About the authors
p. 198-203
Texte intégral
1 OLIVIER ASSELIN is Professor in the Department of Art History and Film Studies at the Université de Montreal where he teaches contemporary art, expanded cinema, and media arts. He is the coeditor of Precarious Visualities: New Perspectives on Identification in Contemporary Art and Visual Culture (McGill-Queen’s University Press, 2008), L’Ère électrique / The Electric Age (University of Ottawa, 2011), Menlo Park. Trois machines uchroniques (Université de Laval, 2014), Espaces de savoir (Université de Laval, 2016), and has contributed to the edited volumes Cartographies of Place: Ways of Representing the Urban (McGill-Queen’s University Press, 2013) and 3D Cinema and Beyond (Intellect Ltd., The University of Chicago Press, 2013). He is currently exploring the artistic uses of mobile platforms and working on a life-size video game in augmented reality. He has also directed several feature-length fiction films.
2 MARIE-LAURE CAZIN was born in Casablanca in 1969. She teaches at ESBA-TALM and in the Department of Fine Arts at Paris 1 Panthéon-Sorbonne. She studied at the École supérieure des Beaux- Arts de Paris, at the Jan van Eyck Akademie (Netherlands), and at Le Fresnoy, where she turned to film. She has directed four short fiction-films, official selections at international festivals such as Locarno and the Mostra de São Paolo, and designed the experimental cinematic experiences Living Cinema, which use digital technology to alter a film in real time. Her projects often bring together art and science, as is the case with Emotive Cinema, a prototype of a neuro-interactive film in which viewers’ brain waves are captured by EEG headsets and analyzed in terms of emotions. She is currently working on a VR version with a 360- degree pilot film on Freud. Her PhD dissertation, entitled “Film and Neurosciences,” attests to the theoretical dimension of her work.
3 FRÉDÉRIC CURIEN is a composer and sound artist who teaches at the École européenne supérieure de l’image EESI. His research is at the crossroads of music and the visual arts, focusing on the aesthetics of interactive sound and musical spaces in contemporary art. He explores composition environments and sound synthesis and produces music for films, concerts, and live performances. He is the co-director of the artist collective SLIDERS_lab, which is associated with an art research program sponsored by the French Ministry of Culture (MCC/CNRS, 2016-2020). His work has been shown in museums and contemporary art centers in France and abroad. His theoretical work, which examines the aesthetics and archeology of new media, has been published in Europe, Canada, and the US: “Le son porteur d’espaces u-topiques”; “The Instrumental Space”; “Donner forme aux mémoires”; “SLIDERS, a Collective Experience of Interactive Cinema,” and more.
4 JEAN-MARIE DALLET is an artist, theorist, and curator, as well as Associate Professor at Université Paris 8 Vincennes and a researcher in the research lab AIAC (EU 4010). His theoretical and artistic work examines the fundamental issues and key figures of interactivity (La Notion de figures dans les arts interactifs, Université Paris 8, 2001), placing technology and its critique at the heart of his aesthetic and intellectual interests (Labex Arts-H2H, program “Architectures de mémoire,” 2013-2016). He has supervised the production of the CD-ROM La Troisième Biennale de Lyon (RMN, 1995) and recently served as editor to the book Cinéma, interactivité et société (CNRS & Université de Poitiers, 2013), which contextualizes new forms of the movement-image within broader technological and societal changes. In January 2019, he was the curator of the exhibition “Living Memories,” which focuses on early video art by observing how experimentations by pioneers of the form still nourish present-day artists, sometimes unwittingly.
