Wednesday November 16 2022
All events reported in the schedule are on Eastern Time Zone.
9h00
Opening Statement
9h15
Plenary conference: « La bataille de l’eau : violence et imaginaire guerrier dans les jardins princiers de la Renaissance et du Baroque »
Chair: Denis Ribouillault
10h00
Question period
10h20
Break
10h30
Panel 1 : De la mythification à la destruction
Chair: Élise Marciniszyn, comité scientifique
Ce panel explore l’instrumentalisation de la Nature par l’image en interrogeant sa mythification moderne dans sa relation à l’humain, posant la question d’un équilibre nécessaire à la conception même d’une poétique. Il aborde ainsi l’idée reçue du wilderness de sa création à sa réappropriation, la politisation des mouvements de la caméra et repousse les limites en explorant une nature perverse et indifférente, co-existant avec le crime humain.
L’invention d’une idée reçue de la nature par la photographie : création ou destruction ?
Photography is a medium for creating images, but above all for creating imaginations. Since its introduction in the United States in 1839, photographic practice has been inseparable from the construction of a received idea of the wilderness, the romantic idea of an untouched, albeit vulnerable, nature (Callicott,1998). This idea of nature possessing a higher value when it is aesthetically pleasing, even spectacular (Larrère, 2018), is persistent. In doing so, photography has contributed to the adulation of spectacular places at the expense of those deemed banal or degraded, such as urban parks or wastelands. By feeding mass tourism which, through the photographic mimicry of social networks, photography has also increased tenfold the anthropic pressure on idealized places. In light of the above, this presentation exposes how photography has contributed to the destruction of nature. Beyond this simple observation, I suggest ways to make photography a proactive medium in the recreation of bridges between nature and human beings. Through my research-creation process, I wish to demonstrate what photography can - positively - do, or rather can make do to land use practices.
L’image de la Nature et sa poétisation dans le cinéma de Mikhail Kalatozov
"Trees seem to speak or to invite us to speak about them". This quote, taken from the article "When a View of Trees is Almost a Crime" (STIEGLER 2009) 1 , concludes the analysis of a famous shot from the film The Crane are Flying (1957), directed by Mikhail Kalatozov and shot by Sergei Urusevski, which consists of a shot of birch trees. According to Bernd Stiegler, this image was inspired by a series of low-angle photographs of pine trees by Alexander Rodchenko, published in the magazine Novy Lef in 1927 (fig. 1). This avant-garde representation of nature, which sparked a controversy by making the pines "political," was later reused in an expressly committed manner by Dziga Vertov in the film Tri pesni o Leninie (Three Songs about Lenin, 1934). Based on Stiegler's article, which is the starting point of our paper, we consider networks of artistic connections around Alexander Rodchenko - his teaching at the Vhutemas and personal acquaintance with the future operator of The Crane are Flying by, as well as Rodchenko's impact on the films of the tandem of director Mikhail Kalatozov and operator Sergei Urengovsky. The symbolization of cranes in The Crane are Flying by. The poetic image of trees and birds in Mikhail Kalatozov's film Hostile Whirlwinds (1953), which is not well known in the West. The analysis is carried out thanks to the texts discovered and never published in French: the memories of Uryusovsky, the interview of Kalatozov, the stenograms of the meetings of the Council of Arts Projection and discussion of the films, articles obtained by the archive RGALI. The poetization of the image of Nature in other films made by the Kalatozov-Urusevski duo: the effects of landscapes in The Unfinished Letter (1960), the technical prowess to poetize the image of Nature in the "film-poem" Soy Cuba (1964).
Autour de Melancholie der Engel de Marian Dora : crimes « contre-nature » destruction et extinction
This communication is a brief introduction to the offbeat and repulsive universe of the German underground filmmaker Marian Dora, more specifically his film Melancholie der Engel. We will see how his staging, as troubled as it is unique, intertwining nature and destruction, cultivates a true ecology of crime, charged with the presentiment of an inevitable end.
TW: this communication will deal with a work whose content may shock. In particular, it will deal with animal cruelty and various acts of violence.
