Biografia del autor. Novedades del autor. Del al de Ordenar por. Aquesta novella demostra un cop mes que a Martin Amis no li tremola el pols a lhora dabordar temes delicats. Despres de la demolidora Lionel Asbo, lautor torna al nazisme i a lHolocaust, com ja va fer a Times Arrow, des dun angle com a minim sorprenent, cedint la paraula als botxins i sense renunciar a burxar la ferida amb tocs de comedia negra.
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Ballard et Tacita Dean. Effectivement, Tacita Dean et J. The title Ryan Gander picked for his current show at Le Plateau in Paris sounds like some advertising motto. The title induces that when people are committed to a creative process, such as artists, they are expected to be genuinely brilliant each time they produce a work or a show.
The whole concept is about imagination, a notion that is widely asserted in the show. In the main lobby, the audience is welcomed by some advertising light box by JC Decaux, the same you can find around the streets of Paris. Behind a black curtain, the visitor is welcomed by a monolithic sculpture made of mirrored glass which stands in the middle of a darkened room. He then could expect something to happen, such as a video projection as the set up recalls the ones generally used in contemporary art exhibitions, but there is nothing going on.
He may wonder if the work is broken, he does not even know if he is facing a work of art or not. Those kinds of questions is what Ryan Gander is interesting in as an artist exhibiting work in a show: making objects that remain ambiguous to the spectator. The video running time is less than a minute and it is very similar to a typical British TV commercial. Gander says he was very interested in the idea of promoting a concept, something that was not a product or an object.
So the video is at the same time a TV commercial and a work of art or only one of these two options. There are multiple readings in the work of Ryan Gander and it is up to the audience to decide. Then the visitor steps into a narrow hall in the dark and discover a framed glass window on the left wall.
The next room is empty, except for a pair of eyes emerging from a white wall and staring at the visitor who passes by. They adopt various expressions such as curiosity, boredom, anger, confusion, concentration or happiness; the ones that exhibition goers usually experience when confronted to an artwork.
With Magnus Opus , the spectator becomes the one who is watched. The Useless Machine with Blowing Curtain , mirrored perspex, electrical components, curtain, His installation for The Curve takes the form of a walkthrough aviary for a flock of zebra finches, furnished with electric guitars and other instruments and objects.
As the birds go about their routine activities, perching on or feeding from the various pieces of equipment, they create a captivating, live soundscape. Trois ans plus tard, il dirige un studio de photographie traditionnelle dans le 13e arrondissement.
Mardi 12 janvier, environ 20 heures. Le spectacle est saisissant. On se sent ridiculement minuscule. Au dehors, le froid est glacial. Gorilla , , huile sur toile, x 80 cm, Courtesy de la galerie Annet Gelink.
Untitled , , huile sur toile, 95 x 85 cm, Courtesy de la galerie Annet Gelink. British documentary photographer, photojournalist and collector born in Epsom, Surrey, UK, in He studied photography at Manchester Polytechnic from to In he became a full member of Magnum Photographic Corporation.
He was appointed professor of photography in at the University of Wales Newport campus. He won a large amount of prizes and awards. Martin Parr will be curating the Photo Biennal in Brighton.
Jeu de Paume is currently showing an important exhibition dedicated to Martin Parr. The show opens with memorabilia and postcards. Parr says he always tries to find the most trivial objects. Postcards were always an economical way to produce imagery, whatever commercial or tourist. Are also displayed international photographers that have influenced him or which he feels a strong connection with.
Then the Luxury series is displayed in two rooms. From to Martin Parr travelled everywhere attending fashion shows, luxury shops, art fairs or horse races in cities like Dubai or Moscow.
This project is a study of this international jet set who is depicted by Parr with the same approach, that is to say with a lot of humour. The shows ends with the Guardian Cities Project. Each town was featured in a supplement distributed free with the newspaper, comprising a text by Martin Parr evoking his memories and personal impressions, and colour photographs of the cities and the people. The Small World series is dedicated to mass tourism.
It is set in a suitable way in the Tuileries Gardens, highly tourist area in Paris. Small world series in the Tuileries Gardens, picture by the author. Since I did not interview Mr. How did you start your career as a photographer? I first got interested in photography when I was a teenager and went to visit my grandfather near Bradford.
He was a keen amateur photographer and he lent me a camera and we would go out together shooting. We would come back, process the films and make prints and ever since this time I have always wanted to be a photographer. What photographers were you influenced by in these early days?
