Centre Georges Pompidou

We have noted the importance of the exhibition Les Immatériaux-Modernes, et après? (at the Georges Pompidou Center) which would ultimately prove a watershed, stating clear intentions as to the change of values-the key ingredient in the genesis of Postmodernity. In the words of its main curator, Jean-François Lyotard, the exhibition did not intend to be more than "(…) une expo pédagogique-expliquer par exemple les nouvelles technologies (...), mais une expo qui soit une oeuvre d'art. De viser donc non pas la capacité d'acquisition d'un public mais plutôt sa sensibilité, c'est-à-dire un sentiment esthétique." Les Immatériaux took on the role of artistic form based on science, presenting itself for enjoyment. Not just the creator's enjoyment, at least not first and foremost; instead, it offered itself to a wide audience. Thus began a praxis that would send ripples across the history of art over the following decade: the curator as artist, as creator.
At the core, Les Immatériaux had global claims on the avowal of complexity, and even though mass computerization was not yet a reality, it was intended that the mass audience should get to grips with a host of "…dispositifs technologiques en passe de constituer notre environnement et une nouvelle écologie de l'esprit". The exhibition is underpinned by philosophy , concept, science and aesthetic, committed to the "recherche de la recherche", accepting the uncertainty of concepts. It is the acme of all exhibitions of super-modernity, to some, or a second stage in postmodernity to others: a place of passage, a wandering through realities and eras, where borders, not tightly upheld, come to fade naturally-bereft of the support of ideology, theory and even matter. The airtight compartments that seal off fields of research make no sense on the virtual plane. In Les Immatériaux, different sites embody different contexts. The same now happens when we browse the internet, looking at site after site. Favoring what can be sensed rather than what can merely be seen (this is a fundamental operation), the goal is to achieve total involvement, engagement with the multiple senses of the human. Les Immatériaux is above all a course in reflection in perception. As Martine Moinot would have it: "(...) la mise en espace, repose sur l'idée de 'parcours' réflexifs / perceptifs, qui se déplacent de questions en questions, et non pas d'objets en objets proposés comme des références. La perception dans le parcours de l'expo ne doit pas fonctionner uniquement sur le visible, mais plus largement sur le sensible."

Seit Anbruch des neuen Jahrhunderts dient global Museums-Branding politischen und wirtschaftlichen Interessen. Mal durch Art-Washing wie in Shanghai, wo die hastige Eröffnung des Pompidou-Outpost von Emmanuel Macrons Atom-Deal mit Onaro ablenkte - ein Unternehmen, das »arte« die »Zeitbombe der französischen Uranindustrie« nennt. Dann wieder durch Art-Gentrifizierung wie in Brüssel, ...

Cyberia in Paris was a big deal. As the centre of contemporary art and communications in France, Centre Pompidou wanted to be ahead of the game in the new age of Information Technology. In 1994 it asked Cyberia which had been set up the previous year by Eva Pascoe and Gené Teare as the first Internet Café to set up shop right in the middle of the gigantic entrance hall of this world-famous architectural landmark. When its president Francoise Barré requested a presentation, we barely had a week to come up with conceptual sketches. Eva, business partner David Rowe and I left Waterloo Station for Paris on the first Eurostar. On our arrival at Gare du Nord, clutching some drawings and an architectural model we hurried down to Beaubourg. We were greeted by Monsieur Barré who was surrounded by the heads of all the Centre's departments. Our presentation was received with great applause, and together with his staff Monsieur Barré took us to the top floor overlooking the city where we were treated to a sumptuous lunch lasting most of the afternoon. Monsieur Barré was leaning over to me: 'Fabulous design, congratulations! I just spoke to President Mitterrand on the phone who is very enthusiastic about this project. One little hitch: Would you mind, obtaining approval from our house architect?' 'You mean Renzo Piano?' 'Yes, sorry, he needs to be consulted, only a formality'. 'That will be my pleasure', I replied. Excitedly I went across the street to Renzo Piano's Workshop. He has been my idol ever since I climbed the building fence one night in 1976 on my way to London to inspect the Centre Pompidou under construction. I was taken to a big table where Renzo was finishing a crit with one of his partners. 'How can I help, young man?', the tall handsome figure turned to me with a winning smile. 'Monsieur Barré sends me, for you to approve our proposal in your fantastic entrance hall'. He pushed the specs up his nose and studied my plans, then looked at me across his glasses, slowly folding the drawings and pushing them across the table in my direction. 'And??' I enquired. The smile had almost disappeared from his face: 'No' came back his answer, short and curt, stretching out his hand to send me away. An expectant Monsieur Barré awaited me back at his office. 'I'm afraid your architect won't play ball' I reported back from the meeting. 'Merde! What do we do now?' Monsieur Barré looked at me inquisitively. After some head scratching, I put my suggestion to him: 'Why don't we play the Health & Safety card? Our intervention with Renzo's balustrades only helps prevent hot coffee spilling on visitors down below at the ticket office, it would be a big liability for the Centre.' 'Ingenious!' Monsieur Barré jumped out of his seat with a broad grin on his face. 'How quickly can you put this up? We can't wait to celebrate the opening of the first French Internet Café to the Parisian public!' Cyberia at the Centre Pompidou

