Problèmes de localisation

Les sculptures et les films de Judith Hopf sont alimentés par des réflexions sur les relations que les êtres humains entretiennent avec la production et la technologie. Pour Énergies, sa première exposition monographique en France qui eut lieu conjointement à Paris à Bétonsalon et au Plateau, Frac Ile-de-France, l’artiste s’est concentrée sur cet élément invisible dont la quête accompagne notre quotidien et nos activités, produit par la conversion de ressources naturelles en puissance. Ce catalogue réunit des reproductions de dessins inédits, un entretien avec l’artiste et un texte critique de Tom Holert qui fait retour sur vingt années de travail.

Judith Hopf's sculptures and films are fuelled by reflections on the relationship human beings have with production and technology. For Énergies, her first solo exhibition in France, held jointly in Paris, at Bétonsalon and Plateau, Frac Ile-de-France, the artist focused on this invisible element whose quest accompanies our daily lives and activities, produced by converting natural resources into power. This catalog features reproductions of previously unpublished drawings, an interview with the artist and a critical text by Tom Holert, looking back over twenty years of work.

Textes / Texts
- François Aubart, Xavier Franceschi et Émilie Renard, "À propos d’énergie, d’amour et de chansons : conversation avec Judith Hopf"
- Tom Holert, "Changements de rythme : La méthodologie énergétique de Judith Hopf"

- François Aubart, Xavier Franceschi et Émilie Renard, "On Energy, Love, and Songs: Conversation with Judith Hopf"
- Tom Holert, "Changing Pace: Judith Hopf’s Energetic Methodology"

Traduction / Translation
Jean-François Caro
Louise Ledour

Typesetting : Olivier Lebrun

The book transcribes a body broken by American empire, that of ex-con Rafael Luis Estrada Requena, hacking itself away from contemporary society. Johanna Hedva, author of Sick Woman Theory, takes the ferocious compulsion to escape (from capitalism, from the limits of the body-machine, from Earth) and channels it into an evisceration of oppression and authority. Equal parts tender and brutal, romantic and furious, On Hell is a novel about myths that trick and resist totalitarianism.

faits divers are the various reports in a news bulletin, miscellaneous human interest stories, theorised by Roland Barthes as ‘total’ and ‘immanent’ information.

ferrara deux (faits divers) scrolls around the discovered corpse of a talented street musician named Landau, mangled and sealed into vacuum bags in the walk-in of a modern Italian-American restaurant. Street performance is content for an attention economy, playing on authenticities and profiting from recognition.

In this debut novel, artist Ivan Cheng reconfigures recent performance texts into an approximation of a murder mystery.

The Years is a personal narrative of the period 1941 to 2006 told through the lens of memory, impressions past and present—even projections into the future—photos, books, songs, radio, television and decades of advertising, headlines, contrasted with intimate conflicts and writing notes from 6 decades of diaries.

Local dialect, words of the times, slogans, brands and names for the ever-proliferating objects, are given voice here. The voice we recognize as the author’s continually dissolves and re-emerges. Ernaux makes the passage of time palpable. Time itself, inexorable, narrates its own course, consigning all other narrators to anonymity. A new kind of autobiography emerges, at once subjective and impersonal, private and collective.

On its 2008 publication in France, The Years came as a surprise. Though Ernaux had for years been hailed as a beloved, bestselling and award-winning author, The Years was in many ways a departure: both an intimate memoir “written” by entire generations, and a story of generations telling a very personal story. Like the generation before hers, the narrator eschews the “I” for the “we” (or “they”, or “one”) as if collective life were inextricably intertwined with a private life that in her parents’ generation ceased to exist. She writes of her parents’ generation (and could be writing of her own book): “From a common fund of hunger and fear, everything was told in the “we” and impersonal pronouns.”

In this characteristically sexy, daring, and hyperliterate novel, Kathy Acker interweaves the stories of three characters who share the same tragic flaw: a predilection for doomed, obsessive love. Rimbaud, the delinquent symbolist prodigy, is deserted by his lover Verlaine time and time again. Airplane takes a job dancing at Fun City, the seventh tier of the sex industry, in order to support her good-for-nothing boyfriend. And Capitol feels alive only when she's having sex with her brother, Quentin. In Memoriam to Identity is at once a revelatory addition to, and an irreverent critique of, the literature of decadence and self-destruction.

Fort Beau – verhalen van beginnen en eindes, een nieuw boek van kunstcriticus en curator Pieter Van Bogaert ontstaan aan zee, is het eerste in de Bibliotheek van de Noordzee: een nieuwe reeks van Kunstencentrum KAAP over kunst en samenleving.

Fort Beau heeft twee beginnen en eindes: één van elk op de linkerpagina’s en nog eens hetzelfde maar anders – als een vage kopie – rechts. Van de kunst van het lopen gaat het naar lopen als kunst. Van het strand in Oostende gaat het naar het Kaaitheater in Brussel. Van de huiskamer naar de wereld. Van de Palestijnen naar de sans-papiers. Twee boeken naast elkaar die zich in een gedurfde vormgeving van Maaike Beuten ontwikkelen en besmetten tot één verhaal.