How can archive centers combine their own study and conservation needs with artistic approaches and public sensibilities?
In this series, Maud Hagelstein, a researcher and philosopher, will address the way in which aesthetic experience is played out not at a conscious level, but through our five senses.
Seeing and touching archival documents gives us access to the past, to events that we reimagine, to people that we remember. But in what way is the archive a guarantee of truth?
Accumulate. Memories. Traces. The fragments. The objects. The images. To classify. To associate. Throwing away. Sorting. Reorganize. Comment. Then write the story. This one. Or this one.
In this series, Virginie Mamet, an art historian, will explore the field of "soft sculpture". The term "soft" designates here the material nature of the work, although the state of mind within which it is created might better be described as "flexible".
What could be better than a physical encounter with a work of art to grasp all its specificities? From the Musée d'Ixelles, for an evening, a painting, a sculpture or a drawing is shuttled to the Institute and discovered, to the delight of the public, by a specialist.
In this series, Virginie Mamet, an art historian, will explore the field of "soft sculpture". The term "soft" designates here the material nature of the work, although the state of mind within which it is created might better be described as "flexible".
In this series, Virginie Mamet, an art historian, will explore the field of "soft sculpture". The term "soft" designates here the material nature of the work, although the state of mind within which it is created might better be described as "flexible".
In this series, Virginie Mamet, an art historian, will explore the field of "soft sculpture". The term "soft" designates here the material nature of the work, although the state of mind within which it is created might better be described as "flexible".
In four sessions, Adrien Grimmeau, an art historian and the director of ISELP, offers you the opportunity to discover the acts of withdrawal carried out by artists, in resistance to an era or a society, and their significance in the history of art.
At the end of a residency at ISELP devoted to a documentation work around Jean Smilowski's living place, Richard Pereira de Moura and Louis Emauré propose an evening of launching of their review - L'Haha - devoted to singular architectures.
Claire Corniquet and Jeanne Debarsy propose a day of workshops on the analysis of both aesthetic and moral views of the female body.
In four sessions, Adrien Grimmeau, an art historian and the director of ISELP, offers you the opportunity to discover the acts of withdrawal carried out by artists, in resistance to an era or a society, and their significance in the history of art.
In four sessions, Adrien Grimmeau, an art historian and the director of ISELP, offers you the opportunity to discover the acts of withdrawal carried out by artists, in resistance to an era or a society, and their significance in the history of art.
In four sessions, Adrien Grimmeau, an art historian and the director of ISELP, offers you the opportunity to discover the acts of withdrawal carried out by artists, in resistance to an era or a society, and their significance in the history of art.