Modern Art Effects

Modern Art Effects

Welcome to our section Modern Art Effects. The will of the the team of HappenArt, Arts and Culture Platform, makes you discover its selections of books. Conferences, analyzes and critics of contemporary art.



Modern Art Effects, submission conference or events 






Modern Art Effects Contemponary


Of course one could say: why bother? We live in a pluralistic culture where every form of art. Old and new. Also,  high and low and every shade of grey can exist in freedom and can compete for attention in public space. But this is not so. Also,  our culture is not pluralistic at all. The money destined to support contemporary artistic enterprise in public space. IIe. new art and new music. Is carefully channelled towards art forms which follow a definite collection of narrow ideas and Assumptions,.developed in the postwar period, with the exclusion of alternatives. It is schocking to discover that. Many serious artists are working independently of what ‘the establishment’.

Expects from ‘new art’. Still cultivating high artistic standards, and many of them of great talent. But they cannot be seen in the museums of modern art or heard at the festivals of new music. Both the kind of places entirely dedicated to modernism, postmodernism. Finally,concept art, etc. etc. Mostly all possible forms of nonsense and puerile attempts.


This means that these artists cannot. Or hardly, reach audiences who could be pleasantly surprised about such a variety of high quality works. There are many people around in these institutions. Whose ignorance and irresponsibility make sure that serious new art and new music. Cannot be found there. New art and new music have become a separate category. Next to the museum culture of the old collections. Of paintings and sculpture and old music in the concert halls and opera houses. Run by an entirely different kind of people who. Understandably, don’t care much about the ‘new’ forms which merely demonstrate a sorry decline. And most of the time present new works merely out of a sense of polite obligation. New visual art and new music. As found in the established forms of presentation. hHve killed themselves off completely in the chase after entirely nonsensical goals.

Modern Art Effects HappenArt.



NOT REAL ART Creators Conference 2020

Highland Park Ebell Club – March 21, 2020 Los Angeles (US)


CALL FOR ARTISTS: Elevate Your Career

If you’re an artist who wants to grow your business, don’t miss the 2nd Annual NOT REAL ART Creators Conference in Los Angeles on March 21, 2020. Early bird tickets are $75. Learn from Top Artists + Expert. Improve Your Business Knowledge. Grow Your Professional Network. Learn. Share. Grow.

NOT REAL ART Creators Conference empowers artists to learn, share and grow professionally. During this intimate one day course, world-class artists and experts will share their invaluable knowledge and experience on many vital topics essential to an artist’s success today:

Self-care + Wellness. Productivity. Marketing. Negotiating. Storytelling. Branding. Communication. Networking. Sales.

NOT REAL ART Creators Conference contains dynamic presentations and conversations. This year’s exciting speakers include: Collette Miller, Visual Artist. Man One, Visual Artist. Jeff Soto, Visual Artist. Camilla Rose Garcia, Artist. Channing Dungey, Netflix VP, Original Series. Jorge Gutierrez, Animator. Professor Aaron Kay, PhD, Duke University. Frances Anderton, Art Journalist, KCRW 89.9. Bret Hofstein, Psychotherapist. Sourdough Power, Moderator.


This exciting conference is being held from 9:30am-5pm on March 21, 2020 at the historic Highland Park Ebell Club located at 131 S Ave 57, Los Angeles, 90042. And, be sure to join us the night before on Friday, March 20 from 7pm-11pm at the Mayfair Hotel for our opening festivities:

7pm — POWHER Art Exhibition @ Regime Contemporary Gallery
9pm — Parlor Social Musical Performance


Modern Art Effects

Highland Park Ebell Club131 S Ave 57 Los Angeles, CA 90042


Artist’s influencers

Filmed on site at Art Basel in Basel (Germany)


Conceived by Hans Ulrich Obrist. This series brings together artists with the individuals. Who have significantly influenced the development of their artistic practice. For this edition. Katharina Grosse and Sarah Sze speak on their own and each other’s work. And how Grosse’s work inspired and informed Sze. Grosse is a major figure who creates immersive site-specific installations. Using architecture and landscape with paint and stencils cut. From cardboard and thick foam rubber. The influence of this expanded/abstracted painting practice. Will be in dialogue with Sze whose installations are made of everyday objects to challenge systems of order. This conversation will investigate the use. Of gesture and celestial scale to push towards potentially new ways of thinking.




