Ronan & Erwan Bouroullec
mercredi 28 novembre 2007
mardi 27 novembre 2007
Guaimbê apartment building, 1964
"Phenomenon is thunder, rain, tides. Between us humans there is no phenomenon," he intones in a voice both magisterial and filled with knowing winks, as if he were simultaneously channeling an Old Testament prophet and Groucho Marx.
Paulo Mendes da Rocha, in Los Angeles Times.
mardi 20 novembre 2007
One and Three Chloe
Parfois le marketing touche à l'essence
souvenir de l'héritage conceptuel de Joseph Kosuth
Photographie Inez van Lamsweerde et Vinoodh Matadin
Direction artistique Ezra Petronio
sur search and destroy
Pierre Joseph, personnages à réactiver
Guerrier médiéval
(personnage à réactiver).
No man’s time, Villa Arson, Nice (France) 1991
Tirage cibachrome 60 x 90cm
Un personnage à réactiver se joue en deux temps: il est d’abord présenté en chair et en os durant le vernissage de l’exposition pour laquelle il a été imaginé. C’est un acteur qui joue un rôle minimal, en boucle. Il ne parle pas. Le lendemain, une photographie le remplace, il devient alors un personnage "à réactiver".
L’acquéreur de cette photographie (et donc du personnage) peut alors renouveler cette performance à sa guise en respectant quelques règles. (voir certificat d’authenticité)
Cao Fei, COSPlayers, 2004
La vidéo de huit minutes COSPlayers, ainsi que la série photographique qui l'accompagne, est à la fois critique et spectaculaire, utilisant la culture pop comme un pont plutot que comme une simple référence dans l'orgie générale de l'appropriation et de la reprise. Le titre renvoie à la culture underground du "cosplay" ou "jeu de costumes", dans lequel de jeunes hommes et femmes se déguisent en personnages de mangas japonais et jouent leur rôle. Revêtus de capes noires et de costumes métalliques, brandissant des armes menaçantes supposées leur conférer des pouvoirs magiques, les "cosplayers" de Cao Fei se pourchassent au travers de champs, à travers l'extérieur de Canton, et arpentent des espaces urbains anonymes, restaurant chic désert ou parking désolé. En chemin, la caméra révèle des sites de construction gigantesques et des troupeaux de bétail, en une tentative pour saisir le contraste merveilleux et étrange au coeur de la vraie ville.
Hans Ulrich Obrist
COSPlayers soulève de nombreuses questions au-delà du film lui-même. Il aplanit le terrain entre l'apparence superficielle et la vérité d'un problème. Les Cosplayers sont des jeunes qui ont grandit durant ces vingt années de développement rapide en Chine. Je tente d'explorer la relation entre leur attitude vis-à-vis de leur vie et de leur famille et les villes dans lesquelles ils vivent, le dilemme de l'existence individuelle, etc. Comment affrontent-ils ces réalités "pressantes" en tant que joueurs aliénés.
Leur vision n'est que la miniature des effets de la globalisation dans les pays en développement. Cao Fei
The Da Zha Lan Project
According to the Investigation of Urban Corners in Beijing published in July 2005 by Beijing Social Science Institute, the density of population in Da Zha Lan reaches 4,5000 heads per square kilometer. It' s extremely crowded and there are too many old houses in danger. The hidden alarm of fire is severe and there is inadequate supply of water and electricity. Conditions of hygiene are appalling and public security is chaotic. There is an overflow of faked products and a high number of immigrants. Their daily living expenses are less than RMB 8. Da Zha Lan area has become a typical slum.
The Da Zha Lan Project has appointed the area of Da Zha Lan as a case study, which focuses on the historical and cultural development, poverty level, social organization, street level architecture and humanist ecology in this region. We have adopted a collective working system as we recruit volunteers to participate in the research and filming, conducting workshops. We will conclude our work with a documentary, a publication and a website, which will be featured in the ZKM in Germany in May 2006.
lien
dimanche 11 novembre 2007
Peter Saville, fashion sucks
Arena meets Saville at the Shepherd's Bush pad he rents from a friend. Whenever she stays in London he has to pack up his stuff and find somewhere else: "Is it possible to have a moving blue plaque?" Behind a rusty anti-squatter door the house is quite Philippe Starck, a mixture of space and flourish, "a bit me but not really me". The place that was "completely me" was The Apartment, a 2,000sq ft Mayfair bachelor pad - "garconiere as the French would call it, very Scarface" - which he bought from an Indian business man with a penchant for "LA coke dealer design". It had midnight blue suede walls, a lift straight up to the flat from the underground car park and an embarrasment of mirrors. When Jarvis Cocker saw pictures of The Apartment in an interiors magazine he phoned up Saville straight away and asked him to design for Pulp.
