3 Interesting Things About Hokusai

Hokusai was young enough when one of his uncles adopted him with a dream that he will succeed in their family business. His uncle was working as a mirror polisher at that time in the house of the commander in chief. Right from the childhood, he was guided to perform his job perfectly so that he can lead a bright future by establishing a direct contact with the upper-class society. Although he started working with his uncle when he was only 6 years old, with time he developed a different passion towards artwork and ultimately started separating himself from his

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Ilya Kabakov

Ilya Kabakov, qui accepte encore volontiers le qualificatif obsolete d’artiste sovietique, est autant l’archeologue d’une epoque revolue que le temoin d’une histoire collective non resolue. Le passe proche dont il nous entretient mele etroitement ironie et nostalgie dans des <<installations>> qui hesitent toujours entre analyse critique et communion participative. Kabakov plante ainsi des decors pour une scene qui raconte a la fois une histoire, son histoire et l’Histoire. Chaque fois, les destins collectifs et personnels, fictifs et reels, se telescopent dans un recit qui temoigne de l’environnement psychologique et materiel, public et prive, de l’homo sovieticus. Le scenario des quelque

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The Kraftemessen project

A comprehensive examination of Russian art of the 1990s has been overdue. The Kraftemessen project was created to compensate this. The curators, Margarita Tupitsyn, Boris Groys and Victor Misiano, provide three different interpretations of post-Soviet visual culture. The list of the people involved in the realization of this project includes — among others — Haralampi G. Oroschakoff (the concept), Johanna zu Eltz (the project co-ordinator), and Diana von Hohenthal (of Hohenthal and Littler Gallery in Munich). Oroschakoff also curated the show at the Academie der Bildenden Kunste, where viewers became acquainted with the works of Ivan Chuikov, Nikita Alekseev, Konstantin

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Transparence dans l’art du XXe siecle

Le Musee des Beaux-Arts du Havre presentait une exposition regroupant une centaine d’oeuvres sous le theme de la transparence. Elle abordait avec gourmandise peinture, sculpture, architecture et photographie et etendait ses recherches de 1914 a 1980, de Bruno Taut a Jean Nouvel, en passant par Moholy-Nagy, Duchamp, Hans Haacke, Dan Graham ou Julio Le Parc. On pourra regretter l’immanquable arbitraire de leur selection, ou encore la legere confusion de l’accrochage, toutefois l’ensemble definit une premiere approche honnete et juste de la question de la transparence, dont la souplesse essentielle autoriserait peut-etre une lecture singuliere de l’esthetique du XXe siecle. Si

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Installation by Genevieve Cadieux

This installation by Genevieve Cadieux brought to mind an observation made by Margaret Atwood in her classic study of Canadian literature, Survival. She wrote that Canadian poets, particularly poets writing in French in Quebec, seem acutely interested in “what goes on inside the coffin.” Inside Cadieux’s twelve-foot-long trapezoid-sided glass sarcophagus, entitled Broken Memory, was nothing but empty space, and on the floor, tangles of electrical wiring leading to sound speakers enclosed at each end of the structure. From these speakers emanated cries of female distress that were both horrifying and mesmerizing. At times these moans were one register away from

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Vern Hume and Don Stein’s installation

Vern Hume and Don Stein’s CD-ROM installation, Undiscovery, is a multimedia database that deals with the discovery and subsequent colonization of Banff, and explores the park area in the context of changing perceptions of space, movement and identity brought about by advances in digital technology and tendencies toward globalization. Rather than drawing borders, this experience involves an active trajectory between places, identities and social formations. Undiscovery embodies a peculiarly twentieth-century preoccupation with art and revolution playing themselves out in a realm of amusements and commodities. Constructed like an interactive video arcade game, the software invites “cyber-explorers” to navigate their own

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Marcel Broodthaers

Issu de l’aile revolutionnaire du surrealisme, Marcel Broodthaers avait occupe, dans la mouvance des evenements de mai 1968, le Palais des Beaux-arts de Bruxelles qui ne possedait a l’epoque aucune section consacree a l’art moderne. Depuis son entree dans le monde des arts visules en 1964, prenant acte de l’une des apories modernistes les plus difficiles a surmonter (a savoir que l’autonomie et la liberte dans le domaine de l’art, qui ont conduit les artistes a creer des oeuvres autoreflexives destinees essentiellement a l’appreciation esthetique, les ont aussi pousses a produire des objets qui n’echappaient pas, bien au contraire, au

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Interview with Eileen Agar

Eileen Agar Part II G.H. In the last interview we got up to the war years. After the war had ended you said it took you a long time to get started. How do you feel about that? E.A. You see the canteen work went on a bit after the war and then again it was so awful that I felt dreadful that there should be so many people killed and bombed and everything and I couldn’t get back to work. I thought well what’s the use a bomb will come and throw everything into chaos again and I was

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