What would be left after the end of the world, or rather life on Earth, following a nuclear catastrophe or climate change? Certainly not works of art. But perhaps technology. Here's a scenario from a digital art exhibition.
Art and science are a long-standing couple, and their relationship is one of mutual enrichment. After the...
DOSSIER IRONIE, Aude Robert-Tissot | Un centre d’art contemporain imaginaire? Serions-nous, une fois de plus, victimes d’une supercherie de l’époque? Absolument pas. C’est le concept très sérieux du Kunsthausneverland. Un centre d’art contemporain en tant que tel, dirigé par un collectif d’artistes proposant une réelle programmation. La spécificité? C’est sur la toile, plus précisément sur Instagram, que se déroulent les expositions. Réflexion autour d’un espace innovant qui développe une satire profonde de l’art contemporain en usant de photomontages en forme de pied de nez aux internautes.
ARTICLE LONG FORMAT, Aude Robert-Tissot | Coghuf, de son vrai nom Ernst Stocker, est l’un des peintres suisses majeurs du XXe siècle. Et pourtant, le premier ouvrage retraçant l’entièreté de son œuvre vient seulement de paraître. Au-delà de l’indéniable importance d’une monographie consacrée à un tel artiste pour l’histoire de l’art, elle a la particularité d’avoir été pensée sans barrières, à l’image de la réception de l’œuvre de l’artiste. Que l’on soit du côté de Bâle, sa ville natale, ou des Franches-Montagnes, sa région d’adoption, tout le monde est unanime: Coghuf a été oublié et son œuvre mérite d’être remise en lumière. Chose faite, grâce à un travail de grande ampleur rendu possible par l’expertise du directeur de l’ouvrage, le docteur en histoire de l’art Yves Guignard, complété d’une approche novatrice quant au bilinguisme de l’ouvrage.
ARTICLE LONG FORMAT, Aude Robert-Tissot | XXL, le dessin en grand is the current exhibition at the Musée Jenish in Vevey. Until February 27, immerse yourself in a black-and-white and colorful universe of charcoal, pastel, ink and graphite, hatching, brushstrokes and pointillism, in works that are sometimes flat, sometimes three-dimensional. A multi-sensory visit thanks to the large format and a musical stroll.
Van Gogh is one of those artists whose work and life fascinate all audiences. Unknown during his lifetime, his success was dazzling after his death, and his genius was widely recognized, establishing him as one of the greatest artists of all time. Today, it's the turn of immersive multimedia exhibitions to use the work and myth of the cursed artist to sell us sensationalism: welcome to experience marketing.
From September 20 to 26, the world's largest and most prestigious contemporary art fair, Art Basel, was held, the international meeting place for the art world and collectors. Millions were made, as usual, but with little artistic renewal. The major galleries wisely sat on their leading artists, taking no risks for this edition. So what's the point of spending just under a hundred francs if you're just an art lover? To be surprised. Because yes, even if Art Basel didn't transcend the art world this year, we did see an interesting trend towards... figuration.
It's February 2020, and Benjamin Grivaux is in the midst of his bid for the mayoralty of Paris, when he finds himself at the heart of a controversy: intimate videos of him with a young woman invade the web. Once these went viral within hours, Grivaux was forced to resign in the face of the scandal. What was he accused of? Adultery. But mostly of hypocrisy. Nothing very nasty or new in the tabloid of French political figures. Piotr Pavlenski, the video's broadcaster, is a Russian performer, staying in France since 2017 as a political refugee. An artist who has just crossed the already well-established boundaries of artivism, taking contemporary art hostage to denounce not an authoritarian state but adultery, adopting a discou
ARTICLE LONG FORMAT, Aude Robert-Tissot | A la genèse d’une exposition collective se cache bien souvent une rencontre. Alors qu’elle séjourne de manière générale entre le commissaire de l’exposition et les artistes, ou du moins avec leur travail, parfois, la rencontre, la vraie, demeure entre les artistes invités. A la vue d’une des œuvres exposées au Musée d’art et d’histoire de Neuchâtel, une intuition émerge: la rencontre entre deux artistes se distingue des autres; elle semble individuante.
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