“The interview”, notes Walter Benjamin in his “Conversation with Gide”, “that form that has been adopted by diplomats, financiers and film people, does not, at first glance, form the terrain where one will discover what is most unusual about and specific to living writers. But on closer inspection, things are different. Dialogue, like a stroke of light, reveals Gidean thinking”. Written 80 years ago, these lines turn out to be remarkably topical. In them we find, on the one hand, the disparag..
The interview is a peculiar form. Ranging from good cop bad cop interrogations to Prime Minister’s Q...
The intent of the thick issue Peinture pratique théorique is praiseworthy. It involves prompting a “...
This is the text of the Claudio Rozzoni's interview with Jorge Molder that took place in Portuguese ...
In interviews, all forms of authorized narratives become condensed: those of the figure of the artis...
The article discusses the role of interviews throughout the history of art, especially from the 1950...
The article discusses the role of interviews throughout the history of art, especially from the 1950...
Nearly every exhibition catalogue now contains an interview with, or related statement by, the artis...
This article proposes to reflect on the role of interviews with artists as a contention device in th...
This article proposes to reflect on the role of interviews with artists as a contention device in th...
The interview is a peculiar form. Ranging from good cop bad cop interrogations to Prime Minister’s Q...
Based on the finding that the use of interviews in studies has been disseminated in the field of Art...
Based on the finding that the use of interviews in studies has been disseminated in the field of Art...
The interview is a peculiar form. Ranging from good cop bad cop interrogations to Prime Minister’s Q...
The interview is a peculiar form. Ranging from good cop bad cop interrogations to Prime Minister’s Q...
This interview was conducted by e‑mail between November 20th and December 10th 2003, in the wake of ...
The interview is a peculiar form. Ranging from good cop bad cop interrogations to Prime Minister’s Q...
The intent of the thick issue Peinture pratique théorique is praiseworthy. It involves prompting a “...
This is the text of the Claudio Rozzoni's interview with Jorge Molder that took place in Portuguese ...
In interviews, all forms of authorized narratives become condensed: those of the figure of the artis...
The article discusses the role of interviews throughout the history of art, especially from the 1950...
The article discusses the role of interviews throughout the history of art, especially from the 1950...
Nearly every exhibition catalogue now contains an interview with, or related statement by, the artis...
This article proposes to reflect on the role of interviews with artists as a contention device in th...
This article proposes to reflect on the role of interviews with artists as a contention device in th...
The interview is a peculiar form. Ranging from good cop bad cop interrogations to Prime Minister’s Q...
Based on the finding that the use of interviews in studies has been disseminated in the field of Art...
Based on the finding that the use of interviews in studies has been disseminated in the field of Art...
The interview is a peculiar form. Ranging from good cop bad cop interrogations to Prime Minister’s Q...
The interview is a peculiar form. Ranging from good cop bad cop interrogations to Prime Minister’s Q...
This interview was conducted by e‑mail between November 20th and December 10th 2003, in the wake of ...
The interview is a peculiar form. Ranging from good cop bad cop interrogations to Prime Minister’s Q...
The intent of the thick issue Peinture pratique théorique is praiseworthy. It involves prompting a “...
This is the text of the Claudio Rozzoni's interview with Jorge Molder that took place in Portuguese ...