volume 1

du yodel la physique quantique... From yodeling to quantum physics

palais de tokyo /

du yodel la physique quantique... From yodeling to quantum physics volume 1

# 

10,5

5.000.000.000

# 7

10,5 [f ] m [e ] m

Poids (en tonnes) de lhtel [ m everland] . Weight (in tons) of Hotel [ m everland] .

5.000.000.000 [ 2] [ m 1 , fig. # 01 # 0 ] [ f ] m 5.000.000.000 DANNES .

DANNES

[ m UrsFischer]

Exposition

14/09/200 31/12/200. 5.000.000.000

190 [ f ] m Vitesse moyenne (en km/h) de [ m Ghost rider] sur le priphrique parisien. [ e ] m Average speed (in km/h) of [ m Ghostrider]

on the Paris Priphrique [citys ring road].

1969 [ f ] m Date

sinscrivait dans la session [ m Cinq Jouant dun mouvement schizophrnique et dune capacit se mtamorphoser, les uvres de 5.000.000.000 DANNES testaient l[ m lasticit] dun monde de lart en expansion, limage de notre univers depuis [ m 5.000.000.000] dannes. [ m mutants]
milliardsdannes ] .

Untitled (Branches), 2005 Collection Ringier, Zurich Courtesy de lartiste / of the artist, galerie Eva Presenhuber, Zurich & Sadie Coles HQ, Londres
[ m markHandforth]

charnire dans lhistoire des tatsUnis. Anne dAltamont (concert au cours duquel un fan des Rolling Stones est tu par un [ m Hellsangel] ), anne de lassassinat de Sharon Tate par des membres de la secte de [ m Charlesmanson] , anne de la grande marche contre la guerre du Vietnam Lanne 199 marque la fin du Summer of Love entam en 197. [ m Hallucinogne] [ m Grunen-

[ m quotientschizophrniqueacclration] [ e ] m 5,000,000,000 YEARS. Exhibition

Honda, 2002 Collection Paul Rubell, Miami Vespa, 2001 Collection particulire / private collection, Berlin
[ m JoachimKoester]

14/09/200 31/12/200. 5,000,000,000 YEARS

placed itself within the FivE BillioN YEAR chapter [ m Cinqmilliardsdannes] . Schizophrenic and [ m mutant] , pieces featured in 5,000,000,000 YEARS tested the elasticity [ m lasticit] of an expanding art world, similar to our universe since [ m 5.000.000.000] years.
[ m quotientschizophrniqueacclration] m Liste des uvres / List of works [ m Christianandersson]

Message dAndre, 2005 Courtesy galerie Jan Mot, Bruxelles / Brussels & Gallerie Nicolai Wallner, Copenhague / Copenhagen
[ m Vincentlamouroux]

Scape, 200 Courtesy de lartiste / of the artist

[ m lang / Baumann]

berg,Christoph] [ e ] m Key date in the

history of the USA. The year of Altamont (a concert during which a fan of the Rolling Stones was killed by a [ m Hells angel] ), the year when Sharon Tate was murdered by members of [ m Charlesmanson] s sect, the year of the big march against the Vietnam War Year 199 marked the end of the Summer of Love which had started in 197. [ m Hallucinogne] [ m Grunenberg,
Christoph]

Perfect, 200 Courtesy de lartiste / of the artist

[ m Tonymatelli]

The Blind Spot, 2003/200 Courtesy Galerie Nordenhake, Berlin / Stockholm

[ m artistsUnknown]

Gone, 2000 Collection Pamela & Arnold Lehman Courtesy Leo Koenig Inc., New York
[ m Jonathanmonk]

Wrong Place Wrong Time, 2005 Courtesy Thyssen-Bornemisza Art Contemporary, Vienne/Vienna
[ m michelBlazy]

1.419.993 [ f ] m Nombre

Patman 2, 200 Courtesy Art : Concept, Paris

[ m mikeBouchet]

Constantly Moving Whilst Standing Still, 2005 Collection Dr Paul Marks, Toronto ; Courtesy Meyer Riegger, Karlsruhe Meeting Piece, 200 Courtesy galerie Yvon Lambert, Paris
[ m Franoismorellet]

de visiteurs au Palais de Tokyo depuis son ouverture en 2002. [ e ] m Number of visitors of the Palais de Tokyo since its opening in 2002.
4.999.999.991 [ f ] m Temps restant

(en annes) avant lexplosion du soleil et lirrmdiable fin de notre univers. [mBig Crunch Clock] [ e ] m Remaining time (in years) until the explosion of the sun and the inescapable end of our universe. [ m Big Crunch Clock]
5.000.000.000 [ 1] [ f ] m Temps (en annes)

Jude Law, 2005 Courtesy de lartiste / of the artist Jack Welch, 2005 Courtesy de lartiste / of the artist [ m lorisCecchini] Cloudless, 200 Courtesy Galleria Continua, San Gimignano / Pekin
[ m Philippedecrauzat]

Pi Weeping Neonly, 200 Courtesy de lartiste / of the artist

[ m Giannimotti] [ m Big Crunch Clock] , 1999 2005

Courtesy de lartiste / of the artist HIGGS, la recherche de lanti-Motti, 2005 Courtesy de lartiste / of the artist
[ m Charlesray]

Fade In Out, 200 Courtesy galerie Praz-Delavallade, Paris Light Space Modulator, 2002 Courtesy FRAC Languedoc-Roussillon, Montpellier
[ m marcelduchamp]

Rotating Circle, 1988 Collection particulire / private collection, Turin

depuis le dbut de lacclration de lexpansion de lunivers sous leffet dune force mystrieuse, lnergie noire. [ e ] m Time (in years) since the accelerated expansion of the universe under the effect of a force called dark energy.

Rotoreliefs, 1953 Collection particulire / private collection

[ m CealFloyer]

Bucket, 1999 Courtesy Esther Schipper, Berlin Auto Focus, 2002 Courtesy Esther Schipper, Berlin

acc 8

AcclRAtioN

AERicA

aer 9

acclration

Acceleration [ m voir encadr p. 9 / see box p. 10]

[ m duchamp,marcel] [ m Cuche,didier] [ m Klammer,Franz] [ m lasticit]
acconci, vito [ f ] m *1940, vit

New York. Pote, plasticien, vidaste et performer, Vito Acconci sest fait connatre dans les annes 190 grce sa posie et la revue 0 to 9 quil fonde en 197. A partir de 199, il ralise de nombreuses performances quil documente par des films, des photographies ou des textes. Lespace de la page, puis lespace priv et enfin lespace public sont au cur de son travail. Son propre corps devient le lieu privilgi de nombreuses exprimentations sur notre faon dtre au sein de contexte urbain, social ou politique. partir de 1988, il cre le Acconci Studio rassemblant divers architectes et ingnieurs. Leurs interventions dans lespace public (parcs, btiments, aires de jeux, etc.) par le biais de commandes publiques transforment lespace en sources dinterrogations la frontire de larchitecture, du politique et de lenvironnement. Dans [ m BeFore(PlUsoUmoins)] a t prsente la vido de Claim Excerpts, performance de lartiste ralise en 1971 au 93 Grand Street New York. Retranch dans la cave de limmeuble pendant trois heures, les yeux bands et arm dun pied-de-biche, Vito Acconci vocifre, crie et menace les visiteurs de la galerie au rez-de-chausse qui peuvent observer lartiste sur un moniteur vido. [ e ] m *1940, lives in New York. Vito Acconci established a reputation for himself as a poet, visual artist, video artist and performer in the 190s through his poetry and the journal 0 to 9 he founded in 197. Beginning in 199, he made many performances which he documented in films, photographs or texts. The spaces represented by the page, private space, and finally public space have been successively central to his work. His own body became the preferred site for many experiments with our way of existing within the urban, social or political context. In 1988, he set up the Acconci Studio, bringing together various architects and engineers. Their interventions in public spaces (parks, buildings, playgrounds, etc.) in the form of public commissions transform those spaces into sources of questioning at the frontier of architecture, political concerns and the environment.

The video of Claim Excerpts, a performance from 1971, made at 93 Grand Street in New York, was presented in [ m BeFore(PlUsoUmoins)] . Isolated in the basement of the building during three hours, his eyes blindfolded and armed with a crow bar, Acconci yells, shouts and threatens the visitors on the ground-floor, who watch him on a video monitor.

[f ] m

m acconci,Vito,Claim Excerpts, 1971

adjnabistan [ f ] m Anti-nationalit

invente par Michael Ashkin lors dun voyage au Moyen-Orient, en 1978. Driv de larabe adjnabi (qui dsigne ltranger, linconnu, lautre), Ashkin donne au terme Adjnabistan une dimension conceptuelle, et mme une vie propre lui permettant de former des images mentales de cette patrie imaginaire chaque fois quil voquait lAdjnabistani.[ m TaTs(FaiTes-leVoUs-mme)] [ e ] m Anti-nationality invented out of necessity by Michael Ashkin while travelling through the Middle East in 1978. Derived from the Arabic adjnabi (meaning foreigner, stranger, or other), the term Adjnabistan came to assume a concept for the artist, indeed a life of its own where mental images of this shadow homeland began to present themselves to his imagination as the usage of Adjnabistani continued.
[ m TaTs(FaiTes-leVoUs-mme) ]
aerica (lempire d) [ f ] m Micronation. lge

~~~ Le skieur Didier Cuche, champion du monde 2007 de descente, peut parcourir les premiers cent mtres dune piste en moins de quatre secondes. Une chute vertigineuse. Marcel Duchamp, avec le ready-made, fait pourtant mieux : il passe de lobjet ordinaire luvre dart la vitesse de la lumire. Si la production du ready-made ne dpend que dun choix, elle est en effet rapporter au temps dune connexion synaptique, acclration dcisive qui laisse sur place tous ses poursuivants. Touche dans ses fondements son temps dlaboration, de fabrication et de rception , luvre dart est ds lors en redfinition constante : on ne peut dcemment revenir en arrire, mais dans le mme temps, il est impossible daller plus loin. Limportant dans cette acclration est son effet sur le spectateur. De la mme manire que le corps de Didier Cuche, littralement lch dans la descente, se trouve en tat dapesanteur, lesprit du regardeur , sil prend conscience de la brche ouverte par le coup dacclrateur donn par Duchamp, nest plus soumis aux contraintes de lecture et de comprhension habituellement indexes luvre dart. Le moment de linterprtation est suspendu, tir linfini ; vhicule lanc la vitesse de la lumire, le ready-made glisse sur le temps, rvle llasticit du rel et permet de passer librement de lune lautre de ses couches. ~~~

Acclration

de 5 ans, Eric Lis revendiqua la proprit de 2,3 m2 Montral. Ainsi naquit lEmpire dAerica, mot-valise form partir de Eric et America . La mission essentielle, voire mtaphysique de lAerica serait, selon son fondateur, de dcouvrir sa propre raison dtre. Cest peut-tre dans cette optique quune entit divine, dans une forme non corporelle , sest rvle aux Aricains, dont la religion officielle (non organise) est le silinisme. LAerica revendique des territoires Melbourne, Dandenong, Springvale, Chelsea, un pturage choisi au hasard et lespace intersidral. LAerica est dote dun Snat compos de deux reprsentants de chacune de ses rgions

aio 10

AioN A

AlDRich

ald 11

[e ] m

~~~ The skier Didier Cuche, downhill World Cup champion in 2007, can cover the first hundred meters of a piste in under four seconds. A vertiginous descent. However Marcel Duchamp does even better with his ready-mades: he goes from an ordinary object to a work of art at the speed of light. While production of a readymade depends only on a choice, it should in fact be related to the duration of a synaptic connection, a crucial acceleration which leaves all its followers standing. The work of art is affected at its foundationsthe time taken to work it out, make it and review it, and from then on is in a state of constant redefinition: it is not decently possible to go back, but at the same time it is impossible to go any further. The important thing about this acceleration is its effect on the onlooker. Just as the body of Didier Cuche, literally cast off into the descent, is in a state of weightlessness, the mind of the viewer, if he is aware of the gap opened up by the boost to the accelerator given by Duchamp, is no longer subject to the constraints of reading and understanding usually tied to the work of art. The moment of interpretation is suspended, drawn out ad infinitum; a vehicle launched at the speed of light, the ready-made slides over time, reveals the elasticity of reality and makes it possible to pass freely from one layer of reality to another. ~~~

Acceleration

territoriales. Ce dernier a instaur la loi de Murphy afin de protger lempire si ltat du monde devait saggraver. En 1999, les Aricains fondrent un journal quotidien charg darchiver lhistoire de lempire. La citoyennet est offerte gratuitement, tout comme le droit de sjour. [ m TaTs(FaiTes-leVoUs-mme)] [ e ] m A micronation. At just 5 years of age, Eric Lis laid claim to 2.3 sqm in Montral, Canada, and named it Aerica, combining America and Eric. The essential, metaphysical mission of Aerica, according to its founder, is to find out what the purpose of its very own existence at the most basic level is. Pursuant to these aims perhaps, a divine deity in a non-corporeal form revealed itself to Aericans; the official if unorganized religion is Silinism. Territorially, there are Aerican claims in Melbourne, Dandenong, Springvale, Chelsea, a random cow pasture and outer space. Aerica has a governing senate made up of two representatives from each of its territorial regions. Murphys law was passed by the Senate to protect the empire if everything goes wrong. In 1999, Aericans instituted a daily newspaper that going forward serves as the main record of history. Citizenship and even residency is offered freely.
[ m TaTs(FaiTes-leVoUs-mme) ]

[ e ] m In 1941, [ m emmaKunz] discovered in

the Roman Quarry in Wrenlos the healing rock to which she gave the name Aion A. the powerful healing capacity of the rock revices, according to Kunz, not only from its special mineral composition but especially from its accumulated biodynamic energy. The healing rock has become an indispensable assistance in the treatment of, for example, rheumatological problems, in all sports injuries, and damage to muscles, tendons, and ligaments. Aion A has been approved by the IKS since 1984 and is available in Switzerland in pharmacies and drugstores.
ajemian, lucas & jason [ m 6 , fig. # 88 ] [ f ] m Lucas Ajemian : *1975, vit

[ m modUle ] 01/03/2007 01/04/2007. From Beyond. Together with his brother, Jason Ajemian, who is a jazz musician, Lucas Ajemian has transcribed Black Sabbaths Into the Void from 1971 to a new version of the song performed backwards. The song, performed in the Palais de Tokyo the 1st of March with classical musicians has been recorded on tape. The video is shown here backwards and forwards. Besides the singles and the video, the score, which is printed on plexiglass with glow in the dark paper as background, and the original Black Sabbath cover were also shown, with International Klein Blue as a reference to Kleins work with voids. [ m Backwardmessages] [ m Backmasking] [ m satanisme] m uvre / Work

aion a [ f ] m En 1941, [ m emmaKunz]

fit la dcouverte dune pierre gurisseuse dans les carrires romaines de Wrenlos quelle nomma Aion A. Le potentiel thrapeutique de cette roche tient, selon cette dernire, non seulement son extraordinaire composition minrale mais surtout lnergie biodynamique quelle renferme. Elle entre, par exemple, dans le traitement des rhumatismes, des blessures lies la pratique du sport et des affections des tissus musculaires, tendineux et conjonctifs. LAion A, classe mdicament de catgorie D depuis 1984, est disponible dans toutes les pharmacies et drogueries de Suisse.

New York. Jason Ajemian : *197, vit Chicago. Les performances, installations vidos, dessins et sculptures de Lucas Ajemian ont pour base commune lintgration, la rvision et la dsarticulation de sources diverses. Lartiste travaille partir des dysfonctionnements, conflits, faux dparts et vides pour formuler une critique ironique, et non dnue dhumour, des comportements sociaux et politiques. Jason Ajemian est un musicien de jazz, membre du groupe Exploding Star Orchestra. [ m modUle ] 01/03/2007 01/04/2007. From Beyond. Lucas Ajemian a transcrit avec laide de son frre, Jason Ajemian, joueur de jazz, la partition du morceau Into the Void de Black Sabbath (1971) lenvers. La chanson a t joue par un orchestre de chambre le 1er mars au Palais de Tokyo. La vido de la performance a ensuite t projete au Palais de Tokyo lenvers et lendroit. En plus de la vido, la partition imprime sur du plexiglas, fix sur du papier phosphorescent, et la pochette originale de Black Sabbath badigeonne dIKB (International Klein Blue) ont t exposes, en rfrence au travail de Klein sur le vide. [ m Backward Jason Ajemian: *197, lives in Chicago. Performances, film installations, drawings and sculptures by Lucas Ajemian are based on the integration, revision and de-articulation of found sources. Ajemian works with dysfunctions, conflicts, false starts and voids as an ironic and humorous critique of political and social behavior. Jason Ajemian is a jazz musician, a member of the Exploding Star Orchestra band.

From Beyond, 200 Courtesy Kirkhoff Gallery, Copenhague / Copenhagen Violoncelles / Cellos : Grgoire Korniluk, Alexandre Lacourt, Anthony Leroy, Thibault Leroy, Benot Moritz Contrebasse / Double bass : Mauro Gargano Saxophone : Serge Bertocchi Timbales / Timpani : Rgis Famelart Batterie / Drum Kit : Noritaka Tanaka Cymbales / Cymbals : Sbastien Lecornu, Emile Saubole, Magalie Sonneville Shaker : Victor Hanna Chant / Vocal : Lucas Ajemian Chef dorchestre / Conductor : Jason Ajemian
aldrich, richard [ f ] m *1975, vit New

messages] [ m Backmasking] [ m satanisme] [ e ] m Lucas Ajemian: *1975, lives in New York.

York. Richard Aldrich est un artiste qui se consacre la peinture, la sculpture, et la musique. Ses toiles explorent diverses techniques de recouvrement de la surface avec des bouts de tissus cousus, de la peinture, des effets de giclures, dclats, de dcoupes de la toile, etc. Richard Aldrich se place directement dans la tradition de la peinture o les possibilits du formalisme, du graffiti et de la figuration sont pleinement utilises. Richard Aldrich gre le label de disque Skul et a produit les albums du groupe de [ m steven Parrino ] , [ m electrophilia ] .[ m BasTardCreaworks with painting, sculpture and music. His canvases demonstrate various techniques of covering the surface, with scraps of sewn material, paint, splash effects, fragments, cutouts in the canvas, etc. Aldrich stands in the painting tradition in which the possibilities of formal-

TUre ] [ e ] m *1975, lives in New York. Richard Aldrich

ale 12

AlAtoiRE

ANARchiE

ana 13

ism, graffiti and figuration are fully exploited. Richard Aldrich manages the Skul record label and has produced the albums of [ m steven Parrino] s group, [ m electrophilia] .
[ m BasTardCreaTUre ]
alatoire

Random

[ m Blazy,michel] [ m seCondeUneanne(Une) ] [ m cut-up] [ m THirdmind(THe) ]

m alighieroeBoetti, Lampa Annuale, 19

alighiero e boetti [ m 1 , fig. # 07 ] [ f ] m 1940 1994. Alighiero

e Boetti aproduit une uvre dune grande densit conceptuelle et systmatique. Les ides de ses uvres priment sur leur ralisation quil laisse le plus souvent dautres. En 198, il dcide dintercaler entre son prnom et son nom un e ( et en Italien) qui symbolise limpossible unit de lindividu avec lui-mme. Dans [ m UneseCondeUneanne] , a t prsente Lampada Annuale (19) une lampe qui ne sallume quune fois par an. [ e ] m 1940 1994. Over the course of his career, Alighiero e Boetti generated a body of work of great conceptual depth, all the while leaving the actual realization of his pieces up to others. In 198, he added e (Italian for and) between his first and last names, symbolizing the impossible unity of the individual with himself. In oNE SEcoND oNE YEAR [ m UneseCondeUne anne ] , Lampada Annuale (19), a lamp that turns on only once a year, was presented.
amis du palais de tokyo (les)

rayonnement tant en France qu ltranger. Ses principaux axes de travail sont le soutien la production dexpositions ou dvnements et la publication douvrages. Lassociation compte 200 membres. Prsident : Jean-Michel Raingeard ; vice-prsidents : Isabelle Lematre, Daniel Bosser, trsorier : Bernard Chenebault. En 2007, a t cre lAssociation des Amis Suisses du Palais de Tokyo, linitiative de Barbara Polla. [ e ] m The Association of the Friends of the Palais de Tokyo brings together activists from the world of the contemporary arts in a dynamic, support-oriented community. Thanks to its willingness to work in partnership with artists, institutions, and art world professionals, but also art-lovers and collectors, the Friends of the Palais de Tokyo contribute to the institutions influence and reputation in France and abroad. Its main lines of activity involve a range of endeavors, from producing exhibitions and events to publishing books. The Association has 200 members. President: Jean-Michel Raingeard; vice-presidents: Isabelle Lematre, Daniel Bosser; treasurer: Bernard Chenebault. In 2007, the Association of the Swiss Friends of the Palais de Tokyo has been created on the in initiative of Barbara Polla.
anarchie [ 1]

Friends of the Palais de Tokyo (The) [ f ] m LAssociation des Amis du Palais de Tokyo runit des militants de la cration contemporaine en une communaut active. Grce une volont de partenariat avec les artistes, les institutions, les professionnels du monde de lart mais aussi les amateurs et les collectionneurs, les Amis du Palais de Tokyo contribuent son

Anarchy [ f ] m Philosophie. Absence de direction, faillite de toute certitude, chaos absolu ou simple pagaille : notion certes familire, lanarchie nvoque a priori rien de bon. Ce nest quau XIXe sicle quelle prend pour la premire fois une signification positive originale, comme mot dordre politique et comme concept philosophique que lon peut, suivant Gilles Deleuze, non dfinir, mais caractriser ainsi : lanarchie, cette trange unit qui ne se dit que du multiple . Ide particulirement puissante, lanarchie est un mode dtre de la vie et des relations entre les tres qui nat tout autant de la pratique que de la philosophie ; ou plus prcisment qui nat toujours de la pratique, la philosophie ntant en la matire quune pratique parmi dautres. Comme le souligne [ m danielColson] : La pense anarchiste prend dailleurs corps travers des formes littraires et artistiques trs diverses, du mmoire de Pierre-Joseph Proudhon, Quest-ce que la proprit ? (1840) son livre posthume De la capacit politique des classes ouvrires (1865), en passant par LUnique et sa Proprit de Max Stirner (1845), les premiers textes de Mikhal Bakounine, mais aussi les tableaux et

les conceptions artistiques de Gustave Courbet par exemple. Aucun de ces auteurs nest le matre ou le thoricien des autres ; chacun labore lessentiel de ses conceptions partir de luimme, partir de ce quil peroit et du monde dans lequel il vit, dans une mystrieuse unit o toute une dimension de lpoque et de ses possibles sexprime spontanment dans chacun de leurs crits. Lanarchie positive qui apparat au milieu du XIXe sicle nest ni une provocation, ni une utopique notion de sciences politiques ; ainsi, elle nest pas rduire un modle de gouvernement parmi dautres, une anarchie qui trouverait se classer quelque part entre monarchie ou dmocratie . Pour ses inventeurs, elle est au contraire un concept minemment empirique et concret, le seul capable de rendre compte de ce qui nous constitue, quand les injonctions et les mises en ordre ralistes de lconomie, du politique et des religions sont illusoires, trompeuses et contraignantes. Dans la [ m penselibertaire] naissante, anarchie et ralit sont synonymes. Lanarchie ne se situe pas en aval de nous-mmes, dans un avenir indtermin une absence idale de gouvernement comme fin de lhistoire , mais en amont, dj l. Elle renvoie en effet la vie mme, multiple et diverse, intrinsquement anarchique , et trouve sa signification politique et thique par rapport cet ancrage ontologique. Pour saisir toute loriginalit du terme, il sagit de prendre la fois en compte sa signification la plus ordinaire, celle de dsordre et de confusion, mais aussi la plus savante, celle dabsence de principe premier la racine grecque arch signifiant origine aussi bien que gouvernement . Lanarchie, cest le multiple, la multiplicit infinie et la transformation incessante des tres ; le fait que toute chose et tout tre est constitu dune multitude infinie de forces et de points de vue en perptuel changement, dune multitude infinie de modes dtre et de possibles qui sentrechoquent, se composent, se dfont et se dtruisent sans cesse, en aveugles, en provoquant de nouveaux troubles, de nouvelles rvoltes et de nouveaux combats. Cette anarchie premire et raliste de ce qui est, des choses et des tres, cette affirmation du multiple aux dpens de lun, de la transformation incessante aux dpens de lidentique, du dsordre aux dpens de lordre, du discontinu aux dpens du continu, de la diffrence aux dpens du mme, est justement la condition et la chance dune mancipation des tres humains.

Comme Spinoza et Leibniz avaient pu dj laffirmer et le pressentir, lanarchie du rel offre la possibilit de construire de faon volontaire, de lintrieur des choses et des situations, un monde pluraliste o les tres, en sassociant et sans jamais renoncer leur autonomie premire, pourtant si fragile et phmre, ont la capacit de se librer de la servitude, de librer et dexprimer la puissance et les possibles queux, les autres et le monde, portent en eux-mmes.
[ m anarchisme] [ m lesjeudisdelamarqUe noire] [ m mutants] [ e ] m A lack of direction, the failure of all cer-

tainty, total chaos or just a mess: while it is of course a familiar notion, anarchy a priori conjures up nothing good. It was not until the 19th century that it took on an original and positive meaning for the first time, as a political watchword and a philosophical concept which, according to Gilles Deleuze, while it cannot be defined, can be characterized as follows: anarchy, that strange entity which is said only of the multiple. A particularly powerful idea anarchy is a mode of being of life and relationships between people that is born as much from practice as from philosophy; or to be more precise is always born from practice, philosophy being only the subject of one practice among others. As [ m danielColson] emphasizes: Moreover anarchist thought is embodied via very diverse literary and artistic forms, from the memoir by Pierre-Joseph Proudhon, Quest-ce que la proprit? (1840) to his posthumous book De la capacit politique des classes ouvrires (1865), by way of Der Einzige und das Eigentum by Max Stirner (1845) and the first texts by Mikhail Bakunin, but also the pictures and artistic conceptions of Gustave Courbet, for example. None of these authors was the master or theorist of the others; each of them elaborated the crux of his ideas on his own initiative, from what he perceived and the world that he lived in, in a mysterious unity in which a whole dimension of the period and its potential was expressed spontaneously in each of their written works. Positive anarchy, which made its appearance in the mid-19th century, is neither a provocation nor a utopian notion found in political science; thus it cannot be reduced to one model of government among others: anarchy which could be classified somewhere between monarchy and democracy. On the contrary, for those who invented it, it was an eminently empirical and concrete concept, the only one capable of

ana 14

ANARchiE

ANGER

ang 15

taking account of what constitutes us, when the realistic injunctions and tabulations of the economy, politics and religions are illusory, deceitful and restricting. In then nascent libertarian thought [ m penselibertaire] , anarchy and reality are synonymous. Anarchy does not lie downstream from us, in an indeterminate futurean ideal absence of government as the end of history, but upstream: it is already there. It actually refers to life itself, multiple and diverse, intrinsically anarchic, and finds its political and ethical meaning in relation to that ontological anchorage. To grasp the full originality of the term, it is necessary to take account not only of its commonest meaning, that of disorder and confusion, but also of its most scholarly, that of the absence of a first principlethe Greek root arch means origin as well as government. Anarchy is what is multiple, the infinite multiplicity and unceasing transformation of creatures; the fact that all things and all creatures are constituted from an infinite multitude of perpetually changing forces and points of view, an infinite multitude of modes of being and possibilities that clash against one another, are composed, undone and destroyed, incessantly, blindly, provoking new disturbances, new rebellions and new fights. That primary and realistic anarchy of what is, of things and creatures, that affirmation of the multiple at the expense of the single, of unceasing transformation at the expense of identicalness, of disorder at the expense of order, of the discontinuous at the expense of the continuous, of difference at the expense of sameness, is precisely the condition of human beings and their opportunity for emancipation. As Spinoza and Leibniz had already been to assert and presage, the anarchy of reality offers the possibility of deliberately constructing, from inside things and situations, a pluralist world in which human beings, by banding together and without ever renouncing their primary autonomyfor all that it is so fragile and ephemeral, have the capacity to break free from servitude, to liberate and express the power and potential that they, others and the world carry within them. [ m anarchisme] [ m les
jeudisdelamarqUenoire] [ m mutants]

lutte arme. Sur une priode de soixante-dix ans, entre la cration de la Premire Internationale (ou Association Internationale des Travailleurs, AIT) Londres en 184, et la dfaite, en mai 1937 Barcelone, des mouvements rvolutionnaires espagnols et catalans, lide anarchiste passe par une suite chaotique de moments et de cristallisations, se mtamorphosant et resurgissant dans une dynamique incessante. LInternationale anti-autoritaire de 1871 1881, les attentats et les tentatives dinsurrection de la propagande par le fait de la fin du XIXe et du dbut du XXe sicle, le syndicalisme rvolutionnaire franais, l anarcho-syndicalisme espagnol, reprsentent autant dexprimentations singulires et discontinues, plus ou moins phmres et de plus ou moins grande ampleur, faisant corps ou se dispersant. Comme le prcise [ m danielColson] , mme si lanarchisme est alors trs proche des mouvements ouvriers, il nenvisage pas sa lutte pour lmancipation en termes de classe, et ne sidentifie donc pas au proltariat. Pour la [ m penselibertaire] , la condition ouvrire et salariale, comme toute situation de domination, est circonstancielle et changeante, porteuse dune multitude de devenirs possibles. Do un paradoxe : tout en ayant t lavant-garde de luttes dmancipation, lanarchisme na souvent jou, au regard de lhistoire, quun rle minoritaire.
[ m lesjeudisdelamarqUenoire] [ e ] m Politics. In the second part of the 19th

not identify with the proletariat. For libertarian thought [ m libertaire(pense)] , the condition of workers and wage-earners, like any situation of domination, was circumstantial and changing, with a multitude of possible outcomes inherent in it. This results in a paradox: for all that it was in the vanguard of struggles for emancipation, in the eyes of history anarchism often played only a minority role.
[ m lesjeudisdelamarqUenoire]
ancelin, david [ m 6 , fig. # 85 ] [ f ] m *1978, vit Nice.

anarchie [ 2]

Anarchy [ f ] m Politique. Dans la deuxime partie du XIXe sicle lanarchisme saffirme comme mouvement rvolutionnaire, entre militantisme politique et

century that anarchism would declare itself as a revolutionary movement, between political militancy and armed struggle. Over a seventy-year period, between the creation of the First International (or International Working Mens Association) in London in 184, and the defeat in Barcelona of the Spanish and Catalan revolutionary movements in May 1937, the anarchist idea went through a chaotic series of moments and crystallizations, metamorphosing and resurfacing in ceaseless dynamics. The Anti-authoritarian International from 1871 to 1881, the attacks and attempted insurrections of the propaganda through action of the late 19th and early 20th century, French revolutionary trade unionism, Spanish anarcho-syndicalism: they all represent one-off, discontinuous experiments, ephemeral to a greater or lesser extent and varying in scale, gathering strength or disintegrating. As [ m danielColson] points out, even if anarchism was then very close to workers movements, it did not envisage its struggle for emancipation in terms of class, therefore did

David Ancelin, jeune artiste franais, cre un rpertoire de formes multiples, parfois mcaniques, souvent hors dtat de nuire. Son univers dcal et humoristique nous place face la solitude dobjets abandonns, sous forme de rencontres plus ou moins incongrues : boue et bton, casque de moto et perles, etc. Autant de dialogues improbables qui, du feutre la sculpture en passant par la srigraphie, crent lamorce dhistoires qui restent inventer. [ m modUle ] 01/02/2007 25/02/2007. Avis de grand frais est une installation rurale dintrieur. Cette uvre sous forme daccident manipul est cre par la relation hors normes dun motoculteur (appareil agricole servant retourner la terre) datant de 1949 avec un sol de tomettes anciennes faites de terre cuite. [ e ] m *1978, lives in Nice. David Ancelin creates a repertory of multiple forms, sometimes mechanical, often no longer in working order. His offbeat, humorous universe confronts us with the loneliness of abandoned objects, bringing together varying incongruities: a buoy and concrete, a motor-cycling helmet and beads, etc. From felt sculpture to silk-screens, his works create unlikely catalysts for stories that remain to be invented. [ m modUle ] 01/02/2007 25/02/2007. Avis de grand frais is a rustic indoor installation. A rotary tiller (an agricultural tool used to turn the soil) dating from 1949 disrupts a floor made of terra-cotta tiles, creating an unlikely accidental collision between earth, man, and machine. m uvre / Work Avis de grand frais, 200 Courtesy de lartiste / of the artist
andersson, christian [ m 1 , fig. # 05 ] [ f ] m *1973, vit Stockholm.

Andersson jouent sur les apparences. Les rapports dombres et de lumire, de transparence ou de rflexion permettent lartiste de crer de vritables piges perception . Le spectateur est ainsi systmatiquement confront un dispositif de dtournement de nos a priori. Dans [ m 5.000.000.000dannes] a t prsente luvre Blind Spot (2003), un projecteur illuminant dun cercle le mur qui lui fait face. Le spectateur qui venait passer entre le projecteur et le mur avait la surprise de constater que son ombre napparaissait pas sur le cercle de lumire. [ e ] m *1973, lives in Stockholm. Sparse yet sophisticated, Christian Anderssons installations play with appearances. In exploring the relationships between shadows and light, transparency and reflection, the artist creates true perception traps. Systematically, viewers are confronted with a mechanism that obstructs and diverts their preconceptions. Blind Spot (2003), a projector creates a simple circle of light on the wall, was presented in 5,000,000,000 YEARS [ m 5.000.000.000dannes ] . The viewer who passed in front of the projector, however, discovered that his or her shadow did not appear on the wall.

m Christianandersson,Blind Spot, 2003

anger, kenneth [ f ] m *1930, vit en Californie.

la fois sophistiques et pures, les installations de Christian

Pionnier du cinma exprimental amricain depuis les annes 1950, Kenneth Anger a dvelopp un univers intense et complexe, empruntant souvent au registre de locculte et du paranormal. Il est considr comme un des premiers artistes cinastes avoir introduit liconographie gay dans son uvre. Sa renomme sest considrablement accrue grce son livre Hollywood Babylon, dans lequel il dvoilait la face cache des clbrits de Hollywood. La premire publication fut ralise en France, aprs son sjour

ano 1

ANoDYNE

ARAucANiA & PAtAGoNiA

ara 17

Paris suite linvitation de Jean Cocteau dans les annes 1950. Kenneth Anger a eu une forte influence sur de nombreuses artistes dans de nombreux domaines (musique, littrature, cinma, etc.). uvre parmi les plus mtaphysiques et dmoniaques de lartiste, Invocation of My Demon Brother (199), pice du cycle Magick Lantern Cycle, appartient lavant-garde des films occultes. La bande son originale, conue pour le film, a t ralis par Mick Jagger. Bobby Beausoleil interprte le rle de Lucifer. Dans [ m BeFore (PlUsoUmoins) ] , le film tait prsent avec une bande-son ralise dans les annes 1990 par le groupe [ m electrophilia] ( [ m stevenParrino] et [ m JuttaKoether] . [ m Thlme] [ m Crowley,
aleister] [ m satanisme] [ m 1969] [ e ] m *1930, lives in California. Kenneth Anger

has been a pioneer of American experimental cinema since the 1950s and has developed an intense, complex universe, often borrowing from the register of the occult and the paranormal. He is regarded as one of the first art film-makers to have introduced gay iconography into his work. His fame was considerably enhanced by his book Hollywood Babylon, in which he revealed the hidden side of Hollywood celebrities. It was first published in France, after he had stayed in Paris following an invitation from Jean Cocteau in the 1950s. Kenneth Anger has exerted a powerful influence on many artists in a variety of fields (music, literature, cinema, etc.). One of the most metaphysical and demoniac of the artists works, Invocation of My Demon Brother (199), part of the Magick Lantern Cycle, is very much in the avant-garde of occult films. The original soundtrack, devised for the film, was made by Mick Jagger. Bobby Beausoleil plays the role of Lucifer. In [ m BeFore(PlUsoUmoins)] , the film was shown with a soundtrack made in the 1990s by the group [ m electrophilia] ( [ m stevenParrino] and [ m JuttaKoether] . [ m Thlme] [ m Crowley,
aleister] [ m satanisme] [ m 1969]

slevait une cinquantaine dindividus anglophones, francophones ou hispanophones. La rpublique possde deux ambassades Tokyo et Odessa, en Floride, o rside le prsident Charles H. Wilkins, qui occupe galement les fonctions de consul gnral auprs des tats-Unis. Cette dmocratie constitutionnelle extraterritoriale vit de la vente de cadeaux, de documents officiels et de droits de citoyennet. [ m TaTs(FaiTes-leVoUs-mme)] [ e ] m Declared independence on January 30, 2000 as a non-territorial democracy. Individuals seeking a peaceful negotiation with established nation-states to create a viable homeland founded the Republic. Fundraising and population growth are also dominant issues on its political scene. By 2001, there were 50 estimated citizens, speaking English, French and Spanish. The Republic has two embassies: one in Tokyo, Japan, and one in Florida, U.S.A. President Charles H. Wilkins, who also serves as Consul General to the United States, resides in Odessa, Florida. The sale of gifts, permits and citizenship fees are the driving force behind the economy in this extraterritorial constitutional democracy. [ m TaTs(FaiTes-leVoUs-mme)]
antimatire

anodyne (la rpublique d)

The Republic of Anodyne [ f ] m A dclar son indpendance le 30 janvier 2000 pour devenir une dmocratie non territoriale. Ses fondateurs sont des individus cherchant crer, au terme de ngociations avec des tats-nations tablis, une patrie viable. Laccroissement de la population et la collecte de fonds sont deux des thmes essentiels de la politique anodynienne. En 2001, la population

Antimatter [ f ] m La dcouverte de lantimatire fait partie de ces moments extraordinaires de lhistoire des sciences, ces moments o la thorie prcde lexprience, permettant de dcouvrir ce qui navait mme pas imagin , souligne [ m ChristopheGalfard]. Cest aux travaux thoriques de Paul [ m dirac] que lon doit la mise en vidence de lantimatire, ds la fin des annes 1930 : sa fameuse quation tablit mathmatiquement lexistence dune sorte de particule proche de llectron, de charge lectrique oppose, baptise [ m positron] . Ce nest que dans un second temps que lobservation a permis de confirmer exprimentalement lexistence dantimatire, suite aux recherches sur les [ m rayonscosmiques] effectues par Carl Anderson lObservatoire du Pic du Midi, dans les Pyrnes. Les travaux de Dirac sur llectron et le positron ont depuis t gnraliss et lon a tabli que toute particule a son antiparticule, chaque atome son antiatome et donc chaque molcule son antimolcule. Lantimatire dsigne alors la [ m matire] dont toutes les particules seraient remplaces par les antiparticules correspondantes. Le prfixe anti renvoie la proprit principale de ces

lments : ils annihilent la matire normale laquelle ils correspondent ds quils se trouvent son contact, leur masse devenant alors nergie suivant la formule dEinstein E=mc2. Cest cette transformation exponentielle qui focalise aujourdhui lintrt des laboratoires : la possibilit de fabriquer et de contrler lantimatire ouvrirait des perspectives indites dans le domaine nergtique. Elle reste cependant ce jour excessivement difficile stocker et tudier, ainsi qu fabriquer. Alors quun gramme dantimatire permettrait de rpondre aux besoins en nergie dune ville entire pendant vingt-quatre heures, la quantit totale dantimatire produite en un an au CERN est si infime quelle ne ferait pas briller une ampoule plus de quelques secondes. Selon [ m ChristopheGalfard] , Lantimatire est bien relle, mais nous nen savons pas encore beaucoup son sujet. Des questions fondamentales ont dailleurs merg avec sa dcouverte : pourquoi le monde que nous voyons est-il fait presque exclusivement de matire et non pas dantimatire ? Existe-t-il des galaxies lointaines o prosprent des mondes entiers faits dantimatire ? [ m dtecteurs departicules] [ m Palais /] [ m voir p. B-2] [ e ] m The discovery of antimatter is among those few extraordinary moments in the history of science, those moments when theory precedes experiment, making it possible to discover what had not even been imagined except theoretically., underlines [ m ChristopheGalfard]. The revelation of antimatter is due to the theoretical work of Paul [ m dirac] , from the late 1930s on: his famous equation mathematically establishes the existence of a kind of particle close to the electron, but with an opposite electric charge, named the [ m positron] . It was while observing cosmic rays that antimatter was discovered experimentally in 1932, at the Pic du Midi observatory in the Pyrenees, by the physicist Carl Anderson. Diracs work has been generalised, and today we know that every particle has its anti-particle, every atom its antiatom and therefore every molecule its anti-molecule. So antimatter designates [ m matter] all the particles of which seem to be replaced by the corresponding antiparticles. The prefix anti refers to the principal property of these elements: they annihilate the normale matter they correspond to directly they make contact with it, leur masse devenant alors nergie suivant la formule dEinstein E=mc2. Cest cette transformation exponentielle qui focalise aujourdhui lintrt

des laboratoires: la possibilit de fabriquer et de contrler lantimatire ouvrirait des perspectives indites dans le domaine nergtique. Elle reste cependant ce jour excessivement difficile stocker et tudier, ainsi qu fabriquer. A gram of antimatter would be enough to meet the energy needs of a whole city for 24 hours, but the total amount of antimatter produced in a year at the CERN antimatter factory in Geneva is so tiny that it is only just enough to light a bulb for a few seconds. According to [ m ChristopheGalfard] , Antimatter is therefore quite real, but we still know very little about it. Moreover, fundamental questions emerged with its discovery: why is the world we see made almost exclusively from matter, and not from antimatter? Do far-off galaxies exist where entire worlds made from antimatter flourish? [ m dtecteursdeparticules] [ m Palais /] [ m see p. B-8]
anti-motti [ m Giannimotti] [ m lHC] [ m antimatire] [ m merlo,Jean-Pierre ] araucania & patagonia (royaume d)

Kingdom of Araucania and Patagonia [ f ] m Royaume de la nation mapuche. Aprs une tentative de conqute avorte, le  janvier 141, la nation mapuche et lEmpire espagnol signrent le trait de Killin, en vertu duquel la couronne dEspagne reconnaissait lautonomie territoriale de la nation mapuche. Ce trait est le seul document attestant la reconnaissance dun peuple indigne sur le continent. La nation mapuche vivait dans le cne sud dAmrique du Sud, dans une zone occupe aujourdhui par lArgentine et le Chili. Entre 180 et 1885, au terme dune campagne militaire connue sous le nom de pacification de lAraucania au Chili et sous celui de conqute du dsert en Argentine , prs de 100.000 Indiens mapuche furent massacrs. Les survivants furent dports dans des rserves, et leur territoire, au sud du Bio-Bio, confisqu par les Espagnols. Le peuple mapuche continue de subir les consquences sociales et politiques de diverses mesures dassimilation et de modernisation, mais les Mapuche sont arrivs maintenir dans leurs rserves, habites depuis le dbut du XXe sicle, leur langue officielle (le mapudungun), leur religion et leur structure sociale. [ m TaTs(FaiTes-le
VoUs-mme) ] [ m Peyotl] [ e ] m Kingdom of the Mapuche nation. After

a failed conquest, on the th January, 141

art 18

ARt miNimAl

Avl villE

avl 19

the Mapuche Nation and the Spanish Empire signed the treaty of Killin, in which the Spanish Crown recognized the territorial autonomy of the Mapuche Nation. This treaty is the only such acknowledgement of an indigenous people on the continent. The Mapuche Nation is situated in what is known as the Southern Cone of South America, in the area now occupied by Argentina and Chile. Between 180 1885, as a result of a joint military campaign, known as the Pacification of Araucania in Chile, and the Conquest of the Desert in Argentina, around 100,000 Mapuche were massacred. Surviving Mapuche were deported to reservations, and territory south of the Bio-Bio River. Although the Mapuche people continue to suffer socially and politically the consequences of assimilationist policies and modernization, the Mapuche have managed to preserve Mapudungun, their traditional language, religion and social structure on reservations theyve inhabited since the early 20th century. There is broad support from organizations around the world, the most outspoken being the North American Araucanian Royalist Society. The NAARS is a nonprofit organization without ties to Chile or Argentina, founded in 1995 to promote awareness of the history of the Kingdom and the current situation within the Mapuche nation.
[ m TaTs(FaiTes-leVoUs-mme) ] [ m Peyotl]
art minimal

de Martin Kippenberger, le titre Wrong Place Wrong Time tant un hommage ce dernier. [ m 5.000.000.000dannes ] . [ e ] m Stephan Kobatsch : *1975, lives in Vienna; Attila Saygel : *198, lives in Berlin; Lorenz Schreiber : *1972, lives in Berlin. Artists Unknown was created by the artists Attila Saygel, Lorenz Schreiber, and Stephan Kobatsch. Kobatsch usually works with the group Mahony, and Saygel & Schreiber form their own separate collaborative duo. Wrong Place Wrong Time (2005)the artists first work as Artists Unknownis a work of art in the form of a joke. Invited to work on the installation of a show devoted to light held at the ZKM Center for Contemporary Art in Karlsruhe, the trio collected damaged light bulbs from an installation by Carsten Hller and used them to fill up a pink trash can, leaving only one working bulb. They then installed this work among pieces by Martin Kippenberger, the title Wrong Place Wrong Time being an homage to him. [ m 5.000.000.000dannes]
atlantium (lempire d)

qui dsirent prendre leur destin en main en vrais citoyens du monde . [ m TaTs(FaiTes-le
VoUs-mme) ] [ e ] m A small micronation of 1 sqm situated

reports. He then uses photography, sculpture, performances, and installations to produce a social critique. [ m ThedayBefore]

Minimal Art
[ m Chopper] [ m BeFore(PlUsoUmoins) ] [ m stevenParrino]
artists unkoWn [ f ] m Stephan Kobatsch : *1975,

vit Vienne ; Attila Saygel : *198, vit Berlin ; Lorenz Schreiber : *1972, vit Berlin. Artists Unknown a t cr par les artistes Attila Saygel, Lorenz Schreiber et Stephan Kobatsch. Stephan Kobatsch travaille habituellement avec le groupe Mahony. Saygel & Schreiber forment eux-mmes un duo. Ces artistes ont collabor pour la premire fois loccasion de luvre Wrong Place Wrong Time (2005), une uvre originale sous forme de plaisanterie. Les artistes ayant t engags pour linstallation dune exposition sur la lumire au centre dart contemporain ZKM Karlsruhe, ils entassrent des ampoules endommages provenant dune uvre de Carsten Hller dans une poubelle rose en ne laissant quune ampoule fonctionner. Ils installrent ensuite cette uvre parmi des pices

The Empire of Atlantium [ f ] m Petite micronation occupant une surface de 1 m2 au centre du quartier daffaires de Sydney. Atlantium fut fond par trois adolescents de Narwee, dans la banlieue de Sydney, en lan 10500 du 3 e de Dcimus (le 27 novembre 1981). Sa Majest Impriale George II rgne aujourdhui sur lempire et veille ce que la date et lheure correspondent bien au Systme Calendaire Dcimal Annus Novus, invent par le ministre des Communications de lempire dAtlantium au moment de sa fondation en 10500. Le calendrier dcimal est divis en dix mois de trente-six ou trente-sept jours. Daprs ce calendrier, lan zro correspond la fin de lre glacire. En Sextarius 10521 (juin 2002), lempire comptait cinq cents citoyens provenant de soixante pays diffrents, et possdait des reprsentations diplomatiques au New Jersey, en Pologne et au Pakistan. LEmpire dAtlantium propose chacun une rpublique dmocratique sculire dirige par un monarque lu dans le but de rapprocher les individus et les peuples au sein dune unit cooprative et mondialise, sur la base de lhritage romain dont il se proclame. Lempire tire son nom du mythe grec dAtlante. Le latin est sa langue officielle et, daprs Sa Majest Impriale George II, a t choisi car il est relativement neutre du point de vue culturel puisquil ne sagit plus dune langue vivante. Atlantium accueille tous ceux

in the heart of Sydneys business district. Atlantium was founded by three teenage boys in Narwee, a suburb of Sydney in the year 10500 on the 3rd of Decimus (November 27, 1981). Today, his Imperial Majesty George II rules over the Empire and ensures that time and date are considered in accordance with the Annus Novus Decimal Calendar System, invented by the Empire of Atlantiums Minister of Communications at the onset of the tri-party founding in 10500. The Decimal calendar is divided into ten months with alternating 3 and 37 day months. Year zero, according to the Atlantium Decimal Calendar, is the date when the ice age ended. By Sextarius 10521 (June 2002) the Empire grew to 500 citizens from sixty countries around the world with diplomatic representatives in New Jersey, Poland and Pakistan. The Empire of Atlantium offers to all people a secular, democratic republic ruled by an elected monarchy for the purpose of unifying individuals and peoples of the world into a global and cooperative unity, based on what it claims to be its Roman Heritage. The Empire derives its name from the Greek myth of Atlanta. Latin is its primary language chosen because [Latin] is relatively culturally neutral by virtue of the fact that it is no longer a living language. Atlantium welcomes, anyone with the desire and motivation to forge their own destiny as a true citizen of the world. [ m TaTs(FaiTes-leVoUsmme) ]

avl ville [ f ] m tat indpendant

fond par Joep van Lieshout et lAtelier van Lieshout (AVL). De toutes les ralisations de lAtelier, celle-ci est la plus considrable. Voici ce quen disent les crateurs dAVL Ville : Cet tat indpendant propose la fois un environnement artistique et un sanctuaire dart abritant des uvres connues et nouvelles dAVL des uvres entirement fonctionnelles. Il ne sagit pas ici dun art que lon se contente de regarder, mais dun art vivre, habiter, mditer. AVL Ville est la raction dAVL face ce que le groupe appelle un pays (les Pays-Bas) en proie loppression et lhyper-rglementation. Elle bat sa propre monnaie et possde un drapeau national. AVL Ville, aujourdhui situe dans la zone portuaire de Rotterdam, occupera bientt une dcharge contamine prs du terrain daviation de Zestienhoven. Le collectif ne cre pas seulement de lart, mais aussi des btiments, de lnergie et de la nourriture. [ m TaTs(FaiTesLieshout and the Atelier van Lieshout (AVL). Of the Atelier collectives cooperative efforts, this is its largest endeavour. According to their mission statement: This free state is an agreeable mix of art environment and sanctuary, full of well-known and new works by AVL, with the special attraction that everything is fully operational. Not art to simply look at, but to live with, to live in and to live by. AVL Ville is a response to what it claims is an overregulated, oppressive country (The Netherlands). It has minted its own currency, and has a national flag. AVL Ville is temporarily located in the Rotterdam harbour area and in the future on a contaminated soil dump near Zestienhoven airfield. In addition to supporting itself with its art the AVL Ville collective creates its own buildings, energy and food. [ m TaTs(FaiTes-le
VoUs-mme) ]

leVoUs-mme) ] [ e ] m An independent state founded by Joep van

auguste-dormeuil, renaud [ m 1 , fig. # 14; 5 , fig. # 5 ] [ f ] m *198, vit Paris. Le travail

de Renaud Auguste-Dormeuil joue sur lide de surveillance et de paranoa. Il utilise des lments existants lchelle de la ville camras de surveillance, voitures de police banalises ou encore reportages tlviss afin de les dtourner au profit de projets artistiques dans lesquels photographies, sculptures, performances et installations se mlent dans une critique de la socit actuelle. [ m ThedayBefore] [ e ] m *198, lives in Paris. Renaud AugusteDormeuils work addresses surveillance and paranoia. His projects appropriate existing elements of the city such as surveillance cameras, undercover police cars, or even television

bac 20

BAckmASkiNG

BAckwARD mESSAGES

bac 21

backmasking [ f ] m Musique. Procd

qui consiste cacher un message dans la chanson lors de sa production et se distingue ainsi des [ m backwardmessages] . Selon [ m PacmeThiellement] , ses premiers usages sont lis la censure. Mais le procd devient trs vite une opration potique. Malheureusement, suite linflation de la rception suspicieuse et des accusations de [ m satanisme] , lopration potique elle-mme sest progressivement substitue un usage de plus en plus parodique de ces procds dinversion musicale. [ m lesjeudis backmasking consists of hiding a message in a song, before distribution. According to [ m PacmeThiellement] , its first use was associated with censorship. But it very quickly became a poetic enterprise. Unfortunately, the poetic operation itselffollowing the inflation of the suspicious reception and the accusations of Satanism [ m satanisme] was gradually replaced by an increasingly parodic use. [ m lesjeudisde,noUVellesdUmonde
renVers ]

de ,noUVellesdUmonderenVers ] [ e ] m Music. Unlike [ m backwardmessages] ,

m lucas&Jasonajemian, From Beyond, 200

backWard messages [ f ] m Propos potentiellement

subversifs dissimuls dans les enregistrements et ne rvlant leur sens quen coutant ceux-ci lenvers, cette pratique a partout suscit lgendes, craintes et paniques ; aux tats-Unis, o lhystrie religieuse peut prendre des proportions fabuleuses et presque potiques, elle a de surcrot provoqu les foudres des prtres. Comme le remarque [ m PacmeThiellement] , tout usage de bande diffuse lenvers constitue alors une preuve du [ m satanisme] des musiciens de rock ; ce qui est la fois comprhensible et curieux, car cela signifie quen dernire instance, le diable serait Dieu lenvers, conception plus courante dans la symbolique occultiste que dans la thologie elle-mme.

Le fantasme du backward message repose sur lide selon laquelle une parole prononce lenvers traverse la conscience pour atteindre directement le subconscient et orienter ensuite la perception et les actions du suppt. Un prtre comme Gary Greenwald par exemple, dfend lide que les messages diffuss lenvers dans des morceaux pop entranent de facto la consommation de drogues et la pratique de la bisexualit. Il existe mme des lois dans lArkansas et en Californie qui demandent que les disques pratiquant le [ m backmasking] possdent un label spcial, une indication prvenant que dans cet album, certaines paroles sont diffuses lenvers . En 1985, deux professeurs duniversit en psychologie, John R. Vokey et J. Don Read ont voulu tudier le comportement dauditeurs sujets lcoute de messages diffuss lenvers, utilisant entre autres le psaume 23 de la Bible et Another One Bites the Dust de Queen, morceau rput contenir le backward message Its fun to smoke marijuana : ils conclurent leur absence deffet. Plusieurs affaires ont cependant continu populariser le mythe : en 1985, Judas Priest a t poursuivi dans le cadre dune enqute sur le pacte de suicide de deux coliers du Nevada. Lun des deux garons, ayant survcu au suicide, avait affirm que Stained Glass, un des albums du groupe de heavy metal, contenait des messages cachs ayant entran leur geste, comme les mots Faisle (Do It), perceptibles quand on diffusait le disque lenvers. Judas Priest gagna le procs, aprs une investigation mene sur le contexte sociologique des enfants. En 1988, lors de son procs, le serial killer Richard Ramirez dclara quant lui que la chanson de AC/DC Night Prowler, prsente sur lalbum Highway to Hell, lui avait inspir ses meurtres. Ce quoi Angus Young rpondit simplement : Vous navez pas besoin de passer le disque lenvers, parce que ces paroles ne sont pas caches. On a appel notre disque Highway to Hell, tout cela est en face de vous . [ m Backmasking] [ m les
jeudisde ,noUVellesdUmonderenVers ] [ m ajemian,lucas&Jason] [ m ledZeppelin] [ e ] m As [ m PacmeThiellement] observes, the

virtual presence of backward messages in pop music has attracted the wrath of the priests, especially in the United States of course where religious hysteria can assume fantastic, almost poetic proportions. Any use of a tape played backwards was seen as proof of the Satanism of rock musicianswhich is both understand-

able and strange. For it implies that in the final analysis the devil is God backwards, an idea that has often featured symbolically in the context of occultism, but seldom in theology as such, where the devil is a deprivation of God, not his inversion. The general idea was that words spoken backwards passed through the conscious mind to reach the subconscious directly and would then influence the perception and actions of the subject. A priest like Gary Greenwald for example defended the idea that messages broadcast back to front in pop songs led de facto to the taking of drugs and bisexual practices. In Arkansas and California there were even laws requiring records featuring [ m backmasking] to have a special sticker, a warning that in this album, some words are recorded backwards. In 1985, two university lecturers in psychology, John R. Vokey and J. Don Read, carried out a study using texts including Psalm 23 from the Bible and Another One Bites the Dust by Queen (backwards the words may possibly produce: Its fun to smoke marijuana) to study peoples behavior after they had listened to messages played backwards. Their conclusion was that, even when use was made of subliminal messages by means of backmasking, they failed to have any apparent effect on the subjects. Two further examples: in 1985, the Judas Priest group was prosecuted on account of a joint suicide pact by two Nevada schoolboys. One of them survived his attempted suicide and stated that a 1978 Judas Priest album contained hidden messages: the words Do it could be heard when the record was played backwards, and the letters S, U and I could be read on the sleeve, a reference to suicide. Of course Judas Priest won the case after an inquiry into the childrens sociological background. At his trial in 1988 the serial killer Richard Ramirez in turn claimed that the song Night Prowler by AC/DC on the album Highway to Hell had inspired his murders. David John Oates stated that there were messages concealed within the same record if you listened to it backwards: Im the Law, My name is Lucifer and She belongs in Hell. But Angus Young simply answered: You dont need to play the record backwards because those words arent hidden. We called our record Highway to Hell, its all there in front of you. [ m Backmasking] [ m lesjeudisde ,noUVellesdU monderenVers ] [ m ajemian,lucas&Jason]

[ m ledZeppelin]

ban 22

BANNESlED

BAStARD cREAtuRE

bas 23

barre de Fraction

Fraction line
[ m ,noUVellesdUmonderenVers ]
bastard creature [ m 3 , fig. # 40 # 43 ] [ f ] m Exposition 24/05/2007 25/07/2007. [ m stevenParrino] na eu de cesse de briser

bannesled (le royaume de)

Kingdom of Bannesled [ f ] m Le 12 juin 1998, la future reine milie Ire de Bannesled racheta sa chambre coucher ses parents : cet acte originel entrana la formation dune monarchie absolue hrditaire. Le 24 juin 1998, en signant la Dclaration du peuple de Bannesled, elle parvint sparer sa chambre du territoire canadien. Sur une surface de 12 m2 peine, avec six habitants, le Bannesled est entour de tous cts par Ottawa, dans lOntario. Un systme de classes trs strict a t mis en place dans cette micronation ; la citoyennet ne peut y tre obtenue que par les amis et connaissances des citoyens actuels. La plupart appartiennent lentourage de la reine, souveraine absolutiste. Quoique dpourvus de tout pouvoir, les citoyens peuvent contrebalancer le pouvoir excutif. La majorit dentre eux sont des femmes et prsentent une grande diversit sur le plan ethnique, religieux et culturel. Tous partagent la mme culture et les mmes idaux bannesiens.
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m On June 12, 1998, Queen Emily I of Ban-

nesled started a chain reaction that led to the formation of this absolute hereditary monarchy: she bought her bedroom from her parents. Then on June 24, 1998, by signing The Declarations of the People of Bannesled, she successfully separated her bedroom from Canada. With a population of , Bannesled covers just less than 130 square feet and is surrounded on all sides by Ottawa, Ontario. A strict class system is firmly in place in this micronation; citizenship is open only to the personal relations of current citizens. Most belong to the peerage of the Queen, who rules by absolute right. Although they have no power themselves, they do have the ability to sway decision-making power. The majority of Bannish citizens are female but there is great ethnic, religious, and cultural diversity between citizens. All share the same Bannish Culture and believe in the ideals of the Bannish Nation. [ m TaTs(FaiTes-leVoUsmme) ]

les frontires. Sil a fait se croiser disciplines et mdiums, il a galement sollicit la collaboration de nombreux artistes. Reconnaissant limportance de la nouvelle gnration, il a soutenu sans discontinuer luvre dartistes en lesquels il croyait, collaborant avec eux, crivant sur eux ou les invitant participer des expositions dont il tait le commissaire. Lexposition BAStARD cREAtuRE rassemblait les uvres de cette communaut dartistes qui continue de sinspirer de Parrino et de son nergie, prenant pour point de dpart deux expositions organises par Steven Parrino lui-mme : Bastard Kids of Drella, part 9 (Le Consortium, Dijon, 1999) et The Return of the Creature (Knstlerhaus Palais Thurn und Taxis, Bregenz, 2003). Laura iconique de lautoportrait photographique de [ m andyWarhol] dun ct, la dsinvolture glamour de Courtney Love genoux photographie par [ m michaellavine] de lautre, posent le cadre de lexposition. Entre les deux saffichent rituels, violence, sexe, pop culture, gloire, beaux-arts, et nouveaux idaux surgis des ruines dune culture en dcomposition. Le trash se heurte lesthtique formelle et rvle que lun ne va pas sans lautre. Beau et laid, transparent et opaque, noir et color, une lutte des contraires soustend luvre de [ m JuttaKoether] . Collaboratrice rgulire de Parrino et de son projet musical [ m electrophilia] , elle prsente ici une toile noire mlant divers matriaux. Autre collaboratrice, [ m amyGranat] conoit des films 1mm en boucle et ses Chemical Scratch Films (2003) sont ns de la destruction mme du film. [ m amyoneill] prsente une nouvelle version de sa srie Parade Float Graveyard, une roue de wagon en mtal dor sur une plateforme tournante. Avec ses sculptures aux surfaces monolithiques lisses noires ou dores, [ m maiThuPerret] poursuit lcriture dun scnario qui intgre la notion dun hrosme contrari. Les uvres de [ m Chucknanney] , [ m Blair Thurman] , [ m BanksViolette] et [ m richard Kern] font plus directement rfrence la pop culture et ses hros dchus. La peinture

de Nanney reconsidre le pop laune du minimalisme ; les nons de Thurman voquent les courses automobiles ; tandis que Violette propose un face--face entre deux plateformes noires et un tlescopage de lumires fluorescentes, comme si une musique avait dpass son point de rupture. Le film de Richard Kern, bas sur lvocation de pratiques extrmes, reflte la dcadence et lindcence de la culture underground du Lower East Side de New York. Prsentes dans luvre de Steven Parrino, les qualits graphiques de limage dpouille jusqu sa pure essence sont galement centrales dans luvre de [ m Gardar eideeinarsson] , qui, arm dun pochoir et dune bombe de peinture, couvre le mur dune rplique de grillage. une plus petite chelle, [ m richardaldrich] ramne la peinture son potentiel graphique minimal. Les motifs et lignes courbes du dessin de [ m elizabethValdez] ont t crs pour la couverture de son album de bande dessine [ m Blacknoise] une srie dalbums crs en souvenir de Parrino et produits par les artistes John Armleder, MaiThu Perret et Amy Granat. Les photocopies de [ m CinemaZero] , collectif nomade lanc grce au soutien et aux encouragements de Steven Parrino constituent des collages tranges qui servent aussi dannonce aux vnements organiss par le collectif. La vido FTW (for S.P.) est une collaboration faite dbut 2005. Comme leur ami et collaborateur Steven Parrino, tous ces artistes explorent les marges de la culture et tous croient dans le potentiel radical de lart. [ m lamarqUenoire] [ e ] m Exhibition 24/05/2007 25/07/2007. [ m stevenParrino] broke many boundaries. While he brought together different disciplines and media, he also reached towards other artists. Parrino recognized the importance of the next generation and tirelessly supported the work of artists he believed in by collaborating with them, trading with them, writing about them, or inviting them to participate in exhibitions he curated himself. The exhibition BAStARD cREAtuRE gathered together this community of artists and presents works by those who continue to be inspired by Parrino and his spirit. The starting points for BAStARD cREAtuRE was two exhibitions curated by Steven Parrino himself: Bastard Kids of Drella, part 9 (Le Consortium, Dijon, 1999) and The Return of the Creature (Knstlerhaus Palais Thurn und Taxis, Bregenz, 2003). Bracketing the exhibition is the iconic aura

of [ m andyWarhol] and the reckless glamour of [ m michaellavine] . Contained within Warhols photographic self-portrait and Lavines photograph of a kneeling Courtney Love are ritual, violence, sex, pop culture, outlaw, celebrity, high art, and the creation of new ideals out of the ruins of a rotten culture. Trash collides with aesthetics, and each are revealed as necessary equals to the other. This collapsing of opposites beautiful/ugly, transparent/opaque, black/colourful informs the work of [ m Jutta Koether] , a frequent collaborator with Parrino and his music project [ m electrophilia] . In the exhibition, she presents a black painting and mixed media assemblage with glass chimes. Also a collaborator, [ m amyGranat] creates 1mm films and installations that investigate the pure and basic qualities of light and sound. She made her Chemical Scratch Films (2003) by chemically altering the film strip material itself. Choosing to show recent work, [ m amyoneill] presents the newest addition to her Parade Float Graveyard series, a sculptural installation of a wagon wheel rising out of a spinning platform. [ m mai-ThuPerret] pursues her own storyline of undermined heroism by pairing desire with emptiness, and her sculptures give us slick monolithic surfaces in gold or black. More direct references to pop culture and to its fallen heroes exist in works by [ m Chucknanney] , [ m BlairThurman] , [ m BanksViolette] and [ m richardKern] . Nanneys painting folds pop into minimalism, Thurmans neon references race cars, and Violettes sculpture proposes a face-off between two black platforms and a collision of fluorescent lights, as if a musical moment reached beyond its breaking point. Traces of extreme acts reappear more explicitly in the film by Richard Kern, who captures the infamous underground culture of New Yorks Lower East Side. The graphic qualities of an image stripped to its bare essence that appear in the work of Steven Parrino are also important to the work of [ m Gardareideeinarsson] , who covers a wall with a duplicated image of a chain-linked fence by using spray-paint and a stencil. At a smaller scale, [ m richardaldrich] strips painting to its minimal graphic potential. The curved patterns and lines in [ m elizabeth Valdez] s drawing were made for her [ m Black noise] book, from a series of comic books created in Parrinos memory produced by the artists John Armleder, Mai-Thu Perret, and Amy Granat. The photocopied pages by [ m Cinema Zero] , a nomadic collective that presents film/

bas 24

BAStARD cREAtuRE

BEFoRE (PluS ou moiNS)

beF 25

music/performance events, are cut-up collages that also serve as the event announcements. The collaborative video FTW (for S.P) was made in early 2005. Like their friend and collaborator Steven Parrino, these artists pursue the extreme edges of culture and believe in the radical potential of art. [ m lamarqUenoire] m Liste des uvres / List of works
[ m richardaldrich] m BAStARD cREAtuRES BanksViolette, Kill Yourself (Twin), 200 ; Gardareide einarsson, I am the master of my fate; I am the captain of my soul, 2007

Heroine of the People (Golden Rock), 2005 Courtesy Praz-Delavallade, Paris

[ m BlairThurman]

Vanishing Point 2/3, 1999 Courtesy de lartiste / of the artist

[ m BanksViolette]

Kill Yourself (Twin), 200 Collection Migros Museum fr Geganwartskunst, Zurich

[ m elizabethValdez]

Sans titre, 2005 Courtesy Corvi-Mora, Londres / London Sans titre, 2007 Courtesy Corv-Mora, Londres / London Ufo, 200 Collection particulire / private collection Courtesy Corvi-Mora, Londres / London Sans titre, 2005 Courtesy Corvi-Mora, Londres / London
[ m CinemaZero]

Black Noise-Selects Series 1, 2002007 Courtesy de lartiste / of the artist Black Noise-Cover, 200 Courtesy de lartiste
[ m andyWarhol]

au moment le plus critique, o tout le monde proclamait sa mort. BEFoRE (PluS ou moiNS) regroupait certaines pices cls dans la formation de lunivers esthtique de Steven Parrino : des uvres historiques des annes 190/1970 comme la srie Electric Chair dAndy Warhol, une pice monochrome en acier inoxydable de la srie Progression de Donald Judd (ralise entre autres avec de la peinture-laque de Harley Davidson), la vido Claim Excerpts de Vito Acconci, ou encore les vidos Rundown et Swamp de Robert Smithson, mais aussi les Stella Black Paintings de [ m sturtevant] ou le film Invocation of My Demon Brother de [ m Kenneth anger] . Commissaire invit : [ m oliviermosset] .
[ m lamarqUenoire ] [ e ] m Exhibition 24/05/2007 25/07/2007. Bor-

Auto-portrait / selfportrait Sans date / undated Collection Le Consortium, Dijon

beFore (plus ou moins) [ m 3 , fig. # 38, # 39 ] [ f ] m Exposition 24/05/2007 25/07/2007.

FTW (For S.P.), 2005 Courtesy Cinema Zero Flyers, 20052007 Courtesy Cinema Zero
[ m Gardareideeinarsson] m BAStARD cREAtuRES BlairThurman, Vanishing Point 2/3, 1999

I am the master of my fate; I am the captain of my soul, 2007 Courtesy Team Gallery, New York
[ m amyGranat]

Chemical Scratch Film #1, 2003 Courtesy de lartiste / of the artist Spray Paint Film #3, 2003 Courtesy de lartiste / of the artist
[ m richardKern]

I Hate You Now, 1985 Courtesy Jousse Entreprise, Paris

[ m JuttaKoether]

Female Force, 200 Courtesy Galerie Daniel Buchholz, Cologne

m BEFoRE (PluS ou moiNS) Frankstella,Mas o Menos ( plus ou moins), 194 ; sturtevant, Stella Die Fahne Hoch!, 1990 ; Stella Arbeit Macht Frei, 1989 [ m michaellavine]

Courtney Love, Kneeling, 1994 Courtesy de lartiste / of the artist

[ m Chucknanney]

Mudhoney, 1989 Collection Laurence& Patrick Seguin Mute Witness, 1991 Collection Laurence& Patrick Seguin
[ m amyoneill]

The Golden West, 2007 Courtesy Alexandre Pollazzon Ltd, Londres / London
[ m mai-ThuPerret]

Heroine of the People (Black Stack), 2005 Courtesy Praz-Delavallade, Paris Heroine of the People (Black Tower), 2005 Courtesy Praz-Delavallade, Paris

Empruntant toutes les formes de la culture amricaine (motards, super hros, musique punk, films dhorreur, etc.), lart de [ m steven Parrino] conserve un lien fort avec lhistoire de lart moderne, notamment de lavant-garde amricaine daprs-guerre. Les sources de la force expressive de Steven Parrino, du drame perptuel en train de se produire, de cette radicalit chromatique, de cette extrme violence au pouvoir destructeur, se retrouvent dans les uvres dartistes aussi divers qu[ m andyWarhol] , [ m Vitoacconci] , [ m robertsmithson] et bien dautres. Ses couleurs ftiches, noir et argent, sont les couleurs des Harley Davidson, des amplis de guitare, des lunettes de soleil (que Parrino portait mme la nuit), mais aussi celles des peintures de [ m Frankstella] ou encore des matriaux industriels, comme lacier ou la laque, utiliss par [ m donaldJudd] dans ses travaux. La dmarche de Steven Parrino dans sa recherche dune peinture raliste conue en tant quobjet ou fait rel, peut tre interprte comme une nouvelle forme de ralisme , dans la tradition des artistes amricains daprsguerre. Le ralisme a t redfini depuis Courbet comme tant pass de la reprsentation de la ralit du jour la dfinition de lobjet dans le monde rel. La subjectivit consiste en lacte de slectionner et na rien voir avec les mlodrames de limagination/dsir, seulement avec les faits disait Parrino. Lartiste a choisi de sinspirer de ses prdcesseurs afin de donner une nouvelle direction la peinture

rowing from all forms of American culture (bikers, super heroes, punk music, horror films, etc.), the art of [ m stevenParrino] retains a strong link with the history of modern art, in particular the post-war American avant-garde. The sources of Parrinos oeuvre its expressive strength, its constantly unfolding drama, its chromatic radicalism, the extreme violence of its destructive power appear in the works of artists such as [ m andyWarhol] , [ m Vitoacconci] , [ m robertsmithson] and many others. His fetishized colours, black and silver, are the colours of Harley Davidsons, guitar amplifiers, sunglasses (which Parrino used to wear even at night), but also those of [ m Frankstella] s paintings or of the steel or industrial paint used by [ m donaldJudd] . Steven Parrinos approach in his search for a realist painting, conceived as a real object or fact, can be interpreted as a new form of realism, in the tradition of post-war American artists. Realism has been redefined since Courbet, from representing the reality of the day to defining the object in the real world, real time. Subjectivity is selection and does not deal with the melodramas of fantasy, just the facts, Parrino used to say. The artist chose to draw his inspiration from his predecessors in order to give painting a new direction at the most critical moment, when everyone was proclaiming its death. BEFoRE (PluS ou moiNS) brought together some key pieces in the formation of Steven Parrinos aesthetic universe: historical works from the 190s and 1970slike Andy Warhols Electric Chair series, a monochrome stainless steel piece from Donald Judds Progression series (made among other things with Harley Davidsons lacquered paint), the video

bel 2

BEllAmY

BlAck NoiSE

bla 27

Claim Excerpts by Vito Acconci, or the videos Rundown and Swamp by Robert Smithson, but also [ m sturtevant] s Stella Black Paintings or [ m Kennethanger] s film Invocation of My Demon Brother. Guest curator: [ m oliviermosset] .
[ m lamarqUenoire ] m Liste des uvres / List of works [ m Vitoacconci]

[ e ] m An American writer living in New York.

Claim Excerpts, 1971 ; Courtesy Electronic Arts Intermix (EAI), New York
[ m Kennethanger]

Invocation of My Demon Brother, 199 ; Courtesy Re-Voir, Paris Bande son / soundtrack : Electrophilia (bande son originale / original soundtrack : Mick Jagger)
nancyHolt/ [ m robertsmithson]

bellamy, samuel [ f ] m Pirate anglais plus connu sous le de Black Sam . [ m voir p. C-4] [ e ] m English pirate better known as Black Sam. [ m see p. C-8]

nom

Swamp, 1971 ; Courtesy Electronic Arts Intermix (EAI), New York

JaneCrawford/robertFiore

Rundown, 1994 ; Courtesy Electronic Arts Intermix (EAI), New York

[ m donaldJudd]

Progression, 1972 ; Collection Muse dart moderne de Saint Etienne, Saint Etienne Mtropole
[ m robertsmithson]

Mirror Vortex, 194 ; Collection Centre Pompidou, Muse national dArt moderne Centre de cration industrielle, Paris. Don de la Clarence Westbury Foundation, 2005
[ m Frankstella]

Bruce Benderson is the author of Autobiographie rotique (Rivages, 2004, English title The Romanian: Story of an Obsession, USA, Tarcher/Penguin and UK, Snow Books 200), erotic memoirs of a nine-month stay in Romania, which was awarded the Prix de Flore in 2004. His latest novel Pacific Agony (Clearcut Press, 2007) is a caustic satire on life in Americas Pacific Northwest. In 1999 he also published a book on the work of the film-maker and photographer James Bidgood, the director of the cult gay film Pink Narcissus. Furthermore he has translated several books into English, including Baise-moi by Virginie Despentes, but also the biography of Cline Dion. In his essay Concentr de contre-culture: 50 ides, personnes et vnements de lunderground qui ont chang ma vie, pour le meilleur ou pour le pire (Scali, Paris, 2007)published to coincide with the fiftieth anniversary of Jack Kerouacs On the roadBruce Benderson gives an overview of fifty years of underground: from Altamont, the famous concert by the Rolling Stones during which one of the audience was murdered by [ m Hellsangels] in [ m 1969] , to [ m Patty Hearst] , by way of [ m Williams.Burroughs] or Robert Crumb.

m BlAck NoiSE (Philippe Decrauzat)

m BlAck NoiSE (Jutta Koether)

black noise [ f ] m Coffret de

benderson, bruce [ f ] m crivain amricain

Mas o Menos ( plus ou moins), 194 ; Collection Centre Pompidou, Muse national dArt moderne Centre de cration industrielle, Paris
[ m sturtevant]

Stella Die Fahne Hoch!, 1990 ; Courtesy Galerie Thaddaeus Ropac, Paris, Salzbourg Stella Arbeit Macht Frei, 1989 ; Courtesy Galerie Thaddaeus Ropac, Paris, Salzbourg Stella The Marriage of Reason and Squalor (First Version), 1990 ; Courtesy Galerie Thaddaeus Ropac, Paris, Salzbourg Stella Bethlehems Hospital, 1989 1990 ; Collection de lartiste, Courtesy Galerie Thaddaeus Ropac, Paris, Salzbourg

[ m andyWarhol]

Electric Chairs, 1971 ; Collection FRAC Nord Pas de Calais

vivant New York. Bruce Benderson est notamment lauteur dAutobiographie rotique (Rivages, 2004), mmoires rotiques dun sjour de neuf mois en Roumanie, qui obtient le Prix de Flore en 2004. Son dernier roman Pacific Agony (Payot & Rivages, 2007) est une satire caustique de la vie sur la cte nord-ouest des tats-Unis. Il a galement publi en 1999 un livre sur luvre du cinaste et photographe James Bidgood, ralisateur du film culte gay Pink Narcissus. Il a par ailleurs traduit en anglais plusieurs livres dont Baise-moi de Virginie Despentes, mais galement la biographie de Cline Dion. Dans son essai Concentr de contre-culture : 50 ides, personnes et vnements de lunderground qui ont chang ma vie, pour le meilleur ou pour le pire (Scali, 2007) publi loccasion du cinquantime anniversaire de Sur la route de Jack Kerouac Bruce Benderson balaie cinquante ans dunderground : dAltamont, le clbre concert des Rolling Stones au cours duquel un spectateur fut assassin en [ m 1969] par des [ m Hellsangels] , [ m PattyHearst] , en passant par [ m Williams.Burroughs] ou Robert Crumb.

big crunch clock [ m 1 , fig. # 0 ] [ f ] m uvre dart. I nstalle

sur le fronton du Palais de Tokyo, Big Crunch Clock (1999) de [ m Giannimotti] effectue le dcompte des [ m 5.000.000.000dannes ] qui nous sparent de lexplosion du soleil. [ e ] m Work of art. Installed at the Palais de Tokyo entrance Big Crunch Clock (1999) by Giannimotti] displays the countdown of the
5,000,000,000 YEARS [ m 5.000.000.000dannes ]

trente-deux publications ralis linitiative de John Armleder, [ m amyGranat] et [ m mai-ThuPerret] , en hommage lartiste [ m stevenParrino] (dit par cart Publications). Conu sur le modle des comic books amricains que Parrino affectionnait, le projet rassemble des artistes proches de lui, quils laient ctoy, aient collabor avec lui ou que leurs uvres se soient rciproquement influences. Chaque auteur invit a ralis un volume du coffret, avec pour seules contraintes le format et le titre de lensemble de la publication. Black noise , expression qui rend grce aussi bien lunivers culturel dark de Steven Parrino qu lomniprsence du noir dans son uvre, dsigne par ailleurs un son paradoxalement puissant, rput accompagner les grandes catastrophes : loreille humaine ne le percevrait pas, mais il toufferait dans un mme temps la diffusion de tous les bruits environnants.

[ m lamarqUenoire ] [ e ] m A box of 32 publications produced at the initiative of John Armleder, [ m amyGranat] and [ m mai-ThuPerret] , as a tribute to the artist [ m stevenParrino] (published by cart

that seperate us from the explosition of the sun.

black block [ f ] m Boutique du Palais de Tokyo. [ e ] m Shop of the Palais de Tokyo.

Publications). Designed along the lines of the American comic books that Steven Parrino was fond of, the project brings together people who were associated in some way with Steven Parrino through projects and exchanges, friendship, or reciprocal inspiration. Each author invited to produce a volume for the box had no constraints other than the format and the

bla 28

BlADEN

BouchEt

bou 29

overall title of the publication. Black Noise, an expression which refers both to the dark cultural universe of Steven Parrino and the omnipresence of black in his work, furthermore designates a paradoxically powerful sound, said to accompany major catastrophes: the human ear would not perceive it, but it would simultaneously stifle the diffusion of all surrounding noises. [ m lamarqUenoire] m Auteurs / Authors [ m richardaldrich] / John Armleder / Fia Backstrm / Sophie Bernhard / [ m PeterCoffin] / [ m Philippedecrauzat] / Vidya Gastaldon & [ m Fabricestroun] / Gabrielle Giattino & Sarah Turner / Janine Gordon / Kim Gordon / [ m amy Granat] / Drew Heitzler & Flora Wiegman / [ m JuttaKoether] / Alix Lambert / Balthazar Lovay / Brendan Majewski / Christian Marclay / Mass / John Miller / Thurston Moore / [ m olivier mosset] / [ m Chucknanney] / Genesis P-Orridge / [ m mai-ThuPerret] / Carissa Rodriguez / Aura Rosenberg / Michael Scott / John Terhorst / [ m BlairThurman] / John Tremblay / [ m elizabeth Valdez] / Joan Wallace.
bladen, ronald [ m 4 , fig. # 54 ] [ f ] m 1918 1988. Considr

geometry of Three Elements (195) seems on the verge of collapse.

blaZy, michel [ m 1 , fig. # 01 ; 2 , fig. # 15 # 19 ; 5 , [ f ] m *19, vit Paris. Artiste de

par certains comme le pre du minimalisme , lartiste amricain Ronald Bladen a produit des uvres monumentales aux formes gomtriques en bois monochrome. En lien direct avec leur environnement, ces uvres dominent lespace musal et en modifient lapprhension. Avec son compatriote Tony Smith, Ronald Bladen lve lartificiel la taille et la force dun phnomne naturel. Dans [ m THeTHirdmind] , Cathedral Evening (1971) se prsente comme un vaste triangle ouvrant au-dessus du spectateur un drame aux allures dexprience minimale alors que la gomtrie plus instable de Three Elements (195) semble frler leffondrement. [ e ] m 1918 1988. Regarded by some as the father of Minimalism, the American artist Ronald Bladen produced monumental geometrically shaped works in wood. Linked to their environment, these monochromatic works dominate the museum space and alter our apprehension of it. Along with his peer Tony Smith, Ronald Bladen elevated the artificial to the stature and strength of a natural phenomenon. In [ m THe THirdmind ] , Cathedral Evening (199) takes the form of a huge triangle opening up above the viewer a drama which has the appearance of a Minimal experiment, while the less stable

fig. # 4 ] lincontrlable, Michel Blazy produit des uvres o la dcomposition et le devenir des objets organiques structurent de manire alatoire sa pratique. Le collant, le liquide ou le mousseux sont des matires rcurrentes qui permettent lartiste de ne jamais senfermer dans une conception finie de luvre dart. Privilgiant les matires pauvres, voire comestibles, lartiste laisse libre champ un hasard contrl et la beaut de lphmre. volutions instables et altrations biologiques donnent forme un univers plastique mutant dont le temps est un acteur de premier plan. Btisseur dunivers alatoires et fragiles, lartiste manipule les matires, tente den contrler disparition et transformation ou, bien au contraire, den tre entirement dpendant. Les micro-vnements que laventure suscite sont essentiels aux dploiements du parcours : germinations souhaites ou accidentelles, dessications et altrations des matires, moisissures et pourrissements microscopiques, dgradations des surfaces, dgnrescences, transmutations, dcrpitudes des formes, toutes ces nergies fbriles du vivant sont revendiques par lartiste comme autant doprations essentielles llaboration de luvre. Le vivant ne se conoit pas sans de multiples nergies mortifres, mtamorphoses et nombreuses trangets. Les uvres de lartiste intgrent cette complexit qui se dploie avec toutes ses ambiguts, son caractre parfois inquitant, voire repoussant. Araigne, peau de bte, trophe de chasse, champignon atomique, squelette autant de sculptures en matires comestibles qui forment un trange bestiaire, un cabinet de curiosits paradoxales. Statique sous un certain angle, le travail de lartiste est en ralit habit par une multitude dinfimes mouvements qui ne cessent de faire et de dfaire les formes chaque instant, droutant les catgories de la perception, aussi bien que celles du monde de lart.
artist of the uncontrollable. The growth and decay of organic materials forms the structure of Michel Blazys work. Sticky, liquid, and foamy materials allow his sculptures to always be in progress, caught in a permanent state of

unstable incompletion. Preferring cheap and even edible materials, Blazy allows a controlled randomness and the beauty of entropy to reign supreme. Unstable developments and biological alterations give rise to a changing plastic universe in which time is a leading player. A builder of random, fragile universes, Michel Blazy likes to manipulate materials, to attempt to control their disappearance and transformation, or on the contrary to be completely dependent on them. The micro-events to which the adventure gives rise are crucial to the unfolding journey: instances of intentional or accidental germination, of the desiccation and decline of materials, of microscopic molds and rots, of the deterioration of surfaces, of the degeneration, transmutation or decrepitude of formsall these febrile energies of living matter are claimed by the artist as operations crucial to the elaboration of the work. Living matter is inconceivable without multiple mortiferous energies, metamorphoses and a great many oddities. The artists works integrate that complexity, which unfold with all its ambiguities, and its sometimes disturbing, even repulsive character. A spider, an animal skin, a hunting trophy, an atomic mushroom, a skeleton all sculptures made of edible materials that form a strange bestiary, a cabinet of paradoxical curiosities. Static if viewed from a certain angle, the artists work is in fact inhabited by a multitude of minute movements that constantly at every instant make and unmake forms, disconcerting our categories of perception, as well as those of the art world. [ m 5.000.000.000
dannes ] [ m PosTPaTman ]

sensation de vie. [ m THeTHirdmind] [ e ] m *1931, lives in Orbisonia, Pennsylvania. Using the language of Abstraction, the intimate and strange work of Lee Bontecou mixes the figurative, the organic and the mechanical like so many states of transformation between the natural and the artificial. In her three-dimensional mural sculptures, fragments of canvases and other materials are stretched and shaped together over flexible, metallic frames. A space with depth emerges from these objects, making us think of organic and feminine references, the sublime, the mysterious or the extraterrestrial, but also the anguish of something artificial that is grotesque and mutilated. The frontiers between beauty and ugliness, nature and war, earth and sky, woman and man are blurred in favour of an intense feeling of life.
[ m THeTHirdmind ]

m mikeBouchet, Judd Law, 2005

bouchet, mike [ f ] m *1970, vit New

bontecou, lee [ f ] m *1931, vit Orbisonia,

[ m 5.000.000.000dannes ] [ m PosTPaTman ] [ e ] m *19, lives in Paris. Michel Blazy is an

Pennsylvanie. Utilisant le langage de labstraction, le travail intime et trange de Lee Bontecou mle le figuratif, lorganique et le mcanique comme autant de paliers entre le naturel et lartificiel. Dans ses sculptures murales en trois dimensions, des fragments de toiles et dautres matriaux sont tendus et faonns sur des cadres souples et mtalliques. Un espace en profondeur surgit de ces objets et nous renvoie vers des rfrences organiques et fminines, vers le sublime, le mystrieux ou lextraterrestre, mais aussi vers langoisse dun monde artificiel, grotesque et mutil. Les frontires entre la beaut et la laideur, la nature et la guerre, la terre et le ciel, la femme et lhomme sont brouilles au profit dune intense

York et Berlin. Mlant les rfrences lhistoire de lart, les icnes contemporaines, les problmatiques socio-conomiques, Mike Bouchet produit des installations qui dcalent nos attentes. Du [ m jacuzzi] de clbrits en passant par son cola auto-produit, sa marque de jeans, ses bustes de Tom Cruise jusqu la ractivation dune pice clbre de Walter de Maria, Mike Bouchet croise avec humour lhistorique et le quotidien. Dans [ m 5.000.000.000dannes] , Mike Bouchet a prsent quelques uns de ses jacuzzis pour clbrits ( Jude Law, 2005 ; Robert Mugabe, 2005 ; Jack Welch, 2005). la frontire du [ m bricolage] et de lobjet scientifique, ses sculptures post-minimales jouent dune rfrence crypte une clbrit sans que lon puisse dterminer sil sagit dun hommage irrvrencieux ou dun pied de nez admiratif.

boy 30

BoYcE

BREER

bre 31

[ e ] m *1970, lives in New York and Berlin. Mike

Bouchets sculptural installations blend arthistorical references, contemporary icons, and socio-economic issues. From a [ m jacuzzi] for celebrities, a self-produced soda, and his own brand of jeans, to his busts of Tom Cruise and his reactivation of a famous earthwork by Walter de Maria, Bouchetwith deadpan humourmixes history and the everyday. In
5,000,000,000 YEARS [ m 5.000.000.000dannes ] ,

m De lautre ct du miroir / Through the Looking Glass

boXon [ f ] m Collectif

the artist presents a selection of his celebrity jacuzzis (Jude Law, 2005; Robert Mugabe, 2005; Jack Welch, 2005). On the border between the DIY [ m bricolage] and the scientific object, his post-minimalist sculptures make ambiguous references to celebrities, and the divide between irreverence and admiration remains unresolved.
boyce, martin [ f ] m *197, vit Glasgow.

Sculpteur, designer, Martin Boyce intgre ses uvres dans lespace physique, celui que lon occupe par sa simple prsence, mais aussi lespace psychologique et motionnel. Imprgn par lunivers urbain, son travail construit des ambiances de vie intrieure, laide dun langage visuel parfois directement issu du design. Proche de la cration de mobilier, Martin Boyce choisit cependant dinvestir tout lespace et non de se concentrer sur la cration dobjets utilitaires. Reliant les espaces urbains extrieurs et lespace intrieur des salles dexposition, Martin Boyce nous invite prendre le temps de circuler dans ses installations qui sont autant de paysages imaginaires, comme When Now is Night (Web), une installation compose dun systme dclairage de tubes fluorescents. [ m THeTHirdmind] [ e ] m *197, lives in Glasgow. Martin Boyce is a sculptor and designer who integrates his works into physical spacethe space we occupy by our mere presence, but also psychological and emotional space. His work is imbued with the urban universe, and constructs ambiances of indoor life, with the help of a visual language that sometimes comes straight from design. While he is close to furniture design, Martin Boyce nonetheless chooses to invest the entirety of spaces, not concentrating on the design of utilitarian objects. Linking outside urban spaces to the internal space of exhibition galleries, Boyce invites us to take the time to move around in his installations, each of them an imaginary landscape, such as When Now is Night (Web), an installation composed of a fluorescent-tube lighting system. [ m THeTHirdmind]

de potes et dcrivains fond Lyon en 1997 par Gilles Cabut, Jean-Luc Michel, Gilles Dumoulin et Julien dAbrigeon. Dans la ligne du Lettrisme, de la posie sonore de Bernard Heidsieck et des textes incantatoires de [ m Williams.Burroughs] , ils manipulent non seulement la langue et le mot, mais travaillent aussi la typographie, les dimensions visuelles de lcrit, et mettent laccent sur la lecture comme performance. BoXoN publie une revue ponyme, cahier de photocopies volontairement fruste auquel ont pu collaborer des auteurs comme Julien Blaine, Jean-Franois Bory ou Nathalie Quintane. Le collectif a mis en place le site Internet T.A.P.I.N. (Toute lActualit de la Posie Inadmissible ou Idiote sur le Net) qui propose, outre les archives des activits du collectif luimme, une anthologie de pomes sonores et visuels contemporains. En avril 2007, Julien dAbrigeon, Cosima Weiter, Georges Hassomeris, Sophie Nivet, Cyrille Bret et Thomas Braichet, tous membres de BoXoN, ont organis au Palais de Tokyo boxonoxod : imagine partir dune relecture du livre de Lewis Carroll De lautre ct du miroir, cette soire dexercices potico-linguistiques a pu mler pomes daction, tournois et constats dchec, pomes simultans 2, 3, 4, 5,  voix, traductions translexiques dystructrices simultanes, pomes visuels et bunny-girls la bourre. [ m lesjeudisde,noUVellesdU
monderenVers ]

intentionally unsophisticated collection of photocopies which has included contributions from authors like Julien Blaine, Jean-Franois Bory or Nathalie Quintane. The collective has set up the T.A.P.I.N. (Toute lActualit de la Posie Inadmissible ou Idiote sur le Net [All the latest news about unacceptable or idiotic poetry on the net]) website which offers an anthology of contemporary sound and visual poems, as well as the archives of the activities of the collective itself. In April 2007, Julien dAbrigeon, Cosima Weiter, Georges Hassomeris, Sophie Nivet, Cyrille Bret and Thomas Braichet, all members of BoXoN, organized boxonoxod at the Palais de Tokyo: an imaginative event based on a rereading of Lewis Carrolls book Through the Looking Glass, the evening of poetic-linguistic exercises successfully mixed action poems, contests and acknowledgments of failure, simultaneous poems with 2, 3, 4, 5 and  voices, dystructive simultaneous translexical translations, visual poems and bunny-girls pushed for time. [ m lesjeudisde,noUVelles
dUmonderenVers ]

[ e ] m 1942 1994. In the 190s and 1970s Joe

Brainard, an artist and a poet, produced a large number of works (collages, paintings, written works, stage sets, dance costumes) before mysteriously stopping in the mid-1980s. The motifs developed by Brainard (flowers, Madonnas, body tattoos, etc.) are on the fringes of the decorative register, playing with details by means of bright, luminous colours that appeal to the eye and are not devoid of humour.
[ m THeTHirdmind ]

m BrainardJoe, Untitled (Madonna), 198

brainard, joe [ f ] m 1942 1994.

m robertBreer, Swiss Army Knife with Rats & Pigeons, 1980

breer, robert [ f ] m Venu sinstaller

[ e ] m A collective of poets and writers founded

in Lyons in 1997 by Gilles Cabut, Jean-Luc Michel, Gilles Dumoulin and Julien dAbrigeon. Carrying on the heritage of Lettrism, the sound poetry of Bernard Heidsieck and the incantatory texts of [ m Williams.Burroughs] , not only do they manipulate language and words, they also intervene in the typography, the visual dimensions of the written text, and put great emphasis on reading as performance. BoXoN publishes an eponymous journal, an

Dans les annes 190 et 1970, Joe Brainard, artiste et pote, a produit un grand nombre duvres (collages, peintures, travaux dcriture, dcors de thtre et costumes de danse...) avant de sarrter mystrieusement de crer au milieu des annes 1980. Les motifs dvelopps par Joe Brainard (fleurs, madones, tatouages corporels, etc.) frlent le registre du dcoratif en jouant avec les dtails grce des couleurs fraches et lumineuses, qui sduisent lil non sans humour. [ m THe

Paris ds la fin des annes

1940 pour se consacrer la peinture, Robert

THirdmind ]

Breer expose la galerie Denise Ren des toiles abstraites dans la mouvance de lart concret. Cherchant se librer de ce carcan, il commence travailler avec des formes gomtriques plus libres, flottantes, et exprimente leurs volutions, leur mise en mouvement, leur lasticit dans des flip books puis dans des films raliss avec les techniques de lanimation. Les Form Phases, srie de courts-mtrages

bri 32

BRicolAGE

BuRRouGhS

bur 33

abstraits en 1 mm initie en 1952, sinscrivent ainsi dans la ligne du cinma davant-garde de Hans Richter et de Viking Eggeling. Entre posie, exprimentation formelle et humour absurde, ses films brouillent les limites entre figuration et abstraction (A Man & His Dog Out For Air, 1957), mlant loccasion dessins et prises de vues relles (Jamestown Baloos, 1957), et poussent le spectateur dans ses retranchements perceptuels (Blazes, 191). Breer simpose comme une figure majeure du cinma exprimental, art quil ne cessera de pratiquer de manire aussi libre quclectique : dans Bang ! (198), il glisse ainsi une photographie le reprsentant, barre, laquelle il adjoint un point dinterrogation et les quelques mots Dont be so smart ( Ne fais pas le malin ). Abandonnant la peinture, il conoit des sculptures cintiques ainsi que plusieurs mutoscopes, appareils donnant lillusion du mouvement par la succession rapide de dessins. Ses recherches sur le mouvement dans lespace lamnent llaboration dinclassables sculptures mobiles, les Floats, volumes gomtriques empruntant leurs formes au noplasticisme ou au minimalisme, autopropulss grce de petits moteurs lectriques programmables. Il va jusqu raliser, loccasion de lExposition universelle dOsaka, en 1970, un Float monumental, entre le robot et la sculpture vivante. Vritable pendant son uvre filmique, ce nest que rcemment que cette part du travail de lartiste amricain a t redcouverte.
[ m lesjeudisdeTHeTHirdmind] [ e ] m Robert Breer went to live in Paris in the

he would not cease to practice in a way that is as free as it is eclectic: thus in Bang! (198) he slips in a photograph of himself, scored through, to which he adds a question mark and the words Dont be so smart. Abandoning painting, he devised kinetic sculptures as well as several mutoscopes, machines giving the illusion of movement through showing drawings in rapid succession. His research into movement in space led him to develop mobile sculptures that defy categorization, his Floats, geometric volumes deriving their forms from Neoplasticism or Minimalism, self-propelled by means of small programmable electric motors. For the Osaka Worlds Fair in 1970, he went so far as to make a monumental Float, a cross between a robot and a living sculpture. A real counterpart to his work as a film-maker, this aspect of the American artists work has only recently been rediscovered. [ m lesjeudisdeTHeTHirdmind] m Liste des films projets / List of films shown : Form Phases IV, 1954 ; Recreation I, 195 57 ; A Man & His Dog Out For Air, 1957 ; Jamestown Baloos, 1957 ; Blazes, 191 ; 69, 198 ; Fuji, 1974 ; LMNO, 1978 ; Swiss Army Knife with Rats & Pigeons, 1980 ; Bang!, 198 ; Time Flies, 1997
bricolage

[ e ] m Max Brooks is the son of the film director

Mel Brooks and the actress Anne Bancroft. He successively published The Zombie Survival Guide (New York: Crown, 2003) which explains how to survive an eventual zombie invasion, and World War Z: An Oral History of the Zombie War (New York: Crown; London: Duckworth, 200), an ovel that recounts a war between zombies and the human race.
[ m lesjeudisde Cinqmilliardsdannes ] [ m Zombie]
bureau des mdiateurs (bdm)

Mediators Office [ f ] m Point de dpart ou darrive de visite au Palais de Tokyo, le Bureau des mdiateurs est un espace daccueil, dinformation et de documentation sur les expositions. Il propose une programmation quotidienne pour explorer lunivers de chaque session dexpositions.
[ m quipe] [ e ] m The departure or arrival point for visits to

the Palais de Tokyo, the Bureau des mdiateurs is a reception area providing information and documentation about the exhibitions. It suggests a daily program for getting the best out of the exhibitions on offer. [ m quipe]

DIY
[ m Bouchet,mike] [ m satanicpornocutshop] [ m dewar,daniel&Gicquel,Grgory]

late 1940s in order to devote himself to painting, and exhibited abstract paintings in the Concrete Art style at the galerie Denise Ren. Trying to break out of this straitjacket, he started working with freer, floating geometric forms, and experimented on their development, movability, and elasticity in flip books, then in films made using animated film techniques. Form Phases, a series of abstract 1 mm short films initiated in 1952, are thus descended from the avant-garde cinema of Hans Richter and Viking Eggeling. His films, a cross between poetry, formal experiment and absurd humor, blur the boundaries between figurative art and abstraction (A Man & His Dog Out For Air, 1957), sometimes mixing drawings and real shots (Jamestown Baloos, 1957), and shaking the viewer in his perceptual convictions (Blazes, 191). Breer made his mark as a major figure in experimental cinema, an art which

m Zombie Defense Station

brooks, maX [ f ] m Max Brooks

est le fils du metteur en scne Mel Brooks et de lactrice Anne Bancroft. Il a successivement publi The Zombie Survival Guide (Crown, New York, 2003), rcit qui nous apprend comment survivre dans le cas dune invasion de zombies, et World War Z : An Oral History of the Zombie War (Crown, New York & Duckworth, Londres, 200), qui met en scne une guerre opposant la race humaine et les zombies. [ m lesjeudisdeCinqmilliardsdannes]
[ m Zombie]

burroughs, William seWard [ m 4 , fig. # 45 # 47 ] [ f ] m 1914 1997. crivain amricain.

Aprs avoir sans succs envisag une carrire dans les services secrets et exerc Chicago le mtier dexterminateur de cafards, William S. Burroughs stablit New York au milieu des annes 1940, o sa rencontre avec Jack Kerouac et Allen Ginsberg va donner naissance la Beat Generation. Dj grand consommateur dopiacs, Burroughs accumule les

ennuis avec la police et finit par sinstaller au Mexique avec sa femme, Joan Vollmer quil tuera accidentellement, en 1951, en jouant Guillaume Tell avec son pistolet automatique. Ses nombreuses prgrinations en Amrique Latine, entre drive sexuelle et qute mystique de drogues mayas, donneront matire ses trois premiers textes, Junkie, Queer et Lettres du Yage, seul le premier tant publi en 1953 chez un diteur de romans populaires. quarante ans, compltement accroc la morphine, il sinstalle Tanger o il se lie avec [ m Brion Gysin] , rencontre Paul Bowles, et entame la rdaction de son granduvre : mis en forme avec laide de Kerouac, Ginsberg, puis Gysin, le manuscrit dInterzone deviendra Le Festin Nu, publi Paris en 1959. Install au Beat Hotel de la rue Gt-le-Cur, William S. Burroughs poursuit ses exprimentations potiques et met au point avec Brion Gysin plusieurs techniques dcriture, commencer par le [ m cut-up] , dont la manipulation et lassociation un travail sur limage donnera la matire louvrage [ m The Third Mind ] . La publication de la trilogie Nova, mythologie pour lge de lespace , (La Machine molle, 191 ; Le Ticket qui explosa, 192 ; Nova Express, 194) et un procs intent au Festin Nu, en 195, font de Burroughs une icne de la contre-culture amricaine. Revenu sinstaller aux tats-Unis au milieu des annes 1970, il simpose comme un des matres penser de plusieurs gnrations dartistes underground, jouant de son image fascinante et sulfureuse de toxicomane averti, fanatique darmes feux et du lancer de couteaux ou adepte des thories du complot pass par la scientologie. [ m THeTHirdmind] [ m Peyotl] [ m The Third Mind, p. d-2] [ e ] m 1914 1997. An American writer. After unsuccessfully contemplating a career in the secret service and working in Chicago as a cockroach exterminator, William S. Burroughs settled in New York in the mid-1940s where his meeting with Jack Kerouac and Allen Ginsberg gave rise to the Beat Generation. Already a heavy consumer of opiates, Burroughs was constantly in trouble with the police and ended up moving to Mexico with his wife, Joan Vollmerkilling her by accident in 1951, when playing at being William Tell with his automatic pistol. His many journeys across Latin America, between sexual drift and a mystical quest for Maya drugs, provided the material for his first three texts, Junkie, Queer and The Yage Letters, with only the first being brought

bur 34

BuRRouGhS

cADiot

cad 35

out in 1953 by a publisher of popular novels. At the age of forty, completely addicted to morphine, he moved to Tangiers where he made friends with [ m BrionGysin] , met Paul Bowles, and embarked on writing his masterpiece: put into shape with the help of Kerouac, Ginsberg and then Gysin, the manuscript of Interzone would become The Naked Lunch, published in Paris in 1959. Based in the Beat Hotel on rue Gt-le-Cur, William S. Burroughs continued with his poetic experiments and together with Brion Gysin perfected several writing techniques, starting with the [ m cut-up] . Manipulating it and associating it with work on images would provide the material for [ m The Third Mind ] . The publication of the trilogy Nova, a mythology for the space age, (The Soft Machine, 191; The Ticket That Exploded, 192; Nova Express, 194) and a court case against The Naked Lunch, in 195, turned Burroughs into an icon of American counterculture. He returned to live in the United States in the mid1970s, and was accepted as one of the leading thinkers by several generations of underground artists, playing on his fascinating, toxic image as a discriminating drug addict, a firearms and knife-throwing fanatic, or a proponent of conspiracy theories involving scientology. [ m THeTHirdmind] [ m Peyotl] [ m The Third Mind, p. d-8]

cadiot, olivier [ f ] m *195, vit Paris.

crivain, il publie aux ditions P.O.L un premier livre de posie intitul LArt potic. Il crit pour Pascal Dusapin une srie de pices courtes puis le texte de lopra Romo & Juliette (P.O.L 1989). En 1993, il publie le premier tome dune srie la limite du roman, Futur, ancien, fugitif, suivi du Colonel des Zouaves en 1993, de Retour dfinitif et durable de ltre aim et de Fairy queen en 2002 (ditions P.O.L). Pour le thtre, il crit pour Ludovic Lagarde une premire pice en 1993 Surs et frres ; ce seront ensuite ses livres que le metteur en scne adaptera, du monologue du Colonel des Zouaves en 1998 Fairy queen en 2004. Il poursuit ses collaborations extrieures avec des musiciens comme Georges Aperghis, Gilles Grand, le pianiste Benot Delbecq, le groupe Kat Onoma et Rodolphe Burger. he published a first book of poetry entitled LArt potic with Editions P.O.L. For Pascal Dusapin he wrote a series of short plays, then the text of the opera Romo & Juliette (P.O.L 1989). In 1993, he published the first volume of a series taking the novel to its limits, Futur, ancien, fugitif, followed by Le Colonel des Zouaves in 1993, Retour dfinitif et durable de ltre aim and Fairy queen in 2002 (Editions P.O.L). For the theater, he wrote a first play for Ludovic Lagarde in 1993: Surs et frres, and then books which the director adapted, from the monologue in Le Colonel des Zouaves in 1998 to Fairy queen in 2004. He pursues his outside collaborations with musicians like Georges Aperghis, Gilles Grand, the pianist Benot Delbecq, the Kat Onoma group and Rodolphe Burger. [ m vnements] [ m Giorno,John]
[ m Burroughs,Williams.]

[ m vnements] [ m Giorno,John] [ m Burroughs,Williams.] [ e ] m *195, lives in Paris. A writer,

caroline (nouvel tat libre de)

The New Free State of Caroline [ f ] m En 1997, lartiste Gregory Green prit les toutes premires mesures en vue de la cration du Nouvel tat libre de Caroline (mise en place dun systme de demandes de citoyennet, demande de reconnaissance officielle par lONU) qui devait occuper une petite le dserte 800 km au sud de Tahiti. Depuis, des fouilles archologiques ont permis dattribuer cette le lun des pays qui la revendiquaient jusque-l, si bien que Green continue chercher un territoire vierge de toute souverainet susceptible

car 3

cARRoN

chAlEtS DE tokYo

daccueillir la Caroline. Celle-ci, en accord avec les intrts artistiques de Green, sera une anarchie gouverne par ses citoyens. ce jour, 3.700 candidats ont dpos une demande de citoyennet. [ m TaTs(FaiTes-leVoUs-mme)] [ e ] m In 1997, artist Gregory Green took steps to initiate the formation of The New Free State of Caroline, chiefly opening channels for citizenship applications, and issuing a formal claim with the United Nations to a small, uninhabited island 500 miles south of Tahiti. Despite archaeological discoveries having settled international claims over the disputed island, Green continues to seek out unclaimed geographical locations for Carolines homeland and awaits existing claims to be processed. In accord with Greens artistic interest, Caroline will host a form of anarchism governed by its citizenry, now comprised of some 3,700 applicants.
[ m TaTs(FaiTes-leVoUs-mme) ]

Swiss vernacular culture. The objects, images, symbols, and customs of rural culture appear in his works in misappropriated and often humorous forms. The perception of a pure and perfect Switzerlandwith its mountains, chalets, forests, and churchesis undermined by the artist who oscillates between celebration and criticism. His sculptures of crosses combine the language of religion and that of minimal abstraction, freeing the object of a fixed meaning by means of a strategy of reproduction. But although the artist plays games with authenticity, craftsmanship, ready-mades, commemorative monuments or kitsch aesthetics, his objects remain too ambiguous to be part of a single ideology. [ m THeTHirdmind]

Dune vocation lautre, Loris Cecchini rinvente notre perception des choses et brouille les codes de comprhension en usage. Dans [ m 5.000.000.000dannes] , a t prsente Cloudless (200), une uvre monumentale prenant la forme dun nuage improbable mlant en un gigantesque nid surraliste des balles de ping-pong et des chelles. [ m emptyWallsJust
doors] [ e ] m *199, lives in Milan. Through subtle trans-

themes are the ocean, the sky, the desert, and galaxies. In 198 she started her series of paintings and drawings of the starry sky, based on photographs. The galaxies, comets and fields of stars concentrate and explode in accordance with two seemingly contradictory movements, here exploited on the same surface. The effects of greys or blacks are dense, velvety, coal-like, serving as a background for hundreds of white dots. [ m THeTHirdmind]
chalets de tokyo [ f ] m Programme de dveloppement

cha 37

formations, Loris Cecchini slips into the world of everyday objects and transforms their practical use into a vision that shifts between the post-apocalyptic and a pure dreamlike state. Office supplies, chairs, doors, and cables, for example, are recreated out of a soft grey material that suspends their usefulness and causes them sink back upon themselves, as if affected by some sort of ontological fatigue. In 5,000,000,000 YEARS [ m 5.000.000.000 dannes ] , he presented Cloudless (200), an improbable cloud that contains a gigantic surrealist nest of ping-pong balls and ladders.
[ m emptyWallsJustdoors]
celmins, vija [ f ] m *1938, vit

m ValentinCarron, Fosbury Flop, 200

carron, valentin [ f ] m *1977, vit Fully,

Suisse. Valentin Carron exploite liconographie de la culture vernaculaire suisse. Les objets, images, symboles et coutumes de la culture rurale apparaissent dans ses uvres sous formes dtournes et souvent humoristiques. La perception dune Suisse pure et parfaite avec ses montagnes, chalets, forts, glises est mise mal par lartiste qui oscille entre la clbration et la critique. Ses sculptures de croix combinent le langage de la religion et celui de labstraction minimale en librant lobjet dun sens fixe grce une stratgie de reproduction. Mais bien que lartiste joue avec lauthenticit, lartisanat, le ready-made, le monument commmoratif ou lesthtique kitsch, ses objets restent trop ambigus pour appartenir une seule idologie. [ m THeTHirdmind] [ e ] m *1977, lives in Fully, Switzerland. Valentin Carron avails himself of the iconography of

m Pinot-Gallizio, La Caverne de lantimatire, 1958-59

caverne de lantimatire

Cave of Antimatter [ m voir p. B-2 / see p. B-8]

cecchini, loris [ f ] m *199, vit Milan.

