Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Le travail de Sterling Ruby (né en 1972 à Bitburg, Allemagne, vit et travaille à Los Angeles) porte principalement sur la tension entre désirs individuels et contraintes sociales. A partir d'un socle théorique important, empruntant les langages formels du design, du graffiti, du minimalisme ou de l'art brut, Ruby opère une déconstruction des dispositifs de pouvoir grâce auxquels les individus intériorisent les mécanismes de contrôle social, incluant les formes institutionnelles dominantes de l'art et de l'architecture modernes. La grande variété des médiums et des techniques qu'il utilise - dripping, projection pour ses grandes peintures abstraites aux couleurs vives, résine ou céramique pour ses sculptures organiques, collage, vidéos hypnotiques pour ses installations, dessins au vernis à ongle, photographies de transsexuels ou de body builders, graffitis sur aplats de couleurs, etc. - est à la mesure des thèmes qui traversent toute son œuvre : comportements déviants, transgression sociale, violence, mort et sexualité, surproduction de l'information, délire, névrose et paranoïa, manifestations «?corrompues?» du désir et besoin de contrôle propre à la culture occidentale contemporaine. http://www.lespressesdureel.com/ouvrage.php?id=1558&menu=

Ruby, Sterling --- kunst --- beeldhouwkunst --- installaties --- Verenigde Staten --- eenentwintigste eeuw --- Ruby Sterling --- 7.071 RUBY --- Exhibitions

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Wolfgang Tillmans' "truth study centre" became a fixed part of his exhibitions ever since he first showed a version of the multi-part tabletop installation in 2005. Often arising from local circumstances and current issues at the time of their creation, the "truth study centre" works mark an endeavour to create a clear view in ever more confusing times. Tillmans observed the paradigm shift that defines politics today early on. The scope and complexity of this project become apparent for the first time through this book, the second we have published, after "manual" in 2007, dedicated to this set of works. Over 320 pages, printed using a high-resolution technique, Tillmans presents an alternative chronology of the present. Far exceeding his original and main medium of photography, he juxtaposes a variety of contrary opinions, statements and comparisons on recurring table formats. The dimensions of the wooden tables, which he designed himself, are not arbitrary: they are built using standard British door panels, 198 cm long, and with one of four different standard widths. This book gives an overview, through lavish reproductions, of this new form of collage, in which picture, text and object "are only kept in place by their own weight". An essay by Thomas McDonough, Professor for Art History at Birmingham University, New York, places Tillmans' project within the context of twentieth-century collage, from Hannah Höch to Robert Rauschenberg. This artist's book, produced in Tillmans' Berlin atelier, includes a Fresnel magnifying glass, making it possible to zoom in on the contents and read even the smallest of printed texts. The largest installation of "truth study centre" to date will be shown in Berlin's Hamburger Bahnhof, beginning November 28, 2015.

Photographie --- Collage --- Tillmans, Wolfgang --- fotografie --- kunst --- collages --- installaties --- eenentwintigste eeuw --- Tillmans Wolfgang --- 77.071 TILLMANS --- Exhibitions

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Douglas, Stan --- Douglas Stan --- kunst en muziek --- 7.071 DOUGLAS --- kunst --- videokunst --- film --- installaties --- video-installaties --- Canada --- twintigste eeuw --- muziek --- fotografie --- Exhibitions --- Video art --- Exhibitions. --- installations [visual works] --- #breakthecanon --- Video art - British Columbia - Exhibitions.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Zobernig, Heimo, --- kunst --- twintigste eeuw --- eenentwintigste eeuw --- Oostenrijk --- installaties --- licht --- neon --- video --- videokunst --- video-installaties --- schilderkunst --- ruimte --- ruimtelijkheid --- minimalisme --- minimal art --- 7.071 ZOBERNIG --- Exhibitions --- Zobernig, Heimo, - 1958 --- -Zobernig, Heimo, - 1958- - Exhibition --- -Zobernig, Heimo, - 1958-

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Taking the work back to the drawing board, constantly marking and erasing the canvas, stubbornly penetrating it and inhabiting it to the point of melting into it, these are the features and ‘line of flight’ of Angel Vergara’s magnum opus. Indeed, Vergara’s original act, initiated in the 1980s, of covering himself with a white sheet – as if it were a blank canvas or a ghostly shroud – filters and transposes into sketches a whole urban ecology and an economy of human exchanges (be they commercial, cultural, political or artistic). Thus, in addition to drawing on the agility of the brush, the fluidity of colour and the freedom of a canvas sometimes shared on the ground with other participants, Straatman, the artist’s alter ego, resorts to the ingenuity of multiple hybrid devices and assemblages to produce work in the form of an allegory of painting and in direct contact with reality.

kunst --- België --- twintigste eeuw --- eenentwintigste eeuw --- 7.071 --- Vergara Angel --- schilderkunst --- videokunst --- Spanje --- installaties --- tekenkunst --- performances --- video --- Vergara, Angel,