A “Performative Conference” Reimagines the Social World

Performance Space – Sunday, Oct 7, 2018 New york (US)


This Sunday, Performance Space New York presents. The Permeable Stage — Reimagining the Social. A performative conference hosted by choreographer and dancer Mette Ingvartsen. Ingvartsen makes performances that “stimulate the intellect. And organizes conferences that appeal to the senses.” The Permeable Stage will feature artists. Theorists. Filmmakers, and activists in dialogue about relationships between humans. Technologies, animals, plants, etc.

Technology and algorithms.

The conference begins at 1 pm with an introduction by Ingvartsen and a short film. Donkey With Snow, by Romuald Karmakar. At 1:15. Annie Dorsen will perform from her 2010 work “Hello Hi There”. And an interview with Dorsen on technology and algorithms. In performance will follow. At 2:15. Patricia T. Clough will give a lecture on. “Post-Phenomenological Subjectivity and Datafication,” and at 3:15. Isabel Lewis will host a celebratory gathering. “Using choreography. Music. Spoken address. Storytelling in ways that allow for conversation. Contemplation. Dancing. Listening, or just simply being.” At 5:15 Ingvartsen and Carolee Schneemann will come together for a conversation. and following. Che Gossett will take the floor for a lecture titled. “Abolitionist Entanglement: Blackness, Palestinian Struggle and the Limits of ‘Solidarity’”. Finally, the conference will close with a DJ set by Isabel Lewis.


Performance Space New York – 6 5782, 150 1st Avenue, 4th Floor, East Village, Manhattan




th edition of the Rencontres Research and Creation

Organized by the French National Research Agency and the Avignon Festival , organized with the professional performing arts House and the Ministry of Culture 10/11 July 2018


Conversation. Learning. Irony, Power. Identities. Fiction … No companies without rules of the game! 

By bringing together authors, actors, directors, choreographers and researchers from different disciplines. These International Encounters. Help to move the boundaries of knowledge and open new perspectives.

Anthropologists. Historians. Sociologists. Philosophers, Linguists. Musicologists. Specialists in theatrical and literary studies. Psychology and cognitive neuroscience. Will exchange with the artists and the public of the Festival.
After “Corps en scène”. “Mise en intrigues”. “Violence et passion”. “The disorder of the world! This edition will bring together. The thought of works and the latest scientific works around the theme. “The game and the rule! “.


An area of ​​excellence for research in the humanities. Social sciences in its disciplinary diversity. The theme of creation is also emerging for cognitive sciences. Also, neuroscience through the analysis of perceptual. Emotional or motor processes and fundamental learning. The origin of language and languages. The functioning of the mind and the complexity of human communication. The texts and stories of past civilizations. Or of today’s society are all fundamental questions for research. That are explored during the meetings. These questions are also at the heart of projects funded. By the National Research Agency and Investments for the Future.

In a context of globalization. Which is accompanied by new forms of exchange between cultures. This event is part of a perspective of better knowledge of creation. Both from the point of view of its social and economic function. Fally, its role in human development and the cohesion of societies.

In creation as in innovation, our society is reinventing itself!



Meetings Research and Creation: 10th and 11th of July 2018 – 9h30 / 17h 
Seminar Research and Creation: 12th of July 2018 – 10h / 17h 
Place: Cloitre Saint Louis, Avignon





Beyond Speculation: Art and Aesthetics without Myths


In his well-known work of art criticism. Art of the Modern Age. Jean-Marie Schaeffer offered a lucid and powerful critique. Of what he identified as the historically dominant thinking about art. And aesthetics from the Jena Romantics, to Nietzsche. Heidegger. Adorno and beyond. Also, which he termed “the speculative theory of art”.

