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Fred Forest - Retrospective
Sociologic art - Aesthetic of communication
Exhibition Generative art - November, 2000
Exhibition Biennale 3000 - Sao Paulo - 2006
PRESENTATION
EXHIBITION
REFLECTION
COLLOQUES
WHAT'S NEW
CONTACT
> Editorial
> Artworks/Actions
> Criticism
> Biography
> Bibliography
> Synthetic note
> Retrospective online
> Audio conference
> Videos

1 SOCIOLOGICAL ANIMATION / FAMILY PORTRAIT 1967
2 VIDEO ACTIONS, "LA CABINE TELEPHONIQUE/LE MUR D'ARLES" 1967
3 INTERROGATION 1969
4 SPACE - MEDIA 1972
5 THE GESTURES (LES GESTES) WITH THE THEORETICAL INVOLVEMENT OF VILEM FLUSSER 1972
6 MEETING WITH FRED FOREST 1972
7 LE CAPITOLE 1972
8 ARCHEOLOGY OF THE PRESENT 1973
9 VIDEO - THIRD AGE 1973
10 XIIe BIENNIAL OF SAO PAULO 1973
11 SOCIOLOGICAL WALK IN BROOKLYN 1973
12 THE SMALL MUSEUM ABOUT OF THE CONSUMPTION 1973
13 ELECTRONIC AUTOPERCEPTION 1974
14 VIDEO-PORTRAIT OF A COLLECTOR 1974
15 RESTANY LUNCH AT "LA COUPOLE" 1974
16 TV-SHOCK-TV-EXCHANGE 1975
17 NEW MEDIA N° 1 1975
18 I EXPOSE MADAME SOLEIL, LIVE 1975
19 BIENNIAL OF THE YEARS 2000 1975
20 THE FAMILY VIDEO 1976
21 THE VIEWER'S PHOTO 1976
22 THE ARTISTIC SQUARE METER 1977
23" LIBE " WORK OF ART 1979
24 THE TERRITORY 1980
25THE STOCK MARKET OF THE IMAGINARY 1982
26 AUTOPSY OF THE POLITICAL SPEECH 1983
27 HERE AND NOW 1983
28 THE COMMUNICATING SPACE 1983
29 THE CONFERENCE OF BABEL 1983
30 ELECTRONIC BLUE : HOMAGE TO YVES KLEIN 1984
31 LEARN TO WATCH THE TELEVISION WITH YOUR RADIO 1984
32 DOCTORATE IN LETTERS AND LIBERAL ARTS 1985
33 CELEBRATION OF THE PRESENT 1985
34 GLOBAL TELEPHONIC SCULPTURE 1985
35 THE TELEPHONIC RALLY 1986
36 THE TIME OF THE ELECTRONIC WRITING 1986
37 GOLD NUMBER AND FIELD OF FREQUENCY 14 000 HERTZ 1987
38 WANTED : JULIA MARGARET CAMERON 1988
39 ZENAIDE AND CHARLOTTE AT THE ASSAULT OF THE MEDIA 1988
40 JOGGING IN THE PARK 1989
41 TELEMATICS RITUALS FOR SLEEPLESS NIGHTS 1989
42 BALLAD FOR CHANGE OF REGIME 1989
43 HOMAGE TO MONDRIAN 1989
44 THE ELECTRONIC BIBLE AND THE GULF WAR 1991
45 FRED FOREST FOR PRESIDENT OF THE NATIONAL BULGARIAN T.V. 1991
46 THE TELEPHONIC FAUCET 1992
47 THE GLOBAL FAUCETS 1992
48 THE WATCHTOWERS OF THE PEACE 1993
49 THEATER MOVIES RADIO TELEVISION INTERNET 1995
50 TERRITORY OF THE NETWORKS 1996
51 PARCEL NETWORK 1996
52 I STOP THE TIME 1998
53 THE MACHINE TO WORK THE TIME 1999
54 TOUCH-ME 1999
55 THE TECHNO-WEDDING 1999
56 THE CENTRE OF THE WORLD 1999
57 AN APPLE CAN HIDE ANOTHER ONEÖ 1999
58 FEAST OF INTERNET 2000 2000
59 COLOUR - NETWORK 2000
60 Webnetmusum.org http://www.webnetmuseum.org 2001
60 Bis Sorite des Territoires/offrez votre pied 2001
61 TERRITORY OF THE BODY AND NETWORK BODY http://viande.fredforest.net
2002
62 GRENOBLE IN THE CENTRE OF THE WEB http://www.fredforest.org/fete/ 2003
63 "INTERNET A LA LOUPE" http://www.fredforest.org/loupe 2004
64 MEMORY-IMAGES http://www.fredorest.org/Ina 2005
65 DIGITAL STREET CORNER 2005
66 BIENNALE DE L'AN 3000 - MAC (Musée d'Art Contemporain) de Sao Paulo 2006
67 FRED FOREST RETROSPECTIVE - SLOUGHT FOUNDATION OF PHILADELPHIE 2007
68 THE SENTINEL AT WORLD'S END - 1ST BIENNIAL OF THE END OF THE WORLD 2007
69 THE WATCH TOWERS OF THE PEACE 15 YEARS AFTER - SARAJEVO, GALERIJA 10 m2 2007
70 EXPERIMENTAL CENTER OF THE TERRITORY-SECOND LIFE/PROMENADE DES ANGLAIS 2008
71 CREATION FRED FOREST SECOND LIFE 2008
72 CORRIDA ON SECOND LIFE BY FRED FOREST 2008
73 CENTRE EXPERIMENTAL DU TERRITOIRE ON SECOND LIFE, MAC SÃO PAULO 2009
74 EXHIBITION FRED FOREST UNESP 2009

