Si vous voulez continuer la ballade aller sur flyers galerie PointtoPoint

Quelques Invitations Web éditées  Saisons passées. © Studio point to point XXI°.

Mais qu'est-ce que c'est que cette merde de Chien!

Comme dit Quentin Tarantino dans un entretien de la presse web ; pour, Inglourious Basterds : "Un livre* aurait suffi!". Mais, "J'ai voulu continuer... pour le cinéma… Oui, le cinéma, sans ce film ne saurait être!

- Yes OK. OUI, on est d'accord. Du coté monnaie: il y a du référent. Le Soldat Schultz pour les Allemands, la sœur Poulain pour les Français, le Messie Noir: Marcel, pour les french Boys… Arrosé du jus de la westernique ; du jus de la romanestique et du jus de la hémoglobinique - Content, à en péter des vapeurs de lingots qu'en sont les producteurs associés du CAC40, Dow Jones. Nikkei!!!.

Mais - Toujours est-il qu'on l'a durci le Q. Avec 2 heures et 30 minutes de pic-nique aux pop-corns, avec, à la prime, le milk-shake qui rancit dans les gencives.

- Dommage! Oui, dommage. Perdu le "subtil bordel" du Reservoir Dogs? Passé les mises en bouches de virtuosité bouclée de la Pulp Fiction?

- Avec le Kill Bill 1 et Le Kill Bill 2 l'étoile n'a plus de lumière, that's right. Nous reste le voyage avec la Tartino.

*(un livre de gare, celui qui s'oublie dans le train / je vous précise.)

entretien à Patrick Cohen sur France Inter -Godard : "Tarantino est un faquin" par franceinter

© studio point to point 

grue va nouée pot voulu

nouveau rouge volupté.

© studiopointtopoint

Ici, la photographie est objet transitionnel. Il est question dans ce cliché de processus en train de s'effectuer, d'une capacité de mouvement, non de produit, mais du phénomène ; non de l'objet.

L'objet est toujours en train de ce transformer, de bouger, d'être détruit. Cette destruction devient le fond d'un réel en acte ; c'est-à-dire un objet en dehors du contrôle omnipotent du sujet. Le voir représente en quelque sorte une transition.

NIEVES PUBLICATIONS

Chapter 2 Rita Ackermann Andro Wekua		Chapter 3 Rita Ackermann Andro Wekua		It Looks Like A Smile Geoff McFetridge
The Process III Georg Gatsas		The Process V Georg Gatsas		Five Points New Georg Gatsas
Under Penalty of Perjury Ari Marcopoulos		Always and Never Ari Marcopoulos		I Wait Here For You Forever as Long as It Takes Stefan Marx

exemples de publications

North Lake Shore Drive Wesley Willis		2001 Wesley Willis		Game Peter Sutherland

Bad Couples Nicola Pecoraro		Lucifer Rising Hendrik Hegray		Pictograms Warja Lavater

NEWS

Georg Gatsas Five Points (New York, USA)

Georg Gatsas first visited our gallery at 35 Saint James Place in lower Manhattan soon after we moved in. When we met we discussed his practice and I was compelled to share with him what I was learning about the history of the neighborhood in which the gallery is located. This led him to a six month long undertaking which he eventually titled Five Points.

My interest in the history of lower Manhattan was inevitable because remnants of the beginnings of modern New York are evident at every turn. Despite having grown up in the city, I had somehow never been situated in a neighborhood where history was so apparent. Through this newfound interest I compiled a small library, and one book stood out as something that might interest Georg Gatsas, who was a curious Swiss artist new to the Chinatown area at that time.

He quickly connected the dots. He realized that this very neighborhood was one of the last refuges for artists ‘downtown’. His project to document artists in the neighborhoods surrounding the gallery was prescient because of its ability to place itself within the neighborhood’s history, as well as the history of how it is documented. Gatsas’ New York creates a trajectory of images going as far back as Jacob Riis’ How the other half lives, whose photographs of the blight of this neighborhood (made possible by the invention of flash photography) prompted city officials to tear down most of the Five Points between 1885 and 1895.

