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Archive for the ‘Art and illustration’ Category

Alexa Lawrence, See 11 Heady Books Transformed into Ikebana Flower Displays
Posted on Art News, 06/18/14

Camille Henrot channels Japanese zen gardens with an installation of floral odes to her favorite books

The gracefully balanced flower arrangements of Camille Henrot’s installation “Is it possible to be a revolutionary and like flowers” (2012-2014) occupy the second floor of the New Museum, contributing a soothing, zenlike presence to the exhibition of the artist’s recent works. The delicate blossoms and twisting stems of the bouquets, punctuated with thoughtful empty spaces, make for more than happy embellishments. They are floral translations of weighty literary titles, themes, and quotations pulled from the bookshelves of the artist’s personal library.

When Paris-born Henrot moved to New York, temporarily leaving many of her personal belongings behind, she discovered a surrogate for her literary heroes and favorite books in Japanese ikebana flower arrangements. The combination of artistic whimsy and the theory that inspires it parallels the balance between playfulness and obedience intrinsic to ikebana, an ancient but ever-adapting cultural tradition. Each gap in the flora is as specific and important as the vines, leaves, and flowers that create them. The flower names, ranging from Latin-based etymological to nursery-rhyme literal, are listed nearby, offering complimentary verse to the lyricism of the texts they represent.

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Camille Henrot, “The Order of Things,” Michel Foucault, 2014, installation view. COURTESY NEW MUSEUM, NEW YORK. PHOTO: BENOIT PAILLEY.

Camille Henrot, “The Order of Things,” Michel Foucault, 2014, installation view.
COURTESY NEW MUSEUM, NEW YORK. PHOTO: BENOIT PAILLEY.

Inspired by a text more overtly related to Henrot’s interest in taxonomy and philosophy, “The Order of Things,” Michel Foucault, is an explosion of metal odds and ends mixed with anonymous vegetation and a rainbow of paint swatches—a colorful starburst of the playfully arbitrary.

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foucault-fashion

By Clémentine Mélois
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Best wishes for the festive season from Foucault News! I claim no responsibility for this dubious representation of Foucault found on the blingee site

Michel Foucault Christmas

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Again, I am late with this notice, but am posting this information so people can keep an eye out for future exhibitions.

Los Carpinteros, Avenida, 2013 (triptych) Courtesy Edouard Malingue Gallery

Los Carpinteros, Avenida, 2013 (triptych) Courtesy Edouard Malingue Gallery

Los Carpinteros in Hong Kong. They may construct sculptures out of Lego blocks, but when it comes to the theoretical underpinnings of their work Los Carpinteros don’t kid around. Heteropias, the title of their first solo show in Asia, was inspired by the French philosopher Michel Foucault, who defined heteropia as a space of otherness—not one place or another but simultaneously physical and mental, like the experience of a phone call. At Edouard Malingue gallery, the Legos are confined to two dimensions, in large-scale watercolors detailing crumbling cityscapes assembled from the plastic blocks. Also on view: meticulously crafted models of openwork structures that reference Foucault’s concept of the panopticon—including a model of Güiro, the full-sized party bar made for last year’s Art Basel Miami Beach. On view through November 23.

Source: Cuban Art News

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structuralism

This strip was created by David and appears on his blog Hugging the Horse

With thanks to Dirk Felleman for this item and also to Philippe Theophanidis for alerting me to the original source

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Shangri-la-study-5, 2013. Giclee Collage on Archival Paper, handmade Perspex Frame (30 x 21cm)

Shangri-la-study-5, 2013. Giclee Collage on Archival Paper, handmade Perspex Frame (30 x 21cm)

Rachel Wilberforce takes her photographic inspiration from Foucault, notably his notion of heterotopia:

“As we know, the great obsession of the nineteenth century was history: themes of development and arrest, themes of crises and cycle, themes of accumulation of the past, a great overload of dead people, the threat of global cooling. The second principle of thermodynamics supplied the nineteenth century with the essential core of its mythological resources. The present age may be the age of space instead. We are in an era of the simultaneous, of juxtaposition, of the near and the far, of the side-by-side, of the scattered. We exist at a moment when the world is experiencing, I believe, something less like a great life that would develop through time than like a network that connects points and weaves its skein”. Michel Foucault (1984)

My practice engages the relationship between our interior and exterior worlds and approaches landscape, the body and architecture as interchangeable. In photographing empty spaces or reworking found imagery and objects; I draw from the residual and trace, and issues of memory and transition in detailing its history and presence. These spaces, outside of the ordinary, are linked to Foucault’s concept of ‘heterotopia:’ “something like counter-sites, a kind of effectively enacted utopia in which the real sites… found within the culture, are simultaneously represented, contested, and inverted… It makes the place that I occupy when I look at myself in the glass at once absolutely real, and absolutely unreal” (1967). Heterotopology introduces a way of reading and diversifying space. Here, with different aspects of ‘formal’ heterotopias – an heterotopian play of elements, without settling. In our modern life, things can become dislocated, non-fixed and overlooked, and my work attempts to convey this feeling through evoking both a distance and sense of empathy with my subject matter. We can interpret our material world from our imprints and how we project ourselves (some truths some fiction) onto it, and vice versa. In so doing, my work considers the ways we (un)knowingly assimilate, appropriate or reject societal ideologies. In an attempt to reflect on what is revealed, it questions what could or might have been, and what can still be.

