Inspir\u00e9 des \u0153uvres performatives de l’artiste italien Michelangelo Pistoletto consistant \u00e0 briser de grands miroirs,\u00a0Oli Sorenson\u00a0revisite les traditions de l’Arte Povera\u00a0en utilisant les mat\u00e9riaux propres aux nouvelles technologies. Ainsi, Sorenson conteste les principes g\u00e9n\u00e9rateurs de l’art en cr\u00e9ant des \u0153uvres \u00e0 partir de la destruction de composantes \u00e9lectroniques. Vid\u00e9o Pistoletto pr\u00e9sente une action paradoxale forg\u00e9e dans la fuite vers la d\u00e9su\u00e9tude et le gaspillage m\u00e9diatique qui r\u00e9sulte de notre consommation fr\u00e9n\u00e9tique actuelle.<\/p>\n\n\n\n
Une performance devant public a eu lieu dans le contexte de la Nuit blanche, un \u00e9v\u00e8nement de Impulsion\/Impulse : <\/p>\n\n\n\n
Grand sommet pancanadien des arts m\u00e9diatiques.
En collaboration avec Manif d’art.
Cam\u00e9ra: Ricardo Savard
Site web:\u00a0http:\/\/www.olisorenson.com\/
Genre : Exp\u00e9rimental, Performance vid\u00e9o
Cat\u00e9gorie : IMPULSION\/ IMPULSE (2016), Prod. & coprod. BV
Ann\u00e9e : 2016
Dur\u00e9e : 00:10:00<\/p>\n\n\n\n
N\u00e9 \u00e0 Los Angeles,\u00a0Oli Sorenson\u00a0<\/strong>\u00a0a v\u00e9cu et travaill\u00e9 \u00e0 Londres (Royaume-Uni) entre 1999 et 2010, combinant ses activit\u00e9s de VJ et d\u2019arts visuels avec celles de commissaire (y compris plusieurs \u00e9v\u00e9nements \u00e0 Tate Britain, l\u2019Institute of Contemporary Art et le British Film Institute). Sorenson a entre autres expos\u00e9 au\u00a0Millennium Museum\u00a0(Beijing), l\u2019Institut Media Art (Amsterdam), ZKM (Karlsruhe), Dokfest (Kassel). Il performe r\u00e9guli\u00e8rement dans les festivals m\u00e9diatiques tells que ISEA (Helsinki et Nagoya), Mapping Festival (Gen\u00e8ve) et MAF (Bangkok). Il est bas\u00e9 \u00e0 Montr\u00e9al, au Canada depuis 2010.<\/p>\n\n\n\n Sorenson a commenc\u00e9 sa carri\u00e8re artistique par la transgression des concepts d\u02bcoriginalit\u00e9 et d\u2019identit\u00e9 dans ses \u0153uvres num\u00e9riques et de performance, pour ainsi parvenir \u00e0 une renomm\u00e9e internationale sous le pseudonyme \u00abVJ Anyone\u00bb et a collabor\u00e9 avec de nombreux groupes tels Leftfield, M.I.A, Block Party, Talvin Singh et plus, simultan\u00e9ment \u00e0 sa production d\u02bcatelier. Reconnu comme l\u2019un des dix meilleurs VJs du monde entre 2003 et 2008 par DJ Magazine (UK), Sorenson d\u00e9crit son approche comme celle d\u2019un artiste du remix: \u00abJe produis mon travail comme un DJ produit sa musique.\u00bb<\/p>\n\n\n\n Born in Los Angeles,\u00a0Oli Sorenson\u00a0has lived and worked in London (UK) between 1999 and 2010, to combine his artistic activities with curatorial work (including several events at Tate Britain, the Institute of Contemporary Art and the British Film Institute). Sorenson has often exhibited internationally, including at the\u00a0Millennium Museum(Beijing), the Media Art Institute (Amsterdam), ZKM (Karlsruhe) and DokFest (Kassel). He performs regularly in media festivals such as ISEA (Helsinki and Nagoya), Mapping Festival (Geneva) and MAF (Bangkok). He is now based in Montreal, Canada since 2010.\u00a0<\/p>\n\n\n\n Sorenson started his artistic career by subverting preconceptions of originality and identity in his digital and performance works, which quickly caught the attention of youth culture related events. He thus shot to international acclaim under the moniker \u201cVJ Anyone\u201d and collaborated with numerous bands such as Leftfield, MIA, Block Party, Talvin Singh and more, simultaneously to his studio production. This venture into the VJ world informed his gallery-based projects, where Sorenson now describes his approach as that of a remix artist: \u201cI produce art as a DJ produces music.\u201d<\/p>\n\n\n\n Oli Sorenson is represented by\u00a0La Castiglione Gallery\u00a0in Montreal.<\/p>\n\n\n\n Communique of the event available on\u00a0Agence TOPO.<\/p>\n","protected":false},"excerpt":{"rendered":" Inspir\u00e9 des \u0153uvres performatives de l’artiste italien Michelangelo Pistoletto consistant \u00e0 briser de grands miroirs,\u00a0Oli Sorenson\u00a0revisite les traditions de l’Arte Povera\u00a0en utilisant les mat\u00e9riaux propres aux nouvelles technologies. Ainsi, Sorenson conteste les principes g\u00e9n\u00e9rateurs de l’art en cr\u00e9ant des \u0153uvres \u00e0 partir de la destruction de composantes \u00e9lectroniques. Vid\u00e9o Pistoletto pr\u00e9sente une action paradoxale forg\u00e9e … Continued<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[64],"acf":[],"_links":{"self":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/936"}],"collection":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/comments?post=936"}],"version-history":[{"count":2,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/936\/revisions"}],"predecessor-version":[{"id":938,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/936\/revisions\/938"}],"wp:attachment":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/media?parent=936"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/categories?post=936"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/tags?post=936"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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