actu – bio – Jean Arnaud

Actualités – Evénements //

– Publication ouvrage en ligne (juillet 2021) – Version papier à paraître automne 2021.

Biomorphisme. Approches sensibles et conceptuelles des formes du vivant

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– Exposition 07 juin / 31 juillet 2021: Extremely Cute Cohabitation, jardin botanique de Tartu, Estonie

*Rhinocerotopia* (Jean Arnaud) et *She was called Petra* (Damien Beyrouthy)

Artists: Jean Arnaud, Damien Beyrouthy, Flo Kasearu

Curator: Sara Bédard-Goulet

At a time of intense human land use and destruction of habitats, as we are experiencing the sixth mass extinction of species, human-animal cohabitation raises attention. Although domestication has put humans in close contact with animals, it has not prompted a significantly operational sharing of habitats.

In this exhibition, human-animal interaction is tackled from the perspective of the occupation of space. Interrogating territorial distribution between humans and animals raises awareness, for instance, to the status of pets, who are equally affected by social media and internet.

In She Was Called Petra, Damien Beyrouthy addresses the mediation of human-animal companionship by technology by presenting a captive parrot interacting with her human as well as with a virtual assistant. While Petra expresses herself by ordering food and objects online, which we can observe on the floor, live video streams show her original habitat in Africa. In Did You Do That?, Flo Kasearu focuses on how humans address pets as these pets have seemingly intervened in the space where they were left. The discomforting collage of shaming monologues reverses to the addressers and questions the tenor of the relationship between humans and animals. Both works play on accumulation to reveal the absurd situation in which humans and animals can be trapped. Territorial distribution between humans and animals can also involve wild animals, equally affected by human land use, which can easily cause their extinction. In Rhinocerotopia, Jean Arnaud and François Landriot present industrial or suburban landscapes in which a toy rhinoceros seems lost and disconnected from its surroundings. Displayed on a revolving platform, the rhinoceros becomes a demonstration model that shows a fascinated and distant relationship that humans maintain towards animals.

By involving humans and animals in space, the three works also reflect on responsibility, which is inevitably involved when it comes to sharing and cohabitation. While the voices name the outwardly guilty party in Did You Do That?, there is room for the spectator to imagine who that can be and of what crime it is accused of. Habitat destruction is key to both She Was Called Petra and Rhinocerotopia but the two works also point out the unavoidable hybridity of ecosystems and the necessary debate that they engage. The three works provide powerful images of animal lives as singular lived experiences, creating significance and attracting attention to the specific dialogue required with each individual. Through this exhibition, we can open up to the multiple human and animal ways of being and thus multiply the inhabitable worlds.

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– Exposition décembre 2020 /avril 2021: Le temps retrouvé

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– Publication décembre 2020: « Récit de la peau », in revue VERRUE n° 4

http://revue-verrue.fr/abonnement-et-commande/

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– Exposition 21 novembre 2020 / 16 février 2021: À la lisière , Université de Tartu, Estonie

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-Publication août 2020: « Sidération », Jean Arnaud

https://www.revue-textimage.com/conferencier/10_recit_en_images_dispositifs/arnaud1.html

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– Publication novembre 2019 : « Touching to see », Jean Arnaud, in Michael Snow

Cambridge, MA, USA – The MIT Press , « October Files »

https://mitpress.mit.edu/books/michael-snow-1

Summary
**Essential texts on the work of the influential artist Michael Snow: essays and interviews spanning more than four decades.**
Few filmmakers have had as large an impact on the recent avant-garde film scene as Canadian Michael Snow (b. 1928). His works in a range of media—film, installation, video, painting, sculpture, sound, photography, drawing, writing, and music—address the fundamental properties of his materials, the conditions of perception and experience, questions of authorship in technologically reproducible media, and techniques of translation through written and pictorial representation. His film *Wavelength* (1967) is a milestone of avant-garde cinema and possibly the most frequently discussed “structural” film ever made. This volume collects essential texts on Snow’s work, with essays and interviews spanning more than four decades.
From its earliest issues, October has been a primary interlocutor of Snow’s work, and many of these texts first appeared in its pages. Written by such distinguished critics and scholars as Annette Michelson, Hubert Damisch, and Malcolm Turvey, they document Snow’s participation in postwar discourses of minimalism, postminimalism, photo-conceptualism, and avant-garde cinema, and examine particular works. Thierry de Duve’s essay on linguistics in Snow’s work appears alongside Snow’s response. The volume also includes other writings by Snow, images from his 1975 work *Musics for Piano, Whistling, Microphone, and Tape Recorder*, and an interview with the artist conducted by Annette Michelson.
**Essays and interviews: Jean Arnaud, Érik Bullot, Hubert Damisch, Thierry de Duve, Andrée Hayum, Annette Michelson, Michael Snow, Amy Taubin, Malcolm Turvey, Kenneth White**

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– Exposition du 3 au 5 juin 2019: L’EAU N’EST JAMAIS LA MÊME – Université Jean Monnet Saint-Etienne – Vernissage le 3 juin à 17h, dans le cadre du colloque international « Variabilité, mutation, instabilité des créations contemporaines » (sld. Ch. Buignet, C. Novella, A. Favier)