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D.C.A / THE FRENCH ASSOCIATION FOR THE DEVELOPMENT OF CENTRES D’ART

In the field of visual arts, centres d’art play a key role in contemporary creation and its dissemination in France. For over thirty years their various means of support towards creation, research, dissemination and mediation have contributed to the construction and promotion of the French and international contemporary art scene. Each year they welcome more than a million visitors.

Since its foundation in 1992, d.c.a / the French association for the development of centres d’art has been contributing to networking and federating France’s centres d’art. With 50 current member organisations, and representing over a million visitors per year, d.c.a’s member centres d’art offer great diversity in terms of history, size and geographic and sociological context.

d.c.a wishes to spotlight the richness of the contemporary art and cultural projects that are available to the public. The collaborations, co-productions, co-publications and the national and international partnerships, based on artistic exchanges, aim to give centres d’art greater visibility.

d.c.a Board
President: Sandra Patron, Director of Parc Saint Léger, Centre d’art contemporain de Pougues-les-Eaux
Vice-president: Claire Le Restif, Director of Centre d’art contemporain d’Ivry – le Crédac, Ivry-sur-Seine
Vice-president: Pierre Bal-Blanc, Director of CAC Brétigny, Centre d’art contemporain de Brétigny-sur-Orge
Trésorière: Marie Cozette, Director of Synagogue de Delme – Centre d’art contemporain, Delme
Secretary: Nathalie Giraudeau, Director of CPIF, Centre photographique d’Île-de-France, Pontault-Combault

d.c.a’s member centres d’art
3 bis f, centre d’art · Centre d’art Le LAIT, Laboratoire Artistique International du Tarn · CRAC Alsace, Centre Rhénan d’Art Contemporain · Villa du Parc · Transpalette · Passerelle CAC · CAC Brétigny · Maison des Arts Georges Pompidou · Chapelle du Genêteil · Cneai = · Pavillon Blanc · La synagogue de Delme · CAIRN centre d’art · VOG, CAC de la ville de Fontaine · Galerie Edouard Manet / Ecole municipale des beaux-arts de Gennevilliers · Centre d’Art Bastille · Wharf, CAC de Basse-Normandie · Villa Noailles · Le Parvis, CAC · Centre d’art contemporain d’Ivry, Le Crédac · Centre d’art et photographie de Lectoure · Cirva, Centre International de Recherche sur le Verre et les Arts plastiques · Abbaye Saint André, CAC Meymac · Le 19 CRAC · Espace de l’Art Concret · La Kunsthalle · Villa Arson · CAC de la Ferme du Buisson · La Galerie, CAC de Noisy-le-Sec · image / imatge · Bétonsalon · Jeu de Paume · Palais de Tokyo · Centre Photographique d’Île-de-France · Parc Saint Léger · Le Quartier, CAC de Quimper · La Criée · Espace Croisé · Chapelle Saint-Jacques · Le Grand Café · CRAC Languedoc-Roussillon · Le Creux de l’Enfer · BBB centre d’art · Centre de création contemporaine · CAC Passages · Centre international d’art et du paysage de l’île de Vassivière · Micro Onde, CAC de l’Onde · Institut d’Art Contemporain

prova-dca

32 rue Yves Toudic
75010 Paris
+33(0)1 42 39 31 07
info@dca-art.com
www.dca-art.com

 

Les centres d’art sont dans le champ des arts plastiques des acteurs essentiels de la création contemporaine et de sa diffusion en France. Leurs activités de soutien à la création, de recherche, de diffusion et de médiation contribuent depuis plus de trente ans à la construction et à la promotion de la scène française et internationale de l’art contemporain.

Depuis sa création en 1992, d.c.a / association française de développement des centres d’art contribue à mettre en réseau et à fédérer les centres d’art en France avec leurs différences de statuts et de programmations. d.c.a regroupe aujourd’hui 48 structures, présentes dans 18 régions et 37 départements. Les centres d’art membres de d.c.a présentent une grande diversité au niveau de leur histoire, taille, contexte géographique et sociologique.

A travers d.c.a, nous souhaitons mettre en valeur la richesse de la création contemporaine et des projets culturels en direction des publics. Nos collaborations, coproductions, coéditions, partenariats nationaux et internationaux, fondés sur des échanges artistiques, ont pour but de donner aux centres d’art une plus grande visibilité.

Bureau d.c.a
Présidente : Sandra Patron, Directrice du Parc Saint Léger, Centre d’art contemporain de Pougues-les-Eaux
Vice-présidente : Claire Le Restif, Directrice du Centre d’art contemporain d’Ivry – le Crédac, Ivry-sur-Seine
Vice-président : Pierre Bal-Blanc, Directeur du CAC Brétigny, Centre d’art contemporain de Brétigny-sur-Orge
Trésorière : Marie Cozette, Directrice de la Synagogue de Delme – Centre d’art contemporain, Delme
Secrétaire : Nathalie Giraudeau, Directrice du CPIF, Centre photographique d’Île-de-France, Pontault-Combault

Centres d’art membres de d.c.a
3 bis f, centre d’art · Centre d’art Le LAIT, Laboratoire Artistique International du Tarn · CRAC Alsace, Centre Rhénan d’Art Contemporain · Villa du Parc · Transpalette · Passerelle CAC · CAC Brétigny · Maison des Arts Georges Pompidou · Chapelle du Genêteil · Cneai = · Pavillon Blanc · La synagogue de Delme · CAIRN centre d’art · VOG, CAC de la ville de Fontaine · Galerie Edouard Manet / Ecole municipale des beaux-arts de Gennevilliers · Centre d’Art Bastille · Wharf, CAC de Basse-Normandie · Villa Noailles · Le Parvis, CAC · Centre d’art contemporain d’Ivry, Le Crédac · Centre d’art et photographie de Lectoure · Cirva, Centre International de Recherche sur le Verre et les Arts plastiques · Abbaye Saint André, CAC Meymac · Le 19 CRAC · Espace de l’Art Concret · La Kunsthalle · Villa Arson · CAC de la Ferme du Buisson · La Galerie, CAC de Noisy-le-Sec · image / imatge · Bétonsalon · Jeu de Paume · Palais de Tokyo · Centre Photographique d’Île-de-France · Parc Saint Léger · Le Quartier, CAC de Quimper · La Criée · Espace Croisé · Chapelle Saint-Jacques · Le Grand Café · CRAC Languedoc-Roussillon · Le Creux de l’Enfer · BBB centre d’art · Centre de création contemporaine · CAC Passages · Centre international d’art et du paysage de l’île de Vassivière · Micro Onde, CAC de l’Onde · Institut d’Art Contemporain

