Dans les ann\u00e9es 1960, le monde de l'art s'int\u00e9ressait de plus en plus aux syst\u00e8mes. Cela s'est produit parall\u00e8lement aux bouleversements sociaux et \u00e0 la critique fondamentale du syst\u00e8me du mouvement de 1968. Du point de vue actuel, les progr\u00e8s technologiques ont eu des cons\u00e9quences particuli\u00e8rement importantes. Le d\u00e9veloppement de la cybern\u00e9tique, des r\u00e9seaux de communication et des syst\u00e8mes informatiques a permis une mise en r\u00e9seau \u00e9tendue et un traitement performant des donn\u00e9es, faisant de l'\u00e9change d'informations un facteur social et \u00e9conomique important. L'exposition et la publication consid\u00e8rent l'art des ann\u00e9es 1960 et du d\u00e9but des ann\u00e9es 1970 sous les aspects de la pens\u00e9e syst\u00e9mique et le con\u00e7oivent comme une communication et une critique du syst\u00e8me. Ce sont surtout les \u0153uvres de l'art minimal et de l'art conceptuel qui se sont pench\u00e9es sur les principes du syst\u00e8me de communication linguistique et, ce faisant, sur la diff\u00e9rence et la r\u00e9p\u00e9tition. Le caract\u00e8re de signe, la s\u00e9rialit\u00e9, la r\u00e9gularit\u00e9 ainsi que la contextualisation de l'environnement architectural et institutionnel \u00e9taient d'autres caract\u00e9ristiques importantes. Les \u0153uvres reprenaient les principes de la pens\u00e9e syst\u00e9mique sur le plan formel et les mettaient en d\u00e9bat sur le plan du contenu. Les observateurs devaient prendre eux-m\u00eames leurs positions, aussi bien spatialement que mentalement, et devenaient ainsi une partie d\u00e9terminante des \u0153uvres. Cinquante ans plus tard, la pens\u00e9e syst\u00e9mique est plus efficace que jamais et la num\u00e9risation l'a rendue incontournable pour la compr\u00e9hension des soci\u00e9t\u00e9s industrielles. Les syst\u00e8mes complexes mettent en r\u00e9seau les connaissances, \u00e9valuent les donn\u00e9es, g\u00e8rent les flux d'informations et d\u00e9terminent les processus de d\u00e9cision et de production. Ils constituent notre environnement, dans lequel nous recherchons avant tout la compatibilit\u00e9 des syst\u00e8mes, la disponibilit\u00e9 et la port\u00e9e. L'exposition et la publication pr\u00e9sentent des \u0153uvres repr\u00e9sentatives des ann\u00e9es 1960 et 1970, accompagn\u00e9es d'\u0153uvres d'art contemporain, qui traitent de questions aujourd'hui importantes pour le syst\u00e8me, \u00e0 savoir la nature des processus, le traitement des donn\u00e9es, la distorsion de l'information et la compatibilit\u00e9 des syst\u00e8mes. Pour ces artistes contemporains, les syst\u00e8mes num\u00e9riques et les logiciels font partie de leurs outils, tout comme les principes de la pens\u00e9e syst\u00e9mique. Ces deux \u00e9l\u00e9ments influencent et orientent leurs d\u00e9cisions en mati\u00e8re de forme et de contenu lorsqu'ils cr\u00e9ent des \u0153uvres. Souvent, ils th\u00e9matisent justement cette d\u00e9pendance aux syst\u00e8mes et aux codes et rendent ainsi visibles leurs modes de fonctionnement. Le livre et l'exposition \"Toujours diff\u00e9rent, toujours pareil\" constituent eux-m\u00eames un syst\u00e8me de r\u00e9f\u00e9rence ouvert \u00e0 l'histoire de l'art et \u00e9tablissent de multiples relations entre les diff\u00e9rentes \u0153uvres d'art et d\u00e9cennies. Des th\u00e8mes importants autour de la relation entre le sujet, l'objet, la perception et l'environnement deviennent ainsi perceptibles par les sens : toujours diff\u00e9rents et pourtant toujours identiques.<\/p>\n
Artistes* :
\n!Mediengruppe Bitnik, Carl Andre, Art & Language, John Baldessari, Walead Beshty, Stanley Brouwn, Peter Buggenhout, Angela Bulloch, Hanne Darboven, Matias Faldbakken, Corsin Fontana, Wade Guyton, Bethan Huws, Iman Issa, Donald Judd, On Kawara, Yves Klein, Sol LeWitt, Piero Manzoni, Robert Morris, Charlotte Prodger, Ad Reinhardt, Michael Riedel, Robert Ryman, Jan Schoonhoven, Frank Stella, Sturtevant, R\u00e9my Zaugg<\/p>\n
Exposition :
\nMus\u00e9e d'art des Grisons Coire, 30\/6 - 11\/11\/2018<\/p>","protected":false},"excerpt":{"rendered":"
Catalogue d'exposition, B\u00fcndner Kunstmuseum Chur, \u00e9d. par Lynn Kost
\nTextes (all.\/ang.) de Walead Beshty, Francis Halsall, Lynn Kost, Stephan Kunz, Dieter Schwarz ainsi qu'un glossaire d\u00e9taill\u00e9
\n240 p. avec 150 illustrations en couleur
\nformat 27 x 21 cm, couverture souple avec 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