63 ABSTRACT: The 1970 international competition for the Centre Beaubourg (later renamed the Centre Georges Pompidou) proposed a new cultural institution for the information age: a museum and library conceived as a giant computer. The competition brief represented this enormous cultural information processing system through a program comprising meticulously tabulated requirements, diagrams of spatial relationships, and specifications for all technical aspects of the building’s performance. At Beaubourg, rational programming was applied for the first time to an elite cultural building. This paper examines the visual and notational languages of programming used at Beaubourg to control the performance of this information machine and to model the complex exchanges upon which the new institution’s metabolic processes were based. Borrowing the conceptual frameworks, rhetoric, and notational conventions from the new discipline of systems engineering, the programming team created novel graph...

During the course of the 1960s, computers and information networks made their appearance in the public imagination. To architects on the cusp of architecture's postmodern turn, information technology offered new forms, metaphors, and techniques by which modern architecture's technological and utopian basis could be reasserted.

Con más de 120 esculturas, así como fotografías, dibujos y filmes la retrospectiva sobre Constantin Brâncuși actualmente en el Centro Pompidou de la capital francesa constituye la mayor y más relevante realizada sobre el disruptivo e independiente pionero de la escultura moderna que murió en 1957 a los 81 años dejando una huella indeleble en las artes visuales del siglo XX.
El crítico de arte, Juan Carlos Flores Zúñiga, separa la realidad del mito, en la vida, carrera, proceso y obra de Brancusi para la presente entrega en Ars Kriterion E-Zine a raíz de su mayor retrospectiva en tres décadas.

“My earliest memories are of the first steps on the moon; I belong to a generation whose obsession is with going into space... I am looking for new relationships, new displacements, a new way to engage perception at the most physical level.”

This essay is part of the catalog of the exhibition "Une Seconde d'éternité", held at Bourse de commerce | Pinault Collection (2022) and bringing together some fifteen artists whose works are generating a space-time. It proposes to trace back the story of visual artist Dominique Gonzalez-Foerster's musical project EXOTOURISME, created in collaboration with composer Julien Perez. The text written in French is followed by its translation into English.

O Museu Nacional de Arte Moderna do Centro Pompidou possui o maior acervo de arte moderna e contemporânea da Europa e o segundo do mundo. Com mais de 45.000 tiragens fotográficas e 60.000 negativos, a coleção de fotografia abrange principalmente o século 20, com foco especial na vanguarda europeia. Atento às questões contemporâneas, o departamento de fotografia tem o desafio de integrar perspectivas descentralizadas nos processos de valorização e enriquecimento do seu acervo. Através do acesso gratuito às suas exposições, a Galeria de Fotografia colabora com a popularização das obras do museu e é considerada um arrojado laboratório de pesquisas da equipe.

Damarice Amao, curadora de fotografia do museu público francês, faz parte de uma geração que pensa a fotografia na sua relação social e cultural, sem se ater exclusivamente ao discurso estilístico e formalista da imagem. Através do resgate de fotografias consideradas invisibilizadas nas coleções, ela vem trabalhando em mostras que propõem recontextualizações dessas imagens à luz de reflexões atuais. Amao conversou com a pesquisadora Marcella Marer acerca dos processos curatoriais das últimas exibições que realizou no Centro Pompidou, sobre a necessidade de fazer parcerias institucionais internacionais para ampliar narrativas na história da fotografia e a importância de se posicionar enquanto uma mulher negra no momento de definir as problemáticas de suas exposições.

