Auswahl der wissenschaftlichen Literatur zum Thema „Œuvre éphémère“
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Zeitschriftenartikel zum Thema "Œuvre éphémère"
LEFORT, Régis. „Henry Bauchau. Le temps du poème“. Revue internationale Henry Bauchau. L’écriture à l’écoute, Nr. 5 (10.01.2013): 77–86. http://dx.doi.org/10.14428/rihb.v0i5.17263.
Der volle Inhalt der QuelleHristova, Valentina. „La première œuvre collective de l’Académie de France à Rome : un apparat éphémère pour la guérison de Louis XIV*“. Zeitschrift für Kunstgeschichte 85, Nr. 4 (23.11.2022): 498–519. http://dx.doi.org/10.1515/zkg-2022-4005.
Der volle Inhalt der QuelleBryant-Bertail, Sarah. „Préface“. Theatre Research International 19, Nr. 2 (1994): 97–98. http://dx.doi.org/10.1017/s0307883300019325.
Der volle Inhalt der Quelledes, Département, Monique Fouet, Odile Chagny, Naaman Khoury, Olivier Passet, Christine Rifflart, Françoise Milewski, Bruno Coquet, Jean-Marc Daniel und Hervé Péléraux. „Conflits d'intérêts“. Revue de l'OFCE 42, Nr. 4 (01.11.1992): 5–75. http://dx.doi.org/10.3917/reof.p1992.42n1.0005.
Der volle Inhalt der QuelleRequena-Ruiz, Ignacio, Thomas Leduc und Daniel Siret. „Une méthodologie d’analyse des dispositifs de rafraîchissement estival basée sur la métrologie climatique mobile“. Climatologie 20 (2023): 8. http://dx.doi.org/10.1051/climat/202320008.
Der volle Inhalt der QuelleDurand, Anita. „Quelle conservation-restauration pour les œuvres éphémères et/ou performatives ? Ou la place du scénographe“. Figures de l'Art. Revue d'études esthétiques 18, Nr. 1 (2010): 123–31. http://dx.doi.org/10.3406/fdart.2010.897.
Der volle Inhalt der QuelleTatin-Gourier, Jean-Jacques. „L’utopie au XVIIIe siècle : côtoiements du politique, dynamiques de l’ailleurs, questionnements et dépassements des modèles utopiques classiques“. Convergences francophones 3, Nr. 1 (23.12.2016): 1–9. http://dx.doi.org/10.29173/cf375.
Der volle Inhalt der QuelleKoch, Olivier. „Entretien avec Sylvain Ricard“. Sur le journalisme, About journalism, Sobre jornalismo 12, Nr. 2 (22.12.2023): 144–49. http://dx.doi.org/10.25200/slj.v12.n2.2023.577.
Der volle Inhalt der QuellePetzold, Denise. „Orchestral Identities and the Formation of Musical Knowledge: A ‘Sociomaterial’ View on the Concert Programmes of the London Symphony Orchestra and the Vienna Philharmonic Orchestra“. Fontes Artis Musicae 70, Nr. 3 (Juli 2023): 223–43. http://dx.doi.org/10.1353/fam.2023.a909190.
Der volle Inhalt der QuelleVillaespesa, Elena, und Sara Wowkowych. „Storytelling éphémère à travers les réseaux sociaux“. Balisages, Nr. 2 (12.03.2021). http://dx.doi.org/10.35562/balisages.486.
Der volle Inhalt der QuelleDissertationen zum Thema "Œuvre éphémère"
Asalia, Nour. „La fragilité dans la sculpture contemporaine : réflexions théoriques et expérimentations artistiques à partir de Marcel Duchamp et Pablo Picasso“. Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080076.
