Des rêves! Toujours des rêves! Et plus l’âme est ambitieuse et délicate, plus les rêves l’éloignent du possible. Chaque homme porte en lui sa dose d’opium naturel, incessamment secrétée et renouvelée, et, de la naissance à la mort, combien comptons-nous d’heures remplies par la jouissance positive, par l’action réussie et décidée? Vivrons-nous jamais, passerons-nous jamais dans ce tableau qu’a peint mon esprit, ce tableau qui te ressemble?
Sandrine Virginie HILAIRE
Based in France since 1984, Won Sou-Yeol was born in a small town on the island of Chejudo in South Korea. This place between land and sea has nurtured her inspiration through the strength of the natural elements, which are to be found in her painting. Her work is imbued with dynamism and power marked by the contrast between black and white, light and shadow. Master of calligraphy, she mixes her technical spontaneity with a large and concentrated gesture. Like a dance where cracks and splashes are created. “I kept my strength. I was not talking to anyone. I was not sleeping. “. The work and the artist are one. Won Sou-Yeol is devoted entirely to her art. At the point that she said that one day, while she was painting, she wanted to look at the clock. Three years had elapsed. Won Sou-Yeol wants to free herself of something that belongs to her. Her work is a weapon of freedom both strong and light. It enables to access the immaterial world that fascinates her. …
Message Personnel. Voici maintenant près de 7 mois que je vis à Hong Kong. Cette ville et ses habitants me fascinent toujours autant. Hong Kong est une ville unique au monde parce qu’à mon sens, elle est ce parfait point de basculement entre l’Ouest et l’Est. Elle vous est à la fois totalement familière et totalement étrangère. C’est une jungle urbaine où l’on peut étouffer de chaleur mais avec des plages magnifiques où l’on peut passer des journées inoubliables. Elle est à la fois très chinoise et pas très chinoise. Elle fait partie d’un pays communiste tout en étant l’économie la plus libérale du monde. Très riches. Très pauvres. Elle est à la fois très belle et très laide. Hong Kong est tout et son contraire. Voilà en quoi elle me fascine. C’est une ville dont se dégage une sensuelle virilité tandis que la feminité de ses habitantes vous frappe au premier abord. A Hong Kong, tout est possible et rien ne l’est. Qu’est-ce qui a construit cette ville? La colonisation britannique avec ses guerres de …
Artists Marina Abramovic and Ulay started an intensive love affair in the 1970s, performing out of a van they called home. When they ended their relationship, they decided to walk the Great Wall of China, each from one end, meeting for one last embrace in the middle. That was the last time they saw each other. In 2010, as part of a MoMA retrospective, “The Artist is Present”, Marina shared a minute of silence with each stranger who sat in front of her. On opening night, Ulay arrived without Marina knowing….
The topic is not really new. At the end of the 2000s, some sociologists and urban planners had prefigured the emergence of a “city 2.0” referring to the emergence of collaborative practices on the Internet: blogs , Wikipedia and maps that made digital more prevalent in our cities. Even though collaborative planning is not necessarily linked to digital, the consultation process is now common for most urban projects. Thereforce, user-generated urbanism might be the future of cities. In France, the phenomenon has reached a new level with the birth of Wikibuilding. The building would be designed within a wiki process, all plans and experimentations being open source. Any citizen would be able to draw, to use, to improve or to test the building. Promoters or insurers would test the wikibuilding with residents, real estate agencies and 5% of the area would be reserved for a living Lab. Wikibuilding would be a place for experimentation and open to the architecture schools in order to design and include continuous Open Design updates. The Paris School of Architecture is already …
Born in Beijing in 1954, Zhu Jinshi moved to Germany in the mid-1980s, and at present lives and works in Beijing. Zhu began painting abstract works in the late 1970s, and participated in the Stars group exhibition, the first avant-garde art exhibition held after the Cultural Revolution. The core of Zhu’s artistic practice is most fittingly characterized by traditional Chinese aesthetics, which emphasises the harmony between human beings and the natural world. Part of the legendary generation of artists who left China in the 1980s, Zhu Jinshi was clearly marked by his move to another country and culture. He used contemporary Western art languages to find the contemporary possibilities in the cultural resources and materials of China. At Exchange Square in Hong Kong, visitors are immediately greeted by Zhu Jinshi’s monumental Boat. Bamboo, cotton and 8,000 sheets of pale white Xuan (rice) paper meticulously hang from the ceiling, forming a spherical tunnel and stopping just before touching the ground. “I used materials, thoughts, and traditions of the East as a tool to go against the …
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