En la década de 1970, el Centro Beaubourg se erigía en el corazón de París, mientras el mercado de Les Halles era demolido, convirtiéndose la zona donde alguna vez se encontraron los pabellones de Baltard en un vacío. La institución, renombrada años más tarde Centro Pompidou, fue el fruto de un Concurso Internacional de ideas en el que el equipo de Renzo Piano y Richard Rogers resultó ganador, pero ¿qué más se puede narrar del proceso del concurso? y ¿qué puede aportar dicha narración a la historia de la arquitectura? A través de la revisión del archivo burocrático - administrativo del concurso, se propone develar las condiciones de este evento arquitectónico que fue desarrollado en la segunda mitad de la Guerra Fría. Todo ello con el propósito de comenzar a exponer cómo ciertas tensiones políticas incidieron en la cultura arquitectónica de occidente hacia el ultimo tercio del siglo XX.

Ettore Sottsass. El pensamiento mágico is an exhibition held at the Centre Pompidou in Malaga from 10 October 2023 to 25 February 2024. It features one hundred pieces selected by curators Marie-Ange Brayer and Céline Saraiva and is a scaled-down version of the major exhibition of the same name on the Italian designer held at the main venue in Paris from 13 October 2021 to 3 January 2022.

Ettore Sottsass. El pensamiento mágico es una exposición celebrada el Centre Pompidou de Málaga entre el 10 de octubre de 2023 y el 25 de febrero de 2024. Presenta cien piezas seleccionadas por las comisarias Marie-Ange Brayer y Céline Saraiva y es una versión reducida de la gran muestra homónima sobre el diseñador italiano que tuvo lugar en la sede principal en París desde el 13 de octubre de 2021 hasta el 3 de enero de 2022.

El pensamiento mágico è una mostra allestita al Centre Pompidou di Malaga dal 10 ottobre 2023 al 25 febbraio 2024. Presenta cento pezzi selezionati dalle curatrici Marie-Ange Brayer e Céline Saraiva ed è una versione ridotta della grande mostra omonima sul designer italiano che si terrà nella sede principale di Parigi dal 13 ottobre 2021 al 3 gennaio 2022.

The paper proposes to debate through a main radiography, the field of creativity applied in spatial and temporal perception of urban, landscape and architectural space. In terms of transdisciplinary field, it is possible to integrate the related sciences of a field, in another field of science or art, and make a hybrid, a border between sciences and art, between different areas of specialty, with certain creative valences in the basic field. Creativity in the urban-landscape landscape is based on the sensitive reading of space and landscape, passed through the own and different perception of urban actors (specialists in the basic and related fields, people of different ages, tourists, public administration, politicians, users, etc.) The paper starts comparing form and history on hand of traditional or modern approaches in the 20th century. This is the outgoing point to look at different typologies in architecture beyond function, and the best example of architecture beyond function are the monuments. On the other hand, the different developments in the 20th century were influenced by technology. Iron and steel in architecture introduced engineering, and Le Corbusier industrial thinking to architecture. Industry also shaped cities, as the ideal city of Chaux shows. Returning to architecture beyond function, new technology made possible the new architecture of the museum, which brings memory of other functions, for example at Centre Pompidou. And today the memorials of the traumatic events of the 20th century, man-made or environmental, can be seen as a result of these considerations of presenting the unrepresentable.

Yer aşkının platonik boyutu üzerine kartografik bir ön anlatı kurma amacıyla, yarısı COVID-19 küresel salgınında geçen üç mevsimlik New York kent deneyimi üzerinden bir panorama sunan yazar; mekân-beden ilişkisi, şehirdeki kapital ve sınıf mücadelesi, Manhattan-Brooklyn hattı, kriz zamanının heterarşik örüntüleri ve #BlackLivesMatter hareketi arasında dolaşan, samimi bir aktarımda bulunuyor.

