Dans le cadre du colloque « L’Expérience II »
et à l’occasion de la parution de *John Cage sans cage* de David Antin,
l’Université Paris Est et Double Change
vous invitent à une soirée avec David et Eleanor Antin
vendredi 17 juin à 19h30
galerie éof
15, rue Saint-Fiacre
75002 Paris
(M° Grands Boulevards ou Bonne Nouvelle)
Lecture/performance/talk de David Antin & « Dreams, Lies and Histories » d’Eleanor Antin, présentation par l’artiste de son œuvre.
Entrée libre
Soirée organisée avec le soutien des Affaires culturelles de l’Ambassade des Etats-Unis d’Amérique.
Le colloque « L’expérience » se tient du 16 au 18 juin à l’Université Paris Est Créteil. Programme disponible à : http://imager.u-pec.fr/actualites/colloque-international-l-experience–384756.kjsp?RH=IMAGER-FR
BIOS
DAVID ANTIN Poète, critique d’art, linguiste et performance artist, David Antin est né en 1932 à New York et vit depuis 1968 à San Diego en Californie. Depuis 1971, à l’invitation de musées ou d’universités, David Antin improvise des talk poems qui entrelacent le récit, la conférence, l’anecdote, le monologue, la méditation et le dialogue philosophique. On a dit de lui qu’il était « un mélange de Mark Twain et de Gertrude Stein », « un croisement de Lenny Bruce et de Ludwig Wittgenstein ». Par des digressions en cascade, au gré de réflexions sur le contexte immédiat, sur l’art, les institutions, la société, la mémoire, ou le langage, un discours se construit, se déploie, dérive et s’observe, tandis qu’Antin parcourt imperceptiblement son motif.
On trouve en traduction en France plusieurs livres de David Antin dont:
*Ce qu’être d’avant-garde veut dire*, trad. Broqua Brossard Lang, Presses du réel, 2008.
*Je n’ai jamais su quelle heure il était*, trad. Pascal Poyet, Héros Limite, 2008.
Et, tout dernièrement, *John Cage sans cage*, édité par Abigail Lang, trad. Claire Delamarre et Abigail Lang, Motion Method Memory / Presses du Réel, 2011. [http://www.lespressesdureel.com/ouvrage.php?id=2031&menu=]
DAVID ANTIN Poet, performance artist, art and literary critic internationally known for his “talk pieces” — improvisational blends of comedy, story and social commentary. New Directions has published three books of these “talk pieces” — TALKING AT THE BOUNDARIES (1976), TUNING (1984), and WHAT IT MEANS TO BE AVANT-GARDE (1993). TUNING was awarded the prize for poetry for 1984 by the PEN Center of Los Angeles. Much of his earlier poetry was collected in SELECTED POEMS 1963-1973 published by Sun and Moon Press in 1991. He has performed at the Whitney Museum, the Guggenheim, the Museum of Modern Art, and the Getty Center in the U.S. at the Centre Pompidou and the Musée d’Art Moderne in Paris. He has designed SKYPOEMS, short texts he describes as “commercials that aren’t selling anything,” that have been skytyped over Los Angeles and San Diego, designed WORD WALKS for urban parks, an ongoing electronic poem for an airport and performed both improvised and scripted verbal works for radio and television. He has published criticism in most major art and literary journals, and his work has been written about in THE POETICS OF INDETERMINACY, Marjorie Perloff (Princeton, 1981); THE OBJECT OF PERFORMANCE, Henry Sayre (Chicago, 1989); THE JAZZ TEXT, Charles O. Hartman (Princeton, 1991). An extensive interview with him has been published in SOME OTHER FREQUENCY: INTERVIEWS WITH INNOVATIVE AMERICAN AUTHORS, ed. Larry McCaffery, U. Penn. 1996. The Review of Contemporary Fiction devoted its Spring 2001 issue to his work. Dalkey Archive recently republished his 1972 book talking (originally published by Kulchur Foundation) with a Preface by Marjorie Perloff and a Postface by David Antin. Granary Books recently published A Conversation with David Antin, the text of a 3 month email conversation between David Antin and Charles Bernstein. A new collection of talk pieces I NEVER KNEW WHAT TIME IT WAS was published by U.C. Press (spring 2005) and Singing Horse Press has published a new small book — JOHN CAGE UNCAGED IS STILL CAGEY. RADICÅL COHERENCY, his Selected Essays 1966-2005 has just been published by the University of Chicago Press. He spent the Winter of 2002 as a Fellow at the Getty Research Insitute.
