Bøger udgivet af Dis Voir

Jean-Marc Bustamante began his photographic work in 1978 with the series Tableaux, and moved from there into sculpture. Deliberately sticking to simple forms, well-defined themes and materials, he renews, re-enlivens the first, most basic bodily and visual relations that one experiences before a piece of art. At the same time, his work leads directly up to the present. What does it mean for us to perceive, ponder, or incorporate an image or a sculpture today? The essays in this volume, covering the work created to this date, discuss the role of photography in contemporary art, the duality of sculpture in its optical/tactile relations to the viewer's body, the ideas of landscape, architectural space, and the place of the work. Together they attempt to define the multi-form notion of "presence" formulated by Bustamante.

A documentary fiction from filmmaker Peter Greenaway, presenting "research" on victims of a "violent unknown event" which has afflicted millions of people with such symptoms as immortality and identification with birds.

A bizarre murder mystery by filmmaker Greenaway in which he investigates the death of a Brazilian composer who wrote music for 1950s Hollywood Westerns.

British director Peter Greenaway trained as a painter for four years and is known to be an art lover. His movies draw from Northern Renaissance and Baroque compositions and palettes, and he has also created digital video installations "remixing" famous paintings. Papers illustrates how, in between making films, Greenaway stretched his imagination with pencils, gum, gouache and acrylics. This publication brings together for the first time a key selection of his works: of interest in themselves but also bearing witness to the filmmaking process.Peter Greenaway (born 1942) began making his own movies in 1966. He has made 12 feature films and 50 short films and documentaries, and has regularly been nominated for the Cannes, Venice and Berlin Film Festivals.

A star of minimalist electronica and sound art, Ryoji Ikeda (born 1966) focuses on the building blocks of sound and aural minutiae, often deploying frequencies at the very edges of human hearing--sound that, as he puts it, "the listener becomes aware of only upon its disappearance." His albums +/- (1997) and Matrix (2001) spread this soundworld of sine waves and ambient glitchery to a wider audience; since then, he has exhibited and collaborated (notably with Carsten Nicolai) across the world. A homage to Musique Concrète pioneer Pierre Schaeffer's Solfege de l'objet sonore, Dataphonics began as a monthly broadcast on France culture's Atelier de Création Radiophonique, in which Ikeda created a highly physical auditory experience based on the idea of binary-logic data made audible, "to materialize the invisible domain of 'totally pure digital data.'" This book and CD includes spreads of graphic scores, codes, symbols and the composition itself, recomposed from the ten segments in which it was originally conceived.

An original bilingual French/English sound piece conceived as a retrospective diaryTo Petrarca is a book and CD set consisting of a sound diary and an original sound piece culled from Jonas Mekas' personal archives, originally broadcast on radio France Culture on June 29th, 2003. It is expanded in the accompanying book by his personal drawings, photos and correspondence. In this work, Mekas offers us images and sounds following a structure similar to his pioneering film diaries.To Petrarca works as a sound diary with images and sounds following a structure similar to Mekas' pioneering film diaries.Born in Semeniskiai (Lithuania), Jonas Mekas (1922-2019) bought his first Bolex camera on his arrival in New York in 1949 and began to record moments of daily life. He was the village voice columnist for the Movie Journal, founded and edited Film Culture magazine with his brother Adolfas, and founded the Film-Makers' Cooperative and Anthology Film Archives. His work later inspired many artists and film makers, such as Jim Jarmusch and Martin Scorsese, who recognized his influence. Mekas' films and archive material have been exhibited extensively throughout the world: at Documenta 11; the Venice Biennale 2005; MoMA PS1, New York; Museum Ludwig, Cologne; Baltic Art Center, Visby; and the Metropolitan Museum of Photography, Tokyo, among other venues.

In this unique critical volume, the authors turn the semiotic spotlight on an obscure area of art: the drawings and notations choreographers use to think about the human body in motion.

Laurie Anderson's Nothing in My Pockets is a two-part sound diary, originally broadcast on French radio, kept between July 4 and October 4, 2003. This volume contains the radio piece on two CDs, as well as a selection of original visual documents--offering an intimate glimpse into the personal universe of this seminal American artist.

Chilean filmmaker Raoul Ruiz is the author of some 100 feature-length films, along with numerous plays and multi-media installations. In Poetics of Cinema, Ruiz takes a fresh approach to the major themes haunting our audio-visual civilization: the filmic unconscious, questions of utopia, the inter-contamination of images, the art of the copy, the relations between artistic practices and institutions. Based on a series of lectures given recently at Duke University in North Carolina, Poetics of Cinema develops an acerbically witty critique of the reigning codes of cinematographic narration, principally derived from the dramatic theories set forth by Aristotle's Poetics and characterized by Ruiz as the "central-conflict theory." Ruiz's impressive knowledge of theology, philosophy, literature and the visual arts never outstrips his powerful imagination. Poetics of Cinema not only offers a singularly pertinent analysis of the seventh art, but also shows us an entirely new way of writing and thinking about images.

This monograph investigates Opalka's relationship with numbers, time and infinity, including an original long-term interview of the artist which ran on for more than twenty years.In 1965 Roman Opalka started to represent time (his own and the world's) by painting numbers on canvas. Beginning with the number 1 and continuing through 2, 3, 4, 5, and so on, he had reached the almost unimaginable figure of 5 million before his death in 2011. Opalka had chosen to come directly to grips with time and death, for a lifetime. Yet his program, though irreducibly singular, is not ineffable. This volume explores the ethical and aesthetical dimensions of Opalka's project and presents him as one of the major artists of the late twentieth century.

The first in a new series from Dis Voir, Encounters asks a well-known contemporary artist to decide which subjects he or she wants to discuss in their book. Each artist's book therefore offers a specific experience in terms of content. In accordance with this principle, each artist also selects a person -- due to certain elective affinities -- with whom he or she would like to share this exchange. At the very least, the resulting collaborative volumes serve as an artistic and political laboratory of the present. In this first installment, French artist Pierre Huyghe chooses to encounter Canadian writer Douglas Coupland, author of Generation X, because of the influence Coupland has had on his generation and on Huyghe's own work. Together they discuss the construction of characters, of narrative techniques based on chance, and the political dimension present in Coupland's work -- themes that are also fundamental questions on Huyghe's projects.