Intelligence artificielle : deux mots qui pendent à toutes les lèvres et secouent le monde de l’art. La machine serait-elle devenue capable d’égaler l’artiste ? Loin des polémiques du moment, nous tenterons de situer l’art créé par IA, non comme une rupture dans l’histoire de l’art, mais dans la continuité d’un ensemble de pratiques et de théories qui, depuis le XXe siècle, tendent à recomposer le statut de l’œuvre d’art et à redéfinir les relations artistes-machines. Depuis les premières machines à dessiner de Harold Cohen jusqu’aux algorithmes de génération d’images les plus avancés, nous envisagerons l’art créé par IA sous le prisme de la coopération plutôt que sous celui de la compétition. Comment l’IA change-t-elle la manière dont les artistes créent leurs œuvres ? Quelles nouvelles formes visuelles l’IA permet-elle d’inventer ? Quels nouveaux modes de relation se dessinent entre artistes et machines ?

Première exposition dont le commissariat est confié à un philosophe, Les Immatériaux s’est tenue du 28 mars au 15 juillet 1985 au dernier étage du Centre Georges-Pompidou. Si celle-ci est très souvent associée au seul nom de Jean-François Lyotard, le projet de départ concernant une exposition sur les nouveaux matériaux au Centre Pompidou date de 1980. Sous l’impulsion des ministères de l’Industrie et de la Culture, il est alors décidé que le Centre de Création Industrielle (CCI) organise une manifestation internationale sur la création industrielle. Raymond Guidot, historien du design et commissaire d’expositions au CCI, rédige ainsi un premier projet d’exposition en août 1981 qu’il intitule « Matériaux nouveaux et création ». À l’arrivée de Paul Blanquart à la direction du CCI en 1982, Thierry Chaput, jeune commissaire d’expositions au CCI, reprend le projet et rédige en avril 1983 un second texte titré « La Matière dans tous ses états » faisant la synthèse de toutes les recherches réalisées avec son équipe. Fort de la résonance qu’a eu La condition postmoderne en France, Lyotard est pressenti fin mai 1983 pour prendre la direction intellectuelle de l’exposition afin de lui donner une plus grande ampleur mais également un appareil conceptuel et philosophique.
Dans ce texte, il s’agit de montrer comment, à partir de l’arrivée de Lyotard, le projet dépasse celui d’une simple exposition pour prendre également les atours d’un exercice philosophique.

O presente artigo objetiva apresentar uma reflexão sobre o corpo na arte a partir da criação efêmera articulada à sua exposição como método. Esta proposta visa participar ao processo de contrução de um caminho inter(artes) para a ecologia de saberes. Procurando compreender e definir o corpo do performer, esse texto desenvolve uma análise de distintas criações a qual articula o artista, a obra no contexto de sua exposição atual e o público. Enfim, esse artigo apresenta uma proposta de método de leitura crítico-ativo da criação efêmera propondo como momentos de reflexão sobre o corpo na sua qualidade de corpo-fronteira, ausência e presença, corpo post-performance, mas também inserido no contexto do virtual.

ABSTRACT-The body in the ephemeral creation: which body in exhibition?-This article presents a reflection on the body in Visual Art as a method which connects ephemeral art its exhibition. This proposal creates an inter(arts) path and contributes to the construction of an ecology of knowledge. Trying to understand and to define the body of the performer, this paper analyses different creations thus articulates the artist, the artwork within the context of its current exhibition and the audience. Finally, this article proposes a critical-active reading method for understanding ephemeral creation from a reflection: of the body-border; of absence and presence; of the body post-performance; and also of the body in the virtual context.

Exposition au Centre Pompidou, Paris, puis au musée Fabre, Montpellier, 12 juillet-5 novembre 2023

Texte en anglais : https://www.academia.edu/108599795/_Fencing_doesnt_mean_war_contribution_to_the_catalog_of_the_Germaine_Richier_exhibition_Centre_Pompidou_Paris_2023

The PHASE project is a research project devoted to the study and the realization of systems of multi-modal interaction for generation, handling and control of sound and music. Supported by the network RIAM (Recherche et Innovation en Audiovisuel et Multimédia), it was carried out by the CEA-LIST for haptic research, Haption for the realization of the haptic device, Ondim for integration and visual realization and Ircam for research and realization about sound, music and the metaphors for interaction. The integration of the three modalities offers completely innovative capacities for interaction. The objectives are scientific, cultural and educational. Finally, an additional objective was to test such a prototype system, including its haptic arm, in real conditions for general public and over a long duration in order to measure its solidity, its reliability and its interest for users. Thus, during the last three months of the project, a demonstrator was presented and evaluated in a museum in Paris, in the form of an interactive installation offering the public a musical game. Different from a video game, the aim is not to animate the pixels on the screen but to play music and to incite musical awareness.

