Rencontrer une fille a dakar
Artistic directors, artists, doers, image makers? When we started working together, at the end of the 20th century, there was no Internet or social media, and people traveled much less than today. We had to dream up a tool that would allow us to express ourselves, and project our voice throughout the world. We were part of a generation that still conceived of art as being active and effective. From the beginning, we sought to make images that would be inside the world, that would set things in motion and interlink them. So we set up a production studio, where the main activity was graphic design, artistic direction, or image-making. We knew by intuition that it would be a viable strategy, allowing us to operate at Rencontrer une fille a dakar nexus of multiple art and media networks, and especially of different worlds.
Of course, Rencontrer une fille a dakar you dig a little into the history of art, you find several models. We also watched artists put together alternative projects Rencontrer une fille a dakar that sort — restaurants, for example. You might think of Gordon Matta-Clark too. There were projects like that in art, and they were present in our unconscious. So that aspect of things was unconsciously present for us, but there was also fashion, which was already represented by certain artists, but only superficially — never in a well-considered, well-analyzed way, as a worthy subject for reflection.
There was also music, and Andy Warhol and The Factory, who declared that a band could be a work of art. We were surrounded by all these influences. We were hitting the scene right afterward. From a real office, anchored in the real world, so that we could make real objects. Anyway, that sometimes provoked disagreements, but they were constructive conversations. The culmination of our encounter with Pierre Huyghe and Philippe Parreno was probably the message microsoft feeds synchronization Fuck local sluts in calford green rencontre un probleme Annlee project.
You have a very particular way of working. We took his text to heart. We were in agreement with the thesis of that manifesto, according to which the criterion for art was that it put into contact the individuals of a group, who would collaborate and actively converse. What we were trying to do with our work was establish the one-on-one relationship, the aesthetic of conversation. Now, that sometimes leads to misunderstandings. People will suddenly try to tame us, or appropriate something that belongs to us. And, indeed, when you examine our projects closely, you see that they have an uncommon tendency to endure.
Seven or eight years working for the same brands? That has lasted more than 20 years. He asked us to create for Rencontrer une fille a dakar a kind of system or procedure that would allow him to collect fashion. How would you now describe the evolution of your personal approach, and what it might have inspired in others? In other words, when you do what you do you also think about making various versions of it — for example, a table, a poster, an opera set, pins, and a collaboration with a singer. We lacked both the skill and the time. The site was pretty improbable. It was a former paint factory on Rencontrer une fille a dakar outskirts of Lausanne.
Lausanne is already no metropolis, just a pretty little lakeside town. We were in a sinister spot, withdrawn from the Finds local sluts for sex in gillygooly, which led to some pretty madcap experiments. The experience left its mark on the students. Even today there are fleeting traces of us in the graphic-art department of ECAL — in the general manner of the students, especially in the way the teachers draft their briefs. There are two of us, M and M, and we remake the world on our scale.
Also, this notion of the world recalls the adolescent obsession with transforming your room in order to make your own world. We try to design everything — the bed, the walls, the doorknob, the clothes… In fact, we did that with our album covers. It was like an unhealthy obsession. We could not stop ourselves from customizing them, as if nothing could ever be beautiful enough for us — or, rather, could never hew closely enough to our tastes and our thinking. Even when an album cover had a superb photo something would drive us to reappropriate it.
Drawing is present in almost all of your productions. If we draw in one spot, the idea is to bring in a supplementary element for the comprehension of the image. We like things to be drawn. We like to have several situations, actions, and spaces to comprehend one another, literally. So we came to an agreement with photographers Inez and Vinoodh to do a photo that would bring out a more sensual image of her. And, to put a little more emphasis on it, we drew a swan on the photo. Much later, when we did some work for Vanessa Paradis, we used the same procedure. We infused her with things that the human eye cannot see. And there was that Balenciaga ad, with the decapitated head of Christy Turlington set on a kind of Dali-esque tripod.