Beyond Speculation.

Here, in Beyond Speculation, Schaeffer builds from this significant work. Rejecting not only the identification of the aesthetic with the work of art. But also the Kantian association of the aesthetic with subjectively universal judgment. In his analysis of aesthetic relations. He opens up a space. For a theory of art that is free of historicism. Capable of engaging with noncanonical and non-Western arts.

By engaging with the ideas of Arthur Danto. Gérard Genette. Nelson Goodman. George Dickie and Rainer Rochlitz. Hence, and evoking a range of aesthetic experience. From Proust to King Kong to Japanese temple design. Beyond Speculation makes an original and engaging contribution to the development. Of the philosophy of culture.


Editor: Seagull Books




Georges Didi-Huberman (French Edition)

Devant l’image

Questions posées aux fins d’une histoire de l’art


Ce livre développe une critique posée et reposée à nos certitudes devant l’image. Comment regardons-nous ? Pas seulement avec les yeux. Pas seulement avec notre regard. Voir rime avec savoir. Ce qui nous suggère que l’œil sauvage n’existe pas. Nous embrassons aussi les images avec des mots. Avec des procédures de connaissance. Avec des catégories de pensée.

D’où viennent-elles, ces catégories ? C’est la question posée ici. La discipline de l’histoire de l’art. Le développement actuel. La finesse de ses outils. Son impressionnante capacité d’érudition. Sa prétention scientifique. Son rôle dans le marché de l’art – semble autoriser le ton de certitude si souvent adopté par les professionnels de l’art. Les savants de l’image. Or, qu’est-ce qu’un savoir lorsque le savoir porte sur ce Protée que l’on nomme une image ? La question exige de mettre à jour la “ philosophie spontanée ”. Les modèles discursifs mis en jeu lorsque nous cherchons. Devant un tableau ou une sculpture, à en tirer, voire à en soutirer une connaissance.

XX siècle

Entre voir et savoir se glissent souvent des mots magiques. Les philtres d’une connaissance illusoire. Ils résolvent les problèmes. Donnent l’impression de comprendre. Ces mots magiques, Vasari, le premier historien de l’art. Au XVIe siècle, en a inventé de fameux, qui traînent encore dans notre vocabulaire. Panofsky, le “ réformateur ” de l’histoire de l’art. Au XXe siècle, les a critiqués dans un sens à l’aide d’un outil philosophique considérable. La critique kantienne de la connaissance. Il les a restaurés dans un autre sens. Au nom de l’humanisme et d’un concept encore classique de la représentation.


C’est du côté de Freud que l’on a cherché ici. Les moyens d’une critique renouvelée de la connaissance propre aux images. L’acte de voir s’y est littéralement ouvert. C’est-à-dire déchiré puis déployé. Entre représentation et présentation. Entre symbole et symptôme. Et, pour finir, entre la notion habituelle du visible et une notion renouvelée du visuel. L’équation tranquille – métaphysique ou positiviste. Du voir et du savoir laisse place dès lors à quelque chose comme un principe d’incertitude. Quelque chose comme une contrainte du regard au non-savoir. Quelque chose qui nous met devant l’image comme face à ce qui se dérobe. Position instable s’il en est. Mais position qu’il fallait penser comme telle pour la situer malgré tout dans un projet de connaissance. Un projet d’histoire de l’art.


Résultat de recherche d'images pour "devant limage"

Editor:  Collection Critique




Anne Creissels (French)

Anne Creissels est maître de conférences en arts plastiques


Agrégée d’arts plastiques. Docteure de l’EHESS (École des Hautes Études en Sciences Sociales.) en histoire et théorie des arts. Anne Creissels est maître de conférences HDR en arts plastiques à l’université de Lille 3. Ses recherches, à la fois théoriques et artistiques.  Portent sur la survivance de mythes dans l’art contemporain et la mémoire inconsciente des images.  Les représentations et constructions identitaires en jeu dans l’art. Le geste dansé dans sa dimension performative et son lien aux arts visuels.






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