oeuvre de DONATO MANCINI
Un court extrait du poème:
ligature tureen re-enter, entertain, taint intense ensemble
emblem blemish-mishap shape aperture, urethane anemone, moneyed-edge genie nieces cesspit spitball-ballast : last staff affect ectomorph-orphan phantom tomalley-alley eyelid elide, ideate eater, terrapin rappin’ pineapple applecart
cartilage lager gerund rundown downcast castrato stratosphere heretic
mercredi 19 mai 2010
samedi 27 février 2010
IN AND OUT - OUT AND IN - AND IN AND OUT - AND OUT AND IN
oeuvre de LAWRENCE WEINER
1970
Référencé sous le n° 237 du catalogue "Works".
Collectionneur responsable Ghislain Mollet-Viéville.
1970
Référencé sous le n° 237 du catalogue "Works".
Collectionneur responsable Ghislain Mollet-Viéville.
jeudi 14 janvier 2010
vendredi 27 novembre 2009
mardi 24 novembre 2009
dimanche 22 novembre 2009
samedi 7 novembre 2009
L'ANGLE DU VENT
Oeuvre de TÉRENCE MEUNIER
Cette installation sonore discrète émet un son de vent synthétisé numériquement.
Elle permet de rafraîchir les pièces étouffantes par un effet psychologique.
Ou dans un espace non dédié à l’art (un couloir, un lieu de passage de préférence).
Cette pièce est spécialement appropriée pour la réalisation d’expositions collective car elle permet aussi de générer de la fiction au contact d’autres oeuvres lors de performance ou dans un espace commun d’exposition, car elle a été pensée en termes parasitaires, notamment pour des expositions collective, capable de transformer une performance en séquence de western.
Ce vent est synthétisé numériquement à partir du bruit blanc en taillant dans celui-ci jusqu’à obtenir un sifflement généré et modulé à l’infini.
Une petite couleur synthétique à fait dire à certains les propos suivants :
— C’est quoi ce bruit ? on dirait une installation sonore, ou encore
— C’est de l’accordéon ? de la flûte ?
Cette installation rafraîchit les espaces caniculaires (stéréotype du vent glaciaire).
Le titre L’angle du vent fait référence à la photographie Mesure de l’angle du Mistral réalisée par Johan Berard informations ci-contre, mais aussi à l’impossibilité d’entendre le vent s’il n’y a pas d’angles.
extrait son :
Carle Colline
Oeuvre de JULIEN BLAINE et SYLVAIN DAVAL
CARLE COLLINE
Copyleft : cette oeuvre est libre, vous pouvez la redistribuer et/ou la modifier selon les termes de la Licence Art Libre. Vous trouverez un exemplaire de cette Licence sur le site Copyleft Attitude http://www.artlibre.org ainsi que sur d'autres sites.
CARLE COLLINE
Copyleft : cette oeuvre est libre, vous pouvez la redistribuer et/ou la modifier selon les termes de la Licence Art Libre. Vous trouverez un exemplaire de cette Licence sur le site Copyleft Attitude http://www.artlibre.org ainsi que sur d'autres sites.
Entrevue / Interview
Interview with Carle Colline
SD: Hello Carle Colline, we are now in your place surrounded by the different pieces of your collection. Before entering into this specific collection, I would like you to introduce yourself and
explain to us how you became a collector.
CC: who I am...
First I was a poet. A young poet used my name to sign his writings. After a short period he changed to another pseudonym. Fifty years later approximately I met a young artist trying to place his pieces in the public domain. During a discussion with the poet become older, he proposed using my name.
Since then I changed activity. After being a poet I am composer and musician with the pseudonym of Charles Colline and the Popom Human Band. I am part of the ‘Republique Sans Tout ça’ (TheRepublic Without All Of This).
It is during this period that with some friends began my thinking about pieces and my desire to
collect.
Afterwards, it was with this constant desire of having some works I liked, to possess them, share
them with others and share my point of view on art, that I began to collect.
