DOCSLIB.ORG

Studio Afterlife

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Studio Afterlife Studio Afterlife The Function of the Posthumous Studio in Contemporary Art David Eastwood A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of Art & Design Faculty of Art & Design November 2018 Thesis/Dissertation Sheet Surname/Family Name : Eastwood Given Name/s : David Abbreviation for degree as give in the University calendar : PhD Faculty : Art & Design School : Art & Design Thesis Title : Studio Afterlife: The Function of the Posthumous Studio in Contemporary Art Abstract 350 words maximum: The late twentieth and early twenty-first centuries have seen a proliferation of posthumously “museumised” artists’ studios. This global phenomenon is characterised by the conservation or reconstruction of deceased artists’ studios within museums. The museum creates an “afterlife” of the studio, contributing to its cultural and historical significance by interpreting an artist’s work or biography. This practice-based study identifies an emergent current of contemporary art practice that engages with the posthumous studio. Significant contemporary artists Tacita Dean, Christian Jankowski, and Thomas Demand are among those who interpret or intervene in these sites. My project contributes to this underexplored area of art practice and art theory. It employs the posthumous studio as a resource for artistic practice and conceptual reflection, challenging the mythologisation of the modernist artist’s studio as the private domain of the solitary genius. The research focuses on the posthumous studios of two modernist painters, commencing with the restored studio of Giorgio Morandi in Bologna, followed by a more comprehensive study of the Francis Bacon studio reconstruction at Dublin City Gallery The Hugh Lane. While painting is the primary medium employed within the research methodology, intersections with other media such as photography, installation, and video play a significant role. Informed by museum practices in which aspects of posthumous studios are simulated for the purposes of display, my practice similarly incorporates the reconstruction of modernist studio artefacts. Derived from engagement with selected examples, the practice adopts the posthumous studio as a site for artistic exploration. In his seminal essay ‘The Function of the Studio’ (1971), Daniel Buren denounced the modernist studio as an ivory tower confining art practice to the production of portable objects “isolated from the real world.” A more nuanced reinterpretation of the modernist studio proposed by this project presents it as an assemblage of distributed materialities and agencies, an approach informed by the thinking of Gilles Deleuze, and Jane Bennett’s notion of “vibrant matter.” The project moves beyond the postmodernist, post-studio critique, bringing to light new understandings of the artist’s studio as concept and material phenomenon via investigation of the posthumous studio. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). 31 August 2018 …………………………………………………………… ……………………………………..……………… ……….……………………...…….… Signature Witness Signature Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ INCLUSION OF PUBLICATIONS STATEMENT UNSW is supportive of candidates publishing their research results during their candidature as detailed in the UNSW Thesis Examination Procedure. Publications can be used in their thesis in lieu of a Chapter if: • The student contributed greater than 50% of the content in the publication and is the “primary author”, ie. the student was responsible primarily for the planning, execution and preparation of the work for publication • The student has approval to include the publication in their thesis in lieu of a Chapter from their supervisor and Postgraduate Coordinator. • The publication is not subject to any obligations or contractual agreements with a third party that would constrain its inclusion in the thesis Please indicate whether this thesis contains published material or not. This thesis contains no publications, either published or submitted for publication ☐ (if this box is checked, you may delete all the material on page 2) Some of the work described in this thesis has been published and it has been documented in the relevant Chapters with acknowledgement (if this box is ☒ checked, you may delete all the material on page 2) This thesis has publications (either published or submitted for publication) ☐ incorporated into it in lieu of a chapter and the details are presented below CANDIDATE’S DECLARATION I declare that: • I have complied with the Thesis Examination Procedure • where I have used a publication in lieu of a Chapter, the