 

32 rue Yves Toudic
75010 Paris
+33(0)1 42 39 31 07
info@dca-art.com
www.dca-art.com

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Ambassade de France en Italie/Institut français d’Italie

L’Institut français d’Italie regroupe les services culturels de l’Ambassade de France en Italie et les Instituts français de Milan, Florence, Naples et Palerme. Il a pour mission de promouvoir l’originalité et la variété de la culture française en Italie.
La France et l’Italie sont bien plus que deux pays voisins : leurs histoires, leurs cultures, leurs peuples sont intimement liés.
S’il est indéniable que le passé alimente cette relation privilégiée, il est indispensable, dans un contexte de mondialisation toujours croissante, d’entretenir les liens exceptionnels entre les deux pays et d’œuvrer pour une meilleure compréhension réciproque des deux sociétés, de leur création et de leur pensée.
C’est la mission de l’Institut français d’Italie qui jouit de la riche expérience d’un réseau d’instituts culturels en Italie (l’Institut français de Florence, le premier ouvert à l’étranger par la France, a été inauguré en 1907) et du soutien de partenaires privés italiens et français pour réussir sa mission, celle de continuer à diffuser et promouvoir la culture française en Italie, au service de l’amitié franco-italienne.
Ses domaines d’action sont la coopération artistique: musique, danse, théâtre et arts visuels; la coopération audiovisuelle; le débat d’idées et la promotion de l’édition française en Italie; la diffusion de la langue française et la coopération éducative; le développement de la coopération universitaire.
Plus généralement, l’Institut français d’Italie entend renforcer durablement les relations et les échanges entre la France et l’Italie.
L’Institut français d’Italie fait partie du vaste réseau d’Instituts français à l’étranger. Il en existe aujourd’hui une centaine.

L’Institut français Italia raggruppa i servizi culturali dell’Ambasciata di Francia in Italia e gli Institut français di Milano, Firenze, Napoli e Palermo, e promuove l’originalità e la varietà della cultura francese in Italia.
Francia e Italia sono molto più che due semplici paesi confinanti: le loro storie, le loro culture, i loro popoli sono intimamente legati.
Se questa relazione speciale si alimenta innegabilmente con il passato, è indispensabile nel contesto della globalizzazione assicurare il mantenimento dei legami eccezionali tra questi due Paesi e lavorare per una migliore comprensione reciproca delle due società, della loro creazione, del loro pensiero.
È questa la missione dell’Institut français Italia, che si basa sulla grande esperienza di un’intera rete di istituzioni culturali (l’Institut français di Firenze, il primo al mondo, è stato istituito nel 1907) e dei partner privati italiani e francesi per riuscire nella sua missione: la divulgazione e la diffusione della cultura francese in Italia, al servizio dell’amicizia franco-italiana.
Gli ambiti del suo intervento sono la cooperazione artistica: musica, danza, teatro e arti visive; la cooperazione audiovisiva; il dibattito intellettuale e la promozione dell’editoria francese in Italia; la diffusione della lingua francese e la cooperazione educativa; lo sviluppo della cooperazione universitaria.
Più in generale, l’Institut français Italia intende rafforzare ulteriormente le relazioni e gli scambi tra Francia e Italia.
L’Institut français Italia fa parte della vasta rete degli oltre cento Institut français presenti nel mondo.

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THE FRENCH MINISTRY OF CULTURE AND COMMUNICATION

The Ministry of Culture and Communication aims to make the major works of humanity – and especially those of France – accessible to the largest number of people possible. As such, it maintains a policy of conservation, of protection, and of development of all components of French cultural heritage. It promotes the creation of works of art and of the mind and the development of art practices and education.
It contributes, in conjunction with the other ministries, to the development of the artistic and cultural education of children and young adults throughout their entire development.
It encourages local cultural initiatives, develops links between cultural policies of the state and those of regional governments, and participates as such in the definition and implementation of government policy in the field of decentralization.
It monitors the development of cultural industries and contributes to the development of new technologies for sharing cultural creation and heritage.
It implements, in conjunction with other related ministries, the actions of the State destined to ensure the influence throughout the world of French culture and artistic creation. It contributes to cultural initiatives outside of France and to initiatives relating to the establishment of French cultural initiatives throughout the world.

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INSTITUT FRANÇAIS

As operator and implementing agency for cultural diplomacy, the Institut français is now a single and unique brand present throughout 96 foreign countries and within France. It is the promoter of the artists, the ideas, the works and the industries that play a key role in presenting the innovative and dynamic image of artistic creation in France. As a contributor to the dialogue between cultures and a facilitator of exchanges between the professional communities within each sector of its activities, it supports the French cultural network abroad.
More particularly, in the field of visual arts and architecture, the Institut français works in collaboration with the Ministry of Culture and Communication – the Directorate General for Artistic Creation (DGCA), the Directorate General for Heritage (DGPat) and the National Centre for Visual Arts (CNAP).
In charge of the production and presentation of the French Pavilion for the Venice Biennales for contemporary art and architecture, it supports the presence of French artists in major international gatherings.
Upon the initiatives taken by the cultural departments of the embassies, it accompanies and assists international projects such as – Berlin-Paris, a gallery exchange, the Bonjour India festival, the Croisements festival inChina, the event Ceci n’est pas… Art between France and Los Angeles 2012-2013, Paris-Toronto, a series highlighting contemporary art from France 2013, the ART² festival: an international platform on contemporary art in New York 2014…
The Institut français also invites foreign professionals in France, within the context of the FOCUS program, in order to assist them in discovering and identifying the French artistic scene.
Through the Young Curators (Jeunes Commissaires) program, it promotes the integration of curators and art critics within international professional networks.
The Institut français develops and produces travelling exhibition modules with guest curators, for the French overseas network.
It strongly encourages the mobility of French artists and designers through international residency programs and welcomes foreign artists and designers in France.
The Institut français also facilitates the dissemination abroad of public collections (FRAC, CNAP). It promotes research and educational exchanges between French and foreign art schools via the Entr’écoles program.
Finally, the Institut français accompanies the visual arts, fashion and design in Africa and in the Caribbean through the Afrique et Caraïbes en créations program. This fund for artists focuses on providing support for artistic creation, training and the international distribution of their works.