SD: Yes indeed, about this collection, could you explain its organization to us?
CC: I don’t know if we can talk about an organization, but the common thread amongst the pieces are their reproducibility, and they can be remade at any time.
Then it's according to my preferences and the meetings I can do that I decide to collect a piece.
Some are chosen for an organizational value, like marks, justifications for the coherence of my
collection, but all of them are there because I was moved by them.
SD: You’re saying that the pieces are reproducible,however there are some paintings, some
sculptures... What do you mean by reproducible?
CC: This question has different answers. The piece itself, from the point of view of which it was
realised and intellectually conceived, is thought to be reproducible. They don’t have a definite copy number. For example some paintings by Philippe Clot have been reproduced because the artist authorized it.
And Lawrence Weiner statements authorize anyone to reproduce some of his pieces.
This is possible for lots of different works and not only for editions, which are usually copy-limited.
You see, it is through researches and meetings that I discover if a piece is reproducible or not.
Sometimes I think that a piece can’t be reproduced and finally it is possible. The opposite happens too. But it is part of the pleasure of collecting.
SD: You say that your collection comes from your point of view on art. What is it and how could
your collection diffuse it?
CC: My collection doesn’t come from a point of view on art only. It is also a simple pleasure and a desire that I am fulfilling. I have thoughts about art more than points of view, and my collection gives me the opportunity to develop them.
I think it is sad that art works have such an important financial value. It occults their force.
At the same time this preciosity refers to their uniqueness. And we need to have more or less precise or singular marks to orient ourselves. Despite this, some artists worked and are working on dispersing marks that confuses our conventional lines of judgment. Critique of the white cube, critique of the artist's identity and his/her singularity...
I would like to continue this approach with some new processes because the ones before have
shown their failures and in a way their defeats. I’m sure that what I am doing has nothing
revolutionary, but is only a continuity.
This collection allows me to establish a contact with the artists when they are accessible and still
alive or with those who are near the pieces (curators, collectors...).
Furthermore, in its presence and its utilization my collection is a conversation space with my
friends, those who come to my house or borrow my artworks.
My knowledge is limited and it is through different meetings that I can be enriched.
SD: You talk about the utilization of the collection and the possibility to borrow art works. Could
you be more precise?
CC: Yes, sorry... I am not alone in working on this collection, there are in general people with
whom I am in discussion but also a young artist who proposed to have my collection be publicly
accessible.
I liked this principle of having some of the collection in people's houses.
And especially as the borrowing contract is for an unspecified time and asks the borrower to let the piece be visible to anyone who would like to see it.
It happens too that some curators or I present a part of my collection for an exhibition.
These are the main uses of my collection, but I am still curious and open to others propositions.
SD: To rouse our curiosity, could you tell us some of the pieces you have? On which you are
working or the ones you would like to acquire?
CC: There are a lot that I would like to acquire, and it happens regularly when I visit a museum that I see one or two works that could enter in my collection.
At the moment I’m working on Condensation Cube by Hans Haacke and the Black Box by John Mc Cracken.
Otherwise my collection is still young, I could mention too some works by Pierre Antoine, or
Sébastien Feugère and France Languérant.
SD: Thank you. I hope your collection won’t stop growing and that it will be possible to cross paths with it regularly.
CC: Thank you too for your interest.
Interview done in Charles Colline’s house in December 2008.
Translated from French in 2010.
Thanks to Sarah and Sydney.
telecharger l'entrevue en Français ICI
Download the interview in English HERE
SD: Hello Carle Colline, we are now in your place surrounded by the different pieces of your collection. Before entering into this specific collection, I would like you to introduce yourself and
explain to us how you became a collector.
CC: who I am...
First I was a poet. A young poet used my name to sign his writings. After a short period he changed to another pseudonym. Fifty years later approximately I met a young artist trying to place his pieces in the public domain. During a discussion with the poet become older, he proposed using my name.
