LMNY's BLOG

https://scontent-lga3-1.xx.fbcdn.net/hphotos-xat1/v/t1.0-9/11223550_1080136278670976_1497393341047188491_n.png?oh=89a698692c7827a0d978e349700e669f&oe=5692FEFA et pour vous montrer que j'elargis mon interet au dela des cochons,... j y ajoute ceux de la ferme

trouve dans l'article du NYTimes A well-kept secret, full of surprises http://www.nytimes.com/2015/06/14/travel/exploring-franche-comte-frances-well-kept-secret.html?_r=0

Mieko Shiomi. Event for the Midday (In the Sunlight). 1963. Event Score. Ink on paper, 4 9/16 x 7″ (11.5 x 17.8 cm) Complementing Ono’s Grapefruit are a number of small event cards by Mieko Shiomi that elicit the spectator to perform mundane tasks of the mind and body. Asking participants to open and shut their eyes seven times at varying intervals over the course of seven minutes and then to look at their hands, Event for the Midday ( In the Sunlight ) is emblematic of the mundane nature of these events. Shiomi’s scores resonate with George Brecht’s concept of the Event Score, which he originated during John Cage’s proto-Fluxus experimental composition course at New York’s New School for Social Research in the late 1950s. Although Cage too performed at Sogetsu, Shiomi developed her concept for the Event Score outside of his tutelage and unaware of Brecht’s concurrent activities. It would be Maciunas’s intervention that would cause these two parallel practices to ...

Thinking of all my fans..who are not travelling to France,,and even if you go to France,,Saint Hilaire might be not on your "route"..so let's get creative..and do our own artmail project. FIRST STEP think about a word or a sentence,..that is exactly written the same way in french and in English ,,and means the same,,,if you can't find one....talk about it around you and you will find quite quickly someone who is going to help you,...and last resort you can go online..https://www.blogger.com/blogger.g?blogID=5858114974940863857#editor/target=post;postID=1687985803079845669;onPublishedMenu=allposts;onClosedMenu=allposts;postNum=1;src=postname and you will fingd a list of what is called "COGNATES" .. (what an uggly name!).. SECOND STEP Send a letter with this word or sentence or locution written,.. drawn ..painted,....embroidery.... you can add..the story behind: why this word, how you found it..decorate it ..draw..spit..whatever..NO THIRD STEP you hav...

autre chose que la Porcelaine...? en vue @ the frick collection? Léonard Limousin.... on view..: http://www.frick.org/collection/works_on_display  this one is not on view but I could not resist...   Pierre Reymond (Workshop of)  (1513 - after 1584) The Agony in the Garden , mid to late 16th century Painted enamel on copper, partly gilded Plaque: 8 x 6 1/4 in. (20.3 x 15.9 cm) Roundels: diam. 2 1/16 in. (5.2 cm) Gift of Dr. and Mrs. Henry Clay Frick, II, 2005 Accession number: 2005.4.01 eh oui.......... les EMAUX.... et a ce propos ,,Emaux artistiques: http://www.lesemauxarediens.fr/actualites   Durant les mois de Juillet et Août , je vous propose des  ateliers d'initiation  d'une durée d'environ 2h durant lesquels chaque participant réalisera l'émaillage de son médaillon de cuivre.  Vous choisirez un décor parmi ceux proposés ou selon votre propre idée et vous pourrez ensuite l'émailler avec la dizaine de couleurs mis...

http://db-artmag.com/en/87/feature/art-trends-tired-of-participating/ Zoë Gray Senior Curator, WIELS, centre for contemporary art, Brussels Photo: Manuel Versaen   Zoë Gray As Duchamp famously said, it is the viewer who makes the work of art. Our role as viewer is therefore of equal importance to the role of the artist. All works of art are thus participative, whether they require physical interaction or mental engagement. We have never been simply viewers. Koki Tanaka’s approach to participation is both open and generous. We can divide his recent work into two main tendencies: setting a group of people a common task and filming their way of working together; or proposing an open-ended, shared activity in which Tanaka also participates.  Walking with Dogs (Rennes, 2014) is one of these latter works and was aimed at dog-owners and their dogs, but was also open to those of us without canine companions. The artist told the gathered walkers and hounds where we were g...

