Add to ORKGLa Subversion des images was an aggressive exhibition, an overwhelming assault on the senses, the cumulative result of the wealth, diversity, and intensity of the material, combined with an installation that was purposefully disorienting – a labyrinth of cut-through architecture and Kertesz-style carnival-curved, mirrored surfaces. It was also aggressive in an encyclopedic, authoritative, terminal sense and, as such, reminiscent of Georges Bataille’s gnomic prediction in his 1945 review essay..
This solo exhibition reinvented traditional analogue photographic techniques to create a visual essa...
« L’hyperimage désigne le fait qu’un regroupement calculé d’images sélectionnées, tableaux, dessins,...
The commemorative signs of the centenary of Jean Dubuffet’s birth are somewhat surprising. An impres...
Twenty-four years after Explosante-fixe: photographie et Surréalisme, brainchild of Rosalind Krauss,...
Photography is part and parcel of the history of Surrealism, and a far-reaching and active part of t...
First edited and published by Marcel Marien in 1968 in a limited edition of 230 copies, half a year ...
It was not until 1977, when the Musée National d’Art Moderne moved to the Centre Pompidou, and 1978,...
This publication goes hand-in-hand with the inaugural exhibition celebrating the re-opening of the V...
Guest curator of group show (photography and video) in hommage to Roland Barthes on the centenary of...
It is in the nature of histories of modern and contemporary art to be regularly rewritten, and their...
Among the various ideas that Surrealism revamps, and which Werner Spies sweepingly overviews in his ...
The International Exhibition of Arts and Techniques, organized in Paris in 1937, brought for the fir...
International audienceIn 1947, while Malraux had the first essay in the Psychologie de l’art series,...
L’Art contemporain et la Côte d’Azur: this title might be somewhat perplexing, were it not embellish...
El artÃculo propone una lectura de La chambre claire de Roland Barthes tomando como base el sintagm...
This solo exhibition reinvented traditional analogue photographic techniques to create a visual essa...
« L’hyperimage désigne le fait qu’un regroupement calculé d’images sélectionnées, tableaux, dessins,...
The commemorative signs of the centenary of Jean Dubuffet’s birth are somewhat surprising. An impres...
Twenty-four years after Explosante-fixe: photographie et Surréalisme, brainchild of Rosalind Krauss,...
Photography is part and parcel of the history of Surrealism, and a far-reaching and active part of t...
First edited and published by Marcel Marien in 1968 in a limited edition of 230 copies, half a year ...
It was not until 1977, when the Musée National d’Art Moderne moved to the Centre Pompidou, and 1978,...
This publication goes hand-in-hand with the inaugural exhibition celebrating the re-opening of the V...
Guest curator of group show (photography and video) in hommage to Roland Barthes on the centenary of...
It is in the nature of histories of modern and contemporary art to be regularly rewritten, and their...
Among the various ideas that Surrealism revamps, and which Werner Spies sweepingly overviews in his ...
The International Exhibition of Arts and Techniques, organized in Paris in 1937, brought for the fir...
International audienceIn 1947, while Malraux had the first essay in the Psychologie de l’art series,...
L’Art contemporain et la Côte d’Azur: this title might be somewhat perplexing, were it not embellish...
El artÃculo propone una lectura de La chambre claire de Roland Barthes tomando como base el sintagm...
This solo exhibition reinvented traditional analogue photographic techniques to create a visual essa...
« L’hyperimage désigne le fait qu’un regroupement calculé d’images sélectionnées, tableaux, dessins,...
The commemorative signs of the centenary of Jean Dubuffet’s birth are somewhat surprising. An impres...