(...)
"When younger people admire you, it's flattering to your ego. It's really difficult to be uncomfortable with it. But what motivated me wasn't necessarily what was new, but what was needed. That's why I'm a bit un-design at the moment. Any kind of adherence to fashion right now seems embarrassing - it kind of says 'sucker'.
lien
samedi 10 novembre 2007
Jasper Morrison Super Normal
I was having a cup of tea with Takashi Okutani in Milan, during the 2005 Salone del Mobile, talking about projects underway with Muji and describing to him the Alessi cutlery project and how I was feeling this approach to design, of leaving out the design, seemed more and more the way to go.
I mentioned having seen Naoto Fukasawas aluminium stools for Magis and how they seemed to have a special kind of normality about them, and he added: “super normal“. That was it, a name for what I have been trying to achieve all these years, a perfect summary of what design should be, now more than ever.
I have been feeling more and more uncomfortable with the increasing presence of design in everyday situations and in products lined up on the shelves of everyday shops. For years people have faulted design for being inaccessible, over priced and out of tune with the mass market. Now that it has become mainstream its beginning to look like a sell out, as if design simply stepped into the shoes of all the cheap ugly products which were previously available and made them cheap and ugly and highly visible.
Design, which is supposed to be responsible for the man-made environment we all inhabit, seems to be polluting it instead. Its historic and idealistic goal to serve industry and the happy consuming masses at the same time, of conceiving things easier to make and better to live with, has been side-tracked.
A while ago I found some heavy old hand-blown wine glasses in a junk shop. At first it was just their shape which attracted my attention, but slowly, using them every day, they have become something more than just nice shapes, and I notice their presence in other ways. If I use a different type of glass, for example, I feel something missing in the in the atmosphere of the table. When I use them the atmosphere returns, and each sip of wines a pleasure even if the wine is not. If I even catch a look at them on the shelf they radiate something good. This quota of atmospheric spirit is the most mysterious and elusive quality in objects. How can it be that so many designs fail to have any real beneficial effect on the atmosphere, and yet these glasses, made without much design thought or any attempt to achieve anything other than a good ordinary wine glass, happen to be successful? Its been puzzling me for years and influencing my attitude to what constitutes a good design. Ive started to measure my own designs against objects like these glasses, and not to care if the designs become less noticeable. In fact a certain lack of noticeability has become a requirement.
Meanwhile design, which used to be almost unknown as a profession, has become a major source of pollution. Encouraged by glossy lifestyle magazine, and marketing departments, its become a competition to make things as noticeable as possible by means of colour, shape and surprise. Its historic and idealistic purpose, to serve industry and the happy consuming masses at the same time, of conceiving things easier to make and better to live with, seems to have been side-tracked. The virus has already infected the everyday environment. The need for businesses to attract attention provides the perfect carrier for the disease. Design makes things seem special, and who wants normal if they can have special?
And thats the problem. Once normal has been wiped out theres no going back. Its a bit like building new housing on virgin countryside, or developing huge areas of cities at one time. What has grown naturally and unselfconsciously over the years cannot easily be replaced. The normality of a street of shops, which has developed over time, offering various products and trades, is a delicate organism. Not, that old things shouldnt be replaced or that new things are bad, just that things which are designed to attract attention are, from the outset, going to be unsatisfactory. There are better ways to design than putting a lot of effort into making something look special. Special is generally less useful than normal, and less rewarding in the long term. Special things demand attention for the wrong reasons, interrupting potentially good atmosphere with their awkward presence.~
The wine glasses are a signpost to somewhere beyond normal, because they transcend normality. Theres nothing wrong with normal of course, but normal was the product of an earlier, less self conscious age, and designers working at replacing old with new and hopefully better, are doing it without the benefit of innocence which normal demands. The wine glasses and other objects form the past reveal the existence of super normal, like spraying paint on a ghost. You may have a feeling its there but its difficult to see. The super normal object is the result of a long tradition of evolutionary advancement in the shape of everyday things, not attempting to break with the history of form but rather trying to summarise it, knowing is the artificial replacement for normal, which with time and understanding may become grafted to everyday life.
I mentioned having seen Naoto Fukasawas aluminium stools for Magis and how they seemed to have a special kind of normality about them, and he added: “super normal“. That was it, a name for what I have been trying to achieve all these years, a perfect summary of what design should be, now more than ever.