listed publication(s) below meet(s) the requirements to be included in the thesis. Name Signature Date (dd/mm/yy) David Eastwood 31 / 08 / 2018 COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Abstract The late twentieth and early twenty-first centuries have seen a proliferation of posthumously “museumised” artists’ studios. This global phenomenon is characterised by the conservation or reconstruction of deceased artists’ studios within museums. The museum creates an “afterlife” of the studio, contributing to its cultural and historical significance by interpreting an artist’s work or biography. This practice-based study identifies an emergent current of contemporary art practice that engages with the posthumous studio. Significant contemporary artists Tacita Dean, Christian Jankowski, and Thomas Demand are among those who interpret or intervene in these sites. My project contributes to this underexplored area of art practice and art theory. It employs the posthumous studio as a resource for artistic practice and conceptual reflection, challenging the mythologisation of the modernist artist’s studio as the private domain of the solitary genius. The research focuses on the posthumous studios of two modernist painters, commencing with the restored studio of Giorgio Morandi in Bologna, followed by a more comprehensive study of the Francis Bacon studio reconstruction at Dublin City Gallery The Hugh Lane. While painting is the primary medium employed within the research methodology, intersections with other media such as photography, installation, and video play a significant role. Informed by museum practices in which aspects of posthumous studios are simulated for the purposes of display, my practice similarly incorporates the reconstruction of modernist studio artefacts. Derived from engagement with selected examples, the practice adopts the posthumous studio as a site for artistic exploration. In his seminal essay ‘The Function of the Studio’ (1971), Daniel
Load more

Recommended publications
  • Set in Maine
    Books Set in Maine Books Set in Maine Author Title Location Andrews, William D. Mapping Murder Atwood, Margaret The Handmaid's Tale Bachman, Richard Blaze Barr, Nevada Boar Island Acadia National Park One Goal: a Coach, a Team, and the Game That Brought a Divided Town Bass, Amy Together Lewiston Blake, Sarah The Guest Book an island in Maine Blake, Sarah Grange House A resort in Maine 2/26/2021 1 Books Set in Maine We Were an Island: the Maine life of Art Blanchard III, Peter P and Ann Kellam Placentia Island Bowen, Brenda Enchanted August an island in Maine Boyle, Gerry Lifeline Burroughs, Franklin Confluence: Merrymeeting Bay Merrymeeting Bay Chase, Mary Ellen The Lovely Ambition Downeast Maine Chee, Alexander Edinburgh Chute, Carolyn The Beans of Egypt Maine Coffin, Bruce Robert Within Plain Sight Portland 2/26/2021 2 Books Set in Maine Coffin, Bruce Robert Among the Shadows Portland Creature Discomforts: a dog lover's Conant, Susan mystery Acadia National Park Connolly, John Bad Men Maine island Connolly, John The Woman in the Woods Coperthwaite, William S. A Handmaid Life Portland Cronin, Justin The Summer Guest a fishing camp in Maine The Bar Harbor Retirement Home For DeFino, Terri-Lynne Famous Writers Bar Harbor Dickson, Margaret Octavia's Hill 2/26/2021 3 Books Set in Maine Doiron, Paul Almost Midnight wilderness areas Doiron, Paul The Poacher's Son wilderness areas Ferencik, Erika The River at Night wilderness areas The Stranger in the Woods: the extraordinary story of the last true Finkel, Michael hermit Gerritsen, Tess Bloodstream Gilbert, Elizabeth Stern Men Maine islands Gould, John Maine's Golden Road Grant, Richard Tex and Molly in the Afterlife\ 2/26/2021 4 Books Set in Maine Graves, Sarah The Dead Cat Bounce (Home Repair is HomicideEastport #1) Gray, T.M.
    [Show full text]
  • 13Th Biennial Conference of the International Gothic Association
    13th Biennial Conference of the International Gothic Association: Gothic Traditions and Departures Universidad de las Américas Puebla (UDLAP) 18 – 21 July 2017 Conference Draft Programme 1 Conference Schedule Tuesday 18 July 10:00 – 18:00 hrs: Registration, Auditorio Guillermo y Sofía Jenkins (Foyer). 15:00 – 15:30 hrs: Welcome remarks, Auditorio Guillermo y Sofia Jenkins. 