Institut français
8-14 rue du Capitaine Scott
75015 Paris
www.institutfrancais.com

 

Opérateur de la diplomatie culturelle, l’Institut français est aujourd’hui une marque unique à travers 96 pays étrangers et en France. Il assure la promotion des artistes, des idées, des œuvres et des industries qui contribuent à présenter une image innovante et dynamique de la création en France. Il contribue au dialogue des cultures et anime des communautés professionnelles dans chaque secteur de son activité tout en accompagnant le réseau culturel français à l’étranger.
Plus particulièrement, dans le domaine des arts visuels et de l’architecture, l’Institut français agit en collaboration avec le Ministère de la Culture et de la Communication – la Direction Générale de la Création Artistique (DGCA), la Direction Générale des Patrimoines (DGPat) et le Centre National des Arts Plastiques (CNAP).
Il assure ainsi la production du pavillon français des Biennales de Venise pour l’art contemporain et pour l’architecture, et soutient la présence des artistes français dans les grands rendez-vous internationaux.
Il accompagne les projets d’envergure internationale, à l’initiative des services culturels des ambassades – Berlin/Paris, Bonjour India, Croisements Chine, Ceci n’est pas Los Angeles 2012-2013, Paris/Toronto 2013, ART² New York 2014…
L’Institut français invite des professionnels étrangers en France dans le cadre du programme FOCUS afin de les accompagner dans le repérage des scènes artistiques françaises.
A travers le programme Jeunes Commissaires, il favorise l’insertion des commissaires et critiques d’art dans des réseaux professionnels internationaux.
L’Institut français conçoit et produit des modules d’expositions itinérantes avec des commissaires invités, destinés au réseau français à l’étranger.
Il encourage, de manière significative,  la mobilité des créateurs français à travers des programmes de résidences internationales et accueille des créateurs étrangers en France.
L’Institut français facilite aussi la diffusion à l’étranger des collections publiques (FRAC, CNAP). Il favorise les recherches et les échanges pédagogiques entre écoles d’art françaises et étrangères via le programme Entr’Écoles.
Enfin, l’Institut français accompagne les arts visuels, la mode et le design sur le continent africain et dans les Caraïbes grâce au programme « Afrique et Caraïbes en créations ». Ce fonds de soutien aux créateurs porte sur des appuis à la création, à la formation et à la diffusion internationale.

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FONDAZIONE NUOVI MECENATI

Créée en 2005, la Fondation Nuovi Mecenati a pour mission de soutenir les relations culturelles franco-italiennes dans le domaine de la création contemporaine. En font partie des entreprises d’importance internationale qui, en collaboration avec l’Ambassade de France en Italie, offrent aux institutions culturelles publiques et privées de chacun des deux pays leur propre soutien financier.

La confrontation avec la création contemporaine, avec ses motivations, ses propositions et l’innovation, permet à la Fondation Nuovi Mecenati de disposer d’un observatoire privilégié sur le présent et sur le changement et de renforcer son lien d’identification avec le territoire, en contribuant au développement de la société au sein de laquelle elle opère. L’action de la Fondation se concrétise dans les secteurs de la musique, de la danse, du théâtre, du cinéma, des arts visuels, mais aussi du cirque, des arts de la rue et de l’audiovisuel.

Projets soutenus par la Fondation en 2014

FFF – Festival de la Fiction Française
Cinquième édition du Festival qui présente, sur tout le territoire italien, la littérature française contemporaine en mettant en évidence des auteurs francophones récemment publiés en italien.

Rendez-vous
La quatrième édition du Festival Rendez-Vous, appuntamento con il nuovo cinema francese, propose de faire découvrir au public italien le cinéma français contemporain dans toute sa diversité.

Suona francese
Pour la septième année consécutive arrive Suona francese, le plus grand festival de musique française en Italie. Plus de quatre-vingt concerts disséminés dans quarante villes italiennes faisant découvrir les jeunes artistes français du jazz, pop, rock, électro, et de la musique contemporaine.
Du 20 mars au 30 juin 2014

…mais aussi
Suona Italiano en France, Festival Controtempo à la Villa Médicis à Rome, French Public art (Street Art) à la Galerie Wunderkammern à Rome, Neil Beloufa dans le cadre de Live Arts Week III à Bologne

Fondazione Nuovi Mecenati
Ambassade de France à Rome

+ 39 06 68 60 13 12
segreteria@nuovimecenati.org
www.nuovimecenati.org

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CURA.

cura.16

CURA. is a multi-level curatorial project which involves the publishing of a magazine and the running of a publishing house, a project room, a website, and a series of off-site projects that include diverse publishing and exhibition undertakings. Established in 2009 by Ilaria Marotta and Andrea Baccin, CURA. presents itself as a dynamic and propulsive platform dedicated to the sharing and exchanging of curatorial practices, critical voices, contemporary art production, and collaboration with institutional and independent actors, in an ever-growing international context. The sections devoted to present and past curatorial approaches and the exploration or exposing of art practices are the facets of a single and organic research project, conducted through the pages of the magazine and also developed in other contexts. The curatorial activities, characterized by a nomadism of the projects, are presented as the practical outcome of content developed in the publishing field as well as of a broader outlook focusing on the use of a plurality of media. The editorial and curatorial counselling carried out at an international level places CURA. at the center of major research and exchange projects in cooperation with major European institutions. Among these, PIANO, of which CURA. is a partner and the editor-in-chief, and L’Europe des Artistes, a European-level project promoted by Astrup Fearnley Museet in Oslo, Fondation Beyeler in Basel, Fondation Louis Vuitton in Paris, and Hans Ulrich Obrist. Recently curated exhibitions include: The Time Machine (the Survivors), Frutta, Rome (2013); Sandy Island (AB project), Nomas Foundation, Rome (2013); Commercial Road Project, London Metropolitan University, London (2010-2013). Upcoming projects include: Athletic Valentin, Galerie Valentin, Paris (2014), as well as an exchange program with independent venues, among which the first is the Kunsthalle Lissabon, Lisbon, scheduled for 2015.

