Academic literature on the topic 'Pierre Art corporel Art de performance'
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Journal articles on the topic "Pierre Art corporel Art de performance"
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Da Silva Ribeiro, Acsa. "Performance art, corpo e gênero." Revista Limiar 6, no. 12 (November 21, 2019): 130–42. http://dx.doi.org/10.34024/limiar.2019.v6.9995.
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O artigo aborda três obras de arte performáticas: “Desajuste”, “Diálogos Silenciosos” e “Reconhecer-se”, expostas no Pavilhão Performance da SP-ARTE no ano de 2015. O objetivo é propor uma reflexão sobre a performance art e a centralidade do corpo do artista em sua composição. Dialogando com teóricos como Henri-Pierre Jeudy, Merleau-Ponty e David Le Breton, buscamos signos e símbolos presentes nas performances estudadas para propor uma interpretação que observe quais são as principais ideias presentes naqueles trabalhos. A análise permitiu que se observassem importantes inquietações dos artistas e provocações que os mesmos fizeram, em suas obras, no tocante às noções de gênero. Além disso, o estudo propiciou verificar a importância do corpo do artista como matéria-prima essencial para a execução das performances, compondo um texto especial que é apropriado para essas manifestações artísticas. Assim, conclui-se que essa linguagem artística contemporânea tem sido de fato um importante veículo de realização das propostas de aproximação entre a arte e a vida.
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Sukmawati, Noni. "Literary Performance in the Act of Pendendang." International Journal of Creative and Arts Studies 3, no. 1 (December 29, 2017): 65. http://dx.doi.org/10.24821/ijcas.v3i1.1835.
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This study is aimed to find out the power of pendendang as the main actor in Sastra Pertunjukan (Literary Performance), an art performance which places literature – in this case pantun or verse as the spoken literature of Minangkabau – as the main medium. Pantun is delivered through berdendang or singing tradition which is accompanied by an instrument named saluang. Hence this performance is so called saluang dendang performance. The main strength of this performance is the selection of the pantun delivered by pendendang and his ability to build a contextual connection or to interact with the audience or the surroundings.Pendendang combines the pantun with the new pantun and creates new ones spontaneously and contextually in his live performance. Therefore, this art performance of Minangkabau is also a literary performance because of the main strength lies on the pantun that are delivered. Framed in the theoretical proposition of Pierre Felix Bourdieu, this study tries to recite the role and the pendendang’s strength to improvise in his efforts to create an interesting performance for the audience, through his selection of pantunthat is delivered spontaneously and his mastery, habitus and position in the performance.
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Morabito, Fabio. "Theatrical Marginalia: Pierre Baillot and the Prototype of the Modern Performer." Music and Letters 101, no. 2 (February 3, 2020): 270–99. http://dx.doi.org/10.1093/ml/gcz110.
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Abstract In Western art music, the idea of the professional performer as a versatile interpreter of someone else’s music consolidated around the turn of the nineteenth century. The institutionalization of instrumental training in dedicated schools (such as the Paris Conservatoire, established in 1795) favoured an increasing specialization of composers and performers in their respective tasks. Scholars have often traced the development of these modern professional identities to fundamental innovations in the fabric and conceptions of musical notation. The newly detailed scores by Haydn, Mozart, and Beethoven specify articulation, phrasing, and even fingerings, suggesting a growing authority of the composer over the performer’s moves, and the score itself as an increasingly important focus of the musical event (scripting both what performers should do and what listeners, ideally, should discern). Rather than focusing on how music was notated by composers, this article proposes to explore the perspective of the performers handling it: how they understood their role in bringing the score to life, and the realms of commentary they inspired in Parisian debates about the progress of the art and the mechanization of performance in the early nineteenth century. At the core of the Paris Conservatoire’s universal pedagogical project, the violinist Pierre Baillot (1771–1842) devised a prototype professional figure for the future of instrumental performance across genres: not a puppet-musician controlled via invisible strings, but an architect of musical impersonations, able to stimulate images or stories in the listeners’ minds and leave them theatrically spellbound.
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Gronlund, Melissa. "Affective Iconoclasm: Codes of Labour as a Human Characteristic." Open Cultural Studies 1, no. 1 (January 1, 2018): 541–48. http://dx.doi.org/10.1515/culture-2017-0051.
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Abstract This text argues that a number of recent works of contemporary art have developed an anthropomorphised code to signal “humanness.” Primary within this code is representations of labour, which the artworks connect to mimetic or realist stylisation as well as to the history of image production and often specifically Western art-making. It elaborates this thesis with regards to recent videos by Pierre Huyghe and Sidsel Meineche Hansen, and at a critique of social media labour in a lecture-performance by Jesse Darling, which all draw a link between human and non-human subjectivities and economic productivity. In focusing on different examples of nonhuman likenesses, the text also uses primatology to suggest that the colonial relationship between labour and species and racial hierarchies continues to colour representations of labour today.
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GOTCHEVA, Angelina-Ogniana. "THE RUSSIAN COMPOSER EDISON DENISOV – FAR OR CLOSE TO THE WESTERN CULTURE." Ezikov Svyat (Orbis Linguarum) 18, no. 1 (March 27, 2020): 94–108. http://dx.doi.org/10.37708/ezs.swu.v18i1.11.