The concourses are the central reception and orientation place with reception points, travel agents, banks etc. along the pedestrian streets. These spaces offer rich possibilities for display and information communication. 6.2 Al: As described A2: The children's areas are extensions of the entrance concourses. A3: These are directly above the concourses via the central elevators. A4: As for A3. In addition there are reception points at the restaurant level. Bl: One floor directly above the upper concourse. B2: Directly off the lower concourse. B3: From the upper concourse via the Museum or children's reception area. B4: From the upper concourse via a direct walkway through the museum. B5: Directly off.the lower concourse. B6: Directly off the upper concourse. B7: Directly off the upper concourse. B8: Directly off the lower concourse. B9: From either concourse level down via the central elevators. 2 plateau beaubourg tenter plateau beaubourg center I history and urban plannina of the district Technical specifcations: Headroom: approximately 5 meters for most surfaces. 3.5 meters should be planned for approximately 1/6 of the area, and 8 meters at certain points. Lighting: see Museums. Live load: see under B 3. Walls: resistant for hangings, but removable. Flooring: soundproof and resistant. plateau beaubourg (enter I architectural program 'A

This paper examines four exhibitions which had an immense impact on the historiography of the Russian avant-garde and fostered its canonisation: Paris-Moscou (Paris, 1979); The Avant-Garde in Russia, 1910-1930. New Perspectives (Los Angeles, 1980); Art of the Avant-Garde in Russia: Selections from the George Costakis Collection (New York, 1981) and The Great Utopia (New York, 1992-1993). By noting recurring curatorial patterns in the organisation of these retrospective displays, this essay demonstrates how the circulation of Russian avant-garde art in the postmodernist context was informed by the emphasis, widespread in Western institutions in those years, on the evolution of expressive means and the formal qualities of artworks, favouring non-figurative artistic outputs and amplifying individual narratives of defiance and martyrdom. Moreover, the study contextualises this circulation within broader cultural processes.

This short piece was 'Highly Commended' by the jury in the Writing as an Architectural Medium category of the 2022 Architecture Foundation Writing Prize. This category was sponsored by the Jenks Foundation: https://www.jencksfoundation.org/architecture-foundation-writing-prize-2022.

2003 ‘The charm of Foreign parts’, Asian Art Archive Newsletter, 28 August 2003,

I spent a few weeks in Europe this June going to the Venice Biennale the Basel Art Fair, and the opening of the Alors la Chine? exhibition of contemporary Chinese art at the Centre Georges Pompidou in Paris. This caused me to reflect a bit further on the role contemporary Asian art in world art discourses and what this might mean for redefining modernity in art as such. I have written some reviews which will appear elsewhere so this is a kind of overview. By the way, unlike some curators, I think the modern comprises the contemporary which is thus sited in history, and not the other way around. Of course that history can be plural. If modern and contemporary Asian art is a set discourses which goes beyond, travels between, or is found in common between different Asian state-units-in which grouping I for one include Australia-then there does seem to be a range of strategies for circulating art works within and outside this grouping. Type One is the entry into the power centres, chiefly the Euramerican Biennales like Venice, or the art markets like Basel. Another strategy attempts to position parts of this grouping in Euramerica, like Traditions, Tensions, in New York in 1996. Some contemporary Asian art may even be included, under a flag of convenience as it were, in attempted inversions of hierarchy from an internal Euramerican problematic such as The Other Story in London in 1987. In addition, there is always room for the statefocussed retrospective of recent art such as the various Korean shows overseas in the 1980s introducing the Seoul School, or much of the positioning of the so-called 'unofficial' Chinese art in the 1990s, as well as recent Chinese state support for exhibitions like Living in Time in Berlin 2001 or this year's Alors, la Chine? All of this art makes a claim for membership of the great club of modernism, and demands acceptance of its masterworks in side those monuments. Type Two, in parallel, and sometimes counter to this move into Euramerica, is the attempt to make Euramerica come to Asia, by the founding of Biennales and Triennales which position Asian art on a world stage sited in Asia. Kwanju and Yokoahama belong to this type. Type Three, alongside is the attempt to make a Biennale or Triennale which redefines and brings into contact Asian or sometimes Asia-Pacific art as in Brisbane from within, without invitation of the grand names from Soho if their bearers cannot be identified as 'Asian'. Types Two and Three are slightly disingenuous in practice, however grand their principles, because they are at least partly intended to make Euramerica pay attention to Asia, and to 'our' contemporary art being the equal of 'theirs'. Transparently many of the Asian Biennales and Triennales are outwardly directed in this way. Fukuoka, which unfortunately I have been unable to see, has been the bravest in continuing to expand its definition of Asia-although unfortunately not far enough South to include Australia. It is also, like Brisbane, trying to extend the definition of art practice out into the street and include many artefacts which are the subject popular or mass aesthetic appreciation which do not fit into a Euramerican derived 'fine art object' category.