Par des transformations subtiles, Loris Cecchini simmisce dans le monde des objets quotidiens et en arrte toute fonctionnalit au profit dune vision qui alterne entre post-apocalypse et onirisme pur. Des fournitures de bureau, chaises, portes et cbles divers sont, par exemple, confectionns en une matire lastique molle et grise qui suspend leur utilit et affaisse les objets, atteints dune sorte de fatigue ontologique, sur eux-mmes.

New York. Ne en Lettonie, mais contrainte lexil sous la menace sovitique ds son plus jeune ge, Vija Celmins est lune des figures de proue du mouvement hyperraliste. Influence par des expriences lies la fois son histoire personnelle et au contexte politique de son poque, elle commence par faire de la peinture expressionniste abstraite pour ensuite dvelopper une technique de dessin extrmement minutieuse. Ses thmes de prdilection sont locan, le ciel, le dsert et la galaxie. En 198, elle commence sa srie de toiles et de dessins du ciel toil daprs des photographies. Les galaxies, les comtes et les champs dtoiles se concentrent et explosent selon deux mouvements apparemment contradictoires, ici exploits sur la mme surface. Les effets de gris ou de noirs sont denses, velouts, charbonneux, servant de fond des centaines de points blancs. [ m THeTHirdmind] [ e ] m *1938, lives in New York. Born in Latvia but forced into exile from early infancy because of the Soviet threat, Vija Celmins is one of the figureheads of the Hyperrealist movement. Influenced by experiences linked both to her personal story and the political context of her period, she started off doing abstract expressionist painting, then developed an extremely meticulous technique of drawing. Her favorite

du Palais de Tokyo ltranger. Comme leur nom lindique, les Chalets de Tokyo ont vocation tre de vritables rsidences secondaires du Palais de Tokyo, aussi changeants et temporaires que des lieux de villgiature : tantt modestes comme un chalet, tantt somptueux comme un htel particulier, tantt mobiles comme un camping-car. De fait le lieu dart est devenu aujourdhui une notion indistincte. Il fleurit dans une cuisine, un centre dart, sur un bord de plage, dans un cratre, un wagon de train, une ferme, une station spatiale, sur un rpondeur tlphonique, un terrain de football, un fond marin. Les Chalets de Tokyo sont destins accueillir des expositions aussi varies que les lieux qui les accueillent, explorant toute la typologie des expositions possibles et de leur espace-temps particulier : de lexposition temporaire traditionnelle lexposition dune seule seconde, de lexposition dissmine dans la ville lexposition invisible. [ m medioda-medianoche] . [ e ] m The Chalets de Tokyo is the name of the Palais de Tokyos innovative development programme abroad. As the name suggests, the Chalets de Tokyo are destined to be second homes of the Palais de Tokyo, as changing and temporary as holiday lets: sometimes modest like a chalet, sometimes splendid like a private town house, sometimes mobile like a camper van. The art venue has today become a hazy notion. It flourishes in a kitchen, at an art centre, on a beach, in a crater, in a railway carriage, on a farm, at a space station, on an answering machine, on a football ground, on a seabed So the idea is for the Chalets de Tokyo to host exhibitions that are as varied as the venues welcoming them, exploring the complete typology of possible exhibitions and their special spacetime: from the traditional temporary exhibition to the exhibition lasting just one second, from the exhibition spread across a town to the invisible exhibition. [ m medioda-medianoche] .

cha 38

chAPouliE

chtEAu DE tokYo

cha 39

chapoulie, jean-marc [ m 6 , fig. # 83 ] [ f ] m *197, vit Paris. Cinaste,

m uvre / Work

m Chalets

m Chteau de Tokyo (Vassivire)

vidaste, JeanMarc Chapoulie interroge le cinma sous toutes ses formes depuis plusieurs annes. Il est artiste invit la biennale de Lyon 2005 (dont il tait dj un des sept commissaires associs en 2000), et responsable dune programmation rgulire de cinma au Centre Culturel Suisse (Alchimic Cinema). [ m modUle ] 02/11/200 24/11/200. TDF06, Chant I est un film documentaire au format tlvisuel ralis partir dun montage dextraits du [ m TourdeFrance] . Jean-Marc Chapoulie enlve toute dimension sportive la clbre course cycliste en ne conservant des 42 heures de direct que les vues ariennes des Alpes ou des Pyrnes, les franchissements de villages pittoresques ou les descriptions de monuments historiques Reste une pope touristique de 52 minutes o les coureurs cyclistes sont rduits au rang de figurants. Mais tandis quau fil des tapes, la musique inquitante de Stphane Brard se superpose aux commentaires journalistiques, cest entre dpaysement et angoisse que la France du Tour se dvoile. [ m mutants] [ e ] m *197, lives in Paris. A film-maker and a video-maker, Jean-Marc Chapoulie has been questioning cinema in all its forms for several years. He was a guest artist at the Lyons Biennial in 2005 (having already been one of the seven associate curators in 2000), and is responsible for organizing a regular film program at the Centre Culturel Suisse (Alchimic Cinema). [ m modUle ] 02/11/200 24/11/200. TDF06, Chant I is a documentary film for television. After recording the TV broadcast of the 200 [ m TourdeFrance] bicycle race, Jean-Marc Chapoulie selects only the segments where the focus is removed from the cyclists, systematically subtracting the sporting aspect of the event. In its place are aerial views of the Alps or the Pyrenees, picturesque villages, or the stories behind historical monuments. A 42-hour sporting event becomes a 52-minute tourist journey where the cyclists are reduced to bystanders. In this film, the Tour de France also unfolds with the uncanny soundtrack by Stphane Brard, which, merged with the voices of the networks commentators, creates a cinematic mood of suspense and anxiety.
[ m mutants]

TDF06, Chant I, 200 DVD, 52 min. Musique de / music by

Stphane Brard.
chteau de tokyo [ m 5 , fig. # 58 # 5 ] [ f ] m Exposition 03/08/2007 30/9/2007.

Courtesy In Situ Fabienne Leclerc, Paris Glorious #4b, 2004 Licorne RU, Australie, Canada 200 x 130 cm Courtesy In Situ Fabienne Leclerc, Paris
[ m michelBlazy]

Le Palais de Tokyo, associ au Centre international dart et du paysage de Vassivire, proposait pour le Chteau de Tokyo de dcouvrir ou de redcouvrir certaines pices ou certains artistes prsents pendant sa premire saison dans un cadre indit. Installe dans un chteau la dcoration gothique, cette exposition fut loccasion de poursuivre le dialogue entre les trois sessions qui ont rythm lanne du Palais de Tokyo ( [ m Cinqmilliardsdannes] , [ m ,noUVellesdUmonderenVers ] et [ m lamarqUenoire ] ) mais aussi de tester nouveau le concept d[ m lasticit] de luvre dart au cur de la programmation du Palais de Tokyo, en prenant quelques liberts avec le traditionnel white cube. Une exposition sous le signe du double, donc, mais alors, ou aussi, sous celui de la possession et de la hantise. [ e ] m Exhibition 03/08/2007 30/9/2007. The Palais de Tokyo, in association with the Centre International dArt et du Paysage [International Art and Landscape Center] in Vassivire, set out to discover or rediscover on the occasion of the Chteau de Tokyo certain items or certain artists presented during its first season in a novel setting. Installed in a chteau with a Gothic decor, the exhibition was an opportunity to continue the dialogue between the three sessions that set the pattern of the Palais de Tokyos year FivE BillioN YEARS [ m Cinq milliardsdannes ] , m , NEwS FRom thE uPSiDE-DowN woRlD [ m ,noUVellesdUmonde renVers ] , and [ m lamarqUenoire ] ) but also to retest the concept of the work of arts elasticity [ m lasticit] , central to the Palais de Tokyos programming, while taking a few liberties with the traditional white cube. It was an exhibition notable for duplication, but also characterized by possession and a sense of being haunted. m Liste des uvres / List of works

Sculptcure (par Jean-Luc Blanc), 2003 2007 Courtesy galerie Art Concept, Paris
[ m Philippedecrauzat]

Light Space Modulator, 2002 2003 Courtesy Frac Languedoc Roussillon, Montpellier
[ m dewar&Gicquel]

Big Bertha, 200 Courtesy galerie Herv Loevenbruck, Paris

[ m FabienGiraud&raphalsiboni]

Friendly Fire, 200 Courtesy des artistes / of the artists

[ m amyGranat]

Chemical Scratch, 200 Courtesy de lartiste / of the artist

[ m markHandforth]

Golden phone, 2005 Collection particulire / private collection

[ m ZilvinasKempinas]

Flying Tape, 200 Courtesy Frac Languedoc, Montpellier

[ m JoachimKoester]

One + One + One, 2005 Courtesy Ian Mot Galerie, Bruxelles / Brussels
[ m Vincentlamouroux]

Planetarium, 200 Courtesy galerie Georges-Philippe & Nathalie Vallois, Paris

[ m Jonathanmonk]

My Last Cigarette, 1997 Courtesy Frac Bourgogne, Dijon

[ m Giannimotti]

Big Crunch Clock, 1999 Courtesy Frac Franche-Comt, Besanon

[ m davidnoonan]

Owl, 2004 Courtesy de lartiste / of the artist, Roslyn Oxley9 Gallery, Sydney; Foxy Production, New York Field, 2005 Courtesy de lartiste / of the artist, Roslyn Oxley9 Gallery, Sydney; Foxy Production, New York
[ m romansigner]

[ m renaudauguste-dormeuil]

Glorious #2, 2004 Aigle US Courtesy In Situ Fabienne Leclerc, Paris Glorious #4a, 2004 Lion RU, Australie, Canada

Brostuhl, 200 Courtesy galerie Art Concept, Paris

cho 40

choPPER

ciNEmA ZERo

cin 41

m Choppers Indian Larry

chopper [ f ] m Type

de moto qui se caractrise par un assemblage artisanal radical. Dans Conversation avec Steven Parrino, film ralis par Ivo Zanetti, [ m Parrinosteven] met en vidence des similitudes entre chopper et art minimal. Cette histoire au sujet du chopper est intressante. Prenez une grosse Harley, du type de celles quutilise la police en toile de fond il y a aussi lide du flic et du rebelle. Au fond, le chopper, cest une moto de police allge de tous ses gros quipements affreux et rendue aussi lgre que possible. Donc, vous gardez le gros moteur avec le chssis, linsigne de la marque, et vous pouvez ajouter un minuscule rservoir, un minuscule pare-chocs ou une selle minuscule. Et soudain, cest comme si vous fabriquiez un objet minimal dans le but daller plus vite, en retirant du poids. Cest donc une sorte de minimalisme pratique, mais finalement a fait ressortir la beaut cache sous tout ce mtal. Et en mme temps, vous rduisez lobjet son essence, jusqu lesthtique. Cest beau, mais il sagit aussi dune relation de pouvoir, parce que plus vous tes lger, plus vous allez vite. Cest pour cette raison que les voitures de Formule 1 ont cet aspect, comme tout autre engin quon utilise pour des courses de vitesse dailleurs. [] Soudain, il y a un type dans sa cour qui dmonte une moto ou une voiture pour en extraire lessence mme. Il est confront la mme problmatique que les artistes qui doivent traiter du moi, depuis quils ont dcid dtre des

individus et de ne pas tre au service, que ce soit au service du Pape, au service du roi ou au service de ltat. Comme cest parfois trs difficile, il est alors plus simple de rduire ce moi une sorte dessence. Cest en quelque sorte de l que vient cette vision romantique associe au chopper. Le chopper est un vhicule hors-la-loi. Il est fait pour rouler trs vite, enfreindre la loi est donc sa raison dtre. Vous transgressez la loi, vous faites cela contre le systme, donc cela devient un combat entre le moi et tout le reste. Do lide du rebelle du rebelle moderne. Par le pass, Satan tait le rebelle. Mais maintenant, vous savez, les bikers, les hardrockers et les gens qui disent Va te faire foutre !, les anarchistes, ce sont eux les rebelles. Voil en fait o est le lien ; voil ce que jestime dans ce type de culture. Je pense quils font la mme chose que moi. Je ne les vois pas faire autre chose que ce qui mintresse. Cest juste que je suis assimil aux beaux-arts, quoi que cela puisse signifier, et quils eux sont associs la culture populaire, quoi que cela signifie. Mais si vous parvenez faire se rencontrer ces deux cultures, alors vous faites quelque chose de vraiment incroyable. [ m sTeVenParrrinoreTrosPeCTiVe1981 2004 ] [ m BeFore(PlUsoUmoins) ] [ m Judd,donald] [ m indianlarry]

artists are dealing with, because artists just basically have to deal with self, since they decided to be self, as oppose to service service to the Pope, service to the king, service to the state. And sometimes that self is very hard to deal with, so its easier to boil it down to some sort of essence. So thats where the sort of romance with the chopper comes from. There is the idea that the chopper is an outlawed vehicle. Its not street riding, and its made to drive very fast, so the mentality for what it exists for is to break the law. Youre breaking the law, and youre doing this against the system, so it becomes a fight between the self and everything else. And thats where you get the birth of this idea of the rebel in a way of the modern rebel. In the past Satan was the rebel. But now bikers and hard rockers, people who say Fuck you!, anarchists, theyre the rebels now. Thats basically what that link is, and what I certainly recognize in that type of culture. I hold them equal to what I am doing. I dont see them doing anything that isnt what I am interested in. Its just that I am associated with fine art, whatever that means, and theyre associated with low art, whatever that means. But if you could bring the high and low together, youre doing something really incredible. [ m sTeVenParrrinoreTrosPeCTiVe
1981 2004 ] [ m BeFore(PlUsoUmoins) ]

mais il dut faire face la rsistance de milliers de personnes. [ m TaTs(FaiTes-leVoUs-mme)] [ e ] m Founded in the heart of Copenhagen when a group of squatters occupying an old military barrack made a declaration of a new territory. Together it was decided that the new territory would be free of cars and guns, while soft drug use would be allowed and a conflict-and-consensus form of government would be instituted. Initially the Danish government objected, referring to the territory as a social experiment and charging its residents a small monthly rent. Over two decades, Christiania developed a reputation for public art, jazz, folk and avantgarde music and free-expression. In 2004, the Danish government sought to remove the automobile barricades by force, but were met with the resistance of thousands of supporters from around the country many of whom were not directly connected to Christiania. [ m TaTs
(FaiTes-leVoUs-mme) ]

chuck, naney [ f ] m *1958, vit

[ e ] m A type of radically customized motorcy-

cle. In A Conversation with Steven Parrino, a film by Ivo Zanetti, [ m stevenParrino] points out the similarities between chopper and Minimal Art. The thing about the chopper is interesting. You have a big Harley, the type the police ride, so theres a kind of cops and rebel thing also going on. But basically, the chopper is a police bike stripped of all the big fat ugly parts and made as light as possible. So you keep the big engine in a frame and tag, but you might put a little tiny gas tank on it, little tiny fenders, and a little tiny seat. And all of a sudden its like youre trying to create a minimal object in order to go faster. You remove the weight. So its a practical type of minimalism, but in the end it brings out the beauty that was underneath all the metal. But also you are boiling down the essence of something into an aesthetic. Thats pleasing, but also its a power relationship, because you go faster if you are lighter. Its why Formula 1 cars look the way they do, and everything else that you would race. [] All of a sudden, theres a guy who is in his backyard, he is chopping a bike or a car to expel essence. Hes dealing with the same thinking that

[ m Judd,donald] [ m indianlarry]

New York. Avec des peintures mais aussi des punaises, des pailles flexibles, du carton ondul, du son, Chuck Nanney combine les rfrences de lhistoire de lart moderne avec des allusions la science-fiction ou la bande dessine. Il puise ses inspirations dans la culture amricaine de ces quarante dernires annes. [ m BasTardCreaTUre] [ e ] m *1958, lives in New York. Using paints as well as drawing pins, flexible straws, corrugated cardboard and sound, Chuck Nanney combines history of modern art references with allusions to science fiction or strip cartoons. He draws his inspiration from the American culture of the past forty years.
[ m BasTardCreaTUre ]
cinema Zero [ f ] m Collectif dartistes

christiania [ f ] m Fonde au

cur de Copenhague par des squatters qui, ayant occup une ancienne caserne, en revendiqurent la souverainet. Sur ce nouveau territoire, automobiles et armes feu furent interdits, tandis que les drogues douces autorises par un gouvernement consensuel charg darbitrer les conflits. Le gouvernement danois commena par refuser lide, prfrant considrer le territoire comme une exprience sociale et rclamer un modeste loyer mensuel ses occupants. En vingt ans, Christiania se fit connatre en favorisant lart public, le jazz, le folk, la musique davant-garde et la libre expression. En 2004, le gouvernement danois tenta de retirer par la force les barricades entourant Christiania (barricades composes de voitures),

fond en 2004 New York, avec le soutien de [ m stevenParrino] , par [ m amyGranat] , Felicia Ballos, [ m richard aldrich] , Gabrielle Giattino, et Fabienne Stephan, Cinema Zero fonctionne de manire nomade au rythme des films, des performances musicales ou de danse, des installations temporaires et des flyers qui prennent la forme de collages photocopis. [ m BasTardCreaTUre] [ e ] m This artists collective was founded in 2004 in New York by [ m amyGranat] , Felicia Ballos, [ m richardaldrich] , Gabrielle Giattino and Fabienne Stephan, with the support of [ m stevenParrino] . Cinema Zero operates on a

cin 42

ciNQ milliARDS DANNES

colEmAN

peripatetic basis, interspersing films, musical or dance performances, temporary installations and flyers in the form of photocopied collages.
[ m BasTardCreaTUre ]

col 43

claire Fontaine [ m 6 , fig. # 92 ] [ f ] m Pseudonyme dun

m CinemaZero, FTW (For S.P.), 2005

cinq milliards dannes

FIVE BILLION YEARS [ m 1 , fig. # 01 # 14 ] [ f ] m Session 14/09/200 31/12/200. Premire

session dun programme se dclinant sur une anne, le prologue dune rflexion portant non pas sur lexposition en tant quvnement singulier, point fixe isol dans le temps et lespace, mais sur la notion de programme, exprience dont le curseur temporel est en constant mouvement, en oscillation permanente. [ m saison1] [ m Vision-fentre] [ e ] m Session 14/09/200 31/12/200. The first chapter of a year-long program at the Palais de Tokyo, the beginning of a reflection not on the exhibition as a singular eventa fixed point that is isolated in time and spacebut on the very notion of a program, an experience with a temporal cursor that is constantly in motion, in permanent fluctuation. [ m saison1] [ m Visionfentre] m Expositions / exhibitions [ m 5.000.000.000 dannes ] / 5,000,000,000 YEARS , [ m Une seCondeUneanne ] / oNE SEcoND oNE YEAR [ m ZilvinasKempinas] [ m FlyinGTaPe ] , [ m renaudaugustedormeuil] [ m THeday BeFore_sTarsysTem ] , [ m JoachimKoester] [ m lemaTindesmaGiCiens ] / moRNiNG oF thE
mAGiciANS

m [ m modUles ] [ m Ghostrider] , [ m Fabien Giraud] , [ m UllavonBrandenburg] , [ m JeanmarcChapoulie] , [ m raphalsiboni] , [ m Virginieyassef] , [ m stphaneVigny] m [ m lesjeudisde Cinqmilliardsdannes ] /

Thurdays at FivE

BillioN YEARS

duo italobritannique qui se dfinit comme un artiste ready-made : une singularit quelconque, limage de la standardisation des identits produites par le capitalisme contemporain. Au moyen de sculptures de livres en briques, denseignes lumineuses, de vidos et de textes, Claire Fontaine poursuit des stratgies militantes et subversives, mais qui restent comme muettes et impuissantes, faute de pouvoir interrompre concrtement la logique des dispositifs de pouvoir. Seul demeure le dfi dune grve humaine , la grve dune subjectivit informe et indfinissable compromettant tout mcanisme didentification et de normalisation. Tout en ne provoquant aucune transformation sur le plan politique, lart indique aux spectateurs lurgence de prendre le relais et denclencher lacte dinterruption et de rvolte. Claire Fontaine nest quune assistante dans ce processus. [ m modUle ] 05/07/2007 29/07/2007. Get Lost est une vido qui a pour objet les fantasmes et les fantmes qui migrent dans notre imaginaire depuis les pages des magazines de mode. Ces visages artificiels et retouchs apparaissaient et disparaissaient rapidement comme des persistances rtiniennes. Au sol, des photocopies dun texte du collectif Tiqqun datant de 1999, qui dnonait lalination des relations contemporaines, rappellaient que nous faisons tous partie du mme tissu libidinal, quil ny a pas de virginit possible au sein du rgime capitaliste, et que les rapports de pouvoir passent toujours travers les corps [ e ] m Pseudonym of a British-Italian duo who defines herself as a readymade artist: a whatever singularity born out of the standardization of identities produced by contemporary capitalism. With sculptures of brick-books, neon signs, videos, and texts, Claire Fontaine pursues militant and subversive strategies, albeit ones that appear mute and impotent, aware of the impossibility of creating real interruptions in the logic of power and the functioning of its concrete devices. What remains is the challenge of human strike, the strike of a formless and indefinable subjectivity that compromises any mechanism of identification and normalization. Unable to provoke any actual political transformations, art instead reveals the urgent necessity for its viewers to enact interruptions and revolt. Claire Fontaine is nothing but an assistant in this process.

[ m modUle ] 05/07/2007 29/07/2007. Get Lost is a video about the fantasies and phantoms that migrate into our imagination from the pages of fashion magazines. These artificial and enhanced faces appeared and quickly disappeared, like a retinal interference. On the floor are photocopies of a 1999 text by the collective Tiqqun, which denouncesd the alienation of contemporary relations and reminded us that we all belong to the same libidinal fabric, that inside capitalism virginity is not possible, and that power-relations always pass through bodies.
coFFin, peter [ m 2 , fig. # 28 # 31 ] [ f ] m *1972, vit New

York. Artiste multiforme, Peter Coffin utilise des langages artistiques varis. Actif comme plasticien, Peter Coffin multiplie aussi les activits de collaboration et de mdiation : il est aussi commissaire dexposition, speaker la radio et participe de nombreuses collaborations lintrieur comme lextrieur du monde de lart. Sa polyvalence artistique lui permet dchapper toute catgorisation et interprtation fixe. Chacun de ses projets adopte des stratgies artistiques inattendues et marginales qui mettent mal la notion duvre. Dans [ m TaTs(FaiTes-leVoUs-mme)] , lartiste organisait une exposition didactique sur le phnomne des micronations en invitant une quarantaine de pays ou tats indpendants ainsi que de nombreux artistes pour interroger les diffrences parfois tnues entre lart et la politique. Pour [ m mUsiqUePoUrPlanTes VerTes , il faisait construire une serre remplie de plantes vertes qui accueille les musiciens les plus radicaux de la scne parisienne. Dans les deux cas, le travail de lartiste est la fois ouvert diverses collaborations et inscrit dans une rflexion sur le confinement et la sparation. Utilisant des langages artistiques varis (sculpture, photographie, son, performance, installation), Peter Coffin prend souvent comme point de dpart de son travail divers lments de sensibilit new age, relevant de la pseudo-science, de la rinterprtation abstraite dicnes artistiques ou de lvocation de mondes parallles ou dcals. [ e ] m *1972, lives in New York. Peter Coffins work makes use of a wide range of artistic languages. While active as a visual artist, Peter Coffin is also involved in curatorial projects, radio broadcasts, and a number of collaborative

ventures both inside and outside the art world. His artistic versatility enables him and his practice to escape easy or fixed categorization. Each of his projects adopts unexpected artistic strategies that confound the idea of a strictly determined, circumscribed work. In GRow YouR owN [ m TaTs(FaiTes-le VoUs-mme) ] the artist organized a didactic exhibition on the phenomenon of micronations, independent states or secession movements, uniting artist projects with documentation from some forty countries, and collapsing the differences between art and (marginalized) politics. For muSic FoR PlANtS [ m mUsiqUe PoUrPlanTesVerTes ] he installed a greenhouse full of plants that functions as a performance site for experimental musicians from Paris. In both cases the artists work is open to a variety of collaborative inputs, while at the same time remaining linked to a reflection on confinement and separation. Using a number of artistic languages (sculpture, photography, sound, performance, installation), Peter Coffin often uses a new age sensibility as a starting point for his work, which merges with fringe or pseudo-science, the abstract reinterpretation of artistic icons or the evocation of parallel or out-of phase worlds.

m JoeColeman en / as Professor Mombooze-o, performance, 1998

coleman, joe [ m 2 , fig. # 20 ] [ f ] m *1955, vit

New York. Artiste, performeur, musicien et acteur, Coleman est une personnalit new-yorkaise incontournable. Jouant dune obsession maladive et dune fascination pour les tendances psychopathes, ses peintures denses et dtailles plongent le spectateur dans un univers gothique illumin entre icnes culturelles de la violence, antihros et figures historiques. Plus que de simples portraits, ses uvres racontent la vie et la lgende de

col 44

colSoN

coNch

con 45

leurs sujets (serial killers, dtraqus, etc.) en y ajoutant des textes, des rcits, et un labyrinthe de petites sayntes, rendant la lecture visuelle et textuelle chaotique malgr une composition trs structure et dlicate. Sa peinture se prsente la frontire du malsain comme une autopsie de la condition humaine privilgiant son versant violent ou dment quil dissque au scalpel mme le tableau. Influenc autant par la peinture de la Renaissance, les enluminures du Moyen-ge que par les crime comics des annes 1950, lartiste remplace des images de saints par celles de personnages contemporains la sainte folie trash. Son travail se situe dans la tradition de peintres comme Bosch, Bruegel, Grnewald, ou Goya, qui sinspiraient galement de la folie, du traumatisme ou de la souffrance. cette sensibilit pour la perte et la peur humaine, Coleman ajoute une dimension dhumour ainsi quune intensit picturale qui tend vers lhallucination. [ m JoeColeman (exPosiTion) ] . [ m devotio moderna] [ m manson,
Charles] [ m indianlarry] [ m 1969] [ m Gesualdo] [ e ] m *1955, lives in New York. An artist, per-

colson, daniel [ f ] m Professeur de

sociologie lUniversit de Saint-tienne, Daniel Colson milite dans le mouvement anarchiste depuis 1973 ; il est notamment membre de la librairie libertaire La Gryffe, fonde en 1978 Lyon. Aprs avoir publi plusieurs tudes sur lhistoire de lanarcho-syndicalisme dans le Forez, il est lauteur en 2001 dun Petit lexique philosophique de lanarchisme de Proudhon Deleuze (Le livre de poche) et, en 2004, de Trois essais de philosophie anarchiste Islam, Histoire, Monadologie (Lo Scheer). [ m anarchie] [ m anar-

faisant appel un rseau tentaculaire, en France mais aussi linternational. [ m lenglet

lucas] [ e ] m Le Commissariat,

chisme] [ m libertaire(pense)] [ m Jeudisdela marqUenoire] [ e ] m Daniel Colson is a sociology lecturer at the

former, musician and actor, Joe Coleman is a legendary New York figure. Playing with pathological obsession and a fascination for psychopathic tendencies, his dense and detailed paintings plunge viewers into an illuminated Gothic universe featuring cultural icons of violence, anti-heroes and historical figures. His works are more than simple portraits: they recount the lives and legends of their subjects (serial killers, the deranged, etc.) by adding texts, stories and a labyrinth of mini-scenes, rendering the reading of the images and text chaotic, all the while maintaining a highly structured and delicate compositional sense. His painting presents itself as an autopsy of the human conditionconcentrating on its violent or demented sidewhich he dissects with a scalpel on the surface of a canvas. Influenced in equal measure by Renaissance painting, medieval illuminations and crime comics of the 1950s, the artist replaces images of saints with contemporary figures of holy madness. His work exists in the tradition of painters like Bosch, Bruegel, Grnewald or Goya who were also inspired by madness, trauma or suffering. To this awareness of loss and human fear, Coleman adds a dimension of humour and a pictorial intensity that is almost hallucinatory. [ m JoeColeman(exPosiTion) ] . [ m devotio
moderna] [ m manson,Charles] [ m indianlarry] [ m 1969] [ m Gesualdo]

University of Saint-tienne, and has been active in the anarchist movement since 1973; in particular, he is a member of La Gryffe libertarian bookshop, founded in Lyons in 1978. After publishing several studies on the history of anarcho-syndicalism in the Forez region, in 2001 he produced a Petit lexique philosophique de lanarchismede Proudhon Deleuze (Le livre de poche), and in 2004 Trois essais de philosophie anarchisteIslam, Histoire, Monadologie (Lo Scheer). [ m anarchie] [ m anarchisme]
[ m libertaire(pense)] [ m Jeudisdela marqUenoire]
columbo (inspecteur)

a producer of contemporary art exhibitions, was founded in 200 by four artists/curators: Fayal Baghriche, Matthieu Clainchard, Dorothe Dupuis and Vincent Ganivet. It is a federation based on the skills developed by the associations its founders respectively represent: residencies for artists by Entreprise Culturelle, the seeking of funds and partners with Mayeutik, and logistical assistance in production by Random Research and Rassemblement pour Repeindre. Le Commissariat sets out to devise, disseminate and support high-quality contemporary artistic projects by means of hybrid strategies, calling on a tentacular network, in France as well as internationally. [ m lengletlucas]

[f ] m

conch (la rpublique de)

Columbo (Inspector) [ f ] m Personnage de srie tlvise policire amricaine incarn par Peter Falk. [ m voir encadr p. 45] [ m Pirates] [ m Furtivit] [ e ] m Character in an American TV police series played by Peter Falk. [ m see box p. 45]
[ m Pirates] [ m Furtivit]
commissariat (le) [ f ] m Structure de production

dexpositions dart contemporain, le commissariat a t fond en 200 par quatre artistes / commissaires : Fayal Baghriche, Matthieu Clainchard, Dorothe Dupuis et Vincent Ganivet. Le Commissariat est une fdration base sur les comptences dveloppes par les associations respectives auxquelles participent ses fondateurs : rsidence dartistes par lEntreprise Culturelle, recherche de fonds et de partenaires avec Mayeutik et aide logistique la production par Random Research et Rassemblement pour Repeindre. Le Commissariat entend concevoir, diffuser et soutenir des projets artistiques contemporains de qualit par le biais de stratgies hybrides

The Conch Republic [ f ] m Micronation. Naquit de la scession des Keys (un archipel de rcifs coralliens) en Floride le 23 avril 1982 en rponse lintervention dune patrouille frontalire amricaine qui bloqua lautoroute US1 hauteur de Florida City, au nord des rcifs. Immobiliss par le barrage qui bloquait la seule voie daccs la Floride, rsidents et touristes durent patienter pendant que les garde-ctes fouillaient leurs voitures, en qute de clandestins ou de narcotiques. Le maire, Dennis Wardlow, dposa plainte devant un tribunal de Miami pour contester les manires militaires du barrage ; dbout, il dcrta que les Florida Keys se sparaient de lUnion. Le lendemain, au cours dune crmonie thtrale, Wardlow dcrta lindpendance et dclara la guerre aux tats-Unis, avant de se rendre aussitt aprs et dexiger un milliard de dollars daide internationale pour restaurer lconomie. La Rpublique de Conch, qui na jamais t reconnue comme nation par les tatsUnis, jouit du soutien de nombreux rsidents et vend sur Internet des passeports et autres articles. Selon Peter Anderson, Secrtaire gnral autoproclam de Conch, les passeports sont accepts dans les Carabes, au Mexique et dans plusieurs pays europens. [ m TaTs(FaiTes-le
VoUs-mme) ] [ e ] m A micronation. Established by secession

~~~ Gnie incompris, visionnaire tourment, pote maudit et oubli le modle de lartiste a longtemps t celui dun tre dexception, aux talents hors du commun et linspiration transcendante. Lartiste du dbut du XXIe sicle, lui, na plus ni la fougue des hros romantiques ni leur folie cratrice, et na pas davantage acquis les superpouvoirs de Superman. Son modle serait trouver ailleurs, parmi des aventuriers du banal autrement prosaques, comme linspecteur Columbo. Le dtective incarn par Peter Falk ne paie pas de mine. Son imper est vieillot, son chapeau mou et sa voiture sans clat ; il flne, bavarde, boit des verres, un peu comme tout le monde, sans sen faire. A contrario, il ne dgaine pas plus vite que son ombre, ne bnficie pas dune vue rayons X et naccomplit aucune action exceptionnelle pour mener ses enqutes. Pourtant, le coupable finit toujours par tre dbusqu et par avouer ses crimes. Comme Columbo et les nouveaux pirates, les artistes ne mnent plus dactions frontales, larme la main, et se fient autant leur flair quaux circonstances. Comme tout militaire qui se respecte, et comme la femme de Columbo, ils doivent fausser les rgles de visibilit et se faire discrets, car ils ont affaire une ralit o rien nest cach, o tout finit par se savoir. La femme de Columbo pourrait dailleurs tre pour les artistes un modle encore plus influent : invisible, irreprable, ombre furtive sinfiltrant insidieusement dans les conversations les plus anodines, elle na jamais besoin de se montrer pour donner un autre sens la ralit.

Inspecteur Columbo

[e ] m

of the Florida Keys from the United States of America, on April 23 rd, 1982 in response to a United States Border Patrol Blockade setup on highway U.S.1 at Florida City just to the northof

~~~ A misunderstood genius, a tormented visionary, an accursed and overlooked poetthe model of the artist has long been that of an exceptional being, with extraordinary talents and transcendent inspiration. But the artist of the early 21st century no longer has either the ardor of those romantic heroes nor their creative madness, nor has he acquired the superhuman powers of Superman. We would have to look for his model elsewhere, among far more down-to /

Inspector Columbo

con 4

cNES DE lumiRE

cRAcRAtRNouillE

cra 47

earth commonplace adventurers, like Inspector Columbo. The detective played by Peter Falk puts on no airs. His raincoat is old-fashioned, his hat soft and his car inconspicuous; he hangs about, chats, drinks a glass, a bit like everyone else, without stirring himself. Quite the opposite: he is not quicker than his shadow on the draw, does not have X-ray eyesight, and does nothing at all exceptional in conducting his enquiries. Yet the guilty person always ends up by being tracked down and confessing his crimes. Like Columbo and the new pirates, artists no longer attack frontally, weapon in hand, and rely as much on their flair as on circumstances. Like any self-respecting soldier, and like Columbos wife, they have to distort the rules of visibility and behave discreetly, for they are dealing with a reality where nothing is concealed, where everything ends up by being known. Moreover, Columbos wife could be an even more influential model for artists: invisible, impossible to track down, a furtive shadow insidiously infiltrating herself into the most innocent conversations, she never needs to show herself in order to give a different meaning to reality. ~~~

the Florida Keys. The blockade along the only road leading to mainland Florida delayed residents and tourists while the US Border Patrol searched cars for illegal aliens and narcotics. Mayor Dennis Wardlow was denied an injunction against the military-style blockade he sought at a Miami courthouse and so declared that the Florida Keys will secede from the Union. The next day a theatrical ceremony was publicly held in which Wardlow declared both independence from and war against the United States, but surrendered immediately, demanding a billion dollars in foreign aid to restore the pre-blockade economy. The media attention and the events surrounding generated great publicity for the Keys plight eventually leading to the removal of the blockade. Although never officially recognized as a nation by the United States, the Conch republic still retains the support of many Keys residents, and continues mostly as a network of citizens who support its independence. The passports the Conch Republic issues, according to self-proclaimed Secretary General Peter Anderson, have been well received across the Caribbean, in Mexico and several European Nations.[ m TaTs(FaiTes-le
VoUs-mme) ]

Cne de lumire futur / Future Light Cone

Observateur Observer

Hypersurface du prsent Hypersurface of the Present

ce Espa e Spac
Es p Sp ace ac e

considrs comme les prcurseurs des vidoclips. travers cette multitude de supports, ses uvres cherchent souvent les dimensions physiques, mtaphoriques, et mtaphysiques de la lumire. Entre 1973 et 1975, Conner ralise sa srie des Angels, photogrammes taille relle, images thres hantes par son propre corps flottant dans un espace noir et indfini. Au fur et mesure de la srie, Conner allonge les temps dexposition, jusqu ce que ne se dtache sur le fond sombre que les points o il touche le papier, comme dans Kiss Angel. Cette photographie sans appareil photo rappelle des procds en usage depuis la fin du XIXe sicle, tels en particulier quils ont t utiliss dans la photographie spirite, o ces auras lumineuses taient prsentes comme la trace dnergies invisibles. [ m THeTHirdmind] [ e ] m *1933, lives in San Francisco. Since the 1950s Bruce Conner has been producing films, paintings, assemblages, drawings, sculptures, collages, prints and photographs. His first films used the collage and sampling technique of found films. They are regarded as the precursors of music videos. Through this multitude of supports, his works often explore the physical, metaphorical and metaphysical dimensions of light. Between 1973 and 1975, Conner made his series of Angels, real-size photograms, ethereal images haunted by his own body floating in a black, undefined space. As the series proceeds, Conner extends the exposure times, until all that stands out against the dark background are the points where he touches the paper, as in Kiss Angel. This photography without a camera is reminiscent of processes that were in use from the end of the 19 th century, in particular those used in spirit photography where these auras of light were presented as the traces of invisible energies. [ m THeTHirdmind]
cosmosabbat [ f ] m Micronation.

sappuyer sur toutes les nationalits et de les rassembler. Parce que la mission de Cosmosabbat est de rincarner lesprit dans lespace, il considre lespace dans son entier comme un territoire libre. Le Cosmosabbat a recours un symbolisme qui se fonde sur diverses mythologies mystiques et sur la tradition chamanique.
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m A micronation. A cult of the spirit ac-

cording to its creator Christopher Lucas, [it] seeks to reincarnate the spirit in the cosmos at large rather than on earth alone. The Cosmosabbat intends to unite individuals to a higher state represented as a sovereign nation of spirits. The Cosmosabbat flag is a re-adaptation of the UN flag and its emblem, incorporating a doubled representation of Alsatian dogs that face one another and symbolize universal and spiritual self-reflexivity. It chooses that flag as a symbolic foundation for the sake of building on and incorporating all nationalities. Because Cosmosabbats mission is to reincarnate the spirit in space, it treats all of space as its free territory. The Cosmosabbat uses symbolism, which it appropriates from various mystical mythologies and shaman tradition.
[ m TaTs(FaiTes-leVoUs-mme) ]
cracratrnouille [ f ] m Personnage des

Temps Time

Cne de lumire pass / Past Light Cone

cnes de lumire

Light cones [ m voir p. a-6 / see p. a-14]

conner, bruce [ m 4 , fig. # 44 ] [ f ] m *1933, vit San

Francisco. Depuis les annes 1950, Bruce Conner produit des films, des peintures, des assemblages, des dessins, des sculptures, des collages, des estampes et des photographies. Ses premiers films utilisent la technique du collage et du sampling , et sont

Un culte de lesprit [qui] cherche rincarner lesprit dans le cosmos tout entier et non uniquement sur terre. , selon son crateur, Christopher Lucas. Le Cosmosabbat entend unir les individus en un tat suprieur reprsent par une nation souveraine desprits. Le drapeau du Cosmosabbat est une rinterprtation du drapeau des Nations Unies et son emblme comporte une double reprsentation de deux bergers allemands se faisant face, symbolisant la rflexivit spirituelle et universelle. Le Cosmosabbat a choisi ce drapeau comme fondement symbolique car son ambition est de

contes Tok Tok. Escargot de compagnie de Miss Toktok, bourg-maitresse du quartier de la Manutention. Il est le fils dune limace phosphorescente bulles et de Cracratrnos, lev et ramen des Indes coloniales par lnigmatique aeul de Miss Tokto, le Colonel Toky. Les trois ftes de naissance de Cracratrnouille, conformment aux us et coutumes des gastropodes gants furent marques par quelques querelles entre le pre-faonneur de coquille, le pre-bulleur et le jeune pre adoptif. Cracratrnouille tait encore enfant lorsque sa famille quitta la valle des laitues de Bodh-Gay en 182, dissimule dans les malles victoriennes de Toky la fin de la guerre qui opposait gastropodes et crustacs, pour aller sinstaller prs des bords de Seine dans le Paris haussmannien. la mort de son pre lge de 238 ans et aprs lenlvement mystrieux du colonel Toky, lescargoteau fut confi la toute jeune Miss Toktok (Little Miss Toktok). Au fil de ses aventures, il put rapidement accrotre ses comptences en glisse-bave, ce qui lui permit notamment de se fixer verticalement certaines uvres contemporaines. Il put galement parfaire ses

cro 48

cRowlEY

ciNQ milliARDS DANNES

m Aleister Crowley

connaissances dans les modes de communication non-verbale en contrlant le flux de bulles mises par ses tranes alternatives lors de ses priples travers les white cubes lumineux. [ e ] m A character of the Tok Tok stories. A snail companion of Miss Toktok, burgermistress of the Manutention district. He is the son of a phosphorescent bubble slug and Cracratrnos, raised and brought back from colonial India by Colonel Toky, Miss Toktoks enigmatic forebear. Cracratrnouilles three birth feasts, in keeping with the uses and customs of the giant gastropods, were marked by a few quarrels between the father-maker of the shell, the bubble-making father and the young adoptive father. Cracratrnouille was still a child when his family left the valley of lettuces known as Bodh-Gay in 182, concealed in Tokys Victorian trunks at the end of the war which set the gastropods against the crustaceans, to go and take up residence beside the Seine in Haussmanns Paris. On the death of his father at the age of 238 and after the mysterious abduction of Colonel Toky the snail-let was entrusted to Little Miss Toktokherself still very young at the time. In the course of his adventures), he was quickly able to increase his glide-dribble skills, which enabled him in particular to attach himself vertically to some contemporary works. He was also able to perfect his knowledge of non-verbal communication methods by controlling the flow of bubbles emitted when making his alternating trails on his peregrinations across the luminous white cubes.
croWley, aleister [ f ] m Figure minente de l[ m occultisme]

# 01 #14

m Abbaye de Thlme / Abbey of Thelema : JoachimKoester, Morning of the Magicians, 2005

m Arbre de vie dAleister Crowley / Aleister Crowleys tree of life

du dbut du XXe sicle, Aleister Crowley, peintre et voyageur, alpiniste et crivain, mage et gourou, est depuis prs dun sicle une des lgendes les plus sombres de la contre-culture anglo-saxonne, incarnation extrme dune recherche de connaissance qui tient autant de luvre dart totale que de la mise en scne paranoaque. Surnomm The Beast ds son enfance, il tudie trs tt lart occulte et na quune vingtaine dannes lorsquil est initi aux rites de lOrdre Hermtique de lAube Dore. Augmentant son pouvoir par lapprentissage du yoga et de nombreux rites magiques, il sloigne de cette socit secrte au dbut des annes 1900 quand vient, au cours de son voyage de noces en gypte, en 1904, lexprience mystique. Sa femme Rose Kelly entre en

1 #01

CINQ MILLIARDS DANNES 5.000.000.000 DANNES / 5,000,000,000 YEARS [ m VincentLamouroux] Scape, 2006; [ m MichelBlazy] Patman 2, 2006; [ m Lang/Baumann] Perfect, 2006; [ m MarkHandforth] Honda, 2002;Vespa, 2001

1 #02

CINQ MILLIARDS DANNES 5.000.000.000 DANNES / 5,000,000,000 YEARS

[ m MarkHandforth] Honda, 2002;Vespa, 2001;[ m VincentLamouroux] Scape, 2006; [ m PhilippeDecrauzat] Fade In Out, 2006; [ m JonathanMonk] Constantly Moving Whilst Standing Still, 2005; [ m FranoisMorellet] Pi Weeping Neonly, 2006

1 #03

CINQ MILLIARDS DANNES

1 #04

#03 5.000.000.000 DANNES / 5,000,000,000 YEARS [ m TonyMatelli] Gone, 2000;[ m PhilippeDecrauzat] Light Space #04 5.000.000.000 DANNES / 5,000,000,000 YEARS [ m GianniMotti] HIGGS, la recherche de lanti-Motti, 2005

Modulator, 2002

1 #05

CINQ MILLIARDS DANNES

1 #06

#05 5.000.000.000 DANNES / 5,000,000,000 YEARS [ m UrsFischer] Untitled (Branches), 2005; [ m ChristianAndersson] The Blind Spot, 2003/2006 ;[ m VincentLamouroux] Scape, 2006
UNE SECONDE UNE ANNE / ONE SECOND ONE YEAR
[ m LeopoldKessler] Distributeur de boissons, 2006 #06 5.000.000.000 DANNES / 5,000,000,000 YEARS [ m GianniMotti] [ m Big Crunch Clock] , 1999 2005

1 #07

CINQ MILLIARDS DANNES

1 #08

#07 UNE SECONDE UNE ANNEONE / ONE SECOND ONE YEAR [m LaraFavaretto]Twistle, 2003;[m AlighieroeBoetti] Lampada annuale, 1966; [m FernandoOrtega] Fly Electrocutor, 2003;[m RomanSigner] Valise, 2006 #08 UNE SECONDE UNE ANNE / ONE SECOND ONE YEAR [m RomanSigner] Valise, 2006

1 #09

CINQ MILLIARDS DANNES

CINQ MILLIARDS DANNES

1 #10

#09 UNE SECONDE UNE ANNE / ONE SECOND ONE YEAR [ m FranoisCurlet] uf de voiture, 2003 #10 FLYINg TApE [m ZilvinasKempinas]Flying Tape, 2006

1 #11

CINQ MILLIARDS DANNES

CINQ MILLIARDS DANNES

1 #13

#12

#11 LE MATIN DES MAgICIENS / MORNINg OF ThE MAgICIANS [ m JoachimKoester] TheMagicMirrorofJohnDee, 2006 #12 LE MATIN DES MAgICIENS / MORNINg OF ThE MAgICIANS [ m JoachimKoester] One+One+One,2006 #13 LE MATIN DES MAgICIENS / MORNINg OF ThE MAgICIANS [ m JoachimKoester] MorningoftheMagicians, 2005

1 #14

CINQ MILLIARDS DANNES

A1

La reLativit comme accLrateur de mtaphysiques / reLativity as an acceLerator of metaphysics

#14 ThE DAY BEFORE _ STAR SYSTEM [m RenaudAuguste-Dormeuil]The Day

Before _ Guernica _ April 25, 1937 _ 23 : 59


A

lie During
[f ]

A

La relativit comme acclrateur de mtaphysiques

lie During

Laissons nos rveries le cabinet de curiosits cosmologiques, avec ses trous noirs et ses naines blanches, ses big-bangs et ses soupes primordiales. Patience dans lazur , ce sera pour une autre fois. Ce nest dailleurs pas le temps qui manque : nous avons encore devant nous quelques millions (ou milliards ?) dannes. Revenons plutt, pour le moment, au B.A.-BA des reprsentations scientifiques de lunivers, et tchons dy puiser des intuitions neuves. LEspace et le Temps, par exemple. Le premier est traditionnellement associ des oprations de reprage et de localisation, didentification et de distinction (je suis ici et vous tes l). Le second est plutt du ct du lien et de la relation, il suggre un mode de connexion des contraires ( jtais jeune et je suis vieux), en mme temps quune manire de se reprsenter le dploiement commun des phnomnes de la nature (jcris tandis que la nuit tombe). Cest parce quil dure (et non parce quil stend) que lunivers peut tenir dune pice. Mais tient-il encore dune pice ? Y a-t-il mme un seul univers ? Et quel genre doprations, quel mode nouveau de liaison et de dliaison, quel rgime de coexistence conviennent l [ m ] espace-temps?

Espace, temps : des formes sans figure. Ce qui est sr, cest que lespace et le temps ont depuis longtemps perdu leur figure familire. Avec la physique du champ (au sens du champ lectromagntique) labore partir du XIXe sicle, la matire nest pas simplement dans lespace comme un milieu enveloppant ou un contenant universel ; cest dune certaine faon linverse : cest lespace qui est dans la matire, ou qui merge des relations entre des systmes de corps dfinis par des tats sans configuration intrinsque. De mme, le temps nest plus conu comme le milieu uniforme du changement : au niveau des particules lmentaires, limage quantique du monde ne nous

prsente plus des objets existant continment au cours du temps. Rien ne persvre dans le temps, et ce dernier, rduit un paramtre parmi dautres possibles dans lespace abstrait des tats dun systme, participe de la forme gnrale des connexions causales entre les corps sans pouvoir prtendre en dployer une dimension universelle, comme ctait le cas en mcanique classique (souvenez-vous des jolis diagrammes, au lyce : lespace en abscisse, le temps en ordonne). La consquence immdiate de cette double dfiguration de lespace et du temps est dter toute pertinence directe lide de trajectoire comme dplacement continu de la rgion despace occupe par un corps. Le mouvement est une ide grossire, il faut inventer dautres manires de changer. Nul besoin pourtant daller chercher aussi loin que la [ m ] physiquequantique pour se faire une ide du bouleversement suscit par la thorie physique dans nos catgories les plus ordinaires. Il ny a qu se pencher sur la [ m ] relativit d [ m ] Einstein, et pas mme la gnrale, mais la restreinte, celle de 905. Dans sa radicalit conceptuelle, la relativit restreinte fonctionne comme un synthtiseur ou un acclrateur de mtaphysiques (au sens o lon parle dun acclrateur de particules). Thorie spciale, et mme un peu spectrale, il faut bien lavouer. Quelques paradoxes incessamment rapports par la littrature de vulgarisation tmoignent depuis bientt un sicle de la manire dont elle remet en cause nos vidences les mieux ancres concernant lespace, le temps, et leur ajustement rciproque. Le plus clbre est sans doute le [ m ] paradoxe desjumeaux imagin par le physicien Langevin en 9, un an avant le voyage en automobile de [ m ] Duchamp qui devait le mener, avec Picabia, Apollinaire et Gabrielle Buffet, du Jura Paris exprience cintique-rotique dont allait natre LeGrandVerre.Supposez, dit Langevin, deux frres jumeaux, dont lun sembarque sur une fuse (un boulet ) pour sloigner une vitesse proche de celle la lumire en direction des toiles, avant de faire demi-tour et de


A

La rELativit commE accLratEUr dE mtaPhysiqUEs

lie During

A5

[f ]

revenir son point de dpart. Pendant tout ce temps, lautre na pas quitt la Terre. La thorie prdit, calculs lappui, que le jumeau voyageur, son retour, sera plus jeune que son frre sdentaire. Selon le rapport entre sa vitesse de dplacement et celle de la lumire, lcart des ges sera plus ou moins impressionnant (dautant plus impressionnant que la vitesse sera grande), mais leffet est avr. Plusieurs expriences en donnent des versions moins romances qui valent confirmation : temps de dsintgration des muons dans latmosphre ou de particules acclres dans des laboratoires, horloges voyageant en avion grande vitesse autour du globe, etc.

Paradoxe des jumeaux et temps local Comment interprter ce paradoxe ? Quest-ce que ces temps relativistes variablement dilats ont voir avec les temps de lexprience ordinaire, les temps vcus par chacun des jumeaux, par exemple ? Les vulgarisateurs nhsitent pas parler dun ralentissement dutemps, l o Einstein lui-mme, plus prudent, parlait seulement dun ralentissement des horloges (et encore, toujours relativement dautres horloges). Nimporte, les quations relativistes le prouvent : le temps est lastique. Cest du moins ce quon lit, encore aujourdhui, sous les meilleures plumes. Le temps nest plus ce fleuve majestueux dont le cours uniforme emporte tout sur son passage. Il faut limaginer comme un torrent fougueux, fait dinnombrables courants et de vitesses variables. Pas moyen den donner une image globale, moins de se placer, arbitrairement, dans un rfrentiel donn pour retrouver lillusion dun cours du temps attach au lieu o lon est, et conventionnellement tendu lespace entier par lintermdiaire de procdures de synchronisation dhorloges. Car chacun est libre de se considrer au repos dans un systme de rfrence inertiel (non

acclr) pour dfinir des plans (en fait, des hypersurfaces D) dvnements simultans qui seront alors autant dinstantans dunivers, de tranches de prsent sempilant au fil du temps. Lunivers peut continuer tre reprsent du point de vue de chaque rfrentiel comme un espace qui perdure globalement dans le temps, alors mme que le caractre relatif de la simultanit de deux vnements distance, tablie par Einstein par un raisonnement de quelques lignes 1, semble dissoudre ou vaporiser pour de bon ce qui restait dobjectivit dans lide despace absolu, et mme dans lide dun tat de lunivers linstant t . Voil la situation conceptuellement ambigu dont nous hritons. Bien sr, la relativit gnrale (96) compliquera les choses en incorporant directement la gravitation dans la structure gomtrique dun espace-temps courbe quatre dimensions, suivie partir de 95 de la mcanique quantique et enfin des diverses tentatives contemporaines de synthse de ces deux thories sous la forme de la [ m ] thoriedes cordes (string theory), ou encore de ltonnante [ m ] gravitquantiqueboucles (loop quantum gravity). Cette dernire, la plus rcente, commence par faire abstraction de lespace et du temps pour mieux les driver partir de notions plus fondamentales : lespace y gagne une texture granulaire, discontinue et probabiliste, le temps ny est plus une variable continue qui scoule, de sorte que le monde lui-mme, comme lcrit Carlo Rovelli, nest plus quelque chose qui volue dans le temps . La relativit gnrale, pour sen tenir elle, ne garantit dj plus la possibilit dune partition globale de l espace-temps en plans dvnements simultans, fussent-ils relativiss un rfrentiel. Le temps y est donc irrmdiablement local : sil ne scoule pas partout de la mme manire, sil flue diffremment le long de diffrentes lignes dunivers, cest parce quil sattache dabord au voisinage de processus singuliers, l o ils ont lieu, et que toute extension de la variable t des rgions distantes est essentiellement prcaire. Limage du torrent

plein de remous simpose nouveau : on va voir quelle est pourtant fondamentalement inadquate. Il est aussi question dans cette thorie despaces-temps non orientables (au sens o lest le ruban face unique de Mbius) et de lignes temporelles boucles sur elles-mmes (suscitant les habituels paradoxes du voyage dans le temps, faon Terminator ). Tout cela est passionnant, mais les ressources de la relativit restreinte sont loin dtre puises. La philosophie a encore quelque chose en faire, tout comme lart lui-mme, condition quil se donne les moyens den extraire quelques motifs pour ajuster nos intuitions aux tranges constructions formelles de la thorie (si seulement Duchamp avait trouv autant dintrt la physique dEinstein qu la gomtrie de Poincar !).

Un temps lastique ? Que le temps soit lastique est cet gard la leon la moins intressante, et peut-tre la moins juste, quon puisse tirer de la relativit. La moins intressante, car chacun fait dj pour son compte lexprience du caractre lastique de la dure psychologique. Platitudes dusage sur le temps vcu: il semble stirer dans lennuyeuse attente, se contracter dans la fbrile activit Mais il y a mieux faire que de colmater au moyen dintuitions rassurantes les brches ouvertes dans la pense par les concepts de la thorie. Lide du temps lastique nest dailleurs pas seulement banale ; elle est galement garante si lon prtend saisir par l ce qui est en jeu dans la thorie dEinstein. Car cest une des leons fondamentales de la thorie quil est toujours possible de dfinir, le long de chaque ligne dunivers (les trajets despacetemps correspondant au mouvement dun systme), une notion de temps intrinsque ou invariante : le temps propre du systme, celui que mesurent des horloges au repos par rapport lui. Ce temps-l ne connat ni acclration ni

ralentissement en labsence de forces gravitationnelles. Les horloges battent au mme rythme pour le jumeau au repos et pour le jumeau voyageur. Le temps scoule de la mme manire, il faut tout simplement moins de jours, moins de tours de cadran dhorloges, moins de temps en somme au jumeau voyageur pour connecter deux vnements de lespace-temps : son dpart et son retour. Il ny a donc pas de dilatation des dures (ou alors seulement en un sens trivial, si lon veut indiquer par l une diffrence dans les temps couls). Il ny a pas dlasticit du temps, mais seulement des raccourcis dans lespace-temps. Ainsi il nest pas vrai que la vitesse prserve la jeunesse : Il va falloir trouver un autre moyen de ne pas vieillir (Bergson). Le temps nest pas un torrent parcouru de courants plus ou moins rapides ; il flue uniformment, mais au sein dune structure trange quil contribue dessiner, celle dun espace-temps cisaill, plein dangles morts, de portes drobes, de raccourcis et de faux raccords. Le temps nest pas ramolli comme les montres de Dali ; il nest pas tir en tous sens mais plutt cart et comme diversement repli sur lespace. Temps kalidoscopique, temps fibr ou ar : cest ici que lart doit venir au secours de lintuition pour proposer de nouvelles constructions sensibles de lespace-temps. Quelques annes avant Einstein, Manet a tent avec UnbarauxFoliesBergre (88-8) quelque chose comme un tableau-charnire, selon une perspective en cisailles. LeGrandVerre (95-) cherchait du ct des gomtries noneuclidiennes et de la topologie naissante une articulation indite de la quatrime dimension , sans commune mesure avec les explorations projectives du cubisme, et capable de traduire plastiquement la vitesse pure conquise au bout de la route Jura-Paris. Je ne vois pas beaucoup dartistes aujourdhui qui manient la cisaille pour construire, directement, des espaces-temps qui soient la mesure de linvention scientifique. Le temps est autre chose


A6

La rELativit commE accLratEUr dE mtaPhysiqUEs

lie During

A

[f ]

Lespace-temps cisaill. Quest-ce qui dailleurs cisaille lespace-temps relativiste ? La rponse tient en un mot : cest la lumire. La lumire, dont la thorie de la relativit commence par postuler le caractre invariant dans tous les systmes de rfrence inertiels. Contre la notion daction instantane distance, ce postulat introduit un principe de limitation dans les possibilits de connexion entre les points-vnements de lespace-temps. Car cette vitesse invariante est aussi une vitesse limite pour toutes les interactions physiques, toutes les transmissions de signaux dans lunivers. Dire quil existe une vitesse limite finie, cest dire que la propagation doit se faire de manire locale, de proche en proche. Connecter deux vnements distants, cela prend du temps. Tel est le principe qui sous-tend ltrange comportement de la lumire en relativit. La consquence est immdiate lespace-temps est peut-tre dune pice, mais il apparat, en chacun de ses points, diversement connect. En effet, sil ny a pas daction instantane distance qui donne un sens intuitif lide du tout de lunivers linstant t en le connectant immdiatement lui-mme travers toutes ses parties, il faut reconnatre que lordre des relations temporelles, cal comme il doit ltre sur lordre des relations causales, est plein de trous, de zones dindtermination ou de points aveugles. Le mathmaticien Hermann Minkowski a su saisir cela dans ses lgants diagrammes despace-temps, avec leurs doubles [ m ] cnes delumire. Le futur causal (le cne suprieur) et le pass causal (le cne infrieur) un instant donn de mon volution incluent beaucoup de choses : on y trouve lensemble des vnements avec lesquels je suis connect par une chane causale, ou avec lesquels je pourrais ltre (ainsi les rayons de lumire dune toile lointaine qui atteignent ma pupille aprs plusieurs annes de voyage travers lespace, ou encore les consquences, dans un an, dun geste que jaccomplis aujourdhui). Mais il y a

encore beaucoup (et plus) dvnements distants avec lesquels mon prsent (lvnement qui le dfinit cet instant) ne peut entretenir aucune espce de relation causale, parce quils sont trop loigns pour quun signal se propageant une vitesse infrieure celle de la lumire puisse nous connecter. Ces vnements coexistent avec moi sans pouvoir maffecter. On les dira contemporains . Moyennant un choix appropri de systme de coordonnes, je peux toujours dfinir parmi eux une section dvnements simultans , mais linstant o je parle ils sont hors-champ, ils reprsentent quelque chose comme un angle mort : dead zone. La topologie particulire de cet espace-temps diversement connect suscite immdiatement une question dordre mtaphysique : quen est-il de la ralit de ces vnements contemporains mais dconnects de mon prsent local ? Ces vnements dont la thorie nous indique quils peuvent tre arrangs dinnombrables manires selon le plan de coupe quon se donne pour trancher dans lespace-temps et y dfinir des nappes de prsent , jouissent-ils du mme degr de ralit que les vnements qui maffectent ici et maintenant ? peine commence-t-on y rflchir que senclenche une dialectique inexorable. Cest comme si chaque position tait conduite se radicaliser jusqu basculer dans une forme de fantastique mtaphysique.

Univers-bloc et mondes intermittents Supposons en effet que ce qui est rel, au sens fort, se confond avec ce qui est prsent. Cest une hypothse raisonnable. Les vnements du pass sont passs, ils ne sont plus ; quant aux vnements futurs, ils ne sont pas encore. Seul le prsent est, au sens fort, cest--dire en acte, et non virtuellement. Comprenez : parmi les vnements qui me sont contemporains , seuls sont rels (dtermins, actuels) ceux qui me sont simultans. Pourtant, si la simultanit

est relative au rfrentiel adopt, on peut dj en tirer de curieuses consquences. Supposons que deux observateurs lis deux rfrentiels en mouvement relatif concident localement (disons, linstant o ils se croisent grande vitesse). La thorie indique quils sont naturellement conduits dfinir des plans de simultanit diffrents. Autrement dit, ce ne sont pas les mmes vnements qui comptent comme prsents, et donc comme rels pour lun et pour lautre. Ils ne peuvent saccorder sur ce qui constitue la ralit actuelle de lunivers dans sa totalit, ni par consquent sur une succession dtats instantans de lunivers qui dcrirait son volution globale. (Un raisonnement du mme genre permettrait de montrer que des vnements qui, pour moi, sont futurs, et donc irrels, peuvent figurer dans le prsent dun observateur que je tiens lui-mme pour prsent, et donc rel: cet vnement futur est donc prsentement rel, quoique dun autre point de vue que le mien). De faon gnrale, ce qui est rel tel instant pour tel observateur ne lest pas ncessairement pour tel autre qui se meut par rapport lui. Et puisque nul observateur ne jouit dune position privilgie qui permettrait daccorder plus de ralit son prsent quaux autres, la notion mme de ralit sen trouve dissoute, ou du moins radicalement relativise. Or il faut bien que quelque chose soit, linstant o je parle. Comment expliquer autrement quil y ait quelque chose, en gnral ? Si lon veut faire droit la relativit des perspectives temporelles tout en continuant utiliser la notion de ralit, qui a tout de mme fait ses preuves, on est naturellement conduit la thse du bloc espace-temps (blockuniverse). L[ m ] univers-bloc est dmocratique : il faut se figurer que tous les vnements de lespace-temps sont rels au mme titre. Le futur est aussi rel que le prsent ou le pass. Mon futur est dj l, tendu devant moi ; je vais sa rencontre comme si je parcourais une contre inconnue. Le devenir est comme gel, droul davance, donn en bloc, donc, de toute ternit. Lcoulement du temps est une

illusion. Le temps nest, littralement, quune quatrime dimension de lespace. Il y a pourtant un chappatoire. Car on peut, tout linverse, dnier demble toute ralit la zone hors-champ des vnements contemporains , au mme titre que la zone futur et la zone pass . Autrement dit, on peut vouloir traiter de faon symtrique la sparation spatiale (entre vnements distants et dconnects) et la sparation temporelle (pass, futur). Ce qui est ailleurs nest pas jusqu preuve du contraire. On sinterdit ainsi de rpandre le temps sur lespace en invoquant une simultanit globale (ft-elle relativise) ; on restreint sa perspective au seul temps local, celui qui flue ici et maintenant. Cette dcision dbouche sur une position solipsiste tout aussi extravagante, mais tout aussi dfendable, que la prcdente. Alors le maintenant ne dborde pas de l ici , et il ny a de rel que le point de prsent que joccupe. Ce qui veut dire aussi : lespace nest rien. Il ne sagit plus de dire que la configuration spatiale de lunivers linstant t est une chose relative, mais plus radicalement quil ny a littralement rien de tel. Lespace est, pour de bon, dfigur, dconnect de lui-mme. Il ny a de rel que lici-maintenant. Mais comme chacun (y compris des versions futures de moimme) peut en dire autant et revendiquer avec autant de force la ralit de son prsent local, la notion mme de ralit risque de devenir trs vite inoprante. Et si lon veut viter dtre reconduit aussitt lespace-temps bloc o tout est donn, il faut renoncer une fois pour toute donner une tenue lunivers dans sa totalit. Il faut refuser de runir les perspectives dans une vue globale et sen tenir une approche rsolument locale. Cette dcision a un prix. On peut montrer quelle implique lapparition, dans mon pass causal , dvnements fantomatiques qui auront t rels (puisquils figureront dans mon pass, le moment venu) sans avoir pourtant jamais eu faire partie de la ralit prsente. Cela na rien dtonnant si lon se souvient que la ralit prsente est dsormais confine au voisinage de mon ici ,


A8

La rELativit commE accLratEUr dE mtaPhysiqUEs

lie During

A9

[f ]

et que les consquences dun vnement loign (que mon prsent local ignore alors ncessairement) peuvent fort bien maffecter lavenir (inscrivant du mme coup, mais seulement aprs coup, le dit vnement dans mon pass causal). Un sentiment de malaise persiste nanmoins. Le pass comme tel ne se contenterait donc pas de crotre mesure que le temps passe ; il se renouvellerait en se chargeant progressivement dexistences intermittentes ou rtrospectives, comme des signaux que lavenir enverrait de loin en loin vers le pass, en enjambant le prsent. Cest comme si lunivers se dconnectait et se reconnectait au fil du temps, ranim priodiquement par une sorte de faux contact. If you dont like this world, you should see some of the others. (Philip K. Dick).
[ m ] lie During

.

Sur la relativit de la simultanit, voir par exemple le chapitre 9 du livre de vulgarisation dAlbert Einstein, LaRelativit, Payot, 990.


A0

lie During
[e ]

A

Relativity as an Accelerator of Metaphysics

lie During

Lets leave the cabinet of cosmological curiosities, with its black holes and white dwarfs, its big bangs and primordial soups, to our daydreams. There will be other occasions for telling the Brief History of Time. In any case, it isnt time we lack: we still have a few million (or billion?) years ahead of us. Lets go back instead, for a moment, to the B-A BA of scientific representations of the universe, and try to find new insights there. Take Space and Time, for example. The former is traditionally associated with processes of location and localization, identification and distinction (I am here and you are there). The latter tends toward bonds and relationships; it suggests a way of connecting opposites (I was young and I am old), as well as a way of picturing the common deployment of phenomena in nature (I write as night falls). It is because it endures (and not because it stretches out in space) that the universe can keep itself together. But is it still in one piece? Is there only one universe? More importantly, what special operations, what new ways of connecting and disconnecting things, what modes of coexistence are appropriate for the articulation of space and time in space-time [ m espace-temps] ?

space, time: Forms without a Figure What is certain is that space and time have long since lost their familiar aspects. With the physics of the field (meaning the electromagnetic field) developed in the 9th century, matter is not simply in space as an enveloping ether or a universal container; in a way, it is the reverse: it is space that is inside matter, or that emerges from the relationships between systems of bodies defined by states without an intrinsic configuration. Similarly, time is no longer conceived of as the uniform medium of change: on the level of elementary particles, the quantum image of the world no longer presents us with objects that exist continuously in the course of time. Nothing perseveres in time, and time, reduced to a parameter among other possible

parameters in the abstract space of the states of a system, participates in the general form of the causal nexuses between bodies without being able to claim to deploy a universal dimension of it, as one could in traditional mechanics (remember the lovely diagrams in high school: space an X-coordinate, time a Y-ordinate). The immediate consequence of this double disfiguration of space and time is to remove any direct relevance of the idea of a trajectory as a continuous displacement of the area of space occupied by a body. Movement is a coarse idea; we need to invent other ways of changing. But there is no need to go looking as far as quantum physics [ m physiquequantique ] to get a sense of the upheaval caused by physical theories in our most ordinary categories. Just consider [ m ] Einsteins theory of relativity [ m relativit ] , and not even the general theory of relativity, but the so-called special one, that of 905. In its conceptual radicality, special relativity functions as a synthesizer or an accelerator of metaphysics (somewhat like a particle accelerator). Lets admit it: special relativity is a strange and even spectral theory. For almost a century, paradoxes reported in the popular literature have testified to the way it questions our most rooted beliefs concerning space, time, and the way they hang together. The most famous is no doubt the Paradox of the Twins [ m paradoxedesjumeaux ] thought up by the physicist Langevin in 9, one year before the legendary car trip that would take [ m ] Duchamp with Picabia, Apollinaire, and Gabrielle Buffet from the Jura to Parisa kinetic-erotic experiment from which The Large Glass would be born. Suppose, Langevin says, there are two twin brothers, one of whom embarks on a rocket ship moving almost at the speed of light in the direction of the stars, before turning around and coming back to his point of departure. During all this time, the other twin has not left the Earth. The theory predicts, with the support of calculations, that, on his return, the traveling twin will be younger than his sedentary brother.


A

rELativity as an accELErator oF mEtaPhysics

lie During

A

[e ]

According to the relationship between the speed of the rocket ship and that of light, the discrepancy between their ages would be more or less impressive (all the more impressive with increasing speed), but the effect has been well proven by now. Several experiments offer less fictionalized versions that provide confirmation for the theory: the time it takes for muons to disintegrate in the atmosphere or particles to accelerate in laboratories, clocks traveling around the globe in planes at high speed and running behind, and so on.

the Paradox of the twins and Local time How should we interpret this paradox? What do these relativistic times, variably dilated, have to do with the times of ordinary experience, the times lived by each twin, for example? The common parlance speaks of a slowing down of time, where Einstein himself, more prudently, spoke only of a slowing down of clocks (and still, always relative to other clocks). Nevertheless, the relativistic equations speak for themselves: time is elastic. This, at least, is what we read, today still, from the best writers. Time is no longer this majestic river whose uniform course carries everything along with it. It should be imagined as an impetuous torrent, made of countless currents of variable speeds. There is no way to give an overall image of it, except to place oneself, arbitrarily, in a given frame of reference in order to find the illusion of a flow of time attached to the place where one is situated, and conventionally extended to all of space via the process of the synchronization of clocks. Indeed, everyone is free to consider himself at rest in an inertial (that is, unaccelerated) frame of reference in order to define planes (actually, D hypersurfaces) of simultaneous events, which will then be so many snapshots of the universe or sections of the present piling up as time goes by. The universe can continue to be represented from the point of view of each frame

of reference as a space that endures in time as a whole, even though the relative character of the simultaneity of two remote events, which Einstein established in a reasoning of a few lines1, would seem to dissolve or vaporize, once and for all, whatever remained of objectivity in the idea of absolute space, and even in the idea of the state of the universe at an instant. This is the conceptually ambiguous situation we have inherited. Of course, general relativity (96) will complicate things by directly incorporating gravitation in the geometrical structure of a four-dimensional curved space-time, followed in 95 by quantum mechanics and finally by various contemporary attempts at a synthesis of these two theories in the form of stringtheory [ m thoriedescordes ] , or the astonishing loop quantum gravity [ m gravitquantiqueboucles ] . The latter starts by short-circuiting time and space in order to derive them from more fundamental concepts: as a result, space, on the one hand, takes on a granular texture, appearing discontinuous and probabilistic; time, on the other hand, is no longer represented by a continuously flowing variable, so that the world itself, as Carlo Rovelli writes, can no longer be described as something that evolves in time. In fact, general relativity itself no longer ensures a total division of space-time in planes of simultaneous events, no matter their being relativized to a frame of reference. Time is therefore irremediably local: if it does not flow everywhere in the same way, if it runs differently along various lines of universe (as demonstrated by the Twin Paradox), that is because, initially, it emerges in the vicinity of singular processes, where they take place, in such a way that any extension of the variable t to distant areas is essentially precarious, and largely conventional. The image of a torrent full of movement arises once again: yet we will see that it is basically inadequate. General relativity also makes room for non-orientable space-times (analogous to the single-sided Mbius strip) and of closed time-like curves looping back from the future to the past (resulting in the classical paradoxes

of time travel, Terminator style). All of this is fascinating, but the resources of special relativity are far from exhausted. Philosophy still has something to make of it. So does art, provided it gives itself the means of extracting the patterns of intuitions that will enable our rigid minds to adjust to the strange formal constructions of the theory (if only Duchamp had been as interested in Einsteins physics as he was in Poincars geometry!).

Elastic time? That time is elastic is, in this respect, the least interestingand perhaps the least accurate lesson we can draw from relativity. The least interesting, because everyone has already experienced the elastic nature of psychological duration. Platitudes on lived time: it seems to stretch out in tedious waiting, to contract in feverish activity But there are better things to do than mobilize reassuring intuitions in order to clog the gaps opened in thought by new theoretical concepts. Besides, the idea of elastictime is not only banal; its also misleading, if one claims to grasp what is at stake in Einsteins theory. Because one of the fundamental lessons of the theory is that it is always possible to define a notion of intrinsic or invariant time along each line of universe (paths of space-time corresponding to the trajectory of a moving system): such is the proper time measured by clocks at rest relative to a system. This time knows neither acceleration nor deceleration in the absence of gravitational forces. The clocks tick at the same rhythm for the stay-at-home twin and the traveling twin. Time passes in the same way for each, it simply takes fewer days, fewer turns of the hand around the clock dial, in short, less time for the traveling twin to connect two separated events in space-time: his departure and his return. There is no dilation therefore of durations (or only in a trivial sense that would indicate a difference in the total elapsed time). There is

no elasticity of time, there are only short cuts in space-time. Thus, it is not true that speed preserves youth: Well have to find other ways of not aging, as Bergson says. Time is not a torrent traversed by faster or slower currents; it flows uniformly, but within a strange structure, which it contributes to designing, a sheared space-time, full of blind spots, hidden doors, short cuts and discontinuous montage. Time does not melt like Dalis pocket watches; it is not stretched in all directions but rather drawn aside and folded over space in various ways. Kaleidoscopic time, textured or fibrous time: it is here that art must assist and extend intuition in proposing new, tangible constructions of space-time. A few years before Einstein, Manet tried with Un bar aux Folies Bergre [A Bar at the Folies-Bergre] (88-8) a sort of hingepainting (tableau-charnire, to use Duchamps term), according to a sheared perspective. The Large Glass (95) sought in non-Euclidean geometries and in nascent topology a new articulation of the fourth dimension, which broke with the projective explorations of cubism, and aimed at a visual equivalent of the pure speed conquered at the end of the Jura-Paris trip. I do not see many artists today who use the chisel or the shears to build space-times directly that measure up to scientific invention. This may not be the proper time...

sheared space-time What is it that shears relativistic space-time anyway? The answer can be found in a word: light. The theory of relativity will begin to postulate lights invariant character in all inertial systems of reference. Contrary to the notion of instantaneous action-at-a-distance, this postulate introduces a principle of limitation into the possibilities of connection between the pointevents of space-time. The invariant speed of light is also a maximum speed for all physical interactions, all transmissions of signals in the universe.


A

rELativity as an accELErator oF mEtaPhysics

lie During

A5

[e ]

To say that there is a finite maximum speed is to say that propagation must occur locally, from place to place. To connect two distant events takes time. This is the principle that underlies the strange behavior of light in relativity. The consequence is immediate: space-time is perhaps of a piece, but it appears variously connected from any of its points. Indeed, considering that there is no instantaneous actionat-a-distance that gives intuitive meaning to the idea of the whole universe at instant t by immediately connecting it to itself through all its parts, one should not be surprised if the order of temporal relations, based as it must be on the order of causal relations, is full of holes, gray areas, and blind spots. The mathematician Hermann Minkowski was able to grasp that state of affairs in his elegant space-time diagrams, with their double light cones [ m cnes delumire ] . The causal future (the upper cone) and the causal past (the lower cone) at a given moment of my evolution include many things: all the events I am connected to by a causal chain, or to which I could be connected in this way (like the rays of light of a distant star reaching my eyes after several years of traveling through space, or the consequences, in a year, of some action I took today). But there are still many (infinitely many) distant events with which my present (or the event that defines it at this instant) cannot maintain any sort of causal relationship, because they are too distant for a signal (propagated at a speed slower than or equal to that of light) to connect us. These events coexist with me, without being able to affect me. Lets call them contemporary. Using a suitable selection of a system of coordinates, I can always define a section of simultaneous events among them, but the moment I speak they are off-camera; they represent something like a dead zone. The particular topology of this variously connected space-time immediately raises a metaphysical question: what happens to the reality of these contemporary events that are disconnected from my local present? Do these events,

which theory tells us can be arranged in countless ways according to the cutting angle one uses to slice space-time into layers of the present, enjoy the same degree of reality as the events that affect me here and now? The mere thought of it sets off an inexorable dialectic. Its as if each position had to be radicalized until toppling into a sort of fantastic metaphysics.

the Block-Universe and intermittent Worlds Lets suppose, indeed, that what is real, in the strictest sense of the word, is equivalent with what is present. Its a reasonable assumption. The events of the past have passed; they no longer exist. As for the future events, they do not exist yet. Only the present exists, in the strongest sense, i.e., in actuality, and not virtually. Thus, among the events that are contemporary to me, only those that are simultaneous (i.e., co-present) to me are real (determined, actual). However, if simultaneity is relative to a given reference frame, we can already draw some curious conclusions. Lets suppose that two observers linked to two reference frames in relative motion coincide locally (lets say, at the instant they cross paths at high speed). The theory indicates that they are naturally led to define different planes of simultaneity. In other words, the same events do not count as present, and therefore as real, for one and the other. They cannot agree on what constitutes the actual reality of the universe in its totality, or, consequently, on a succession of instantaneous states of the universe that would describe its overall evolution. (Reasoning of this sort would make it possible to show that events which, for me, exist in the future, and are thus unreal, can appear in the present of an observer I consider present, and to that extent real: this future event is thus presently real, though from a point of view other than mine). It is a general rule that what is real at a particular moment for such an observer is not necessarily real for another who moves in relation to him. And since

no observer enjoys the privileged position that would make it possible to grant more reality to his own present than to that of others, it would seem the very concept of reality is dissolved, or radically relativized. Yet, something has to exist the instant I speak. For otherwise, how could we say that there is something in general, rather than nothing? If one wants to acknowledge the relativity of temporal perspectives while continuing to use the notion of reality, which has so far proved reliable, one is naturally led to the thesis of the space-time block (the block-universe [ m univers-bloc ] ). The block-universe theory is democratic: it views all the events of spacetime as equally real. The future is as real as the present or the past. My future is already there, stretched out in front of me; I go to meet it as though traversing an unknown region. The future is fixed, unfurled in advance, presented as a whole, then, for all eternity. The flow of time is an illusion. Time is, literally, just the fourth dimension of space. There is, however, a loophole. Because one can, conversely, immediately deny any kind of reality to the out-of-bounds zone of contemporary events, as well as to the future zone and the past zone of the light cone. In other words, one can take a symmetrical approach to spatial separation (between distant and disconnected events) and temporal separation (past, future). According to this view, what is elsewhere is notuntil proof of the contrary. One thus avoids spreading time over space by calling upon a global simultaneity (even a relativized one); one restricts ones perspective to local time alone, that which flows here and now. This decision leads to a solipsistic position that is as extravagant but in a sense as justifiable as the preceding one. The now does not spill out of the here, and the only real thing is the punctual present that I occupy where I am. Which is another way of saying: space is nothing. It is no longer a matter of acknowledging that the spatial configuration of the universe at the instant t is a relative thing, but, more radically, that

there is literally no such thing as the whole of space. Space is disfigured for good, universally disconnected from itself in space-time. The only reality is the here-and-now. But since everyone (including future versions of myself) can say as much and assert the reality of his local present as forcefully, the very notion of reality is likely to become inoperative very quickly. And if we want to avoid immediately going back to the space-time block, where everything is given at once, we have to give up describing the universe in its totality once and for all. We have to refuse to unite the perspectives in an overall vision and stick to a resolutely local approach. This decision has a cost. One can show that it implies the appearance, in my causal past, of ghostly events that will have been real (since they will appear in the past region of my light cone, in due time) without, however, ever having had to be part of the present reality. There is nothing surprising about this, if we remember that present reality is now confined to the vicinity of my here, even though the consequences of a (presently) non existing distant event (that my local present is naturally unaware of) can affect me in the future (inscribing the said event in my causal past, but only in retrospect). A sense of malaise nevertheless persists. The past as such would not be satisfied to grow as time passes; it would renew itself by continuously taking charge of intermittent or retrospective existences. These emerging events are akin to signals the future would send from time to time to the past, skipping over the present. It is as if the universe disconnected and reconnected over the course of time, periodically revived by a kind of bad connection. As Philip K. Dick said, If you dont like this world, you should see some of the others.
. On the relativity of simultaneity, see chapter 9, for example, in the popularized version of Albert Einstein, Relativity(New York: Three Rivers Press, 995)
(TranslatedfromtheFrenchbyJeanineHerman)


A1

cuRlEt

cur 49

tivitaler al emmoc ruetarlcca seuqisyhpatm ed / ytivitaler na sa rotarelecca scisyhpatem Fo

transe lors dune visite au muse Boulaq, au Caire, et lui dsigne une stle ddie Horus : invoquant le dieu antique, Crowley se voit rvler le Livre de la Loi ou Liber AL vel Legis, sur lequel il basera dsormais sa magick. En 1920, il fonde une petite communaut, lAbbaye de [ m Thlme] , Cefal, en Sicile, qui reprend lutopie hdoniste imagine par Rabelais et sa devise Fay ce que vouldras sur un mode satanique. Crowley y clbre des rites alchimiques et des crmonies thtralises, o les passes magiques sassocient au sexe et la prise de drogues. Ses murs suscitent le scandale public, en Italie comme ailleurs, quand il nest pas pris parti par dautres occultistes lui reprochant de divulguer leurs secrets des non-initis. Ruin suite son troisime divorce, il se retire en Angleterre o il meurt en 1947. Des Beatles aux Red Hot Chili Peppers en passant par David Bowie et [ m led Zeppelin] , de [ m Kennethanger] [ m Joachim Koester] , Crowley continue encore aujourdhui de susciter la fascination et de rpandre son influence sur les mondes de lart.
[ m maTindesmaGiCiens(le)] [ m satanisme] [ e ] m A leading figure in early 20th-century occultism [ m occultisme] , Aleister Crowley, a trav-

alchemical rites and theatrical ceremonies associated with sex and drug-taking. His morals were a source of public scandal, in Italy and elsewhere, when he was not being criticized by other occultists, reproaching him for divulging their secrets to the uninitiated. Ruined after his third divorce, he returned to England where he died in 1947. From the Beatles to the Red Hot Chili Peppers by way of David Bowie and [ m ledZeppelin] , from [ m Kennethanger] to [ m JoachimKoester] , Crowley still continues to be source of fascination and spread his influence over the worlds of art today.

[ m maTindesmaGiCiens(le)] [ m satanisme]

m Didier Cuche
cuche, didier [ f ] m Skieur suisse [ m acclration] [ e ] m A Swiss alpine ski racer [ m acclration] curlet, Franois [ m 1 , fig. # 09 ] [ f ] m *197, vit Paris.

eler, painter, mountaineer and writer, a magus and guru, has been one of the darkest legends in the counter-culture of the English-speaking world for nearly a century, the extreme embodiment of a search for knowledge that has overtones of both the total work of art and a paranoiac scenario. Nicknamed The Beast from childhood, he studied the occult arts at a very early age and was only about twenty when he was initiated into the rites of the Hermetic Order of the Golden Dawn. Increasing his powers by learning yoga and through many magic rites, he distanced himself from that secret society early in the first decade of the 20th century when in 1904, on his honeymoon on in Egypt, a mystical experience occurred. His wife Rose Kelly went into a trance when visiting the Boulaq museum in Cairo, and pointed out a stele dedicated to Horus to her husband: on invoking the ancient god later, Crowley had the Book of the Law or Liber AL vel Legis revealed to him, the text he will base his magick on. In 1920 he founded a small community, the Abbey of Thelema [ m Thlme] , at Cefal in Sicily, which adopted the hedonist utopia imagined by Rabelais and its motto Fay ce que vouldras [Do what thou wilt] on a satanic mode. Crowley organises

Pratiquant lallusion avec humour, Franois Curlet opre des glissements de sens travers un jeu subtil sur les mots, les formes et les matires. Ces allusions et rapprochements permettent lartiste de faire merger un sens nouveau des objets de notre quotidien. Leffet produit est la fois ironique et surraliste. Dans [ m UneseCondeUneanne] a t prsente uf de voiture American Dino (2003) (uvre sous-titre Sculpture minimale et timide ), un cube laqu de blanc, dun mtre de ct, duquel une antenne tlescopique se dplie et replie de manire alatoire. [ e ] m *197, lives in Paris. With humor and through subtle manipulations of words, shapes, and materials, Franois Curlet alludes to interpretive and semantic shifts. By isolating sculptural and linguistic elements found in everyday use, he creates surrealist and ironic situations. uf de VoitureAmerican Dino (2003) (a work subtitled Minimal and Shy Sculpture),

cut 50

cut-uP

DAviD NooNAN

dav 51

a white cube on top of which is installed an antenna that unfolds and folds itself randomly, was presented in oNE SEcoND oNE YEAR [ m Une seCondeUneanne ] .
cut-up [ f ] m Mthode labore par [ m Williams. Burroughs] et [ m BrionGysin ] consistant

david noonan (eXposition)

DAVID NOONAN (ExhIBITION) [ m 2 , fig. # 21 ]

[ f ] m Exposition personnelle de [ m davidnoonan] .

22/03/2007 0/05/2007. Pour sa premire

couper et rassembler divers fragments de phrases pour leur donner un sens totalement nouveau et inattendu. [ m THeTHirdmind] [ e ] m Method worked out by [ m Williams. Burroughs] and [ m BrionGysin] which consists of cutting up and reassembling various fragments of sentences to give them a completely new and unexpected meaning. [ m THeTHird
mind ]

exposition en France, David Noonan a prsent une srie indite de srigraphies et de collages ainsi quune slection duvres rcentes. Le travail ralis pour cette exposition sarticule autour de la reprsentation de communauts, de regroupements insolites et autres jeux de rles et de masques dont les sources restent anonymes. Ses uvres, proches dune esthtique des annes 1970, sont cependant trop floues, trop peu narratives et trop ambigus pour prendre une quelconque dimension nostalgique ou historique. En superposant des images trouves, David Noonan utilise un langage visuel qui mle rcit et abstraction, transformant ses personnages en motifs et vice-versa. Pour le Palais de Tokyo, lartiste a conu un dispositif spcifique, fusionnant espace, sculpture et surface. Lagencement de panneaux en bois recouverts de tissu cre un systme de fragments muraux qui renvoie une architecture de ruptures, de dj-vus et de silhouettes. [ m ,
noUVellesdUmonderenVers ] [ e ] m Solo exhibition of [ m davidnoonan] .

22/03/2007 0/05/2007. For his first exhibi-

m Williams.Burroughs&BrionGysin, The Third Mind, ca. 195

tion in France, David Noonan presented a group of large new silkscreens, new collages, as well as a selection of recent silkscreens, collages, gouaches, and sculpture. The new works feature images silkscreened on linen or directly onto birch plywood. While his sources are anonymous, the artist focuses on scenes of ritualistic gatherings, theatrical role-playing, or masked figures. Although making use of a 1970s aesthetic, the works remain too outof-focus, storyless, and ambiguous to become nostalgic or historical. In creating composites of found photographs juxtaposed on top and inside of each other, Noonan uses a visual language that confuses narrative with abstraction and that allows people to become patterns, and vice-versa. At the Palais de Tokyo, the artist conceived a site-specific display system that merges space, sculpture, and surface. An arrangement of fabric-covered panels and wooden support structures creates a system of wall fragments and an architecture of interruptions, dj-vus, and physical silhouettes. The flattening process that occurs in the artists image-collaging is ultimately reversed, and the ghost-like protagonists of his invisible play are

daW 52

DAwSoN

DAY BEFoRE _ StAR SYStEm

day 53

brought back into real space via this system of stand-alone props. [ m ,noUVellesdUmonde
renVers ] m Liste des uvres / List of works

Sans titre, 2007 Srie de srigraphies sur lin contrecoll / series of silkscreen on collaged linen ; toutes / all : courtesy de lartiste / of the artist & Foxy Production, Sans titre, 200 (x 4) Collages sur papier / paper collages ; Collection Janet de Botton & Rebecca Green, Londres / London Sans titre, 2007 (x 9) Collages sur papier / paper collages ; Courtesy de lartiste / of the artist & Foxy Production, New York Sans titre, 200 (x 4) Collages sur lin / collages on linen ; Rennie Collection, Vancouver, Canada Sans titre, 200 (x 4) Acrylique sur papier / acrylic on paper ; Collection particulire / private collection, Saint-Barthelemy
daWson, verne [ m 4 , fig. # 5 ] [ f ] m *191, vit New

movement of the planets and the stars (Monday, day of the Moon, Tuesday under the sign of Mars, etc.), every day is associated with the personality of one of the Greco-Roman deities. For the artist it is a question of showing how the cycles of the sun, moon, planets and stars play an important role on the cycle of life.

m dawsonVerne, Thursday, 2005

York. Verne Dawson sinspire des mythes de la cration, de la culture populaire et du folklore pour composer ses peintures. En inventant un univers fantastique, faussement naf, Verne Dawson tente de revitaliser le lien qui unit lhomme sa condition primaire de dpendance la nature. Dans une srie de sept peintures prsentes dans lexposition [ m THeTHirdmind] , Verne Dawson revisite lorigine des noms des jours de la semaine. Li au mouvement des plantes et des toiles (lundi : jour de la Lune, mardi : jour de Mars, etc.), chaque jour est par ailleurs associ la personnalit des divinits grco-romaine. Il sagit pour lartiste de montrer comment les cycles du soleil, de la lune, des plantes et des toiles jouent un rle important sur le cycle de la vie. [ e ] m *191, lives in New York. Verne Dawson draws inspiration from creation myths, popular culture, and folklore in composing his paintings. By inventing a fantastical, faux-naive universe, he revitalises the links that unite man to his primary condition of being dependent on nature. In the series of paintings presented in the exhibition [ m THeTHirdmind] , Verne Dawson revisits the origin of the names of the days of the week. As well as being linked to the

day beFore _ star system (the) [ m 1 , fig. # 14 ] [ f ] m Exposition personnelle de [ m renaud auguste-dormeuil] . 07/12/200 14/01/2007.

The Day Before_Star System. Srie de travaux photographiques de Renaud Auguste-Dormeuil, qui donne voir la carte du ciel telle quelle a pu tre observe le jour qui a prcd celui dun bombardement militaire. Selon Fabienne Fulchri, La dcision de recourir au langage anglo-saxon (langage officiel de laviation) nest pas le symptme dune internationalisation croissante du march de lart, et la soumission ses rgles, mais rsulte du postulat de dpart de luvre qui plonge sa source dans la carto-

graphie. La lgende, compose du titre, du nom de la ville attaque, dune date et dune heure prcises, fait entrer de plein fouet lHistoire et la mmoire collective au sein de limage. Cette image reste intrinsquement la mme, mais la faon dont le spectateur lapprhende ne peut plus tre dsormais innocente, celui-ci partage donc, malgr lui, la vision de ceux qui, en cette veille de bombardements, savaient ce qui allait arriver puisquils en taient les dcisionnaires ou les excutants. Lexercice unilatral du pouvoir et le point de vue sont des proccupations rcurrentes dans luvre de Renaud Auguste-Dormeuil. Ces images voquent la guerre, mais sans la montrer, elles disent lHistoire sans la narrer, elles donnent voir la reproduction dun ciel qui na pas t photographi, qui nexiste que virtuellement et qui pourtant impose fortement sa prsence. Ralises sur ordinateur laide dun logiciel qui peut partir de nimporte quelles donnes dfinies (lieu, date et heure) reprsenter la carte du ciel, ces images ne requirent aucun savoir-faire photographique, ludant une bonne fois pour toute la tentation de lanalyse romantique qui pourrait se glisser dans linterprtation la vue dun tel sujet. Il ne sagit plus de capter le rel, denregistrer limmdiatet mais de prendre la proposition rebours. Ces votes clestes sont une recomposition, une re-cration bases sur des donnes objectives. Ces toiles ne sont que des pixels, des points blancs sur un fond noir qui menace de tout envahir. Ni document darchive, ni photographie au sens strict du terme, ni mme pure modlisation scientifique, ces uvres possdent le charme ambigu de ce qui chappe la dfinition, dpassant, chaque tentative de qualification de leur statut, le cadre trop troit dans lequel on voudrait les inscrire. Leur attrait rside en partie dans cette ambivalence, nul ne peut rester insensible la beaut sereine de ces toiles, mais en mme temps nul ne peut faire abstraction de la violence du sujet. A-t-on le droit de trouver ces images belles, sans en prouver simultanment une certaine culpabilit ? Tout dpend du champ dans lequel on se situe. Cest le propre du champ de lart de faire natre cette tension, de nous faire ctoyer ces limites.
[ m Palais/ ] [ m Cinq milliardsdannes ] [ e ] m Solo exhibition of [ m renaudauguste- dormeuil] . 07/12/200 14/01/2007. The Day

Before_Star System. A series of photographs by Renaud Auguste-Dormeuil, which show

how the map of the sky would have appeared the day before certain bombings. According to Fabienne Fulchri, The decision to use English (the official language of aviation) is not a symptom of the growing internationalization of the art market or of surrendering to its rules; it is, rather, the result of a work that uses cartography as its point of departure. The caption, which consists of the title, the name of the attacked city, and a precise date and time, blasts History and collective memory into the very heart of each image. Though the images remain intrinsically identical, the way the viewer understands them can never again be innocent. Suddenly, the viewers reluctantly share the gaze of those who knew what was in store for the city below, placing the audience alongside the decision-makers or the executors of these decisions. The unilateral uses of power and of viewpoint are recurring themes in Renaud Auguste-Dormeuils work. These images evoke war without actually showing it; they talk of History but do not narrate it; they display the reproduction of a sky that has never been photographed, that only exists virtually, and yet is strongly felt. Computer-generated by software that can create the map of the sky by means of certain specifications (place, date and time), these images do not require any previous photographic expertise; they put a resounding end to any temptation to let romanticism creep into our interpretation of a subject like this one. It is not a question of capturing reality, of recording immediacy, but of viewing the proposition from a different angle. These celestial vaults are a re-composition, a re-creation based on objective information. These stars are only pixels, white points on a black background, that threatens to blot everything out. These works are not archival documents, nor are they photographs in the strict sense of the word; they are not even pure scientific modeling. They have the ambiguous charm of something that eludes definition, evading every attempt to pin them down, and any narrow framework that we would like force upon them. Their attraction lies partly in this ambivalence. Who could be untouched by the serene beauty of the stars and who could ignore of the violence of this subject? Do we have the right to find these images beautiful without simultaneously feeling some kind of guilt? It all depends on how we choose to look. This is what is peculiar to art: its ability to create tension, to

dec 54

DEcRAuZAt

DtEctEuRS DE PARticulES

det 55

push us to our limits. [ m Palais/] [ m Cinq

milliardsdannes ]

m Liste des uvres / List of works

The Day Before _ Guernica _ April 25, 1937 _ 23 : 59 The Day Before _ London _ September 6, 1940 _ 23 : 59 The Day Before _ Coventry _ November 13, 1940 _ 23 : 59 The Day Before _ Caen _ June 5, 1944 _ 23 : 59 The Day Before _ Hiroshima _ August 5, 1945 _ 23 : 59 The Day Before _ Nagasaki _ August 8, 1945 _ 23 : 59 The Day Before _ Dresden _ February 12, 1945 _ 23 : 59 The Day Before _ Hanoi _ December 17, 1972 _ 23 : 59 The Day Before _ Halabja _ March 15, 1988 _ 23 : 59 The Day Before _ Baghdad _ January 15, 1991 _ 23 : 59 The Day Before _ New York _ September 10, 2001 _ 23 : 59 The Day Before _ Baghdad _ March 18, 2003 _ 23 : 59 Collection Isabelle & Michel Fedoroff, Monaco Courtesy de lartiste / of the artist

rapport optique une coordonne fondamentale de son uvre. la fois hypnotique et vibrante, le travail de lartiste ouvre de nouvelles dimensions perceptives. Pour [ m 5.000.000.000dannes] , Philippe Decrauzat a ralis un wall-painting monumental. Il a galement prsent son Light Space Modulator (2002) dont les squences lumineuses suivent le rythme hypnotique dune scne du film LExorciste, ainsi que Melancholia (2003) qui poursuit sur un mode sculptural linterrogation mathmatique autour dun volume gomtrique impossible apparaissant sur la gravure ponyme dAlbrecht Drer. [ m satanisme] [ e ] m *1974, lives in Lausanne. Addressing the work of arts relationship to space, Philippe Decrauzat creates sculptures, drawings, and wall paintings that revive the legacy of Op Art and the vocabulary of abstraction. High and low culture intersect in an artistic universe that combines the optic with the pop. Hypnotic and vibrant, the artists work reveals new perceptual dimensions. For 5,000,000,000 YEARS [ m 5.000.000.000 dannes ] , the Palais de Tokyo produced a new wall painting by Decrauzat. Monumental, rigorous, and alluring, the site-specific installation merges with the buildings architecture and increases the spaces optical possibilities. The artist also presented Light Space Modulator (2002), based on a scene of the film The Exorcist, as well as Melancholia (2003), a sculpture referring to the impossible geometrical volume devised by Albrecht Drer. [ m satanisme]
deFeo, jay [ f ] m 1929 1989.

(making the painting almost sculptural), Jay DeFeo was an artist who looked for the weight, volume, transformed surface and attenuated colour of nature and physical endurance. Her works have the depth of a mythical story, with the viewer seeing only the part that has emerged. After doing photography for approximately fifteen years, the artist turned back to painting in 1982 and extended her thinking about materiality, surface, abstraction and the symbolic evolution of forms.
[ m THeTHirdmind ]
de haan, siebren [ m VanBrummelenlonnie&deHaansiebren] della negra, alain [ m see / voir KinoshitaKaori&dellanegra alain] des indes la plante mars [ f ] m Film. partir du compte-rendu des sances de [ m spiritisme] de [ m Catherine-lisemller] et [ m ThodoreFlournoy] , Christian Merlhiot et

taken of the sances which were highly eroticized theatrical performances, Christian Merlhiot and Matthieu Orlan for their part wanted to turn the reading into a film, as the work of Catherine-lise Mller coincided exactly with the invention of the cinema. [ m lesjeudisde
,noUVellesdUmonderenVers ]

m Dtecteur de particules ATLAS / ATLAS particle detector

m decrauzatPhilippe, Light Space Modulator, 2002

decrauZat, philippe [ m 1 , fig. # 02 ; 5 , fig. # 73 ] [ f ] m *1974, vit Lausanne.

Jouant du rapport de luvre lespace, Philippe Decrauzat cre des sculptures, dessins ou peintures murales qui rinvestissent lhritage de lOpart et du vocabulaire de labstraction. High et low culture se croisent dans un univers artistique qui fait du

Connue pour sa fameuse toile The Rose (1958 ), ralise avec environ une tonne de peinture blanche et grise, mesurant plus de 3 mtres sur 2, et dune paisseur de plus de 25cm (rendant la peinture quasi sculpturale), Jay DeFeo est une artiste qui cherche la pesanteur et le volume, mais aussi la nature et leffort. Ses uvres ont la profondeur dune histoire mythique dont le spectateur ne verrait que la partie merge. Aprs avoir pratiqu la photographie pendant une quinzaine dannes, lartiste est revenue la peinture en 1982 pour prolonger une mditation sur la matrialit, la surface, labstraction et le destin des formes symboliques. [ m THeTHirdmind] [ e ] m 1929 1989. Known for her famous painting The Rose (1958 ), made using about a ton of white and grey paint, measuring over 3 metres by 2 metres and with a thickness of over 25 cm

Matthieu Orlan ont construit un texte quils ont donn lire des acteurs loccasion dun projet pour lAtelier de cration radiophonique pour France Culture. Rassembls autour dune table et devant des micros, ils rejouent, en le lisant, le rcit de cette aventure imaginaire ; comme dans les sances de spiritisme, le dispositif engendr par la radio travaille un espace immatriel o cohabitent les ondes hertziennes et les fantmes. Si Thodore Flournoy faisait photographier les sances, reprsentations thtrales particulirement rotises, Christian Merlhiot et Matthieu Orlan ont quant eux voulu faire de cette lecture un film, luvre de Catherine-lise Mller concidant justement avec linvention du cinma. [ m lesjeudisde,
noUVellesdUmonderenVers ] [ e ] m Film. From the documents relating to the spiritualism [ m spiritisme] sances of [ m Catherine-lisemller] and [ m ThodoreFlournoy] ,

m Dtecteur de particules CMS / CMS particle detector

dtecteurs de particules

Christian Merlhiot and Matthieu Orlan constructed a script which they gave actors to read as part of a project for the Atelier de cration radiophonique [creative workshop for radio] for France Culture. Gathered round a table and in front of microphones, as they read the story of this imaginary adventure they reenacted it; as at spiritualist sances, the arrangements brought about by radio work in an immaterial space where Hertzian waves cohabit with ghosts. If Thodore Flournoy had photographs

Particle detectors [ f ] m Physique. Pour explorer les constituants de la [ m matire] et les forces qui assurent sa cohsion, les scientifiques ont recours aux acclrateurs pour porter les particules (lectrons ou protons) jusqu la vitesse de la lumire, et aux dtecteurs pour observer les lments gnrs par les collisions de ces particules. Comme le prcise [ m Jean-Pierremerlo] , les avances des mathmatiques puis de linformatique ont constitu des apports dterminants pour la physique thorique ; en ce qui concerne la reprsentation et la comprhension de la matire, ce sont davantage les progrs techniques raliss dans le domaine des dtecteurs de particules qui ont ainsi permis de susciter, valider ou abandonner de nouvelles hypothses. Au fur du perfectionnement des technologies de dtection des particules, depuis le compteur Geiger-Mller jusquaux grands collisionneurs actuellement en cours de ralisation, le principe est cependant rest le mme : tirer parti du processus dionisation, soit larrachement dlectrons des atomes dun milieu lorsque

dev 5

DEvotio moDERNA

DEwAR

deW 57

celui-ci est travers par une particule charge. Il sagit donc dobserver la trace laisse par le passage de particules charges lectriquement dans un gaz ou dans un liquide donn. On peut considrer le compteur Geiger-Mller, imagin par Hans Geiger en 1913 et mis au point avec le concours de Walther Mller en 1928, comme le premier dtecteur de particules. Il sagit dun simple tube conducteur rempli de gaz avec un fil isol au centre ; une tension de 1.000 volts est applique de faon acclrer la production dlectrons, tandis que le signal lectrique peut tre dtect sur le fil et mesur. Puis furent utiliss au cours des dcennies les dtecteurs de particules suivants : la chambre brouillard (dtecteur imagin par Charles Thomson Wilson ds 1912 et grce au recours duquel le physicien amricain Carl David Anderson dcouvrit dans les [ m rayonscosmiques] le [ m positron] prdit par Paul [ m dirac] ), la chambre bulles (invente par Donald Glaser en 1953), la chambre tincelles (utilise partir des annes 190) et enfin les chambres proportionnelles ou drive, utilises aujourdhui en association avec les dernires gnrations dacclrateurs de particules, comme le [ m lHC] . On compte parmi ces chambres les dtecteurs de particules ATLAS et CMS. [ e ] m Physics. To explore the constituents of [ m matter] and the forces that ensure its cohesion, scientists use accelerators to carry particles (electrons or protons) up to the speed of light, and detectors to observe the elements generated by the collisions of these particles. As [ m Jean-Pierremerlo] explained, advances in mathematics and then in information technology have constituted decisive gains for theoretical physics; as regards the representation and understanding of matter, it is more the technical progress achieved in the field of particle detectors that has made it possible to come up with new hypotheses, and validate or abandon them. However, as technologies for the detection of particles have been perfected, from the Geiger-Mller counter to the great colliders currently being built, the principle has remained the same: taking advantage of the ionization process, or the extraction of electrons from atoms in an environment traversed by a charged particle. So it is a question of observing the trace left by the passage of electrically charged particles in a given gas or liquid. The Geiger-Mller counter, devised by Hans Geiger in 1913 and perfected with the assistance of Walther Mller in 1928, can be regarded

as the first particle detector. It is a simple conductive gas-filled tube with an insulated wire in the centre; a tension of 1000 volts is applied so as to accelerate the production of electrons, while the electric signal can be detected on the wire and measured. Then over the decades the following particle detectors were used: the Wilson cloud chamber (a detector thought up by Charles Thomson Wilson in 1912 by means of which the American physicist Carl David Anderson discovered the [ m positron] in cosmic rays [ m rayonscosmiques] predicted by Paul [ m dirac] ), the bubble chamber (invented by Donald Glaser in 1953), the spark chamber (used from the 190s) and finally proportional or drift chambers, used today in association with the latest generations of particle accelerators, like the [ m lHC] . The ATLAS and CMS particle detectors are among those chambers.
devotio moderna [ f ] m Thologie. Aux alentours

de la laideur, de la souffrance et de la rdemption. Drer, Grnewald, Bosch et Brueghel dpassrent le caractre expressment religieux de ces thmes pour accder une exploration psychologique bien plus vaste et profonde de la terreur, de la violence et du monde fantastique des monstres et dmons. [ m Palais/] [ m Joe
Coleman(exPosiTion) ] [ m Coleman,Joe]

ltoffe de la ralit. Il a t en 1998 le laurat du Prix Paul Dirac. [ m matire] [ m Physique

quantique] [ e ] m British physicist specializing in the field of

[ m Gesualdo,Carlo] [ e ] m Theology. Some time around 1418, Thomas

de 1418, Thomas a Kempis (1380 1471) crivit un petit livre intitul Imitatio Christi [Limitation de JsusChrist]. Comme lcrit [ m stevenHolmes] , LImitatio Christi faisait alors partie dun mouvement sefforant de faire voluer la religion, de la mcanique bien huile de la pit chrtienne une observance plus intime, personnelle et mditative du message chrtien mouvement qui devint connu sous le nom de devotio moderna (dvotion moderne). Afin daider focaliser cette nouvelle nergie dvotionnelle, des artistes commencrent peindre des uvres de petite taille pour les maisons particulires des classes moyennes et suprieures. Ces peintures reprsentaient gnralement des scnes de la vie du Christ, servant de support narratif ceux qui sefforaient de suivre la voie du Christ dans leur vie quotidienne. Avec pour toile de fond la premire vague de peste noire (1347 - 1351) et la guerre de Cent Ans (1337 - 1453), la plupart de ces peintures refltaient les souffrances et destructions de lpoque, et exaltaient la souffrance du Christ. Les images de la douleur et des tortures physiques subies par le Christ aidaient les chrtiens sidentifier concrtement ce dernier dans sa mort violente, et les aidaient, par consquent, prouver la souffrance des autres. Lhagiographie du Moyen-ge tardif se trouva ainsi peuple de saints, dont la nature et la rigueur du martyre constituait lattribut principal. Ces uvres, tout comme les retables, manuscrits, sculptures narratives et vitraux, contriburent un rgime scopique mdival de la douleur,

Kempis (1380 1471) wrote a small book titled Imitatio Christi, or On The Imitation of Christ. As [ m stevenHolmes] writes Imitatio Christi was part of a movement that sought to shift religion from the rote mechanics of Christian piety, to a more intimate, personal, and meditative observance of the Christian messagea movement that became known as the devotio moderna (modern devotion), and to help focus this new devotional energy artists began to paint small works for the private homes of the middle and upper classes. These paintings, usually scenes from the life of Christ, were narrative aids to help those who sought to follow Christ in their everyday lives. Set against the first wave of Black Death (13471351) and the Hundred Years War (1337 1453), most of these paintings reflected the suffering and destruction of the period and emphasized the suffering of Christ. Images of Christs physical pain and torture helped Christians identify tangibly with Christs brutal death, and, in turn, helped them to identify with the sufferings of others. Late Medieval hagiography would become saturated with saints whose chief attributes were the nature and severity of their martyrdoms. These works, together with altarpieces, manuscripts, narrative sculpture, and stained glass windows, all contributed to a medieval scopic regime of pain, ugliness, suffering, and redemption; Drer, Grnewald, Bosch, and Brueghel would go beyond these expressly religious themes to tap into a much broader and deeper psychological exploration of terror, violence, and the fantastical worlds of monsters and demons. [ m Palais/] [ m JoeColeman(exPosiTion) ] [ m Coleman,Joe] [ m Gesualdo,Carloi]

quantum computers. Deutsch subscribes to the interpretation of multiverses where quantum mechanics is concerned, following the ideas of the physicist Hugh Everett. According to him these multiverses are one of the four strands of the fabric of reality. In 1998 he was awarded the Paul Dirac Prize. [ m matire] [ m Physique
quantique]

deWar, daniel & gicquel, grgory [ m 2 , fig. # 22 # 24 ; 5 , fig. # 4 ] [ f ] m Daniel Dewar : *197, vit Paris ; Grgory

deutsch, david [ f ] m Physicien britannique

Gicquel : *1975, vit Paris. Tandem de sculpteurs, Daniel Dewar & Grgory Gicquel cultivent lart du tlescopage alli une conception la fois populaire et hybride de luvre dart. Depuis la prsentation de leur scierie portative Echo PPK, et des diffrents objets fait main chaussures Nike, cadre de vlo BMX le travail des deux artistes sest progressivement dplac vers dautres territoires, dautres univers formels tout en restant attach la pratique de la sculpture et la production des ready-hand-made . Comment concevoir une uvre la fois artisanale et industrielle, artistique et design, pop et conceptuelle ? Ce sont toutes ces questions que le duo franais semble vouloir se poser nhsitant pas multiplier les rfrences au monde des loisirs populaires comme la pche, le surf, le tuning et le skate. La culture japonaise du XIXe sicle semble galement source dinspiration dans leur dmarche limage de certains titres de leurs uvres sous forme de courts pomes / haku : La couleur vert dtache de la montagne suit le mouvement de la truite prise (Sekite Hara), titre dune de leur sculpture-totem improbable associant bois et laine. Ainsi, travers un univers la fois ludique, conceptuel, narratif et proche de la science-fiction, Dewar & Gicquel parviennent crer des histoires entre un lphant et une geisha, une voiture et un piercing ou encore un collier de perles et des casques de moto, bouleversant les codes de la sculpture contemporaine.
[ m GraniTodTransGoarasCalKoKo,sHimenaWamamBa,oriGinalPerUVianCarPeT anddiGiTalProJeCTFormUsiCians ] [ e ] m Daniel Dewar: *197, lives in Paris; Grgory

spcialis dans le domaine de linformatique quantique. Deutsch souscrit linterprtation des multivers en matire de mcanique quantique la suite du physicien Hugh Everett. Selon lui ces multivers seraient lune des quatre composantes de

Gicquel: *1975, lives in Paris. A duo of sculptors, Daniel Dewar & Grgory Gicquel cultivate

die 58

DiEu

DouBlE BiND

dou 59

the art of telescoping allied with a popular and hybrid conception of the work of art. Since they presented their portable sawmill Echo PPK, and various hand-made objectsNike shoes, a BMX bicycle framethe work of the artists has gradually shifted towards different areas, different formal worlds, while remaining attached to the practice of sculpture and the production of ready-handmades. How is it possible to come up with a work that involves both craftsmanship and industry, art and design, pop and conceptual art? These are the questions the two Frenchmen seem to ask, not hesitating to use multiple references to the world of popular hobbies such as fishing, surfing, car tuning and skating. Nineteenth-century Japanese culture also serves as a source of inspiration in their approach, reflected in some of the titles of their works that come in the form of short poems, or haikus: La couleur vert dtache de la montagne suit le mouvement de la truite prise (Sekite Hara) [The silhouetted green of the mountain follows the movement of the caught trout] is the title of an improbable totemic sculpture combining wood and wool. Thus through a universe that is simultaneously conceptual, narrative and close to science-fiction, Daniel Dewar and Grgory Gicquel succeed in creating stories involving an elephant and a geisha, a car and a piercing or even a pearl necklace and motorbike helmets, overturning the codes of contemporary sculpture in the process. [ m GraniTodTransGoarasCalKo
Ko,sHimenaWamamBa,oriGinalPerUVian CarPeTanddiGiTalProJeCTFormUsiCians ]

mathmatique qui doit rsoudre cette quation, cest--dire quil doit en tre une solution. Une fois lquation de Dirac connue, il fut possible den tudier les solutions, de voir si elles correspondaient bien une quelconque ralit. Dirac avait trouv juste : son quation possde deux solutions et lune dentre elle correspond bien un lectron. Le physicien avait russi reprsenter mathmatiquement un lectron relativiste en combinant la mcanique quantique la relativit (restreinte) dEinstein. Mais son quation avait deux solutions. Quen est-il de lautre solution ? quoi correspondelle ? Est-elle relle ou simplement un rebut dune thorie finalement imprcise, juste invente ? Admettons que cette autre solution soit relle et examinons-la. Ainsi que le remarque [ m ChristopheGalfard ], elle ressemble fortement une sorte dlectron, qui a exactement la mme masse et la mme forme quun lectron normal, mais dont toutes les charges sont opposes. Par exemple, llectron a une charge lectrique ngative, tandis que cette autre solution a une charge lectrique positive. cause de sa charge positive, cet trange lectron fut appel [ m positron] . La profonde justesse de lquation de Dirac fut confirme en 1932 par lexprimentation. Son quation a permis aux humains de dcouvrir le premier lment dune [ m matire] jusqualors inconnue. Cette matire, cest l[ m antimatire] .
[ m Galfard,Christophe ] [ m Palais/ ] [ m dtecteurdeparticules ] [ e ] m Physics. In 1928, trying to understand the

this other solution is real, and examine it. As [ m ChristopheGalfard ] , it is very closely resembles a kind of electron that has exactly the same mass and the same form as a normal electron, but all its charges are opposite. For example, the electron has a negative electric charge, whereas this other solution has a positive electric charge. Because of its positive charge, this strange electron was called a [ m positron] . The profound correctness of Diracs equation was confirmed by experiment in 1932. His equation allowed human beings to discover the first element of a hitherto unknown matter [ m matire] , the antimatter [ m antimatire] . [ m Palais/ ] [ m dtecteurde
particules ]

Daniela Franco, We Only Wait For You, 2003 Victoire Gounod, 11, 2005 Thomas Hachette, Dialogue, 200 Mathieu Klebeye Abonnenc, Le Passage du milieu, 200 Raphal Larre, Traits Quotidiens, 2005; Tonton, 2005 Shingo Yoshida, Ma Benz, 2002
donnelly, trisha [ f ] m *1974, vit San

m Dix JouRS, Dix ARtiStES, Dix viDoS VictoireGounod, 11, 2005

diX jours, diX artistes, diX vidos

dieu

God

[ m antimatire] [ m Coleman,Joe] [ m devotio moderna] [ m duchamp,marcel] [ m vanglistes] [ m Gesualdo,Carlo] [ m leary,Timothy] [ m manson,Charles] [ m michel-ange] [ m Zinzendorf, nicolausludwig(Comte)] [ m Gnose] [ m anger, Kenneth ] [ m Crowley,aleister] [ m satanisme] [ m occultisme] [ m spiritisme] [ m ncromancie ] [ m Fonctionetc.]

dirac (quation de)

Diracs Equation [ f ] m Physique. En 1928, en essayant de comprendre les lois qui rgissent la dynamique dun lectron se dplaant une vitesse proche de celle de la lumire, un jeune physicien nomm Paul Dirac a trouv une quation que lon appelle depuis lquation de Dirac . Llectron qui se dplace trs vite y devient un objet

laws that govern the dynamics of an electron travelling at a speed close to that of light, a young physicist by the name of Paul Dirac came up with an equation that has been referred to ever since as Diracs equation. In Diracs equation, the very fast-travelling electron becomes a mathematical object that has to solve the equation, i.e. it has to be a solution. Once Diracs equation became known it was possible to study its solutions and see whether they actually corresponded to any kind of reality. Dirac had got it right: there are two solutions to his equation and one of them does correspond to an electron. The physicist had succeeded in representing a relativistic electron mathematically by combining quantum mechanics with Einsteins (special) relativity. But his equation had two solutions. What about the other one? What does it correspond to? Is it real, or simply a by-product of a newly invented theory that would ultimately turn out to be imprecise? Let us accept that

Ten Days, Ten Artists, Ten Videos [ f ] m [ m modUle] 11/01/2007 21/01/2007. Une slection de vidos ralises par les tudiants de lcole nationale suprieure des Beaux-Arts de Paris et de lcole nationale suprieure des Arts dcoratifs de Paris. Entre animation, court mtrage, cinma exprimental et mini clip cette programmation tmoignait de la vitalit et de la crativit luvre chez ces jeunes artistes. [ e ] m [ m modUle] 11/01/2007 21/01/2007. A selection de videos by students of the cole Nationale Suprieure des Beaux-Arts de Paris and of the cole Nationale Suprieure des Arts Dcoratifs de Paris. Ranging from animation and short films to experimental cinema and mini-clips, this program demonstrated the vitality and creativity at work among these young artists. m uvres / works Neil Beloufa, Carlotta, 200 Laetitia Bnichou, Souvenir n12, 200 Elvire Bonduelle, Non, non, non, 200 Antonia Carrara, In Search of the Miracoulos,
200

Francisco. Utilisant la fois la vido, le son, la photographie, le dessin ou la performance, Trisha Donnelly explore la question de lart. Son travail mystrieux chappe toute formalisation globale et laisse le spectateur suivre le fil dcousu de narrations peine voques, encore moins expliques. Linstallation sonore prsente au Palais de Tokyo dans lexposition [ m THeTHirdmind] se faisait entendre de pice en pice, se laissant poursuivre mais ne pouvant jamais tre rattrape. Trs potiques, les interventions de Trisha Donnelly laissent le spectateur dans un tat second, tmoins du pouvoir captivant de ses invocations. [ e ] m *1974, lives in San Francisco. Simultaneously using video, sound, photography, drawing, and performance, Trisha Donnelly explores the question of art. Her mysterious work eludes any overarching shape and allows the spectator to follow unconnected threads of stories that are both barely alluded to and unexplained. The sound installation presented at the Palais de Tokyo in the exhibition [ m THeTHirdmind] allows the visitor to follow the sound from one space to another but without ever being able to catch it! Trisha Donnellys work is very poetic, putting the spectator in a kind of trance that speaks to the captivating power of her invocations.
dopage

Doping

[ m TourdeFrance] [ m Vayer,antoine] [ m lesjeudisde Cinqmilliardsdannes ]

double bind [ m 2 , fig. # 25 # 27 ] [ f ] m Exposition personnelle de [ m Tatiana Trouv] . 01/02/2007 11/03/2007. Sur prs

de

500 m, linstallation Double Bind de Tatiana

Trouv runit un ensemble composite de sculptures rochers recouverts de cadenas et de poids en cuivre, paysages de sel, botes noires despaces, objets hybrides , jouant sur

dou 0

DouBlE coNtRAiNtE

DREAm mAchiNE

dre 1

des dcalages et des rptitions qui ne sont pas sans voquer la fragmentation et leffeuillage de lespace et du temps par la mmoire. Un parcours en contrari se construit progressivement, qui propose au visiteur une exprience dstabilisante, comme une sorte de [ m double contrainte] . Issu des thories de la communication, le double bind est une double injonction paradoxale qui plonge le sujet en situation de blocage mental, voire physique. Tatiana Trouv cre ainsi un univers conditionn par la rptition et le dplacement des repres, au sein duquel chaque objet accorde lespace une dimension temporelle. Devant ces propositions visuelles, le visiteur est apparemment amen faire un choix, mais il est avant tout contraint dinventer de nouveaux systmes dorientation. Double Bind est une installation qui multiplie les hypothses de parcours et trouble les logiques de la perception.
[ m , noUVellesdUmonderenVers ] [ e ] m Solo exhibition of [ m TatianaTrouv] .

