sels koen (10 resultados)

Condición: New.

Condición: New.

Hardback. Condición: New. This handsome book peers into Troubleyn/Laboratorium, the workspace, collective art space, and creative incubator of Belgian multidisciplinary artist Jan Fabre (b. 1958), whose performances, staged since the 1980s, have brought him international acclaim and recognition. Expressing the collective aims of Fabre's theatre company, Troubleyn/Laboratorium functions as his workspace as well as a nurturing environment for the activities of his theater company and young artists alike, in which artists are free to develop and materialize their creative impulses. The building, situated in a progressive multicultural neighborhood in northern Antwerp, houses a uniquely integrated collection of art works from international visual artists, writers, theatre makers, and philosophers, with whom Jan Fabre feels a close affinity and whose works represent the overall cooperative spirit of the space itself. Fostering an environment that is as progressive as the artist's varied oeuvre, Troubleyn/Laboratorium provides the grounds for an idealistic hotbed of artistic activity and this publication offers a glimpse of that possible utopia.  Distributed for Mercatorfonds.

Condición: New. pp. 224.

Softcover/Paperback. Condición: New. In zeer goede staat. Ongelezen. Paperback. Pocket.

Hardback. Condición: New. This handsome book peers into Troubleyn/Laboratorium, the workspace, collective art space, and creative incubator of Belgian multidisciplinary artist Jan Fabre (b. 1958), whose performances, staged since the 1980s, have brought him international acclaim and recognition. Expressing the collective aims of Fabre's theatre company, Troubleyn/Laboratorium functions as his workspace as well as a nurturing environment for the activities of his theater company and young artists alike, in which artists are free to develop and materialize their creative impulses. The building, situated in a progressive multicultural neighborhood in northern Antwerp, houses a uniquely integrated collection of art works from international visual artists, writers, theatre makers, and philosophers, with whom Jan Fabre feels a close affinity and whose works represent the overall cooperative spirit of the space itself. Fostering an environment that is as progressive as the artist's varied oeuvre, Troubleyn/Laboratorium provides the grounds for an idealistic hotbed of artistic activity and this publication offers a glimpse of that possible utopia.  Distributed for Mercatorfonds.

Hardcover. Condición: Good. 135 p. naam op schutblad Dutch.

Couverture rigide. Condición: Très bon.

Hardcover. Condición: Good. HARDCOVER Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized.

Couverture souple. Condición: Neuf. Edition originale. Paris 2011. 1 Volume/1. -- Neuf -- Broché. Format in-4°( 31 x 24 cm )(.1720 gr ). -------- 192 pages. ******************* "" Dans cet ouvrage rétrospectif, Koen Sels revient sur cette dernière notion en cherchant à la développer, malgré son ambiguïté sémantique. Il insiste sur l'artificialité/superficialité de notre culture que la pratique plastique de Bijl exacerbe, tout en soulignant qu'il n'y a pas de vérité transcendante à découvrir, juste l'affirmation d'un arbitraire et le retrait de toute signification. De la sorte, l'auteur s'engage dans un essai de radiographie de la postmodernité que le constat d'une « ironie fatiguée » recouvre tout autant que celui de la « post-histoire ». Mais selon lui, les fidèles reconstitutions de Bijl parviendraient à se détacher de ce présent éternel en prenant le parti de la distance archéologique. A la fin de son court texte, K. Sels accélère son propos : « [] Les compositions de Bijl ravivent à savoir que la croyance dans ce monde n'est pas encore coincée, que l'imagination est en mesure de détacher la réalité trop bien connue et de l'inventer à nouveau ». Reste que l'on peine à voir comment la littéralité des installations en question travaille dans cette direction. L'absence de démonstration rend peu convaincant le propos, témoignage évident du désir facile de finir sur une note positive qui viendrait rassurer à la va-vite le pouvoir de l'art et l'importance de l'expérience esthétique. "" *************************.