Publishers and Directors
Andrea Baccin, Ilaria Marotta

Editor-in-Chief
Ilaria Marotta

Art Director
Andrea Baccin

Managing Editor
Costanza Paissan

Editorial Office
Virginia De Simoni

Marketing & Advertising
Emmanuel Bairiot

Editorial Coordinator Start­Up PIANO
Michela Tornielli

Intern
Natalie Russo

CURA.
magazine books basement
via nicola ricciotti 4
00195 rome
www.curamagazine.com

 

CURA. è un progetto curatoriale di base a Roma, che si articola a più livelli nella produzione di una rivista, di una casa editrice, di una project room, di una piattaforma online e di una serie di progetti off-site che comprendono attività editoriali ed espositive diverse.
Fondato nel 2009 da Ilaria Marotta e Andrea Baccin, CURA. si presenta come una piattaforma mobile e propulsiva, dedicata allo scambio e al dialogo tra pratiche curatoriali, voci critiche, attività di produzione artistica contemporanea e alla collaborazione con realtà istituzionali e indipendenti in un contesto internazionale sempre più ampio. Le sezioni dedicate agli approcci curatoriali del presente e del passato e all’esplorazione o manifestazione delle pratiche artistiche, sono le sfaccettature di un unico e organico progetto di ricerca, condotto attraverso le pagine della rivista e sviluppato anche in altri contesti. Le attività curatoriali caratterizzate dal nomadismo dei progetti si presentano come lo sviluppo concreto dei contenuti elaborati in campo editoriale nonché di una visione più ampia, che si adopera nell’utilizzo di una pluralità di supporti. La consulenza editoriale e curatoriale svolta a livello internazionale pone CURA. al centro di importanti progetti di ricerca e di scambio in collaborazione con importanti istituzioni europee. Tra queste PIANO di cui è partner ed editor-in-chief e L’Europe des Artistes, progetto su scala europea promosso da Astrup Fearnley Museet di Oslo, Fondation Beyeler di Basilea, Fondation Louis Vuitton, Parigi e Hans Ulrich Obrist. Tra le mostre recentemente curate: The Time Machine (the Survivors), Frutta, Roma (2013); Sandy Island (AB project), Fondazione Nomas, Roma (2013); Commercial Road Project, London Metropolitan University, Londra (2010-2013). Tra i prossimi progetti: Athletic Valentin, Galerie Valentin, Parigi (2014) oltre a un programma di scambio con spazi indipendenti, primo tra i quali la Kunsthalle Lissabon, Lisbona, previsto nel 2015.

Publishers and Directors
Andrea Baccin, Ilaria Marotta

Editor-in-Chief
Ilaria Marotta

Art Director
Andrea Baccin

Managing Editor
Costanza Paissan

Editorial Office
Virginia De Simoni

Marketing & Advertising
Emmanuel Bairiot

Editorial Coordinator Start­Up PIANO
Michela Tornielli

Intern
Natalie Russo

CURA.
magazine books basement
via nicola ricciotti 4
00195 rome
www.curamagazine.com

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L’INTERNATIONALE

LʼINTERNATIONALE, a confederation of six modern and contemporary art institutions.

• Moderna Galerija (Ljubljana, Solvenia)
• Museo National Centro de Arte Reina Sofia (Madrid, Spain)
• Museu dʼArt Contemporani de Barcelona (Barcelona, Spain)
• Museum van Hedendaagse Kunst Antwerpen (Antwerp, Belgium)
• SALT (Istanbul & Ankara, Turkey)
• Van Abbemuseum (Eindhoven, The Netherlands)

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SIX WAYS TO SUNDAY

SIX WAYS TO SUNDAY, multiyear program with which Peep-Hole (Milan) devotes one event each year to the collaboration with an international contemporary art institution, temporarily becoming its satellite project room.

• #01 Museion (Bolzano, Italy), 2010
• #02 CAC Vilnius (Vilnius, Lithuania), 2011
• #03 CAC Bretigny (Bretigny, France), 2012
• #04 Kunst Halle Sankt Gallen (Sankt Gallen, Switzerland), 2013
• #05 FRAC Champagne-Ardenne (Reims, France), 2014
• #06 CAG Vancouver (Vancouver, Canada), 2015 (upcoming)

Spaces: Peep-Hole

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HOW TO WORK TOGETHER

HOW TO WORK TOGETHER, a shared programme of contemporary art commissioning and research organised by three not-for-profit London galleries.

• Chisenhale Gallery
• Studio Voltaire
• The Showroom

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CLUSTER

CLUSTER, a network comprising eight visual art structures located in residential areas peripheral to large cities in Europe.

• CAC Bretigny (Bretigny, France)
• Centro Dos de Mayo (Madrid, Spain)
• Casco (Utrecht, The Netherlands)
• Les Laboratoires dʼAubervilliers (Aubervilliers, France)
• The Israeli Centre for Digital Art (Holon, Israel)
• The Showroom (London, UK)
• Zavot PARASITE (Ljubljana, Slovenia)
• Tensta Konsthall (Spanga, Sweden)

 

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THE FAIR GALLERY

THE FAIR GALLERY, a collaboration between four galleries sharing the same “fair play” spirit and the will to introduce a new approach of communication between artists, galleries, curators and collectors into the existing fair system.