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19 marks the 90th anniversary of the birth of the Russian avant-garde composer Edison Denisov. He belongs to the second generation of Soviet avant-garde composers, whose work is famous for its innovative thinking and techniques: serialism, aleatory, sonorism and the use of electronics. The most progressive composers among them are Edison Denisov, Sofia Gubaidulina and Alfred Schnittke, who form a group later called “The Moscow Triad”. This article explores the ways in which Eastern and Western culture meet, specifically within works pertaining to the religious perspectives of the three authors – Gubaidulina’s meditative concept, the mystic beliefs of Schnittke, the sublimity of art in Denisov’s works and their different spiritual insight into art. The article also gives specific evaluation of the connection between the members of the Moscow Triad and the way they perceived each other’s personalities and work through a series of their own quotations. Their difficulties in communication with foreign Western composers and the wish to bring their work to the knowledge of the younger generation of Russian composers is observed, as well as the friendship between Denisov and another legendary French avant-garde composer Pierre Boulez. It briefly explores the effect of the contemporary political situation that led to the prohibition of the distribution and performance of the music of the three composers. The article addresses the way the art of Denisov was perceived in the past and today, the reception of his music in the West and in his homeland, his legacy and the future of his music in the context of the global culture.
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Medic, Ivana, and Jelena Jankovic-Begus. "What does quantum music sound like and what would Pierre Boulez think of it? Super position (many worlds) by Kim Helweg (2017)." Muzikologija, no. 24 (2018): 79–93. http://dx.doi.org/10.2298/muz1824079m.
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Pierre Boulez (1925-2016) devoted a great deal of time and consideration to the relationship between the composer?s invention and performance media, in particular those related to the application of the latest technological breakthroughs and new instruments. Boulez?s famous essay ?Technology and the Composer? (1977/1986) proclaims his desire to widen the range of expressive means of art music by conquering new media. Boulez?s ?vintage? insights are here juxtaposed with a contemporary Quantum Music project (2015-2018), and with one particular piece written within this project: Super Position (Many Worlds) by Kim Helweg (2017), commissioned by the Institute of Musicology SASA and supported by the Danish Arts Foundation (Statens Kunstfond). At least two lines of thinking relevant for the present discussion can be drawn from Boulez?s text: the first dealing with the possible development of new musical instruments, and the other inviting a merger between music composition and science.
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Gurmak, Yu M., and I. M. Klyufinska. "FUNCTIONING OF STRUCTURAL TYPES OF SECONDARY NOMINATION IN FRENCH POETIC TEXTS (PIERRE DE MARBEUF, VINCENT VOITURE, CLAUDE DE MALLEVILLE, MADELEINE DE SCUDÉRY)." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(94) (July 7, 2021): 58–67. http://dx.doi.org/10.35433/philology.1(94).2021.58-67.
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The research deals with the essence of text-forming aspects of structural types of secondary nomination in French poetic texts. The aesthetic directions of development of French culture of the XVII century are described. It is assumed that in the French literature of the period of Preciosity in the basis of secondary nominative activity rest cognitive mechanisms of knowledge of contemporary realities and their styling in art speech of the authors of the mentioned times. For the disclosure of cognitive-pragmatic mechanisms of secondary nomens to denote objects of reality, displayed in French precious literature, a comprehensive methodology has been developed that was proved effective in determination of structural-semantic types of secondary nomination with their varieties and performance in the works of Pierre de Marbeuf, Vincent Voiture, Claude de Malleville, Madeleine de Scudéry. A new criterion for the typification of secondary units according to their belonging to the grammatical or lexical-semantic level of the language has been proposed. Structural types of secondary nomination (grammatical anaphora) relate to the grammatical process of repetition of a word, phrase, or syntagm using a secondary nomen (anaphora). Pronoun, noun, adjectival, adverbial, verbal (simple, complex) and propositional structural types of secondary nomens are traced out. They are classified into such kinds as exact, inexact, conceptual, divergent, associative and zero ones. The semantic types of the secondary nomination are united by the common principle of creation: associative thinking and expressive-figurative content. Among them stand out the stylistic anaphora, metaphor (announced/explicit, direct/pure, developed, proportional, dead, contextual), metonymy and periphrasis.A lexical analysis of specific types of secondary nouns, such as nouns, pronouns, adjectives, verb anaphors and their varieties in the poetry of the brightest representatives of the Precision period is also presented. The functions and purpose of the use of the studied means by the mentioned authors are clarified.
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Haeffelin, M., L. Barthès, O. Bock, C. Boitel, S. Bony, D. Bouniol, H. Chepfer, et al. "SIRTA, a ground-based atmospheric observatory for cloud and aerosol research." Annales Geophysicae 23, no. 2 (February 28, 2005): 253–75. http://dx.doi.org/10.5194/angeo-23-253-2005.