15:30 – 16:45 hrs: Opening Plenary Address, Auditorio Guillermo y Sofía Jenkins: Isabella Van Elferen (Kingston University) Dark Sound: Reverberations between Past and Future 16:45 – 18:15 hrs: PARALLEL PANELS SESSION A A1: Scottish Gothic Carol Margaret Davison (University of Windsor): “Gothic Scotland/Scottish Gothic: Theorizing a Scottish Gothic “tradition” from Ossian and Otranto and Beyond” Alison Milbank (University of Nottingham): “Black books and Brownies: The Problem of Mediation in Scottish Gothic” David Punter (University of Bristol): “History, Terror, Tourism: Peter May and Alan Bilton” A2: Gothic Borders: Decolonizing Monsters on the Borderlands Cynthia Saldivar (University of Texas Rio Grande Valley): “Out of Darkness: (Re)Defining Domestic Horror in Americo Paredes's The Shadow” Orquidea Morales (University of Michigan): “Indigenous Monsters: Border Horror Representation of the Border” William A. Calvo-Quirós (University of Michigan): “Border Specters and Monsters of Transformation: The Uncanny history of the U.S.-Mexico Border” A3: Female Gothic Departures Deborah Russell (University of York): “Gendered Traditions: Questioning the ‘Female Gothic’” Eugene
    [Show full text]
  • Alberto Giacometti and the Crisis of the Monument, 1935–45 A
    UNIVERSITY OF CALIFORNIA Los Angeles Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Joanna Marie Fiduccia 2017 Ó Copyright by Joanna Marie Fiduccia 2017 ABSTRACT OF THE DISSERTATION Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 by Joanna Marie Fiduccia Doctor of Philosophy in Art History University of California, Los Angeles, 2017 Professor George Thomas Baker, Chair This dissertation presents the first extended analysis of Alberto Giacometti’s sculpture between 1935 and 1945. In 1935, Giacometti renounced his abstract Surrealist objects and began producing portrait busts and miniature figures, many no larger than an almond. Although they are conventionally dismissed as symptoms of a personal crisis, these works unfold a series of significant interventions into the conventions of figurative sculpture whose consequences persisted in Giacometti’s iconic postwar work. Those interventions — disrupting the harmonious relationship of surface to interior, the stable scale relations between the work and its viewer, and the unity and integrity of the sculptural body — developed from Giacometti’s Surrealist experiments in which the production of a form paradoxically entailed its aggressive unmaking. By thus bridging Giacometti’s pre- and postwar oeuvres, this decade-long interval merges two ii distinct accounts of twentieth-century sculpture, each of which claims its own version of Giacometti: a Surrealist artist probing sculpture’s ambivalent relationship to the everyday object, and an Existentialist sculptor invested in phenomenological experience. This project theorizes Giacometti’s artistic crisis as the collision of these two models, concentrated in his modest portrait busts and tiny figures.
    [Show full text]
  • Young Adult Realistic Fiction Book List
    Young Adult Realistic Fiction Book List Denotes new titles recently added to the list while the severity of her older sister's injuries Abuse and the urging of her younger sister, their uncle, and a friend tempt her to testify against Anderson, Laurie Halse him, her mother and other well-meaning Speak adults persuade her to claim responsibility. A traumatic event in the (Mature) (2007) summer has a devastating effect on Melinda's freshman Flinn, Alexandra year of high school. (2002) Breathing Underwater Sent to counseling for hitting his Avasthi, Swati girlfriend, Caitlin, and ordered to Split keep a journal, A teenaged boy thrown out of his 16-year-old Nick examines his controlling house by his abusive father goes behavior and anger and describes living with to live with his older brother, his abusive father. (2001) who ran away from home years earlier under similar circumstances. (Summary McCormick, Patricia from Follett Destiny, November 2010). Sold Thirteen-year-old Lakshmi Draper, Sharon leaves her poor mountain Forged by Fire home in Nepal thinking that Teenaged Gerald, who has she is to work in the city as a spent years protecting his maid only to find that she has fragile half-sister from their been sold into the sex slave trade in India and abusive father, faces the that there is no hope of escape. (2006) prospect of one final confrontation before the problem can be solved. McMurchy-Barber, Gina Free as a Bird Erskine, Kathryn Eight-year-old Ruby Jean Sharp, Quaking born with Down syndrome, is In a Pennsylvania town where anti- placed in Woodlands School in war sentiments are treated with New Westminster, British contempt and violence, Matt, a Columbia, after the death of her grandmother fourteen-year-old girl living with a Quaker who took care of her, and she learns to family, deals with the demons of her past as survive every kind of abuse before she is she battles bullies of the present, eventually placed in a program designed to help her live learning to trust in others as well as her.
