This book examines the modes of execution in contemporary art from the viewpoint of production, by means of a series of eighteen interviews. It presents a plural and polyphonic thinking, bringing together the words of different participants concerned with the realisation of artworks and several generations of artists.
Are we really done with the hand from the moment it isn't at work? In contrast to what different artists from the 1960s declared, can we not consider that, aside from the process of execution, the hand is quite capable of shaping what they called "the conception" of the artwork? Don't we have reason to ponder the role the hand paradoxically plays in some practises of delegation or in gestures which a priori do not require specific manual competences? The artist who, on the contrary, does not entrust others with the realisation of his or her piece: is he or she necessarily the only one making the artwork? What about the materials, processes and tools? And how can we use the artistic making to think about the issues of the professional world?
Such are the questions which are examined in this book, from the viewpoint of production, through a series of eighteen interviews. Faire, faire faire, ne pas faire
(To Make, to Make Make, to Not Make) presents a plural and polyphonic thinking, bringing together the words of different participants concerned with the realisation of artworks, and several generations of artists: John M Armleder
, Pierre-Olivier Arnaud
and Julie Portier, Christian Bernard
, Gabriele Di Matteo, Sylvie Eyberg, Christian Gonzenbach, Wade Guyton
, Fransje Killaars and Roy Villevoye, Stéphane Kropf, Pierre Leguillon
, Anita Molinero
, Émilie Parendeau
, Claude Rutault
, Zoë Sheehan Saldaña, Wim Starkenburg, Joëlle Tuerlinckx and Remi Verstraete.