Magritte Paris 2003
Partant de l'irréductible originalité du peintre belge René Magritte (1898-1967) – au sein même du groupe surréaliste auquel il est le plus souvent affili頖, Daniel Abadie, directeur de la Galerie nationale du Jeu de Paume et commissaire de l'exposition Magritte (11 février-9 juin 2003)... À PROPOS DE L’ENCYCLOPAEDIA UNIVERSALIS Reconnue mondialement pour la qualité et la fiabilité incomparable de ses publications, Encyclopaedia Universalis met la connaissance à la portée de tous. Écrite par plus de 7 200 auteurs spécialistes et riche de près de 30 000 médias (vidéos, photos, cartes, dessins...), l’Encyclopaedia Universalis est la plus fiable collection de référence disponible en français. Elle aborde tous les domaines du savoir.
Photography and Surrealism
This clear and challenging re-evaluation of the status and usage of photographic images in historical surrealism puts surrealism's fundamental issues back into the framework of its historical purpose and function. David Bate asks what a surrealist photograph actually is. He discusses automatism and the photographic image, the surrealist passion for insanity, their ambivalent use of Orientalism and adoption of Sadean philosophy and the effect of fascism on the surrealists. Locating the use of photography by surrealists within the cultural discourses of that historical moment, Photography and Surrealism is a genuinely original contribution to the field. The book is illustrated with a range of surrealist images.
A picture of a pipe is not really a pipe, and a daylight-filled sky can shine over a streetlamp-lit townhouse, and a painting of a window inside a painting of a sitting room can be the window in that sitting room, and a room-sized rock can gaze out of that room at the sea, and, of course, a man is a suit can have a green apple for a face. At least, that is, in the world of Magritte. And who wouldn't want to believe in that world, or at least take pleasure in the ability to recognize parts of it in our own? One of the most charming and beloved of the surrealists, Rena Magritte took a light, witty paintbrush and created a world both familiar and not--but always recognizable in our dreams. His plays on semiotics, identity, the idea of woman, the possibilities inherent in objects, and the idea that everything was not necessarily what it seemed--or what it was supposed to be--are celebrated here in an intelligent retrospective monograph, featuring more than 150 paintings, sculptures, objects, and works on paper. The organization of this catalogue paints Magritte as an innovator, and an artist who has had significant influence on contemporary creators. Accompanying essays, including an introduction by Alain Robbe-Grillet, inventor of the "nouveau roman," consider Magritte's influence on modern and contemporary art. Magritte's relationships with his surrealist contemporaries Louis Scutenaire and Andra Breton, and the art dealers Edward James and Alexandre Iolas, are each revealed through individual art historical texts and a selection of unpublished letters. An illustrated chronology is included as well. This catalogue is published in conjunction with an exhibition at the Galerie Nationale duJeu de Paume in Paris.
Phantasmagoria explores ideas of spirit and soul since the Enlightenment; it traces metaphors that have traditionally conveyed the presence of immaterial forces, and reveals how such pagan and Christian imagery about ethereal beings are embedded in a logic of the imagination, clothing spirits in the languages of air, clouds, light and shadow, glass, and ether itself. Moving from Wax to Film, the book also discusses key questions of imagination and cognition, and probes the perceived distinctions between fantasy and deception; it uncovers a host of spirit forms - angels, ghosts, fairies, revenants, and zombies - that are still actively present in contemporary culture. It reveals how their transformations over time illuminate changing idea about the self. Phantasmagoria also tells the accompanying story about the means used to communicate such ideas, and relates how the new technologies of the Victorian era were applied to figuring the invisible and the impalpable, and how magic lanterns (the phantasmagoria shows themselves), radio, photography and then moving pictures spread ideas about spirit forces. As the story unfolds, the book features the many eminent men and women - scientists and philosophers - who in the Society of Psychical Research applied their considerable energies to the question of other worlds and other states of mind: they staged trance seances in which mediums produced spirit phenomena, including ectoplasm. The book shows how this often embarrassing story connects with some of the important scientific discoveries of a fertile age, in psychology and physics. Over a sequence of twenty-eight chapters, with over thirty illustrations in colour and black and white, Phantasmagoria thus tells an unexpected and often uncomfortable story about shifts in thought about consciousness and the individual person, from the first public waxworks portraits at the end of the eighteenth century to stories of hauntings, possession, and loss of self asin the case of the zombie, a popular figure of soulessness, in modern times.
