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Produced for the Holland Festival in collaboration with the Stedelijk Museum, this work will be presented until September It gives the right of access to the exhibitions. Des opérations de pensée se crystallisent en glyphes. The LUMA project is located in the former railway yards of Arles and includes a major new building designed by Frank Gehry and the renovation of the industrial buildings on the Parc des Ateliers by Selldorf Architects. Il est rappelé que le Client peut choisir de les bloquer ou de les supprimer sur son ordinateur. It also aims to propose new, innovative and emergent forms of institutional practice. To do so, all the Client needs to do is tick the relevant box.

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Any ticket that is only partly printed out, soiled, otherwise damaged or unreadable will be rejected. The information you submit will be treated as confidential. Limbo avance vers le livre dont rêve Ludmilla. Group services must be paid for in advance in compliance with the arrangements in article 3. The settings of the browser software can be set so as to indicate the presence of a cookie and even to refuse it, using the method described at the following address:

A Chaud-froid of egg with chives. He then received two stars at the Carlton in Brussels, Belgium. Opening of Arpège restaurant. One star in The second in A third star in , only ten years after the opening of the restaurant. This type of cooking requires numerous hours of attention to cook pieces that the chefs and I observe, turn over, feel and listen to…The meat is cooked through yet keeps its tenderness.

Vegetables have been the centrepieces at the Arpège since In , the first vegetable garden was put together in Fillé sur Sarthe. In , the second vegetable garden was set up in Buis-sur-Damville. Half a century of history, 30 years of Arpege and 20 years of 3 stars this year! The dishes that Alain Passard creates have a certain poetic mystery and an obvious enigma; they are always set to music, fugues, arias, sonatas, concertos, oratorios — They are symphonies around the products.

One that strokes, one that seizes…. I proceed by touches. The technical aspect comes after this. The gestures, the journey of the hand, the agility of the fingers, knowing how to erase it and get to the essence, this is what gives precision. I like listening to my cooking, hearing the subtleness of the crackling.

Taste is a simple combination of 2 or 3 flavours, it is extremely linked to textures, it should be strong yet delicate. Scent is like the first note of a dish, it gives the tempo, a pleasant scent tells a beautiful story.

Alain Passard creates much like a fashion designer, only serving his guests with produce from his gardens. He exposes himself to the hazards of nature, and insists on serving only natural, strong and pure products. Each day, on each delivery, the gardens offer an array of originality, creations and variations. Assisted by craftsmen, farmers, fishermen that are carefully selected, Alain Passard never ceases to amaze us, often by disregarding the boundaries of a menu, he improvises…and catches you by surprise.

Sandy soil and an apiary in the Sarthe region, clay soil in the Eure region: Six gardeners work at the vegetable garden in Fille sur Sarthe.

Three people look after the vegetable garden in Bois- Giroult. For the wellbeing of the gardens as well as the earth, there are two donkeys, two foals, as well as cows, chickens, and a goat. Through these gardens, I have trusted nature with my creativity; it is nature that dictates my actions.

The most beautiful cookery book was written by nature itself! And every morning, they pick a little more, and fill wooden baskets with the jewels of our soil, just for you…. Confiez-nous vos coordonnées et commandez chaque semaine un Panier de légumes des potagers de l'Arpège!

To order your basket, send an email at: In French, Arrière-cuisine refers to the small room located behind a kitchen. It is sometimes called a back office. The chef of the Arpege wanted to break with the traditional cutting of the lobster, he looked for a new way to slice and present it. He wanted to go on a bit of an adventure. He paid a visit to his friend and neighbour at the time who was Jacques Vilain, the curator of the Rodin museum and told him the story of these slices of lobster that he could imagine made into bronze…Jacques Vilain gave him the address of a foundry in Malakoff where the chef sunk his teeth into this new project.

The Nautilus enters a stream of consciousness. Limbo walks towards the book dreamed by Ludmilla. Thought operations crystallize into glyphs. A new state of library is being pursued. Stéphane Mallarmé découvre le Multivers. Une manette de lecture se branche aux prismes de Vers le Phare. Limbo avance vers le livre dont rêve Ludmilla. Le Nautilus entre dans un courant de conscience.

Des opérations de pensée se crystallisent en glyphes. Un nouvel état de bibliothèque est poursuivi. Over 20 years Wolfgang Tillmans has tested and expanded the possibilities of photography in the most varied ways through his photographic and video works. Equipped with a digital camera, Tillmans travelled around the world and stayed in each place for just a short time — just long enough to focus intensively on the visible surface of the situation there.

