« Le Pygmalion légendaire était un roi de Chypre qui sculpta une statue à laquelle Aphrodite donna vie, puis épousa cette créature. Goudemalion, lui, sculpte une statue à partir de la femme qu’il épouse. Mais il n’en fait pas une statue de pierre, il en fait plus qu’une statue de chair douée d’âme, il en fait un être mythique où se transfigure la substance vivante, sans cesser d’être vivante, en créature de rêve et de légende. Ainsi Goude transforme et transfigure ses fantasmes, qui tournent autour du même trou noir de la Beauté féminine : il les transfigure en mythe. »
Edgar Morin
Artiste polymorphe et précurseur, Jean-Paul Goude s'est affirmé comme un pilier de l'image et de ses artifices, aussi bien pour la presse, la mode, la musique ou les spectacles. Les Arts Décoratifs à Paris lui dédient en ce moment une exposition présentant au public toutes les étapes de la vie de l'artiste « faiseur d'images » et ses travaux. Ainsi, il sera possible jusqu'au 18 mars 2012 d'admirer les œuvres signées par Goude pour Chanel, Les Galeries Lafayette, Citroen, Kodak, Dim, etc., ainsi que ses tableaux et sculptures mettant en scène les muses de ce manipulateur d'image créateur de mythologie. Goudemalion – terme attitré par Edgar Morin à l'artiste – est donc une exposition à ne pas manquer, introduisant les passionnés comme les plus curieux dans l'univers original et novateur de ce Pygmalion des femmes.
This is the title of the exhibition at the University of Quebec in Montreal, from January 13th till February 18th, 2012. This exhibition is collective and consists of works of women artists, such as Ghada Amer, Caroline Boileau, Louise Bourgeois, Marie-Claude Bouthillier, Geneviève Cadieux, Caroline Gagné, Betty Goodwin, Anne-Marie Ouellet, Kiki Smith, Nancy Spero and Angèle Verret. This exhibition is supervised by Thérèse St Gelais. The objective of this artistic work is to restore the emotional link between the work and the body, without the distance which imposes the glance. According to these artists, it is thanks to the body that it’s possible to live sensory experiences, due to its visceral memory. This is what these artists address.
For the past three years, the Brizeit University Museum has curated city-wide exhibitions that call upon local artists to stage visual, spatial or auditory interventions that work to juxtapose past and present in a thought-provoking manner. Each year, the focus shifts to a different Palestinian city, in order to investigate its social, cultural, and political specificity. In 2011, the city of choice was Nablus, whose history is replete with both destruction and resurrection, deference and resistance. The works were installed throughout its historic center from November 12th to November 19th and were moved to be displayed at the Birzeit University Museum on December 10th, where they will remain until March 1st, 2012.
The University of Mimar Sinan in collaboration with InArtis and Kult presents an exhibition of the surrealist paintings of Salvador Dali at Gallery Tophane-i Amir. Opening on the 23rd of December the exhibition will be open to the public until the 26th fo February. The gallery will show a hundred and twenty-one pieces, among them the 'Divine Comedy'-series, 'Surrealism marks', and 'Dinner with Gala'.
Dante Alighieri's epic poem “The Divine Comedy” is a reflection on the medieval imagination of the Christian afterlife and it's division into heaven, hell and purgatory. The piece was an inspiration for many artists, among them Botticelli, Flaxman, Blake, Delacroix, Rodin, and of course Salvador Dali. The poem was written between the Middle ages and the beginning of the Renaissance in Florence, Italy, and is one of the first works to be written in the local dialect of Florence – the basis of modern Italian.
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«Il y a des trucs à respecter dans la forme. Si on n’avait aucun cadre, on serait des fous aliénés; on irait directement à l’asile. Or, on n’est pas à l’asile, on est au Musée d’Art Contemporain… pour l’instant.»
George Rebboh, à propos de Sans titre
Présentée dans le cadre de la Triennale québécoise 2011 au Musée d’Art Contemporain de Montréal, la performance Sans titre de Dominique Pétrin et George Rebboh rappelle, quand elle débute, les spectacles d’hypnoses de cabaret. À l’exception du monticule de terre au centre de la scène, tout y est semblable : l’hypnotiseur à la voix grave (George Rebboh), son hypnotisée docile (Dominique Pétrin) et surtout l’attente. On comprend rapidement que l’anticipation est la force motrice de la performance.
Quand, après 10 minutes d’attente, l’hypnotisée commence à répondre, ce n’est pas pour obéir passivement à l’hypnotiseur. Ciseaux à la main, dans un état semblable à la transe, elle effectue plusieurs tours rapides de la salle en découpant ses cheveux et ses vêtements. La tension atteint son paroxysme alors qu’elle découpe puis frôle l’hypnotiseur en lançant ces ciseaux.
This year’s edition of dOCUMENTA (13) reined in the new year by staging a collaborative intervention with the artist-run collective AND AND AND on January 28th, 2012. Working with a grass-roots organization known as the Compass of the Midwest Radical Culture Corridor, AND AND AND will hold a series of public hearings aimed at putting the Monsanto Corporation on trial. Participants are encouraged to share their stories by way of spoken word, images, sounds and objects to engage others in a communal process of exploration and debate. The first hearing aptly took place in Middle-America, the main hub of Monstanto’s activity and immediate influence; Carbondale, Illinois.
An exhibition of Students of the Bogazhisar Educational Institution showcases works created with a technique called paper marbling. The first and second grade students of the Bogazhisar Educational Institutions present 56 art pieces at the Sariyer Cultural Centre in Istanbul. The works based on the ancient art-form can be seen in January 2012.
When and where the technique of paper marbling was developed is still unknown, but some Iranian sources report that it has emerged in India. According to other sources it could have originated in the city of Bukhara in Turkistan, and was passed on by the Ottomans. It is called 'Ebru', "Turkish paper" or "marble paper". Marbling is done when a shallow tray filled with water and various kinds of ink or paint colours are carefully applied to the surface with an ink brush. Various additives are used to help float the colours. A drop of "negative" colour made of plain water is used to drive the drop of colour into a ring. The process is repeated until the surface of the water is covered with concentric rings. The roots of the art of marbling goes back to the 9th and 10th century.
Lyonel Feininger is American; he was born in New York. It’s in his adolescence that he leaves with his parents for Europe, more exactly Germany. Fascinated by painting, he joins in schools with a program in fine arts. The museum of fine arts of Montreal presents, for the first time in fifty years, a retrospective of the works of this American. There something for every taste. The exhibition presents paintings, watercolors, engravings, sculptures and photography. There are even paintings livened up made during the first decade of the 20th century which demonstrate the debuts of Feininger as caricaturist.
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ART & DESIGN
