Résumé : Early 20th century: collage, montage and readymade at the birth of modern culture -- The post-war: cut, copy and quotation in the age of mass media -- Late 20th century: splicing, sampling and the street in the age of appropriation -- The digital age: hacking, remix and the archive in the age of post-production.. Sommaire : EARLY 20TH CENTURY: Collage, Montage and Readymade at the Birth of Modern Culture : In Defiance of Painting: Cubism, Futurism, and the Invention of Collage, Christine Poggi / Merz and Mashup, Isabel Schulz / A Few Words on Photomontage, Hannah Höch / Mechanics and Expression: Franz Roh and the New Vision—A Historical Sketch, Inka Graeve Ingelmann / Luigi Russolo and the Intonarumori, Rob Stone / Apropos of “Readymades”, Marcel Duchamp / The Strangeness of Cornell’s Rose Hobart, Dawn Ades - THE POST-WAR: Cut, Copy and Quotation in the Age of Mass Media : This is Tomorrow: The Thing Itself, Bruce Grenville / Andy Warhol’s Brutal Assemblage, Nicholas Chambers / You are the Disc Jockey, Helen Hsu with David White / Society of the Spectacle, Guy Debord / Jacques Villeglé’s Decollage: Modernity Torn Apart, Patrik Andersson / Jean-Luc Godard's Pierrot le Fou: Cinema as Collage against Painting, Angela Dalle Vacche / Cutting Room Scraps: The Films of Arthur Lipsett, Amelia Does / Joyce Wieland’s Corrective Films, Bruce Grenville / The Mondial Festival Presents, Peter Lang / Achille and Pier Giacomo Castiglioni and the Ready-made Object, Bruce Grenville / The Richness of the Parts: The Gehry Residence, Fiona Ragheb / The Invention of the Supercut, Stephanie Rebick / Vidding: The Art of Flow, Francesca Coppa / Scratch the Super Ape: An Embodiment of Dub’s Mashup Culture, David Katz. - LATE 20TH CENTURY: Quotation, Sampling and the Street in the Age of Appropriation : The Discourse of Others: Feminists and Postmodernism, Craig Owens / A Message from Barbara Kruger: Empathy Can Change the World, Miwon Kwon / My Files of Movie Stills, John Baldessari / General Idea’s Poodles, Ian Thom / Drag Ball Culture: Vogueing and Realness, Tim Lawrence / Tristram Shandy: Laurence Sterne and John Baldessari, Kathy Slade / Street and Self: The Roots of Graffiti, Richard Goldstein / From Many, Into One, Paul D. Miller aka DJ Spooky That Subliminal Kid / A Sensible Proposition: Tom Dixon and Creative Salvage, Gareth Williams and Nick Wright / Maison Martin Margiela: Mashup as a Strategy for Resisting Time, Kaat Debo / My Life in the Bush of Ghosts, Christopher Scoates / Scratching, Popping and Ringing: Christian Marclay’s Sound Collages, Stephanie Rebick / Totem and Taboo in the Origins of Experimental Ink Art in China, Diana Freundl / Material Re-ordering in the Sculptures of Liz Magor, Doris Salcedo and Rachel Whiteread, Daina Augaitis / Prototypes for New Understandings, Daina Augaitis / My Boyfriend Came Back from the War, Olia Lialina / Postproduction: Culture as Screenplay: How Art Reprograms the World, Nicolas Bourriaud / Bigness or the Problem of Large, Rem Koolhaas / Great Artists Steal, They Don’t Do Homages, Lisa Coulthard- THE DIGITAL AGE: Hacking, Remix and the Archive in the Age of Post-Production : The Answer is Yes, Shelley Jackson / Stan Douglas: Narrative and Recombinance, Bruce Grenville / MVRDV’s Glass Farm: Building as Photograph, Bruce Grenville / Be Water: Hito Steyerl’s Liquidity Inc., Melanie O’Brian / Cory Arcangel’s Readymades, Stephanie Rebick / The Mysterious Gesture: Elizabeth Price’s Interdisciplinary Mashup, Stephanie Rebick / Loops of Perception: Sampling, Memory, and the Semantic Web, Stephanie Rebick / Machinimas: A Selection, Isabelle Arvers / H5: Culture Jamming and the Logos of Consumption, Bruce Grenville / redwhiteblue: anothermountainman, Tina Yee-wan Pang / Anonymous Unarchive, Amber Frid-Jimenez / Art vs Design & Design vs Art, Todd Falkowsky / 1000 Words: Ellen Gallagher, Suzanne P. Hudson with Ellen Gallagher / Isa Genzken Says “Fuck the Bauhaus!”, Michael Darling / Ujino: Bachelor Machines, Bruce Grenville / Recovered and Re-arranged: Geoffrey Farmer, Daina Augaitis / Past Forward: The Presence of Art History in the Work of Elizabeth Zvonar, Diana Freundl / Valérie Blass: My Life, Kim Nguyen / Haegue Yang, Daina Augaitis / Oliver Laric’s Versions, Stephanie Rebick / A New Digital Materiality, Stephanie Rebick / BIG: Yes is More, Bruce Grenville / Found MUJI: Super Normal Design, Bruce Grenville.
Résumé : L’appropriation est un phénomène à double face : négatif, quand il est un moyen de s’accaparer des biens, des territoires, des pouvoirs, mais positif, quand il est un processus de recyclage qui réactualise ce qui a été oublié. Dans les années 1960, les artistes s’approprient des objets usuels qu’ils transforment, révélant la puissance inventive du quotidien. Dans le domaine architectural et urbain, durant la deuxième moitié du XXe siècle, l’appropriation s’est développée contre des conceptions fonctionnalistes et autoritaires de l’espace, générant des projets collectifs qui refusaient de dissocier l’habitat de l’habiter. Au tournant du siècle, le déficit persistant de logements, la globalisation, les flux migratoires, l’urgence écologique suscitent de nouvelles pratiques appropriatives de l’espace et du temps qui sont regardées comme des pôles de résistance, ou des embryons de villes futures. D’informelle et adventice, l’appropriation devient un ressort de l’économie de la postproduction. Le recyclage relance l’activité urbaine et architecturale, qui emprunte à l’art ses procédés. L’appropriation ne connaitrait pas un tel succès si les artistes n’avaient eux-mêmes explorer et exploiter tous ses possibles, que le web démultiplie ensuite. L’internet va servir d’accélérateur aux appropriations tous azimuts et obliger les lois sur la propriété intellectuelle à s’amender (Source : page de couv. intérieure)
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