• gb agency (Paris, France)
• Raster gallery (Warsaw, Poland)
• Hollybush Gardens (London, UK)
• Jan Mot Gallery (Brussels, Belgium & Mexico City, Mexico)

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Académie de France à Rome – Villa Médicis

THEATRE OF EXHIBITIONS

Image Felipe Ribon, pensionnaire 2013-2014

1. Image Felipe Ribon, pensionnaire 2013-2014

Conceived by the director Éric de Chassey and organised by the French Academy in Rome – Villa Medici every year since 2010, the Theatre of Exhibitions has been devised as a moment of encounter between the fellows in residence and the public, as well as one of dialogue and confrontation among the artists and scholars in residence. The different spaces of Villa Medici become ephemeral stages for installations, performances, projections, readings. The concept of openness, a predisposition to dialogue and confrontation among different disciplines is the characteristic that unites the projects which are presented. The Theatre of Exhibitions has been designed as a “multiform laboratory” which displays the diversity of artistic practices and research, thus confirming the centrality of the French Academy in Rome to contemporary creation.

FRENCH ACADEMY IN ROME – VILLA MEDICI

Académie de France à Rome - Villa Médicis

2. Académie de France à Rome – Villa Médicis

The French Academy in Rome – Villa Medici, supervised by the French Ministry of Culture and Communication, fosters artistic creativity and research and promotes a fruitful and continuously renewed dialogue between cultures, arts and history in all their diversity.
Founded in 1666 by Louis XIV, the French Academy in Rome has welcomed world-renowned artists and scholars such as Jean-Auguste-Dominique Ingres, Hector Louis Berlioz, Jean-Baptiste Carpeaux, Claude Debussy, Charles Garnier, Lili Boulanger, and more recently, among others – Yan Pei-Ming, Laurent Grasso, Valérie Mrejen, Philippe Rahm, Bruno Mantovani, Yannick Haenel. Besides the residency of artists and scholars, its central founding mission, the French Academy in Rome has intended to open its doors to the public with a series of cultural programs (exhibitions, concerts, screenings, literary meetings, lectures) devised to encourage the exchange of ideas between France and Italy, in a perspective that is both European and global. Another important activity is to preserve and promote Villa Medici, which has been the seat of the French Academy in Rome since 1803, as well as its gardens and art collections.
Dedicated to research and creativity, the French Academy in Rome – Villa Medici is now opened to all artistic fields (architecture, visual arts, musical composition, design crafts, cinema, literature, photography, choreography, stage design and direction) as well as the history and theory of the arts. The selection is open to French-speaking artists and researchers of all nationalities, aged from 20 to 45. Their stays vary from twelve to eighteen months. Short-term residencies are also proposed to artists and researchers to help them carry out specific projects.In 2013, the terms and conditions of the French Academy in Rome – Villa Medici’s residencies were reformed in order to better adapt to the evolution of the contemporary artistic context.
The visual arts have always played an important part in the French Academy in Rome’s activities, both for the residency program and for cultural events. Several fellows, after their experience in Rome, have become prominent personalities in the field of visual arts, and two current fellows are pursuing their works in visual arts at the French Academy in Rome: Hicham Berrada (visual artist) and Assaf Shoshan (photographer). The exhibition program at Villa Medici was started during the directorate of Balthus (1961-1977), who created the Grandes Galeries, that still today host many exhibitions devoted to famous artists: Pierre Soulages, Simon Hantaï, Patrick Faigenbaum, Ellsworth Kelly, Danh Vo, Adrian Paci among many others.

Accademia di Francia a Roma – Villa Medici
Viale Trinità dei Monti, 1 00187 Roma
T. +39 06 67611
www.villamedici.it

Images:
1. Image Felipe Ribon, pensionnaire 2013-2014
2. Académie de France à Rome – Villa Médicis. Photo: G. Causati, P. Zagami, 2009

Protagonist: Eric de Chassey

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IAC

BRAIN SPACE LABORATORY
STATEMENT OF INTENT

Initiated by the artist Ann Veronica Janssens and Nathalie Ergino, director of the Institut d’Art Contemporain, this project proposes to work in the field of artistic experimentation and explore practical and theoretical research enabling us to link the space and the brain. This interdisciplinary laboratory brings together the reflections and experiments of artists and scientists (neuroscience, physics, astrophysics…), and also of philosophers, anthropologists, art historians, and theoreticians.

Ann Veronica Janssens, Cabinet en croissance, 1991-2009

1. Ann Veronica Janssens, Cabinet en croissance, 1991-2009

The principle of the brain space laboratory came about through some mutual observations. Since the 1980s, Ann Veronica Janssens has been exploring, and experimenting with multiple approaches to perception, space, confronting loss of bearings and feelings of reality. She calls upon the skills of specialists with scientific leanings in order to devise areas of sensitivity and acuity in a deliberately intuitive way. Today, in light of the current acceleration in scientific advances, Ann Veronica Janssens has chosen to place the emphasis on experimentation by setting up a huge “work in progress” of investigations and prototypes.

Brion Gysin, Dreamachine, 1961-1979

2. Brion Gysin, Dreamachine, 1961-1979

After numerous shows devoted to artists like Rodney Graham or Carsten Höller, and to group exhibitions such as Maisons-Cerveaux (1995) or Subréel (2002), Nathalie Ergino is seeking to assess the artistic issues involved in these various approaches, which would seem to follow on from those of the 1950-70s, and which are yet different, taking place during a period of increased scientific application (cybernetics, electronics…) and research. Can one still designate the unconscious as a potential tool of reality; and what does the notion ‘critical perception’ mean today?