11h35
Question period
11h55
Lunch
13h25
Panel 2 : Représentation poétique de la nature
Chair: Aynaz Ghaderi Ghalehno, comité scientifique
Ce panel, à travers l'analyse de diverses œuvres, vise à réfléchir sur les rapports entre l'esthétique et la nature. Il s’agira avant tout d’étudier la manière dont les œuvres d’art en empruntant les thèmes liés à la nature - les phénomènes naturels, la lumière en tant qu’élément indispensable de la vie, et le corps - torpillent les codes représentationnels pour créer de nouvelles formes de l’expression visuelle (arts de la scène, créations artistiques fractalistes, peinture). Les présentations proposent des analyses sur l’esthétique formelle des œuvres produisant des effets esthétiques sur le spectateur.
La puissance des saxifrages et la lumière unifiante
The sun, this star that gives rhythm to life on earth, holds a unifying light in front of the living, so powerful, yet vulnerable. In the arts of the scene, the light contributes to spatialize and temporalize the representations. Complex and polysemic phenomenon, it transforms the scenic space and the times of a representation to co-constitute the device of the spectacles. However, if these luminous transformations can be expressive in themselves, they act especially on and in the movement of the representations. To study the natural and unifying light of the sun, I will use the show POUSSE, la puissance des saxifrages (2021 creation) by the French company Les Lucioles S'en Mêlent. Thus, the sun being the main source of light in this show, it takes place in the heart of a direct dialogue of our relationship with the world and the living.
Mon corps, un déluge d’infini...
In Michaux's works, the graphic dimension in charge of conveying the plastic features referred to the iconographic sphere of the face is transformed without notice into a boiling surface. The figure becomes the mute and trembling space of a visual silence which does not cease to withdraw on the chaotic profusion of figurative masses culminating in an anguishing surge of something which lets appear the internal matter of the body with its eddies. The facial volume is the product of a kind of unexpected expulsion within which the poet of Namur tries to modulate a line without capturing a form. At the same time impenetrable and porous, aerial and magmatic, the face is an amalgam of floating rubble that has become the middle or central point of an irreversible abolition of any recognizable element...
L'œuvre fractale, esthétique organique résistant à l'organisation humaine
This presentation is a reflection on generative art using fractal functions, and their infatuation with complexity. I argue that the shattering of the Euclidean model and the chaotic unpredictability of fractals allows for a decentralization of the role of the artist who is relegated to the seat of the spectator. Once the human being is evacuated from the process of creation, the fractals can constitute themselves as self-sufficient and autonomous entities. In doing so, fractalist poetics appears as an art of the erem, this unknown and uninhabited space, in resistance to the domination of the modern subject.
14h30
Question period
14h50
Break
15h00
Panel 3 : Créer la Nature
Chair: Ingrid Cinq-Mars, comité scientifique
Ce panel propose d’explorer la thématique de la création de la Nature dans la littérature et la peinture de l’époque moderne, selon une perspective épistémologique. Il aborde l’élaboration d’une cosmogonie empreinte d’un discours philosophique et théologique à la Renaissance pour, ensuite, questionner la représentation de la flore sud-andine dans le contexte colonial du XVIIe siècle ainsi que la fabrique du paysage dans l’art britannique de la fin du XVIIIe siècle.
Uranie, Muse de la poésie divine à la Renaissance
This communication will deal with one of the approaches that will constitute our doctoral project, namely the role of Urania, the Muse of astronomy according to Greek mythology, in the cosmogony of Renaissance divine poetry. More specifically, we will address the spiritual dimension involved in the study of Nature in poets such as Dante Alighieri (1265-1321) and Guillaume Saluste du Bartas (1544-1590). Furthermore, we will discuss the iconographic evolution of the figure of Urania and its relationship to the concept of divine wisdom.
Ordre, dualité et symétrie. Peinture de fleurs et floreros dans la peinture sud-andine
As for the landscape painting, the still life or more precisely the painting of flowers, as an independent genre, did not reach a great splendor within the artistic production of the viceroyalty of Peru. This does not presuppose that the Andean painters were not interested in this type of representation. On the contrary, the painting of flowers was an essential and almost constant complement of the colonial religious painting. The South Andean still life was characterized by a stylization and schematization of forms, and by the repetition of symmetrical compositions. This forced and simplified aspect of these representations called into question the abilities or technical qualities of local painters. In this presentation, I intend to reflect on different formal, cultural and symbolic issues, which would explain the particular development of this genre in Peru beyond the question of quality. I analyze, among other things, the use of symmetry in relation to the productive needs of the colonial workshops, as well as in relation to certain cosmogonic and cultural aspects.
