Tag: International

Metageography or the power to reshape the world






In order to understand the world in which we live in, as well as the relationships between each country, we use reading grids and various models of interpretation. By doing so we are unconsciously implementing some metageography. Indeed, the structure, shaping and the organisation of our geographical knowledge is arranged according to abstract concepts, founded mostly on current facts. Just by the action of classifying, or simply labelling, all our world depictions automatically go through multiple processes, entailing some important consequences. Continue reading “Metageography or the power to reshape the world”

La métagéographie ou le pouvoir de découper le monde






Pour comprendre et interpréter le monde dans lequel nous vivons, et les relations entre les pays qui y prennent place, nous utilisons tous des grilles de lectures, des modèles d’interprétation. Nous faisons tous de la métagéographie, autrement dit la construction, le découpage et l’organisation de nos connaissances géographiques selon des conceptions de l’esprit, plus ou moins fondés par rapport à des faits concrets. Afin de classer, ou simplement de nommer, toutes nos représentations du monde passent par de tels mécanismes et cela implique des conséquences à grande échelle.

Continue reading “La métagéographie ou le pouvoir de découper le monde”

Collective art, Pompidou Center and Palais de Tokyo

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Last week, on March 28, the Pompidou Centre opened an exhibition with the title: Chagall, Lissitzky, Malévitch: L’avant-Garde Russe à Vítebsk (1918-1922). The exhibit revolves around a revolutionary art school, Vitebsk Fine Arts School, and three key figures in the elaboration of their new artistic education and collaborative creativity: Marc Chagall, the institution’s founder, and two artists that Chagall invites as professors: El Lissitzky and Kazimir Malevich, creator of Suprematism. Works of the three painters, with works by other students and teachers of the school are exposed, while the Russian avant-garde is explored, especially the creation and development of Suprematism and the UNOVIS group (Followers of the New Art, by its initials in Russian). Continue reading “Collective art, Pompidou Center and Palais de Tokyo”