215 x 135 mm
Devoted to Myriam Lefkowitz, Digressions 07 is a follow-up to a research project carried out simultaneously at La Ferme du Buisson and If I Can’t Dance, I Don’t Want to Be Part of Your Revolution in Amsterdam. Lefkowitz looks back over her oeuvre in the light of the distinction between project and practice, the importance of touch and reciprocity, the ambiguity of caregiving, and the malleability of perception. She also addresses the interconnections that form between bodies and places via “feeling” and her use of experiment and commitment in relationships involving tactility.
About the Artist
Myriam Lefkowitz is a performance artist, based in Paris. Since 2010, her research has focused on questions of attention and perception, through different immersive devices involving one spectator and one performer. Her work has been presented at the Venice Biennal, at Le Nouveau festival in Pompidou Center (Paris), for the Public Art Agency (Sweden), at the Center for Contemporary Art (Vilnius), for the Buenos Aires dance festival, among others. She has spoken at the Museum of Modern Art Georges Pompidou (Paris), The Palais de Tokyo (Paris), Open School East (London), la HEAD (Geneva), the Royal Institute of Art (Artistic Research and Development, Stockholm), the School of Architecture (Versailles).
About the Collection
Initiated in 2017 by Julie Pellegrin and the team of the Contemporary Art Center La Ferme du Buisson in collaboration with the Captures editions, Digressions is a collection of interviews (bilingual French / English) which accompanies the programming of the Art Center. Through conversations with the guest artists, the notebooks give access behind the scenes of the projects and testify to the reflections, research, methodologies and sometimes doubts or trial and error that nourish a work process. By giving the floor to the artists, the whole collection makes very singular voices heard which nevertheless resonate with each other to explore shared questions around the performance and the writing of the exhibition, the commitment corporal and political, of the decompartmentalization of disciplines.
For each issue, there is a change in color of the cover paper with or without embossing, distinguishing the publications in relation to the artistic project. The inside pages are printed in a pantone tone and the transition to the English language is materialized by a double-page image resulting from the research work. Postcards from the exhibitions are printed and inserted randomly into the notebooks like bookmarks. The elegant and dynamic layout by Claire Moreux marries the intricacies of reflection by inviting the reader to navigate, literally, in the text.
About the Publisher
Captures’ initial priority was to publish artists’ books, an association artist, graphic designer and publisher, free of all constraints. Subsequently, with the constant desire to prioritize the artist’s voice, uncover research, differences and debates on the question of art, other collections were born: monographs, collective works and interviews.