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See detailArt public : entre pratiques sauvages et commandes officielles
Hagelstein, Maud ULg

Conference given outside the academic context (2011)

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See detailArt public : entre pratiques sauvages et commandes officielles
Hagelstein, Maud ULg

in Cahiers Nouveaux (Les) (2012), 81

L’expression «art public» désigne l’ensemble des oeuvres d’art qui ont été commandées, planifiées et exécutées en vue d’être placées dans un espace public. Partant de cette définition sommaire, on ... [more ▼]

L’expression «art public» désigne l’ensemble des oeuvres d’art qui ont été commandées, planifiées et exécutées en vue d’être placées dans un espace public. Partant de cette définition sommaire, on pourrait être tenté d’établir une différence entre un art public de commande et un art public plus sauvage : d’un côté, une instance publique souhaite qu’un artiste produise une oeuvre reflétant l’état d’esprit d’un environnement urbain donné et de ses habitants ; de l’autre, les artistes font des percées intempestives dans le paysage visuel de la ville – et ce, sans qu’on leur ait rien demandé. Cette distinction servirait une stratégie sans doute grossière visant à séparer au sein de l’espace public art de convenance et art subversif. Là où les uns essaieraient de rencontrer les goûts normés du citoyen moyen, les autres prendraient au contraire le risque de la désapprobation en déstabilisant les codes en vigueur et les normes esthétiques. Mais cette opposition entre art de convenance et art subversif constitue probablement un cliché grotesque. Aussi adoptera-t-on un point de vue plus fécond en montrant plutôt les contiguïtés entre l’art de commande et de l’art sauvage. Dans un cas comme dans l’autre, dès que les oeuvres d’art sont publiques, elles posent des problèmes spécifiques. Quels que soient les objectifs qui l’animent, dès qu’il franchit les murs de l’institution, du musée ou de la galerie, l’artiste prend un risque considérable. Et au fond, que sa proposition artistique soit autorisée ou illégale, d’un certain point de vue, le risque demeure. C’est ce qu’il s’agira ici d’identifier. [less ▲]

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See detailL'art public à Liège de 1830 à nos jours
Duchesne, Jean-Patrick ULg

in Actes du colloque Art public dans l'Eurégio (1997)

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See detailL'art public en Province de Liège ; L'anti-Middelheim ; Huy ; Itinéraires dans le catalogue de l'exposition Art public-lieux publics. Etat des lieux. 3. Liège
Duchesne, Jean-Patrick ULg

in Catalogue de l'exposition Art public-lieux publics. Etat des lieux. 3. Liège (1993)

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See detailL'art public
Duchesne, Jean-Patrick ULg

in Nouvelles du Patrimoine (Les) (1998), 78

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See detailL'art public. Après 1945
Duchesne, Jean-Patrick ULg

in Renardy, Christine (Ed.) Liège et l'exposition universelle de 1905 (2005)

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See detailL’art selon Akhénaton, une révolution dans la tradition et l’histoire de l’art pharaonique
Laboury, Dimitri ULg

in Chappaz, Jean-Luc; Vandenbeusch, Marie (Eds.) Akhénaton et Néfertiti. Soleil et ombres des pharaons (2008)

Detailed reference viewed: 283 (16 ULg)
See detailL'art sonore et son exposition: un modèle d'hétérogénéité?
Eloy, Céline ULg

Conference (2011, May)

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See detailThe art to talk on immigration: a state of emergency
Da Silva, Amanda Carolina ULg

Conference (2017, June 29)

This paper intend to present the results of the state of emergency project. The project started in 2014 with a simple question: how researchers that work in immigration can communicate with civil society ... [more ▼]

This paper intend to present the results of the state of emergency project. The project started in 2014 with a simple question: how researchers that work in immigration can communicate with civil society outside the traditional academic channels? It is not only a matter of popularization of academic research, but mainly brings researchers into society, far from the academic walls. The answer to this question was the art and the spaces of culture. Art, and also cultural spaces have enormous potential, its could bring together different social groups and help researchers to be in society, and making their research accessible. In the society, debates on immigration are mostly dominated by media and political representations, what is also polarizing societies between solidarity and anti-immigration movement's. Therefore, the presence of researchers to discuss the immigration issue in society has become urgent. The state of emergency project had as a bases my research, “The borders of Nord-Pas-deCalais” (2014), and brought together two dancers, two acrobats, a scene director and a plastic artist. The project started from the assumption that art is a collective production, but artistic intention started with the individual consciousness on the issue the artist is focusing. It was adopted the artistic improvisation method to develop a spectacle and other tolls. In order to incorporate research on immigration into artistic production it was necessary to present and to appropriate the artists of basic concepts, but also carry out a fieldwork, that was developed during a month at the French border (Calais city). The methodology adopted by the artists consisted in a fieldwork. The project took two years to be concluded. The result was a dance spectacle, “Dites a ma mère que je suis la”, and a hybrid form of workshop that mixes the artistic and the methods of immigration research. I contrast, I developed during the project a multi-sited ethnography whit the artists. Where the main objective was to understand which impact the scientific knowledge on the issue could produce in artist's way to see immigration, and how this new approach could change the researcher and artist productions. [less ▲]

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See detailL'art wallon en quête de légitimité
Duchesne, Jean-Patrick ULg

in Cahiers du C.A.C.E.F. (1984), 119

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See detailArt&fact
Duchesne, Jean-Patrick ULg

in Art&fact (1982), 1

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See detail« Art, cinéma, photographie »
Martiniello, Marco ULg

Scientific conference (2013, October 12)

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See detailArt, culture et créativité (à partir de l’ABCdaire de Gilles Deleuze)
Hagelstein, Maud ULg

Conference given outside the academic context (2008)

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See detailArt, Mail-art, “Médiart”
Durand, Pascal ULg

in Cyber-Flux-News (1997)

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See detailArt, musique et intégration des réfugiés. Le cas de Naples en Italie
Mazzola, Alessandro ULg

Conference given outside the academic context (2016)

Detailed reference viewed: 22 (2 ULg)
See detailArt, psychiatrie et médiation. Entre pratiques et représentations
Vandeninden, Elise ULg

Scientific conference (2009, June)

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See detailL'art-thérapie au secours de la communication. Diagnostic d'une médiation manquée
Vandeninden, Elise ULg

in Questions de Communication (2009), 15

The use of art in psychiatry currently covers numerous different practices which often reflect conflicting underlying visions. We hypothesise that they nonetheless imply a common conception of art as a ... [more ▼]

The use of art in psychiatry currently covers numerous different practices which often reflect conflicting underlying visions. We hypothesise that they nonetheless imply a common conception of art as a tool for communication. According to this perspective, creativity is attributed a role as a “ mediator ” which is capable of re-establishing contact between, for example, the mentally ill person and care personnel, or between the mental patient in the state of social alienation resulting from commitment to an institution, and “ the outside world ”. Approaching art therapy through the prism of communication opens up a new line of research, but more importantly it entails an examination of art therapy’s foundations, and in doing so calls it into question. [less ▲]

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See detailArt. 49-63 L. hyp. [des garanties à fournir par les tuteurs dans l'intérêt des mineurs et des interdits]
Berthe, Aude ULg; Boncquet, J.

in Privilèges et hypothèques. Commentaire avec aperçu de jurisprudence et de doctrine (2008)

Detailed reference viewed: 64 (9 ULg)
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See detailArt. Liège et la Guerre de Cent Ans
Marchandisse, Alain ULg

in Moeglin, Jean-Marie (Ed.) Dictionnaire Guerre de Cent Ans (in press)

Detailed reference viewed: 90 (2 ULg)