01/02/2007 11/03/2007. In a structure covering a surface area of approximately 500 sqm,

Tatiana Trouvs installation Double Bind brings together a composite collection of sculpturesrocks covered with padlocks and copper weights, landscapes made from salt, spaces consisting of black boxes, hybrid objects playing on discrepancies and repetitions that conjure up the way memory fragments and flicks through space and time. She gradually establishes a contradictory path, offering visitors a destabilising experience, like a sort of double bind [ m doublecontrainte] . The double bind, a concept that comes from communication theories, is a paradoxical double injunction that plunges the subject into a state of mental block, or even physical paralysis. Thus Tatiana Trouv creates a universe determined by the repetition and displacement of reference points, a world within which each object gives a temporal dimension to space. Viewers of the work are seemingly led to make a choice, but first and foremost they are constrained to invent new systems for finding their bearings. Double Bind is an installation that offers many potential routes and disturbs our logic of perception.
[ m , noUVellesdUmonderenVers ]
double contrainte

lcole de Palo Alto dans le domaine des sciences de linformation et de la communication et de la cyberntique. Elle est mise en vidence en 195 par une quipe dirige par Gregory Bateson dans larticle Vers une thorie de la schizophrnie publi dans Behavioral Science, vol. 1, n 4, 195 qui, suite lobservation du comportement des schizophrnes, dcrit une situation toute particulire dans laquelle lindividu ne peut pas tre gagnant . Selon Bateson, les lments indispensables pour constituer une situation de double contrainte sont les suivants : (1) prsence de deux personnes ou plus dont la victime ; (2) une exprience traumatique rpte qui revient avec rgularit dans la vie de la victime ; (3) une injonction ngative primaire fonde plutt sur lvitement de la punition que sur la recherche de la rcompense (par exemple Ne fais pas ceci ou je te punirai , Si tu ne fais pas ceci, je te punirai ) ; (4) une injonction secondaire, qui contredit la premire un niveau plus abstrait tout en tant, comme elle, renforce par la punition ou par certains signaux menaant la survie (attitudes, gestes, ton de la voix, actions significatives, implications caches dans les commentaires verbaux) tous ces moyens pouvant tre utiliss pour vhiculer le message plus abstrai ; (5) une injonction ngative tertiaire qui interdit la victime dchapper la situation et de fuir cette dernire. Quand un individu est pris dans une situation de double contrainte, il ragit comme le schizophrne, dune manire dfensive, puisquil se trouve dans une situation qui, tout en lui imposant des messages contradictoires, exige quil y rponde, et quil est donc incapable de commenter les contradictions du message reu. Cette thorie a provoqu un bouleversement majeure des conceptions psychiatriques traditionnelles et notamment contribu au dveloppement de la thrapie familiale et systmique. Plus de cinquante ans aprs la parution de larticle de Gregory Bateson, la notion de double contrainte a largement dpass le domaine dapplication des psychothrapies.
[ m doubleBind] [e ] m

patients a peculiar situation emerges in which no matter what a person does, he / she cant win. According to Bateson, the necessary ingredients for a double bind situation are the following: (1) the presence of two or more persons including the victim; (2) a repeated trauma experience that is a recurrent theme in the life of the victim; (3) a primary negative injunction based on avoidance of punishment rather than a context of reward seeking (for instance Do not do so and so, or I will punish you., If you do not do so and so, I will punish you.); (4) a secondary injunction conflicting with the first at a more abstract level, and like the first enforced by punishments or signals which threaten survival (posture, gesture, tone of voice, meaningful action, and the implications concealed in verbal comment)may all be used to convey this more abstract message; (5) a tertiary negative injunction prohibiting the victim from escaping from the field. When a person is caught in a double bind situation, he will respond defensively in a manner similar to the schizophrenic. An individual will take a metaphorical statement literally when he is in a situation where he must respond, where he is faced with contradictory messages, and when he is unable to comment on the contradictions. This theory led to a major overturning of traditional psychiatric conceptions, and contributed in particular to the development of family and systemic therapy. More than fifty years after the publication of Gregory Batesons article, the notion of a double bind has gone well beyond the application domain of psychotherapies.
[ m doubleBind]
dream machine [ f ] m Dans son journal intime, la date du 21 dcembre 1958, [ m BrionGysin] consigne la

Double bind [ f ] m Lexpression double contrainte (double bind) dcoule de notions dveloppes par

The expression double bind comes from ideas developed by the Palo Alto school in the field of information and communication sciences and cybernetics. It was demonstrated in 195 by a team directed by Gregory Bateson, in the article Toward a Theory of Schizophrenia, published in Behavioral Science, Vol. 1, No 4, 195, that from observations of schizophrenic

vision qui la saisi au cours dun voyage en bus Marseille, alors quil fermait les yeux pour viter laveuglement provoqu par les clats intermittents du soleil derrire les ranges darbres bordant la route : le rapide clignotement produit dans son esprit limpression d un kalidoscope multi-dimensionnel tourbillonnant travers lespace . Cest lexplication physiologique du phnomne formule par le neurologue William Grey Walter qui lincitera chercher un moyen de reproduire les conditions cette exprience. Dans son ouvrage The Living Brain, le mdecin thorise le fonctionnement du cerveau et catgorise les ondes quil

module selon son activit et pose notamment lexistence dondes alpha, dune frquence comprise entre 8 et 13 Hz, correspondant prcisment ltat du cortex au repos. Brion Gysin fait sienne cette hypothse pour lancer, avec laide dun de ses amis, Ian Sommerville, le projet dune machine rves susceptible de synchroniser le cerveau sur cette frquence pour louvrir de nouvelles perceptions. Sommerville aboutit ds 1959 un premier modle de Dream Machine, que Gysin reprend et exprimente au Beat Hotel, Paris, lanne suivante. Il sagit dun simple cylindre de carton soigneusement ajour, au centre duquel luit une ampoule lectrique, tournant sur lui-mme vitesse constante ; le dispositif est vou fonctionner grce un simple tourne-disques rgl la vitesse de 78 tours par minutes. Son utilisateur doit se tenir confortablement install face lappareil, le visage plac mi-hauteur du cylindre, yeux clos, et laisser la lumire clignotante imprimer ses paupires, accompagnant ventuellement lexprience dune musique idoine. Sinscrivant dans un processus de rvlation quasi initiatique, le dispositif doit stimuler limagination et les capacits visionnaires de son utilisateur pour lui permettre de dcouvrir ltendue de sa vision intrieure , selon lexpression de Brion Gysin. Lgre et mobile, dune grande simplicit technique, facilement reproductible et utilisable, la Dream Machine est destine tre diffuse le plus largement possible. Ian Sommerville la voit comme un moyen de provoquer un changement dans les consciences, dans la mesure o elle repousse les limites du monde visible et peut, en somme, prouver quil ny pas de limites . Ainsi, en 192, les plans et instructions ncessaires la ralisation de lobjet sont publis dans le magazine Olympia ; aprs avoir t republis en 1992 par Temple Press, ils sont aujourdhui facilement disponibles sur Internet.
[ m Williams.Burroughs] [ e ] m In his diary on 21 December 1958, [ m Brion Gysin] wrote down the vision that had over-

whelmed him on a bus journey to Marseilles while he was closing his eyes to avoid the blinding effect of the intermittent bursts of sunlight from behind the rows of trees lining the road: the rapid flickering produced in his mind the impression of a multi-dimensional kaleidoscope whirling out through space. It was the physiological explanation of this phenomenon given by the neurologist William Grey Walter that prompted him to look for a means of reproduc-

duc 2

DuchAmP

DuchAmP

m Dream Machine (Brion Gysin & William S. Burroughs)

m Dream Machine

m Dream Machine (image du film de / image of the movie by antonyBalch&Williams.Burroughs, Towers Open Fire, 193)

ing the conditions of that experience. In his book The Living Brain, the doctor develops theories about the functioning of the brain and categorizes the waves that it modulates according to its activity, and in particular posits the existence of alpha waves, of a frequency lying between 8 and 13 Hz, corresponding exactly to the state of the cortex at rest. Brion Gysin adopted that hypothesis as his own, and with the help of one of his friend Ian Sommerville, embarked on the project of a dream machine capable of synchronizing the brain on to that frequency in order to open it up to new perceptions. By 1959 Sommerville had produced a first Dream Machine model which Gysin took up and tried out at the Beat Hotel in Paris the following year. It consists of a simple cardboard cylinder carefully pierced with holes, and with an electric light bulb glowing at its center, rotating at a constant speed; the device is intended to work by means of a simple record-player set to turn at a speed of 78 rpm. The user should sit comfortably, facing the machine, with his face level with the middle of the cylinder and his eyes closed, and allow the flickering light to pass over his eyelids, possibly accompanying the experiment with appropriate music. Forming part of a process of quasi initiatory revelation, the device is intended to stimulate the imagination and the visionary capacities of its users and enable them to discover the extent of their interior vision, in the words of Brion Gysin. Light and movable, extremely simple technically, easy to reproduce and use, the Dream Machine was intended to be distributed as widely as possible. Ian Sommerville saw it as a means of bring[ing] about a change of consciousness in as much as it throws back the limits of the visible world and may, indeed, prove that there are no limits. Thus in 192 the drawings and instructions required to make the object were published in the magazine Olympia; they were then republished by Temple Press in 1992, and today can easily be accessed on the internet.
[ m Williams.Burroughs]
duchamp, marcel [ m 10,5] [ m 190] [ m 1969] [ m 1.419.993] [ m 5.000.000.000] [ m acclration] [ m acconci, Vito] [ m adjnabistan] [ m aerica(lempired)] [ m aiona] [ m ajemian,lucas&Jason] [ m alatoire] [ m anarchie] [ m aldrich,richard] [ m alighieroeBoetti] [ m amisduPalaisdeTokyo (les)] [ m ancelin,david] [ m andersson,

Christian] [ m anger,Kenneth] [ m anodyne(la rpubliqued)] [ m antimatire] [ m anti-motti] [ m araucania&Patagonia(royaumed)] [ m art minimal] [ m artistsUnkown] [ m atlantium (lempired)] [ m auguste-dormeuil,renaud] [ m aVlVille] [ m Backmasking] [ m Backward messages] [ m Bannesled(leroyaumede)] [ m Barredefraction] [ m BastardCreature] [ m BeFore(PlUsoUmoins) ] [ m Bellamy, samuel] [ m Benderson,Bruce] [ m BigCrunch Clock] [ m BlackBlock] [ m Blacknoise] [ m Bladen,ronald] [ m Blazy,michel] [ m Bontecou,lee] [ m Boyce,martin] [ m Boxon] [ m Brainard,Joe] [ m Breer,robert] [ m Bricolage] [ m Brooks,max] [ m Bureaudes mdiateurs( Bdm )] [ m Burroughs,William seward] [ m Cadiot,olivier] [ m Caroline(nouvel tatlibrede)] [ m Carron,Valentin] [ m Caverne delantimatire] [ m Cecchini,loris] [ m Celmins, Vija] [ m ChaletsdeTokyo] [ m Chapoulie,Jeanmarc] [ m CHTeaUdeToKyo ] [ m Chopper] [ m Christiania] [ m Chuck,naney] [ m Cinema Zero] [ m Cinqmilliardsdannes ] [ m Claire Fontaine] [ m Coffin,Peter] [ m Coleman,Joe] [ m Columbo(inspecteur)] [ m Colson,daniel] [ m Commissariat(le)] [ m Conch(larpublique de)] [ m Cnesdelumire] [ m Conner,Bruce] [ m Cosmosabbat] [ m Cracratrnouille] [ m Crowley,aleister] [ m Cuche,didier] [ m Curlet,Franois] [ m Cut-up] [ m daVid noonan(exPosiTion) ] [ m dawson,Verne] [ m dayBeFore_sTarsysTem(THe) ] [ m de Haan,siebren] [ m decrauzat,Philippe] [ m defeo,Jay] [ m dellanegra,alain] [ m des indeslaPlantemars] [ m deutsch,david] [ m dtecteursdeparticules] [ m devotio moderna] [ m dewar,daniel&Gicquel,Grgory] [ m dieu] [ m dirac(quationde)] [ m dixJours, dixartistes,dixVidos] [ m donnelly,Trisha] [ m dopage] [ m doUBleBind ] [ m double contrainte] [ m dreammachine] [ m duracell] [ m during,lie] [ m eastriver(leslesUniesde la)] [ m eco,Umberto] [ m einarson,Gardareide] [ m einstein,albert] [ m lasticit] [ m electrophilia] [ m elgaland-Vargaland(les royaumesd)] [ m elleore(royaumed)] [ m emptyWallsJustdoors] [ m enchres (venteaux)] [ m enenkio(leroyaumed)] [ m essaimage] [ m &nbsp] [ m quipe( sept.2006 dec.2007)] [ m espace-temps] [ m tats (Faites-levous-mme)] [ m tatsgnrauxdu poil] [ m vanglistes] [ m vnements] [ m everland(Htel)] [ m evrugo(tatmentald)] [ m Favaretto,lara] [ m Fischer,Urs] [ m Floyer, Ceal] [ m Fomoire(lacommunaut)] [ m Franklin

abraham(le)] [ m Freedonia] [ m Fonctionetc.] [ m Frestonia] [ m Furries] [ m Fusa] [ m Galfard, Christophe] [ m GallizioGiuseppe] [ m Garcia Galan,adriana] [ m Gene,Bernadette&le Borgne,alain] [ m Gomtrieinverse] [ m Gorgie (rpubliquede)] [ m Gesualdo,Carlo] [ m Giorno, John] [ m Gironcoli,Bruno] [ m Ghostrider] [ m Giraud,Fabien] [ m Glandelinia] [ m Gnose] [ m Gober,robert] [ m Gorens] [ m GraniTod
TransGoarasCalKoKo,sHimenaWa mamBa,oriGinalPerUVianCarPeTand diGiTalProJeCTFormUsiCians ] [ m Granat, amy] [ m Gravitquantiqueboucles] [ m Grizzly man] [ m Grossman,nancy] [ m Gussin,Graham] [ m Grunenberg,Christoph] [ m Guis,Jean-Pierre] [ m Gysin,Brion] [ m Hallucinognes] [ m Handforth,mark] [ m Hanovre(royaumede)] [ m Harshnoise] [ m Hautyafa(lesultanatdu)] [ m Hauviller,Claude] [ m Hay-on-Wye(royaume de)] [ m Hearst,Patty] [ m Hellsangels] [ m Helvetica(film)] [ m Henrot,Camille] [ m Holmes,steven] [ m HustwitGary] [ m Hutt river(laprincipautdelaprovincede)] [ m indianlarry] [ m ins (international

duc 3

necronauticalsociety,ousocitncronautique internationale)] [ m institutdeCulturetrangre (l)] [ m internationalesituationniste] [ m Jacuzzi] [ m Jeanpierre,laurent] [ m Jefferson(ltatde)] [ m Jeudisde Cinqmilliardsdannes (les)] [ m Jeudisde ,noUVellesdUmonde renVers (les)] [ m Jeudisde lamarqUe noire (les)] [ m Jeudisde THeTHirdmind (les)] [ m JoeColeman(exPosiTion) ] [ m Josephsohn,Hans] [ m Judd,donald] [ m Kant,immanuel] [ m KalakutaanikulapoKuti (rpubliquede)] [ m Kempinas,Zilvinas] [ m Kern,richard] [ m Kessler,leopold] [ m Keucheyan,razmig] [ m Khedoori,Toba] [ m KiddWilliam] [ m Kilimnik,Karen] [ m King Kong] [ m Kinoshita,Kaori&dellanegra,alain] [ m Kintera,Kristof] [ m Kirpikistan(ltatde)] [ m Klammer,Franz] [ m Koester,Joachim] [ m Koether,Jutta] [ m Kunz,emma] [ m ladonia] [ m lamm,olivier] [ m lamouroux,Vincent] [ m lang/Baumann] [ m lattaud,Claude] [ m lavine,michael] [ m leBorgne,alain] [ m leary,Timothy] [ m ledZeppelin] [ m lgion trangre] [ m lemaire,Grard-Georges] [ m lenglet,lucas] [ m lHC (GrandCollisionneur deProtons)] [ m libertaire(pense)] [ m librairie duPalaisdeTokyo] [ m llhuros(lacivilisation de)] [ m lord,andrew] [ m lournoy,Thodore] [ m lucas,sarah] [ m lunch,lydia] [ m , noUVellesdUmonderenVers ] [ m malabou, Catherine] [ m mandalashirt] [ m manson,

dur 4

DuRAcEll

DuRiNG

Charles] [ m markl,Hugo] [ m marqUenoire (la)] [ m matelli,Tony] [ m matire] [ m maTindes maGiCiens(le) ] [ m mcCarthy,Tom] [ m mcCartney,Paul] [ m mediodamedia noche] [ m merlo,Jean-Pierre] [ m merzbow] [ m michel-ange] [ m micronation] [ m misson (Capitaine)] [ m modules] [ m molossia (rpubliquede)] [ m monk,Jonathan] [ m morellet,Franois] [ m mortadelloCoxrider (ditrunningBob)] [ m mosset,olivier] [ m motos] [ m motti,Gianni] [ m mller,Catherine-lise] [ m mUsiqUePoUrPlanTesVerTes ] [ m mutants] [ m nadirie(la)] [ m ncromancie] [ m neuropsychanalyse] [ m newisland (Commonwealthde)] [ m newPonderosayear Zero] [ m noWave] [ m noise] [ m noland,Cady] [ m noonan,david] [ m nouveauxtats-Unis damrique(les)] [ m nouvelleUtopie(la principautde)] [ m novaarcadia(Principaut de)] [ m nsK (ltatde)] [ m oneill,amy] [ m occultisme] [ m operational Theoryresearch institute( oTri )] [ m orgone] [ m ortega, Fernando] [ m Palais/ (magazine)] [ m Paradoxe desjumeaux] [ m Parrino,steven] [ m Parsons, laurie] [ m Partenaires] [ m Patria(leroyaume intrieurde)] [ m Pavillon(le)] [ m Pavillon, session2006-2007(lesartistesdu)] [ m Perret, mai-Thu] [ m Petitpateur] [ m Physique quantique] [ m Pinot-Gallizio] [ m Pirate] [ m Piringer,Joerg] [ m PlastoqueClink] [ m Poivey,Patrick] [ m Pradeau,Frdric] [ m PoP music] [ m Positron] [ m PosTPaTman ] [ m Posadas,Juan] [ m Pourtissure(bataillede)] [ m ray,Charles] [ m rayonsCosmiques] [ m reiterer,Werner] [ m relativit] [ m rpondeur(Tapez9)] [ m rpubliqueGniale (la)] [ m rondinone,Ugo] [ m sabotage(ltat de)] [ m saison1] [ m satanicpornocultshop] [ m satanisme] [ m saunders,Bryanlewis] [ m saville,Peter] [ m schnyder,Jean-Frdric] [ m sealand(Principautde)] [ m secondlife] [ m seCondeUneanne(Une) ] [ m siboni, raphal] [ m signer,roman] [ m smith,Josh] [ m smithson,robert] [ m sPeeCHaCT#1 ,le Peyotl] [ m spiritisme] [ m stella,Frank] [ m sTeVenParrinorTrosPeCTiVe1981 2004 ] [ m stroun,Fabrice] [ m strudel] [ m sturtevant] [ m Talossa(leroyaumede)] [ m Tanaka,Koki] [ m Teach,edward] [ m Thek,Paul] [ m Thlme (abbayede)] [ m Thormedecalvitie] [ m Thoriedescordes] [ m Thiellement,Pacme] [ m THirdmind(THe)(exPosiTion) ] [ m Thoenen, nik(re-p.org)] [ m Thrace(lempirede)] [ m Thurman,Blair] [ m TokTok] [ m TokToketik] [ m Tokyoeat] [ m Tokyofeel] [ m Transnationale

(larpublique)] [ m Trouv,Tatiana] [ m Trononneuse(concoursinternationalde sculpturela)] [ m Tuazon,oscar] [ m Tuning] [ m Univers-bloc] [ m Universitdt] [ m Valdez, elizabeth] [ m VanBrummelen,lonnie&de Haan,siebren] [ m Vayer,antoine] [ m Vigny, stphane] [ m Veneziano,Gabriele] [ m Vie artificielle] [ m Vikesland(Principautde)] [ m Violette,Banks] [ m Vleeschouwer,Kris] [ m VonBrandenburg,Ulla] [ m Wahler,marcolivier] [ m Warhol,andy] [ m Warren,rebecca] [ m Weeds] [ m Weizman,eyal] [ m Westarctica (leGrandduchde)] [ m Williams,sue] [ m yan (lanationde)] [ m yassef,Virginie] [ m yodel] [ m youpketcha] [ m youTubeBattle] [ m Zinzendorf,nicolausludwig(Comte)] [ m Zombie]

dur 5

special nature. His instrument, a drum kit with the skins of the snare drum, bass drum and floor tom fitted with sensors linked to a virtual modular synthesizer, actually allows him to offer post-punk live versions of themes from Atari, Commodore 4 or GameBoy video games. In addition to covers of Space Harrier or Ninja Spirit that are both physical and experimental, the drummer-performer has already tackled Girl/Boy Song by Aphex Twin as well as some titles by Lightning Bolt. Since 2005, Duracell has provided a supporting act for Damo Suzuki or Acid Mother Temple. [ m lesjeudisdeCinq
milliardsdannes ] [ m noise]

during, lie [ f ] m Philosophe.

m Performance de / by Duracell duracell [ f ] m Duracell, alias Andrew Dymond, alias Andr

Diamant, est issu de la scne noise lyonnaise. Par ailleurs batteur des formations Chewbacca et The Rubiks, il se produit depuis 2003 en tant que one man band dun genre particulier. Son instrument, une batterie dont les peaux des caisse claire, grosse caisse et tom basse sont quipes de capteurs relis un synthtiseur modulaire virtuel, lui permet en effet de proposer en live des versions post-punk de thmes de jeux vido Atari, Commodore 4 ou GameBoy. En sus de reprises aussi physiques quexprimentales de Space Harrier ou Ninja Spirit, le batteur-performeur sest dj attaqu Girl/Boy Song dAphex Twin ainsi qu quelques titres de Lightning Bolt. Depuis 2005, Duracell a notamment assur les premires parties de Damo Suzuki ou dAcid Mother Temple.
[ m lesjeudisde Cinqmilliardsdannes ] [ m noise] [ e ] m Duracell, alias Andrew Dymond, alias Andr

Auteur de Poincar, la science et lhypothse (Ellipses, 2001) et de Matrix, machine philosophique (Ellipses, 2003, avec Alain Badiou, Thomas Benatoul, Patrice Maniglier, David Rabouin et Jean-Pierre Zarader). Il est professeur lcole nationale des BeauxArts de Lyon et lcole dart dAnnecy. Ses recherches portent sur la philosophie des sciences (constructions despaces en gomtrie et en physique), sur lesthtique (cration contemporaine, musique), et sur les interfrences entre ces deux domaines. Il est membre du conseil de rdaction de la revue Critique. [ m La relativit comme acclrateur de mtaphysiques voir p. a-2] [ m Palais/ ] [ e ] m A philosopher. The author of Poincar, la science et lhypothse (Ellipses, 2001) and Matrix, machine philosophique (Ellipses, 2003, with Alain Badiou, Thomas Benatoul, Patrice Maniglier, David Rabouin and Jean-Pierre Zarader). He teaches at the cole nationale des Beaux-Arts in Lyons and the cole dart in Annecy. His research focuses on the philosophy of science (constructions of spaces in geometry and physics), esthetics (contemporary creative work, music), and the cross-influences between these two fields. He is a member of the editorial board of the journal Critique. [ m Relativity as an Accelerator of Metaphysics see p. a-10] [ m Palais/ ]

Diamant, emerged from the noise scene in Lyons. As well as being a drummer in the Chewbacca and The Rubiks groups, since 2003 he has performed as a one-man band of a

eas 

EASt RivER

ElGAlAND-vARGAlAND

elg 7

east river (les les unies de la)

The United Islands of the East River [ e ] m Micronation. Pendant la convention nationale des Rpublicains durant lt 2004, lartiste Duke Riley, quelque peu mch, traversa lEast River entre Brooklyn et Manhattan bord dune embarcation. Ayant dbarqu sur une petite le non loin de limmeuble des Nations Unies, il escalada une tourelle pour y dployer son drapeau. laube, il dcrta la souverainet de Belmont Island avant daffronter les garde-ctes. [ m TaTs(FaiTes-leVoUs-mme)] [ e ] m A micronation. In the summer of 2004, during the Republican National Convention, an inebriated artist, Duke Riley, had manoeuvred a small craft towards Manhattan across the East River starting in Greenpoint, Brooklyn. Landing on a small island near the United Nations building, at the time under security video surveillance, he scaled a tower and unfurled a flag. At daybreak he declared Belmont Island a sovereign state and was confronted by the U.S. Coast Guard. [ m TaTs(FaiTes-leVoUs-mme)]
eco, umberto [ f ] m Auteur italien

etc.) become vehicles for politically committed denunciation. [ m BasTardCreaTUre]

de feedback. Cest sur les bases de telles exprimentations que lartiste amricain fonde en 1997 Electrophilia, groupe noise aux accents psychdliques sapparentant un mlange de la densit sonore du Metal Machine Music de Lou Reed et du Black Metal minimaliste de Darktrone, de liconoclasme incantatoire dAlbert Ayler et du radicalisme de [ m merzbow] . Steven Parrino est rejoint en 2002 par [ m JuttaKoether] aux synthtiseurs, et le groupe marque de son empreinte la scne artistique new-yorkaise. Plusieurs concerts dElectrophilia ont t enregistrs, quatre dentre eux ayant fourni la matire du double album Black Noise Practitioner, sorti en 2004 sur Skul, le label de lartiste [ m richardaldrich] .
[ m Blacknoise] [ m noise] [ e ] m From the late 1970s [ m stevenParrino]

einstein, albert [ m voir p. a-3 / seep. a-11] lasticit

de nombreux essais universitaires sur la smiotique, lesthtique mdivale, la communication de masse, la linguistique et la philosophie. [ m Columbo] [ m Fonctionetc.] [ e ] m An Italian author of several essays about semiotics, Middle Ages aesthetics, mass communication, linguistics and philosophy.

Elasticity [ f ] m Physique. Qualit dun objet tre dformable tout en reprenant sa forme dorigine lorsque la contrainte quon lui applique disparat. [ m voir encadr p.8]
[ m acclration] [ m Furtivit] [ m mutants] [ e ] m Physics. Quality enabling an object to be

pulled out of shape yet return to its original shape when the force being applied to it disappears. [ m see box p. 8]
[ m acclration] [ m Furtivit] [ m mutants]

[ m Columbo] [ m Fonctionetc.]

einarson, gardar eide [ m 3 , fig. # 43 ] [ f ] m *197, vit New York.

Jeune artiste norvgien, Gardar Eide Einarsson rinvestit les possibilits du langage, du texte et de la forme laide de divers matriaux comme la peinture, la sculpture et la photographie. Ce mode de production vari est mis au service dun discours social et politique o les signes de notre socit (logos, couverture de magazine, pochette de CD, etc.) deviennent des moyens dune dnonciation engage. [ m BasTard arsson is a young Norwegian artist who re-explores the potential of language, text and form through various mediums such as painting, sculpture and photography. This varied method of production is used to promote a social and political discourse in which the signs of our society (logos, magazine covers, CD sleeves,

distinguished himself in the musical field by practicing guitar grind, a performance that consisted of rubbing two electric guitars against one another to produce a violent sound the strident tones of which were reinforced by the feedback effect. It was on the basis of such experiments that the American artist founded Electrophilia in 1997, a noise group with psychedelic overtones and affinities to a mix of the sonic denseness of Lou Reeds Metal Machine Music, Darktrones minimalist Black Metal, Albert Aylers incantatory iconoclasm and [ m merzbow] s radicalism. In 2002 Steven Parrino was joined by [ m JuttaKoether] on synthesizers, and the group made its mark on the New York art scene. Several concerts by Electrophilia have been recorded, and four of them have provided the material for the double album Black Noise Practitioner, issued on 2004 on Skul, the label of the artist [ m richard aldrich] . [ m Blacknoise] [ m noise]

CreaTUre] [ f ] m *197, lives in New York. Gardar Eide Ein-

electrophilia [ f ] m Ds la fin des annes 1970, [ m steven Parrino] sillustre dans le domaine musical

elgaland-vargaland (les royaumes d)

en pratiquant le guitar grind , performance qui consiste frotter deux guitares lectriques lune contre lautre pour produire un son violent, aux stridences renforces par leffet

The Kingdoms of Elgaland-Vargaland [ f ] m Le 14 octobre 1991, Carl Michael von Hausswolff et Leif Elggren dcidrent de former leur propre tat souverain et en faire une uvre dart. Ltat dElgaland-Vargaland (KREV) fut officiellement et publiquement proclam

emp 8

EmPtY wAllS JuSt DooRS

ENENkio

ene 9

moins dun an plus tard, le 27 mai 1992 midi la galerie Andrhn Schiptjenko Stockholm, en lasticit Sude (la seule ambassade de KREV lpoque). ~~~ Depuis, des ambassades ne t ouvertes ; [ f ] m On peut tirer le rel, il ont se dchire pasAmsterdam, San Francisco, Stockholm, que lon on peut lui greffer autant de couches New York, veut, Ble, Milan, Londres eton peut le froisser,est la il ne seffondre pas ; Oslo. Le thaler qui monnaie le plisser ou lenrouler pour acheter le comprimer,officielle peut tre utilissur luide vrais objets dans les ambassades du KREV mme, la dformation ne sinscrit pas dans son .
[

tissu. m TaTs(FaiTes-leVoUs-mme) et pliable Corps indchirable, extensible [ e ] m On October 14 th, 1991, Carl Michael von volont, les perspectives que la manipulation Hausswolff and Leif Elggren agreed to initiate de la ralit ouvre lartiste sont toutes aussi their own sovereign state as a work of art. The complexes. force de tordre le rel, peut-il state of Elgaland-Vargaland was officially and se ddoubler proclaimed less than a year later on the ? Si lon se glisse dans ses plis, publicly peut-onthse faire 1992 at noon at what was thenEn momentanment invisible ? the 27 of May acclrant embassy, de ses lments, serait-il poscertains the Andrhn Schiptjenko Gallery KREV sible in Stockholm, Sweden.faut-il its initiation, the de le traverser ? Ou Since plutt, comme un surfeur prend Elgaland-Vargalandembassies have Kingdoms of le tube, sessayer glisser sur ses surfaces, pour pouser la souplesse Francisco, been established in Amsterdam, San de ses formes et sinfiltrer subrepticement entre ses and Stockholm, New York, Basel, Milan, London strates ? Encore faut-il savoir se perdre dans ses Olso. The Kingdoms of Elgaland-Vargaland today replis. Carthe corollairetheir primary currency which uses le Thaler as de linpuisable capacit du rel be used to buy real goods se dliter, s can se mtamorphoser sans through KREV muter pour mieux se recombiner, cest sa rsistembassies. ance.[ m TaTs(FaiTes-leVoUs-mme)]
elleore (royaume d)

celebrated during Elleore Week, when citizens are said to be returning from a 51-week vacation abroad. The Kingdom of Elleore was founded in 1944 by an academic society called Societas Findani, named after Saint Fintan, not only to find a safe retreat, but also to establish a separatist state for the preservation of the underlying philosophies of an enlightened local private school founded in 1834. Although the society was named after Saint Fintan, the founders, who came to be known as the Immortals, were aware that refugee monks and nuns from the monastery founded by Fintan himself in 03 had landed on the golden island before them. Elleorians have great respect for the monastic culture that preceded them and hold in high esteem the literary works of Caspar Tromphett (1583-153), also known as The Shakespeare of Elleore. Elleorian citizenship is exclusive and one must either be nominated by two current citizens or be enrolled in the Kildegaard School, one of the original schools founded by the Immortals. [ m TaTs(FaiTes-le
VoUs-mme) ]

enchres (vente auX)

~~~ The Kingdom of Elleore [ e ] m Reality can be stretched, it cannot be torn; [ f ] m Sit au large des ctes danoises, sur lle we can graft asdsertelayers as we like on to en many dElleore. Une grande fte quasiment it, and it will not royaume dElleore secreased, lhonneur du collapse; it can be tient chaque compressed, foldedoccasion, les citoyens de llethe anne. cette or rolled up on itself, but misshaping isde 51 inscribed de vacances ltranger rentrent not semaines into its fabric. The prospects royaume dElleore fut fond en 1944 par . Le that the manipulation of realityas a body that is tear-proof, stretchable andFindani. une socit savante nomme Societas foldable at willopens up to thetablir aretat sparaCette socit cherchait artist un just as complex. By dint of twisting reality, can progrestiste, afin de prserver la philosophie it be split siste two? If we prive locale folds, can 1834. it in dune cole slip into its fonde en we makeLa Societas momentarily invisible,de saint Finourselves Findani tirait son nom furtive? By speeding up some of its elements, would it be tan, mais ses fondateurs les Immortels ignopossible to quethrough it? avait t habitesurfer raient go lle dor Or rather, as a par des rides moines et des we have to try and au monastre the tube, do nonnes appartenant slide over its surfaces, espouse the suppleness of its forms fond en 03 par Fintan en personne. Les Elloand infiltrate ourselves surreptitiously la culture riens ont le plus grand respect pour between monacale, et notamment how to get littraire its layers? We have to know pour luvrelost in de though. For the (1583-153), the inexits coils Caspar Tromphettcorollary of surnomm le Shakespeare dElleore to be candidat la haustible capacity of reality. Touttransformed citoyennet doit tre parrain par des citoyens without splitting, to change in order to recomdu pays ou appartenir lcole Kildegaard, lune bine better, is its toughness.
des coles fondes par les Immortels.
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m Located off Denmarks coastline, on the

Elasticity

empty Walls just doors [ f ] m Projet de [ m lorisCecchini] . 11/01/2007

21/01/2007. uvre labyrinthique, installe de

manire phmre au Palais de Tokyo, Empty Walls Just Doors tait compose dun ensemble de portes en caoutchouc souple, rpliques de diffrentes portes relles, paraissant avoir t oublies l, depuis une utilisation du btiment quon ne peut quimaginer. [ e ] m Project by [ m lorisCecchini] . 11/01/2007 21/01/2007. Empty WallsJust Doors, a labyrinthine work, that was installed temporarily at the Palais de Tokyo, was a set of doors made of flexible rubber, replicas of various real doors, seem to have been forgotten there, leftovers from a previous use of the building that can only be imagined.

mostly uninhabited island of Elleore. The great history of the Kingdom of Elleore is annually

m lorisCecchini, Empty Walls Just Doors, 2007

Auction [ f ] m Organise le 19 octobre 2007 en soutien du programme artistique du Palais de Tokyo, avec la collaboration bnvole des maisons de vente Artcurial, Christies, Drouot et Sothebys et avec le soutien des artistes (par ordre alphabtique) : [ m lucasajemian] , [ m david ancelin] , [ m renaudauguste-dormeuil] , Olivier Babin, Virginie Barr, Tobias Bernstrup, Davide Bertocchi, [ m michelBlazy] , [ m michael Bouchet] , Rebecca Bournigault, Jota Castro, [ m lorisCecchini] , Hsia-Fei Chang, [ m JeanmarcChapoulie] , [ m JoeColeman] , Franck David, [ m Vernedawson] , Alain Declercq, [ m Philippedecrauzat] , [ m danieldewar& GrgoryGicquel] , Vincent Epplay, Erikm, [ m laraFavaretto] , Meshac Gaba, [ m Bernadette Gene&alainleBorgne] , Janine Gordon, Amy Granat, Valry Grancher, Loris Graud, Katharina Grosse, [ m GrahamGussin] , Clarisse Hahn, [ m CamilleHenrot] , Thomas Hirschhorn, [ m richardKern] , [ m leopoldKessler] , [ m KristofKintera] , Kolkoz, Arnaud LabelleRojoux, [ m Vincentlamouroux] , [ m lang/ Baumann] , [ m michaellavine] , Robert Milin, Olivier Millagou, [ m Jonathanmonk] , [ m Franoismorellet] , Jean-Franois Moriceau & Petra Mrzyk, [ m oliviermosset] , [ m Gianni motti] , [ m davidnoonan] , Orlan, Bruno Peinado, [ m mai-ThuPerret] , [ m Wernerreiterer] , [ m Ugo rondinone] , Alain Schas, Franck Scurti, [ m romansigner] , Beat Streuli, Annika Strm, Samon Takahashi, [ m KokiTanaka] , Tsuneko Taniuchi, Pascal Marthine-Tayou, Agns Thurnauer, Barthlemy Toguo, [ m TatianaTrouv] , [ m elizabethValdez] , [ m lonnievanBrummelen&siebrendeHaan] , Sergio Vega, [ m stphaneVigny] , [ m Chris Vleeschouwer , [ m UllavonBrandenburg , [ m Virginieyassef] . [ e ] m Held on 19 October 2007 in support of the artistic program of the Palais de Tokyo, with the pro bono collaboration of Artcurial, Christies, Drouot and Sothebys salerooms and the support of the following artists (listed in alphabetical order): [ m lucasajemian] , [ m davidancelin] , [ m renaudaugustedormeuil] , Olivier Babin, Virginie Barr, Tobias Bernstrup, Davide Bertocchi, [ m michelBlazy] , [ m michaelBouchet] , Rebecca Bournigault, Jota Castro, [ m lorisCecchini] , Hsia-Fei Chang, [ m Jean-marcChapoulie] , [ m JoeColeman] , Franck David, [ m Vernedawson] , Alain Declercq, [ m Philippedecrauzat] , [ m daniel

dewar&GrgoryGicquel] , Vincent Epplay, Erikm, [ m laraFavaretto] , Meshac Gaba, [ m BernadetteGene&alainleBorgne] , Janine Gordon, Amy Granat, Valry Grancher, Loris Graud, Katharina Grosse, [ m GrahamGussin] , Clarisse Hahn, [ m CamilleHenrot] , Thomas Hirschhorn, [ m richardKern] , [ m leopold Kessler] , [ m KristofKintera] , Kolkoz, Arnaud Labelle-Rojoux, [ m Vincentlamouroux] , [ m lang / Baumann] , [ m michaellavine] , Robert Milin, Olivier Millagou, [ m Jonathanmonk] , [ m Franoismorellet] , Jean-Franois Moriceau & Petra Mrzyk, [ m oliviermosset] , [ m Gianni motti] , [ m davidnoonan] , Orlan, Bruno Peinado, [ m mai-ThuPerret] , [ m Wernerreiterer] , [ m Ugo rondinone] , Alain Schas, Franck Scurti, [ m romansigner] , Beat Streuli, Annika Strm, Samon Takahashi, [ m KokiTanaka] , Tsuneko Taniuchi, Pascal Marthine-Tayou, Agns Thurnauer, Barthlemy Toguo, [ m Tatiana Trouv] , [ m elizabethValdez] , [ m lonnievan Brummelen&siebrendeHaan] , Sergio Vega, [ m stphaneVigny] , [ m ChrisVleeschouwer , [ m UllavonBrandenburg , [ m Virginieyassef] .

enenkio (le royaume d)

The Kingdom of EnenKio [ f ] m Petit atoll situ prs des les Marshall. Le royaume dEnenKio (le de la fleur doranger), revendiqua sa souverainet en 1994, au terme dun sicle de polmiques. En 1899, aprs une priode de colonisation allemande, latoll dEnenKio fut rattach aux tats-Unis par un navire de guerre amricain. Mais latoll ne fut jamais intgr la Rpublique des les Marshall, et, quand celles-ci signrent un accord de libre association avec le gouvernement amricain, EnenKio voulut obtenir son indpendance. Quand laccord prit effet, en 198, la population de latoll attendit en vain les subventions promises pour favoriser et instaurer lindpendance du peuple Ratak En. Murjel Hermios, qui devait devenir le premier monarque dEnenKio, conut les modalits de la souverainet de latoll et tablit une fondation caritative pour ses habitants. Ladministration de ltat et des affaires internes est aujourdhui confie six ministres, qui, avec le roi, constituent le Conseil excutif. Fondant son action sur les principes des droits inalinables de lhomme, sur le droit des nations et sur divers mandats constitutionnels, le gouvernement dispose dune agence centrale et de divers bureaux Hawa, en Europe, en Amrique du Sud, au Moyen-Orient et en Ocanie. Voici ce quen dit

equ 70

QuiPE

ESPAcE-tEmPS

esp 71

le site officiel dEnenKio : baignant dans une tradition vieille de deux mille ans, la population indigne tente aujourdhui de saffranchir de la dpendance, de la ngligence et de lagression que lui imposent des envahisseurs trangers dtenteurs de larme atomique et dune idologie trangre, qui ne laissent derrire eux que des curs briss et des confiances branles.
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m An atoll located near the Marshall islands.

The Kingdom of EnenKio, island of the orange flower, is that claimed its sovereignty in 1994 after nearly a century of dispute with various colonial powers. After an early period of German colonization, Eneen-Kio Atoll was claimed forcibly by the United States in 1899 by an armed U.S. war ship in hopes that it could become a base. It was left behind and the atoll was never officially incorporated into the Republic of the Marshall Islands. However, the Marshalls emerged in 1979 from United Nations Trust Territory status to gain independence. After a Compact of Free Association between the RMI and the United States went into effect in 198, development funds for the self-determination of the Ratak En people were supposed to be made available, but access was limited. A sovereignty was conceived and Murjel Hermios, who later became EnenKios first monarch established a charitable trust for the islands inhabitants. The administration of various internal and state affairs is undertaken by six Ministers, who, with the king, collectively make up an Executive Council. Founded on the principals of unalienable natural human rights, the common law of man, the Law of Nations and constitutional mandates in pursuit thereof, the government has set up a central bureau and today has offices in Hawaii, Europe, South America, the Middle East and Oceania. According to the official EnenKio webpage: embedded in 2,000 years of tradition, an aboriginal people now strive to rise above a mire of dependency, neglect and outright physical assaults from foreign invaders bearing atomic weapons, foreign ideologies and leaving broken trusts and hearts in their wake.[ m TaTs(FaiTes-le
VoUs-mme) ]

quipe ( sept. 2006 dec. 2007)

Staff ( Sept. 2006 Dec. 2007) m Directeur / Director : [ m marc-olivierWahler] Personnel permanent / Permanent staff : Ahmed Aguerd, Mark Alizart, Ccile Allouis, Mouhcine Almi, Youssef Amri, Margherita Balzerani,

Benjamin Bardinet, Didier Barrosso, Johanna Benattar, Cyril Blancher, Daphn Blouet, Nazih Bouazini, Maud Brionne, Marion Buchloh, Willy Carda, Jean-Claude Charles, Fabrice Claval, Daria de Beauvais, Jean-Baptiste de Beauvais, Bernard Gauckler, Dolors Gonzalez, Antonio Grassi, Frdric Grossi, Louise Herv, Rachid Houat, Anthony Huberman, Katell Jaffrs, Franois Lafragueta, Raphale Layani, Aurlie Lesous, Perrine Martin, Raphale Mas, Akiko Miki, Fany Moinel, Mohammed Nasraoui, Andr Nicolaescu, Sumiko Oe-Gottini, Anais Pamela, Tanguy Pelletier, Chlo Philipp, Ludovic Poulet, Houmann Reissi, Soraya Rhofir, Marc Sanchez, Cline Seger, Claire Staebler, Claire Szulc, Camilla Taube, Issa Traore, Alain Trouslard, Marie-Claude Vitoux, Adeline Wessang, Agns Wolf, Noredinne Zaim. Le Pavillon : Alix Dionot-Morani, Ange Leccia, Christian Merlhiot. Stagiaires / Interns : Sylvre Armange, Tawan Arun, Florianne Benjamin, Caroline Bergoin, Fabienne Bideaud, Julien Bourdiec, Sara Campo, Justine Canu, Emilie Carette, Nicolas Chaverou, Marie Chenel, Aurlie Cras, MarieAnne Derville, Pierre Dumont, Graldine Eschapasse, Nadia Fatnassi, Vincent Gicquel, Laura Gourmel, Valentin Gribal, Bertrand Gruchy, Anna-Lena Gugger, Marion Guyot, Jonathan Hawes, Ccile Huges, Sylvain Leroy, Lina Lopez, Catalina Martinez-Breton, Nathanal Mikles, Aude Monasse, Jodene Morand, Grgory Motrref, Mariela Munoz, Sandra Nilsson, Valrie Nivesse, Agns Nol, Nora Orallo, Matthieu Orenge, Sophie Pagano, Cyble Panagiotou, Nomie Paya, Anne-Laure Raphy, Anne Riant, Sbastien Rippon, Marie Sandri, Romain Tardy, Fanny Thauvin, Daria Viana, Nicole Vuillemer. Monteurs / Temporary technical staff : Arnaud Aim, Harry Bacto, Pierre Bamford, Cyril Barcelo, Arnaud Bergeret, Emmanuel Brondeau, Carla Casal Ribeiro, Alexandre Chevalier, Russel Childs, Nicolas Clerice, Arnaud Darmayan, Jrme Delpino, Matthieu Dourlent, Angline Duhec, Stphane Emptaz, Jrme Gallos, Guillermo Grassi, Gaelle Hautbois, Willfried Julien, Yves Koerkel, Sophie Lautru, Christophe Le Dantec, Yann Ledoux, Lemarcis, Victor Mac Lennan, Arnaud Martin, Antoine Miserey, Pascale Mons, Johan Ollivier, Yves Pelissier, ric Pourcel, Guillaume Regnaut, Katell Rolland, Damien Roualo, Vincent Roux, Mlanie Torok, Vergonzanne, Philippe Verly.

se rgler sur laptitude la furtivit de lennemi. [] Lessaimage, tel que je le comprends, correspond larrive simultane vers une cible dun grand nombre de nuds si possible de 360 degrs [] qui alors se rassemblent et se dispersent nouveau.
[ m Furtivit] [ m Gomtrieinverse] [ m operationalTheoryresarchinstitute] [ e ] m Strategy. Scientific observation of the be-

m Essaimage / Swarming
essaimage

Swarming [ f ] m Stratgie. Lobservation scientifique du comportement dessaims dabeilles ou de colonies de fourmis a mis en vidence, dans ces socits o les insectes sont, pris isolment, peu singulariss et impuissants, lexistence dune intelligence de groupe base sur une communication dune efficacit dautant plus redoutable quelle fait lconomie de tout fonctionnement hirarchique. Tout dabord modlis par les chercheurs travaillant sur lintelligence artificielle, lessaimage est devenu, sous limpulsion dun think tank noconservateur comme la RAND Corporation, un des termes privilgis pour caractriser aussi bien la mobilisation de militants pacifistes que le mode opratoire de groupes terroristes internationaux. Discrtion, rapidit de dplacement et daction, capacit communiquer, interchangeabilit des rles : les atouts de ces rseaux sont particulirement difficiles contrer pour les armes conventionnelles. moins quelles ne tentent de les imiter, comme nont de cesse de le prconiser les thoriciens de cette nouvelle forme de guerre anti-subversive. Cest en particulier, comme lvoque [ m eyalWeizman] , le cas de larme isralienne. Selon le gnral Kochavi : Une arme dtat qui affronte un ennemi dissmin, des bandes en rseau, sans organisation rigide [] doit se dprendre des vieilles conceptions de lignes droites, dalignement des units, des rgiments et des bataillons, [] et devenir elle-mme beaucoup plus diffuse et dissmine, flexible comme un essaim. [] En fait, elle doit

havior of swarms of bees or colonies of ants has revealed in those societies where the insects, taken singly, are rather nondescript and powerless, the existence of a group intelligence based on communication of an effectiveness that is all the more formidable because it dispenses with any hierarchical operating system. Initially modeled by researchers working on artificial intelligence, swarming, under the impetus of a Neo-Conservative think tank such as the RAND Corporation, has become one of the favorite terms used to characterize both the mobilization of pacifist militants and the modus operandi of international terrorist groups. Discretion, speed of movement and action, capacity to communicate, interchangeability of roles: the trump cards of the networks that are particularly hard for conventional armies to counter. Unless they try to imitate them, as the theoreticians of this new form of anti-subversive warfare never cease recommending. This is particularly true, as [ m eyalWeizman] points out, of the Israeli army. According to General Aviv Kochavi:A state military whose enemy is scattered like a network of loosely-organized gangs [] must liberate itself from the old concept of straight lines, units in linear formation, regiments and battalions, [] and become itself much more diffuse and scattered, flexible and swarm-like In fact, it must adjust itself to the stealthy capability of the enemy [] Swarming, to my understanding, is simultaneous arrival at a target of a large number of node if possible from 360 degrees [] which then dissever and re-disperse. (Eyal Weizman, Walking Through
Walls, in Multitudes no 28, January 2007, pp. 37 38. Extract from an interview Eyal Weizman and Nadav Harel held with Aviv Kochavi, 24 September 2004, at an Israeli military base in the Tel Aviv area [text in Hebrew]; video documentation by Nadav Harel and Zohar Kaniel.) [ m Furtivit] [ m Gomtrieinverse] [ m operationalTheoryresarchinstitute]
espace-temps

Space-time [ m voir p. a-3 / see p. a-11]

eta 72

tAtS (FAitES-lE vouS-mmE)

&NBSP

&nb 73

tats (Faites-le vous-mme)

m tAtS (FAitES-lE vouS-mmE)

Grow Your Own [ m 2 , fig. # 28 # 30 ] [ f ] m Projet de [ m PeterCoffin] . 01/02/2007 0/05/2007. tAtS (FAitES-lE vouS-mmE) est une exposition qui a runi un large choix de [ m micronations] , tats souverains et indpendants, nations-concepts, mouvements de scessions et autres. Tous se prsentent comme une rponse cratrice au climat politique global. Peter Coffin sest intress ce sujet lorsquil a fond sa propre nation indpendante en 2000 et a commenc faire des recherches sur des projets similaires partout dans le monde. tAtS (FAitES-lE vouS-mmE) est une version nouvelle et largie de lexposition de Peter Coffin, ralise avec Robert Blackson, sur le mme sujet en 2005 New York : We Could Have Invited Everyone [On aurait pu inviter tout le monde] la galerie Andrew Kreps. Distincte dune exposition thme, tAtS (FAitES-lE vouS-mmE) est un projet dartiste qui se concentre sur un phnomne qui croise art, politique, anarchie et fiction de manire indiscernable. Les gouvernements, les socits et les artistes impliqus ont tous cr divers signes de reconnaissance (langues, devises, constitutions, drapeaux et tous les symboles ncessaires ltablissement de leur souverainet). [ m ,noUVellesdUmonderenVers]
[ m anarchie] [ m Capitainemisson] [ e ] m Project by [ m PeterCoffin] . 01/02/2007

renVers ] [ m anarchie] [ m Capitainemisson] m Participants [ m adjnabistan] , [ m aerica ] , [ m anodyne] , [ m araucania&Patagonia] , [ m atlantium] , [ m aVlVille] , [ m KingdomofBannesled] , [ m Christiania] , [ m Conch] , [ m Cosmosabbat] , [ m elgaland-Vargaland] , [ m elleore] , [ m enenKio] , [ m eastriver] , [ m evrugomentalstate] , [ m Franklinabraham] , [ m Fomoire] , [ m Freedonia] , [ m Frestonia] , [ m Fusa] , [ m Gorgie] , [ m Glandelinia] , [ m Hanover] , [ m Hautyafa] , [ m Hay-on-Wye] , [ m Huttriver] , [ m institutde culturetrangre] ,[ m Jefferson] , [ m Kalakuta ] , [ m Kirpikistan] , [ m ladonia] , [ m llhuros] , [ m molossia] , [ m nadiria] , [ m newPonderosayear Zero] , [ m newisland] , [ m nouveauxtats-Unis damrique] , [ m nouvelleutopie] , [ m nova arcadia] , [ m nsK] , [ m nutopia] , [ m Patria] , [ m rpubliqueGniale] , [ m sabotage] , [ m sealand] , [ m Talossa] , [ m Thrace] , [ m Transnationale] , [ m Vikesland] , [ m Westartica] , [ m yan] .

Lanon, David Lavergne, Frdric Leroy, Bernard Lubat, Stphane Mahieu, Jean-Franois Matti, Alain Mignien, Philippe Obliger, Paul Gayot, Duc Glandieu, Claude Gudin, Pascal Picq, Guillaume P, Max Poty, Aldo Ripoche, Andr Stas, Daniel Thomas, Jack Vanarsky, Pascal Varejka, Marc Vasseur, Catherine Vidal, Milie von Bariter, Alain Zalmanski.
[ m Thormedecalvitie] [ m TokTok] [ m Gnose]
&nbsp [ m 6 , fig. # 8 ] [ f ] m Groupe dartistes

tats gnrauX du poil

0/05/2007. Grow Your Own is an exhibition

m tats gnraux du poil / States-General for Hair

bringing together a wide selection of [ m micronations] , sovereign independent states, concept nation states, and secession movements. All are presented as a creative response to a global political climate. Coffins interest in this subject began in 2000 when he initiated his own independent nation and began collecting information about other such projects around the world. Grow Your Own is a newly expanded version of the exhibition on the same subject Peter Coffin curated in 2005 at the Andrew Kreps Gallery in New York in conjunction with Robert Blackson: We Could Have Invited Everyone. Not a thematic group exhibition, Grow Your Own is an artist project that blurs any ability to distinguish between art, politics, anarchy and fiction. The governments, societies and artists involved have created various recognizable symbols that range from seals, anthems, languages, mottos, constitutions, flags and all the icons with which they establish their sovereignty. [ m ,noUVellesdUmonde

States-General for hair [ f ] m Manifestation organise par le Collge de Pataphysique au Palais de Tokyo les 8, 9 et 10 clinamen 134 (vulg. 30, 31 mars et 1er avril 2007) avec Fernando Arrabal, Jean-Christophe Averty, Tristan Bastit, Bruno Bernard, Grard Berry, Pascal Bouch, Andr Brahic, Jean-Pierre Brisset, Isabelle Brisson, Christian Bromberger, Jacques Carelman, Catherine Contour, Phryn Coutant-Foulc, Fanchon Daemers, Marc Dcimo, Isabelle Dubosc, Yann Fach Kemener, Thieri Foulc, Patrice Josset, Eduardo Kac, Bernard Lanon, David Lavergne, Frdric Leroy, Bernard Lubat, Stphane Mahieu, Jean-Franois Matti, Alain Mignien, Philippe Obliger, Paul Gayot, Duc Glandieu, Claude Gudin, Pascal Picq, Guillaume P, Max Poty, Aldo Ripoche, Andr Stas, Daniel Thomas, Jack Vanarsky, Pascal Varejka, Marc Vasseur, Catherine Vidal, Milie von Bariter, Alain Zalmanski. [ m Thormedecalvitie] [ m TokTok] [ m Gnose] [ e ] m Event organized by the Collge de Pata-

physique at the Palais de Tokyo on 8, 9 and 10 Clinamen 134 (30, 31 March and 1 April 2007) with Fernando Arrabal, Jean-Christophe Averty, Tristan Bastit, Bruno Bernard, Grard Berry, Pascal Bouch, Andr Brahic, Jean-Pierre Brisset, Isabelle Brisson, Christian Bromberger, Jacques Carelman, Catherine Contour, Phryn Coutant-Foulc, Fanchon Daemers, Marc Dcimo, Isabelle Dubosc, Yann Fach Kemener, Thieri Foulc, Patrice Josset, Eduardo Kac, Bernard

bas Paris compos de Rada Boukova, Aymeric Ebrard, Thomas Fontaine, lodie Huet. [ m modUle ] 11/01/2007 21/01/2007. LIceberg est le premier volet de Xploitation, Love, etc., programme en quatre chapitres successifs conu par &nbsp. Avec une approche qui reste toujours flexible, ractive et ouverte, &nbsp mixe la forme de lexposition et celle de la performance. En invitant dautres artistes, ils mettent en uvre une prsentation qui se transforme au quotidien, travers lespace et le temps. la surface du dcor glacial et mouvant dun quotidien abstrait et dsincarn, des petites manifestations humaines sagitent ainsi chaque jour tour de rle. Remuant comme en sursaut pour signaler leur prsence entre rves de grandeur, productivit et succs, et souvenirs aseptiss daires tertiaires ou de zones dintimit, ces petites silhouettes isoles luttent pour attirer lattention, entrer en contact ou lever une dfense, affirmer leur existence, ou du moins se la prouver, dsesprment. La succession de ces lives construit au fil des jours la chronique dune comdie humaine, la fiction globale et inacheve du grand soap de la vie, lenchanement de ses pisodes retraant, dfaut den trouver le sens, ses chemins emmls. [ e ] m Group of artists (Rada Boukova, Aymeric Ebrard, Thomas Fontaine, lodie Huet) based in Paris. [ m modUle ] 11/01/2007 21/01/2007. The Iceberg is the first part of Xploitation, Love, etc., a program in four successive chapters devised by &nbsp. With an approach that always remains flexible, reactive and open, &nbsp combines the forms of exhibition and performance. By inviting other artists, they set up a presentation that is transformed on a daily basis, through space and time. Thus on the surface of the glacial, moving decor of abstract, disembodied everyday life, little human mani-

eva 74

vANGliStES

EvERlAND

eve 75

festations stir each day in their turn. Moving as if startled to signal their presence between dreams of grandeur, productivity and success, and sterile memories of tertiary areas or private zones, these little isolated silhouettes struggle desperately to attract attention, enter into contact or raise a defense, declare their existence, or at least prove it to themselves. Over the days the succession of these lives builds up the chronicle of a human comedy, the all-embracing, unfinished fiction of the great soap opera of life, the sequence of its episodes retracing its intersecting paths, since unable to find its meaning. m Programme 11/01/2007 : La rptition (&nbsp, Blue Sabbath Black Fiji, Benjamin Bodi, Diego Ocampo, Downliners Sekt) 12/01/2007 : Longboard (Jrme Guige) ; Le Boulch (Bertrand Berrenger) 13/01/2007 : Pipole-Peepole (Anne-Claire Budin & Dorothe Loermann) ; Shooting (Otto Muehlethaler) 14/01/2007 : Grand Casting (Aymeric Ebrard) ; Tentative dpuisement dun lieu puis (Olivier Nourisson) 1/01/2007 : Girls (live) (Dominique Forest) ; Anglique (set tlphone) (Julien Saglio) 17/01/2007 : Anglique (live) (Julien Saglio) ; Girls (set vido) (Dominique Forrest) 18/01/2007 : Love-troc (Sandrine Weissenburger) ; Foamman (Jrmy Chabaud & Aymeric Ebrard) 19/01/2007 : HERstory (live) (Sinae Kim) 20/01/2007 : HERstory (set vido) (Sinae Kim) ; Catwoman (Shanta Rao) 21/01/2007 : Limoges-China (Frdric Danos & Jochen Dehn)
vanglistes

de culte ; certains dentre eux nhsitent pas se rendre, dguiss, dans les communauts de [ m Gorens] pour tenter de convertir des esclaves. Enfin, les vanglistes animent priodiquement des messes dominicales et des Bible Studies online. [ m KinoshitaKaori&
dellanegraalain] [ m secondlife] [ e ] m A community in Second Life. Some

18/04/2007. Rves de nations : faire semblant

18/04/2007. Rves de nations : faire semblant

jusquau bout. Projection de M8 ralis par Ykon dans le cadre de [ m TaTs(FaiTes-le

VoUs-mme) ] .

20/04/2007. Avant-premire de Destricted

Second Life players seem to feel they have been appointed by God to save the lost souls of the virtual world, and it is not always easy to distinguish between when they are playing a role and when they are acting out of true conviction. The community of Evangelists is particularly keen to convert, and very close to the Puritan tendencies of certain US churches, evidently bringing together sincere born-again Christians. Thus its members advocate church attendance in Second Life and invite dissolute residents to come and reflect on their ways in these places of worship; some of them do not scruple to travel disguised into communities of Goreans [ m Gorens] to try to convert slaves. And finally, from time to time the Evangelists run on-line Sunday services and Bible studies.
[ m KinoshitaKaori&dellanegraalain] [ m secondlife]

vnements

Events
[ m Jeudisde Cinqmilliardsdannes ] [ m Jeudisde , noUVellesdUmonde renVers ] [ m Jeudisde lamarqUenoire ] [ m Jeudisde THeTHirdmind ] [ f ] m Autres vnements :

12/01/2007. Scorched Earth de Gareth James,

Evangelists [ f ] m Communaut sur Second Life. Certains joueurs de Second Life semblent se sentir dsigns par Dieu pour sauver les mes perdues du monde virtuel, sans quil soit toujours facile de faire la distinction entre ce qui relve du jeu de rle et de la conviction vritable. Particulirement proslyte, trs proche des tendances puritaines de certaines glises tats-uniennes, la communaut des vanglistes regroupe lvidence de sincres re-born Christians . Ainsi, ses membres prnent la frquentation des glises dans Second Life et invitent les rsidents dbauchs venir rflchir sur eux-mmes dans ces lieux

Sam Lewitt & Cheyney Thompson. Revue qui questionne la thorie et la pratique du dessin 17/01/2007. Un million et quarante-quatrime anniversaire de lart / 24 heures pour clbrer lart contemporain en France avec une performance inspire de luvre Breath de [ m Wernerreiterer] . 18/01/2007. Satanisme et art contemporain. Christophe Kihm, Michel Gauthier, Christian Merlhiot. 2/101/2007. Chiara Zocchi. Je vous chante mon roman avec Jermie Lenart (sons, bruits et rythmes), Michel Godard (basse, serpent) et Carlo Di Paola (vido live). 18/03/2007. Enqutes spatiales . Observatoire de lEspace du CNES 30/03/200701/04/2007. [ m tatsgnraux dupoil] , sur une proposition du Collge de Pataphysique.

(Larry Clark, Matthew Barney, Gaspar No, Marina Abramovic, Richard Prince, Marco Brambilla, Sam Taylor-Wood). 03/05/2007. [ m sPeeCHaCT ] . Olivier Babin. Confrence/performance sur le [ m peyotl] . 25/05/200726/05/2007. [ m Helvetica] de Gary Hustwit, suivie dun dbat sur le graphisme avec [ m GaryHustwit] , [ m nikThoenen] et JeanBaptiste Leve. 05/06/2007. [ m raphalsiboni] . Projection de Kant Tuning Club (2007). 06/06/2007. Signature de Barefoot/Bad Omen suivie dune improvisation musicale de David-Ivar Herman Dune, Julien Langendorff, Neman et Q pour clbrer la sortie du livre. 07/0/2007. [ m olivierCadiot] & Laurent Poitrenaux. Lecture radiophonique deux voix Un nid pour quoi faire ? 03/07/2007. Avant-premire de Llik your idols , ralis par Anglique Bosio [ m noWave] 03/08/200705/08/2007. Parcours MU / Festival Quartier dt. 19/10/2007 21/10/2007. FIAC Cinma. Guest curator : d.c.a (association franaise de dveloppement des centres dart). 24/10/2007. Femmes artistes, artistes femmes rencontre avec Elisabeth Lebovici et Catherine Gonnard. 28/11/2007. Betting on shorts , festival de courts-mtrages. [ e ] m Other events: 12/01/2007. Scorched Earth by Gareth James, Sam Lewitt & Cheyney Thompson. A review questioning the theory and practice of drawing. 17/01/2007. Un million et quarante-quatrime anniversaire de lart / 24 heures pour clbrer lart contemporain en France with a performance inspired by Breath by [ m Werner reiterer] . 18/01/2007. Satanism and contemporary art. Christophe Kihm, Michel Gauthier, Christian Merlhiot. 2/101/2007. Chiara Zocchi. Je vous chante mon roman with Jermie Lenart (sounds,noises and rhythm), Michel Godard (tuba, serpent) & Carlo Di Paola (live video). 18/03/2007. Enqutes spatiales. CNES Space Observatory. 30/03/200701/04/2007. [ m tatsgnrauxdu poil] , organized by the College of Pataphysics

jusquau bout. Projection of M8 directed by Ykon. [ m TaTs(FaiTes-leVoUs-mme)] 20/04/2007. Preview of Destricted (Larry Clark, Matthew Barney, Gaspar No, Marina Abramovic, Richard Prince, Marco Brambilla, Sam Taylor-Wood). 03/05/2007. [ m sPeeCHaCT . Olivier Babin. Lecture/performance on [ m peyotl. 25/05/200726/05/2007. [ m Helvetica] by [ m GaryHustwit] , followed by a talk on graphic design with Gary Hustwit, [ m nikThoenen] and Jean-Baptiste Leve. 05/0/2007. [ m raphalsiboni] . Screening of Kant Tuning Club (2007). 06/06/2007. Book signing of Barefoot/Bad Omen followed by a musical improvisation by David-Ivar Herman Dune, Julien Langendorff, Neman & Q to celebrate publication of the book. 07/0/2007. [ m olivierCadiot] & Laurent Poitrenaux. Public reading Un nid pour quoi faire ? 03/07/2007. Preview of Llik your idols, directed by Anglique Bosio. 03/08/2007-05/08/2007. MU / Festival Quartier dt itinerary 19/10/200721/10/2007. FIAC Cinma. Guest curator : d.c.a (association for the development of art centers). 24/10/2007. Femmes artistes, artistes femmes lecture with Elisabeth Lebovici and Catherine Gonnard. 28/11/2007. Betting on shorts, short movie festival.
everland (htel)

hotel Everland [ m 5 , fig. # 5 # 9 ] [ f ] m Lhtel Everland, conu par [ m lang / Baumann] pour lexposition nationale suisse Expo.02, est la fois un htel et une uvre dart. Install sur le toit du Palais de Tokyo depuis le 1 octobre 2007 et jusqu fin 2008, plus de 30 mtres de hauteur, lhtel Everland surplombe la Seine et offre un point de vue exceptionnel sur Paris et la Tour Eiffel travers son grand hublot donnant sur un coin salon lounge. Le design rtro-futuriste dEverland nest pas sans rappeler la Futuro House de Matti Suuronen ou la Maison Bulle de Jean Maneval. [ e ] m Hotel Everland, devised by [ m lang / Baumann] for the Swiss national exhibition Expo.02, is both a hotel and a work of art.

evr 7

EvRuGo

77

Installed on the roof of the Palais de Tokyo from 1 October 2007 until the end of 2008, at a height of over 30 meters, Hotel Everland overlooks the Seine and offers an exceptional view of Paris and the Eiffel Tower through its large porthole, opening on to a lounge area. The retro-futuristic design of Everland is a reminiscent of the Futuro House by Matti Suuronen or the Maison Bulle [Buble House] by Jean Maneval.

evrugo (tat mental d)

m htel Everland (lang/Baumann)sur le tot du / on the roof of the Palais de Tokyo

Evrugo Mental State [ f ] m Micronation. Fond en septembre 198 par Zush, artiste et philosophe autoproclam. Ltat mental dEvrugo est avant tout un concept. Il existe en dehors de tout territoire physique, dans ltendue mentale que les citoyens dEvrugo peroivent comme un espace commun. Son origine est linspiration. Il sagit dun tat imaginaire et contradictoire, mais autocratique et universel. Sa constitution est alatoire. Tout est possible, le concret comme limmatriel. Il utilise les symboles communs tous les tats : une langue, son propre alphabet, un drapeau, un hymne, une monnaie et un passeport. Son territoire est mental, physique, artistique, scientifique et mystique. Sa principale industrie est la cration darmes ironiques qui tuent par le plaisir et le rire. Les ides constituent son patrimoine. Sa stratgie est lauto-gurison crative. Son idal consiste atteindre le bonheur. Cest un endroit de sduction et dexpression. Les conflits y sont permanents. Il est usage individuel. Il est la bulle ou le halo commun tous les tres. Il a pour but dveiller la notion dexistence personnelle quont tous les tres humains afin de rsoudre les problmes dinsertions dans la socit. [ m TaTs(FaiTes-leVoUs-mme)] [ e ] m A micronation. Founded in September 198 by artist and self-proclaimed philosopher Zush. Evrugo Mental State is first and foremost a concept. It exists without a physical territory and instead in the mental expanse which Evrugo citizens believe is a shared communal space. According to its mission statement, Its origin is inspiration. It is a contradictory, imaginary yet real autocratic and universal state. Its constitution is random. Everything is possible, the concrete and the immaterial. It uses symbols common to all state: language, its own alphabet, flag, anthem, currency and passport. Its territory is mental, physical, artistic, scientific and mystic. Its main industry is the creation of ironic weapons that kill through pleasure and laughter. Its heritage is ideas. Its strategy is creative self-healing. Its ideal is to attain happiness. It is a place for seduction and expression. Its conflicts are permanent. It is for individual use. It is the bubble or common halo of all beings. It intends to awaken the sense of personal beings that all we human beings have as a solution to social maladjustment.
[ m TaTs(FaiTes-leVoUs-mme) ]

Fav 78

FAvAREtto

FlYiNG tAPE

Fly 79

Favaretto, lara [ m 1 , fig. # 07 ] [ f ] m *1973, vit Turin.

Le thme de la fte est une constante dans luvre de Lara Favaretto qui conoit lart comme un espace structur par la multiplication des possibles. Lutilisation de la photographie, de la sculpture, de la vido et de la performance lui permet dexprimer lurgence dune transformation permanente et la ncessit dimpliquer lautre dans le processus cratif. Dans [ m UneseCondeUneanne] , Lara Favaretto a prsent Twistle (2004), une srie de bombonnes dair compress surmontes de sifflets qui sactivaient de manire alatoire. [ e ] m *1973, lives in Turin. The party is a consistent theme in the work of Lara Favaretto. She conceives of her work as a space where possibilities are allowed to multiply. Her videos, photographs, sculptures, and performances allow her to express the urgent nature of constant transformations that characterize the art-making process. In oNE SEcoND oNE YEAR [ m UneseCondeUne anne ] , Favaretto presented Twistle (2004), a series of canisters of compressed air randomly released their contents.

Fischer, urs [ m 1 , fig. # 05 ; 4 , fig. # 50, # 51 ] [ f ] m *1973, vit entre Los Angeles,

m laraFavaretto, Twistle, 2004

Fentres (les) [ f ] m Projet permanent

de [ m oliviermosset] . Invit intervenir sur les fentres du Palais de Tokyo, Olivier Mosset a repris son compte la fameuse citation dEllsworth Kelly : En octobre 1949, au Muse dArt Moderne Paris, je remarquai que les fentres mintressaient plus que lart expos dans les salles. [ e ] m Ongoing project by [ m oliviermosset] . For his intervention on the windows of the Palais de Tokyo, Swiss artist Olivier Mosset adopted Ellsworth Kellys famous quote, In October 1949, at the Museum of Modern Art in Paris, I noticed that I was more interested in the windows between the paintings than the artworks themselves.

Zurich et Berlin. Urs Fischer trouve ses sujets et ses matriaux dans la vie quotidienne. En les transformant en objets et en sculptures, la forme de ces lments ordinaires change et chappe leur fonctionnalit dorigine. Multipliant les angles de vision inattendue, il donne un aspect lyrique et humoristique son art. Dans [ m 5.000.000.000dannes] , Urs Fischer a prsent Untitled (Branches) (2005), une uvre qui flirte avec une ambiance solennelle et mystrieuse. Deux bougies attaches une branche en circonvolution dessinent deux cercles de cire sur le sol. Dans [ m THeTHirdmind] a t prsente Madame Fisscher (1999/2000), la reconstitution du studio de lartiste lors de sa rsidence Londres. son retour en Suisse, lartiste a rapatri lintgralit du studio et de ce quil contenait : uvres, matriaux divers, murs et planchers, pour en faire une installation. [ e ] m *1973, lives in in Los Angeles, Zurich and Berlin. Urs Fischer finds his subjects and his materials in everyday life. Transformed into sculptures, the objects escape their original functionality. In 5,000,000,000 YEARS [ m 5.000.000.000dannes ] , Fischer presented Untitled (Branches) (2005), a work that creates a solemn and mysterious mood. Two candles attaches to a large rotating branch draw two circles of wax on the ground. In [ m THeTHirdmind] , a reconstruction of the artists studio during his residency in London (Madame Fisscher, 1999/2000) was presented. On his return to Switzerland, the artist repatriated the entire studio and all it contained works, various materials, walls and floorsto turn it into an installation.
Floyer, ceal [ f ] m *198, vit

un projecteur se rgle et drgle sans fournir dimage, mais une simple variation dintensit lumineuse. [ e ] m *198, lives in London. Avoiding the pitfalls of pure illusionism and the drift towards the spectacular, Ceal Floyers work is subtle and discreet. Her projections and installations combine a sense of the absurd with a precise phenomenological sensibility. Features in 5,000,000,000 YEARS [ m 5.000.000.000dannes ] , Autofocus (2002) pursues the process of transition between the in-focus and the out-of-focus and between apparition and disappearance. In random ways, a slide projector with an empty carousel automatically adjusts and re-adjusts itself, offering only a simple variation in light intensity.

m CealFloyer , Bucket, 1999

Flying tape [ m 1 , fig. # 10 ] [ f ] m Exposition personnelle de [ m ZilvinasKempinas] . 14/09/200 23/11/200. Flying Tape

Londres. vitant les cueils de la drive spectaculaire et le pur illusionnisme, Ceal Floyer produit un travail la fois tnu et discret. Ses installations prennent corps dans lespace avec humour et dlicatesse en djouant les attentes du spectateur. Labsurde et la gravit lgre cohabitent avec un sens extrme de l-propos. Prsente dans [ m 5.000.000.000dannes] , Autofocus (2002) joue sur le processus de transition du focus lout of focus et de lapparition la disparition. De manire alatoire,

(200) est uvre mobile, lgante et lgre jouant sur plusieurs registres. Une bande magntique de plusieurs mtres flotte dans les airs simplement propulse par plusieurs ventilateurs poss au sol. Si lartiste utilise rgulirement des matriaux voquant limage et le son, cest le plus souvent au profit dune uvre silencieuse. Flying Tape nest pas sans voquer lhritage de lart cintique ou de lOp Art. [ m Cinqmilliardsdannes] [ e ] m Solo exhibition of [ m ZilvinasKempinas] . Flying Tape (200) is long piece of un-spooled videotape floats against the walls of a square room, held in the air by a series of fans in the center of the gallery. While the artist often uses materials that refer to images and sound, his works deal with silence. Flying Tape also evokes the legacy of Kinetic Art or Op Art.
[ m Cinq milliardsdannes ] m Liste des uvres / List of works

Flying Tape, 200 ; Collection FRAC Languedoc-Roussillon, Montpellier ; Courtesy SpencerBrownstone Gallery, New York

Fom 80

FomoiRE

m , NouvEllES Du moNDE RENvERS

Fomoire (la communaut)

The Fomoire Community [ f ] m Cre en 1991, la communaut Fomoire compte aujourdhui plus dune centaine de membres rpartis dans huit pays sur trois continents. Cette communaut tire ses origines de la mythologie celtique o, dans un temps lointain, les envahisseurs successifs de lIrlande staient heurts une population dorigine inconnue, les Fomoires. Cette population finit par tre vaincue par la desse Dana, les repoussant aux confins du monde. Ds lors, les Fomoires furent dpeints comme des gens cruels et contrefaits, devenant les croque-mitaines de la tradition irlandaise. La communaut Fomoire a repris le mythe de faon positive et dvelopp autour de ce dernier tout un univers culturel, comprenant tant des ides conceptuelles quun travail pratique, telle la musique, la posie, la cuisine, les vtements, les sports, etc. La nouvelle culture fomoire se veut une promotion de lharmonie dans la diffrence, la tolrance et la communication.
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m Created in 1991, the Fomoire Community

est une civilisation perdue et teinte dont la richesse reste dcouvrir. Le roman (The Radiant Century), qui garde la trace de tout ce qui reste du Franklin Abraham en dehors de quelques rares reliques, est le dernier document maintenir son histoire en vie. Il est construit autour de lascension et du dclin dun centre commercial appel Octaplaz, dont il dcrit lenvironnement fantasmagorique et les diverses luttes de pouvoir qui ont entour son dveloppement et sa chute finale. Son auteur, Jules Ackroyd, a dit propos dOctaplaz quil sagissait de la personnification de lre du Franklin Abraham, la reprsentation dun optimisme narcotique au sein de notre propre consommation et de notre propre splendeur, une disposition particulire qui conduit en des lieux tranges et inattendus. [ m TaTs
(FaiTes-leVoUs-mme) ] [ e ] m A large city-nation state that exists in a

#15 # 31

now has more than a hundred members in eight countries on three continents. This community finds its origins in celtic mythology in which, long ago, successive invaders of Ireland came up against a population of unknown origin, the Fomoires. This population was finally overcome by the Goddess Dana, who expelled them. Since then, the Fomoires have been portrayed as cruel people, becoming the undertakers of Irish history. The Fomoire Community appropriated the myth, cast in a positive light, and developed a cultural universe around it, including ideas as well as actual practices such as music, poetry, cuisine, cloths, sports, etc. The new Fomoire culture promotes harmony within difference, tolerance, and communication.
[ m TaTs(FaiTes-leVoUs-mme) ]
Fonction etc.

parallel time, while incorporating a combined sense of the history of industrialism and the future of corporate nation states into one. The Franklin Abraham is a kind of lost and expired civilization with a wealth still to be discovered. The Novel (The Radiant Century), which preserves all that is left of The Franklin Abraham aside from a few rare relics, is the last document that keeps its history alive. It centers around the rise and fall of the shopping arcade called the Octaplatz - the phantasmagoria of its environs and the various power struggles surrounding its expansion and eventual demise. Its author Jules Ackroyd said of the Octaplatz that it is The personification of the [Franklin Abraham] epoch, -the embodiment of a narcotic optimism in our own consumption and splendor and a disposition that leads to strange, unexpected places.[ m TaTs(FaiTesleVoUs-mme) ]

Freedonia [ f ] m Cre au

Function of an etc. [ m voir encadr p. 81 / see box p. 81]

[ m lasticit] [ m multivers] [ m mutants] [ m quotientschizophrnique] [ m Vision-fentre]
Franklin abraham (le)

The Franklin Abraham (Jonah Freeman) [ f ] m Vaste ville-nation qui existe dans un espacetemps parallle et intgre une connaissance de lhistoire de lindustrialisme et de lavenir des tats-nations entreprises. Le Franklin Abraham

dbut des annes 1930 par Groucho Marx. La nation souveraine de Freedonia est trs vite devenue le sujet dun film : Duck Soup, produit par Paramount Pictures la fin de lanne 1933. La cration de la Freedonia avait des fondements politiques. Pour les Marx Brothers, ctait une faon de faire rire tout en voquant la priode trouble dans laquelle ils staient retrouvs aprs la Premire Guerre mondiale, et les tensions qui ont finalement abouti la guerre suivante. Le film lui-mme parodie la guerre et les erreurs politiques qui en ont t lorigine. De nombreuses nations, relles ou

2 # 15

M , NOUVELLES DU MONDE RENVERS

2 # 16

# 15 POST PATMAN [m MichelBlazy] Sculptcure (par Jean-Luc Blanc), 2003-2007 # 16 POST PATMAN [m MichelBlazy] Patman II, 2006 ; Champ de pommes de terre, 2002 ;

Sans titre, 2007 ; Fontaine de mousse, 2007

2 # 17

M , NOUVELLES DU MONDE RENVERS

2 # 18

# 19

# 17 POST PATMAN [m MichelBlazy] Sans titre, 2007 # 18 POST PATMAN [m MichelBlazy] Peau de bte, 2007 ; # 19 POST PATMAN [m MichelBlazy] Boules

Canap, 2007 ; Fontaine de mousse, 2007 ; Sans titre, 2007 de carottes, 1998

2 # 20

M , NOUVELLES DU MONDE RENVERS

# 20 JOE COLEMAN [m JoeColeman] I

Am Joes Fear of Disease,

2001

2 # 21

M , NOUVELLES DU MONDE RENVERS

# 21 DAVID NOONAN [m DavidNoonan]

Vue de lexposition / exhibition view

2 # 22

M , NOUVELLES DU MONDE RENVERS

M , NOUVELLES DU MONDE RENVERS

2 # 23

# 24

# 22

GRANITOD TRANS GOA RASCAL kO kO, ShIMENAwA MAMbA, ORIGINAL PERUVIAN

CARPET AND DIGITAL PROJECT fOR MUSICIANS

[ m DanielDewar&GrgoryGicquel] Granitod trans goa rascal ko ko, 2007 # 23 GRANITOD TRANS GOA RASCAL kO kO, ShIMENAwA MAMbA, ORIGINAL PERUVIAN
CARPET AND DIGITAL PROJECT fOR MUSICIANS

[m DanielDewar&GrgoryGicquel] Granitod trans goa rascal ko ko, 2007 # 24 GRANITOD TRANS GOA RASCAL kO kO, ShIMENAwA MAMbA, ORIGINAL PERUVIAN
CARPET AND DIGITAL PROJECT fOR MUSICIANS

[ m DanielDewar&GrgoryGicquel] Original peruvian carpet and digital project for

musicians, 2007 ; Shimenawa mamba, 2007

2 # 25

M , NOUVELLES DU MONDE RENVERS

2 # 27

# 26

# 25 # 26 # 27 DOUbLE bIND [ m TatianaTrouv] vues

de lexposition / exhibition views

2 # 28

M , NOUVELLES DU MONDE RENVERS

2 # 29

# 30

#28 #29 #30 TATS (fAITES-LE VOUS-MME) / GROw YOUR OwN [ m PeterCoffin] vues de lexposition / exhibition views

2 # 31

M , NOUVELLES DU MONDE RENVERS MUSIqUE POUR PLANTES VERTES / MUSIC fOR PLANTS

B1

[m PeterCoffin] vue de linstallation / installation view

Pinot-Gallizio et la Caverne de lantimatire dans lantiChambre de lanti-monde / Pinot-Gallizio and the Cave of antimatter, in the anteChamber of the anti-world


B

Laurent Jeanpierre
[f ]

B

Pinot-Gallizio et la Caverne de lantimatire dans lantichambre de lanti-monde

Laurent Jeanpierre

Le 1 mai 1959, [ m ] Giuseppe Gallizio, dit [ m ] Pinot-Gallizio, pharmacien, chimiste, archologue amateur, peintre seulement depuis quelques annes, ancien rsistant et occasionnellement conseiller municipal de la petite ville italienne dAlba, dans le Pimont, expose la galerie Drouin, rue Visconti Paris, une [ m ] Caverne de lantimatire compose notamment de 145 mtres de ce quil appelle de la peinture industrielle . Gallizio a rencontr le peintre Asger Jorn en 1955 Alba et il a particip avec lui, deux ans plus tard, la fondation, en Italie, de l[ m ] Internationale Situationniste, par fdration de plusieurs petits groupements de lavant-garde artistique europenne de la priode. La Caverne de lantimatire sinscrit dans le programme situationniste alors en dveloppement : elle reprsente une des premires tentatives de construction consciente de situation vise qui a donn son nom au groupe , quoique encore rserve au seul monde de lart. Quelles relations peuvent exister entre ce projet collectif port par Gallizio et la thmatique de lantimatire ? En quoi llucidation de ces relations peut-elle clairer dun jour diffrent lhistoire des situationnistes et des avantgardes ? Pour rpondre ces questions, il faut dabord entrer plus avant dans la Caverne, partir de ce quil est possible de savoir son sujet aujourdhui 1.

Dans la Caverne et au-del La Caverne de lantimatire fut produite par recouvrement de toutes les parois, sol compris, de la galerie Drouin, avec de la peinture expressionniste et abstraite. Des clairages mobiles de plusieurs couleurs, utilisant notamment des lampes infrarouge et ultraviolet, en modifiaient irrgulirement les reflets et les aspects. Des sons spectraux, trs variables dans leur intensit et leur gamme en fonction des alles et venues dans les lieux, manaient de lensemble.

Une odeur composite y circulait aussi, tandis quun foyer de plusieurs bois aromatiques devait annoncer lentre de lexposition sur le trottoir, devant un long rouleau de toile peinte de Gallizio, pos au sol et foul demble par lartiste et les visiteurs. Le volume du lieu avait t reconfigur pour ressembler un labyrinthe et chaque soir une jeune femme portant une robe taille partir dune chute de peinture industrielle devait sy promener son gr. Sur le carton dinvitation, il tait indiqu quil sagissait de construire une ambiance gnrale. La ralisation de Gallizio sinscrivait ainsi dans une longue ligne de projets synesthsiques conduits par les avant-gardes, du futurisme italien au constructivisme russe, en passant par le dadasme. Elle entendait non seulement acclrer les motions, comme lcrit quelques mois avant lexposition son auteur 2, mais galement dmontrer que les diffrentes disciplines des beaux-arts devaient tre combines afin de produire un environnement complet comme uvre dart totale. Un tel dessein est sans aucun doute prsent ds les dbuts de la modernit artistique, au XIXe sicle, et chaque gnration dartistes, lavantgarde, a pu le ractualiser. Dans le cas des situationnistes et de Pinot-Gallizio, il constitue cependant une tape seulement vers la qute de nouvelles passions. En dvalorisant toute pratique artistique spare (des autres arts comme de lexprience vcue), luvre voudrait inciter les artistes la ralisation collective dun nouveau milieu de vie. Dautres artistes situationnistes, comme Constant, explorent au mme moment de telles contres, lchelle plus vaste de larchitecture et de ce quils appellent alors lurbanisme unitaire . Lutilisation de techniques artistiques au service de la construction de situations est complte par la recherche de comportements nouveaux, dont tmoigne par exemple la drive urbaine pratique par Debord et ses compagnons depuis le dbut des annes 1950. La Caverne de lantimatire est ainsi plus quune uvre critique de la division du travail artistique ou une installation dou-


B4

Pinot-Gallizio et la Caverne De lantimatire

Laurent Jeanpierre

B5

[f ]

ble dune performance avant lheure : elle veut reprsenter un modle rduit de ce que pourrait tre un environnement diversifi en motions inattendues, et porteur de nouvelles formes de vie.

Deux tendances dans linternationale : situationnisme et exprimentation Ce programme esthtique et politique visant librer lhomme de lennui, de la rptition et du malheur en construisant une vie nouvelle fonde sur lactivit libre et le jeu plutt que sur la contrainte du travail impose que des loisirs produits par dautres sont censs adoucir, a t poursuivi par les situationnistes de deux manires distinctes qui ont polaris lhistoire et la mmoire du mouvement, comme de toutes les avant-gardes historiques du sicle pass. Sous la bannire gnrique du dtournement , les situationnistes ont en effet conu deux voies pour slectionner et combiner des lments culturels dj existants en une unit considre comme suprieure 3. La premire voie est centre sur le remploi de contenus de la culture et fut surtout applique lcriture, la peinture et au cinma. La seconde voie est celle dun dtournement des pratiques ou des arts de faire . Il y a ainsi deux dterminations devenues peu peu antagonistes lintrieur de lInternationale Situationniste : lune disons littraire et logocentrique et lautre plus technique et praxo-centre ; lune visant au dpassement et la fin de lart dans la mesure mme o elle est encore dpendante des disciplines artistiques, la seconde circulant plus librement de part et dautre de la ligne de dmarcation de lart et du non-art. Gallizio a t un des lments les plus actifs de la seconde de ces tendances 4. cause de sa profession de pharmacien et de sa pratique assidue de la chimie vgtale, de larchologie et de lanthropologie rgionale, il est prdispos tablir des passerelles

nombreuses entre son art, les sciences et les techniques. Ds 1946, aprs un cours sur les herbes et les armes de vin donn lInstitut agricole de la ville, son atelier fut ainsi rebaptis laboratoire exprimental dAlba . En plus de quinze ans dactivit, Gallizio y a accueilli dautres artistes de lavant-garde picturale mais aussi des physiciens, des ouvriers de Turin, des gitans qui il avait offert un terrain pour refuge. La rencontre avec Jorn a orient de manire dcisive le laboratoire vers la recherche dune intgration des mthodes scientifiques et artistiques et lexprimentation empirique collective comme mode denseignement 5. Aprs le travail des cramiques, les premires recherches personnelles de Gallizio se concentrent sur les rsines et sur les proprits olfactives dessences synthtises aux couleurs. Ces lments entreront dans la composition des surfaces de la Caverne. Mais la grande uvre issue des exprimentations de Gallizio pendant cette priode est le procd de peinture industrielle dcouvert en dcembre 1956 6. Il sape les principes dunicit du geste crateur de lartiste, retire son aura luvre dart et vise dvaluer lactivit picturale spare. Il montre quune machine est apte produire des toiles expressionnistes abstraites, comme celles de Pollock ou de Mathieu, de mme que des peintures Cobra ou dart brut, en vogue la mme priode. La machine peindre de Pinot-Gallizio diffre cependant de celle, motorise, de Tinguely, montre pour la premire fois la premire biennale de Paris quelques mois aprs le vernissage de la Caverne 7. Faite partir de chanes de vlo, de larges poulies, de rouleaux mtalliques qui talent la peinture et aplatissent la toile, de brosses qui dispersent les matires, elle presse des sries partir dun monotype fait de torchons imbibs de peinture ( mlange parfois du sable, du charbon ) qui se dgradent au fil des utilisations. Elle sche ensuite les mtres de toile. La prouesse de Gallizio tient au fait que la peinture industrielle na rien dune peinture rptitive, mme si elle est produite par une machine, puisque chacun

de ces fragments diffre de celui qui le prcde. Pour le son de la Caverne, Gallizio a fait appel une autre machine, le Theremin, un dispositif lectrique invent en 1919 par un scientifique et musicien russe, reconstruit avec des lments de radio par un ami physicien du peintre et dissimul derrire ses toiles.

De lantimatire lanti-monde Lemploi, dans le titre mme de la Caverne, du thme scientifique de l[ m ] antimatire prolonge linclination exprimentale de lartiste. Il sagit, crit-il Drouin, doffrir une protection pour les peurs de ceux qui vivent dans la prhistoire de lge atomique 8. La Caverne de lantimatire est donc la fois une grotte prhistorique, avec ses peintures rupestres, et un abri anti-atomique, mais antifonctionnaliste, un environnement qui stimule le dsir autant quil rpond aux besoins, suivant lesprit de ce que Jorn avait conu comme Bauhaus imaginiste , cest-dire un Bauhaus pourvu dimages. Dans la mobilisation de la notion d antimatire , se manifeste, bien entendu, une autre allusion larme nuclaire mais aussi la physique moderne. Lemprunt exprime surtout la fidlit de Jorn et Gallizio au matrialisme dialectique et, derrire lui, lesprance rvolutionnaire 9. La dcouverte empirique de lantimatire, confirme en 1955 par le physicien italien Emilio Segre, depuis un acclrateur de particules Berkeley, confirme pour Jorn et Gallizio la validit de la philosophie marxiste de la nature et, implicitement, de lhistoire. Le motif de lantimatire offre en outre une mtaphore pour identifier lactivit situationniste. Le discours de la vulgarisation scientifique dpoque laisse en effet entendre que si un gramme dantimatire est mis en contact avec un gramme de matire ordinaire, il se produira une raction brutale librant autant dnergie que la fission de plusieurs

kilogrammes de plutonium. Spare du monde tel quil est mais dote des mmes proprits sauf une la charge lectrique , contrainte de provoquer une explosion si elle entre en contact avec lui : telle est lantimatire. Gallizio et Jorn approfondissent cette premire intuition manichenne partir dun article du physicien italien Francesco Pannaria qui a dvelopp en 1949 la notion d anti-monde . Pour ce dernier, labsence de contact non explosif entre la matire et lantimatire ninterdit pas un change lectromagntique entre les deux ordres. Pannaria conoit ainsi le monde physique comme un thtre o lantimatire est dans les coulisses, la matire lorchestre, les changes quelles entretiennent se jouant sur la scne. Les parties constituantes de la Caverne figurent cette rencontre. En effet, comme lindique le carton du vernissage, le mur de droite, le mur de gauche et le fond de la galerie reprsentent les ractions qui adviennent entre lanti-matire, au plafond, et la matire, au sol. Ces forces se rencontrent et se fondent dans une ralit provisoire, reprsente par le mannequin habill de peinture. Avec une telle image, Gallizio cesse didentifier lactivit de lartiste rvolutionnaire avec celle de lantimatire : si la Caverne est une reprsentation de la rencontre de la matire avec sa face cache, lartiste est alors un acteur de la scne dchange imagine par Pannari pour cette rencontre. Nous sommes en position de catalystes, crit ainsi Gallizio Baj pendant lt 1958, qui, comme tu le sais, sont en chimie des lments indispensables, mais invisibles, dune prsence nous sommes les minences grises du chaos 10. Zone franche de ce ngatif puissant et imperceptible quest lanti-monde et allgorie possible de la rencontre explosive entre matire et antimatire, grotte prhistorique pour les temps nouveaux et prototype dabri anti-atomique antifonctionnaliste, modle rduit de milieu libre producteur de nouvelles passions et arme de dcloisonnement des disciplines artistiques, de dplacement des activits cratives hors du monde de lart : les figures de la Caverne sont


B6

Pinot-Gallizio et la Caverne De lantimatire

Laurent Jeanpierre

B

[f ]

donc multiples et fdrent plusieurs lignes en tension de la pense de Gallizio et des situationnistes la fin des annes 1950. Elles tmoignent surtout chez leur auteur dun rapport aux techniques et la science singulier au sein du mouvement : rapport cliv fait de distance et de familiarit. Dans la Caverne comme dans ses coulisses, le laboratoire dAlba, la critique de la contribution scientifique la menace de destruction nuclaire squilibre en effet avec la construction exprimentale de machines capables daller au-del de leur essence rptitive. Lemprunt la notion dantimatire et aux techniques exprimentales, chimiques, lectriques ou mcaniques, nest, quant lui, destin qu la construction dun imaginaire enfantin , selon Gallizio, susceptible doutrepasser la grande peur de lge atomique et mme de fonder lhumanit nouvelle 11.
[ m ] Laurent Jeanpierre

. .

Giorgina Bertolino et al., op. cit., p. 68-0. Sur la distinction entre le dtournement et lultradtournement, qui sapplique dans la vie sociale quotidienne, cf. Guy E. Debord, Gil J. Wolman, Mode demploi du dtournement , Les Lvres nues, 8, mai 1956, rd. Allia, Paris, 1995, p. -9.

4. Le soir mme du vernissage de lexposition chez Drouin, a lieu, Paris galement, galerie Rive Gauche, une exposition de son complice Asger Jorn (Modifications) dans lesprit, au contraire, du premier courant. Cf. Asger Jorn, Peinture dtourne , Discours aux pingouins et autres textes, Ensba, Paris, 001, pp. 14-18 ; Yan Ciret, Les modifications hrtiques dAsger Jorn , dans Yan Ciret (dir.), op. cit., pp. 10-104. Ainsi, cette soire du 1 mai 1959, au dpart conue par Debord et les siens comme une premire offensive concerte de deux artistes se prsentant comme situationnistes et anti-artistiques sur le march de lart parisien, est-elle demble marque par une tension irrsolue lintrieur du groupe entre deux types de rapport de la cration prsente aux arts du pass et aux autres pratiques contemporaines. 5. Sur cette thmatique de conciliation des arts et de la science, cf. Asger Jorn, Pour la forme. bauche dune mthodologie des arts, Allia, Paris, 001 (195). 6. Giuseppe Pinot-Gallizio, Discours sur la peinture industrielle et sur un art unitaire applicable , Internationale Situationniste, , dcembre 1959, rd. dans Internationale Situationniste, Fayard, Paris, 199, pp. 99-10 ; Frances Stracey, Pinot-Gallizios Industrial Painting: Towards a Surplus of Life , Oxford Art Journal, vol. 8, , 005, pp. 91-405. . Sur les machines peindre en gnral et celles de Tinguely et Gallizio en particulier, cf. Maurice Frchuret, La machine peindre, Jacqueline Chambon, Paris, 1998.

1.

Il ne reste plus que des traces photographiques qui ne montrent donc quune infime partie dun projet cens mobiliser tous les sens. La Caverne de lantimatire a toutefois t reconstitue loccasion de lexposition itinrante propos de lInternationale Situationniste prsente en 1989 au Centre Pompidou, lICA de Londres et lICA de Boston. Cf. Iwona Blazwick (ed.), An endless passion... an endless banquet, ICA/Verso, London/New York, 1989. propos des conditions et des circonstances de sa fabrication, consulter : Mirella Bandini, Lesthtique, le politique de CoBrA lInternationale Situationniste 1948 1957, Sulliver-Via Valeriano, Arles-Marseille, 1998 ; Pinot Gallizio, de lexprimentation la situation , dans Yan Ciret (dir.), Figures de la ngation. Avant-gardes de la fin de lart, Paris-Muses/Art of this Century/Muse dArt moderne Saint-Etienne Mtropole, Limites Ltd. ditions, 004, pp. 9-9 ; Giorgina Bertolino, Francesca Comisso, Maria Teresa Roberto, Pinot Gallizio. Il Laboratorio della Scrittura, Charta, Milano, 005 ; Guy Debord, Correspondance, vol. 1, juin 195-aot 1960, Fayard, Paris, 1999 ; Corine Pencenat. Au laboratoire dAlba, chez Pinot-Gallizio , Journes dtudes Les espaces de latelier , http//publi-misha.u-strasbg.fr/document. php?id=11 ; Frances Stracey, The Caves of Gallizio and Hirschhorn: Excavations of the Present , October, 116, Spring 006, pp. 8-100.

8. Giorgina Bertolino et al., op. cit., p. 68-0. 9. Celle-ci apparat chez Jorn dans Mouvement et forme. Sur le contenu progressif de la notion de dissymtrie , Pour la forme, op. cit., p. 11. 10. Giorgina Bertolino et al., op. cit., p. . 11 Ibid., p. 68.


B8

Laurent Jeanpierre
[e ]

B9

Pinot-Gallizio and The Cave of Antimatter, in the Antechamber of the Anti-world

Laurent Jeanpierre

On May 1, 1959, at the Drouin gallery on rue Visconti in Paris, [ m ] Giuseppe Gallizio, known as [ m ] Pinot-Gallizio, pharmacist, chemist, amateur archeologist, painter with only a few years experience, former resistance fighter, and occasional city councilman in the small Italian city of Alba, in Piedmont, exhibited a Cave of Antimatter [ m Caverne de lantimatire ], composed, notably, of 145 meters of what he called industrial painting. Gallizio met the painter Asger Jorn in 1955 in Alba and, two years later, participated with him in the foundation of the Situationist International [ m Internationale Situationniste ] in Italy, uniting several small groups of the European artistic avant-garde of the period. The Cave of Antimatter was inscribed in the Situationist agenda as it was being developed: it represented one of the first attempts at the conscious construction of situationsa goal that gave the group its namethough it was still limited to the art world. What relationships might exist between this collective project led by Gallizio and the theme of antimatter? How can the elucidation of these relationships shine new light on the history of the Situationists and the avant-gardes? To answer these questions, we must first enter the Cave, based on what it is possible to know about it today.1

in the Cave and Beyond The Cave of Antimatter was produced by covering all the walls, and also the floor, of the Drouin gallery with expressionist and abstract painting. Moving lights of various colors, which notably used infrared and ultraviolet light bulbs, modified the reflections and aspects irregularly. Spectral soundswhich varied in intensity and scale based on the comings and goings in the space emanated from the installation as a whole. A composite odor was also circulating, while a hearth of several aromatic woods announced

the exhibition from the sidewalk, in front of the long roll of canvas painted by Gallizio, placed on the ground and trod upon, at first, by the artist and visitors. The volume of the space had been reconfigured to resemble a labyrinth, and every evening a young woman wearing a dress cut from a scrap of industrial painting would walk around at her leisure. The invitation explained that it was a matter of constructing a general ambiance. Gallizios realization was also inscribed in a long tradition of projects involving synesthesia, conducted by the avant-gardes, from Italian futurism to Russian constructivism, by way of Dadaism. It intended not only to accelerate the emotions, as its author wrote a few months before the exhibition, but also to demonstrate that the various disciplines in the fine arts should be combined to produce a complete environment, a total work of art.2 Plans such as these were no doubt present at the very beginning of artistic modernity, in the 19 th century, and each generation of artists in the avant-garde has been able to re-actualize it. In the case of Pinot-Gallizio and the Situationists, it was only a step towards the quest for new passions. By devalorizing all separate artistic practice (in the other arts as well as in lived experience), the work encouraged artists to create a new living environment collectively. At the same time, other Situationist artists, like Constant, were exploring these regions on the vaster scale of architecture and what was called unitary urbanism at the time. The use of artistic techniques in the service of the construction of situations was completed by the search for new behaviors, among which, for example, the urban drive [drift] practiced by Debord and his companions since the early 1950s. The Cave of Antimatter was thus more than a work that was critical of the division of artistic labor or an installation that doubled as performance before its time: it wanted to represent a smallscale model of what might be an environment diversified by unexpected emotions, and the bearer of new forms of life.


B10

Pinot-Gallizio anD the Cave oF antimatter

Laurent Jeanpierre

B11

[e ]

two tendencies in the international: Situationism and experimentation This aesthetic and political agenda which aimed to liberate people from boredom, repetition, and sorrow by constructing a new life based on free activity and play rather than on the constraints of imposed work that peoples leisure activities intended to make less harsh, was followed by Situationists of two distinct sorts that polarized the history and memory of the movement and all the historical avantgardes of the past century. Under the generic banner of dtournement, [diversion] the Situationists in fact conceived of two ways to select and combine cultural elements that already existed into a unity considered superior.3 The first path was centered on reusing the contents of culture and applied above all to writing, painting, and cinema. The second path was a dtournement of practices or the practice of everyday life. There are two determinations, therefore, that gradually become antagonistic within the Situationist International itself: one might be called literary and logocentric and the other, more technical and praxeo-centric; one aimed at going beyond art or to the end of art as long as it still relied on artistic disciplines; the second circulated more freely on both sides of the dividing line between art and non-art. Gallizio was one of the most active elements of the second of these tendencies.4 Because of his profession as a pharmacist, his assiduous practice of vegetal chemistry, archeology and regional anthropology, he was predisposed to establishing many footbridges between art, science, and technology. Starting in 1946, after a class on herbs and aromas in wine given at the citys Agricultural Institute, his studio was rechristened the experimental laboratory of Alba. Over fifteen years of activity, Gallizio welcomed other artists in the pictorial avant-garde but also received physicists, workers from Turin, gypsies whom he offered a place of refuge. The meeting with Jorn decisively reoriented the laboratory toward

research into the integration of scientific and artistic methods and collective empirical experimentation as a way of teaching.5 After working with ceramics, Gallizios initial research focused on resins and the olfactory properties of essences and their synesthesis with colors. These elements would enter into the composition of the Caves surfaces. But the great work that emerged from Gallizios experiments during this period was the process of industrial painting discovered in December of 1956.6 It undermined the principles of the unity of the artists creative gesture, stripped away the aura from the work of art and sought to devalue separate pictorial activity. He showed that a machine could produce abstract expressionist canvases, like those of Pollock or Mathieu, as well as Cobra or art brut paintings, in vogue at the same time. Pinots painting machine differed, however, from the motorized one made by Tinguely, which was shown for the first time at the first Paris Biennial a few months after the opening of the Cave.7 Constructed out of bicycle chains, large pulleys, metal rollers that spread the paint and flattened the canvas, and brushes that dispersed the materials, it produced series based on a monotype made of cloths soaked with paint (sometimes mixed with sand or coal) that would gradually fade with use. It would then dry the meters of canvas. Gallizios prowess had to do with the fact that industrial painting had nothing to do with repetitive painting, even though it was produced by a machine, because each of these fragments differed from the one that preceded it. For the sound of the Cave, Gallizio also called on another machine, the Theremin, the electronic device invented in 1919 by a Russian scientist and musician, reconstructed with parts of a radio by one of the painters physicist friends and concealed behind his canvases.

From antimatter to the anti-world The use of the scientific theme of antimatter [ m antimatire ], in the title of the Cave itself, extended the artists experimental inclinations. It was about offering protection, he wrote to Drouin, to those living fearfully in the prehistory of the atomic age. 8 The Cave of Antimatter was therefore both a prehistoric grotto with its cave paintings and a fallout shelter, but an anti-functionalist one, an environment that stimulated desire as much as it responded to needs, in the spirit of what Jorn had conceived of as an imaginist Bauhaus, which is to say, a Bauhaus syle open to images. In the mobilization of the notion of antimatter, there was an allusion to nuclear weaponry, of course, but also to modern physics. The borrowing, above all, expressed Jorn and Gallizios fidelity to dialectical materialism and, behind that, revolutionary hope.9 The empirical discovery of antimatter, confirmed in 1955 by the Italian physicist Emilio Segre, at a particle accelerator in Berkeley, demonstrated for Jorn and Gallizio the validity of Marxist philosophy in nature and, implicitly, of history. Moreover, the theme of antimatter provided a metaphor for Situationist activity itself. The discourse of the scientific vulgarization of the period, in fact, suggested that if a gram of antimatter were placed in contact with a gram of ordinary matter, it would produce a brutal action that would release as much energy as the fission of several kilograms of plutonium. Antimatter: separated from the world as such but endowed with the same properties except for oneelectrical chargeand forced to cause an explosion on contact. Gallizio and Jorn went more deeply into this first Manichean intuition based on an article by the Italian physicist Francesco Pannaria, who in 1949 developed the notion of the anti-world. For the latter, the absence of a non-explosive contact between matter and antimatter did not prevent an electromagnetic exchange between the two orders. Pannaria thus conceived of the physical

world as a theater in which antimatter waited in the wings, matter in the orchestra, and the exchanges between them occurred on stage. The constituent parts of the Cave depict this encounter. Indeed, as the invitation stated, the right wall, left wall, and back wall of the gallery represent the reactions that occur between antimatter, on the ceiling, and matter, on the floor. These forces meet and are established in a temporary reality, represented by the model dressed in painted canvas. With this image, Gallizio ceased to identify the activity of the revolutionary artist with that of antimatter: if the Cave was a representation of the encounter between matter and its hidden side, the artist was an actor on the stage of exchange that Pannaria imagined for this encounter. We are in the position of catalysts, Gallizio wrote to Baj in the summer of 1958, which as you know in chemistry are indispensable but invisible elements of a presencewe are the gray eminencies of chaos. 10 A free zone for this powerful and imperceptible negative that is the anti-world and a possible allegory for the explosive encounter between matter and antimatter, a prehistoric cave for modern times, and a prototype of an anti-functionalist fallout shelter, a small-scale model of a free environment that would produce new passions and a weapon with which to decompartmentalize artistic disciplines, and displace creative activities outside the world of art: the depictions of the Cave are multiple and unite several lines of tension in the thought of Gallizio and the Situationists in the late 1950s. Above all, they testify to their authors singular relationship to technologies and to the science when compared to the rest of the movement: a divided relationship composed of distance and familiarity. In the Cave as well as in its wings (the Alba Laboratory) and the critique of the scientific contribution to the threat of nuclear destruction was in fact balanced by the experimental construction of machines capable of going beyond their repetitive essence. Borrowing the notion of antimatter


B1

Pinot-Gallizio anD the Cave oF antimatter

Laurent Jeanpierre

B1

[e ]

and experimental, chemical, electrical or mechanical technologies, was only intended for the construction of a childlike imagination, likely, according to Gallizio, to override the great fear of the atomic age and even to establish a new humanity.11
[ m ] Laurent Jeanpierre
5.

This evening, May 1, 1959, initially conceived by Debord and his circle as a concerted first offensive by two artists presenting themselves as anti-artistic Situationists on the Parisian art market, was suddenly marked by an unresolved tension within the group between the two types of relationships of the art of the present with arts of the past and with other contemporary practices. On the topic of cooperation between the arts and science, see Asger Jorn, Pour la forme. bauche dune mthodologie des arts (Paris: Allia, 001). Originally published in 195.

1.

Only a few photographic traces remain, showing a small part of a project meant to mobilize all the senses. Nevertheless, The Cave of Antimatter was reconstructed during the international exhibition About the Situationist International presented in 1989 at the Centre Pompidou, Paris, at the ICA in London and at the ICA in Boston. Cf. Iwona Blazwick (ed.), An endless passion... an endless banquet (London/New York: ICA/Verso, 1989). Regarding the conditions and circumstances of its fabrication, see: Mirella Bandini, Lesthtique, le politiquede CoBrA lInternationale Situationniste 1948-1957 (Arles-Marseille: Sulliver-Via Valeriano, 1998); Pinot-Gallizio, de lexprimentation la situation, in Yan Ciret (ed.), Figures de la ngation. Avant-gardes de la fin de lart (Paris: Paris-Muses/Art of this Century/Muse dArt moderne Saint-Etienne Mtropole, Limites Ltd. Editions, 004), pp. 9-9; Giorgina Bertolino, Francesca Comisso, Maria Teresa Roberto, Pinot Gallizio. Il Laboratorio della Scrittura (Milan: Charta, 005); Guy Debord, Correspondance, vol. 1, juin 195-aot 1960 (Paris: Fayard, 1999); Corine Pencenat, Au laboratoire dAlba, chez Pinot-Gallizio, in Les espaces de latelier, http://publi-misha.ustrasbg.fr/document.php?id=11; Frances Stracey, The Caves of Gallizio and Hirschhorn: Excavations of the Present, October, 116, Spring 006, pp. 8-100. Giorgina Bertolino, et al., op. cit., pp. 68-0. On the distinction between dtournement and ultradtournement, which is applied in everyday social life, see Guy Debord and Gil J. Wolman, Mode demploi du dtournement, Les Lvres nues 8, May 1956 (Paris: Allia, 1995), pp. -9.

6. Giuseppe Pinot-Gallizio, Discours sur la peinture industrielle et sur un art unitaire applicable, Internationale Situationniste 3, December 1959, reprinted in Internationale Situationniste (Paris: Fayard, 199), pp. 99-10; Frances Stracey, PinotGallizios Industrial Painting: Towards a Surplus of Life, Oxford Art Journal, vol. 8, no. , 005, pp. 91405. . On painting machines in general and those of Tinguely and Gallizio in particular, see Maurice Frchuret, La machine peindre (Paris: Jacqueline Chambon, 1998).

8. Giorgina Bertolino et al., op. cit., pp. 68-0.

9. This appeared in Jorns Mouvement et forme. Sur le contenu progressif de la notion de dissymtrie in Pour la forme, op. cit., p. 11.
10. Giorgina Bertolino et al., op. cit., p. .

11. Ibid., p. 68.

(Translated from French by Jeanine Herman)

. .

4. On the same night as the opening at galerie Drouin, there was another exhibition taking place at galerie Rive Gauche by his accomplice Asger Jorn (Modifications) in the spirit of the first current. Cf. Asger Jorn, Peinture dtourne in Discours aux pingouins et autres textes (Paris: Ensba, 001), pp. 14-18; Yan Ciret, Les modifications hrtiques dAsger Jorn, in Yan Ciret (ed.), op. cit., pp. 10-04.

FREStoNiA

B14

Fre 81

oiZillag-tonip ed enrevac al te snad eritamitnal erbmahcitnal ednom-itnal ed / oiZillag-tonip Fo evac eht dna ni ,rettamitna rebmahcetna eht dlroW-itna eht Fo

imaginaires, naissent sur les cendres encore fumantes des conflits, en raction contre les gouvernements qui les encouragent, tout comme lhumour absurde a fini par devenir un drivatif important pour tous ceux qui cherchent chapper au traumatisme de la guerre.
TaTs(FaiTes-leVoUs-mme) ] [ e ] m Created in the early 1930s by Groucho

[f ] m

Marx. The Sovereign Nation of Freedonia soon became the subject for the film Duck Soup released by Paramount Pictures in late 1933. The creation of Freedonia was politically motivated and became the Marx Brothers way to find humor while commenting on the troubled times they found themselves in after WWI and during the tension leading up to WWII. The film itself parodied war and the misguided leadership that allowed war to occur. After all, many nations real and imaginary are initiated out of the ashes of war and the distrust of leaders who encourage it, and absurd humor is an important outlet for people who seek some respite from the trauma war brings.[ m TaTs(FaiTes-le
VoUs-mme) ]

m marxBrothers , Duck Soup, 1933

Frestonia [ f ] m En 1977,

les autorits locales menacrent dviction les squatters dun btiment abandonn de Freston Road, dans louest de Londres. Inspirs par une comdie de Henry Cornelius datant de 1949, Passeport pour Pimlico, ils dclarrent que le squat tait une nation souveraine nomme Frestonia et navait pas de comptes rendre au Royaume-Uni. Ayant soumis une demande de reconnaissance par lONU, ils mirent sur pied des forces de maintien de la paix charges dviter lviction ordonne par la municipalit de Londres.