 http://db-artmag.com/en/87/feature/art-trends-tired-of-participating/ Sebastian Preuss Deputy Editor in Chief Weltkunst, Berlin © ZEIT Verlag/Vera Rammen Sebastian Preuss Always more, always something new—that’s not only the case in art, but is the essence of capitalism. And if today we’re experiencing a period of increasingly hectic, increasingly greedy hyper-capitalism, then of course the carousel of purported new sensations is turning faster and crazier in art too. There’s no doubt about that. But the interesting question is: Does art have a chance of countering this development with a new slowness, with more persistence, and with less “innovation”—which the works usually aren’t anyway. I remain pessimistic, as long as art is determined by a completely overheated and unequally distributed market. Artists who want to survive can’t get out of the turbo-spiral. And we viewers—in other words, consumers—are merely children of our age. Fortunately there are a few isolated...

  http://db-artmag.com/en/87/feature/art-trends-tired-of-participating/ Mareike Dittmer Editor Frieze d/e, Berlin Mareike Dittmer Asking people to participate in art calls to mind Bartleby’s mantra “I would prefer not to.” If exhibitions are events that incorporate viewers like festivals of emotions yet also demand complicity, social compatibility, and maximum attention—then distance is my preferred alternative. However, the principle of evanescence as performance interests me a lot, although it, too, relies on participation in a social context. Perhaps this is because, as opposed to ephemeral installations and situations, calculated participatory spectacles allow for coincidences and thus produce an ambiguity dedicated to the moment. Ultimately, though, the question of the pros and cons of participation—like so many other things—can only be assessed based on a concrete work and for that particular work.

http://db-artmag.com/en/87/feature/art-trends-tired-of-participating/   Simon Njami Curator, Author and Art Critic, Paris Photo: David Damoison Simon Njami We don’t have to participate. I don’t have to participate. Participating, for me, is a passive position. It means going with the crowd. It means being politically correct. The world is dying of this participation that leaves no room for controversy or discussion. When people say participate, they necessarily mean “doing something for the good cause.” Being part of the rightful. I don’t care. I want to be able to have my own opinion, even if it does not please the majority. I cherish the critical gaze that makes me different. What would be the world if everyone would be “participating”? All the totalitarian regimes were build on participation. When we read Orwell’s   1984 we see that those who don’t participate are immediately looked at as guilty, as troublemakers. I want to be a troublemaker. I want to have a...

http://db-artmag.com/en/87/feature/art-trends-tired-of-participating/ Nicolaus Schafhausen Curator, Kunsthalle Vienna © Kunsthalle Wien 2014, Photo: Sabine Hauswirth Nicolaus Schafhausen Current art should definitely not leave us alone. It has the potential to open up discourse, to inspire us, to jolt us. If the means for this are in events, it’s because art has to compete for viewers’ attention. Whether it’s masses of information in times of digital communication, sporting events, sociopolitical developments, or other branches of culture—contemporary art and its makers vie with countless other offers for consumer’ attention. Effective, ostentatious art products geared to participation not only draw a lot of visitors, but are also reported on often. So the crux of the issue is what is expected of art today. It should entertain and be fun. At the same time, however, art can and should be uncomfortable. It should challenge viewers and give them food for thought. Even if at some ...

http://db-artmag.com/en/87/feature/art-trends-tired-of-participating/ Ayşe Erkmen One can be a viewer in a cinema, reader of a book, auditor to music... Visual art is particular and varied…, The art viewer never was just a viewer and being just a viewer has become less and less interesting in time… Art is varied in its form, material and location, there is no fixed material nor a standard medium, art's whereabouts can be anywhere: museum, gallery, city, countryside, sea, sky, etc.... Visual art can adopt the form of film, music, book, theater, its physical existence can be anything from paint to air… can be mistaken for not being art or being something else or being nothing. Therefore not participating and being a sole spectator is generally not in the nature of art anyway. But on the other hand there is a fabricated, instructed and studious style of art where the viewer is given the codes of participation and one knows exactly what to do. In this case it is up to the viewer to...