Passeurs dombre, épisode 4: Ombre et lumière (Numerik séries) (French Edition)

La masterclass d’Alain Gomis au Fespaco 2017

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Nikolaus Hirsch si poneva la seguente domanda: Sto quindi portando avanti tale riflessione attraverso il coinvolgimento di artisti, designer, coreografi, teorici ecc. Credo sia molto importante — quale segno di rispetto verso gli artisti e il pubblico — trovare il modo di mediare le pratiche degli artisti a beneficio del contesto locale in cui operiamo. Per quale motivo hai deciso di prendere parte al progetto e come si realizza la tua partecipazione? Sin da quando sonoarrivato a Bolzano ho cercato di attivare una serie di collaborazioni e coproduzioni a livello locale, nazionale e internazionale.

Constellation of One and Many , He teaches at the same institution Music Systems, Sound Art and Laboratory for Electro-acoustic and Informatics , he creates sound installations, plays and composes music. His research is inspired by two artistic movements: By using mechanical tools controlled by a software that interact one with the other, as well as with the environment and the observer, he investigates sound phenomena and analyzes the processes of the human psyche.

His art explores the relationship between man and technology, and at the same time he keeps a particular focus on its visual quality and aesthetics. He was awarded the Honorary mention for sound art and music, Ars electronica Linz Roberto Pugliese nasce a Napoli nel Servendosi di apparecchiature meccaniche pilotate da software, esplora nuove prospettive di ricerca sui fenomeni legati al suono e alla psiche umana. Opere in collezione permanente: Tra le principali mostre personali: Tra le recenti mostre collettive: Vive e lavora a Bologna. Roberto Pugliese, Risuonanti pressioni materiche , Virginie Bobin is a curator and writer, with a specific interest for performance, experimental forms of artistic research, the role of art, artists and art institutions in the public sphere, and formats that go beyond exhibition-making.

She has been Associate Editor of Manifesta Journal from to Exhibition as Research Space: Photographer and filmmaker Allan Sekula was committed to a vision of art as a tool for critiquing and exposing reality. As a creator, historian, theoretician, and critic, for almost half a century he explored and challenged the traditional canons of photographic representation.

His work took him around the world, tracing the routes of global commerce, and shipping in particular. Having grown up near the port of Los Angeles, Sekula was profoundly struck by the lifestyles of the dockers and the dynamics governing international flows of goods. His first photographic works of the s reveal his interest in systems of representation and his political and social activism, as can be seen in the work Meat Mass.

The work consists of black-and-white photographic documentation, a series of shots of the performance the artist staged in January Over a few weeks, Sekula stole packets of meat from various supermarkets and stored them in a freezer. He then threw the frozen steaks onto a busy road, where they were crushed by passing vehicles, symbolically interrupting the capitalist circulation of luxury goods by means of theft and waste. Rather than focusing on single shots, reminiscent of the tradition of painting, Sekula always preferred serial photographic projects that enabled him to create narrative sequences closer to film and theater than to pure photography.

Ha viaggiato molto per tracciare le rotte del commercio globale, in particolare del trasporto marittimo delle merci. Allan Sekula, Meat Mass , Allan Sekula and David Alward. Using anonymous objects and actions that reference minimalist art, the artist shows how these can become charged with emotions and experiences. His Portraits are one example, commissioned works that draw on the collaboration between artist and client. The sitter describes formative events in his or her life that the artist notes down, using them as the basis for a frieze recording personal memories and historic events.

The latter, presented in the exhibition, consists of a list of dates and events pertaining to the history of the American museum, alternating with historic events. These inscriptions are positioned around the edge of the exhibition space where the walls meet the ceiling, without a clear indication of where the list starts or ends. Each visitor is therefore free to decide where to start reading.

I fregi svolgono la funzione essenziale del monumento commemorativo: She is currently in residency at KunstZeitRaum in Munich. Marlie Mul, Puddle Black Disposable , , sand, stones, resin, object, 78 x 76 cm. Nina Canell, Treetops, Hillsides and Ditches , Mastic gum, logs; variable dimensions.