~~~ Et le reste, ainsi de suite, on pourrait continuer : linfini que la locution latine se contente dindiquer en une abrviation, la Fonction Etc. lrige en facteur et en principe de cration et de programmation. Mathmatique schizophrne, une telle fonction ne serait pas tant une mise en relation de deux ensembles, lment par lment, quune exploitation de chaque entit dans toute ltendue de ses potentiels. Les donnes se transfrent dune zone lautre, transmutent ; une identit en devient une autre, puis une autre, puis une autre ; chaque image sen ajoute une nouvelle, sur chaque couche du rel viennent sen greffer plusieurs ; un seul univers correspond une infinit dautres. Avec la Fonction Etc. se dsagrge la logique traditionnelle du ou bien ou bien au profit de celle, plus polysmique et fertile, accumulation vertigineuse, du et et . Cest la science-fiction qui a la premire appliqu cette mcanique : plutt que de sen tenir un corps, une plante, un univers, il sagit de les multiplier, de les additionner, de les empiler. Par lintermdiaire de ses mutants, la science-fiction embraye la Fonction Etc. : elle active les doubles, partage les identits, dcuple le nombre des vies possibles. Ceci plus ceci et encore cela pour mieux prouver les capacits lastiques de la ralit. La Fonction Etc. implique un enchanement continu de perceptions et une absence totale de point fixe : la vue chancelle, entrane dans un mouvement en pleine acclration, qui laisse sur place les cadres de perception et dobservation habituels. Les uvres sabordent dsormais en tant que liaisons et passages, non plus comme des lieux et des positions. Lart devient un trajet sans fin, non pas au-del du rel, mais dans lpaisseur de ses rptitions et de ses correspondances, dans la densit et la complexit de ses plis.

Fonction Etc.

[e ] m

[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m In 1977, squatters in an abandoned building

on Freston Road, West London faced eviction by the local authorities. Inspired by a 1949 comedy film Passport to Pimlico, directed by Henry Cornelius, the squatters declared them-

~~~ And all the rest, and so on, and so forth: the infinitude that the Latin wording is content to indicate by an abbreviation, the function played by etc., raises it into a creative and programming factor and principle. Schizophrenic
/

Function of an etc.

Fur 82

FuRRiES

FuRtivit

Fur 83

mathematics: such a function would not be so much a linking of two groups, element by element, as an exploitation of each entity to the full extent of its potential. The data are transferred from one zone to another, transmuted; one identity becomes another, then another, then another; to each image a new one is added, on to each layer of reality several more are grafted, to a single universe an infinity of other ones corresponds. With the Function of an etc. the traditional logic of or else or else disintegrates in favor of the more polysemic and fertile logic, the vertiginous accumulation, of and and. Science fiction was the first to apply this mechanism: rather than confining itself to one body, one planet, one universe, it became a question of multiplying them, adding them up, piling them on. Through the agency of its mutants, science fiction puts the function of an etc. into gear: it activates doubles, shares identities, increases the number of my possible lives tenfold. This plus this and that too so as better to test the elastic capabilities of reality. The Function of an etc. implies a continuous linked sequence of perceptions and a total absence of any fixed point: our sight sways, carried away in a movement accelerating at full speed, which leaves the usual frameworks of perception and observation standing. Works are now approached as links and passages, no longer as places and positions. Art becomes a journey without an end, not beyond reality, but into the depths of its repetitions and correspondences, into the density and complexity of its folds. ~~~

selves to be a sovereign nation called Frestonia, apart from the United Kingdom. They appealed for recognition by the United Nations, and asked for a peacekeeping force to prevent their eviction by the Greater London Council. [ m TaTs
(FaiTes-leVoUs-mme) ]

pouvant aller jusqu simaginer retrouver ainsi leur prcdente incarnation. Dans un mme temps, beaucoup sinterrogent, dans Second Life, sur le devenir Furry , et ce dautant plus que, au lancement de la plateforme, tous les avatars avaient une apparence humaine : on ne pouvait alors que se changer progressivement en Furry, grce lcriture ou lacquisition de scripts. Il est dsormais possible de choisir une allure danimal anthropomorphe ds le dpart, ce qui a considrablement augment la communaut des Furries, mais galement rendu moins signifiante leur dsignation commune.
[ m KinoshitaKaori&dellanegraalain] [ m secondlife] [ m Gorens] [ e ] m Community in Second Life. The Furries

[f ] m

m Furries
Furries [ f ] m Communaut

sur Second Life. Les Furries forment sur Second Life une communaut immdiatement identifiable, regroupant les avatars hybridant attributs animaux et humains. Au dpart, furry (de langlais fur , qui signifie fourrure ) tait un terme gnrique dsignant les animaux anthropomorphes reprsents dans des dessins anims ou dans des rcits de science-fiction, avant de renvoyer, par extension, aux fans de tels personnages, souvent adeptes de dguisements sophistiqus et de conventions consacres leur passion. Dans Second Life, on estime quenviron % des avatars sont des Furries ; pour la plupart de ces joueurs, davantage que la rfrence un hros prexistant, la transformation virtuelle en animal permet de vivre et dexprimer son vritable moi . Lanimal choisi peut tre un simple totem, mais de nombreux rsidents sidentifient rellement celui-ci,

form an immediately identifiable community in Second Life, bringing together avatars with hybrid animal and human attributes. To start with, furry (from the word fur) was a generic term referring to the anthropomorphic animals depicted in cartoons or science-fiction stories, before being applied by extension to the fans of such characters, often devotees of sophisticated disguises and conventions related to their passion. In Second Life, it is estimated that around % of the avatars are Furries; for most of these players, their virtual transformation into an animal allows them to live and express their true self, rather than being a reference to a pre-existing hero. The animal chosen can be a simple totem, but many residents really do identify with it, and can go so far as to imagine they are thus rediscovering a previous incarnation. At the same time, many in Second Life wonder about the Furry destiny, especially as, at the launch of the platform, all avatars had a human appearance: it was then possible to change into a Furry only gradually, by means of writing or the acquisition of scripts. It is now possible to choose an anthropomorphic animal appearance right from the start, which has considerably increased the size of the Furry community, but also made their shared designation less meaningful.

~~~ Au contraire du camouflage, technique ancestrale de dissimulation et dinvisibilit dont le principe est de se fondre dans le paysage, la furtivit repose sur une paradoxale capacit mettre en dfaut les moyens de reconnaissance habituels tout en restant de fait visible. Un objet camoufl se travestit, se cache, simmobilise pour passer inaperu ; lobjet furtif esquive et se drobe, ne donne pas prise, et dvie, fractionne ou leurre les signaux de dtection. Invisible au radar, un bombardier furtif fait comme sil ntait pas l ; pourtant, il suffirait de lever les yeux pour le dcouvrir, machine de guerre aux allures de science-fiction. En un clair, le dfaut de visible se transforme alors en son excs : la furtivit est la fois invisible et hyperspectaculaire, discrtion optimale et photognie ultime. Dans leur dmarche comme dans leurs uvres, notamment dans le rapport quelles entretiennent avec le rel, nombre dartistes sapproprient les caractristiques inoues de lobjet furtif. Ils naffirment pas leur prsence et savancent, peine masqus, avant de rvler subitement la vraie nature de leur intervention et dimposer leur impact. Ils dveloppent des stratgies dinfiltration en se djouant des habitudes de perception, sintroduisant subrepticement dans tous les territoires du rel pour soudainement en bouleverser lapprhension. Dans luvre dart furtive , un simple dtail du rel, dordinaire invisible, prend une nouvelle dimension, devient photognie ; sans crier gare, les artistes pntrent et simmiscent dans notre systme interprtatif.

Furtivit

[e ] m

[ m KinoshitaKaori&dellanegraalain] [ m secondlife] [ m Gorens]

