Some exploration into functional and utopian boundaries
AESTHETICS OF THE GEOPOLITICAL WALL
ESTHÉTIQUE DU MUR GÉOPOLITIQUE (French version available, Release on November 2015) ISBN 978-2-7605-4360-7
Publisher: Presses de l'Université du Québec, Collection Enjeux Contemporains edited by Élisabeth Vallet and Charles-Philippe David, Raoul Dandurand Chair of Strategic and Diplomatic Studies, at University of Quebec in Montreal, Canada.
Foreword by Élisabeth Vallet, Scientific Director, Raoul Dandurand Chair of Strategic and Diplomatic Studies, at University of Quebec in Montreal, Canada.
Through the eyes of a hundred artists: an historical and contemporary journey along the Border Wall Aesthetics.
Years after the fall of the Berlin Wall, at a time of globalization and free trade, some fifty walls are still in existence in the world, especially around the territory of Israel and the border of Mexico and the United States, where a barrier runs for approximately 500 km. If the justifications set out by states are multiple - illegal immigration, terrorism, smuggling, etc. - the erection of a separation barrier seems once again to embrace the age-old formula of rejection of the other-foreigner and transgresses the principle of universality. Its archaic materiality conflicts with the image of a post-modern and technological world, the wall crystallizes a malaise which must be elucidated by art. Its visibility and sensationalism essentially become an advertisement for a geopolitical event which artists choose to engage with.
If the wall is circumstantially ephemeral, what interests the artists? Is it its metamorphoses or its spatio-temporal framework? The author of this book compares three walls - the Berlin Wall, the separation barrier between Israel and the Palestinian Authority and the secure border between Mexico and the United States - according to their aesthetic developed by three leading artists: Joseph Beuys, Banksy and Frida Kahlo. The study of context, alongside geopolitical stakes and objectives with regard to each separation barrier, accounts for the faults and the failures of an a priori well-oiled system. Because if the wall generally refers to the idea of being at home and being protected, it can also mean isolation, whether intentional or not. It is the physical and symbolic structure of the prison dynamic.
THE WALL IN CONTEMPORARY ART : PHENOMENOLOGICAL AND GEOPOLITICAL STUDY
PhD of Philosophy, 2009 - 2013,
In the 21st century our image of a globalized world seems a priori paradoxical to the heavy increase in barriers designed to create or maintain divisions. We will focus on the artistic interpretation resulting from this paradox in the context of geopolitics, history and social situation. How and why the Wall should make think the artists? In a first step, historical development broadly reports the features and contexts of our phenomenal object. Then, effective phenomenology mainly refers to the Berlin Wall; this for an eventual metaphor to the two others studied objects-walls: the one located in Israel and Palestine, the other located between Mexico and the United States. Understanding of the Real is qualified by the sovereignty of States, understanding of the Symbolic via territory and cultural identity, and the realm of the Imaginary by the relationship with others and with oneself. The confrontation to the border (limologie) related to the strategy of the wall (teichos), would reveal an imbalance of principles of universality. Eventually, globalization as an exchange of interests is the one that would promote the existence of the object-wall; and a hyperreal perception of the object would be more the result from artists foreign to the phenomenon.
THE SUN, THE MOON AND THE STARS... THE "MOVIDA MADRILEÑA" PHOTOGRAPHIC AND PICTORIAL EXPRESSIONSMaster 2 Art History, 2004 - 2006, passed summa cum laude
Field research of the artistic creation developed at the time of the Movida Madrilena. After the fall of the Francoist regime in 1975, Spain knew a cultural and artistic revival which was wrongly schematized as excess of all kinds. Delicates specificities of the democratic transition contrast with the most radical rupture from the Movida. The study of the sociological, political and economic context reveals the complexity and the spontaneity of a movement which is not declared as such. The capital "will be re-conquered” by a group of people thirsty for experiments and various expressions. Creation is expeditious, effective. Fashion, Music (rock'n'roll, punk, pop), figurative painting, photography and comic strip are mainly appreciated there. Almodóvar's movies are the most emblematic abroad; but the ground comes from all an underground wave, hedonist and apolitical, that we propose you to discover (again) here. A more thorough study of the visual artists (Ouka Leele, Ceesepe, El Hortelano, Las Costus) will show well the state of mind of that time.
THE ART AT AUROVILLE OR TO CREATE UTOPIA IN INDIA
This ground approach allows to discover creation in the utopian city of Auroville.
The experiment of ten artists reveals us a part of the concerns of this international community. Creative space and its architectural environment are the products of an ideal yet to develop. How do the artists interpret this permanent research and of the multicultural influences? The utopia can be understood according to the creations which revolve around it.
The development of Auroville is based on the local population; the city is thus characterized by a particular integration into the Indian medium environment. With its artisanal productions, particularly speaking, the creativity belongs to a new aesthetic variation. Born from a spiritual approach, the evolution of the concepts of the utopian city is complex and sometimes paradoxical. The ground project (led from June to September, 2003) is based on the talks with aurovillians artists. About thirty photographs, in colour and black & white, give good evidence of their activities in the city.