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Abstract. Ground-based remote sensing observatories have a crucial role to play in providing data to improve our understanding of atmospheric processes, to test the performance of atmospheric models, and to develop new methods for future space-borne observations. Institut Pierre Simon Laplace, a French research institute in environmental sciences, created the Site Instrumental de Recherche par Télédétection Atmosphérique (SIRTA), an atmospheric observatory with these goals in mind. Today SIRTA, located 20km south of Paris, operates a suite a state-of-the-art active and passive remote sensing instruments dedicated to routine monitoring of cloud and aerosol properties, and key atmospheric parameters. Detailed description of the state of the atmospheric column is progressively archived and made accessible to the scientific community. This paper describes the SIRTA infrastructure and database, and provides an overview of the scientific research associated with the observatory. Researchers using SIRTA data conduct research on atmospheric processes involving complex interactions between clouds, aerosols and radiative and dynamic processes in the atmospheric column. Atmospheric modellers working with SIRTA observations develop new methods to test their models and innovative analyses to improve parametric representations of sub-grid processes that must be accounted for in the model. SIRTA provides the means to develop data interpretation tools for future active remote sensing missions in space (e.g. CloudSat and CALIPSO). SIRTA observation and research activities take place in networks of atmospheric observatories that allow scientists to access consistent data sets from diverse regions on the globe.
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Churikov, V. V. "Concerto for saxophone and string orchestra by P.-M. Dubois: guidelines for performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 107–22. http://dx.doi.org/10.34064/khnum1-54.07.
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Statement of the problem. Creativity for saxophone by the French composer Pierre-Max Dubois (1930-1995) reflects in its sound palette many style tendencies of music art of the twentieth century. A student of D. Milhaud, he inherited from his teacher the desire for vivid character and imagery of music, which were achieved by various artistic possibilities of modern musical styles and trends. For the saxophone, he wrote such compositions as Characteristic pieces in the form of a suite, Quartet, Divertissement, Sonata and Concerto for saxophone and string orchestra which is quite relevant for the repertoire of the modern saxophonist. Taking into account specific features of the author’s style of P. Dubois, the performer faces the problem of mastering a number of technical and artistic expressive techniques aimed at revealing the figurative content of the piece. For a contemporary performer, the awareness of style components of P. Dubois’ music, which make up the logic of the performance interpretation, is of particular importance. These are the main aspects of work at this composition in the class of saxophone. Analysis of recent publications on the topic. Saxophone performance is considered in many publications, including those written by the author of this paper. However, there are very few works related to the study of P.-M. Dubois’ creative work, and all of them are bibliographic or encyclopedic in nature. Therefore, the analysis of compositions by P.-M. Dubois seems relevant. The purpose of the study is to develop methodology guidelines on search for performance interpretation of Concerto for Saxophone and String Orchestra by P. Dubois. Presentation of the main research material. The Concerto for Saxophone and String Orchestra by P. Dubois was written in 1956 and was a striking embodiment of the instrumental style of the French composer. Adhering generally to traditional ideas about instrumental genres, P. Dubois greatly expands the sound palette of his works and develops the expressive capabilities of the saxophone. As a student of the famous and one of the most extravagant representatives of the French "Group of Six" – D. Milhaud, P. Dubois in many ways inherits the principle of distinctness of musical language and bright, expressive musical and artistic imagery. P. Dubois’ concerto is a traditional three-part cycle, built on the principle of contrasting extreme fast and medium slow parts, which in the overall contexture of the composition are very different in their imaginative content and musical language. Highlighting the stylistic origins of music of the Concerto, the composer is obviously focused on artistic principles of such musical directions as neoclassicism, impressionism-symbolism and expressionism. Conclusions of the study. From the viewpoint of performance, works for saxophone by P. Dubois have undoubted merits. They are instrumental in nature, written in the light of instrumental specificity, though not without technical and imaginary difficulties. Summarizing the analysis of the Concerto for the saxophone by P. Dubois, it can be argued that this piece clearly fits into the artistic context of the development of French music in the second half of the twentieth century, since it reflects the process of synthesizing various style complexes in the original author’s concept. 1. Concerto for Saxophone and String Orchestra by P. Dubois is an original interpretation of the concerto genre in the context of French music of the second half of the twentieth century. Preserving national traditions of instrumental thinking – programmability, genre, beauty of the timbre palette – P. Dubois enriches the musical language of his work significantly and freely interprets the compositional structure of the concerto (the ratio of form sections, their scales, cadence at the very beginning of the sonata allegro, "removed" thematic contrast and a departure from conflict dramaturgy). On the whole, we can speak of a shift from the sonata form and priorities of the variative development of the musical thematism. 2. In identifying the stylistic origins of the Concert’s music, the composer’s focus on artistic principles of such musical directions as neoclassicism, impressionism-symbolism and expressionism are evident. Moreover, each of these style complexes is as if personified in a specific author’s "manner", causing reminiscence with the music of D. Shostakovich, S. Rachmaninov, P. Hindemith, M. Ravel. Such a “multicomponibility” of the Concerto style introduces the multifaceted nature of the musical language of the piece and assigns the performer the task of differentiating expressive means – mainly the timbre palette and articulation technique. The prospect of further study of the topic is related to the performance analysis of other works by P. Dubois for saxophone, comparison of interpretations made by contemporary prominent artists.
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Nukha, Rosyid. "REPRODUKSI BUDAYA DALAM PENTAS KESENIAN TRADISIONAL DI BALAI SOEDJATMOKO." Jurnal Analisa Sosiologi 6, no. 1 (February 13, 2018). http://dx.doi.org/10.20961/jas.v6i1.18178.