During this meeting at question a poser rencontre internet Vogue the editor-in-chief, thumbing through the magazine, looked as us somewhat taken aback and asked: For us that logically entails a more pictorial kind of work. When you did the ones for Liam Gillick and Rirkrit Tiravanija, you brought them out of a plastic vocabulary that they had no notion of at the time. Some artists have put up resistance. The print run was never specified, either. The anti-speculative way of doing things, the impossibility of speculation, made things too complicated, in a way, for artists and for the art system.
Those works are still available, which makes for a pretty difficult project from the conceptual point of view. We continue to make posters together, and the posters have gone very far in confronting our respective languages. We teach each other formal lessons. She gets inspired and ends up repainting film posters herself. There was an exhibition that lasted an entire night, during which lyric artists sang before masterworks of modern art while dressed in Prada to resemble the characters in the modern art. So we made him a poster, a handkerchief, because people were going to cry, and an opera libretto. For your friends the photographers Inez and Vinoodh, for the Palais de Tokyo, etc.
This is yet another side to your approach: To assert our grammar and language it is of course better for us to draw our own typefaces, even if we do on occasion use others. This instinctively became the only way for us to be of our time, to live in our time. Our starting point was graphic design, which has a short and rather codified history. Especially since the s, the modern era. Our purpose is to return to the simplest exercise, to the letter, to the ABCs of communication. We seek to return to the abstract stroke, which signifies a sound, a letter, a word.
That would pose a moral problem for us. Could you go into detail? But using it as a style, while obliterating the underlying ideology? In the same way, drawing is a counterpoint to the mute ideology of signs. We try to be neither modern nor postmodern, in order to avoid categories and quotations. For example, a very good illustration of the meaning of our typefaces is when Nicolas Bourriaud did an exhibition called rencontre avec demi lovato Altermodern. The posters for rencontres talmont saint hilaire Altermodern marked the first time we reused our typefaces, as if quoting ourselves. We did the same thing for this project, because it seemed to us the best way to illustrate our position, to assert that we were neither modern nor postmodern but alter-modern.
What is exhibition in your view? Our generation, that is, has hopped on the moving train of exhibition history. At least for the kind of event where the exhibition is as important as the works on display. To illustrate this history, we might cite the Duchamp exhibition where he ran some lines and strung up bags of coal all over the place. In other words, if you take a micro or a macro view of it, the exhibition remains a place shot through with the utterance of an idea or a feeling. That has been our approach from the start, except that, in order to stay within the idea of a repositioning, we were already thinking that our projects, on a worldwide scale, should in themselves be exhibitions, especially because they always have a sort of utopian value.
In fact, people are always asking us: And both he and we have gotten our ego and territorial problems under control, in the sense that we all know who we are. He asked us because, as he clearly said: In the end it speaks neither about him nor about us, but becomes an autonomous thing, whose objective is to reactivate a taste for Italian television from to Because Italian television is a place for cultural, plastic, and political experimentation. We think it was an extremely successful project, and in dreaming up the forthcoming second volume of the book that covers all our work we thought that an interview with Francesco would be necessary, because the model for collaboration that developed in the s and s has gone defunct over the course of things.
Paradoxically, this has happened with someone whose terrain, history, and concerns are pretty much diametrically opposed to it. The opera recherche site rencontres serieux gratuit Il Tempo del Postino highlighted the failure of collaboration. Yet les rencontres de la baule Il Tempo del Postino sort of forced us to realize that the history of collaboration between artists of our generation had reached its end. Because time has gradually shown the reverse to be true: So it also set off a dynamic. The exhibition in Seoul has two parts: The lower part of the exhibition was built like a garden, where you wander amid structures that are both material and immaterial, composed of displays.
Parallel System Requirements
That would pose a moral problem for us.
The entrance exam in L1 (first year)
How would you now describe the evolution of your personal approach, and what it might fjlle inspired in others? In other words, if you take a micro or a macro view of it, the exhibition remains a place shot through with the utterance of an idea or a feeling. We regularly make these for our exhibitions. Some artists have put up resistance.