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À l'origine de cette publication se trouve l'exposition personnelle d'Ann Veronica Janssens au Wiels, intitulée Serendipity, qui se construisit autour d'un ensemble d'œuvres esquissant la recherche artistique des dernières décennies, ainsi que de projets récents ou encore en phase de laboratoire. Comme c'est souvent le cas chez Ann Veronica Janssens, l'œuvre s'évapore ou disparaît matériellement quasiment entièrement après sa présentation, et seules les expériences, la mémoire de celle-ci et sa documentation subsisteront pour reconstruire ou reconfigurer les chapitres qui ponctuent le parcours précis et conséquent que trace Ann Veronica Janssens par son œuvre depuis maintenant une trentaine d'années.Cet ouvrage tente dès lors de rendre compte de ce phénomène, à partir de la documentation photographique du contexte spatial de l'exposition Serendipity dans les prémisses particulières du Wiels.

Janssens, Ann Veronica --- kunst --- installaties --- België --- Janssens Ann Veronica --- beeldhouwkunst --- licht --- lichtkunst --- lichtinstallaties --- eenentwintigste eeuw --- projecties --- 7.071 JANSSENS --- Exhibitions --- Janssens, Ann Veronica,

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Audio-visual equipment --- Audiovisuel --- History. --- Histoire --- Communication --- Projecteurs (Appareils de projection) --- Électrophones --- History --- Aides audiovisuelles --- Projecteurs --- Électrophones --- Histoire. --- Audio-visual equipment - History --- Communication - Aides audiovisuelles - Histoire --- film --- precinema --- fotografie --- voorgeschiedenis film --- geluid --- klank --- projecties --- lanterna magica --- CDL --- 791.43

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"Art of projection" investigates the prehistory and current state of the use of projected images in art, moving from the screen to the exhibition space and back again. Its ten essays address precedents for the projection of images in space in nineteenth-century magic lantern shows and world's fairs as well as the alternative conceptions of duration or the representaion of time pioneered by surrealists and experimental filmmakers in the early and mid-twentieth century. Now, in the twenty-first century, when the projection of moving pictures has itself become a convention in the exhibition of art and analog media are being 'migrated' to digital proxies, this book is a timely reconsideration of the history of media art.

778.2 --- 791.43.098 --- kunst --- twintigste eeuw --- eenentwintigste eeuw --- negentiende eeuw --- projectie --- projecties --- installaties --- film --- video --- video-installaties --- experimentele film --- mediakunst --- 7.036 --- 791.43.098 Video's. Videofilms. Videoclips. Videokunst --- Video's. Videofilms. Videoclips. Videokunst --- 778.2 Projectie. Diapositieven. Projectieapparaten --- Projectie. Diapositieven. Projectieapparaten --- Projection art --- Projection art. --- History.

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Painting --- 7.02 --- 75.01 --- 75.02 --- 75.07 --- Kunstbeschouwing ; technieken ; van de oude meesters --- Schilderkunst ; technieken ; optische instrumenten en projecties --- Oil painting --- Painting, Primitive --- Paintings --- Graphic arts --- Technique&delete& --- History --- Kunst ; technieken --- Schilderkunst ; theorie, filosofie, esthetica --- Schilderkunst ; technieken --- Schilderkunst ; schilders --- Technique

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Camouflage is an adaptive logic of escape from photographic representation. In Hide and Seek, Hanna Rose Shell traces the evolution of camouflage as it developed in counterpoint to technological advances in photography, innovations in warfare, and as-yet-unsolved mysteries of natural history. Today camouflage is commonly thought of as a textile pattern of interlocking greens and browns. But in Hide and Seek it reveals itself as much more a set of institutional structures, mixed-media art practices, and permutations of subjectivity, that emerged over the course of the twentieth century in environments increasingly mediated by photographic and cinematic intervention. Through a series of fascinating case studies, Shell uncovers three conceptually linked species of photographic camouflage - the static, the serial, and the dynamic - and shows how each not only reflects the type of photographic reconnaissance it was meant to counter, but also contains aspects of the previously developed species. Hide and Seek develops its argument from the material forms camouflage has left behind - photomontages, paper blankets, stuffed rabbits, ghillie suits, and instructional films.

Photography --- Photographic reconnaissance systems --- Hidden camera photography --- Art and camouflage --- Photographie --- Reconnaissance photographique --- Photographie caméra cachée --- Art et camouflage --- Special effects. --- Effets spéciaux --- 77.01 --- fotografie --- kunst --- camouflage --- film --- projecties --- mimesis --- onzichtbaarheid --- speciale effecten --- Thayer Abbott --- natuurkunde --- zoölogie --- ornithologie --- militaire technologie --- wereldoorlog I --- twintigste eeuw --- 7.01 --- Fotografie--Semiotiek van de fotografie. Theorie --- 77.01 Fotografie--Semiotiek van de fotografie. Theorie --- Photographie caméra cachée --- Effets spéciaux --- Trick photography --- Photoreconnaissance systems --- Reconnaissance, Photographic --- Aerial photography --- Aerial reconnaissance --- Military reconnaissance --- Space photography --- Camouflage and art --- Camouflage (Biology) --- Camouflage (Military science) --- Special effects --- Masque --- Histoire de la photographie --- Rapport culture-nature