‘Raconter’ le paysage. L’inventivité artistique et esthétique à l’œuvre dans la peinture de paysage britannique de la fin du XVIIIe siècle
During the eighteenth century, a new relationship between the individual and nature modified the approach to its figuration by the arts: this nature should no longer be imitated but revealed in its essence and expressed according to a personal experience. This primordial theoretical modulation will generate in British landscape painters a new creativity, in particular a distinctive material and technical inventiveness that this paper wishes to highlight. Based on the analysis of a few creations from the artists' journey, we will see how these painters endeavor to represent the natural landscape through its singular properties. This wish leads them to express the essence and the experience of nature, even to recreate Nature, by being inspired by its organic functioning and its own colors while answering aesthetic criteria. By going to the basis of the artistic look and gesture of these British landscape artists, their innovative creativity thus appears as the conjugation of a reference to tradition and a cultural desire to experiment.
16h05
Question period
Thursday November 17 2022
All events reported in the schedule are on Eastern Time Zone.
9h10
Keynote lecture: « Les paradoxes de l’Anthropocène ou le piège de l’écoblanchiment »
Chair: Bénédicte Ramade, historienne de l’art
10h00
Question period
10h20
Break
10h30
Panel 4 : Entre écologie et environnement
Chair: Cassandre Herbert, comité scientifique
Science, nature et environnement travaillent de concert dans un monde où la Nature fait face à des problématiques importantes. Divers médiums prennent alors leur place afin de passer un message transmis par les artistes travaillant de concert avec leur environnement. Que ce soit l’utilisation des eaux usées ou les graffitis en Haïti, un message social peut se passer à travers les créations artistiques. L’artiste y crée un monde nouveau par l’intermédiaire de son art qui amène à repenser certaines pratiques et en mettre de l’avant d’autres. Cette poétique liée à la Nature permet une relation entre l’artiste, son travail et son environnement qui forme de nouveaux moyens de communiquer avec le monde.
Poétiques des eaux usées, dormantes dans les villes en Haïti : esthétique du désordre
This communication interrogates in an interdisciplinary perspective the poetic language of wastewater, dormant (muddy, fluctuating) in the cities of Haiti, a French-speaking Caribbean country, giving form to an aesthetic of disorder in visual creations carried out over a decade 2010 - 2020. This interrogation is a performative self-portrait around these in-situ creations and the objectivations of the humans around them, the technical modalities, the sensory and sound writings, the narrativity of this artistic practice (photography) around wastewater, dormant in urban spaces, constituting memories of mobility, flows of relations, exchanges between humans and non-humans, amorphous landscapes that have been constructed, imagined.
From mono to permacultures: imag(in)ing narratives via listening and care (vidéo)
We know that artistic institutions and universities are not diverse and inclusive places both in their public parts and less public parts. We also know that artistic production and artistic mobility have an environmental impact. It is because of the recognition of these challenges that, in the last decade, national governmental entities have been setting the criteria to award financial support to creative industries: when applying for national and/or European funding, creative industries’ institutions should design projects that are simultaneously inclusive (responding to the lack of racial and gender diversity and representativity) and sustainable (adopting a central role in the green and sustainable future of Europe). But how do these challenges connect? What are the links between race, gender, and the environment?
L’environnement comme support du beau artistique
In Haiti, with graffiti, urban walls are spaces of silent speech. This art, just like other artistic representations, is a witness to the defeat of the Haitian political organization. This form of artistic representation also intends to pay homage to a person, a celebrity or a politician as well as it participates in the decoration of the walls of the cities and aestheticizes the environmental crisis that the country has known for ages in order to create poetic meaning. In this sense, the work of Jeanne Will Orélien, known as V!CKY O, is part of this logic of embellishing the space with butterflies, flowers, bees, plants and warm colors. Marckenley Darius, just like Jerry and Oliga, identifies himself in a political aesthetic, that is to say to denounce the Haitian politics and to claim the right of the woman. Assaf, on the other hand, strives to pay tribute to certain famous artists and politicians. By this act of poetic prosopopoeia, that is to say, to invest the walls, until then considered as "non places of art", to become pictorial space in order to create affects, the walls become a form of latent urban poetry of reality. A conscious artistic game that mimics what is particular in Haitian society and what symbolizes it. This approach appears for the graffiti artists the concern to show their existence by the artistic creation and to project themselves in all the corners of the city like a divine body, the body which is everywhere, attends all and speaks to all in order to support the affective prosopopeia. In this society where dialogue is not the order of the day, the walls in the environmental space cease to listen and strive to caricature the act of speech with others as a need to live and to make live an ephemeral artistic beauty because of the subversive nature of graffiti, the weather or the climatic variation and even the intentionality of the artist.
