275 research outputs found
Berlinde de Bruyckere. With contributions by Emmanuel Alloa, Gary Carrion-Murayari, J. M. Coetzee, Angela Mengoni, Caroline Lamarche and Philippe Van Cauteren.
No full textBelgian artist Berlinde de Bruyckere (b. 1964) is a star of the contemporary art world whose innovative practice focuses on sculpture. This first-ever monograph on de Bruyckere offers a comprehensive look at the scope of her work over more than twenty years. The book includes de Bruyckere's first sculptures from the 1990s, mainly mediations on the human body in wax and wool, as well as her later sculptures with horses that earned her international acclaim. De Bruyckere's works are rife with astonishing contradictions - they are simultaneously inviting and discomforting, embodied and abstract. A deep meditation on the universal issues of bodily fragility and pain, her work also conveys a rich cultural memory in visual form, as shown by one of the standout wax pieces in the monograph, her monumental Kreupelhout - Cripplewood made for the Belgian pavilion at the Venice Biennale 55th International Art Exhibition, which exudes the vulnerability of the fallen, the humanity of a pietà
Berlinde de Bruyckere. Avec des contributions d’Emmanuel Alloa, Gary Carrion-Murayari, J. M. Coetzee, Caroline Lamarche, Angela Mengoni et Philippe Van Cauteren, Fonds Mercator, Bruxelles, 2014, 304 pp.
No full textExploration de l'oeuvre de Berlinde de Bruyckere, depuis ses premières sculptures au début des années 1990 jusqu'à sa récente installation pour le Pavillon belge à la Biennale de Venise
“Herinneringen aan het onvoorstelbare: schuld vereffenen, de leegte een teken geven” in: A. Mengoni (ed.), Berlinde de Bruyckere, Mercatorfonds, Bruxelles.
No full text"Adel Abdessemd. Works 1988-2015". Contiene i seguenti testi di A. Mengoni: Ombre et lumière pp. 12-13; Nüremberg pp. 20-21; Sysiphe pp. 25-27; Passé simple pp. 34-35; Nuit pp. 42-46; Chrysalide, ça tient à trois fils pp. 50-51; Fontaine pp. 54-55; Zen pp. 58-59; Je me dresse entre les deux pp. 66-67; Adel has resigned pp. 70-71; Question nary pp. 72-73; Il meglio delle tre religioni pp. 78-79; The Green Book pp. 80-81; Happiness in Mitte pp. 84-87; Real Time pp. 88-89; Habibi pp. 90-95; Tschüss pp. 104-105; Study for a video project pp. 106-107; Bourek pp. 108-111; Brik pp. 112-113; Godi s design pp. 116-119; Les Douleurs de ma mère pp. 122-123; Pluie noire p. 134; Birth of Love pp. 142-143; Dvir pp. 148-149; Habibti pp. 150-153; La capacité qu’a la main pp. 154-155; Practice Zero Tolerance pp. 158-163; Wall Drawing p.. 168-171; Séparation pp. 172-173; Sept frères pp. 174-175; Don’t Trust Me pp. 184-187; Helikoptère pp. 196-197; Also Sprach Allah pp. 226-229; Hot Blood pp. 246-247; Usine pp. 258-259; Nedjma pp. 276-279; The Futur of Décor pp. 300-301; Taxidermia, Taxidermy, Histoire naturelle pp. 322-327; One Thousand One pp. 328-329; L’avenir est aux fantômes p. 350; Odradek pp. 360-361; Lise pp. 362-363; Cheval arabe pp. 364-365; Décor pp. 366-371; Who’s Afraid of the Big Bad Wolf pp. 388-391; La Grande parade pp. 392-395; Cri pp. 404-411; Soldaten pp. 412-415; Le Vase Abominable pp. 416-421; Little Pot pp. 422-425; State pp. 426-429; Printemps pp. 434-437; L’Age d’Or pp. 442-443; Park pp. 468-471; Lampedusa pp. 472-475; Pigeon pp. 480-483; Mon Enfant pp. 490-495; Tortue pp. 498-501; Solitude pp. 502-503; Diptyque pp. 514-515; Trabajo pp. 532-535; Citizen pp. 542-547; Chicos pp. 548-551; El Che pp. 552-553.