I have been feeling more and more uncomfortable with the increasing presence of design in everyday situations and in products lined up on the shelves of everyday shops. For years people have faulted design for being inaccessible, over priced and out of tune with the mass market. Now that it has become mainstream its beginning to look like a sell out, as if design simply stepped into the shoes of all the cheap ugly products which were previously available and made them cheap and ugly and highly visible.
Design, which is supposed to be responsible for the man-made environment we all inhabit, seems to be polluting it instead. Its historic and idealistic goal to serve industry and the happy consuming masses at the same time, of conceiving things easier to make and better to live with, has been side-tracked.
A while ago I found some heavy old hand-blown wine glasses in a junk shop. At first it was just their shape which attracted my attention, but slowly, using them every day, they have become something more than just nice shapes, and I notice their presence in other ways. If I use a different type of glass, for example, I feel something missing in the in the atmosphere of the table. When I use them the atmosphere returns, and each sip of wines a pleasure even if the wine is not. If I even catch a look at them on the shelf they radiate something good. This quota of atmospheric spirit is the most mysterious and elusive quality in objects. How can it be that so many designs fail to have any real beneficial effect on the atmosphere, and yet these glasses, made without much design thought or any attempt to achieve anything other than a good ordinary wine glass, happen to be successful? Its been puzzling me for years and influencing my attitude to what constitutes a good design. Ive started to measure my own designs against objects like these glasses, and not to care if the designs become less noticeable. In fact a certain lack of noticeability has become a requirement.
Meanwhile design, which used to be almost unknown as a profession, has become a major source of pollution. Encouraged by glossy lifestyle magazine, and marketing departments, its become a competition to make things as noticeable as possible by means of colour, shape and surprise. Its historic and idealistic purpose, to serve industry and the happy consuming masses at the same time, of conceiving things easier to make and better to live with, seems to have been side-tracked. The virus has already infected the everyday environment. The need for businesses to attract attention provides the perfect carrier for the disease. Design makes things seem special, and who wants normal if they can have special?
And thats the problem. Once normal has been wiped out theres no going back. Its a bit like building new housing on virgin countryside, or developing huge areas of cities at one time. What has grown naturally and unselfconsciously over the years cannot easily be replaced. The normality of a street of shops, which has developed over time, offering various products and trades, is a delicate organism. Not, that old things shouldnt be replaced or that new things are bad, just that things which are designed to attract attention are, from the outset, going to be unsatisfactory. There are better ways to design than putting a lot of effort into making something look special. Special is generally less useful than normal, and less rewarding in the long term. Special things demand attention for the wrong reasons, interrupting potentially good atmosphere with their awkward presence.~
The wine glasses are a signpost to somewhere beyond normal, because they transcend normality. Theres nothing wrong with normal of course, but normal was the product of an earlier, less self conscious age, and designers working at replacing old with new and hopefully better, are doing it without the benefit of innocence which normal demands. The wine glasses and other objects form the past reveal the existence of super normal, like spraying paint on a ghost. You may have a feeling its there but its difficult to see. The super normal object is the result of a long tradition of evolutionary advancement in the shape of everyday things, not attempting to break with the history of form but rather trying to summarise it, knowing is the artificial replacement for normal, which with time and understanding may become grafted to everyday life.
vendredi 9 novembre 2007
Ian Schrager
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mercredi 7 novembre 2007
St Pancras station, London
Monument de l'architecture victorienne, la gare, bâtie en 1868, était alors considérée comme le plus grand espace clos du monde. Bombardée durant la Seconde Guerre mondiale, promise à la démolition dans les années 1960 puis oubliée dans un quartier à l'abandon, elle a bénéficié d'une rénovation majeure pour devenir le nouveau terminal de l'eurostar, inauguré mardi par la reine.
L'immense charpente métallique de la verrière, 32 mètres de haut, a été repeinte selon sa couleur d'origine : le bleu "English Heritage"
Midland grand hotel St Pancrasmardi 6 novembre 2007
The financial failures of New York’s Freedomland and the World’s Fair appear to indicate that this kind of outdoor amusement is no longer being supported by the public in number that justify the expense of their maintenance. Actually, the grand spectacle of the middle-class society in general attendance at amusement parks and similar public recreation - the image of the
Yet it would be worth learning whether the automobile, as well as the television set and other vehicles of individual fancy, were really the cause of the decline of public amusements. Even after driving out into the natural landscape, most of the people today still seek for the society of others. Picnic areas and comfortably tamed camping places are by far the most popular parts of national parks.