Antoine Nessi, Unknown Organs , Stainless steel, aluminium, brass, galvanized steel; variable dimensions. Below, between the two entrances, the Austrian double-headed eagle wearing the imperial crown sits above the coat of arms of the Magistrato Mercantile. At the bottom of the print is the long dedication from the Guild of Merchants to their guest, with the names of the two groups of judges in office in and the chancellor. Two of the three portraits displayed for the occasion are those belonging to the Magistrato Mercantile.

Language is totally poetry, as if life were just a song, but there is no naivety in his work. This language seeks to join up with the affective dimension of the objects which punctuate his installations with burnt photographs. Without focusing on any specific practice, he precisely defines his own based on installation and exhibition. Involved is a spectacular presentation of an atmosphere which steps out as much through the tongue, the furniture, the colors, and the sets of photographs and drawings.

Enrico Boccioletti is an artist and musician active under multiple names — Death in Plains, 4SICSX, spcnvdr and Enrico B — in the fields of post-conceptual, new vernacular, performance and sound, interested in incompleteness and circularity, duplication and accumulation, waste, layering, forgery, faux-real. He has participated in several group exhibitions, including at the National Gallery of Tbilisi , at Le Magasin in Grenoble , as well as other institutions. You produced it in Burkina Faso.

Why are the means of production so important in your work? Jean-Marie Perdrix I have been working with bronze smiths in Burkina for 20 years. I have developed a process with them to recycle plastic waste substituting wood and enabling waste to be collected. They won the innovation award in Bamako, where a permanent workshop has been built.

It was a veritable North-South collaboration implemented in stages. I developed and produced projects on my scale to initiate this workshop to recycle and mould household objects. The objects that I produce are from an economy where every moment is appreciated. How did you come up with the idea of a bronze animal? First of all, my partners are bronze smiths Burkina has a tradition for bronze and I had the opportunity to experiment with small bronze pieces. This is what happened: These animals are totems for my partners, but I did not know that.

The title is very important, as a misappropriation of the traditional lost-wax bronze casting process. Usually, to smelt bronze, a crucible is surrounded by coal and the forced air increases the temperature. I thus made a ceramic that I fill with coal and air again, reproducing the initial crucible.

I mix my molten bronze in the coal, in the bones and everything else, as if I had brought together all the production stages of a traditional bronze. The resulting bones, ash, coal and bronze mixture makes it lighter. What is important here is that the bronze finds its own way through the blend of ash and bits of grit. Therefore, I cannot predict what image I will obtain after the leak, once the piece is removed from the mould. He fully understood that I was exploring the opportunities available in this country.

Did you invent this process? I will outline two things. First of all, Salif encounters many western artists who come to Burkina specifically to make bronzes, but generally what they want, is a bronze that is produced more cheaply than in Europe. They are not interested in the local economy, or in the means of production. They are seeking the same image as their model, but in bronze. For my work, in contrast, I am not looking for an impression of the skin, nor the image of the body, as the casting is less important than capturing the journey the bronze has made in the mould between the coal and the bones reduced to dust.

I end up with an object that bears the marks of the smelting and burning with a sort of bronze lacework that contrasts with the intensity of the method. Then, regarding the method itself, I had seen small objects produced directly from a cast before. I even have a necklace of peanuts made like that.

But I changed the scale and starting point. I chose an animal and a much larger size, so that the way the bronze penetrates the mould is much more random. Is the horse that you are exhibiting at the Fondazione Giuliani unique? Each piece is unique. To date, I have produced three horses and five dogs.

This kind of piece takes a while to make as the coal burns very slowly. The coal that was burnt in the head was in equal measure with the coal used to make the bronze. In the piece presented in Rome, the mouth of the horse disappeared, because the concentration of ash was too high and the liquid bronze did not reach the end of the mould, it disappeared in the blend formed by the coal, ash and bones.

That is why the object obtained is a distortion of the image expected. The horse is dead, the neck is therefore already very narrow, as it is no longer attached to the withers the volume disappears. As for the ear, it is straight as if the animal were still alive and listening.