Present day scientific research is renewing our approach to space and its articulation with the brain. From advances in neurophysiology to physical discoveries (quantum physics, string theory, nanoscience…), our apprehension of the world is now tipping over from Euclidian space into an as yet indeterminate space, undergoing mutation. While thought, taking in the perspectivist Renaissance, has always spatialised and constructed the world, can we still speak today of its representation? This project proposes to explore the cognitive and phenomenological extension of thought, through the consideration of the “corps en acte(1)” [body in act] as a constituent element of the world. It makes the assumption of going beyond traditional dualities — objectivity / subjectivity, conscious / unconscious, centrality / decentring, materiality / immateriality…

Gianni Colombo, Spazio elastico, 1967

3. Gianni Colombo, Spazio elastico, 1967

Rather than envisage the relations of the brain with space, this Laboratory aims to rely on space itself. First as a possible synonym for the artistic act, secondly as an extension of the eye, brain and body. McLuhan talked about this worldwide extension, saying that man casts his own central nervous system like a net across the globe which he turns into a huge living brain. Why not now picture the cosmos as a brain?

Art could be an intuitive, mobile operating mode, capable of linking research in neuroscience, physics and astrophysics. From the late 1950s, many artists put into practice new approaches to the relationship with the viewer-visitor. From an egocentred posture, which conveyed their feeling in plastic terms, they moved on to propositions of the “allocentred” type, in which the perception of the world was then as it were given to be shared, following a process whereby the “self” and the other blended together, making room for the emergence of experience per se. So it is important that the Brain Space Laboratory (Station 1) should decode and re-examine these past artistic approaches in the light of contemporary artistic practices.

Above and beyond the visual effects of optical kinetic art, the often three- dimensional works summoned here have generated a new relation to space through their immersive dimension, the introduction of light and movement as raw materials, and also inducing hypnotic or “waking dream” effects (appliances of Nicolas Schöffer, Brion Gysin…).

In an apparently more metaphysical mode and following on from Lucio Fontana, James Turrell also undertakes the conquest of the infinite, decreeing perception to be a medium in itself. What are the bases and characteristics of research being carried out now by Micol Assaël, Berdaguer and Péjus, Olafur Eliasson, Cerith Wyn Evans, Bertrand Lamarche, Carsten Nicolaï…?

PROGRESS OF THE BRAIN SPACE LABORATORY

While the laboratory’s aim is to take part in these upheavals affecting the whole of society, it also involves contributing to the development of artistic research in progress, with no guarantee, however, of ever getting anywhere. Awaiting a possible exhibition, the Brain Space Laboratory will be developed up until 2011 in stages, “stations”, in various forms – day seminars, lectures, papers, presentations of works, collating documentation, publications, blog…

As an exploration unit, the Laboratory will thus pass through various “fields”: neuroscience, physics and astrophysics, nanoscience? new technologies, psychoanalysis and neuroscience, parapsychology, hypnosis and telepathy, non clairvoyance, or again shamanism and animism.

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(1) Lecture by Alain Berthoz, Espace et cognition, November 2005.

http://i-ac.eu/laboratoireespacecerveau/index.php

Images:
1. Ann Veronica Janssens, Cabinet en croissance, 1991-2009. Brain Space Laboratory / Station 1, 2009. Institut d’art contemporain, Villeurbanne/Rhône-Alpes. © Blaise Adilon
2. Brion Gysin, Dreamachine, 1961-1979. Musée d’Art Moderne de la Ville de Paris, France. Legs de Brion Gysin, 1988. Exhibition view Brion Gysin: Dream Machine, 16 October – 28 November 2010. Brain Space Laboratory / Station 4, 2010. Institut d’art contemporain, Villeurbanne/Rhône-Alpes. © Blaise Adilon
3. Gianni Colombo, Spazio elastico, 1967. Archivio Gianni Colombo, Milan. Brain Space Laboratory / Station 5, 2011. Institut d’art contemporain, Villeurbanne/Rhône-Alpes. © Blaise Adilon

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MADRE

PER_FORMING THE MUSEUM

Tags & passwords:
research (production and sharing of knowledge);
collections (archives, documents, testimonies, works);
public (the museum as community and res publica);
collaboration with universities, academies, research centers, businesses: the extended nodes in a system of contemporary knowledge;
sharing of learning processes; education as potential (“we even learn from our mistakes”);
developing a collective mindset;
harmonizing territoriality and devolution;
combining archive and futurity;
anthropology of the contemporary;
parallel universes;
appropriating/taking care of our museum, because museums are not always boring … or compelled to exhibit the “usual readymades … Adieu Marcel!” (D. Robbins)

1. Allan Kaprow, Yard

1. Allan Kaprow, Yard, 2003-2013

PER_FORMING THE MUSEUM is the title chosen to describe a method of work and an idea of the museum. PER_FORMING THE MUSEUM is a museum to be (per) formed, together with the public, a museum that does not take its identity and function for granted, but which, by hosting a number of actions, actors, activities, performs multiple and welcoming identities in real time together with its audience, a museum which reinvents itself and presents not only works and exhibitions but also a wide range of events, prototypes and collective ideas, so sketching out together and sharing the future of the Madre and the Madre of the future.

Re_PUBBLICA MADRE: the public appropriates the museum! The former multipurpose room on the museum’s ground floor now becomes the headquarters of PER_FORMING THE MUSEUM a place of transit and connectivity (spaces equipped with wi-fi) to facilitate physical and virtual access to the museum. Renamed Re_PUBBLICA MADRE, this is the place where the public become the protagonists of the museum, a place for meeting, debating, sharing, in which to express yourself … “chatting”, “blogging”, “downloading”, “posting” … and proposing new ideas for the museum.

