Le mot ‘camérer’ apparaît sous sa plume en 1977, comme une alternative à ‘filmer’. Sous sa forme infinitive, il privilégie la primauté du processus sur la visée de l’objet-film (camérer / camerrer).
What can we know about ourselves and the world through the sense of touch and what are the epistemic limits of touch? Scepticism claims that there is always something that slips through the epistemologist's grasp.
Beverly Buchanan's Marsh Ruins (1981) are large, solid mounds of cement and shell-based tabby concrete, yet their presence has always been elusive.
The strange brotherhood between art fairs and biennials, and other recurrent or mega exhibitions, continues to arose criticism but little attention in academic literature, despite the importance of such exhibition formats in the life cycle of art, artists, and anyone entering the art world.
Same old offers a rethinking of positions that have defined queer theory since its inception in the early 1990s. Steeped in philosophical and political commitments to 'difference', queer theoretical frameworks have tended to assume that ideas related to 'sameness' only thwart and stymie queer forms of life.