DOCSLIB.ORG

Magazine MA Modern and Contemporary Art 1(4) Critical Reviews Exhibitions Cultural Studies Interviews Foreword

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Magazine MA Modern and Contemporary Art 1(4) Critical Reviews Exhibitions Cultural Studies Interviews Foreword Cultural Theory 2015 magazine MA Modern and Contemporary Art 1(4) Critical Reviews Exhibitions Cultural Studies Interviews Foreword This fourth number of C# — the Christie’s Education student-led on-line journal — reflects the unique interests, engagements and ambitions of those who have made the issue. As lecturers, tutors and teachers, our aim is to set in motion the conditions necessary for students to begin to gather together critical writing, features, essays and interviews, which map and explore the ecosystem that makes for contemporary art and its varied practices and positions. We offer advice and supervision, but mainly the opportunity to take ownership of the endeavour and shape the experience and outcome as theirs. Before you is the product of those efforts in C#15. The cohort of students that comprise the class of 2014–15 are now, as I write, finishing up their course work and preparing the transition to forging their own professional practices and positions in the art world. We take pride that they may already appreciate such a shift as akin a move into the grand theatre of objects variously arranged in space and time relative to perceiving subjects that is the lebenswelt, or lifeworld. This is ultimately the dynamic horizon against which they will continue to learn and live, laugh, love and labour. We wish them well and thank them for being excellent representatives of Christie’s Education. John Slyce Senior Tutor Modern and Contemporary Art and Art world Practice Table of Contents Features Exhibition Reviews/ London 16 Guy on the Wall 44 Carsten Höller at Hayward Gallery Kelsey Zalimeni Florence Bell 22 Pierre Huyghe: Generating Antagonism 48 Alexander McQueen at V&A Elizabeth Atkinson David Yu & Alex Mteini 34 Postmodern Vision and Beyond: 56 Freedom and Truth: Theaster The Gaze, Desire and Perversion Gates at White Cube Edward Sheldrick Laura Yakemchuk 62 Peter Kennard at The Imperial Exhibition Reviews/ World War Museum Anne de Geus 68 Christopher Williams: The Production Line of Happiness 106 Ahmet Güneştekin Million Stone Sheelan Atalla Kemal Orta 72 Shizareh Houshiary at Lisson 116 Interplay at MMCA Korea Gallery Nicola Guastamacchia Nivedita Poddar 122 Finding the Oasis of Matisse 78 Jo Baer: Towards The Land of the Giants Elizabeth Atkinson Julia Rudo 132 Never Say Goodbye 84 Inventing Impressionism Chi Chen Aurelia Clavien 140 Year 2015, 365 days: 3 Times Pollock on Show at the Peggy 94 Zabludowicz Collection: 20 Years Guggenheim Collection James Proctor Camilla Bin 100 Malachi Farrell : Duck and cover! 150 Long Lives Ding Yi! Michael Bouhanna Rosalie Fabre Interviews 160 ‘Art is Forever’: A Conversation with Edmond Francey Nelli Romanovskaya 168 Interview with Nicoletta Lambertucci Florence Bell 182 In The Studio with Anne Hardy Edward Sheldrick 192 Interview with Petronilla Silver and Penny Govett on ‘Forms Without Life’ James Proctor & Nicola Guastamacchia 202 Interview with Nadia Kaabi-Linke Nivedita Poddar & Miriam Ambatlle Features 16 17 Guy on the Wall If you thought the walls of the art world couldn’t talk, think again. The guards and guides of leading museums, art fairs, and biennials see and hear all — it’s their pri- mary duty. What’s more, they’re willing to relay their encounters and own opinions by Kelsey Zalimeni with this writer. Meet four sets of eyes and ears to art institutions, each just a Guy on the Wall. 1 The Guy overall happiness to be a part of it. Exhibition team member, Australian Albeit deflecting his true opinion on, Council. well, anything... the peppy bloke pro- The Wall vided plenty of useful and interesting Australian Pavilion at the 2015 Venice information. Biennale. The Brass 2 Bearing the official title of exhibition The Guy docent, Guy #1 has been selected thro- Entryway Security Guard. ugh an arduous application and inter The Wall view process conducted by the Australia - Art15 Fair, Artistique Design (Qatar) Council for the Arts. He is one of twenty- Gallery Booth. five successful candidates, native to The Brass Adelaide (where this year’s represen- Guy #2 approached me, pointing to tative artist Fiona Hall is also from). a small green and red flag on a shiny He also has his own artistic practice, pot-laden rickshaw piece at the centre which he describes as whimsical, child of the floor. With a large grin, he told friendly and playful. His aim in the art me it was from Bangladesh, his native world is to engage people of all ages country. He found work at the fair and backgrounds with the work on through Olympia’s provided security display. staff. Throughout the week, he was The Bull responsible for working this event, in When asked for candid thoughts on addition to the London Wine Fair next the exhibition, his canned reply con- door — which he joked should be held tained about six ‘incrediblies,’ each in the same space, as art people are followed by a positive feeling, such as eternally inbibing and the Chelsea one of excitement, privilege, luck and Flower Shop. His take on the art crowd: Features 18 19 ‘They’re just like you and me except with Michael Jackson, Bono, Axel Rose, nine years ago. He more than hap- they buy things you and me could never and Ringo Starr. The craziest shift he’s pily moved to Tate Modern, when it dream of today.’ ever worked involved tackling a mur- opened in 2000. In his words, ‘Tate The Bull derer at a Jessie J concert, attempting Britain was so serious and stuffy... To him, most contemporary art is just escape after stabbing someone in the art and visitors were both old.’ that — bull. However, when asked to the neck with a beer bottle. His job He didn’t study art, but estimated name a piece he actually liked, he at this event was to remain alert for that seventy percent of his Tate col- motioned to two large-scale 100 Yuan any of twelve notorious art thieves, leagues did or currently do. Detecting notes rendered in neon. His explana- whose faces he’d memorized, and to my accent, he shared some juicy infor- tion was simple: ‘because everyone follow them around until they became mation about the true British opinion likes money.’ spooked and fled. of Americans. ‘What you assume they The Bull say is true; they believe all Americans 3 Like Guy #2, he felt that contemporary are stupid and complain that too many The Guy art wasn’t important to people like of you are involved in the London art Patrolling Security Guard him. ‘Being from the Welsh valleys, world.’ Does he agree? ‘The British The Wall you don’t really study art or get any are grey and grim like the weather Art15 Fair, Mezzanine Level of this. I’m more into music, which is here... Americans are open, friendly The Brass why I enjoy this job.’ Looking down and really living life.’ A most entertaining conversation resulted from the railing, he noted that the The Bull from jokingly offering an exhibition only crowd-worthy work was ‘that pile Cy Twombly’s ‘scribble mess’ (by this flyer to Guy #3, a muscly Welshman, of washing’ by Kestutis Svirnelis... if it he means a large red Untitled) is the who has been working in security for caught on fire. bane of his existence. Many works in over twenty years. Immediately after Tate Modern are displeasing and gro- receiving the paper, he crinkled it, 4 tesque to him: ‘I cannot see the art in saying, ‘All art is way over my head; The Guy these things.’ He left me with a final I don’t get any of it.’ He went on to Visitor Services Staff Member comment as I thanked him for his time: criticise nearly every work in the build- The Wall ‘You see, this is the thing... I could never ing, save a couple of melting lollipop Tate Modern, Poetry & Dream Level, have this conversation with a British sculptures and a mural featuring David Joseph Beuys display person. It just wouldn’t happen. They Bowie (even though, according to him, The Brass wouldn’t think of having it. So, I am the it doesn’t look much like the singer.) The fourth and final Guy was happy to one that should thank you.’ Bowie is among the many music leg- pass his quiet morning shift with a gos- ends he’s had the pleasure to protect sipy chat. Originally from Argentina, and speak with across his career. He Guy #4 began working for Tate Britain, told me stories about his encounters in Pimlico, through a temp agency Features 20 21 Joseph Beuys Lightning with Stag in its Glare (1958–1985) Courtesy of Tate Modern, London Features 22 23 Pierre Huyghe: Generating Antagonism Chantal Mouffe describes artist) and is received by a subject our social realm to be made (the viewer).’ 4 For Bishop, subjectivity, Through Appropriation of Public Space up of sedimented practices, as premised on ‘the fictitious whole which conceal the original acts of subject of a harmonious community,’ their contingent political institution, must be replaced with the demand for By Elizabeth Atkinson thus being taken for granted as self- ‘relational antagonism’ premised on a grounded. 1 For Mouffe, every social ‘divided subject of partial identifica- order is predicated upon the exclusion tions open to flux.’ 5 Installation art of other possibilities, thus generat- is thus the ideal model for generating ing a susceptibility to challenge. 2 She such antagonism, as it ‘insists on our identifies such ‘antagonism’ within presence to subject us to the experi- artistic practices, in their ability to ence of decentring.’ 6 disrupt the smooth image that corpo- A decentred subject experiences rate capitalism spreads, bringing to feelings of division from the public the fore its repressive characters.
