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Archive for the ‘Art and illustration’ Category

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!

 

View original

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Paris, 10 September 2012, Art Media Agency (AMA).

From 8 September to 11 November 2012, the Praz-Delavallade Gallery in Paris is displaying “The Petrified Forest”, a new exhibition of artist John Miller.

John Miller’s work is characterised by a multiform aspect: painting, sculpture, photography, and video. With humour, empathy, and perspicacity, his works immerse the spectator into the maelstrom of daily life and sublimate banality. In his previous series, Miller took an interest into the differences between the price and meaning of things, and questioned in depth the notion of worth in our capitalist societies. His most recent projects are dedicated to representations both critical and poetic of the emotional affects, of the relationships to “biopower” (concept elaborated by Michel Foucault) and of its impact on individuals.

In the new series of wooden relief paintings displayed in this exhibition, Miller uses again the subject of individuals crying in reality TV shows, a theme previously tackled in the “Everything Is Said” series. The use of a drab palette of colours, of greys and browns, takes the bad taste inherent in mass media from the images and highlights the paintings’ manufactured aspect. In his “Game Show Paintings” series (1998-2000), John Miller has focused on the coloured settings of TV games, in opposition with the candidates’ apparently interchangeable character. In opposition, the gendre of reality TV shows seems to focus on individuals and on staged or unstaged situations but John Miller chooses to depict the other side of the picture. Crying has indeed become a performative asset: angers, fights and tears represent strong moments in these shows. On the same level as beauty or charisma, the ability to show one’s emotions in front of cameras seems to have become an essential prerogative when participating in these shows. With his work, Miller reminds that every representation of reality necessarily requires a subjective point of view.

This is John Miller’s fourth solo exhibition in the Praz-Delavallade Gallery. Currently, his work is also displayed in group exhibitions at the Rubell Family Collection in Miami and at the Palais de Tokyo in Paris.

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Martine Franck took some notable photographs of Foucault, some of which can be found here

From Time Lightbox

August 20, 2012 | By Vaughn Wallace

Martine Franck, an esteemed documentary and portrait photographer and second wife of Henri Cartier-Bresson, died of cancer in Paris on Aug. 16 at the age of 74. A member of Magnum Photos for more 32 years, Franck was a co-founder and president of the Henri Cartier-Bresson Foundation.

“Martine was one classic Magnum photographer we could all agree with,” said photographer Elliott Erwitt. “Talented, charming, wise, modest and generous, she set a standard of class not often found in our profession. She will be profoundly missed.”

Born in Antwerp, Belgium in 1938, Franck studied art history at the University of Madrid and at the Ecole du Louvre in Paris. In 1963, she began her photographic career at Time-Life in Paris, assisting photographers Eliot Elisofan and Gjon Mili. Although somewhat reserved with her camera at first, she quickly blossomed photographing the refined world of Parisian theater and fashion. A friend, stage director Ariane Mnouchkine, helped establish Franck as the official photographer of the Théâtre du Soleil in 1964—a position she held for the next 48 years.

As her career grew, Franck pursued a wide range of photographic stories, from documentary reportage in Nepal and Tibet to gentle and evocative portraits of Paris’s creative class. Her portfolio of the cultural elite includes photographic peers Bill Brandt and Sarah Moon as well as artist Diego Giacometti and philosopher Michel Foucault, among others. In 1983, she became a full member of Magnum Photos, one of a small number of female members at the legendary photographic agency. Balancing her time between a variety of stories, her work reflects an innate sensitivity to stories of humanity.

Read more

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