What makes Georg Gatsas’ work particularly significant is that it is a historical document. This approach puts the art back into artifact. Now we are looking at his images much in the way others must have looked at images of people in the same places over one hundred years ago. I enjoy imagining someone like Georg Gatsas in one hundred years looking at the book you are reading now, I wonder what they might have to say or might be able to learn about these places, people and things. James Fuentes, New York City, October 2009

NEWS

Anders Edström Safari (Tokyo, Japan)

For most people, looking simply happens. There is a view of downtown Los Angeles from my patio, which I daily admire in a disinterested way. I like how my neighbor’s terracotta roof foregrounds the silhouettes of skyscrapers miles off and how the dark middle distance slopes towards a façade of pinpoint lights at night. But I have never felt compelled to do anything about it. I sometimes wonder whether if I were a photographer my view would look different, whether my looking would be different. Photography is so various today—especially in art, where internal considerations put a stress on questions of concept and technique—that one may be forgiven the more basic acknowledgment that looking, different kinds of looking, remains its central gist. Some photographers look quickly, letting the world come to them in “decisive moments.” Others set the world up, methodically, as if the world’s images were already present in their eyes. At least these are the clichés. In reality letting and setting are rarely so opposed.

In Anders Edstrom’s Safari photographs, for instance, a slow, deliberate looking, a looking focused on a singular subject, a looking that by all appearances holds the outside world at bay, nonetheless reveals an image of openness one might better expect from street or landscape photography, genres bent by time, context, event, and change. But what changes in these Safari pictures? Do they have time or context? What is their world?

On the simple level of subject matter, this is not the world Edstrom typically represents, which despite a signature gauziness—as if the air and light he seeks were particulate, thick, or tactile—is one of people and environments interacting. Even more than his tender domestic tableaux or pedestrian portraits, the Safari images, made over a two-year period in 2002–2004, are inside: the scene, apparently, a studio or a worktable, the range close. So close, in fact, that before one understands that they depict drips or pools of paint on paper, there is an initial sense of abstraction. The soft, existing light pervading the enameled pigments, themselves vibrations of earthy ochres, burnt greens, grays and rusts, suggests a serial display of substance becoming surface—a movement between polish, glaze, and liquid on the one hand and roughness, texture, and mineral on the other. The pleasure, for me, comes in realizing that Edstrom’s formal and material reduction is here no different than elsewhere in his work. Subject matter, whatever it is, only serves sensibility.

Describing the latter takes us far from the intimacy of Safari, and I will only say that Edstrom is a photographer greatly influenced by his mobility, as the title of this work may suggest. Shaped by his residence in Tokyo no less than his upbringing in Sweden, his work reflects the contingencies of contemporary life (fashion work has been a staple of his photography) as much as a fascination with slow nature. One could write elsewhere about the parallels these photographs may have with the traditional arts of bonsai or ike-bana, their seeming cultivation of chance-time, or alternately with the European romanticism of their sideways light and setting. But cultural reads should come after the fact rather than justifying it. Is paint is a wild animal to a photographer? Maybe. More likely it is a figure of mental or symbolic space encountered through looking. Safari interieur. Bennett Simpson.

Benjamin Sommerhalder Publisher & Editor in Chief
Corinn Gerber & Norina Allemann Distribution & Press
Aline Juchler Intern

Nieves
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®Studio point to point infos