Load more

Recommended publications
  • The Charismatic Leadership and Cultural Legacy of Stan Lee
    REINVENTING THE AMERICAN SUPERHERO: THE CHARISMATIC LEADERSHIP AND CULTURAL LEGACY OF STAN LEE Hazel Homer-Wambeam Junior Individual Documentary Process Paper: 499 Words !1 “A different house of worship A different color skin A piece of land that’s coveted And the drums of war begin.” -Stan Lee, 1970 THESIS As the comic book industry was collapsing during the 1950s and 60s, Stan Lee utilized his charismatic leadership style to reinvent and revive the superhero phenomenon. By leading the industry into the “Marvel Age,” Lee has left a multilayered legacy. Examples of this include raising awareness of social issues, shaping contemporary pop-culture, teaching literacy, giving people hope and self-confidence in the face of adversity, and leaving behind a multibillion dollar industry that employs thousands of people. TOPIC I was inspired to learn about Stan Lee after watching my first Marvel movie last spring. I was never interested in superheroes before this project, but now I have become an expert on the history of Marvel and have a new found love for the genre. Stan Lee’s entire personal collection is archived at the University of Wyoming American Heritage Center in my hometown. It contains 196 boxes of interviews, correspondence, original manuscripts, photos and comics from the 1920s to today. This was an amazing opportunity to obtain primary resources. !2 RESEARCH My most important primary resource was the phone interview I conducted with Stan Lee himself, now 92 years old. It was a rare opportunity that few people have had, and quite an honor! I use clips of Lee’s answers in my documentary.
    [Show full text]
  • Scholarship Art History (93301) 2015
    Scholarship Art History (93301) 2015 — page 1 of 8 Assessment Schedule – 2015 Subject: Scholarship Art History (93301) Candidate answers TWO questions, one from Section A and one from Section B. Each response is marked out of 8 against the descriptors for the Art History Scholarship Standard. A third mark out of 8 is awarded across both responses for communication of arguments. • Schedule 1 relates to the quality required for the two candidate responses. • Schedule 2 relates to the quality required for communication of argument. • Schedule 3 gives, for each question, examples of evidence that might be included in a candidate’s response. Schedule 1: Quality of candidate response (marked separately for each of TWO responses) Outstanding 8 marks 7 marks Scholarship Response shows, in a sustained manner, highly Response fulfils most of the requirements for developed knowledge and understanding of the Outstanding Scholarship, but: discipline through aspects of: visual analysis / critical response level is less perception and insight through highly developed even visual analysis of specific art works and critical or depth and breadth of knowledge is less response to contexts and ideas consistent and sophisticated integration of evidence or independent reflection and extrapolation is demonstrating comprehensive depth and breadth more limited of knowledge relevant to the question or the response is less comprehensive / original. and independent reflection and extrapolation on evidence from varied sources. And the response is original in approach.