2003 50th Venice Biennale

The vernissage days at Venice in 2003 opened in torrid heat, and a very large crowd of art people, about 50% of whom would appear to have been dependencies of curators and art press, and not, mainly, people interested in contemporary art save as an obscure spectacular ritual or tourist event. It was all a bit like the Louvre on Saturday afternoon in spring, without the Mona Lisa, without bullet-proof glass. These were less than ideal conditions for viewing art let alone engaging in the 'collaboration' curatorially envisaged in two sub-exhibitions Zones of Urgency and Utopia Station.

2003 ‘Alors, la Chine?’, Artlink, vol 23, no 4

This was a major exhibition of contemporary Chinese art at the Centre Georges Pompidou, Paris from 25th June to 13th October 2003.

When, on July 19, 1971, Jean Prouvé and Robert Bordaz unveiled the competition-winning design for the Centre Beaubourg in Paris, now known as the Centre national d’art et de culture Georges Pompidou, press and public reaction was harsh. The project architects, Renzo Piano, Richard Rogers, and Gianfranco Franchini, were considered “unknowns”; its initiators, the engineers of the firm Ove Arup & Partners, were simply forgotten; the original idea of a “Live Centre of Information,” with its sequences of flexible platforms suspended over an open-air plaza for the crowd, was misrepresented and reduced to the image of a “metallic dam” dropped in the heart of Paris; the jury, which featured figures of the caliber of Prouvé, Oscar Niemeyer, and Willem Sandberg, was believed to have been dominated by the charismatic Philip Johnson; the competition’s promoter, President Georges Pompidou of France, was believed to be unaware of the jury’s selection and forced unwillingly to accept a winner he didn’t support.
Fifty years after those events, through the tool of the chronicle and recourse to all available documentary sources and dozens of testimonies, it is time to debunk these myths and trace the genealogy of this famous and still controversial work: from President Pompidou’s original idea of a monument to reinvigorate French architecture in the international debate to the complex origins of a project in which the aspirations and avant-garde impulses of architects and engineers delicately coexisted, to the reconstruction of the complex political plots and ideological visions that lurked behind the jury’s deliberations.

The book features a preface by Laurent Le Bon, president of the Centre national d’art et de culture Georges Pompidou, an introduction by Roberto Gargiani, Professor Emeritus at the École polytechnique fédérale de Lausanne-EPFL, and a previously unpublished interview by Boris Hamzeian with Renzo Piano

In the summer of 1971, Ove Arup & Partners and Piano+Rogers Architects presented to the French government what they called a "3-dimensional wall" as part of their project bid for the Centre National d'Art et de Culture Georges Pompidou in Paris. This would resolve structural and expressive questions and unite three elements in a spatial sequence. The architects imagined the 3-dimensional wall as a 3D sequence of screens that would create original and interactive effects. The engineers saw it as a structure that, described as "brut," aspired to become a manifesto for a new metal structure in cast steel. Through recourse to a systematic analysis of published and unpublished sources and of interviews with the architects, engineers and administrators involved in the project, this paper reconstructs the evolution of the Centre Pompidou's 3-dimensional wall from its initial conception to the gradual loss of its original layered structure.