11h35
Question period
11h55
Lunch
13h25
Panel 5 : Zone et Post-industrialisme
Chair: Élise Marciniszyn, comité scientifique
La « zone » est un emplacement liminal où la nature post-industielle reprend ses droits. Que cette occupation de l’espace soit littérale ou spirituelle, la « zone » peut représenter un nouveau wilderness créé à partir du déclin de réalisations humaines. Ce panel offrira alors une réflexion sur les espaces désindustrialisés, le côté spirituel d’une Zone où nature et inconscient travaillent de pair et sur l’impossibilité pour la société de continuer dans son capitalisme industriel actuel.
Post-industrial Wilderness: Wastelands and Local Communities
This presentation will focus on urban (post)industrial and deindustrialized or semi-industrialized areas as natural territories (Gil Doron 2008; Janssen 2009). Scholars are most often concerned with the representation of wastelands and former industrial territories through art media as wastelands and ruins (Diane Scott 2019). However, in this intervention, I focus on a rarely discussed dimension of (de)industrialized areas: the concept of "wilderness" as a post-industrial condition. Indeed, most of the urban population lives in fast-growing neighborhoods that have proliferated in former industrial areas. These are the most affordable neighborhoods for young families, immigrants and other marginalized communities.
Deindustrialized areas, as places of leisure, recreation and exploration, are also among the most frequent places of the first fundamental experiences of nature. Furthermore, most of the liminal areas between the official city districts are also part of (semi-)abandoned territories that are rarely considered by city authorities and public art experts as places for intervention and cultural development due to their mixed ownership. These areas are used as nature parks by the inhabitants: people walk their dogs, watch birds, and sometimes it is the only place where animals like raccoons, skunks and marmots can be seen.
In this presentation, I want to discuss approaches to brownfields and deindustrialized areas as places of wilderness, nature, and promising lands for ecological recreation. I will discuss these concepts through an intersectional perspective that combines my own art-based social activism as a citizen and my work as a public art expert by taking recent examples from across Montreal such as the Mobilization 6600 Nature Park in Mercier, the auto-ethnographic case study on the natural territory of the railroads along Hochelaga, Ville-Marie and Rosemont and others.
La « zone » dans Stalker : Une géopoétique de la nature qui transforme
In Stalker, Tarkovski purifies the sets by returning to nature. All the material superfluity of the futuristic settings of Solaris is replaced by a nature that takes its place on the constructions of man: the Zone. A strange place where a meteorite would have fallen, a place well guarded by the army. This "zone" is presented as a jungle of the unconscious of the characters where any gesture can make them branch off. Only a Stalker, a (spiritual) guide, is able to dialogue with the "zone" in order to find the right path. If the Zone is changeable, it is because it represents our capacity to modify our beliefs (our "focus"). Tarkovski invites us to revisit our inner house in order to replace our materialistic world with a more spiritual one, to see the light that binds people together. Like the one that springs up under a shower in the back tracking shot where only the viewer enters the room that grants wishes.
Zone en travaux : Invitation pour la construction de nouvelles formes de production dans l'art contemporain
While today the end of our species seems more plausible than a possible structural change of our societies ensuring our survival, nourishing our imaginations to be able to envisage desirable futures becomes a priority. So we want art, and art together. What would a production protocol look like that is consistent with the defense of life? How to make contemporary art the laboratory of collective action?
14h30
Question period
14h50
Break
15h00
Panel 6 : Du perceptif à l’organiciste. Enjeux d’une Nature « originelle »
Chair: Cécile Delignou, doctorante et chargée de cours
Ce panel questionne la notion de paysage et d’environnement dans le cinéma de James Benning en l’envisageant sous le prisme d’un antagoniste social. En posant les limites de l’esprit humain ou la nécessité de la notion d’« originel », son approche écosophique et épistémologique permet de se concentrer sur l’hypothèse d’un fonctionnement en réseau redéfinissant les codes du monde de l’art comme l’illustre la poésie organiciste de Frank Lloyd Wright, Claude Bragdon ou de Richard Buckminster Fuller. L’analyse du processus de géoingénierie solaire par injection stratosphérique d’aéorosols permet de son côté, par son rapport à l’organique, à la Nature comme à la création artistique et la réception des publics, de mettre l’idée de poésie et d’écosophie à l’épreuve du concret.