In another piece, another horse, I achieved an open mouth with the outline of worn down teeth, but without the ears. When I work with dogs, the body is often incomplete; sometimes it is difficult to recognise the animal in the final form. Do you consider bronze as precious? In these horses and dogs, the quality of the bronze is very poor, because they are the reverse of what is traditionally sought in bronze. Bronze is not there to add any additional market value to the piece: A very rich texture is achieved through a direct and intense process.

The interior density is visible. To some extent, with the horse the history of the process used to achieve the object and the object itself are contemplated in equal measure. Should your work be considered from an anthropological point of view?

I am delighted that the outer appearance has a Baroque style. Indeed, I strive to make objects that have a certain timelessness it is not important whether they were made now or ten years ago and universality I am not meticulous regarding specific cultural elements. At the same time, my work follows in the tradition of great sculptors and, in certain respects, witchcraft with skin, hair, fetishes, horns and teeth: I chose dogs and horse. These are meat, but above all they are also animals closely related to man.

There is something disturbing about working with a dead animal as the starting point; predation and sacrificing animals comes to mind. But I do not reduce animals to a metaphor.

A dead dog is more moving than the mass unemployment of young Africans. What I do with these animals is only possible because my partners are very cooperative, armed with a good knowledge of the land and a long-standing friendship. But I practice sculpture, not art brut. Pourquoi les modes de production importent tant dans ton travail?

Jean-Marie Perdrix Je travaille au Burkina avec des artisans bronziers qui sont mes partenaires depuis 20 ans. Ces animaux sont des totems de mes partenaires, mais je ne le savais pas. Je distinguerai deux choses. Born , Dendermonde, Belgium Lives and works in Ghent, Belgium His work has been internationally exhibited in both institutional and commercial venues.

Peter Buggenhout, Gorgo 33 , , mixed media: She worked as a freelance curator specializing in projects for public spaces on behalf of various Italian and international institutions. She was a member of the jury for the She lives and works in Bolzano. The aim is to be interdisciplinary and these efforts can be seen in the fact that not only figurative art finds its place at Museion, but also architecture, music, performance, film and theatre all have a space in the yearly programme. How do you articulate it? And, importantly, why is it still relevant to be interdisciplinary?

Letizia Ragaglia The fact that visual arts cannot be perceived in isolation from other forms of art is not a new discovery. Reference to such statements can be found in ancient periods as well as in the present. However, I see contemporary art as a hybrid construction — in a positive sense — which not only connects different cultural disciplines, but also integrates disciplines that are far beyond the cultural field.

In my opinion, therefore, a museum of contemporary art has to underline and to create different links that move through the present-day cultural scene. This Fall, moreover, we will present a show, in which Carol Bove, an American artist, interacts with the well-known architect Carlo Scarpa: In our show When Now Is Minimal. The Unknown Side of the Sammlung Goetz we hosted concerts with minimal music and we also pursue collaborations with designers such as Martino Gamper, who continuously move between art and design.

Regarding the importance of interdisciplinarity: There are different models of what a museum should be, of what its missions should be. What is your vision, in , of what a museum should be? I can only answer for a museum of contemporary art, a museum which works predominantly with living artists and which, therefore, differs slightly from other museums that deal with artists and objects from the past.

Is the traditional museum dead? I particularly appreciate a question asked by Nikolaus Hirsch: Who are the authors of Museion? Self-practices in Contemporary Art. At the same time, the show gave us the chance to go through each different individual practice in our team, from the security guards in the exhibition rooms, to the accountant and the secretary. Who do you speak to? How would you describe the persons visiting Museion: In , the guest curator of Museion is Pierre Bal-Blanc. Among the many inspirations I received from that show, I read between the lines that nowadays there is not one single public, but a number of different ones.

I think that one should never underestimate his or her public! Furthermore, I have a dream: We want to be there for people who want to engage and have an experience.

Passeurs d'ombre, l'intégrale de la saison 1 (Numerik séries) (French Edition)

This involves delving much farther beyond our rationality. Michael Fliri, the unseen looks like something you have never seen, Once we heard about that, though, we were obviously enthusiastic about collaborating in a wider network. I strongly believe in exchanges and collaboration with other institutions, especially if the partners share needs and mission-statements.

