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And, to put a little more emphasis on it, we drew a swan on the photo. Much later, when we did some work for Vanessa Paradis, we used the same procedure. We infused her with things that the human eye cannot see. And there was that Balenciaga ad, with the decapitated head of Christy Turlington set on a kind of Dali-esque tripod. During this meeting at question a poser rencontre internet Vogue the editor-in-chief, thumbing through the magazine, looked as us somewhat taken aback and asked: For us that logically entails a more pictorial kind of work. When you did the ones for Liam Gillick and Rirkrit Tiravanija, you brought them out of a plastic vocabulary that they had no notion of at the time.

Some artists have put up resistance. The print run was never specified, either. The anti-speculative way of doing things, the impossibility of speculation, made things too complicated, in a way, for artists and for the art system. Those works are still available, which makes for a pretty difficult project from the conceptual point of view. We continue to make posters together, and the posters have gone very far in confronting our respective languages. We teach each other formal lessons. She gets inspired and ends up repainting film posters herself. There was an exhibition that lasted an entire night, during which lyric artists sang before masterworks of modern art while dressed in Prada to resemble the characters in the modern art.

So we made him a poster, a handkerchief, because people were going to cry, and an opera libretto. For your friends the photographers Inez and Vinoodh, for the Palais de Tokyo, etc. This is yet another side to your approach: To assert our grammar and language it is of course better for us to draw our own typefaces, even if we do on occasion use others. This instinctively became the only way for us to be of our time, to live in our time.

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Our starting point was graphic design, which has a short and rather codified history. Especially since the s, the modern era. Our purpose is to return to the simplest exercise, to the letter, to the ABCs of communication. We seek to return to the abstract stroke, which signifies a sound, a letter, a word. That would pose a moral Site rencontre gratuit non payant pau for us. Could you go into detail? But using it as a style, while obliterating the underlying ideology? In the same way, drawing is a counterpoint to the mute ideology of signs. We try to be neither modern nor postmodern, in order to avoid categories and quotations. For example, a very good illustration of the meaning of our typefaces is when Nicolas Bourriaud did an exhibition called rencontre avec demi lovato Altermodern.

The posters for rencontres talmont saint hilaire Altermodern marked the first time we reused our typefaces, as if quoting ourselves. We did the same thing for this project, because it seemed to us the best way to illustrate our position, to assert that we were neither modern nor postmodern but alter-modern. What is exhibition in your view? Our generation, that is, has hopped on the moving train of exhibition history. At least for the kind of event where the exhibition is as important as the works on display. To illustrate this history, we might cite the Duchamp exhibition where he ran some lines and strung up bags of coal all over the place. In other words, if you take a micro or a macro view of it, the exhibition remains a place shot through with the utterance of an idea or a feeling.

That has been our approach from the start, except that, in order to stay within the idea of a repositioning, we were already thinking that our projects, on a worldwide scale, should in themselves be exhibitions, especially because they always have a sort of utopian value. In fact, people are always asking us: And both he and we have gotten our ego and territorial problems under control, in the sense that we all know who we are. He asked us because, as he clearly said: In the end it speaks neither about him nor about us, but becomes an autonomous thing, whose objective is to reactivate a taste for Italian television from to Because Italian television is a place for cultural, plastic, and political experimentation.

We think it was an extremely successful project, and in dreaming up the forthcoming second volume of the book that covers all our work we thought that an interview with Francesco would be necessary, because the model for collaboration that developed in the s and s has gone defunct over the course of things. Paradoxically, this has happened with someone whose terrain, history, and concerns are pretty much diametrically opposed to it. The opera recherche site rencontres serieux gratuit Il Tempo del Postino highlighted the failure of collaboration. Yet les rencontres de la baule Il Tempo del Postino sort of forced us to realize that the history of collaboration between artists of our generation had reached its end.

Because time has gradually shown the reverse to be true: Journal of Laws ofitemas amended. Each user is obliged to respect copyrights under the pain of civil and criminal liability resulting from the provisions of this Act. The content of this website may be used by users only in the scope of fair personal use. The user cannot post any unlawful content on the site. ADO enables contact via e-mail: Collecting and processing your personal data takes place for the following purposes: Providing data is voluntary or necessary to achieve the objectives listed in point 3. If we fail to provide the data, we will not be able to conclude and perform the agreements or to complete other activities listed in point 3.

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