Hence, coverings, claddings and façades repeatedly feature in his photographs along with themes from technology and science, such as plants, animals, minerals, material deposits, means of transport and shopping centres.

These prints are combined with the large framed Silver works, which Tillmans has been creating since The name Silver arises from the dirt traces and silver salt stains that remain on the paper when the artist develops the photographs in a machine that has not been completely cleaned. The visual appearance of the deposits on the photographic paper are determined by an accidental effect produced by the photographic technology which reveals the process of formation and materiality of photography.

Son exposition Monde nouveau présente des photographies extraites de sa nouvelle série éponyme, créée au cours de nombreux voyages. On retrouve donc à maintes reprises dans ses photographies des toits, des revêtements extérieurs, des façades, ainsi que des thèmes issus de la technologie et de la science plantes, animaux, minéraux, sédiments, moyens de transports et centres commerciaux. Ces tirages sont associés aux grandes uvres encadrées de la série Silver, que Tillmans poursuit depuis Contemporary art and curatorial discourse have been centrally concerned with questions of institution.

In recent decades, we have seen many debates on institutional critique, new institutionalism, instituent practices, and self-organization. Most often these questions of institution have been apprehended through the categories of power, hegemony, hierarchy, control, value and discipline.

While questions of knowledge have been activated in earlier discussions of the institutions of art, it is much less common for the debate on institutions to be engaged with an emphasis on the social epistemology or cognitive operations of institutional forms and processes. Questions we face include: Is institution building anymore possible, feasible or desirable?

Are there emergent future institutional models for progressive art and curatorial research practices? How do we construct and legitimate our institutions?

How do we know when institutions make decisions and whether these decisions are built upon ethical principles? Can we institute ethical principles and build our institutions accordingly?

If so, for whom are we building these future institutions? Are thoughts of institution anywhere different? In what way might institution be multiple? In what ways can we think extra-institutionally, contra-institutionally, an-institutionally, para-institutionally? Is institution the condition of potential thinking and of critique? The symposium brings together an international and multi-disciplinary group of speakers who are invited to reflect upon how institutional practices inform art, curatorial, educational and research practices as much as they shape the world around us.

It also aims to propose new, innovative and emergent forms of institutional practice. What are the models, resources, skills and knowledge-bases required to build a new, innovative and progressive research-led institution, if such a thing is indeed possible?

Through the symposium series we seek to develop a globally networked enquiry into the future of curatorial practice. The LUMA project is located in the former railway yards of Arles and includes a major new building designed by Frank Gehry and the renovation of the industrial buildings on the Parc des Ateliers by Selldorf Architects.

Il vise aussi à proposer des formes de pratique institutionnelle inédites et novatrices. People now, almost routinely, make claims for their rights through user-generated communication channels, such as Facebook, Twitter, and Flickr. In images, as well as words and sounds, these claims are proffered and conveyed — we could say, demonstrated — by the self-proclaimed rights bearers themselves, addressed sometimes very directly, sometimes to an undetermined public. These images and their consequences constitute a human rights praxis outside of its conventional sites such as law, government, NGO activity, and formal journalism.

They present a radical expansion and consolidation of human rights practices and institutions, and no less a new kind of universalism that underpins and is transformed by these praxes, perhaps constructing a practical communicative ethos that is yet to be understood. What are the technologies, languages, institutions, and interests that structure the global distribution of concepts and practices of humanism and universalism, and how do they leave their mark on these ideas themselves?

Which narratives, knowledges, and imageries have proven easier to export and import, and whose interests are at stake in the configurations at hand? About the Center for Curatorial Studies The Center for Curatorial Studies at Bard College CCS Bard is an exhibition, education, and research center dedicated to the study of art and curatorial practices from the s to the present day.

Exhibitions are presented year-round in the CCS Bard Galleries and Hessel Museum of Art, providing students with the opportunity to work with world-renowned artists and curators.

The exhibition program and the Hessel Collection also serve as the basis for a wide range of public programs and activities exploring art and its role in contemporary society. It offers courses that explore fundamental theoretical questions, historical and empirical issues within the disciplines, and practical and legal strategies of human-rights advocacy. Students are encouraged to treat human rights as an intellectual question, challenge human-rights orthodoxies, and think critically about human rights as a discourse rather than merely training for it as a profession.

The Human Rights Project links theoretical inquiry and critical explorations of human-rights practice with active research and involvement in contemporary issues. Ongoing initiatives include projects on human-rights forensics with the Centre for Research Architecture at Goldsmiths College, University of London , music and torture, and the intersections between the visual arts and human rights with the Center for Curatorial Studies, Bard College.