As a guest curator, Pierre Bal-Blanc has done a lot of research on our territory and brought his perspective from outside in order to make us perceive our context in a different way. Nella nostra mostra When Now Is Minimal. Ci sono diversi modelli di cosa dovrebbe essere un museo e di quale debba esserne la mission. Cosa pensi debba essere un museo nel ? Trovo molto interessante questa domanda formulata da Nikolaus Hirsch: Chi sono gli autori di Museion? Lo scorso anno, Museion ha invitato come guest curators Carol Yinghua Lu e Liu Ding, che hanno realizzato una mostra molto interessante, Little Movements.

A chi ti rivolgi? Come descrivile persone che visitano Museion: Tra le molte ispirazioni che ho tratto da quella mostra, mi pare di aver letto tra le righe che oggi non esiste un unico pubblico, ma diversi. Penso che non si debba mai sottovalutare il pubblico! E poi, ho un sogno: Credo fortemente nello scambio e nella collaborazione con altre istituzioni, specialmente se i partner hanno gli stessi bisogni e le stesse mission.

Danh Vo, We the people. Exhibition Fabulous Muscles , Museion, Michael Fliri, the unseen looks like something you have never seen , , Collection Museion.

His work comes from different kinds of influences, which at first sight recall art tendencies such that of minimal and pop art. He has been the recipient of many awards, including that of Raiffeisen Foundation, Bolzano in , of California Institute of the Arts in and His recent solo exhibitions include: His works have been shown at several group exhibitions: Schwazer nasce nel a Vipiteno. Il suo lavoro richiama principalmente la minimal e la pop art, allo stesso tempo esplora in maniera singolare questioni filosofiche e temi sociali associandovi sviluppi formali del tutto specifici.

Nel e vince il premio del California Institute of the Arts. Vive e lavora a Los Angeles. Costanza Paissan Your artistic research focuses on issues related to pop culture, geopolitics, capitalism, industrial economy and craft production in the global world. These ideas are transferred into pieces whose forms are essential, often tinged with irony and lightheartedness, poised between mass production and slow craftsmanship, mechanicity and organicity. I am thinking, for example, of the work The Rape of Europe , in which the threads of the Jacquard weaving recall the myth of Arachne but also the evolution of textile production in the history of the world economy.

Could you tell us about the process through which you transform your thoughts into form? Leander Schwazer I have a special penchant for time in general. Exploring dormant stories in everyday objects is my obsession. I guess this is a reason for my interest in cracks and fractures: Art walks on a thin path between past and future. In spring , your work was exhibited at the Museion in Bolzano, in the exhibition Bikini. Where does this work fit in your research? Bikini was a meditation on certain connections between popular culture and war.

Compared to the power of war machines, any artistic discipline looks weak. In a way, it becomes necessary to use as many as possible. However, it is impossible to predict the course of history. Only when seen from the future, the past becomes such. In addition to being an exhibition space, Villa Arson is also a place of education, in which dialogue with other artists is normal practice.

Can you tell us about your experience? I was happy to be in close contact with Sonia Leimer over the last year. Although we were working independently, I consider the setting we worked with at Villa Arson as a collaboration. The space will be one of crisis, misunderstandings, big and small stories, subjectivity and objectivity.

I am happy to present another montage piece from my longtime exploration of junk, how it is produced and circulates. Fra Mauro wrote a fascinating story of junks Asian ships rounding the Cape of Good Hope, arriving in Europe and then sailing back. Today my email inbox asked me what I wanted to do with my junk mail — electronic messages received from unknown senders. But of course history does not repeat itself. O alle schede perforate di Kapital , che trasferiscono il testo del Capitale di Marx in un meccanismo musicale.