2. Fabio Donato, Paradise Now, Napoli Teatro Mediterraneo, 1969

2. Fabio Donato, Paradise Now, Napoli Teatro Mediterraneo, 1969

The many services and facilities of Re_PUBBLICA MADRE:
· Curtain_Museum as Theatre: a stage curtain gives access to Re_PUBBLICA MADRE, periodically commissioned from an artist, set designer, architect or graphic designer. The first curtain was created by the set designer Lino Fiorito.
· Post_it Boards: boards for posting your ideas, proposals, prototypes, and ideas for the MADRE museum…
· Camera_Critica: a small room with a video camera and microphone, a discussion space where all visitors to the museum are welcome to record their thoughts about the “museum they would like” projected onto large screens set at various points in the metropolitan city of Naples…
· Assemblea_MADRE: a circular dais on which the museum’s public periodically exhibits and discusses with the museum staff the materials posted on the Lavagne Post_It and in the Camera_Critica…
· Blackboard Campania_Contemporanea: a bulletin board of information updated in real time presenting contemporary art projects and initiatives in the territory of the Campania Region as the catalyst of an integrated system…
· App MADRE: a smartphone application with all the relevant information for visiting the museum (ticket office and opening hours, access, presentation of a selection of works from the collection) …
· SHOW_YOURSELF @ MADRE: a web portal which networks the museum, young artists and the public, a virtual space where young artists can insert their works and present them for voting by the community (the works most voted will be put on display in the museum!)…
· Re_PUBBLICA MADRE also becomes the center of the museum’s educational services as well as of the new task force of envoys “MAD(r)E IN CAMPANIA”: this will be a group of specialized educational experts sent on a mission to schools, associations and clubs of both the inner and outer city. The first activity of the headquarters of the educational activities will be Dialogues of Young Artists (for young creatives from 16 to 25 years old from art schools, art institutes and the Academy of Fine Arts) … · The museum becomes increasingly social and invites the community to participate from their homes, in the family, or in schools, associations, universities, the Academy or the Conservatories, by posting images, videos or texts on the museum’s social networks and on www.youmadre.it…
Join in and make your contribution to the future of the Madre and the Madre of the future!

3. Mimmo Paladino, Senza titolo, 2005

3. Mimmo Paladino, Senza titolo, 2005

PER_FORMING A COLLECTION Per_forming a collection is an ongoing project designed to develop the formation of the Museo MADRE’s permanent collection in Naples. It focuses on artists of different generations whose works have been conceived as physical and mental instruments that bring together thought and action in every possible media, linking visual arts to theatre and literature. The project aims to shape a collection that is articulated over time, combining archival research with commissions for new works, taking into account the role of the museum as a place of memory and preservation as well as a continuing research and production laboratory. All the works presented have a relationship with the city and its history: works conceived or exhibited here, from artists who happened to exhibit in Naples or works belonging to private or public local collections.

4. Giulio Paolini, Dilemma, 1995-2005

4. Giulio Paolini, Dilemma, 1995-2005

Images:
1. Allan Kaprow, Yard, 2003-2013
2. Fabio Donato, Paradise Now, Napoli Teatro Mediterraneo, 1969
3. Mimmo Paladino, Senza titolo, 2005
4. Giulio Paolini, Dilemma, 1995-2005

PER_FORMARE IL MUSEO

tags & passwords:
ricerca (produzione e condivisione di conoscenze);
collezioni (archivi, documenti, testimonianze, opere);
pubblici (museo come comunità e res pubblica);
collaborazione con università, accademie, centri di ricerca, imprese: snodi diffusi di un sistema del sapere contemporaneo;
condividere processi di apprendimento;
educazione come possibilità (ovvero: “anche sbagliando si impara”);
sviluppare una mente collettiva;
armonizzare territorialità e dislocazione;
associare archivio e futuribilità;
antropologia del contemporaneo;
universi paralleli;
appropriarsi/occuparsi del proprio museo, perché i musei non sono sempre noiosi… o obbligati a esporre i “soliti readymade… Adieu Marcel!” (D. Robbins)

PER_FORMARE IL MUSEO è il titolo scelto per indicare un metodo di lavoro e un’idea di museo. PER_FORMARE IL MUSEO è un museo da (per)formare, insieme al pubblico, un museo che non dà per scontata la sua identità e funzione, ma che, ospitando diverse azioni, attori, attività, performa appunto, in tempo reale, e insieme al proprio pubblico, identità molteplici e accoglienti, che reinventa sé stesso, che accoglie, oltre alle opere e alle mostre, una pluralità di proposte, prototipi, ipotesi collettive, per tracciare insieme e condividere il futuro del Madre e il Madre del futuro.

RePUBBLICA MADRE: il pubblico si appropria del museo! L’ ex-Sala Polivalente al piano terreno del museo diventa il quartier generale di PER _ FORMARE IL MUSEO, un luogo di passaggio e connettività (spazi dotati di wi- fi) per favorire l’accesso fisico e virtuale al museo. Rinominato Re_PUBBLICA MADRE questo è il luogo dove il pubblico diventa il protagonista del museo, un luogo di incontro, confronto, condivisione, in cui è possibile esprimersi… “chattare”, “bloggare”, “caricare”, “postare” … per proporre nuove idee per il museo.
Tanti i servizi e le attività della Re_PUBBLICA MADRE:
· Su il sipario_Museum as Theatre: un sipario per accedere a Re_PUBBLICA MADRE periodicamente commissionato a un artista, scenografo, architetto o designer. Il primo sipario è realizzato dallo scenografo Lino Fiorito.
· Lavagne Post_it: le lavagne su cui postare le proprie idee, proposte, prototipi, ipotesi per il museo MADRE…
· Camera_Critica: un piccolo ambiente dotato di videocamera e microfono, uno spazio di discussione disponibile per tutti visitatori del museo che accoglierà le loro riflessioni sul “museo che vorrei”, proiettate su schermi posti in luoghi della città metropolitana di Napoli…
· Assemblea_MADRE: una tribuna circolare in cui il pubblico del museo periodicamente espone e commenta con gli operatori del museo i materiali postati sulle Lavagne Post_It e nella Camera_Critica…
· Lavagna Campania_Contemporanea: una bacheca di informazioni aggiornate in tempo reale sui progetti e le iniziative di arte contemporanea presentati sul territorio della Regione Campania, catalizzatore di un sistema integrato…
· App MADRE: un’applicazione per smartphone con tutte le informazioni utili alla visita al museo ( biglietteria e apertura, accessibilità, presentazione di una selezione di opere della collezione)…
· SHOW_YOURSELF @ MADRE: un portale web che mette in rete il museo, i giovani artisti e il pubblico; uno spazio virtuale in cui i giovani artisti possono inserire le opere ed esporle al voto della comunità (le opere più votate troveranno spazio espositivo presso il museo!)…
· Re_PUBBLICA MADRE diviene anche il quartier generale dei servizi didattici del museo e della nuova task force Inviati “MAD(r)E IN CAMPANIA”: un gruppo di operatori didattici specializzati, inviati in “missione” in scuole, associazioni, circoli, sia del centro che periferici. La prima attività del quartier generale delle attività didattiche sarà Dialoghi di giovani artisti (per i giovanissimi creativi fra 16 e 25 anni provenienti da Licei Artistici, Istituti d’Arte e Accademia di Belle Arti)… Il museo diventa sempre più social e invita la comunità a partecipare anche da casa propria, in famiglia, o nelle scuole, nelle associazioni, nelle Università, in Accademia o nei Conservatori, postando immagini, video, testi sui social network del museo e su www.youmadre.it… Partecipate anche voi con il vostro contributo al futuro del Madre e al Madre del futuro!