Ricardo Rocha writes about the German-Brazilian architect Hartmut Thimel. Forgotten by canonical historiography, he worked with Georges Candilis, Yona Friedman, and later with Oscar Niemeyer. His work is a bridge between 1970s Brazil, addressing the international avant-garde - Team X, Metabolism, Spatial Urbanism, and Prospective, among others.

El acceso es clave en las obras arquitectónicas destinadas al arte contemporáneo. Para revisar el acceso, se propone una metodología basada en seis puntos: entorno, fachada, plano-suelo, plano-cielo, entrada y vestíbulo, donde, por medio de un corpus de imágenes y textos, se analizan siete obras de París: Pompidou, Fondation-Cartier, Le-Plateau, MACVAL, Centquatre, Palais-de-Tokyo y Fondation-Louis-Vuitton. Finalmente se sintetizan aspectos clave que pueden contribuir al análisis, proyectación y remodelación de obras arquitectónicas que cobijan arte contemporáneo: museos, centros de arte y centros culturales, entre otros. Así, se pone de manifiesto el potencial de este pequeño método de análisis que puede ser utilizado para otros casos de estudio, debido a la relevancia de los puntos propuestos en su vinculación con la ciudad, el barrio y visitantes, además de sus propias relaciones abiertas a distintas posibilidades que requieren de una constante reflexión e investigación que poten...

"Voyages en utopie" - Jean-Luc Godard, 1946-2006 " 11 May - 14 August 2006, Centre Pompidou, Paris. Review by Matthieu Laurette." Frieze (London), no.102 (October 2006): 257-258. --- "Like an X-rated film, the much anticipated and controversial ‘Godard show’ began with a series of disclaimers. An official sign posted near the escalators read ‘not suitable for all audiences’. Museum attendants warned parents with kids not to take them into the final room (‘Beware there is a TV screen showing porn on a kitchen table!’). And finally, pasted on the entrance wall, instead of the usual vinyl lettering, an enlarged photocopy of what seemed to be a draft press release announced, ‘The Pompidou Centre decided not to carry out the exhibition project entitled “Collage(s) de France. Archaeology of the Cinema”, because of artistic, technical and financial difficulties that it presented, and to replace it by another project entitled “Travel(s) in Utopia, JLG, 1946–2006, In Search of Lost Theorem”.’ Jean-Luc Godard – initials JLG – himself carefully crossed out the words ‘technical and financial’ from the official text (but one can, of course, still read them). The exhibition’s new title was handwritten on the photocopy in marker pen, next to a crossed-out picture of a model of the cancelled exhibition. On some shelves left in the entrance (as if an employee had forgotten to remove them before the show opened) remained the pens used by JLG.(...) After losing control, it seems Godard regained total charge of his exhibition, making this possibly the first large-scale, institutional retrospective that is officially self-curated, self-managed and embedded in an autonomous structure of decision-making – institutional critique at work."

Cilj rada je ukazati na prednosti uvođenja glazbenih igara u nastavu Solfeggia, posebice početnu nastavu Soleggia. Naime, glazbena igra u nastavi Solfeggia je izrazito važna aktivnost jer znanje stečeno igrom ostaje u dugotrajnom pamćenju, učenici su motivirani i igra uklanja monotoniju. Glazbene igre razvijaju glazbene sposobnosti učenika, tj. osjećaj za intonaciju, sposobnost uočavanja dinamike, sposobnost uočavanja tempa, osjećaj za ritam, sposobnost kretanja uz glazbu, sposobnost uočavanja glazbenog oblika, sposobnost pamćenja glazbenih cjelina, sposobnost prepoznavanja melodije i osjećaj za skupno muziciranje. Istraživanja su potvrdila da učenici kroz igru postižu bolje rezultate nego u klasičnom učenju. Igra treba biti primjerena uzrastu učenika i njihovim sposobnostima, a učitelj se brine o vremenskom trajanju igre, dinamičnosti igre i nastavnim sredstvima i pomagalima. Kroz poglavlja nastava Solfeggia, metode intonacije u nastavi Solfeggia, aktivnosti u nastavi Solfeggia, gl...