In their works, mingling colours, light, mass and illusions, Florian and Michael Quistrebert play back the main motifs of modern art, while perverting them, through a particular approach to matter. At the Palais de Tokyo, they are deploying a vast optical theatre in which experience of their paintings and videos is disturbed by the glittering and internal motions of objects. The Quistrebert brothers’ ambiguous pieces evoke the impossibility of grasping a painting. Their pictures are never what they show or, rather, never stabilize themselves around their subjects. The artists explore perception by handling it in various ways, which can be intellectual, optical, symbolic or else occult. Book contents - “Trance, Meditation, Madness”: An essay by Khairudin Hori, cocurator of Florian & Michael Quistrebert’s solo show at the Palais de Tokyo. - “Turbulent Infinities”: An essay by Hugo Vitrani, cocurator of Florian & Michael Quistrebert’s solo show at the Palais de Tokyo. - “The Substance of Painting is Light”: A conversation between Florian & Michael Quistrebert and Mara Hoberman. - Notes on a selection of the artists’s works. About the authors: - Khairuddin Hori is the deputy director of artistic programmes at the Palais de Tokyo. - Hugo Vitrani contributes to Mediapart and Beaux-Arts Magazine. He is the curator of the Palais de Tokyo’s urban art programme. - Mara Hoberman is a freelance curator and a writer. Book published on the occasion of Florian & Michael Quistrebert’s solo exhibition at the Palais de Tokyo, “The Light of the Light,” 19.02 – 16.05 2016
Mêlant couleurs, lumière, masse et illusions, Florian et Michael Quistrebert rejouent dans leurs œuvres de grands motifs de l’art moderne, en les pervertissant, à partir d’une approche singulière de la matière. Au Palais de Tokyo, ils déploient un vaste théâtre optique au sein duquel l’expérience de leurs peintures et vidéos est troublée par les brillances et les mouvements internes des objets. Paradoxales, les œuvres des frères Quistrebert évoquent l’impossibilité de la saisie du tableau. Leurs peintures ne sont jamais ce qu’elles montrent, ou plutôt ne se stabilisent jamais à l’endroit de leur sujet. Les artistes explorent la perception en la saisissant sous différents aspects, intellectuels, optiques, symboliques ou encore occultes. Livre publié à l’occasion de l’exposition personnelle de Florian & Michael Quistrebert au Palais de Tokyo, « The Light of the Light », 19.02 – 16.05 2016
In their works, mingling colours, light, mass and illusions, Florian and Michael Quistrebert play back the main motifs of modern art, while perverting them, through a particular approach to matter. At the Palais de Tokyo, they are deploying a vast optical theatre in which experience of their paintings and videos is disturbed by the glittering and internal motions of objects. The Quistrebert brothers’ ambiguous pieces evoke the impossibility of grasping a painting. Their pictures are never what they show or, rather, never stabilize themselves around their subjects. The artists explore perception by handling it in various ways, which can be intellectual, optical, symbolic or else occult. Book contents - “Trance, Meditation, Madness”: An essay by Khairudin Hori, cocurator of Florian & Michael Quistrebert’s solo show at the Palais de Tokyo. - “Turbulent Infinities”: An essay by Hugo Vitrani, cocurator of Florian & Michael Quistrebert’s solo show at the Palais de Tokyo. - “The Substance of Painting is Light”: A conversation between Florian & Michael Quistrebert and Mara Hoberman. - Notes on a selection of the artists’s works. About the authors: - Khairuddin Hori is the deputy director of artistic programmes at the Palais de Tokyo. - Hugo Vitrani contributes to Mediapart and Beaux-Arts Magazine. He is the curator of the Palais de Tokyo’s urban art programme. - Mara Hoberman is a freelance curator and a writer. Book published on the occasion of Florian & Michael Quistrebert’s solo exhibition at the Palais de Tokyo, “The Light of the Light,” 19.02 – 16.05 2016
Edition enrichie (Présentation, notes et repères historiques et annexes) 1791, île de Saint-Domingue. Les esclaves noirs, menés par le mystérieux Bug-Jargal, se révoltent contre la domination des colons français. Héroïque et généreux, Bug-Jargal s’engage dans une lutte sans merci, mais ne peut oublier son amitié pour Léopold d’Auverney, jeune officier blanc, et surtout son amour pour Marie, la fiancée de ce dernier. Victor Hugo a seize ans lorsqu’il écrit Bug- Jargal, en quinze jours, en 1818. La nouvelle est publiée deux ans plus tard, avant d’être étoffée et éditée sous forme de roman en 1826, puis dans les OEuvres de Hugo en 1832. C’est cette dernière version que nous vous présentons ici. Récit historique d’une insurrection qui conduira à l’indépendance de la République d’Haïti, Bug-Jargal pose les fondements de l’identité politique de Hugo et de ses engagements à venir.
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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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