Edito « Un coup de dés

Un coup de dés

Every week throughout 2013, 50 contemporary centres d’art will advance a hypothesis through the online magazine uncoupdedés.net.
(“un coup de dés” means “a roll of the dice”)

The centres d’art are celebrating cultural decentralisation through this online magazine, an open chronicle linked to their respective programmes. It is an opportunity to see the diversity of approaches to art offered by d.c.a’s 50 member centres d’art: original, unusual contributions spotlighting the artistic constellation that these centres display with their programmes
throughout France.

This digital space promotes the concrete action that each centre d’art is undertaking on its own territory, but it also highlights these decentralised organisations’ shared tasks, their purpose, as well as the thought, production, support, creation and transmission network that they have been representing for the past thirty years throughout France and internationally.

Week after week on uncoupdedés.net, visitors will find diverse reflections on contemporary art. Like a throw of the dice, pages on the site appear in random order, enabling visitors to read, see or hear contributions from different personalities, figures of the world of art and culture (artists, curators, critics, philosophers, researchers, sociologists…). Every centre d’art plays its own card, in a spirit of experimentation and research, which are fundamental tasks that arise at every stage of its activity, from the production of a work to its reception.

The centres d’art closely support artistic creation by offering artists contexts that are original and in constant movement. The idea of sharing this research with all members of the public lies at the heart of the project of the centres d’art, which are, from this perspective, devising new forms of discourse and inventing new languages by means of a very dynamic editorial and mediation policy.

“Every Thought Emits a Roll of the Dice”

Artist Marcel Broodthaers considers Mallarmé the “founder of contemporary art”. He regards the score-poem A Roll of the Dice Will Never Abolish Chance as our era’s treatise on the de-hierarchisation
of art 1.

France’s centres d’art have emerged “decentralised”, most often on the impetus of a local association, of artists, and sometimes also of local authorities and the government. uncoupdedés.net approaches institutional decentralisation from the perspective of the displacement of boundaries between genres, styles and conventions, since the centres d’art are constantly finding new ways to transmit knowledge and production methods… Decentralisation is considered in its symbolic and perceptible aspects, giving preference, over notions of capital, province, periphery, city, countryside and suburb, to notions of constellations and archipelagos – so many territories and audiences that give substance to the gamble of acting under
“a new collective heaven 2”.

Notes:

  1. see. Jacques Rancière, “The Space of Words: From Mallarmé to Broodthaers”, in Porous Boundaries: Texts and Images in Twentieth-Century French Culture, Jerome Game and Dr Peter Collier (editors), Peter Lang AG, Bern, 2007, p. 41.
  2. Ibid., p. 49.
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EDITO

ORGANIZING UN COUP DE DÉS

, and lies listen to,, at the she said as a form of, while he said ? . a , .

 For the summer edition of uncoupdedés.net magazine, I have let myself be inspired by Mallarme´s dice play to shift away from a regular textual introduction. In favor of the actual produced material and the heterogonous spirit I found in the magazine, I limited myself to use what is already existing – titles and content – to produce a minimal intervention: , and lies listen to,, at the, she said, as a for of, while he said ? . a , . The economy of words deploys a visual and musical dimension of the assemblage, flames the collective effort, fulfills magical strategies, provokes memorization or, perhaps, simply incorporates the fundamental action given by this invitation: ORGANIZING UN COUP DE DÉS.

Manuela Moscoso

summer_issue

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Architecture fantôme, 2011, Berdaguer & Péjus

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Poinçon, Nicolas Floc’h, exposition à la verrerie de la Rochère, 2012. Production : centre d’art Le Pavé Dans La Mare. Mécénat : verrerie de La Rochère

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Keith Sonnier, Saule pleureur de la série : Blatt, 1999 FNAC 03-044. Dépôt du Cnap - EAC, Donation Albers-Honegger © Yves Chenot pour Adagp

The Innocents © Dora Garcia

Power No Power, by Claudio Zulian, Aulnay-sous-Bois, France, 2013

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La couleur ne brûle pas Elisa Pône & Stéphane Thidet film Super 8 / 2'20 / 2012 co-produit par le Centre d'Art Bastille, Grenoble. Photographie: Stéphane Thidet

vue de l'exposition The Die is Cast, Ryan Gander, 26/06 - 18/10/2009 - J. Brasille/Villa Arson

David Evrard, Spirit of Ecstasy, BLACKJACK éditions et KOMPLOT, 2012

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Alain Bernardini, 'L’origine. Recadrée. Porte-Image, Guillaume, Chantier Giraud BTP, Borderouge Nord, Toulouse 2013', production BBB centre d’art /  commande publique photographique – CNAP

'Bonjour tristesse, désir, ennui, appétit, plaisir' Vue de l’exposition à La Galerie, Centre d’art contemporain de Noisy-le-Sec, Photo © Cédrick Eymenier, 2013

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ABOUT

Bolstered by its success and visibility, uncoupdedés.net is restarting and subjecting existing content to new voices. In 2014 and 2015, several personalities from outside France will be asked to become our editorial writers for one season. Their task will be to place the contents of the whole magazine in perspective, presenting them differently through the prism of their subjectivity and their own work contexts. Catalina Lozano (Colombia), Zasha Colah (India), Moe Satt (Myanmar) and Manuela Moscoso (Brazil): each guest editor will reformulate the actions of the centres d’art, various aspects of which they will have been able to perceive through the magazine. Each editor-in-chief will “roll off” a cross-cutting text, presenting an original re-examination of the resolutely fluid geography of the centres d’art. uncoupdedés.net repeats the challenge from the poet Mallarmé, resurrected in the cinematographic art of Jean-Marie Straub and Danièle Huillet (Every Revolution is a Roll of the Dice, 1977). The guest editors, coming from a variety of disciplines, will widen the circle of expression even more. Choral and fragmentary, uncoupdedés.net takes just as much after puzzles as it does after memories, and naturally calls for cut-outs of every kind…

MANUELA MOSCOSO

 

(Sao Paulo, Brazil)

Manuela Moscoso is a Brazil-based curator. Recently she has curated 12 Bienal de Cuenca, Ecuador; Yael Davis in the Museo de Arte do Rio Brazil; Fisicisimos, Universidad Torcuato di Tella,The Queens Biennale in the Queens Museum New York; or Before Everything in CA2M (Madrid). Together with Sarah Demeuse is Rivet, a curatorial office investigating notions of deployment, circulation, exercise, and resonance. Their research has materialized in projects in Spain, Norway, Lebanon and the US. Manuela Moscoso holds an MA from Center for Curatorial Studies at Bard College.