I am currently exploring the geometric, spatial and the psychological within different spaces and dimensional formats, via sculpture and photography.

Source: Heterotopian Studies

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grecs-manuella-editions Michel Foucault. Les Grecs disaient que les paroles avaient des ailes
Manuella Editions, 2013

Présenté sous forme de leporello de huit volets, cet hommage à Michel Foucault est édité à l’initiative du Centre Michel Foucault.

Il est composé d’un texte extrait de l’émission “Le corps et ses doubles” du 28 janvier 1963, de la série radiophonique “L’usage de la parole” produite par Michel Foucault et réalisée avec Jean Doat, et de dix photographies prises par Michèle Bancilhon au cours d’une conférence de Michel Foucault au Collège de France.

Un texte qui, en interrogeant la question du langage du corps et du double, entre en résonnance avec les jeux d’ombre et de lumière des photographies de Michèle Bancilhon qui saisissent Michel Foucault dans sa singulère présence :

“C’est l’horreur de n’avoir ni ombre ni reflet, d’être réduit à une existence absolument blanche, mate, devenue poreuse et comme vidée de sa substance. C’est l’épouvante d’être allégé de mon poids d’ombre intérieure, de cette douce fourrure trouble qui me double au-dedans et au-dehors de moi-même.”

Une production du Centre Michel Foucault

Editions numérotée limitée à 500 exemplaires
Photographies de Michèle Bancilhon
10 reproductions noir et blanc
18 pages
12 x 18 cm
Leporello
Paru en mars 2013
ISBN : 978-2-917217-49-8
15,00 €

Brief review by Foucault News

This lovely individually numbered art edition consists of a cardboard concertina foldout of 10 black and white photographs of Foucault by Michèle Bancilhon on one side and text by Foucault (in French) on the other. Perfect for sitting on your desk or filing cabinet and providing photographic and textual inspiration when you are worn down by neoliberal administrative duties. The book can be ordered directly from the publisher.

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Photographic Exhibitions by Vincent J. Stoker in Paris

Review in English

“Heterotopia, les grandes formes”
Exposition solo
29 mai – 13 septembre 2014
Orthez – Centre d’art Image/Imatge

Paris Photo
Stand Galerie Alain Gutharc
14 – 17 Novembre 2013
Paris 8e – Grand Palais

“Heterotopia, la fin de l’Histoire”
Exposition solo
24 oct. – 21 déc. 2013
Vernissage le 24 octobre, de 18h à 22h
Paris 3e – Galerie Alain Gutharc

Introduction from Vincent J. Stoker’s site
Heterotopia s’oppose en bloc à la morosité lancinante du ‘soleil noir de l’ennui’ quotidien. Il existe un lyrisme à la feuille blanche de papier, une poétique du banal que seul l’art peut révéler. En dehors, quand il se fait chair, le quotidien n’est qu’une souffrance sourde, déprimante. La photographie intervient comme outil de combat salvateur contre la réduction du vécu à une expérience morne et pauvre, contre la dépréciation d’un quotidien qui ne laisserait aucune trace objective et durable dans la mémoire. Son pouvoir héroïque est d’asseoir la course du présent hystérique et d’accroitre l’expérience du vécu en rendant le temps saisissable et communicable aux autres.

Heterotopia est une investigation phénoménologie du lieu autre qui utilise la photographie pour disséquer les corps architecturaux en leurs éléments fondamentaux et atteindre une compréhension plus éclairante du monde. L’approche objective et austère s’apparente à celle du scientifique qui saisit informatiquement les données de son expérience et doit permettre d’exhumer le caractère problématique du lieu et de la photographie.

Hetero : autre, l’altérité ; topos : le lieu. Les hétérotopies sont les autres lieux.

Les hétérotopies se définissent par ce qu’elles ne sont pas. Ici et nulle part, elles ne sont ni lieux réels, ni utopies mais les deux à la fois. Lieux hors de tout lieu mais pourtant répertoriés sur les cartes, elles sont des localisations physiques d’utopies. Principe fondamental de leur altérité, elles entretiennent un rapport ambigu à la réalité.

Ces espaces autres se défont de la relation communément établie du temps pour entrer dans une temporalité qui leur est propre. Au temps linéaire souverain de la montre se substitue celui de la lenteur molle du temps suspendu des ruines, le temps de l’accumulation humaniste des réserves du savoir ou encore celui de l’instant éternellement figé de la photographie.

suite

Source: Heterotopian Studies

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baxterSource; Biblioklept

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Originally posted on BINARYTHIS:

A comic I made for a second year gender studies course I tutored for in 2012, to help students understand some of the themes from Foucault’s The History of Sexuality Vol.1:f1

f2All page references from Foucault, M. (1976 [2008; trans 1978]), The History of Sexuality: Volume 1., R. Hurley, [trans], Victoria: Penguin Group

Stay tuned for Judith Butler explained with cats!

 

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