    [Show full text]
  • The Ultimate Rite of Passage: Death and Beyond in “The Golden Key” and at the Back of the North Wind
    The Ultimate Rite of Passage: Death and Beyond in “The Golden Key” and At the Back of the North Wind Marilyn Pemberton They thought he was dead. I knew that he had gone to the back of the north wind. �roduc�o� I “Once upon a time” and “they lived happily ever after” explicitly or implicitly frame a fairy tale and as such signal to readers that they are entering a world that is “rarely precisely fixed in time or space” (Harries 104). The Janus-faced fairy tale promises to tell of events that not only happened in the distant past but also to project into the infinite future. In reality, the passage of time, of course, leads inexorably towards death, but this is rarely mentioned in a traditional fairy tale; the majority of stories end when the goal is attained, the prize is won, the princess is wed. Where death is mentioned it is usually as a judgement for wrong-doing: when Bluebeard is killed by his wife’s brothers for his homicidal tendencies, when the Black Brothers in Ruskin’s “The King of the Golden River” (1850) are turned to stone for their avarice, when the cannibalistic old witch is lured into the oven by Gretel and burned to death, or when Snow White’s stepmother is forced to put on red-hot slippers and dance until she falls down dead. Occasionally, the good die and these are invariably “happy deaths,” which explicitly tell of the end to earthly suffering, the glory of God and the joy of heaven.
    [Show full text]
  • Download PDF Version
    100 Books With Original Photographs 1846–1919 PAUL M. HERTZMANN, INC. MARGOLIS & MOSS 100 BOOKS With ORIGINAL PHOTOGRAPHS 1846–1919 PAUL M. HERTZMANN, INC. MARGOLIS & MOSS Paul M. Hertzmann & Susan Herzig David Margolis & Jean Moss Post Office Box 40447 Post Office Box 2042 San Francisco, California 94140 Santa Fe, New Mexico 87504-2042 Tel: (415) 626-2677 Fax: (415) 552-4160 Tel: (505) 982-1028 Fax: (505) 982-3256 E-mail: [email protected] E-mail: [email protected] Association of International Photography Art Dealers Antiquarian Booksellers’Association of America Private Art Dealers Association International League of Antiquarian Booksellers 90. TERMS The books are offered subject to prior sale. Customers will be billed for shipping and insurance at cost. Payment is by check, wire transfer, or bank draft. Institutions will be billed to suit their needs. Overseas orders will be sent by air service, insured. Payment from abroad may be made with a check drawn on a U. S. bank, international money order, or direct deposit to our bank account. Items may be returned within 5 days of receipt, provided prior notification has been given. Material must be returned to us in the same manner as it was sent and received by us in the same condition. Inquiries may be addressed to either Paul Hertzmann, Inc. or Margolis & Moss Front cover and title page illustrations: Book no. 82. 2 introduction his catalog, a collaborative effort by Paul M. Hertzmann, Inc., and Margolis & Moss, T reflects our shared passion for the printed word and the photographic
    [Show full text]
  • Reproductions D'œuvres D'art Disponibles Au Prêt Liste Au 06/09/2010
    Reproductions d'œuvres d'art disponibles au prêt Liste au 06/09/2010 A Artiste Titre Date de création Format cm Orientation Cote N° exemplaire Recto/Verso Adami, Valerio Marat assassiné 1982 66 x 49 Portrait AFF ADA 12742 Plight (1985) Joseph Beuys Anselmo, Giovanni 1969 66 x 49 Portrait AFF VAN 12641 La chambre à Arles – Vincent Van Gogh (1889) Arcimboldo, L'homme-potager ou plaisanterie 1590 22,5 X 32 portrait AFF ARC 2040 Giuseppe avec légumes (image réversible) Arman Accumulation Renault N°109 II 57,5 X 45,5 Portrait AFF ARM 12139 Fagot de clarinettes 1976 44 X 59 Paysage AFF ARM 12495 Arp, Hans dit Jean Selon les lois du hasard 1916/1917 22,5 X 32 Portrait AFF ARP 3088 Arp Atlan, Jean-Michel La Kahena 1958 66 X 49 Portrait AFF ATL 12639 Un grand de la terre (1860) Antoine Wiertz B Artiste Titre Date de Format cm Orientation Cote N° Recto/Verso création exemplaire Bacon, Francis Portrait of Lucian Freud 1965 66 X 49 Portrait AFF BAC 12653 Le Manteau (Demeure 5) (1962) Etienne-Martin Bailly, David Vanitas 1620 22,4 X 32 paysage AFF BAI 8732 Balthus Jeune fille à la fenêtre 1955 66 X 49 Portrait AFF SIM 12638 Rock Flower (1986) Charles Simonds Baselitz, Georg Die Mädchen von Olmo 1981 66 X 49 Portrait AFF POL 12775 Cameleonardo da Willich (1979) Sigmar Polke Beatus Le Seigneur sur les nues extrait entre 1028 et 66 X 49 Portrait AFF BEA 12734 Sainte Véronique ( Vers 1410-1420) de l'Apocalypse de Saint-Sever 1072 Maître de La Véronique de Munich Beckwith, Carol Peinture corporelle 1999 42 X 26,5 Portrait AFF BEC 6178 Bellini, Giovanni