L’expérience perceptive dans le cinéma de James Benning : un projet écosophique ?
Since the early 1970s, James Benning has been engaged in a systematic investigation of the relationship between man, the environment and the medium of film. With the structural cinema of the 1960s and 1970s as his plastic heritage, the artist has built up a singular body of work in his native Midwest, and then in the American West where he has lived since 1987, which combines an original form that keeps documentary and fiction at a distance. From a corpus proposing a back-and-forth within Benning's Californian trilogy (El Valley Centro, Los, Sogobi) as well as a reflection on the place of the subject in front of the perceived images (L. Cohen), I would like to put into perspective the ecosophical dimension of his cinema. Unlike ecology (discourse on nature), ecosophy (wisdom of nature) insists on the knowledge we have of nature and the link that unites us to it. In the California trilogy, we will see how these films reveal an ecosophical or ecophenomenological relationship that reinvests our primordial relationship to nature: these images show that the uncontrolled expansion of Los Angeles has been based on the irreversible despoliation of the Owens Valley, the historical source of its water supply. In this way, water - where it comes from and where it goes - becomes the virtual vector that links the films together as a global ecosophical project (water as a vital element). The ecophenomenological dimension of Benning's cinema invites us to question our perceptual reactions (our relationship to the work but also to ourselves) in a different way and leads to the following question: are our senses awake enough to see what is happening in front of us and to try to imagine the world differently?
La poétique organiciste de Frank Lloyd Wright, Claude Bragdon, Richard Buckminster Fuller
Frank Lloyd Wright (1857-1969), Claude Fayette Bragdon (1866-1947) and Richard Buckminster Fuller (1895-1983) are three American artists whose intermediary work is at once architectural, poetic, graphic and media. Each of them maintains, through their own modalities, a fundamental relationship to the idea of the poetics of nature, according to a reflection on organicism initiated by Samuel Taylor Coleridge at the end of the 19th century. In search of aesthetic alternatives to functionalism and internationalism in the first half of the twentieth century, these three artists are in search of a written and constructed poetic formula that would allow for the emergence of what they designate as the "natural work", a work of art that would be linked to the living and the environment, which would give an account of a fundamental articulation between the poetic and the natural phenomena. The first milestones of the environmental artistic practices that would emerge during the 20th century, the organicist works testify to a desire to go beyond the traditional opposition between culture and nature. The joint study of three works built in Canada (Wright's Banff National Park Pavilion (built at Banff Hot Springs Reserve in 1913), Claude Bragdon's preparatory drawings for the Leaside Viaduct near Toronto (1927), and Richard Buckminster Fuller's geodesic dome (or Biosphere) in Montreal (1967)), illuminated by excerpts from literary works by the same artists, grouped together as organicist architects, allows us to flesh out this common aesthetic experimentation.
Les échelles de la création : nature et intervention technique dans l’injection stratosphérique d’aérosols
Solar geoengineering through stratospheric aerosol injection (SAI) is a speculative proposal for technological intervention to artificially increase the planet's albedo - its reflection of solar radiation - in order to offset some or all of the global warming. Initially discredited, it is now gaining momentum as the climate disruption intensifies, and is now the subject of increased scientific, literary and artistic treatment. By crossing works of fiction, scholarly articles and philosophical commentaries, I will try, in this presentation, to identify some of the relationships that are emerging between the emerging figure of the planetary and the human instances aspiring to the project of its technical regulation.
16h05
Question period
Friday November 18 2022
All events reported in the schedule are on Eastern Time Zone.
10h20
Introduction
10h30
Panel 7 : Aux frontières de l’anthropocène et du genre
Chair: Ersy Contogouris, professeure agrégée d’histoire de l’art
Ce panel propose de reconsidérer les rapports anthropocentrés et genrés qu’entretiennent les êtres humains avec la nature. Il s’agira d’interroger et de discuter ces constructions grâce à l’analyse de divers corpus. Il en découle une riche réflexion sur les notions d’écologie, d’écosystème, de genre et de pratique artistique.
Les sigils comme modèle de destruction créatrice pour imaginer un capitalisme post animiste
In order to reflect on the processes of creation and destruction of Nature, I propose to question the potentialities of a concrete technique of creative destruction. To do this, I am inspired by a practice that comes from the magic of chaos. The practice of sigils, or the art of creating sigils, consists in transforming the textual enunciation of a desire into a sign, seal or symbol, by a material manipulation of the lines that compose it. This technique will be put in dialogue with the Marxist conceptualization of the fetish character of the commodity and the proposal, submitted by Michael Taussig, to imagine post-capitalist animist modes of production.