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<p><em>The aim of this research is to know about the culture reproduction process that happen ang to know the actor on the traditional art perfromances in Soedjatmoko Hall. This is a qualitative research with case study as its approach. The data collection done by interview, participatory observation ang documentation. The primary data collected by indepth interview and participatory observation. That data being analyzed using interactive model. The data validity done by source triangulation. the art performance reproduction is being analyzed by Pierre Bourdieu’s theory. The research found that the actors in the culture reproduction on traditional art performances include keroncong art groups, kararwitan art groups, macapat art groups and Soedjatmoko Hall. Those actor have cultural capital, social capital, symbolic capital and economic capital that supported the reproduction process. Culture reproduction in the traditional art through Keroncong Bale, Macapat Soedjatmakan, dan Klenengan Selasa Legen art performance by perform again the traditonal art. Reproduction process happen through the use of pakem and the use of symbol, the delivery of meaning in the art performance, performance’s procedures, the songs and the materials is adjusted to the pakem.</em></p><p><strong><em>Keywords:</em></strong><em> <strong>Soedjatmoko Hall, Culture Reproduction, Art Performance.</strong></em></p><p> </p><p><strong>Abstrak</strong></p><p>Penelitian ini bertujuan untuk mengetahui proses reproduksi budaya yang terjadi dan mengetahui aktor yang terlibat dalam pementasan kesenian tradisional di Balai Soedjatmoko. Jenis penelitian ini adalah kualitatif dengan strategi studi kasus. Pengumpulan data dilakukan dengan wawancara, observasi partisipatif, dan dokumentasi. Data primer dikumpulkan melalui wawancara mendalam dan observasi partisipatif. Analisis data menggunakan model interaktif. Validitas data menggunakan reviu informan dan trianggulasi sumber. Reproduksi kesenian tradisional di Balai Soedjatmoko dikaji dengan pemikiran Pierre Bourdieu. Hasil penelitian menunjukkan Aktor-aktor yang terlibat dalam reproduksi budaya pada pementasan kesenian tradisional meliputi kelompok kesenian keroncong, kelompok kesenian karawitan, kelompok kesenian macapat, dan Balai Soedjatmoko. Aktor kesenian tradisional tersebut memiliki modal budaya, modal sosial, modal simbolik, dan modal ekonomi yang mendukung proses reproduksi. Reproduksi budaya dalam kesenian tradisional melalui penyelenggaraan pentas kesenian Keroncong Bale, Macapat Soedjatmakan, dan Klenengan Selasa Legen dengan mementaskan kembali kesenian tradisional yang sudah berkembang. Proses reproduksi yang terjadi melalui penggunaan pakem yang baku serta penggunaan simbol, penyampaian makna dalam pementasan kesenian, tata cara pementasan, lagu yang dibawakan dan materi yang dipilih dilestarikan sesuai dengan pakemnya.</p><p><strong>Kata Kunci: Balai Soedjatmoko, Reproduksi Budaya, Kesenian Tradisional.</strong></p>
Dissertations / Theses on the topic "Pierre Art corporel Art de performance"
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Bégoc, Janig Poinsot Jean-Marc. "L'art corporel et sa réception en France chronique 1968-1979 /." Rennes : Université Rennes 2, 2009. http://theses.scdbases.uhb.fr:8000/theseBegoc.pdf.
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Bégoc, Janig. "L’art corporel et sa réception en France : chronique 1968-1979." Rennes 2, 2008. http://www.bu.univ-rennes2.fr/system/files/theses/theseBegoc.pdf.
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Réduit à une étiquette et converti en objet théorique, l’art corporel a perdu son histoire. Cette étude se propose de restituer les faits qui ont conduit Gina Pane et Michel Journiac à utiliser leur corps comme un médium artistique, et d’examiner les processus de socialisation grâce auxquels leurs travaux ont accédé à la confrontation critique. Menée à l’appui des sources et abordée sous l’angle de la médiation, cette chronique éclaire les modalités de la reconnaissance de l’art corporel en France, des premiers rejets à l’entrée au musée. L’analyse des discours à l’aune des débats esthétiques et idéologiques de l’époque permet d’associer aux défenseurs de cet art d’autres noms que celui de François Pluchart, et offre une nouvelle intelligibilité aux travaux et à l’histoire de l’art corporelRestricted to a label (coined as the American phrase “Body art”) and converted into a theoretical object, “l’art corporel” has lost its history. This study aims at retrieving the facts that lead Gina Pane and Michel Journiac to use their body as art. It also examines the processes of socialization that enabled their work to face the critical assessment. On the basis of various sources and with a definite focus on the different forms of art facilitation, this chronicle highlights the modes of acknowledgment of “l’art corporel” in France, from its initial dismissal to its institutional admission in the Museum. The analysis of the discourses, confronted to the various aesthetic and ideological debates of the time, enables us to pin point the role of other personalities implied next to François Pluchart as defenders of this art. Thus it offers a new and widened understanding of the works embracing “l’art corporel”
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Lemée, Jean-Philippe. "Actions, happenings, évènements, performances : l'art de l'action en France de 1960 à 1975." Rennes 2, 1986. http://www.theses.fr/1986REN20018.