    [Show full text]
  • Stephen-King-Book-List
    BOOK NERD ALERT: STEPHEN KING ULTIMATE BOOK SELECTIONS *Short stories and poems on separate pages Stand-Alone Novels Carrie Salem’s Lot Night Shift The Stand The Dead Zone Firestarter Cujo The Plant Christine Pet Sematary Cycle of the Werewolf The Eyes Of The Dragon The Plant It The Eyes of the Dragon Misery The Tommyknockers The Dark Half Dolan’s Cadillac Needful Things Gerald’s Game Dolores Claiborne Insomnia Rose Madder Umney’s Last Case Desperation Bag of Bones The Girl Who Loved Tom Gordon The New Lieutenant’s Rap Blood and Smoke Dreamcatcher From a Buick 8 The Colorado Kid Cell Lisey’s Story Duma Key www.booknerdalert.com Last updated: 7/15/2020 Just After Sunset The Little Sisters of Eluria Under the Dome Blockade Billy 11/22/63 Joyland The Dark Man Revival Sleeping Beauties w/ Owen King The Outsider Flight or Fright Elevation The Institute Later Written by his penname Richard Bachman: Rage The Long Walk Blaze The Regulators Thinner The Running Man Roadwork Shining Books: The Shining Doctor Sleep Green Mile The Two Dead Girls The Mouse on the Mile Coffey’s Heads The Bad Death of Eduard Delacroix Night Journey Coffey on the Mile The Dark Tower Books The Gunslinger The Drawing of the Three The Waste Lands Wizard and Glass www.booknerdalert.com Last updated: 7/15/2020 Wolves and the Calla Song of Susannah The Dark Tower The Wind Through the Keyhole Talisman Books The Talisman Black House Bill Hodges Trilogy Mr. Mercedes Finders Keepers End of Watch Short
    [Show full text]
  • ACTA UNIVERSITATIS UPSALIENSIS Uppsala Studies in History of Ideas 50
    ACTA UNIVERSITATIS UPSALIENSIS Uppsala Studies in History of Ideas 50 Cover designed by Annelie Drakman and Camilla Eriksson. Life mask of Benjamin Robert Haydon, by unknown artist (c. 1820). Plaster cast. © National Portrait Gallery, London. Every Man His Own Monument Self-Monumentalizing in Romantic Britain Chris Haffenden Dissertation presented at Uppsala University to be publicly examined in Auditorium minus, Gustavianum, Uppsala universitetsmuseum, Akademigatan 3, Uppsala, Friday, 9 November 2018 at 10:15 for the degree of Doctor of Philosophy. The examination will be conducted in English. Faculty examiner: Dr. Samantha Matthews (Bristol University, UK). Abstract Haffenden, C. 2018. Every Man His Own Monument. Self-Monumentalizing in Romantic Britain. Uppsala Studies in History of Ideas 50. 263 pp. Uppsala: Acta Universitatis Upsaliensis. ISBN 978-91-513-0451-9. From framing private homes as museums, to sitting for life masks and appointing biographers, new forms of self-monumentalizing emerged in the early nineteenth century. In this study I investigate the emergence and configuration of such practices in Romantic Britain. Positioning these practices at the intersection of emergent national pantheons, a modern conception of history, and a newly-formed celebrity culture, I argue that this period witnessed the birth of distinctively modern ways for the individual to make immortality. Faced with a visceral fear of being forgotten, public figures began borrowing from celebrity culture to make their own monuments. Concentrated upon early nineteenth-century London, I characterize these practices as attempts at self-made immortality. I do so by analyzing the legacy projects of three well-known but seldom connected individuals: the Auto-Icon by the philosopher Jeremy Bentham (1748– 1832), the Soane Museum by the architect Sir John Soane (1753–1837), and the life-writing efforts of the painter Benjamin Robert Haydon (1786–1846).
