22,744 research outputs found
Sylvie COËLLIER Aix-Marseille University -LESA Mark Manders, L'usine silencieuse
No full textTexte principal du catalogue de l'exposition de l'artiste flamand Mark Manders au Carré d'Art-Musée d'Art contemporain de NîmesMark Manders set up his home and studio in a former textile factory in Belgium. He is gradually occupying the entire space, arranging living rooms, winter and summer studios, rooms for drawings and for ideas, offices, corridors lined with books and with archives, spaces for materials, for wood machines, welding machines, the kiln, and also: a guest pavilion, quarters for close friends, a courtyard, a wildlife garden, a henhouse … Mark Manders says that we must look at each of his installations as a room in a building which, taken together, gradually make up his self-portrait. This is a principle he initiated early on. In 1986, at age 18, he was a young man at a crossroads, wondering what road to take: music, writing or art. From this reflection on identity there emerged the idea for a book-self-portrait, an idea that fascinated him. However, picking up his writing tools – ball-point pens, pencils, rulers, a rubber, scissors, brushes, pots of glue, ink pots – he drew on the floor the plan for a building.Mark Manders abrite sa maison et son atelier dans une ancienne usine textile en Belgique. Il en prend peu à peu tout l'espace, aménageant pièces à vivre, ateliers d'hiver et d'été, salles pour les dessins et les idées, bureaux, couloirs à bibliothèque, à archives, remises pour les matériaux, espaces pour les machines à bois, à souder, pour le four à céramique, et puis aussi : pavillon pour les amis, appartement pour les intimes, cour, jardin sauvage, poulailler… Mark Manders dit qu'il faut regarder chacune de ses installations comme une pièce d'un bâtiment dont l'ensemble constitue peu à peu son autoportrait. C'est un principe qu'il a initié très tôt. A 18 ans, en 1986, le jeune homme alors à la croisée des chemin
Mark Manders : Singing Sailors
No full textHoptman argues that Manders’ sculpture is built on the same principle as linguistic meaning, and she avers that he deploys elements of architecture to construct a narrative framework and concretise abstract thought. In Marije’s interviews with the artist, they discuss specific works and his working process. Since he finds the world more complex than language, Manders claims to write his self-portrait with objects. Bio-bibliography 2 p. 4 bibl. ref
Interview Mark Manders: Studio Tour
No full text<p>This recording is directly following the online interview about the installation ‘Room, Constructed to Provide Persistent Absence (2001-2002)’, as a practical part of a Research Ethics seminar for the Master's programme in Fine Arts in Artistic Research (MFAAR) at Malmö Art Academy/Lund University in collaboration with Moderna Museet. Mark Manders shows his studio for a better understanding of his work and art making process. He shows and explains how he works, discussing many of the artworks present, including his furniture collection, the materials archive, sculptures in progress, the paintings studio, a recipe book and a digital work based on the word ‘Skiapode’.</p>
The sense of a beginning : Bakhtinian dialogic criticism on 'the gospel' in Mark.
