Walk like an Egyptian is a group show made up of instruction pieces only (curator: Charles Aubin).
It compiles a selected choice of event scores, tasks, assignments, injunctions, drawings and invitations produced by artists from the 1960s up to now. These instruction pieces are assembled in a booklet handed to visitors at the entrance of Les Abattoirs.
The visitors are thus able to perform the different pieces – such as Snow Piece by Yoko Ono (1963), Ben’s Monotone pour Yves Klein (1964), Word Event by George Brecht (1961) or Safety Measures by Tim Etchells (2006).
In Walk like an Egyptian, Charles Aubin invests the tradition of instruction pieces, which origins can be traced back to two main figures – Marcel Duchamp and John L. Austin – and to the groundbreaking movement Fluxus.
Monday to Friday, from 12 noon to 7 pm
Saturdays and Sundays from 11 am to 7 pm
Friday 24 and Saturday 25 September, Friday 1 and Saturday 2 October, to 12.30 am
Le Printemps de Septembre – à Toulouse
2010 is a special year for the Printemps de Septembre – à Toulouse in more ways than one: it is both the twentieth anniversary of the event’s launch in Cahors in 1991, and its tenth time in Toulouse. The names, forms, dates and contents may have changed over the years, but the Printemps has never lost its spirit of innovation or its determination to reach out to the broadest possible audience, its desire to grow and develop while keeping faith with its founding principles.
To celebrate this birthday, two very special events have been programmed. One is in Cahors, where the exhibition La part des ombres at the Musée Henri-Martin will pay homage to the institutional partners who, every year, produce or co-produce a number of the festival’s new works: the Centre National des Arts Plastiques, the Centre National de la Photographie and Jeu de Paume, and the Maison Européenne de la Photographie. A special evening will revive the memory of the late-night shows in Cahors in the form of projections and concerts in public space.
The other event will be held in Reims at Domaine Pommery, thereby paying tribute to one of our most faithful sponsors and an important player in today’s art world. On show will be some of the most significant works from the last two decades.
In Toulouse, the 2010 festival as such, which bears the title A Form for Every Kind of Action, will be placed under the sign of performance, a practice that is very much to the fore in today’s art scene, but which has never before been presented on such a scale. Under artistic director Éric Mangion, working with Isabelle Gaudefroy, who programmes the Nomadic Nights at the Fondation Cartier pour l’Art Contemporain, it will invite visitors to experience living art both in its usual spaces and around the city itself. The “Late Night Radio”, which was such a success last year, will again be broadcasting from the courtyard of the École des beaux-arts.
As it does every year, the festival has worked in close collaboration with cultural and social players in the city and the region – galleries, local cultural centres, art centres and museums – to ensure that the celebratory energy which makes art so irreplaceable circulates as widely as possible.
Le Printemps de Septembre – à Toulouse
A Form for Every Kind of Action
24 September – 17 October 2010
Nocturnes 24-25 September and 1-2 October, to 12.30 am Free
Artistic director: Eric Mangion, director of the Villa Arson National Contemporary Art Centre in Nice; Associate artistic director: Isabelle Gaudefroy, in charge of programming the Cartier Contemporary Art Foundation-sponsored Nomadic Nights.
For several years now, performance has once more become a widely adopted medium.By performance we mean any action taken and organized by an artist in public aimed at decompartmentalizing the various genres (visual and plastic arts, dance, music, theatre, and poetry, as well as cabaret, music-hall, street art, and so on), and often mixing high culture and low.
The goal of the 2010 Printemps de Septembre festival is to analyze this revival: what are the new arenas of performance, and what are the links between them? Where do its new challenges lie? How have artists of our day and age appropriated its essentials? How does it stand up to the limitations of exhibitions and cultural events?
These questions are all the more important because France has not seen any major exhibition on the subject since 1994 (« HORS LIMITES, L’art et la vie 1952-1994 » , at the Centre Georges Pompidou, Paris); nor has there been any festival devoted to performance, for even longer. Exhibitions and shows, live spectacles, in situ programmes and ‘go-between’ activities will all be devised in the same spirit and presented in the same vein.
