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Unmade Film: The Reconnaissance presents extracts from a fictional conversation about a possible future film between Pier Paolo Pasolini, Robert Smithson (spoken by three voices), overheard sometime between 1963 and 1967, somewhere between Palestine and New Jersey. The backdrop of the conversation consists of ‘pastoral’ scenes of ruins in Palestine: Lifta, the only remaining ruin of more than 400 villages that were depopulated in 1948 and a new, unfinished construction near Ramallah. Voices: Valérie de Dietrich, Vincent Ozanon, Jérôme Robart Translation: Rula Giacaman (Arabic), Daniela Almansi (French)

Orlow, Uriel

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Cette publication émane d'un projet éponyme réalisé entre 2015 et 2018 par Uriel Orlow, à travers lequel l'artiste suisse interroge les liens entre botanique et politique en Afrique du Sud et en Europe, les plantes étant considérées aussi bien comme des témoins que comme des acteurs de l'histoire, comme des agents dynamiques se situant à la jonction entre les humains et la nature. Un projet pluridisciplinaire faisant appel à la vidéo, au son, à la photographie et à l'installation, présenté dans cet ouvrage à travers une partie documentaire et une série d'essais inédits. Le corpus Theatrum Botanicum (2015-2018) résulte d'une recherche au long cours d'Uriel Orlow à travers des modes aussi divers que le film, la photographie, le son ou encore l'édition. Partant du double point de vue de l'Europe et de l'Afrique du Sud, Theatrum Botanicum explore les liens entre l'écologie des plantes et la construction de l'identité nationale. Les plantes endossent ici les rôles d'acteurs, de témoins ou d'instruments œuvrant à l'organisation de l'espace, à la délimitation des frontières et à l'exploitation. Cet univers botanique permet ainsi de révéler ou de réévaluer des narrations politiques, sociales, économiques, mais aussi spirituelles. La publication est composée de deux livres entrelacés : l'un documente les travaux de Theatrum Botanicum, le second est un recueil d'essais visant à un aperçu accessible des questions complexes et multiformes qui informent et sont soulevées par les œuvres d'art. Les essais, à la fois indépendants et interdépendants, s'adressent directement aux œuvres d'art ou suivent des pistes d'étude parallèles, couvrant des perspectives issues d'études culturelles postcoloniales, de critique et d'histoire de l'art, d'histoire naturelle et de botanique (y compris l'ethnobotanique et la botanique économique), de questions liées à la conservation, à la jurisprudence et aux études juridiques critiques. Uriel Orlow (né en 1973 à Zurich, vit et travaille à Londres) réalise des installations modulaires et multimédias (vidéo, photographie, dessin) qui réactivent la mémoire cachée de lieux marqués par l'histoire, en combinant des recherches sur des matériaux d'archive, un environnement visuel et sonore suggestif, superposant différents modes narratifs afin d'interroger les représentations et les angles morts de l'histoire et de la mémoire. "This publication emerges from Uriel Orlow's Theatrum Botanicum (2015-18), a multi-faceted project encompassing film, sound, photography, and installation, which looks to the botanical world as a stage for politics. Working from the dual vantage points of South Africa and Europe, the project considers plants as both witnesses to, and dynamic agents in, history. It links nature and humans, rural and cosmopolitan medicine, tradition and modernity across different geographies, histories, and systems of knowledge--exploring the variety of curative, spiritual, and economic powers of plants. The project addresses 'botanical nationalism' and 'flower diplomacy' during apartheid; plant migration; the role and legacies of the imperial classification and naming of plants; bioprospecting and biopiracy; and the garden planted by Nelson Mandela and his fellow inmates at Robben Island prison. This publication is made up of two intertwining books: one documents the works of Theatrum Botanicum, including the scripts for two films; the second is a compendium of brief, commissioned essays that aims to offer an accessible snapshot of the complex and multifaceted issues that inform and are raised by the artworks. The independent but interrelated essays, which either speak directly to the artworks or follow lines of inquiry alongside them, cover perspectives from postcolonial cultural studies; art criticism and art history; natural history, botany (including ethnobotany and economic botany), and conservation; jurisprudence and critical legal studies; and critical race studies"--Publisher's website.