The reason for the decline of organized public amusements may have something to do with the modern status of children, and the place they have at the center of family life. If zoos, amusement parks and fairs – even museums- are seen as principally for entertainment of children, then what these have to offer adults must necessarily be limited. Old photographs of
The Coney Island Elephant was a well-known
Lost
lundi 5 novembre 2007
samedi 3 novembre 2007
Bruce Mau Design
An Incomplete Manifesto for Growth
Written in 1998, the Incomplete Manifesto is an articulation of statements that exemplify Bruce Mau's beliefs, motivations and strategies. It also articulates how the BMD studio works.
1. Allow events to change you. You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.2. Forget about good. Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you'll never have real growth.
3. Process is more important than outcome. When the outcome drives the process we will only ever go to where we've already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.
4. Love your experiments (as you would an ugly child). Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.
5. Go deep. The deeper you go the more likely you will discover something of value.
6. Capture accidents. The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.
7. Study. A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.
8. Drift. Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism.
9. Begin anywhere. John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.
10. Everyone is a leader. Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.
11. Harvest ideas. Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.
12. Keep moving. The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.
13. Slow down. Desynchronize from standard time frames and surprising opportunities may present themselves.
14. Don’t be cool. Cool is conservative fear dressed in black. Free yourself from limits of this sort.
15. Ask stupid questions. Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.
16. Collaborate. The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.
17. ____________________. Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas of others.
18. Stay up late. Strange things happen when you’ve gone too far, been up too long, worked too hard, and you're separated from the rest of the world.
19. Work the metaphor. Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.
20. Be careful to take risks. Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.
21. Repeat yourself. If you like it, do it again. If you don’t like it, do it again.
22. Make your own tools. Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.
23. Stand on someone’s shoulders. You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.
24. Avoid software. The problem with software is that everyone has it.
25. Don’t clean your desk. You might find something in the morning that you can’t see tonight.
26. Don’t enter awards competitions. Just don’t. It’s not good for you.
27. Read only left-hand pages. Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our "noodle."
28. Make new words. Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions.
29. Think with your mind. Forget technology. Creativity is not device-dependent.
30. Organization = Liberty. Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between "creatives" and "suits" is what Leonard Cohen calls a 'charming artifact of the past.'
31. Don’t borrow money. Once again, Frank Gehry’s advice. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed.
32. Listen carefully. Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.
33. Take field trips. The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.
34. Make mistakes faster. This isn’t my idea -- I borrowed it. I think it belongs to Andy Grove.
35. Imitate. Don’t be shy about it. Try to get as close as you can. You'll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited, and underused imitation is as a technique.
36. Scat. When you forget the words, do what Ella did: make up something else ... but not words.
37. Break it, stretch it, bend it, crush it, crack it, fold it.
38. Explore the other edge. Great liberty exists when we avoid trying to run with the technological pack. We can’t find the leading edge because it’s trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.
39. Coffee breaks, cab rides, green rooms. Real growth often happens outside of where we intend it to, in the interstitial spaces -- what Dr. Seuss calls "the waiting place." Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference -- the parties, chats, lunches, airport arrivals — but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.
40. Avoid fields. Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.
41. Laugh. People visiting the studio often comment on how much we laugh. Since I've become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.
42. Remember. Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.
43. Power to the people. Play can only happen when people feel they have control over their lives. We can't be free agents if we’re not free.
vendredi 2 novembre 2007
architecture electronique
- comme un refuge ornementé - pas une sculpture
- générique avec de l'iconographie - pas sculpturale avec de l'expression
- le radicalisme peut procéder du sens - pas l'expression
- sens explicite - pas expression abstraite
- inclusive, par une iconographie multiple - pas exclusive, par une abstraction minimaliste
- ornement et information - pas abstraction minimaliste
- la vitalité dérive de la fanfare iconographique - pas d'une forme articulée
- peut rendre le quotidien spectaculaire - pas le spectaculaire quotidien
- l'esthétique peut être évolutionniste - pas seulement révolutionnaire
- prend en charge un chaos pertinent - plus qu'une unité implacable
- comme manifestation de la complexité et de la contradiction - pas comme "espace", ce grand mot insipide
- l'étincelle électronique impliquant le sens - pas la luminosité électrique soutenant l'expression
- avec des pixels mobiles tels des carreaux de mosaïque - pas des plans minimalistes ésotériques...
Robert Venturi et Denise Scott Brown, Architecture as the generic building Adorned by Electronic iconography
jeudi 1 novembre 2007
PostScript Ville
Cady Noland, Oozewald, 1989
Le PostScript est un langage informatique spécialisé dans la description de page, mis au point par Adobe. Il repose sur des formulations vectorielles de la plupart de ses éléments. Il sait aussi traiter les images sous forme de bitmap ou raster (nuage de points).
