Histoire De La Photographie

Cy Twombly’s photographic oeuvre includes a huge number of Polaroids, printed using the dry- print technique and Fresson process. More than just a photographer, Twombly is an art theoretician who examines the interactions between painting and photography. Through his manipulation of the material, he questions the limits of the photographic object and disrupts the world of the instant photograph, which he transforms into a unique, hybrid object. The ceiling painted by the artist in the room of Greek and Roman antiquities in the Louvre bears witness to his interest in the dialogue between photography, painting and American culture, and was consistent with his aesthetic experiments, particularly regarding his fascination for Mediterranean culture. Far from being simply decorative, the Louvre ceiling could be interpreted as a large photograph, a fugitive piece of reality captured and circumscribed in the space of a limited frame.

Cette journée d’études, organisée à l’École du Louvre le 19 janvier 2016, offrira, pour la quatrième année, de découvrir les travaux de recherche les plus remarquables des étudiants du séminaire de Master 2 et de Master 1 Histoire de la photographie, en lien et au regard d’études de chercheurs confirmés. Elle s’interrogera sur les transformations que le travail archivistique et muséal offre aux fonds et aux objets photographiques qu’il distingue comme objets d’études. Transformation physique – de la plaque dans une boîte ou de l’épreuve dans un carton d’archive à l’ouvrage monté, parfois encadré, transformation d’usage, transformation de statut – du document à l’œuvre, parfois. Le travail académique permet une transformation du regard porté sur ces fonds. Ce changement rend possible et suscite une analyse renouvelée des œuvres ou des lieux auxquels ils étaient auparavant attachés. L’étude des fonds photographiques constitue ainsi une opportunité remarquable d’enrichissement pour l’histoire de la photographie, mais aussi de l’ensemble des disciplines archéologiques, historiques et artistiques. Elle offre, ainsi, une transformation inédite des champs du savoir et de la connaissance.

INVITO STAMPA Siamo lieti di invitare la S.V. alla giornata di studi Fotografia e pittura. Relazioni e pratiche a confronto Venerdì 24 novembre 2017 dalle ore 10:30 alle 18:30 MACRO-Museo d'Arte Contemporanea Roma Sala Cinema-Via Nizza, 138 Ingresso libero fino a esaurimento dei posti disponibili La giornata di studi Fotografia e Pittura. Relazioni e pratiche a confronto, curata da Chiara Agradi ed Emanuele Carlenzi, promossa da Roma Capitale, Assessorato alla Crescita culturale-Sovrintendenza Capitolina ai Beni Culturali, in collaborazione con l'Università Sapienza di Roma, sarà l'occasione per riflettere sulla relazione tra pratica fotografica e pittorica, attraverso un approccio inedito alla questione. I contributi che articoleranno la giornata, infatti, affronteranno tematiche storico-critiche che, nonostante affondino le loro radici nel XX secolo, non escludono un'analisi specifica degli sviluppi più recenti della fotografia, con un particolare focus sull'era digitale. Gli interventi, volutamente diversi tra di loro per natura e taglio, metteranno a confronto varie figure professionali, tra cui storici dell'arte, critici, curatori, ma soprattutto artisti e fotografi, consentendo un dialogo aperto sulla tematica e la possibilità di comprendere quanto differenzia e quanto ancora accomuna i due mondi artistici posti a confronto, in un panorama storico in continua fase di scrittura.

Sous la direction de Dominique de Font-Réaulx et Michel Poivert, assistés de Colette Morel.
3 octobre 2017, Musée national Eugène Delacroix


Ce colloque propose de poser la question du statut des corpus photographiques produits par les peintres depuis le XIXe siècle. Au-delà du thème classique des rapports photographie-peinture, en dialogue avec des responsables de collections, des chercheurs, des artistes contemporains, il s’agit d’examiner à partir de quand on peut parler d’“œu- vre photographique” dans la pratique du medium par un peintre. Documentation, archive, témoignage, outils de travail : derrière les pratiques et les usages, comment identifier le moment ou le “cor-pus” devient “opus” ? Reçu dans l‘atelier de Delacroix, haut-lieu du dialogue photographie-peinture, le colloque bénéficiera d’un contexte propice à la réflexion sur un sujet qui est au cœur de nom- breuses expositions et collections aujourd’hui.

Dagli anni Sessanta l’opera di Anna Oberto è rivolta alla ricerca di un linguaggio nuovo e libero dai canoni linguistici imposti dalla società patriarcale, per il recupero di una forma d’espressione in cui la donna possa “segnificare la propria identità” 1. Il desiderio di sovvertire le regole di comunicazione vigenti attraverso la ricerca di una forma di scrittura “al femminile”, si traduce in un primo momento in azione femminista militante.

Eroticism, Poetic Concretism, and Visuality (1960-1970)
An International Symposium organized by
Maria Elena Minuto (Université de Liège; KU Leuven)
and Mica Gherghescu (Bibliothèque Kandinsky – Centre Pompidou)
Musée national d’art moderne – Centre Pompidou
September 17, 2021, 10:00 am – 6:30 pm (Centre Pompidou, Petite Salle, Forum - 1)
September 18, 2021, 10:00 am – 6:30 pm (Bibliothèque Kandinsky)
Conference language: French and English
Open to the public. The Symposium is dedicated to the Professor Emeritus Klaus Peter Dencker and it will be also accessible online.

‘The erotic imaginary and the relation between body, gender and text nourished the daring experiences of neo-avant-garde visual poetics in the 1960s and 1970s by establishing themselves at the core of “verbi-voco-visual explorations” (McLuhan, 1967). Without losing sight of the vast cultural heritage and references of historical avant-gardes as well as of Beat Poetry, Fluxus and Situationist visual-erotic production, the symposium aims at reconstructing and assessing the impact of erotic desire on Concrete and Visual Poetry through a rich corpus of literary works, magazines, and ephemera starting with the Bibliothèque Kandinsky – Centre Pompidou collections and expanding the reflection to other relevant examples of post-war experimental poetry (e.g., S. M. Martini, Il libro dei segni d´amore, 1979; A. Spatola, La vergine di Norimberga, 1978; G. Rühm, Erotic scale studies, 1966; J. Blaine and J. F. Bory, “L´érotisme dans la poésie matérielle,” Approches no. 2, 1966; K. La Rocca, Non commettere sorpassi impuri, 1964-65; D. Pignatari, Organismo, 1960). In addition to keynote lectures and academic presentations, the conference will host poetry readings and performances in order to prompt an interdisciplinary and international debate on the issues, and to examine a unique body of works that illuminate the far-reaching conceptual and poetic implications of neo-avant-garde verbo-visual eroticism.’