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Numéro 94, octobre-novembre-décembre 2011, janvier 2012, p. 44-49

Nudité

Direction : Isabelle Lelarge (directrice) et Céline Pereira (directrice adjointe)

Rédaction : Isabelle Lelarge (rédactrice en chef)

Éditeur : Revue d'art contemporain ETC

ISSN : 0835-7641 (imprimé)  1923-3205 (numérique)

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Grégory Chatonsky: Capturing ImpermanenceGrégory Chatonsky (ed.), Capture. Orléans: Éditions HYX, 2010, ISBN: 978-2-910385-65-1, 194 pages, hardcover

Pau Waelder

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Grégory Grégory Chatonsky: Capturing Impermanence Grégory Chatonsky (ed.), Capture. Orléans: Éditions HYX, 2010, ISBN: 978-2-910385-65-1, 194 pages, hardcover. For more than a decade, Grégory Chatonsky (Paris, 1971)1 has explored the relationships between technology and affectivity, as well as the new forms of fiction, in theory and practice. His background in multimedia and philosophy has provided him with the knowledge of programming languages and production tools, as well as the need to question both the nature and the semiotics of new media. An early adopter of the creative possibilities brought by the Internet, he founded the net art collective incident.net 2 in 1994, and has since produced a large amount of works at the rather unusual rate of about five to twenty projects per year. Given this prolificacy, the publication of a book devoted to Chatonsky’s career is more than justified, and at the same time the task of analyzing his work is quite imposing. Probably for this reason, the artist decided to collaborate with five authors, each of whom has been assigned a specific part of the book. The volume thus is divided into four main chapters (Dislocation, Flußgeist, Variation and Variables, Fiction) and a foreword, establishing a thematic—instead of chronological—order that underlines the coherence in Chatonsky’s artistic practice. Despite having developed an interesting theoretical reflection on his own work, which can be found in his blog entries,3 the artist does not contribute in writing to this book beyond the consciously neutral descriptions of the artworks, which have been extracted from his website. Even so, the selection of the main subjects into which this volume (hence, the reading of his work) is divided, as well as the distribution of the 74 featured artworks into several sub-categories give shape to Chatonsky’s personal statement. By avoiding a chronological order, the artist also asserts the transience of his artistic practice, its...

Auteur : Pau Waelder
Titre : Grégory Chatonsky: Capturing Impermanence
Ouvrage recensé : Grégory Chatonsky (ed.), Capture. Orléans: Éditions HYX, 2010, ISBN: 978-2-910385-65-1, 194 pages, hardcover
Revue : ETC, Numéro 94, octobre-novembre-décembre 2011, janvier 2012, p. 44-49
URI : http://id.erudit.org/iderudit/65179ac

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