Pierre Leguillon
#Photographe
- Projection
Cycle Formes (et histoires) d'exposition, Décrochage
Carte blanche à Pierre Leguillon
Dans le cadre du cycle "Formes (& histoires) d'exposition", le Jeu de Paume donne carte blanche à Pierre Leguillon, artiste, avec une projection d'un film de Sébastien Pluot.
À Concorde, le vendredi 9 novembre à 19 h
Entrée libre et gratuite dans la limite des places disponibles
Renseignements et inscription au 01 47 03 12 41
ou par mail : serviceculturel@jeudepaume.org
... - Exposition
Exposition : The museum of mistakes, contemporary art and class struggle
Conceived by the French artist Pierre Leguillon, The Museum of Mistakes : Contemporary Art and Class Struggle brings together works that he has created over the last 15 years out of reproduced images.
These are tailor-made displays that bring together photographs, film extracts, advertisements, postcards, posters, slides, record sleeves, magazines, and other types of mass media. But these works evade solidifiying into fixed forms. Each one is intimately informed by a principle of movement, or, indeed, of reversibility, and they are deployed on mobile, light, or transportable structures.
Thanks to its economy of means and the autonomy of its presentation displays, The Museum of Mistakes proposes an exhibition model that attempts to foil, or "de-class-ify" to reprise the exhibition's title the hierarchi...
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Carte blanche à Pierre Leguillon
Dans le cadre du cycle "Formes (& histoires) d'exposition", le Jeu de Paume donne carte blanche à Pierre Leguillon, artiste, avec une projection d'un film de Sébastien Pluot.
À Concorde, le vendredi 9 novembre à 19 h
Entrée libre et gratuite dans la limite des places disponibles
Renseignements et inscription au 01 47 03 12 41
ou par mail : serviceculturel@jeudepaume.org
...
Conceived by the French artist Pierre Leguillon, The Museum of Mistakes : Contemporary Art and Class Struggle brings together works that he has created over the last 15 years out of reproduced images.
These are tailor-made displays that bring together photographs, film extracts, advertisements, postcards, posters, slides, record sleeves, magazines, and other types of mass media. But these works evade solidifiying into fixed forms. Each one is intimately informed by a principle of movement, or, indeed, of reversibility, and they are deployed on mobile, light, or transportable structures.
Thanks to its economy of means and the autonomy of its presentation displays, The Museum of Mistakes proposes an exhibition model that attempts to foil, or "de-class-ify" to reprise the exhibition's title the hierarchi...