187,524 research outputs found
Conférences publiques de MM. Débat et Magnin
No full textDebat M., Magnin Antoine. Conférences publiques de MM. Débat et Magnin. In: Annales de la Société botanique de Lyon, tome 5, 1876-1877. 1878. p. 22
Peeling the Paint off the Walls: Kelli Morgan on Black Performance and Racial Justice in Western Institutions
No full textIn this conversation with editors Hanna B. Hölling, Jules Pelta Feldman, and Emilie Magnin, Kelli Morgan—critical race scholar, curator, educator, and social justice activist—discusses the challenges related to Western conceptions of institutions and their underpinning values. Addressing the colonialist roots of modern museums, Morgan talks about the challenges she has faced as a Black woman in several U.S. American museums; emphasizes the importance of creating change in museum collections (rather than only in temporary exhibitions); considers alternative practices for conserving art and knowledge; and explains her efforts to address these problems in her pedagogy
Peeling the Paint off the Walls: Kelli Morgan on Black Performance and Racial Justice in Western Institutions
No full textIn this conversation with editors Hanna B. Hölling, Jules Pelta Feldman, and Emilie Magnin, Kelli Morgan—critical race scholar, curator, educator, and social justice activist—discusses the challenges related to Western conceptions of institutions and their underpinning values. Addressing the colonialist roots of modern museums, Morgan talks about the challenges she has faced as a Black woman in several U.S. American museums; emphasizes the importance of creating change in museum collections (rather than only in temporary exhibitions); considers alternative practices for conserving art and knowledge; and explains her efforts to address these problems in her pedagogy
Dijon, Musée Magnin : catalogue des tableaux et dessins italiens : XVe-XIXe siècles /
No full textIncludes index."Bibliographie des écrits de Jeanne et Maurice Magnin": p. 186-187.Bibliography: p. 29
Performing the 'Mask': Kongo Astronauts (Eléonore Hellio and Michel Ekeba) on Postcolonial Entanglements
No full textIn conversation with Hanna Hölling, Emilie Magnin, and Valerian Maly, Eléonore Hellio and Michel Ekeba of the collective Kongo Astronauts discuss the origins, ongoing evolution, and potential futures of their multifaceted artistic practice. They explain the circumstances that first brought Hellio, who was born in Paris, to Kinshasa, and relate Ekeba’s first experiments with wearing an astronaut costume that he made of discarded electronics purchased at market. Conservation is figured partly in terms of the astronaut costumes, which are constantly changing through cycles of use and repair, but which also have the potential to be purchased as artworks and conserved as static museum objects. Hellio and Ekeba also discuss the films and photographs they produce, which both propagate and disseminate the live performances that take place in Kinshasa. Finally, conservation is also understood in the collaborative, social practices of Kongo Astronauts, which are taken up, reconfigured, and renewed by the various artists who pass through the collective. Ekeba and Hellio also relate the performative and ritual aspects of their work to traditional Congolese practices that were suppressed by colonial authorities
Robert Magnin, St. James, MO
No full textPortrait of John Magnin, resident of St. James, MO. Magnin leans against the windshield of his vintage automobile, smiling
Performing the ‘Mask:’ Kongo Astronauts (Eléonore Hellio and Michel Ekeba) on Postcolonial Entanglements
No full textIn conversation with Hanna Hölling, Emilie Magnin, and Valerian Maly, Eléonore Hellio and Michel Ekeba of the collective Kongo Astronauts discuss the origins, ongoing evolution, and potential futures of their multifaceted artistic practice. They explain the circumstances that first brought Hellio, who was born in Paris, to Kinshasa, and relate Ekeba’s first experiments with wearing an astronaut costume that he made of discarded electronics purchased at market. Conservation is figured partly in terms of the astronaut costumes, which are constantly changing through cycles of use and repair, but which also have the potential to be purchased as artworks and conserved as static museum objects. Hellio and Ekeba also discuss the films and photographs they produce, which both propagate and disseminate the live performances that take place in Kinshasa. Finally, conservation is also understood in the collaborative, social practices of Kongo Astronauts, which are taken up, reconfigured, and renewed by the various artists who pass through the collective. Ekeba and Hellio also relate the performative and ritual aspects of their work to traditional Congolese practices that were suppressed by colonial authorities
Notice sur P. G. F. Chénevière
No full textMagnin Antoine. Notice sur P. G. F. Chénevière. In: Annales de la Société botanique de Lyon, tome 30, Notes et Mémoires - Comptes-rendus des séances – 1905. 3-4e trimestres, 1905. pp. 217-219
Notice sur P. G. F. Chénevière
No full textMagnin Antoine. Notice sur P. G. F. Chénevière. In: Annales de la Société botanique de Lyon, tome 30, Notes et Mémoires - Comptes-rendus des séances – 1905. 3-4e trimestres, 1905. pp. 217-219
Rosanna Raymond on Conser.Vā.Tion
No full textIn a conversation with Hanna B. Hölling, Jules Pelta Feldman, and Emilie Magnin, artist Rosanna Raymond discusses her interest in preserving Pacific heritage through performance. As a member of the Pacific Sisters and SaVĀge K’lub Collective, she aims to tell Pacific stories through visual storytelling that includes her body. Raymond’s upbringing in street culture, combined with her experiences in hip-hop, spoken word, and various artistic forms, has influenced her approach to making the past present and preserving Pacific heritage. Raymond’s performance practice challenges conventional museum systems and norms, focusing on making cultural practice a living and relevant part of urban life. The concept of vā, a relational space that binds people and things, is crucial to her practice, and she has found the term to be applicable across various Pacific cultures. Representing a decolonized body that shares space with the ancestral past, the ‘Vā Body’ creates a tangible experience of intangible cultural heritage. Through her work in museums, Raymond has encountered challenges in conveying the meaning of her performances to Western institutions. She believes that cultural health and safety, including setting out intentions and asking for permission from ancestors, is essential in preserving and sharing cultural heritage through performances
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