However it was while I was at college that Bill Jay came round and showed the work of Tony Ray-Jones and this for me was a real moment of inspiration. When and why did you change from black and white to colour? I had also encountered the postcards of John Hinde when I worked at Butlins in the early 70s and the bright satured colour of these had a big impact on me. What cameras do you use?
For the 35mm it is a Nikon 60mm macro lens combined with a SB29 ring flash. This gives a shadow on both sides of the lens ad it is like a portable studio light… For the early black and white work, it was a Leica M3 with a Makina Plaubel with a 55mm lens.
I later bought a standard lens Plaubel and more recently Mamiya 7s. I now own a small 7mgb Sony digital and a Canon 5D. How do you achieve these bright colours? This combined with flash gives very high colour saturation, there is no Photoshop used. Do you think your work is exploitative?
I think that all photography involving people has an element of exploitation, and therefore I am no exception. However it would be a very sad world if photographers were not allowed to photograph in public places. I often think of what I photograph as a soap opera where I am waiting for the right cast to fall into place.
In more recent years I have photographed much closer where bits of people and food become part of the big picture, and one advantage of this is that it means people are less recognisable. Whose work do you admire from contemporary photographers? I am a great fan of the work that emerged from the Becher school, indeed these photographers changed the way in which the art world viewed photography from a marginal activity to being a central player, and I guess we all benefit from this.
Why did you start to make TV? One thing I had noticed over the years was the dialogue I often had with my subjects was very entertaining, so I welcomed the chance to incorporate this into part of my work. You can see clips from some of these films on the website. I also did a video for the Pet Shop Boys in He is peering through the gaping jaws of a painted shark in Benidorm, Spain.
It will probably be the first word that you think of. Miranda July is a filmmaker, performer and writer. The movie is about how people manage to connect with one another in an isolating contemporary world. The piece Eleven Heavy Things consists of 11 outdoor sculptures -pedestals more exactly- where visitors can stand on and pose. She was born Miranda Jennifer Grossinger and she grew up in Berkeley, California where she began her career as a teenager, writing and directing plays.
At the age of seven, she wrote a trilogy called The Lost Child and started recording interviews with herself first taping the questions and then filling in the answers.
According to IMDb, she changed her last name to July because that is the month in which she is the most productive. She lives and works in Los Angeles. Do you go to the office to write? Do you mainly work on prose or do you kind of have all of your projects going at once? And when it comes to creative stuff, it keeps changing where works well for me.
A couple of hours is a long time for me and it usually helps to have other things in the day. TD: In your writing, I find a lot of humor and a lot of loneliness as the themes. For example, I wrote down a few things the woman behind me on the plane said.
I imagine that will take forever. One of the Congratulations cards made by Miranda July. William Eggleston is literally photographing the world around him.
The current show at the Fondation Cartier in Paris was the perfect opportunity to pay tribute to the great photographer. Three years ago, the Fondation Cartier commissioned him to photograph Paris, a city so often depicted in photography possibly too much?
The French capital has become an icon in itself. The task was not easy, even for Eggleston who already documented Paris on different occasions. No famous monuments, no Parisian romantic couples kissing. I just did as always, used the same approach. He knows how to capture the beauty in commonplaces we even not notice.
Robert Smithson and the gold rush
Summary Bibliography: J. Ballard You are not logged in. If you create a free account and sign in, you will be able to customize what is displayed. This work is licensed under a Creative Commons License. Author: J. Dzheyms Bolard. Dzheyms Bollard James Ballard.
Le Souvenir d’un avenir
Ballard continue la tradition de la dystopie mise en place par Huxley puis Orwell. Kingdom Come , with its apocalyptic connotations, is to be taken just as seriously. The description of the urban landscape is a mixture of realistic elements turned gothic by the surprised consciousness of a lost driver, one of the copywriters who dreamt this new reality. The ever recognizable pattern of warehouses, industrial parks and parking lots is defined through a feeling of absence. Negative forms, inappropriate comparisons, draw a negative picture of what these suburbs fail to be.
Movement is the crossing of space by people, objects, capital, ideas and other information. It is either oriented, and therefore occurs between an origin and one or more destinations, or it is more akin to the idea of simply wandering, with no real origin or destination. Broadly, the word mobility can be defined as the intention to move and the realization of this movement in geographical space, implying a social change. It is alongside a highway under construction that we find Robert Smithson, whose work we analyzed in the previous post. Where does this long expanse of asphalt the construction equipment is unfurling actually lead? What does it tell us about the way we develop?
In: Communications , 70, Chez Philip K. Elle vante ses produits :. Il s'agit de fictions.