Catalogue des expositions au MUDAM Luxembourg du 9 octobre 2010 au 22 mai 2011, au Centre Pompidou Metz du 8 mai au 9 septembre 2011 et au Centre Pompidou Metz du 30 septembre 2011 au 5 mars 2012. En 2010, le Mudam Luxembourg - Musée d'Art Moderne Grand-Duc Jean et le Centre Pompidou-Metz ont invité Daniel Buren à imaginer un projet spécifique dans leurs espaces respectifs. De ces expositions découle une expérience de l'espace situant au centre des œuvres la subjectivité du regard, la déambulation des spectateurs, et l'environnement dans lequel elles s'inscrivent. Plus rare dans l'œuvre de Daniel Buren, l'expérience est également ici temporelle. Tant au Mudam qu'au Centre Pompidou-Metz, le passage des heures, des jours, des saisons joue sur les œuvres et offre aux spectateurs une expérience toujours renouvelée.
For a number of years now, Marco Godinho has been sensitively tackling the themes of exile, memory and geography inspired by his own experience of nomadic life, suspended between different languages and cultures and nourished by literature and poetry. From installations and videos to drawings and collaborative pieces, his works form a map of a world shaped by personal experiences and multiculturalism.0From the static traveller in his Monde nomade that opens the exhibition to the tireless and foolhardy adventurer who sets out to explore geographic boundaries and the far-flung depths of the world, he appropriates cartographic conventions and puts them to the test.0The MAMAC exhibition focuses on a selection of works related to these geographical and biographical explorations while shedding light on the artist?s creative processes. Marco Godinho has been honing an in situ style for a number of years now, carefully weighing up the economic and ecological aspects of his work. Thus, most of the works on display are recreated on-site or made from recycled materials.00Exhibition: MAMAC, Nice, France (09.07.-30.11.2017).
L'oeuvre inaugurale du travail de l'artiste (une photographie intitulée Les Formes du Repos n°1) date de 2001. Faire paraître cette monographie à la fin de 2012 est l'occasion de présenter de manière exhaustive les 10 premières années de son travail. Cet ouvrage mettra en avant la grande attention que porte l'artiste à la structure interne d'une oeuvre dont le principal ressort est la question de la migration des formes dans l'espace et le temps.00Texte en français et en anglais.
Painterly investigations of the present for over four decades. Jean-Marie Biwer (b. 1957, Dudelange, Luxembourg; lives and works in Basbellain, Luxembourg) has made art that records his fine-grained observations. Grappling with the grand themes of art history--the landscape, the human figure, the still life--Biwer consistently questions the role painting can play in a world shaped by a deluge of images and information. Responding to the omnipresence of the latter and reacting to the increasingly frantic pace of our lives, he creates paintings that allow the intensity of the present moment to unfold. The richly illustrated book gathers his most important works since 2005. "These things are there, we just need to look at them. They are simple, but today they have the power to bring so much to people"--Jean-Marie Biwer. Jean-Marie Biwer's work has been shown throughout Europe and in 1993 he represented Luxembourg at the 45th Biennale di Venezia. His works can be found in the Musée National d'Histoire et d'Art Luxembourg, IKOB, Museum of Contemporary Art, Eupen, and Mudam Luxembourg - Musée d'Art Moderne Grand-Duc-Jean, amongst others.
A collection of texts by researchers, artists and critics, exploring Morgan Fisher's filmography in relation to his other artistic practices. Positioned at the intersection of cinema, painting, installation, architecture, video, drawing and photography, the work of filmmaker Morgan Fisher remains to be explored, as is its influence on new generations of artists. This collection considers Morgan Fisher's filmography in relation to his other artistic practices, and investigates the very special temporality created by Fisher's structural interventions. The publication gathers researchers, artists and critics, to draw up the unprecedented profile of a work guided by the love of cinema, while going beyond it. Morgan Fisher, an artist and filmmaker, was born in Washington, D.C., in 1942. He received an A.B. in art history from Harvard College, then studied film production in Los Angeles. His early work was predominantly in film. His films have been shown at international film festivals (Berlin, Rotterdam, London, among others) and in one-person screenings or exhibitions at, among other places, Tate Modern, Museum of Modern Art, New York, Whitney Museum of American Art, and Museum of Contemporary Art, Los Angeles. In the early 1990s he started making works on paper, then paintings and sculptures. One-person exhibitions that included examples of such work were at Portikus, Raven Row, Museum Abteiberg, Generali Foundation, and Aspen Art Museum. More recently, he has exhibited photographs. He was in the 1985, 2004, and 2014 Whitney Biennials. A collection of his writings was published in 2012 by Walther König. He has been a visiting teacher at Brown University, California Institute of the Arts, and the University of California, Los Angeles. He lives and works in Los Angeles.
The art of John Stezaker engages with the ceaseless flow of images that has been a consequence of mechanical reproduction, mass media and popular culture. His intervention into these images through collage, excision, reconfiguration, inversion or occlusion can be seen to interrupt their everyday circulation in a profound way: image and perception alike are questioned, rearranged and opened to new possibilities. Through their transformation Stezaker's images acquire poetic resonance, and, in many cases, a disquieting allure. With over 120 illustrations, this monograph presents the first overview of John Stezaker's work on paper from the 1970s onwards, featuring his found images, collages, image fragments and a selection from The 3rd Person Archive. Essays by Dawn Ades and Michael Bracewell, as well as a conversation between the artist and curators Daniel F. Herrmann and Christophe Gallois, place Stezaker's work in a historical context and analyse his methodology and practice. The exhibition opens at the Whitechapel Gallery, London in January 2011 and travels to the MUDAM, Luxembourg at the end of the year (June - September 2011). It will also show at Mildred Lane Kemper Art Museum, St Louis, USA (January - April 2012);
This book provides an intuitive yet sound understanding of how structure and properties of solids may be related. The natural link is provided by the band theory approach to the electronic structure of solids. The chemically insightful concept of orbital interaction and the essential machinery of band theory are used throughout the book to build links between the crystal and electronic structure of periodic systems. In such a way, it is shown how important tools for understanding properties of solids like the density of states, the Fermi surface etc. can be qualitatively sketched and used to either understand the results of quantitative calculations or to rationalize experimental observations. Extensive use of the orbital interaction approach appears to be a very efficient way of building bridges between physically and chemically based notions to understand the structure and properties of solids.
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