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L'Officiel Art

L'Officiel Art

No.31

Un voyage contemporain à travers une série de rencontres exceptionnelles se nourrissant d’autres pratiques culturelles (mode, design, architecture, lifestyle, cinéma, musique). L’Officiel Art ouvre ses pages en grand écran aux peintres, sculpteurs, photographes, architectes, designers, vidéastes, performers et à tous ceux qui les accompagnent dans cet élan. L’Art comme un style de vie et la vie comme art de vivre à fond son époque.

Country:
France
Language:
French
Publisher:
Les Editions Jalou
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4 Issues

In this issue

3 min.
intermission

As abstract as time is, it is a concept. We like to generalize the idea of it, but time is in fact a notion that is as individualized as our thoughts. Everyone lives it, thinks it and wastes it, in their own way. It’s an idea on a global scale that gives a sense of unity, a sense of security, a sense that “we are all in it together,” but in reality we are all on our own clock. Except in some parts of the world, we do live in a kind of World Time that trespasses all borders through the digitized spheres; if only that were true, not just in the electronic bands widths and times. As an artist, time does stand still for ideas. Hence, I reached out…

10 min.
fondation bettencourt schueller: 20 years of commitment to craftsmanship

L’OFFICIEL ART: What prompted you to call on Laurent Le Bon, director of the Musée Picasso Paris, to curate the exhibition “The Mind Begins and Ends in the Fingertips”? OLIVIER BRAULT: In our commitment to the crafts, our interest has mainly been in extracting them from the confinement in which our society places them, crossing borders, and showing their profoundly contemporary dimension. It seemed to us that Le Bon’s generous, willingly transgressive, and open-ended gaze was relevant to the curatorship of this exhibition. We hoped that this event would allow us to take a step forward in offering the public the best of French knowledge. The Fondation Bettencourt Schueller provided financial support for the establishment in 2017 of Toguna, a place for exchange and sharing created by artists and craftspeople, which broadens…

7 min.
the first rabat biennale: focus on female artists

L’OFFICIEL ART: Which semantic and creative fields are expressed in the title of the first Rabat Biennale of Contemporary Art, “An Instant Before the World.” ABDELKADER DAMANI: “An Instant Before the World” is an excursion into religious and scientific thinking about the creation of the universe. Both consider the instant that precedes the beginning of the story to be mysterious, whether it be the Big Bang or the mythology of creation in six days, to mention only the example of the monotheistic religions. The “world” in the biennale’s title is to be understood in the sense of “making a world” or the “conditions of a world”, thus going beyond the geographical and spatial comprehension of this term. The instant is, in this new configuration, the totality of duration. And this is…

2 min.
katinka bock transforms lafayette anticipations

Born in Germany in 1976, Katinka Bock graduated from Lyon’s Ecole Nationale Supérieure des Beaux-Arts and remains a fixture in metropolitan France. Now living in Paris, she won the 2012 Prix Fondation d’Entreprise Ricard and is a finalist for the 2019 Prix Marcel Duchamp. However, she has not previously exhibited in Paris. In addition to what Bock’s work conveys through its own materiality, the show at the Galeries Lafayette Foundation building, known as Lafayette Anticipations, is also symbolic. Bock creates sculptures, installations, and performance art that attempt to revive the “physicality” of a location in its historical, political, and social identity. For instance, the Anzeiger-Hochhaus building in Hanover caught her attention for the political-cultural myth it represents – it was where the newspapers Stern and Der Spiegel were founded. This…

5 min.
ogr, a new chapter

Two huge rectangular wings are joined by a transept of 1,500 sq m, housing a restaurant with a single 25m-long table capable of seating ninety diners. The motif is clear: inclusivity, collectivity, diversity. In this part of northern Italy, where the far-right Lega Nord holds sway, it’s not without reason that this theme is emphasized. “OGR is above all else a space of unification,” says Massimo Lapucci, the managing director. “And it’s not just for artists, for youth, and for entrepreneurs, but for all of the public, whatever their walk of life and interests.” OGR Cult (9,000 sq m) and OGR Tech (13,000 sq m) aim to bring together the best of the visual arts on both a national and international stage, and to operate as a think tank for innovative…

9 min.
undertones

FLORENCE MEYSSONNIER: Your work does not show an explicitly claimed ecological positioning, but it has nevertheless been imbued with this dimension since its inception. This dimension is above all that of an “attachment” to the living, to the form of life that is part of an atmospheric ontology: an ambiguity that goes beyond the contours of form or interpretation. In this sense, your work seems to be truly steeped in the atmosphere of contexts of invitation, and more particularly in the resources that others offer you. Let’s go back to your recent projects in order to consider the modus operandi underlying your practice, which is fundamentally an ethos – not an ethos or principle being applied “to” something, but rather a disposition, both a way of being and of living…