Kultur | lx - Arts Council Luxembourg’s Post

Andre Breton In Front of the Curtain (2) To go back ten years is not only to identify, in the vortex surrounding the exhibition of ten years ago, something that fairly well expresses the spiritual climate of the year 1938, but also to identify the structure of the exhibition that corresponds to a plan, a plan that seeks to bring the tumultuous region that extends to the border between the poetic and the real into very general proximity within our psyche. The exhibition's structure, as such, can be accurately positioned in the context of the true vision of the exhibition - though, again, not the vision of art. The efforts of the exhibition organizers, in fact, tended to create, as much as possible, an environment oriented toward an "art" gallery. I emphasize the fact that they did not consciously follow any other order than the above. I emphasize the fact that they did not consciously follow any other imperative than the above, since, in retrospect, the totality of their attempts ultimately transcended their original intentions. Regarding the criticism of the time, which believed that the holding of the 1938 exhibition could be attributed, as usual, to the need to surprise and compromise the "snobbery" of the public, and which almost universally bemoaned the "gratuitousness," poverty, and bad taste of which we were more than once witnesses, we can say the following We can say the following. (Continue to next paragraph)

What kind of record did we leave today? A photo taken looking at a clear sky, One like button pressed on a friend's photo posted on a social media account, A one-sentence reply to a message from a mother who was worried about her meals Today, in the digital age, we are creating countless records. Among the many records created using modern cultural relics, what does the Memory of the World made in the past mean to us today? The media art <Codex Cornucopia>, created by media artist Sammy Lee using various images and illustrations of the Memory of the World, asks you questions about the meaning of the Memory of the World through the artwork. The Memory of the World is embodied on a screen over 13 meters long in digital space. The exhibition <Into the Light : Memory of the World>, held in the exhibition hall on the second floor of the ICDH, will last until June 28.

Mon texte accompagnant l'exposition :