Quelles sont les formes de narrations, les connaissances et les images qui se sont révélées plus faciles à exporter et à importer et, qui a des intérêts en jeu dans les configurations en cours? It comprises distinct but interrelated elements, a contemporary earth-work, an installation of moving images and sound that is site-specific to the topography of the Camargue area around Arles and an iPad application that can be downloaded anywhere, allowing the artwork the potential for ubiquity.

The exhibition opened with a performance by Californian composer Terry Riley. Terry Riley created an original composition, which was performed live one time only, offering a night of sound and vision. Since the s, Aitken has brought to video installation the extraordinary possibility for non-linear experience through immersive multi-screen environments. This kind of liquid architecture is used for the video projections in Arles, which feature sequences that are neither wholly documentary nor purely fictional, developed from the characteristics of the local environment.

By moving around the origami-like installation and seeing it in different configurations, viewers can construct their own narratives from what they see on the screens.

The app creates new links between these parts, allowing users to move from screen to screen, changing the course of the narrative continuously. Interesting tensions emerge between the representation of a far-away geography and the different layers of fiction in the artwork. While it is commonplace today in academia and politics alike to invoke the claims and norms of human rights, the apparent conceptual underpinnings of this discourse — humanism and universalism — have been subject to radical challenges in recent years.

As it happens, one of the major sites of the critique of universalism is critical discourse on the visual arts and the photographic image, which is actually one of the most important operators of what we might call actually-existing universality today. Arguably, it is even that very critique, and the discourse of local and cultural context, which grants contemporary art the luxury and efficiency of an unchecked universalist agenda.

Complex presumptions of universal communicability are always already at play in ambitious projects of international scope, and are all the more volatile as a result.

A crucial question here is to which extent the discourses of both contemporary art and human rights are irrevocably linked to a classical universalist foundation.

Can the two traditions be unhinged, and what difference would the separation make? Moreover, what role does the image, in all its material manifestations, continue to play within this ideological apparatus? These and other questions were discussed through a series of lectures and workshops in Arles, beginning with a discussion of the legendary exhibition Family of Man, drawing on recent research by visual theorist Ariella Azoullay.

Other speakers discussed the actual channels of distribution the discourses and images of universalism have at their disposal, but also the class interests at stake in any such distribution, and, finally, the impact of new forms of technology, from the democratization of the camera image to revolutions broadcast online. Organized by Edward Steichen at the Museum of Modern Art in , it selected roughly images from nearly 2 million submissions, taken by photographers in almost 70 countries.

Among the things which set the exhibition aside, its forceful universalist agenda stands out. Which narratives and imageries have proven easier to export and import, which particular shades of humanist ideology are spawned in the process, and whose interests are at stake in the configurations at hand. On the other hand, the discourses of universalism and human rights have been instrumental in the articulation of struggles of the underprivileged, lending crucial visibility to otherwise marginalized voices.

Historically, what special interests have been at stake in the discussion at hand, and how do their generalist claims occasionally turn against them, if they do? Et qui a des intérêts en jeu dans les configurations actuellement en place? More videos on vimeo.

The audio installation The Forty Part Motet by Janet Cardiff Canadian artist, born , acclaimed by both public and critics, was presented in the building known as the Formation, at the Parc des Ateliers, Arles.

This enchanting work comprises a recording of a performance — by a forty-part male voice choir in Salisbury Cathedral — of Spem in Alium Numquam Habui by English composer Thomas Tallis Their song is broadcast through speakers, elevated the same height as a person and spread in an ellipse within the space. These speakers, and the sound that emanates from them, invite the public to move around the perimeter of the installation, from one sound source to another, passing from the polyphonic effect of the choir in the centre of the space to hearing individual voices.

The public was invited to meditate, reflect and breathe. Sung by Salisbury Cathedral Choir. A travers cette polyphonie et ces voix singulières, le public est convié à une émouvante méditation, réflexion, respiration. Salisbury Cathedral Choir; Enregistrement et postproduction: George Bures Miller; Produit par: Alongside the Atelier de la Mécanique stand enormous, hollowed out panels.

These panels recreate the abstract profiles of various costumes, outfits and characters created by artists in the period to The English artist Liam Gillick who lives and works in New York,creates a public work that redefines itself through the use that visitors to the Parc des Ateliers find in it and the interaction and exchanges that it creates. His work questions the format of exhibitions.

Produced for the Holland Festival in collaboration with the Stedelijk Museum, this work will be presented until September Courtesy of Esther Schipper, Berlin. Please complete your sign-up by filling out the fields below. Nous vous invitons à finaliser votre inscription en remplissant les champs ci-dessous. Contact For any press request, please contact the communication department: Scope of the terms of use Access to and browsing on the website www.