Auteur
responsables d'institutions, curateurs, éditeurs, critiques

Destinataire
Heads of art institutions, curators, publishers, artists, critics

MANIFESTE DES PRESUMES COUPABLES >

Nous sommes profondément surpris et choqués par l’annonce du renvoi devant le Tribunal correctionnel de Bordeaux de Marie-Laure Bernadac, Henry-Claude Cousseau et Stéphanie Moisdon, poursuivis depuis 2000 dans le cadre de l’exposition Présumés Innocents (au CAPC Musée d’art contemporain de Bordeaux) alors que le Procureur de la République a requis un non-lieu en mars 2008 .
Au vu de la liste des pièces incriminées ( Elke Krystufek, Gary Gross, Ines van Lamsweerde, Cindy Sherman, Nan Goldin, Ugo Rondinone, Marlène Dumas, Paul McCarthy , Carsten Höller, Robert Mapplethorpe, Eric Fischl ,Mike Kelley, Matt Collishaw, Christian Boltanski, Cameron Jamie, Joseph Bourban, Wolfgang Tillmans), il s’avère que nous avons maintes fois montré ou reproduit ces mêmes œuvres ou des productions identiques, et que dans le cadre de notre profession nous entendons légitimement pouvoir continuer de le faire.
Ces poursuites sont fondées sur une seule hypothèse : ces œuvres auraient pu, comme le souligne le réquisitoire, être vues par des mineurs, ceci malgré tous les dispositifs d’avertissement soigneusement mis en place.
Faudra-t-il donc désormais priver notre jeunesse d’un accès à la culture contemporaine, alors même que la présence d’un mineur dans une exposition est généralement encadrée par ses parents ou des professionnels de l’enseignement ? Qui décidera alors de ces mesures de contrôle et de la limite du montrable ?
Faut-il considérer que les images de l’art sont dangereuses ou plus dangereuses que celles qui circulent librement dans la presse et les médias ?
Ce procès, unique en France, est une atteinte à la création contemporaine. Il touche plus fondamentalement nos fonctions, nos responsabilités, nos droits et nos libertés. La disproportion et le coût de l’appareil judiciaire en regard de l’absence de délit, ainsi que l’instrumentalisation de l’enfance opérée par une association supposée la protéger, sont autant de signes d’une dérive qui nous inquiète, que nous estimons indigne de la France et de sa politique culturelle.

Nous, responsables d'institutions de l'art et de structures d’expositions, diffuseurs, éditeurs, artistes, intellectuels sommes solidaires de nos collègues mis en examen, et demandons en conséquence à être pareillement jugés.

MANIFESTO OF THOSE PRESUMED GUILTY >

We are deeply surprised and shocked by the announcement that Henry-Claude Cousseau, Marie-Laure Bernadac and Stéphanie Moisdon are to re-appear before the magistrate’s court of Bordeaux. They have been prosecuted since 2000 in connection with the exhibition Présumés Innocents (at the CAPC Musée d’art contemporain de Bordeaux), even if the Public Prosecutor requested a non-lieu in March 2008.
In view of the list of works incriminated (by Elke Krystufek, Gary Gross, Ines van Lamsweerde, Cindy Sherman, Nan Goldin, Ugo Rondinone, Marlène Dumas, Paul McCarthy, Carsten Höller, Robert Mapplethorpe, Eric Fischl, Mike Kelley, Matt Collishaw, Christian Boltanski, Cameron Jamie, Joseph Bourban, and Wolfgang Tillmans), the fact is that we have on many occasions shown and reproduced these same works or identical pieces, and that in the context of our profession we have every intention of continuing to do so in all legality.
This legal action is based on a single hypothesis: that these works might, as emphasized by the indictment, have been seen by minors, and this in spite of all the warning arrangements carefully displayed.
So will it henceforth be necessary to deprive our young people of access to contemporary culture, even when young people visiting exhibitions are usually supervised by their parents or teachers? Who will duly take decisions involving these measures controlling and limiting what can and cannot be shown?
Are art images to be regarded as dangerous, or more dangerous than those freely circulating in the press and media?
This trial, unique in France, is an attack on contemporary creative work. In a more fundamental way, it affects our functions, our responsibilities, our rights and our freedoms. The disproportion and the cost of the legal machinery in the absence of any offence, as well as the exploitation of childhood resorted to by an association supposed to protect young persons, are signs that things are headed in a direction which worries us, and which we regard as unworthy of France and its cultural policy.

As heads of art institutions and exhibition venues, distributors, publishers, artists and intellectuals, we are solidly behind our colleagues now on trial, and we ask to be similarly tried as a result.

Si vous souhaitez vous joindre à cet appel, indiquez vos : nom, qualité, ville. Et renvoyez ceci à l’adresse suivante :

http://www.ipetitions.com

L'évènement de l'été, peut-être à la télé, convivial, ludique, amusant et follement artistique.

Carte postale Ministre pour cARTed 09.

Celle-ci: Carted Junktion Ministérielle. Ici vue face et dos, n'ayant pu être envoyée en temps et heure à carted ; vous pouvez, l'imprimer, c'est gratuit.

On ne cache pas un cul avec l'image d'un bouquet de fleurs. Clic here

+ d'infos

Jean-Luc Godar films et entretiens

Ministère de la Culture et Communication Français

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