Furtivit

Furtivity
[f ] m [ m voir encadr p.83] Caractristique dun engin militaire conu pour avoir une signature rduite ou banale et donc pour tre moins dtectable, classifiable ou identifiable. [ m 5.000.000.000dannes]

~~~ Unlike camouflage, an age-old technique for concealment and invisibility based on the principle of merging into the landscape, furtivity relies on a paradoxical capacity to baffle the usual means of recognition at the same time as in fact remaining visible. A camouflaged object is disguised, hidden, immobilized so that it can pass undetected; the furtive object dodges and circumvents, gives no hold, and sidetracks, breaks up or tricks detection signals. Invisible to radar, a furtive or stealth bomber is as if it was not there; yet people would only have to look up to find it, a war machine that looks like something out

Furtivity

Fus 84

FuSA

85

of science fiction. In a flash, the defect of visibility is transformed into its excess: furtivity is simultaneously invisible and hyper-spectacular, optimum discretion and ultimate photogenicity. In their approach and their works alike, in particular in their relationship to reality, quite a few artists take on the unprecedented characteristics of the furtive object. They do not declare their presence and move forward, barely concealed, before suddenly revealing the true nature of their intervention and imposing their impact. They develop strategies of infiltration by outsmarting habits of perception, introducing themselves surreptitiously into every territory of reality in order suddenly to overturn apprehension. In the furtive work of art, a simple detail of reality, of invisible ordinariness, takes on a new dimension, and becomes photogenic; without shouting beware, artists penetrate into and interfere with our interpretative system. ~~~

[e ] m

[ m see box p. 83] The characteristic of a

military weapon designed to give it a reduced or commonplace signature which is therefore harder to detect, categorize or identify.
[ m 5.000.000.000dannes]
Fusa [ f ] m Municipalit

villageoise du comt de Hordaland, en Norvge. En 2003, les habitant de Fusa ont proclam une monarchie indpendante et Morten Holmefjord sest port volontaire pour tre le vice-roi de Fusa. Le maire a lui-mme sanctionn cette dclaration de souverainet et dindpendance par un trait sign avec Fusa. Le royaume, gouvern par un vice-roi, a retrouv son statut de municipalit ordinaire lors dun rfrendum public, deux ans plus tard. Le Vice-roi Holmefjord fut contraint lexil en Uruguay. Fusa couvre un territoire de 378 km2 et comprend 137 kilomtres de ctes. Sa population est de 3750 habitants et son territoire attire des gens du monde entier. De vastes cratres de pierre forms par des tourbillons et par le mouvement de leau et de la glace qui, sur des milliers dannes, ont cr ces bassins de pierre, couvrent le paysage. Fusa est une commune autosuffisante qui senorgueillit de son indpendance et de son autonomie. ers county of Hordaland, Norway. In 2003 the people of Fusa declared themselves an independent monarchy and Morten Holmefjord volunteered himself as viceroy of Fusa. Even the elected presiding mayor sanctioned the declaration of independent sovereignty with a treaty he signed with Fusa. The viceregal kingdom reverted back to an ordinary municipality when a public referendum was held two years later. Viceroy Holmefjord was forced to leave in exile in Uruguay. Fusa covers a territory of 378 km2 including, 137 km of which is coastline. It has a population of 3,750 citizens and its land attracts people from around the world. Large rock craters shaped by eddies and the movement of water and ice which over many thousand years created the rock pools that cover the landscape. Fusa is a self-sustaining commune that prides itself on its independence and self reliance.
[ m TaTs(FaiTes-leVoUs-mme) ]

[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m A village municipality within the cov m Sea Shadow

F-177

gal 8

GAlFARD

GENE & lE BoRGNE

gen 87

galFard, christophe [ f ] m Docteur en physique

thorique, diplm de luniversit de Cambridge. Seul tudiant franais avoir travaill avec Stephen Hawking, il a tudi les trous noirs et lvolution de notre univers. Il se consacre actuellement lexplication des ides scientifiques modernes au grand public travers des crations littraires et cinmatographiques. Il a co-crit avec Hawking et sa fille Lucy Hawking Georges et les secrets de lunivers (Pocket Jeunesse, 2007), premier tome dune trilogie romanesque pour enfants sur la science et notre univers. Il donne par ailleurs des confrences grand public sur la science, lespace et lunivers, illustres danimations conues avec laide de spcialistes en effets spciaux numriques. [ m antimatire]
[ m lesjeudisde Cinqmilliardsdannes ] [ m lesjeudisde ,noUVellesdUmonde renVers ] [ m Positron] [ m dirac(quationde)] [ m Palais/ ]

[ e ] m A doctorate in theoretical physics from

Cambridge University. He is the only French student to have worked with Stephen Hawking, has studied black holes and the evolution of our universe. He is currently engaged on explaining modern scientific ideas to the public at large through literary and cinematographic works. He has collaborated with Hawking and his daughter Lucy Hawking on writing Georges Secret Key to the Universe (Simon & Schuster, 2007), the first volume of a trilogy of novels for children on science and our universe. Furthermore he gives lectures to the general public on science, space and the universe, illustrated with animations devised with the help of experts in digital special effects. [ m antimatire] [ m lesjeudisde
Cinqmilliardsdannes ] [ m lesjeudisde , noUVellesdUmonderenVers ] [ m Positron]

spectateurs, inscrivant son travail dans un change permanent. [ m modUle ] 03/05/2007 03/0/2007. Programme de gouvernement. Sur fond de ciel bleu, deux beat boxers rcitent respectivement le programme officiel de Sgolne Royal et de Nicolas Sarkozy pour les lections prsidentielles franaises de 2007. [ e ] m *1977, lives in Paris. Adriana Garcia Galan, a Colombian artist, has developed a body of work that is playful and political. She is particularly interested in the question of language and in the power of words, both the basis of any communication in modern society and tools of its construction. Multimedia, video, sound or performance, her works often require the participation of the public, placing her work in a permanent exchange. [ m modUle ] 03/05/2007 03/0/2007. Programme de gouvernement [Government Program]. With a perfectly blue sky as a background, two beat boxers recite the official agenda of Sgolne Royal and of Nicolas Sarkozy for the 2007 presidential elections. m uvre / Work Programme de gouvernement, 2007 DVD, 24 min. 14 sec., Avec / featuring : Faty, David-x courtesy de lartiste / of the artist
gene, bernadette & le borgne, alain [ m 6 , fig. # 87 ] [ f ] m Bernadette Gene : *1949 ; Alain Le Borgne :

[ m dirac(quationde)] [ m Palais/ ]
galliZio giuseppe [ m voir p. B-3 / see p. B-9] garcia galan, adriana [ m 6 , fig. # 84 ] [ f ] m *1977, vit Paris. Adriana

Garcia Galan, artiste dorigine colombienne, ralise depuis quelques annes un travail la fois ludique et politique. Elle sintresse particulirement la question du langage et au pouvoir des mots, qui sont la base de toute communication dans la socit actuelle et un outil de construction. Multimdia, vido, son ou performance, ses uvres requirent souvent la participation des

*1947 ; vivent Concarneau et Paris. Depuis 1993, Bernadette Gene et Alain Le Borgne travaillent en lien direct avec des univers professionnels en apparence loigns du monde de lart. Les changes quils tablissent avec le monde du cirque, de lindustrie textile, des comices agricoles ou mme du Vatican aboutissent une production artistique varie (installations, objets, photographies, vidos, uvres sonores, performances, tableaux vivants, livres, ou expositions). En 1998, les artistes se sont intresss aux codes et usages des milieux militaires. Plusieurs annes durant, ils ont tabli de nombreux liens avec diverses personnes de lArme de Terre, de la Lgion trangre ou de lHtel national des Invalides : de nombreuses histoires se sont tisses entre les lieux, les objets et les mmoires. Divers documents, arrangements et images en tmoignent sous la forme de reprsentations imprvues qui noncent lambivalence de leur statut la fois rel et symbolique.

[ m modUle ] 05/04/2007 29/04/2007. Units lmentaires. Dans un premier espace du Module a t prsent Couvre-chefs, un ensemble de soixante-dix photographies de kpis retourns. Les effets personnels des militaires qui y sont cachs dvoilent leur intimit et lenvers de leurs relations entre identit personnelle et unit collective. Le deuxime espace du Module tait occup par une double projection vido, un corpus de films militaires et de vidos ralises par les artistes. Aubade, Sortilges et Je crche derrire le muse, tourns avec la participation de la Lgion trangre, voquent chansons, pomes et crches de Nol. Simultanment, la programmation de films extraits des archives de lECPAD (tablissement de Communication et de Production Audiovisuelle de la Dfense), slectionns par les artistes, prsente des militaires pratiquant des activits parallles, par nature trangres au combat. [ e ] m Bernadette Gene: *1949 ; Alain Le Borgne: *1947 ; live in Concarneau and Paris. Since 1993, Bernadette Gene and Alain Le Borgne have been working in direct contact with professional contexts that appear far removed from the world of art. The exchanges they have established with the worlds of the circus, the textile industry, agricultural shows or even the Vatican have resulted in a varied artistic output (installations, objects, photographs, videos, sound works, performances, tableaux vivants, books, or exhibitions). In 1998 the artists became interested in the codes and customs practised in military circles. Over the course of several years, they established numerous relationships with people in the Army, in the Foreign Legion, or with pensioners at the Htel National des Invalides, and gradually became intimately connected to these communities and their many stories, objects and memories. Through their production of documents, installations and images, the artists create representations of ambivalent status, both real and symbolic. [ m modUle ] 05/04/2007 29/04/2007. Units lmentaires [Elementary Units]. Couvre-chefs [Headgear] (2007), a new set of seventy photographs of upside-down kepis or military caps, is presented in a first space of the Module. The personal effects of the servicemen that are hidden there reveal private choices and activate a personal identity within a collective unit. The second space of the Module was occupied by a double video projection featuring a number of military films, and videos made by the artists.

geo 88

GomtRiE iNvERSE

GESuAlDo

ges 89

Aubade [Dawn Serenade] (2000), Sortilges [Magic Spells] (2001) and Je crche derrire le muse [I hang out behind the museum] (2002), feature men from the Foreign Legion singing songs, reciting their poems, or making Christmas crches. Shown simultaneously is a programme of films from the archives of the ECPAD (Defence Ministry Audiovisual Communication and Production Office) selected by the artists, showing servicemen carrying out parallel activities far removed from combat. m Liste des uvres / List of works Couvre-chefs, 2002-2007 78 photographies / photographs Tirages jet dencres / inkjet prints, 40 x 0 cm Units lmentaires, 2007 Double projection vido / double video projection, 25 min

conduit les stratges israliens modifier radicalement leur manire dlaborer, de mener et mme de penser leurs oprations militaires en dehors de leurs frontires. Ansi la tactique de la gomtrie inverse prconise dviter les portes, les fentres et les rues et de creuser, travers murs et plafonds, des tunnels de surface la manire dun Gordon Matta-Clark pour dmolir de lintrieur les refuges des combattants adverses. Lide est alors de tirer parti dquipements aussi perfectionns que des viseurs thermiques ou des munitions perforantes pour aborder autrement le dplacement, le dploiement et lorganisation des troupes travers la ville, et surtout pour rinterprter larchitecture son propre avantage. Cette notion de gomtrie inverse, propose par le gnral Aviv Kochavi, responsable de lattaque contre Naplouse en avril 2002, nest pas quune tactique visant contester lennemi lavantage du terrain. Ainsi, le gnral Shimon Naveh, un des principaux thoriciens de ce nouvel art de la guerre, se revendique de la pense de Gilles Deleuze et Flix Guattari : reprenant la distinction propose dans Mille Plateaux entre espace stri, systme hirarchis o lignes et trajectoires tendent tre subordonns aux points : on se dplace dun point lautre , et espace lisse, plan multidimensionnel dans lequel la continuit de la trajectoire prime, il enjoint ses troupes lisser lespace , imposer leur mouvement aux zones palestiniennes stries de murs, de barbels et de tranches. Les notions de fluidit ou de drive priss par des penseurs foncirement critiques sont ainsi retournes au profit dune pratique bien relle de dsorganisation de lespace, dont la finalit nest plus loccupation statique, mais le contrle des frontires. [ m essaimage] [ m operationalTheoryresarchinstitute] [ m Weizman, eyal] [ m lesjeudisde ,noUVellesdUmonde renVers ]

demolish the refuges of the enemy combatants from inside. Then the idea is to take advantage of such hi-tech equipment as thermal sights or wall-penetrating ammunition to approach the movement, deployment and organization of troops through the town in a different way, and above all to reinterpret architecture to their own advantage. This notion of inverse geometry, put forward by General Aviv Kochavi, in charge of the attack on Nablus in April 2002, is more than just a tactic aimed at contesting the advantage enjoyed by the enemy of being on their own ground. Thus General Shimon Naveh, one of the main theorists behind this new art of warfare, claims to be influenced by the thinking of Gilles Deleuze and Flix Guattari: taking up the distinction proposed in A Thousand Plateaus between striated space, a hierarchical system in which lines and trajectories tend to be subordinate to points: we move from one point to another, and smooth space, a multidimensional level in which the continuity of the trajectory takes precedence, he enjoins his troops to smooth out space, to impose their movement on the striated Palestinian zones of walls, barbed-wire fences and trenches. The notions of fluidity or drift valued by fundamentally critical thinkers are thus diverted for the benefit of a very real practice of disorganizing space, the end purpose of which is no longer static occupation, but the control of frontiers.
[ m essaimage] [ m operationalTheoryresarch institute] [ m Weizman,eyal] [ m lesjeudisde , noUVellesdUmonderenVers ]
gorgie (rpublique de)

blement rduite, mais ceux qui soutiennent son existence hissent encore le drapeau une toile de la Gorgie. [ m TaTs(FaiTes-leVoUs-mme)] [ e ] m Seditionist group that claims its territory as the existing state of Georgia in the United States. The Republic officially seceded on January 19, 181. The Republics independence officially lasted only a few days, as a committee calling themselves the Delegates of the People of the State of Georgia decided to agree to allow the state of Georgia to join the Confederate States of America on February 4. Some historians and the people who today pledge allegiance to the Republic claim that those delegates were actually agents of the crown of England and that they were in fact unrepresentative of the people of Georgia, the majority of whom, according to the Republic, wanted to maintain autonomy as a free and independent state. The Republic of Georgia has become small, but those who support it still fly the Georgia One-Star flag. [ m TaTs(FaiTes-leVoUs-mme)]

[ e ] m Strategy. Recent developments in the geo-

m Gomtrie inverse / Inverse Geometry

gomtrie inverse

Inverse geometry [ f ] m Stratgie. Les volutions rcentes de la gopolitique moyen-orientale offensives de Tsahal en Cisjordanie et au Sud-Liban, abandon de certaines colonies, construction par Isral dun mur de sparation avec la Palestine ont

politics of the Middle Eastattacks by Tzahal on the West Bank and in southern Lebanon, the abandonment of some settlements, the building by Israel of a dividing wall between it and Palestinehave led Israeli strategists to make radical changes in their way of preparing, conducting and even thinking about their military operations outside their own frontiers. Inverse geometry tactics advocate avoiding doors, windows and streets and digging surface tunnels through walls and ceilings, in the manner of someone like Gordon Matta-Clark, to

The Republic of Georgia [ f ] m Groupe factieux qui revendique ltat de Gorgie, aux tats-Unis. La rpublique a officiellement fait scession le 19 janvier 181. Mais son indpendance ne dura officiellement que quelques jours, un comit de dlgus du peuple de ltat de Gorgie ayant dcid dautoriser ltat de Gorgie rejoindre les tats Confdrs dAmrique le 4 fvrier. Certains historiens, ainsi que ceux qui revendiquent aujourdhui leur allgeance la rpublique de Gorgie, affirment que les membres de ce comit taient en fait des agents de la couronne dAngleterre. Ils ne reprsentaient en aucun cas le peuple de Gorgie, qui, dans sa grande majorit, souhaitait ce moment-l le maintient de lautonomie de la Gorgie en tant qutat libre et indpendant. La Rpublique de Gorgie a dsormais une taille considra-

m JoeColeman, Tenebrae for Carlo Gesualdo, 2004

gesualdo, carlo [ f ] m 150 113. Compositeur

italien. En 1590 il assassina sa premire pouse, Maria dAvalos, et son amant, Fabrizio Carafa, surpris en flagrant dlit dadultre. Ses crimes vinrent hanter le compositeur vers la fin de sa vie. La mort de son second fils, perue par ce mystique comme luvre de la justice divine, dclencha en lui le besoin dexpier ses fautes par des sances de flagellation pour, selon sa propre expression, chasser les dmons . Ce double meurtre ainsi que ces pratiques masochistes contriburent

gho 90

GhoSt RiDER

GiRoNcoli

gir 91

la postrit de Gesualdo. La vie du compositeur a inspir un tableau [ m JoeColeman] . [ e ] m 150 113. Italian composer. In 1590 he murdered his first wife, Maria dAvalos, and her lover, Fabrizio Carafa, surprised in the act of committing adultery. His crimes returned to haunt the composer and mystic towards the end of his life. The death of his second son, perceived by him as the work of divine justice, triggered a need in him to expiate his sins through sessions of flagellation, in orderin his own wordsto drive out the demons. That double murder and those masochistic practices contributed to Gesualdos subsequent legacy. The composers life inspired a picture by [ m JoeColeman] .

Le record a t largement battu puisquil est pass sous la barre des 10 minutes soit 9 minutes 57 secondes, soit une vitesse de 190 kmh.
[ m motos] [ e ] m An anonymous Swedish motorcyclist, Ghost

Rider films himself as he drives on Scandinavian highways at almost 200 mph. Now a cult figure on the Internet, Ghost Rider has transformed his flirtations with death into a hypnotic experience. He has become a celebrity on the internet and transforms his dangerous flirting with death into a hypnotic experience. [ m modUle ] 14/09/200 01/10/200. The video A Day in Paris (Ghost Rider Goes Crazy in Europe ) is a tribute to the notorious Black Prince who achieved infamy through his illegal racing on the Paris Priphrique [the citys 35 km ring road] in 11 minutes 4 seconds. Gost Rider beat the Black Princes record in 2004 in 9 minutes 57 seconds at a speed of 190kmh.
[ m motos] m uvre / Work

A Day in Paris (Ghost Rider Goes Crazy in Europe), 2004 ; Courtesy Ghost Rider, SWT Racing & Team GRV

de communication et denregistrement la fois pour diffuser la cration contemporaine et pour en renouveler les techniques de cration. Aprs quelques exprimentations menes avec [ m Williams.Burroughs] et [ m BrionGysin] lors de sjours de ces derniers au Chelsea Hotel, il fonde en 195 Giorno Poetry Systems (GPS) ; en 198, il imagine le service Dial-A-Poem, systme de rpondeur automatique alatoire proposant des textes de Allen Ginsberg, Emmett Williams ou [ m JoeBrainard] sur simple appel. En tant que label, GPS ditera par ailleurs des disques aux noms vocateurs (Youre The Guy I Want To Share My Money With, 1981 ; Like A Girl I Want You To Keep Coming, 1989) sur lesquels ont pu figurer Sonic Youth, Debbie Harry, Laurie Anderson, Arto Lindsay ou [ m lydialunch] . Artiste protiforme, John Giorno continue aujourdhui daccompagner son uvre crite par des performances, et de travailler sur la dimension visuelle et graphique de ses textes, exposant rgulirement des prints et des painted poems.
[ m lesjeudisdeTHeTHirdmind] [ m rpondeur(tapez9)] [ e ] m *193. By playing the lead role in one of [ m andyWarhol] s most widely noticed films,

giraud, Fabien [ m 5 , fig. # 3 , 6 , fig. # 77 ] [ f ] m *1980, vit Paris. Fabien

m John Giorno

m Ghost Rider
ghost rider [ m 6 , fig. # 7 ] [ f ] m Motard sudois

anonyme, Ghost Rider roule plus de 300 km/h sur les autoroutes et filme ses performances. Il est devenu un personnage culte sur internet. [ m modUle ] 14/09/200 01/10/200. La vido A Day in Paris (Ghost Rider Goes Crazy in Europe) est un hommage au Prince Noir qui avait effectu le tour du priphrique parisien en 11 minutes et 4 secondes. Ghost Rider a retent lexprience en 2004 bord dune GSX-R 1000.

m andyWarhol, Screen Test: John Giorno, 194

giorno, john [ f ] m *193. En tenant

le premier rle dun des films les plus comments d[ m andyWarhol] , Sleep (193), qui le montre dormir pendant huit heures, John Giorno devient une figure de lunderground new-yorkais des annes 190. Pote, il cherche tirer parti des technologies

Sleep (193), which shows him sleeping for eight hours, John Giorno became a figure in the New York underground scene of the 190s. As a poet, he tried to take advantage of communication and recording technologies both to disseminate contemporary creative work and renew the techniques whereby it is created. After carrying out a few experiments with [ m William s.Burroughs] and [ m BrionGysin] when they were staying at the Chelsea Hotel, in 195 he founded Giorno Poetry Systems (GPS); in 198 he dreamt up the Dial-A-Poem service, a system based on an automatic answering machine randomly offering texts by Allen Ginsberg, Emmett Williams or [ m JoeBrainard] simply by calling the number. As a record label, GPS also produced records with evocative names (Youre The Guy I Want To Share My Money With, 1981; Like A Girl I Want You To Keep Coming, 1989) which might feature Sonic Youth, Debbie Harry, Laurie Anderson, Arto Lindsay or [ m lydialunch] . A protean artist, John Giorno is still accompanying his written work with performances today, as well as working on the visual and graphic dimension of his texts, regularly exhibiting prints and painted poems.
[ m lesjeudisdeTHeTHirdmind] [ m rpondeur(tapez9)]

Giraud est diplm du Studio National des Arts Contemporains Fresnoy (200). [ m modUle ] 14/09/200 29/10/200. Sans titre (Rodage) est constitu de trois mini-motos qui, priodiquement, se mettent rugir et cherchent interagir entre elles. Chaque moto est quipe de capteurs et dune intelligence artificielle sommaire qui dtermine ses choix et son comportement vis--vis des autres. Il en rsulte limage dune communaut embryonnaire faite de rglage et dintensit, de rivalit, de vexation et de symbiose. [ m motos] [ e ] m *1980, lives in Paris. Fabien Giraud is graduated from Le Fresnoy (National Studio of Contemporary Arts, 200). [ m modUle ] 14/09/200 29/10/200. Untitled (Rodage) is a sculpture comprising of three mini-motorcycles placed on a low pedestal. Periodically, the motorcycles roar their engines and, with the help of artificial intelligence devices, they communicate with each other in an attempt to harmonize their sounds. The resulting image is one of an embryonic community made of adjustments, intensities, rivalry, playful anger, and symbiosis. [ m motos] m uvre / Work Sans titre (Rodage), 200 Courtesy Fresnoy, studio national des arts contemporains & Palais de Tokyo

m BrunoGironcoli, sans titre, 2003

gironcoli, bruno [ m 4 , fig. # 55 ] [ f ] m *193, vit Vienne.

Bruno Gironcoli se consacre la sculpture et aux assemblages de matires brutes et mtalliques. Par la transformation dobjets ludiques et de symboles, souvent lis la sexualit, les thmes de lalination et de labsurde simposent dans lespace. Ses uvres monumentales, gnralement sans titre, ont t prsentes, entre autres, la

gla 92

GlANDEliNiA

GRANAt

gra 93

biennale de Venise en 2003. Les teintes grises, argentes, chromes ou brillantes de leur surface dessinent des contours effils et des formes vides qui sentremlent. Les gants de Bruno Gironcoli, sculptures organiques et machiniques, sont autant de formes improbables qui semblent dotes dune vie secrte. Des objets usuels sont dtourns et associs des lments symboliques et des figures biomorphiques ou anthropomorphes. La transformation est la clef du travail de lartiste qui ne propose rien de permanent, mais bien au contraire, de nouvelles formes volutives qui sont la mtaphore dun systme opaque face auquel nous sommes souvent dcontenancs.
[ m THeTHirdmind ] [ e ] m *193, lives in Vienna. Bruno Gironcoli

gnose

[ e ] m *1954, lives in New York. With Robert

Gnosis [ f ] m Variante sotrique de la thologie. Les grands gnostiques de lpoque alexandrine sont Basilide, Simon le Magicien ou Marcion. Plus tard, le gnosticisme a inspir les Bogomiles, les Cathares, le Collge de Pataphysique et les Beatles. [ m satanisme] [ m occultisme] [ m Popmusic]
[ m Backwardmessages] [ e ] m An esoteric variant of theology. The great

Gnostics of the Alexandrian period were Basilides, Simon Magus or Marcion. Later on, Gnosticism inspired the Bogomils, the Cathars, the College of Pataphysics and the Beatles.
[ m satanisme] [ m occultisme] [ m Popmusic] [ m Backwardmessages]

devotes his time to sculpture and assemblages of raw and metallic materials. Through the transformation of play objects and symbols, often associated with sexuality, the themes of alienation and the absurd are imposed in space. His monumental and generally untitled works were presented at the 2003 Venice Biennial, among other places. The grey, silver, chrome or shiny hues of their surfaces outline slender contours and hollowed-out shapes that intermingle. Gironcolis giant organic and mechanical sculptures are improbable forms that seem to be endowed with a secret life. Commonplace objects are misappropriated and associated with symbolic elements and biomorphic or anthropomorphic figures. Transformation is the key to his work which offers nothing permanent: quite the opposite, it offers new openended forms that are a metaphor for an opaque system which often leaves us feeling confused.
[ m THeTHirdmind ]
glandelinia [ f ] m Nation cre

Gober, ordinary everyday objects such as doors, sinks, childrens beds or various parts of the body become strange and enigmatic. A vague malaise arises from these seemingly simple works which subtly touch on childhood, sexuality, segregation or even religion. With the series of Sinks (1984 -198), Robert Gober studied all the possibilities of these objects, even going so far as to do away with the bowl and leave on the ground the side usually fixed to the wall, as in Partially Buried Sink (198), a sink transformed into a virtual gravestone. Meticulously sculpted by hand, Gobers sinks featured in the exhibition [ m THeTHird mind ] unlike [ m marcelduchamp] s famous Fountain that comes immediately to mindare uneasy, perfectly controlled objects where the bizarre resides in contorted plumbing and a pile of hairs in a duct.

devant se tenir genoux ; si des femmes libres sont tolres, le port du voile leur est impos. Ds lors, les Gorens de Second Life sapparentent de sulfureuses confrries BDSM (pour bondage et discipline, domination et soumission, sadisme et masochisme) alors mme que, pour nombre de ses membres, le respect de telles rgles relve du seul jeu de rle. Cette communaut fonctionne ainsi sur le principe de la confiance et la solidarit entre ses membres, et volue dans des espaces qui recrent leur univers de rfrence. On peut noter que les Gorens prouvent une animosit certaine envers les autres communauts prsentes sur Second Life, particulirement les [ m Furries] .
[ m KinoshitaKaori&dellanegraalain] [ m secondlife] [ e ] m Community in Second Life. Goreans

m robertGober, Right Angle Sink, 1984

gober, robert [ m 4 , fig. # 53 ] [ f ] m *1954, vit New

par Henry Darger dans son pope de 15.000 pages en douze volumes intitule LHistoire des surs Vivian dans ce qui est connu sous le nom de royaume de lIrrel et dans la violente guerre glandco-anglinienne cause par la rvolte des enfants esclaves.
15,000-page 12-volume single-spaced typewrit-

[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m Nation created by Henry Darger in his

ten epic entitled The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinnian War Storm, as caused by the Child Slave Rebellion.
[ m TaTs(FaiTes-leVoUs-mme) ]

York. Grce Robert Gober, les objets ordinaires du quotidien tels que les portes, les viers, des lits denfants ou diverses parties du corps deviennent tranges et nigmatiques. Un malaise indistinct schappe de ces uvres lapparente simplicit qui touchent, par des biais subtils, lenfance, la sexualit, la sgrgation ou encore la religion. Avec la srie des Sinks [viers] (1984 -198), Robert Gober tudie tous les possibilits de cet objet, allant jusqu en supprimer la cuve et laisser au sol la paroi habituellement fixe au mur comme pour Partially Burried Sink (198), vier transform en quasi pierre tombale. Mticuleusement sculpts la main, les viers de Gober prsents dans lexposition [ m THeTHirdmind] sont, linverse de la fameuse Fontaine de [ m marcelduchamp] auxquels ils font immdiatement penser, des objets troubles et parfaitement matriss o le bizarre se loge dans le dnuement dun quotidien dcontextualis.

m Gorens / Goreans
gorens

Goreans [ f ] m Communaut dans Second Life. Les Gorens constituent une des communauts les plus organises et les plus controverses de Second Life. Les rgles de vie de ses membres sont bases sur lunivers imagin par lAmricain John Norman dans une saga heroic fantasy entame en 19, le cycle de Gor : y est dcrite une plante cache du systme solaire, Gor, jumelle de la Terre, o volue, entre barbarie et technologie, une socit de castes, machiste et trs hirarchise. son sommet, on trouve des Matres, essentiellement des hommes, et sa base, des femmes voues tre esclaves, les Kajirae , portant un collier de cuir et

are one of the best organized and most controversial Second Life communities. Its members rules of life are based on the universe dreamt up by the American John Norman in a heroic fantasy saga he embarked on in 19, the Gor cycle : in it Gor, a hidden planet in the solar system and a twin planet to Earth, is described, where a macho and very hierarchical society based on a caste system evolves, combining barbarism and technology. It is headed by Masters, primarily men, and at the bottom are women destined to be slaves, the Kajirae who wear leather collars and have to kneel rather than stand; while free women are tolerated, they have to wear a veil. This means that the Second Life Goreans are linked to BDSM (bondage, discipline, domination and submission, sadism and masochism) fraternities, even though for some of members respecting such rules amounts to no more than playing a role. Thus this community operates on the principle of trust and solidarity between its members, and evolves in spaces that recreate their benchmark universe. Moreover, it can be observed that Goreans feel some animosity towards the other communities present on Second Life, in particular the [ m Furries] .
[ m KinoshitaKaori&dellanegraalain] [ m secondlife]

granat, amy [ m 5 , fig. # 0 ] [ f ] m *197, vit

New York. Amy Granat ralise des films sans camra en utilisant la bande dans sa matrialit, quelle brutalise avec une lame de rasoir, une perforeuse, ou dautres objets. Son travail avec le film de 1mm trou ou gratt laisse une place au hasard ml

gra 94

GRANitoD tRANS GoA RAScAl ko ko

GuiS

gui 95

m Granatamy, Chemical Scratch Film #1, 2003

un jeu de graphisme et de son prcis. Le cycle infini des films mis en boucle se lie au cycle de la prsence et de labsence, du noir et du blanc, du son et du silence. Elle a particip aux expositions The Return of the Creature (Knstlerhaus Palais Thurn und Taxis, Bregenz, 2003), et Leviathan Under Moons Influence (Champion Fine Arts, New York, 2004), organises par [ m steven Parrino] . [ m BasTardCreaTUre ] [ e ] m *197, lives in New York. Amy Granats cameraless movies strip film away from its materiality with the use of chemicals, a razor blade, a hole-punch or other objects. Her work with holed or scratched 1mm film leaves room for chance, while at the same time articulating a precise graphic sensibility. The endless cycle of looped films is linked to the cycle of absence and presence, black and white, sound and silence. She took part in the exhibitions The Return of the Creature (Knstlerhaus Palais Thurn und Taxis, Bregenz, 2003) and Leviathan Under Moons Influence (Champion Fine Arts, New York, 2004), curated by [ m stevenParrino] .
[ m BasTardCreaTUre ]
granitod trans goa rascal ko ko, shimenaWa mamba, original peruvian carpet and digital project For musicians [ m 2 , fig. # 22 # 24 ] [ f ] m Exposition personnelle de [ m danieldewar &GrgoryGicquel] . 22/03/2007 0/05/2007.

gravit quantique boucles

Loop quantum gravity [ m voir p. a-4 / see p. a-12]

m Summer of Love (Allen Ginsberg)

grunenberg, christoph [ f ] m Directeur de la Tate Liverpool,

m Tim Treadwell (Grizzly Man)

griZZly man [ f ] m Documentaire

de Werner Herzog (2005) retraant la vie et la mort et de Tim Treadwell, cologiste controvers tu par des grizzlis. retracing the life and death of Tim Treadwell, a controversial ecologist killed by grizzly bears.

[ m JeudisdeCinqmilliardsdannes] [ e ] m A documentary by Werner Herzog (2005)

il organise en 2005 lexposition Summer of Love : Art of the Psychedelic Era. cette occasion, il publie avec Jonathan Harris louvrage Summer of Love : Psychedelic Art, Social Crisis and Counterculture in the 1960s (Liverpool University Press ; Tate Liverpool, 2005) qui met en evidence comment le psychdlisme, dans ses diverses manifestations visuelles et chimiques, a t le moteur de la contre-culture dans les annes 190.
[ m Jeudisde THeTHirdmind ] [ m Hallucinognes] [ m Peyotl] [ m 1969] [ m leary,Timothy]

[ m JeudisdeCinqmilliardsdannes]

[ e ] m As the director of Tate Liverpool, in 2005 he

grossman, nancy [ f ] m *1940, vit New

m Grossmannancy, Tilt, 1990

Ensemble de sculptures indites, fidles leur univers protiforme et radical. Un vhicule prhistorique sculpt et taill en granit, un shimenawa, corde sacre utilise au Japon, monumental tress en fil synthtique, une srie docarinas, petits instruments de musique, en bois peint et ciment et enfin un tapis en laine aux motifs trans-pruviens composent cet ensemble insolite de sculptures.
[ m , noUVellesdUmonderenVers ] [ e ] m Solo exhibition of [ m danieldewar& GrgoryGicquel] . 22/03/2007 0/05/2007. A

York. Nancy Grossman explore le collage, la sculpture et les assemblages. Ses matriaux de prdilection comme le tissu, le cuir ou le mtal dlimitent un univers o la sexualit se mle la violence sous un jour ambigu et fascinant. Le thme du corps y est omniprsent, comme dans la clbre srie des ttes . En bois sculpt, elles sont habilles de cuir noir et de formes agressives : pic, corne, harnais de chevaux. Chaque visage masqu marque la fois linstrumentalisation des corps et la dissimulation de toute identit.
[ m THeTHirdmind ]

organized the exhibition Summer of Love: Art of the Psychedelic Era. To coincide with it, together with Jonathan Harris he edited the book Summer of Love: Psychedelic Art, Social Crisis and Counterculture in the 1960s (Liverpool University Press; Tate Liverpool, 2005) which demonstrates how psychedelia, in its various visual and chemical manifestations, was the motor force of the counterculture of the 190s.
[ m Jeudisde THeTHirdmind ] [ m Hallucinognes] [ m Peyotl] [ m 1969] [ m leary,Timothy]
guis, jean-pierre [ f ] m Psychologue, anciennement

[ e ] m *1940, lives in New York. Nancy Grossman

collection of new sculptures that keep faith with their protean and radical universe. Thus a combi (campervan) sculpted and carved out of granite, a monumental shimenawa twisted out of synthetic thread, a series of ocarinas made from painted wood and cement, and finally a woollen rug with trans-Peruvian motifs form this unusual collection of full-size sculptures.
[ m , noUVellesdUmonderenVers ]

explores collage, sculpture, and assemblages. Her favourite materials, such as cloth, leather or metal, define a universe in which sexuality is mixed with violence in an ambiguous and fascinating light. The theme of the body is omnipresent, as in her famous series of heads. Made from carved wood, they are clad in black leather and have aggressive shapes: a pick, horn, a horses harness. Each masked face marks both the instrumentalization of the body as well as hidden identity. [ m THeTHirdmind]

charg de cours dEsthtique musicale la Sorbonne, JeanPierre Guis, est actuellement maire-adjoint du 12e arrondissement de Paris, mais aussi viceprsident dAnticor, association de lutte contre la corruption en politique. Il collectionne en musicologue averti disques et enregistrements en tous genres, du [ m yodel] la musique brsilienne, en passant par le Texas et les Pygmes. Musical Esthetics classes at the Sorbonne, Jean-Pierre Guis is currently deputy mayor of the 12th arrondissement of Paris, as well as vice-

[ m Jeudisde Cinqmilliardsdannes ] [ e ] m A psychologist, formerly responsible for

gus 9

GuSSiN

GYSiN

gys 97

president of Anticor, an association combating corruption in politics. As a knowledgeable musicologist he collects records and recordings of all genres, from yodeling [ m yodel] to Brazilian music, by way of Texas and the Pygmies.

gysin, brion [ m 4 , fig. # 45 # 47 ] [ f ] m 191 198. Peintre

[ m Jeudisde Cinqmilliardsdannes ]

m GrahamGussin, Fall, 1997-200

gussin, graham [ f ] m *190, vit Londres.

Utilisant une grande varit de mdiums, le travail de Graham Gussin se glisse dans le fin interstice entre ralit et inconscient. Ses uvres engagent le spectateur dans une certaine exprience de linfini, entre dplacement de sens et confusion. Reprenant son compte des images ou des histoires existantes, il les distord jusqu fournir une complte manipulation de notre vision du monde. Jouant avec lide dattente, Graham Gussin a prsent dans [ m UneseCondeUneanne] une nouvelle version de linstallation vido Fall (1997 200). Le spectateur est face une image projete dun lac de montagne, dont seules les traces de vent sur la surface de leau indiquent quil ne sagit pas dune image fixe. De manire alatoire, selon un logiciel dordinateur, une immense pierre tombe dans leau, troublant par ses claboussures et son bruit la quitude de la scne originelle. [ e ] m *190, lives in London. Working in a wide range of media, Graham Gussin addresses the borders between reality and the unconscious. His works reach for an experience of the infinite, between confusion and displacement. The artist appropriates existing images or stories, distorting them and manipulating our vision of the world. In the oNE SEcoND oNE YEAR [ m UneseConde Uneanne ] Graham Gussin presented a new version of Fall (1997 200). The viewer faces a projected image of a mountain lake that is discernable as a moving image only thanks to the winds movements on the waters surface. According to random decisions made by computer software, a huge rock falls into the lake, ruiningfor a brief momentthe quiet and calm of the scene.

et crivain. Brion Gysin na que dix-neuf ans lorsquen 1934, il est invit exposer aux cts du groupe Surraliste dans une galerie parisienne, ses uvres irrvrencieuses envers Andr Breton tant cependant dcroches sur le champ. Sintressant l[ m occultisme] , au Zen, aux arts calligraphiques japonais et arabe, Gysin entame ds les annes 1940 une uvre complexe, mlant peinture gestuelle et posie sonore. Il part sinstaller Tanger en 1950 et y ouvre un restaurant, Les Mille et Une Nuits , lieu interlope o il invite se produire des joueurs de Jajouka, musique de transe soufi. Il y frquente Paul Bowles, fait la connaissance de [ m Williams. Burroughs] et se lie avec les acteurs de la Beat Generation, quil retrouve Paris, au cours de ses nombreux sjours au Beat Hotel de la rue Gt-le-Cur. Inspir par les jeux dadastes et lcriture automatique des Surralistes, Gysin se dmarque par ses exprimentations sur le langage, la parole et son enregistrement. Il met au point avec William Burroughs plusieurs techniques dcriture, commencer par le [ m cut-up] , dont la manipulation et lassociation un travail sur limage donnera la matire louvrage [ m The Third Mind] . Il invente galement le procd de permutation, qui consiste puiser toutes les combinaisons possible dorganisation des mots dune phrase simple, aid par un jeune mathmaticien londonien, Ian Sommerville, avec qui il labore galement la fameuse [ m dreammachine] au dbut des annes 190. Axant ses expriences de vie et ses mthodes de travail sur une forme de recherche de dissolution du soi, il collaborera notamment, dans les annes 1980, avec des musiciens comme Steve Lacy ou Ramuntcho Matta. Brion Gysin meurt en 198, peu de temps aprs avoir achev son livre Le Dernier Muse. [ m THeTHirdmind] [ m The Third Mind, p. d-2] [ e ] m 191 198. A painter and writer. Brion Gysin was only nineteen when he was invited to exhibit alongside the Surrealist group in a gallery in Paris in 1934, although his works which were irreverent towards Andr Breton were immediately taken down. Gysin was interested in [ m occultism] , Zen, Japanese and Arab calligraphic art, and from the 1940s embarked on a complex body of work, mixing gestural painting and sound poetry. He moved to Tangiers in 1950 and opened a restaurant

there, Les Mille et Une Nuits, [ One Thousand and One Nights] a shady place where he invited players of Jajouka, Sufi trance music, to perform. He associated with Paul Bowles, made the acquaintance of [ m Williams.Burroughs] and became friends with the major figures in the Beat Generation, rejoining them in Paris, during his many stays at the Beat Hotel on rue Gt-le-Cur. Inspired by Dadaist games and the Surrealists automatic writing, Gysin was noted for his experiments on language, the spoken word and recording of the spoken word. With William Burroughs he perfected several techniques of writing, starting with [ m cut-up] ; manipulating it in association with work on images would provide the material for the book [ m The Third Mind] . He also invented the permutation process, which consists of exhausting every possible combination in organizing the words in a simple sentence, with the help of a young mathematician from London, Ian Sommerville, with whom he likewise developed the famous [ m dreammachine] in the early 190s. Focusing his experiences of life and his working methods on a form of quest for self-dissolution, in the 1980s he collaborated in particular with musicians like Steve Lacy or Ramuntcho Matta. Brion Gysin died in 198, shortly after completing his book The Last Museum. [ m THeTHirdmind] [ m The Third Mind, p. d-8]

m William S. Burroughs & Brion Gysin

hal 98

hAlluciNoGNES

hANovRE

han 99

hallucinognes

hallucinogens [ f ] m Chimie. Les hallucinognes sont surtout des lments vgtaux ou des alcalodes qui en sont extraits ; dautres sont des produits de synthse. Il est possible de les rpartir en trois groupes : les phnylthylamines, aux effets particulirement varis. Leur classification est difficile selon ce critre (par exemple mescaline, ecstasy) ; les drivs indoliques : les drivs de la tryptamine (par exemple DMT, psilocybine) ; les drivs indoliques chane carbonyle (par exemple harmaline) ; les amides de lacide lysergique (par exemple LSD, ibogane) ; les hallucinognes structures diverses (par exemple salvinorine A, THC). Comme tout psychotrope, les hallucinognes altrent lhomostasie du systme nerveux central en agissant sur les concentrations en neuromdiateurs (actylcoline, dopamine, noradrnaline, srotonine). Les mcanismes sont nombreux et sont encore lobjet de travaux, mais certains ont t prcisment identifis. Ainsi, la salvinorine A de la salvia divinorum agit uniquement sur les rcepteurs opiodes kappa. Dautres hallucinognes agissent comme agonistes des rcepteurs srotoninergiques de type 5-HT2. [ m Peyotl] [ m sPeeCHaCT#1]
[ m Thlme] [ m Williams.Burroughs] [ m Brion Gysin] [ m 1969] [ m TheThirdmind(livre)] [ e ] m Chemistry. Hallucinogens are mainly plant

receptors. [ m Peyotl] [ m sPeeCHaCT#1]

[ m Thlme] [ m Williams.Burroughs] [ m Brion Gysin] [ m 1969] [ m TheThirdmind(livre)]
handForth, mark [ m 1 , fig. # 01 , # 02 ] [ f ] m *199, vit Miami.

Adepte dune esthtique du patchwork, Mark Handforth assemble, transforme et dtourne des objets du quotidien et de lespace public. Dans ses sculptures et installations, lartiste combine des lments aussi htroclites que des panneaux indicateurs, des lampadaires ou des deux roues. Aprs avoir intgr, pour une exposition Rome, un systme darrosage une Vespa (Vespa Fountain, 2001), lartiste rcidive avec Honda (2002) mlant mcanique et chandelles. Prsent dans lexposition [ m 5.000.000.000 dannes ] , lengin est couch sur le ct et les innombrables bougies de couleur poses sur la moto se consument, transformant la motocyclette en autel improvis. [ e ] m *199, lives in Miami. Mark Handforth creates assemblages of objects taken from daily life or from public space. In his sculptures and installations, the artist combines elements as wide-ranging as road signs, lampposts, or motorcycles. After having incorporated a watering system within a Vespa for an exhibition in Rome (Vespa Fountain, 2001), the artist follows up with Honda (2002), merging candles with mechanics. Presented in the
5,000,000,000 YEARS [ m 5.000.000.000dannes ]

elements or alkaloids that are extracted from them; others are synthetic products. It is possible to divide them into three groups: phenylethylamines, with particularly varied effects. They are hard to classify because of this criterion (for example mescaline, ecstasy); indole-group derivatives: tryptamine derivatives (for example DMT, psilocybin); carbonylchain indole-group derivatives (for example harmaline); amides of lysergic acid (for example LSD, ibogaine); hallucinogens with various structures (for example salvinorin A, THC). Like all psychotropic drugs, hallucinogens impair the homeostasis of the central nervous system by acting on the neurotransmitter concentrations (acetylcolin, dopamine, noradrenaline, serotonin). There are many mechanisms and they are still being worked on, but some have been precisely identified. Thus salvinorin A from salvia divinorum acts solely on the kappa-opioid receptors. Other hallucinogens act as agonists of the serotonin type 5-HT2

group show, the motorcycle lies on its side, covered with countless coloured candles, transforming it into an improvised shrine.

hanovre (royaume de)

The Kingdom of hanover [ f ] m Nation non territoriale et souveraine fonde en novembre 2002 par le roi James. En raison de la taille rduite de sa communaut nationale constitue surtout de citoyens inscrits en ligne , le Hanovre est souvent considr comme une micronation. Sur le modle du gouvernement britannique moderne, le Royaume de Hanovre est devenu une monarchie dmocratique constitutionnelle.

Au cours de ses vux pour lanne 2003, le roi James Ier, aprs avoir voqu les diffrences entre individus et lgalit entre les hommes, institua une mritocratie dans son royaume : dornavant, les titres officiels seraient dcerns en vertu des actes de chacun et non en fonction de la richesse, de linfluence ou de lascendance. La loi organique proclame le 27 janvier 2003 mit un terme labsolutisme et ouvrit la voie un mode de gouvernement reprsentatif. Le Hanovre devint un tat lac soucieux de prserver la libert de conscience et de conviction religieuse. Sous James Ier, Sir Steven Foong (aujourdhui Lord Damoneigh) tablit la Banque royale du Hanovre et encouragea la mise en place dune conomie de march fonde sur des changes rels. Le talen fut dclar unit montaire officielle par dcret royal ; des entrepreneurs indpendants commencrent ouvrir divers commerces presse crite, bureaux de graphisme, cabinet juridique, et mme un casino en ligne. La citoyennet du Hanovre est accorde gratuitement. [ m TaTs(FaiTes-leVoUs-mme)] [ e ] m A sovereign, non-territorial nation founded in November of 2002 by King James. On account of the small size of its national and principally on-line community, Hanover is often referred to as a micronation. Presently styled after the modern British form of government, the Kingdom of Hanover evolved to become a constitutional democratic monarchy. During a 2003 New Years address in which equality and individual difference were emphasized, King James I initiated a meritocracy in Hanover whereby official titles would be conferred based upon actions rather than wealth, influence or family connection. Organic Law was proclaimed on January 27, 2003, bringing an end to absolutism and ushering in a new era of representative government. Hanover became a secular state celebrating freedom of religion and liberty of conscience. During the era of King James, Sir Steven Foong (now Lord Damoneigh) established the Royal Bank of Hanover with which it began to encourage the development of a real goods free-market economic system. The Talen was declared the official monetary unit by royal decree and independent entrepreneurs began to open small businesses, including newspapers, graphic design services, a law office and even a fully operational on-line casino. Citizenship of Hanover is freely granted. [ m TaTs(FaiTes-le
VoUs-mme) ]

har 100

hARSh NoiSE

hAut YAFA

hau 101

harsh noise [ f ] m Courant extrme de la noise music. Selon [ m olivierlamm] : le harsh noise est un trou

m Harsh Noise : Hanatarash

m Harsh Noise : Whitehouse

noir. Le harsh noise, cest un bruit volontairement libr, un labyrinthe de feedbacks autognr, autodvorant en mme temps, avec juste une main pour sculpter, une intention pour guider, peine une ide pour le conceptualiser. Il nest pas une musique bruyante mais une musique-bruit taille, pas un genre, encore moins un mlange, car sil est n damonts lisibles dans lhistoire de la musique, dans lhistoire du XXe sicle. Il faut se pencher un peu en arrire, le XXe sicle brouhaha, pour comprendre cette birth-death experience , pour citer le titre dun disque de Whitehouse, le premier de surcrot. Jacques Attali crit dans son Bruits de 1977 (hors-sujet, quand mme, nen dplaise aux universitaires du noise qui adorent venir y piocher des explications), que la vie est bruyante, bruits du travail, bruits des hommes, bruits des btes , mais ce qui est surtout arriv en mme temps que les machines et les vhicules, cest la musique qui a envahi la vie, qui est devenue ce bruit de fond total sans filiation avec lart, quand les supports de stockage eux-mmes (disques, bandes, ondes et frquences dmatrialises dans les airs, dans les mmoires virtuelles, dans les rseaux) sont devenus sources supplmentaires. Dans lart, le parcours est un clat dans toutes les directions du monde, linvasion progressive des glissandi et des tessitures dans lorchestre, Henri Barzun et la simultanit dans la posie pour boucaner , Dada, ses bruits de tambour et ses monceaux dordures, Russolo et ses machines de musique de guerre, Schwitters et la pense dans la bouche , Varse et ses sirnes, Varse et ses tambours, les radios et les platines sur la scne de lauditorium avec Milhaud, avec Cowell, avec Cage, linterlude de la musique de bruits enregistrs (et, cest hors-sujet, organiss) de Schaeffer, le pur bonheur bruiteur de la musique lectronique qui nat, Stockhausen qui fait du bruit blanc avec des hymnes va-ten-guerre, Cage nouveau, moins important pour son viol de la musique par la vie que pour son championing de la pratique amateur tous azimuts, de lalatoire total dans la pice de musique, des botes en plastique pour jouer, AMM, le Nihilist Spasm Band et les autres, Maciunas qui casse un piano, Persepolis de Xenakis qui dlivre, ds 1971, bruits mtalliques crass et grincements saturs de poussire, du vrai noise volontaire dans le fond de la bande,

la posie sonore de Henri Chopin ou Franois Dufrne qui mettent le micro dans la gorge pour amplifier le corps-orchestre et achever de dmanteler, aprs le signe, la voyelle jusquau bruit pur. Et puis, lisiblement, les noces de la musique et de la violence, la mise au monde de laberration rock, Bo Diddley, la course au boucan de la British Invasion (de mmoire, les plus durs, ctait The Creation), puis lescalade infinie, Blue Cheer, les Sonics et le Velvet, Metal Music Machine ou le bruit de rien dans la machine mainstream, les Rallizes Denuds, Pere Ubu, lindustriel total de Throbbing Gristle, P1.D4, SPK, NON ou Neubauten, Branca et ses enfants, les Swans, Discharge puis Napalm Death, Slayer, le black metal, lEverest de bruit sur la page de JR de William Gaddis en 1975, et, enfin, en mme temps, juste avant, juste aprs, la pure boucle de mort, Whitehouse, [ m merzbow] , Hanatarash, le harsh noise.
[ m olivierlamm] [ m Palais/ ] [ m lesjeudisde lamarqUenoire ] [ m noise ] [ e ] m Extreme type of noise music. According to [ m olivierlamm] : Harsh noise is a black

hole. Harsh noise is a deliberately released noise, a self-generated and likewise selfdevouring labyrinth of feedbacks, with just a hand to sculpt it, an intention to guide it, barely an idea to conceptualise it. It is not noisy music but hewn noise-music, not a genre, still less a mixture, because it is born of sources detectable farther back in the history of music, in the history of the 20th century. We need to turn back a little, to the 20th-century hubbub, to understand this birth-death experience, if I may quote the title of a record by Whitehouse, their first whats more. Jacques Attali wrote in Noise, published in 1977 (irrelevant, even so, whatever university academics of noise who love digging around in it for explanations may think), that life is noisy, work noises, human noises, animal noises, but above all what happened at the same time as machines and vehicles was the invasion of our lives by music, which became that total background noise with no relation to art, when the very means of storing it (records, tapes, waves and frequencies dematerialised in the air, in virtual memories, in networks) became supplementary sources of noise. In art, the path taken was an explosion to all corners of the world, the gradual invasion of the orchestra by glissandi and tessituras, Henri Barzun and simultaneity in poetry for making a racket, Dada, its drum noises and its mounds of

rubbish, Russolo and his war music machines, Schwitters and thought made in the mouth, Varse and his sirens, Varse and his drums, radios and turntables on the stage of the auditorium with Milhaud, with Cowell, with Cage, the interlude of music consisting of noises recorded (and organized, though this is irrelevant) by Schaeffer, the pure sound-effects happiness of nascent electronic music, Stockhausen who made white noise with hymns in praise of war, Cage again, less important for his violation of music by life than for his all-out championship of amateurism, of the totally random in pieces of music, plastic boxes for playing, AMM, the Nihilist Spasm Band and the others, Maciunas who breaks a piano, Persepolis by Xenakis who as early as 1971 delivered crushed metal noises and dusty saturated grinding sounds, real deliberate noise in the background of the tape, the sound poetry of Henri Chopin or Franois Dufrne who put the microphone in the throat to amplify the body-orchestra and finish dismantling the vowel, after the sign, to make it pure noise. And then, as we can read, the marriage of music with violence, the begetting of the rock aberration, Bo Diddley, the rush towards racket of the British Invasion (from memory, the harshest were The Creation), then the endless escalation, Blue Cheer, the Sonics and Velvet, Metal Machine Music or the nothing noise in the mainstream machine, the Rallizes Denuds, Pere Ubu, the total industrialism of Throbbing Gristle, P1.D4, SPK, NON or Neubauten, Branca and its children, the Swans, Discharge, then Napalm Death, Slayer, black metal, the Everest of noise on the page of JR by William Gaddis in 1975, and finally, at the same time, just before, just after, the pure death loop, Whitehouse, [ m merzbow] , Hanatarash, harsh noise.
[ m olivierlamm] [ m Palais/ ] [ m lesjeudisde lamarqUenoire ] [ m noise ]

haut yaFa (le sultanat du)

Sultanate of Upper Yafa [ f ] m Fond en 1729 par le Grand-sultan Mohnfakh Maktab Sahbee. Le Sultanat du Haut Yafa se fit connatre en 197, alors quen Arabie

hau 102

hAuvillER

hEllS ANGElS

hel 103

Saoudite, une guerre opposait alors larme britannique et deux groupes nationalistes militants, le Front pour la libration du Sud-Ymen (FLSY) et le Front national de libration (FNL). Le Haut Yafa tait jusqualors un tat du protectorat dAden, dirig par la dynastie Harhara. Sa capitale, Mahjaba, tait une oasis au milieu du dsert. Aprs le retrait des Britanniques, le FLSY et le FNL se disputrent le contrle de la rgion. Au milieu de ce chaos, le sultan dclara lindpendance du Haut Yafa et autorisa limpression de timbres. Durant le sige quelle avait eu subir, la nation tait devenue autosuffisante par ncessit ; elle lest encore aujourdhui. En 1998, le Haut Yafa fut admis au Conseil international des tats indpendants, et cet tat put ds lors renouer des relations diplomatiques. Plus tard dans la mme anne, le Haut Yafa adopta la monnaie du sultanat dOman, son voisin. [ m TaTs(FaiTes-leVoUsmme) ] [ e ] m Founded in 1729 by the great Sultan Mohn-

ticip la conception et la construction des lments les plus complexes des acclrateurs de particules et des dtecteurs de physique associs ; il y est actuellement charg de la coordination globale de linstallation du [ m lHC] (Grand Collisionneur de Protons), gigantesque acclrateur de particules souterrain. [ m matire] [ m Giannimotti] [ m JeanPierremerlo] [ m lesjeudisdeC inqmilliards dannes ]

Hay-on-Wye. When asked if King Richard took his reign seriously he responded, Of course not but its more serious than real politics
[ m TaTs(FaiTes-leVoUs-mme) ]

m Hells Angels

[ e ] m A graduate of the cole nationale

fakh Maktab Sahbee. The Sultanate of Upper Yafa became known to the world in 197, at the height of the war in South Arabia between the British Army and two militant nationalist groups: the Front for Liberation of Occupied South Yemen (FLOSY); and the National Liberation Front (NLF). Until that time, Upper Yafa was a state in the British Protectorate of South Arabia, and was ruled by the Harharah dynasty. Its capital was a desert oasis called Mahjaba. When the British pulled out of the fighting the FLOSY and NLF clashed over regional control. Amid the chaos, the Sultan declared Upper Yafas independence and began to issue stamps. During the siege, the nation was forced to become self-sufficient, which continues to this day. In 1998, Upper Yafa was admitted to the ICIS (what some refer to as the Fifth Worlds United Nations) renewing diplomatic relations. Later that year, Upper Yafa adopted the currency of the neighboring sultanate of Oman. [ m TaTs(FaiTes-leVoUs-mme)]
hauviller, claude [ f ] m Diplm de lcole

suprieure de lAronautique et de lEspace (SUPAERO) and the California Institute of Technology (Caltech), Claude Hauviller worked with the Groupement Atomique Alsacienne Atlantique (GAAA) and the Commissariat lnergie atomique (CEA) [French Atomic Energy Commission] before joining CERN (Conseil europen pour la recherche nuclaire) in Geneva. Within that organization, Claude Hauviller was involved in the design and construction of the most complex elements of particle accelerators and the associated particle physics detectors; he is currently in charge of the overall coordination of the installation of the [ m lHC] (Large Hadron Collider), a gigantic underground particle accelerator. [ m matire] [ m Giannimotti]
[ m Jean-Pierremerlo] [ m lesjeudisde Cinq
milliardsdannes ]

m Cadynoland, Untitled (Patty Hearst), 1989

hearst, patty [ f ] m * 1954 San

hay-on-Wye (royaume de)

Kingdom of hay-on-Wye [ f ] m Richard Booth, propritaire de la plus grande librairie dune rgion du Pays de Galles entoure par le parc national de Brecon Beacons, est le roi de Hay-on-Wye. des fins publicitaires, Richard Booth sest couronn roi de Hay et sest mis distribuer duchs, comts, baronnies et chevaleries pour un cot minime. Le royaume de Hay-on-Wye dlivre galement des passeports qui peuvent tre tamponns dans la plupart des pubs de la ville. Quand on demande au roi Richard sil prend son rle au srieux, il rpond : Bien sr que non mais a reste plus srieux que la vritable politique
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m Richard Booth who owns the largest book-

Francisco. Fille de William Randolph Hearst, magnat de la presse qui a servi de modle pour le personnage de Citizen Kane, Patty Hearst fut enleve en 1974 par lArme de libration symbionaise, un groupuscule rclamant en change de sa libration que de la nourriture soit distribue aux pauvres. Bien que son pre sexcutt, elle finit par rejoindre ses ravisseurs et embrasser leur cause. Son histoire a inspir des uvres de [ m Cadynoland] et de Michel Berger. [ m Benderson,Bruce] [ e ] m * 1954 in San Francisco. The daughter of William Randolph Hearst, a press baron who was the model for the character in Citizen Kane, Patty Hearst was abducted in 1974 by the Symbionese Liberation Army, a small group who demanded that food should be distributed to the poor in exchange for setting her free. Although her father complied, she ended up joining her abductors and embracing their cause. Her story has inspired works by [ m Cady noland] and Michel Berger. [ m Benderson,
Bruce]

m Ralph Sonny Barger

nationale suprieure de lAronautique et de lEspace (SUPAERO) et du California Institute of Technology (Caltech), Claude Hauviller a travaill auprs du Groupement Atomique Alsacienne Atlantique (GAAA) et du Commissariat lnergie atomique (CEA) avant de rejoindre le Conseil europen pour la recherche nuclaire (CERN) Genve. Au sein de cette organisation, Claude Hauviller a par-

shop in a region of Wales surrounded by the National Park of Brecon Beacons is the King of Hay-on-Wye. As a publicity stunt Richard Booth crowned himself King of Hay-on-Wye and now confers Dukedoms, Earldoms, Baronies and Knighthoods at a minimal cost. The Kingdom of Hay-on-Wye also issues passports that can be stamped on entry to most pubs in

hells angels [ f ] m Motoclub. En 1957,

Ralph Sonny Barger fonde son premier club de bikers Oakland, prs de San Francisco, club qui deviendra dix ans plus tard le Quartier Gnral international des Hells Angels. Dans son autobiographie Hells Angel. La vie et lhistoire de Sonny Barger et du Hells Angels Motorcycle Club

hel 104

hElvEticA

holmES

hol 105

(Flammarion, 2004), Ralph Barger revient sur les origines du club : Je ressentais le besoin dun club dhommes plus soud, capables de sauter sur leurs bcanes, de traverser le pays sils le souhaitaient, sans se plier des rgles ou des horaires (...). Nous avons form le club dans les annes 1950 pour faire la bringue et se balader. Le terme de Hells Angels revenait dans les cercles militaires depuis la Premire Guerre mondiale. Dans les annes 1920 Detroit, un club affili lAmerican Motorcyclist Association stait donn pour nom Hells Angels. La Seconde Guerre mondiale a connu quelques groupes appels Hells Angels, comme la 358e escadrille de bombardiers de lAmerican Air Force stationne en Angleterre. Au cours des annes 190 psychdliques, le terme Hells Angels est devenu un nom dusage courant.
[ m Chopper] [ m Parrino,steven] [ m indian larry] [ m 1969] [ e ] m Motorcycle club. n 1957, Ralph Sonny

Barger founded his first bikers club at Oakland, near San Francisco, a club that ten years later was the wildest in California, and the international headquarters of Hells Angels. In his autobiography Hells Angel. The Life and Times of Sonny Barger and the Hells Angels Motorcycle Club (HarperCollins Publishers, 2001), Ralph Barger describes the clubs origins: I felt the need for a more close-knit club for men who could jump on their bikes, ride across the country if they wanted to, without bothering about rules or timetables (...). We formed the club in the 1950s to go on the spree and ride around places. The term Hells Angels had been around in military circles since the First World War. In the 1920s in Detroit, a club affiliated to the American Motorcyclist Association had been called Hells Angels. In the Second World War there were some groups called Hells Angels, like the 358th squadron of American Air Force bombers stationed in England. During the psychedelic 190s, the term Hells Angels became a name that was widely used. [ m Chopper]
[ m Parrino,steven] [ m indianlarry] [ m 1969]

helvetica [ f ] m Film documentaire ralis par [ m GaryHustwit] , dont le hros ponyme est un caractre

typographique tout juste cinquantenaire. Au fil dinterviews et de reportages dans diffrentes villes du monde, ce long-mtrage revient autant sur la cration et la mise au point esthtique et technique de lHelvetica que sur ses utilisa-

tions graphiques les plus emblmatiques et sa fortune critique. Dvelopp en 1957 par Max Miedinger et Edouard Hoffmann pour la fonderie Haas Mnchenstein en Suisse, lHelvetica, dabord baptis Neue Haas Grotesk, ne prend son nom dfinitif qu sa commercialisation en 191, jouant de la renomme alors grandissante du graphisme suisse. Neutre mais lgant, lisible et prcis, il simpose bientt comme lune des typographies sans empattements de rfrence ; le gouvernement canadien et la compagnie arienne Lufthansa y ont aujourdhui recours, tout comme la marque American Apparel, la firme Apple ou le Palais de Tokyo. En revenant sur le succs de lHelvetica, sa diffusion internationale et son omniprsence dans notre quotidien, le film de Gary Hustwit met en perspective notre culture visuelle, notre manire de lire lespace et le monde qui nous entoure. Le documentaire rend galement hommage lart typographique, donnant la parole certains de ses matres entre autres Hermann Zapf, figure tutlaire du graphisme du XXe sicle, Erik Spiekermann, auteur de la FF Meta, la Helvetica des annes 1990 , individus peu connus du grand public quand bien mme leurs crations dfinissent notre environnement visuel et intellectuel. [ m Thoenen,nik] [ e ] m A documentary movie made by [ m Gary Hustwit] , the eponymous hero of which is a typeface that is just 50 years old. In the course of interviews and reportages in different cities of the world, this feature-length film dwells as much on the creation and esthetic and technical perfecting of the Helvetica typeface as on its most emblematic graphic uses and its critical fortunes. Developed in 1957 by Max Miedinger and Edouard Hoffmann for the Haas foundry at Mnchenstein in Switzerland, Helvetica, initially called Neue Haas Grotesk, did not assume its final name until it was widely marketed in 191, playing on the then growing reputation of Swiss graphic design. Neutral but elegant, legible and precise, it soon became established as one of the benchmark sans-serif typefaces; the Canadian government and Lufthansa airline use it today, as do the American Apparel brand, Apple or the Palais de Tokyo. By dwelling on the success of the Helvetica font, its international distribution and its omnipresence in our everyday lives, Gary Hustwits film puts our visual culture, our way of reading space and the world that surrounds us, into perspective. The documentary likewise pays homage to typography as an art, giving some

of its masters an opportunity to speakamong others Hermann Zapf, a father figure in 20thcentury graphic design, and Erik Spiekermann, the designer of FF Meta, the Helvetica of the 1990s, individuals who are not well known to the public at large, for all that their designs define our visual and intellectual environment.
[ m Thoenen,nik ]

m Helvetica (affiche du film / movie poster)

henrot, camille [ m 6 , fig. # 89 ] [ f ] m *1978, vit Paris.

Passionne de cinma, Camille Henrot manipule lunivers et les codes de la matire cinmatographique comme dautres utilisent le bois ou la peinture. Ralisant rarement ses propres films, elle prfre intervenir sur ceux des autres par lutilisation de divers processus : dessin, grattage sur la pellicule ou collage. Chacune de ces techniques permet de faire surgir ombres, lumires ou fantmes et de dmultiplier luvre sous forme de photos, dessins, films ou installations. Camille Henrot sapproprie ainsi le cinma populaire pour le ramener dans le champ de lexprimentation avec posie et imagination. [ m modUle ] 01/02/2007 25/02/2007. Ni remake ni dtournement, King Kong Addition est une version de King Kong qui permet tout simplement de regarder en superposition trois versions du film hollywoodien (1933, 197 et 2005). uvre mythique, King Kong est avant tout un film sur le cinma et pour le cinma. Le rsultat de cette addition produit un film troublant limage noircie parfois illisible, dont lopacit fait vritablement cran , un cran sur lequel peuvent se projeter tous les fantasmes. De cette jungle dimages sombres

ne se dtachent plus que les deux figures principales du film : le gorille et le personnage fminin. King Kong merge de cette obscurit et rsiste au brouillage visuel sous la forme dune figure laquelle le spectateur refuse de cesser de croire, cette figure monumentale que le cinma ressuscite priodiquement. [ e ] m *1978, lives in Paris. Camille Henrot is a passionate cinema lover and handles the universe and codes of cinematographic material as others do wood or paint. She seldom directs her own films, preferring to intervene in films made by other people using a variety of procedures: drawing, scraping on the film, or collage. Each of these techniques makes it possible to conjure up shadows, lights or ghosts and relay the work in the form of photographs, drawings, films or installations. Camille Henrot thus appropriates popular cinema, using poetry and imagination to bring it back into the experimental field. [ m modUle ] 01/02/2007 25/02/2007. Neither a remake nor a misappropriation, King Kong Addition is a version of King Kong that simply makes it possible to look at three versions of the Hollywood film (1933, 197 and 2005) overlaid over one another. A legendary work, King Kong is first and foremost a film about the cinema and for the cinema. The end result of this mathematical addition is a disturbing film with blackened, sometimes illegible images, the opacity of which makes it truly a screen, a screen on to which any and every fantasy can be projected. Only the two main figures in the film now stand out from this jungle of dark images: the gorilla and the female character. King Kong emerges from this obscurity and withstands the visual confusion. He also remains the figure spectators refuse to stop believing in, that monumental figure the cinema periodically resuscitates. m uvre / Work King Kong Addition, 200 Vido sonore / sound video ; courtesy de lartiste / of the artist
holmes, steven [ f ] m Curateur de la

Collection Cartin, collection prive dart moderne et contemporain base Hartford, dans le Connecticut, qui prsente des expositions dans le monde entier. Il a publi de nombreux crits relatifs la thologie et lhistoire de lart. Il a co-organis lexposition [ m JoeColeman ] du Palais de Tokyo.
[ m devotiomoderna]

hut 10

hutt RivER

107

[ e ] m The curator of The Cartin Collection, a pri-

vate collection of modern and contemporary art based in Hartford, Connecticut that produces exhibitions internationally. He has published in the fields of criticism, theology and art history. He has co-curated the [ m JoeColeman] exhibition at the Palais de Tokyo. [ m devotio
moderna]

hustWit gary [ f ] m Trs actif dans

les industries culturelles et le monde des mdias depuis la fin des annes 1990, Gary Hustwit a notamment travaill avec le label de musique punk SST Records, t viceprsident du magazine en ligne Salon.com et a fond, en 2001, Plexifilm, maison de production et ddition de DVD. Il a coproduit plusieurs long-mtrages documentaires sur la musique, parmi lesquels I Am Trying To Break Your Heart (2002), film sur le groupe Wilco ralis par Sam Jones et Moog (2004), de Hans Fjellestad, sur le pionnier de la musique lectronique Robert Moog. Helvetica, un documentaire typographique, est son premier film en tant que ralisateur. [ m Helvetica(Film)] [ m lesjeudisde the cultural industries and the media world since the late 1990s, worked with punk label SST Records, was Vice President of the media website Salon.com, and started the indie DVD label Plexifilm in 2001. Hustwit has produced several feature documentaries about music, including I Am Trying To Break Your Heart (2002), Sam Jones film about the band Wilco, and Moog (2004), by Hans Fjellestad, the documentary about electronic music pioneer Robert Moog. Helvetica, a typographical documentary, is Hustwits directorial debut.[ m Helvetica
(Film)] [ m lesjeudisde lamarqUenoire ]

la nouvelle loi. Il fit donc campagne pour la faire abroger, mais en vain. Il ne lui restait quune solution : la scession, quil dclara le 21 avril 1970. LAustralie nayant ni reconnu, ni contest cette scession, Hutt River obtint automatiquement sa souverainet le 21 avril 1972, en vertu de la loi. Au cours des annes suivantes, Hutt River mit en place un gouvernement, imprima des timbres, battit sa propre monnaie. En raison dun diffrend avec la poste australienne, qui refusait de reconnatre ses timbres, le courrier de Hutt River fut alors redirig vers le Canada. LAustralie ne cessant de lui rclamer des impts, Casley dclara officiellement la guerre son voisin en dcembre 1977. Aujourdhui, la principaut existe toujours, tourisme et agriculture constituant lessentiel de son conomie.
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m Located in the south-western quadrant of

lamarqUenoire ] [ e ] m Gary Hustwit, who has been very active in

hutt river (la principaut de la province de)

The hutt River Province Principality [ f ] m Situe dans le quart sud-ouest de lAustralie, la Principaut de la province de Hutt River, dclara sa souverainet en plusieurs tapes partir de 199. cette poque, le gouvernement australien fit voter une loi sur lagriculture interdisant la surproduction de crales et assignant chaque agriculteur une surface cultivable de 40 hectares maximum. Leonard Casley, la tte dune ferme produisant dix fois le maximum autoris, ne pouvait plus payer ses employs et ses fermiers sil se conformait

Australia, the Hutt River Province Principality declared its sovereignty in several stages beginning in 199. The Australian government had passed agricultural legislation protecting against the overproduction of grain, limiting each farmer to the harvest of 100 acres. A farm owned by Leonard Casley found itself producing the same amount of wheat it always had but according to the new law overproducing wheat by nearly tenfold. Its staff and dependents came to the support of Leonard Casley and his farm. Together they campaigned unsuccessfully to ratify the law. Seeing a single option open to him, Casley lodged notice of secession on April 21, 1970. Because Australia failed to acknowledge or protest Casleys secession (according to its own law) Hutt River gained legal status as a sovereign on April 21, 1972. Over the next several years, Hutt River developed a governing structure, issued stamps and money. At one point, a postal dispute resulted in outgoing mail being diverted to Canada. Following Australias repeated demands for taxes, Casley officially declared war against his neighbours in December of 1977. The Principality still exists today on an economy of agriculture and tourism. [ m TaTs(FaiTes-leVoUs-mme)]

ind 108

iNDiAN lARRY

iNS

ins 109

m JoeColeman, Indian Larrys Wild Ride, 200

m Chopper Indian Larry

indian larry [ f ] m Indian Larry

Desmedt (1949 2004) tait un clbre fabricant de motos, plus prcisment de [ m choppers] , et un cascadeur. Il est mort dun accident de moto lors dune cascade. Ses crations ont t prsentes la Spencer Browstone Gallery, New York, dans une exposition organise par [ m oliviermosset] . [ m Coleman,

Joe] [ m JoeColeman(exPosiTion) ] [ m Parrino, steven] [ e ] m Indian Larry Desmedt (1949 2004) was a

noted bike builder, stuntman, and innovator in the world of custom [ m choppers] . He died from an accident in a motorcycle stunt. His creations were presented at Spencer Browstone Gallery, New York, in an exhibition curated by [ m olivier mosset] . [ m Coleman,Joe] [ m JoeColeman
(exPosiTion) ] [ m Parrino,steven]

ins (international necronautical society, ou socit ncronautique internationale) [ f ] m Fonde en 1999 par lartiste et crivain [ m TommcCarthy] , la Socit Ncronautique

Internationale (International Necronautical Society, ou INS) tient la fois du mouvement davant-garde, du vrai-faux think tank et de la socit secrte. Ainsi que son nom le suggre, cette organisation sest donn pour objet dexplorer la mort comme sil sagissait dun territoire, et den rpertorier les manifestations et les tats actuels : son Premier Manifeste,

rendu public loccasion de lArticultural Fair organise par lartiste Gavin Turk, pose explicitement ds son premier article que la mort est un type despace que nous avons lintention de cartographier, de parcourir, de coloniser et, en fin de compte, dhabiter . Si un tel projet peut sembler excentrique, sinon loufoque, lINS le mne avec autant de minutie que dassurance, mimant lorganisation dun parti ou dun groupe de rflexion. Agents et Enquteurs sont responsables de programmes de recherches dont les rsultats sont rgulirement rendus publics sous la forme de Rapports numrots et de confrences, tandis quun Premier Comit organise rgulirement des cycles de dbats et d Auditions en collaboration avec artistes, chercheurs et institutions diverses. En sappropriant et en dformant les modes de fonctionnement, danalyse et de communication en vigueur dans le monde de lart comme dans ceux de la politique et des affaires, lINS thtralise la construction du savoir et parodie ses effets dautorit. Cependant, cette mise en scne sert de support une vritable entreprise artistique et littraire : au fur et mesure des publications et des manifestations quelle a organises, lINS a mis en place un vocabulaire et des formes qui lui sont propres, sinspirant tant de Georges Bataille et de Jean Cocteau que de Chris Marker ou dAndre Tarkovski. Aprs une premire rsidence du Bureau de lAntimatire au Centre Culturel Autrichien de Londres en 2001, Tom McCarthy est invit en 2002 la DasArts Foundation dAmsterdam, o il labore un Projet dHistoire des Fusillades , tentant de reconstituer, avec laide de chorgraphes, dexperts en armes feu et en informatique, le droulement dun rglement de comptes entre maffieux locaux. Entre 2002 et 2004, lINS concentre ses activits sur les rapports entre transmission, mort et technologie, piratant le site de la BBC pour y incorporer sa propre propagande ; en 2004, elle organise lICA de Londres la manifestation Calling All Agents et cre une Unit de Transmission charge de diffuser des programmes radiophoniques crypts. Les travaux prparatoires cet vnement, dont le titre tait repris dune formule ftiche de [ m Williams.Burroughs] , ont donn lieu une publication, Calling All Agent General Secretarys Report to the International Necronautical Society (Vargas, Londres, 2003). LINS a par la suite men plusieurs missions dInspection Berlin, comportant plusieurs travaux de reconnaissance arienne de larchi-

tecture de la capitale allemande ; ses rsultats ont t exploits par le Bureau dInterprtation Temporaire mis en place Bratislava en 200, dans le cadre de lexposition Pantheon : Heroes and Anti-Monuments. Lessentiel des archives de la Socit Ncronautique Internationale sont disponibles sur le site Internet de lorganisation www.necronauts.org [ m occultisme] [ e ] m Founded in 1999 by the artist and writer [ m TommcCarthy] , the International Necronautical Society (or INS) simultaneously manifests aspects of an avant-garde movement, a true-false think tank and a secret society. As its name suggests, this organization has set itself the objective of exploring death as if it were a territory, and listing its manifestations and current states: its First Manifesto, launched at the Articultural Fair organized by the artist Gavin Turk, explicitly posits in its first article that death is a type of space, which we intend to map, enter, colonise and, eventually, inhabit. While such a project may seem eccentric, not to say crazy, the INS carries it out both meticulously and with assurance, echoing the organization of a political party or a think tank. Agents and Scouts are responsible for research programs the results of which are regularly made public in the form of numbered Reports and lectures, while a First Committee regularly organizes series of debates and Hearings in collaboration with artists, researchers and various institutions. By appropriating and twisting the operational, analytical and communication methods in force in the world of art as well as the worlds of politics and business, the INS turns the building of knowledge into theater and parodies its authoritative effects. Nevertheless, this scenario serves as a base for a genuine artistic and literary enterprise: over time, in the course of the publications and events it has organized, the INS has established a vocabulary and forms that are peculiar to it, drawing inspiration as much from Georges Bataille and Jean Cocteau as from Chris Marker or Andre Tarkovski. After a first residency at the Office of Antimatter at the Austrian Cultural Institute in London in 2001, in 2002 Tom McCarthy was invited to the DasArts Foundation in Amsterdam, where he prepared a Shooting History Project, working with choreographers, firearms experts and IT experts to attempt to reconstruct the course of a settling of accounts between local mafias. Between 2002 and 2004, the INS concentrated its activities on the relationship between transmission, death and technology, infiltrating the BBC

ins 110

iNStitut DE cultuRE tRANGRE

JAcuZZi

jac 111

website to insert its own propaganda there; in 2004, it organized the Calling All Agents event at the ICA in London and created a Broadcasting Unit responsible for broadcasting encrypted radio programs. The preparatory work for this eventthe title was taken from a catchphrase used by [ m Williams.Burroughs] was encapsulated in a publication, Calling All AgentsGeneral Secretarys Report to the International Necronautical Society (Vargas, London, 2003). The INS subsequently conducted several Inspection missions in Berlin, involving several aerial reconnaissance surveys of the architecture of the German capital; its results were exploited by the Temporary Office of Interpretation set up in Bratislava in 200, in the context of the Pantheon: Heroes and Anti-Monuments exhibition. Most of the International Necronautical Societys archives are available on the organizations website, www.necronauts.org [ m occultisme]

m Jacuzzi pour clbrit par / Celebrity jacuzzi by

mikeBouchet

jacuZZi [ m Bouchet,mike] jeanpierre, laurent [ f ] m Sociologue et historien,

m INS : TommcCarthy, Navigation Was Always a Difficult Art, 2002

institut de culture trangre (l)

Laurent Jeanpierre est actuellement matre de confrences lInstitut dtudes politiques de Strasbourg. Ces travaux portent sur les effets des circulations de savoirs et de pratiques entre disciplines et traditions nationales ainsi que sur les conditions du nouveau, en art, en science, en politique. [ m Pinot-Gallizio et la Caverne de lantimatire dans lantichambre de lanti-mondeB-2] erre is currently a lecturer at the Institute of Political Studies in Strasbourg. His work concerns the effects of the circulation of knowledge and practices among national disciplines and traditions, as well as the conditions for innovation in art, science, and politics. [ m Pinot-Gallizio and The Cave of Antimatter, in the Antechamber of the Anti-world B-10]
[ m Palais/ ]

[ m Palais/ ] [ e ] m A sociologist and historian, Laurent Jeanpi-

The Foreign Culture Institute [ f ] m Fond par Becket Bowes et David Adamo comme une entit dont lobjet est de rintroduire inlassablement ltranger , lInstitut de Culture trangre pousse remettre en question tout ce que nous avons normalis, tout ce qui nous est familier et auquel nous sommes habitus. LICE utilise son statut dtat comme un moyen de remettre en question notre dfinition gnrale de la norme. [ m TaTs(FaiTes-leVoUsmme) ] [ e ] m Founded by Becket Bowes and David Adamo

jeFFerson (ltat de)

as an entity whose purpose is to continually reintroduce the foreign., the Foreign Culture Institute pursues a method that challenges everything with which we are familiar and to which we are accustomed. FCI uses statehood as a means to engage with this overall re-definition of norms. [ m TaTs(FaiTes-leVoUs-mme)]
internationale situationniste

Situationist International [ mvoir p. B-3 / seep. B-9]

The State of Jefferson [ f ] m Micronation. Situe dans une rgion montagneuse au nord de la Californie, la lisire de lOregon. Ltat de Jefferson fit scession en 1941. Incapables de fournir des infrastructures et des services sociaux satisfaisants, les gouvernements de Californie et dOregon avaient sous-estim laccroissement de la population de cette rgion, dont lconomie florissante reposait sur lexploitation des forts. Certains de pouvoir compter sur leur conomie et leur propre gestion, les citoyens de ltat de Jefferson

jeu 112

JEuDiS DE ciNQ milliARDS DANNES

JEuDiS DE thE thiRD miND

jeu 113

tentrent dobtenir leur indpendance, car les gouvernements locaux comme le gouvernement fdral semblaient indiffrents leur bien-tre conomique. Le comit des citoyens de Jefferson entreprit ainsi, en 1941, une rbellion patriotique visant attirer lattention du public et de la classe politique sur le manque de routes et de ponts, infrastructures indispensables pour accder aux ressources naturelles de la rgion. Le mouvement reut le soutien de nombreux politiques au niveau fdral, mais il ne fut jamais reconnu par lOregon ou par la Californie. Aujourdhui encore, il compte de nombreux partisans. [ m TaTs(FaiTes-leVoUsmme) ] [ e ] m A micronation. Located on the mountain

1/11/200. SUPERMASOCHISME. Paul Ardenne.

08/03/2007. [ m anTimaTire ] . [ m Christophe

region on the border of northern California and southern Oregon. Jefferson State seceded from both states in 1941. By failing to build proper infrastructure and to provide social services, the state governments had not kept pace with the growing population of the area, so profitable in timber. Confident they could sustain their own economy and self-govern, Jefferson State Citizens decided it was necessary to seek independence because state and federal governments were overlooking their economic wellbeing. The Jefferson Citizens committee began a patriotic rebellion in 1941 in order to gain public and political attention to the lack of roads and bridges in their area. Those roads and bridges were a necessity for gaining access to their natural resources. The movement gained support from many politicians at the federal level but never succeeded in being recognized by California or Oregon. Support for the Jefferson State movement continues to this day and many Jeffersonians claim this region as their state while remaining loyal to the U.S.
[ m TaTs(FaiTes-leVoUs-mme) ]
jeudis de cinq milliards dannes (les)

Rencontre autour de son ouvrage Extrme, esthtique de la limite dpasse. Projection de SICK, The Life and Death of Bob Flanagan, Supermasochist de Kirby Dick (1997). 23/11/200. [ m ZomBies ] . [ m maxBrooks] . Confrence illustre sur les zombies. 07/12/200. MINUIT MA PORTE. Journe musicale propose par Motus 14/12/200. [ m lHC ] . [ m ClaudeHauviller] , [ m Jean-Pierremerlo] & [ m GabrieleVeneziano] . Table-ronde autour de lacclrateur de particules LHC du CERN. [ e ] m 12/10/200. LE TROISME SEXE. [ m JeanPierreGuis] . Lecture Yodeling [ m yodel] as Critique of Sexual Reason: the Third Sex. 19/10/200. [ m GriZZlyman ] (1995) by Werner Herzog. Introduction by Abraham Poincheval and Laurent Tixador. 2/10/200. TROUS NOIRS. [ m Christophe Galfard] . Lecture Black Holes: the Paradox of Information. 02/11/200. [ m dUraCell ] (Andrew Dymond). Concert/performance. 09/11/200. EPO, STRODES ET PETITES PPES. [ m antoineVayer] . 1/11/200. SUPERMASOCHISM. Paul Ardenne. Dialogue on occasion of the publication of his book Extrme, esthtiques de la limite. Screening of Kirby Dicks SICK: The Life and Death of Bob Flanagan, Supermasochist (1997). 23/11/200. [ m ZomBies ] . [ m maxBrooks] . Lecture about zombies. 14/12/200. [ m lHC ] . [ m ClaudeHauviller] , [ m Jean-Pierremerlo] & [ m GabrieleVeneziano] . Lecture about the LHC particle accelerator at CERN.
jeudis de , nouvelles du monde renvers (les) Thursdays at M , NEWS FROM ThE UPSIDE-DOWN [ f ] m 08/02/2007. [ m CaVernedelanTimaTire ] . [ m laurentJeanpierre] . Une rencontre propos de Guy Debord, [ m Pinot-Gallizio] et la Caverne

Thurdays at FIVE BILLION YEARS [ f ] m 12/10/200. LE TROISME SEXE. [ m JeanPierreGuis] . Le [ m yodel] comme critique de la raison sexuelle : le 3 me sexe . 19/10/200. [ m GriZZlyman ] (1995) de Werner Herzog. Introduction par Abraham Poincheval & Laurent Tixador. 2/10/200. TROUS NOIRS. [ m Christophe Galfard] . 02/11/200. [ m dUraCell ] (Andrew Dymond). Concert/performance. 09/11/200. EPO, STRODES ET PETITES PPES. [ m anToineVayer ] .

de lantimatire. 22/02/2007. [ m seCondliFe ] . [ m alaindella negraetKaoriKinoshita] . Confrence sur Second Life, suivie de la projection de leur film documentaire Neigborhood. 15/02/2007. LA NAVIGATION FUT TOUJOURS UN ART DIFFICILE. [ m TommcCarthy] . Premier rapport de la Socit Ncronautique Internationale ([ m ins] ). 01/03/2007. FROM BEYOND. [ m lucas&Jason ajemian] . Concert/performance

Confrence Introduction lantimatire . 15/03/2007. THANATOTACTICS. [ m eyal Weizman] . Rencontre sur les techniques de combat en espace urbain de Tsahal. 22/03/2007. [ m ViearTiFiCielle ] . [ m Claude lattaud] . 29/03/2007. ANTIPODES. Projections et rencontres avec les artistes du [ m Pavillon] . 05/04/2007. SPLIT-SCREEN. [ m yoUTUBe BaTTle ] . 12/04/2007. JABBERWOCKY. [ m PacmeThiellement] . Confrence sur les backward tapes. 19/04/2007. BOXON/NOXOD. Revue [ m Boxon] . Performance et exercice linguistique. 2/04/2007. DOPPELGANGER. David Cohen. Confrence sur le double. Suivie de la projection de Twin Falls Idaho de Michael Polish. [ e ] m 08/02/2007. CAVE OF ANTIMATTER. [ m laurentJeanpierre] . A meeting about Guy Debord, [ m Pinot-Gallizio] and the Cave of Antimatter [ m Cavernedelantimatire] . 22/02/2007. [ m seCondliFe ] . [ m alaindella negraetKaoriKinoshita] . Lecture about Second Life, followed by the screening of their movie Neigborhood. 15/02/2007. LA NAVIGATION FUT TOUJOURS UN ART DIFFICILE. [ m TommcCarthy] . First report of the [ m internationalnecronauticalsociety] . 01/03/2007. FROM BEYOND. [ m lucas&Jason ajemian] . Concert/performance 08/03/2007. ANTIMATTER. [ m Christophe Galfard] . Lecture Introduction to Antimatter [ m antimatire . 15/03/2007. THANATOTACTICS. [ m eyalWeizman . Meeting about Tsahals urban space combat techniques. 22/03/2007. [ m ViearTiFiCielle . [ m Claude lattaud . A talk on the notion of artificial life. 29/03/2007. ANTIPODS. Screenings and meetings with several artists from the [ m Pavillon] . 05/04/2007. SPLIT-SCREEN. [ m youTubeBattle] . 12/04/2007. JABBERWOCKY. [ m Pacme Thiellement] . Lecture on the backward tapes. 19/04/2007. BOXON/NOXOD. [ m Boxon] collective. Performance and linguistic exercice. 2/04/2007. DOPPELGANGER. David Cohen. A talk on split personality, followed by the screening of Michael Polishs Twin Falls Idaho.
jeudis de la marque noire (les)

Galfard] .

mance musicale Metalist Moment. 31/05/2007. [ m CinemaZero ] . Projections. 09/0/2007. [ m lydialUnCH ] . Performance Spoken Word. 14/0/2007. DRAPEAU NOIR. [ m danielColson] . Confrence sur lactualit de lanarchisme. 21/0/2007. [ m BlaCKnoise ] , la srie de livres-hommage [ m stevenParrino] . 28/0/2007. [ m PeTersaVille ] . 05/07/2007. GRAFOLOGY. Une soire pour faire le lien entre le hip-hop, les arts graphiques et lart contemporain. 12/07/2007. DU BRUIT. [ m olivierlamm] . Confrence sur le [ m harshnoise] . 19/07/2007. [ m merZBoW ] . Concert/performance. [ e ] m 24/05/2007. [ m JUTTaKoeTHer ] . Music performance Metalist Moment. 31/05/2007. [ m CinemaZero ] . Screenings. 09/0/2007. [ m lydialUnCH ] . Performance Spoken Word. 14/0/2007. BLACK FLAG. [ m danielColson] . Lecture on anarchism today. 21/0/2007. [ m BlaCKnoise ] , the series of tribute books to [ m stevenParrino[ m . 28/0/2007. [ m PeTersaVille ] . 05/07/2007. GRAFOLOGY. A special night devoted to urban culture, graffs and hip-hop. 12/07/2007. NOISE. [ m olivierlamm] . A talk on [ m harshnoise] . 19/07/2007. [ m merZBoW ] . Live performance.
jeudis de the third mind (les)

Thurdays at LA MARqUE NOIRE [ f ] m 24/05/2007. [ m JUTTaKoeTHer ] . Perfor-

Thurdays at ThE ThIRD MIND [ f ] m 02/10/2007. [ m saTaniCPornoCUlTsHoP ] . Concert. 04/10/2007. [ m JoHnGiorno ] . Performance. 11/10/2007. [ m THeTHirdmind ] . [ m John Giorno] , Bernard Heidsieck, Franoise Janicot, Jean-Jacques Lebel & [ m Grard-Georges lemaire] . Table-ronde autour de [ m Williams. Burroughs] & [ m BrionGysin] . 25/10/2007. [ m roBerTBreer ] . Projection dune slection de films danimation effectue par [ m Ugorondinone] . 31/10/2007. THE THIRD BODY. [ m BruceBenderson] . Discussion autour de la sexualit et de laddiction dans les romans de [ m Williams. Burroughs] . 01/11/2007. [ m dreammaCHines ] . 08/11/2007. BRAIN DEAD. [ m Catherinemalabou] . Confrence sur les blessures du cerveau. 15/11/2007. M.I.B. Cdric Vincent, [ m Pacme Thiellement] & [ m TommcCarthy] . De la conspiration internationale du mensonge de Burroughs aux Men in Black, en passant par Sun Ra et [ m JuanPosadas] .

joe 114

JoE colEmAN

lA mARQuE NoiRE

22/11/2007. STAND-UP TRAGEDY. [ m Jorg

Piringer] & [ m Bryansaunders] . Posie sonore. 29/11/2007. BAD TRIP. [ m ChristophGrunenberg] . Une petite histoire des drogues Beat

comme les coordonnes extrmes dun monde joyeux mais hant par la perversit. [ m ,
noUVellesdUmonderenVers ] [ m devotio moderna ] [ e ] m Solo exhibition of [ m JoeColeman] .

et de leurs effets sur les arts plastiques. 0/12/2007. [ m Weeds ] . Projection de la premire saison. 3/12/2007. MOLOCH. Howl dAllen Ginsberg, rcit par Carlo Brandt, sur une musique de Gabriel Scotti & Vincent Haenni et des images dArnaud Valadi. [ e ] m 02/10/2007. [ m saTaniCPornoCUlTsHoP ] . Concert. 04/10/2007. [ m JoHnGiorno ] . Performance. 11/10/2007. [ m THeTHirdmind ] . [ m John Giorno] , Bernard Heidsieck, Franoise Janicot, Jean-Jacques Lebel & [ m Grard-Georges lemaire] . A talk on [ m Williams.Burroughs] & [ m BrionGysin] . 25/10/2007. [ m roBerTBreer ] . Screening of a selection of animation movies curated by [ m Ugorondinone] . 31/10/2007. THE THIRD BODY. [ m BruceBenderson] . Discussion about sex and addiction in novels by [ m Williams.Burroughs] . 01/11/2007. [ m dreammaCHines ] . 08/11/2007. BRAIN DEAD. [ m Catherinemalabou] . A lecture on brain damages. 15/11/2007. M.I.B. Cdric Vincent, [ m Pacme Thiellement] & [ m TommcCarthy] . From Burroughs international conspiracy of lies to MiB, going through Sun Ra & [ m JuanPosadas] . 22/11/2007. STAND-UP TRAGEDY. [ m Jorg Piringer] & [ m Bryansaunders] . Performance poetry. 29/11/2007. BAD TRIPS. [ m Christoph Grunenberg] . A little histoire of Beat drugs and of their effects on visual arts. 0/12/2007. [ m Weeds ] . Screening of the first season. 13/12/2007. MOLOCH. Ginsbergs Howl by Carlo Brandt, on a music by Gabriel Scotti & Vincent Haenni and images by Arnaud Valadi.
joe coleman (eXposition)

#32 # 43

01/02/2007 11/03/2007. A collection of twenty

paintings by this self-taught artist provided an introduction to this world fed by obsessions and eccentricities. Mixing popular cultures and religions, the images of festival, war, paradise and hell seem like the extreme coordinates of a joyful world that is nonetheless haunted by perversity. [ m ,noUVellesdUmonderenVers ] [ m devotiomoderna ] m Liste des uvres / List of works

Joe Coleman (Exhibition) [ m 2 , fig. # 20 ] [ f ] m Exposition personnelle de [ m JoeColeman] . 01/02/2007 11/03/2007. Un ensemble dune vingtaine de tableaux trs reprsentatifs de luvre de cet artiste autodidacte offrait une introduction cet univers nourri dobsessions et dexcentricits. Mlangeant cultures populaires et religions, les images de la fte, de la guerre, du paradis et de lenfer apparaissent

War Triptych, 2003 Collection Dana et Dot Brunson, Cincinnati, tats-Unis / USA The Big Bang Theory, 1999 Collection James Corcoran Gallery, Los Angeles The Victory of Hell, 1995 Collection Anna Sea et Craig Rodriguez, Brooklyn, tats-Unis / USA Tenebrae for Carlo Gesualdo, 2004 The Cartin Collection, Hartford, tats-Unis / USA Behold Eck, 200 Collection de lartiste / of the artist, New York Theres no Place like Rome, 199 Collection Gil & Lisa Chaya, Genve / Geneva Ecce Homo, 1994 Collection Gil & Lisa Chaya, Genve / Geneva Portrait of Ed Gein, 199 The Cartin Collection, Hartford, tats-Unis / USA Faith, 199 Collection Gil & Lisa Chaya, Genve / Geneva Portrait of Professor Momboozoo, 198 Collection Martin Strickler, Zurich Indian Larrys Wild Ride, 200 Collection Mark Parker, Beaverton, tats-Unis / USA Portrait of Charles Manson, 1988 Collection Museum HR Giger, Gruyres, Suisse / Switzerland The Man of Sorrows, 1993 Collection HR Giger, Zurich Public Enemy Number One (John Dillinger), 1999 ; Collection James Corcoran Gallery, Los Angeles A Picture from Lifes Other Side (Hank Williams), 1998 Collection Anna Sea et Craig Rodriguez, Brooklyn, tats-Unis / USA And a Child Shall Lead Them (Mary Bell)

3 # 32

LA MARQUE NOIRE STEVEN PARRINO RTROSPEcTIVE 1981 2004

[ m StevenParrino] 13 Shuttered Panels for Joe Ramone, 2001

3 # 33

LA MARQUE NOIRE STEVEN PARRINO RTROSPEcTIVE 1981 2004

[ m StevenParrino] Lee Marvin / Marlon Brando, 1990 ; Dancing on Graves, 1999 ; Cyclotron, 2002

3 # 34

LA MARQUE NOIRE

LA MARQUE NOIRE

3 # 35

# 34 STEVEN PARRINO RTROSPEcTIVE 1981 2004 [ m StevenParrino] Blob (Fuckheadbubblegum), 1996 ;

Cyclotron, 2002 ;

Caustic Pill, 2001 ; Skeletal Implosion, 2001

# 35 STEVEN PARRINO RTROSPEcTIVE 1981 2004 [ m StevenParrino] uvres sur papier / Works

on paper

3 # 36

LA MARQUE NOIRE

LA MARQUE NOIRE

3 # 37

# 36 STEVEN PARRINO RTROSPEcTIVE 1981 2004 [m StevenParrino] Stockade: Existential Trap for Speed Freaks, 1988-1991 # 37 STEVEN PARRINO RTROSPEcTIVE 1981 2004 [ m StevenParrino] The Self Mutilation Bootleg 2 (The Open Grave), 1988-2003

3 ## 38 001

LA MARQUE NOIRE

LA MARQUE NOIRE

[ m FrankStella] Mas o Menos (plus ou moins), 1964 [ m Sturtevant] Stella Die Fahne Hoch!, 1990 ; Stella Arbeit Macht Frei, 1989

3 # 001

3 # 39

LA MARQUE NOIRE

#39 BEFORE (PLUS OU MOINS) [ m AndyWarhol] Electric Chairs, 1971

3 # 40

LA MARQUE NOIRE

LA MARQUE NOIRE

3 # 41

# 42

#40 BASTARD cREATURE [ m Mai-ThuPerret] Heroine

of the People (Black Stack), 2005 ; Heroine of the People (Black Tower), 2005 ; Heroine of the People (Golden Rock), 2005 ; [ m JuttaKoether] Female Force, 2006 West, 2007 Point 2/3, 1999

#41 BASTARD cREATURE [ m AmyONeill] The Golden

#42 BASTARD cREATURE [ m BlairThurman] Vanishing

3 # 43

LA MARQUE NOIRE

C1

Spectralit pirate / pirate Spectrality

# 43 BASTARD cREATURE [ m BanksViolette] Kill Yourself

(Twin), 2006 ; [ m GardarEideEinarsson] I am the master of my fate; I am the captain of my soul, 2007


C

Razmig Keucheyan
[f ]

C

Spectralit pirate
Razmig Keucheyan

Un spectre ne meurt jamais, dit Derrida si juste titre propos de celui de Marx, bien que ses apparitions sur la scne de lhistoire soient par dfinition intermittentes. La remarque sapplique particulirement bien la figure du [ m ] pirate, dont les hauts faits de ceux qui lont incarne nont cess de hanter les sicles couls. Depuis quelques annes, le spectre de la piraterie est de retour. Une trilogie hollywoodienne succs Pirates des Carabes la rcemment reprsent sous la forme dextravagants hors-la-loi libertaires en proie la mainmise impriale britannique. De Stevenson Le Clzio, en passant par Borges et Burroughs, la littrature sest frquemment nourrie des aventures de la flibuste 1. Dautres types de pirates prolifrent sur Internet, les exploits informatiques des hackers suscitant alternativement ladmiration et la rprobation de leurs victimes. Un secteur significatif de la critique sociale contemporaine se rclame explicitement de la piraterie. Le pirate y est prsent comme paradigmatique de la rsistance lordre no-libral, et le piratage considr comme la stratgie de contestation la plus adapte aux volutions conomiques et culturelles du capitalisme. Dans Zones dautonomie temporaires ( TAZ), le texte le plus typique de cette tendance, Hakim Bey constate lchec des stratgies rvolutionnaires dinspiration lniniste bases sur la conqute et la transformation du pouvoir dtat, et en appelle la constitution d utopies pirates provisoires et festives, loges dans les marges derreur du capitalisme 2. Dans No Logo, Naomi Klein prconise quant elle le dtournement ou le piratage (cultural hijacking) des messages publicitaires comme tactique de lutte contre la colonisation de limaginaire par les mdias et lemprise des marques dans lespace public 3. Autre rfrence politique la piraterie, un Parti Pirate a rcemment vu le jour en France qui, linstar de ses homologues trangers, combat la clture des droits de proprit sur Internet et dans le domaine cognitif plus en gnral 4.

Les spectres ne naissent pas tels, et dans le cas prsent, ils sont ns proltaires. Les bandits des mers des XVII e et XVIII e sicles lge dor de la piraterie moderne taient dans la plupart des cas danciens marins. cette poque se forme un vritable proltariat maritime, compos de paysans nayant pas trouv semployer dans les grands centres urbains en voie de constitution 5. Cette population surnumraire est conduite sengager dans les marines europennes qui se disputent alors le contrle de la plante. Les conditions dexistence de ces marins sont dune terrible pret. Mal pays, soumis lautorit de capitaines tyranniques, et risquant leur vie au quotidien, lentre en piraterie simpose comme un choix forc nombre dentre eux. Surtout, elle constitue une forme de rvolte originaire, dont le caractre radical accompagnera dsormais chaque instant de leur parcours, et elle relve ainsi de lirrvocable. Une fois en mer, le retour terre est certes possible, mais il est soumis des contingences sur lesquelles lindividu a rarement prise. La vie davant la piraterie, le contact avec la socit, sen trouvent irrmdiablement perdus. Cest dans ces conditions que slaborent les projets les plus insenss, et que se mettent en place les composantes de la spectralit pirate venir. Le cas du [ m ] capitaine Misson en est un exemple passionnant. Misson est un officier de marine dorigine provenale naviguant sous pavillon franais la fin du XVII e sicle. Il fait la rencontre Rome dun dnomm Caraccioli, un dominicain hrtique radicalement galitariste qui a dcid dexplorer dans toutes ses consquences lide que les hommes sont gaux devant Dieu. Sous linfluence de Caraccioli, Misson fonde au nord de Madagascar une colonie libertaire laquelle il donne le nom de [ m ] Libertalia. Ses membres renoncent leur nationalit, se font appeler Liberi, et proclament leur allgeance Dieu et la libert et rien dautre. Ils inventent une forme desperanto, compos dun mlange de langues europennes et africaines. Concevant leur entreprise comme un retour au paradis perdu , les Liberi entourent


C

Spectralit pirate

Razmig Keucheyan

C

[f ]

leur colonie dun enclos afin de la protger de la corruption de la civilisation. Comme le dit Gilles Lapouge, Fourier et Saint-Simon ont dautres prcurseurs que Thomas More. 6 Misson compte parmi les plus clairement politiss des pirates. La piraterie renferme toutefois des rvoltes plus infra-politiques , qui procdent de colres libertaires ne donnant pas lieu des projets dmancipation sociale articuls. Le cas de [ m ] Samuel Bellamy Black Sam pour ses compagnons en fournit un exemple intressant. Les bourgeois volent les pauvres sous la protection de la loi, nous volons les riches sous la seule protection de notre courage , assure-t-il au capitaine dun navire quil vient darraisonner. Contrairement Misson, Bellamy est un pessimiste. Lide dun recommencement de la civilisation sur de nouvelles bases lui est trangre. Dun ct, il peroit clairement les rapports de classe qui sous-tendent le systme social et judiciaire de son temps, dont les pirates comptent parmi les principales victimes. De lautre, la critique quil en propose nengage pas une vise politique alternative, qui lui confrerait sa justification. Ce que Bellamy oppose aux injustices commises par les riches, cest son seul courage, ainsi que celui de ses compagnons. Quant moi, je suis un prince libre ! , dit-il une autre occasion. Que dautres adeptes du drapeau noir qui allaient se faire connatre un sicle plus tard aient admir de semblables actes de rbellion nest gure tonnant. Cette attitude oppositionnelle connat de nombreuses variantes parmi les pirates. Dclarer la guerre au monde entier est une autre formule courante chez eux. [ m ] Edward Teach, plus connu sous le nom de Barbe noire , faisait preuve dune cruaut inoue envers ses victimes. Celleci allait bien au-del de la brutalit qui lui et normalement t ncessaire pour asseoir son autorit parmi ses hommes, et tenir ses adversaires distance. Le capitaine Lewis se considrait quant lui comme le diable en personne, et se comportait en toute circonstance selon cet axiome de dpart. [ m ] William Kidd, dont les aventures inspireront Stevenson, est une autre

diva de la piraterie. Corsaire la solde de lAngleterre, il se convertit la flibuste sous la pression de son quipage. Tomb aux mains de ses anciens employeurs, il est condamn mort pour lexemple, et sa dpouille enferme dans une cage sur la Tamise en avertissement ceux que tenterait la piraterie. Les pirates sont rapprocher de ce que lhistorien britannique Eric Hobsbawm appelle les bandits sociaux 7. Les bandits sociaux sont des rvolutionnaires traditionalistes . Ils mergent dans les phases de transition entre systmes sociaux, en particulier au cours de la transition entre le fodalisme et le capitalisme, et lors des priodes de crise conomique. En Europe du Nord, ils existent jusqu la fin du XVIIe sicle. Dans le Sud du continent, leur trace se perd au dbut du XXe sicle. Les socits dites du tiers monde en produisent jusqu ce jour. Le hadouk dEurope centrale, le cangaceiro brsilien 8 et Robin des Bois en sont les exemples les plus connus. Les bandits sociaux sont ancrs dans les socits rurales, dont ils dfendent la population face des changements de la socit perus comme injustes. Volant aux riches et redistribuant aux pauvres, cest au nom didaux traditionnels honneur, courage, justice, dignit et non dun programme rvolutionnaire dirig vers le futur, quils oprent 9. Ils se rencontrent dans les rgions recules, montagneuses et forestires notamment, et dans les zones frontires, dont ils profitent de labsence de souverainet clairement tablie. Comme les bandits sociaux, les pirates apparaissent dans les phases de transition. LEmpire romain avait russi en dbarrasser la Mditerrane, mais ils rapparurent sitt son dclin entam. Aussi longtemps que le quadrillage de locan Atlantique par les marines nationales demeurait approximatif, jusquau milieu du XIXe sicle, les pirates transatlantiques y prolifrrent. La piraterie peut certains gards tre considre comme le contraire de lhgmonie. Non pas bien entendu quelle soit en mesure de rivaliser avec les empires sur le terrain de la puissance. La piraterie simmisce dans les inter-

valles que les cycles de souverainet ne manquent pas douvrir, sa rsorption signalant en gnral la naissance dun nouvel hegemon. Piraterie et hgmonie progressent en proportion inverse. La prolifration des pirates est donc toujours le symptme dun dclin. Ce qui valait pour les sicles passs vaut galement pour le temps prsent. Il serait imprudent de spculer sur les facteurs qui ont concouru la rcente rapparition du spectre de la piraterie, mais il nest pas interdit de constater que celle-ci a lieu au moment mme o font intrusion sur le march des ides de nombreuses thories du dclin. commencer par celle de Paul Kennedy qui, dans la partie conclusive de son dsormais classique Rise and Fall of the Great Powers, prophtise la chute de la superpuissance amricaine en raison de sa surextension impriale , cest--dire de la distance trop grande qui spare son centre de ses thtres des oprations les plus loigns 10. Ou encore des hypothses dImmanuel Wallerstein et Giovanni Arrighi, qui annoncent le remplacement, au cours des prochaines dcennies, du systmemonde capitaliste par un systme global possiblement gnrateur de davantage de misre et de violence que son prdcesseur 11. Les analyses labores par Michael Hardt et Toni Negri dans Empire et Multitude, qui reprsentent sans doute la thorie critique la plus lue et commente lheure actuelle, participent elles aussi de cette tendance 12. Pour Hardt et Negri, la classe ouvrire industrielle a sinon disparu, du moins perdu la centralit dont elle disposait dans la lutte contre lexploitation et lalination capitalistes. Au proltariat sest progressivement substitue selon eux une nouvelle classe de travailleurs pauvres, qui ont pour principale caractristique dtre hautement qualifis et diplms, et qui sont donc essentiellement producteurs de capital intellectuel. Cette nouvelle classe de travailleurs pauvres est dnomme par eux cognitariat par contraction de proltariat et de cognitif et comprend diffrentes sortes d intellos prcaires , des informaticiens free lance aux intermittents du

spectacle, en passant par les doctorants dsargents et le million dingnieurs que gnre dsormais annuellement la Chine. Le spectre de la piraterie est n, comme on la vu, dans les entrailles du proltariat maritime europen des XVIIe et XVIIIe sicles. Se pourrait-il que sa rapparition sexplique par la formation dun cognitariat au seuil du XXIe sicle ?
[ m ] Razmig Keucheyan

1.

La flibuste est la piraterie des Carabes des XVIIe et XVIIIe sicles, le terme de pirate dsignant plus gnralement les bandits des mers de lantiquit nos jours. Hakim Bey, TAZ : zones dautonomie temporaires, ditions de lclat, Paris, 1997. Naomi Klein, No logo. La tyrannie des marques, Jai lu, Paris, 00.

. .

. Voir le site http://www.parti-pirate.info . Marcus Rediker, Between the Devil and the Deep Blue Sea. Merchant Seamen, Pirates, and the Anglo-American Maritime World, 1700-170, Cambridge University Press, Cambridge, 00.

6. Gilles Lapouge, Les Pirates. Forbans, flibustiers, boucaniers et autres gueux des mers, ditions Phbus, Paris, 1987, p. 7. 7. Eric Hobsbawm, Les Bandits, ditions La Dcouverte, Paris, 1999 (e dition).

8. Sur lunivers des cangaceiros, voir le roman de Mario Vargas Llosa, La Guerre de la fin du monde, ditions Gallimard, Paris, 1987. 9. La diffrence entre bandits sociaux et rvolutionnaires est parfois tnue, comme lillustrent, parmi dautres, les cas dEmilano Zapata et de Pancho Villa au Mexique. 10. Paul Kennedy, The Rise and Fall of the Great Powers, Random House, New York, 1987. 11. Voir par exemple Giovanni Arrighi, Hegemony Unravelling , New Left Review, n /, Londres, 00. 1. Michael Hardt & Toni Negri, Empire, ditions Exils, Paris, 000 ; Multitude, ditions La Dcouverte, Paris, 00.


C6

Razmig Keucheyan
[e ]

C7

Pirate Spectrality
Razmig Keucheyan

A specter never dies, as Derrida rightly said in regard to the specter of Marx, though his apparitions on the stage of history have been intermittent by definition. The remark applies equally well to the figure of the [ m ] pirate, whose derring-do has been a source of fascination over the centuries. For the past several years, the specter of piracy has made a re-appearance. A blockbuster Hollywood trilogyThe Pirates of the Caribbeanrecently depicted pirates as extravagant, libertarian outlaws prey to the British imperial stranglehold. From Stevenson to Le Clzio, by way of Borges and Burroughs, literature has frequently sustained itself on the adventures of the buccaneer.1 Other types of pirates proliferate on the Internet, with the digital exploits of hackers alternately inciting admiration or their victims reprobation. A significant sector of contemporary social criticism has explicitly reclaimed piracy as its own. The pirate is presented as a paradigm of resistance to the neo-liberal order, and hacking [which in French is piratage or piracy] is considered a strategy of protest well suited to the economic and cultural evolutions of capitalism. In T.A.Z.: The Temporary Autonomous Zone, the book most representative of this tendency, Hakim Bey observes the failure of revolutionary strategiesinspired by Leninbased on the conquest and transformation of the power of the State, and calls for the construction of temporary, festive pirate utopias lodged within capitalisms margins of error.2 In No Logo, Naomi Klein advocates the subversion or cultural hijacking of ads as a way to struggle against the colonization of the imagination by the media and the takeover of brands in public space.3 In another political reference to piracy, a Pirate Party recently saw the light of day in France, following in the footsteps of its foreign homologues, fighting copyright laws on the Internet and in the cognitive domain more generally.4 Specters are not born as such, and in this case, they were born proletarian. The bandits of the high seas in the 17th and 18th centuriesthe gol-

den age of modern piracywere for the most part former sailors. A veritable maritime proletariat formed at this time, composed of peasants who had not found employment in the large urban centers that were being built.5 This supernumerary population eventually found employment in the European navies, which at the time were battling over control of the planet. The living conditions of these sailors were terribly harsh. They were poorly paid, subject to the authority of tyrannical captains, and risked their lives on a daily basis; entering a life of piracy was a choice forced on many of them. Above all, it was an original form of revolt, the radical character of which would infuse every moment of their journey, and which arose out of a kind of irrevocability. Once at sea, returning to land was certainly possible, but it was subject to contingencies over which the individual rarely had control. Life before piracy and contact with society were found to be irremediably lost. It was under these conditions that the wildest plans were hatched, and components of the pirate spectrality to come were put into place. The case of [ m ] Captain Misson is a fascinating example. Misson was a naval officer originally from Provence, sailing under the French flag in the late 17 th century. In Rome, he met a heretical Dominican monk named Caraccioli, a radical egalitarian who had decided to explore the idea that men are equal before God in all its consequences. Under Caracciolis influence, Misson founded a libertarian colony in the north of Madagascar, which he christened [ m ] Libertalia. Its members renounced their nationality, called themselves Liberi, and proclaimed their allegiance to God and freedom and nothing else. They invented a form of Esperanto, composed of a blend of European and African languages. Seeing their undertaking a return to a lost paradise, the Liberi built a fence around their colony to protect it from the corruption of civilization. As Gilles Lapouge said, Fourier and Saint-Simon have other precursors besides Thomas More. 6 Misson counts among the most clearly politicized of


C8

pirate Spectrality

Razmig Keucheyan

C9

[e ]

pirates. Nevertheless piracy also involved more infra-political revolts that proceeded from libertarian rage, and did not articulate plans for social emancipation. The case of [ m ] Samuel BellamyBlack Sam to his friendsprovides an interesting example. The rich steal from the poor under the protection of the law; we steal from the rich under the protection of our courage alone, he assured the captain of a ship he had just boarded and ransacked. Unlike Misson, Bellamy was a pessimist. The idea of civilization beginning anew on new foundations was foreign to him. On the one hand, he clearly saw the class relations underlying the social and judicial system of his time, pirates being some of its principal victims. On the other hand, the critique he proposed did not have an alternative political goal that would give him some justification. That Bellamy opposed injustices committed by the rich was his only courage, like that of his companions. As for me, Im a free prince! he said on another occasion. Its hardly surprising that other followers of the black flag who would meet a century later would admire such acts of rebellion. This attitude of opposition has many variations among pirates. Declare war on the entire world was a popular rallying cry. [ m ] Edward Teach, better known as Blackbeard proved to be incredibly cruel toward his victims, and his cruelty went far beyond the brutality that might have been necessary to assert his authority over his men, and keep his adversaries at a distance. As for Captain Lewis, he considered himself the devil personified and behaved accordingly in all circumstances. [ m ] William Kidd, whose adventures would inspire Stevenson, was another diva of piracy. A corsair for hire from England, he converted to a buccaneer under the pressure of his crew. After falling into the hands of his former employers, he was condemned to death as an example, and his remains were placed in a cage on the Thames as a warning to future pirates. We might compare pirates to what the British historian Eric Hobsbawm called social ban-

dits.7 Social bandits are traditional revolutionaries. They emerge during phases of transition between social systems (they were particularly visible during the transition between feudalism and capitalism) and during periods of economic crisis. In the north of Europe, they existed until the end of the 17th century. In the south of the continent, their traces were lost in the early 20th century. So-called third world countries produce them to this day. The haidouk of central Europe, the Brazilian cangaceiro, and Robin Hood are the most famous examples.8 Social bandits are anchored in rural societies, whose population they defend in the face of societal changes perceived as unjust. Stealing from the rich and giving to the poor is something they do in the name of traditional idealshonor, courage, justice, dignityand not in the name of a revolutionary agenda directed toward the future.9 They meet in remote mountainous or wooded areas, notably, and in border zones, where the absence of clearly established sovereignty works to their advantage. Like social bandits, pirates appear during phases of transition. The Roman Empire managed to rid the Mediterranean of them, but they reappeared as soon as the empire began its decline. As long as the protection of the Atlantic Ocean by the national navies remained approximate, until the mid-19th century, transatlantic pirates proliferated. Piracy could in some respects be considered the opposite of hegemony. Not that they were in a position to rival the empires on the terrain of power, of course. But piracy inserted itself in into the gaps that cycles of sovereignty never failed to open and its curbing generally signaled the birth of a new hegemon. Piracy and hegemony progressed in inverse proportion to each other. The proliferation of pirates is therefore always the symptom of a decline. What applies to centuries past also applies to the present. It would be imprudent to speculate on the factors that contributed to the recent reappearance of the specter of piracy, but it is possible to note that it has occurred just as the market of ideas is being inundated with

numerous theories of decline. To begin with, there is Paul Kennedys, who in the conclusion of his now classic The Rise and Fall of the Great Powers, predicted the fall of the American superpower due to its imperial overextension, which is to say, the excessive distance separating its center from its far-flung theaters of operation.10 Or the hypotheses of Immanual Wallerstein and Giovanni Arrighi that foresee the replacement of the capitalist world-system, over the course of the next few decades, with a global system that might possibly generate more misery and violence than its predecessor.11 The analyses proposed by Michael Hardt and Toni Negri in Empire and Multitude, no doubt the most widely read and commented on of current critical theory, also take part in the tendency.12 For Hardt and Negri, the industrial working class has, if not disappeared, then at least lost the centrality it once had in the struggle against capitalist exploitation and alienation. The proletariat was gradually replaced with a new class of poor workers, they contend, whose main feature is to be highly qualified and educated and who are, therefore, essentially producers of intellectual capital. This new class of poor workers is called the cognitariata contraction of cognitive and proletariatwhich includes various sorts of precarious intellectuals, from freelance computer technicians to freelance performing artists [Frances Intermittents du Spectacle], by way of penniless graduate students and the million engineers that China generates annually. The specter of piracy was born, as we said, in the entrails of the European maritime proletariat of the 17th and 18th centuries. Could its reappearance be explained by the formation of a cognitariat at the threshold of the 21st ?
[ m ] Razmig Keucheyan

1.

Buccaneers were the pirates of the Caribbean of the 17th and 18th centuries, the term pirate referring more generally to bandits on the high seas from antiquity to the present. Hakim Bey, T.A.Z.: The Temporary Autonomous Zone (New York: Autonomedia, 198). Naomi Klein, No Logo: Taking Aim at the Brand Bullies (Toronto: Vintage Canada, 000).

. .

. See the site http://www.parti-pirate.info . See Marcus Rediker, Between the Devil and the Deep Blue Sea. Merchant Seamen, Pirates, and the AngloAmerican Maritime World, 1700-170 (Cambridge: Cambridge University Press, 00).

6. Gilles Lapouge, Les Pirates. Forbans, flibustiers, boucaniers et autres gueux des mers (Paris: Editions Phbus, 1987), p. 7. 7. Eric Hobsbawm, Bandits (1969) (New York: The New Press, 000).

8. On the world of the cangaceiros, see Mario Vargas Llosas novel, The War of the End of the World, trans. Helen Lane (New York: Farrar, Straus & Giroux, 198). 9. The difference between social bandits and revolutionaries is sometimes tenuous, as illustrated by the cases of Emilano Zapata and Pancho Villa in Mexico, among others. 10. Paul Kennedy, The Rise and Fall of the Great Powers (New York: Random House, 1987). 11. See, for example, Giovanni Arrighi, Hegemony Unravelling in New Left Review, no. /, London, 00. 1. Michael Hardt and Toni Negri, Empire (Paris: Editions Exils, 000); Multitude (Paris: Editions La Dcouverte, 00).

(Translated from the French by Jeanine Herman)


C10

JuDD

jud 115

tilartceps etarip / etarip ytilartceps

2000 ; Collection de lartiste / of the artist,

matriau neutre, qui ninspire rien . [ m THe

THirdmind ] [ e ] m *1920, lives in Zurich. Hans Josephsohn is

New York I Can Still Remember the Glory That Was Once New York, 1994 ; Collection Jim Jarmusch & Sara Driver, New York The Book of Revelations, 1999 The Cartin Collection, Hartford, tats-Unis / USA American Venus, Portrait of Jane Mansfield, 1997 ; The Cartin Collection, Hartford, tats-Unis / USA I Am Joes Fear of Disease, 2001 The Cartin Collection, Hartford, tats-Unis / USA As you Look into the Eye of the Cyclops, so the Eye of the Cyclops Looks into you, 2003 ; Collection de lartiste / of the artist, New York

a sculptor who questions the body using an original technique: the plaster cast is vigorously worked before being cast in brass. The material, kneaded into a heap, conceals the identity of the characters by drowning them in an anthropomorphic mass. In spite of a heavy, massive appearance, a subtle presence emanates from these languid creatures. Their generous, motionless forms seem animated by imperceptible mutations which render them both fascinating and off-putting. Josephsohn has been fascinated by this pose of a reclining woman, resting on her elbow for more than fifty years, and in the course of his career has made many variants of it. The almost obsessional repetition of this figure allows him to question its relationship with the plinth and to work at the edges of abstraction. Thus he exploits the plastic potential of plaster which he is fond of describing as a neutral material which inspires nothing.
[ m THeTHirdmind ]

m donaldJudd, Progression, 1972

judd, donald [ f ] m 1928 1994.

m JoeColeman, I Can Still Remember the Glory That Was Once New York, 1994
josephsohn, hans [ m 4 , fig. # 49 ] [ f ] m *1920, vit Zurich.

Sculpteur, Hans Josephsohn questionne le corps grce une technique originale, du pltre travaill avec vigueur puis moul en laiton. La matire, ptrie en amas, dissimule lidentit des personnages en les noyant dans une masse anthropomorphe. Malgr une apparence lourde et massive, une prsence subtile se dgage de ces tres alanguis. Leurs formes gnreuses et immobiles semblent animes par dimperceptibles mutations qui les rendent la fois fascinantes et repoussantes. Fascin par la pose dune femme allonge, appuye sur le coude, depuis plus dune cinquantaine dannes, Josephsohn en a ralis au cours de sa carrire de multiples variantes. La rptition quasi-obsessionnelle de cette figure lui permet dinterroger le rapport de celle-ci au socle et de travailler la limite de labstraction. Il exploite ainsi le potentiel plastique du pltre quil aime qualifier de

Souvent considr comme une figure du minimalisme dont il rejetait pourtant le nom, Donald Judd dfinit ds le dbut des annes 190 sa mthode de travail dans le fameux texte Specific Objects publi en 195. Ni peinture ni sculpture, luvre dart est considre comme un objet dont la fonction est de reconfigurer lespace dans lequel elle se trouve. Lart ne fait plus illusion, il nest plus le lieu de manifestation de la subjectivit de lartiste, il nest plus le produit dun savoir-faire, il est lexpression de penses complexes . Utilisant des matriaux rels dans des espaces rels , Donald Judd tendra ce principe larchitecture et au design, en particulier dans la ville de Marfa, Texas, o il ralisera ses dernires productions. Dans [ m BeFore(PlUsoUmoins)] a t prsente luvre Progression (1972), une barre crnele intervalles irrguliers en acier inoxydable monochrome. Suspendue horizontalement au mur, elle accompagne le regard du visiteur qui, selon lendroit o il se trouve, modifie littralement luvre par les infimes variations dombres qui rsulte de sa position. Des effets

jud 11

JuDD

kANt

kan 117

subtils de perspective viennent rompre lapparente monotonie de la pice pouvant donner limpression, dun certain point de vue, que les intervalles entre chaque blocs sont gaux. Ces variations rsultent de la division asymtrique de la forme, ralises ici grce un systme de progression mathmatique. Donald Judd met en place une relation logique qui relie les diffrents lments entre eux. Ainsi, luvre est le rsultat dune exprience logique crant une progression active par le regard. Progression est une variante dune srie ralise entre les annes 190 et les annes 1970, avec des matriaux diffrents, dont une labore avec de la peinture industrielle pour Harley Davidson.
[ m Chopper] [ e ] m 1928 1994. Often regarded as a representa-

kant, emmanuel

Immanuel Kant [ f ] m 1724 1804. Philosophe allemand qui a donn son nom un club de [ m tuning] .
[ m siboni,raphal] [ e ] m 1724 1804. A German philosopher his name to a car [ m tuning] club. [ m siboni,raphal]

who gave

tive of Minimalism (though he rejected that term) in the early sixties, Donald Judd defined his method of working in the famous essay Specific Objects, published in 195. Neither a painting nor a sculpture, the work of art is considered as an object whose function is to reconfigure the space in which it is located. Art no longer creates illusion, it is no longer the place where the artists subjectivity is demonstrated, it is no longer the product of a skill, it is the expression of complex thoughts. Using real materials in real spaces, Donald Judd would extend that principle to architecture and design, especially in the town of Marfa, Texas, where he made his last works. In [ m BeFore(PlUsoUmoins)] was presented Progression (1972), a monochrome stainless steel bar crenellated at irregular intervals. Suspended horizontally on the wall, it stays in the visitors view, while remaining susceptible to variations in shading depending on a viewers standpoint. These changes of perspective disrupt the apparent monotony of what seem to be regular intervals between each block. These variations result from the asymmetrical division of the form, implemented here using a system of mathematical progression. Judd establishes a logical relationship that links the various elements to one another. Thus the work is the result of a logical experiment creating a progression activated by the gaze. Progression is one variant of a series made between the 190s and the 1970s, using different materials, including one made with industrial paint for Harley Davidson.
[ m Chopper]

kalakuta anikulapo kuti (rpublique de)

The Kalakuta Republic Fela [ f ] m Micronation qui existait lintrieur du Nigeria en tant qutat scessionniste accordant lasile politique aux musiciens, aux amis et la famille, au sens large, de lactiviste et musicien nigrian dafro-pop Fela Kuti galement connu sous le nom de Fela Ransom Kuti, Fela Anikulapo Kuti ou encore le James Brown africain . Fela fonda cette rpublique indpendante afin de se librer du rgime dictatorial dObasanjo, alors dirigeant du Nigeria. Fela et sa famille furent frquemment perscuts avant et au moment de la cration de cet tat libre, lorsque Fela dcida de prendre son destin en main. Jusqu sa mort en 1997, Fela fut lui-mme arrt 35 fois pour dissidence. [ m TaTs(FaiTes-le
VoUs-mme) ] [ e ] m A micronation inside Nigeria which was a

secessionist state that provided political asylum for musicians, friends and the extended family of popular Nigerian afro-pop musician and activist Fela Kuti, also known as Fela Ransom Kuti, Fela Anikulapo Kuti and even the James Brown of Africa. Fela founded his independent republic as a way of establishing freedom from the oppressive regime led by dictator Obasanjo who ruled Nigeria at the time. Fela and his fam-

kem 118

kEmPiNAS

kiNG koNG

kin 119

ily were often persecuted before and during the time he decided to take matters into his own hands by initiating his own free state. Until his death in 1997, Fela was himself arrested some 35 times for his political dissidence. [ m TaTs
(FaiTes-leVoUs-mme) ]

its eccentric narcissists, aggressive phobics and sexual delinquents.

[ m BasTardCreaTUre ] [ m lydialunch]
kessler, leopold [ m 1 , fig. # 05 ] [ f ] m *197, vit Vienne.

kempinas, Zilvinas [ m 1 , fig. # 10 ; 5 , fig. # 58 ] [ f ] m *199, vit New York.

Potiques, minimales et visuellement intrigantes, les installations in situ de Zilvinas Kempinas combinent lutilisation sensible de matriaux htroclites pour crer des sculptures vivantes dont la forme souvent infra-mince parvient toujours investir totalement lespace. Sous les dessous dune insoutenable lgret, Zilvinas Kempinas parvient crer de la monumentalit avec un minimum de moyen, comme un acte furtif et spectaculaire, un jeu sur le vide. and visually intriguing, Zilvinas Kempinass site-specific installations use common materials to create living sculptures that take up entire exhibition spaces. With deceiving lightness and an economy of means, he achieves monumentality. Like an act that is spectacular but elusive, his work inhabits emptiness.
[ m FlyinGTaPe ]

[ m FlyinGTaPe ] [ e ] m *199, lives in New York. Poetic, minimal,

Leopold Kessler adopte le rle dun ingnieur dissident travaillant de manire subversive au cur de nos rfrents culturels. Ses travaux provoquent des fissures au sein dun environnement aussi contrl que celui des lieux publics. Par ses petits gestes et interventions, lartiste semble prparer le terrain pour une rvolution discrte contre lautorit. Dans [ m UneseCondeUneanne] , Leopold Kessler a prsent une nouvelle version de son installation Drink Distributor (200), uvre constitue de deux distributeurs de boissons connects par GSM. [ e ] m *197, lives in Vienna. In his work, Leopold Kessler subverts infrastructures of authority and surveillance. Through subtle interventions, the artist prepares a discreet revolution against cultural power structures. In oNE SEcoND oNE YEAR [ m UneseCondeUne anne ] , Leopold Kessler presented a new version of his installation Drink Distributor (200), two soda machines connected by GSM.
keucheyan, raZmig [ f ] m Docteur en sociologie,

encore des objets du quotidien. Nulle prsence humaine sur ces uvres, laissant le spectateur se dbattre avec un no mans land la fois inquitant et dlicat. Sur la feuille de papier, une couche de cire recouvre des dessins faits lencre, jouant sur une solitude de laquelle toute vie a disparu. Daspect minimaliste, les uvres de Toba Khedoori possdent un raffinement dune grande sobrit, tant dans les sujets choisis que dans les techniques utilises. [ m THe
THirdmind ] [ e ] m *194, lives in Los Angeles Toba Khedoori

focuses on urban and architectural elements removed from their context and origin. Stairways, models or every-day objects are clearly delineated on very big formats. There is no human presence in these works, leaving the spectator alone in a no mans land that is both anxiety producing and delicate. On a sheet of paper is a layer of wax covering ink drawings, playing on a solitude in which all life has disappeared. Toba Khedooris works are minimalist and display techniques and subjects of a sober refinement.
[ m THeTHirdmind ]

riques sont dans son travail indissociables de son intrt pour la peinture ancienne et de sa passion pour les ttes couronnes et la vie des clbrits. Entre fantaisie et fantastique, vieille Europe et Hollywood, sa grande matrise de la peinture sattache une vision sophistique qui plonge le visiteur dans un univers parallle sduisant. Prsente dans [ m THeTHirdmind], linstallation Swan Lake consiste en une accumulation dobjets : une luge tte de cygne, de la neige artificielle, des miroir, des ballerines. Des crans colors et des lais de tissu noir viennent renforcer limpression dun dcor. [ e ] m *1955, lives and works in Philadelphia. Karen Kilimniks fascinating work is at the intersection of fairy tales and todays movie stars. The idealized princess and the cinema icon are portrayed in both baroque and precious universes. Oil paintings, busy sets and historic installations cannot be dissociated from her interest in painting and her passion for the royalty and celebrities lives. Between whimsy and fantasy, old Europe and Hollywood, her painting mastery relates to a sophisticated vision, plunging the viewer into a seductive parallel universe. Swan Lake, the installation presented in [ m THeTHird mind ] , takes the form of an accumulation of objects: a sledge with a swans head, artificial snow, mirrors, ballerinas. Colored screens and swathes of black material further reinforce the impression of a stage set.

kern, richard [ f ] m *1954, vit

New York. Photographe et ralisateur de films underground, Richard Kern dbute sa carrire dans les annes 1980 la suite de lachat dune camra Super 8. Il commence alors raliser des courts-mtrages, aujourdhui reconnus comme la base du mouvement Cinema of Trangression . Dans les annes 1990, il se ddie la photographie et ralise aussi des clips de Sonic Youth ou Marylin Manson. Son travail explore la partie obscure du rve amricain o les narcissiques excentriques, les phobiques agressifs et les instincts incontrlables sont au premier rang. photographer and an underground film director. His career started in the 1980s following the purchase of a Super 8 camera, and today he is recognized as the founder of the Cinema of Transgression. In the 1990s he devoted himself to photography, and also made music videos for Sonic Youth or Marylin Manson. His work deals with the dark side of the American dream and

[ m BasTardCreaTUre ] [ m lydialunch] [ e ] m *1954, lives in New York. Richard Kern is a

il a enseign luniversit de Paris IV-Sorbonne et lInstitut dtudes politiques de Paris. Il est membre du comit de rdaction de la revue ContreTemps (ditions Textuel, Paris). Il est lauteur de Le constructivisme. Des origines nos jours (ditions Hermann, 2007). [ m Spectralit pirate voir p. C-2] [ m Palais/ ] [ e ] m A sociologist who has taught at the University of Paris IV-Sorbonne and the Institute of Political Studies in Paris. He is a member of the editorial board of the review ContreTemps (ditions Textuel, Paris). He is the author of Le constructivisme. Des origines nos jours (ditions Hermann, 2007). [ m Pirate Spectrality see p. C-8] [ m Palais/]
khedoori, toba [ m 4 , fig. # 53 ] [ f ] m *194, vit Los

kidd William [ f ] m Corsaire

la solde de lAngleterre qui se convertit la flibuste. Ses aventures ont inspir Stevenson. [ m voir p. C-4] [ e ] m A corsair for hire from England who converted to a buccaneer. His adventures inspired Stevenson. [ m see p. C-8]
kilimnik, karen [ f ] m *1955, vit Philadelphie.

Angeles. Toba Khedoori sattache aux lments urbains et architecturaux, placs hors de leur contexte et de leur origine. Sur de trs grands formats, se dtachent avec prcision des escaliers, des maquettes ou

Le travail fascinant de Karen Kilimnik trouve son origine au croisement des contes de fes et de lactualit des stars daujourdhui. Princesses idales et icnes du cinma sont mis en situation dans des univers la fois baroques et prcieux. Peintures lhuile, dcors chargs et installations histo-

m merianC.Cooper&ernestB.schoedsack, King Kong, 1933

king kong [ m Henrot,Camille]

kin 120

kiNoShitA

koEStER

koe 121

m Kaori Kinoshita & Alain Della Negra dans / in Second Life

kinoshita, kaori & della negra, alain [ f ] m Avant dentamer leur collaboration artis-

tique, Kaori Kinoshita et Alain Della Negra avaient chacun ralis plusieurs vidos et documentaires touchant aux mondes virtuels My Sims in Paris (2004), court-mtrage de Kaori Kinoshita et aux systmes de langage et de communication dans sa vido Dropping Out (2001), Alain Della Negra fait jouer des acteurs amricains un script traduit de langlais en franais, langue quils ne matrisent pas. Leur premier court-mtrage commun, Neighborhood (200), met en scne des rsidents dAlphaville, version online des Sims, relatant des pisodes de leur(s) existence(s) virtuelle(s) comme sil sagissait de leur vie normale. Alain Della Negra et Kaori Kinoshita sintressent aujourdhui Second Life, tudiant les interactions entre monde virtuel et monde rel, le fonctionnement des communauts online et leurs quivalents terrestres, la philosophie du jeu aussi bien que ses dveloppements commerciaux. Second Life of (200) ajoute ainsi une srie de portraits de joueurs amricains les commentaires et ractions de leurs avatars, recueillis lors dune projection spciale organise dans Second Life, au cinma Midnight City en juin 200. Pour leur nouveau projet de film, ils ont cette fois engag plusieurs acteurs et les ont invit devenir rsidents de Second Life, puis raconter, face la camra, leurs dbuts dans le monde virtuel. [ m lesjeudisde
,noUVellesdUmonderenVers ] [ m second

speak properly. Their first joint short film, Neighborhood (200), features the residents of Alphaville, an on-line version of the Sims, recounting episodes of their virtual existences as if it were a question of their normal lives. Alain Della Negra and Kaori Kinoshita are today interested in Second Life, studying the interactions between a virtual and a real world, the behavior of on-line communities and their terrestrial equivalents, the philosophy of play as well as its commercial developments. Thus Second Life of (200) features a series of portraits of American players and adds the comments and reactions of their avatars, collected at a special projection organized at Second Life, at the Midnight City cinema in June 200. For their new film project, they have taken on several actors and asked them to become residents of Second Life, then talk about they got started in the virtual world in front of the camera. [ m lesjeudisde,noUVellesdU
monderenVers ] [ m secondlife]

[ e ] m *1973, lives in Prague. With familiar

everyday objects, Kristof Kintera builds sophisticated mechanisms that tranform them into potential threats with a life of their own, becoming critiques of the consumer world. In oNE SEcoND oNE YEAR [ m UneseCondeUne anne ] , Kristof Kintera presented a new version of Revolution (2005 200). Turned to face the wall, a small but life-sized figure violently hits its head against the surface in random and irregular intervals.
kirpikistan (ltat de)

koester, joachim [ m 1 , fig. # 11 # 13 ; 5 , fig. # 59 ] [ f ] m *192, vit New York. Joachim

[ m vanglistes] [ m Furries] [ m Gorens]

The State of Kirpikistan [ f ] m Fond le 22 juillet 2004, le Kirpikistan est n en Grande-Bretagne dun projet Internet en faveur dun tat plus dmocratique. Avec un programme pour une meilleure qualit de vie voquant des problmes de surtaxation, de surpopulation, demploi et de pollution M. Cenk K., fondateur du Kirpikistan, mit en place sur Internet un systme de demandes de citoyennet. Comme dautres nations modernes, le Kirpikistan entend tre un sanctuaire o seront respects les droits de lhomme, le droit lintimit, la libert de pense, de parole et de religion lexclusion du [ m satanisme] (comme le stipule la constitution). [ m TaTs(FaiTes-le
VoUs-mme) ]

Koester travaille la frontire entre documentaire et fiction. Quil prenne la forme dun film documentaire en 1 mm, dune srie de photos darchives ou dun livre, son travail transforme les images en histoire, et rciproquement. Fascin par le ple Nord, lartiste fait de lexploration lun des pivots de sa recherche. Joachim Koester sattache galement la documentation dvnements infimes, disparus de la Grande Histoire, pour les faire rapparatre dans la mmoire collective. Selon lui, si au XIXe sicle lexploration fut de nature majoritairement gographique, le XXe sicle, avec la dcouverte de la psychanalyse, est entre autres celui dune exploration mentale de notre inconscient. Message From Andre (2005), prsent dans [ m 5.000.000.000dannes ] , est un travail potique et conceptuel qui relate lhistoire tragique de laccident dun groupe dexplorateurs partis en montgolfire en 1897 dans le ple Nord, et dont on retrouva trente-trois ans plus tard quelques effets dont une bote de ngatifs. Joachim Koester a film ces derniers avec une camra 1 mm. [ m lemaTindes form of a 1mm documentary film, a series of archival photographs, or a book, Joachim Koesters work turns images into history, and vice-versa. The artist is fascinated by the North Pole as well as documentation of moments in history that have slipped out of collective memory. Joachim Koester is also keen on documenting tiny events, ones that have disappeared from History with a capital H, allowing them to re-emerge into collective memory. As he sees it, while in the 19th century exploration was mainly geographical in nature, the 20th century, with its discovery of psychoanalysis, is among other things the century of a mental exploration of our unconscious. The film Message From Andre (2005), presented in the 5,000,000,000 YEARS [ m 5.000.000.000dannes ] , refers to the tragic story of a group of explorers who left for the North Pole in a hot-air balloon in 1897. Their remains, discovered thirty-three years later, included a box of negatives filmed by Koester with a 1mm camera. [ m lemaTindesmaGiCiens ]

maGiCiens ] [ e ] m *192, lives in New York. Whether in the

[ e ] m Founded July 22, 2004, Kirpikistan origi-

m KristofKintera, Revolution, 2005200

kintera, kristoF [ f ] m *1973, vit Prague.

life] [ m vanglistes] [ m Furries] [ m Gorens] [ e ] m Before embarking on their artistic collabora-

tion, Kaori Kinoshita and Alain Della Negra had each made several videos and documentaries relating to virtual worlds My Sims in Paris (2004), a short film by Kaori Kinoshita and language and communication systems in his video Dropping Out (2001), Alain Della Negra gets American actors to play a script translated from English into French, a language they cant

Utilisant des objets du quotidien a priori inoffensifs, Kristof Kintera les dote de systmes sophistiqus qui les transforment en menaces potentielles ayant une vie propre. Son travail poursuit par un biais humoristique une critique de la socit de consommation. Ses installations au-del de leur impact immdiat oprent une remise en cause du monde qui nous entoure. Prsente dans [ m UneseCondeUneanne] , Revolution (2005 200) est une sculpture anime particulirement saisissante : un personnage de petite taille paisiblement tourn contre le mur se tape violemment la tte intervalles irrguliers.

nates from Great Britain as an internet outreach project for a more ideal democratic state. Citing quality-of-life issues, such as the stress of over-taxation, population density, jobs and pollution, Mr. Cenk K., founder of Kirpikistan, produced a web-based call for citizenry. Like other modernized nations, Kirpikistan would be a haven for human rights across the board, including the right to privacy, freedom of thought, speech and religion, except [ m satanisme] (explicitly banned by the constitution).
[ m TaTs(FaiTes-leVoUs-mme) ]

klammer, FranZ [ f ] m Skieur alpin autrichien. Champion de descente. [ m acclration] [ e ] m An Austrian alpine ski racer. Downhill champion. [ m acclration]

koe 122

koEthER

123

koether, jutta [ m 3 , fig. # 40 ] [ f ] m *1958, vit New

York. Jutta Koether est peintre, musicienne, crivain, thoricienne et ralise galement des performances. Artiste fministe la fin des annes 1980 avec ses peintures translucides, aux grands coups de brosse, aux dessins de corps de femmes, elle volue dans les annes 1990 dans un autre registre. Ses cooprations avec des artistes musiciens lui apportent un espace de cration plus libre o la peinture est rvalue, exprimente avec dautres matriaux. Elle a collabor avec [ m stevenParrino] dans son projet musical [ m electrophilia] pour lequel ils ont prsent plusieurs performances en duo. painter, musician, writer and theorist. A feminist artist in the late 1980s with her translucent paintings featuring large brushstrokes and drawings of womens bodies, in the 1990s she developed in another register. Her cooperative ventures with musician artists provide her with a freer creative space in which painting is reevaluated, experimented with using different materials. She collaborated with [ m steven Parrino] on his musical [ m electrophilia] project, and they staged several performances as a duo. [ m BasTardCreaTUre]

work as stylisation and form as the measure, rhythm, symbol and metamorphosis of number and principle. The discovery of [ m aiona] (which in Greek means with no limit, a reference to the its purported healing properties), a healing rock originating from Wrenlos in Switzerland is due to her, and she used it throughout her life to tend various illnesses. Her works are the result of her researches and have no titles or dateslarge geometric drawings done with lead pencil, coloured pencils or chalk on graph paper, all or them magnetic fields linked to her non-standard practice of medicine and art, using energetic and spiritual forces. [ m THeTHirdmind]

[ m BasTardCreaTUre ] [ e ] m *1958, lives in New York. Jutta Koether is a

kunZ, emma [ m 4 , fig. # 52 ] [ f ] m 1892 193.

m Emma Kunz

Gurisseuse, chercheuse, artiste, Emma Kunz occupe une place trs particulire dans lhistoire de lart. Elle-mme dfinissait son travail atypique comme stylisation et forme en tant que mesure, rythme, symbole et mtamorphose du nombre et du principe . On lui doit la dcouverte de l[ m aiona] (signifiant en grec sans limite , en rfrence ses prtendues proprits curatives), roche gurisseuse originaire de Wrenlos en Suisse, dont elle se servit sa vie durant pour soigner divers maux. Ses uvres sont le rsultat de ses recherches, sans titre ni date, de grands dessins gomtriques raliss la mine de plomb, aux crayons de couleur ou la craie sur papier millimtr autant de champs magntiques lis sa pratique hors norme de la mdecine et de lart, via des forces nergtiques et spirituelles. Emma Kunz occupies a very special place in art history. She herself defined her atypical

m Aion A : la carrire de Wrenlos / the querry in Wrenlos

[ m THeTHirdmind ] [ e ] m 1892 193. A healer, researcher and artist,

lad 124

lADoNiA

lAviNE

lav 125

ladonia [ f ] m Nation

associe aux deux sculptures monumentales composes de 75 tonnes de bois flott (Arx et Nimis) construites en 1980 sur les ctes sudoises par Lars Vilks. Joseph Beuys acheta les sculptures en 1984. Quand le conseil local dclara que les sculptures taient des structures domestiques, construites sans autorisation, et ordonna quelles soient dtruites, une controverse sensuivit. la mort de Joseph Beuys en 198, les artistes Jeanne-Claude et Christo achetrent Nimis afin de participer sa protection. En 199 Lars Vilks cra la micronation de Ladonia pour prserver de manire sre les uvres et lidologie de ses protecteurs. Trois ans plus tard, Vilks cra une troisime sculpture quil appela Omphalos. Tous les citoyens de Ladonia sont nomades et la plupart sont des artistes, si bien que les impts de cette micronation sont constitus par les dons drivs de leurs talents artistiques. Les titres nobiliaires sont galement une source de revenus.
[ m TaTs(FaiTes-leVoUs-mme) ]

cart et a achev plusieurs travaux de recherche dans le domaine du postmodernisme en littrature amricaine. [ m Harshnoise] [ m merzbow]
[ m Palais/ ] [ e ] m A critic and muscian. As well as his three

albums produced by the Active Suspension label (Snow Party, 2002, hello spiral, 2004, Monolith, 200), Olivier Lamm has collaborated with numerous artists, including My Jazzy Child, dDamage, Sutekh, Hypo; he also takes participates in the following collectives: vnement, Section Amour, Labranisch (with Davide Balula and Stphane Laporte aka Domotic) and the Motards en Colre (MEC). He writes regularly for the magazine Chronicart and has completed several research projects into the field of postmodernism in American literature.
[ m Harshnoise] [ m merzbow] [ m Palais/ ]
lamourouX, vincent [ m 1 , fig. # 01, # 02, # 05 ] [ f ] m *1974, vit Paris. Le

installations, le duo Sabina Lang et Daniel Baumann mle des rfrences de lart pop et du life-style des annes 190 et 1970. Inspir par une esthtique de design intrieur futuriste, lunivers visuel de ces artistes sadapte diffrents espaces et en modifie la perspective.
[ m 5.000.000.000dannes ] [ m Hteleverland] [ e ] m Sabina Lang: *1972, Daniel Baumann: *197,

live in Burgdorf (Switzerland). A mixture of Pop Art and the life-style of the 190s and 70s appears in the collaborative works by Sabina Lang and Daniel Baumann. Inspired by a futurist interior design aesthetic, the vision of the artists adapts itself to different spaces.
[ m 5.000.000.000dannes ] [ m Hteleverland]
lattaud, claude [ f ] m Mathmaticien,

[ e ] m Nation associated with two monumental

sculptures (Arx and Nimis) using 75 tons of driftwood constructed in 1980 on the coast of Sweden by Lars Vilks. Joseph Beuys purchased the sculptures in 1984. When local council declared the sculptures to be domestic structures, built without permit, and ordered them to be torn down, controversy ensued. Joseph Beuys died in 198 and artists Jeanne-Claude & Christo purchased Nimis to aid in its protection. In 199 Vilks created the micronation of Ladonia to further ensure the freedom of the works and the ideology of its supporters. Three years later Vilks erected a third sculpture he called Omphalos. All citizens of Ladonia are nomadic, and most are artists, paying taxes through charitable contributions of their respective creative talents. Otherwise income is derived through the sale of titles such Baron, or Lady.
[ m TaTs(FaiTes-leVoUs-mme) ]
lamm, olivier [ f ] m Critique et musicien.

Outre ses trois albums dits par le label Active Suspension (Snow Party, 2002, hello spiral, 2004, Monolith, 200), Olivier Lamm a collabor avec de nombreux artistes, parmi lesquels My Jazzy Child, dDamage, Sutekh, Hypo ; il participe galement aux collectifs vnement, Section Amour, Labranisch (avec Davide Balula et Stphane Laporte aka Domotic) et les Motards en Colre (MEC). Il crit rgulirement pour le magazine Chroni-

travail de Vincent Lamouroux bouleverse la relation du spectateur luvre dart, en employant souvent la sculpture monumentale et linstallation in situ. Ses rfrences, allant du Land Art au divertissement populaire, sont lorigine de propositions architecturales perturbant le visiteur, dcalant et dtournant ses points de rfrence dans lespace. Prsente dans [ m 5.000.000.000dannes] , Scape (200) est une gigantesque sculpture en acier inoxydable repense spcialement pour le Palais de Tokyo. Sa forme, refltant de manire dtourne et sinueuse le symbole de linfini, un grand-huit ou encore une rampe de flipper. [ e ] m *1974, lives in Paris. Vincent Lamourouxs monumental installations or kinetic sculptures reverse the relationship between the work of art and its viewer. Drawing his inspiration from Land Art and the architecture of entertainment as well as from science fiction, the artist unsettles our understanding and perceptions of space. Presented in 5,000,000,000 YEARS [ m 5.000.000.000dannes ] , Scape (200) is a massive stainless steel sculpture reconfigured specifically for the Palais de Tokyo. Its shape refers to the symbol for infinity, a rollercoaster, or even a pinball machine, all at once.
lang / baumann [ m 1 , fig. # 01 ; 6 , fig. #  # 9 ] [ f ] m Sabina Lang : *1972, Daniel

responsable de projets pour le Laboratoire dIntelligence Artificielle de Paris 5 (UFR Math-Informatique). Spcialiste de la notion de [ m vieartificielle] , il se consacre plus prcisment la simulation de plantes virtuelles, prenant en compte la morphogense des plantes au niveau individuel, lmergence de comptition et de coopration au sein de communauts de plantes et la co-volution au fil des gnrations de plusieurs types de plantes. [ m lesjeudisde,noUVellesdU at the Artificial Intelligence Laboratory of Paris 5 (Mathematics-Informatics Teaching and Research Unit). Specializing in the idea of artificial life [ m Vieartificielle] , he devotes himself more specifically to the simulation of virtual plants, taking account of the morphogenesis of plants at the individual level, the emergence of competition and cooperation within communities of plants, and the co-evolution over the generations of several types of plants. [ m les
jeudisde ,noUVellesdUmonderenVers ]

monderenVers ] [ e ] m A mathematician, responsible for projects

lavine, michael [ f ] m *193, vit New

Baumann : *197, vivent Burgdorf (Suisse). Dans ses

York. Michael Lavine sest illustr la fin des annes 1980 en photographiant les icnes de la musique pop, puis ceux de la scne rock/grunge au dbut des annes 1990. Ses sujets slargissent aux icnes de la tlvision, aux politiciens, aux artistes et la vie quotidienne des amricains. Son style aux couleurs satures, agressives et dynamiques, une mise en lumire pousse lextrme, ainsi que cette conscience inne dun aspect direct, presque cru, ont fait sa renomme. [ m BasTard
CreaTUre ]

lea 12

lEARY

lENGlEt

len 127

[ e ] m *193, lives in New York. Michael Lavine

distinguished himself in the late 1980s by photographing the icons of pop music, then those of the rock/grunge scene in the early 1990s. His subjects broadened to include TV personalities, politicians, artists, and the everyday life of Americans. His style is marked by saturated, aggressive, dynamic colours, lighting pushed to the extreme, and an innate awareness of a direct, almost raw composition. [ m BasTard
CreaTUre ]

rallying cry of a generation. Learys adopted L.S.D. as the acronym for his movement and new religion, the League for Spiritual Discovery, spoke of LSD as a sacramental substance, described taking hallucinogenics [ m Hallucinognes] as worship in the search of God and infinity to be consumed in communal multimedia celebrations or in shrines at home.
[ m occultisme] [ m 1969][ m manson,Charles]

sornent de symboles mystrieux, et la passion de Jimmy Page pour [ m aleisterCrowley] ira jusquau rachat en 1971 de lancienne rsidence du matre de la magick, le manoir Boleskine, prs du Loch Ness. Qui plus est, dans les paroles mme de Stairway to Heaven, Robert Plant dit que parfois les mots ont deux sens et que si vous coutez attentivement, le chant finira par venir vous La chanson de Led Zeppelin est, certes, comme tous les morceaux du groupe, le produit dune potique qui intgre des thmatiques associables au satanisme potique, inspir par loccultisme du XIXe sicle, mais elle ne contient aucun message cach, aucun message subliminal. [ m Backward
messages] [ m lesjeudisde ,noUVellesdU
monderenVers ]

Like all Led Zeppelin pieces, the Led Zeppelin song is undoubtedly the product of poetics that integrate sets of themes that can be associated to poetic Satanism, inspired by 19th-century occultism, but it does not a priori contain any hidden message, any subliminal message.
[ m Backwardmessage] [ m lesjeudisde , noUVellesdUmonderenVers ] [ m ajemian, lucas&Jason]

[ e ] m English rock band. [ m PacmeThiellement] m Timothy Leary

le borgne, alain [ mGeneBernadette&leBorgnealain] led Zeppelin [ f ] m Groupe de rock anglais. [ m PacmeThiellement] souligne que lexemple canonique

m michaellavine, Courtney Love, Kneeling, 1994

leary, timothy [ f ] m 1920 199. Messie

biochimique, sauveur spirituel et gourou de la mditation. Comme lcrit [ m ChristophGrunenberg] : grand, beau, charismatique, intelligent et cultiv, il devint une icne des mdias amricains dans les annes 1960, et son message tune in, turn on, and drop out [allume-toi, branche-toi et lche prise] devint malgr son absurdit apparente de slogan publicitaire le cri de ralliement de toute une gnration. Il choisit pour acronyme de son mouvement et de sa nouvelle religion le sigle L.S.D., pour League for Spiritual Discovery [Ligue pour la dcouverte spirituelle], et il parla de la drogue comme dune substance sacramentelle , expliquant que lusage d [ m Hallucinognes] est, dans notre qute de Dieu et de lInfini, une forme dadoration qui doit se pratiquer lors de clbrations collectives multimdia ou, chez soi, dans un sanctuaire . saviour and meditation guru with scientific credentials. As writes [ m ChristophGrunenberg] : Tall, good-looking, charismatic, intelligent and erudite he became the darling of the media and tune in, turn on, and drop out, with its apparent absurdity of an advertising slogan, the

[ m occultisme][ m 1969][ m manson,Charles] [ e ] m 1920 199. Biochemical messiah, spiritual

des convergences dintrt entre la pop music et le Mal en la matire est Led Zeppelin et son morceau Stairway to Heaven. Le mythe veut que si lon coute un certain passage de Stairway to Heaven lenvers, on puisse entendre une prire adresse Satan. Le passage incrimin, lendroit , est : If theres a bustle in your hedgerow, dont be alarmed now, its just a spring clean for the May queen. Yes, there are two paths you can go by, but in the long run theres still time to change the road youre on. Lune des coutes rpulsives donne le rsultat suivant : Oh heres to my sweet Satan. The one whose little path would make me sad, whose power is Satan. He will give those with him 666. There was a little toolshed where he made us suffer, sad Satan . En 1982, linitiative dun prtre baptiste, une association de consommateurs de Californie fit galement un communiqu sur cette chanson, prtendant que, diffus lenvers, les paroles prononces taient : I sing because I live with Satan. The Lord turns me off. Theres no escaping it. Heres to my sweet Satan, whose power is Satan. He will give you 666. I live for Satan . La controverse a principalement t entretenu par lintrt avou de Led Zeppelin pour loccultisme : les pochettes de leurs albums

points out that a good example of convergences of interest between pop music and Satanism is Led Zeppelin and Stairway to Heaven. Myth has it that if we listen to a certain passage in Stairway to Heaven backwards we can hear the words: Heres to my sweet Satan. There are more highly developed versions of this legend. The suspect words, the right way round, are as follows: If theres a bustle in your hedgerow, dont be alarmed now, its just a spring clean for the May queen. Yes, there are two paths you can go by, but in the long run theres still time to change the road youre on. One of the backwards listenings comes up with the following result: Oh heres to my sweet Satan. The one whose little path would make me sad, whose power is Satan. He will give those with him . There was a little toolshed where he made us suffer, sad Satan. In 1982, prompted by a Baptist pastor, a consumers association in California also issued a communiqu on this song, claiming that if played backwards the words uttered were these: I sing because I live with Satan. The Lord turns me off. Theres no escaping it. Heres to my sweet Satan, whose power is Satan. He will give you . I live for Satan. What added controversial elements to this example were the following factors: the fact that in the song itself Robert Plant says that sometimes words have two meanings and if you listen carefully, the song will end up coming to you, the use of occult symbols on the covers of Led Zeppelins albums, and Jimmy Pages passion for [ m aleisterCrowley] , which extended as far as the purchase in 1971 of Boleskine House, near Loch Ness, Crowleys one-time residence.

lgion trangre

Foreign Legion
[ m Gene,Bernadette&leBorgne,alain]
lemaire, grard-georges [ f ] m crivain, historien et critique

dart, GrardGeorges Lemaire a crit trente-huit ouvrages dont, rcemment, Kafka (Folio, Gallimard) et Le Noir (Hazan) et a t le commissaire de quatre-vingts expositions en France et ltranger. Il est directeur littraire de Verso et membre de la rdaction des Lettres franaises. Il a publi en 197 la version franaise de [ m The Third Mind ] de [ m Williams.Burroughs] et [ m BrionGysin] . [ m The Third Mind, p. d-2] [ e ] m A writer, historian and art critic, GrardGeorges Lemaire has written thirty-eight booksincluding, recently, Kafka (Folio, Gallimard) and Le Noir (Hazan)and has curated eighty exhibitions in France and abroad. He is the literary director of Verso and a member of the editorial team of Lettres franaises. In 197 he published the French version of [ m The Third Mind ] by [ m Williams.Burroughs] and [ m BrionGysin] . [ m The Third Mind, p. d-8]
lenglet, lucas [ m 6 , fig. # 91 ] [ f ] m *1972, vit Amsterdam

et Berlin. Lucas Lenglet opre de manire gnrale une recherche formelle sur lespace en utilisant ce dernier comme mdium. Il tente de modifier notre vue et notre perception de lespace, par le biais de constructions varies. Son travail se rvle sous forme de commissions, dinstallations in

lhc 128

lhc

liBERtAiRE

lib 129

situ, duvres vivre ; autant de constructions faites par lartiste avec des matriaux du quotidien pour mieux le djouer. [ m modUle ] 05/05/2007 29/07/2007. Carte blanche au [ m Commissariat] . Inaccessibilit et connecteurs hirarchiques. Linstallation conue par Lucas Lenglet est constitue de cinq lments indpendants formant un tout, oscillant entre formes architecturales et images mystrieuses : des tagres en circuit ferm, une photographie descalier, une fentre donnant sur le restaurant du Palais de Tokyo Autant de perspectives sur larchitecture du lieu et sa fonction. Le titre Inaccessibilit et connecteurs hirarchiques fait rfrence une question rcurrente dans le travail de lartiste : comment larchitecture dun lieu dfinit-elle sa scurit et son accessibilit ? La question des moyens daccs des connecteurs dborde le cadre de la seule utilit : couloirs, portes ou escaliers sont autant dlments menant vers linconnu. Un livre dartiste est par ailleurs conu comme un satellite de lexposition. [ e ] m *1972, lives and works in Amsterdam and Berlin. As a rule Lucas Lenglet carries out formal research into the space, using it as a medium. He sets out to alter our view and our perception of a space, through a variety of constructions. His work can be seen in the form of commissions, site-specific installations, experiential works; they are all constructions made by the artist with materials from everyday life. [ m modUle ] 05/05/2007 29/07/2007. Carte blanche to [ m leCommissariat] . Inaccessibilit et connecteurs hirarchiques. The installation created by Lucas Lenglet consists of five independent elements forming a whole, oscillating between architectural forms and mysterious images: shelves forming a closed circuit, a photograph of a staircase, a window overlooking the restaurant of the Palais de Tokyoall considering the architecture of the place and its function from a different perspective.The title Inaccessibility and hierarchic connectors alludes to a question that is recurrent in the artists work: how does the architecture of a place define its security and its accessibility? The question of means of accessconnectorsgoes beyond the context of mere practicality: corridors, doors or stairs are so many elements leading to the unknown. An artists book is devised as a satellite to the exhibition.

m LHC, Grand Collisionneur de Protons / Large Hadron Collider

lhc (grand collisionneur de protons)

LhC (Large hadron Collider)

[ f ] m Le Grand Collisionneur de Protons (Large

de la Tour Eiffel. On a successivement mis en place : les quipements pour les services gnraux que lon pourrait rsumer par leau, le gaz et llectricit auxquels on a ajout des milliers de kilomtres de cbles pour les signaux optiques et lectriques ; la ligne de distribution dhlium temprature cryognique constitue dun ensemble de tuyauteries de haute qualit ; la machine proprement dite, cest--dire principalement les 10.000 aimants et autres quipements comme les tubes sous vide o circuleront les particules et les cavits radiofrquence servant acclrer ces mmes particules. , souligne[ m ClaudeHauviller ] .
[ m dtecteursdeparticle] [ m motti,Gianni] [ m lesjeudisde Cinqmilliardsdannes ] [ e ] m The Large Hadron Collider (LHC) is the

summed up as water, gas and electricity to which we have added thousands of kilometers of cables for visual and electrical signaling; the distribution line for helium at a cryogenic temperature, made up of a set of high-quality pipes; the actual machine, i.e. mainly the 10,000 magnets and other hardware such as the vacuum tubes where the particles will circulate and the radio-frequency cavities that are used to accelerate those same particles., [ m ClaudeHauviller ] points out.
[ m dtecteursdeparticle] [ m motti,Gianni] [ m lesjeudisde Cinqmilliardsdannes ]
libertaire (pense)

Hadron Collider, LHC) est linstrument le plus puissant jamais construit ce jour pour explorer les proprits de la [ m matire] . Install dans les laboratoires du CERN (Conseil europen pour la recherche nuclaire), cet acclrateur de particules a t conu pour permettre de lancer la vitesse de la lumire, dans des tubes de vide, des faisceaux de protons, afin dobtenir leurs collisions une nergie de 14 tralectronvolts. Le maintien en orbite des faisceaux requiert des champs magntiques dune trs haute intensit (7 Tesla), cre grce au recours la supraconductivit soit la capacit de certains matriaux conduire llectricit sans aucune rsistance ou perte dnergie, gnralement trs basse temprature. Les cbles supraconducteurs, ici des fils de niobium-titane noys dans une matrice de cuivre, sont ainsi placs dans de lhlium superfluide la temprature de 1,9 Kelvin, temprature encore plus basse que celle de lespace intersidral. Quant aux faisceaux de protons, ils sont prpars par une chane dacclrateurs avant dtre injects dans le LHC, cette manire dinterconnecter les acclrateurs permettant au CERN dtre une usine de faisceaux de particules particulirement flexible. partir de 2008, les milliards de collisions par seconde seront ainsi pr-analyses dans les gigantesques dtecteurs du LHC, et les donnes collectes ensuite transmises de nombreux laboratoires internationaux. Le LHC a t construit dans le tunnel quoccupait auparavant le Grand Collisionneur lectronPositon (Large Electron Positron Collider, LEP) du CERN. Installer lacclrateur du LHC, cest transporter, mettre en place et connecter dans un troit tunnel de 27 kilomtres de long plus de 100.000 tonnes de matriel ; ce qui ne reprsente pas moins de quatorze fois le poids

most powerful instrument day for exploring the properties of matter [ m matire] ever constructed up to the present day. Installed in the laboratories of CERN (Conseil europen pour la recherche nuclaire), this particle accelerator has been designed to make it possible to project proton beams into vacuum tubes at the speed of light, in order to achieve collisions at an energy of 14 teraelectronvolts. Keeping the beams in orbit requires very high intensity magnetic fields (7 Tesla), created by means of recourse to superconductivityi.e. the capacity of certain materials to conduct electricity without any resistance or energy loss, generally at very low temperatures. Thus superconducting cables, here niobium-titanium wires in a copper matrix, are placed into the superfluid helium at a temperature of 1.9 Kelvin, a temperature even lower than that of intersidereal space. As for the proton beams, they are prepared by a chain of accelerators before being injected into the LHC: this way of interconnecting the accelerators enables CERN to be a particularly flexible particle beam factory. Thus from 2008, billions of collisions per second will be pre-analyzed in the LHCs giant detectors, and the data collected will then be passed on to a large number of international laboratories. The LHC has been built in the tunnel which used to house CERNs Large Electron Positron Collider (LEP). Installing the LHC accelerator entails transporting, positioning and connecting over 100,000 tonnes of material in a narrow tunnel 27 kilometers in length; that represents no less than fourteen times the weight of the Eiffel Tower. We have successively installed: facilities for general services which could be

Libertarian Thought [ f ] m Il aura fallu attendre la dernire partie du XXe sicle pour quon puisse commencer prendre conscience de limportance de l[ m anarchisme] et pressentir la valeur philosophique, hier comme pour le sicle venir, de la pense libertaire. Moins qu un renouveau, cest au retour dune conception philosophique oublie ou ignore que lon assiste dans les annes 190 70, avec des auteurs comme Gilles Deleuze et Michel Foucault. Les thories prtention rvolutionnaire sont alors entirement domines par la suffisance et le terrorisme thorique du marxisme des dcennies prcdentes, longues annes de dictature du socialisme dtat, mais aussi de soumission et dintgration des classes ouvrires lordre social et conomique. En contradiction ouverte avec ce carcan idologique, se rvlent en une immense et multiforme explosion de vie et de rvolte les aspirations mancipatrices traversant alors la plupart des pays et des socits. Cest dans cette tension mme quon peut comprendre la dmarche dun grand nombre de philosophes et thoriciens, de Ren Scherer Michel Foucault et Jacques Derrida, en passant par Cornelius Castoriadis, Maurice Blanchot ou Pierre Klossowski. Dans leurs uvres sopre une rgnration de la pense libertaire, et lIde anarchiste, travers la redcouverte de sa double et successive inflexion thorique et pratique , vient redonner sens une affirmation commune de la vie, une critique radicale de la science et de la modernit. Se reprcise une pense o toute chose est rapporte une pluralit infinie de forces et de points de vue en lutte pour leur closion, une pense o, comme lavait expliqu Proudhon, tout groupe est un individu , dot de subjectivit, puisque tout individu est lui-mme un groupe,

lib 130

liBRAiRiE Du PAlAiS DE tokYo

lucAS

luc 131

une rsultante, et donc un foyer subjectif, un compos de puissances et de volonts. Comme le remarque [ m danielColson] : Avec Deleuze et le rveil de lesprit libertaire, il est enfin redevenu possible de comprendre non luniversalit du projet anarchiste, mais sa capacit rpter lensemble des expriences et des penses mancipatrices produites un peu partout dans le monde et depuis les dbuts de lhumanit des Prsocratiques et des Cyniques de la Grce antique Simondon et Whitehead, en passant par Spinoza, Leibniz et Nietzsche, du taosme chinois et de ses rvoltes paysannes au communisme libertaire des paysans et des ouvriers aragonais en passant par les dissidents du christianisme et de lIslam ou encore les socits sans tat dAmazonie dcrites par Pierre Clastres. [ m anarchie] [ m Capitaine misson] [ m libertalia] [ m voir p. C-3 ] [ e ] m It was not until the latter part of the 20th century that it was possible to start to become aware of the importance of anarchism [ m anarchisme] and to have any presentiment of the philosophical value of libertarian thought, both in the past and the coming century. It was less a renewal than a return to a forgotten or unknown philosophical conception that was witnessed in the 190s and 70s, with authors like Gilles Deleuze and Michel Foucault. Theories with revolutionary pretensions were then completely dominated by the complacency and theoretical terrorism of the Marxism of the previous decades, long years of State socialist dictatorship, but also of subjection of the working classes to the social and economic order and their integration into it. In open contradiction with this ideological straitjacket, the emancipatory aspirations then sweeping across most countries and societies were revealed in an immense, multiform explosion of life and rebellion. It is in that tension that has to be understood the approach of a great number of philosophers and theorists, from Ren Scherer to Michel Foucault and Jacques Derrida, by way of Cornelius Castoriadis, Maurice Blanchot or Pierre Klossowski. In their writings a regeneration of libertarian thought is at work, and the anarchist Idea, through the rediscovery of its double and successivetheoretical and practicalinflection, has just restored meaning to a common affirmation of life, to a radical criticism of science and modernity, A line of thought where each thing is related to an infinite plurality of forces and points of view fighting to hatch out is reassesed, a line of thought

where, as Proudhon had explained, every group is an individual, endowed with subjectivity, since every individual is itself a group, a resultant, and hence a subjective focus, a compound of powers and wills. As [ m danielColson] observes: With Deleuze and the awakening of the libertarian spirit, at last it again became possible to understand not the universality of the anarchist project, but its capacity to repeat in their entirety all the emancipatory experiments and thoughts produced more or less throughout the world, since the beginning of humankindfrom the Pre-Socratics and the Cynics of ancient Greece to Simondon and Whitehead, by way of Spinoza, Leibniz and Nietzsche, from Chinese Taoism and Chinese peasant revolts to the libertarian Communism of the Aragonese peasants and workers, by way of Christian and Islamic dissidents, or again the stateless societies of Amazonia described by Pierre Clastres.
[ m anarchie] [ m Capitainemisson] [ m libertalia] [ m voir p. C-7 ]
librairie du palais de tokyo

01/0/2007 2860 grams of art (ditions M19) 07/0/2007 Franois-Xavier Courrges (di-

tions Archibooks) 04/10/2007 Madame la Baronne dEmilie Renard (codition Centre dart Mira Phalaina ; Maison Populaire de Montreuil) 24/10/2007 Femmes artistes. Artistes femmes, Paris de 1880 nos jours dlisabeth Lebovici & Catherine Gonnard (ditions Hazan) 08/11/2007 Transformez votre dpendance aux mdicaments en une prestigieuse carrire artistique de Dana Wyse
llhuros (la civilisation de)

Bookstore m Signatures et rencontres / book signings and events 29/09/200 Revue Azimuts 02/11/200 Fresh Theorie II (ditions Lo Scheer) 24/11/200 LOVE/PAIN d Ephameron 01/12/200 Nuke Magazine, # 4 07/12/200 Philippe Mayaux (Smiose ditions) ; revue 20/27 (ditions M19) 13/12/200 Chonologie lacunaire du skateboard (1779 2005) de Raphal Zarka & revue Marie Louise (ditions F7) 21/12/200 PFFFUUT dOlivier Nottelet (ditions Villa Saint Clair) 11/01/2007 After de Thomas Llu & Jean-Max Colard (ditions Sternberg Press) 09/02/2007 Livre rouge du collectif C215 08/03/2007 Glitch, beaucoup plus de moins ! de Jean-Baptiste Farkas (ditions Zdl) 2/04/2007 diteur modeste de Sanzo Kuhnam (ditions Sanzo Kunhnam) 02/05/2007 Slumberland de Virginie Barr 5/05/2007 Pixaao: Sao Paulo de Franois Chastenet & Steven Heller (ditions XGpress) 31/05/2007 Reception/transmission de Camille Henrot et Yona Friedman (codition Collections de Saint-Cyprien, Muse des beaux arts de Bordeaux, galerie Kamel Mennour et Paris Muses)

The Civilization of Llhuros [ f ] m Civilisation perdue invente par Norman Daly la fin des annes 190 et au dbut des annes 1970. Norman Daly a cr de nombreux objets faisant partie de la civilisation llhurossienne, tous fabriqus partir dobjets trouvs abms et vieillis artificiellement : par exemple, un presse-fruits devient un bronze de trallib ou un jerrican dessence est transform en desse. Son travail sinspire de son intrt long terme pour les cultures et les civilisations indignes, document grce son exprience de professeur dart et son titre auto-administr de directeur des tudes llhurossiennes la Cornell Universit de New York. [ m TaTs
(FaiTes-leVoUs-mme) ] [ e ] m Invented lost civilization created by Norman

sculptures dAndrew Lord sont mises en forme par lusage tactile de son corps. Les sept sculptures prsentes dans lexposition [ m THeTHird mind ] taient runies par groupes de deux ou trois. Elles manifestent sept sens le got, la morsure, la vue, lodorat, lingurgitation, la respiration et loue que lartiste a ressenti puis rpertoris en imprimant son corps dans la glaise. [ e ] m *1950, lives in Rotterdam and New York. Andrew Lords raw, carefully calculated ceramics are in many aspects close to modern pottery. For in them can be found the exaggeration of the planes and hollows but also the gestuality that typifies Cubist or Futurist sculpture. This way of treating ceramics as objects has led Lord to design series of distorted, disproportionate receptacles. The sculptures of Andrew Lord are informed by the tactile use of his body. The seven sculptures in [ m THeTHird mind ] , in groups of two or three, document the seven senses of tasting, biting, watching, smelling, swallowing, breathing and listeningwhich are formed by the artist impressing his body in soft clay.

Daly in the late 0s and early 70s. Daly has created many objects that are part of the Llhurossian civilization, all made from found objects which are altered and aged: for example, a juice squeezer becomes a bronze trallib, or an oil canister becomes a female deity/goddess. His work is inspired by his longstanding interest in the cultures and civilizations of indigenous people and is informed by his expertise as an art professor and self-described director of Llhuroscian studies at Cornell University.
[ m TaTs(FaiTes-leVoUs-mme) ]
lord, andreW [ m 4 , fig. # 48] [ f ] m *1950, vit

m andrewlord, Smelling, 199-1998

lournoy, thodore [ m mller,Catherine-lise] [ m desindesla plantemars] lucas, sarah [ m 4 , fig. # 57] [ f ] m *192, vit

Rotterdam et New York. Les cramiques brutes et calcules dAndrew Lord se rapprochent, par de nombreux aspects, de la poterie moderne. En effet, on y retrouve lexagration des plans, des creux mais aussi la gestualit propre la sculpture cubiste ou futuriste. Cette pratique de lobjet-cramique amne Lord concevoir des sries de rcipients difformes et disproportionns. Les

Londres. Par le biais de la photographie, du ready-made, du collage et de la sculpture, Sarah Lucas investit lespace avec provocation. Dveloppant les procds minimalistes, ses uvres revitalisent les codes populaires et antibourgeois, o la question du corps tient une place majeure. Reprsentant crment

lun 132

luNch

luNch

lun 133

le corps fminin, parfois le sien, elle dnonce les rapports hommes/femmes, le sexisme et interroge la notion de genre et ses pouvoirs sur le quotidien. Prsente dans [ m THeTHird mind ] , linstallation Car Park (1997) mettait en scne une voiture dont les vitres ont t brises (Islington Diamonds, expression qui Londres dsigne prcisment les clats de verre des pare-brises rduits en miettes par les casseurs), et une srie de photos dun parking dsert (Concrete Void ) couvrant le mur en arrire-plan. Le cadrage, qui privilgie les murs aveugles et les recoins sans issue, souligne une atmosphre oppressante. Linstallation condense en elle une violence manifeste la fois passe et venir sous la forme dun nigmatique rcit reconstruire. [ e ] m *192, lives in London. By means of photography, ready-mades, collage and sculpture, Sarah Lucas occupies space in a provocative way. Developing minimalist processes, her works revitalise popular and anti-bourgeois codes, with the question of the body being a major preoccupation. Crudely representing the female body, sometimes even her own, Lucas denounces male/female relationships, sexism, and questions the notion of gender and its power over everyday life. Presented in [ m THe THirdmind ] , Car Park (1997) featured a damaged car with its windows smashed (Islington Diamonds, in London the expression is precisely used to describe the splinters of glass from windscreens reduced to smithereens by wreckers), and a series of photos of a deserted car park (Concrete Void ) that covered the wall in the background. The framing which emphasizes blank walls and recesses with no exit underlines an oppressive atmosphere. The work condenses obvious violence within it, both past and future, in the form of an enigmatic story for us to reconstruct.
lunch, lydia [ f ] m Potesse et

underground de Vivienne Dick et de Beth et Scott B., avant dentamer, dans les annes 1980, une collaboration fructueuse avec [ m richard Kern] , alors affili un Cinma de la Transgression volontiers subversif et trash. The Right Side of My Brain (1984) et Fingered (198), crits par Lydia Lunch et raliss par Kern, combinent ainsi pornographie, ultraviolence, satire politique et anticonformisme esthtique. Paralllement, suite un premier album solo, Queen of Siam (ZE Records, 1980), Lunch cre son propre label, Widowspeak, en 1984 ; elle sloigne des formats du rock et se tourne vers le spoken word pour dvelopper une criture plus exprimentale, plus personnelle, tout en continuant de travailler avec des musiciens comme Nick Cave, Einstrzende Neubauten, Sonic Youth. Provocatrice et contestataire, ses albums emblmatiques sintitulent significativement Hysterie (Widowspeak Productions, 1987), Oral Fixation (Widowspeak Productions, 1988), Conspiracy of Women (Widowspeak Productions, 1990) ou, plus rcemment, avec Anubian Lights, Champagne, Cocaine & Nicotine Stains (Crippled Dick Hot Wax!, 2002). Lydia Lunch pratique galement la photographie et a publi plusieurs ouvrages, parmi lesquels son autobiographie, Paradoxia: A Predators Diary, en 1997. Un de ses textes accompagne par ailleurs un portfolio de dessins et photos de [ m stevenParrino] dans le livre dartiste Steven Parrino. 1983, 1984 86, 1987 90, 1991 (Les Presses du Rel, 1992).
[ m lesjeudisdelamarqUenoire] [ e ] m A poet and performer. Lydia Lunch was only

a parallel development, following a first solo album, Queen of Siam (ZE Records, 1980), Lunch created her own label, Widowspeak, in 1984; she moved away from rock formats and turned towards the spoken word to develop a more experimental, more personal style of writing, while continuing to work with musicians like Nick Cave, Einstrzende Neubauten and Sonic Youth. Provocative and anti-authoritarian, her emblematic albums are significantly entitled Hysterie (Widowspeak Productions, 1987), Oral Fixation (Widowspeak Productions, 1988), Conspiracy of Women (Widowspeak Productions, 1990) or, more recently, with Anubian Lights, Champagne, Cocaine & Nicotine Stains (Crippled Dick Hot Wax!, 2002). Lydia Lunch also does photography and has published several books, including her autobiography, Paradoxia: A Predators Diary, in 1997. Furthermore, one of her texts accompanies a portfolio of drawings and photographs by [ m stevenParrino] in the artists book Steven Parrino. 1983, 1984 86, 1987 90, 1991 (Les Presses du Rel, 1992).
[ m lesjeudisdelamarqUenoire]

m Lydia Lunchs Teenage Jesus & the Jerks

performeuse. Lydia Lunch na que seize ans lorsquelle se fait remarquer sur la scne artistique new-yorkaise comme chanteuse du groupe Teenage Jesus and the Jerks, fond en 197 avec le guitariste James Chance. Avec son style de chant tantt sensuel et profond, tantt scansion la limite du cri, Lydia Lunch simpose comme une des figures de proue du mouvement No Wave et participe de nombreux groupes lexistence plus ou moins phmre, Beirut Slump, 13 : 13 ou encore 8 Eyed Spy. Elle joue galement dans les films

sixteen when she first attracted attention on the New York artistic scene as a singer with the group Teenage Jesus and the Jerks, founded in 197 with the guitarist James Chance. With her style of singing, now sensual and profound, now a rhythmic beat on the verge of a scream, Lydia Lunch established herself as one of the figureheads of the No Wave movement and participated in many groups which were to a greater or lesser extent ephemeral: Beirut Slump, 13: 13 or 8 Eyed Spy. She also acted in the underground films of Vivienne Dick, and Beth and Scott B., before embarking on a fruitful collaboration in the 1980s with [ m richard Kern] , then affiliated to a deliberately subversive and trash Cinema of Transgression. Thus The Right Side of My Brain (1984) and Fingered (198), written by Lydia Lunch and made by Kern, combine pornography, extreme violence, political satire and esthetic anticonformism. In

m Lydia Lunch

m 134

m , NouvEllES Du moNDE RENvERS

mARkl

mar 135

, nouvelles du monde renvers M , NEWS FROM ThE UPSIDE-DOWN [ m 2 , fig. # 15 # 31 ] [ f ] m Session 01/02/2007 0/05/2007. Les

physiciens placent une courte barre horizontale au-dessus dune lettre pour identifier les particules d[ m antimatire] . Sinspirant librement de cette annotation, qui signale une forme dinversion, le Palais de Tokyo a propos M, cinq expositions personnelles et deux projets collectifs traverss par lide de renversement. Aprs [ m Cinqmilliardsdannes] , qui interrogeait llasticit du temps et de lespace, M rassemblait des uvres qui se comportent comme des oscillateurs, des ponts ou des points de basculement du rel entre des polarits diffrentes. Le rapport a/b est tout entier non pas dans un nombre c tel que a/b=c mais dans le signe ( / ) qui spare a et b disait [ m marcelduchamp] . Lart, entendu en ce sens, nest plus un rsultat ou un produit, mais la barre de fraction elle-mme, le signe discret dune transformation, loprateur de nombreux renversements. [ e ] m Session 01/02/2007 0/05/2007. Physicists place a short horizontal line above a letter to identify particles of anti-matter [ m antimatire] . Drawing free inspiration from that annotation that indicates a form of inversion, the Palais de Tokyo presented M, five solo exhibitions and two collective shows, permeated by the idea of reversal. After FivE BillioN YEARS [ m Cinq milliardsdannes ] , which questioned the elasticity of time and space, M brought together works that behave like oscillators, bridges or tipping points between realitys different polarities. The a/b relationship lies not in any number c as in a/b=c but rather in the sign ( / ) that separates a and b, [ m marcel duchamp] said. Understood in this way, art is no longer a result or a product, but the fraction line itself, the discreet sign of a transformation, the operator of many inversions or reversals. m Expositions / exhibitions [ m michelBlazy] [ m PosTPaTman ] , [ m TatianaTrouv] [ m doUBleBind ] , [ m JoeColeman ] , [ m daVidnoonan ] , [ m danieldewar&Grgory
Gicquel] [ m GraniTodTransGoarasCalKo
Ko,sHimenaWamamBa,oriGinalPerUVian CarPeTanddiGiTalProJeCTFormUsiCians ] , [ m PeterCoffin] [ m TaTs(FaiTes-leVoUsmme) ] [ m mUsiqUePoUrPlanTesVerTes ] / muSic FoR PlANtS

ajemian ] , [ m CamilleHenrot ] , [ m davidancelin ] , [ m &nBsP ] m [ m lesjeudisde ,noUVellesdUmonde renVers ] / Thurdays at M , NEwS FRom thE
uPSiDE-DowN

neurological damage, people traumatized by war, victims of aggression or terrorist acts. Individuals psychoanalysis cannot understand since a part of them has been amputated. Developing an innovative and radical interpretation of Freud, Catherine Malabou undertakes to show that the cerebral event is substituted for the sexual event in contemporary psychopathology. [ m lesjeudisdeTHeTHirdmind]
[ m neuropsychanalyse]
mandala shirt [ f ] m T-shirt conu

par [ m Ugorondinone] et le styliste Gaspard Yurkievich pour [ m THeTHird mind ] . [ m emmaKunz] [ e ] m T-shirt designed par [ m Ugorondinone] and the fashion designer Gaspard Yurkievich for [ m THeTHirdmind ] . [ m emmaKunz]
manson, charles [ f ] m *1934 Cincinnati.

malabou, catherine [ f ] m Philosophe et matre

de confrence luniversit de Paris X-Nanterre. Catherine Malabou se consacre depuis des annes llaboration thorique du concept de plasticit partir de Hegel, et en largissant son champ dinvestigation jusquaux neurosciences o il joue aujourdhui un rle central. Elle consacre son dernier ouvrage (Les nouveaux blesss. De Freud la neurologie, penser les traumatismes contemporains, 2007) aux personnes souffrant des maladies dAlzheimer ou de Parkinson, sujets atteints de dommages neurologiques irrversibles, traumatiss de guerre, victimes dagressions ou dactes terroristes, individus que la psychanalyse ne peut pas comprendre puisquils sont amputs dune partie deuxmmes. Dveloppant une lecture de Freud novatrice et radicale, Catherine Malabou entreprend de montrer que lvnement crbral se substitue lvnement sexuel dans la psychopathologie contemporaine. [ m lesjeudisde
THeTHirdmind ] [ m neuropsychanalyse]

Fondateur et gourou de The Family , secte qui sest rendue clbre en [ m 1969] loccasion de lassassinat de Sharon Tate, la femme de Roman Polanski. Inspir par un mlange de chansons des Beatles et de ses lectures de LApocalypse, il tait persuad de limminence dune guerre interraciale et dune attaque nuclaire. [ m JoeColeman] , [ m Cadynoland] et [ m Kennethanger] , entre autres, lvoquent loccasion de leurs uvres. The Family, a sect that became famous in [ m 1969] when Sharon Tate, the wife of Roman Polanski, was murdered. Inspired by a mixture of songs by the Beatles and his readings of the Apocalypse, he was convinced of the imminence of an interracial war and a nuclear attack. [ m JoeColeman] , [ m Cadynoland] and [ m Kennethanger] are among those to refer to him in their works. [ m satanisme] [ m Backward
message]

[ m satanisme] [ m Backwardmessage] [ e ] m *1934 in Cincinnati. Founder and guru of

[ e ] m A philosopher and a lecturer at the Univer-

m [ m modUles ] [ m BernadetteGene&alainle Borgne ] , [ m KokiTanaka ] , [ m lucas&Jason

sity of Paris X-Nanterre. For years Catherine Malabou has devoted herself to the theoretical elaboration of the concept of plasticity starting from Hegel and widening her field of investigation as far as the neurosciences where it now plays a central role. She devotes her latest book (Les nouveaux blesss. De Freud la neurologie, penser les traumatismes contemporains, Bayard, Paris, 2007) to the new injured, those suffering from Alzheimers or Parkinsons disease, individuals suffering from irreversible

markl, hugo [ m 4 , fig. # 49 ] [ f ] m *194, vit

Vienne. Hugo Markl puise directement dans sa vie quotidienne pour faire uvre. Il transforme des impressions et des matriaux qui le captivent et lintriguent, pour les restituer sous forme de vidos, sculptures et divers assemblages. Ses uvres naissent l o il les fabrique, car Hugo Markl ne se dfinit pas comme un artiste datelier. Par ses collages, lartiste autrichien ralise de nouvelles units, partir de fragments de formes prlevs dans

mar 13

mARQuE NoiRE

mAtiRE

mat 137

m Mandala Shirt (photo : Didier Barroso)

JoeColeman ,

Portrait of Charles Manson, 1988

des magazines et des journaux. Ces lments disparates assembls semblent vhiculer des messages qui restent souvent ambivalents et mystrieux. La srie de photographies intitule Brown est ralise partir de collages de documents collects au fil des annes par lartiste : coupures de journaux, de magazines, de catalogues. Chaque pice de la srie est nomm daprs lun des tats dAmrique, classs par ordre alphabtique : Brown Alabama , Brown Alaska, etc., suggrant une structure narrative, mais sans que cela semble informer limage correspondante. Ces collages ne se rapportent pas une ralit bien dfinie, ils semblent tre des variations, uniques chaque fois, autour du grotesque et du banal des images qui nous entourent. [ m THeTHirdmind] [ e ] m *194, lives in Vienna. Hugo Markl draws directly on his everyday life to create his works. He transforms impressions and materials that captivate and intrigue him by reconstituting them in the form of videos, sculptures and various assemblages. His works are born in the place where they are made because Markl does not define himself as a studio artist. Through his collages, the Austrian artist makes new entities from fragments of forms taken from magazines and newspapers. These disparate assembled elements seem to convey messages that often remain ambivalent and mysterious. The series of photographs entitled Brown is made from collages of documents collected over the years by the artist: cuttings from newspapers, magazines and catalogues. Each item in the series is named after one of the American states, listed in alphabetical order: Brown Alabama , Brown Alaska, etc., suggesting a narrative structure, though it does not seem to have any impact on the corresponding image. These collages do not relate to a well defined reality, they seem to be variations, unique every time, focusing on the grotesqueness and banality of the images that surround us. [ m THeTHirdmind]
marque noire (la) [ m 3 , fig. # 32 # 43 ] [ f ] m Session 24/05/2007 2/08/2007. Aprs [ m Cinqmilliardsdannes] et [ m , noUVellesdUmonderenVers ] , consacres

considrer le mode de la collaboration comme le matriau mme de sa propre activit cratrice. Conue comme un triptyque, la session regroupait non seulement une slection duvres de [ m stevenParrino] , mais aussi un choix de travaux dartistes historiques dont il sest inspir et des pices dartistes quil a exposs, soutenus, et avec lesquels il a collabor, couvrant ainsi un champ allant du minimalisme au tatouage, en passant par le cinma exprimental des annes 190, la bande dessine, le design industriel, la No Wave et le punk. [ e ] m Session 24/05/2007 2/08/2007. After FivE BillioN YEARS [ m Cinqmilliards dannes ] and M , NEwS FRom thE uPSiDE-DowN [ m ,noUVellesdUmonderenVers ] that tested the elasticity and the oscillation of the work of art, respectively, lA mARQuE NoiRE considered its resilience. For this session, the Palais de Tokyo devoted the entirety of its exhibition spaces to [ m stevenParrino] . Conceived as a triptych, the program not only brings together a selection of works by Parrino, but also presents a collection of works by artists from whom he drew inspiration as well as pieces by artists he exhibited, supported, and with whom he collaborated. In this way, lA mARQuE NoiRE covers a field ranging from Minimalism to tattoo art, by way of experimental cinema, comic books, industrial design, No Wave and punk. m Expositions / exhibitions [ m sTeVenParrino, reTrosPeCTiVe1981-2004 ] , [ m BeFore(PlUsoU moins) ] , [ m BasTardCreaTUre ]
m [ m modUles ] [ m lonnievanBrummelen& siebrendeHaan] , [ m adrianaGarciaGalan] , [ m lucaslenglet] , [ m ClaireFontaine] , [ m les artistesduPavillon ( session#2 )] m [ m lesjeudisde lamarqUenoire ] / Thurdays

supplmentaire dans la mise en abme avec Gone (2000). Avec cette version simiesque prsente dans [ m 5.000.000.000dannes] , lartiste proposait une relecture ironique de son premier Sleepwalker (1997). [ e ] m *1971, lives in New York. Using materials such as resin, PVC, and paint, Tony Matelli proposes slice-of-life moments such as a group of adolescents lost in the forest or a sleepwalker dressed only in his underwear. Known for his hyperrealist allegorical sculpture, the artist locates the dreamlike and ironic nature of daily lifes many absurdities. Having already begun a self-referential process of representing his own body assuming the poses of various famous art historical classics, Matelli continued the exercise with Gone (2000), an ape version of his Sleepwalker from 1997 that was presented in the 5,000,000,000 YEARS [ m 5.000.000.000dannes ] .

m Matire : les quatre forces fondamentales / Matter: the four fundamental forces

m Classification priodique des lments / Periodic classification of the elements

matire

at lA

mARQuE NoiRE

matelli, tony [ m 1 , fig. # 03 ] [ f ] m *1971, vit

Hugomarl,

Brown Series, 2004

tester respectivement llasticit et loscillation de luvre dart, lA mARQuE NoiRE prouvait sa rsilience. Pour cette session, le Palais de Tokyo a consacr la totalit de ses espaces dexpositions la figure dun artiste qui na eu de cesse de faire voler en clat toute catgorie et de

New York. Utilisant diffrents matriaux tels que la rsine, le PVC et la peinture, Tony Matelli propose des instantans de vie tels quun groupe dadolescents perdus dans la fort ou un somnambule vtu de son seul caleon. Par le biais de son parti-pris hyperraliste, lartiste porte un regard onirique et ironique sur les aspects les plus absurdes de notre vie quotidienne. Aprs avoir travaill sur la citation en se mettant en scne dans une srie dautoportraits reproduisant les postures de divers classiques de lhistoire de lart, lartiste franchit une tape

Matter [ f ] m Physique. Lide qui guide la recherche de particules de plus en plus prcises, au cur mme de la matire, trouve son origine dans les thories des philosophes matrialistes de lAntiquit, Leucippe, Dmocrite (420 av. JC), picure (300 av. JC) et plus tard Lucrce (70 av. JC), selon lesquelles la matire est discontinue, forme de grains inscables, les atomes. Cette hypothse soppose alors la pense dEmpdocle dAgrigente (Ve sicle av. JC), adopte par Aristote, posant que tous les matriaux se composent de quatre lments, terre (solide), eau (liquide), air (gazeux), feu (plasma) auxquels la tradition sotrique ajoutera un cinquime lment, lther ou esprit. Cest nanmoins en

mat 138

mAtiRE

mAtiN DES mAGiciENS

mat 139

suivant cette physique des lments que se dveloppera, dans le monde arabe puis dans lOccident mdival, lalchimie, dont certains principes, comme celui de transmutation, prfigurent, mi-chemin de l[ m occultisme] et de lintuition exprimentale, la physique nuclaire. Cest le XVIIIe sicle qui marque les dbuts de la chimie moderne : la figure du Franais Antoine-Laurent Lavoisier symbolise un tournant tant dans les mthodes que dans les modes de pense scientifiques, combinant exprimentation et modlisation thorique. Aprs avoir fait lanalyse de lair et, la suite du Britannique Henry Cavendish, celle de leau, battant ainsi en brche la thorie des lments, il est lun des instigateurs dune nouvelle nomenclature chimique, rigoureuse, base sur la distinction entre corps simples et composs. Au fil du XIXe sicle, les analyses des proprits des corps saccumulent, et le chimiste russe Dimitri Mendeleev peut proposer en 189 une premire Classification priodique des lments alors mme que la thorie atomique nest pas encore constitue. Son tableau compte alors 30 lments, classs selon le nombre de protons et le nombre total de nuclons de leurs atomes, contre 114 en 200. Lunification de llectricit et du magntisme, dmontre par lcossais James Clerk Maxwell en 185, sera renforce par les recherches ralises au XXe sicle sur le photon : ainsi, ce sont bien des photons de longueurs donde diffrentes qui constituent la lumire visible et les ondes radio comme les rayons X ou les rayons gamma. Paralllement lanalyse de plus en plus fine de la structure de la matire, la physique des particules travaille donc dsormais dcrire et unifier les interactions macro et microscopiques qui dterminent ses comportements : les recherches sur les composantes de la matire vont de pair avec lanalyse des dterminants des quatre forces fondamentales de la physique la force de gravitation, la force lectromagntique, linteraction faible et linteraction forte. Ainsi, les bosons lourds, dcouverts par les quipes du CERN en 1982, avaient t prdits par la thorie lectrofaible de Sheldon Glashow, Abdus Salam et Steven Weinberg, qui unifie linteraction lectromagntique et linteraction faible, responsable de la radioactivit lectronique et de la dsintgration de certaines particules. Les recherches se concentrent actuellement sur le boson de Higgs, particule baptise ainsi daprs le nom dun des physiciens ayant propos son existence, quun dtecteur comme le [ m lHC]

sera capable de mettre en vidence. En parallle, les recherches sur linteraction forte, qui lie quant elle les protons et les neutrons dans les noyaux datomes, ont men la modlisation de la structure des protons en quarks. On connat aujourdhui six types de quarks : le quark up (u), le quark down (d), le quark trange (s), le charme (c), le bottom (b) et enfin le top (t). Et ce, sans compter les antiquarks. Mais les observations des astrophysiciens rvlent que toute la matire visible que nous connaissons ne reprsente que 4% de ce que contient lunivers. Ces 96% de matire cache de lUnivers sont constitus de matire noire, nergie noire, de neutrinos sils ont une masse - ou peut tre de limperfection de la loi de Newton ou des estimations thoriques Cest un domaine ouvert. , observe [ m Jean-Pierre Merlo] . [ m antimatire] [ m dtecteursdeparticules] [ m rayonscosmiques] [ m lesjeudisde
Cinqmilliardsdannes ]

[ e ] m Physics. The idea that guides the search for

ever more precise particles at the very heart of matter has its origin in the theories of the materialist philosophers of Antiquity, Leucippus, Democritus (420 BC), Epicurus (300 BC) and at a later date Lucretius (70 BC), according to which matter is discontinuous, formed of indivisible grains, or atoms. This hypothesis was then in opposition to the ideas of Empedocles of Agrigentum (5th C. BC), adopted by Aristotle, positing that all materials are composed of four elements, earth (solid), water (liquid), air (gaseous), fire (plasma)and to these the esoteric tradition added a fifth element, ether or spirit. Nevertheless, it was by following this physics of the elements that alchemy would develop, first in the Arab world, then in the medieval west, and certain of its principles, such as that of transmutation, prefigured nuclear physics, halfway between [ m occultism] and experimental intuition. It was the 18th century that marked the beginning of modern chemistry: the figure of the French scientist Antoine-Laurent Lavoisier symbolizes a turning point in scientific methods and ways of thinking alike, combining experimentation and theoretical modeling. After analyzing air andfollowing in the footsteps of the British scientist Henry Cavendishwater, so demolishing the theory of the elements, he became one of the instigators of a new rigorous chemical nomenclature, based on the distinction between simple and composite bodies. In the course of the 19th century, analyses of the properties of

bodies accumulated, and in 189 the Russian chemist Dmitri Mendeleyev was able to come up with a first Periodic classification of the elements at a time when atomic theory had not yet been constituted. His table then included 30 elements, classified according to the number of protons and the total number of nucleons in their atoms, as against 114 in 200. The unification of electricity and magnetism, demonstrated by the Scotsman James Clerk Maxwell in 185, would be reinforced by research into the photon carried out in the 20th century: thus it is in fact photons of different wave lengths that constitute visible light and radio waves like X-rays or gamma rays. In parallel with the ever more refined analysis of the structure of matter, particle physics therefore henceforth worked on describing and unifying the macroscopic and microscopic interactions that determine its behavior: research into the components of matter went hand in hand with analysis of the determinants of the four fundamental forces of physicsgravitational force, electromagnetic force, weak interaction and strong interaction. Thus the heavy bosons discovered by the CERN teams in 1982 had been predicted by the electroweak theory of Sheldon Glashow, Abdus Salam and Steven Weinberg, which unifies electromagnetic interaction and weak interaction, responsible for electronic radioactivity and the disintegration of certain particles. Research is currently concentrating on the Higgs boson, a particle thus named after one of the physicists who posited its existence, which a detector like the [ m lHC] will be capable of revealing. In parallel, research into strong interaction, which for its part binds protons and neutrons into the nuclei of atoms, has led to the modeling of the structure of protons in terms of quarks. Six types of quark are known today: the up (u) quark, the down (d) quark, the strange (s) quark, the charm (c) quark, the bottom (b) quark and finally the top (t) quark. And that is not counting the antiquarks. But the observations of astrophysicists reveal that all the visible matter we know represents only 4% of what the universe contains. That 96% of hidden matter in the Universe is made up of black matter, black energy, neutrinos if they have mass. Or perhaps of the imperfection of Newtons law or of theoretical estimates Its an open field., comments [ m Jean-Pierre Merlo] . [ m antimatire] [ m dtecteursdeparticules] [ m rayonscosmiques] [ m lesjeudisde
Cinqmilliardsdannes ]

matin des magiciens (le)

MORNING OF ThE MAGICIANS [ m 1 , fig. # 11 # 13 ]

[ f ] m Exposition personnelle de [ m Joachim Koester] . 07/12/200 14/01/2007. Une expo-

sition construite autour de plusieurs rcits de sciences occultes [ m occultisme] qui regroupait une srie de photographies accompagne dun film en 1 mm, abstrait et en noir et blanc, en relation avec la clbre Abbaye de [ m Thlme] . Lartiste prsentait galement The Magic Mirror Of John Dee, la photographie dun miroir magique, conserv au British Museum et ayant appartenu John Dee, scientifique et astrologue du XVIe sicle. Cette photographie, un monochrome noir, rvle en creux une autre histoire du minimalisme. Enfin, la double projection One + One + One rinvestissait lAbbaye de Thlme aujourdhui en ruines. Mlange dimages documentaires et dimages abstraites tires de la vgtation encerclant la maison, le film tente de renouer avec latmosphre surnaturelle des lieux en incluant les restes de fresques de la Chambre des cauchemars . Le titre One + One + One est inspir du film de Godard sur les Rolling Stones, Sympathy for the Devil (One+One) en forme de clin dil linfluence dAleister Crowley sur certains groupes rock des annes 190. Les Beatles utilisrent dailleurs son image pour la couverture de leur album Sergent Pepper. Dernier monument dune histoire invisible, lAbbaye de Thlme, avec son lot de rcits et de mmoire enfouie, fonctionne pour Koester comme un paysage mental quil accompagne dun texte la fois descriptif et littraire.
[ m Cinq milliardsdannes ] [ e ] m Solo exhibition of [ m JoachimKoester] .

07/12/200 14/01/2007. An exhibition con-

structed around several stories of the occult [ m occultisme] sciences comprising a series of photographs accompanied by an abstract, black and white 1 mm film relating to the famous Abbey of Thelema [ m Thlme] . The artist also presented The Magic Mirror Of John Dee, the photograph of a magic mirror held in the British Museum which belonged to John Dee, a 1 th-century scientist and astrologer. This photograph, a black monochrome, subtly reveals a different story of minimalism. Finally, the double projection One + One + One reoccupied the Abbey of Thelema which is now in ruins. A mixture of documentary images and abstract images derived from the vegetation surrounding the house, the film attempts to reconnect

mcc 140

mccARthY

mEDio DA mEDiA NochE

med 141

with the supernatural atmosphere of the place by including the remnants of frescoes from the Chambre de cauchemars (Chamber of nightmares). The title One + One + One is inspired by Godards film about the Rolling Stones, Sympathy for the Devil (One+One), a discreet reference to [ m aleisterCrowley] s influence on some Sixties rock groups. Moreover, the Beatles used his picture on the cover of their Sergeant Pepper album. The last monument of an invisible story, the Abbey of Thelema, with its share of stories and buried memory, functions for Koester as a mental landscape which he accompanies with a text that is both descriptive and literary.
[ m Cinq milliardsdannes ] m Liste des uvres / List of works

Calling All Agents lICA, Londres, en 2004. crivain, il se fait remarquer avec son premier roman, Remainder (Metronome Press, 2005), dont le narrateur est un homme qui, suite un grave accident, na de cesse de reconstituer ses propres souvenirs. Ce livre est paru en franais sous le titre Et ce sont les chats qui tombrent (Hachette Littratures, 2007), alors quest sorti en Grande-Bretagne son second opus, Men in Space (Alma Books, 2007). Il a galement publi Tintin et le secret de la littrature (Hachette, 200), un essai rinscrivant les bandes dessines dHerg dans lhistoire du roman, de Balzac Pynchon. [ m ins] [ m lesjeudisde,
noUVellesdUmonderenVers ] [ e ] m In 1999 McCarthy founded the International Necronautical Society, or [ m ins] , of which

mccartney, paul [ f ] m Chanteur britannique. [ m PacmeThiellement] explique que Toute lhistoire du

Morning of the Magicians, 2005 Srie de 10 photographies / series of 10 photographs Courtesy galerie Jan Mot, Bruxelles et Galleri Nicolai Wallner, Copenhague / Copenhagen Morning of the Magicians, 2005 Film 16 mm / 16 mm film Courtesy galerie Jan Mot, Bruxelles et Galleri Nicolai Wallner, Copenhague / Copenhagen The Magic Mirror of John Dee, 2006 Courtesy galerie Jan Mot, Bruxelles et Galleri Nicolai Wallner, Copenhague / Copenhagen One + One + One, 2006 Installation vido / Video installation Courtesy galerie Jan Mot, Bruxelles et Galleri Nicolai Wallner, Copenhague / Copenhagen

he is General Secretary; this semi-fictitious avant-garde network, whose first project was the exploration of death regarded as a territory, made its mark in the art world by distributing reports and manifestoes (including Navigation Was Always a Difficult Art, their first report drawn up in 2002), setting up more or less secret campaigns, and organizing demonstrations such as Calling All Agents at the ICA in London in 2004. As a writer he attracted attention with his first novel, Remainder (Metronome Press, 2005); the narrator is a man who, following a serious accident, ceaselessly reconstructs his own memories. That book has been published in French under the title Et ce sont les chats qui tombrent (Hachette Littratures, 2007), while his second novel, Men in Space (Alma Books, 2007), has just been issued in Britain. He has also written Tintin and the Secret of Literature, published by Granta Books in 200, an essay giving Hergs strip cartoons their proper place in the history of the novel, from Balzac to Pynchon. [ m ins] [ m lesjeudisde,
noUVellesdUmonderenVers ]

mythe de la mort de Paul McCartney est celle de la discographie des Beatles considre sous langle du document chiffr, rythme par des paroles expires entendues diffremment en diffusant des disques lenvers. Selon les thories diffuses par des dnomms Tim Harper, auteur en 199 dun texte dans un journal universitaire de lIowa, et Russ Gibb, disc-jockey animateur dun mission de radio Detroit, Paul McCartney serait mort dans un accident de voiture le 9 novembre 19 cinq heures du matin, aprs avoir pris en stop une ex-contractuelle nomme Rita, et aurait t ensuite remplac par un imposteur, un ancien agent de police nomm William Campbell ayant rcemment gagn un concours de sosie de Paul. Leurs thses taient tayes par des indices tirs des disques des Beatles, comme si le groupe rvlait ainsi lui-mme, tout en la masquant, la supercherie : le puzzle doit tre reconstitu partir de dtails de pochette, des fragments de paroles de chansons, et bien sr plusieurs backward messages. Les marmonnements de Lennon la fin de Im so tired donneraient, une fois renverss, Paul is dead, miss him, miss him ; la rptition de Number nine, Turn me on, dead man ; enfin, la boucle infinie qui clt Sgt. Pepper serait entendre comme We will fuck you like supermen. [ m Backward
message] [ m lesjeudisde ,noUVellesdU monderenVers ] [ e ] m British singer. [ m PacmeThiellement]

details on the record sleeves or in the words of the songs, rearranged like a puzzle, but several backward messages: Lennons murmurings at the end of Im so tired backwards supposedly produce Paul is dead, miss him, miss him, the words Number nine repeated, Turn me on, dead man, and finally the endless loop that closes Sgt. Pepper , We will fuck you like supermen. [ m Backwardmessage] [ m lesjeudis
de ,noUVellesdUmonderenVers ]

medio da media noche [ m 5 , fig. # 70 # 75 ] [ f ] m [ m ChaletdeTokyo] . Exposition 10/11/2007

m Tom McCarthy
mccarthy, tom [ f ] m Fondateur de

la Socit Ncronautique Internationale (International Necronautical Society, ou [ m ins ] ), dont il est le Secrtaire gnral. Ce rseau avant-gardiste semi-fictif , dont le projet est lexploration de la mort considre comme un territoire, sest signal dans le monde de lart par la diffusion de rapports et de manifestes (dont Navigation Was Always a Difficult Art permier rapport tabli en 2002), la mise en place dactions plus ou moins secrtes, et lorganisation de manifestations comme

m Paul McCartney (Sgt. Peppers lonely hearts club band, pochette / sleeve)

explains that The whole story of the myth of the death of Paul McCartney is that of the discography of the Beatles considered from the point of view of a document in cipher. It was set in motion in 199 by an article in the university newspaper of Iowa by someone called Tim Harper and the radio broadcasts of a Detroit disc jockey called Russ Gibb. According to their theory Paul McCartney died in a car accident on 9 November 19 at 5 a.m., after giving a lift to a former traffic warden by the name of Rita, and was subsequently replaced by an impostor, a former policeman called William Campbell who had recently won a competition for a Paul look-alike. And their theories were supported by clues taken from the records of the Beatles themselves, who revealed it in a masked from in their records from Sgt. Peppers lonely hearts club band on. Among the clues they give, there are not only

30/12/2007 au Centro Cultural Recoleta de Buenos Aires. Le temps manquant . Cest par cette expression que les ufologues dcrivent cette faille spacio-temporelle que vivent les personnes emmenes par les extra-terrestres. Ces derniers peuvent vivre une aventure qui pour eux peut sembler se prolonger pendant des annes ; or pour le temps humain, elle naura mme pas dur une nanoseconde. Le temps est dcidemment une notion lastique. Midi dun ct de la plante, minuit de lautre. Le temps est-il le mme partout ? Comment vivre linstant ? Comment faire exister le prsent ? Quand Duchamp ralise un ready-made, il ne cre pas une uvre destine durer ternellement, mais au contraire, une uvre qui se constitue la vitesse de la lumire, qui nexiste que le temps instantan de son apprhension, et qui disparat aussitt. Une uvre qui ouvre le temps, plutt quelle ne sy inscrit. Ce sont de telles uvres qui ont t prsentes dans MEDIO DA MEDIA NOCHE [De midi minuit]. Entre un crne-

mer 142

mERlo

mERZBow

mer 143

disco de Bruno Peinado tournant en drision les vanits traditionnelles et un wall painting de [ m Philippedecrauzat] ouvrant les portes surrelles du rve et de son temps lastique si particulier, on trouvait dans cette exposition tout le dgrad des couleurs du temps. De midi minuit. [ e ] m [ m ChaletdeTokyo] . Exhibition 10/11/2007 30/12/2007 at Centro Cultural Recoleta in Buenos Aires. Missing time: that is the expression used by ufologists to describe the space-time fault experienced by those abducted by extraterrestrials. They can live through an adventure which to them seems to extend over years; but in terms of human time, it will not even have lasted a nanosecond. Time is definitely an elastic notion. Midday on one side of the planet, midnight on the other. Is time the same everywhere? How can we experience an instant? How can we make the present exist? When Duchamp made a ready-made, he did not create a work intended to last for everon the contrary, a work which is formed at the speed of light, exists only for the instantaneous time when it is apprehended and immediately disappears. A work that opens time rather than being inscribed in it. It is works such as these that were presented at MEDIO DA MEDIA NOCHE [From midday to midnight]. Between a disco brain by Bruno Peinado beside which traditional vanitas paintings pale into insignificance and a wall painting by [ m Philippe decrauzat] , opening up the surreal doors of dream and its very special elastic time, every gradation of the colors of time could be found in this exhibition. From midday to midnight. m uvres / works Johnarmleder Sans titre, 1993 Collection Fonds national dart contemporain, Donation Honegger, Mouans-Sartoux [ m renaudauguste-dormeuil] Ecriture nocturne, 2007; Courtesy galerie In-Situ / Fabienne Leclerc, Paris [ m Philippedecrauzat] After DM Explosed, 2007; Courtesy Galleria Francesca Pia, Zurich & galerie Praz-Delavallade, Paris Fischli & Weiss Bsi, 2001 Collection Muse dArt moderne la ville de Paris lucioFontana Concetto spaziale, 1951 Collection Museo Castagnino, Rosario (Argentine / Argentina) douglasGordon From God to Nothing, 1997 2007; Collection FRAC Languedoc Roussillon, Montpellier FabriceGygi Tribune, 199

Collection FRAC Bourgogne, Dijon Proteccin, 2001 Collection Museo Castagnino, Rosario (Argentine / Argentina) Jorgemacchi Buenos Aires, 2003 Courtesy de lartiste / of the artist mathieumercier Bricomobile, 1998 Collection FRAC Bourgogne, Dijon Sans titre, 2003 2007 (x3) Courtesy galerie Chez Valentin, Paris PhilippeParreno AC/DC Snakes , 1995 Collection FRAC Languedoc Roussillon, Montpellier BrunoPeinado Vanity flight case , 2005 Courtesy galerie Loevenbruck, Paris [ m TatianaTrouv] Sans titre, 2007 (x3) Collection particulire, Paris
CarlosHerrera

merlo, jean-pierre [ f ] m Physicien au Conseil

europen pour la recherche nuclaire (CERN) Genve, et chercheur associ lUniversit de lIowa. Au sein de ces deux structures, il est plus particulirement en charge de la collaboration CMS (Compact Muon Solenoid), exprience en cours dinstallation au [ m lHC] (Large Hadron Collider). Il a accueilli lartiste [ m Giannimotti] en 2005 au CERN pour son projet Higgs, la recherche de lAnti-Motti.
[ m lesjeudisde Cinqmilliardsdannes ] [ m HauvillerClaude] [ m matire] [ m dtecteurde particules] [ m rayonscosmiques]

compose partir de bruits, de dchets sonores et dlments obtenus par le manipulation dinstruments sommaires, de bandes magntiques ou dordinateurs. Jouant avec les frquences, les saturations et les distorsions sonores au fil de morceaux pouvant excder les vingt minutes, Merzbow remet plat les distinctions entre bruit et musique, matire et forme, hasard et composition pour proposer ses auditeurs une exprience esthtique limite. Dans une discographie qui compte plus de trois cents titres, parmi lesquels des collaborations avec Genesis P. Orridge ou Pan Sonic, on peut retenir lemblmatique Pulse Demon (Release, 199) et surtout la Merzbox (Extreme, 2003) qui regroupe sur cinquante CD les archives de lartiste autour dun mot dordre : Welcome to the Pleasuredome of Noise . Masami Akita est par ailleurs lauteur de plusieurs livres, certains portant sur sa musique, dautres sur larchitecture nippone davant-guerre ou sur le bondage ; il a aussi ralis quelques films rotico-gore, comme Lost Paradise (1990), qui relve du genre trs cod du film de seppuku fminin. [ m Harshnoise]
[ m lesjeudisde lamarqUenoire] [ e ] m Merzbow, the project created by Tokyo-

m merzbow (photo : Virginie Delgrange)

[ e ] m A physicist at CERN (Conseil europen pour

la recherche nuclaire) in Geneva, and an associate researcher at the University of Iowa. More specifically, within these two structures he is in charge of CMS (Compact Muon Solenoid) collaboration, an experiment currently being installed at the [ m lHC] (Large Hadron Collider). He had welcomed he artist [ m Giannimotti] at CERN in 2005 for his project Higgs, la recherche de lAnti-Motti [Higgs, in search of Anti-Motti].

[ m lesjeudisde Cinqmilliardsdannes ] [ m HauvillerClaude] [ m matire] [ m dtecteurde particules] [ m rayonscosmiques]

merZboW [ f ] m Projet

du Tokyote Masami Akita cr en 1978, Merzbow est lun des plus illustres reprsentants dune noise music radicale et extrme. En cho lart Merz et au Merzbau invent par Kurt Schwitters, avec pour principe de construction la rcupration de matriaux et de rebuts divers, la musique de Merzbow est

based Masami Akita in 1978, is one of the most praised tenants of a radical and extreme noise music. Echoed with Kurt Schwitters Merz art and Merzbau, which principle of construction was the retrieval of found material and rubbish, Merzbow composes his music with noise, sound waste or elements obtained by the use of rough instruments, tape loops and computers. Working on frequencies, saturations, and sound distortions all along titles that can last more 20 minutes, Merzbow plays fast and loose with the distinctions between noise and music, matter and form, chance, and composition, to offer his listeners an extreme esthetic experience. Among his discography, that counts more than 300 cassettes and albums, including collaborations with Genesis P. Orridge or Pan Sonic, the emblematic Pulse Demon (Release, 1995) is worth noting, and above all the Merzbox (Extreme, 2003) that gathers previous releases and archives on 50 CD with a motto: Welcome to the Pleasuredome of Noise . Moreover Masami Akita is the author of several books, some about his music, others about Japanese pre-war architecture or about bondage; he has also made some erotic-gore films, like Lost Paradise (1990), which have overtones of the very coded film genre of the female seppuku. [ m Harshnoise] [ m lesjeudis
de lamarqUenoire ]

m merzbow(masamiakita), Lost Paradise, 1990

mic 144

michEl-ANGE

moNk

mon 145

michel-ange

Michelangelo [ f ] m 1475-154. Sculpteur et peintre. [ m steven Parrino] dit plusieurs reprises son admiration pour Michel-Ange. Le rapprochement peut paratre incongru. Il ne lest pourtant pas tant que a si on considre que les monochromes froisss de lartiste amricain reprennent aux draps du sculpteur italien la plupart de leurs caractristiques. Formelles dabord. Repulsion Painting III (1992), un tableau blanc pliss, emblmatique de la patte Parrino, nvoque pas seulement une tle de voiture froisse, il reprend aussi aux plis de la robe de la Vierge reprsente dans la Piet de Michel-Ange de la basilique Saint-Pierre de Rome, jusqu la brillance un peu mouille du marbre. Contextuelles ensuite. Dans la profanation du monochrome quil aura pratiqu toute sa vie, il y a bien aussi quelque chose qui se rattache un culte (le culte de lart ) et quelque chose qui se rattache au Golgotha : la mort de lart , lhistoire sainte de la peinture expirant dans le monochrome, lartiste dcrochant la toile de son chssis comme la mre de douleur le corps de Dieu. Luvre intitule Trashed Black Box II (2003), voque de la mme manire le spulcre vide que Madeleine dcouvre au troisime jour. Le clbre tableau lhuile de vidange, Slow rot (1988), jauntre et lgrement translucide, nest pas sans rappeler le Saint-Suaire. [ m dieu] [ e ] m 1475-154. A painter and sculptor. [ m stevenParrino] expressed his admiration for Michelangelo on several occasions. The combination may seem incongruous. But it is not so very incongruous if we consider that the creased monochromes by the American artist owe most of their characteristics to the drapery of the Italian sculptor. Their formal ones first of all. Not only does Repulsion Painting III (1992), a white folded picture, emblematic of Parrinos touch, conjure up a crushed car panel, it also borrows from the folds of the gown of the Virgin as seen in the Piet by Michelangelo at St Peters basilica in Rome, down to the slightly moist brilliance of the marble. Then there are their contextual characteristics. In the profanation of the monochrome that he practiced throughout his life, there is indeed also something that is linked to a cult (the cult of art) and something that is linked to Golgotha: the death of art, the holy history of painting expiring in the monochrome, the artist detaching the canvas from its stretcher as the mother of sorrows takes down the body of God.

Similarly the work entitled Trashed Black Box II (2003) conjures up the empty sepulcher Mary Magdalene found on the third day. Slow rot (1988), the famous yellowish and slightly translucent painting made from used engine oil, has overtones of the Holy Shroud. [ m dieu]

sont les espaces dexposition du Palais de Tokyo ddis la jeune cration contemporaine et aux projets spciaux. Tout au long de la [ m saison1] , au rythme de deux nouvelles expositions par mois, ils ont permis de dcouvrir plus dune vingtaine de jeunes artistes vivant et travaillant en France. [ e ] m Introduced in September 200, Modules are exhibition areas at the Palais de Tokyo devoted to young contemporary creativity and special projects. Throughout [ m season1] , presenting two new exhibitions every month, they made it possible to discover the work of more than twenty young artists living and working in France. m Artistes / Artists
[ m ajemian,lucas&Jason] [ m ancelin,david] [ m Chapoulie,Jean-marc] [ m ClaireFontaine] [ m dixjours,dixartistes,dixvidos] [ m &nBsP ] [ m GarciaGalan,adriana] [ m Gene,Bernadette &leBorgne,alain] [ m Giraud,Fabien] [ m Henrot,Camille] [ m lenglet,lucas] [ m Pavillon(les artistesdu),session2006 2007] [ m Pradeau, lenglet] [ m siboni,raphal] [ m Tanaka,Koki] [ m Tuazon,oscar] [ m VanBrummele,lonnie& deHaan,siebren] [ m Vigny,stphane] [ m Von Brandenburg,Ulla] [ m yassef,Virginie]
molossia (rpublique de)

un observatoire (un simple tlescope) et lanc un ballon-sonde spatial. Quelques branches darbre ont interrompu le lancement des sondes Hyprion Balloon et Ariel Survey. Ce programme spatial devrait permettre un jour de prendre des clichs ariens de la rpublique.
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m Originally founded in 1977 as the Grand

m michel-ange, Piet, 1499

micronation [ f ] m Pays (souvent

sans terre) conus par des artistes, des excentriques, des mcontents politiques ou des gocentriques. Incluant le plus souvent le concept de monde parallle, ces micro-nations entremlent limaginaire, lartistique, le rel ainsi que des motivations aussi varies que la rpugnance payer des impts, un amour immodr des titres royaux ou mme le simple dsir de crer une nouvelle civilisation. [ m TaTs(FaiTes-leVoUs-mme)] conceived by artists, eccentrics, political malcontents or egocentrics. These micronations merge the imaginary, the artistic and the real in their embrace of a parallel world, motivated by artistic and conceptual concerns, a dislike for paying taxes, an immoderate love of royal titles, or even the simple desire to create a new civilization. [ m TaTs(FaiTes-leVoUs-mme)]

[ m Physiquequantique] [ e ] m Countries (often without territories)

[ m Physiquequantique]
misson (capitaine)

Captain Misson [ f ] m Pirate qui a la fin du XVII e sicle fonda la colonie libertaire de [ m libertalia] au nord de Madagascar. [ m voirp. C-3] [ e ] m Pirate who founded at the end of the 17 th century the libertarian colony of [ m libertalia] in the north of Madagascar. [ m see p. C-7]
modules [ m 6 , fig. # 7 # 95 ] [ f ] m Inaugurs en septembre 200,

les Modules

The Republic of Molossia [ f ] m Fonde lorigine sous le nom de Grande Rpublique du Vuldstein en 1977, la Rpublique de Molossia se situe aux abords de Virginia City, dans le Nevada, louest des tats-Unis. La rpublique naccepte aucune demande de citoyennet, mais elle est lune des micronations les plus actives sur le plan diplomatique puisquelle a organis les premiers Jeux Olympiques micronationaux. Kevin Baugh, le prsident molosien, y a remport une mdaille dor au disque (en loccurrence, un frisbee). Les quatre citoyens de Molossia clbrent galement Norton Day, le 8 janvier Joshua Norton est cet habitant de San Francisco qui, en 1859, se dclara empereur des tats-Unis. Molossia possde sa propre monnaie, la valora, qui se divise en 100 futtrus. Lconomie est fonde sur le rapport entre la valora et un tube de pte cookies de marque Pillsbury rapport qui stablit actuellement environ un tiers. Parce que ses frontires jouxtent la plus grosse base navale amricaine, Molossia a institu un service militaire obligatoire. Le tabac y est prohib. Molossia est la pointe de la conqute spatiale micronationale : en 2003, elle a ouvert

Republic of Vuldstein, The Republic of Molossia is located just outside Virginia City, Nevada, in the western United States. The Republic does not accept applications for citizenship but has led the way diplomatically on the micronational scene, establishing the first micronational Olympics in which His Excellency, Kevin Baugh, Molossian president, won a gold medal in discus (using a Frisbee). The four citizens of Molossia also celebrate the international holiday Norton Day on January 8th, after the infamous Joshua Norton of San Francisco declared himself Emperor of the United States in 1859. Molosia has minted its own currency, the Valora, which is divided into 100 Futtrus. The economy is based on the relationship between the Valora and a tube of Pillsbury-brand cookie dough, currently 1:3. Because its borders are in relative proximity to the largest U.S. Marine base, Molossia has instituted obligatory military service. It has also banned smoking. Molossia has pioneered micronational space travel, opening an observatory (a telescope) and launching a balloon-powered space probe in 2003. Hyprion Balloon Flight and Ariel Survey became entangled in local trees. The space program is still determined to produce aerial photographs of the Republic.
[ m TaTs(FaiTes-leVoUs-mme) ]
monk, jonathan [ m 1 , fig. # 02 ] [ f ] m *199, vit Berlin.

Par le biais de divers mdiums et en rfrence constante aux pionniers de lart moderne, Jonathan Monk tente de dmystifier le procd de cration. Puisant gnreusement dans le pass, il juxtapose sa cration personnelle et de banales anecdotes quil rfre aux plus intouchables mythes de lhistoire de lart. la Tour Eiffel le 13 octobre 2008 midi, The Lion Enclosure London Zoo Regents Park London 12th May 2014 Lunchtime, etc. sont autant de rendez-vous que Jonathan Monk propose avec Meeting Piece (200), uvre itinrante sous la forme dun blind date avec le public, notamment celui de [ m 5.000.000.000 dannes ] . Dans la mme exposition, luvre Constantly Moving Whilst Standing Still

mor 14

moREllEt

motti

mot 147

(2005) est une bicyclette renverse dont les deux roues tournent inlassablement dans des directions opposes, une illustration littrale de cette expression anglaise. Prsente dans [ m UneseCondeUneanne] , luvre intitule Big Ben (2002) est un projecteur de diapositives qui senclenche et projette une image dune carte postale de Big Ben lheure exacte indique par la clbre horloge londonienne. Les images sont toutes des cartes postales rcoltes par lartiste dans les boutiques de touristes Londres. [ e ] m *199, lives in Berlin. Employing various media, Jonathan Monk places his work in the lineage of 190s and 1970s conceptual art and points to the mechanics behind art-making. Making use of the past, he juxtaposes his own creations with banal anecdotes that refer to famous art historical figures. la Tour Eiffel le 13 octobre 2008 midi, The Lion Enclosure London Zoo Regents Park London 12th May 2014 Lunchtime, etc: the artist proposes countless rendez-vous with his Meeting Piece (200), an itinerant piece that manifests itself in the form of a blind date with the public, such as the public of 5,000,000,000 YEARS [ m 5.000.000.000dannes ] . In the same exhibition, Monk literalizes the saying Constantly Moving Whilst Standing Still by presenting a bicycle, turned upside town, each wheel turning in opposite directions. Presented in oNE SEcoND oNE YEAR [ m Une seCondeUneanne ] , Big Ben (2002) is a slide piece. At what seems like random times, the slide projector displays a different postcard of Big Ben that the artist bought in London tourist shops. In fact, each slide is projected according to the time indicated on Big Bens clock, which is different in each postcard.

morellet, Franois [ m 1 , fig. # 02 ] [ f ] m *192, vit Paris et

Cholet. Franois Morellet est une figure historique de lart contemporain. Visant la neutralit et labsence de pathos, son uvre se dploie avec toute la rigueur de labstraction gomtrique. Le processus de conception de luvre intervient de manire dcisive dans son travail do doit jaillir, en toute logique, une part dimprvisibilit. Dans la ligne de ses uvres qui tentent de limiter au maximum la subjectivit par dclinaison successive de propositions mathmatiques, Franois Morellet a ralis, pour [ m 5.000.000.000dannes ] , Weeping Neonly (200), une nouvelle pice compose dassemblages de nons inclins de manire alatoire. [ e ] m *192, lives in Paris and Cholet. Franois Morellet is a seminal figure in contemporary art. Reaching for neutrality and an absence of pathos, his work deals with strict geometrical abstraction. The process behind the conception of a work of art is prominent in this practice, and unpredictability, logically, follows. Continuing his work with mathematical propositions that limit subjectivity, Morellet creates a new piece for 5,000,000,000 YEARS [ m 5.000.000.000dannes ] . Weeping Neonly (200) is a random assemblage of fluorescent light tubes.
mortadello coX rider (dit running bob)

cadeau dfinitivement. la mort de Fox Runner, lautomne 200, il prit la tte de la bande des Cox. En janvier 2007, tout comme dautres chefs du Consortium, Cox Rider signa au nom des Cox le trait [ m 5,000,000,000] avec le jeune gouvernement des sphres parallles. Aprs lenlvement des sculptures icnes de [ m markHandforth] , les Cox durent se rsoudre sinstaller dans les gouts avec les autres mutants. Mortadello Cox Rider montra une grande ambition sadapter cette nouvelle existence souterraine. Il tablit son campement sous la rue de la Manutention, y amnagea un cabaret pour [ m mutants] et encouragea les membres de sa bande se suffire eux-mmes en sadonnant au music-hall. [ m moto]
[ m Chopper] [ e ] m A character of the [ m TokTok] stories. A

mosset, olivier [ f ] m *1944, vit Tucson,

Arizona. Travaillant les questions de signatures, dappropriations et de rptitions, Olivier Mosset a dvelopp en tant que non-peintre une uvre radicale et rigoureuse qui ouvre de nouvelles perspectives labstraction. Il a particip avec Buren, Parmentier et Toroni la fondation de BMPT en 197. [ m lesFentres] [ m BeFore(PlUsoU on the questions of signatures, appropriations and repetitions, Olivier Mosset has as a nonpainter developed a radical, rigorous body of works which opens up new perspectives on abstraction. With Buren, Parmentier and Toroni he took part in founding BMPT in 197.
[ m lesFentres ] [ m BeFore(PlUsoUmoins) ]

] moins) [ e ] m *1944, lives in Tucson, Arizona Working

m Jonathanmonk, Big Ben, 2002

Mortadello Cox Rider (known as Running Bob) [ f ] m Personnage des contes [ m TokTok] . Motard de lespace et des entre-mondes, chef de la bande des Cox et lun des principaux dirigeants du Consortium des voleurs de failles temporelles. N vers 1975 dans ce qui est aujourdhui le centre des sphres parallles, il est le fils de Mordello Fox Runner. Il eut trois pouses, parmi lesquelles la clbre Cosmic Pamela. Lorsque il tait encore adolescent, son frre an, Mordello Sox Dancer, tait chef de la bande. Pour lencourager sapproprier les trsors des entre-mondes, Sox Dancer prta son frre cadet son ftiche, une santiag confectionne partir de pierre de lune, quil avait reue au cours de sa mutation. Ds son premier raid, Mortadello Cox Rider droba lennemi deux inventions majeures : le maxibanaber et un uf de voiture quil offrit son frre. Sox Dancer lui prta lamulette trois autres reprises et, comme chaque raid elle lui avait port chance, il finit par lui en faire

biker in space and between the worlds, head of the Cox gang and one of the main leaders of the Consortium of robbers of time faults. Born c. 1975 in what is today the center of parallel spheres, he is the son of Mordello Fox Runner. He had three wives, including the famous Cosmic Pamela. When he was still a teenager, his elder brother Mordello Sox Dancer was head of the gang. To encourage him to appropriate the treasures from between the worlds, Sox Dancer lent his younger brother his lucky charm, a santiag made from moonstone he had received during his mutation. On his very first raid, Mortadello Cox Rider stole two major inventions from the enemy: the maxi-banaber and a car egg he gave to his brother. Sox Dancer lent him the amulet on three other occasions and as it had brought him luck on every raid, Sox Dancer finally gave it to him as a present. On the death of Fox Runner in autumn 200, he took over as head of the Cox gang. In January 2007, like all other leaders of the Consortium, Cox Rider signed the [ m 5,000,000,000] treaty with the young government of the parallel spheres in the name of the Coxes. After the removal of [ m mark Handforth] s icon sculptures, the Coxes had to resign themselves to taking up residence in the sewers with the other mutants. Mortadello Cox Rider evinced great eagerness to adapt to this new underground existence. He established his camp site under the rue de la Manutention, set up a cabaret for [ m mutants] there and encouraged the members of his gang to be selfsufficient by engaging in music-hall. [ m moto]
[ m Chopper]

motos [ m Chopper] [ m indianlarry] [ m Giraud,Fabien] [ m Parrino,steven] [ m Ghostrider] [ m Hells angels] [ m Handforth,mark] [ m mosset,olivier] [ m Judd,donald] [ m Tuning]

m Giannimotti, Higgs, la recherche de lAnti-Motti, 2005

motti, gianni [ m 1 , fig. # 02, # 04 ] [ f ] m Vit en Suisse. Gianni

Motti adore brouiller les pistes en agissant hors du monde de lart. En utilisant des lments vrais, faux, vcus, invents ou projets, il sait jouer avec notre systme de valeurs et infiltrer les mdias. Notre faon de vouloir toujours dterminer ce qui fait uvre , ce qui fait sens , ce qui entre dans le champ de lart et ce qui en serait exclus est systmatiquement remis en question. Pour [ m 5.000.000.000dannes] , Gianni Motti a prsent deux uvres qui explorent la structure du temps : [ m Big Crunch Clock] (1999) et le film Higgs, la recherche de lAnti-Motti (2005) montrant lartiste dans le [ m lHC] , nouvel acclrateur de particules du CERN (Conseil europen pour la recherche nuclaire). L o

mul 148

mllER

mutANtS

mut 149

les particules d[ m antimatire] tournent la vitesse de la lumire, il se dplace la vitesse du pas. [ e ] m Lives in Switzerland. Gianni Motti loves to find hideaways outside of the world of art. Making use of elements that are real, fake, lived, invented, or projected, he manipulates our value systems and infiltrates the media. Motti throws into question the validity of our methods of determining what is art and what makes sense. In 5,000,000,000 YEARS [ m 5.000.000.000dannes ] , the artist put two works face to face, each one exploring the structure of time: [ m Big Crunch Clock] (1999) and the video Higgs, looking for the Anti-Motti (2005) showing the artist walking in the new particle-accelerator tunnel [ m lHC ] at CERN, the nuclear research center in Geneva. Where particles of antimatter [ m antimatire] circulate at the speed of light, he goes by foot.
mller, catherine-lise [ f ] m Mdium. Catherine-lise

[ e ] m A medium. Catherine-lise Mller was

musique pour plantes vertes

Mller a trentedeux ans lorsquelle fait la connaissance de Thodore Flournoy, qui vient dobtenir la chaire de psychologie la Facult des sciences de Genve ; intrigu par une mdium rpute tre rentre en contact avec Victor Hugo, il dcide dassister aux sances de [ m spiritisme] quelle donne Genve. Leur rencontre marque un tournant radical dans la carrire du mdium qui dveloppe alors, pendant plus de six ans, deux fictions romanesques assorties de linvention de langues imaginaires : lune dintonation orientale et lautre martienne. Vritable laboratoire dexploration de linconscient pour Flournoy, la mdiumnit dlise sera pour lui loccasion de produire son uvre majeure. La publication de son tude dun cas de somnambulisme avec glossolalie en 1900 le rend immdiatement clbre dans le monde entier. Mais la paternit de louvrage pose problme ds sa parution, dautant que la mdium y est rebaptise Hlne Smith, et le duo clate travers des rglements de comptes qui laissent apparatre une passion amoureuse jusquici savamment refoule. Il existe une documentation prcieuse sur cette histoire : le compte-rendu des sances rdig par un collaborateur de Flournoy, auquel sajoutent plusieurs clichs photographiques. Ce droul retrace avec une prcision remarquable lorigine des romans subliminaux et lapparition des langues. [ m desindeslaplantemars]

thirty-two years old when she met Thodore Flournoy, who had just been appointed to the chair of psychology at the Science Faculty of Geneva University; he was intrigued to hear of a medium said to have made contact with Victor Hugo, and decided to attend spiritualism [ m spiritisme] sances she was holding in Geneva. Their meeting marked a radical turning point in the career of the medium who over a period of more than six years went on to develop two romantic fictions, matched by the invention of imaginary languages: one with oriental intonation, the other Martian. For Flournoy, lises mediumism was a real laboratory for exploring the unconscious and it would provide him with the opportunity to produce his magnum opus. The publication of his tude dun cas de somnambulisme avec glossolalie in 1900 immediately made him world-famous. But the authorship of the work presented problems directly it was published, especially as in the book the medium was renamed Hlne Smith, and the couple broke up in the course of a settling of accounts which allowed a passionate love to appear, which had hitherto been knowingly repressed. There is valuable documentation relating to this story in existence: the reports on the sances written by one of Flournoys collaborators, and in addition several photographs. That account retraces the origin of the subliminal novels and the appearance of the languages with remarkable precision. [ m desindeslaplantemars]

Music for plants [ m 2 , fig. # 31 ] [ f ] m Projet de [ m PeterCoffin] . 01/02/2007 11/03/2007. Untitled (Greenhouse) (2002) de Peter Coffin est une serre grandeur nature, remplie de plantes en tous genres claires par des lampes halognes. Luvre est non seulement un lieu de culture pour les plantes, mais aussi un lieu de concert : parmi la vgtation, on dcouvre une sono, une guitare lectrique, des amplis, des micros, etc. Le public est invit entrer dans la serre et peut jouer de la musique pour les plantes. Plusieurs fois par semaine, Untitled (Greenhouse) a accueilli un musicien de la scne exprimentale qui tente de communiquer avec les plantes. Certaines preuves scientifiques montrent dj que les plantes ny sont pas insensibles. Le but de ce projet artistique ne se trouve cependant pas dans une validation de thories scientifiques mais dans la mise en place dun dialogue entre diffrentes formes de vie et la cration dun lieu o existe un engagement direct et rgulier mais aussi intuitif et improvis avec les plantes. [ m ,noUVellesdUmonderenVers] [ e ] m Project by [ m PeterCoffin] . 01/02/2007 11/03/2007. For Music for Plants, the artist Peter Coffin presented his work Untitled (Greenhouse) (2002), a full-sized greenhouse and invited musicians to come and play for the plants. The polycarbonate greenhouse is filled with various types of plants illuminated by halogen grow lights. More than a place for plants to grow, Untitled (Greenhouse) also functions as a concert venue: dispersed within the vegetation is a sound system, an electric guitar, a keyboard, speakers, microphones, etc. The public is invited to enter the greenhouse and play music for the plants. Several times per week, Untitled (Greenhouse) welcomed a musician from the experimental scene who attempts to communicate with the plants. While scientific proof showing that the plants are reactive to music does in fact exist, this artistic project does not seek to validate scientific theories, as much as it establishes a creative dialogue between different forms of organic life and creates a site for a direct and ongoing engagement with plants that is intuitive, improvised, and undetermined.
[ m , noUVellesdUmonderenVers ] m Participants (par ordre chronologique / by chronological order) Minitel, [ m amyGranat] +

Vincent Epplay, Nol Akchot + Jean-Marc Montera + Jean-Franois Pauvros, Don Nino, Nol Akchot + Andrew Sharpley, Samon Takahashi, Gwen Jamois, Pierre-Yves Mac, Rainier Lericolais + Philippe Gusching + Lili Kim, F.F.M (Rodolphe Alexis + Matt F), Vincent Madame, Dan Warburton, Davide Balula, portradium + Hendrik Hegray. (Programmation musicale / Music programming : Ludovic Poulet).
mutants [ m voir encadr

p.150 / see box p. 150]

m ridleyscott, Blade Runner, 1982

m muSiQuE PouR PlANtES vERtES /

muSic FoR PlANtS

Marie-Eve Jetzer, Julie b. Bonnie, Andy Bolus,

mut 150

mutANtS

NADiRiE

nad 151

