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Philippe Artières, Donatien Grau, ...: Photography and the Artistic Event
Photography and the Artistic Event
(p. 79 – 110)

Philippe Artières, Donatien Grau, Pascale Montandon-Jodorowsky, ORLAN, Devika Singh

Photography and the Artistic Event
Uniqueness Recreated

PDF, 32 pages

  • photography
  • conversation
  • contemporary art

My language
English

Selected content
English

Philippe Artières

is a historian.
Other texts by Philippe Artières for DIAPHANES

Donatien Grau

is head of contemporary programs at musée d’Orsay, Paris. He is the author of various books. He realized the exhibition Pierre Guyotat, la matière de nos oeuvre in collaboration with the Azzedine Alaïa Gallery in April–June 2016. A book of conversations between him and Pierre Guyotat appeared in October 2016: Humains par Hasard.
Other texts by Donatien Grau for DIAPHANES

Pascale Montandon-Jodorowsky

is a visual artist and designer. Her work engages with the relation between fragility and permanence, across the visual arts, stage design, design, and photography. She notably designed costumes for the choreographer Carolyn Carlson, colors and photography for the latest films of artist Alejandro Jodorowsky, her husband, with whom she collaborates on their common work, pascALEjandro.
Other texts by Pascale Montandon-Jodorowsky for DIAPHANES

ORLAN

creates sculptures, photographs, performances, videos, videogames, and augmented reality, using scientific and medical technics like surgery and biogenetic. Those are only mediums for her; the idea prevails and the materiality pursues. ORLAN makes her own body the medium, the raw material, and the visual support of her work. It takes place as the “public debate.” She is a major figure of body art and of “carnal art,” as she defined it in her 1989 manifesto. Her commitment and her liberty are an integral part of her work. She defends innovative, interrogative and subversive, positions throughout her work. ORLAN constantly and radically changes the data, which disrupts conventions and “ready-made thinking.” She is opposed to natural determinism, in all forms of social and political domination, male supremacy, religion, cultural segregation and racism, etc. Always mixed with humor, often parodic or even grotesque, her provocative artworks can shock because she shakes up the pre-established codes. ORLAN won the E-reputation award, designating the most observed and followed artist on the Web.
Other texts by ORLAN for DIAPHANES

Devika Singh

is Curator, International Art at Tate Modern. A member of the Observatoire: Globalisation, Art et Prospective at the Institut national d’histoire de l’art and an associate scholar at the Centre of South Asian Studies of the University of Cambridge, she was previously Smuts Research Fellow at Cambridge and a fellow at the Centre allemand d’histoire de l’art in Paris. She holds a PhD from the University of Cambridge and was a visiting fellow at the French Academy at Rome, the Freie Universität, Berlin, and the Kluge Center of the Library of Congress, Washington D.C. Her writing has appeared in exhibition catalogues, specialised magazines, and in the journals Art History, Modern Asian Studies, Journal of Art Historiography and Third Text. In 2017 she guest edited an issue of MARG. Singh curated the India pavilion of Dubai Photo Exhibition (2016), Gedney in India at the CSMVS, Mumbai (2017) and Duke University (2018), Planetary Planning at the Dhaka Art Summit (2018), and Homelands: Art from Bangladesh, India and Pakistan at Kettle’s Yard, Cambridge (2019).
Other texts by Devika Singh for DIAPHANES
Donatien Grau (ed.), Christoph Wiesner (ed.): After the Crisis

After the Crisis offers a platform for discussions between some of today’s leading artists, writers, theorists, curators, and historians aimed at questioning the very status of photography today. Contributors come from the realms of critical theory, fiction,  performance art, fashion photography, and museums, as well as film and design, and their conversations bring together history and the contemporary. Comparing the current situation of photographic images with the crisis experienced by representation at the time of the birth of photography, they set our relationship with photographic images in the digital era in perspective. Through these discussions, we come to sense the existential burden of being surrounded by images, while also beginning to grasp the historical depth of a questioning of images that started long before the current generation and engages with crucial political and cultural issues of our time. 

 

With contributions by Philippe Artières, Osei Bonsu, Emma Bowkett, Elisabeth Bronfen, Emanuele Coccia, ­Russell ­Ferguson, ­Dominique de Font-­Réaulx, Marc Fumaroli, Leigh Ledare, Kieran Long, Roxana Marcoci, Renzo ­Martens, Paul ­McCarthy, Tom McCarthy, Pascale Montandon-­Jodorowsky, ­ORLAN, Alice Rawsthorn, Jeff Rosenheim, ­Elisa Schaar, ­Bruno Serralongue, Devika Singh, Abdellah Taïa, ­Oliviero ­Toscani, Inez van Lamsweerde & Vinoodh ­Matadin, Wim Wenders, Richard Wentworth.

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