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Cette thèse porte sur des gestes artistiques réalisés en direct, face au public ou avec la participation active de celui-ci, sur des "oeuvres" éphémères ou le vécu entre comme élément indispensable, comme outil artistique en somme. Jamais jusqu'à présent ces gestes n'ont été regroupés, jamais il n'y a eu volonté de les traiter comme un tout, jamais il n'y a eu d'étude globale de "l'art de l'action". Nous tentons cette étude dans certaines limites toutefois. La période choisie est privilégiée : d'un côté, le début des années soixante voit une véritable explosion de l'action ; de l'autre, autour de dix neuf cent soixante quinze commence pour nous une histoire assez différente, celle de la "performance" ou d'un art de l'action moins perturbateur, plus officialisé si ce n'est académique. Il a paru nécessaire d'autre part de se limiter à un territoire, de se concentrer sur la France. Prouver l'existence d'un solide art de l'action, contribuer étant donne le nombre important d'artistes et de mouvements concernés à une meilleure compréhension de l'art en France dans les années soixante, se sont avérées être parmi nos préoccupations principales. La méthode d'ensemble est simple, le travail est divisé en deux parties, l'une portant sur une réflexion théorique et synthétique globale, l'autre se présentant sous forme de "catalogue" général comprenant les récits des actions par artiste ou par groupe, accompagnés d'articles critiques personnalisés. Cerner le domaine de l'action, définir mieux l'art français de l'action entre dix neuf cent soixante et dix neuf cent soixante quinze, proposer enfin une ou des méthodes de lecture de cette forme d'art, telles sont les priorités du travail de synthèse. Décrire le plus grand nombre d'actions (actions spectacles, action non art, action didactique, optique, corporelle, sociologique. . . ), proposer un portrait commenté accompagné de références documentaires multiples, telles sont les visées du catalogueThis thesis is about artistic acts realized in front of the public or with the active participation of the audience, about ephemeral works where the living moment is an integral part and an instrument. To date, no one has sought to treat the diverse manifestations as a whole. Some limits though have been imposed on the study. The chosen period is particularly rich: on one side, the beginning of the sixties sees a real explosion of art of action; on the other side, around nineteen seventy five starts what seems to be a new story, the story of "performance or of a less disturbing, more official zed or even academic art of action. It also seemed to be necessary to limit oneself to a territory, to focus on France. Proving the existence of a strong art of action, contributing to a better comprehension of the arts of the sixties in France turned out to be among the essential concerns of the present study. The method is simple, the thesis is divided in two parts: the first part is a theoretical reflection on the general subject, the other one presents a "catalogue" including accounts of the actions classified by artists or by groups, accompanied by critical articles. The priorities of the synthetically work are to define criteria for art of action, to define French art of action during the chosen period and to propose one or several methods of reading this form of art. The aims in the catalogue are to describe as many actions as possible and to propose a portrait with commentaries and references
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Barbut, Clélia. "Corps à l'oeuvre, à l'ouvrage et à l'épreuve : sociohistorique des arts de la performance, années 1970." Doctoral thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/25980.
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"Thèse en cotutelle Doctorat interuniversitaire en histoire de l’art Université Laval Québec, Canada, Philosophiae doctor (Ph.D.) et Université Sorbonne Nouvelle Paris 3, Paris, France, Docteure"Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2015-2016
Entre les décennies 1960 et 1980 émergent les courants de l’« art de la performance », du « happening », du « body art », de l’« art corporel » ou encore de l’« art de l’action », qui désignent les démarches des nombreux plasticiens qui font directement intervenir le corps, souvent leur propre corps, dans leurs travaux. À travers les productions des acteurs qui soutiennent ces courants le corps est fabriqué comme un sujet légitime d’attention et de valeur. La thèse décrit l’émergence de ces courants artistiques pendant la décennie 1970 en soutenant qu’ils peuvent et doivent être interrogés comme des phénomènes sociaux. En effet, jamais auparavant autant d’acteurs des mondes de l’art visuel n’avaient décidé simultanément de se tourner vers le corps lui-même, et de le mettre à l’œuvre, à l’ouvrage, à l’épreuve. Interroger leurs productions du point de vue du corps peut permettre de dérouler de comprendre en profondeur la présence incisive et percutante du phénomène. Ces courants viennent poser des questions cruciales à l’anatomie du travail créateur : rapports sociaux de sexe, interactions avec les spectateurs, engagements politiques, marchandisation. L’étude, sociohistorique, focalise autour de trois scènes (France, côtes est et ouest des États-Unis) à partir d’un corpus d’archives documentaires (entretiens, critiques, essais, manifestes, notations, photographies). La thèse comprend un volet d’enquête qui mesure la reconnaissance de ces pratiques, un second volet d’histoire institutionnelle et intellectuelle qui décrit les savoir-faire et les modalités d’énonciation liés aux actions et aux événements et enfin, une topographie qui résume les modèles du corps produits par les gestes les raisonnements des artistes et de leurs commentateurs. Mots-clés : Histoire des corps, art de la performance, critique d’art, féminismes, documentation, sociologie historique.
