Annick Bureaud
Annick Bureaud is a new media art critic, researcher and curator. She works and lives in Paris, France. She is the director of Leonardo/Olats, the French branch of Leonardo/Isast (www.olats.org), and as an art critic she writes regularly for the French contemporary art magazine Art Press. In 1999, she was guest lecturer at the School of the Art Institute Chicago/SAIC and, in 2001, at the University of Quebec in Montreal (UQAM), and she currently and teaches at Eesi (European School of Images, art school) in Poitiers. In 2002, she co-edited the book Connexions : art, réseaux, media, published by the Press of Ensba; she co-organized the International Symposium "Artmedia VIII: From the Aesthetics of Communication to Net art," in Paris and edited the online proceedings published by Leonardo/Olats. In 2003, she organised the Symposium "Visibility - Legibility of Space Art. Art and Zero G.: the Experience of Parabolic Flight" within the @rts Outsider Festival in Paris. In 2004, she published Les Basiques : l'art multimédia, an introductory book on new media arts, on the olats web site. In 2005, she served as the guest editor for "://Brazil. New Media Art in Brazil" for the @rt Outsiders Festival. In 2009, she is co-curator of the @rt Outsiders Festival on the topic "Art of Extreme Environment.”
Articles of Annick Bureaud
Interview avec Fred Forest / Entrevista com Fred Forest
This conversation about Vilém Flusser, between new media art critic Annick Bureaud and media artist Fred Forest, took place in Paris on December 22, 2008. Forest is a pioneer of video, media and network art whose actions and interventions establish pauses and disruptions in the usual flow of communication. His works are frequently critical, often humorous and on occasion insolent. Forest also writes and theorizes his own artistic creations besides maintaining a constant dialogue with philosophers and theorists. Flusser was one of those with whom intellectual exchange was always densely rich, productive and collaborative. In this interview, Forest speaks about some of his video projects developed with Flusser, as well as his news media and public interventions in the 1973 São Paulo Bienal, for which Flusser served as curator. Bureaud and Forest’s conversation bring to life the energy and more human, intersubjective exchanges that characterized the Forest-Flusser friendship, and which are seminal to both artistic creation and intellectual thought. Bureaud insightfully points out that unfortunately such vivid encounters are rarely found in scholarly research and in the history of art. In the hands of Forest and Flusser though, often overlooked gestures, shared for instance in a seemingly banal conversation on a summer afternoon or on a subway ride in Paris, become fully meaningful.