Puoi spiegare attraverso quale processo metti in forma le tue riflessioni? Penso che sia questa la ragione del mio interesse nei confronti delle crepe e delle fratture: Come si inserisce questo lavoro nella tua ricerca? A confronto con la potenza delle macchine da guerra tutte le discipline artistiche appaiono deboli. Essa diventa passato solo se vista dal futuro. Puoi raccontare la tua esperienza? Anche se abbiamo portato avanti il nostro lavoro in maniera indipendente considero lo spazio che abbiamo immaginato aVilla Arson come il risultato di una collaborazione.

Sono contento di poter presentare un altro lavoro a mosaico parte della mia lunga indagine sul Junk, la sua presenza e distribuzione. Fra Mauro scrisse una favola affascinante: Ma ovviamente la storia non si ripete. After working on the design for a house in with Walter Pichler, a project called House for Two Friends , Raimund Abraham began to create a series of models for houses.

He saw the home as an architectural paradigm springing from the encounter between abstract forms and the landscape. The Austrian architect presented a series of houses based on archetypal shapes and solids the square, cube, circle, sphere, dot, line, and surface and devoted to his closest friends, most of whom were artists or architects. The designs were not constructed but represent original interpretations of human dwellings in the post-modern era. Abraham imagines a house in which volumes and spaces, light and shade are constantly changing, and the wind seems to blow from inside the building.

In all of these projects the distinctive elements of each design merge with the building itself. Stimolato dal progetto per la realizzazione di una casa, pensato nel insieme a Walter Pichler e intitolato House for Two Friends Casa per due amici , Raimund Abraham lavora a una serie di modelli abitativi. Using sculpture, installation, video, and performance, the artist disorients the public, deploying subtle tricks or devices to attract attention to something or someone that would otherwise go unnoticed. He also utilizes the same mechanism to tackle the exhibition spaces themselves, exploring the venue and altering both its architectural logic and habitual dynamics.

In Tickets, Please , the artist uses repetition to subvert a common experience. The photos, taken during a performance, show the table at the entrance to the museum where visitors normally pay for admission. Yet sitting behind the table is a young boy who asks for only half the ticket price. Given the time it takes to get from one part of the venue to the other, visitors also experience a time lapse between the two payments.

The same temporal disorientation characterizes the work Silence, Please , which dates to a few years previously. In this performance, a museum guard, when in the room, wears a uniform based on the models used in the year the wearer was born. This piece tackles the paradoxical coexistence of presence and absence: Le foto sono state scattate durante una performance. La performance affronta inoltre la coesistenza paradossale di presenza e assenza: Born , France Lives and works in Lyon, France His work has essentially developed out of video, but over the last few years his practice has opened onto installation, object-based work, sound, writing and photography.

His work involves scripted forms exploring the creative process, carried out as a series of invitations given to a Bosnian garage mechanic, a geophysicist to model the propagation of riots across the globe ,performers dancers and actors , a blacksmith, a musician, a beekeeper, a sound artist…His projects bring into play specific materials and contexts historical, architectural, geopolitical or literary… which, after a process of appropriation, are then linked into the display environment. Le strategie processuali e plastiche procedono per accumulazione e sovrapposizione di strati sedimentazione narrativa, sedimentazione di materiali, di senso, sedimentazione del tempo.

Chiara Agnello is artistic director of Careof, a non-profit organization for the promotion of contemporary artistic research active in Milan, that since encourages cultural experimentation in all its forms, in particular the work of young artists. Careof positions itself as a privileged mediator between artists, curators, critics and a non-specialist audience, through a rich program of exhibitions and educational documentation services around the visual arts held at DOCVA and the residency program for creative FDV Residency Program.

Chiara Agnello Since Careof fosters the development of contemporary art practice with passion, creativity and expertise. Since then, Careof is a place where young and established artists can be inspired, exchange views and be encouraged to experiment, debate and grow. Since Careof is located at Fabbrica del Vapore in Milan, an industrial building from the early 20th century, which was originally meant for the construction, maintenance and sale of railway and tram material, and today is a youthful centre of cultural production.

Foster the development of artistic work, research and education is still one of our goals in conjunction with becoming a reference point for videoart in Italy and abroad. Careof has various spaces and resources: Within a no profit organization as Careof the word experimentation is closely related to the continuous questioning of the organizational processes and the ability to be flexible in the face of opportunity, to changes in society and of the public we work with.