« Performance art », « body art » and « happenings » appeared on the art scene between the 1960s and the 1980s. The human body was at the heart of these artistic movements, to the extent that many artists embodied their own works. Within such creative processes and productions, the body undeniably became a legitimate subject of attention and value. This dissertation describes the initial stages of the art movements aforementioned, and argues that they must be analyzed as sociological phenomena. Never before had such a larger of artists within the same time period decided to focus on the entity of the body itself, to use and misuse it so intensely. Observing their approaches through the lens of the body allows us to voice critical questions about the anatomy of a creative work - gender relations, interactions with the viewers, political commitments, and marketing. This sociohistorical research studies three landmark art scenes of the time (France, the east coast, and the west coast of the USA), by delving into a documentary material of archives (interviews, reviews, essays, manifestos, notations and photographs). The thesis begins with a sociological inquiry which measures the visibility of these artistic movements; it is followed by a history of the institutional and critical apparatus which described the atistic skills and statements at work within body actions and happenings; lastly, the dissertation presents a topography of the workings of the body, drawn from the artists’ performances and theoretical stances, as well as art critics’ viewpoints and analyses. Key Words : body art, avant-gardes, history of the body, feminisms, documentation, historical sociology.
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Férey, Norman. "La déconstruction du corps et des sexualités dans les performances artistiques en France de 1970 à 2000 : vers une prise en compte de la notion de genre." Paris 8, 2014. http://octaviana.fr/document/182002225#?c=0&m=0&s=0&cv=0.
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Au cours des années 1990, la notion de genre attachée au contexte culturel des corps s’est difficilement fait une place au sein de la sphère intellectuelle. Cette notion s’est-elle déployée plus facilement dans le champ de la performance ? Dès les années 1970, le corps tient une place contestataire importante dans la création notamment en matière de déconstruction des sexes : c’est le développement de l’art corporel. Plusieurs artistes recherchent dans cette perspective les fondamentaux du corps qui puissent résoudre les problèmes culturels liés à la différence sexuelle. Plus tard, dans les années 1980 la performance perd de son potentiel subversif. Le contexte politique global change et le corps se diffuse largement par les écrans. Deux positions se dessinent pour les artistes français : un intérêt plus prononcé pour l’immatériel que représente le verbe ou une exploitation et une recherche du corps à travers sa diffusion médiatique et technologique. Dans un cas comme dans l’autre le rapport entre les artistes et les corps « déviants » dont ils s’emparent est loin d’être évident. Les « corps minoritaires » se retrouvent plutôt dans la sphère militante et activiste. Dans les années 1990 l’arrivée de différents tels que la question des signes religieux visibles ou l’augmentation alarmante de l’épidémie de sida, vont finalement jouer pour les performeurs comme un catalyseur à une re-politisation des questions liées à la différence sexuelle et aux phénomènes identitaires. Cette dernière décennie marque donc une émergence de la notion de genre au sein de la sphère artistique même si le lien entre création et militantisme reste toujours problématique et peu actifDuring the 90s, the concept of gender related to the cultural context of the body hardly had a place in the intellectual sphere. Did this concept spread itself more easily in the field of performance? From the 70s onward and right after the impulse given by 68 movements, the body took an important protest role in the creative process, in particular regarding gender deconstruction: that is the development of body art. Several artists tried through this medium to find a Body fundament which could bring an answer to cultural issues related to sexual differences. Later in the 80s, performance art became less subversive. The global political environment was changing and the body was more visible especially on screens. Two mains positions emerged among French artists: one focused more on words and an immaterial approach and the other using technology and media to explore the body. In both cases, the relationship between the artist and the deviant bodies that they used is far from clear. The “minority bodies” were more to be found in the militant and activist sphere. In the 90s, arguments about topics to do with secularism and the alarming raise of HIV would finally push the performers to reconsider the political dimension of gender and identity questions. Therefore, in this last decade, the concept of gender found its legitimacy in the artistic field even though the relationship between creative process and political activism still seems problematic and not that active
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Souladié, Catherine. "La performance dans les arts plastiques aujourd'hui : tatouages et piercings." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30026/document.
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Cette recherche propose une réflexion sur la pertinence d’un « art –action » actuel, à partir d’une analyse d’actes pour l’art, caractérisés comme « hors limites », à travers une utilisation de la présence physique comme essence et support de l’art plastique, entreprise dès les années 1920 par Marcel Duchamp, et déclinée durant tout le vingtième siècle avec des mouvements artistiques tels Dada, le Happening, l’Actionnisme Viennois, ou l’Art Corporel.Nous étudions ici, aidés d’artistes performers choisis autour de quelques pratiques singulières de Albrecht Becker, Ron Athey et Lukas Zpira, les possibles limites d’actes artistiques, mettant en scène de façon extrême, à travers des performances jugées choquantes, agressives, incluant piercings, tatouages, osant parfois un art du malaise, se jouant des conventions, des tabous et des codes sociaux et culturels en place. Ainsi nous voyons s’il y a lieu, aujourd’hui, de parler encore d’actes artistiques politiques, militants, après l’âge d’or des années soixante-dix, parmi des nouvelles esthétiques du corps humain, celui-ci successivement « héros, sujet, matériau, objet, victime, écran » de cet art-action transgressif. Notre volonté est de saisir l’ambiguïté contenue dans la représentation, et toute la symbolique donnée à voir, par rapport à une