No full textThe volumes focus on Adel Abdessemed's artistic works in the years 1988-2015. Besides the essays of several international authors, a second volume focuses on the close analyses of Abdessemed's works: a brief essay explores the characteristics and sense generation of every single work and clarifies the issues it appeals to. Angela Mengoni is the author of 65 essays, for a total of about 200 pages of close visual analysis
Justeza de la anacronia
No full textThe conversation between Angela Mengoni and Paolo Fabbri explores the so-called debate on “anachronism” and the image with particular reference to its implication for a semiotics of the image. In particular, Paolo Fabbri reassesses the debate concerning two central semiotic issues: the problem of the “justification” criteria for the anachronic relationships and the necessity to overcome the opposition between good and bad “chronicity” and to acknowledge the role of efficacy. Some textual examples, which are relevant to the topic, are also evoked during the conversation: the works of De Chirico and Savinio as well as a text by Benedetto Croce on Mantegna
“Memories of the ‘unfigurable’: paying the debt, pointing to the void”
No full textThe article explores the role of visual montage in the work of Flemish artist Berlinde De Bruyckere, with special reference to issues of memory, trauma, working through and witnessing. The methodology of analysis is largely semiotic, pointing to concepts/operators such as the figural, the articulation of plastic and figurative semiotics, the role of the 'neutre'
“Mémoire de l’infigurable. Régler la dette, faire signe au vide”
No full textThe article explores the role of visual montage in the work of Flemish artist Berlinde De Bruyckere, with special reference to issues of memory, trauma, working through and witnessing. The methodology of analysis is largely semiotic, pointing to concepts/operators such as the figural, the articulation of plastic and figurative semiotics, the role of the 'neutre'
Materia-autore = Author-Matter
No full textThe etymology of the word author refers to an act of creation, an act of augmentation, from the Latin verb augere. Author instantiates creation, the expansion of the pre-existing. In 1967 Roland Barthes declared the death of the author in his famous essay to state once more that the crisis is that of the author as a single subjectivity and as a term that condenses prestige, undermined by the de-subjectivation strategies of automatism, fortuity and fragmentation of the historical avant-gardes, as well as by the machinic act and by the reproducibility of the second avant-gardes.
Fifty years after Barthes’ paradigmatic formula, this lack of authorship appears to be a successful brand. The ten- sions between the anomie of matter, the law that establishes authorship and the economy that makes the work pos- sible, invoke discordant perspectives. Artists make the self-destruction of their work the real work, and appeal is made for the demolition of architectures, whether by a recognised author or not, in order to re-design, or better still, re-claim the territory. Artificial intelligence consolidates its logics and its design by progressively shedding human ingenuity. The space of criticism becomes, finally, increasingly ephemeral. However, there is an acceptation of criti- cism that is, rather than an individual ‘signature’, an exploration and explanation of how design makes theory.
The binomial author-matter seeks to mark these tensions and contradictions: the featured term author is main- tained to underline the persistence of that prestigious subjectivity, at the very moment when the rhetoric of “mat- ter as an author” promises other forms of authorship
Berlinde de Bruyckere. Mit Texten von E. Alloa, G. Carrion-Murayari, A. Mengoni Ed. Marc Fehlmann, Birgit Verwiebe
No full textMit ihren Werken hat die belgische Künstlerin Berlinde De Bruyckere in den vergangenen Jahren weltweit große Anerkennung erfahren. 2013 bespielte sie den belgischen Pavillon auf der Biennale in Venedig mit ihrer Installation "Kreupelhout", die zumPublikumsrenner avancierte. Das ist die erste Monografie ihres ouvres der letzten zwanzig Jahre auf Deutsch. Das Werk von Berlinde De Bruyckere geht im wahrsten Sinne des Wortes unter die Haut. Ihre Skulpturen und Installationen führen die Verletzlichkeit des menschlichen Körpers vor Augen. In expressiven Arbeiten aus Wachs, Holz, Wolle, Stofffetzen oder Tierfellen thematisiert sie Leben und Tod, Einsamkeit und Fragilität von Mensch, Tier und Pflanzenwelt. Die verstörende Wucht ihrer beeindruckenden Arbeiten kommt in großformatigen Abbildungen intensiv zum Tragen. In enger Zusammenarbeit mit De Bruyckere entstand das aufwendige Layout dieser Publikation. Drei philosophische Essays reflektieren das Werk dieser besonderen Künstlerin und regen den Leser zum Nachdenken über die menschliche Existenz an
A. Mengoni (ed.), “Anacronie. La temporalità plurale delle immagini”, Carte Semiotiche. Rivista internazionale di Semiotica e Teoria dell’immagine, La casa Usher, Lucca (181 pp.)
No full textNumero della rivista Carte Semiotiche dedicato all'anacronismo e ai modelli di storicità e di temporalità della storia e teoria delle arti e dei media che a questo concetto sono legati. Il volume raccoglie saggi di analisi e metodologia semiotica (Corrain, Lancioni, Fabbri), di teoria delle immagini (Didi-Huberman, Somaini, Pinotti), di studi sul cinema
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