Louis-Charles

WEEK 2 // Sept. 12

Urs Fisher - You

Vitamin 3D - New perspectives in Sculpture and Installation

Revisiting the Expanded Field - Vivian Sky Rehberg

Yoko Ono. White Chess Set
(Gabriel Orozco; Robert Gober;...)

Perpetual Inventory - Rosalind E. Krauss

CHLOE LUM & YANNICK DESRANLEAU - Is It The Sun Or The Asphalt All I See Is Bright Black

Does sculpture needs a plinth/pedestal to allude to monumentality?

Is the floor the new plinth?

What is or can be a plinth?

What it the set of rules that 'defines' sculpture?

Is contemporary sculpture 'sculpture used as a tool / sculpture used for other ends'?

WEEK 1 // Sept. 5

Andy Warhol - Brillo Boxes

What is the boundary between work and non-work / art and non-art?

What is sculpture commemorative of?

What would be a non-commemorative sculpture?

Sculpture in the Expanded Field - Rosalind E. Krauss

WEEK 3 // Sept. 19

"The Hatred of the Object" — Phyllidia Barlow

"The Column"—Adrian Paci

What is a Studio?
Is a contemporary sculptor still a maker?
Who are those artists who can afford exporting their labor to cheaper producing locations?
What is the difference between exporting your labor and hiring local assistants?

***To me the objects that carry the "deepest wounds" are the ones that do not bare any traces of their making processes. These industrially-made objects render totally anonymous and even deny the existence of the people behind their production; from the "raw" materials to the end products.***

"The Business: On the Unbearable Lightness of Art" — Dieter Roelstraete

"Les bourgeois de Calais"—Auguste Rodin

Does every artwork seem "light" nowadays because artists have stopped appropriating the labor of assistants and actually give them the credits for their contribution? (The answer is obviously a big NO but what if we were to abolish the hierarchy between Artist and Assistants; Artist and Maker; etc.)

What is "lazy" in not wanting to produce something big and heavy?

"Maman travaille pas, a trop d'ouvrage"—Théâtres des Cuisines ("Mom can't have a job, she has too much work" —Kitchen Theatre")

"The Dematerialization of Art" — Lucy R. Lippard and John Chandler

"Boxes"—Zeke Moores (Cast Bronze)

Is it possible to produce objects without falling into commodity production? How?

WEEK 4 // Sept. 26

The motoo of Québec: "Je me souviens / I remember"

Bird droppings on bronze statues/monuments

WEEK 5 // Oct. 3

"Neo-Materialism, Part Two: The Unreadymade"— Joshua Simon

"Beautiful Creatures; The Do It Yourself Cookbook"— Kim Waldron

"The Pedestal Problem"— Manuela Ammer

How can we change/adapt a readymade to make it an "unreadymade"?

Where is the "real space" in the gallery?

Can art really be autonomous? How / From what?

Is it possible to use the pedestal without an implied reference to classical/historical sculpture/monuments?

"Socle du monde, hommage à Galilée [Pedestal of the world, tribute to Galileo"— Piero Manzoni

WEEK 6 // Oct. 10

"One Place after Another: Notes on Site Specificity"— Miwon Kwon

"50cc d'air de Paris [50cc of Paris Air]"— Marcel Duchamp

Is it possible to present criticism without the theatricality; without having it "turning into a spectacle"?

"The Gift of Paranoia"— Jeanne Randolph

Presentation Topic: Material Agency // Object-Oriented Ontology

WEEK 7 // Oct. 17

"The Social Turn: Collaboration and Its Discontents"— Claire Bishop

"Nimbus II"— Berndnaut Smilde [1]

Why/How is aesthetic dangerous? Isn't it aesthetic that allows at to become "[...]a means for creating and recreating new relations between people."?