    [Show full text]
  • Tate Report 08-09
    Tate Report 08–09 Report Tate Tate Report 08–09 It is the Itexceptional is the exceptional generosity generosity and and If you wouldIf you like would to find like toout find more out about more about PublishedPublished 2009 by 2009 by vision ofvision individuals, of individuals, corporations, corporations, how youhow can youbecome can becomeinvolved involved and help and help order of orderthe Tate of the Trustees Tate Trustees by Tate by Tate numerousnumerous private foundationsprivate foundations support supportTate, please Tate, contact please contactus at: us at: Publishing,Publishing, a division a divisionof Tate Enterprisesof Tate Enterprises and public-sectorand public-sector bodies that bodies has that has Ltd, Millbank,Ltd, Millbank, London LondonSW1P 4RG SW1P 4RG helped Tatehelped to becomeTate to becomewhat it iswhat it is DevelopmentDevelopment Office Office www.tate.org.uk/publishingwww.tate.org.uk/publishing today andtoday enabled and enabled us to: us to: Tate Tate MillbankMillbank © Tate 2009© Tate 2009 Offer innovative,Offer innovative, landmark landmark exhibitions exhibitions London LondonSW1P 4RG SW1P 4RG ISBN 978ISBN 1 85437 978 1916 85437 0 916 0 and Collectionand Collection displays displays Tel 020 7887Tel 020 4900 7887 4900 A catalogue record for this book is Fax 020 Fax7887 020 8738 7887 8738 A catalogue record for this book is available from the British Library. DevelopDevelop imaginative imaginative education education and and available from the British Library. interpretationinterpretation programmes programmes AmericanAmerican Patrons Patronsof Tate of Tate Every effortEvery has effort been has made been to made locate to the locate the 520 West520 27 West Street 27 Unit Street 404 Unit 404 copyrightcopyright owners ownersof images of includedimages included in in StrengthenStrengthen and extend and theextend range the of range our of our New York,New NY York, 10001 NY 10001 this reportthis and report to meet and totheir meet requirements.
    [Show full text]
  • CNC/IUGG: 2019 Quadrennial Report
    CNC/IUGG: 2019 Quadrennial Report Geodesy and Geophysics in Canada 2015-2019 Quadrennial Report of the Canadian National Committee for the International Union of Geodesy and Geophysics Prepared on the Occasion of the 27th General Assembly of the IUGG Montreal, Canada July 2019 INTRODUCTION This report summarizes the research carried out in Canada in the fields of geodesy and geophysics during the quadrennial 2015-2019. It was prepared under the direction of the Canadian National Committee for the International Union of Geodesy and Geophysics (CNC/IUGG). The CNC/IUGG is administered by the Canadian Geophysical Union, in consultation with the Canadian Meteorological and Oceanographic Society and other Canadian scientific organizations, including the Canadian Association of Physicists, the Geological Association of Canada, and the Canadian Institute of Geomatics. The IUGG adhering organization for Canada is the National Research Council of Canada. Among other duties, the CNC/IUGG is responsible for: • collecting and reconciling the many views of the constituent Canadian scientific community on relevant issues • identifying, representing, and promoting the capabilities and distinctive competence of the community on the international stage • enhancing the depth and breadth of the participation of the community in the activities and events of the IUGG and related organizations • establishing the mechanisms for communicating to the community the views of the IUGG and information about the activities of the IUGG. The aim of this report is to communicate to both the Canadian and international scientific communities the research areas and research progress that has been achieved in geodesy and geophysics over the last four years. The main body of this report is divided into eight sections: one for each of the eight major scientific disciplines as represented by the eight sister societies of the IUGG.