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Les modes de paiement acceptés sont annexés aux présentes Conditions Générales. En achetant son billet en ligne, le Client renonce donc à bénéficier de toute autre réduction ou gratuité à laquelle il aurait éventuellement pu prétendre pour cette visite.

Ce contrôle consiste en un scannage du code-barres inscrit sur le billet. Le billet est personnel et incessible. Tout billet partiellement imprimé, souillé, endommagé ou illisible ne sera pas accepté.

Tout billet gratuit ou comportant un tarif réduit doit être présenté avec un justificatif de la gratuité ou de ce tarif réduit. Seuls les documents annexés en fin de document en cours de validité sont acceptés pour justifier la gratuité ou la réduction. Le billet est uniquement valable pour la visite et la période mentionnées lors de la commande. Caractéristiques des prestations datées à destination de groupes constitués. Les visites guidées sont proposées, sous réserve de disponibilité et dans la limite des places disponibles, en plusieurs langues: La réservation doit être effectuée au minimum deux 2 semaines avant la date de la prestation.

A défaut de règlement, la réservation retenue sera annulée. Une fois sa visite réglée, le client obtient une confirmation de réservation par email. Elle doit être effectuée au minimum deux 2 semaines avant la date de la prestation.

Une fois sa visite réglée, le client obtient la confirmation de sa réservation par email. Les prix valeur faciale des prestations à destination des groupes constitués sont indiqués en euros toutes taxes et frais de gestion inclus. Les tarifs et droits à réduction ou gratuité sont annexés aux présentes conditions générales. Les modes de paiement acceptés sont annexés aux présentes conditions générales. Toute commande de prestations datées à destination des groupes constitués, quelle que soit son origine, est payable en euros.

Sans réception du règlement à ces dates, les options prises seront automatiquement annulées. Les visiteurs en groupe ne doivent en aucun cas gêner les autres visiteurs. Après réception du paiement, aucune modification taille du groupe, date etc. Les billets ne sont ni repris ni remboursés ; ils sont valables uniquement pour la représentation pour laquelle ils ont été émis.

Aucun remboursement ne sera consenti au client spectateur retardataire. Les Clients sont invités à vérifier 24 heures avant la représentation pour laquelle ils ont acheté des billets que celle-ci est bien maintenue sans modification.

Seuls sont habilités les points de vente émettant des billets et non des contremarques. Les prix valeur faciale des prestations groupées sont indiqués en euros toutes taxes et frais de gestion inclus. Toute commande de prestations groupées, quelle que soit son origine, est payable en euros. Les prestations pourront être refuses à toute personne ne présentant par son billet.

Toute commande passée sur le site http: Le fait de passer commande implique la consultation préalable des présentes conditions générales de vente et vaut acceptation entière et irrévocable de celles-ci. La Boutique en ligne, le code source, les textes, les images et autres éléments de la Boutique en ligne sont la propriété exclusive du Vendeur. Le Client reconnaît avoir pris connaissance des présentes Conditions générales lors de la validation de la commande. Toute validation de sa commande vaut acceptation des Conditions générales sans exception.

En cas de modification, seront appliquées à chaque commande les Conditions générales en vigueur au jour de la passation de la commande.

Pour toute information ou question, le service clientèle est à la disposition du Client aux coordonnées suivantes:. Les produits sont proposés à la vente dans les pays suivants: En ce qui concerne le prix du livre, celui-ci est établi dans le strict respect de la loi Lang du 10 août Toutes les commandes, quelle que soit leur origine, sont payables en Euros. Un descriptif détaillé du produit sélectionné dimensions, matière, visuel et son prix de vente apparaissent. La création du compte client suppose la communication des informations nécessaires au traitement de la commande: En cliquant sur le mode de paiement de son choix, le Client accède à la plateforme de paiement sécurisée et ne peut plus apporter de modifications à sa Commande.

Le Client effectue alors le paiement en ligne de sa commande en communiquant ses coordonnées bancaires numéros et date de validité de la carte et en effectuant un clic définitif.

Pour toute question, veuillez contacter: Cet e-mail constitue pour le Client une preuve de sa commande que le Vendeur lui recommande de conserver. Le remboursement interviendra dans un délai maximum de 14 jours à compter de la réception du produit par le vendeur.

Les retours sont à effectuer à: Il est ici précisé que les articles retournés incomplets, abîmés, endommagés ou salis par le Client ne pourront pas être repris. Le Client règle sa commande par carte bancaire.

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Environment Is the project respectful of the environment? To order your basket, send an email at: Les produits sont proposés à la vente dans les pays suivants:

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