{"id":32770,"date":"2021-07-15T21:00:00","date_gmt":"2021-07-15T19:00:00","guid":{"rendered":"https:\/\/www.booksonthemove.fr\/produit\/critique-dart-n56-printemps-ete-spring-summer-2021\/"},"modified":"2021-08-02T16:35:24","modified_gmt":"2021-08-02T14:35:24","slug":"critique-dart-n56-printemps-ete-spring-summer-2021","status":"publish","type":"product","link":"https:\/\/www.booksonthemove.fr\/en\/produit\/critique-dart-n56-printemps-ete-spring-summer-2021\/","title":{"rendered":"Critique d\u2019art n\u00b056 : printemps\/\u00e9t\u00e9 – Spring\/Summer 2021"},"content":{"rendered":"
La Critique d\u2019art en ligne et son \u00e9conomie<\/span>
\nOnline Art Criticism and its Economy<\/span>
\nElsa Bourdot
\nS\u2019il avait \u00e9t\u00e9 \u00e9crit il y a un an, cet \u00e9ditorial aurait s\u00fbrement d\u00e9but\u00e9 par des mots diff\u00e9rents. Apr\u00e8s une ann\u00e9e de pand\u00e9mie, de r\u00e9unions en visio, d\u2019expositions virtuelles, de colloques en ligne et de d\u00e9bats en live sur Instagram, interroger la place et la forme du discours critique au sein des plateformes num\u00e9riques occidentales prend une dimension forc\u00e9ment tout autre. Il y a un an, ces plateformes occupaient d\u00e9j\u00e0 une place centrale dans le r\u00e9seau de l\u2019art, mais Internet n\u2019\u00e9tait pas le lieu quasi exclusif d\u2019\u00e9changes et de circulation de l\u2019information qu\u2019il est aujourd\u2019hui \u2013 qui plus est dans l\u2019attente de la r\u00e9ouverture des lieux o\u00f9 l\u2019art est habituellement montr\u00e9, discut\u00e9, critiqu\u00e9 et vendu. Avant cette h\u00e9g\u00e9monie contextuelle forc\u00e9e, la liste des plateformes num\u00e9riques de premier plan sur lesquelles lire de la critique d\u2019art \u00e9tait longue : e-flux<\/em> [\u2026]<\/p>\n

If this editorial had been written a year ago, its opening words would undoubtedly have been different. After a yearlong pandemic, which has seen video meetings, virtual exhibitions, online conferences and live discussions on Instagram, questioning the place and form of the critical discourse on western digital platforms perforce takes on a quite different dimension. A year ago, such platforms already had a central place in the art network, but the Internet was not yet the almost exclusive forum for exchanges and the circulation of information that it is today\u2014pending, furthermore, the re-opening of places where art is usually displayed, discussed, criticized and sold. Prior to this forced contextual hegemony, the list of leading digital platforms where one could read art criticism was already a lengthy one: e-flux <\/em>[\u2026]<\/p>\n<\/div>\n

\n

Sommaire
\nArticles<\/span><\/h2>\n
\n
Des Mods aux Young British Artists
\nFrom Mods to Young British Artists<\/span>
\nMathilde Bertrand<\/strong><\/div>\n
Imager le pouvoir<\/span>
\nThe Images of Power<\/span>
\nNicolas Liucci-Goutnikov<\/strong><\/div>\n
De l\u2019\u00e9co-anxi\u00e9t\u00e9 au temps de la r\u00e9silience<\/span>
\nFrom Eco-anxiety to Resilience<\/span>
\nPaul Ardenne<\/strong><\/div>\n
Le Paysage, entre le proche et le lointain<\/span>
\nLandscapes Near and Far<\/span>
\nPieter Uyttenhove<\/strong><\/div>\n
Les Alternatives du pass\u00e9 : l\u2019art produit sous le socialisme d\u2019Etat au regard de quelques publications r\u00e9centes<\/span>
\nAlternatives from the Past: Some Thoughts on Recent Writing on Art Produced under State Socialism<\/span>
\nNikolas Drosos<\/strong><\/div>\n
D\u00e9culturalisation ? F\u00e9minismes, expositions et retour de Carla Lonzi<\/span>
\nDeculturalisation? Feminisms, Exhibitions and the Return of Carla Lonzi<\/span>
\nMaria Antonietta Trasforini<\/strong><\/div>\n<\/div>\n
\n

Portrait d’auteur<\/h3>\n
Michel Th\u00e9voz<\/span>
\nBaptiste Brun<\/div>\n<\/div>\n
\n

Portrait d’artiste<\/h3>\n
John Akomfrah<\/span>
\nElvan Zabunyan<\/div>\n<\/div>\n
\n

Traduction<\/h3>\n
Introduction<\/span>
\nTraduction extraite de : Habiter l\u2019exposition : l\u2019artiste et la sc\u00e9nographie, Paris : Manuella Editions, 2020, p. 13-19<\/span>
\nPhoebe Hadjimarkos Clarke<\/strong>
\nIntroduit par \/ Introduced by : Elitza Dulguerova<\/strong><\/div>\n<\/div>\n
\n

L’Histoire revisit\u00e9e<\/h3>\n
Dakar, laboratoire critique des arts de l\u2019Afrique<\/span>
\nDakar, a Critical Laboratory for African Art <\/span>
\nColine Desportes<\/strong><\/div>\n<\/div>\n
\n

Archives<\/h3>\n
New York, Rio, Moscou : sur le voyage comme objet d’archives<\/span>
\nNew York, Rio, Moscow : on Travel as an Archival Object<\/span>
\nAntje Kramer-Mallordy<\/strong><\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Directeur de la publication:<\/strong> Antje Kramer-Mallordy
\nEditeur:<\/strong> Archives de la critique<\/span> d\u2019art, Universit\u00e9 de Rennes (2021)<\/p>\n

Broch\u00e9:<\/strong> 178 pages
\nLangue:<\/strong> Fran\u00e7ais\/Anglais
\nISSN:\u00a0<\/strong>1246 8258<\/p>\n","protected":false},"featured_media":32767,"template":"","meta":[],"product_brand":[],"product_cat":[135,162,211],"product_tag":[],"class_list":["post-32770","product","type-product","status-publish","has-post-thumbnail","product_cat-english-en","product_cat-french-en","product_cat-magazines-en","first","instock","taxable","shipping-taxable","purchasable","product-type-simple"],"yoast_head":"\nCritique d\u2019art n\u00b056 : printemps\/\u00e9t\u00e9 - Spring\/Summer 2021 - Books on the Move<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.booksonthemove.fr\/en\/produit\/critique-dart-n56-printemps-ete-spring-summer-2021\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Critique d\u2019art n\u00b056 : printemps\/\u00e9t\u00e9 - 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