Le carnet de Villard de Honnecourt
XIII siècle

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Le carnet de Villard de Honnecourt
XIII siècle

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David Hockney
drawing
Scott Burton
DANIEL DEWAR & GRÉGORY GICQUEL
10 October - 8 November
Galerie Micheline Szwajcer
ANGELA BULLOCH | Archetypes and Totem Antidotes
30 October - 5 December
Galerie Micheline Szwajcer - Brussels

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Louise Bourgeois, Female, Male, 2005
Pablo Picasso - Baigneuses, 1918
The Forgotten Art of the Phenakistoscope
the psychedelic predecessor of the animated GIF
http://www.anothermag.com/art-photography/7982/the-forgotten-art-of-the-phenakistoscope
Dora Budor, Mental Parasite Retreat 1, 2014, original-production cyborg chest prosthetics from the movie Surrogates, cinema chairs, dragon-skin silicone, assorted hardware, animatronics, 41 x 27.5 x 28”. As with any good flick trafficking in the alien, one likely hears the thing before seeing it. The thing, in this case, is a cinema chair in the middle of the gallery. Its back gently, almost imperceptibly, expands and contracts in motored respirations. A robotic chest plate pierces the skin of the upholstery—not cloth, neither leather nor vinyl, but something fleshy and moist—revealing its mechanical core. It wants to be touched. This work, Mental Parasite Retreat 1 (all works 2014), introduces Dora Budor’s exhibition, which gleefully cloaks itself in the trappings and tropes of science fiction and fantasy. But the show also probes such conventions, breaking their surfaces as though to see what really lies beneath. Wounds are the central figures of Budor’s critical method, blistering across exposed electrical panel works and puncturing glossy resin picture planes. Such tactile effects seduce. This same desire to touch and to demolish distance is shared by memorabilia hounds. Indeed, much of the material Budor incorporates into these works was manufactured for major film productions and then purchased through a collector’s market that thrives on translating cinematic artifice into covetable artifact. The attraction of both these commodities and their afterlives as artworks lies in the appropriation of technologies that films engineered to meld with the body. The props and prosthetics subsumed into

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Giovanni di Paolo La Vierge de l’humilité c. 1450 Inv. 206 tempera sur panneau (avec encadrement d’origine)62 x 47,5 cm Siena, Pinacoteca Nazionale
Sainte Marguerite d'Antioche
attributs: les perles, le dragon, la croix
meurt en vierge martyre par décapitation
Cocktail carpet by We make carpet

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Elzo Durt