No full textContemporary literary approaches have caused paradigm shifts in Biblical Studies in the last two decades as it appears in a great deal of Markan studies using narrative, reader-response, deconstructive, feminist, and new historicist approaches. However, literary studies on the Gospel of Mark have not taken into account theoretical questions underlying those approaches. As a result biblical critics are driven by new trends without ever having a chance to examine the critical baggage of the approaches. Consequently, there is a gap of communication between the old and the new one. Therefore this thesis is an attempt to meet the need of enhancing the quality of critical endeavour in biblical studies. In the light of most recent competing critical theories of literature, the first contribution of this thesis is the methodological finding that Bakhtinian dialogic criticism contains the most profound philosophical and practical foundations for solving some crucial theoretical problems in contemporary literary theories. It is a critique to a Saussurian linguistic system of language which becomes the very foundation of modern and postmodern literary criticism. Bakhtinian literary theory shifts the foundation of literary criticism on linguistic signs into the creative activity of the socio-cultural production of human communication. The shift into socio-cultural reality of language communication makes the notion of 'genre' very important to unlock the problem of text and context in literary studies. Since the Gospel of Mark has fascinated most literary critics in Biblical Studies, the problem of 'genre' of this gospel is chosen as the focus of this study. Secondly, as no agreement is reached as to what 'genre' the Gospel of Mark belongs, this thesis makes its contribution to the discussion by locating the problem of 'genre' of Mark in the context of genre theories and argues that the Bakhtinian suggestion to find genre in the socio-cultural sphere by analysing artistic intercourse between narrative agents in Mark has freed the competing analysis from the unresolved problem between the kerygmatic (content oriented) approach and the analogical (form oriented) approach. To achieve finding 'genre' in the socio-cultural sphere, this thesis focuses on Bakhtinian analysis of the process of artistic intercourse between narrative agents. The narrative communicative interrelationships between narrative agents is constructed in this thesis as a 'stereophonic' Bakhtinian model of dialogic communication. This model is an original contribution of this thesis for revising the traditional two dimensional model of narrative communication. Based on this dialogical model of communication, a special role is given to the Bakhtinian 'author-creator' in the realization process of genre through the interaction of polyphonic voices. Through the interaction of voices of the author-artist and the hero we are led to discover a relatively stable type of portraying and controlling reality in Mark, known as the genre of Roman 'satire'. The closest literary affinity is Satyrica by Petronius. This narrative strategy of 'satire' in Mark has its root in the prophetic discourse of the Old Testament which is saturating the speech of the narrator, John the Immerser, the centurion, the people, and even Jesus. Finally, the whole search for Markan 'genre' culminates in the analysis of the realization of genre through the analysis of Bakhtinian chronotope. The reality of the genre of Mark is its social reality that is in its role as dpxrj/ 'beginning'. As the Gospel of Mark proclaims itself as 'a beginning', it defines its claim of socio-cultural 'authority' in early Christianity. It is this 'sense of beginning' which enables the narrating and the narrated world of Mark to interact dialogically
Interview with Mark Manders, Online Studio Tour, 12 January 2023
No full textThis recording is directly following the online interview about the installation ‘Room, Constructed to Provide Persistent Absence (2001-2002)’, as a practical part of a Research Ethics seminar for the Master's programme in Fine Arts in Artistic Research (MFAAR) at Malmö Art Academy/Lund University in collaboration with Moderna Museet. Mark Manders shows his studio for a better understanding of his work and art making process. He shows and explains how he works, discussing many of the artworks present, including his furniture collection, the materials archive, sculptures in progress, the paintings studio, a recipe book and a digital work based on the word ‘Skiapode’
Interview Mark Manders on Room, Constructed to Provide Persistent Absence
No full textMark Manders is interviewed about his installation 'Room, Constructed to Provide Persistent Absence' (2001-2002) as a practical part of a class on Artwork Interviews for a Research Ethics seminar for the Master's programme in Fine Arts in Artistic Research (MFAAR) at Malmö Art Academy and Lund University, organised by Sanneke Stigter in collaboration with Moderna Museet. The work had been donated to the museum and this was the second time that it was put on display. The interview is meant to learn more about the work’s material properties and spatial possibilities. Important topics discussed are the artist’s use of material, way of working, and his ideas on the way the work is installed in relation to the exhibition and the exhibition space. In addition, replacement of vulnerable items is discussed, the notion of time and the need to keep the work reminiscent of the time when it was made
Democracy Sausage with Mark Kenny: How to be a liberal with Ian Dunt
No full textOn this Democracy Sausage Extra, Ian Dunt - host of the Oh God, What Now? podcast and author of How to be a liberal - joins Mark Kenny to discuss the history of liberal thought, how it has shaped present day politics, and the origins of the ‘culture wars’. Have the culture wars emerged out of the failures of liberalism? Why haven’t contemporary political actors done more to protect people from prejudice and the tyranny of the majority? And is liberalism a natural corollary to democracy? On this Democracy Sausage Extra, author, political journalist and broadcaster Ian Dunt joins Professor Mark Kenny to discuss the history of political thought, present day politics, and liberalism’s trajectory
[Interview with Mark Lane in Playboy Magazine #3]
No full textPoor quality photocopies of a magazine article which appeared in Playboy Magazine. The article features an extensive interview with Mark Lane, an attorney and author, who is critical of the Warren Commission's assessment of the assassination of President Kennedy
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