Obviously we have a well-defined mission, but the goals that we set are a response to the reading of our context. They can then change and evolve with time. How do you foresee the future of an institution like yours in a context in which globalised museums and institutions become such powerful players, absorbing all energies, audiences and funding? Careof is characterized by the ability to read the context and be an active part of the community we refer. We have the ability to observe the artistic practices in their multifaceted and multiform varieties, giving space also to the emerging ones.

We have the capacity to act with different strategies, giving space to the experimentation in a time which research and development are becoming less valued. For these reasons we believe that institutions like ours must continue to exist alongside the powerful players. What is your mission with archive and archiving and how does it differ from collecting?

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The video archive includes over 7, pieces and is the most important collection of videoart in Italy. The catalogue holds over 6, artworks, from the first experiments made in the 70s to work by the latest generations, and about 1, videos documenting exhibitions, conferences, performances and art events of international relevance. The collection is an important resource to understand the development of contemporary art research over the past 40 years and specifically in Italy.

Through the video archive we develop exhibitions, residency and research projects. We are archiving in order to support the artists and their work, share and pass on the knowledge and let everyone know the contemporary art scene. This is probably the main difference from collecting. Inside the mission of Careof there is the vocation to work with Italian and international institutions as we believe that through the exchange between cultures and people we can generate an enrichment.

We then responded to Stefania Meazza, curator of the project Piano — Alto! The project has provided for young Italian and French artists a period of residence at the centers involved: There have been several meetings between us to investigate the practices and activities of each organization. The choice of artists was facilitated by a pre-selection made by the institutions, offering a list of candidates to others.

The selected artists are: Careof ha diversi spazi e risorse: Essi possono quindi cambiare ed evolvere nel tempo. Siamo in grado di osservare le pratiche artistiche nelle loro sfaccettate e multiformi declinazioni, dando spazio ai fenomeni emergenti. Sappiamo agire attraverso diverse strategie, mettendo in primo piano la sperimentazione in un momento in cui la ricerca e lo sviluppo sono sempre meno valorizzati. PIANO mira a creare una rete di spazi artistici che lavorino insieme, attraverso processi di scambio e interazione.

Il progetto ha permesso a giovani artisti italiani e francesi di compiere un periodo di residenza nei centri coinvolti: Gli artisti selezionati sono: Careof, new venue at Fabbrica del Vapore. Andrea Astesiano for Maxdesign. I started Art school in Villa Arson, Nice where I graduated in with the congratulations of the jury. Most of my projects start out from the acoustic features of the space I will explore, especially where the exhibition space reveals its own sound signature. I try to redefine some modes of perception through all the factors related to listening. I create atmospheres in tension, neurotic places, autarchic places, single machines, areas of memory or danger.

The electric cable and its flow of electricity follows the viewer throughout his progress. Picking in the various fields of physics, chemistry and technology, a diversion takes place by twisting or transformation. There is an experience of these invisible forces which redefine the position of the body and its unconscious. Vive e lavora tra Nizza e Digione. Vit et travaille entre Nice et Dijon.

He then became art critic for a local cultural weekly Le Petit Bulletin , while at the same time collaborating as one of the contributors for the Nouvelle Galerie, a contemporary art gallery in Grenoble. Brief notes on the prepared piano and its inventor. With the revolutionary discovery of the prepared piano , John Cage opens the doors of music to unexplored worlds of sound and unknown expressive possibilities. Through simple physical alterations of the musical instrument to change its sound, the compositional activity becomes with Cage something completely new, extended, transformed. Although John Cage is one of the most controversial figures on the art scene of the twentieth century — the target of fierce and sometimes staid, verbose criticism, as well as the recipient of apologies not always supported by adequate knowledge of the subject —, he remains, in my opinion, a revolutionary who played more than once with his last name, which carried a sort of announced self-denial, a conceptual and practical self-overcoming: Cage was an anarchic, funny, humorous, spontaneous, irreverent composer, a character of bizarre and multifaceted passions arts, eastern philosophy, the I Ching, Zen Buddhism, mycology, plants, mesostics, macrobiotic cooking, chess etc.