    [Show full text]
  • Consumer Poster Project Project Completed During Phd by Project In
    Consumer Poster Project Project completed during PhD by project in Fine Art at the Royal College of Art, Oct 2011 – December 2016, funded with a grant from Lipman-Milliband Trust. 'Consumer' examines the influence of capitalism on the visual landscape. In March – May 2015 I purchased advertising space around Cardiff city centre and populated it with artworks that critique capitalism. The artworks employ the methods of enticement that are often found in adverts but will invite people to think about the pervasiveness of capitalist consumption rather than impel them to buy something. The ultimate aim of the project is to encourage people to think about the pervasiveness of consumerism in capitalist society. By creating disruptions within the commercial advertising field the exhibition aims to provoke the audience to reconsider consumerism as a distraction that inhibits positive social development towards social justice and equality. I selected three artists of international repute; Ellie Harrison is an artist based in Scotland. She studied Fine Art at Nottingham Trent University, Goldsmiths College and Glasgow School of Art, where she undertook a Leverhulme Scholarship on the Master of Fine Art programme. In 2003 her project Eat 22 was shown at the Science Museum, London as part of the exhibition ‘Treat Yourself’. It is now on permanent display at the Wellcome Collection museum. In 2012 she created The Redistribution of Wealth installation at Tate Britain. Ellie Harrison is Lecturer in Contemporary Art Practices at Duncan of Jordanstone College of Art & Design. Peter Kennard is an established London-based British artist. His artwork aims to instigate debate about art, politics and society.
    [Show full text]
  • October 2003 SOCIETY
    ISSN 0739-4934 NEWSLETTER HISTORY OF SCIENCE VOLUME 32 NUMBER 4 October 2003 SOCIETY those with no interest in botany, the simple beauty of the glass is enough. Natural History Delights in Cambridge From modern-life in glass to long-ago life, it’s only a short walk. The museum houses ant to discuss dinosaurs, explore microfossils of some of the Earth’s earliest life Wancient civilizations, learn wild- forms, as well as fossil fish and dinosaurs – flower gardening, or study endangered such as the second ever described Triceratops, species? If variety is the spice of life, then and the world’s only mounted Kronosaurus, a the twenty-one million specimens at the 42-foot-long prehistoric marine reptile. Harvard Museum of Natural History show a Among its 90,000 zoological specimens the museum bursting with life, much of it unnat- museum also has the pheasants once owned urally natural. by George Washington. And many of the The museum will be the site of the opening mammal collections were put together in the reception for the 2003 HSS annual meeting. 19th century by “lions” in the history of sci- The reception begins at 7 p.m. Thursday, 20 ence, like Louis Agassiz. November, and tickets will be available at the Much of the museum’s collection of rocks and meeting registration desk. Buses will run from ores is the result of field work, but the museum the host hotel to the museum. houses not only that which has been dug up, but The Harvard MNH is an ideal spot for his- also that which has fallen out of the sky.
    [Show full text]
  • Art Catalogue Introduction
    Art Catalogue Introduction Welcome to the inaugural Green Creates… art exhibition. Artistic expression, in its many forms, has existed in every age, every culture, and every country. Art can be both rooted in history and a catalyst for change. It connects us to the past, expresses our views of the present and suggests new ideas and visions for the future. As such, it is only fitting that we should call upon the support of the arts’ community today, as we stand on the brink of an uncertain future, attempting to hold onto the values and achievements that make us proud to be British, whilst working towards a new and better tomorrow. ‘‘Green’ suggests healthy options and therefore Green Creates… is an opportunity for the arts community to show their support for the Green Party, our policies healthy outcomes. Green issues should be the first and our work, but also an example of art as a social commentary in a time of social, economic and political consideration in everything from housing, to health unrest. The theme of Green Voices called for artists to express their opinions on the issues of the day and they to education and beyond.’’ have produced work that encompasses everything from climate change to the ephemeral beauty of nature. Ralph Steadman We are delighted at the richness and diversity of the work that we have on display and to welcome you to this celebration of some of the different interpretations of what it means to be green today. Best wishes, Jonathan Bartley and Caroline Lucas Co-Leaders - Green Party of England and Wales 4
    [Show full text]
  • To Consignors Hip Color & No
    Index to Consignors Hip Color & No. Sex Sire Dam Dam's Sire Barn 27 Property of The Acorn LLC 809 dk. b./br. f. Old Trieste Pride of Yoda Time for a Change Barn 27 Consigned by The Acorn LLC, Agent for White Oaks 548 b. f. Fusaichi Pegasus Word o' Ransom Red Ransom 688 gr/ro. c. Spinning World Grab the Green Cozzene 820 b. f. War Chant Reach the Top Cozzene Barn 35 Consigned by Ballinswood Sales (Bill Murphy), Agent for Creston Farms 669 dk. b./br. c. Dynaformer Footy Topsider 751 dk. b./br. c. Old Trieste Marchtothemine Mining Barn 46 Consigned by Bedouin Bloodstock, Agent I 1029 ch. c. Forest Wildcat Erstwhile Arts and Letters 1161 dk. b./br. c. Awesome Again Naked Glory Naked Sky Barn 42 Consigned by Blackburn Farm (Michael T. Barnett), Agent 1009 dk. b./br. f. Touch Gold Deep Enough Raise a Native Barn 42 Consigned by Blackburn Farm (Michael T. Barnett), Agent for Classic Run Farm 1063 dk. b./br. c. Menifee Hail the Queen Danzatore 1100 ch. f. Belong to Me Kris Is It Kris S. Barn 42 Consigned by Blackburn Farm (Michael T. Barnett), Agent for Longleaf Pine Farm 971 dk. b./br. c. Chester House Bittersweet Hour Seattle Slew Barn 29 Consigned by Blake Agency, Agent 589 b. f. Thunder Gulch Bet Birdie Bet Twice 819 b. c. Summer Squall Rainbow Promise Known Fact 870 ch. c. Distorted Humor Slick Delivery Topsider Barn 44 Consigned by Blandford Stud (Padraig Campion), Agent 957 dk. b./br. c. Giant's Causeway Aunt Pearl Seattle Slew 1185 ch.
    [Show full text]
  • 9–22–00 Vol. 65 No. 185 Friday Sept. 22, 2000 Pages 57277–57536
    9±22±00 Friday Vol. 65 No. 185 Sept. 22, 2000 Pages 57277±57536 VerDate 11-MAY-2000 19:36 Sep 21, 2000 Jkt 190000 PO 00000 Frm 00001 Fmt 4710 Sfmt 4710 E:\FR\FM\22SEWS.LOC pfrm11 PsN: 22SEWS 1 II Federal Register / Vol. 65, No. 185 / Friday, September 22, 2000 The FEDERAL REGISTER is published daily, Monday through SUBSCRIPTIONS AND COPIES Friday, except official holidays, by the Office of the Federal Register, National Archives and Records Administration, PUBLIC Washington, DC 20408, under the Federal Register Act (44 U.S.C. Subscriptions: Ch. 15) and the regulations of the Administrative Committee of Paper or fiche 202±512±1800 the Federal Register (1 CFR Ch. I). The Superintendent of Assistance with public subscriptions 512±1806 Documents, U.S. Government Printing Office, Washington, DC 20402 is the exclusive distributor of the official edition. General online information 202±512±1530; 1±888±293±6498 Single copies/back copies: The Federal Register provides a uniform system for making available to the public regulations and legal notices issued by Paper or fiche 512±1800 Federal agencies. These include Presidential proclamations and Assistance with public single copies 512±1803 Executive Orders, Federal agency documents having general FEDERAL AGENCIES applicability and legal effect, documents required to be published Subscriptions: by act of Congress, and other Federal agency documents of public interest. Paper or fiche 523±5243 Assistance with Federal agency subscriptions 523±5243 Documents are on file for public inspection in the Office of the Federal Register the day before they are published, unless the issuing agency requests earlier filing.