Depuis les années soixante, l’œuvre polymorphe d’ELEANOR ANTIN s’est faite au contact de champs artistiques, techniques et media très divers : photographie, vidéo, cinéma, performances, installations, dessin et écriture. De nombreuses expositions lui ont été consacrées, notamment une rétrospective couvrant trente ans de son travail au Los Angeles County Museum of Art (1999). Eleanor Antin a exposé ses œuvres et fait des performances dans de nombreux musées et institutions culturelles du monde entier comme la Biennale de Venise, l’Opéra de Sydney, le musée Hirschorn, le Whitney Museum, la Tate Modern, le Musée d’art moderne de New York, le Centre Pompidou, entre autres. Elle a écrit et réalisé de nombreux films comme “The Man Without a World” (1991). Eleanor Antin est l’auteur de quatre livres BEING ANTINOVA (Astro Artz), ELEANORA ANTINOVA PLAYS (Sun & Moon), 100 BOOTS (Running Press), “MAN WITHOUT A WORLD: a Screenplay” (Green Integer) et elle vient de terminer un récit autobiographique, CONVERSATIONS WITH STALIN; CONFESSIONS OF A RED DIAPER BABY. Eleanor Antin a reçu de nombreuses distinctions pour son œuvre: elle a été nommée docteur honoris causa à la School of the Art Institute of Chicago en 2009, a reçu un Lifetime Achievement Award du Women’s Caucus of the College Art Association (2006), ainsi que la distinction AICA (International Assoc. of Art Critics) Best Show awards en 2002. En 1999, Eleanor Antin a reçu une Guggenheim Fellowship. Elle est professeur émérite d’arts visuels à l’Université de Californie à San Diego. Eleanor Antin est représentée par la galerie Ronald Feldman Fine Arts de New York.
ELEANOR ANTIN works in photography, video, film, performance, installation, drawing and writing. Many one-woman exhibitions include the Museum of Modern Art, the Whitney Museum, and a major 30 year retrospective at the Los Angeles County Museum of Art (1999) which traveled to St. Louis and toured the UK. As a performance artist she has appeared in venues around the world including the Venice Biennale and the Sydney Opera House. She has been in major group exhibitions at the Hirschhorn Museum, the Los Angeles Museum of Contemporary Art, the Kunsthalle Wien, the Sydney Biennale, the Beaubourg, Documenta 12, among others. She has written, directed and produced many videotapes and films, among them the cult feature film, “The Man Without a World”, 1991, (Berlin Film Fest., U.S.A. Film Fest., Ghent Film Fest., London Jewish film fest., San Francisco Jewish Film Fest, etc.) Her work is represented in many major public and private collections including the Art Institute of Chicago, the Whitney Museum, the Tate Modern, the Beaubourg, the Museum of Modern Art., the Verbund Collection, the Loeb Family Art Collection, the San Francisco Museum of Modern Art, etc. She has written 5 books, BEING ANTINOVA (Astro Artz), ELEANORA ANTINOVA PLAYS (Sun & Moon), 100 BOOTS (Running Press), “MAN WITHOUT A WORLD: a Screenplay” (Green Integer) and the just completed memoir of her childhood, CONVERSATIONS WITH STALIN; CONFESSIONS OF A RED DIAPER BABY (represented by the Sandra Dijkstra Literary Agency). Major monographs on her work include The Los Angeles County Museum of Art, “ELEANOR ANTIN” by Howard Fox and Lisa Bloom, and “HISTORICAL TAKES” (Prestel). She was a featured artist in the acclaimed American television ART 21 series on PBS. She received many awards, including an honorary doctorate from the School of the Art Institute of Chicago in 2009, Lifetime Achievement Award from the Women’s Caucus of the College Art Association (2006), the AICA (International Assoc. of Art Critics) Best Show awards for 2002 and earlier in 1999, a Guggenheim Fellowship and the National Foundation for Jewish Culture Media Achievement Award in 1998, an NEA Individual Artist’s Grant and the Pushcart Prize VI: Best of the Small Presses. She is an emeritus Professor of Visual Arts at the University of California at San Diego. She is represented by the Ronald Feldman Fine Arts Gallery in New York.
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