“Even Clean Hands Leave Marks”: Testing the Edges of the Artwork at Tate Modern (notice n° 1008130)
[ vue normale ]
| 000 -LEADER | |
|---|---|
| fixed length control field | 04322cam a2200337 4500500 |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20250125135939.0 |
| 041 ## - LANGUAGE CODE | |
| Language code of text/sound track or separate title | fre |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | dc |
| 100 10 - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Abdullah, Hannah |
| Relator term | author |
| 245 00 - TITLE STATEMENT | |
| Title | “Even Clean Hands Leave Marks”: Testing the Edges of the Artwork at Tate Modern |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Date of publication, distribution, etc. | 2011.<br/> |
| 500 ## - GENERAL NOTE | |
| General note | 90 |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | « Les mains propres laissent aussi des traces » : la mise à l’épreuve des frontières de l’œuvre à la Tate ModernÀ travers une analyse détaillée de la « carrière » d’ Untitled (Tate), une œuvre variable de Fischli et Weiss exposée à la Tate Modern de Londres, cet article apporte une contribution empirique à l’étude des médiations dans le domaine artistique de l’installation. Les auteurs y identifient une série de mises à l’épreuve concrètes au travers desquelles un collectif hétérogène d’acteurs – artistes, commissaires, restaurateurs et visiteurs parmi d’autres – s’est constitué autour de l’œuvre afin d’en négocier le statut matériel complexe. L’article commence par contextualiser la proposition esthétique de l’œuvre, avant de traiter de sa réception par la critique et le public. La seconde moitié de l’article se focalise sur la pratique des restaurateurs d’art contemporain, en suivant le fil des procédures, techniques et documentations qui forment une part cruciale de l’écologie de cette installation et grâce auxquelles ceux-ci peuvent exercer un certain contrôle sur sa ‘variabilité’ matérielle. |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | This article offers a detailed empirical contribution to the study of mediations in the field of installation art. Based on an analysis of the ‘career trajectory’ of Fischli and Weiss’s Untitled (Tate), a large-scale artwork currently on display at London’s Tate Modern, we uncover a series of concrete trials through which different actors – artists, curators, conservators and visitors amongst others – have assembled around the piece in order to negotiate its complex materiality. After situating the artists’ proposition within a broader aesthetic lineage and evaluating critics and audiences’ reactions to it, the article then focuses on the practical work of contemporary art conservators within the collective process of ‘managing variability’ in and around the installation, considering the various procedures, devices and documents that both inform their decisions and form a crucial part of the ecology on which such artworks depend. |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | « Incluso las manos limpias dejan marcas » : Desafiando los límites de la obra de arte en Tate ModernEste artículo ofrece un detallado aporte empírico al estudio de las mediaciones en el campo de las instalación artística. En base a un análisis de la ‘recorrido’ de la gran obra de arte Sin Título (Tate) de Fischli y Weiss, actualmente en exhibición en la galería londinense Tate Modern, descubrimos una serie de pruebas por medio de las cuales diferentes actores – artistas, curadores, restauradores y visitantes entr otros – se han acercado a la pieza para negociar su compleja materialidad. Después de situar la propuesta de los artistas en el contexto de un linaje estético más amplio y de evaluar las reacciones de los críticos y el público ante la obra, este artículo luego se aboca al trabajo práctico de los restauradores de arte contemporáneo dentro del proceso colectivo del ‘control de la variabilidad’ dentro de y en torno a la instalación, teniendo en cuenta los diversos procedimientos, dispositivos y documentos que informan sobre sus decisiones y constituyen una parte crucial de la ecología de la que dependen tales obras de arte. |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | restauration |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | variabilité |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | Tate Modern |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | carrière de l'œuvre |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | installations |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | matérialité |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | installation art |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | conservation |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | variability |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | materiality |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | Tate Modern |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | artwork's career trajectory |
| 700 10 - ADDED ENTRY--PERSONAL NAME | |
| Personal name | Hansen, Jérôme |
| Relator term | author |
| 786 0# - DATA SOURCE ENTRY | |
| Note | Sociologie de l'Art | OPuS 18 | 3 | 2011-09-01 | p. 73-110 | 0779-1674 |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://shs.cairn.info/revue-sociologie-de-l-art-2011-3-page-73?lang=en&redirect-ssocas=7080">https://shs.cairn.info/revue-sociologie-de-l-art-2011-3-page-73?lang=en&redirect-ssocas=7080</a> |
Pas d'exemplaire disponible.
Réseaux sociaux