Cher réseau, Comme un article ne vient jamais seul, en voici un second. Je suis très heureux de pouvoir vous annoncer la parution du n°2-2024 de la revue 21:Inquiries into art, history and the visual sous la direction de Céline Trautmann-Waller et Annika Haß auquel j'ai participé avec un article (en français) sur 𝐋’𝐞́𝐜𝐨𝐧𝐨𝐦𝐢𝐞 𝐝𝐞 𝐥𝐚 𝐯𝐢𝐬𝐢𝐛𝐢𝐥𝐢𝐭𝐞́. 𝐋’𝐞𝐱𝐞𝐦𝐩𝐥𝐞 𝐝𝐞 𝐥’𝐞𝐱𝐩𝐨𝐬𝐢𝐭𝐢𝐨𝐧 «𝐌𝐮𝐬𝐢𝐤 𝐢𝐦 𝐋𝐞𝐛𝐞𝐧 𝐝𝐞𝐫 𝐕𝐨̈𝐥𝐤𝐞𝐫» 𝐞𝐧 𝟏𝟗𝟐𝟕, dont vous trouverez le résumé plus bas. ⏭ Pour lire l'article, rendez-vous sur le site suivant : https://lnkd.in/efDf8wJi 📖 𝐸𝑛 1927, 𝑙𝑎 𝑣𝑖𝑙𝑙𝑒 𝑑𝑒 𝐹𝑟𝑎𝑛𝑐𝑓𝑜𝑟𝑡, 𝑒𝑛 𝐴𝑙𝑙𝑒𝑚𝑎𝑔𝑛𝑒, 𝑎 𝑜𝑟𝑔𝑎𝑛𝑖𝑠𝑒́ 𝑢𝑛𝑒 𝑒𝑥𝑝𝑜𝑠𝑖𝑡𝑖𝑜𝑛 𝑠𝑢𝑟 𝑙𝑎 𝑚𝑢𝑠𝑖𝑞𝑢𝑒. 𝑃𝑎𝑟𝑚𝑖 𝑙𝑒𝑠 𝑣𝑖𝑠𝑖𝑡𝑒𝑢𝑟𝑠, 𝑙𝑒 𝑠𝑜𝑐𝑖𝑜𝑙𝑜𝑔𝑢𝑒 𝑇ℎ𝑒𝑜𝑑𝑜𝑟 𝐴𝑑𝑜𝑟𝑛𝑜 𝑗𝑒𝑡𝑡𝑒 𝑢𝑛 𝑟𝑒𝑔𝑎𝑟𝑑 𝑐𝑟𝑖𝑡𝑖𝑞𝑢𝑒 𝑠𝑢𝑟 𝑐𝑒 𝑞𝑢'𝑖𝑙 𝑐𝑜𝑛𝑠𝑖𝑑𝑒̀𝑟𝑒 𝑐𝑜𝑚𝑚𝑒 𝑢𝑛𝑒 "𝑒𝑛𝑐𝑦𝑐𝑙𝑜𝑝𝑒́𝑑𝑖𝑒 𝑝𝑜𝑢𝑟 𝑙'œ𝑖𝑙" 𝑑𝑒𝑠𝑡𝑖𝑛𝑒́𝑒 𝑎̀ 𝑢𝑛 𝑝𝑢𝑏𝑙𝑖𝑐 𝑞𝑢𝑖 𝑛𝑒 𝑓𝑎𝑖𝑡 𝑞𝑢𝑒 𝑐𝑜𝑛𝑡𝑒𝑚𝑝𝑙𝑒𝑟 𝑝𝑎𝑠𝑠𝑖𝑣𝑒𝑚𝑒𝑛𝑡. 𝑇ℎ𝑒𝑜𝑑𝑜𝑟 𝐴𝑑𝑜𝑟𝑛𝑜 𝑚𝑒𝑡 𝑒𝑛 𝑒́𝑣𝑖𝑑𝑒𝑛𝑐𝑒 𝑞𝑢𝑒 𝑙'𝑎𝑟𝑡 𝑛'𝑒𝑠𝑡 𝑝𝑙𝑢𝑠 𝑑𝑒́𝑓𝑖𝑛𝑖 𝑝𝑎𝑟 𝑠𝑜𝑛 𝑎𝑠𝑝𝑒𝑐𝑡 𝑎𝑢𝑟𝑎𝑡𝑖𝑞𝑢𝑒, 𝑞𝑢𝑖 𝑚𝑜𝑏𝑖𝑙𝑖𝑠𝑒 𝑢𝑛 𝑐𝑜𝑛𝑡𝑒𝑥𝑡𝑒 ℎ𝑖𝑠𝑡𝑜𝑟𝑖𝑞𝑢𝑒 𝑒𝑡 𝑠𝑜𝑐𝑖𝑎𝑙, 𝑚𝑎𝑖𝑠 𝑝𝑎𝑟 𝑠𝑜𝑛 𝑢𝑛𝑖𝑞𝑢𝑒 𝑝𝑟𝑒́𝑠𝑒𝑛𝑐𝑒 𝑖𝑚𝑚𝑒́𝑑𝑖𝑎𝑡𝑒. 𝐿𝑒𝑠 𝑜𝑏𝑠𝑒𝑟𝑣𝑎𝑡𝑖𝑜𝑛𝑠 𝑑𝑒 𝑇ℎ𝑒𝑜𝑑𝑜𝑟 𝐴𝑑𝑜𝑟𝑛𝑜 𝑝𝑟𝑒́𝑙𝑢𝑑𝑒𝑛𝑡 𝑎𝑖𝑛𝑠𝑖 𝑎̀ 𝑙𝑎 𝑐𝑜𝑛𝑠𝑡𝑟𝑢𝑐𝑡𝑖𝑜𝑛 𝑐𝑟𝑖𝑡𝑖𝑞𝑢𝑒 𝑑𝑒 𝑙𝑎 𝑡ℎ𝑒́𝑜𝑟𝑖𝑒 𝑠𝑜𝑐𝑖𝑜𝑙𝑜𝑔𝑖𝑞𝑢𝑒 𝑑𝑒 𝑙𝑎 𝑣𝑎𝑙𝑒𝑢𝑟 𝑑'𝑒𝑥𝑝𝑜𝑠𝑖𝑡𝑖𝑜𝑛 𝑞𝑢𝑖 𝑝𝑜𝑠𝑡𝑢𝑙𝑒 𝑙'𝑜𝑏𝑗𝑒𝑐𝑡𝑖𝑓 𝑑𝑒 𝑐𝑜𝑚𝑚𝑒𝑟𝑐𝑖𝑎𝑙𝑖𝑠𝑎𝑡𝑖𝑜𝑛 𝑑𝑒 𝑙𝑎 𝑣𝑖𝑠𝑖𝑏𝑖𝑙𝑖𝑡𝑒́. 𝐶𝑒 𝑡𝑟𝑎𝑣𝑎𝑖𝑙 𝑝𝑒𝑟𝑚𝑒𝑡𝑡𝑟𝑎 𝑑𝑒 𝑑𝑒́𝑡𝑒𝑟𝑚𝑖𝑛𝑒𝑟 𝑑𝑎𝑛𝑠 𝑞𝑢𝑒𝑙𝑙𝑒 𝑚𝑒𝑠𝑢𝑟𝑒 𝑙'𝑒𝑥𝑝𝑜𝑠𝑖𝑡𝑖𝑜𝑛 𝑒𝑠𝑡 𝑙𝑒 𝑟𝑒́𝑠𝑢𝑙𝑡𝑎𝑡 𝑑'𝑢𝑛𝑒 𝑝𝑟𝑜𝑚𝑜𝑡𝑖𝑜𝑛 𝑝𝑢𝑏𝑙𝑖𝑐𝑖𝑡𝑎𝑖𝑟𝑒 𝑞𝑢𝑖 𝑐𝑜𝑛𝑡𝑟𝑖𝑏𝑢𝑒 𝑎̀ 𝑙𝑎 𝑚𝑎𝑟𝑐ℎ𝑎𝑛𝑑𝑖𝑠𝑎𝑡𝑖𝑜𝑛 𝑎𝑢𝑝𝑟𝑒̀𝑠 𝑑'𝑢𝑛 𝑝𝑢𝑏𝑙𝑖𝑐 𝑒𝑡 𝑎̀ 𝑙'𝑖𝑛𝑡𝑒𝑛𝑠𝑖𝑓𝑖𝑐𝑎𝑡𝑖𝑜𝑛 𝑑𝑒 𝑙'𝑒𝑥𝑝𝑒́𝑟𝑖𝑒𝑛𝑐𝑒 𝑣𝑒́𝑐𝑢𝑒 𝑑𝑎𝑛𝑠 𝑢𝑛𝑒 𝑙𝑜𝑔𝑖𝑞𝑢𝑒 𝑑𝑒 𝑑𝑖𝑣𝑒𝑟𝑡𝑖𝑠𝑠𝑒𝑚𝑒𝑛𝑡.

