There are not many jobs out there. Despair, enough and to spare.
But staying local makes it even harder. Are you a PhD candidate in a field related to the arts? The Centre Pompidou in Paris has a one-year scholarship for doctoral candidates willing to know the behind the scenes of one of the most famous museums in the world.
Check out their latest announcement and start preparing for the launch of the 2013-2014 scholarships.
As part of its policy to support research, the Centre Pompidou is offering three scholarships intended for PhD students who are at least enrolled in the second year of their thesis in a French or foreign university for the university year 2011-2012.
Applications deadline is September 30, the jury’s deliberations will be held at the end of October. The grants of €1,000 per month will be distributed beginning in January for the duration of a year. The laureate will be integrated into one of the research programs of the Centre Pompidou for two days per week.
We totally recommend you this place. There has been a time during our undergraduate degree when we dreamt a lot about art and literature, and went every single day to read at the Centre Pompidou library and lied down on the pavement in the famous square. We knew little about the hardships following such dangerous dreams “de la recherche sur l’imaginaire”…
This post is about Jean-Pierre Raynaud, a French artist working with time shadows and their abstract tendency to shrink into the geometrical perfection of a very spatial void. Raynaud is building walls around himself, filling them with white tiles and with the impossibility of breaking out. He then smashes them and films his self-made-prison break.
Why would anyone literally build a Cartesian space as a defence system against the outer world? Is this a new frame of mind? If so, it might look rather sceptical to some. Freeing oneself from the world becomes possible only after having gone underground within the self.
Jean-Pierre Raynaud (1993)
Note: Unzipped Humanities (1) covered Marcel Broodthaers and his work La signature. Serie 1. Tirage illimite (1969), while Unzipped Humanities (2) introduced to our readers Jorg Immendorff's Das Bild ruft (letztes Selbstportrait II), also in the museum's collection.
We have contributed to the collection catalogue, which is expected to be published in March-April 2012. For updates and texts in the Japanese language authored by The Bosa Bosa Review, please check again around April. Cheers.
Welcome to the museum's collection:
Jean-Pierre RAYNAUD Auto Portrait (1980).
We have been working on Jean-Pierre Raynaud's Auto Portrait, for the collection catalogue.
Field research, digging, digging
Unearthing 19-years old mortuary chamber
- ceramic tiles at the Biennale di Venezia,1993-
ABOUT THE ARTIST:
Jean-Pierre Raynaud was born in Paris in 1939. He graduated from Horticulture in 1958, had the first group-exhibition in 1964 at “Salon de la Jeune Sculpture”. In 1976 (or 1975?) he created the stained-glass windows for the Noirlac Abbey in France. He held a one-man show at Pompidou Centre, in Paris, in 1979. Later, in 1981 he had his first exhibition in Japan, “Espace Zero” opened at Hara Museum of Contemporary Art. Here he temporarily transformed the whole exhibition space into his work.
ABOUT THE ARTWORK:
Curatorial Night Beat @ The Bosa Bosa Review
Auto Portrait is an artwork from 1980 (tile and cement, 129x46x46cm. Courtesy The National Museum of Art, Osaka). Another frame of mind, perhaps? Raynaud marks his territory with white ceramic tiles set on a grid of 15 by 15 cm, with a black grouting joint (mortar) of 5 mm. The white tiles, along with the red pots and the "Do Not Enter" traffic signs have become his artistic signature.
Auto Portrait, a self-portrait, shows a simple structure of a white ceramic tiled-head on top of a white ceramic tiled-body. A similar work, triple-size, is Stele pour les droits de l'homme, erected in Barcelona (1990)
Five years later, in 1985, Raynaud will make Stele + crane neolithique, a sculpture where on top of the white ceramic tiled-body he places not a tiled-head but a skull in a glass case, standard image of an artistic meditation on the subject of life and death.
We know that to Raynaud, the white ceramic tiles are related to the image of a hospital, as well as that of a home.
In 1970 he created Mur sens interdits where he is showing a large-sized monochrome photograph of a patient in a psychiatric institution, surrounded by the typical hospital white ceramic tiles. Raynaud attaches dozens of "Do Not Enter" traffic signs to an inescapable reality, a negation of live within life, a painfully surviving death within life. The photograph itself has been found prior to this date, and chances are that this hospital image is at the root of his choice for a tile-style.
Shifting from hospital image to home sweet home image. From 1969 until 1993, Raynaud built his home in La Celle Saint-Cloud, covering all surfaces in white ceramic tiles. Then in 1993 he decided to destroy it and save the fragments in buckets as artworks. The destruction has been documented on video camera.
Art critic Toshio Shimizu argues that the white ceramic tiles define the habit of removing proofs and traces in the 20th century. Tiles are a construction/ decorative material used in hospitals and slaughterhouses, can be easily washed of dirt, and keep no memory of any presence, experience or sign of life.
Therefore, we can regard a space built with white tiles as a person’s territory clearly marked, a Cartesian space, signifying Perfection, the Absolute, a space where one closes oneself, as a defence system against the outside. The body becomes one’s total space, and the space defines itself in strict relation to one’s body. An enclosed space is a place of freedom.
Useful French-Japanese-English glossary:
Jean-Pierre Raynaud, Auto Portrait (1980)
ジャン＝ピエール・レイノー 《自画像》
Selfportrait
Abbaye de Noirlac
ノワルラック・シトー派修道院
Noirlac Abbey
Stele+crane neolithique
《碑＋新石器時代の頭蓋骨》
Neolithic Skull
Toshio Shimizu (name)
清水敏男
Toshio Shimizu
Mur sens interdits
《壁・進入禁止》
Do not enter Wall
Related links:
Jean-Pierre Raynaud article by Mark Pimlott, in Frieze Magazine, Issue 13, November-December 1993
Seriously funny comments on Raynaud's work Pot Dore, Golden Pot at the Centre Pompidou 1998-2009, Beaubourg area, Paris (listen and have a laugh, for knowing what the audience thinks is essential to the dynamism of the arts)
The National Museum of Art Osaka (NMAO) will be celebrating its 35th anniversary with a two-month exhibition, The Allure of the Collection, opening on 21 April 2012. Around 250 works will be on display and a new catalogue will be published to assist the visitors.
All commentaries are currently being updated, and it is expected that the well versed Christopher Stevens will take on the English translation of the essays.
Inspired by Jo Mazzotta from Tate, and in general, by the world's museums' efforts to improve their transparency online, The Bosa Bosa Review will introduce its readers to a number of works from the NMAO collection.
Texts in English authored by The Bosa Bosa Review will be uploaded over the coming weeks, once the intellectual igneous differentiation is done, that is the chemical change occurring during the melting, cooling, erupting, placing, replacing of the thinking, the writing, the trimming and the copy-pasting.
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