An art historian, art critic and curator, Clément Dirié is also an editor specialized in contemporary art, notably for JRP|Ringier. He is a member of Caro Sposo, a video programming collective, and was co-editor of Code Magazine 2.0, a magazine dedicated to young artists (2010-2015). Code Magazine 2.0
Representing workspace, this figure shows real space and mental space simultaneously; a cerebral organization and its material translation. From the Renaissance to the 21st century, from the aesthetic documentation to ambiguous utopia, the following images are some incarnations of the «office-form.» Clément Dirié is an art historian and art critic, curator and editor specialized in contemporary art.
Artist and user: this could be the corporate title of Julien Prévieux whose work uses, solicits and questions the complexity of our contemporary world, and notably the economic systems and uses that comprise it. Because he is not satisfied with simply creating artworks and ex nihilo objects but more because he reactivates and incorporates pre-existing and codified elements, he adopts the figure of the user and stages his use of the real. Here, he has intervened as a commentator on this essay, a panorama of a practice of over ten years, having numerous economic ideas as its center. Clément Dirié is an art historian and art critic, curator and editor specialized in contemporary art.
Some selected cases of artist residencies in business draws a panorama of the possibilities of an immersion of the arts into the world of economy. If one wonders about the profusion of these experiences, just think that art has continued to push its boundaries. The canvas on the wall, of virtual realities and of open spaces. While providing a new space for a creation that echoes the economic sphere, these residences are rich in knowledge for understanding today’s business. The information they generate are made of flesh and not numbers. Clément Dirié is an art historian and art critic, curator and editor specialized in contemporary art.
Designing an inclusive city implies involving their residents in urban projects, but what is the role of architects and urban planners in this process? For Andrew Freear, the head of the Rural Studio program, they both have the ethical responsibility of getting locally involved via concrete projects. Architectural schools must thus take on training citizen architects by engaging them in learning by doing, and thus have them redevelop a deep connection with context and places, acting as neighbors and activists within communities in order to collectively carry out experimental projects that tangibly improve society and the environment.
The two Lebanese artists and filmmakers were awarded the 2017 Marcel Duchamp Award for Unconformities, a project currently on display at Hamburger Bahnhof in Berlin. This artwork, like their approach, is based on a methodology of investigation and excavation and aims to offer another reading of history and the traces of the past.
Nicolas Nova is a social anthropologist. Inspired by New Media Studies and design fiction, he contends that the future of design lies in recycling and reparation as well as reinventing forms and functions. Did you know that a used flip-flop could serve as a lighter?
The geographer and orientalist Augustin Berque revisits the polysemic dimension of the term “milieu,” and explains the distinction made by mesology—“the area of biology that deals with the relationships between the environments and organisms”—between “environment” and “milieu.” The reality of things differs depending on the environment of each species or culture, the object doesn’t exist in itself but according to its relationship with the subject. In this way, mesology goes much further than the subject/object dualism of modern science. Ontologically “trajective,” the environment is neither objective nor subjective, but firmly between the two theoretical subject/object centers. Berque takes the term “mediance,” meaning the dynamic coupling of the individual and their surroundings, from the Japanese “fūdo,” to which he adds “trajection,” a process that results in the “mediance” of human existence in its concrete surroundings. Taken as a whole, all human environments, distinct from the biosphere through their eco-techno-symbolic dimension, form the ecumene. For architecture, this implies a respect for history and the environment, without mimicking ancient forms, creating from the “mediance” of each place.
Larissa Fassler is a “Neo-Situationist” artist. By exploring places over the course of many hours, she gleans their ephemeral essence, which she then superimposes on the fixed urban master plan. The subjective maps thus generated highlight both urban narratives and history.
Maximum is a design studio that maximizes the value of waste; its material, its form and its engineering. Some materials are transformed in a semi-industrial process while others give birth to unique pieces, such as the glass walls of the Centre Pompidou caterpillar.
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Eager to share more generously the results of its collaborations and research, PCA-STREAM publishes STREAM VOICES, its online magazine!