Botan. systematics, taxonomy, nomencl. --- Art --- installations [visual works] --- photography [process] --- botany --- Plantae [kingdom] --- trees --- art criticism --- traditional medicine --- artists' films --- ethnobotany --- Orlow, Uriel --- South Africa --- Art vidéo --- Installation-art --- Art et politique --- Botanique --- Son --- Photographie --- Cinéma --- Ecologie --- Afrique du sud --- trees [woody plants]

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Art --- installations [visual works] --- video art --- Nature --- gender issues --- gardens [open spaces] --- ecological art --- political art --- The garden of delights --- Alves, Maria Thereza --- Johnson, Rashid --- Manna, Jumana --- Orlow, Uriel --- Schoorel, Maaike --- Cage, John --- Berrada, Hicham --- Zheng, Bo --- Gqunta, Lungiswa --- Leotta, Renato --- Phillipson, Heather --- Arunanondchai, Korakrit --- Harward, Libby --- Nathalie Djurberg & Hans Berg --- Lewis, Isabel --- Kusama, Yayoi --- Dean, Tacita --- Lawler, Louise --- Rist, Pipilotti --- Shinoda, Taro --- Futurefarmers [San Francisco, Calif.]

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Art --- art [discipline] --- public art --- MASBEDO --- Alves, Maria Thereza --- Ancarani, Yuri --- Baraya, Alberto --- Bonajo, Melanie --- Bruguera, Tania --- Clément, Gilles --- Colomer, Jordi --- Gerrard, John --- Lucas, Cristina --- Minelli, Filippo --- Orlow, Uriel --- Özgen, Erkan --- Paglen, Trevor --- Rabah, Khalil --- Senatore, Marinella --- Tabet, Rayyane --- Ourahmane, Lydia --- Bridle, James --- Makhacheva, Taus --- Zheng, Bo --- Contini, Leone --- Franzén, Malin --- Gqunta, Lungiswa --- Odutola, Toyin Ojih --- Wang, Michael --- Leotta, Renato --- Sapozhnikov, Sergey --- Cooking Sections --- Vijgen, Richard --- Kaersenhout, Patricia --- Poitras, Laura --- Atiku, Jelili --- Cassani, Matilde --- Turato, Nora --- Invernomuto --- Collovà, Roberto --- Attia, Kader --- Forensic Architecture [London] --- Rotor [Brussels] --- Fallen Fruit --- The Peng! Collective [Berlin] --- Coloco [Paris] --- Palermo

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Iconography --- Art --- Sculpture --- Painting --- History --- painting [image-making] --- art history --- Judaism --- art theory --- sculpting --- joodse kunst --- Horn, Rebecca --- Schmidt-Rottluff, Karl --- Richter, Hans --- Kossoff, Leon --- Lissitzky, El --- Stieglitz, Alfred --- Schatz, Otto Rudolf --- Adler, Jankel --- Shapiro, Joel --- Bartana, Yael --- Albers, Anni --- Hiller, Susan --- Ullman, Micha --- Abramson, Larry --- Bak, Samuel --- Kitaj, Ronald B. --- Newman, Barnett --- Schönberg, Arnold --- Rothko, Mark --- Frenkel, Boris Borvine --- Gershumi, Moshe --- Hirszenberg, Samuel --- Koorland, Vivienne --- Spero, Nancy --- Kramer, Jacob --- Kratsman, Miki --- Minkowski, Maurycy --- Ardon, Mordechai --- Na'aman, Michal --- Orlow, Uriel --- Quevedo, Ferran --- Rée, Anita --- Rubin, Reuven --- Sgan-Cohen, Michael --- Shor, Shirley --- Small, David --- Brauner, Victor --- Steinhardt, Jakob --- Strosberg, Serge --- Boltanski, Christian --- Wolberg, Pavel --- Guston, Philippe --- Louis, Morris --- Serra, Richard --- Soutine, Chaïm --- Ury, Lesser --- Modigliani, Amedeo --- Mané-Katz --- Freud, Lucian --- Bomberg, David --- Druks, Michael --- Chagall, Marc --- Nussbaum, Felix --- Liebermann, Max --- Kentridge, William --- Hesse, Eva --- Rivers, Larry --- Auerbach, Frank --- Pankok, Otto --- Karavan, Dani --- Freundlich, Otto --- Bruskin, Grigori Davidovich --- Klapheck, Konrad --- Lipchitz, Jacques --- Man Ray --- Zadkine, Ossip --- Byron Company --- Studio Libeskind --- anno 1900-1999