5 GEORGES DIDI-HUBERMAN is a philosopher and art historian. He teaches at the École des hautes études en sciences sociales (EHESS) in Paris. He has taught at numerous foreign universities and received many accolades, among which the Theodor W. Adorno Award in 2015. He has published over fifty books on the history and theory of images, spanning a broad historical landscape, from Italian Renaissance painting to more contemporary issues on the politics of images and the theoretical legacy of Aby Warburg and Walter Benjamin. His most recent work includes: The Eye of History (The MIT Press, 2018; part of a five-volume series), Ninfa fluida (Gallimard, 2015), Ninfa profunda (Gallimard, 2017), and Uprisings (Gallimard-Jeu de Paume, 2016). He has curated several major exhibitions, including “L’Empreinte” at the Centre Georges Pompidou (Paris, 1997), “Atlas” at the Museo Nacional Centro de Arte Reina Sofia (Madrid, 2010), “Histoires de fantômes pour grandes personnes” (with photographer Arno Gisinger) at Le Fresnoy, Rio de Janeiro, Beirut, and Le palais de Tokyo (Paris), “Memory Burns” at OCAT (Beijing, 2015), and “Uprisings” at Le Jeu de Paume (Paris, 2016), Barcelona, Buenos Aires, São Paulo, and Mexico City (2017-2018).
6 LARISA DRYANSKY is Associate Professor of Art History at Sorbonne Université. Her research focuses on the relationship between art and science and on technological images in art since 1945 (photography, experimental cinema, video). She is the author of Cartographies. De l’art conceptuel au Land Art (CTHS/INHA, 2017) and has coedited with É. Wicky the double issue “Projeter/Projecting” for the journal Intermédialités/Intermediality (no. 24-25, Fall 2014-Spring 2015). Her latest publications include: “‘Inside/Outside the Museum?’ The Art/Video Confrontation 74 Exhibition and the Early Reception of Video Art by the Museum in France” (in Early Video Art and Experimental Film Networks/French Speaking Switzerland in 1974: A Case for “Minor History,” ed. F. Bovier, Écal, 2017) and “Paleocybernetics: Technology and the Prehistoric Imaginary in American Art of the 1960s and 1970s” (Res 69-70, Summer 2018).
7 MARIE FRASER is Professor of Art History and Museology at the Université du Québec à Montréal and a member of Figura, Research Center on Text and the Imaginary. Her research explores the transformation of narrative and temporal regimes in contemporary art, as well as forms of updating and anachronism in artworks, exhibitions, and museum collections. She is part of the research and inquiry group CIÉCO (Collections et impératif événementiel/The Convulsive Collections), endowed by the Social Sciences and Humanities Research Council of Canada (2014-2018). She has recently published articles in such journals as Muséologies, Culture & Musées, and Stedelijk Studies. As a curator, she has organized over thirty exhibitions in Canada and Europe, working as the chief curator for the Musée d’art contemporain de Montréal from 2010 to 2013 and curating the BGL exhibition for the Canadian pavilion during the 56th Venice Biennale in 2015.
8 BERTRAND GERVAIS is Canada Research Chair in Digital Arts and Literature as well as Director of NT2, a research lab on hypermedia art launched in 2004. Founder and director (1999-2015) of Figura, Research Center on Text and the Imaginary, he is a professor in the Department of Literary Studies at the Université du Québec à Montréal. He has published essays on reading, American literature, the imagination, and digitality, as well as novels and short stories. His latest essay, Un défaut de fabrication. Élégie pour la main gauche, published by Boréal (2014), was a finalist for the Canadian Governor General’s Award. In 2018, he released an essay, cowritten with five other researchers, entitled Soif de réalité. Plongées dans l’imaginaire contemporain. His latest novel, La Dernière guerre, was published in 2017 by XYZ in Montreal.
9 ARNO GISINGER was born in 1964 in Austria and currently lives in Paris. He is an artist and associate professor in the Department of Photography at Université Paris 8 in Saint-Denis. As a photographer and historian specializing in German literature, he works on the relationship between memory, history, and visual representations. In the mid-1990s, he began developing his own artistic practice, bringing together photography and historiography. Several of his works deal with exile, war, dispossession, and the Holocaust and strive to broaden the notion of so-called “documentary” practices. His work calls into question the representation of the past and explores the status of images. He has conducted theoretical research on issues tied to the writing of history and to the theorization of contemporary image-based practices. He frequently works with other researchers across disciplines, opening dialogues with other fields such as archeology or art history.
