{"product_id":"digressions-04-virginie-yassef","title":"Digressions # 04, Virginie Yassef","description":"\u003cdiv title=\"Page 16\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003eFor this addition to the \u003cem\u003eDigressions\u003c\/em\u003e series Virginie Yassef decided to discuss the process of adapting \u003cem\u003eThe Veldt\u003c\/em\u003e with Mathieu Copeland and Philippe Quesne. This double interview shows an artist, a curator and a director debating dramatisation, the transition from exhibition to stage, the handling of sound, scenography, timing and music, and the search for a new methodology of work. \u003cbr\u003e\u003cbr\u003eSince the 1990s Virginie Yassef has been exploring different media – video, painting, photography, sculpture – in a constant oscillation between physical and mental constructs, between science fiction and a game without rules that helps define a potential space for experiment, somewhere between the surface of reality and fantastical projection. In 2018 she adapted Ray Bradbury’s short story \u003cem\u003eThe Veldt\u003c\/em\u003e as a play and presented its first version at La Ferme du Buisson. \u003cbr\u003e\u003cbr\u003eInitiated in 2017 by Julie Pellegrin and the Centre for Contemporary Art team in collaboration with Captures éditions, \u003cem\u003eDigressions\u003c\/em\u003e is a series of interviews (bilingual French \/ English) that accompanies the programme. Through conversations with guest artists, the notebooks give behind the scenes access and bear witness to reflections, research, methodologies and sometimes the doubts and the trial and error that feed the working process. By giving a voice to artists, the entire collection brings out very singular voices that resonate with each other and explore shared questions around the performance and creation of exhibitions, the physical and political engagement and the decompartmentalization of disciplines. \u003cbr\u003e\u003cbr\u003eFor each issue, the colour of the cover paper is changed, with or without embossing, to distinguish the publication in relation to each artistic project. The inside pages are printed in one pantone tone and the switch to English language materializes in a double page image drawn from research work. Postcards from the exhibitions are printed and inserted randomly into the notebooks like bookmarks. Claire Moreux’s elegant and dynamic layout follows the meanders of reflection by inviting the reader to navigate, literally, through the text.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e Published by \u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eCaptures\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSoftcover\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003c\/span\u003e32 pages\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\u003cbr\u003e215 x 135 mm\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eISBN 9782955877852\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Captures","offers":[{"title":"Default Title","offer_id":50321781752139,"sku":"","price":5.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/files\/Digressions04_VirginieYassef_Cover_b0d9b1af-a4be-4ff4-b8cf-7ec0be0f5255.webp?v=1725469980","url":"https:\/\/www.thelibraryproject.ie\/es\/products\/digressions-04-virginie-yassef","provider":"The Library Project","version":"1.0","type":"link"}