Ce langage inter-plateformes permet d’obtenir un fichier unique comportant tous les éléments décrivant la page (textes, images, polices, couleurs, etc.). PostScript est devenu pratiquement un standard, la plupart des imprimantes récentes peuvent traiter directement le format PostScript (NB : sur les imprimantes plus anciennes, il fallait utiliser un filtre logiciel en entrée pour convertir le langage PostScript au format raster compréhensible par les anciennes imprimantes). (définition Wikipedia)
Geoffrey Cottenceau / Romain Rousset, gneborg
Jame Rosenquist, Crosshatch and Mutations, 1986
FAT, Invisible vase, video
Cross River Park, Maxwan
Le Point de départ de Philippe Parreno – son panneau indicatif en quelque sorte – fut de concevoir une exposition comme si elle sortait d’un livre (un peu comme c’est le cas dans les films de Walt Disney : ils commencent toujours par l’image d’un livre ouvert dans lequel on entre), une exposition conçue comme un pop-up book. Cela sous- entendait alors que le livre devienne le lieu même de la monographie, et aussi, sur un plan pratique, que l’exposition dans son entier soit réalisée uniquement sur un support papier. « Le communiqué de presse fera pleinement partie de l’exposition et ce sera donc en papier. L’espace d’exposition sera aussi en quelque sorte en papier. Ainsi que le carton d’invitation, l’affiche, le catalogue, tout sera du papier. »
Pour Parreno, concevoir l’exposition comme un pop up book offrait l’avantage de résister à la fois à la pesanteur et à la rigidité du format même de l’exposition monographique rétrospective et à la tentation d’appréhender son travail sous une forme fixe, définie, ou – en empruntant à son vocabulaire – résolue.
Adam Mufti, J'adore
(…)
« Aujourd’hui, ce ne sont plus les images qui sont belles, ce sont les chaînes. »
(…)
[Jaron] Lanier et Parreno ont rapidement trouvé un terrain d’entente autour de la question du conflit entre la résolution et l’irrésolution des images. (Extrait de leur première conversation, au téléphone : « P.P. : No resolution! J.L. : Yeah ! Resolution is an idiots game. »)
Hans Ulrich Obrist, …dontstopdontstopdontstopdontstop
Fulguro, bar Nestlé, Montreux Jazz Festival 2006
Cédric Price a réfléchi à ce qui pourrait remplacer le terme de « ville » - sûrement pas « mégalopole » ou tout autre terme du genre (trop difficile à prononcer). Il décrivait un jour ce mot nouveau comme « un mot possiblement associé à la conscience humaine du temps, transposé en terme d’espace. Je n’ai pas encore trouvé le mot, mais cela ne devrait pas être trop difficile ». Plus tard, il écrivait que ce mot devait être « comestible et suffisant ».
Hans Ulrich Obrist, …dontstopdontstopdontstopdontstop
Happypets
Ugo Rondinone
Fat, The Hoogvliet Heerlijkheid project - a park, community building and ancillary features.
Douglas Gordon, Philippe Parreno, Zidane
Schiphol Airport, Eikongraphia
En fait, c’est pour évoquer l’espace. Mon premier titre était « Haïti parc ». C’est le nom d’un endroit à Taiwan. Mais je trouvais que le terme était trop abstrait. J’ai cherché dans un dictionnaire et je suis tombée sur le terme « cosmodrome ». Je voulais un terme proche de planétarium mais moins codé que ce mot. Avec le terme cosmodrome, ce qui est bien c’est que l’on ne sait pas à quel type d’espace cela fait référence. Il y a tout de même l’évocation d’un cosmos et l’idée d’un espace.
L’environnement ne doit donc pas forcément évoquer le décollage d’une fusée.
Pas du tout non. On est plutôt dans un vaisseau. C’est surtout le charme du mot qui justifie mon choix.
DGF
Mark Handforth, Vertigo, 2007
Ida Tursic & Wilfried Mille, Fashion-cumshot
Petra Blaisse, Inside-Outside
Trisha Donnelly
Pierre Joseph, Angela Bulloch
Angela Bulloch, Antimatter3: The Thing: 4:3:1, 2004
Bertrand Lavier, N°5 / Shalimar, 1987
Schonwehrs
It design, It bed futon
Oui, bien sûr. Elle parle dans sa langue et se dédouble. Sa « traduction vivante » (en anglais) est un clone d’elle-même. Ann Lee a une dimension très contemporaine ; elle est à la fois dédoublée, elle existe dans différentes langues et elle adopte une position un peu apocalyptique. Pour moi, il est naturel qu’elle parle le japonais vu que c’est sa langue d’origine.
DGF
Fulguro, Rehouse/Bath
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