première intention qui est une certaine déstructuration à la fois thématique et formelle dans les arts plastiques. La discussion est donc engagée sur l’authenticité et la pérennité de ces pratiques artistiques extrémistes, transgressives, manipulant le concept d’identité ou même la génétique, discussion aussi sur leur statut avant-gardiste dans l’histoire de « l’art pour l’art », concept porté par la modernité.Ce « hacking » du corps nous amène-t-il-alors vers un devenir post-humain virtuel, une seule existence dans les univers numériques ? Le corps est-il en perdition ou, paradoxalement l’ultime recours, sauvé par ces modifications douloureuses et radicales ?This research proposes a reflection on the relevance of a "art -action" current, based on an analysis of the acts for the art, characterized as "off limits", through a use of the physical presence, such as origin and support of the visual art, begun in the 1920s by Marcel Duchamp, and declined throughout the twentieth century with artistic groups as Dada, the Happening, the Viennese Actionnism, or the Body Art.We study here, through artists performers selected around the singular practices of Albrecht Becker, Ron Athey and Lukas Zpira, the possible limits of artistic acts, staging in extreme way, through performances considered shocking, aggressive, including piercings, tattoos, daring an art of faintness sometimes, being played of conventions, the taboos and the social-cultural codes in place. Thus we see whether it is necessary, today, to still speak about artistic acts political, militant, after the golden age of the Seventies, through a choice among many new esthetics of the human body, successively “hero, subject, material, object, victim, screen” of this transgressive acting-art. Our will is to understand the ambiguity contained in the representation, and all the shown symbolic system, compared to a first intention which is disintegration both thematic and formal in the plastic arts. The discussion is thus about the authenticity and the survival of these artistic extremists and transgressive practices, treating the concept of identity or even the genetics, the discussion being also about their avant-gardist position in the history of “the art for art” brought by the modernity, position to be reconsidered in a society called post-modern.Do this “body- hacking” bring us then towards a future virtual human being, a single existence in the digital universes? Is the body lost or, paradoxically the ultimate recourse, saved by these painful and radical modifications?
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Souladie, Catherine. "La performance dans les arts plastiques aujourd'hui : tatouages et piercings." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00757198.
Full textAbstract:
Cette recherche propose une réflexion sur la pertinence d'un " art -action " actuel, à partir d'une analyse d'actes pour l'art, caractérisés comme " hors limites ", à travers une utilisation de la présence physique comme essence et support de l'art plastique, entreprise dès les années 1920 par Marcel Duchamp, et déclinée durant tout le vingtième siècle avec des mouvements artistiques tels Dada, le Happening, l'Actionnisme Viennois, ou l'Art Corporel.Nous étudions ici, aidés d'artistes performers choisis autour de quelques pratiques singulières de Albrecht Becker, Ron Athey et Lukas Zpira, les possibles limites d'actes artistiques, mettant en scène de façon extrême, à travers des performances jugées choquantes, agressives, incluant piercings, tatouages, osant parfois un art du malaise, se jouant des conventions, des tabous et des codes sociaux et culturels en place. Ainsi nous voyons s'il y a lieu, aujourd'hui, de parler encore d'actes artistiques politiques, militants, après l'âge d'or des années soixante-dix, parmi des nouvelles esthétiques du corps humain, celui-ci successivement " héros, sujet, matériau, objet, victime, écran " de cet art-action transgressif. Notre volonté est de saisir l'ambiguïté contenue dans la représentation, et toute la symbolique donnée à voir, par rapport à une première intention qui est une certaine déstructuration à la fois thématique et formelle dans les arts plastiques. La discussion est donc engagée sur l'authenticité et la pérennité de ces pratiques artistiques extrémistes, transgressives, manipulant le concept d'identité ou même la génétique, discussion aussi sur leur statut avant-gardiste dans l'histoire de " l'art pour l'art ", concept porté par la modernité.Ce " hacking " du corps nous amène-t-il-alors vers un devenir post-humain virtuel, une seule existence dans les univers numériques ? Le corps est-il en perdition ou, paradoxalement l'ultime recours, sauvé par ces modifications douloureuses et radicales ?
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Hsieh, Chwen-Ching. "Le corps en devenir. Jeux de genres : films/vidéos, performances, installations multimédias, art en ligne." Thesis, Paris Est, 2011. http://www.theses.fr/2011PEST0019.
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A travers l‟intervention des technologies numériques (films/vidéos, performances, installations multimédias, art en ligne), les artistes contemporains proposent de nouveaux imaginaires corporels et des perceptions inédites des genres. Cette recherche propose une analyse comparée des travaux pluridisciplinaires de Maria Klonaris, Katerina Thomadaki, Steven Cohen et Shu Lea Cheang. Leurs oeuvres permettent d‟élaborer le concept de « jouer le genre » (Judith Butler, 1990), et d‟approcher l‟image de « l‟utopie cyborg sans genre » (Donna Haraway, 1985). Ces possibilités du corps et des sexes font écho à des évolutions technologiques et culturelles, croisant la théorie queer. Ce sont des expérimentations en cours sur des identités en devenirFollowing the actual uses of digital technology (films, videos, performances, multimedia installations and Internet art), contemporary artists offer new visions of the human body and new perceptions of gender. This research offers a comparative analysis of the multidisciplinary works of Maria Klonaris, Katerina Thomadaki, Steven Cohen and Shu Lea Cheang. Their works provides a useful framework for understanding Judith Butler's theory of "gender performativity"(1990) and Donna Haraway‟s vision of "utopian dream of the hope for a monstrous world without gender"(1985). The possibilities of the body and gender respond to technological and cultural evolutions that are linked with queer theory. These works are on-going experiments for identities that are in-the-making
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Tschech, Christina. "Devenir paysage : dialogues corporels avec la nature dans l'art des années 1960-1980." Paris 1, 2010. http://www.theses.fr/2010PA010709.