New Stone Architecture
A discussion of stone construction and the nature of stone as a material. Aimed at practising architects and students, this study describes the new technologies that make the new stone forms possible. This is followed by 33 case studies from around the world.
Dada and Surrealism A Very Short Introduction
A stimulating introduction to the many debates surrounding the Dadaist and Surrealist movements, such as the Marquis de Sade's position as a Surrealist deity, attitudes towards the city, the impact of Freud, and attitudes towards women.
The Drowned Muse
The Drowned Muse charts the trajectory of "the Unknown Woman of the Seine" in literature and the visual arts. "L'Inconnue de la Seine," or the mask of a young dead woman said to have been dragged out of the waters of the river, has become, through its repeated representation within the avant-garde movements of the twentieth century and popular media, both a commodity and an enduring topic of general interest. Such luminaries as Rilke, Nabokov,Supervielle, Aragon, Modiano, Cortázar, Man Ray, Magritte, Blanchot, Resnais, Truffaut, and Varda have expressed their infatuation with the Inconnue in prose, poetry, art, photography, and film. This book establishes acritical dialogue between works, ranging from the marginal to the canonical, and media (from texts to, photographs, films, and art installations), from the advances of mechanical reproduction, to the century of cinema and the internet era. It uncovers ramifications between past and contemporary preoccupations with modernity.
Antimanuel d conomie
Peut-on échapper à l'économie ? Elle imprègne fart, le sport, le sexe et la guerre ; elle engage le quotidien de la ménagère comme celui du manager. La " marchandisation de la vie " devient l'hymne de l'époque, et les économistes sont ses farauds apôtres, capitaines autoproclamés à la proue du " progrès " de l'humanité. Le rationnel est leur sextant, le quantifiable est leur boussole. Entre toi de la jungle et productivisme acharné, cartels et stock-options, la statistique quadrille leur parcours. Des kilos d'équations lestent leur " raison raisonnante ". Tout juste admettent-ils qu'une main invisible leur vient parfois en aide, altruiste ou impérieuse selon les cas. C'est oublier que l'homme n'est pas, mais alors pas du tout, rationnel. Et que l'économie est avant tout une réflexion sur le partage. Qui regarde le gâteau, qui tient le couteau ? Une autre économie est-elle possible ? L'esperanto économique est-il le jargon d'une science dure, le sabir d'une science motte, ou le cache-misère d'une science nulle ? Traquant les fioritures et les pseudo-concepts, cet Antimanuel permet à chacun de s'armer pour comprendre la harangue des chefs de la guerre économique. Car dans le monde des comptes, il ne faut pas s'en laisser conter. Sur un ton léger mais incisif, Bernard Maris convoque tour à tour des économistes, de Keynes à Stiglitz, mais aussi, plus inattendus, des philosophes ou des romanciers : Montesquieu, Swift, Jarry, Maupassant, Orwell ou Houellebecq... Ensemble, ils posent enfin un regard neuf sur une discipline réputée austère et répondent à des questions fondamentales : qu'est-ce que la valeur ? la monnaie ? la richesse ? La croissance est-elle une vertu ? Qui osera désormais dire que l'économie est ennuyeuse ?
The Language of Surrealism
A thorough introduction to the language of surrealism by a leading authority in the field. The author draws on recent work in cognitive poetics and literary linguistics to re-evaluate surrealism in its own historical setting, analysing textual examples and situating them within a framework of the latest theories and stylistic methods.
Foucault s Philosophy of Art
Foucault's Philosophy of Art: A Genealogy of Modernity tells the story of how art shed the tasks with which it had traditionally been charged in order to become modern. Joseph J. Tanke offers the first complete examination of Michel Foucault's reflections on visual art, tracing his thought as it engages with the work of visual artists from the seventeenth century to the contemporary period. The book offers a concise and accessible introduction to Foucault's frequently anthologized, but rarely understood, analyses of Diego Velázquez's Las Meninas and René Magritte's Ceci n'est pas une pipe. On the basis of unpublished lecture courses and several un-translated analyses of visual art, Tanke reveals the uniquely genealogical character of Foucault's writings on visual culture, allowing for new readings of his major texts in the context of contemporary Continental philosophy, aesthetic and cultural theory. Ultimately Tanke demonstrates how Foucault provides philosophy and contemporary criticism with the means for determining a conception of modern art.