{"id":1399,"date":"2017-04-25T12:22:32","date_gmt":"2017-04-25T11:22:32","guid":{"rendered":"https:\/\/yannbeauvais.com\/?p=1399"},"modified":"2017-04-25T12:24:17","modified_gmt":"2017-04-25T11:24:17","slug":"du-nuage-au-penetrable-une-incursion-dans-le-transcinema","status":"publish","type":"post","link":"https:\/\/yannbeauvais.com\/?p=1399","title":{"rendered":"DU NUAGE AU P\u00c9N\u00c9TRABLE, UNE INCURSION DANS LE TRANSCINEMA,"},"content":{"rendered":"<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman,serif;\"><span style=\"font-size: small;\">in Gruppen, Paris 2017<\/span><\/span><\/span><\/p>\n<p>L&rsquo;objet de cet article envisage les relations entretenues par certains plasticiens br\u00e9siliens en regard de ce qui fait cin\u00e9ma. Il ne s&rsquo;agit pas tant de dresser une histoire que d&rsquo;esquisser une approche en fonction d&rsquo;usages du cin\u00e9ma qui s&rsquo;inscrivent en dehors de l&rsquo;\u00e9conomie du spectacle traditionnel. Pour ce faire, nous utiliserons le terme de transcinema, qui d\u00e9signe au plus proche\u00a0: des formes et des usages contemporains du cin\u00e9ma tel que les ont d\u00e9finit K\u00e1tia Maciel<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>1<\/sup><\/a> ou Andre Parente, mais qui surtout, favorise la production d&rsquo;autres ramifications selon une arch\u00e9ologie ouverte de l&rsquo;expanded cinema. Dans cet abord, trois figures sont privil\u00e9gi\u00e9s\u00a0: Abraham Palatnik, Helio Oiticica et Lygia Clark.<\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">1<\/a>Katia Maciel\u00a0: <i>Transcinemas<\/i> texte r\u00e9unis et pr\u00e9sent\u00e9s par Katia Marcel, Contra Capa, Rio de Janeiro 2009<\/p>\n<\/div>\n<p><a href=\"https:\/\/yannbeauvais.com\/wp-content\/uploads\/2017\/04\/COUVOMB2017-copie.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-1400\" src=\"https:\/\/yannbeauvais.com\/wp-content\/uploads\/2017\/04\/COUVOMB2017-copie-1024x696.jpg\" alt=\"COUVOMB2017-copie\" width=\"625\" height=\"424\" srcset=\"https:\/\/yannbeauvais.com\/wp-content\/uploads\/2017\/04\/COUVOMB2017-copie-1024x696.jpg 1024w, https:\/\/yannbeauvais.com\/wp-content\/uploads\/2017\/04\/COUVOMB2017-copie-300x204.jpg 300w, https:\/\/yannbeauvais.com\/wp-content\/uploads\/2017\/04\/COUVOMB2017-copie-624x424.jpg 624w, https:\/\/yannbeauvais.com\/wp-content\/uploads\/2017\/04\/COUVOMB2017-copie.jpg 1142w\" sizes=\"auto, (max-width: 625px) 100vw, 625px\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>in Gruppen, Paris 2017 L&rsquo;objet de cet article envisage les relations entretenues par certains plasticiens br\u00e9siliens en regard de ce qui fait cin\u00e9ma. Il ne s&rsquo;agit pas tant de dresser une histoire que d&rsquo;esquisser une approche en fonction d&rsquo;usages du cin\u00e9ma qui s&rsquo;inscrivent en dehors de l&rsquo;\u00e9conomie du spectacle traditionnel. Pour ce faire, nous utiliserons [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6,8],"tags":[],"class_list":["post-1399","post","type-post","status-publish","format-standard","hentry","category-ecrits","category-essais"],"acf":[],"_links":{"self":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/1399","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1399"}],"version-history":[{"count":2,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/1399\/revisions"}],"predecessor-version":[{"id":1402,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/1399\/revisions\/1402"}],"wp:attachment":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1399"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1399"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1399"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}