~~~ [ f ] m Comme les mutants, les artistes ont dvelopp une libert de se mouvoir dans des sphres parallles e,t comme les mutants, lart fonde sa survie sur la furtivit : notre radar ne permet pas notre systme interprtatif de dceler les indices alarmants. Visuellement, rien (ou presque) ne permet de distinguer un mutant dun tre humain, rien (ou presque) ne permet de distinguer une uvre dart dun objet ordinaire. La diffrence est ailleurs. Mais ds quun mutant est identifi comme tel, il rintgre nos yeux son statut dorigine (un extraterrestre). Ds quune uvre dart est identifie, elle abandonne son statut dobjet pour se transfigurer et rejoindre le monde de lart. Ce qui compte, ce nest pas la colonisation de nouveaux mondes. Les petits martiens verts aux rayons lasers tout comme les artistes visionnaires aux pinceaux fous sen sont dj charg. Non, lexpansion continue de notre univers implique un mouvement de mise en glisse perptuel, un cumul de lidentique activant une schizophrnie chronique, et lart daujourdhui travaille ce dveloppement. ~~~ [ e ] m Like mutants, artists operate in parallel spheres and, like a mutant, art survives by being furtive and by compromising our ability to establish clear interpretive sign-posts. Visually, nothing (or almost nothing) allows one to distinguish a mutant from a human being, and nothing (or almost nothing) allows one to distinguish a work of art from an ordinary object. The difference lies elsewhere. But as soon as a mutant is identified as such, he returns we see it happen to his original status of being an extraterrestrial. As soon as a work of art is identified as such, it loses its status as an object only to be transfigured and returned to the world of art. This chronic schizophrenia is a defining characteristic of art-making today. What counts is not the colonization of new worlds but an accumulation of the identical. Art doesnt invade or abandon one territory at the expense or in favor of another, but it constantly slides in and out of territories and across different spheres and personalities. ~~~

Mutants

nadirie (la)

Nadiria [ f ] m Fonde en fvrier 18 par Samuel et Constance Brundt. Cette petite colonie, installe sur lune des ctes les plus septentrionales de lAntarctique, ne survcut que sept mois mais elle eut le temps de produire sa propre monnaie, le dream-dollar de lAntarctique. Le dream-dollar semble avoir totalement disparu aujourdhui, mais lartiste Stephen Barnwell a cr sa propre version de cette monnaie en sinspirant des dnominations et des couleurs des billets dorigine.
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m Founded in February 18 by Samuel and

Constance Brundt. This small colony was situated on one of the northern-most coasts of Antarctica. Although the colony survived for only a brief seven-month period, it did produce its own currencyAntarctica Dream-Dollars. While no authentic Dream-Dollars are known to exist, the artist Stephen Barnwell has created his own versions of the Dream-Dollars based on their original denominations and colour scheme. [ m TaTs(FaiTes-leVoUs-mme)]
ncromancie

Necromancy
[ m spiritisme]

neuropsychanalyse

Neuropsychoanalysis [ f ] m Nouvelle discipline qui sattache croiser les enseignements de la psychiatrie et de la psychanalyse. Pour la neuropsychanalyse, tout trauma de nature symbolique imprime une trace physique dans le cerveau. Inversement, tout trauma dorigine neurologique se traduit par des perturbations dans le comportement et les motions. [ m malabou,Catherine]
[ m lesjeudisde THeTHirdmind ] [ e ] m A new discipline which sets out

to interlink the teachings of psychiatry and psychoanalysis. For neuropsychoanalysis, any trauma that is symbolic in nature imprints a physical trace in the brain. Conversely, any trauma that has a neurological origin is translated into distur-

neW 152

NEw iSlAND

thE thiRD miND

bances in the behavior and emotions.

[ m malabou,Catherine] [ m lesjeudisde THe THirdmind ]

cristal, qui rend compte de ses pratiques et de lidologie inspire par Beatrix Mandell.
[ m TaTs(FaiTes-leVoUs-mme) ] [ m mai-ThuPerret] [ e ] m An autonomous community in the desert

neW island (commonWealth de)

# 44 #57

Commonwealth of New Island [ f ] m Territoire de cinq hectares, louest des ctes australiennes ayant dclar son indpendance en 1992. Selon Lee Mothes, son fondateur, New Island est une uvre dart interactive qui invite chacun recrer sa parcelle de lle construire une maison, crer une entreprise, voire fonder une nouvelle civilisation ; lle est une entit part entire, un lieu fait pour des pionniers qui souhaitent sapproprier un morceau de lle .
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m A 12,000 square mile territory that declared

its independence in 1992. New Island is situated off the west coast of Australia and according to its founder Lee Mothes, is an interactive work of art that invites anyone to re-create their own piece of the island: build a house, start a business or even begin a new civilization. The Commonwealth is its own entityits just a place out there that is inviting those pioneers who might want to make a part of it their own.
[ m TaTs(FaiTes-leVoUs-mme) ]
neW ponderosa year Zero [ f ] m Communaut autonome installe

country of New Mexico. It was created by a group of women in their twenties and thirties loosely founded on the ideas of activist Beatrix Mandell. It was her understanding that a truly non-patriarchal social organization can only be established by a core group of women who would have to learn to be perfectly self-sufficient before inviting men into the community. Mandells beliefs mix classic feminist ideology with what the organization describes as psychedelic-pastoral tendencies. The population of New Ponderosa oscillates between eight and a dozen members. Participants are always free to leave and come back to the group at any time in their life. New Ponderosa Year Zeros goals are to remain self-sufficient, continuing to grow their own food and raise livestock (a few cows, rabbits, hens, and palomino ponies). Income from their agrarian lifestyle is supplemented by the sale of unique decorative arts. The community also prides itself on its collective writings known as The Crystal Frontier which accounts for their collective ideology in practice and an extension of their ideology inspired by Beatrix Mandell. [ m TaTs(FaiTesleVoUs-mme) ] [ m mai-ThuPerret]

dans une rgion dserte du Nouveau Mexique. Fonde par un groupe de femmes ges de 20 40 ans, elle sinspire des thories de Beatrix Mandell. Selon cette activiste, une organisation sociale non patriarcale ne peut tre fonde que par un groupe de femmes qui doivent apprendre devenir parfaitement autosuffisantes avant dinviter des hommes dans la communaut car exclure les hommes par antipathie nest pas une solution satisfaisante. Les thories de Mandell se fondent aussi bien sur la conception fministe de loppression des femmes que sur ce que la communaut appelle des tendances psychdlico-pastorales . La population du New Ponderosa oscille entre huit et douze membres. Les participantes sont libres de partir et de revenir tout moment. Afin de pouvoir vivre en autarcie, New Ponderosa Year Zero cultive ses propres terres et lve du btail et autres animaux (quelques vaches, des lapins, des poules, des poneys). ces revenus agricoles sajoutent les recettes dun commerce dobjets darts dcoratifs. On doit galement la communaut une uvre collective baptise La Frontire de

no Wave [ f ] m Mouvement

musical et artistique apparu New York la fin des annes 1970. Proches du punk, les artistes no wave se reconnaissaient leur got de la dissonance, de limprovisation et de l[ m anarchie] , lencontre des pratiques de la cold wave et de la new wave contemporaines. Principaux reprsentants : James Chance and the Contortions, DNA, Richard Kern, [ m lydialunch] , Sonic Youth, Teenage Jesus and the Jerks. [ m 1969] [ m lamarqUenoire] emerged in New York in the late 1970s. No Wave artists were close to punk, can be recognized by their liking for dissonance, improvisation and anarchy [ m anarchie] , in contrast to the practices of contemporaneous cold wave and new wave. Its main representatives were: James Chance and the Contortions, DNA, Richard Kern, [ m lydialunch] , Sonic Youth, Teenage Jesus and the Jerks. [ m 1969] [ m la
marqUenoire ] [ m electrophilia]

[ m electrophilia] [ e ] m A musical and artistic movement that

4 # 44

THE THIRD MIND

THE THIRD MIND

[ m AndyWarhol ] Screen Tests, 1964 -1966 ; [ m BruceConner] Angel Series, 1975

4 # 001

4 # 45 # 46

THE THIRD MIND

4 # 47

# 45 [m WilliamsS.Burroughs] & [m BrionGysin]

The Third Mind, 1976 ;

The Third Mind, ca. 1965

# 46 [m WilliamsS.Burroughs] & [m BrionGysin] The Third Mind, ca. 1965 # 47 [m WilliamsS.Burroughs] & [m BrionGysin] The Third Mind, ca. 1965

4 # 48

THE THIRD MIND

THE THIRD MIND

4 # 49

Listening, 1998 ; Biting, 1995 -1998 ; Smelling, 1996 -1998 ; Tasting, 1996 -1998 ; Listening, 1996 -1998 ; Swallowing, 1999 - 2007 ; Breathing, 1996 -1998 ; [ m Jean-FredericSchnyder] Wartesle, 1988 -1990 # 49 [ m HansJosephsohn] Sans titre, 1999- 2001 ; Sans titre, 1970 -1973 ; [ m HugoMarkl] Brown Series, 2004
# 48 [ m AndrewLord]

4 # 50

THE THIRD MIND

THE THIRD MIND

4 # 51

# 50

# 50 # 51 [ m UrsFischer] Madame Fisscher, 1999 -2000 # 52 [ m PaulThek] Sans titre, 1965 ; Sans titre, 1966 ; [ m EmmaKunz] Sans

titre,

sans date / Untitled, undated

4 # 53

THE THIRD MIND

[ m TobaKhedoori] Untitled (Model), 1998 ; [ m LaurieParsons] Troubled, 1989 ; [ m RobertGober] The Split Up Conflicted Sink, 1985

4 # 54

THE THIRD MIND

[ m RonaldBladen] Cathedral Evening, 1971 ; Three Elements, 1965

4 # 55

THE THIRD MIND

THE THIRD MIND

4 # 56

# 55 [ m BrunoGironcoli] Sans titre, 2003 ; Sans titre, 2001 - 2002 ; Sans titre, 2003 # 56 [ m RebeccaWarren ] She-Valerie, 2003 ; She-South Kent, 2003 ; She-Sans titre, 2003 ; [ m VerneDawson] Tuesday, 2005 ; Thursday, 2005

4 # 57

THE THIRD MIND

D1

[ m SarahLucas] Car Park, 1997

The Third Mind de WilliaM S. BurroughS & Brion gySin / The Third Mind By WilliaM S. BurroughS & Brion gySin


D

The Third Mind

William S. Burroughs & Brion Gysin

D

[f ]

Brve histoire dun livre mythique : The Third Mind de William S. Burroughs & Brion Gysin
Grard-Georges Lemaire

Introductions
William S. Burroughs

William S. Burroughs arrive Paris en janvier 1958 et prend une chambre (n ) dans le petit htel de la rue Gt-le-Cur prs de la place Saint-Michel. Cet htel sans nom ne tarde pas tre surnomm le Beat Hotel . Allen Ginsberg, Peter Orlovsky et Gregory Corso figurent parmi les premiers potes amricains y sjourner. Cest l que Ginsberg et quelques autres aident Burroughs produire la version dfinitive de The Naked Lunch (Le Festin nu), qui parat chez Olympia Press Paris, son directeur, Maurice Girodias, ayant lu la capitale franaise pour fuir la censure anglo-saxonne. Burroughs y retrouve Brion Gysin quil avait connu Tanger. Les deux hommes ne tardent pas se lancer dans des exprimentations littraires. Gysin avait dcouvert des modes de production de texte que Burroughs surnomme les mthodes littraires de Lady Sutton Smith : le cut-up, le fold-in et les permutations. Burroughs se passionne surtout pour la premire et va longtemps lutiliser pour crire ses romans et ses rcits. Une partie des rsidents de lhtel simplique dans cette aventure, comme Gregory Corso et Sinclair Beiles. Plusieurs petits opuscules sortent de cette trange et foisonnante manufacture de textes. De plus, Burroughs remplit de grands cahiers de collages (les Scrapbooks), alors que Gysin dveloppe lide de ses grilles calligraphiques. Cette masse considrable duvres leur donne lide dun livre tant une anthologie prservant lessentiel des travaux accomplis pendant ces annes de recherche intense. Le projet est soumis Richard Seaver qui est responsable ditorial chez Grove Press. Il laccepte. Quand Burroughs et Gysin se rendent New York en 1965, le livre baptis The Third Mind daprs une citation de T. S. Eliot ( Who is that third walking besides you ? ) semble bien se prsenter : des preuves sont donnes aux auteurs. Mais tout sarrte brusquement : lditeur a renonc de publier cet ouvrage trop onreux. En 1974, je fais la connaissance de Brion Gysin qui habite la Cit des Arts. Tandis que je prpare Genve le Colloque de Tanger avec mon ami, photographe et diteur, Franois Lagarde, Gysin me donne le jeu dpreuves de The Third Mind et ensemble, en nous concertant avec Burroughs (que je rencontre pour la premire fois loccasion du Colloque), nous mettons au point une nouvelle version acceptable pour un diteur franais tel que Flammarion o je viens de crer la collection Connections . Gysin donne cette traduction le titre duvre croise et elle sort de presse en 1976 avec une prface rdige par mes soins. Cest cette mme version que reprend Viking aux tats-Unis lanne suivante mais en conservant le titre original. Ce volume est rdit en France en 1998 sous une nouvelle couverture et repris dans lanthologie que je prsente chez Flammarion en 005, The Beat Generation. Peut-tre un jour prochain, une maison ddition, un muse ou une fondation aura cur de mettre en chantier un livre conforme aux rves des deux crivains des deux artistes que furent Burroughs et Gysin
[ m ] Grard-Georges Lemaire

Reste plus beaucoup de temps pour tourner ... ... officier assis la dans le grenier, ombres de fin daprs-midi sur son dos. Il est assis devant un bureau sur lequel nous voyons un magntophone portatif, une machine a crire portative, des registres, des photos et des notes. Un store baiss sert dcran pour les lames de verre dune lanterne magique. Lofficier sadresse a une audience compose exclusivement de deux cadets. Cest suffisant. La voix est fatigue : sur son visage, les dernires cicatrices de guerre, presque invisibles ... saccade et lointaine : Pourquoi suis je l ? Je suis la parce que vous tes l ... et laissez-moi, jeunes officiers, vous citer cette phrase : Jamais deux esprits ne se rencontrent sans de ce fait mme crer une troisime force, invisible et intangible, qui doit tre assimile a un tiers esprit*. Qui est le tiers qui marche ct de vous ? Le tiers esprit est la lorsque deux esprits collaborent. Nous avons, Brion Gysin et moi, collabor ce manuel de techniques lmentaires de lillusionnisme qui fait tat dune srie de collaborations similaires. Commencez-vous comprendre quil ny a pas dofficier dans la pice qui sassombrit ? La ralit est apparente parce que vous vivez et que vous croyez. Ce que vous appelez ralit est un rseau de formules de contrainte... lignes associatives de mots et dimages prsentant une piste prenregistre de mots et dimages. Comment savez-vous que les vnements rels prennent place la o vous tes assis a lheure actuelle ? Vous le lirez demain dans la venteuse Aurore du matin ... Trombe : Primrose, Nebraska ... Tornade  morts ... Foule dans les rues de Bagdad se dressant de la machine crire ... Mr Martin sourit ... Le Maya du Matin ... ralit de papier ... corps photo ... Vous vous rappellerez, Une Exprience avec le Time par Dunne. Le docteur Dunne a dcouvert que quand il consignait par crit ses rves, le texte contenait beaucoup de rfrences claires et prcises aux prtendus vnements du futur. Toutefois, il dcouvrit que quand vous rvez dune catastrophe arienne, dun incendie, dune tornade, vous ne rvez pas de lvnement lui-mme, mais dun document journalistique sur lvnement pr-enregistr et pr-photographi. Maintenant, limage et le rcit des vnements dans le journal peuvent ne pas correspondre lvnement rel . Vous vous rappelez du conflit russo-finnois couvert par le Club de la Presse Helsinki ? Vous vous rappelez le faux armistice de Mr Hearst achevant la Premire Guerre mondiale un jour plus tt ?
* Une citation extraite de Think and Grow Rich ( Reflechissez et devenez riches par Napoleon Hill qui affirme, a propos de son livre, quil contient un secret mentionne pas moins dune centaine de fois : Ce qui na pas t directement nomm , et il ajoute parce quil semble marcher avec plus de succs quand il est laisse tout bonnement en vidence l o ceux qui sont prts et qui le recherchent peuvent le saisir .


D4

The Third Mind

William S. Burroughs & Brion Gysin

D5

[f ]

La mthode cut-up de Brion Gysin

dun autre ct il semble relativement probable que toute la guerre de Crime ntait quun canular journalistique mont de toutes pices par la mme brochette de reporters qui quelques annes auparavant allaient se vanter de couvrir tout le conflit russo-finnois depuis le Club de la Presse a Helsinki. Granger Fin de course , correspondant de guerre vtran des Mauvaises Nouvelles, dclara connement lpoque javais jamais vu un champ de bataille et navais jamais voulu en voir Tu vois, cest plus humain comme a. Cest le vieux jeux de larme mon garon, un moment tu piges, un autre tu piges plus.
William S. Burroughs

Maya ... Maya ... Illusion ... illusion ... Quoi quil en soit, il existe des techniques prcises pour produire lillusion, nimporte quel magicien de cabaret vous le dira. Quand laudience voit le magicien sortir un lapin de sa veste truque, lancer une corde indienne avec un fil de fer presque invisible, alors limage et le bavardage des vnements peuvent ne pas correspondre lvnement rel ... toujours besoin dune patre pour laccrocher ... un angle ... un truc ... vieux trucs de photographe et les trucs ne marchent pas toujours. (Mon professeur de jiu-jitsu disait souvent : Si ton truc ne marche pas, il vaut mieux filer. La vieille main morte a perdu son toucher, ce vieux bavardage ne distrait plus ... les os radioactifs et nus luisent a travers la lune de papier et les arbres de mousseline. Je suis la pour vous montrer, jeunes officiers, quelques trucs que vous appelez ralit ... La premire tape dans la recration est de couper les vieilles lignes qui vous prennent la o vous tes assis a lheure actuelle ... fondu sur un porche blinde Cambridge, Mass., 198 anne de louragan 8, si ma mmoire est bonne : Jcris avec Kells Elvins la premire apparition du docteur Benway, jouant la scne avec un couteau de cuisine ... (Preuve Donne dans la Nuit ; page 127, Nova Express .) Le docteur Benway, mdecin de bord, ajouta en tat dbrit cinq centimtres une incision de dix centimtres dun coup de scalpel ... il y a du vent ici maintenant ... Il regardait quelque chose il y a longtemps de cela ... fondu sur 9, rue Git-le-Coeur, chambre 5 ; septembre 1959 ... Jtais peine de retour dun djeuner avec les membres de la police du Time, dposant un escroc, vieux et fatigues comme leurs homonymes : Mr Burroughs, jai une intuition a votre sujet ... je vous vois quelques annes auparavant dans Madison Avenue... $ 0 000 par an ... Lexistence dans toute la richesse de sa diversit Prenez une Old Gold. Regagnant la chambre 5, je trouvai Brion Gysin tenant une paire de ciseaux, des bouts de journaux, Life, Time, tals sur une table ; il me lut les Cut-Ups qui sont parus ultrieurement dans Minutes to Go.
[ m ] William S. Burroughs
Traduction : Grard-Georges Lemaire

Lors dune runion surraliste des annes 0, Tristan Tzara, 1homme de nulle part, proposa de composer un pome sur-le-champ en tirant des mots dun chapeau. Une algarade sensuivit et le thtre fut saccag. Andr Breton expulsa Tristan Tzara du mouvement et tendit les cut-ups sur le divan freudien. Pendant lt 1959, Brion Gysin, peintre et crivain, dcoupa des articles de journaux en fragments et les redistribua au hasard. Minutes to Go rsulta de cette exprience cut-up. Minutes to Go contient des cut-ups spontans et inaltrs qui se rvlrent tre une prose parfaitement cohrente et pleine de sens. La mthode cut-up amena les crivains au collage qui a t utilis par les peintres depuis cinquante ans. Il a t galement utilis pour la camra et lappareil photographique. En effet, toutes les prises de vues effectues dans la rue soit par des camras soit par des appareils photographiques sont la merci de facteurs imprvisibles tels que les passants et les juxtapositions cut-ups. Et les photographes vous diront que leurs meilleures prises de vues sont souvent des accidents ... les crivains vous diront la mme chose. La meilleure criture semble tre produite presque par accident, mais, jusqu temps que la mthode cut-up ait t formule (en ralit, toute criture est constitue de cut-ups. je reviendrai sur ce point) les crivains navaient pas la possibilit de reproduire le caractre fortuit de la spontanit. On ne peut pas dsirer la spontanit. Mais on peut introduire le facteur spontan et imprvisible laide dune paire de ciseaux. La mthode est simple. Voici une des manires de procder. Prenez une page. Cette page par exemple. Maintenant coupez-la en long et en large. Vous obtenez quatre fragments : 1   4 ... un deux trois quatre. Maintenant rorganisez les fragments en plaant le fragment quatre avec le fragment un, et le fragment deux avec le fragment trois. Et vous obtenez une nouvelle page. Parfois cela veut dire la mme chose. Parfois quelque chose de totalement diffrent (faire un cut-up de discours politiques est un exercice des plus intressants) et, dans tous les cas, vous dcouvrirez que cela signifie quelque chose, et quelque chose de tout fait dtermin. Prenez nimporte quel pote ou prosateur que vous aimez. La prose ou les pomes que vous avez lus maintes et maintes fois. Les mots ont perdu toute signification et toute existence au cours dannes de rptition. Maintenant prenez le pome et recopiez les passages choisis. Remplissez une page dextraits. Maintenant dcoupez la page. Vous obtenez un nouveau pome. Autant de pomes que vous voulez. Autant de pomes de Shakespeare ou de Rimbaud que vous voulez. Tristan Tzara a dit : La posie est pour tous. Et Andr Breton le traita de flic et lexpulsa du mouvement. Rptez : La posie est pour tous. La posie est un lieu public et vous tes libres dentirement cut-upiser Rimbaud, et vous vous trouvez la place de Rimbaud. Voici un pome cut-up de Rimbaud :


D6

The Third Mind

William S. Burroughs & Brion Gysin

D7

[f ]

Visite des souvenirs. Seulement votre danse et votre maison voix. Sur lair sururbain des dsertions improbables ... Tout harmoniques languit pour querelle. Les grands cieux sont ouverts. Candeur de vapeur et tente crachant sang rire et pnitence ivrogne. Promenade de vin parfum ouvre bouteille lente.Les grands cieux sont ouverts. Clairon suprme consumant des enfants chair en bue. Les cut-ups sont pour tous. Nimporte qui peut faire des cut-ups. Cest une mthode exprimentale dans le sens o elle est une praxis. Nattendez plus pour crire. Nul besoin den parler ou den discuter. Les philosophes grecs postulaient logiquement quun objet deux fois plus lourd quun autre tombe deux fois plus vite. Il ne leur vint pas lesprit de faire tomber les deux objets de la table et de voir comment ils tombent. Dcoupez les mots et voyez comment ils tombent. Shakespeare Rimbaud vivent dans leurs mots. Coupez les lignes-mots et vous entendrez leurs voix. Les cut-ups apparaissent souvent comme des messages cods avec une signification spciale pour celui qui coupe. Table dcoute ? Peut-tre. Certainement une amlioration dans la fcheuse habitude dentrer en relation avec des potes morts par lentremise dun mdium. Rimbaud lui-mme a annonc quune posie terriblement mauvaise le suivrait. Dcoupez les mots de Rimbaud et vous tes assurs davoir au moins de la bonne posie dfaut dune prsence personnelle. Toute criture est en ralit constitue de cut-ups. Un collage de mots lus et rabchs. Quoi dautre ? Lutilisation de la paire de ciseaux rend le processus explicite et est susceptible dextension et de variation. La pure prose classique peut tre compose de cut-ups prarrangs. Dcouper et rarranger une page de mots crits introduit une nouvelle dimension dans lcriture permettant lcrivain de placer les images dans une suite de variations cinmatiques. Les images changent de signification sous la paire de ciseaux, les images olfactives se changent en visions sonores, la vue en son, et le son en synesthsie. Cest ce vers quoi tendait Rimbaud avec sa coloration des voyelles. Et son drangement systmatique des sens . Le lieu de lhallucination mescalinienne : voir des couleurs, goter des sons, sentir des formes. Les cut-ups peuvent tre appliqus dautres domaines que celui de lcriture. Le docteur Neumann dans sa Theory of Games and Economic Behavior introduit la mthode cut-up du facteur hasard dans le jeu et la stratgie militaire : postulez que le pire est arriv et agissez en consquence. Si votre stratgie est, jusqu un certain point, dtermine... par le facteur hasard, votre adversaire ne pourra en tirer aucun avantage de la connaissance de votre stratgie car il ne peut pas en prvoir lvolution. La mthode cut-up pourrait tre avantageusement utilise dans lanalyse des faits scientifiques. Combien de dcouvertes ont-elles t faites par accident ? On ne peut pas produire daccidents volont. Les cut-ups pourraient ajouter une nouvelle dimension aux films. Entrecoupez des scnes de jeux avec un millier de scnes de jeux de tous les temps et de tous les pays. Coupez lenvers. Coupez les rues du monde. Coupez et rarrangez le mot et limage dans les films. Il ny a aucune raison daccepter un produit de seconde qualit quand vous pouvez avoir le meilleur. Et le meilleur est l pour tous. La posie est pour tous.
[ m ] William S. Burroughs

Les cut-ups sexpliquent deux-mmes

Brion Gysin

Lcriture a cinquante ans de retard sur la peinture. Je me propose dappliquer les techniques des peintres lcriture ; des choses aussi simples et immdiates que le collage ou le montage. Coupez travers les pages de nimporte quel livre ou journal... dans le sens de la longueur par exemple et mlangez les colonnes de texte. Remettez-les ensemble au hasard et lisez le message nouvellement constitu. Faitesle vous-mme. Utilisez nimporte quel systme qui se prsente vous. Prenez vos propres mots ou les mots quon appelle les propres paroles de quelquun dautre mort ou vivant. Vous verrez bientt que les mots nappartiennent personne. Les mots ont une vitalit bien eux et vous et nimporte qui dautre pourra les faire se prcipiter dans laction. Les pomes permuts font tourner les mots tout seuls ; partant en chos quand se permutent les mots dune phrase puissante pour faire des ondulations toujours en expansion de sens dont ils ne semblaient pas capables quand on les a frapps et ensuite colls dans cette phrase. Les potes sont supposs librer les mots non pas les enchaner dans des phrases. Qui a dit aux potes quils taient supposs penser ? Les potes sont faits pour chanter et pour faire chanter les mots. Les potes nont pas de mots quils possdent. Les potes ne possdent pas leurs mots. Depuis quand les mots appartiennent-ils quelquun ? Vos propres paroles , en effet ! Et vous, qui tes-vous ?
[ m ] Brion Gysin

Extraits de The Third Mind (uvre croise) de William S. Burroughs et Brion Gysin Flammarion, 1976


D8

The Third Mind

William S. Burroughs & Brion Gysin

D9

[e ]

Short history of a legendary book: The Third Mind by William S. Burroughs & Brion Gysin
Grard-Georges Lemaire

Introductions
William S. Burroughs

William S. Burroughs arrived in Paris in January 1958 and took a room (no. ) at a little hotel on the rue Gt-le-Cur near the place Saint-Michel. That nameless hotel was before long nicknamed Beat Hotel. Allen Ginsberg, Peter Orlovsky and Gregory Corso were among the first American poets to stay there. It was here that Ginsberg and a few others helped Burroughs to produce the final version of The Naked Lunch, which was published by Olympia Press in Paris; the managing director of Olympia, Maurice Girodias, chose the French capital to escape American and British censorship. Burroughs again met up with Brion Gysin whom he had known in Tangiers. The two men soon embarked on literary experiments. Gysin had discovered ways of producing text which Burroughs referred to as the literary methods of Lady Sutton Smith: cut-up, fold-in and permutations. Burroughs was particularly enthusiastic about the first of these and long continued to use it in writing his novels and stories. Some of the hotel residents became involved in this venture, like Gregory Corso and Sinclair Beiles. Several small-scale minor works emerged from this strange, prolific manufacture of texts. Furthermore, Burroughs filled large exercise books with collages (the Scrapbooks), while Gysin developed the idea of his calligraphic grids. This sizeable mass of materials gave rise to the idea of a book which would be an anthology preserving most of the work carried out over these years of intensive research. The project was submitted to Richard Seaver who was the editorial director of Grove Press. He accepted it. When Burroughs and Gysin went to New York in 1965, the book named The Third Mind after a quotation from T. S. Eliot (Who is that third walking besides you?) seemed to be turning out well: the authors were given proofs. But everything came to a sudden halt: the publisher abandoned the idea of producing this unduly expensive project. In 1974, I got to know Brion Gysin who was living at the Cit des Arts. While I was in Geneva preparing the Tangiers Colloquium with my friend, the photographer and publisher Franois Lagarde, Gysin gave me the set of proofs for The Third Mind and together, in consultation with Burroughs (whom I meet for the first time at the Colloquium), we established a new version acceptable to a French publisher such as Flammarion, where I had just created the Connections collection. Gysin gave this translation the title uvre croise and it was printed in 1976 with a preface written by me. It was this same version that Viking brought out in the United States the following year, but they retained the original title. There were further editions of the volume in France and it was reissued in 1998 with a new cover and in the anthology I presented at Flammarion in 005, The Beat Generation. Perhaps some day soon a publisher, a museum or a foundation will have the heart to undertake a book that would match the dreams of the two writerstwo artiststhat Burroughs and Gysin were
[ m ] Grard-Georges Lemaire

Not much time left on set ... ... officer sitting there in the attic room, late-afternoon shadows against his back. He is sitting at a desk on which we see a portable tape recorder, a portable typewriter, ledgers, photos and notes. A window shade drawn down serves as a screen for magic-lantern slides. The officer addresses an audience of any two cadets. It is enough. The voice is tired: on his face the last, almost invisible scars of war ... dim jerky faraway: Why am I here? I am here because you are here ... and let me quote to you young officers this phrase: No two minds ever come together without, thereby, creating a third, invisible, intangible force which may be likened to a third mind.* Who is the third that walks beside you? The third mind is there when two minds collaborate. Brion Gysin and I are collaborating on this manual of elementary illusion techniques which traces a series of such collaborations. Operation Rewrite ... Maya ... Maya ... Illusion ... Illusion. Do you begin to see there is no officer there in the darkening room? Reality is apparent because you live and believe it. What you call reality is a complex network of necessity formulae...association lines of word and image presenting a prerecorded word and image track. How do you know real events are taking place right where you are sitting now? You will read it tomorrow in the windy morning NEWS ... Twister in: Primrose, Nebraska ... Tornado dead 223 ... Street crowds in Baghdad rising from the typewriter ... Mr Martin smiles ... The Morning Maya ... paper reality ... photo bodies ... You will recall Experiment with Time by Dunne. Dr Dunne found that when he wrote down his dreams the text contained many clear and precise references to socalled future events. However, he found that when you dream of an air crash, a fire, a tornado, you are not dreaming of the event itself but of the so-called future time when you will read about it in the news-papers. You are seeing not the event itself, but a newspaper picture of the event, prerecorded and prephotographed. Now, the picture and account of events in a newspaper may not correspond to the actual event. Remember the Russo-Finnish War covered from the Press Club in Helsinki? Remember Mr Hearsts false armistice closing World War I a day early?
*A quote from Think and Grow Rich by Napoleon Hill, who says about his book that it contains a secret mentioned no fewer than a hundred times: It has not been directly named, he adds, for it seems to work more successfully when it is merely uncovered and left in sight, where those who are ready, and searching for it, may pick it up.


D10

The Third Mind

William S. Burroughs & Brion Gysin

D11

[e ]

The Cut-up Method of Brion Gysin

William S. Burroughs

the other hand it now appears quite possible that the entire Crimean War was a journalistic hoax perpetrated by the same whisky klatch of reporters who some years previously were to

boast of covering the entire Russian-Finnish War from the Press Club in Helsinki. End Run Granger, veteran war correspondent on The Bad News, stated flatly at the

time: I have never seen a battlefield and I never intend to. You see, its more humane that way. Its the old army game, kid, now you see it, now you dont.

Maya ... Maya ... Illusion ... Illusion ... However, there are precise techniques for producing illusion, as any stage magician will tell you. When the audience sees the magician hauling a rabbit out of his gimmicked vest, throwing his Indian rope over an almost invisible wire, then the picture and pattern of events may not correspond to the actual event . . . Always need a peg to hang it on ... an angle. . . a gimmick ... old photographer tricks and tricks dont always work. (My jujitsu instructor used to say: If your trick no work, you better run.) That old dead hand has lost its touch, that old patter no longer distracts ... the bare, radioactive bones shine through paper moon and muslin trees. I am here to show you young officers a few tricks that you call reality ... The first step in re-creation is to cut the old lines that hold you right where you are sitting now ... fade-out to a screened porch in Cambridge, Mass., 198year of the 8 hurricane, if my memory serves: Kells Elvins and I are writing the first appearance of Dr Benway, acting out the scene with a kitchen knife ... (Gave Proof Through the Night, page 17, Nova Express.) Dr Benway, ships doctor, drunkenly added two inches to a four-inch incision with one stroke of his scalpel ... windy here now... He was looking at something a long time ago ... fade-out to #9 rue Git le Coeur, Paris, room #5; September, 1959 ... I had just returned from a long lunch with the Time police, putting down a con, old and tired as their namesake: Mr Burroughs, I have an intuition about you ... I see you a few years from now on Madison Avenue ... $0,000 per year ... life in all its rich variety ... Have an Old Gold. Returning to room #5, I found Brion Gysin holding a scissors, bits of newspaper, Life, Time, spread out on a table; he read me the cut-ups that later appeared in Minutes to Go.
[ m ] William S. Burroughs

At a surrealist rally in the 190s Tristan Tzara the man from nowhere proposed to create a poem on the spot by pulling words out of a hat. A riot ensued wrecked the theater. Andr Breton expelled Tristan Tzara from the movement and grounded the cut-ups on the Freudian couch. In the summer of 1959 Brion Gysin painter and writer cut newspaper articles into sections and rearranged the sections at random. Minutes to Go resulted from this initial cut-up experiment. Minutes to Go contains unedited unchanged cutups emerging as quite coherent and meaningful prose. The cut-up method brings to writers the collage, which has been used by painters for fifty years. And used by the moving and still camera. In fact all street shots from movie or still cameras are by the unpredictable factors of passersby and juxtaposition cut-ups. And photographers will tell you that often their best shots are accidents ... writers will tell you the same. The best writing seems to be done almost by accident but writers until the cut-up method was made explicitall writing is in fact cut-ups; I will return to this pointhad no way to produce the accident of spontaneity. You cannot will spontaneity. But you can introduce the unpredictable spontaneous factor with a pair of scissors. The method is simple. Here is one way to do it. Take a page. Like this page. Now cut down the middle and across the middle. You have four sections: 1   4 ... one two three four. Now rearrange the sections placing section four with section one and section two with section three. And you have a new page. Sometimes it says much the same thing. Sometimes something quite different-cutting up political speeches is an interesting exercise-in any case you will find that it says something and something quite definite. Take any poet or writer you fancy. Here, say, or poems you have read over many times. The words have lost meaning and life through years of repetition. Now take the poem and type out selected passages. Fill a page with excerpts. Now cut the page. You have a new poem. As many poems as you like. As many Shakespeare Rimbaud poems as you like. Tristan Tzara said: Poetry is for everyone. And Andr Breton called him a cop and expelled him from the movement. Say it again: Poetry is for everyone. Poetry is a place and it is free to all cut up Rimbaud and you are in Rimbauds place. Here is a Rimbaud poem cut up. Visit of memories. Only your dance and your voice house. On the suburban air improbable desertions ... all harmonic pine for strife. The great skies are open. Candor of vapor and tent spitting blood laugh and drunken penance. Promenade of wine perfume opens slow bottle. The great skies are open. Supreme bugle burning flesh children to mist.


D1

The Third Mind

William S. Burroughs & Brion Gysin

D1

[e ]

Cut-Ups Self-Explained
Brion Gysin

Cut-ups are for everyone. Anybody can make cut-ups. It is experimental in the sense of being something to do. Right here write now. Not something to talk and argue about. Greek philosophers assumed logically that an object twice as heavy as another object would fall twice as fast. It did not occur to them to push the two objects off the table and see how they fall. Cut the words and see how they fall. Shakespeare Rimbaud live in their words. Cut the word lines and you will hear their voices. Cut-ups often come through as code messages with special meaning for the cutter. Table tapping? Perhaps. Certainly an improvement on the usual deplorable performance of contacted poets through a medium. Rimbaud announces himself, to be followed by some excruciatingly bad poetry. Cut Rimbauds words and you are assured of good poetry at least if not personal appearance. All writing is in fact cut-ups. A collage of words read heard overheard. What else? Use of scissors renders the process explicit and subject to extension and variation. Clear classical prose can be composed entirely of rearranged cut-ups. Cutting and rear-ranging a page of written words introduces a new dimension into writing enabling the writer to turn images in cinematic variation. Images shift sense under the scissors smell images to sound sight to sound to kinesthetic. This is where Rimbaud was going with his color of vowels. And his systematic derangement of the senses. The place of mescaline hallucination: seeing colors tasting sounds smelling forms. The cut-ups can be applied to other fields than writing. Dr Neumann in his Theory of Games and Economic Behavior introduces the cut-up method of random action into game and military strategy: assume that the worst has happened and act accordingly. If your strategy is at some point determined ... by random factor your opponent will gain no advantage from knowing your strategy since he cannot predict the move. The cut-up method could be used to advantage in processing scientific data. How many discoveries have been made by accident? We cannot produce accidents to order. The cut-ups could add new dimension to films. Cut gambling scene in with a thousand gambling scenes all times and places. Cut back. Cut streets of the world. Cut and rearrange the word and image in films. There is no reason to accept a second-rate product when you can have the best. And the best is there for all. Poetry is for everyone.
[ m ] William S. Burroughs

Writing is fifty years behind painting. I propose to apply the painters techniques to writing; things as simple and immediate as collage or montage. Cut right through the pages of any book or newsprint ... lengthwise, for example, and shuffle the columns of text. Put them together at hazard and read the newly constituted message. Do it for yourself. Use any system which suggests itself to you. Take your own words or the words said to be the very own words of anyone else living or dead. Youll soon see that words dont belong to anyone. Words have a vitality of their own and you or anybody can make them gush into action. The permutated poems set the words spinning off on their own; echoing out a; the words of a potent phrase are permutated into an expanding ripple of meanings which they did not seem to be capable of when they were struck and then stuck into that phrase. The poets are supposed to liberate the wordsnot to chain them in phrases. Who told poets they were supposed to think? Poets are meant to sing and to make words sing. Poets have no words of their very own. Writers dont own their words. Since when do words belong to anybody. Your very own words, indeed! And who are you?
[ m ] Brion Gysin

Excerpts from The Third Mind by William S. Burroughs & Brion Gysin Copyright William S. Burroughs & Brion Gysin, 1978 Reproduced with permission of The Wylie Angency (UK) Ltd.


D14

NolAND

nol 153

dnim driht eht .s mailliW ed noirb & shguorrub nisyg / dnim driht eht .s mailliW yb noirb & shguorrub nisyg

noise [ m Blacknoise] [ m Harshnoise] noland, cady [ f ] m *195, vit

New York. Luvre de Cady Noland apparat comme une anthropologie sociale des tats-Unis, de ses idaux et des aspects les plus violents de sa ralit. En conservant une apparence objective, pseudoscientifique, son art nnonce pas de jugement moral mais sattache dcrypter les signes de cette violence travers la rhtorique de limage mdiatique et ses effets de pouvoir potentiel. Portraits danonymes ou de clbrits, plusieurs faits divers et historiques traversent ainsi son uvre : Patty Hearst, hritire du magnat de la presse William Randolph Hearst enleve en 1974, par un groupement rvolutionnaire quelle rallie quelques annes plus tard en participant des attaques main arme ; Lee Harvey Oswald ; Betty Ford ou encore le groupe de complices de Charles Manson. Ses srigraphies dimages et de couverture de presse sur panneaux de bois ou de mtal, rappellent formellement les pancartes des kiosques journaux qui exhibent les unes de magazines. Cady Noland conoit ainsi une sculpture abstraite, minimaliste, mais aussi lourdement charge culturellement. [ m THe work can be likened to a social anthropology of the United States, its ideals and the most violent aspects of its reality. Maintaining an objective and pseudo-scientific appearance, her art does not pronounce any moral judgment but attempts to decipher the signs of this violence through the rhetoric of the media image and the effects of its potential power. Portraits of anonymous figures or of celebrities and several news items and historical events run through her work: Patty Hearst, the heiress of the press magnate William Randolph Hearst who was kidnapped in 1974 by a revolutionary faction which she joined a few years later, taking part in their armed attacks; Lee Harvey Oswald; Betty Ford or a group of Charles Mansons accomplices. Presented here, her silk screens of images and magazine covers on wood or metal panels recall in a formal way newspaper stands signs exhibiting such magazine covers. Cady Noland thus creates a minimalist and abstract sculpture laden with cultural meaning. [ m THeTHirdmind]

m No Wave : DNA

mNo Wave : Mars

THirdmind ] [ e ] m *195, lives in New York. Cady Nolands

m Cadynoland, Lincoln Years, 1990

m Cadynoland, William Randolph Hearst, sans date / undated

noo 154

NooNAN

NutoPiE

nut 155

noonan, david [ m 2 , fig. # 21 ; 5 , fig. # 1, # 2 ] [ f ] m *199, vit Londres. Artiste

[ e ] m A concept-model nation that was founded in

dorigine australienne, David Noonan produit des uvres mlant film, peinture, srigraphie, photographie, sculpture, installation et collage. Hiboux, ombres chinoises, marionnettes indonsiennes, cultes et contre-cultures inquitants et dmantibuls, nourrissent un univers qui sinspire de mythologies folkloriques ainsi que dun monde au caractre plus sinistre. Ses images ressemblent des silhouettes, visibles seulement en partie, comme suspendues hors dun temps, dun lieu ou mme dune couleur prcise. Lambiance est souvent sombre mais sy rvle une sensibilit dlicate et potique qui utilise glissements et accidents de la mmoire. based in London, David Noonan combines film, painting, silkscreen, photography, sculpture, installation, and collage. Owls, shadowplays, Indonesian puppets, cults and countercultures, each turned into deconstructed fragments, inform a universe that is inspired by folkloric mythologies as well as by a world with more sinister undertones. His images are like silhouettes, visible only in part and suspended outside of a clearly identifiable time period, place, or colour. The atmosphere is often sombre, but maintains a delicate and poetic sensibility that makes use of the porous and accidental nature of memory to propose an engaging anonymity: how do we remember that which we only partly understand? [ m daVidnoonan(exPosiTion)]

[ m daVidnoonan(exPosiTion) ] [ e ] m *199, lives in London. An Australian artist

late 2001 on the idea that the United States is in fact an American Experiment, as Benjamin Franklin had identified it. The impetus of this project was born from the noticeable drift the US made from the high standards it originally set for itself. The New USA (NUSA) is committed to the fundamental ideals that it believes have been lost or forgotten about by those who contribute to a widening divide between the governments power and its people, and the governments submission to corporate influence and control. The NUSA is a concerned organization unified only by its commitment to the early history of the US and its advancement envisioned by its architects and those who had and continue to have a critical faith in its future. [ m TaTs(FaiTes-leVoUs-mme)]
nouvelle utopie (la principaut de)

Principality of New Utopia [ f ] m Paradis fiscal en cours de construction dans les Carabes, environ 200 km de Grand Caman. Cette le artificielle offrira une conomie vierge dimpt toute entreprise commerciale favorisant le dveloppement de la banque, des services financiers, des assurances et du courtage. La Nouvelle Utopie fut dabord la ralisation dun rve dentrepreneur Howard Tutney, qui se fit appeler par la suite prince Lazare Long. La principaut, qui devrait atteindre une surface de 1.000 km2, sera construite par la Flotilla Company, socit spcialise dans la construction de maisons en bton coul.
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m An economic paradise being built in the

plac sous la protection du Territoire Libre de Ely-Chatelaine (un projet de pays modle monarchiste et libertaire). Suite un schisme pacifiste, la Baronnie a reu, le 1er avril 1995, le nouveau nom de Principaut de Nova Arcadia. La Nova Arcadia a pour ambition de rtablir la grce, la civilit et lhonneur des ordres anciens dont elle est issue, sans loppression, la tyrannie et les souffrances qui les caractrisaient. La Principaut existe en tant que projet de pays modle et ne revendique pour le moment aucun territoire, tout en se rservant le droit de le faire.[ m TaTs(FaiTes-leVoUs-mme)] [ e ] m A model country that was originally founded on April 1, 1994 as the Barony of Pendragonia, a household government under the aegis of the Free Territory of Ely-Chatelaine, a Monarchist-Libertarian model country. Following a peaceful schism, on April 1, 1995, the Barony was re-established as the Principality of Nova Arcadia. Nova Arcadia exists to re-establish the grace, civility and honour of the older orders from which it came, without the oppression, tyranny and hardships it created. The Principality exists as a model country project that presently makes no territorial claims, while reserving the right to do so. [ m TaTs(FaiTesleVoUs-mme) ]

ties of the collective also include performance happenings and concerts. Additionally, NSK has issued stamps and its own passports. [ m TaTs
(FaiTes-leVoUs-mme) ]

nutopie

Nutopia [ f ] m Nation conceptuelle fonde le 1er avril 1973 par Yoko Ono et John Lennon. La loi organique de la Nutopie sinspirait des paroles dune clbre chanson de Lennon, Imagine. Dans la tradition de John Cage, proche collaborateur de Yoko Ono, lhymne national nutopien (qui figure sur lalbum Mind Games de John Lennon) consiste en quelques secondes de silence. Le drapeau nutopien est entirement blanc. Le sceau officiel reprsente un phoque (en anglais, sceau et phoque se traduisent tous deux par un homonyme, seal). Enfin, une plaque portant linscription AMBASSADE DE NUTOPIE fut appose lentre du Dakota Building, o vivaient Yoko Ono et John Lennon New York.
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m A conceptual nation founded on April

nouveauX tats-unis damrique (les)

The New United States of America [ f ] m Nation-modle fonde en 2001, dans lide que les tats-Unis constituent une exprience amricaine , selon lexpression de Benjamin Franklin. Ce projet est n dun constat : de toute vidence, les tats-Unis se sont carts des grands principes quils staient fixs au dpart. Les Nouveaux tats-Unis (NUSA) sengagent respecter les idaux fondamentaux dlaisss ou oublis par tous ceux qui contribuent creuser le foss sparant le peuple du pouvoir gouvernemental. Les NUSA constituent une organisation engage, qui tire son unit de son intrt fervent pour lhistoire ancienne des USA et pour le dveloppement national propos par ses concepteurs et tous ceux qui ont encore foi en son avenir. [ m TaTs(FaiTesleVoUs-mme) ]

Caribbean approximately 120 miles west of Grand Caymen. This manmade island offers a substantially tax free economy in connection with any commercial enterprise promoting the development of banking, financial services, insurance, and securities brokerage services. New Utopia began as an entrepreneurial dream by Howard Tutney who later changed his name to Prince Lazarus Long. The princes island could grow to be 400 square miles and will be built by Flotilla Company, which specializes in building houses out of floating concrete.
[ m TaTs(FaiTes-leVoUs-mme) ]
nova arcadia (principaut de)

nsk (ltat de)

State of NSK [ f ] m Acronyme de Neue Slowenische Kunst (nouvel art slovne), collectif artistique fond au dbut des annes 1990 et micronation possdant des ambassades Sarajevo, Berlin et Moscou, ainsi que des ambassades temporaires dans tous les pays o expose le collectif. Parmi ses activits principales, celui-ci organise des performances, des happenings et des concerts. Ltat dlivre des passeports et imprime ses propres timbres. [ m TaTs(FaiTes-leVoUsmme) ] [ e ] m An acronym for Neue Slowenische Kunst,

Fools Day, 1973 by conceptual artist Yoko Ono, together with her husband and frequent collaborator John Lennon. The informal Organic Law of Nutopia was framed around the lyrics put to Lennons Imagine. Perhaps following the influence of John Cage, a close associate of Onos, the Nutopian anthem (included on Lennons album Mind Games) consists of only a few seconds of silence. The flag of Nutopia is white. The official seal of Nutopia is a seal, the sea-mammal. A plaque engraved with the words NUTOPIAN EMBASSY was installed at Ono and Lennons home, the Dakota building in New York City. [ m TaTs(FaiTes-leVoUs-mme)]

The Principality of Nova Arcadia [ f ] m Projet de pays modle fond le 1er avril 1994 sous le nom dorigine de Baronnie de Pendragonia, un gouvernement domestique

New Slovenian Art, an art collective founded in the early 1990s and a micronation with embassies in Sarajevo, Berlin and Moscow, and temporary embassies wherever the group exhibits its work internationally. Chief activi-

one 15

oNEill

oRtEGA

ort 157

oneill, amy [ m 3 , fig. # 41 ] [ f ] m *1971, vit

Genve. Artiste amricaine vivant en Suisse, Amy ONeill rinvestit divers aspects du folklore grce de nombreux objets ou situations quelle dvoile en jouant avec ltranget de certains dcors. Chaque uvre mise en scne nous rappelle une action ou un lment qui fut autrefois ralit. Elle a particip aux expositions The Return of the Creature (Knstlerhaus Palais Thurn und Taxis, Bregenz) et Bastard Kids of Drella, part 9 (Le Consortium, Dijon, 1999), organises par [ m stevenParrino ] . [ m BasTardCreaTUre ] [ e ] m *1971, lives in Geneva. An American artist living in Switzerland, Amy ONeill re-explores forgotten folklores by means of sculptures, drawings, and installations. Each workcumstage set recreates a situation that once was a strange reality. She took part in the exhibitions The Return of the Creature (Knstlerhaus Palais Thurn und Taxis, Bregenz) and Bastard Kids of Drella, part 9 (Le Consortium, Dijon, 1999), curated by [ m stevenParrino ] . [ m BasTardCreaTUre ]

couverture dun album des Beatles, Sergeant Pepper. Son imaginaire a inspir, entre autres, certaines chansons de John Lennon et de David Bowie, preuve que lsotrisme a occup une place importante au sein de la contreculture et que Crowley y apparaissait comme le fondateur et lincarnation mme de locculte.
[ m Koester,Joachim ] [ m lemaTindes maGiCiens ] [ m Palais/ ] [ m spritisme ] [ e ] m A series of movements that mainly

aujourdhui comme conseiller lexprimentation oprationnelle Expeditionary Warrior (corps expditionnaire) pour lUS Marine Corps Development Command. [ m essaimage]
[ m Gomtrieinverse] [ m Weizmann,eyal] [ e ] m A think tank established by the Israeli army

developed in the 19 th century. Among the historical figures of occultism on can mention the French Socialist and Kabbalist, Alphonse Louis Constant (1810 1857) better known as Eliphas Lvi, who in his book The History of Magic (1859), brought together several different strands of esoteric thoughtin effect, inventing occultismand influenced artists like Arthur Rimbaud, J. K. Huysmans, Andr Breton and Erik Satie. Another is The Hermetic Order of the Golden Dawn, an early twentieth century esoteric society in London, and its renegade member, [ m aleisterCrowley] (1875 1947). Crowleys portrait was included on the cover of The Beatless Sergeant Pepper album, and his imagery finds its way into the songs of John Lennon and David Bowie among others revealing Crowleys position as a progenitor and avatar of the occults thriving within the counter-culture.
[ m Koester,Joachim ] [ m lemaTindes maGiCiens ] [ m Palais/ ] [ m spiritisme ]
operational theory research institute (otri) [ f ] m Think tank cr par larme isralienne

in 199 so that the military, civilian university staff and technological experts could work together to rethink, at both a theoretical and practical level, Tzahals tactical and strategic options for action in the context of low intensity fighting in the Middle East. With General (res.) Shimon Naveh at its head, the OTRI was thus able to call upon the officers of Tzahal to read the essays of Georges Bataille, Gregory Bateson, Gilles Deleuze or indeed Bernard Tschumi. While internal struggles for influence within the Israeli general staff led to its closure in spring 200, the failure of the operations launched against Gaza and Lebanon that summer, led by Aviv Kochavi and Gal Hirsch respectively, both graduates of the Institute, seemed to confirm the superfluous intellectualism and lack of practical effectiveness of its set of doctrines. Nonetheless, Shimon Naveh is currently working as an adviser on Expeditionary Warrior operational experimentation for the US Marine Corps Development Command.
[ m essaimage] [ m Gomtrieinverse] [ m Weizman,eyal]
orgone [ f ] m Terme

en

occultisme

199 afin que militaires, universitaires civils et

Occultism [ f ] m Ensemble de courants spirituels et mystiques qui se dvelopprent principalement au XIX e sicle. Parmi les grandes figures historiques de loccultisme, on peut citer Alphonse Louis Constant (1810 1875), socialiste et kabbaliste franais mieux connu sous le nom dEliphas Lvi, qui, dans son Histoire de la magie (1859), met en relation divers courants de la pense sotrique ; cet ouvrage, qui invente de fait loccultisme, influena des artistes comme Arthur Rimbaud, J. K. Huysmans, Andr Breton et Erik Satie. Une autre source vrifiable est lOrdre Hermtique de lAube Dore, socit sotrique fonde Londres au dbut du XXe sicle, dont [ m aleisterCrowley] (1875 1947) fut membre, puis apostat. Un portrait de Crowley figure sur la

experts en technologie travaillent repenser ensemble, sur un plan tant thorique que pratique, les possibilits daction tactiques et stratgiques de Tsahal dans la cadre du conflit de basse intensit moyen-oriental. Sous la direction du gnral de rserve Shimon Naveh, lOTRI a ainsi pu enjoindre les officiers de Tsahal lire les essais de Georges Bataille, Gregory Bateson, Gilles Deleuze ou encore Bernard Tschumi. Si des luttes dinfluence internes ltat-major isralien ont amen sa fermeture au printemps 200, lchec des oprations lances contre Gaza et le Liban lt suivant, menes respectivement par Aviv Kochavi et Gal Hirsch, tous deux diplms de lInstitut, a sembl sanctionner lintellectualisme superflu et le manque defficacit pratique de son corps de doctrines. Shimon Naveh travaille nanmoins

cr par le psychanalyste Wilhelm Reich (1897 1957) pour dsigner le support physique et chimique quil prtait lnergie libidinale. [ m Williams.Burroughs] possdait une cabine orgone cense augmenter lnergie sexuelle et les capacits crbrales. Reich (1897 1957) to designate the physical and chemical basis he attributed to libidinal energy. [ m Williams.Burroughs] owned an orgone accumulator, thought to increase sexual energy and brain power. [ m leary,Timothy]

[ m leary,Timothy] [ e ] m Term coined by the psychoanalyst Wilhelm

ortega, Fernando [ m 1 , fig. # 07 ] [ f ] m *1971, vit Mexico.

Fernando Ortega utilise de multiples mdiums allant de la vido linstallation en passant par des interventions plus immatrielles et minimales. Jouant avec le tangible et lintangible, lartiste sollicite lattention du spectateur par des biais dtourns et parfois spectaculaires.

ort 158

oRtEGA

PAlAiS

pal 159

Fly Electrocutor (2003) se prsente sous la forme dun pige mouches lectrique. chaque lectrocution dinsecte, lespace de lexposition [ m UneseCondeUneanne ] tait plong dans un black-out ponctuel. [ e ] m *1971, lives in Mexico City. Through video, photography, and installation, Fernando Ortega plays with the tangible and the intangible, catching and holding the viewers attention by indirect and occasionally spectacular means, and striking a balance between sensory experience and immaterial interventions. Fly Electrocutor (2003) consists of an electric flytrap. Each time a fly is electrocuted, power in the exhibition spaces of oNE SEcoND oNE YEAR [ m UneseCondeUneanne ] was cut for a brief black-out moment.

Fernandoortega,

Fly Electrocutor, 2003

les expositions, vnements, confrences et performances de la programmation, le magazine trimestriel PAlAiS / parcourt lunivers artistique en expansion de la programmation du Palais de Tokyo. On y trouve ainsi des images tires des expositions du Palais de Tokyo, des portfolios mais aussi des textes de critiques dart ou de philosophes, crivains, artistes et une carte blanche un autre magazine. Numro 01 (automne-hiver 200) : [ m zombies] , thorie des ondes, [ m occultisme] , [ m mikeTyson] , skateboard, mtaphysique, sculpture la trononneuse, philosophie des gardiens de but, [ m Cinqmilliardsdannes ] . Numro 02 (printemps 2007) : cyberntique, situationnisme, thorie de lvolution, [ m physiquequantique] , [ m , noUVellesdUmonde renVers ] . Numro 03 (t 2007) : minimalisme, bikers, noise music, [ m piraterie] , comic books, tatouage, [ m lamarqUenoire] . Numro 04 (automne 2007) : numro spcial [ m THeTHirdmind ] conu par [ m Ugorondinone ] . [ e ] m In conjunction with the exhibitions, events, lectures, and performances that make up the artistic program, the quarterly magazine. Every quarter, PAlAiS / outlines the expanded artistic universe of the new program and invites many contributions from diverse fields: it features images of the exhibitions presented at the Palais de Tokyo, portfolios as well as texts by art critics or philosophers, writers, artists, etc. and a carte blanche given to another magazine. Issue 01 (automne-hiver 200): [ m zombies] , wave theory, [ m occultism] , [ m mikeTyson] , skateboards, metaphysics, chain-saw sculptures, philosophy of goalkeepers, FivE BillioN YEARS [ m Cinqmilliardsdannes ] . Issue 02 (spring 2007): cybernetics, Situationism, theory of evolution, quantum physics [ m physiquequantique] , m , NEwS FRom thE
uPSiDE-DowN [ m , noUVellesdUmonderenVers ] . Issue 03 (summer 2007): Minimalism, bikers, noise music, piracy, comic books, tattoo art, [ m lamarqUenoire ] . Issue 04 (fall 2007). Special issue [ m THeTHird mind ] created by [ m Ugorondinone ] .

palais / (magaZine) [ f ] m En rsonance avec

paradoXe des jumeauX

Twin Paradox [ m p. a-3 / see p. a-11]

par 10

PARRiNo

PARRiNo

par 11

parrino, steven [ m 3 , fig. # 32 # 37 ] [ f ] m 1958 2005. Lartiste amricain Steven Par-

m PAlAiS / #1

m PAlAiS / #2

m PAlAiS / #3

rino constitue pour beaucoup le modle dune activit artistique sans concessions mle un esprit douverture enclin mlanger les genres et activer les collaborations les plus varies. Comme le souligne [ m Fabricestroun] , Durant prs de trois dcennies Steven Parrino a renou un lien vital avec le principe prtendument dpass de radicalit. Au dbut des annes 1980, alors que la sentence publique proclamait la mort de la peinture, plutt que de se joindre aux funrailles, Parrino prit le parti de la ncrophilie. Entre ses mains, les techniques issues de lappropriation se firent dlictueuses, un moyen pour lui dincarner de manire convulsive leffondrement du rcit des avantgardes. Non pour projeter une image distance de cet chec historique, mais pour produire une matrialisation visuelle brute de ses effets. Ni nostalgiques ni cyniques, ses peintures monochromes froisses, ses films et performances, ses photocollages et travaux sur papier raliss avec des matriaux aussi chargs de sens que peuvent ltre lmail industriel, le sang ou les paillettes, procdent plus des peintures noires de [ m Frankstella] et de son credo ce que vous voyez est ce que vous voyez que de toute tradition post-pop distance. Et encore, prcisons, pas de nimporte quels tableaux noirs de Stella, mais plus spcifiquement de Arbeit Macht Frei (1958) et Die Fahne Hoch (1959). Aux yeux de Parrino, ces toiles ntaient pas noires pour rien Au noir de Stella, il faut encore ajouter largent des tableaux de dsastre de [ m Warhol] (193). Tout comme les toiles monochromes froisses de lartiste, qui voquent la carrosserie dune voiture aprs un accident, les dessins de Parrino sappropriant des images issues de sous-cultures biker, no-wave et punk, de la bande dessine ou de manchettes de tablods, sont autant de signes vidents dune violence servie froid (Robert Nickas). Le travail de Parrino occupe en effet ds ses dbuts le terrain de limage, tout autant, voire mme plus, que celui de la forme. Si un des premiers monochromes de 1977, Distorted Field, bross de manire imparfaite, relve dune pratique formaliste issue de la peinture radicale, cette uvre voque galement lcran brouill dun poste de tlvision. Tout en continuant dans les annes suivantes faire subir maints outrages aux surfaces monochromes,

lartiste ralise des collages partir dimages trouves dans la presse, travaux qui ne sont pas sans rappeler les excs graphiques du collectif franais Bazooka. partir de 1981, il se met peindre des polyptiques qui confrontent motifs abstraits et figuratifs, comme dans une srie duvres o des super-hros Marvel pulvrisent des motifs constructivistes. En fin de compte, Parrino na de cesse de renvoyer labstraction et la figuration dos dos. Quil sagisse de zombies ou de toiles creves, il sagit bien, dans un cas comme dans lautre, de non-site de la culture, tel quaurait pu lentendre [ m smithson] . Il nest pas question pour lartiste den donner une image, mais de travailler sa matire mme, de lincarner. Ceci est parfaitement manifeste dans ses grandes toiles de la fin des annes 1980, avec des uvres comme Slow Rot (1988) un tableau peint avec de lhuile de vidange , ou Stockade (1989) qui prend la forme dun pilori. Ce dialogue avec luvre de Smithson occupera une place croissante au fil des annes, comme en tmoignent les uvres plus rcentes de lartiste nourries de science-fiction apocalyptique. Study For a Model of the Universe to Be Placed in the Forbidden Zone (2003) est une maquette pour un mgalithe que nous aurait laiss une civilisation perdue ou que laisseront des aliens la fin des temps. La radicalit vient du contexte et pas ncessairement de la forme, crit Parrino. Les formes sont radicales dans la mmoire, en perptuant ce qui fut radical autrefois par lextension de leur histoire. Lavant-garde laisse un sillage et, mue par une force maniriste, elle poursuit son avance. Mme dans la fuite, nous regardons par-dessus notre paule et approchons lart par intuition plutt que par stratgie. Vu sous cet angle, lart est plus culte que culture
[ m Palais / ] [ m sTeVenParrinorTrosPeCTiVe 1981 2004 ] [ e ] m 1958 2005. American artiste Steven Parrino

is considered by many as a model of a radical and uncomprimising artistic activit, one that disregards the notion of categories and slo places the collaborative process at its core. As [ m Fabricestroun] points out For close to three decades, the work of Steven Parrino has represented a vital link to the supposedly obsolete idea of radicality. Back in the early eighties, when the word on the street pronounced painting dead, rather than join the flock of mourners, Parrino took a shot at necrophilia. In his hands, appropriationist strategies

became a kind of black ops technique, a means to convulsively incarnate the historical breakdown of avant-garde narratives. Not to provide a critically laden image of ideological collapse at a distance, but to produce a raw, visual materialization of its effects. Neither nostalgic nor cynical, his misshapen and gutted monochrome paintings, performance-based films, photo-collages and works on paper made with such loaded materials as engine enamel, blood and glitter, owe more to [ m Frankstella] s Black Paintings what you see is what you see credo than to any post-pop tradition of cultural intervention. And just not any of Frank Stellas Black Paintings, but specifically: Arbeit Macht Frei (1958) and Die Fahne Hoch (1959). As far as Parrino was concerned, these works were not called black for nothing. To Stellaa black one must also add the silver of [ m Warhol] s disaster paintings (193). Just as in his figurative drawings using motifs appropriated from biker, no-wave, punk rock, and comic book culture, Parrinos misshapen canvassesmonochrome paintings wrenched from their stretchers before being stretched back, distorted, in a supremely frozen gesture, suggest, in Robert Nickas words, the crumpled body of a car after an accident (...) a clear sign of violence being served cold. For from the very beginning Parrinos work has lain in the field of the image as much as in that of formor even more so. While one of his first monochromes dating from 1977, Distorted Field, with its imperfectly executed brushwork, is suggestive of a formalist practice derived from radical painting, it also conjures up a blurred television screen. At the same time as continuing to subject monochrome surfaces to repeated outrages in the following years, the artist made collages from images found in newspapers and magazines, works that are in some ways reminiscent of the graphic excesses of the French collective Bazooka. From 1981, he started to paint polyptichs dealing with abstract and figurative motifs, as in a series of works where Marvel super-heroes demolish Constructivist motifs. In the final analysis Parrino is constantly veering between abstraction and figuration without coming down on one side or the other. Whether he is dealing with zombies or broken canvases, what is at stake in both cases is a non-site of culture, as [ m smithson] might have understood it. For the artist it is not a question of offering a picture of the material, but of working with the

par 12

PARSoNS

PAvilloN

pav 13

material itself, incarnating it. This is perfectly obvious in his large canvases dating from the late 1980s, with works like Slow Rot (1988)a picture painted with drained-off motor oilor Stockade (1989) which uses the shape of the stocks. This dialogue with the work of Smithson would occupy an ever larger place over the years, as the artists most recent works inspired by apocalyptic science fiction demonstrate. Study For a Model of the Universe to Be Placed in the Forbidden Zone is a maquette for a megalith supposedly bequeathed to us by a lost civilisation, or which aliens will leave to us at the end of time. Parrino writes, Radicality comes from context and not necessarily form. The forms are radical in memory, by way of continuing the once radical, through extensions of its history. The avant-garde leaves a wake and, through mannerist force, continues forward. Even on the run, we sometime look over our shoulders, approaching art with intuition rather than strategy. Art of this kind is more cult than culture.[ m Palais/] [ m sTeVenParrino
rTrosPeCTiVe1981 2004 ]

spectateurs se servir dans une pile de billets de banque de 10 cm de haut, en demandant aux gardiens dinterprter les uvres pour les visiteurs, en faisant circuler des rumeurs, etc. Depuis une quinzaine dannes, Laurie Parsons, qui a choisi de se retirer du monde de lart, sest mise lcriture, travaille avec des organisations qui aident les malades mentaux et ne dit plus personne quelle tait artiste. [ m THe
THirdmind ] [ e ] m *1959, lives in Hoboken, New Jersey. During

the 1980s Laurie Parsons collected objects she found on her walks in urban, industrial or natural places, especially in New Jersey. She brought them back to her studio, lived with them for a while, and sometimes turned them into works of art. Pieces of wood, a heap of coal, an old suitcase She then started putting together not objects, but a whole section of landscapes to create piles of varied detritus. She often made her mark in the structure of the art world in a subversive manner: for example, by leaving a gallery empty, or living in a museum and inviting the entire population of a town in, inviting onlookers to help themselves to notes from a 10 cm-high pile of dollar bills, asking the attendants to interpret the works for visitors, spreading rumours, etc. About fifteen years ago Laurie Parsons chose to withdraw from the art world, started writing, has been working with organizations that help the mentally ill, and no longer tells anyone that she was an artist. [ m THeTHirdmind]
partenaires

m Steven Parrino
parsons, laurie [ m 4 , fig. # 53 ] [ f ] m *1959, vit Hoboken,

New Jersey. Pendant les annes 1980, Laurie Parsons collectionne des objets quelle trouve lors de ses promenades dans des lieux urbains, industriels ou naturels, en particulier dans le New Jersey. Elle les rapporte dans son atelier, vit avec, et parfois en fait des uvres dart. Des bouts de bois, une pile de charbon, une veille valise Elle commence ensuite ramasser non pas un objet, mais toute une section de paysage pour crer des tas de dtritus varis. Elle sinsre dans la structure du monde de lart de manire souvent subversive : par exemple, en laissant une galerie vide ou en invitant toute la population dune ville dans un muse, en invitant les

Sponsors [ f ] m Partenaires permanents du Palais de Tokyo pendant la [ m saison1] (par ordre alphabtique) : Audi, Climespace, Getty Images, Hitachi, ministre de la Culture et de la Communication (Dlgation aux arts plastiques), Moroso, Tokyo Sandwich Market par Norac. Partenaires de [ m Cinqmilliardsdannes] (par ordre alphabtique) : Champagne Pommery, Porter Novelli, The Boston Consulting Group ; mdias (par ordre alphabtique) : art press, LExpress, France Culture, 20 minutes. Partenaires de [ m ,noUVellesdUmonde renVers ] : Champagne Laurent-Perrier ; mdias (par ordre alphabtique) : Le Journal des Arts, Lil. Partenaires de [ m lamarqUenoire] : mdias (par ordre alphabtique) : Libration, Radio Nova, Paris Premire. Partenaires de [ m THeTHirdmind] (par ordre

alphabtique) : Fondation Luma, Fundacin Almine y Bernard Ruiz-Picasso para el Arte, Hugo Boss ; mdias (par ordre alphabtique) : Beaux Arts magazine, 20 minutes. Partenaires de [ m CHTeaUdeToKyo] : Naturalia, Pro Natura, Fonds social europen. Partenaires de [ m HTeleVerland] (par ordre alphabtique) : Comit rgional du tourisme Paris Ile-de-France, Htel Sezz, Pro Helvetia, Prosodie. [ e ] m Permanent sponsors of the Palais de Tokyo during Season 1 [ m saison1] (by alphabetical order): Audi, Climespace, Getty Images, Hitachi, ministre de la Culture et de la Communication (Dlgation aux arts plastiques), Moroso, Tokyo Sandwich Market par Norac. Sponsors of FivE BillioN YEARS [ m Cinqmilliardsdannes ] (by alphabetical order): Champagne Pommery, Porter Novelli, The Boston Consulting Group; medias (by alphabetical order): art press, LExpress, France Culture, 20 minutes. Sponsors of m , NEwS FRom thE uPSiDE-DowN [ m , noUVellesdUmonderenVers ] : Champagne Laurent-Perrier; medias (by alphabetical order): Le Journal des Arts, Lil. Sponsors of [ m lamarqUenoire] : medias (by alphabetical order): Libration, Paris Premire, Radio Nova. Sponsors of [ m THeTHirdmind] (by alphabetical order): Fondation Luma, Fundacin Almine y Bernard Ruiz-Picasso para el Arte, Hugo Boss; medias (by alphabetical order): Beaux Arts magazine, 20 minutes. Sponsors of [ m CHTeaUdeToKyo] : Naturalia, Pro Natura, Fonds social europen. Sponsors of [ m HTeleVerland] by alphabetical order): Comit rgional du tourisme Paris Ile-de-France, Htel Sezz, Pro Helvetia, Prosodie.

utiliss indiffremment, mais le premier finit par tomber en dsutude en 1978 ; le nom de la capitale, Castoropolis, en conserve la trace. Rpublique librale et laque lorigine, la Patria subit une rvolution spirituelle partir de 1989, avec la chute du Mur de Berlin et la fin de la Guerre froide. Depuis 1992, la Patria est une thocratie hindouiste qui favorise et propage lenseignement du Sanatan Dharma, ou vrit ternelle. Le Royaume Intrieur de Patria ne possde aucun territoire : il sagit dun royaume intrieur qui, par la mditation, est accessible chacun en tout lieu. La Patria na pas de chef dtat, mais elle est gouverne par une assemble de 333 reprsentants lus tous les quatre ans selon le systme proportionnel.
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m The recorded history of the Inner Realm

of Patria began in 1972 when Michael Booker, then an eighth-grader at Torontos Forest Hill Junior High, invented the Republic of Castoria. This name was used interchangeably with Patria but fell out of favor by 1978, surviving today only in the name of the capital city, Castoropolis. Once a liberal, secular republic, Patria underwent a profound and powerful spiritual transformation beginning in late 1989, sparked perhaps in part by the collapse of the Berlin Wall and the end of the Cold War. Since 1992, Patria has been a de facto Hindu theocracy, nurturing and propagating the teachings of Sanatan Dharma or eternal truth. The Inner Realm of Patria does not possess any territory. Rather Patria is said to be an Inner Realm that exists through meditation for anyone, anywhere. Patria has no head of state, but is governed through a 333-seat legislature elected every four years in which parties are given seats based on proportional representation. [ m TaTs(FaiTes-leVoUs-mme)]
pavillon (le) [ f ] m Le Pavillon

patria (le royaume intrieur de)

The Inner Realm of Patria [ f ] m Lhistoire du Royaume Intrieur de Patria remonte 1972, date laquelle Michael Booker, alors lycen Toronto, inventa un pays quil baptisa dabord Rpublique de Castoria. Les noms de Castoria et de Patria taient alors

est le laboratoire de cration du Palais de Tokyo Paris, cr par Ange Leccia en 2001. Il accueille chaque anne une dizaine de jeunes artistes et curateurs recruts lissue dun concours international parmi plus de 300 candidats. La dure du programme est de huit mois. Les projets de travail proposs aux rsidents, expositions, publications, workshop en France ou ltranger sont placs sous la responsabilit dun artiste ou critique invit qui en accompagne le droulement. Le Pavillon est un lieu dchanges entre les artistes du programme, le foyer dune rflexion sur les

pav 14

PAvilloN

PEYotl

pey 15

pratiques et les enjeux de lart aujourdhui. Dans le mme temps, cest un lieu dinscription immdiate de leur pratique dans le champ de lart. Enfin, si lactivit artistique repose en gnral sur laffirmation dune dmarche individuelle, singulire et identifiable, le Pavillon favorise un questionnement collectif et llaboration dune relation de travail entre les artistes du groupe. De novembre 200 juin 2007, le Pavillon a accueilli huit artistes : Alex Cecchetti (Italie), Duvier Del Dago Fernandez (Cuba), Mati Diop (France), Manu Laskar (France), Jaime Lutzo (tats-Unis), Cova Macias (Espagne), Denis Savary (Suisse) et Jean-Luc Vincent (France). Ds novembre 200, les artistes ont entam un projet autour de lide de lInde, limaginaire attach ce sous-continent et les diffrentes projections mentales lies cette culture. Conduit par Fabienne Fulchri, commissaire dexpositions invite, ce travail a donn lieu la production de diffrents rcits ou actions documents en vidos diffuss pendant le workshop en Inde, dans quelques villages de lHimalaya comme lAlliance Franaise de Delhi. Au retour de ce voyage, les artistes ont prsent lEspace Vuitton une exposition rassemblant diffrentes tapes de cette production indienne. Une nouvelle priode de production, en collaboration avec le duo dartistes brsiliens Angela Detanico et Rafael Lain a offert aux artistes la possibilit de raliser une srie daffiches intitule Face A Face B, chacune conue comme un espace dexposition autonome que les artistes taient invits investir en questionnant la complmentarit ou la relation dexclusion mutuelle entre recto et verso. Enfin, conduite par Alain Declercq et issue dune volont de dynamique collective et de collaboration entre les artistes, lexposition Versus engageait un croisement des pratiques autour dune ide simple : lopposition. Opposition comme un duel, une raction, une confontation mais aussi comme une possibilit de construire une interface, un entre-deux. quipe 200 2007 : Ange Leccia, directeur ; Christian Merlhiot, responsable pdagogique ; Sumiko O-Gottini, coordinatrice gnrale ; Alix Dionot-Morani, charge de coordination ; Romain Sein, assistant des artistes.
[ m Pavillon,session2006-2007 (lesartistesdu)] [ e ] m The Pavillon is the Palais de Tokyos crea-

tive laboratory in Paris. It has been created by Ange Leccia in 2001. Every year it wel-

comes ten or so young artists and curators in residence, recruited following an international competition involving over 300 candidates. The program lasts eight months. The work projects offered to the residents, exhibitions, publications, workshops in France or abroad, are the overall responsibility of a guest artist or critic who monitors their progress. The Pavillon is a place where artists on the program can exchange ideas, and the focus for thinking about the ways art is practiced and the issues involved in art today. At the same time, it is a place where their practical work gets an immediate airing in the art field. Finally, while artistic activity is generally based on the affirmation of an individual, unique and identifiable approach, the Pavillon promotes collective questioning and the development of a working relationship between the artists in the group. From November 200 to June 2007, the Pavillon welcomed eight artists: Alex Cecchetti (Italy), Duvier Del Dago Fernandez (Cuba), Mati Diop (France), Manu Laskar (France), Jaime Lutzo (United States of America), Cova Macias (Spain), Denis Savary (Switzerland) and Jean-Luc Vincent (France). Starting in November 200, the artists embarked on a project focusing on the idea of India, the imaginative associations attached to the subcontinent and the different casts of mind linked to that culture. Led by Fabienne Fulchri, a guest exhibition curator, this work gave rise to the production of various stories or actions documented on videos shown during the workshop in India, both in some villages in the Himalaya and at the Alliance Franaise in Delhi. On their return from this journey the artists presented an exhibition bringing together various stages of this Indian output at the Espace Vuitton. A further period of production, in collaboration with Angela Detanico and Rafael Lain, a duo of Brazilian artists, provided the Pavillon artists with the chance to make a series of posters entitled Face A Face B [Side A Side B], each conceived as an autonomous exhibition space which the artists were invited to occupy, questioning the complementarity or the relationship of mutual exclusion between recto and verso. Lastly the exhibition Versus, led by Alain Declercq and arising from a wish for collective dynamics and collaboration between the artists, involved a crossover of practices centered on a simple idea: opposition. Opposition as a duel, a reaction, a confrontation, but also as an opportunity to construct an interface, an intervening space.

