{"id":1806,"date":"2015-09-09T22:30:00","date_gmt":"2015-09-09T22:30:00","guid":{"rendered":"http:\/\/colecaolivrodeartista.wordpress.com\/?p=1806"},"modified":"2015-09-09T22:30:00","modified_gmt":"2015-09-09T22:30:00","slug":"pinxit","status":"publish","type":"post","link":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/?p=1806","title":{"rendered":"Pinxit"},"content":{"rendered":"

\"Voir<\/a>
\nLaurent Marissal
\nPINXIT 1997-2003
\n<\/em>Rennes: Incertain Sens, 2005
\n[226] p.
\noffset p&b
\n22 x 14 cm.
\n1000 exemplares
\nISBN 978-2-914291-18-3<\/p>\n

\n

Ver\u00e3o de<\/span> 1993<\/span>, o pintor Laurent<\/span> Marissal<\/span> \u00e9 empregado como <\/span>agente de vigil\u00e2ncia<\/span> no museu<\/span> Gustave<\/span> Moreau<\/span>. De abril<\/span> de 1997 a<\/span> janeiro de 2002,<\/span> ele fez desta<\/span> aliena\u00e7\u00e3o<\/span> o material de sua pr\u00e1tica<\/span>. Ele usa<\/span> para fins <\/span><\/span>pict\u00f3ricos seu<\/span><\/span> tempo de trabalho<\/span> vendido<\/span> ao Minist\u00e9rio da Cultura.<\/span>
\nEle desvia a<\/span> for\u00e7a de trabalho<\/span> vendida ao<\/span> museu,<\/span> se apropria<\/span> desse<\/span> tempo<\/span> meio de subsist\u00eancia<\/em> e<\/span> transforma-o em<\/span> tempo meio de<\/em><\/span> exist\u00eancia<\/em>.<\/span> Esta desaliena\u00e7\u00e3o<\/span>, cujo princ\u00edpio primordial \u00e9<\/span> a recupera\u00e7\u00e3o do tempo<\/span> materializada<\/span> em<\/span> a\u00e7\u00f5es relacionadas com a<\/span> sua pr\u00e1tica<\/span>: pintar, escrever<\/span>, ler<\/span> …<\/span><\/span><\/p>\n

Inverno<\/span> de 1998, ele<\/span> abriu uma se\u00e7\u00e3o<\/span> sindical da<\/span> CGT<\/span>,<\/span> ferramenta administrativa<\/span> para implementar o seu<\/span> projeto<\/span> pict\u00f3rico<\/span>: modificar realmente <\/span>as condi\u00e7\u00f5es, o<\/span> tempo e o<\/span> espa\u00e7o de trabalho.<\/span><\/p><\/blockquote>\n

“\u00c9t\u00e9 1993, peintre, Laurent Marissal est employ\u00e9 comme agent de surveillance au mus\u00e9e Gustave Moreau. D’avril 1997 \u00e0 janvier 2002, il fait de cette ali\u00e9nation la mati\u00e8re de sa pratique. Il utilise \u00e0 des fins picturales le temps de travail vendu au minist\u00e8re de la culture.
\nIl d\u00e9tourne sa force de travail vendue au mus\u00e9e, se r\u00e9approprie ce temps moyen de subsistance <\/em> et le transforme en temps moyen d’existence<\/em>. Cette d\u00e9sali\u00e9nation, dont le principe privil\u00e9gi\u00e9 est le recouvrement du temps, se mat\u00e9rialise dans des actions li\u00e9es \u00e0 sa pratique : peindre, \u00e9crire, lire\u2026
\n\u00c0 son insu, le mus\u00e9e r\u00e9mun\u00e8re une production dont il n’aura pas la jouissance. Ce rapt est syst\u00e9matis\u00e9.
\nHiver 1998, il ouvre une section syndicale CGT, outil administratif, pour concr\u00e9tiser son projet pictural : modifier r\u00e9ellement les conditions, le temps et l’espace de travail.<\/p>\n

http:\/\/www.sites.univ-rennes2.fr\/<\/a><\/p>\n

Salvar<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Laurent Marissal PINXIT 1997-2003 Rennes: Incertain Sens, 2005 [226] p. offset p&b 22 x 14 cm. 1000 exemplares ISBN 978-2-914291-18-3 Ver\u00e3o de 1993, o pintor Laurent Marissal \u00e9 empregado como agente de vigil\u00e2ncia no museu Gustave Moreau. De abril de 1997 … Continue lendo →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[8,47,58],"tags":[85,506],"class_list":["post-1806","post","type-post","status-publish","format-standard","hentry","category-artista-e-instituicao","category-performance","category-sobre-arte-contemporanea","tag-ainda-o-livro-como-performance","tag-laurent-marissal"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/posts\/1806","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1806"}],"version-history":[{"count":0,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/posts\/1806\/revisions"}],"wp:attachment":[{"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1806"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1806"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1806"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}