    [Show full text]
  • Annual Review Are Intended Director on His fi Rst Visit to the Gallery
    THE April – March NATIONAL GALLEY TH E NATIONAL GALLEY April – March – Contents Introduction 5 In June , Dr Nicholas Penny announced During Nicholas Penny’s directorship, overall Director’s Foreword 8 his intention to retire as Director of the National visitor numbers have grown steadily, year on year; Gallery. The handover to his successor, Dr Gabriele in , they stood at some . million while in Acquisitions 10 Finaldi, will take place in August . The Board they reached over . million. Furthermore, Loans 17 looks forward to welcoming Dr Finaldi back to this remarkable increase has taken place during a Conservation 24 the Gallery, where he worked as a curator from period when our resource Grant in Aid has been Framing 28 to . falling. One of the key objectives of the Gallery Exhibitions 32 This, however, is the moment at which to over the last few years has been to improve the Displays 44 refl ect on the directorship of Nicholas Penny, experience for this growing group of visitors, Education 48 the eminent scholar who has led the Gallery so and to engage them more closely with the Scientifi c Research 52 successfully since February . As Director, Gallery and its collection. This year saw both Research and Publications 55 his fi rst priority has been the security, preservation the introduction of Wi-Fi and the relaxation Public and Private Support of the Gallery 60 and enhanced display of the Gallery’s pre-eminent of restrictions on photography, changes which Trustees and Committees of the National Gallery Board 66 collection of Old Master paintings for the benefi t of have been widely welcomed by our visitors.
    [Show full text]
  • To Mark the 150Th Anniversary of the Birth of Matisse and the Upcoming
    To mark the 150th anniversary of the birth of Matisse and the upcoming exhibition of his work at the Pompidou Centre in Paris in 2020, this art documentary invites us to retrace the voyages Matisse made that influenced his art, especially his last trip to Polynesia in 1930, which took him to the threshold of contemporary art with the invention of his gouache-painted cut-outs. In 1930, at the age of 60, Matisse feels the call of the sea, the lure of elsewhere, one last time. He decides to embark on the longest possible journey: to the antipodes, to see Polynesia. The voyage to Tahiti takes several weeks, giving him time to look back on the distance he has travelled in his lifetime. He reflects on the many journeys that he, a man of the North searching for bright light and colours, has continually made throughout his life and career as a painter: to Corsica, Collioure and Nice, where he finally settled in 1917, but also to Algeria, Morocco and the United States. Each time, these trips have been a stepping stone to something else. His Corsican experience led him to Fauvism, his sojourn in Morocco to modern painting; Polynesia will permeate the last 25 years of his creative life and take him to the threshold of contemporary art. This lifelong artistic quest for other lights, colours and shapes has also, above all, been a search for himself that has driven him tirelessly and passionately to pursue the great journey of his life. Polynesia, the sea (1948) Note : The works presented in this dossier are all signed by Henri Matisse and their rights belong to Les Héritiers Matisse (© Succession H.
    [Show full text]
  • Pre-Mission Insights on the Interior of Mars Suzanne E
    Pre-mission InSights on the Interior of Mars Suzanne E. Smrekar, Philippe Lognonné, Tilman Spohn, W. Bruce Banerdt, Doris Breuer, Ulrich Christensen, Véronique Dehant, Mélanie Drilleau, William Folkner, Nobuaki Fuji, et al. To cite this version: Suzanne E. Smrekar, Philippe Lognonné, Tilman Spohn, W. Bruce Banerdt, Doris Breuer, et al.. Pre-mission InSights on the Interior of Mars. Space Science Reviews, Springer Verlag, 2019, 215 (1), pp.1-72. 10.1007/s11214-018-0563-9. hal-01990798 HAL Id: hal-01990798 https://hal.archives-ouvertes.fr/hal-01990798 Submitted on 23 Jan 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Open Archive Toulouse Archive Ouverte (OATAO ) OATAO is an open access repository that collects the wor of some Toulouse researchers and ma es it freely available over the web where possible. This is an author's version published in: https://oatao.univ-toulouse.fr/21690 Official URL : https://doi.org/10.1007/s11214-018-0563-9 To cite this version : Smrekar, Suzanne E. and Lognonné, Philippe and Spohn, Tilman ,... [et al.]. Pre-mission InSights on the Interior of Mars. (2019) Space Science Reviews, 215 (1).
    [Show full text]