De la géométrie hyperbolique à la défense de la Grande Barrière de corail; « Crochet Coral Reef », un projet artistique engagé, féministe et sympoïétique
The “Coral Reef Hook” project is part of the implementation of an inclusive practice between humans and non-humans according to the kinship paradigm proposed by Donna Haraway in Staying with the Trouble, Making Kin in the Chthulucene (2016). In 1997 a Cornell University mathematician, Daina Taimina, created a crochet model of hyperbolic space that her students could manipulate. The union of this humble, "feminine" craft technique with non-Euclidean geometry attracted the attention of Australian sisters Margaret and Christine Wertheim. Concerned about the degradation of the Great Barrier Reef, a living hyperbolic structure vital to the biosphere, Margaret, a mathematician and artist, and Christine, an artisan and poet, decided in 2005 to crochet a coral reef. The Wertheims put out a call for participation in the Crochet Coral Reef (CCR) on the website of their organization The Institute for Figuring (IFF). This community project took an unexpected turn. Over eight thousand people, mostly women, in twenty-seven countries came together to crochet wool, cotton, plastic bags, tape recorder tapes, or any other material, creating beautiful crocheted patterns in hyperbolic planes, making CCR the largest collaborative art project in the world (2016, 78). Through science, art, wool, waste and the simple, repetitive gestures of a craft technique practiced by women in solidarity, a community of fluctuating contours has been created uniting the living, human and non-human, engaged in the same struggle.
L’Écoqueer : une définition
Born out of ecofeminism, the ecoqueer reflects on the future of species and the earth's ecosystem beyond any form of human or speciesist binarity, deconstructing hegemonic and culturally accepted, even naturalized, knowledge structures. This presentation will demonstrate the relevance of the ecoqueer in contemporary art, whose works are the perfect vehicle for reconsidering our relationship to nature and the natural, in addition to consolidating two disciplines generally perceived as diametrically opposed: art and science.
11h35
Question period
11h55
Lunch
13h30
Panel 8 : Animisme
Chair: Analays Alvarez Hernandez, professeure adjointe d’histoire de l’art
Ce panel propose d'étudier la nature en tant que médium de création dans une perspective de transformation. Il s'agira non seulement de réfléchir à la façon dont une œuvre fait appel à la dimension naturelle et spirituelle de l’environnement, mais aussi d'explorer différentes pratiques permettant d’imaginer le post-capitalisme animiste.
Au-delà du sacré : la place des animaux dans l'oeuvre d'Eruoma Awashish
Through this intervention, we will examine the place of animals in the healing process described in some of the works of the Atikamekw nehirowisiw artist Eruoma Awashish, and the meaning of the word tame. In this regard, the installation Taming of the Soul (2021), which features a small fox, as well as another recent work that features a bear will be analyzed. Starting from the Atikamekw conceptions of nature and the world, it will be a question of bringing out a complex dynamic of interrelations between humans and animals which, through the artist's hand, are transformed in order to become more respectful. The notion of Care will be at the center of the reflections concerning these two works.
Escamotage de la nature dans une « culture orientée donnée » Le cas de l’animation et de la publicité
Starting from current case studies, and after a historical and sociological review aiming to quickly circumscribe the field and the relations of "animated communication", the stake of the intervention will be first to converge tools and perspectives coming from media studies, political philosophy, and cognitive sciences. From there, it will be a question of identifying, on the one hand, a first description of the different uses and relevance of "animation" in advertising, and then, on the other hand, the environmental and political context in which a certain contemporary "animated communication" is inscribed, and in what it allows us to consider it as a participant in a more general enterprise of "escamotage" of reality, of its replacement by virtual landscapes. How the construction of these landscapes allows to better define the powers of the animated images in their relation to the matters and to their human perception will be also, in hollow, the lifeline of this study.
Edgar Calel : Offrandes à la Nature
This communication proposes to consider a body of work by Guatemalan artist Edgar Calel that is rooted in Maya Kaqchikel culture and cosmology. The first part will present the artist's practice and the multiple iterations of a signature installation. The second part will consider how the work appeals to the natural and spiritual dimension of the environment.
14h35
Question period
14h50
Closing event
15h00
Question period
15h10
CLOSING COCKTAIL