Suzuki come to mind. Cage whose twentieth death and one-hundredth birth anniversaries were celebrated in 3 belongs in many histories and revolutions, and is one of those composers who in the mid-twentieth century cultivated the hope of the final ending of the realm of harmony 4 , centering his musical discourse and compositional activity on new bases, structured from elements that could be, from time to time, musical, extra-musical, random or number-based.

While in Seattle around the end of the thirties with his wife Xenia, Cage works intensely on percussive music and dance, striking relationships with artists such as Mark Tobey, Morris Graves and Laszlo Moholy-Nagy, but also with dancers and choreographers such as Bonnie Bird, Syvilla Fort and, especially, Merce Cunningham. On one of these occasions, as soon as Cage starts playing, a piece of brass placed on a tray on the instrument accidentally falls into the piano case and starts rolling on the strings.

He then remembers the sound of the piano when Cowell struck or plucked the strings, or when he slid metal needles over them. From the kitchen he takes a plate and puts it on the strings, together with a book. Want to Read Currently Reading Read. Refresh and try again. Open Preview See a Problem? Thanks for telling us about the problem. Return to Book Page. Kindle Edition , pages. To see what your friends thought of this book, please sign up.

Lists with This Book. This book is not yet featured on Listopia. Joachim Sartorius avec son chat turc. Cela vient du fait que mes parents me parlaient en russe, ce que je ne voulais absolument pas. Personne ne le connaissait. Avec le recul, comment percevez-vous ces rencontres? Les derniers livres de Jean Blot. New York hier ne serait-il pas Paris aujourd'hui? Le rendez-vous de la Marquise est celui de tout mortel. Il prend alors un encrier et deux cendriers sur une table et nous dit: Tout est comme cela. Il faut que la guerre devienne impensable.

Peut-on pour finir parler de vos derniers livres? Paris 13 juin Et qui proscrivaient la musique Beaucoup de temps perdu! Mais, je dois revenir sur ce point, je dois le souligner avec force: Je ne suis pas certain que les nouvelles de D. Il demeure quelque chose de ce travail de correspondances dans les nouvelles de Lawrence plus que dans ses romans. Lawrence, il faut tout d'abord noter qu'il y a une chronologie dans ces cinq volumes. Pour les nouvelles de D. La langue de D. Je leur donne une voix.

Hwang Chun-ming J'aime Mary Trad. Sa connaissance nous grandit. Est-ce que la mondialisation aura finalement raison de tout? Interview Michel Orcel, Nice, 29 janvier Embarquons pour Buccari et voyons si Gabriele et ses compagnons sont revenus plein d'usage et raison Interview P hilippe S ollers. La folie a eu ses heures de gloire. Le dernier roman de Philippe Sollers C'est la preuve par le concret qui importe, sinon on verse dans les incantations. Le corps doit participer de cette fonction affirmative que tout veut lui retirer. Nous vivons dans un monde — politique, social, etc.

C'est la raison pour laquelle j'ai pris un personnage de masseuse - j'aurais pu prendre une Chinoise en acupuncture- afin de savoir qu'est-ce que le corps humain? Les morts pourraient vous faire des reproches? En moi, comme moi, plus que moi. Propos recueillis par Philippe-Emmanuel Krautter. Interview J ean S tarobinski. Notre admirable professeur de grec, Edmond Beaujon, sera le traducteur de plusieurs ouvrages de Hermann Hesse. Je ne suis pas capable de diviser mon attention. Sont-ils le miroir de celle-ci ou lui sont-ils constitutifs?

Le fait essentiel est celui-ci: Richardson pour La Religieuse , la tradition picaresque et Sterne pour Jacques le fataliste. Quel souvenir gardez-vous de lui? Pour poursuivre en lecture cet entretien: Les missions du Bulletin? Dictionnaire amoureux de Marcel Proust, Plon, Telle est la Recherche: Un peu tout cela, probablement. Ou bien tort, tous les deux.

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