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MAXXI

MAXXI, the National Museum of XXI Century Arts, is the first Italian national institution devoted to contemporary creativity

Conceived as a broad cultural campus, MAXXI is managed by a Foundation constituted in July 2009 by the Ministry for Cultural Heritage and Activities comprising two museums: MAXXI Arte and MAXXI Architettura.
The programming of activities – exhibitions, workshops, conferences, shows, projections, educational projects – reflects MAXXI’s vocation as a place for the conservation and exhibition of its collections but also, and above all, a laboratory for cultural experimentation and innovation, for the study, research and production of the aesthetic contents of our time.
The MAXXI building is a major architectural work designed by Zaha Hadid, located in Rome’s Flaminio quarter and featuring innovative and spectacular forms.

DSC_9765

MAXXI represents an awareness of the importance of promoting the current creative expressions of a nation such as Italy, characterised by centuries of primacy in the artistic and architectural fields. The aesthetic tensions of our time are, in fact, the extension of the artistic and cultural expressions of past eras, albeit through radically different expressive forms.
MAXXI’s mission is therefore that of promoting and developing this sense of continuity, projecting it towards the future.
MAXXI intends not only to be a container for the exhibition of the works of art of our century, but also a place for cultural innovation and the overlapping of languages, a laboratory for artistic experimentation, a machine for the production of the aesthetic materials of our time.
MAXXI aims to be a centre of excellence, an interactive hub in which the most diverse forms of expression, productivity and creation may converge, combine and reproduce.
Art also has a vital role as a means of communication. Art is an iconic and symbolic idiom and therefore more readily comprehended than a spoken or written language. It is clear, therefore, that the immediacy and universalityof artistic communication may contribute to the comprehension of worlds and cultures otherwise foreign and potentially conflictual, favouring the coexistence of differences.

Lastly, art and architecture are essential components of the image and perception of a nation abroad. MAXXI therefore intends to be a form of antenna transmitting Italian contents to the outside world while at the same time receiving from the outside the flux of international culture.

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SALON LIGHT

salon-light-10

Founded in 2004 by Cneai, Salon Light became over a few years an unmissable rendezvous for micro-publishers and artist’s publication in Paris. After exporting the concept to Vermelho gallery in Sao Paulo and following the great success of Salon Light 9 at Palais de Tokyo in 2012, Salon Light continues to unite a moving scene of artists, authors, independent publishers and composers. Books, magazines, objects, LP’s, catalogues or artist’s book, the publications are often limited editions, sometimes impossible to find in Paris, and are breaking new grounds while creating new networks in the art and publishing worlds. Performances and meetings with professionals and artists are also a key part of the event. Free for the publishers and the public, it’s accessible to all and offers visibility to a still somehow unknown field.

Salon Light# 9 journal online:
http://fr.calameo.com/read/00222109362c0774f9b84

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NERO PUBLISHING

Anamericana

NERO has been founded in 2004 by Francesco de Figueiredo, Luca Lo Pinto, Valerio Mannucci, Lorenzo Micheli Gigotti. Born as a quarterly magazine, NERO is a publishing and curatorial project.
The team behind NERO works in curating, art direction and production of contemporary art events and exhibitions.
The publishing department, under the name Produzioni NERO, works in the production of artist’s editions, alongside catalogues and books commissioned by museums, foundations and private collections.
Founded in 2010 NERO Publishing works with museums, institutions, fairs, galleries, artists and curators, following each publication through each phase – from conception to distribution – in order to make an innovative and unique product in terms of content and design.
NERO is also an agency that develops the coordinated image of institutions, events and exhibitions, from designing a logo to creating a website.
So far NERO Publishing has collaborated with Art Genève, CAC Brétigny, dOCUMENTA 13, Fondazione Giuliani, Fondazione Nomas, Fondazione Sandretto Re Rebaudengo, Fondazione Volume, Galleria Lorcan O’Neill, MAXXI, MACRO, Istituto di Cultura Italiano di Los Angeles, Istituto Italiano di Cultura di Madrid, Istituto Svizzero di Roma, MAN among others.

www.neromagazine.it

Elisabetta Benassi

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MOUSSE

Vdrome Archive

Vdrome Archive

Vdrome is an online platform that offers regular, high quality screenings of films and videos directed by visual artists and filmmakers, whose production lies in-between contemporary art and cinema.
Each screening is presented during a limited period, as in a movie theatre.
Vdrome makes available a program of exceptional artists’ films and videos which are selected due to their importance, quality and innovative strength, many of which are only shown in the context of film festivals, exhibitions or specific surveys, being therefore of very limited access.
Vdrome is an initiative conceived and promoted by Mousse, curated by Edoardo Bonaspetti, Jens Hoffmann, Andrea Lissoni and Filipa Ramos, and maintained by Enrico Boccioletti.

http://vdrome.org

Simon Starling, Black Drop on Vdrome

Simon Starling, Black Drop on Vdrome

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