Cycle\u00a0Artwork, life and way of being \u2022 first encounter: \u201cIn the name of \u2026\u201d the conceptions of an ideal A whole twentieth century can be read in the tension between the exigency of the artwork and the anxiety of life and in the attempts to resorb each other, the surrealists (the resolution of life by the art) to the situationists (the overcoming of art through life), two points of the century-old iceberg failed on the continent, drifting revolutions. These seminar sessions will aim through different examples to illuminate this knot of work and life. Between heroes and traitors, there arises the question of the rules that can guide action, orient the forms of art and thought. The old fetish of art is nothing if it does not change our ways of being. More than ever suspended on a horizon of expectation, our gestures seek today foundation and legitimacy beyond this sharing between the urgency of the days and the requirement of the creation. Perhaps ways of being and livelihoods today are a response to a fragile and uncertain legacy of the twentieth century.<\/p>\n Gilles Collard\u00a0<\/strong>founded the journal Pyl\u00f4ne in 2003. Since 2016, he has been professor of philosophy at the Ecole Nationale Sup\u00e9rieure des Arts Visuels of La Cambre, where he is also the pedagogical director of the Atelier des \u00e9critures contemporaines. He is currently preparing a book on the life and work of Klaus Mann for Grasset Publishing.<\/em><\/p>\n Language:\u00a0<\/em><\/strong>French<\/i><\/b><\/p>\n Duration: 1:00<\/strong><\/p>","protected":false},"excerpt":{"rendered":" Cycle\u00a0Artwork, life and way of being A reading of the twentieth century and its heritage from art and commitment. \u2022 first encounter: \u201cIn the name of \u2026\u201d the conceptions of an ideal \u2022 second encounter: Different forms of time reading \u2022 third encounter: The aims of Art \u2022 fourth encounter: The biographical commitment \u2022 fifth […]<\/p>\n","protected":false},"author":2,"featured_media":6706,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[226,113],"tags":[202],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/posts\/5961"}],"collection":[{"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/comments?post=5961"}],"version-history":[{"count":33,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/posts\/5961\/revisions"}],"predecessor-version":[{"id":14208,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/posts\/5961\/revisions\/14208"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/media\/6706"}],"wp:attachment":[{"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/media?parent=5961"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/categories?post=5961"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/tags?post=5961"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nA reading of the twentieth century and its heritage from art and commitment.<\/strong><\/p>\n
\n\u2022 second encounter: Different forms of time reading<\/strong>
\n\u2022 third encounter: The aims of Art
\n\u2022 fourth encounter: The biographical commitment
\n\u2022 fifth encounter: Styles of Existence<\/p>\n