200 2007 team: Ange Leccia, director; Chris-

tian Merlhiot, educational supervisor; Sumiko O-Gottini, general coordinator; Alix Dionot-Morani, coordination officer; Romain Sein, artists assistant. [ m Pavillon,session2006-2007
(lesartistesdu)]

pavillon, session 2006-2007 (les artistes du) [ m 6 , fig. # 94 ]

Perret has been working on an over-arching project called New Ponderosa, a utopian community of women living in New Mexico. The artist conceives each work as part of that narrative, the actual product of a fiction. Her sculptures have affinities with a monument, a way of giving figural reality to an abstract principle and materialising it in a meaningful form. [ m BasTardCreaTUre] [ m newPonderosayearZero]

The artists of the Pavillon, session 2006-2007 [ f ] m [ m modUle ] 07/0/2007 17/0/2007 & 21/0/2007 01/07/2007. Versus. Les artistes du Pavillon, session 200 2007, ont propos, sous la direction dAlain Declercq, artiste invit, une srie de confrontations qui slaborent sous forme de dialogue, dans une volont de dynamique collective et de regards croiss sur leur exprience commune. Deux sessions furent consacres la prsentation des uvres des artistes rsidents. Il sagissait dune exprience apprhender comme une srie de ractions, de confrontations ou comme la possible construction dun espace de conflit. [ e ] m [ m modUle ] 07/0/2007 17/0/2007 & 21/0/2007 01/07/2007. Versus. The Pavillon artists from the 200 2007 session, under the leadership of Alain Declercq, a guest artist, staged a series of confrontations which took the form of a dialogue, wishing to generate a collective dynamic and view their shared experience from different standpoints. Two sessions were devoted to the presentation of the works of the artists in residence. This was an experience that had to be apprehended as a series of reactions, confrontations or as the potential construction of an area of conflict. m Avec /with Alex Cecchetti, Duvier Del Dago Fernandez, Mati Diop, Manu Laskar, Jaime Lutzo, Cova Macas, Denis Savary, Jean-Luc Vincent.
perret, mai-thu [ m 3 , fig. # 40 ] [ f ] m *197, vit Genve.

petitpateur

Pitterpasta [ f ] m Personnage des contes Tok Tok. Oiseau de la famille des moineaux vivant dans lexposition [ m PosTPaTman] . Il est caractris par son plumage bouriff et son rgime alimentaire compos exclusivement de flocons de pommes de terre et de nouilles crues. Recherchant la tranquillit, il sisole de son environnement dans des cocons de nouilles. Cette espce a dvelopp un mode de locomotion indit, les trimbaleurs ails , leur permettant de voler sans effort un cocon un autre. [ e ] m A character of the Tok Tok stories. Bird of the sparrow family living in the [ m PosT PaTman] exhibition. It is characterized by its ruffled plumage and its diet consisting solely of potato flakes and raw noodles. Seeking tranquility, it cuts itself off from its surroundings in cocoons of noodles. This species has developed a novel means of locomotion, winged trailers that enable them to fly effortlessly from one cocoon to another.
peyotl

Mai-Thu Perret travaille depuis 1999 sur un projet global appel New Ponderosa, communaut utopique de femmes installes au Nouveau-Mexique. Lartiste conoit chaque uvre comme une partie de cette narration, produit propre dune fiction. Ses sculptures sapparentent un monument, une manire de figurer un principe abstrait et de le matrialiser dans une forme sense. [ m BasTardCreaTUre]

[ m newPonderosayearZero] [ e ] m *197, lives in Geneva. Since 1999 Mai-Thu

Peyote [ f ] m Plante hallucinogne. Le peyotl, Echinocactus williamsi, qui a aussi port le nom de Lophophora williamsi appartient la famille des Cactaces. Cest un petit cactus dpourvu dpines, croissance trs lente, dune quinzaine de centimtres de diamtre au maximum, haut dune dizaine de centimtres, grossirement arrondi, gristre, dont la surface est dcoupe, en quelques lobes ctels, portant une touffe de poils. Il possde une longue racine en forme de carotte. Dans son habitat naturel, les fleurs apparaissent en avril. Une seule fleur, de couleur rose, jaune ou blanche, spanouit au centre du cactus et donne, aprs pollinisation, une baie rose. Le peyotl, dont la rgion dorigine est le sud du Texas, et le plateau mexicain central, a largi son aire de rpartition au sicle dernier,

pey 1

PEYotl

PEYotl

pey 17

m Mescaline : molcule 3D / 3D molecule

m Mescaline : structure chimique / chemical structure

m Peyotl / Peyote

en mme temps que son utilisation, gagnait de nouvelles populations, notamment aux tats-Unis. Obissant des rgles complexes, variables de tribu tribu, la consommation du peyotl est associe des pratiques divinatoires, thrapeutiques ou religieuses. Elle est rpandue aujourdhui au Mexique (chez les Huichols, Tarahoumarasse, Corasse, etc.) et aux tats-Unis (chez les Comanches, Kiowasse, Navaros, etc etc.) dans environ une cinquantaine de tribus diffrentes. Pour obtenir le droit de consommer le cactus, les tribus indiennes des USA rdigrent une charte dfinissant une nouvelle glise dont la religion constitue une sorte de syncrtisme liant christianisme et peyotl. Cette glise, la Native American Church of North America (NACNA) enregistre en 1918, a aujourdhui le mme statut que les autres glises aux USA. Alors quelle comptait une dizaine de milliers de membres en 1920, elle en revendique aujourdhui 250 000. Malgr sa qualification de stupfiant plac sous contrle international, lusage religieux du peyotl dans le cadre de la NACNA est rest tolr jusquen 1990, date laquelle la Cour suprme des tats-Unis supprima ce rgime spcial. Le peyotl a un got amer. La ncessit de mcher longuement les morceaux provoque parfois des nauses, voire des vomissements. Les effets commencent se manifester entre une et trois heures aprs lingestion. Ils atteignent un maximum en deux quatre heures, puis diminuent progressivement pendant les quatre heures suivantes. Comme la mescaline pure, le peyotl provoque de riches hallucinations visuelles. Il est aussi appel La plante qui fait les yeux merveills , et au cours des rituels de consommation, lhomme est suppos communiquer avec les dieux. Toutefois, le ramassage extensif du peyotl en fait une espce menace dextinction. Chez les Indiens Huichols de la Sierra Madr, situe plusieurs centaines de kilomtres des zones o pousse le cactus, la rcolte donne lieu un plerinage annuel la fin de la saison des pluies, la chasse au peyotl. Des tranches fraches sont mches lors de cette chasse , et le reste de la rcolte est ramen dans la tribu. Les ttes de peyotl rcoltes sont dcoupes en tranches et mises scher. En schant, elles prennent une forme de bouton, les mescal buttons, consomms loccasion des crmonies importantes de la vie sociale de la tribu, pour demander la pluie ou une gurison. Les plants les plus gs, qui sont aussi les plus riches en

mescaline, sont particulirement vnrs et recherchs. Chez les Tarahoumarasse, quAntonin Artaud visita 2 reprises en 193 et en 1943, les rites et lutilisation du peyotl ressemblent ceux des Huichols. Tout comme eux, ils chassent le peyotl, et lchangent avec les Corasse contre un mouton ou une chvre. Les Tarahoumarasse croient que les plantes ont une me comme les hommes. Plusieurs cactus sont lobjet de leur dvotion : le Hicouri, houanam, le peyotl suprieur le Mulato (forme jeune) et le Rosapara (forme adulte) correspondent au Mamillaria, micromrisse le Sunami, Ariocarpusse, fissuratusse, le Hicouri, ouharoura, sohriami ou Peyotl de grande autorit , quils ne possdent que rarement dailleurs. Le Peyotl de grande autorit ressemble au peyotl, mais na, en faite, jamais p tre identifi. Et enfin, locoyome, exclusivement employ des fins malfiques. Le peyotl contient une quinzaine dalcalodes dont le principal est la mescaline. Il contient galement quelques alcalodes ayant des effets sdatifs comme lanhalonine, lanhalonodine et la peyotline ou toxique comme la lophophorine. La mescaline est responsable des effets hallucinognes du peyotl. [ m sPeeCHaCT #1]
[ m Hallucinognes(chimiedes) ] [ e ] m Hallucinogenic plant. The peyote, Echino-

cactus williamsi, which has also been known as Lophophora williamsi, belongs to the Cactaceae family. It is a small very slow-growing spineless cactus, about 15 centimeters in diameter at most, and about 10 centimeters high, roughly rounded, grayish, with a surface that is divided into a few ribbed lobes, bearing a tuft of hairs. It has a long carrot-shaped root. In its natural habitat the flowers appear in April. A single flower, pink, yellow or white in color, blooms at the center of the cactus and after pollination it produces a pink berry. Peyote which originates from southern Texas and the central Mexican plateau expanded its distribution area last century at the same time as its use spread to new populations, particularly in the United States. Obeying complex rules which vary from tribe to tribe, the consumption of peyote is associated with divinatory, therapeutic or religious practices. Today it is widespread in Mexico (among the Huichol, Tarahumara, Cora, etc.) and in the

United States (among the Comanche, Kiowa, Navarro, etc.) in about 50 different tribes. To obtain the right to eat the cactus, the Indian tribes in the USA drew up a charter defining a new church the religion of which constitutes a sort of syncretism associating Christianity and the peyote. This church, the Native American Church of North America (NACNA), registered in 1918, today has the same status as other churches in the USA. Whereas it had some ten thousand members in 1920, it now claims to have 250,000. In spite of its classification as an internationally controlled drug, the religious use of the peyote in the context of the NACNA continued to be tolerated until 1990, the date when the Supreme Court of the United States did away with this special system. The peyote has a bitter taste. The need to chew the bits for a long time sometimes causes nausea, or even vomiting. The effects begin to show up between one and three hours after it has been ingested. They reach their height in two to four hours, then gradually diminish during the following four hours. As pure mescaline, peyote gives rise to rich visual hallucinations. It is also called The plant that gives marveling eyes, and during the consumption rituals humans are supposed to communicate with the gods. However, the extensive picking of the peyote means that it is a species threatened with extinction. Among the Huichol Indians of the Sierra Madre, which lies several hundred kilometers from the areas where the cactus grows, the harvest gives rise to an annual pilgrimage at the end of the rainy season, the hunt for the peyote. Fresh slices are chewed during this hunt, and the remainder of the harvest is brought back to the tribe. The heads of peyote gathered are cut into slices and put out to dry. As they dry they assume the form of a button, the mescal buttons, consumed on the occasion of the important ceremonies in the social life of the tribe, to ask for rain or a cure. The oldest plants which are also the richest in mescaline are particularly venerated and sought after. Among the Tarahumara whom Antonin Artaux visited twice in 193 and in 1943, the rites and the use of the peyote are similar to those of the Huichol. Just like them, they hunt for the peyote, and exchange it with the Cora in return for a sheep or a goat. The Tarahumara believe that the plants have a soul, like human beings. Several cactuses are the object of their devotion:

phy 18

PhYSiQuE QuANtiQuE

PiRiNGER

pir 19

~~~ [ f ] m labore dans les premires dcennies du XXe sicle pour dcrire et expliquer le comportement de la matire lchelle atomique, dont la physique classique savrait incapable de rendre compte, la physique quantique nous donne concevoir un univers trange, fort loign de nos repres quotidiens. La ralit dont cette science se proccupe est pourtant bien la ntre, lespace, la matire et le temps quelle explore sont ceux qui nous environnent. Ds lors, les outils conceptuels quelle met en place ouvrent de nouvelles perspectives sur le monde. Avant tout, la physique quantique tablit lexistence dunivers parallles, partir de lanalyse thorique de ce qui nous chappe lchelle microscopique. Cette part invisible de la ralit, bien plus vaste et plus complexe que ce que nous percevons, se comporte peu prs de la mme manire que la partie visible, si ce nest quelle sorganise en une infinit de regroupements comme autant de copies du monde visible . Ainsi, selon le physicien David Deutsch, la ralit se comporte comme un multivers, une entit norme qui, grande chelle, possde une structure correspondante plusieurs copies de lunivers tel quil est dcrit par la physique classique, mais qui, plus petite chelle, est un systme unique et unifi . Sil peut y avoir plusieurs univers, et autant de copies dtres et dobjets, il ny a par contre quune ralit qui les comprend tous. Lart pourrait tre lun de ces univers parallles : il partage des objets et des points communs avec notre univers quotidien, se manifeste ses intersections, y est parfois invisible, parfois spectaculaire. Il nest pas soumis exactement aux mmes lois, mais, de mme que les interactions dterminant la structure de la matire ont un impact toutes les chelles, ses effets se rpercutent et heurtent les autres couches du rel. Entre la chose de lautre monde, le quotidien, et luvre dart, tout est affaire de densit, dinteractions, de forces et defforts, plus souvent crbraux, il est vrai, qu proprement parler physiques. ~~~
/

Physique quantique

the Hicuri, the superior peyote the Mulato (the young form) and the Rosapara (the adult form) correspond to the Mammillaria micromeris the Sunami, Ariocarpus fissuratus, the Hicuri, or Peyote of great authority which they only seldom get hold of, moreover. The Peyote of great authority resembles the peyote, but has never in fact been able to be identified. and finally the ocoyome, exclusively used for malicious purposes. Peyote contains about fifteen alkaloids, the main one being mescaline It also contains some alkaloids that have sedative effects like anhalonin, anhalonodine and peyotine or toxic ones like lophophorine. Mescaline is responsible for the hallucinogenic effects of peyote. [ m sPeeCHaCT#1]
[ m Hallucinogens(chemistryof) ]
physique quantique

Vegetable Orchestra (electronic music made

[e ] m

m Drapeau pirate du XVIII e sicle / Pirate flag from the 18 th century

piringer, joerg [ f ] m *1974, vit Vienne.

quantum physics [ m voir encadr p. 18 / see box p. 19] [ m voir p. a-3 / see p. a-11]
[ m deutsch,david] [ m matire]

Pote sonore, performeur et musicien, son travail est un alliage entre la posie exprimentale (vocale, sonore et typographique) et la recherche informatique. Il cre ses propres logiciels lui permettant de gnrer en temps rel ses pomes sonores et visuels en interaction constante. Le travail de Piringer se situe dans la ligne de la posie exprimentale (depuis Dada et le Futurisme, en passant par Henri Chopin, Franois Dufrne et [ m BrionGysin] ), ainsi que dans celle de lexprimentation musicale digitale (computer music, electronica, click n cuts minimaux et bruitistes). Joerg Piringer est galement lun des membres fondateurs du collectif Institute for Transacoustic Research, ainsi que du Vegetable Orchestra (musique lectronique faite partir de lgumes). [ m lesjeudisdeTHeTHird

mind ] [ m Giorno,John] [ m noise] [ m mUsiqUePoUrPlanTesVerTes ] [ e ] m *1974, lives in Vienna. A sound poet,

pinot-galliZio [ f ] m 1902 1964. Pharmacien et artiste italien. [ m voir p. B-3] [ e ] m 1902 1964. An Italian pharmacist and artist. [ m see p. B-9] pirate [ m voir p. C-2 / see p. C-8] [ m Capitainemisson] [ m Bellamy,samuel] [ m Teach,edward] [ m WilliamKidd]

performer and musician, his work is an alloy between experimental (vocal, sound and typographical) poetry and IT research. He creates his own software programs enabling him to generate his sound and visual poems in constant interaction in real time. Piringers work lies in the tradition of experimental poetry (from Dada and Futurism, by way of Henri Chopin, Franois Dufrne and [ m BrionGysin] ), as well as in that of digital musical experiment (computer music, electronica, minimal and noise click n cuts). Joerg Piringer is also one of the founding members of the Institute for Transacoustic Research collective, and of the

~~~ Quantum physics which was elaborated in the first decades of the 20th century to describe and explain the behavior of matter at the atomic scale, which traditional physics proved incapable of accounting for, asks us to conceive of a strange universe, very far removed from our everyday points of reference. The reality this science is concerned with is nonetheless our reality, the space, matter and time it explores are those that surround us. This means that the conceptual tools it creates open up new views of the world. Above all, quantum physics establishes the existence of parallel universes, based on the theoretical analysis of what escapes us at the microscopic scale. This invisible portion of reality, far huger and more complex than what we perceive, behaves in much the same way as the visible part, except that it is organized in an infinity of regroupings, like so many copies of the visible world. Thus, according to the physicist David Deutsch, reality behaves as a multiverse, a huge entity which, on a large scale, has a structure corresponding to several copies of the universe as it is described by traditional physics, but which, on a smaller scale, is a single, unified system. If there can be several universes, and the same number of copies of beings and objects, on the other hand there is only one reality which comprises them all. Art could be one of those parallel universes: it shares objects and points in common with our everyday universe, shows up at its intersections, is sometimes invisible in it, and sometimes spectacular. It is not subject to exactly the same laws, but, just as the interactions determining the structure of matter have an impact at every scale, its effects have repercussions and bump into other layers of reality. Between the thing from the other world, the everyday world, and the work of art, everything is a question of density, interactions, forces and efforts, as often as not cerebral efforts, it is true, more than ones that are properly speaking physical. ~~~

Quantum physics

pla 170

PlAStoQuE cliNk

PoSitRoN

pos 171

using vegetables). [ m lesjeudisdeTHeTHird

mind ] [ m Giorno,John] [ m noise] [ m mUsiqUe PoUrPlanTesVerTes ]

music, and the elements it contains. And in this context the main stumbling block is the problem of the backward tape, [ m backward message] or [ m backmasking] . [ m lesjeudisde
,noUVellesdUmonderenVers ]

plastoque clink [ f ] m Contes [ m TokTok] .

Toile de non-sens enduite dhuile de fiction et de poudre de clink, permable aux dynamiques de contamination, de couleurs varies, utilise Hollywood comme revtement de peau pour stars ou parfois comme revtement pour [ m jacuzzi] (abrviation familire Clinko) : un (tapis de) Plastoque Clink recouvrait le fond de la baignoire de [ m mikeBouchet] ; la charmante Gladys sabme sous son Clinko gondol. Une analyse chimique avance de cette substance tant solide que fluide dmontre un assez petit nombre de principes qui se trouvent presque tous dans chaque Clinko, quoique dans des proportions trs diffrentes. Quelques bouts de rien, quelques sels, un peu de soufre, un peu de Clink, combins dun grand nombre de manires, produisent divers applications rgionales du Plastoque Clink comme la prouv un atelier Tok Tok consacr la confection de lavabos pliables. [ e ] m [ m TokTok] stories. A nonsense canvas painted with fictional oil and clink powder, permeable to the dynamics of contamination, in different colors, used in Hollywood as a skin covering for stars or sometimes as a cover for a [ m Jacuzzi] (familiarly referred to as Clinko): a Plastoque Clink (mat) covered the bottom of [ m mikeBouchet] s bathtub; the delightful Gladys is going bad under her corrugated Clinko. An advanced chemical analysis of this simultaneously solid and fluid substance demonstrates quite a small number of principles that are almost all found in each Clinko, although in very different proportions. A few scraps of nothing, a few salts, a little sulfur, a little Clink, combined in a great number of ways, produce various regional applications of the Plastoque Clink, as was proved by a Tok Tok workshop devoted to making folding washbasins.
poivey, patrick [ f ] m Comdien et spcialiste

m Bruce Willis & Patrick Poivey

pop music [ f ] m Selon [ m PacmeThiellement] , toute

posadas, juan [ f ] m 1912 1981. Trotskyste

lhistoire de la pop music est divise entre une dimension exotrique, qui se mesure la reconnaissance populaire, au succs public, et une dimension sotrique, qui se confond avec lhistoire des controverses sur le sens et la signification des disques ainsi que leur influence sur les auditeurs. Lacm de ces controverses est symbolise par la certitude quil y a quelque chose de cach dans les disques de pop music, et que ce qui est cach est soit fondamentalement nfaste pour lauditeur et induira en lui des pratiques dviantes ; soit exemplaire de la nature artistique de la pop music, qui demande une participation active de lauditeur. Ce qui prsuppose donc une gnose de la pop music, un dispositif de connaissance li lcoute de la musique populaire et des lments quelle contient. Et dans ce cadre, la principale pierre dachoppement est le problme de la backward tape, de la bande enregistre qui rvle sa vraie signification lorsquon la passe lenvers. Il faut cependant distinguer deux types de backward tapes : celles qui produisent a posteriori un [ m backwardmessage] et celles qui sont les produits a priori dun [ m backmasking] . [ m les whole history of pop music is divided between an exoteric dimension (which is measured by popular recognition, public success) and an esoteric dimension which merges with the history of the controversies about the meaning and significance of records, and their influence on listeners. The height of these controversies is symbolized by the certainty that there is something hidden in pop music records; and that what is hidden is fundamentally harmful to the listener and will induce him or her to engage in deviant practices, i.e. illustrative of the artistic nature of pop music, which calls for active participation by the listener, therefore presupposes a gnosis of pop music, a knowledge mechanism linked to listening to popular

argentin, responsable de la section latino-amricaine de la Quatrime Internationale Socialiste. Il se spara du Parti communiste dans les annes 190 pour fonder la Quatrime Internationale Posadiste qui avait notamment pour projet dacclrer la venue dune troisime guerre mondiale et dun affrontement nuclaire globalis destin faire triompher le proltariat sur le capitalisme. Les posadistes furent galement des ufologues trs actifs, considrant que si des extra-terrestres capables de rejoindre la terre existaient, ils ne pouvaient tre que socialistes, compte tenu du niveau davancement conomique que supposait lacquisition de technologies spatiales daussi haut niveau. Aujourdhui, le posadisme est encore vivant dans des groupes comme les Men in Red (M.I.R). [ m lesjeudisdeTHeTHird sponsible for the Latin-American section of the Fourth Socialist International. He parted company with the Communist Party in the 190s to found the Fourth Posadist International which planned in particular to hasten the advent of a third world war and a globalized nuclear confrontation, intended to allow the proletariat to triumph over capitalism. The Posadists were also very active ufologists, thinking that if extra-terrestrials capable of reaching the earth existed, they would be bound to be socialists, given the level of economic advancement presumed by the acquisition of such high-level space technologies. Posadism is still alive today in groups like the Men in Red (M.I.R). [ m les
jeudisde THeTHirdmind ] [ m anarchisme] [ m mutants]

mind ] [ m anarchisme] [ m mutants] [ e ] m 1912 1981. An Argentinean Trotskyite re-

hile immdiatement avec un lectron voisin, produisant un flash de radiation trs nergtique, les photons gamma . En effet, lors de la rencontre dun lectron et dun positron, la combinaison de leurs charges lectriques est de zro, mais leurs masses deviennent nergie. Suivant la fameuse quation d[ m einstein] E=2mc2 o E est lnergie, m la masse et c la vitesse de la lumire, la masse tant ici multiplie par 2 puisquil y a deux masses identiques, celles de llectron et du positron lnergie disponible correspond lnergie de deux fois la masse dun lectron. Cette quantit parat a priori ngligeable, llectron et le positron tant minuscules, mais le taux de change , soit la vitesse de la lumire leve au carr, est considrable. partir de lnergie ainsi produite, dautres particules peuvent se crer ainsi que de la lumire. Le phnomne du rayonnement gamma se produit naturellement, bien que rarement, lors de certaines dsintgrations radioactives. Il a trouv un usage particulier en mdecine, avec le dveloppement de la Tomographie mission de Positrons (TEP) : il sagit dinjecter une substance radioactive dans lorganisme dun patient, substance dont la dsintgration radioactive gnre un positron qui sannihile avec un lectron. Lobservation des rayons gamma qui en rsultent permet de tracer le fluide inject et ainsi de cartographier de manire non invasive une zone comme le cerveau. [ m Christophe Galfard ] [ m Palais /]

[ m antimatire] [ m dirac(quationde)] [ m matire] [ m lesjeudisde ,noUVellesdU monderenVers ] [ m neuropsychanalyse]

[ e ] m Physics. The positron is, by definition, an

jeudisde ,noUVellesdUmonderenVers ] [ e ] m According to [ m PacmeThiellement] , the

positron [ f ] m Physique.

du doublage. Voix franaise de Bruce Willis et celle du [ m rpondeur] du Palais de Tokyo. [ e ] m An actor and dubbing expert. French voice of Bruce Willis and the voice on the Palais de Tokyo answering machine [ m rpondeur] .

Le positron est, par dfinition, un antilectron. Leurs charges lectriques valent toutes deux 1, mais, alors que celle de llectron est ngative, celle du positron est positive do son nom. Les deux particules ont cependant la mme masse et la mme forme. Sil y a des lectrons dans chaque atome de la matire qui nous environne, il ny a en revanche aucun positron : lorsquil en apparat un, il sanni-

anti-electron. Their electric charges are both equivalent to 1, but the electron charge is negative whereas the positron has a positive onewhence its name. Both particles have the same mass and the same shape. There are electrons in every atom of the matter around us, on the other hand, there are no positron: when one appears, it is immediately annihilated with a nearby electron in a very energetic flash of radiation which is called a gamma photon. For when an electron is put in contact with a positron, the electric charge becomes zero, but their masses become energy. In accordance with [ m einstein] s famous equation E=2mc2where E stands for energy, m for mass and c for the speed of light, the mass being here multiplied by 2 since there are two identical masses, those of the electron and the positronthis available energy corresponds

pos 172

PoSt PAtmAN

PRADEAu

pra 173

to the energy of two times the mass of an electron. That may not seem to be much at first sight, for the electron and the positron are minute, but the rate of change, the speed of light squared, is huge. Other particles and light can be created from that energy. The phenomenon of the gamma photon occurs naturally, although seldom, in certain radioactive disintegrations. It is used in a peculiar way in medicine, as a technique called Positron Emission Tomography (PET) which consists in injecting a radioactive substance into a patients body. The radioactive disintegration of that substance generates a positron that is annihilated with a nearby electron: observation of the resulting gamma photons reveals the fluids trajectory and helps map in an non invasive way a sensitive area such as the brain. [ m Christophe Galfard ] [ m Palais / ] [ m antimatire] [ m dirac(quationde)] [ m matire] [ m les jeudisde ,noUVellesdUmonderenVers ] [ m neuropsychanalyse]

laboratory in which his experiments were installed, the place took shape slowly, under the constant supervision of the artist. Observation of the upheavals, participation by the senses, transformation of the spaces, each of these elements were a crucial stage in decoding the whole, like a succession of snapshots of a story with no end.
[ m , noUVellesdUmonderenVers ] m Liste des uvres / List of works

post patman [ m 2 , fig. # 15 # 19 ] [ f ] m Exposition personnelle

de [ m michelBlazy] .

01/02/2007 0/05/2007. Exposition pre-

nant pour point de dpart luvre Patman 2 prsente dans [ m 5.000.000.000dannes] . Tout au long de ce projet, Michel Blazy a modifi et nourri rgulirement les uvres, intervenant ainsi dans le processus mme de lexposition. Cette exposition sapprhendait dans la dure, dans la mise en relation des diffrents moments, dans la lecture des liens entre les cycles successifs. Laboratoire permanent, le lieu prenait forme lentement, sous le contrle permanent de lartiste. Lobservation des bouleversements, la participation des sens, la transformation des espaces, chacun de ces lments tait une tape essentielle au dchiffrage de lensemble, tel une suite dinstantans dune histoire sans fin.
[ m , noUVellesdUmonderenVers ] [ e ] m Solo exhibition of [ m michelBlazy] .

01/02/2007 0/05/2007. An exhibition

whose starting point was the work Patman 2, which was on view in 5,000,000,000 YEARS [ m 5.000.000.000dannes ] . Throughout this new project, Michel Blazy regularly altered and nourrished the works, thus intervening within the process of the exhibition itself. This exhibition was experienced over time, by interrelating different moments, and by reading the links between the successive cycles. A permanent

Peau de bte, 2004 Coton, crme dessert au chocolat / Cotton, chocolate cream ; Collection Nouveau Muse National de Monaco Aprs la goutte, 1995 Coton / Cotton ; Collection Christian Zervudacki, Nice Collection davocats, 1997-2007 Avocats / Avocados ; Courtesy Art : Concept, Paris Sans titre, 1995-2007 Papier aluminium / Aluminum foil ; Courtesy Art : Concept, Paris Ver dur, 2000 Croquettes pour chat, colle / Cat biscuits, glue ; Courtesy Art : Concept, Paris Patman II, 200 Vermicelles de soja, colorant alimentaire / Soya noodles, food dye ; Collection Guillaume Houz, Paris Chocopoules, 200 Fil de fer, coton, crme dessert au chocolat / Wire, cotton, chocolate cream ; Courtesy Art : Concept, Paris Chocopoule et les souris, 200 Fil de fer, coton, crme dessert au chocolat, chaise, colle papier peint / Wire, cotton, chocolate cream, chair, wheat pasting ; Courtesy Art : Concept, Paris Cerveau pommes de terre, 200 Pure de pommes de terre, pure de betteraves, sel, eau / Mashed potatoes, beetroot pure, salt, water ; Courtesy Art : Concept, Paris Sans titre, 2007 Pure de carottes, flocons de pommes de terre, eau, plastique / Carrot pure, potato flakes, water, plastic ; Courtesy Art : Concept, Paris Boules de carottes, 1998 Coton, pure de carottes, matires plastiques / Cotton, carrot pure, plastic ; Collection Agns B., Paris Champ de pommes de terre, 2002 Flocons de pommes de terre, eau / Potato flakes, water ; Courtesy Art : Concept, Paris Ver dur, 2000

Biscuits pour chien, colle thermo-fusible / Dog biscuits, hot glue ; Collection Nouveau Muse National de Monaco Mur qui ple, 1998 Farine de riz cuite, eau / Cooked rice flour, water ; Collection Pierre Huber, Genve / Geneva Araigne, 2005 Fil de fer, coton, pure de lgumes / Wire, cotton, vegetables pure ; Courtesy Art : Concept, Paris Tapis vivant, 2007 Carottes, colle, tees de golf / Carrots, glue, golf tees ; Courtesy Art : Concept, Paris Fontaine de mousse, 2007 Poubelles, bain moussant, compresseur, tuyaux / Bins, foaming bath, compressor, pipes ; Courtesy Art : Concept, Paris Sculptcure (par Jean-Luc Blanc), 2003-2007 Ecorces dorange / Orange peels ; Courtesy Art : Concept, Paris Peau de bte, 2007 Coton, crme dessert au caramel / Cotton, caramel cream ; Courtesy Art : Concept, Paris Patman et les oiseaux, 200 DVD, 1h (en boucle) / DVD, 1h (loop) ; Courtesy Art : Concept, Paris Canap, 2007 Canap, coton, crme dessert au chocolat / Sofa, cotton, chocolate cream ; Courtesy Art : Concept, Paris Buissons lentilles, 1997-2007 Coton, lentilles, sacs poubelles, eau /Cotton, lentils, trash bags, water ; Courtesy Art : Concept, Paris Kumbocha, 2007 Th vert, kumbocha, eau, sucre, aquarium / Green tea, kumbocha, water, sugar, aquarium ; Courtesy Art : Concept, Paris Moineaux du Japon / Japanese sparrows
pourtissure (bataille de)

toks dvoilent leurs intentions et 1h45 ils djouent les plans de ces envahisseurs. [ e ] m The battle of Pourtissure [Rottingfood] started on 1 February 2007 during the official opening of [ m PosTPaTman] and finished on 3 February with the intervention of the children from the Tok Tok workshop. During that period, [ m michelBlazy] s Sculptcures, piles of pressed citrus fruit skins, hardly rotted down at all; quite the opposite, they multiplied and grew at a worrying pace, violently fighting against any form of decomposition. Placed on the high white trays of the glass house, they prepared their invasion of Post Patman territory. But on 3 February at 2.30 pm the little Tok Tok contingent revealed their intentions and at 4.45 they foiled the invaders plans.
pradeau, Frdric [ m 6 , fig. # 93 ] [ f ] m *1970, vit Paris.

Frdric Pradeau cre rgulirement des dispositifs complexes dont le rsultat est le plus souvent dune grande simplicit, touchant mme au banal. De la distillerie de coca-cola la fabrication de briques, son travail sintresse aux modes de production de notre quotidien au sein de la socit de consommation.
[ m modUle ] hors-les-murs 05/10/2007

05/11/2007. Local technique est un dispositif

Pourtissure (Battle of) [ f ] m La bataille de Pourtissure dbute le 1er fvrier 2007 au cours du vernissage de [ m PosTPaTman] et sachve le 3 fvrier avec lintervention des enfants de latelier Tok Tok. Pendant cette priode, les Sculptcures de [ m michelBlazy] , des peaux dagrumes presses et empiles ne se dcomposent gure ; bien au contraire, elles se multiplient et croissent une allure inquitante luttant violemment contre toute forme de dcomposition. Postes sur les hauts plateaux blancs de la verrire elles prparent leur invasion du territoire post patmanien . Mais le 3 fvrier 14h30 les petits

rsolument domestique. Sur le principe des vases communicants, un rseau de tuyaux en plastique transparent connecte plusieurs jerricans souples entre eux, permettant ainsi par pression de mlanger les contenus. Lessive, adoucissant, savon et autres produits de nettoyage sont mlanger. [ e ] m *1970, lives in Paris. Frdric Pradeau regularly creates complex devices that often look very simple and banal. From Coca-Cola distillery to bricks fabric, his work is interested by the means of production of our consumption society.
extra-muros [ m modUle ] 05/10/2007

05/11/2007. Local technique is a resolutely

domestic device. On the principle of connected vessels, networks of transparent plastic pipes connect together several flexible jerry cans, and mix the contents by pressure. Detergent, fabric softener, soap and other cleaning products are then to be mixed. m uvre / Work Local technique, 2007 Courtesy de lartiste / of the artiste & Palais de Tokyo (Paris)

quo 174

QuotiENt SchiZoPhRNiQuE

QuotiENt SchiZoPhRNiQuE

quo 175

quotient schiZophrnique

Schizophrenic quotient [ f ] m [ m voir encadr p. 175] [ m lasticit]

[ m Fonctionetc.] [ m Vision-fentre] [ e ] m [ m see box p. 175] [ m lasticit] [ m Fonctionetc.] [ m Vision-fentre]

~~~ [ f ] m Lart contemporain pourrait tre apparent un film dAlfred Hitchcock qui sarrterait au milieu de la projection. Au moment o le film est suspendu, on ne connat pas la solution de lnigme ; on peut certes accumuler les hypothses, imaginer une multitude dinterprtations possibles, mais la reprsentation reste casse, irrsolue. Alors que notre cerveau doit sans cesse se rfrer des critres de choix clairs et des solutions tranches, lart contemporain prend justement le parti inverse. En guise dhygine de lesprit, il nous force abandonner nos systmes de croyance au profit de processus de connaissance multiples, laisser fonctionner nos connexions neuronales ltat brut, bref, accepter une forme de schizophrnie. Lesprit fractur en deux, lexposition devient un systme dactivation directe des synapses, o ni lil ni le cerveau ne peuvent plus se fixer sur un point prcis, accumulant, sans pouvoir sarrter, sensations et interprtations. Ainsi, on poserait que toute uvre dart est dote dun quotient schizophrnique : son intrt , sa valeur a en effet bien peu voir avec son esthtique, pas plus quavec la fixit et la permanence de sens quelle propose. Mais plus luvre est capable de glissements et de renversements, plus son quotient schizophrnique est lev, plus elle soulve alors de possibles, suscite de scnarios, et surtout, procure de plaisir. Une uvre dart pertinente est celle qui parvient tre une chose et une autre la fois, relvant de plusieurs systmes en mme temps et dveloppant- cette capacit glisser dune interprtation une autre, dune sphre une autre, pour tester sans cesse les capacits lastiques de la ralit. ~~~

Quotient schizophrnique

[e ] m

~~~ Contemporary art could be likened to an Alfred Hitchcock film which had stopped in the middle of being projected. At the point where the film is left hanging, we do not know the solution to the enigma; we can of course come up with many conjectures, imagine a multitude of possible interpretations, but the screening remains broken, unresolved. While our brain constantly has to refer to clear criteria of choice and cut-and-dried solutions, contemporary art takes the very opposite path. As a way of cleansing our minds, it forces us to abandon our belief systems in favor of multiple processes of knowledge, to let our neuronal connections function in their raw state, in short to accept a form of schizophrenia. With the mind broken in two, an exhibition becomes a system of direct activation of the synapses, where neither the eye nor the brain can any longer hone in on a precise point, but accumulates sensations and interpretations, without being able to stop. Thus we would suggest that every work of art is endowed with a schizophrenic quotient: its interest, its value actually has very little to do with its esthetics, any more than with the fixity and permanence of meaning it offers. But the more capable of slides and turnarounds the work is, the higher its schizophrenic quotient, the more possibilities it then raises, the more scenarios it prompts, and above all the more pleasure it procures. A relevant work of art is one that succeeds in being one thing and another simultaneously: it comes under several systems at the same time, and develops that capacity to slide from one interpretation to another, from one sphere to another, in order constantly to test the elastic capacities of reality. ~~~

Schizophrenic quotient

ray 17

RAY

RAYoNS coSmiQuES

ray 177

ray, charles [ f ] m *1955, vit

Los Angeles. Subtilement drangeantes, les uvres de Charles Ray font de la sculpture lobjet dun incessant dcalage. Que cela soit sous un jour minimaliste, ironique, voire tout fait subversif, Charles Ray interroge les codes de la reprsentation et met mal nos attendus perceptifs ou sociologiques. Par rfrences plus ou moins directes, lartiste est souvent au cur de luvre, comme par exemple dans Family Romance o les diffrents membres dune famille sont reprsents nus et de mme taille prcisment celle de lartiste. Dautres uvres font plus directement rfrence lhritage minimaliste comme Ink Box (198), un cube rempli dencre noire. Dans [ m 5.000.000.000dannes] a t prsente Rotating Circle (1988), un disque tourne pleine vitesse jusqu devenir indiscernable. [ e ] m *1955, lives Los Angeles. Subtly disturbing, Charles Rays work turns sculpture into a constantly shifting category. In ways that can be minimal, ironic, or clearly subversive, the artist challenges systems of representation, perception, and socio-cultural conventions. Often, the artist himself is at the centre of the work, as in Family Romance (1993), where all members of a family are represented nude and of equal heightthe height of the artist. Other works reference minimalist iconography, such as Ink Box (198), a hollow cube filled with black ink. In the 5,000,000,000 YEARS [ m 5.000.000.000 dannes ] , Rotating Circle (1988) was presented. Built into a wall and flush to its surface, a disc spins so quickly that it seems immobile.

Anderson en 193 le prix Nobel de physique, ces rayons se composent essentiellement de muons (), particules interagissant peu avec la [ m matire] , mais particulirement nergtiques. Ils sont le produit de limpact provoqu par la rentre dans latmosphre terrestre du rayonnement cosmique primaire constitu de protons provenant du Soleil et de lespace intergalactique. Leur rencontre avec les atomes doxygne et dazote de lair provoque une cascade dinteractions, appele gerbe atmosphrique ; dans ces chocs sont produits des protons et des neutrons secondaires, des pions et des kaons qui interagissent leur tour fortement ou se dsintgrent en muons, lectrons et neutrinos. Les muons interagissent trs peu avec lair et se dsintgrent leur tour en lectron, neutrino et antineutrino. Cest la dilatation relativiste du temps selon la [ m relativit] restreinte formule par [ m einstein] en 1905 qui nous permet de dtecter au niveau du sol beaucoup des muons produits dans les gerbes cosmiques par limpact des protons primaires dans latmosphre terrestre. Les muons et les neutrinos cosmiques peuvent tre dtects grce des expriences au sol ou souterraines : avant les annes 1950 et la construction dacclrateurs de particules puissants, lobservation des rayons cosmiques a ainsi t la source des premires dcouvertes de particules et dantiparticules non atomiques comme le positron, le muon, le pion et des particules tranges parmi lesquelles le lambda, dont les traces en V ne sont prcdes daucune trace dans les plaques photographiques. [ m Jean-Pierremerlo] prcise : Savoir que nous vivons traverss en permanence par toutes ces particules cosmiques peut faire reculer la crainte de la radioactivit ne juste raison des ravages des premires bombes nuclaires et plus rcemment de laccident de Tchernobyl. Un faible niveau de radioactivit comme celui des rayons cosmiques peut ainsi tre apprci comme inoffensif.
[ m antimatire] [ m dtecteurdeparticules] [ m lHC ] [ m lesjeudisde ,noUVellesdU monderenVers ] [ e ] m Physics. The whole surface of the Earth is

m Reprsentation du dveloppement dune gerbe de rayons cosmiques dans latmosphre / Representation of the development of a cosmic rays shower in the atmosphere

m Charlesray, Rotating Circle, 1988

rayons cosmiques

Cosmic Rays [ f ] m Physique. Toute la surface de la Terre est en permanence frappe par des rayons cosmiques, raison dune moyenne de 1 rayon cosmique / cm2 / min (flux de rfrence au niveau de la mer). Dcouverts par le physicien Victor Franz Hess en 1912, qui reut avec Carl

permanently being hit by cosmic rays, at an average of 1 cosmic ray / cm2 / min. (reference flux at sea level). These rays, discovered in 1912 by the physicist Victor Franz Hess, who along with Carl Anderson was awarded the Nobel prize for physics in 193, are mainly composed of muons (), particularly energetic particles

m Wernerreiterer, Breath, 200

rei 178

REitERER

RoNDiNoNE

ron 179

that interact very little with matter [matire]. They are the product of the impact provoked by the entry into the earths atmosphere of the primary cosmic radiation constituted by protons coming from the Sun and intergalactic space. Their encounter with the airs oxygen and nitrogen atoms provokes a cascade of interactions, called an atmospheric shower; in these impacts secondary protons and neutrons are produced, pions and kaons which in their turn interact powerfully, or disintegrate into muons, electrons and neutrinos. The muons interact very little with air and in their turn disintegrate into electrons, neutrinos and antineutrinos. It is the relativist dilation of time in accordance with the restricted relativity [ m relativit] formulated by [ m einstein] in 1905 that enables us to detect at ground level a lot of the muons produced in the cosmic showers by the impact of the primary protons on the earths atmosphere. Cosmic muons and neutrinos can be detected thanks to experiments on or under the ground: prior to the 1950s and the construction of powerful particle accelerators, observation of cosmic rays thus lay behind the first discoveries of non-atomic particles and antiparticles such as the positron, muon and pion, and strange particles, including the lambda particle: its traces in V shape are preceded by no trace on the photographic plates. [ m Jean-Pierremerlo] says: Knowing that we are living permanently penetrated by all these cosmic particles can help lessen our fear of radioactivity, justifiably inspired by the ravages caused by the first nuclear bombs and more recently the accident at Chernobyl. Thus a low level of radioactivity such as that from cosmic rays can be understood to be harmless.
[ m antimatire] [ m dtecteurdeparticules] [ m lHC ] [ m lesjeudisde ,noUVellesdU monderenVers ]
reiterer, Werner [ f ] m *194, vit Vienne.

dexposition entranant une respiration allant crescendo. [ e ] m *194, lives in Vienna. Both funny and disturbing, the world of Werner Reiterer involves dreamlike drifts, impertinent disconnects, and wordplays. His objects lead us towards unresolved interpretations tainted with humour. In oNE SEcoND oNE YEAR, BREAth [ m UneseCondeUneanne ] , Breath (200) consisted of a text on the wall reading Cry As Loud As You Can, and once a visitor shouted loudly enough, the lights of the exhibition space dimed and a breathing sound filled the space.
relativit

[ e ] m Created in 1971 by Robert Filliou. Rather

than a territorial micronation, the republic was a mental space in which citizens would develop what Filliou understood as ones genius rather than ones talents. In theory, the priority of knowledge in Fillious realm would be liberated from the domain of the knowledgeable, that is, technocracy and liberal universities. [ m TaTs
(FaiTes-leVoUs-mme) ]

Relativity [ m voir p. a-3 / p. a-11]

rpondeur (tapeZ 9)

la fois drle et drangeant, lunivers de Werner Reiterer joue sur la consistance du rel. Drive onirique, dcalage impertinent et jeux de langage sont mis en scne au travers dobjets dtourns laissant flotter, non sans humour, de multiples interprtations. Dans [ m UneseCondeUneanne] , Breath (200) se prsentait sous la forme dune incitation crite au mur ( Cry As Loud As You Can ) que le spectateur pouvait suivre la lettre. Sil criait suffisamment fort, lintensit de la lumire diminuait dans lensemble des espaces

Answering machine (Press 9) [ f ] m Le rpondeur du Palais de Tokyo devient un espace de cration en accueillant chaque mois une nouvelle uvre sonore. Dans le cadre de [ m THeTHirdmind] , [ m JohnGiorno] , crateur de la posie sonore sur rpondeur avec Dial-A-Poem, inaugure cet espace en proposant Vajra Kisses (1972). +331 4723 54 01, puis tapez 9. [ e ] m The Palais de Tokyos answering machine becomes a creative space by hosting a new sound work every month. In the context of [ m THeTHirdmind] , [ m JohnGiorno] , the creator of sound poetry on answering machine with Dial-A-Poem, inaugurated that space by offering Vajra Kisses (1972). +331 4723 54 01, then press 9.
rpublique gniale (la)

The Genius Republic [ f ] m Cre en 1971 par Robert Filliou. Plus quune micronation, ctait un espace mental o les citoyens seraient mme de dvelopper leur gnie et non simplement leur talent. En thorie, la primaut du savoir dans ce royaume serait libre du domaine du connaissable, celui de la technocratie et de luniversit.

[ m TaTs(FaiTes-leVoUs-mme) ]

York. Minimalisme, ironie, posie douce amre et noirceur en demi-teinte traversent lunivers complexe dUgo Rondinone qui se dploie sous forme dinstallations, de photographies, de peintures, de sculptures, de dessins ou de textes. chappant toute catgorisation, son uvre se poursuit sur le mode dune tonalit paradoxale qui mle couleurs vives et mlancolie, abstraction et narration thre, motifs pop et cynisme acidul. Le ralentissement et le vide semblent tre les forces motrices de son travail qui contourne par diverses stratgies plastiques tout effet daccumulation. La figure du clown est par ailleurs une figure rcurrente, alter ego de lartiste en personnage dsabus et bedonnant. Ugo Rondinone a expos ses uvres dans les plus importantes institutions entre autres New York, Los Angeles, Londres, Vienne, Zurich, Melbourne et Paris. Ugo Rondinone eut carte blanche pour imaginer lexposition de son choix au Palais de Tokyo. [ m THeTHirdmind] [ e ] m *194, lives in New York. Minimalism, irony, bitter-sweet poetry and halftone blackness run through the complex world of Ugo Rondinone which is displayed in the form of installations, photographs, paintings, sculptures, drawings or texts. Evading any categorization, his work displays a paradoxical sense of tone which mixes bright colours and melancholy, abstraction and ethereal narration, Pop motifs and cynicism. Deceleration and emptiness seem to be the forces driving his work which uses various visual arts strategies to circumvent any cumulative effect. Moreover, the figure of the clown is a recurrent motif, the artists alter ego as a disillusioned, potbellied character. The places where Ugo Rondinone has exhibited include major institutions in New York, Los Angeles, London, Vienna, Zurich, Melbourn and Paris. Ugo Rondinone had a carte blanche to concoct the exhibition of his choice at the Palais de Tokyo. [ m THeTHirdmind]

rondinone, ugo [ f ] m *194, vit New

sab 180

SABotAGE

SAtANicPoRNocultShoP

sat 181

national plans to create a spiritual and artistic retreat. Government in the State of Sabotage, with 183 citizens and seven residents, has no officials. [ m TaTs(FaiTes-leVoUs-mme)]
saison 1 sabotage (ltat de)

The State of Sabotage [ f ] m Projet driv dun mouvement artistique et dun label musical du mme nom bas Vienne, en Autriche. En 2003, ltat de Sabotage dclara son indpendance au Sommet des micronations, Helsinki. Son conomie repose essentiellement sur le commerce de cadeauxgags, comme le parfum CaSH qui restitue lodeur dun billet de 100 dollars frachement imprim. Le saint patron de Sabotage nest autre que H. R. Giger, un artiste suisse clbre pour son imagerie aussi morbide que saugrenue. Des artistes comme [ m romansigner] , Piero Manzoni, Hermann Nitsch, Jonathan Meese, Jannis Kounellis, Gilbert & George, Robert Morris, Dominique Gonzales-Foerster, Gerhard Merz et dautres ont contribu la culture qui unit ltat. En 2004, Sabotage acquit un terrain dans le Queensland, en Australie, prs du parc national de Bald Rock do le nom de sa capitale, Baldrockistan. Les projets de Sabotage sinspirent dune idologie naturaliste et populaire, et prvoient la cration dune retraite artistique et spirituelle. Le gouvernement de Sabotage, qui compte 183 citoyens dont sept rsidents, est dpourvu de reprsentants officiels.
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m An offshoot project from an art organization

and record label of the same name based in Vienna. In 2003, the State of Sabotage, declared its independence at the Amorph Summit of Micronations in Helsinki, Finland. Its economy is made up principally of national products such as a cash perfume styled on a freshly minted $100 bill. Interestingly, the patron saint of Sabotage is H. R. Giger, the Swiss artist famous for his sombre and grotesque imagery. Other artists such as [ m romansigner] , Piero Manzoni, Hermann Nitsch, Jonathan Meese, Jannis Kounellis, Gilbert & George, Robert Morris, Dominique Gonzales-Foerster, Gerhard Merz, and others have contributed to the culture which unifies the state. In 2004, Sabotage purchased land in Queensland, Australia near Bald Rock National Park, from which its capital, Baldrockistan, is derived Its ambition for territory springs from popular naturalist ideology and

Season 1 [ m 1 , fig. # 01 6 , fig. # 95 ] [ f ] m De septembre 200 dcembre 2007. La premire saison de programmation du Palais de Tokyo constitue une rflexion mene sur des territoires aussi droutants quhtrognes, et cependant unis par une mme ide : celle den finir avec la [ m visionfentre] de lart, qui considre les expositions et les uvres comme des points fixes dans le temps et lespace. Chaque pisode de cette premire saison intgre la notion dune programmation pense comme un curseur, et sinscrit dans un scnario bas sur la multiplication des interprtations, le dcloisonnement des catgories intellectuelles et esthtiques et le questionnement permanent des ponts entre lart et notre ralit. Dun espace ouvert [ m Cinq milliardsdannes ] un espace intime [ m THeTHirdmind] , dune proposition dun commissaire [ m marc-olivierWahler] aux visions dun artiste [ m Ugorondinone] , en passant par des artistes commissaires [ m PeterCoffin] et [ m oliviermosset] , dexpositions collectives en expositions monographiques, la premire saison se termine sur une exposition, o comme lors du premier pisode chaque uvre sinscrit dans un ensemble qui le dpasse et contribue ainsi fonder une identit paradoxale, la fois forte et insaisissable. Cette premire saison aura ainsi vu le concept mme dexposition et le Palais de Tokyo tout entier avec lui glisser, muter, se mtamorphoser et interroger sans relche le [ m quotientschizophrnique] de lart. [ e ] m From September 200 to December 2007. The first season of programming at the Palais de Tokyo constitutes a train of thought exploring territories that are as disconcerting as they are heterogeneous, but are nonetheless united by one and the same idea: getting shot of the window vision [ m visionfentre] of art, which regards exhibitions and works as fixed points in time and space. Each episode of this first season integrates the notion of programming conceived of as a cursor, and is set in a scenario based on the multiplication of interpretations, the decompartmentalization of intellectual and aesthetic categories and the constant questioning of the bridges between art and our reality.

From an open space FivE BillioN YEARS [ m Cinq milliardsdannes ] to a private space [ m THeTHirdmind] , from a proposal put forward by a curator [ m marc-olivierWahler] to the visions of an artist [ m Ugorondinone] by way of artist curators [ m PeterCoffin] and [ m oliviermosset] , from collective exhibitions to solo exhibitions, the year ends with an exhibition whereas in the first episodeevery work is inscribed in a whole that is greater than its parts, so contributing towards founding a paradoxical identity that is strong yet elusive. Thus this first season will have seen the very concept of the exhibitionand the entire Palais de Tokyo along with itslipping, changing, metamorphosing and relentlessly questioning the schizophrenic quotient [ m quotientschizophrnique] of art.

m satanicpornocultshop

m satanicpornocultshop au / at the Palais de Tokyo

satanicpornocultshop [ f ] m Collectif gomtrie variable

produisant une musique atypique, mlant electronica, hiphop et psychdlisme, Satanicpornocultshop est aussi imprvisible que leur nom peut le laisser prvoir. Satanicpornocutshop est plutt une collection dunivers disparates et pas forcment toujours compatibles qui finissent par simbriquer dune faon ou dune autre. Cest un groupe trs schizophrne , dclare Ugh, lun de ses membres. Entre 1998 et 2000, le groupe, originaire dOsaka, est un duo ; il enregistre sur son propre label NuNuLaxNulan trois albums, Nirvana or Lunch ? (1998), Belle

sat 182

SAtANiSmE

SAvillE

sav 183

Excentrique (2000), Baltimore 72 (1999) leur troisime album ayant la particularit dtre sorti avant le deuxime. Aprs le dcs dun de ses deux fondateurs, Satanicpornocultshop stoffe progressivement jusqu compter aujourdhui une demi-douzaine de membres. Il se fait connatre pour ses performances scniques grotesques et potiques, et sort quatre nouveaux disques : Ugh Yoing (NuNuLaxNulan, 2002), Anorexia Gas Balloon (Sonore, 2004), Zap Meemees (Sonore, 2005) et enfin Orochi Under The Straight-Edge Leaves (Vivo, 2005). Revendiquant le [ m bricolage] cher Claude Lvi-Strauss comme mthode de cration musicale et comme rapport un monde dj satur de sons, de disques, de bruits et de signes, Satanicpornocultshop pratique lart du [ m cut-up] , du remix iconoclaste et du morphing en reprenant et transformant tour tour Duran Duran, Missy Elliott et Vashti Bunyan. Intellectuel et loufoque, adepte des dguisements surralistes et dun got certain pour le happening, Satanicpornocultshop simpose comme le digne hritier des Residents. [ m les
jeudisde THeTHirdmind ] [ e ] m A collective with variable geometry produc-

transforming one after the other Duran Duran, Missy Elliott and Vashti Bunyan. Intellectual and zany, keen on surrealistic disguises and with a certain liking for happenings, Satanicpornocultshop is establishing itself as a worthy heir to the Residents.
[ m lesjeudisde THeTHirdmind ]

m neworder, Blue Monday, 1983 (pochette / sleeve : Peter Saville)

satanisme

Satanism
[ m ajemian,Jason&lucas] [ m anger,Kenneth] [ m Backmasking] [ m Backwardmessages] [ m Backwardtapes] [ m Crowley,aleister] [ m decrauzat,Philippe] [ m Kirpikistan] [ m occultisme] [ m Violette,Banks]
saunders, bryan leWis [ f ] m *199, vit Johnson City,

les dcoupes prcises des enveloppes de floppy disks informatiques pour le design de la pochette du single Blue Monday, dont, selon la lgende, les cots de fabrication savreront si levs que Factory perdra de largent sur chacune de ses ventes Collaborant avec dautres labels et dautres groupes entre autres Roxy Music, Orchestral Manuvres in the Dark, et plus tard Pulp, Suede ou Monaco il fonde sa propre agence de graphisme, Peter Saville Associates ; dans les annes 1990, il commence travailler dans les domaines de la mode et de la communication, ses crations pour Factory Records simposant comme une des rfrences incontournables dune nouvelle gnration de stylistes, de designers et dartistes en gnral. Son travail a ainsi t prsent au Design Museum de Londres en 2003 et au Migros Museum de Zurich en 2005.
[ m lesjeudisde lamarqUenoire ] [ e ] m British graphic designer. Peter

ing atypical music, mixing electronica, hip-hop and psychedelism, Satanicpornocultshop is as unpredictable as its name might lead us to predict. Satanicpornocultshop tends more to be a collection of not always necessarily compatible disparate universes which end by overlapping some way or other. Its a very schizophrenic group, says one its members, Ugh. Between 1998 and 2000, the group which comes from Osaka was a duo; they recorded three albums on their own label NuNuLaxNulan: Nirvana or Lunch? (1998), Belle Excentrique (2000), Baltimore 72 (1999)their third album had the peculiarity of being issued before the second one. After the death of one of its two founders, Satanicpornocultshop gradually swelled until today it consists of some half dozen members. It became known for its grotesque and poetic stage performances, and issued four new records: Ugh Yoing (NuNuLaxNulan, 2002), Anorexia Gas Balloon (Sonore, 2004), Zap Meemees (Sonore, 2005) and finally Orochi Under The Straight-Edge Leaves (Vivo, 2005). Laying claim to the [ m bricolage] beloved of Claude Lvi-Strauss as a method of musical creation and as a link to a world already saturated with sounds, records, noises and signs, Satanicpornocultshop practices the art of the [ m cut-up] , iconoclastic remix and morphing by taking and

Tennessee (tats-Unis). Pote et musicien, ses lecturesperformances sont une rsurgence hardcore du spoken word amricain, se situant quelque part entre les figures respectives de [ m lydia lunch] , [ m JohnGiorno] et Henri Rollins. Ses interventions vocales accompagnes de vidos sont ce quil appelle des Stand-Up Tragedy : l o les comiques essaient de faire rire, Saunders tente au contraire dmouvoir. Explorateur de la tragdie humaine, il passe le mal amricain au scalpel en dvoilant ses aspects les plus cachs, cherchant le montrer publiquement et le rendre socialement acceptable. (United States). A poet and musician, his readings/performances are a hardcore resurgence of the American spoken word, lying somewhere between [ m lydialunch] , [ m JohnGiorno] and Henri Rollins. His vocal interventions accompanied by videos are what he calls Stand-Up Tragedy: where comedians try to make people laugh, Saunders tries on the contrary to appeal to their emotions. An explorer of human tragedy, he puts the American sickness under the scalpel, unveiling its most hidden aspects, trying to show it publicly and make it socially acceptable. [ m lesjeudisdeTHeTHirdmind]
[ m 1969]

m Joydivision, Unknown Pleasures, 1979 (pochette / sleeve : Peter Saville)

saville, peter [ f ] m Gaphiste britannique.

[ m lesjeudisde THeTHirdmind ] [ m 1969] [ e ] m *199, lives in Johnson City, Tennessee

Peter Saville est encore tudiant en graphisme Manchester quand, inspir par lexemple de son ami Peter Garrett qui travaille dj pour les Buzzcocks, il entre en contact avec Tony Wilson et conoit ses premires affiches pour le club The Factory, o se produisent alors Joy Division, Cabaret Voltaire ou The Durutti Column. En 1978, il co-fonde avec Wilson et Alan Erasmus le label indpendant Factory Records, dont il cre lidentit visuelle et les pochettes de disque. Rompant avec lexpressivit punk, Saville met en place les codes visuels dune new wave autrement impersonnelle et volontiers postmoderne ; il privilgie le travail typographique, lpure graphique, une symbolique minimale, cherchant accompagner visuellement la musique plutt que de mettre en vedette les musiciens eux-mmes. La pochette du clbre premier LP de Joy Division Unknown Pleasures (1979) ne porte quun mince dessin technique sur fond noir, celle du Return of the Durutti Column (1980) est en papier meri ; a contrario, Saville emprunte Fantin-Latour le bouquet qui orne lalbum de New Order Power Corruption and Lies (1983). La mme anne, il reprend

Saville was still a student of graphic design at Manchester wheninspired by the example of his friend Peter Garrett who was already working for the Buzzcockshe contacted Tony Wilson and designed his first posters for The Factory, the club where Joy Division, Cabaret Voltaire or The Durutti Column were playing at the time. In 1978, together with Wilson and Alan Erasmus he co-founded the independent label Factory Records, creating its visual identity and designing the record sleeves. Breaking with punk expressiveness, Saville brought in the visual codes of a far more impersonal and deliberately post-modern new wave; he favored typographic work, full-scale graphic working drawings, and minimal symbolism, trying to provide a visual accompaniment to the music rather than featuring the musicians themselves. The sleeve of the famous first LP by Joy Division Unknown Pleasures (1979) has only a slender technical drawing on a black background, that of Return of the Durutti Column (1980) is made of emery paper; by way of contrast, Saville borrows the bouquet that adorns the album Power Corruption and Lies (1983) by New Order from Fantin-Latour. That same year he used precise cut-outs of the envelopes of computer floppy disks for the design of the sleeve of the single Blue Monday; legend has it that the production costs proved so high that Factory lost money on every one of its sales Collaborating with other labels and other groupsincluding Roxy Music, Orchestral Manoeuvres in the Dark, and later on Pulp, Suede or Monacohe

sch 184

SchNYDER

SEcoND liFE

sec 185

founded his own graphic design agency, Peter Saville Associates; in the 1990s he started working the fashion and communication fields, which his designs for Factory Records were accepted as one of the inescapable benchmarks by a new generation of stylists, designers and artists in general. Thus his work was exhibited at the Design Museum in London in 2003 and the Migros Museum in Zurich in 2005.

[ m lesjeudisde lamarqUenoire]

schnyder, jean-Frdric [ m 4 , fig. # 48 ] [ f ] m *1945, vit Zoug, Suisse.

Jouant des effets de kitsch et faisant rfrence lhistoire de lart comme diverses pratiques populaires, Jean-Frdric Schnyder construit un univers o le quotidien est sans cesse perturb avec un humour caustique. Ses uvres sculpturales ou picturales appartiennent toujours un contexte social et historique dont elles perturbent les attentes de manire plus ou moins virtuose ou bricole. Dans Wartesle [Salles dattente], une srie de quatre-vingt-douze peintures, JeanFrdric Schnyder suspend toute temporalit. Dans le retrait des gares ferroviaires suisses, ces lieux de passage que sont les salles dattente sont vids de toute prsence, comme une absence qui viendrait habiter le mdium mme de la peinture. [ m THeTHirdmind] [ e ] m *1945, lives in Zoug, Switzerland. Playing with the effects of kitsch and referring to the history of art and various popular practices, Jean-Frdric Schnyder constructs a universe in which the everyday is incessantly disturbed with a caustic humour. His sculptural and pictorial works always belong to a social and historical context, but disconcert our expectations in a more or less virtuoso or improvised way. In Wartesle [Waiting-rooms], a series of 92 paintings, Jean-Frdric Schnyder suspends all temporality. Hidden away in Swiss railway stations, the places of transit that waitingrooms represent are emptied of any presence, like an absence that might come and inhabit the medium of painting itself. [ m THeTHird
mind ]

octobre 195, Paddy Roy Bates et ses associs arrachrent littralement cette forteresse des squatters afin dy implanter une station de radio mettant vers lAngleterre. Le 2 septembre 197, les nouveaux occupants hissrent leur propre drapeau pour dclarer la naissance du Sealand. La flotte britannique ayant vainement tent de reprendre possession de la forteresse, la justice estima que lle, situe en-dehors des eaux territoriales britanniques, chappait au contrle de la Grande-Bretagne. Le Sealand est une monarchie constitutionnelle, rgie par le mme droit que le Royaume-Uni. Il est principalement habit par la famille Bates et ses associs. [ m TaTs(FaiTes-leVoUs-mme)] [ e ] m A 50 sqm artificial island seven miles off the coast of Essex. After WWII, part of a fleet of sea-forts designed by Guy Maunsell was decommissioned. In October of 195, Patty Roy Bates and his associates physically took control of the fort from squatters for the purpose of broadcasting radio to the mainland. On September 2, 197, they hoisted their own flag to declare the existence of Sealand. After the British Royal Navy unsuccessfully attempted to regain control of the fort, a judge ruled Sealand outside a 3 mile territorial limit of Great Britain, and hence beyond its control. Sealand, like the UK, is a constitutional monarchy following similar law and is mainly populated by the Bates family and associates.
[ m TaTs(FaiTes-leVoUs-mme) ]
second liFe [ f ] m Cr en 2003

sealand (principaut de)

Principality of Sealand [ f ] m le artificielle de 50 km2 au large des ctes de lEssex. Cette plate-forme, qui faisait partie dune vritable flotte de forteresses marines conues par Guy Maunsell, fut dmilitarise la fin de la Seconde Guerre mondiale. En

par la socit californienne Linden Lab, Second Life est un systme de jeu en ligne qui constitue le monde virtuel le plus dvelopp ce jour, fort de plusieurs millions de rsidents . Simulant le rel avec des pixels, Second Life propose simplement au joueur de mener lexistence virtuelle quil veut, sans rgles prtablies, dans un monde qui reproduit assez prcisment les conditions de vie que connaissent les habitants des pays industrialiss de lre du capitalisme tardif. Dune certaine manire, Second Life relve dun systme dj prouv, le jeu en ligne massivement multijoueur ou MMPOG (Massive Multi Player Online Game), jeu vido qui permet plusieurs utilisateurs, moyennant un abonnement, de jouer ensemble, ou les uns contre les autres, par le biais dInternet. Les MMPOG se prsentent comme des mondes ouverts, aux potentialits infinies, o il est nest pas uniquement question de remplir

des missions et de vaincre des ennemis, mais aussi de rencontrer et de communiquer entre joueurs. Chaque participant apparat ainsi dans lunivers virtuel sous les traits dun personnage en trois dimensions, lavatar, aux caractristiques qui peuvent tre dfinies, et dont le comportement social est pris en charge par le biais de fentres de dialogue ou de chat intgrs. Les dclinaisons online de jeux de rle et de stratgie heroic fantasy comme World of Warcraft ou EverQuest ont trs vite connu un fort succs grce linteractivit du systme, et la reprsentation raliste des mondes imaginaires quil permet. Par contraste, Second Life est avant tout une simulation de la vie de tous les jours, incitant ses rsidents envisager leurs activits dans le prolongement ou le dpassement de celle-ci, et non en termes de jeu de rle au sens le plus fort du terme. Sur Second Life, on se fait des amis, on travaille, on consomme, on voyage, etc. Rien dextraordinaire a priori, mme sil est possible davoir comme avatar un animal ( [ m Furries] ), un vampire, un esclave ou un enfant cela noblige pas le joueur un comportement spcifique. La plupart des rsidents utilisent dailleurs Second Life comme un espace de sociabilit normal , pour des rencontres qui peuvent trouver un prolongement dans la vie relle. Le principal attrait de cette seconde vie est nanmoins de ne pas connatre toutes les limites de la premire : la mort nexiste pas, la tlportation et le vol sont des moyens de dplacement efficaces, et toutes les exubrances physiques et comportementales sont possibles si tant est que lon soit capable de les transcrire laide dun clavier et de scripts. Le succs rapide de Second Life sexplique ainsi par la simplicit de son interface et ltendue des possibilits offertes ses utilisateurs, dautant quen choisissant de rendre publics ses codes sources, Linden Lab permet aux programmeurs de participer au dveloppement du systme et aux rsidents de personnaliser leur environnement de jeu ; chacun peut alors concevoir de petits programmes informatiques pour dessiner des objets virtuels, construire des maisons et des les, ou encore doter son avatar de nouvelles facults. Les pitres informaticiens peuvent sacheter de tels supplments sur Second Life, en utilisant la devise qui y a cours, le Linden Dollar, convertible en dollar amricain. Les multiples convergences virtuel / rel mises en place dans Second Life sur un plan tant conomique que social ou relationnel

m Jean-Fredericschnyder, Wartesle, 1988-1990

m Second Life

sec 18

SEcoND liFE

chtEAu DE tokYo, htEl EvERlAND, mEDio DA mEDiA NochE

suscitent lintrt grandissant dentreprises et dinstitutions. Nombreuses sont celles qui y ont ouvert des succursales et organis des vnements online : des marques y testent leurs produits (American Apparel, Toyota), des partis politiques y installent des permanences (linauguration de celui du Front National a mme t loccasion dune meute en ligne), certains pays y ont mme une ambassade (les Maldives, la Sude). Sous cette impulsion, Second Life a tendance retrouver les fonctions dun site web classique , faisant office de relais entre un consommateur et un produit, de lieu de rencontre entre un public et un artiste, dagence matrimoniale ou de site communautaire. Sa diffrence rside alors seulement dans la convivialit dune interface vcue : au lieu de cliquer sur un catalogue en ligne, linternaute rsident de Second Life peut se rendre dans une choppe virtuelle pour acheter larticle dont il a besoin dans le monde rel. loppos de lexploration de cette Nouvelle frontire conomique, la libert daction offerte par la sociabilit virtuelle commence susciter rprobation et panique. Les murs dviantes de communauts en ligne ([ m Gorens] ) effraient comme si elles taient bien relles, laccs de mineurs au site, malgr son interdiction aux moins de 18 ans, a provoqu des menaces de procs ; la possibilit quont les utilisateurs de Second Life de senrichir grce leurs crations virtuelles parat une aberration conomique sans prcdent, dautant que des hackers ont pu pour leur part vendre des contrefaons tout aussi virtuelles de produits. Commence ds lors se poser la question de la ncessit dinstaurer un vritable systme de gouvernement dans Second Life lheure actuelle, Linden Lab se contente de bannir du site les utilisateurs les plus problmatiques, et trs occasionnellement disoler les avatars indlicats dans une prison aux allures de vaste champ de bl Structur par une suite de ddoublements et de redoublements du monde rel, Second Life oscille entre son dcalque gentiment fantaisiste et son inversion fantasmatique, selon ses rsidents et leurs dsirs. Et sil subsiste encore en ligne des traces de lutopie new age dune seconde vie autrement tolrante linterface de cration des avatars les fait natre sur une le dserte, sinitier au langage avec un perroquet, avant de senvoler vers les territoires du jeu lui-mme , le spectre cyberpunk dun monde virtuel infiltrant et envahissant le

rel hante dsormais les deux univers.

[ m Kinoshita,Kaori&dellanegra,alain] [ m vanglistes] [ m ,noUVellesdUmonde renVers ] [ m micronation]

[ e ] m Second Life, which was created in 2003 by

# 58 #75

the Californian company Linden Lab, is an online games system which constitutes the most highly developed virtual world so far, boasting several million residents. Simulating reality with pixels, Second Life simply offers players the option of leading the virtual existence of their choice, with no preset rules, in a world that fairly accurately reproduces the conditions of life familiar to the inhabitants of industrialized countries in the late capitalist era. In a way Second Life is an offshoot of an already proven system, the MMPOG (Massive Multi Player Online Game), a video game enabling several users who have paid a subscription to play together, one lot against another, via the Internet. MMPOGs present themselves as open worlds, with infinite possibilities, where it is not just a question of fulfilling missions and conquering enemies, but of players meeting and communicating among themselves as well. Every participant appears in the virtual universe with the features of a three-dimensional person, the avatar, with characteristics that can be defined, and its social behavior is controlled through integrated dialogue or chat windows. The online versions of role-play and heroic fantasy strategy games like World of Warcraft or EverQuest very quickly experienced a high level of success thanks to the interactivity of the system, and the realistic representation of imaginary worlds that system allows. By way of contrast, Second Life is first and foremost a simulation of everyday life, encouraging its residents to envisage their activities as extending it or going beyond it, and not in terms of role play in the strongest meaning of that term. On Second Life, you make friends, you work, you eat and drink, you travel, etc. On the face of it nothing extraordinary, even if it is possible to have an animal ( [ m Furries] ), a vampire, a slave or a child as your avatarwhich does not oblige the player to behave in a specific way. Moreover, the majority of the residents use Second Life as a normal sociable space, for meetings that may be extended into real life. The main attraction of this second life is nonetheless that it does not have all the limitations of first life: death does not exist, teletransportation and flight are effective means of travel, and every physical or behavioral exuberance is possible

5 # 58

chteau de tokyo

chteau de tokyo

5 # 60

# 59

#58 [ m ZilvinasKempinas] Flying Tape, 2006 #59 [ m JoachimKoester] One + One + One, 2005 #60 [ m AmyGranat] Chemical Scratch, 2006

5 # 61 # 62

chteau de tokyo

chteau de tokyo

5 # 63

# 61, # 62 [ m DavidNoonan] Owl, 2004 ; Field, 2005 #63 [ m FabienGiraud] & [ m RaphalSiboni] Friendly

Fire, 2006

5 # 64

chteau de tokyo

chteau de tokyo

5 # 65

#64 [m Dewar&Gicquel] Big Bertha, 2006 ; [m MichelBlazy] Sculptcure (par #65 [m RenaudAuguste-Dormeuil] Glorious #4a, 2004 ; Glorious #4b, 2004

Jean-Luc Blanc), 2003 2007

5 # 66

hteL eVeRLaNd

[ m Lang / Baumann] Vues de lHtel Everland au Palais de Tokyo /

Views of the Hotel Everland at the Palais de Tokyo

5 # 67

hteL eVeRLaNd

hteL eVeRLaNd

5 # 68

# 69

# 67, # 68, # 69 [ m Lang / Baumann]

Vues de lHtel Everland au Palais de Tokyo / Views of the Hotel Everland at the Palais de Tokyo

5 # 70

Medio da Media Noche

Medio da Media Noche

5 # 71

# 72

Entre de lexposition Medio da Media Noche / Entrance of the exhibition Medio da Media Noche (Centro Cultural Recoleta, Buenos Aires) # 71 Fischli & Weiss Bsi, 2001 ; [ m TatianaTrouv] Sans titre, 2007 # 72 FabriceGygi Tribune, 1996
# 70

5 # 73

Medio da Media Noche

Medio da Media Noche

5 # 74

# 73 PhilippeParreno AC/DC Snakes, 1995 ; MathieuMercier Sans titre, 20032007 ; JohnArmleder Sans titre, 1993 ; LucioFontana Concetto spaziale, 1951 ; [ m PhilippeDecrauzat] After DM Explosed, 2007 # 74 MathieuMercier Bricomobile, 1998

5 # 75

Medio da Media Noche

ModuLes

#76 # 95

# 75 BrunoPeinado

Vanity flight case , 2005

6 # 76

modules

modules

6 # 77

# 78

# 76 [ m GhostRider] A Day in Paris (Ghost Rider Goes Crazy in Europe), 2004 # 77 [ m FabienGiraud] Sans titre (Rodage), 2006 # 78 [ m RaphalSiboni] Kant Tuning Club, bande annonce, 2006

6 # 79

modules

modules

6 # 82

# 81

# 80

# # # #

79 80 81 82

[ m KokiTanaka] Setting Up and Taking Down, 2007 [ m StphaneVigny] Clapiers tuning, 2005 [ m VirginieYassef] Fantmes. Parachutes. Dragons. Projectiles, 2004 [ m UllavonBrandenburg] Around, 2005

6 # 83

modules

modules

6 # 85

# 84

# 86

# # # #

83 84 85 86

[ m Jean-MarcChapoulie] TDF06, Chant I, 2006 [ m AdrianaGarciaGalan] Programme de gouvernement, 2007 [ m DavidAncelin] Avis de grand frais, 2006 [ m &nbsp] LIceberg, 2007

6 # 87

modules

modules

6 # 89

# 88

# 87 [ m BernadetteGene&AlainLeBorgne] Couvre-chefs, 2002-2007 # 88 [ m Lucas&JasonAjemian] From Beyond, 2006 # 89 [ m CamilleHenrot] King Kong Addition, 2006

6 # 90

modules

modules

6 # 93

# 92

# 91

Fortified Nigerian Sugars, weakened by second rainy season and overseas transportation, 2006/2007 ; European Benchmark, 2006 /2007 # 91 [ m LucasLenglet] Inaccessibilit et connecteurs hirarchiques, 2007 # 92 [ m ClaireFontaine] Get Lost, 2007 # 93 [ m FrdricPradeau] Local technique, 2007
# 90 [ m LonnievanBrummelen&SiebrendeHaan]

6
# 94

moDulES

SEcoNDE uNE ANNE (uNE)

sec 187

# 94

# 94 [ m Pavillon,session2006-2007] Versus, 2007 # 95 [ m oscarTuazon] Where I lived, and what I lived

for, 2007

provided you are capable of conveying it with the help of a keyboard and scripts. The rapid success of Second Life can thus be explained by the simplicity of its interface and the range of possibilities it offers its users, especially as by opting to make its source codes public, Linden Lab enables programmers to participate in the development of the system and residents to personalize their playing environment; so everyone can devise little IT programs to design virtual objects, build houses and islands, or even endow their avatar with new faculties. Those with poor IT skills can buy themselves such supplements on Second Life, by using the currency which is legal tender there, the Linden Dollar, which can be converted into US dollars. The multiple virtual / real convergences set up in Second Life at both the economic and social or relational level are attracting the growing interest of businesses and institutions. A great many of them have opened online branches and organized online events: brands try out their products there (American Apparel, Toyota), political parties place headquarters on it (the opening of the National FrontFrench Far right political partyheadquarters even prompted an online riot), some countries even have an embassy there (the Maldives, Sweden). Driven by that impetus, Second Life tends to revert to the functions of a traditional website, serving as a buffer between a consumer and a product, a meeting-place between an artist and his public, a marriage bureau or a community site. So its difference lies solely in the user-friendliness of a lived interface: instead of clicking on an online catalogue, the surfer residing in Second Life can go to a virtual shop to buy the article he needs in the real world. As against the exploration of this economic New Frontier, the freedom of action afforded by the virtual sociability is beginning to give rise to disapproval and panic. The deviant morals of online communities (Goreans [ m Gorens] ) frighten people as if they were quite real, and access to the site by minors, despite access being prohibited to under-18s, has led to threats of legal action; the possibility Second Life users have to enrich themselves by means of their virtual creations seems to be an unprecedented economic aberration, all the more so as hackers for their part have been able to sell counterfeits of such products that are just as virtual. So questions are beginning to be asked about the need to install a real

system of government in Second Lifecurrently Linden Lab is going no further than banishing the most problematic users from the site, and very occasionally isolating indiscreet avatars in a prison that looks like a huge wheat field. Structured by a sequence of duplications and reduplications of the real world, Second Life oscillates between its pleasantly fanciful transfer image and its phantasmal inversion, depending on its residents and their wishes. And while there are still traces of the New Age utopia of a far more tolerant second life surviving on linethe interface for creating avatars gives birth to them on a desert island, they are initiated to language with a parrot, before flying off towards the territories of the game itself, the cyberpunk specter of a virtual world infiltrating and invading the real one now haunts both universes. [ m Kinoshita,Kaori&dellanegra,alain]
[ m vanglistes] [ m ,noUVellesdUmonde
renVers ] [ m micronation]

seconde une anne (une)

ONE SECOND ONE YEAR [ m 1 , fig. # 07 # 09 ] [ f ] m Exposition 14/09/200 31/12/200. Pr-

sentant des uvres qui sactivent de manire totalement alatoire, uNE SEcoNDE uNE ANNE a propos un rapport toujours en attente ou en acclr avec des uvres dont rien ne permettait de dterminer par avance le moment de leur activation. Jouant dun effet de suspense et flirtant avec la frustration, uNE SEcoNDE uNE ANNE tait une exposition en perptuelle oscillation. Ainsi, certaines pices devenaient visibles plusieurs fois par jour, certaines ne sactivant quune seule fois, comme par exemple la clbre pice d[ m alighieroeBoetti] : une bote contenant une ampoule qui ne sallume quune fois par an.
[ m Cinq milliardsdannes ] [ m alatoire] [ e ] m Exhibition 14/09/200 31/12/200. Fea-

turing works that are randomly activated, oNE SEcoND oNE YEAR was an exhibition put on pause or in fast-forward. It was impossible to determine the exact moment any of the pieces might (or might not) take place. oNE SEcoND oNE YEAR created an experience of suspense, and perhaps of frustration, endlessly moving back and forth between the two. Some pieces would become visible several times a day while others only once, such as the famous work by [ m alighieroeBoetti] , a box containing a light bulb that only lights up once a year.
[ m Cinq milliardsdannes ] [ m alatoire]

sib 188

SiBoNi

SmithSoN

smi 189

m Liste des uvres / List of works [ m alighieroeBoetti]

Lampada annuale, 19 Courtesy 1000eventi, Milan

[ m FranoisCurlet]

uf de voiture, 2003 Collection FRAC Languedoc-Roussillon, Montpellier

[ m laraFavaretto]

Twistle, 2003 Courtesy Galleria Franco Noero, Turin

[ m GrahamGussin]

Fall (7200-1), 1997 Courtesy Lisson Gallery, Londres

[ m leopoldKessler]

Distributeur de boissons, 200 Courtesy de lartiste / of the artist

[ m KristofKintera]

Revolution, 2005 Courtesy galerie Schleicher+Lange, Paris

[ m Jonathanmonk]

Big Ben, 2002 Courtesy Lisson Gallery, Londres

[ m Fernandoortega]

Fly Electrocutor, 2003 Courtesy Kurimanzutto Gallery, Mexico City

[ m Wernerreiterer]

Breath, 200 Courtesy galerie Herv Loevenbruck, Paris & galerie Ursula Krinzinger, Vienne / Vienna
[ m romansigner]

Valise, 200 Courtesy Art : Concept, Paris

[ m KrisVleeschouwer]

Glassworks II, 200 Courtesy Annie Gentils Gallery, Anvers / Antwerpen

siboni, raphal [ m 5 , fig. # 3 ; 6 , fig. # 78 ] [ f ] m *1981, vit Paris. Le

tographique et tuning. Dun lment lautre, Raphal Siboni joue avec des effets dannonce, crant un univers irrsolu, suspendu sa propre interrogation. Comment construire un objet sculptural de la mme manire que lon labore un scnario ? O commence la fiction ? Autant de questions ouvertes esquisses par lartiste Raphal Siboni sous la forme dun film venir. [ e ] m *1981, lives in Paris The work of Raphal Siboni lies at the intersection of two disciplines: sculpture and fiction. Raphal Siboni develops the use of video in a way that questions the links that can exist between cinema and the visual arts. His video work is slanted towards fictional short features and the world of low-budget movies, while he extends his working processes by designing objects that precede the films. [ m modUle ] 02/11/200 23/11/200. Kant Tuning Club. A dark room, a car covered with black feathers, a movie trailer... The Kant Tuning Club is a sculptural installation, a cinematic decor, and a customized car, all at once. With each of these elements, the artist Raphal Siboni creates an unresolved universe by announcing only its own suspended selfinterrogation. How to build a sculptural object in the same way one would write a script? Where does fiction begin? These are some of the open questions raised by Sibonis sculpture and movie trailer. m uvre / Work Kant Tuning Club, bande annonce, 200 DVCAM, 2 min. 30 sec. Courtesy de lartiste / of the artist & ENSBA (Paris)
signer, roman [ m 1 , fig. # 07, # 08 ] [ f ] m *1938, vit Saint-Gall.

the processes of destruction and of causeand-effect, the artist reinterprets scientific experimentation methods and drives logical challenges into a corner. In oNE SEcoND oNE YEAR [ m UneseCondeUneanne ] , Signer contributed a suitcase that would mysteriously explode at some point. New York. Jeune peintre bas New York, Josh Smith na peint quune chose pendant plusieurs annes : son nom. Produisant une norme quantit de toiles, il multiplie cet indice et ce symbole de son individualit jusqu lpuisement total. travers laccumulation, la photocopie bcle et la peinture, son travail suggre que ni loriginal ni la copie ne peuvent exister : le premier est noy dans une conomie post-fordiste de dispersion, le deuxime est compromis par la diffrence, lerreur ou la main humaine. La distinction des deux est lhorizon de son travail, qui ouvre de nouvelles possibilits pour la peinture, la question du nouveau et la position de lartiste dans le rseau historique, conomique et politique de lart. [ m THeTHirdmind] [ e ] m *197, lives in New York. Josh Smith, a young painter based in New York, painted only one thing for several years: his name. Producing an enormous quantity of pictures, he multiplied this indicator and symbol of his individuality to the point of total exhaustion. By means of accumulation, bad photocopies and painting, his work suggests that neither the original nor the copy can exist: the former is drowned in a post-Fordist economy of dispersion, the second is compromised by difference, error or human intervention. The distinction between the two is at the horizon of his work which opens up new possibilities for painting, the question of the new and the artists position in the historical, economic and political network of art. [ m THeTHirdmind]
smith, josh [ f ] m *197, vit

travail de Raphal Siboni se dtermine au carrefour de deux disciplines : la sculpture et la fiction. Raphal Siboni labore une pratique de la vido questionnant les rapports que peuvent entretenir cinma et arts plastiques. Son travail vido soriente vers le court-mtrage de fiction et lunivers de la srie B, tout en prolongeant sa dmarche par la conception dobjets en amont des films. [ m modUle ] 02/11/200 23/11/200. Kant Tuning Club. Une salle obscure, une voiture recouverte de plumes noires, une bande-annonce de film... Le Kant Tuning Club oscille entre installation sculpturale, dcor cinma-

Les Actions Sculptures de Roman Signer sont autant dinterrogations esthtiques et dactions exprimentales. Fascin par les processus de destruction et la redistribution du rapport de cause effet, lartiste rinterprte les mthodes dexprimentations scientifiques et fait de lart un challenge logique quil pousse derrire ses retranchements. Dans [ m UneseCondeUneanne] , Roman Signer a prsent une valise destine exploser mystrieusement un moment dtermin lavance. [ e ] m *1938, lives in St. Gallen. Roman Signers Action-Sculptures are aesthetic investigations and experimental performances. Fascinated by

m robertsmithson, Rundown, 1994 (film de / by Jane Crawford & Robert Fiore)

Smithson est lun des chefs de file du Land Art. Replaant luvre lchelle du paysage et djouant les contraintes institutionnelles, Robert Smithson produit des uvres qui dfient toute mesure et remettent en cause les moyens classiquement utiliss pour la dfinir (outils de production, lieu dexposition, etc.). Lexemple fameux de la Spirale Jetty (1970), immense jete ayant ncessit lexcavation de plus de 000 tonnes de terre, transforme le paysage autant quelle subit les assauts de la nature. Larticulation de son travail autour de la distinction site/non site vient bouleverser le rapport de luvre son lieu autant que celui du spectateur lart. Trois uvres de Smithson furent prsentes dans [ m BeFore(PlUsoUmoins)] . Rundown (199), ralis par Jane Crawford et Bob Fiori, documente luvre entropique de Robert Smithson : une benne dverse une coule dasphalte du haut dune colline Rome. Swamp (199), film ralis en collaboration avec Nancy Holt, autre grande figure du Land Art et compagne de Robert Smithson, documente la marche dans un marais de Nancy Holt, guide par la voix enregistre de Robert Smithson et limite dans sa vision au seul objectif de la camra. Fut galement prsente Mirror Vortex (194), une pice sculpturale aux perspectives kalidoscopiques. [ e ] m 1938 1973. Robert Smithson is one of the leading figures in Land Art. Relocating the work at the scale of landscape and discarding institutional constraints, Smithson produced works that defy measurement and challenge the means traditionally used to define the work of art (tools used to produce it, where it is exhibited, etc.). The famous example Spiral Jetty (1970), a huge jetty that required the excavation of more than 000 tons of earth, transforms the landscape just as it endures the assaults of nature. The structuring of his work around the distinction between site/non site overturns the relationship of the work to its location, as well as that of the spectator to art. Three works by Smithson were presented in [ m BeFore(PlUsoUmoins) ] . Filmed by Jane Crawford and Bob Fiori, Rundown (199) documents Smithsons entropic work: a dumper truck pours a stream of asphalt from the top of a hill in Rome. Swamp (199) which was made in collaboration with Nancy Holt, another major figure in Land Art and Smithsons partner in life follows the progress of Nancy Holt walking

smithson, robert [ f ] m 1938 1973. Robert

spe 190

SPEEch Act #1

StEvEN PARRiNo RtRoSPEctivE 1981 2004

ste 191

across a swamp, guided by Smithsons recorded voice, seeing only what is in the cameras viewfinder. In addition to those two films, was also featured Mirror Vortex (194), a sculptural piece that creates kaleidoscopic views.
speech act #1, le peyotl [ f ] m Confrence-performance cocrite

par Olivier Babin et Wikipedia, dite en public et dans la pnombre par la voix franaise du logiciel de text-to-speech Speechissimo. Wikipedia, spoken in public in semi-darkness by the French voice of the text-to-speech software Speechissimo. [ m Hallucinognes(chimie
des)] [ m Peyotl]

[ m Hallucinognes(chimiedes)] [ m Peyotl] [ e ] m A lecture co-written by Olivier Babin and

m Sance de spiritisme / Spiritualism session ( Fritzlang, Doktor Mabuse der Spieler, 1922)
spiritisme

Spiritualism [ f ] m Science occulte [ m occultisme] dont le principe est de provoquer, par lintermdiaire dun mdium, individu aux capacits parapsychiques particulires, la manifestation des esprits et de dialoguer avec eux des fins souvent divinatoires, le spiritisme connat son plein essor au milieu du XIXe sicle. Le terme est forg par Allan Kardec, qui publie en 1857 Le Livre des esprits contenant les principes de la doctrine spirite sur limmortalit de lme, la nature des esprits et leurs rapports avec les hommes, les lois morales, la vie prsente, la vie future et lavenir de lhumanit, qui tablit tout un corps de pense spiritualiste, affirmant limmortalit de lesprit et sa rincarnation, lexistence dune cause premire tout et dune intelligence suprme, et la prsence de la vie sur dautres plantes que la Terre. Le spiritisme trouve son origine aux tats-Unis, la fin des annes 1840, avec lextraordinaire engouement public suscit par deux jeunes mdiums, les surs Margaret et Kate Fox, entres en communication par un systme de

coups frapps avec les esprits dune ferme hante de ltat de New York. Une quasi-religion spiritualiste prend son essor, travers revues, runions publiques et rvlations de talents mdiumniques. Lenthousiasme pour les tables tournantes traverse bientt lAtlantique, et trouvera dans Victor Hugo, alors en exil Guernesey, un de ses plus fervents adeptes. Initi lart spirite par Delphine de Girardin, il est boulevers par une sance au cours de laquelle semble se manifester sa dfunte fille Lopoldine, le 11 septembre 1853 ; pendant plus dun an, Hugo invoquera, avec le cercle de ses proches, les esprits de Chateaubriand, Napolon ou Dante, et composera sous leur dicte plusieurs dessins ainsi que le pome Ce que dit la bouche dombre. Religion laque paradoxale dans un sicle de rvolutions, pense irrationnelle marque par le romantisme noir et les anciens mythes ractualiss par la littrature gothique et fantastique, le spiritisme tient aussi de doctrines scientifiques de la fin du XVIIIe sicle mettant laccent sur limportance des fluides et des nergies censes lier le corps et lesprit humain : le magntisme de Franz Anton Mesmer, les thories de llectricit animale de Luigi Galvani. Se heurtant lessor du positivisme et de la rationalit scientifique, le spiritisme ne perd pas de sa popularit avec lesprit fin de sicle, et ce dautant quIl suscite dsormais la curiosit des cliniciens, psychiatres et psychologues : JeanMartin Charcot sintresse aux dmoniaques , tudie le somnambulisme et la catalepsie, rhabilite lhypnose laquelle Sigmund Freud a bientt recours. [ m mllerCatherine-lise]
[ m lournoyThodore] [ m ncromancie] [ m indeslaPlantemars(des)] [ m Kunz,emma] [ e ] m An occult [ m occultisme ] science based on

the principle of conjuring up spirits through the agency of a medium, a person with special parapsychic powers, and carrying on a dialogue with them, often for divinatory purposes, spiritualism was at its height in the mid-19th century. The term was forged by Allan Kardec, who in 1857 published Le Livre des espritscontenant les principes de la doctrine spirite sur limmortalit de lme, la nature des esprits et leurs rapports avec les hommes, les lois morales, la vie prsente, la vie future et lavenir de lhumanit, which established a whole body of spiritualist thought, asserting the immortality and reincarnation of the spirit, the existence of a primary cause of everything and of a supreme intelligence, and the presence

of life on planets other than Earth. Spiritualism originated in the United States in the late 1840s, with the extraordinary public infatuation aroused by two young mediums, the sisters Margaret and Kate Fox, who entered into communication with the spirits on a haunted farm in New York state through a system of tapping. A spiritualist quasi-religion took off, through magazines, public meetings and revelations of mediumistic talents. The craze for table-turning soon crossed the Atlantic, and found one of its most fervent supporters in Victor Hugo, in exile in Guernsey at the time. Initiated to spiritualism by Delphine de Girardin, he was overwhelmed by a sance in the course of which his dead daughter Lopoldine seemed to make contact, on 11 September 1853; for more than a year Hugo together with his close friends and family would invoke the spirits of Chateaubriand, Napoleon or Dante, and he composed several drawings following their instructions, as well as the poem Ce que dit la bouche dombre. A paradoxical secular religion in a century of revolutions, irrational thought marked by the black romanticism and ancient myths given new actuality by Gothic or fantastic literature, spiritualism was also influenced by late 18thcentury scientific doctrines, which stressed the importance of the fluids and energies thought to bind the human body and spirit: Franz Anton Mesmers magnetism, Luigi Galvanis theories of animal electricity. Spiritualism came up against the rise of positivism and scientific rationality, but did not lose its popularity with the fin de sicle attitude, especially as it then aroused the curiosity of clinicians, psychiatrists and psychologists: Jean-Martin Charcot was interested in people possessed by the devil, studied somnambulism and catalepsy, and rehabilitated hypnosis, which was soon afterwards taken up by Sigmund Freud.
[ m mllerCatherine-lise] [ m lournoyThodore] [ m ncromancie] [ m indeslaPlantemars (des)] [ m Kunz,emma]
stella, Frank [ m 3 , fig. # 39 ] [ f ] m *193, vit

les Irregular Polygon interrogent la forme de la toile, les Protractor Series insrent la courbe et larabesque, les Eccentric Polygon flirtent avec le relief, etc. Aujourdhui, le travail de Frank Stella se rapproche de la sculpture et de larchitecture. Prsent dans [ m BeFore(PlUsoUmoins)] , Mas o Menos (plus ou moins) (194) fait partie des Shaped Canvas (toiles mises en forme) ralises par Frank Stella partir du dbut des annes 190. Ces uvres se caractrisent par loriginalit de la forme de leurs chssis qui dtermine lorientation des motifs de lespace pictural, des bandes colores qui scandent la surface. Les bandes forment une srie de zigzags pris dans un mouvement dclinant, rappelant les courbes dun diagramme gomtrique. [ e ] m *193, lives in New York. Totally rejecting lyrical expressionism, Frank Stella made every effort to conceive painting in abstract terms, i.e. among other things by restructuring each of its constituent elements (the canvas, stretcher, colour, line, etc.). The Black Paintings (1958 195) anticipate minimal art, the Irregular Polygons question the shape of the canvas, the Protractor Series insert curves and arabesques, the Eccentric Polygons flirt with relief, etc. Stellas work today is closer to sculpture and architecture. Presented in [ m BeFore(PlUsoUmoins)] , Mas o Menos (More or less) (194) belongs to the Shaped Canvas series from the early 190s. These works are characterised by the originality of the shape of their stretchers which determines the orientation of the motifs on the pictorial space, coloured bands that give rhythm to the surface. The bands form a series of zigzags shown in a falling movement, reminiscent of the curves in a geometric diagram.
steven parrino rtrospective 1981 2004

STEVEN PARRINO RETROSPECTIVE 19812004 [ m 3 , fig. # 32 # 37 ]

[ f ] m Exposition personnelle de [ m steven Parrino] . 24/05/2007 2/08/2007. Rtrospec-

New York. Rejetant tout expressionnisme lyrique, Frank Stella sest attach concevoir la peinture abstraitement, cest--dire, entre autres, en r-articulant chacun de ses lments constitutifs (la toile, le chssis, la couleur, le trait, etc.). Les Black Paintings (1958195) anticipent lart minimal,

tive qui comportait prs dune centaine duvres rparties en trois espaces distincts. Tout dabord, une slection importante duvres figuratives des annes 1980 et du dbut des annes 1990 mettait en exergue la fascination de Parrino pour la surface infiniment glamour, volontairement bte et mchante, de la contreculture amricaine. La partie centrale de la rtrospective sinspirait des grandes expositions de peintures ralises par lartiste tout

ste 192

StEvEN PARRiNo RtRoSPEctivE 1981 2004

StuRtEvANt

stu 193

au long de sa carrire, et runissait nombre de ses toiles les plus emblmatiques, tel que Slow Rot (1988), un tableau peint avec de lhuile de vidange, ou Stockade (1989), qui prend la forme dun pilori. Enfin, tait prsent un choix des dernires uvres de Parrino, o sinstalle un dialogue avec la figure de Smithson, nourri de science fiction apocalyptique et de carnavalesque satanique. Commissaire invit : [ m Fabricestroun] , Conservateur associ, Mamco, Genve
[ m lamarqUenoire ] [ e ] m Solo exhibition of [ m stevenParrino] .

