Our relationship to the face, this frontal part of the head that is linked to what is most intimate in the human being, often serves to inspire various interventions of an aesthetic or political order. Does the face (
Created in 2006 in memory of Jean-Pierre Latour (1951-2005), the Jean-Pierre-Latour Prize is awarded yearly to a graduate or under-graduate student studying at École Multidisciplinaire de l’images (ÉMI) in order to encourage the development of critical thought in writing a text related to practices of
At this stage in the development of the global war on terror, it would be hard to be startled by the rhetoric of prevention and preventability that has tinted the aftermath of each of its turning points (
The theme of this issue of ESPACE art actuel is “Monuments/Counter-Monuments.” The monument is not a new concept; the notion emerged with the awareness of history. With its roots in the Latin (
The natural border is the only true border, indisputable, absolute. The others are only imitations, human constructions unable to equal natural perfection.
At the mention of human migration, we think immediately of people across the globe who are obliged to leave their native countries in search of safer territory. The reasons for these forced migrations may be (
Aram Han Sifuentes is a fibre artist with a social practice who works closely with Chicago non-profit organizations, community centres, and public schools to facilitate workshops for immigrant communities.
At the start of this 21st century, the issues that ecology raises unfold on a true battleground. The supposition that made André Malraux herald this century as irreligious seems hardly credible when the decisions (
Does the gravity of ecological content exonerate artists from having to be concerned with form? The formal meagreness of some exhibitions “dedicated to the cause” might lead one to think so. These assembled ecologically virtuous or activist artworks, extremely informative, wavering between ethical duty and
Our society’s rituals of consumption are marked out in prehistoric time. Ossified imagination fuels the quest for energy, propels drilling deeper and deeper into the ground. However, the forthcoming risks associated with oil extraction will soon be subterranean in only the shallowest sense. No longer
Over the last fifteen years, numerous curators and critics have tried, through theoretical exhibitions, to redefine the role of art in relation to ecology – to find the right relationship between them.1 Perspectives that are too narrow or that drive home the principles of a
Plastic exists as a significant node in a network of cultural, economic, environmental and political interests. It takes on many roles: domestic servant, caretaker, medical support, kitchen aid, industrial worker. The material is pervasive, yet the cultural sentiment towards it in Anglo-American culture is ambivalent