Since then I changed activity. After being a poet I am composer and musician with the pseudonym of Charles Colline and the Popom Human Band. I am part of the ‘Republique Sans Tout ça’ (TheRepublic Without All Of This).
It is during this period that with some friends began my thinking about pieces and my desire to
collect.
Afterwards, it was with this constant desire of having some works I liked, to possess them, share
them with others and share my point of view on art, that I began to collect.
SD: Yes indeed, about this collection, could you explain its organization to us?
CC: I don’t know if we can talk about an organization, but the common thread amongst the pieces are their reproducibility, and they can be remade at any time.
Then it's according to my preferences and the meetings I can do that I decide to collect a piece.
Some are chosen for an organizational value, like marks, justifications for the coherence of my
collection, but all of them are there because I was moved by them.
SD: You’re saying that the pieces are reproducible,however there are some paintings, some
sculptures... What do you mean by reproducible?
CC: This question has different answers. The piece itself, from the point of view of which it was
realised and intellectually conceived, is thought to be reproducible. They don’t have a definite copy number. For example some paintings by Philippe Clot have been reproduced because the artist authorized it.
And Lawrence Weiner statements authorize anyone to reproduce some of his pieces.
This is possible for lots of different works and not only for editions, which are usually copy-limited.
You see, it is through researches and meetings that I discover if a piece is reproducible or not.
Sometimes I think that a piece can’t be reproduced and finally it is possible. The opposite happens too. But it is part of the pleasure of collecting.
SD: You say that your collection comes from your point of view on art. What is it and how could
your collection diffuse it?
CC: My collection doesn’t come from a point of view on art only. It is also a simple pleasure and a desire that I am fulfilling. I have thoughts about art more than points of view, and my collection gives me the opportunity to develop them.
I think it is sad that art works have such an important financial value. It occults their force.
At the same time this preciosity refers to their uniqueness. And we need to have more or less precise or singular marks to orient ourselves. Despite this, some artists worked and are working on dispersing marks that confuses our conventional lines of judgment. Critique of the white cube, critique of the artist's identity and his/her singularity...
I would like to continue this approach with some new processes because the ones before have
shown their failures and in a way their defeats. I’m sure that what I am doing has nothing
revolutionary, but is only a continuity.
This collection allows me to establish a contact with the artists when they are accessible and still
alive or with those who are near the pieces (curators, collectors...).
Furthermore, in its presence and its utilization my collection is a conversation space with my
friends, those who come to my house or borrow my artworks.
My knowledge is limited and it is through different meetings that I can be enriched.
SD: You talk about the utilization of the collection and the possibility to borrow art works. Could
you be more precise?
CC: Yes, sorry... I am not alone in working on this collection, there are in general people with
whom I am in discussion but also a young artist who proposed to have my collection be publicly
accessible.
I liked this principle of having some of the collection in people's houses.
And especially as the borrowing contract is for an unspecified time and asks the borrower to let the piece be visible to anyone who would like to see it.
It happens too that some curators or I present a part of my collection for an exhibition.
These are the main uses of my collection, but I am still curious and open to others propositions.
SD: To rouse our curiosity, could you tell us some of the pieces you have? On which you are
working or the ones you would like to acquire?
CC: There are a lot that I would like to acquire, and it happens regularly when I visit a museum that I see one or two works that could enter in my collection.
At the moment I’m working on Condensation Cube by Hans Haacke and the Black Box by John Mc Cracken.
Otherwise my collection is still young, I could mention too some works by Pierre Antoine, or
Sébastien Feugère and France Languérant.
SD: Thank you. I hope your collection won’t stop growing and that it will be possible to cross paths with it regularly.
CC: Thank you too for your interest.
Interview done in Charles Colline’s house in December 2008.
Translated from French in 2010.
Thanks to Sarah and Sydney.
telecharger l'entrevue en Français ICI
Download the interview in English HERE
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