10 EMMANUEL GUEZ is an artist, philosopher, curator, and teacher. He is the co-founder of the research department PAMAL (Preservation & Art - Media Archeology Lab) at the École supérieure d’art d’Avignon. Websites: https://writingmachines.org / http://pamal.or.
11 GEORGE LEGRADY is a media artist working in photography and digital media installations. Born in Budapest, he also holds American and Canadian nationality. His work has been shown at the Centre Pompidou in Paris; at the 3rd Lyon Biennale; at the Haus der Kunst in Munich; at the ZKM in Karlsruhe; at the musée des Beaux-Arts in Brussels; at the National Gallery of Canada; at the PS1/MOMA in New York; at MOCA Taipei in Taiwan; at the Chronus Art Center in Shanghai; at the National Gallery in Prague; at the Bogota International Book Fair, among other venues. He has received support as a Guggenheim fellow as well as from the Creative Capital Foundation, the National Science Foundation, the National Endowment for the Arts, and the Canada Council for the Arts. His artworks are part of numerous museum collections, including those of the Whitney Museum of American Art, the Los Angeles County Museum of Art, the San Francisco Museum of Modern Art, the National Gallery of Canada, the Musée d’art contemporain de Montréal, the Santa Barbara Museum of Art, among others. He is the head of research on experimental visualization in the Graduate Program of Media Arts and Technology at the University of California, Santa Barbara.
12 PATRICK NARDIN is Associate Professor of Visual Arts at Université Paris 8, as well as an artist and theorist. His work explores the problematics of the moving image in the field of contemporary art, with research especially focusing on obsolete or defective techniques and with the way they are handled by new media. He has recently published a book entitled Effacer-Défaire-Dérégler… with a foreword by Pierre-Damien Huyghe (L’Harmattan, 2015). In 2017, he coedited two volumes: Cambodge, cartographie de la mémoire (Paris: L’Asiathèque), with Soko Phay and Suppya Nut, and Archives au présent (Presses universitaires de Vincennes), with Catherine Perret, Soko Phay, and Anna Seiderer. Patrick Nardin is also the president and cofounder of the contemporary art center Faux Mouvement in Metz.
13VINCENT PUIG is Director of cultural, research, and industrial relations at the Centre Pompidou since 1993 (head of the scientific committee at IRCAM, founder of IRCAM Forum, Vice-President Europe of the International Computer Music Community, Assistant Director of the Department of Cultural Development at the Centre Pompidou). In 2008, he cofounded with Bernard Stiegler the IRI in its current form as a research group dedicated to digital studies for an organological approach to skills and technologies of knowledge, which receives support from the Centre Pompidou, the CCCB, Microsoft, University of Tokyo, Goldsmiths College, Institut Mines-Telecom, France Télévisions, Orange, and Dassault Systèmes. He is Vice-President of the Services Evaluation Committee at the Cap Digital Competitive Cluster. He is a member of the board of Ars Industrialis (International Association for an Industrial Politics on Technologies of the Mind) and of the Scientific Council of the Mediterranean Institute for Advanced Research at Aix- Marseille (IMéRA), a foundation promoting interdisciplinarity in science and arts.
14 PIERRE J. TRUCHOT was born in 1963 in the French region of the Morvan. He has a PhD in philosophy from Université Paris 1 and is a researcher in the FoRell research lab “Poétiques de la representation” at the Université de Poitiers. His dissertation provided a history of Western painting through the lens of movement and time. He is the author of numerous articles on Bergson’s thought and aesthetics, on the relationship between texts and images, and on 18th-century philosophy of art. He also writes on contemporary art in collaboration with artists such as Bruno Serralongue, Julien Berthier, and Vincent Ganivet. Other of his publications examine “serious games” and “art games.” He is the author of two books published by Marguerite Waknine, Le Théorème de Staël and Paul Bril, deux éternités. He was the recipient of a CNL grant in 2014 and has just published with L’Harmattan a book entitled L’Art (d’être) idiot. He currently lives in Angoulême and teaches philosophy.
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