    [Show full text]
  • Antoine Wiertz Un Grand De La Terre
    Sauvons le Musée WIERTZ Marcel Broodthaers, Londres 1974 Antoine Wiertz Un Grand de la Terre, Antoine WIERTZ, Dinant, 1806 - Bruxelles, 1865. Peintre - Sculpteur À propos de l’ensemble du Musée Wiertz Un complexe unique au monde Lettre ouverte à : 1 - Monsieur Koen Geens, Ministre de la Justice, chargé de la Régie des Bâtiments ; - Madame Marie Christine Marghem, Ministre de l’Environnement ; - Madame Sophie Wilmès, Ministre du Budget et de la Fonction Publique ; - A la Commune d’Ixelles, Monsieur Romain De Reusme, Echevin des Travaux Publiques ; et Monsieur Yves Rouyet, en charge du Patrimoine ; - Sven Gatz Ministre bruxellois des Finances,du Budget, de la Promotion du multilinguisme, du Tourisme, de l'Image de Bruxelles. Ministre flamand des Affaires bruxelloises - Laurent Vrijdaghs Administrateur général Régie des Bâtiments - Monsieur Michel Draguet, Directeur des Musées Royaux de Belgique Nous, - Le Comité de Défense du Patrimoine d’Antoine Wiertz - L’association du Quartier Léopold et Européen de Bruxelles - La Fondation Marcel Broodthaers - Antoine Wiertz Fan Club1 - Les 17.000 signataires de la Pétition Change.org2 Bruxelles, le 14 juin 2019 (revue en Septembre) 2 Le Parlement Européen aurait signé une promesse de bail emphytéotique le 29 mars 2019 pour la maison et le jardin d’Antoine Wiertz. Une braderie sans précédent ! Pour un euro symbolique ? NOUS, le comité Wiertz, offrons le double. Rappel des faits et de la problématique qui se pose: À l’occasion du redéploiement de ses activités de représentation pendant la rénovation du ‘Caprice des Dieux’, le Parlement européen jette son dévolu sur le parc/jardin et la maison d'Antoine Wiertz, adjacents au musée du même nom.
    [Show full text]
  • Dorothee Birke Writing the Reader Linguae & Litterae
    Dorothee Birke Writing the Reader linguae & litterae Publications of the School of Language & Literature Freiburg Institute for Advanced Studies Edited by Peter Auer, Gesa von Essen, Werner Frick Editorial Board Michel Espagne (Paris), Marino Freschi (Rom), Ekkehard König (Berlin), Michael Lackner (Erlangen-Nürnberg), Per Linell (Linköping), Angelika Linke (Zürich), Christine Maillard (Strasbourg), Lorenza Mondada (Basel), Pieter Muysken (Nijmegen), Wolfgang Raible (Freiburg), Monika Schmitz-Emans (Bochum) Volume 59 Dorothee Birke Writing the Reader Configurations of a Cultural Practice in the English Novel An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 4.0 License, as of February 23, 2017. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. ISBN 978-3-11-030763-4 e-ISBN (PDF) 978-3-11-039984-4 e-ISBN (EPUB) 978-3-11-040006-9 ISSN 1869-7054 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at: http://dnb.dnb.de.
    [Show full text]
  • White Zombie, I Walked with a Zombie, Night of the Living Dead, Dawn of the Dead, Day of the Dead, Victor Halperin, Georges A
    Resisting Bodies: Power Crisis / Meaning Crisis in the Zombie Film from 1932 to Today David Roche To cite this version: David Roche. Resisting Bodies: Power Crisis / Meaning Crisis in the Zombie Film from 1932 to Today. Textes & Contextes, Université de Bourgogne, Centre Interlangues TIL, 2011, Discours autoritaires et résistances aux XXe et XXIe siècles, https://preo.u- bourgogne.fr/textesetcontextes/index.php?id=327. halshs-00682096 HAL Id: halshs-00682096 https://halshs.archives-ouvertes.fr/halshs-00682096 Submitted on 23 Mar 2012 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. Resisting Bodies: Power Crisis / Meaning Crisis in the Zombie Film from 1932 to Today David Roche Maître de conférences, Centre Interlangues Texte, Image, Langage (EA 4182), Université de Bourgogne, 2 boulevard Gabriel, 21000 Dijon, mudrock [at] neuf.fr Critics have repeatedly focused on the political subtexts of the living dead films of George A. Romero, revealing, notably, how they reflect specific social concerns. In order to determine what makes the zombie movie and the figure of the zombie so productive of political readings, this article examines, first, the classic zombie movies influenced by voodoo lore, then Romero’s initial living dead trilogy (1968-1985), and finally some of the most successful films released in the 2000s.
    [Show full text]