📚 #NodeRecs: Echoing Exhibition Views: Subjectivity in Post-Digital Times. Edited by A.R. practice (Agnieszka Roguski & Ann Richter) When the exhibition enters the digital realm, as it is increasingly happening—when the display of art and culture can be enjoyed individually behind screens—then how does the exhibition view diffuse optically, technically, and culturally? And how does this transformation echo the new understanding of subjectivity? Echoing Exhibition Views. Subjectivity in Post-Digital Times explores the different medialities and intersubjective shifts that follow the moment of seeing a physical exhibition today. The digitized exhibition viewing is a starting point for artistic and theoretic reflections on post-digital culture, hyperreality and its relation to subjectivity. #DigitalArt #DigitalMseums #VisitingArtExhibitions #PostDigital #DigitalRealm #VirtualExhibitions #ArtTheory #ArtBooks

Cet escalier est exceptionnel

I must say, #cite des arts' current show is hands down one of the best works of curation I have seen so far. Cité internationale des arts' current show Deplacements et torrents: La ou le Dnipro et l'Elbe se recontrent curated by Sasha Baydal and Nataša Petrešin-Bachelez is a commentary on the current geo-political and ecogical state of the world. They enter the discussion through the lens of socialist and post-socialist sates countries of mainly #Europe and Central Asia, especially the #Ukrainian war. But that's not all. The reason it's one of the best shows in #Paris is that it's rare nowadays for #curators to clearly communicate what they are trying to say from their curation. Nowadays, it appears like a trend to make the viewer feel ignorant by presenting the art as a #complex for the sake of complexity, even if the subject is simple. Why? Well, because the idea is that good #art is complex and people of the time don't understand good art. On the other hand, the truth couldn't be farther away. Art is actually trying to make it accessible for general people to digest complex concepts of the time, hence the complexity. Going through Baydal and Petresin-Bachelez's curation is like reading a well organized essay where the arguments are well supported by evidence and the essential insights are individually communicated via each piece along with cross-references between the works to strengthen the coherence of the whole atmosphere. It's satisfying to see works of prime curators and learn from them. For La Roseraie du Sud, our first exhibition will also explore similar subjects of conflict, differences, and co-existence. For sure I am going to visit their show to learn more about developing these conversations.

I am beyond thrilled to be participating at Diversity Contemporary II, Rossocinabro Gallery, Rome, Italy,10 December 2024 – 31 January 2025. Read the curator Joe Hanson introduction: ”This exhibition celebrates artistic diversity and cultural interconnectedness, transcending geographical and stylistic boundaries. Born from a desire to make a selection of artworks accessible to the public, many of which have never been exhibited or only for brief periods, this show offers a unique opportunity to discover hidden treasures and admire the richness and variety of contemporary artistic production. Through this exhibition, Rossocinabro reaffirms its commitment to internationalization, a path it has been following since its early years. The aim is to build a bridge between artists from different cultures and to offer the public an increasingly rich and varied artistic experience. A collection without borders, with a completely different perspective, mirroring an increasingly interconnected world. Artistic boundaries have dissolved with the acceleration of cultural exchange, the mobility of people, and the circulation of information. It has become difficult, if not impossible, to define the boundaries of artworks and the individuals who have made art a universal language. The works on display here are a testament to this: a collection of heterogeneous stimuli that we can recognize as carrying out a certain research, without there being a specific geography or reference style associated with them. Read more:

#publication 🌡️ Premiers résultats préoccupants du baromètre de l'influence politique sur les musées en Europe 📈 Ce baromètre publié par NEMO - Network of European Museum Organisations révèle que + de 70% des organisations et institutions interrogées se sentent sous la pression d'une #polarisation en augmentation dans leur pays. De nombreux #musées sont confrontés à une influence #politique menaçant leur indépendance et leur intégrité. Les résultats (en anglais) sont disponibles sur ce lien 👉 https://lnkd.in/dqPKTGjz.