75 GHERSWHIN HOTEL AND WHITE BOX NEW YORK

2009
76 EXHIBITION/ACTION/TALK FRED FOREST ACADEMIE LIBANAISE DES BEAUX ARTS 2010
77 LAUNCHING AGAIN THE BIENNALE 3000 2010
78 THE TRADERS BALL 2010
79 EGO CYBERSTAR 2010
80 A LIFE IN ONE HUNDRED PORTRAITS 2010
81 THE COMPANY FORUMS 2011
82 FRED FOREST ART BY TELEPHONE 2011
83 EBB AND FLOW, THE INTERNET CAVE 2011
84 AN EXTENSION OF EBB AND FLOW, THE INTERNET CAVE 2011
85 SOCIOLOGICAL WALK 2011
86 L'ŒUVRE SYSTEME INVISIBLE ET M2 INVISIBLE 2011
87 FROM SOIOLOGICAL ART TO THE AESTHETICS OF COMMUNICATION 2011
88 THE INVISIBLE M2 ARTISTIQUE 2011
89 THE CONVERSATION 2011


88

 

PERFORMANCE

 

THE INVISIBLE M2 ARTISTIQUE

 

MoMA

 

September 23, 2011

 

The information was kept until the day given in the greatest secrecy. The French artist Fred Forest, enfant terrible of contemporary art (http://artforum.com/news/week=201103) exhibited at MoMA a M2 invisible. The implementation of the work done by the artist himself will take place on September 23 as a tribute to the late Pierre Restany. Time for installation will be disclosed at the last minute by flashsmob. The work in question consists of a field frequency of 20,000 Hertz, poses no health risk to users. Four mobile transmitters, equidistant from one meter by one meter will be set up. This work also presents the advantage of being moved to different locations of the museum and it safely, for four persons of average build. The work itself can be moved at the request of visitors will come to them according to their path, as it were to meet them in a simplified protocol. Without having to make a prior request from the administration of the MoMA. Collectors and institutions interested in practicing able experience on the opening day. And to acquire the work on site, for an amount equivalent to 'Kiss' Tino Shehgal the MoMA, or "The situation" by the Centre Pompidou, 100, 000 dollars, negotiated price + an extra dollar . The dollar, in any reconnissance practice of Fred Forest, which has priority over that of a Tino Sehgal. What art historians, with their knowledge, are not supposed to ignore.

The initiative of the artist responded favorably to the breath of a new spirit that animates the prospective managers of the museum. Which one of them, to justify the acquisition of @ and The Kiss of Tino Sehgal said publicly to anyone who will listen without any modesty: "While facilities for Decades Have Provided museums with interesting challenges Involving acquisition, storage, reproducibility, authorship, maintenance, manufacture, context-even questions about the essence of a work of art in Itself-MoMA curators Recently Have Ventured Further, A Good example Is the recent acquisition by the Department of Media and Performance Art of Tino Sehgal's Kiss the performance.

 

We look forward course with Tino Sehgal and especially its gallery Marian Goodman of this initiative, a major museum, as MoMA, which gives a good example, opening the market to other forms of diverse kinds of goods.

Yet five types of subsidiary remarks come to mind:

 

The first: why the museums he waited almost half a century to bring this kind of works in its collections? Neglecting, for several decades, similar works, ignored, artists already confirmed yet? Is the weight of the institution that is the cause of considerable delay? Is this inertia conservatives themselves? or, again, their lack of curiosity or to see more of their ignorance?

• The second: why today the selection of Tino Sehgal, a work that does not benefit from additional prior art in this area? and why not that of any other artist in history with any weight?

• The third: beyond an arbitrary, purely subjective, what are the scientific criteria in terms of art history that have made this choice to preside over another? ? ?

Fourth, what was the amount of this acquisition? and how it was determined for a specific work not yet having trading on the art market? Would it be a unilateral decision by officials of the museum, in fact, legitimate goods by the surety to give, while they decide the price? As judge and jury, do not they fall within the scope while the law for breach of ethical rules governing trade rules?

 

These are questions raised by the work-system invisible form of M2 invisible as you can all come and see at MoMA on September 23, and if you are not a seasoned collector with deep pockets, you can make the acquisition during his visit for the duration of your itinerary in the museum.

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