Der volle Inhalt der QuelleFragility is an important notion in contemporary sculpture. This thesis examines its aspects in two of the most influential artists in the history of art in the 20th century: Pablo Picasso and Marcel Duchamp. In this sense, we question the factors that have favored the advent of fragility in their practices: historical context, popular traditions revisited by modernity, changes in the way we look at materials, innovative artistic practices, constraints and conservation techniques. Our research of course addresses the question of the fragility/vanity of the human being that we deal with in the historical and philosophical fields - through its aesthetic, philosophical and spiritual dimensions - but in the fields of the sacred and of science from of body and memory as we observe them manifesting themselves in the artistic field. To show the significance of what seems to us to fall under the concept of fragility, as we have previously defined it with Duchamp and Picasso and the forms it takes, we rely on their works in glass and paper. Our study analyzes these works both through the concept of fragility that unfolds there and in terms of their materiality. Furthermore, the use of fragile materials leads artists to favor certain techniques whose objective is to protect and ensure the conservation of their work: such a process results in the tight, even sometimes inextricable knotting of their artistic approach and their practice. The modes of conservation of the fragile work therefore also constitute one of the axes of our thesis. ___Finally, we present our own artistic practice, nourished by our approach to fragility and, of course, by all the works and references that we will have studied throughout our research
Périot-Bled, Gaëlle. „Des œuvres éphémères devenues mémorables : modalités et enjeux d’une transmission fragile“. Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080107.
Der volle Inhalt der QuelleThis research work starts from the description of contemporary artistic events, reexposingor replaying ephemeral mankind's past achievements, in order to analyse the modalitiesof their transmission. In a first moment, it is intended to show that the ephemeral carries out atime-based reduction that puts in crisis a conception of the work of art that the tradition of thevisual arts has founded on object and trace conservation. However, when ephemeral worksreach us a posteriori, in the frame of the vestige or archive material, the question is to know iftheir recognition by the institution does not coincide with the inexorable loss of their speech.In its second moment, this work seeks to highlight a key modality for transmission thatephemeral works have contributed to graft onto established practices : a type of theatricalpresence the obvious signs of which being the requalification of the museum as a stage and ofthe curator as a set designer and stage manager. At a deeper level, this modality reveals a newethos arising out of the fragile relationship between the work and spectators having becomewitnesses. For, the destiny of ephemeral works is based on the conversion of an unforgettableemotion into a duty of transmission. It is with the updating of this operation that this doctoralwork is ultimately devoted to, to show how the memorable becoming always engages a sense of thehuman community
Lauzon, Chiasson Gabrielle. „L'art dans tous ses territoires au jardin des Premières-Nations : regards sur l’immatériel dans les œuvres du Concours d’œuvre murale éphémère“. Thèse, 2019. http://hdl.handle.net/1866/23305.
Der volle Inhalt der QuelleFrom 2003 to 2017, the First Nations Garden of the Montréal Botanical Garden has exhibited each year the mural artwork of an Indigenous artist as part of the Ephemeral mural contest launched by Sylvie Paré. This memoir brings together all of this exhibition in order to highlight the general discourse and the relations that the artworks have with each other, with the Garden and with the physical and imaginary territories. Through a formal and symbolic analysis of this exposition, that integrates the ontologies, epistemology and methodologies of the First Nations, I wish to reflect on the links that unite the notions of gaze, territory, interconnection and memory. The first chapter focuses on the distance generated by the sight seen as an intermediary “objective” of human experience, and the separation (or schism) that it created between the conceptions of nature and culture. I will then look at how the First Nations Garden questions this rupture. The second chapter of this dissertation focuses more specifically on the oblique perspectives adopted by the mural artworks in that they focus on memories and cultural marks left by the indigenous nations on the territories for more than 10,000 years. Moreover, if the murals generally express an environmental concern, they do so through the eyes of different “entities” circulating fluidly and circularly in space, time and intersubjectivity. They explore the physical and imaginary traces of relationships with the territory and highlight the existence of a relationship of reciprocity with the universe in which the territory plays a dynamic role.
Bücher zum Thema "Œuvre éphémère"
Béatrice, Foulon, Bianchini Marie-Claude, Tran Catherine, Broise Brigitte de la, Galmiche Xavier, Musée des beaux-arts de Dijon., France. Ministère des affaires étrangères. und Czech Republic Ministerstvo kultury, Hrsg. L' oeil éphémère: Œuvres d'Adriena Simotova : Musée des beaux-arts de Dijon, 28 juin-30 septembre 2002. Paris: Réunion des musées narionaux, 2002.
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