24/05/2007 2/08/2007. A retrospective

which gathered about one hundred works shown in three distinct spaces. First, a selection of early painting and works on paper brought to the fore Parrinos fascination with the dumb and glamorous surface of Americas counterculture. The central part of the retrospective took its cue from the large painting exhibitions that Parrino staged throughout his career. It includes many of the artists most emblematic works, such as Slow Rot (1988) a painting doused in motor oil and Stockade (1989) an abstract shaped canvas that mimics the structure of the eponymous public torture instrument. Finally, a selection of recent works highlighted Parrinos dialogue with the figure of Smithson, and included models for yet unrealized large-scale sci-fi inspired earthworks such as Study for a model of the Universe to be placed in the Forbidden Zone (2003). Guest curator: [ m Fabricestroun] , associate curator, Mamco, Geneva
[ m lamarqUenoire ] m Liste des uvres / List of works

Romulus & Remus, 2004 Collection de la famille Parrino / collection of the Parrino family, Gagosian Gallery, New York Study for a Model of the Universe To Be Placed in the Forbidden Zone, 2003 Collection de la famille Parrino / collection of the Parrino family, Gagosian Gallery, New York Trashed Black Box II, 2003 Collection de la famille Parrino / collection of the Parrino family, Gagosian Gallery, New York The Self Mutilation Bootleg 2 (The Open Grave) 1988-2003 Collection de la famille Parrino / collection of the Parrino family, Gagosian Gallery, New York Cyclotron, 2002 Collection de la famille Parrino / collection of the Parrino family, Gagosian Gallery, New York 13 Shuttered Panels for Joe Ramone, 2001

Collection de la famille Parrino / collection of the Parrino family, Gagosian Gallery, New York Caustic Pill, 2001 Collection Pangea, Genve / Geneva Skeletal Implosion, 2001 Collection de la famille Parrino / collection of the Parrino family, Gagosian Gallery, New York Exit / Dark Matter, 1998 -1999 Collection Pangea, Genve / Geneva Goo Goo Muck (The Theory of Painting), 1984 Collection Pangea, Genve / Geneva Dancing on Graves, 1999 Collection de la famille Parrino / collection of the Parrino family, Gagosian Gallery, New York Hells Gate Shifter, 1997 Collection MAMCO, Genve / Geneva Blob (Fuckheadbubblegum), 199 Collection Le Consortium, Dijon Repulsion Painting III, 1992 Collection Pierre Darier, Dpt MAMCO, Genve / Geneva Bent Painting, 1991 Collection de la famille Parrino / collection of the Parrino family, Gagosian Gallery, New York Bazooka, 1990 Collection Olivier Mosset, Dpot Muse des Beaux- Arts, La Chaux-de-Fond Lee Marvin / Marlon Brando, 1990 Collection Le Consortium, Dijon Sans titre, 1989 Collection particulire / private collection, Dpt MAMCO, Genve / Geneva Stockade: Existential Trap for Speed Freaks, 1988-1991 Collection de la famille Parrino / collection of the Parrino family, Gagosian Gallery, New York Sans titre, ca. 1988 Collection de la famille Parrino / collection of the Parrino family, Gagosian Gallery, New York Slow Rot, 1988 Collection Le Consortium, Dijon Crowbar, 1987 Collection Pierre Huber, Suisse / Switzerland Seduction, 1984 Collection de la famille Parrino / collection of the Parrino family, Gagosian Gallery, New York International Style, 1983 Collection de la famille Parrino / collection of the Parrino family, Gagosian Gallery, New York Disruption, 1981 Collection de la famille Parrino / collection of the Parrino family, Gagosian Gallery, New York 3 Units Aluminium Death Shifter, sans date / undated Collection de la famille Parrino / collection of

the Parrino family, Gagosian Gallery, New York [ m stevenParrino] (avec / with [ m amyGranat] & [ m larry7] ) Necropolis (The Lucifer Crank) for Anger Collection Amy Granat [ m stevenParrino] & [ m oliviermosset] 1968 ; 1989 ; Collection Olivier Mosset, Dpt Le Consortium, Dijon
stroun, Fabrice [ f ] m Conservateur associ,

Le strudel de Madame Wahler

~~~
[d] m

Mamco, Genve, Fabrice Stroun tait le commissaire invit de lexposition [ m sTeVenParrrinoreTrosPeCTiVe1981 2004 ] . [ e ] m An associate curator at Mamco, Geneva, Fabrice Stroun was the guest curator of the exhibition [ m sTeVenParrrinoreTrosPeCTiVe 1981 2004 ] .

Zutaten : (Fr 2 kleine Strudel) m Teig : 300 gr. Mehl 1 Prise Salz 8 Essl. lauwarmes Wasser 2 Essl. Essig 5 Essl. l 1 Ei m Fllung: 2 kg pfel 100 gr. Rosinen 100 gr. gehackte Haselnsse oder Mandeln 150 gr. Zucker 1 Essl. Zimt 100 gr. geschmolzene Butter 100 gr. Semmelbrsel Margarine zum Ausfetten Puderzucker Zubereitung: m Mehl mit dem Salz vermischen. In die Mitte, eine Mulde drcken. Wasser mit l, Essig und Ei verquirlen und hineingeben. Daraus einen geschmeidigen Teig kneten. 30 Minuten an einem warmen Platz ruhen lassen. m In der Zwischenzeit, die Fllung bereiten: pfel schlen, vierteln, entkernen und in feine Scheibchen schneiden. Mit Rosinen, Haselnssen oder Mandeln, Zucker und Zimt vermischen. Dann den Teig in zwei Teile teilen. m Den 1. Teil auf einem Kchentuch ausrollen. Rnder vorsichtig anheben und ber dem Handrcken dnn ausziehen. Mit etwas geschmolzener Butter bestreichen und der Hlfte der Semmelbrsel bestreuen. m Auf einer Seite mit der Hlfte der Fllung belegen. An den Enden einschlagen. Den Strudel durch Anheben des Tuches von einem Rand her aufrollen. Andrcken. Genauso den 2. Strudel bereiten. m Dann eine grosse rechteckige feuerfeste Form (oder Blech) gut einfetten. Beide Strudel nebeneinander hineinlegen mit der restlicher geschmolzener Butter bestreichen. In der vorgeheizten Backrhre bei guter Hitze 35-45 Minuten backen. Mit Puderzucker bestreuen. ~~~

invente lpoque de lEmpire des Habsbourg et typique de la cuisine autrichienne. [ m voir encadr p.193] [ e ] m A pastry originated in the Habsburg Empire and often associated with Austrian cuisine. [ m see box p. 193]
sturtevant [ m 3 , fig. # 39 ] [ f ] m *1930, vit

strudel [ f ] m Ptisserie

Paris et New York. Ayant bas sa pratique sur la reproduction fidle duvres clbres des quarante dernires annes, Sturtevant interroge les rouages sensibles de loriginalit de luvre dart, de sa rptition industrielle, du savoir-faire et de son aura. Des uvres d[ m andyWarhol] , [ m marcelduchamp] , Joseph Beuys, [ m Frankstella] , Felix Gonzalez-Torres, Anselm Kiefer, etc., sont refaites lidentique, brouillant les attentes du visiteur et les schmas classiques dattribution. Alors que des uvres dart sont reproduites sur des cartes postales, des tee-shirts ou des tasses, la dmarche de Sturtevant est la fois subversive et virtuose.

stu 194

StuRtEvANt

tAloSSA

tal 195

Parmi les uvres reproduites par Sturtevant, figurent les Black Paintings de Frank Stella, uvres prsentes dans [ m BeFore(PlUsoU moins) ] . Sturtevant claire ainsi dun jour nouveau le fameux : What you see is what you see de Frank Stella, prononc en 194, en rptant le geste de lartiste et faisant voler en clat toute vellit de hirarchie et de catgorisation. [ e ] m *1930, lives in Paris and New York. Having based her artistic practice on the faithful reproduction of famous works from the last forty years, Sturtevant questions the mechanisms behind the originality of works of art; its industrial repetition, the skill of its maker, and its aura. Works by [ m andyWarhol] , [ m marcel duchamp] , Joseph Beuys, [ m Frankstella] , Felix Gonzalez-Torres, Anselm Kiefer, etc., are remade identically, confusing the visitors expectations and the traditional framework of attribution. When works of art are reproduced on postcards, T-shirts or cups, Sturtevants approach is both subversive and virtuous. Among the works reproduced by Sturtevant, we find Frank Stellas Black Paintings, works featured in [ m BeFore(PlUsoUmoins)] . Sturtevant casts a new light on Frank Stellas famous dictum: What you see is what you see, uttered in 194, by repeating the artists gesture and shattering any possibility for hierarchy and categorization.

talossa (le royaume de)

The Kingdom of Talossa [ f ] m Cr le 2 dcembre 1979 par Robert Ben Madison. Ce collgien de treize ans originaire de Milwaukee, dans le Wisconsin, dclara que sa chambre tait un tat indpendant et souverain : le Royaume de Talossa. Il accda au trne sous le nom de Roi Robert Ier. partir de 1981, Talossa commena accorder la citoyennet dautres personnes. Des lections dmocratiques furent alors mises en place et le pays devint une monarchie constitutionnelle en 1985. Aprs une priode de crise entre 198 et 1988 au cours de laquelle le roi se trouva contest, une nouvelle constituzion fut rdige la fin de lanne 1988. La Loi organique de 1997 fut approuve et adopte comme nouvelle constitution du pays par voie de rfrendum, ce qui a renforc le caractre dmocratique de Talossa. Depuis 1979, Madison na cess de jouer un rle dterminant, en tant que roi et dirigeant de divers partis politiques locaux. Toutefois, la loi organique empche dsormais le roi de dtenir les principales fonctions du pouvoir politique Talossa, et en 2003 ce dernier abandonna dfinitivement la lgislature afin de redevenir un monarque constitutionnel ordinaire. Les Talossiens rsident aux tats-Unis, au Canada, en Europe, en Amrique du Sud, en Asie et en Afrique. [ m TaTs(FaiTesleVoUs-mme) ] [ e ] m On 2 December, 1979, Robert Ben Madison,

a 13-year old high school student in Milwaukee, Wisconsin, declared his bedroom to be an independent sovereign state: the Kingdom of Talossa. He took the Throne as King Robert I. Beginning in 1981, he admitted other people into the kingdom as citizens. Democratic elections began in 1981 and the country became a constitutional monarchy in 1985. After a period of crisis in 198 1988 over who should be King, a new Constituziun was written in late 1988. The 1997 Organic Law was approved as the countrys new constitution by a public referendum, which further developed the democratic nature of Talossa. Since 1979, Madison has maintained a prominent role as King and as leader for various political parties. However, the Organic Law now prohibits the King from holding the chief offices of political power in Talossa, and in 2003 Madison left the legislature permanently to be a normal constitutional monarch. Talossans live in the United States, Canada, Europe, South America, Asia, and Africa. [ m TaTs(FaiTes-leVoUs-mme)]

tan 19

tANAkA

thlmE

the 197

tanaka, koki [ m 6 , fig. # 79 ] [ f ] m *1975, vit

Tokyo. Du papier toilette flottant au vent du ventilateur, des pigeons picorant du caviar dans la rue, du Coca-Cola scoulant infiniment dune canette, des chaussures tombant dans les escaliers les unes aprs les autres, etc. Les vidos de Koki Tanaka explorent lordinaire et construisent des situations la fois burlesques et subversives. Jouant sur les lois de la physique, de la temporalit et de la performance, lartiste tente de dmultiplier le potentiel des objets de notre quotidien. De 2005 200 , Koki Tanaka fut lun des rsidents du Pavillon, lunit pdagogique du Palais de Tokyo. [ m modUle ] 01/03/2007 01/04/2007. Setting Up and Taking Down. Pour le Palais de Tokyo, Koki Tanaka a conu un projet spcifique, imaginant lentre du module comme un trou par lequel on aurait lanc une boule de bowling. A la place des quilles, il a dispos des chaises, une poubelle, une tagre... autant dlments collects au sein du Palais de Tokyo (rserves, bureaux, etc.) intgrs dans lespace du module et renverss par la boule de bowling. Au milieu des ameublements, une vido retrace lvnement initial, incluant dans luvre la trace de son propre pass. [ e ] m *1975, lives in Tokyo. Toilet paper floating in the ventilator draft, pigeons pecking caviar on the street, Coca-Cola flowing endlessly from a can, shoes falling down staircases one pair after another, etc.: Koki Tanakas videos explore ordinariness and construct situations that are burlesque and subversive at once. Playing with the laws of physics, the temporality and the performance, the artist tries to enhance the potential of objects encountered in our everyday lives. From 2005 to 200 he was one of the residents at [ m lePavillon] , the study program attached to the Palais de Tokyo. [ m modUle ] 01/03/2007 01/04/2007. Setting Up and Taking Down. Koki Tanaka designed a special project for the Palais de Tokyo, conceiving the entrance into the gallery as a hole through which someone has thrown a bowling ball. Where the bowling pins should be, he has arranged items he collected from within the Palais de Tokyo (storerooms, offices, etc.): chairs, a waste-paper basket, a set of shelves, among others. These elements are integrated into the gallery space and struck by the bowling ball. In the midst of the pieces of furniture is a video that retraces the initial event,

thereby imbibing the work with the story of its own past. m uvre / Work Setting Up and Taking Down, 2007 Courtesy de lartiste / of the artist

Ces morceaux de viande rpondent non seulement aux formes trop propres du minimalisme et du Pop art, mais symbolisent aussi la rvulsion de lartiste lendroit de la guerre du Vietnam. [ m THeTHirdmind] [ f ] m 1933 1988. By working in an extreme way with space and materials, Paul Thek became one of the pioneers of installation in the 1970s. His environments rejected the traditional limits of art. Distancing himself from the calm and coldness of Minimalist or Conceptual artists, he turned towards the excessive and the brutal. Early on in his career, he created his Meat Pieces or Technological Reliquaries series, fragments of bodies in wax, enclosed in yellow transparent Plexiglas showcases. Not only do these meat pieces respond to the excessively clean forms of Minimalism and Pop Art, they also symbolise the artists revulsion over the Vietnam War. [ m THeTHirdmind]

m Edward Teach
teach, edWard [ f ] m Pirate anglais

du XVIII e sicle plus connu sous le nom de Barbe noire . [ m voir p. C-4] [ e ] m English pirate from the 18th century better known as Black Beard. [ m see p. C-8]

m PaulThek, L-Column, 195-19

thek, paul [ m 4 , fig. # 52 ] [ f ] m 1933 1988.

En travaillant de manire extrme avec lespace et la matire, Paul Thek devint dans les annes 1970 un des pionniers de linstallation. Ses environnements refusaient les limites traditionnelles de lart. Sloignant du calme et du froid des artistes minimalistes ou conceptuels, il se tourna vers lexcessif et le brutal. Tt dans sa carrire, il cre ses sries de Meat Pieces ou Reliquaires technologiques, fragments de corps en cire enferms dans des boites en plexiglas jaune transparent.

m Kenneth Anger & Alfred C. Kinsey lAbbaye de Thlme en 1955 / at the Abbey of Thelema in 1955
thlme (abbaye de)

The Abbey of Thelema [ f ] m Satanisme. Le 1er mars 1920, [ m aleister Crowley] et un groupe de ses adeptes dbarqurent Cefal, en Sicile, pour emmnager dans une petite maison dans les faubourgs de

la ville. La maison, connue jusqualors sous le nom de villa Santa Barbara, fut rebaptise Abbaye de Thlme en rfrence Rabelais, qui, dans les derniers chapitres de son Gargantua (1534), dcrit une communaut idale nomme Thlme, ayant pour devise Fay ce que vouldras . Quoique hdoniste et centre autour de la magie selon Crowley un mlange de kabbale et de yoga faisant une large place aux pratiques tantriques, des rituels htro- et homosexuels ainsi qu lusage de drogues pour accrotre lintensit des sensations , la vie lAbbaye tait, selon de nombreuses descriptions, plutt morne. La maison navait ni le gaz, ni llectricit, ni leau courante. Le manque dhygine tait total ; lt, lair tait satur de mouches, de moustiques et de moucherons. Les journes y taient plus ou moins pnibles selon lhumeur de Crowley, tour tour dictateur bienveillant sous lemprise des drogues et manipulateur pervers et rpugnant. En outre, la formation la magie tait aussi incessante que rigoureuse. Les nouveaux venus passaient la nuit dans la Chambre aux cauchemars , dont trois murs taient orns de grandes fresques reprsentant la terre, le ciel et lenfer notamment sous la forme de dmons, de lutins et de scnes rotiques trs crues. Lapprenti sorcier venait en ces lieux pour exprimenter le ct obscur de lden grce un procd secret (sans doute une puissante mixture base de haschich et dopium quadministrait Crowley) qui donnait vie aux murs de la pice. Cette preuve avait pour fonction de confronter les adeptes tous les fantmes susceptibles dassaillir lme humaine, et de les mettre en prsence de labme de lhorreur afin de leur garantir la matrise de lesprit. Cette approche annonce par bien des aspects celle qui fut pratique quarante-trois ans plus tard Catalina, la communaut fonde par Timothy Leary dans un htel labandon de Zihuatanejo, bourgade mexicaine assoupie au bord de locan : ses membres, solitairement assis au sommet dune tour de guet, sur la plage, drogus au LSD, invoquant les forces de l irrationnel , sefforaient alors de passer de lautre ct. On ne stonnera pas de ce que lAbbaye de Thlme, avec son programme dpreuves pnibles nuits dans la Chambre aux cauchemars , invocations quotidiennes dans le temple, retraites magiques solitaires et puisantes sur la falaise voisine, sans mentionner des conditions de vie spartiates , nait jamais attir quun groupe restreint de visiteurs et

the 198

thlmE

thoRmE DE cAlvitiE

the 199

de bienfaiteurs. Tant pis pour lamour libre et la devise Fais ce que voudras . Crowley se montrait dcidment plus tolrant envers ses propres excs sexuels quenvers ses htes la devise de Rabelais, traduite en anglais Do what thou wilt , signifie la fois fais ce que tu veux et fais ce que tu as faire . La rputation de Thlme fut galement ternie par le fait que bien des visiteurs en repartaient avec un souvenir dplaisant : laccoutumance lhrone. Mais, pour finir, ce ne sont ni les contradictions contenues dans les enseignements, ni le recours frquent la drogue, ni le rejet de la population locale qui prcipitrent la chute de lAbbaye. Les habitants de Cefal tolraient en effet la communaut, mme sils taient souvent choqus par le fait que ses membres aimaient se baigner nus. Ce fut la mort tragique de Raoul Loveday (qui succomba une fivre typhode contracte en buvant de leau dune source de montagne dans les environs de Cefal) et la raction conscutive de la presse britannique, qui sen prit violemment Crowley et lAbbaye avec des gros titres comme Orgies en Sicile , qui incitrent Mussolini ordonner la fermeture de la communaut. Cette directive sinscrivait dans une srie de mesures rpressives visant liminer toute contestation. Sils ne reprsentaient pas proprement parler une menace dordre politique, Crowley et ses amis taient cependant indsirables. LAbbaye ferma ses portes le 22 avril 1923. Les autorits italiennes prirent soin de recouvrir la chaux les fresques, le cercle magique trac sur le sol et autres traces des activits passes de la communaut. Selon [ m Kennethanger] , ralisateur de films exprimentaux, la villa fut alors abandonne pendant plus de trente ans, jusqu ce que le cinaste, en 1955, retrouve les lieux et obtienne lautorisation de retirer la couche de chaux qui stait alors ptrifie . Anger passa trois mois restaurer les sols, les murs rvlant peu peu toutes les fresques hyper-psychdliques dans la Chambre aux cauchemars , sur les portes et les volets dans lintention de prparer une sance de photos o serait mise en scne une robe de velours bleu orne des lettres ABRA , qui avait servi de costume de mage dans le grand film onirique de Marcel Carn, Les Enfants du paradis (1945). On ignore si la sance prvue eut lieu ou non. Le documentaire ralis par Anger durant son sjour fut perdu par Hulton Television. Du voyage en Sicile ne subsiste quune srie de photos de

lAbbaye restaure. Lune delles reprsente une conversation entre Anger et le sexologue Alfred C. Kinsey. Derrire eux, sur un mur, on aperoit un portrait de Crowley, tandis quune porte frachement restaure donne voir un paysage montagneux peint dans un style fantastique. Les deux hommes staient rencontrs pour la premire fois quand le docteur Kinsey avait contact Anger pour lui acheter un exemplaire de son premier film, Fireworks. Si Anger tait un fervent adepte de la magie de Crowley, Kinsey voyait en lui le plus grand escroc de tous les temps ce qui ne lempchait pas dapprcier ses crits rotiques homosexuels et de vouloir en savoir plus sur les pratiques sexuelles et magiques de Crowley. Il est plus que probable que le sjour dAnger Cefal fut financ par Kinsey. [ m Koester,Joachim] [ m Hallucinognes]
[ m occultsime] [ m lemaTindesmaGiCiens ] [ m anger,Kenneth] [ m Palais/ ] [ e ] m Satanism. On March 1st, 1920, [ m aleister Crowley] and a group of devotees, arrived at

Cefal, Sicily, and moved into a small house at the outskirts of town. The house, formerly called Villa Santa Barbara, was renamed The Abbey of Thelema, inspired by the French writer Rabelais, who in the concluding chapters of his book Gargantua (1534), describes an ideal community named Thlme, which had the governing maxim Do what you will. Though hedonistic, centered around Crowleys own version of magickKabbalah and yoga, with a particular emphasis on tantric practices, hetero- and homosexual rituals, and the use of drugs to heighten intensitylife in the Abbey was often described as bleak. The house had neither gas nor electricity, and no plumbing. General conditions were unsanitary in the extreme, and in the summer the air was thick with flies, gnats and mosquitoes. With Crowley as a drugged, benevolent dictator at his best, and a gruesome, perverted manipulator at his worst, the days at the Abbey could be harsh. On top of that, the magical training was rigorous and unrelenting. Newcomers would spend the night in La Chambre des cauchemarsThe Room of Nightmaresits principle features: three large walls painted in fresco, representing earth, heaven and hell, depicting mostly demons, goblins and graphic sex scenes. Here, the new student of magick would experience The nightside of Eden primed by a secret processprobably a potent mixture of hashish and opium, administered by Crowleyas the

walls came alive. The idea behind the ordeal was to contemplate every possible phantom that can assail the soul, to face the Abyss of Horror, and thereby gain mastery over the mind. This approach was strikingly similar to what was practiced 43 years later in Timothy Learys community, Catalina, founded in a vacant hotel in the sleepy Mexican beach town of Zihuatanejo, where members would sit alone in a lifeguard tower on the beach, dosed on LSD, summoning the forces of the irrational, trying to break through to the other side. With a curriculum of ordeals like nights spent in The Room of Nightmares, daily evocations in the Temple, and solitary and exhausting magical retreats on the nearby cliff, coupled with the Spartan living conditions, it is perhaps evident why the Abbey of Thelema never attracted more than a small group of visitors and benefactors. So much for free love, and Do what you will. Crowley was decidedly more lenient with his own sexual excesses than with others and there was a catch to the word will. It also didnt help the cause of Thelema that a number of visitors left with a heroin habit as an unwanted souvenir. But in the end it was not the liberal use of drugs, the inherent contradictions in the teachings, or local prejudice that eventually led to the demise of the Abbeythe Cefal locals did tolerate the community, though they were frequently shocked by the members preference for bathing nude. It was the tragic death of Raoul Lovedayfrom enteric fever, contracted by drinking water from a mountain spring in the Cefal countrysideand the ensuing storm in the British press against Crowley and the Abbey, which prompted headlines like Orgies in Sicily, that led Mussolini to order the community closed. The directive came as part of a crackdown to suppress breeding grounds for dissent. If not exactly politically dangerous, Crowley and the others were at best undesirable. On April 22, 1923, the Abbey came to an end. The Italian authorities carefully covered the frescos, the magic circle on the floor and other traces of the previous activities with a coat of whitewash. According to experimental filmmaker [ m Kennethanger] , the villa subsequently sat abandoned for more than 30 years. Maybe also forgottensleepinguntil Anger in 1955 re-found the villa and obtained permission to remove the whitewash, which had turned to stone. Anger spent three months working on the walls and floors, gradually revealing all

those hyper-psychedelic murals in The Room of Nightmares and on doors and shutters, planning a photo shoot on location, in which the costume of the sorcerer in the dreamy film Children of Paradise (1945)a blue velvet robe emblazoned with the word ABRAwould appear. Whether the shoot actually happened is unclear. Angers documentary, made during his stay, was lost by Hulton Television. What still circulates is a series of photographs of the restored Abbey. One of them depicts Anger in conversation with the sexologist Alfred C. Kinsey. On the back wall is Crowleys portrait and on a door, one of the newly uncovered paintings, a mountainous landscape made in a fantasy-like style. Anger had met Kinsey when the doctor approached him to purchase a print of his first film Fireworks. While Anger was an ardent follower of Crowleys magick, Kinsey thought that Crowley was the most prominent fraud that ever lived. Kinsey nevertheless saw Crowley as a brilliant homoerotic writer, and was interested in discovering more information about Crowleys sex magick practices. More than likely it was Kinsey who funded Angers stay in Cefal.
[ m Koester,Joachim] [ m Hallucinognes] [ m occultisme] [ m lemaTindesmaGiCiens ] [ m anger,Kenneth] [ m Palais/ ]

thorme de calvitie

Baldness Theorem [ f ] m Le thorme de calvitie stipule quun trou noir est entirement dcrit par trois paramtres : sa masse, sa charge lectrique et son moment cintique, et ce quel que soit son mode de formation et la nature de la matire qui a servi le former. Le physicien amricain John Archibald Wheeler a rsum le phnomne par la formule reste clbre : Black holes have no hairs ( Un trou noir na pas de poils ). Une des consquences de ce thorme est quil nexiste pas de possibilit de distinguer un trou noir fait de matire ordinaire dun trou noir fait d[ m antimatire] . [ m Galfard,Christophe]

the 200

thoRiE DES coRDES

thiRD miND (thE)

thi 201

[ m etatsgnrauxdupoil] [ m Trousnoirs] [ e ] m The baldness theorem lays down that

a black hole is completely defined by three parameters: its mass, its electric charge and its kinetic momentum, and this is so however it was formed and whatever the nature of the matter that served to form it. The American physicist John Archibald Wheeler summed this phenomenon up in a formula that has remained famous: Black holes have no hairs. One of the consequences of this theorem is that there is no possibility of distinguishing a black hole made of ordinary matter from a black hole made of antimatter [ m antimatire] . [ m Galfard,
Christophe] [ m etatsgnrauxdupoil] [ m Trousnoirs]

larevuedesressources.org. He has written an essay on Mattt Kontures strip cartoons (Matt Konture, Paris: LAssociation, 200) and he was involved in coordinating a collection of written and graphic works focusing on President Schreber, Schreber Prsident (Paris: Fage, 200). He is the author of two essays devoted to pop music: Poppermostconsidrations sur la mort de Paul McCartney (Musica Falsa, 2002) and conomie Eskimole rve de Zappa (ditions M.F., 2005). Thiellement is currently working with lEnsemble de Basse Normandie on a show project dedicated to the works of Frank Zappa. [ m lesjeudisde,noUVelles
dUmonderenVers ] [ m Backwardtapes]

[ m Backwardmessages] [ m Backmasking]
third mind (the) [ m 4 , fig. # 45 # 47 ] [ f ] m Livre conu par [ m Williams.Burroughs] et [ m BrionGysin ] selon les mtodes du [ m cutup] , fold-in et permutation. [ m lemaire,GrardGeorges] [ m voir p. d-2] [ e ] m Book devised by [ m Williams.Burroughs] and [ m BrionGysin] following the methods of [ m cut-up] , fold-in and permutation. [ m lemaire,Grard-Georges] [ m see p. d-10] third mind (the) (eXposition) [ m 4 , fig. # 44 # 57 ] [ f ] m Exposition 27/09/2007 03/01/2008. IRM des influences de [ m Ugorondinone] , de ses

thorie des cordes

String theory [ m voir p. a-4 / see p. a-12] [ m Veneziano,

Gabriele]

was constructed as a stroll through a brain in perpetual activity, going straight to the source of the artists references and discoveries. For the first time his gift for building systems of connections an aptitude which has made Ugo Rondinone famouswas placed at the service of the works of other artists, not his own. In homage to the book [ m The Third Mind] , Ugo Rondinone set out to cut up and remix the contemporary artistic landscape to allow a new meaning to emerge from it. thE thiRD miND , composed from the assembled works of thirtyone different artists, constituted a fully fledged work in its right, a new, spectral work created by a third mind, a third artist, the product of the meeting between Ugo Rondinone and his selections. m Liste des uvres / List of works
thiRD miND

[ m ronaldBladen]

thiellement, pacme [ f ] m Responsable du fanzine

de bande dessine Rciproquement de 1987 1991 et de la revue littraire Spectre de 1998 2003, Pacme Thiellement a collabor des magazines comme Rock & Folk, Le Corps du Texte, Le Tigre, et les webzines fluctuat.net et www.larevuedesressources.org. Il a publi une monographie consacre lauteur de bandes dessines Mattt Konture (Mattt Konture, LAssociation, Paris, 200) et codirig, avec Fabrice Petitjean et Adrian Smith, un recueil de travaux crits et dessins autour du lgendaire nvropathe Daniel Paul Schreber, Schreber Prsident (Fage, Paris, 200). Aprs Poppermost considrations sur la mort de Paul McCartney (Musica Falsa, 2002), livre dans lequel il revenait sur une thorie paranoaque selon laquelle Paul McCartney serait mort depuis 19, Pame Thiellement a crit un essai sur Frank Zappa intitul conomie Eskimo le rve de Zappa (ditions M.F, 2005) ; il travaille actuellement avec lEnsemble de Basse Normandie sur un spectacle consacr luvre de ce dernier.

Three Elements, 195 Staatliche Museen zu Berlin, Nationalgalerie, Collection Marzona, Berlin Cathedral Evening, 1971 Staatliche Museen zu Berlin, Nationalgalerie, Collection Marzona, Berlin
[ m leeBontecou]

[ m lesjeudisde, noUVellesdUmonde renVers ] [ m Backwardtapes] [ m Backward

messages] [ m Backmasking] [ e ] m In charge of the fanzine Rciproquement

from 1987 to 1991, and of the literary review Spectre from 1998 to 2003, Pacme Thiellement collaborated on numerous magazines such Le Corps de Texte, Rock & Folk, Le Tigre and on the webzines fluctuat.net and www.

inclinations et de ses obsessions, lexposition thE thiRD miND se prsentait comme une dambulation dans un cerveau en perptuelle activit et plongeait la source des rfrences et des dcouvertes de lartiste. Son talent construire des systmes de correspondances une aptitude qui a fait la clbrit dUgo Rondinone tait mis pour la premire fois au service non plus de ses propres travaux, mais des uvres dautres artistes. En homage au livre [ m The Third Mind] , Ugo Rondinone procdait un dcoupage et un remixage du paysage artistique contemporain pour en laisser jaillir un sens indit. Lexposition thE thiRD miND , compose des uvres rassembles de trente et un artistes diffrents, constituait ainsi une uvre part entire, une uvre nouvelle et spectrale, cr par un troisime esprit, un troisime artiste, fruit de la runion dUgo Rondinone et de ses choix. [ e ] m Exhibition 27/09/2007 03/01/2008. An MRI scan of [ m Ugorondinone] s influences, inclinations and obsessions, the exhibition thE

Sans titre, 1959-190 Collection Nordhein-Westfalen, Dsseldorf Sans titre, 19 Collection Fonds National dart Contemporain, Ministre de la Culture et de la communication, Paris
[ m martinBoyce]

When Now is Night (web), 1999 Courtesy Galerie Eva Presenhuber, Zurich
[ m JoeBrainard]

Untitled (Tatoo), 1972 Collection John Brainard, Courtesy Tibor de Nagy Gallery, New York Sans titre, Sans date / Undated Collection particulire / Private collection, New York Untitled (Garden), 197 Collection Kenward Elmslie, Courtesy Tibor de Nagy Gallery, New York Whipporwill, 1973 Collection John Richardson, New York, Courtesy Tibor de Nagy Gallery, New York Untitled (Birch Trees), 1971 Collection particulire / Private collection, Courtesy Tibor de Nagy Gallery, New York Pat, 1972 Collection Peter R. Stern, Courtesy Tibor de Nagy Gallery, New York

m Williams.Burroughs&BrionGysin, The Third Mind, ca. 195

thi 202

thiRD miND (thE)

thiRD miND (thE)

thi 203

Untitled (Good n Fruity Madonna), 198 Collection Peter R. Stern, Courtesy Tibor de Nagy Gallery, New York Untitled (Still Life), 198 Collection Kenward Elmslie, Courtesy Tibor de Nagy Gallery, New York Cinzano, 1972 Courtesy Tibor de Nagy Gallery, New York Untitled (Garden), c. 197 Collection Kenward Elmslie, Courtesy Tibor de Nagy Gallery, New York Madonna, 19 Courtesy Tibor de Nagy Gallery, New York Untitled (Various Images), 1972 Collection John Brainard, Courtesy Tibor de Nagy Gallery, New York Untitled (Flowers), 199 Collection John Giorno, New York, Courtesy Tibor de Nagy Gallery, New York Untitled (Reclining Figure), 1981 Hudson Feature Inc., New York Untitled (Madonna), 19 Collection Kenward Elmslie, Courtesy Tibor de Nagy Gallery, New York Self-Portrait, 1971 Collection Peter R. Stern, Courtesy Tibor de Nagy Gallery, New York Untitled (Madonna), 198 Collection John Giorno, New York, Courtesy Tibor de Nagy Gallery, New York Untitled (Garden), 199 Collection particulire / Private collection, Courtesy Tibor de Nagy Gallery, New York If Nancy Was a Boy, 1972 Collection Kenward Elmslie, Courtesy Tibor de Nagy Gallery, New York Flowers, 199 Collection particulire / Private collection, Courtesy Tibor de Nagy Gallery, New York
[ m Williamss.Burroughs&BrionGysin]

Collection particulire / Private collection

[ m VijaCelmins]

Collection Gironcoli Museum, Herberstein, Autriche / Austria

[ m robertGober]

Night Sky 11, 1995 Collection Fondation Cartier pour lart contemporain, Paris
[ m BruceConner]

Blessing Angel, 1975 Collection Ann Hatch, San Francisco Starfinger Angel, 1975 Collection Centre Pompidou, Paris / Muse national dart moderne - Centre de cration industrielle Angel Light, 1975 Collection Shirley Ross Davis, San Francisco Kiss Angel, 1975 Courtesy Michael Kohn Gallery, Los Angeles
[ m Vernedawson]

Right Angle Sink, 1984 Collection particulire / Private collection, New York The Split Up Conflicted Sink, 1985 Collection Astrup Fearnley, Oslo
[ m nancyGrossman]

Monday, 2005 Courtesy de lartiste et Victoria Miro Gallery, Londres / London Sunday, 2005 Collection John A. Smith et Vicky Hughes Thursday, 2005 Courtesy Gavin Browns Entreprise, New York Tuesday, 2005 Courtesy de lartiste et Victoria Miro Gallery, Londres / London Wednesday, 2005 Courtesy de lartiste et Victoria Miro Gallery, Londres / London Friday, 2005 Collection Nunzia et Vittorio Gaddi, Lucca, Italie Saturday, 2005 Collection Maja Hoffmann
[ m JaydeFeo]

Hawk Moon n1, 1983 -1985 Collection Estate of Jay De Feo, New York Hawk Moon n2, 1983 -1985 Collection Estate of Jay De Feo, New York
[ m Trishadonnelly]

The Third Mind, 197 Collection Muse dArt Moderne de la Ville de Paris The Third Mind, ca. 195 Collection Los Angeles County Museum ; Acquis avec laide de la Hiro Yamagata Foundation
[ m ValentinCarron]

Dark Wind, 2002 Courtesy de lartiste / of the artist & Casey Kaplan, New York
[ m UrsFischer]

Madame Fisscher, 1999 -2000 Collection Hauser & Wirth, Suisse / Switzerland
[ m BrunoGironcoli]

Aprs De Musset, 200 Collection particulire / Private collection, Zurich, Courtesy Galerie Eva Presenhuber, Zurich Sans titre, 200 Collection Maja Hoffmann Sans titre, 200 Courtesy Galerie Eva Presenhuber, Zurich Fosbury Flop, 200

Sans titre, 2003 Collection Gironcoli Museum, Herberstein, Autriche / Austria Sans titre, 2001 - 2002 Collection Gironcoli Museum, Herberstein, Autriche / Austria Sans titre, 2003

Brox, Sans date / Undated Collection Bruce & Roxanne Bethany, Courtesy Michael Rosenfeld Gallery, New York Horn, 1973 -1974 Collection Halley K. Harrisburg & Michael Rosenfeld, New York Arbus, 1971 Collection William Kelly Simpson, New York, Courtesy Michael Rosenfeld Gallery, New York Sans titre, ca. 198 Collection Sheila Yellin et Samuel L. Rosenfeld, Courtesy Michael Rosenfeld Gallery, New York Mary, 1971 Collection particulire / Private collection, Courtesy Michael Rosenfeld Gallery, New York Tilt, 1990 Courtesy Michael Rosenfeld Gallery, New York Samu, 1970 - 1971 Collection particulire / Private collection, New York Ghost, Sans date / Undated Collection Bruce et Roxanne Bethany, Courtesy Michael Rosenfeld Gallery, New York C. Vuelo, 1990 Collection Peter Finder et Cynthia Rubin, Courtesy Michael Rosenfeld Gallery, New York Sans Titre, 198 Collection Alvin E. Friedman-Kien et Ryo Toyonaga, Courtesy Michael Rosenfeld Gallery, New York GKH, 1970 Collection Duane Wilder, Courtesy Michael Rosenfeld, New York Sans titre, 1970 -1971 Collection William Kelly Simpson, New York, Courtesy Michael Rosenfeld Gallery, New York H.U.F., 1980 Collection Halley K. Harrisburg et Michael Rosenfeld, New York T.R., ca. 198 Collection Sheila Yellin et Samuel L. Rosenfeld, Courtesy Michael Rosenfeld Gallery, New York
[ m HansJosephsohn]

Sans titre, 2000 Courtesy Kesselhaus Josephsohn / Galerie Felix Lehner, St. Gall, Suisse / Switzerland Sans titre, 2005 Courtesy Kesselhaus Josephsohn / Galerie Felix Lehner, St. Gall, Suisse / Switzerland Sans titre, 1971 Courtesy Kesselhaus Josephsohn / Galerie Felix Lehner, St. Gall, Suisse / Switzerland Sans titre, 200 Courtesy Kesselhaus Josephsohn / Galerie Felix Lehner, St. Gall, Suisse / Switzerland Sans titre (Ruth), 1970 Courtesy Kesselhaus Josephsohn / Galerie Felix Lehner, St. Gall, Suisse / Switzerland Sans titre, 1970 -1973 Collection Swiss Re, Courtesy Kesselhaus Josephsohn Sans titre, 1999 -2001 Courtesy Kesselhaus Josephsohn / Galerie Felix Lehner, St. Gall, Suisse / Switzerland
[ m TobaKhedoori]

Untitled (Model),1998 Collection Hauser & Wirth, Suisse / Switzerland Untitled (Blocks), 2002 Collection Hauser & Wirth, Suisse / Switzerland
[ m KarenKilimnik]

Swan Lake, 1992 Ringier Collection, Suisse / Switzerland

[ m emmaKunz]

Ensemble de 12 dessins Sans titre, sans date / Untitled, undated Courtesy Anton C. Meier, Centre Emma Kunz, Wrenlos, Suisse / Switzerland
[ m andrewlord]

Sans titre, 1995 - 2001 Courtesy Kesselhaus Josephsohn / Galerie Felix Lehner, St. Gall, Suisse / Switzerland

Watching, 1998 Courtesy de lartiste et Donald Young Gallery, Chicago Biting, 1995 -1998 Courtesy de lartiste et Gladstone Gallery, New York Smelling, 199 -1998 Courtesy de lartiste et Galerie Eva Presenhuber, Zurich Tasting, 199 -1998 Courtesy de lartiste et Galerie Eva Presenhuber, Zurich Listening, 199 -1998 Courtesy de lartiste et Galerie Eva Presenhuber, Zurich Swallowing, 1999 - 2007 Courtesy de lartiste et Gladstone Gallery, New York Breathing, 199 -1998 Courtesy de lartiste et Donald Young Gallery,

thi 204

thiRD miND (thE)

thuRmAN

thu 205

Chicago
[ m sarahlucas]

Collection Friedrich Christian Flick, Berlin

[ m PaulThek]

Car Park, 1997 Courtesy Sadie Coles HQ, Londres / London

[ m Hugomarkl]

Brown Series, 2004 Courtesy Galerie Eva Presenhuber, Zurich

[ m Cadynoland]

Untitled (Patty Hearst), 1989 Collection Le Consortium, Dijon Lincoln Years, 1990 Collection particulire / Private collection, Suisse / Switzerland Sans titre, 1989 Collection particulire / Private collection, Suisse / Switzerland Booth - The Big Plunge, 1990 Collection S.M.A.K. (Stedelijk Museum vor Actuele Kunst), Gand Spaghetti Cowboy, 1990 Collection Museum Boijmans Van Beuningen, Rotterdam Trashing Folgers, 1993 -1994 Collection Frac Nord-Pas de Calais, Dunkerque Oozewald, 1989 Courtesy Museum of Contemporary Art Antwerp (MuHKA), Anvers Betty Ford, Sans date / Undated Collection Museum Boijmans Van Beuningen, Rotterdam Eat yer fuckin face off!, Sans date / Undated Collection Museum Boijmans Van Beuningen, Rotterdam Untitled, 1994 Collection Ringier, Suisse / Switzerland Sans titre, 1989 Collection particulire / Private collection, New York Sans titre, 1989 Collection particulire / Private collection, New York William Randolph Hearst, Sans date / Undated Collection Museum Boijmans Van Beuningen, Rotterdam Manson Girls Sit-In Cut-Out, 1993 - 1994 Collection Museum Boijmans Van Beuningen, Rotterdam SLA Group shot #3, 1990 Collection Museum Boijmans Van Beuningen, Rotterdam
[ m laurieParsons]

Sans titre, 195 Collection Fondazione Sandretto Re Rebaudengo, Turin L-Column, 195 -19 Caldic Collectie, Rotterdam Sans titre, 19 Collection [mac], Muse dart contemporain de Marseille
[ m andyWarhol ]

Urine Drinker, 1994 Courtesy Galerie Eva Presenhuber, Zurich Purple and No Face on Someone, 199 Collection Alberto Borasio, Valenza, Courtesy Galerie Eva Presenhuber, Zurich Real Fur Hat, 1995 Courtesy Galerie Eva Presenhuber, Zurich
thoenen, nik (re-p.org) [ f ] m Graphiste. A tudi le design

constitutionnelle disposant de forces armes (terre-air-mer) qui ont renonc toute forme de guerre en vertu de larticle III de la Constitution du peuple thrace. Depuis labdication de lempereur Ivan, le sort de la Thrace est entre les mains de la noblesse restante, du baron Robert von Lothringen (Premier ministre) et de la baronne Diane (ministre des Affaires trangres et de lImmigration).[ m TaTs(FaiTes-le
VoUs-mme) ] [ e ] m Founded on August 23, 1992 and is situated

Screen Tests, 194 -19 Collection The Andy Warhol Museum, Pittsburg Contribution The Andy Warhol Foundation for Visual Arts, Inc.
[ m rebeccaWarren ]

She-Valerie, 2003 Courtesy The Saatchi Gallery et Maureen Paley Gallery, Londres / London She-Homage to R. Crumb, My Father, 2003 Courtesy The Saatchi Gallery et Maureen Paley Gallery, Londres / London She-South Kent, 2003 Courtesy The Saatchi Gallery et Maureen Paley Gallery, Londres / London She-N 6, 2003 Courtesy The Saatchi Gallery et Maureen Paley Gallery, Londres / London She-Sans titre, 2003 Courtesy The Saatchi Gallery et Maureen Paley Gallery, Londres / London
[ m sueWilliams ]

Troubled, 1989 Collection Le Consortium, Dijon

[ m Jean-fredericschnyder]

Wartesle, 1988 -1990

Neglige, 1995 Courtesy Galerie Eva Presenhuber, Zurich Sans titre, 1994 Collection particulire / Private collection Muzzle, World, 1995 Courtesy Galerie Eva Presenhuber, Zurich $50.00, 1993 Courtesy Galerie Eva Presenhuber, Zurich Shoes, 1994 Collection particulire / Private collection, New York, Courtesy Galerie Eva Presenhuber, Zurich Hello, 1994 Collection particulire / Private collection, New York Sun Bathers, 1994 Collection particulire / Private collection, Trento, Courtesy Galerie Eva Presenhuber, Zurich 3 Legged Stool #2, 1999 Courtesy Galerie Eva Presenhuber, Zurich 2 Women at Work, 1994 Courtesy Galerie Eva Presenhuber, Zurich

graphique lcole de design de Biel en Suisse, avant de fonder re-p.org avec Maia Gusberti. re-p.org est un collectif pluridisciplinaire bas Vienne, actif dans les champs de lart et du design. Le collectif a conu de nombreux livres et magazines, principalement pour des institutions culturelles, mais galement dans le domaine des sciences et de larchitecture. Avec Mika Mischler, ils dirigent par ailleurs la fonderie binnenland.ch et ont adapt le caractre typographique [ m Helvetica] pour la nouvelle identit visuelle du Palais de Tokyo. [ e ] m A graphic designer. Studied Graphic Design at the College of Design in Biel, Switzerland, before founding re-p.org in 1999 together with Maia Gusberti. re-p.org is a multi-disciplinary art and design partnership based in Vienna. They have designed numerous books and magazines, primarily for cultural institutions, but as well in the fields of science and architecture. Together with Mika Mischler they operate the fontlabel binnenland.ch and adapted the typeface [ m Helvetica] for the new Palais de Tokyo corporate design.

in modern Bulgaria in the eastern Balkan mountain range. The Empire of Thrace draws its national history from a localized regional history that concerns many rich geographic disputes and spans several epochs. Thracian is the official language and is used only in foreign correspondenceBulgarian and English are spoken as the common language in the region. Although principally a micronation of online constituents numbering between 85 and 90 citizens, Thrace, as a constitutional monarchy, has a three-part armed forces. However, according to Article III of its constitution and by consensus of its people, Thrace opposes all forms of war and officially renounces it. Now abdicated, former Emperor Ivan has left Thrace to the remaining nobility, Prime Minister Baron Robert von Lothringen and Foreign Affairs / Immigration Minister Baroness Diana. [ m TaTs
(FaiTes-leVoUs-mme) ]

thurman, blair [ m 3 , fig. # 42 ] [ f ] m *191, vit New

thrace (lempire de)

The Empire of Thrace [ f ] m Fond le 23 aot 1992 et situ dans lactuelle Bulgarie, lest des Balkans. LEmpire de Thrace tire son histoire nationale de lhistoire dune rgion qui a connu de nombreux conflits territoriaux au cours des sicles. Deux langues y sont parles langlais et le bulgare , et la langue officielle, le thrace, nest utilise que dans la correspondance avec les pays trangers. Cette micronation, qui regroupe environ 90 ressortissants dont la plupart ont acquis leur nationalit en ligne , est une monarchie

York. Le travail de Blair Thurman investit liconographie populaire, la culture de masse et diverses situations de lunivers du circuit automobile selon des aspects spectaculaires, ludiques, topologiques, etc. Il se penche galement sur les crations de lhomme, telles les routes, la voiture et la rue qui deviennent partie intgrante de la nature . Ces signes rinjects dans le domaine pictural ractivent des pratiques traditionnelles et historiques, du monochrome au shaped canvas en passant par le non, les installations et la signaltique. [ m BasTardCreaTUre] [ e ] m *191, lives in New York. Blair Thurman explores popular iconography, mass culture and various situations related to the automobile circuit, looking at its spectacular or topological aspects. He also turns his attention to mans creations, such as roads, cars and streets, which become an integral part of nature. These signs re-injected into the pictorial field

tok 20

tok tok

tRouv

tro 207

reactivate traditional and historical practices, from monochrome to the shaped canvas by way of neon, installations and signage. [ m BasTard
CreaTUre ]

France ; Jacek Stochnialek, Pologne ; Markku Tuominen, Finlande. [ e ] m Organized at the Palais de Tokyo on 13 September 200 on the opening of FivE
BillioN YEARS [ m Cinqmilliardsdannes ] . Jury presided by [ m Giannimotti] and composed of Stphane Demarthes, [ m danieldewar] , [ m GrgoryGicquel] , Armelle Leturcq, Mr. Meff, Jean-Franois Stvenin. Winners: 1st prize Jiri Kovanic, Czech Republic; 2nd prize Svein Tore Kleppen, Norway; 3rd prize Juri Ojaver, Estonia; 4th prize ex-aequo David Dauphin, France & Jozsef Toth, Hungary. Other competitors: Julien Colboc, France; Juraf Cutek, Slovakia; Jol Fagny, Belgium; Louis Lavoie, Canada; Pascal Margot, Switzerland; Thierry Paquet, France; Jacek Stochnialek, Poland; Markku Tuominen, Finland.

tok tok [ f ] m Programme

dactivits du Palais de Tokyo pour les enfants de 3 10 ans. [ m Cracratr-

transnationale (la rpublique)

nouille] [ m mortadelloCoxrider] [ m Petitpateur] [ m PlastoqueClink] [ m Pourtissure (Bataillede)] [ e ] m The Palais de Tokyos program of activities

for children between 3 and 10 years of age.

[ m Cracratrnouille] [ m mortadelloCoxrider] [ m Petitpateur] [ m PlastoqueClink] [ m Pourtissure(Bataillede)]

tok tok etik [ f ] m Programme

m Concours international de sculpture la trononneuse / International competition of chainsaw sculpture

ducatif du Palais de Tokyo destination des enfants du Pavillon de lenfant et de ladolescent du groupe hospitalier PitiSalptrire (Paris). [ e ] m An educational program run by the Palais de Tokyo intended for the children of the Child and Adolescent Pavilion of the Piti-Salptrire hospital group (Paris).
tokyo eat [ f ] m Restaurant [ e ] m Restaurant tokyoFeel [ f ] m Programme

Transnational Republic [ f ] m Micronation non-territoriale. Parce quelle a bien compris la ncessit dune reprsentation internationale, la Rpublique Transnationale a pris pour modle la socit plantaire plutt que lentit nationale. Non territoriale, elle nexclut aucune race et aucune nationalit : chacun peut prtendre en devenir citoyen. Selon les termes de sa constitution, largent est considr comme le quatrime pouvoir dans la structure de la Rpublique Transnationale, en plus des trois pouvoirs classiques que sont le judiciaire, lexcutif et le lgislatif. Ce systme conomique particulier, appel Payola, sappuie sur des fonds europens. [ m TaTs(FaiTes-le
VoUs-mme) ]

trouv, tatiana [ m 2 , fig. # 25 # 27 ; 5 , fig. # 71 ] [ f ] m *198, vit Paris. La constitution

[ e ] m A non-territorial micronation. Realizing the

du Palais de Tokyo of the Palais de Tokyo

TatianaTrouv,

vue de lexposition Double Bind / view of the exhibition Double Bind

dactivits du Palais de Tokyo destination des personnes en situation de handicap visuel et de tous ceux qui souhaitent dcouvrir lart par dautres sens. [ e ] m The Palais de Tokyos program of activities intended for visually impaired people and all those who wish to discover art through other senses.

need for global representation, the Transnational Republic is a micronation that models itself not on the idea of a nation, but rather on a trans-global corporation state entity. It is non-territorial and does not exclude any race or nationality from citizenship. According to its constitution, legislation is overseen by an executive decision-making committee and judicial branches of government. Its specific economic system is referred to as Payola and is backed by Euro reserve funds. Its primary goal is to marry globalization with democracy through economics. [ m TaTs(FaiTes-leVoUs-mme
trononneuse (concours international de sculpture la)

tour de France [ m Vayer,antoine] [ m dopage] [ m Chapoulie, Jean-marc] [ m lesjeudisde Cinqmilliards dannes ]

International Competition of Chainsaw Sculpture [ f ] m Organis le 13 septembre 200 au Palais de Tokyo, loccasion du vernissage de [ m Cinqmilliardsdannes ] . Jury prsid par [ m Giannimotti] et compos de Stphane Demarthes, [ m danieldewar] , [ m Grgory Gicquel] , Armelle Leturcq, Monsieur Meff, et Jean-Franois Stvenin. Palmars : 1er prix Jiri Kovanic, Rpublique Tchque ; 2 e prix Svein Tore Kleppen, Norvge ; 3 e prix Juri Ojaver, Estonie ; 4e prix ex aequo David Dauphin, France & Jozsef Toth, Hongrie. Autres concurrents : Julien Colboc, France ; Juraf Cutek, Slovaquie ; Jol Fagny, Belgique ; Louis Lavoie, Canada ; Pascal Margot, Suisse ; Thierry Paquet,

dun espace qui soit propre au dveloppement de phnomnes psychiques, leur dploiement dans le temps, est au cur du travail de Tatiana Trouv, depuis la cration du Bureau dActivits Implicites en 1997 (B.A.I.). Le B.A.I. est compos de Modules et de Polders. Les premiers sont des lieux de travail et de concentration dont on ne sait prcisment si la fonction consiste recenser ou produire des penses ou les traces de lactivit de lartiste, comme si la gense de luvre en constituait galement lhorizon. Les seconds sont des espaces en rduction, nigmatiques, parce que composs dlments faisant rfrence des univers htroclites : leurs changements dchelles saccompagnent systmatiquement de la redfinition dune logique despace portant lempreinte dune exprience rve. Tatiana Trouv a reu le prix Marcel Duchamp en 2007. conducive to the development of psychological phenomena and their deployment in time has been central to the work of Tatiana Trouv ever since she created the Bureau dActivits Implicites (B.A.I.) [Office of Implicit Activities] in 1997. The B.A.I. is composed of Modules and Polders. The former are places of work and concentration: we do not quite know if their function is to identify or produce thoughts, or if they contain the traces of the artists activity, as if the genesis of the work also constituted its horizon. The latter are reduced-size

[ m doUBleBind] [ e ] m *198, lives in Paris. Constituting spaces

tua 208

tuAZoN

tYSoN

tys 209

~~~ [ f ] m Ds quil est apparu sur les rings et, surtout, sur les tlviseurs diffusant ses combats, Mike Tyson a fait sensation. Boxeur apparemment invulnrable, ses K.O. semblaient venir dailleurs, ses coups foudroyants dfiant la capacit de raction de ses opposants autant que celle de lil de ses fans. Si rapide quil devient furtif, si brutal quil devient photognique, Tyson est un combattant de linvisible. Mme au ralenti, il ne semble pas y avoir dtape intermdiaire entre lamorce de lattaque et le poing qui scrase sur ladversaire, le jetant terre comme un poids mort. Ni le spectateur, ni le challenger na vu le coup dans son ensemble, na peru sa trajectoire, pris conscience de son temps. Modle de visibilit paradoxale, exemplaire dune conomie o limage manquante dbouche sur une hyper-spectacularit de lvnement, Tyson est un monstre. Dailleurs, entre la fulgurance des exploits sportifs et lomniprsence des images, entre le furtif et liconique, la contradiction va savrer trop forte et dboucher sur le film dpouvante. Au fil des combats et des faits divers, Tyson sloigne du modle moderniste du chevalier invincible ; crasant tout sur son passage, coupable de viol, cannibale arrachant loreille du boxeur qui lui rsiste, le voil dcid montrer la plante entire quil nest pas un humain. Il glisse finalement sur la surface du rel sans pouvoir ni le fixer, ni le transpercer. La fascination exerce par Mike Tyson vient ainsi de ce quil incarne, pour le meilleur et pour le pire, cette combinaison aussi contradictoire quefficace de furtivit et de photognie. ce titre, il ne constitue pas seulement un phnomne extraordinaire dans lhistoire de la boxe ; il offre galement une cl de lecture un pan entier de lart daujourdhui. Plongeant leur spectateur dans lincertitude et la schizophrnie, les artistes travaillent eux aussi aux frontires du visible. Ils oprent la vue de tous mais leurs coups restent hors de notre saisie, dans une mobilit incessante qui rend leurs actions la fois imperceptibles et spectaculaires. ~~~

Mike Tyson

spaces, enigmatic because they are composed of elements referring to heterogeneous universes: their changes in scale are systematically accompanied by the redefinition of a logic of space bearing all the marks of an oneiric experience. Tatiana Trouv was the winner of the Marcel Duchamp prize in 2007.
[ m doUBleBind ]
tuaZon, oscar [ m 6 , fig. # 95 ] [ f ] m *1975, vit Paris.

space, a model. The artist filled the space of the Module with a structure assembled entirely from the refuse of past exhibitions. This renovation of the room was realized with discarded materials, the form determined by the contents of the Palais de Tokyos storage. Tuazon drawn attention to the exhibition space as a potential place to live, and simultaneously underscored the impossibility of realizing a living space as an exhibition.

[e ] m

travers la ralisation de sculptures, de photographies ou lcriture, Oscar Tuazon explore larchitecture comme lment habiter et non comme une pratique de design. Utilisant des matriaux recycls ou trouvs, quil associe un procd de maquette architecturale grande chelle, Oscar Tuazon travaille actuellement sur un projet de maison Kodiak en Alaska. [ m modUle ] hors-les-murs 09/11/2007 02/12/2007. Where I lived, and what I lived for . Oscar Tuazon proposait une tentative damnagement : Prenez un espace vide, investissez-le, faites comme si vous viviez l. Vivez-y. Utilisez tout ce qui est l. chaque instant, insistez avec obstination sur lconomie de moyen ; nutilisez que ce qui est disponible gratuitement. La charpente dune maison, la suggestion minimum dun espace de vie : une maquette. Lartiste a occup lespace du Module en crant une structure faite de rebuts dexpositions passes. Lespace ont t rnov partir de matriaux abandonns; comme une forme dtermine par le contenu des stockages du Palais de Tokyo. Il attirait lattention sur lespace dexposition comme potentiel espace de vie et soulignait ainsi simultanment limpossibilit de crer un lieu de vie exposer. [ e ] m *1975, lives in Paris. Through sculpture, photographs, and writing, Oscar Tuazon explores architecture as a product of inhabitation rather than of design. Using recycled and found materials coupled with a process of architectural modelling in full scale, Oscar Tuazon is currently working on a house in Kodiak, Alaska. extra-muros [ m modUle ] 09/11/2007 02/12/2007. Where I lived, and what I lived for . Oscar Tuazon occupied the place with an attempt of remodelling the space: Take an empty space, move in, treat it like you live there. Live there. Use whatevers there. Stubbornly insist on a rigorous economy of means in every instance; only use it if its free. A shell of a house, the barest suggestion of a living

m Tuning
tuning [ m Chopper] [ m dewardaniel&Gicquel Grgory] [ m raphalsiboni] [ m stphaneVigny]

m Mike Tyson contre/vs. Franois Botha, Las Vegas, 1/01/1999

tyson, mike [ f ] m * 19

Brooklyn (Etats-Unis). Boxeur professionnel afro-amricain, le plus jeune champion du Monde des poids lourds lge de 20 ans. [ m Furtivit] [ m voir encadr p.208] [ e ] m * 19 in Brooklyn (United States). AfroAmerican professional boxer, the youngest ever world heavyweight champion at the age of 20.[ m Furtivit] [ m see box p. 209]

~~~ Direcltly he appeared in the ring and above all on the television screens that relayed his fights, Mike Tyson caused a sensation. A seemingly invulnerable boxer, his KOs seemed to come from somewhere else, his lightning blows defying his opponents capacity to react as well as the eyes of his supporters. So quick that he became furtive, so brutal that he became photogenic, Tyson was a fighter of the invisible. Even in slow motion there does not seem to be any intermediate stage between the start of the attack and the fist that crashes into his adversary, flooring him like a dead weight. Neither the spectator nor the challenger saw the blow in its entirety, followed its trajectory, became aware of its duration. A model of paradoxical visibility, a textbook example of an economy where the missing image results in the hyper-spectacularity of the event, Tyson is a monster. Moreover, between the dazzling nature of the sporting exploits and the omnipresence of the images, between the furtive and the iconic, the contradiction would turn out to be too powerful, and end up in a horror film. As the fights and the items of gossip went on, Tyson moved away from the modernist model of the invincible knight; crushing everything as he passed, guilty of rape, a cannibal tearing off the ear of the boxer who stood up to him, we see him determined to show the whole planet that he is not a human being. He finally slides over the surface of reality without being able either to pin it down, transfix it. Thus the fascination exerted by Mike Tyson comes from what he embodies, for better and for worse, this equally contradictory and effective combination of the furtive and the photogenic. Viewed like this, not only does he constitute an extraordinary phenomenon in the history of boxing; he also offers a key to understanding a whole side of the art of today. Plunging their viewers into uncertainty and schizophrenia, artists too are working at the frontiers of the visible. They operate in full view of everybody, but their blows remain beyond our grasp, in a ceaseless mobility that renders their actions both imperceptible and spectacular. ~~~

Mike Tyson

uni 210

uNivERS-Bloc

uNivERSit Dt

uni 211

univers-bloc

[ e ] m To coincide with the exhibition at the

Block-universe [ m voir p. a-7 / seep. a-15]

m Universit dt du Palais de Tokyo / Palais de Tokyo summer school

universit dt

Summer School [ f ] m En marge du Chteau de Tokyo, le Centre international dart et de paysage (CIAP) de lle de Vassivire et sa directrice Chiara Parisi ont accueilli la premire Universit dt du Palais de Tokyo les 1er et 2 septembre 2007. Au programme de ces deux jours de rencontres runissant critiques dart, artistes, journalistes, curateurs et conservateurs : tables rondes et dbats pour un tour dhorizon des grandes expositions passes et venir, visite du Chteau et du CIAP expositions, banquet autour du feu dans la cour du chteau de lle, soire effrne avec le Paris-Paris version Vassivire-Vassivire Furent du voyage pour cette premire session : [ m renaud auguste-dormeuil] , Colette Barbier (Fondation Ricard), Frdric Burgada (Cosmic Galerie), Yann Chevallier (Le Confort Moderne), Olivier Chupin (FRAC Poitou-Charentes), Florence Derieux (cole du Magasin), deValence (Alexandre Dimos et Gal tienne), Marta Gili (Jeu de Paume), Patrice Joly (Zrodeux), Charlotte Laubard (CAPC), Laurent Le Bon (Centre Pompidou), Emmanuelle Lequeux (Le Monde / Beaux-Arts magazine), Edouard Lev, Jean de Loisy (Centre Pompidou), Olivier Michelon (Muse dpartemental dart contemporain de Rochechouart), Yannick Miloux (FRAC Limousin), Claudine Papillon, Naia Sore (le 104), Morgane Tschiember, lisabeth Wetterwald (cole suprieur dart de Clermont), la directrice du Centre dart contemporain de Meymac, le Conseiller aux arts plastiques du Limousin, Chi Chi Menendez et Franois Audiffr (La Clique), Marco Dos Santos (directeur artistique du ParisParis) ainsi quune forte dlgation du Palais du Tokyo, son directeur [ m marc-olivierWahler] en tte.

Chteau de Tokyo, the Centre international dart et de paysage (CIAP) de lle de Vassivire and its director Chiara Parisi hosted the Palais de Tokyos first Summer School on 1 and 2 September 2007. The program for these two days of meetings bringing together art critics, artists, journalists, and exhibition and museum curators included: round tables and debates reviewing the major exhibitions of 2007 and of 2008, a visit of the Chteau and of the CIAP, a banquet round the fire in the courtyard of the chteau on the island, a wild evening with the Paris-Paris version Vassivire-Vassivire Those joining us for this first session were: [ m renaudauguste-dormeuil] , Colette Barbier (Fondation Ricard), Frdric Burgada (Cosmic Galerie), Yann Chevallier (Le Confort Moderne), Olivier Chupin (FRAC Poitou-Charentes), Florence Derieux (cole du Magasin), deValence (Alexandre Dimos et Gal tienne), Marta Gili (Jeu de Paume), Patrice Joly (Zrodeux), Charlotte Laubard (CAPC), Laurent Le Bon (Centre Pompidou), Emmanuelle Lequeux (Le Monde / Beaux-Arts magazine), Edouard Lev, Jean de Loisy (Centre Pompidou), Olivier Michelon (Muse dpartemental dart contemporain de Rochechouart), Yannick Miloux (FRAC Limousin), Claudine Papillon, Naia Sore (le 104), Morgane Tschiember, lisabeth Wetterwald (cole suprieur dart de Clermont), the director of Centre dart contemporain de Meymac, Chi Chi Menendez and Franois Audiffr (La Clique), Marco Dos Santos (Paris-Paris artistic director) as well as a strong delegation from the Palais du Tokyo, headed by its director [ m marc-olivierWahler] .

val 212

vAlDEZ

viGNY

vig 213

valdeZ, eliZabeth [ f ] m Vit New York. Pour

crer ses toiles, Elizabeth Valdez utilise souvent la cire et la peinture sur tissu. Ce mlange de matriaux met en marche une oscillation entre le beau et le vulgaire en se rfrant la fois labstraction de formes expressionnistes et la violence dun sadomasochisme inquitant. Elizabeth Valdez a particip lexposition Leviathan Under Moons Influence (Champion Fine Arts, New York, 2004), organise par [ m stevenParrino ] . [ m BasTardCreaTUre ] [ e ] m Lives in New York. To create her pictures, Elizabeth Valdez often uses wax and paint on fabric. This mixture of materials sets in motion an oscillation between the beautiful and the vulgar by referring both to the abstraction of Expressionist forms and the violence of a disturbing sadomasochism. Elizabeth Valdez took part in the exhibition Leviathan Under Moons Influence (Champion Fine Arts, New York, 2004), curated by [ m stevenParrino ] . [ m BasTardCreaTUre ]
van brummelen, lonnie & de haan, siebren [ m 6 , fig. # 90 ] [ f ] m Lonnie van Brummelen : *199,

[ e ] m Lonnie van Brummelen: *199, Siebren de

Siebren de Haan : *19, vivent Amsterdam. Le duo dartistes nerlandais Lonnie van Brummelen et Siebren de Haan sintresse par divers biais formels des questions dordre politique, allant du statut de lartiste aux consquences conomiques du ralliement dun pays lUnion europenne. Leurs travaux touchent aussi bien la photographie, lcriture, au film quaux installations ; ils oprent galement un travail de commissaire dexposition. Engags, les artistes se posent de manire rcurrente la question de linstitutionnalisation, celle de lart en particulier, reliant ainsi thique et esthtique. [ m modUle ] 03/05/2007 03/0/2007. Pour le projet Monument en sucre , les artistes ont voyag de la Pologne au Nigeria pour enquter sur le cot du sucre dans le monde. Intrigus par le prix drisoire du sucre europen en dehors de lEurope, ils ont alors dcid de renverser les flux commerciaux en achetant prix faible au Nigeria lexcdent europen de sucre pour limporter de nouveau en Europe. Le rsultat de cette vritable expdition est montr sous la forme dun film 1 mm, de sculptures en sucre et dune publication retraant tout le processus de ralisation des uvres.

Haan: *19, live in Amsterdam. The Dutch artistic duo Lonnie van Brummelen and Siebren de Haan use photography, writing, film and installations to explore political questions, ranging from the status of the artist to the economic consequences experienced by a country joining the European Union. They also carry out curatorial work. The artists consistently raise political questions about the institutionalisation, particularly of art, thereby linking ethics and aesthetics. [ m modUle ] 03/05/2007 03/0/2007. For their ambitious project Monument en sucre [Monument of Sugar], the artists have travelled from Poland to Nigeria researching the cost of sugar in the world. Intrigued by the derisory price of European sugar outside Europe, they decided to reverse the flow of sugar by buying the European excess cheaply in Nigeria and shipping it back to Europe. The result of this expedition, Monument en sucre is shown with a 1 mm film, sculptures made of sugar and a publication that follow the whole process of making the works. m uvres / works Fortified Nigerian Sugars, weakened by second rainy season and overseas transportation, 200/2007 144 morceaux de sucre / 144 sugar blocks Courtesy des artistes / of the artists European Benchmark, 200 /2007 10 morceaux de sucre / 10 sugar blocks Courtesy des artistes / of the artists Monument of Sugar, how to use artistic means to elude trade barriers, 200 /2007 Film 1mm / 1mm movie, 3 min. Courtesy des artistes / of the artists
vayer, antoine [ f ] m Professeur dEPS

veneZiano, gabriele [ f ] m Physicien italien. Co-inventeur de la [ m thoriedescordes] , Gabriele Veneziano

est actuellement professeur la division de physique thorique du CERN depuis 197. Membre de lAccademia dei Lincei, de lAccademia delle Scienze et de lAcadmie des sciences avec le statut dassoci tranger. Il a obtenu le prix Pomeranchuk en 1999, le prix Dannie Heinemann de lAmerican Physical Society en 2004 et le prix Enrico Fermi de la Societ Italiana di Fisica [Socit italienne de physique]. Il est aussi le laurat 200 de la prestigieuse Mdaille Albert Einstein dlivre par la Socit Albert Einstein et en 2007 de la Mdaille Oskar Klein.
[ m lesjeudisde Cinqmilliardsdannes ] [ m Hauviller,Claude] [ m merlo,Jean-Pierre]

[ e ] m An Italian physicist. The co-inventor of the string theory [ m thoriedescordes] , Gabriele

Veneziano is currently a professor in the theoretical physics division of CERN, where he has been since 197. A member of the Accademia dei Lincei, the Accademia delle Scienze and the Acadmie des sciences, with the status of foreign associate. He was awarded the Pomeranchuk Prize in 1999, the Dannie Heinemann Prize by the American Physical Society in 2004, and the Enrico Fermi Prize by the Societ Italiana di Fisica [Italian Society of Physics]. He is also the 200 winner of the prestigious Albert Einstein Medal awarded by the Albert Einstein Society, and in 2007 won the Oskar Klein Medal. [ m les
jeudisde Cinqmilliardsdannes ] [ m Hauviller,Claude] [ m merlo,Jean-Pierre]

vie artiFicielle

Artificial life [ f ] m Formes de vie gnres par des algorithmes. Le concept remonte Alan Turing et aux premiers ordinateurs. [ m lesjeudis] [ m Claude
lattaud] [ e ] m Forms of life generated by algorithms. The

Laval, ancien entraneur de lquipe Festina (1995 98), responsable dAlternativ, cellule de recherche sur la performance, chroniqueur du Tour de France pour Libration. [ m lesjeudisdeCinqmilliards Laval, former trainer of the Festina team (1995 98), in charge of Alternativ, a research unit looking into performance, writes about the Tour de France for Libration. [ m lesjeudisde
Cinqmilliardsdannees ] [ m dopage]

concept goes back to Alan Turing and the first calculators.[ m lesjeudis] [ m Claudelattaud]
vigny, stphane [ m 6 , fig. # 80 ] [ f ] m *1977, vit en Haute-Savoie.

dannees ] [ m dopage] [ m TourdeFrance] [ e ] m A post-secondary education teacher at

[ m TourdeFrance]

Avec une grande matrise, Stphane Vigny croise hritage minimaliste, influence kitsch et objets populaires pour produire des uvres anodines et subversives. Bricoleurs du dimanche, esthtes de la dco cheap et clinquante ou adeptes de la customisation automobile semblent tre les figures dinspiration de lartiste. Humour et gravit sont

vik 214

vikESlAND

vlEESchouwER

vle 215

les piliers de cette pratique de lhybridation o les objets semblent appartenir la classe des objets artistiquement modifis (O.A.M.) [ m modUle ] 07/12/200 03/01/2007. Pour son exposition Mcanique populaire, Stphane Vigny a runi un clapier lapins, soumis un tuning minimal, une perceuse lectrique transforme en corde sauter et une paire de baskets ravale au rang de bibelot kitsch. Chaque uvre est le produit dune alliance contre nature, une sculpture la fonctionnalit biaise et la dynamique paradoxale. [ e ] m *1977, lives in Haute-Savoie. Stphane Vigny uses great virtuosity in intermingling the Minimalist heritage, the influence of kitsch and commonplace objects to produce works that are anodyne yet subversive. Sunday do-ityourselfers, aesthetes of cheap and garish decoration or car customisation enthusiasts seem to be the figures who provide the artist with inspiration. Humour and seriousness are the pillars of this practice of hybridization where the objects seem to belong to the classification of the artistically modified objects (AMOs). [ m modUle ] 07/12/200 03/01/2007. For his exhibition Mcanique populaire, Stphane Vigny brought together a rabbit hutch, subjected to minimal tuning, an electric drill transformed into a skipping rope and a pair of trainers reduced to the status of a kitsch trinket. Each work is the product of an unnatural alliance, a sculpture with skewed functionality and paradoxical dynamics. m uvre / Work Perceuse sauter, 2004 Perceuse lectrique, parpaings / Electric dril, parpens Collection de lartiste / of the artist (vido prsente au Palais de Tokyo / video presented at the Palais de Tokyo) Pr-alpin postmoderne, 200 Paire de baskets blanches de marque Inesis (pointure 42 + 2), bgonias roses (fleurs interchangeables selon la saison) / White Inesis trainers (size 42 + 2), pink begonias (flowers can be changed according to season) Collection de lartiste / of the artist Clapiers tuning, 2005 Clapiers ciment, peinture, lapins fermiers (nombre indtermin) / Concrete rabbit burrows, paint, rabbits 190 cm x 129 cm x 98 cm Collection de lartiste / of the artist
vikesland (principaut de)

Canada. Sa Majest le prince Christophe I er, qui prtend descendre des seigneurs mdivaux de France et de Louis Riel, le patriote canadien, rgne sur le Vikesland. La famille royale compte mettre en place un systme de gouvernement capable de saffranchir un jour de la tutelle canadienne. Riche de 25 habitants, le Vikesland possde sa propre constitution laquelle interdit tout conflit arm et sengage ne jamais imposer les citoyens. Cette dernire clause ne manque pas dironie quand on sait que les citoyens en question sont tenus de reverser au gouvernement tous leurs biens personnels. Lavenir conomique du pays repose presque exclusivement sur le commerce en ligne. Le roi, sa famille et ses sujets, quoique dune exquise politesse, ont choisi pour devise Libert, galit, Vigueur afin de rendre hommage lesprit daventure des Vikings. Ils partagent la culture et les jours fris de leur voisin canadien mais ils jouissent de deux jours fris supplmentaires : la commmoration de leur indpendance, en juillet, et un second Halloween.[ m TaTs(FaiTes-leVoUsmme) ] [ e ] m Occupies two land areas in the province of

Se rfrant souvent la culture du death metal, il ractive divers rcits de violence ou dextrmisme. Ses installations investissent le ct sombre de la culture amricaine dans un vocabulaire allant des grandes formes de lart jusqu une sensibilit proche du gothique kitsch. [ m BasTardCreaTUre] [ e ] m *1973, lives in New York. Banks Violette describes a complex social landscape to us through sculpture, drawing and mural painting. Often referring to the death-metal culture, he reactivates various stories of violence or extremism. His installations explore the dark side of American culture in a vocabulary ranging from the great forms of art to a sensibility close to kitsch Gothic. [ m BasTardCreaTUre]
vision-Fentre

[f ] m

Window vision [ f ] m [ m voir encadr p.215] [ m artminimal]

[ m Furtivit] [ m mutants] [ e ] m [ m see box p. 21] [ m Furtivit]

Manitoba, Canada. Vikesland is led by his Royal Majesty Prince Christopher I, who claims a bloodline tracing back to the French Seigneurs and controversial Canadian patriot Louis Reil. The Royal family hopes to establish a system of sustainable government in order to one day peacefully become independent from Canada. With a population of 25, Vikesland has its own constitution, including a bill renouncing war, and a vow to never tax its citizens. Ironically however, all citizens are required to transfer all of their personal property to the government of Vikesland. Future economic plans rely almost exclusively on internet business enterprises. The Royal family and residents have a motto of Freedom, Equality and Strength, honoring the adventure of the spirit of Vikings, though they are themselves very mild mannered. They share the same culture and western holidays as neighboring Canada, with the addition of two unique holidays: an Independence Day celebration in July and a second Halloween. [ m TaTs
(FaiTes-leVoUs-mme) ]

m KrisVleeschouwer, Glassworks II, 200

vleeschouWer, kris [ f ] m *1972, vit Anvers et

violette, banks [ m 3 , fig. # 43 ] [ f ] m *1973, vit New

Principality of Vikesland [ f ] m Situe sans la rgion du Manitoba au

York. Banks Violette dcrit un paysage social complexe travers la sculpture, le dessin et la peinture murale.

Berlin. Bricoleur astucieux et adepte de linteractivit, le jeune artiste belge, Kris Vleeschouwer, invente des installations ludiques et souvent spectaculaires qui tentent rgulirement de piger le spectateur. Manipulant, laide dordinateurs, des objets de notre quotidien et parfois dans diffrents lieux simultanment, lartiste parvient crer des situations incongrues et absurdes, des petits actes terroristes sans gravit. Dans [ m UneseCondeUneanne] , a t prsente luvre Glass Work 1, une tagre de type industrielle sur laquelle taient poses plusieurs dizaines de bouteilles en verre. Plusieurs fois par jour, intervalles irrguliers,

~~~ Pendant plusieurs sicles, lapprhension dune uvre dart, quelle quelle soit, tait fonction dun ensemble de conditions spcifiques : composition, cadre puis accrochage taient autant de paramtres clturant lexprience de luvre et lui assignant un lieu prcis. Cette vision-fentre imposait au spectateur de se concentrer sur des images considres pour elles-mmes, mais demeurant isoles les unes des autres ; manire de dlimiter et de justifier rciproquement la place et l autonomie de lun et de lautre. Le XXe sicle a multipli les coups de boutoir contre ce systme de contraintes et de restrictions. Dcisif en la matire, lart minimal, en proposant des objets volontairement insignifiants, les posait comme autant dlments transitifs permettant la perception de glisser dans lespace. Alors que laccrochage ptersbourgeois demandait au visiteur de se concentrer tour tour sur une srie de cadres, lart minimal fait draper la vision-fentre ; lartefact, le lieu, la lumire, et le visiteur lui-mme sont dsormais comme une globalit, fondant les uns avec les autres autant de relations, voire de conditions concomitantes. Lexprience de lexposition devient une dynamique du regard et de lesprit, dans un espace traverser et activer sur un plan physique aussi bien quintellectuel et mental, voire pataphysique. La mise en glisse ne sarrte pas l : les artistes dcomposent leurs gestes et dcadrent leurs pratiques, dsormais mutantes et furtives, et la relation linaire sur laquelle restait bloque la vision-fentre est dpasse par lclatement des interprtations et linfinit des univers possibles auxquels elles renvoient. ~~~

Vision-fentre

von 21

voN BRANDENBuRG

217

[e ] m

~~~ For several centuries the apprehension of a work of art, whatever it was, depended on a set of specific conditions: composition, frame, then hanging were all parameters enclosing the experience of the work and assigning it a particular place. That window vision forced the viewer to concentrate on images considered for themselves, but remaining isolated from one another; a way of defining the boundaries of the place and the autonomy of work and viewer, and justifying them towards one another. The 20th century has increased the number of assaults on this system of constraints and restrictions. Minimal art, crucial where this is concerned, offered intentionally insignificant objects, and placed them like so many transitive elements allowing perception to slide into space. While the close Petersburg hanging required visitors to concentrate on a series of pictures in turn, minimal art sends the window vision into a skid; the artifact, the place, the light and the visitor now resemble a total entity, founding with one another an equal number of relationships, or even concomitant conditions. The experience of the exhibition becomes a dynamics of the gaze and the mind, in a space to be crossed and activated on a physical as well as an intellectual and mental level, a pataphysical one even. The slippage does not stop there: the artists decompose their gestures and unframe their practices, which are now mutating and furtive, and the linear relationship on which window vision remained locked is overtaken by the explosion of interpretations and the infinity of possible universes they may refer to. ~~~

Window vision

une bouteille tombait de ltagre et venait se briser sur le sol. [ e ] m *1972, lives in Anvers et Berlin. A skilful and witty creator of interactions, the young Belgian artist Kris Vleeschouwer invents kinetic installations that can sometimes be spectacular but that consistently seek to trap their viewers. Using computers to manipulate and animate everyday objects, the artist creates absurd and surprising encounters, small terrorist acts without consequence. The work Glass Work 1 (200), an industrial shelving unit containing dozens of glass bottles, was presented in oNE SEcoND oNE YEAR [ m UneseCondeUneanne ] . Several times a day, at irregular intervals, a bottle fell from the shelf and shattered on the ground.
von brandenburg, ulla [ m 6 , fig. # 82 ] [ f ] m *1974, vit Hambourg. Faisant

frquemment appel au trompe lil, lillusion doptique et au mystre, Ulla von Brandenburg dveloppe une iconographie chorgraphique qui croise psychanalyse, condition sociale et parapsychologie. Ses films mettent en scne des tableaux vivants o des groupes de plusieurs personnes issues de contextes et dorigines varies font corps. [ m modUle ] 0/10/200 29/10/200. Around est film muet en noir et blanc, qui joue de manire hypnotique sur les mouvements de freinage et de mutation dindividus placs de manire presque absurde dans un contexte industriel : une mcanique des corps anonymes se met en place avec une troublante rgularit. [ e ] m *1974, lives in Hamburg. Ulla von Brandenburg often makes use of trompe loeil, optical illusions, and mystery, developing a choreographic iconography that blends psychoanalysis, social conditions, and para-psychology. Her films feature tableaux vivants in which groups of people from a different contexts and backgrounds create ensembles. [ m modUle ] 0/10/200 29/10/200. Around (2005) is a black and white film. In an industrial setting, the film proposes a slow but hypnotic mutation: a slowly moving camera scrutinizes a tableau vivant of anonymous bodies with alarming regularity. m uvre / Work Around, 2005 Film super 1 mm, super 1 mm film, 2 min. 44 sec. Courtesy Art : Concept, Paris

Wah 218

wAhlER

wEEDS

Wee 219

Wahler, marc-olivier [ f ] m Directeur du Palais de

Tokyo depuis 200. En 1994, il cofonde le CAN Neuchtel quil dirige jusquen 2000. De 2000 2005, il prend la direction du S I (Swiss Institute Contemporary Art) New York. De 2000 2006, il a organis plus de deux cents expositions. Critique dart, il crit rgulirement sur lart contemporain, mais galement sur [ m mikeTyson] , les [ m mutants] ou les [ m Hellsangels] . Il est le spcialiste incontest du [ m strudel] . [ e ] m Director of the Palais de Tokyo since 200. In 1994, he co-founded the CAN in Neuchtel which he ran until 2000. From 2000 to 2005, he took over as director of the SI (Swiss InstituteContemporary Art) in New York. He has organized more than 200 exhibitions over the past fifteen years. As an art critic, he writes regularly about contemporary art, but also about [ m mikeTyson] , [ m mutants] or [ m Hell`s angels] . He is an undisputed expert on [ m strudel] .

Warhol, andy [ m 3 , fig. # 38 ; 4 , fig. # 44 ] [ f ] m 1928 1987. Icne de

m andyWarhol, Screen Test: Lou Reed, 19

m andyWarhol, Screen Test: Susan Sontag, 194

m andyWarhol, Screen Test: Marcel Duchamp, 19

lart contemporain, Andy Warhol a intgr au cur de sa pratique artistique les paradoxes de la socit de consommation. Les processus de reproduction, de ftichisme et dindustrialisation alimentent les srigraphies, les peintures et les films de lartiste qui pousse son paroxysme le rapport frontal du spectateur la seule apparence. Entre 194 et 19, il produit des centaines de Screen Tests, films de trois minutes o les visiteurs de la Factory, familiers, amis, artistes, sont invits sasseoir face la camra pendant la dure dune bobine et films en gros plan : chacun, clbre ou inconnu, devient son tour star, lu et cadr par lobjectif de Warhol. Face la camra, ces personnages doivent rester immobiles, livrant limpuissance la mise en scne de leur hypothtique clbrit. Cette accumulation de personnalits transforme lidentit et la subjectivit en images anonymes et infinies, comme autant dobjets trouvs, vritable matire brute dune culture mdiatise. On y reconnat, entre autres, Edi Sedgwick, Susan Sontag, Nico, [ m JohnGiorno] , Jonas Mekas, Grard Malanga, Jack Smith, [ m PaulThek] , Lou Reed et [ m marcelduchamp] . Les Screen Tests furent prsents dans [ m THeTHirdmind] . Une srie de Electrics Chairs a t prsente par ailleurs dans [ m BeFore(PlUsoUmoins)] . Appartenant lensemble plus large des Disaster Series, les srigraphies Electric Chairs neutralisent cette image symbole de lAmrique quest la chaise lectrique au mme titre que le Coca-Cola ou Marilyn Monroe. [ e ] m 1928 1987. A contemporary art icon, Andy Warhol made the paradoxes of the consumer society a central and integral part of his artistic practice. The processes of reproduction, fetishism and industrialisation feed the screenprints, paintings and films of this artist who pushes the frontal relationship of the viewer to mere appearance to the ultimate. Pop Art under the aegis of Andy Warhol took a both glamorous and iconoclastic turn. Between 194 and 19, he produced hundreds of Screen Tests, three-minute films in which visitors to the Factory, family members, friends, artists, were invited to sit down in front of the camera for as long as the spool of film lasted, and were filmed motionless in close-up: each of them, whether famous or unknown, in turn became a star, chosen and framed by Warhols lens. In front of the camera, they are asked to

remain motionless, making the staging of their hypothetical fame powerless. This accumulation of personalities transforms identity and subjectivity into anonymous, endless images, like so many objets trouvs, the genuine raw material of a mediatized culture. Among those who can be recognized are Edi Sedgwick, Susan Sontag, Nico, [ m JohnGiorno] , Jonas Mekas, Gerald Melanga, Jack Smith, [ m PaulThek] , Lou Reed and [ m marcelduchamp] . The Screen Tests were presented in [ m THeTHirdmind] . A series of Electric Chairs was also showing in [ m BeFore(PlUsoUmoins)] . The Electric Chairs silkscreens belong to the larger group, the Disaster Series, and neutralize the image of the electric chair, an American symbol in equal measure as Coca-Cola or Marilyn Monroe.
Warren, rebecca [ m 4 , fig. # 5 ] [ f ] m *195, vit Londres.

Le travail de Rebecca Warren djoue les codes de la sculpture figurative en produisant des masses informes et vaguement anthropomorphes. Droutant et dstructur, son travail sattache contourner les clichs de la reprsentation en usant de la matire avec une nergie troublante. SHE, une srie de femmes, de taille surdimensionne, en argile crue, a t prsente dans m THeTHird mind ] ,. [ e ] m *195, lives in London. Rebecca Warrens work outwits the codes of figurative sculpture by producing shapeless or vaguely anthropomorphic masses. Disconcerting and deconstructed, her work sets out to circumvent the clichs of representation by consuming material with a disturbing energy. , SHE, a series of oversized women made of unfired clay was presented in [ m THeTHirdmind].

m Weeds, saison 1 / season 1

Weeds [ f ] m Srie

tlvise cre par Jenji Kohan, produite par Brian Dannelly, diffuse sur le rseau Showtime aux tats-Unis et sur Canal+

Wei 220

wEiZmAN

williAmS

Wil 221

en France. Weeds raconte lhistoire de Nancy Botwin, mre clibataire vivant dans une banlieue respectable de Los Angeles, qui vend de la marijuana depuis la mort subite de son mari afin de subvenir aux besoins de sa famille.
[ m Hallucinognes] [ m 1969 ] [ e ] m A television series created

by Jenji Kohan, produced by Brian Dannelly, distributed on the Showtime network in the United States and on Canal+ in France. Weeds tells the story of Nancy Botwin, a lone mother living in a respectable suburb of Los Angeles, who has been selling marijuana since the sudden death of her husband in order to provide for the needs of her family. [ m Hallucinognes] [ m 1969] lunit darchitecture prospective au Goldsmiths College (Universit de Londres), Eyal Weizman sest fait connatre en 2002 par une controverse dclenche loccasion du projet dexposition sur larchitecture isralienne quil avait prsent, avec Rafi Segal, au Congrs de lUnion Internationale des Architectes de Berlin. Censure par les responsables israliens, leur proposition danalyse des usages de larchitecture comme arme dans le conflit isralo-palestinien fut finalement diffuse sous la forme dun livre, A Civilian Occupation : The Politics of Israeli Architecture (Verso, 2003), et intgre lexposition itinrante Territories Islands, Camps and Other States of Utopia (2003). Prolongeant sa rflexion gopolitique sur le Moyen-Orient en sintressant plus prcisment aux nouvelles conceptualisations militaires de lespace et du territoire, Eyal Weizman a rcemment publi Hollow Land : Israels Architecture of Occupation (Verso, 2007).
[ m lesjeudisde ,noUVellesdUmonderenVers ] [ m essaimage] [ m Gomtrieinverse] [ m operationalTheoryresearchinstitute]

Politics of Israeli Architecture (Verso, 2003), and integrated into the traveling exhibition TerritoriesIslands, Camps and Other States of Utopia (2003). Extending his geopolitical thinking about the Middle East and taking a more specific interest in the new military conceptualizations of space and territory, Eyal Weizman recently published Hollow Land: Israels Architecture of Occupation (Verso, 2007). [ m les
jeudisde ,noUVellesdUmonderenVers ] [ m essaimage] [ m Gomtrieinverse] [ m operationalTheoryresearchinstitute]

Westarctica (le grand duch de)

WeiZman, eyal [ f ] m Directeur de

[ e ] m Director of the Centre for Research Archi-

tecture at Goldsmiths College, University of London, Eyal Weizman came to the attention of the public in 2002 through a controversy triggered on the occasion of the proposal for an exhibition devoted to Israeli architecture he had put forward, together with Rafi Segal, at the Conference of the International Union of Architects in Berlin. Censored by Israeli officials, their proposal to analyze the uses of architecture as a weapon in the Israeli-Palestinian conflict was finally disseminated in the form of a book, A Civilian Occupation: The

The Grand Duchy of Westarctica [ f ] m R gion dAntarctique comprise entre le Ross Ice Shelf et les eaux territoriales argentino-britanniques et no-zlandaises. Profitant dune faille dans le Trait de lAntarctique qui nengageait pas les individus ne pas annexer cette rgion le grand-duc Travis adressa aux signataires de ce trait (Russie, France, Norvge, Australie, Chili, tats-Unis et Royaume Uni) une lettre par laquelle il revendiquait ce territoire. Aucun de ces pays ne songea la contester. Duchs et territoires furent mis en place mesure que sinstallait le gouvernement provisoire du Westarctica. Aprs une illumination religieuse survenue en 2004, le grand-duc abolit brusquement le gouvernement intrimaire, dessina un nouveau drapeau, dclara le duch de Westarctica nation chrtienne et rvoqua lancienne noblesse. La nation est aujourdhui essentiellement protestante, avec quelques adeptes de lglise catholique et une poigne dautres confessions. Le Westarctica sest efforc dobtenir la reconnaissance diplomatique de Taiwan, de la Rpublique de Latvie et de lOrdre militaire souverain de Malte. En janvier 2005, le Westarctica annexa les les Balleny, dans les eaux territoriales no-zlandaises. En 200, le grand-duc Travis cda le trne du Westarctica lancien marquis de Merovingi, qui dirige aujourdhui le pays sous le nom de grand-duc Philippe I er.[ m TaTs(FaiTes-leVoUs-mme)] [ e ] m A region in Antarctic bordered by the Argentine / British claim, New Zealands claim and the Ross Ice Shelf. Realizing a loophole, that individual claimants were not bound to the Antarctic Treaty, Grand Duke Travis issued an un-protested letter-of-claim to the treatys signatories: Russia, France, Norway, Australia, New Zealand, Argentina, Chile, the U.S. and the U.K. Dukedoms and territories were established as the formative operations of an interim

Westarctican government that developed. After a religious experience in 2004, the Grand Duke abolished the interim government in a radical step, designed a new flag, declared The Duchy of Westarctica a Christian nation and dissolved the former nobility. The nation is now mostly Protestant, followed by Catholic followers and others according to its mission. Westarctica claims diplomatic acknowledgement from Taiwan, Latvia and the Sovereign Military Order of Malta. In February of 2005, Westarctica annexed New Zealands Balleny Islands. In 200, Grand Duke Travis left the leadership of Westarctica to the former Marquis de Merovingi, now Grand Duke Philip I. [ m TaTs(FaiTes-le
VoUs-mme) ]

m sueWilliams, In Denial of the Shady Boner Motel, 1992

Williams, sue [ f ] m *1954, vit

Brooklyn, New York. Sue Williams utilise le corps humain comme outil pour ses dessins et ses peintures, le montrant de manire parcellaire et perturbatrice. Le rle de lhomme et de la femme dans la socit daujourdhui, le fminisme, la sexualit : tels sont les thmes la racine de son travail. Une certaine violence sourd de ses uvres, une colre intime comme elle le dit elle-mme. Dans les uvres prsentes dans [ m THeTHird mind ] , des morceaux de corps indfinis sont parpills ou mls en une chorgraphie la fois rotique et macabre, agressive et satirique. [ e ] m *1954, lives and works in Brooklyn, New York. Sue Williams uses the human body as a tool for her drawing and painting, showing it in parts and in a disturbing way. Mans and womans role in todays society, feminism, and sexuality: such are the themes at the root of her work from which a certain violence surges, an intimate anger, as she herself puts it. In the works exhibited in the group show [ m THeTHird mind ] , indefinite body parts are scattered or included in a choreography that is simultaneously erotic and macabre, aggressive and satirical.

yan 222

YAN

YoDEl

yod 223

yan (la nation de)

The Nation of Yan [ f ] m Fonde par le philosophe brsilien, Yan Pagh. La Nation de Yan est dpourvue de territoire, mais Pagh dclare ce sujet : Ma nation, cest le monde entier Cest l que jhabite. Tout comme vous, et lui, et elle. Yan Pagh a conu sa nation (Yan est une abrviation de Why a nation ? ) comme un lieu de vrit mtaphysique, un lieu de libert et de changement charge pour ses citoyens de crer leur propre philosophie et de fonder leur propre nation.
[ m TaTs(FaiTes-leVoUs-mme) ] [ e ] m Founded by Brazilian philosopher Yan Pagh.

Although the Nation of Yan has no physical territory, according to Pagh, my country is the whole world, this is my nation I live here, and so do you, and so does he, and so does she. Yan Pagh designed the Nation of Yan (Yan is an abbreviation for Why a Nation?) to be a metaphysical place of truth, freedom and changea free initiative for its citizens to use their own philosophy in order to initiate their own nation states. [ m TaTs(FaiTes-leVoUsmme) ]

distortion that heightens the density of reality, without ever dramatising it. The artist also makes short videos, and likes documenting ordinary gestures captured unawares in public spaces, and recorded clandestinely. [ m modUle ] 07/12/200 07/01/2007. Filmed in Beijing in China, Fantmes. Parachutes. Dragons. Projectiles consists of four short sequences that are autonomous, yet complementary. Virginie Yassef has no aspirations to be exotic, drawing inspiration from her immediate surroundings to transform instants from life involving play, ritual and work into poetic micro narratives. With regard to her films, she speaks of phantom scripts, fragments of stories that she strings together. m uvre / Work Fantmes. Parachutes. Dragons. Projectiles, 2004 DVD, courtesy galerie GP & N Vallois, Paris

yasseF, virginie [ m 6 , fig. # 81 ] [ f ] m *1970, vit Paris.

Passant du micro au macro avec humour et lgret, Virginie Yassef manipule les chelles et met en scne notre quotidien. Ses objets usuels dtourns jouent dun effet de distorsion qui augmente, sans jamais le dramatiser, la densit du rel. Lartiste ralise galement de courtes vidos, sattachant documenter des gestes ordinaires surpris dans lespace public et films la sauvette. [ m modUle ] 07/12/200 07/01/2007. Fantmes. Parachutes. Dragons. Projectiles a t tourn Pkin en Chine et est compos de quatre courtes squences la fois autonomes et complmentaires. loigne de tout dsir dexotisme, Virginie Yassef sinspire de son environnement immdiat pour transformer en micro fictions potiques des instants de vie entre le jeu, le rituel et le travail. Elle parle propos de ses films de scnarios-fantmes, de fragments de rcits quelle assemble entre eux. [ e ] m *1970, lives in Paris. Moving humorously and lightly from the micro to the macro, Virginie Yassef manipulates scale in presenting our everyday life. Her misappropriated commonplace objects play with an effect of

m Yodel / Yodeling
yodel

Yodeling [ f ] m Le yodel est une technique vocale qui permet un chanteur de passer sans intermdiaire de sa voix de poitrine sa voix de tte et viceversa, de manire rapide et rpte, en prenant appui sur des coups de glotte. Il en rsulte des vocalises o les aigus et les graves se succdent et se mlent de manire aussi tourdissante que jouissive tant pour le musicien que pour son public. Typique de la musique folklorique alpine, du Tyrol la Bavire en passant par la Suisse, cette technique se retrouve dans les chants traditionnels de nombreuses cultures, notamment dans les polyphonies pygmes, et a t mise profit par la country music et le bluegrass texan. On peut compter au rpertoire yodelisant du XXe sicle des chefs duvre du blues, commencer par le Standin On The Corner du grand matre amricain du folk yodel Jimmie Rodgers, accompagn par Louis et Lil Armstrong ; des classiques du musichall, comme Le Coucou de ma GrandMre

dAndreany ; des hits de la pop, comme Wind It Up de Gwen Stefani, titre inspir de la comdie musicale montagnarde La Mlodie du bonheur ; les parodies frntiques de grands airs dopra dans lesquelles sillustre Mary Schneider, reine du yodel australien ; et surtout, le clbre cri de Tarzan pouss par Johnny Weissmuller. Selon [ m Jean-PierreGuis] , lintrt du yodel va cependant bien au-del de son aspect folklorique : le jeu de graves et daigus qui le caractrise induit un brouillage des identits sexuelles et des strotypes culturels associs aux sons et aux tessitures musicales. On associe spontanment la voix grave au masculin, et, par contraste, la voix aigu au fminin. Ces soi-disant oppositions sont pourtant des constructions sociales qui relvent de la logique de genres analyse par Judith Butler. Le yodel masculin est alors comprendre comme une critique de la pseudo-raison sexuelle en musique : Loscillation rapide, la limite de la confusion, entre le registre grave et laigu dvirilise le mle. Le voil transform en folle, en travelo doprette, avec tout le ridicule souvent associ ce genre de mise en scne et de remise en question de la sexualit htronorme. Cest pour cela que le yodel fait souvent rire : comme va et vient rapide entre voix grave et voix aigu, cest dire entre masculin et fminin, il induit une forme dindiffrenciation et dambigut sexuelle. Le yodel est une sorte de travestissement, dont le comique peut tre clair en le rapportant au ridicule de ladolescent qui mue, commenant une phrase dans un registre et la terminant avec sa voix de tte. Quand la voix draille, sort des rails, ou dlire, cest aussi le signe dune grande tension sexuelle. souligne Jean-Pierre Guis. Ainsi que Pascal Quignard a pu le noter dans son livre La Leon de musique, la voix aigu ne caractrise pas seulement la femme, mais aussi le petit garon avant sa mue ; une voix que celui-ci perd en grandissant et quil naura de cesse de rechercher dans la musique. JeanPierre Guis voit dans le yodel un autre moyen pour lhomme de laisser remonter en lui sa voix denfant, en une jubilation innocente. Brouillant tous les codes, le yodel saffirme comme une performance physique particulirement forte : sy mlent dailleurs souvent des cris danimaux, lappel du coucou, le jappement du coyote, le mugissement de la vache, rvlant in fine la part joyeusement bestiale de ltre humain. [ m lesjeudisdeCinqmilliards
dannes ]

you 224

YouPkEtchA

YoutuBE BAttlE

you 225

[ e ] m Yodeling is a vocal technique which enables

a singer to pass without a break from his chest voice to his head voice and vice versa, rapidly and repeatedly, using the support of glottal stops. This results in vocal exercises where the bass and treble notes follow and mingle in a way that is as stunning as it is brilliant, for the musician and his audience alike. This technique which is typical of Alpine folkloric music, from Tyrol to Bavaria by way of Switzerland, is found in the traditional songs of many cultures, in particular in Pygmy polyphonic chants, and has been exploited by country music and Texan bluegrass. The list of examples of 20th-century yodeling includes masterpieces of the blues, starting with Standin On The Corner by Jimmie Rodgers, the great American master of yodeled folk, accompanied by Louis and Lil Armstrong; music-hall classics like Le Coucou de ma GrandMre by Andreany; pop hits like Wind It Up by Gwen Stefani, a title inspired by the musical The Sound of Music, with its mountain setting; the frenzied parodies of great tunes from opera which are the specialty of Mary Schneider, the queen of Australian yodeling; and above all the famous Tarzan whoop emitted by Johnny Weissmuller. According to [ m Jean-PierreGuis] , the interest of yodeling goes well beyond its folkloric aspect, however: the interplay of bass and treble notes that characterize it leads to a blurring of the sexual identities and cultural stereotypes associated with sounds and musical tessitura. The bass voice is spontaneously associated with the male, and in contrast the treble voice with the female. However, these supposed oppositions are social constructs which have to do with the logic of genders analyzed by Judith Butler. So the male yodel should be understood as a criticism of sexual pseudo-reason in music: The rapid oscillation, verging on confusion, between the bass and treble makes the male seem less manly. Here he is transformed into a madwoman, an operetta drag queen, with all the ridiculousness often associated with this kind of scenario and the requestioning of standard heterosexual sexuality. That is why yodeling often provokes laughter: as a rapid to and fro between a bass voice and a treble voice, i.e. between masculine and feminine, it induces a form of lack of differentiation and sexual ambiguity. Yodeling is a sort of disguise, the comic side of which can be elucidated it by relating it to the ridiculousness of the adolescent boy as his voice breaks, starting

a sentence in one register and finishing it with his head voice. When the voice goes off the rails, or raves, it is also the sign of great sexual tension, Jean-Pierre Guis stresses. As Pascal Quignard was able to note in his book La Leon de musique, the treble voice is characteristic not just of women, but of little boys before their voices break; a voice the child loses as he grows up and will ceaselessly look for in music. Jean-Pierre Guis sees yodeling as another means for men to allow their childs voice to arise again, in innocent jubilation. Blurring all the codes, yodeling asserts itself as a particularly powerful physical performance: moreover there are often animal calls mixed up in it, the sound of the cuckoo, the yelp of the coyote, the mooing of the cow, ultimately revealing the joyously bestial side of the human being. [ m lesjeudisdeCinqmilliards
dannes ]

youpketcha

Clockbug [ f ] m Insecte. Daprs Ugo Rondinone, Linsecte connu sous le nom de youpketcha, ou insectemontre, constitue la principale mtaphore de lexposition [ m THeTHirdmind] . Les pattes du youpketcha se sont atrophies, faute dutilit. En effet, linsecte survit en se nourrissant de ses propres excrments ; un rgime rendu possible par la lenteur de son mtabolisme, qui laisse le temps aux nutriments contenus dans ses excrments de senrichir de laction des bactries. Le youpketcha utilise ses antennes pour pivoter sur lui-mme, dans le sens inverse des aiguilles dune montre, si bien quil perdure en un cycle continu dingestions et dexcrtions. Le youpketcha prsente un miroir mtaphorique lun des dilemmes existentiels archtypaux, auquel chacun de nous doit se confronter : le tiraillement incessant entre la souffrance et lennui. Si grande soit la part de nous qui sagite, notre dplacement reste nul, le mouvement demeure circulaire. Lessentiel est lquilibre intrieur. Certes, partir du youpketcha pour dcrire mtaphoriquement lexposition ne constitue peut-tre pas une explication. Mais lexposition elle-mme est lexplication, le langage, limage, lespace et le silence, et sa forme premire est la mtaphore. De par la dimension implicite, inhrente la mtaphore, la signification mtaphorique lemportera toujours sur les tentatives discursives datteindre le vritable sens. La mtaphore parle tout simplement plus pleinement et

avec davantage de ncessit et de profondeur motionnelles que la dialectique et la logique, qui expliquent un concept par un autre. Comme dans les rves, la mtaphore invite la condensation, lassociation libre et la rsonance collective. Elle cherche des significations au sein de sa sphre dassociations, la faon dun thtre intime de lesprit. La tche de thE thiRD miND est de nous permettre de sortir des sphres de la conscience humaine, de ses voix contrefaites et empruntes, vers un espace qui puisse abriter la nuit, o, dans un ventail de solitudes, chaque voix puisse se faire lcho de la ntre. Dans ce temps et ce lieu, chacune est reprsentative de lespce humaine tout entire. Les images et les mots trouvent ou ne trouvent pas leurs vritables rsonances ; la confusion des analogies et des contraires trouve ou ne trouve pas lharmonie. [ e ] m Insect. According to Ugo Rondinone, The central metaphor of the exhibition [ m THe THirdmind ] is that of an insect known as the clockbug. The legs of the clockbug have atrophied as it does not need to move around. It exists by consuming its own feces, a diet which is possible due to the insects slow rate of metabolism, allowing the nutrients in the feces to be replenished by bacterial action. The clockbug uses its antennae to rotate itself in a counter-clockwise direction, so that it persists in a cycle of ingestions and excretion. The clockbug provides a metaphorical mirror for one archetypical existential dilemma that we all must face : The oscillation between the boredom of satiation and the longing of unfulfilled desires. However much of you may move around, as long as the motion is circular you havent really gone anywhere; the important thing is to maintain a tranquil inner core. To present an exhibition through a metaphor like the clockbug is a departure for which I have no clear language. The exhibition itself is the language, the image, the space and the silence, and its primary form is metaphorical. Metaphorical meaning will always outperform discursive attempts at existentialist meaning because of the implicit range inherent to metaphors. Metaphors simply speak more fully and with more emotional urgency and depth than dialectical mechanisms of rhetorical logic, where a concept is explained through the use of other concepts. As with dreams, the metaphor strives toward condensation, free-association and communal resonance. They seek meanings within their sphere of associations

as an intimate theatre of the mind. The task of the exhibition thE thiRD miND is to guide us through the spheres of human consciousness with all the contrived and cut-up voices towards a space that shelters the night. Where each voice, in a spectrum of solitudes, becomes an echo of our own. In this time and place, each is her/his own representative of all human kind. Images and words find or find not their true resonances, and the confusion of analogies and opposites find or find not harmony..

m YouTube
youtube battle [ f ] m Bataille de clips

sur le modle des iPod Battles organise au Palais de Tokyo le 5 avril 2007. Participants : Constantin Drakis, Olivier Babin, Ned Baldessin, Nicolas Boone, Alexi Chazart, Alexis Cicciu, Agns de Cayeux, Eleonore de Lardemelle, [ m alaindellanegra] , Liza Gabry, Sverine Guillionellie, Gondje Hendriks, Thomas Jeames, Chris Moukarbel, Julien Tarride, Cheng Xiao-Xing et Yanning Wilmann. Vainqueur : Alain della Negra (en finale contre Olivier Babin). Le jury tait constitu de : [ m Jean-marcChapoulie] , Max Simbula, [ m FabienGiraud] , Patrice Blouin. [ m lesjeudis Battles organized at the Palais de Tokyo on 5 April 2007. Participants: Constantin Drakis, Olivier Babin, Ned Baldessin, Nicolas Boone, Alexi Chazart, Alexis Cicciu, Agns de Cayeux, Eleonore de Lardemelle, [ m alaindellanegra] , Liza Gabry, Sverine Guillionellie, Gondje Hendriks, Thomas Jeames, Chris Moukarbel, Julien Tarride, Cheng Xiao-Xing et Yanning Wilmann. Winner: Alain della Negra (final against Olivier Babin). Jury members: [ m Jean-marcChapoulie] , Max Simbula, [ m FabienGiraud] , Patrice Blouin.
[ m lesjeudisde ,noUVellesdUmonderen-

de ,noUVellesdUmonderenVers ] [ e ] m Video battle in the same format of iPods

Vers ]

Zin 22

ZiNZENDoRF

ZomBiE

Zom 227

ZinZendorF, nicolaus ludWig (comte) [ f ] m 1700 170. Pitiste dissident qui restaura

lglise de lUnit des Frres Moraves fonde par Jan Hus au XVe sicle. Celle-ci se distingua assez vite par son trange culte du sang qui conduisit le clerg luthrien la mettre au ban et inspira les premiers livres de vampire. [ m la
marqUenoire ] [ e ] m 1700 170. Count Zinzendorf was a dissi-

dent Pietist who revived the Church of Unity of the Moravian Brethren founded by John Huss in the 15th century. The church soon distinguished itself by its strange cult of blood which led the Lutheran clergy to proscribe it and inspired the first books about vampires. [ m lamarqUe
noire ]

Zombie [ f ] m Type

de mort-vivant particulirement rpandu de nos jours, du cinma de genre la philosophie de lesprit. Le mot mme provient du folklore vaudou, o il dsigne un humain pass sous le contrle dun sorcier qui le maintient, grce une forme dempoisonnement ou denvotement, entre la vie et la mort. Sont venus sy agrger les traits des fantmes revenant doutre-tombe, des goules dvoreuses de chair humaine et des lgions de pestifrs pour former le modle international actuel du cadavre en dcomposition, aux mouvements lents mais implacables, dnu dintelligence et de volont, sinon celle de traquer jusquau dernier reprsentant de lespce humaine pour sen repatre. Cest la srie de films dhorreur initie par George A. Romero et James A. Russo avec La Nuit des morts-vivants (198) qui a mis en place la description canonique du zombie, ainsi que la dfinition corollaire des moyens de se dfendre contre ses attaques. Selon la doxa, le zombie est trs sensible au feu, aux blessures la tte, et bien sr la dcapitation ; stupide, il ne sait manier dautre outil que des armes de poing ; lent, il peut facilement tre pris de vitesse. La mythographie attribue cependant au zombie une facult problmatique, mis part la rsistance qui va de pair avec linsensibilit de son corps sans vie : dfaut de tuer, les blessures quil inflige transforment leur tour ses victimes en zombies. Par consquent, que le retour des morts parmi les vivants soit d de douteuses exprimentations scientifiques, aux retombes de la bombe atomique, la redcouverte de sortilges antiques ou une maldiction divine, il est

toujours plus urgent de les fuir ou de lutter contre leur prolifration que de rechercher les responsables de leur apparition. La menace reprsente par le zombie est ds lors aussi inexorable que paradoxale. Tandis que les plus clbres morts-vivants taient des tres dexception venus de pays lointains commencer par le vampire, aristocrate dun romantisme anachronique le zombie est banal, sans volont, sans motions : proltaire de lhorreur, il trouve sa force dans le nombre. Il appartient notre quotidien, saffirme comme notre semblable. Ainsi, mesure que le flau progresse, voisins, amis, parents deviennent leur tour des monstres dont le visage dcompos et pourtant identifiable figure lhorreur de notre propre alination. Au lieu dun simple memento mori, la leon des zombies est celle dmules de lcole de Francfort : rends-toi compte que tu ne vis pas. [ m Brooks,max] [ m essaimage] [ e ] m A zombie is a type of living dead creature that is particularly widespread at present, from genre cinema to the philosophy of the mind. The word itself comes from voodoo folklore, where it refers to a human being who has come under the control of a sorcerer who uses a form of poisoning or magic to keep him between life and death. The features of ghosts returning from beyond the tomb, ghouls that eat human flesh and legions of plague victims have come to be incorporated into the concept to form the current international model of the decomposing corpse moving slowly but implacably, devoid of understanding and will, except the will to track down every single person to the very last representative of the human species to gorge on them. It was the series of horror films initiated by George A. Romero and James A. Russo with Night of the living dead (198) which established the canonical description of the zombie, as well as the corollary definition of the means of defending oneself from its attacks. According to the doxa, zombies are very sensitive to fire, head wounds, and of course decapitation; they are stupid, and do not know how to handle any tool other than handguns or knives; they are slow, and can easily by caught by speed. However, mythography attributes one problematic ability to the zombie, apart from the toughness that goes hand in hand with the insensitivity of his lifeless body: rather than killing his victims, the wounds he inflicts on them transform them into zombies in their turn.

Consequently, whether the return of the dead among the living is due to doubtful scientific experiments, the fall-out of the atomic bomb, the rediscovery of ancient spells or a curse by the gods, it is always a matter of greater urgency to run away from them or fight against their proliferation than to look for those responsible for their appearance. The threat represented by a zombie then becomes as inexorable as it is paradoxical. While the most famous living dead were exceptional creatures from far-off countriesstarting with the [ m vampire] , an outdatedly romantic aristocratzombies are ordinary, devoid of will, devoid of emotions: the proletarians of horror, they find their strength in numbers. The zombie is part of our everyday life, turns out to be like us. Thus as the scourge progresses, neighbors, friends and relations in their turn become monsters whose decomposed yet identifiable faces portray the horror of our own alienation. Instead of being a simple memento mori, the lesson of the zombies is that of adherents of the Frankfurt school: realize that you are not alive. [ m Brooks,max] [ m essaimage]

m Zombie (Georgea.romero, Night of the Living Dead, 198)

m Zombie (edwardd.Wood,Jr., Plan 9 from Outer Space, 195 195)

228

229

ENGliSh FRENch iNDEx

tABlE DES mAtiRES / coNtENtS

230

231

# 5,000,000,000 Years [ m 5.000.000.000dannes ] a Acceleration [ m acclration] Anarchy [ m anarchie] Answering machine [ m rpondeur] Antimatter [ m antimatire] Artificial life [ m Vieartificielle] Auction [ m enchres(venteaux)] B Block-universe [ m Univers-bloc] Bookstore [ m librairie] Boldness theorem [ m Thormedecalvitie]
C

Music for Plants

n

[ m mUsiqUesPoUrPlanTesVerTes ] Nadiria [ m nadirie] Necromancy [ m ncromancie] Neuropsychanalysis [ m neuropsychanalyse]

67 8 48

5.000.000.000 acclration Crowley,aleister

10,5

Images 1 fig. #01 fig. #14

ciNQ milliARDS DANNES / FivE BillioN YEARS

New United States of America

[ m nouveauxtats-Unisdamrique] New Utopia [ m nouvelleUtopie] Nutopia [ m nutopie] Occultism [ m occultisme]

A-1 A-16

lie During. La relativit comme acclrateur de mtaphysiques / Relativity as an Accelerator of Metaphysics

49 80
Curlet,Franois

One Second One Year

P

Cave of Antimatter
[ m Cavernedelantimatire] Clockbug [ m youpketcha] Cosmic rays [ m rayonscosmiques] DIY [ m Bricolage] Doping [ m dopage] Double bind [ m doublecontrainte] Elasticity [ m lasticit] Evangelists [ m vangelistes] Events [ m vnements] Faction line [ m Barredefraction]

q r

[ m UneseCondeUneanne ] Particle detectors [ m dtecteursdeparticules] Peyote [ m Peyotl] Pitterpasta [ m Petitpateur] Quantum physics [ m Physiquequantique] Random [ m alatoire] Relativity [ m relativit] Satanism [ m satanisme]

Freedonia

Images 2

fig. #15 fig. #31

B-1 B-14

m , NouvEllES Du moNDE RENvERSE / m , NEwS FRom thE uPSiDE-DowN

Schizophrenic quotient
[ m quotientschizophrnique] Season 1 [ m saison1] Space-time [ m espace-temps] Spiritualism [ m spiritisme] Sponsors [ m Partenaires] Staff [ m quipe]

Laurent Jeanpierre. Pinot-Gallizio et la Caverne de lantimatire / Pinot-Gallizio and The Cave of Antimatter
81 114
Frestonia

JoeColeman(exPosiTion)

Five Billion Years

[ m Cinqmilliardsdannes ]

Images 3
C

Images 3, fig. #32 fig. #43

lA mARQuE NoiRE

Foreign Culture Institute

[ m institutdeculturetrangre] Foreign legion [ m lgiontrangre]

C-1 C-10

States-general for hair

[ m tatsgnerauxdupoil]

Razmig Keucheyan. Spectralit pirate / Pirate Spectrality

115 150
Josephsohn,Hans

Friends of the Palais de Tokyo

[ m amisduPalaisdeTokyo] Function of an etc. [ m Fonctionetc.] Furtivity [ m Furtivit] Genius Republic [ m rpubliqueGniale] Georgia [ m Gorgie] Gnosis [ m Gnose] God [ m dieu] Goreans [ m Gorens]

Stituationist International
[ m internationalesituationniste] String theory [ m Thoriedescordes] Summer school [ m Universitdt] Swarming [ m essaimage]
T

mutants

Images 4
D

fig. #44 fig. #57

thE thiRD miND

Ten Days, Ten Artists, Ten Videos

[ m dixJoUrs,dixarTisTes,dixVidos ] Thelema [ m Thlme]

D-1 D-14

Grow Your Own

H

Thursdays at Five Billion Years

[ m Jeudisde Cinqmilliardsdannes ]

William S. Burroughs & Brion Gysin. The Third Mind (Introduction par / by Grard-Georges Lemaire)
151 184
nadira

[ m TaTs(FaiTes-leVoUs-mme) ] Hallucinogens [ m Hallucinognes] Hanover [ m Hanovre]

Thursdays at La Marque Noire

[ m Jeudisde lamarqUenoire ]
Thursdays at m , News from the Upside-Down

secondlife

Images 5 Images 6
184 226

fig. #58 fig. #75

chtEAu DE tokYo. htEl EvERlAND. mEDio Di mEDiA NochE

International competition of chainsaw sculpture [ m Trononneuse(concoursinternationaldesculpturela)] Inverse geometry [ m Gomtrieinverse] l Libertarian thought [ m Penselibertaire] Light cones [ m Cnesdelumire]
i

[ m Jeudisde ,noUVellesdUmonde renVers ]

Thursdays at The Third Mind

[ m Jeudisde THeTHirdmind ]

fig. #76 fig. #95

moDulES

Transnational Republic
[ m rpubliqueTransnationale]

secondlife

Zombie

Loop quantum gravity

m

[ m Gravitquantiqueboucles] Matter [ m matire] Mediators Office [ m Bureaudesmdiateurs] Michelangelo [ m michel-ange] Minimal art [ m artminimal]

Twin paradox
U y

[ m Paradoxedesjumeaux] Upper Yafa [ m Hautyafa] Yodeling [ m yodel]

Morning of the Magicians

[ m maTindesmaGiCiens ]

232

233

Marc-Olivier Wahler directeurdelactionculturelle Mark Alizart responsabledesditionsFrdric Grossi Conceptiongraphiquere-p.org / binnenland.ch

directeurduPalaisdeTokyo

Cette publication bnficie du soutien de lAssociation des Amis du Palais de Tokyo. Le Palais de Tokyo bnficie du soutien du ministre de la Culture et de la Communication, Dlgation aux arts plastiques.

Peter Coffin, Daniel Colson, lie During, Christophe Galfard, Claude Hauviller, Steven Holmes, Laurent Jeanpierre, Razmig Keucheyan, Joachim Koester, Olivier Lamm, Grard-Georges Lemaire, Jean-Pierre Merlo, Fabrice Stroun, Pacme Thiellement, Eyal Weizman, ainsi que Margherita Balzerani, Didier Barroso, Daria de Beauvais, Jean-Baptiste de Beauvais, Anthony Huberman, Akiko Miki, Tanguy Pelletier, Marc Sanchez, Claire Staebler, Claire Szulc, et la participation exceptionnelle de Benjamin Thorel. TraducteursJudith Hayward, Jeanine Herman, Patrick Hersant, Aude Tincelin
Contributeurs

Didier Barroso (fig. #38, fig. #95) ; Marc Domage (fig. #01 #37, fig. #39# 5, fig. #77#80, fig. #85, fig. #94) ; Lang / Baumann (fig. ##9) ; Adrian Rocha Novoa, Carolina Santos & Myriam Suetta (fig. # 70# 75)
Crditsphotos

achev dimprimer en Union Europenne.

impression
PAlAiS DE tokYo

13 avenue du Prsident Wilson F-7511 Paris t/ +33 (0)1 47 23 54 01

www.palaisdetokyo.com
ARchiBookS

18-20 rue de la Perle F- 75003 Paris t/ + 33 (0)1 42 25 15 58 f/ + 33 (0)1 42 25 10 72

www.archibooks.com
diffusion

distribution

Godif Sodis

Prixdevente 39 isBn 978-2-91539-8-5 dptlgal 4 e

trimestre 2007

2007 Palais de Tokyo, Paris 2007 Archibooks + sautereau diteur, Paris 2007 ADAGP, Paris pour les uvres de Michel Blazy, Donald Judd, Frank Stella et Andy Warhol