski. Depuis, Obrist organise des expositions, des biennales, écrit des livres, fait des entretiens… et s’autocélèbre. Si sa dernière exposition en date Take Me (I’m Yours) est dénuée de tout intérêt d’un point de vue artistique et curatorial, elle a le mérite de rendre totalement transparent le système Obrist.

Source : Que nous dit Take me (I’m Yours) à la Monnaie de Paris ? | osskoor

Panel 2015 #02: Spaces

How do exhibition spaces and venues evolve? May 29th, 2015, EnsAD.

With Jean Cristofol (philosopher and researcher, ESA Aix-en-Provence), Mari Linnman (curator, New Patrons program, Contexts, Paris) and Pau Waelder (critic, curator and researcher Palma de Mallorca). Moderators: Thierry Fournier (artist, curator and researcher) and J. Emil Sennewald (critic and journalist, lecturer), heads of Displays project.

How do exhibition spaces and venues evolve? Given that nowadays, a large part of audience experiences with the arts occur online, how does the exhibition’s distinctiveness evolve? What kinds new forms are being invented in the dialogue between real space and the network? How can the shared spaces of the exhibition and individual web practices be connected? How can criticism and emancipation in relation to the rationale of attention economics be constructed? How can relations between museums, online exhibitions and data bases be qualified?

Panel 2015 #01: New Objects

How do the exhibition’s objects evolve? March 30th, 2015, MAC Créteil.

With Inke Arns (curator and director, Hartware Medienkunstverein, Dortmund), Charles Carcopino (curator, Exit festival and MAC Créteil), Marc-Oliver Gonseth (curator Ethnography museum of Neuchâtel), Emmanuel Mahé (research manager, EnsAD), François Mairesse (professor, University of Paris 3, CERLIS/ICCA), Claire Malrieux (artist and lecturer, ENSCI, Paris), and Omer Pesquer (exhibition designer and lecturer, University of Paris 3). Moderators: Thierry Fournier (artist, curator and researcher) and J. Emil Sennewald (critic and journalist, lecturer), heads of the Displays project.

How do the exhibition’s objects evolve: from physical objects and works towards gestures, performative situations, experimentations and processes? Do e-publishing, mobile platforms, the network, reproducibility and simulation transform curatorial forms? How can co-creation experiences with exhibition planning and design find their place in art? What types of critical approaches do these new objects require?

MAC Créteil, partner of the project, hosted Displays during the Exit festival, in its new experimentation space, “ MAC Plus”.

Displays Panels 2015

Displays organized three panels during the spring of 2015. They were designed to launch the project, identify problems, challenge realities and created tools for what was lies ahead. The meetings will serve as an initial space for discussion and prefiguration of the three main themes, and for collaboration with guests. An e-publication will be edited after the meetings, to serve as a documentation tool, a work tool and a development resource.

Panel 01 : New objects – March 30th, MAC Créteil

Panel 02: Exhibition spaces, May 29th, 2015, EnsAD

Panel 03: Experimentations and audiences, June 4th, 2015, EnsAD

Marseille / Vous aussi vous avez l’air conditionné

Tirant argument d’une observation attentive et décalée du lieu où elle s’inscrit, l’exposition « Vous aussi vous avez l’air conditionné » opère un rapprochement entre la notion de conditionnement et l’air conditionné, équipement incontournable des grands bâtiments du monde entier. Manipuler l’air, le dompter pour s’affranchir des contraintes du climat, le défi auquel répond l’air conditionné a inspiré à plusieurs générations d’architectes et d’artistes, des réflexions radicales et des projets utopiques associant prouesse technologique et émancipation, dématérialisation de l’architecture et bouleversement des coordonnées sociales autant que spatiales. Un premier axe se dessine dans l’exposition par le biais d’oeuvres qui prolongent et actualisent cette filiation (Berdaguer et Péjus, Chourouk Hriech) ou qui l’évoquent plus indirectement (Alexandre Gérard, Véronique Rizzo, Marc Quer). Répondant au double sens du titre, les autres oeuvres renvoient parallèlement aux différents sens et phénomènes couramment associés à la notion de conditionnement, qu’on y entende le traitement des matériaux (Nicolas Momein) ou le modelage des esprits et des corps (Olivier Dollinger, Alain Rivière), l’influence du langage (Anne-James Chaton) et des images véhiculées par les médias et la culture de masse (Arnaud Maguet). Comme le suggère la tournure affirmative de la formule-titre, l’air conditionné se fait la métaphore d’une condition commune à partir de laquelle chacun, construisant son propre parcours dans l’exposition, pourra interroger les différents « conditionnements » physiques, psychologiques et culturels qui configurent son expérience personnelle. Ainsi, la notion de conditionnement peut-être envisagée non plus seulement comme ce qui nous influence malgré nous, mais comme l’environnement au sens large que nous partageons avec d’autres – de l’air que nous respirons aux représentations collectives – et au contact duquel se forge la dimension singulière de chaque identité.

Camille Videcoq

Source : Vous aussi vous avez l’air conditionné | Marseille expos

Interview with Hans Ulrich Obrist about Il Tempo del Postino

At last Art Basel, I had the chance to see Il Tempo del Postino at Theatre Basel. The Independent called this unique show “The world’s first visual arts opera” after its first and only presentation at the Manchester International Festival in 2007, for which a group of the world’s leading visual artists created a major experimental presentation.

Source : ART IS ALIVE: Exclusive interview with Hans Ulrich Obrist about Il Tempo del Postino