Roxana marcoci biography of albert
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Diaphanes
After the Crisis offers a platform for discussions between some of today’s leading artists, writers, theorists, curators, and historians aimed at questioning the very ställning eller tillstånd of photography today. Contributors come from the realms of critical theory, fiction, performance art, fashion photography, and museums, as well as spelfilm and design, and their conversations bring together history and the contemporary. Comparing the current situation of photographic images with the crisis experienced by representation at the time of the birth of photography, they set our relationship with photographic images in the digital era in perspective. Through these discussions, we komma to sense the existential burden of being surrounded by images, while also beginning to grasp the historical depth of a questioning of images that started long before the current generation and engages with crucial political and cultural issues of our time.
With contributions by Philip
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If one were pressed to position a single artistic project at the center of the relationship between sculpture and photography, Brassaï’s Sculptures involontaires seems a good choice. Indeed, both volumes reviewed here—one a catalogue for an exhibition originating at the Museum of Modern Art (MoMA) and the other a collection of essays in Ashgate’s “Studies in Surrealism” series—pivot around Brassaï’s photographs, which were collaborations with Salvador Dalí, who supplied their captions and published them in the Surrealist journal Minotaure in December 1933. As Anna Dezeuze and Julia Kelly write in their introduction to Found Sculpture and Photography from Surrealism to Contemporary Art, the photos depict “scraps of everyday debris—including rolled-up bus tickets, a piece of a bread roll, a curl of soap, and a blob of toothpaste—featured in photographic close-up as ‘automatic’ sculptural configurations” (1). Whereas the Sculptures involontaires serve as the singular organizing
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Miriam Basilio, Paulo Herkenhoff and Roxana Marcoci, Eds. Tempo (New York: The Museum of Modern Art, 2002),
Tempo Tempo June 29–September 9, 2002 This exhibition focuses on distinct perceptions of time—phenomenological, empirical, political, and fictional. Contemporary artists from Africa, the Americas, Asia, and Europe map the show into five areas of multimedia installations that examine cultural differences in the construction of time. In the first area, Time Collapsed, the systemic interfaces with the random in a cacophony of clocks, watches, and metronomes. Transgressive Bodies, the second area, probes the metabolic processes and erotic drives exercised by the body. The physical world involves a sense of evolution, but also impermanence Louise Bourgeois. Untitled. 2002. Ink and pencil on music paper, 113⁄4 x 9" (29.8 x 22.9 cm). Collection the artist; courtesy Cheim and Read, New York and entropy; Liquid Time explores this ever-changing flow of time through images of wat