The aim of the exhibitions and shows will be to illustrate signs of performances so as to test their capacity to contain time and space. This will involve bringing together, both jointly and severally, various artists who have produced powerful works, some of which already exist, while others will be specially planned for the festival. Photographs, videos, objects, installations, sound pieces, and different documents will all be stressing the ‘live’ factor; over and above the initial gesture, it is the form displayed that will be the main object of study.
Under the title Saying is Doing… and vice versa, the Nomadic Nights spectacles will play on the ambiguity of the word “performative”, which does not belong as such to the aesthetic vocabulary, but rather to the linguistic sciences. A performative term is a statement that becomes an act. Based on this ambivalence, the Nomadic Nights programming will be essentially made up of artists who construct abstract and concrete forms based on words uttered at the same moment. Likewise, visitors will be able to watch spectacles which start out from the opposite postulate: “Doing is Saying”.
Extra-mural activities will be organized throughout the festival in the actual setting of the city of Toulouse. They will call upon artists who produce urban micro-deregulations, and whose discreet works, which are at times spectacular by dint of their huge multiplication, and deliberately poetic and/or political, are intended to destabilize patterns of behavior formatted by habits. What is involved here are very topical concerns of performance.
The festival’s Educational and Outreach Activities will be organized like a programme in its own right, partly devised by artists. The first section will involve the creation of workshops designed to write imaginary performances. Like a “videomaton”, the second section will entail the establishment of a video recording studio focusing on furtive and off-the-cuff choreographic encounters, which visitors are invited to take part in as they leave the show at the Musée des Abattoirs. Still in workshop form, the third section will have to do with the links between everyday actions in neighbourhoods on the city outskirts, and certain gestures proposed by the artists during their performances. This project will be undertaken together with partnering cultural associations.
Last of all, and as in 2009, the Late-Night Radio will enable artists and the public to meet, during the late-night nocturne events between 10 pm and 1 am. Set up in the School of Fine Arts, in the heart of both
the city and the festival, the radio will again become the point where everything converges. Resulting from a desire to create an alternative space that is at once a forum for meeting artists and an arena for
developing art and words alike, this radio station is essentially the brainchild of artists featured in the programming, who will run the station. It offers an opportunity to invent new forms and prompt novel
joint activities, in a framework favourable to freedom, dialogue, and games.
2010 is also the 20th Printemps de Septembre: 10 years in Cahors, 10 in Toulouse. This anniversary will be marked by two major events, in Cahors and Reims. The exhibition on view in the Musée Henri-
Martin, curated by Régis Durand, will bring together a selection of works produced since the festival first started by its institutional partners (Ministry of Culture, Maison européenne de la Photographie, Jeu de
Paume, etc.) and will be inaugurated by a late-night Nocturne on 18 September, where festival-goers will be able to stroll between performances, projections on façades, and a concert. The Pommery Estate, for its
part, will play host to an exhibition of the most salient memories gathered by this historic patron of the Printemps de Septembre throughout the festival’s 20-year span. Régis Durand is selecting spectacular
installations, archival images and projections conjuring up the festival’s late-night programmes; and all the works on view will share in common the fact that they still have a lasting place in the memories of
Nathalie and Paul-François Vranken.
Extraits de Printemps, Expérience Pommery #8, Domaine Pommery, Reims
15 September 2010 – 31 March 2011 (dates subject to modification)
Extraits de Printemps: La part des ombres, Musée Henri-Martin, Cahors
18 September – 17 October 2010
Nocturne 18 September, to 12.30 am
National and international press
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SNOW PIECE by Yoko Ono (1964)
Think that snow is falling.
Think that snow is falling everywhere
all the time.
When you talk with a person, think
that snow is falling between you and
on the person.
Stop conversing when you think the
person is covered by snow.