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Freytag, Sylvie. "Art et politique en Autriche : l'impact des oeuvres d'Alfred Hrdlicka, de Friedenreich Hundertwasser, de Günter Brus et de Valie Export sur l'Autriche de la Seconde République." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC007/document.
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La recherche porte sur les relations entre les acteurs politiques et l’art subversif et leur positionnement face à des thèmes récurrents tels l’antisémitisme, l’oubli du passé, la condition de la femme, l’écologie. Partant des théories existantes sur les rapports entre l’art engagé et le politique, il s’agit d’étudier les œuvres de quatre artistes représentatifs à la fois de l’évolution des positions politiques et des techniques nouvelles à travers l’histoire de 1945 à nos jours, dans la IIe République d’Autriche : le sculpteur Alfred Hrdlicka, le peintre et architecte Friedensreich Hundertwasser, l’actionniste viennois Günter Brus, la féministe Valie Export. Ces artistes bousculent l’ordre établi à travers leur art agressif et leurs écrits. Le but est de définir la nature et le degré de leur protestation et de déterminer dans quelle mesure ils ont participé au débat démocratique et à la modernisation de la société autrichienne ainsi qu’à la construction identitaire de l’Autriche après 1945The research relates to the relation between the political actors and subversive art and their respective position on dominant themes such as anti-Semitism, the denial of the Nazi past, the status of women, ecology. From existing theories on relations between engaged art and politics, it is a question of studying the works of art of four artists representative on both policy statements and newer technologies through history from 1945 up to now, in the Second Republic of Austria : the sculptor Alfred Hrdlicka, the painter and architect Friedensreich Hundertwasser, the Viennese actionist Günter Brus, the feminist Valie Export. Each one, in his own way, shakes up the established order through his aggressive art and writings. The aim is to specify the type and level of protest of these artists and to assess to what extent they have participated in the democratic debate and modernisation within Austrian society as well as in the identity building of Austria after 1945
Books on the topic "Pierre Art corporel Art de performance"
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1950-, Martel Richard, ed. Art action, 1958-1998: Happening, fluxus, intermédia, zaj, art corporel/body art, poésie action/action poetry, actionnisme viennois, viennese actionism, performance, art acciʹon, sztuka performance, performans, akciʹo mʺuvészet. Québec: Éditions Intervention, 2001.
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Christopher, Phillips, Witte de With, centrum voor hedendaagse kunst., Fundació Joan Miró (Barcelona, Spain), and Fresnoy (Art center : Tourcoing, France), eds. Voices =: Voces = Voix : Vito Acconci, Judith Barry, Geneviève Cadieux, Janet Cardiff + George Bures Miller, Jochen Gerz, Gary Hill, Pierre Huyghe, Kristin Oppenheim, Moniek Toebosch. Rotterdam: Witte de With, Center for Contemporary Art, 1998.
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Leruth, Michael F. "Fred Forest, Troublemaker." In Fred Forest's Utopia. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262036498.003.0001.
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The Introduction establishes Forest’s artistic identity as a trickster and troublemaker through some of his most famous publicity stunts and subversive public interventions. Works discussed in the Introduction include 150 cm2 of Newspaper (1972), The City Invaded by Blank Space (1973), The Artistic Square Meter (1977), The Golden Mean and the Force Field of 14,000 Hertz (1987), Fred Forest for President of Bulgarian National Television (1991), and Forest’s unauthorized protest performance at the Centre Pompidou’s Vidéo Vintage exhibition (2012). The Introduction also discusses Forest’s contributions as a theorist and educator, his ties to leading intellectuals and critics like Vilém Flusser and Pierre Restany, and his tense relations with French art institutions, including his epic legal battle with the Centre Pompidou (1994-97).
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Atay, Simber. "On Seduction." In Seduction in Popular Culture, Psychology, and Philosophy, 58–75. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0525-9.ch003.
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Seduction is a sexual act, a sex instinct expression, a love practice, a body performance, a psychoanalytical problematic, a philosophical issue, a creative strategy full of phantasies from art to politics, from advertising to entertainment, from personal intimacy to mass-media. Seduction is basis of strip-tease profession, of course! But it is also a cultural metaphor. Seduction is an indispensable part of acting in performing arts. In cinema, actors and actress seduce spectators. In photography, photographer and photographed one, they seduce reciprocally. Seduction has very strong mythological origins. On the other hand, superman of Nietzsche, gaze of Bataille, objet petit a of Lacan are some adequate contemporary parameters to discuss the seduction concept. In this context, Le Samura? (1967) of Jean-Pierre Melville, Magic Mike (2012) of Steven Soderbergh, Jupiter Ascending (2015) of Lana and Andy (Lilly) Wachowski are our cinematographic examples. Eikoh Hosoe's project ‘Barakei' (1961), Duane Michals' project ‘Questions without Answers' (2001), Mehmet Turgut's self-portrait series (2000's) are our photographic examples. Within the text, we evaluate all these popular culture examples by using the mentioned parameters to describe what the seduction is.