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(6193,	3,	'2020-05-18 18:45:45',	'2020-05-18 18:45:45',	'',	'carte noire',	'',	'inherit',	'open',	'closed',	'',	'carte-noire-10',	'',	'',	'2020-05-18 18:45:45',	'2020-05-18 18:45:45',	'',	5983,	'https://www.heidiwood.net/wp-content/uploads/2020/05/BD-PR-Oz-witch.jpg',	0,	'attachment',	'image/jpeg',	0),
(6198,	3,	'2020-05-20 08:53:05',	'2020-05-20 08:53:05',	'Big Brother is coming for lunch.',	'Oracle 318',	'',	'publish',	'closed',	'closed',	'',	'oracle-318',	'',	'',	'2020-05-20 08:53:05',	'2020-05-20 08:53:05',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6198',	0,	'oracle',	'',	0),
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(6200,	3,	'2020-05-20 08:51:42',	'2020-05-20 08:51:42',	'',	'carte rouge',	'',	'inherit',	'open',	'closed',	'',	'carte-rouge-14',	'',	'',	'2020-05-20 08:51:42',	'2020-05-20 08:51:42',	'',	6198,	'https://www.heidiwood.net/wp-content/uploads/2020/05/BD-BR-Alt-right.jpg',	0,	'attachment',	'image/jpeg',	0),
(6201,	3,	'2020-05-20 08:54:24',	'2020-05-20 08:54:24',	'All things chronic will have to wait.',	'Oracle 319',	'',	'publish',	'closed',	'closed',	'',	'oracle-319',	'',	'',	'2020-05-20 08:54:24',	'2020-05-20 08:54:24',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6201',	0,	'oracle',	'',	0),
(6202,	3,	'2020-05-20 09:18:58',	'2020-05-20 09:18:58',	'Better days lie just out of reach.',	'Oracle 320',	'',	'publish',	'closed',	'closed',	'',	'oracle-320',	'',	'',	'2021-01-11 18:08:58',	'2021-01-11 18:08:58',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6202',	0,	'oracle',	'',	0),
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(6204,	3,	'2020-05-20 09:17:51',	'2020-05-20 09:17:51',	'',	'-carte blanche-noire 2',	'',	'inherit',	'open',	'closed',	'',	'carte-blanche-noire-2-12',	'',	'',	'2020-05-20 09:17:51',	'2020-05-20 09:17:51',	'',	6202,	'https://www.heidiwood.net/wp-content/uploads/2020/05/BD-PB-Alt-right-2.jpg',	0,	'attachment',	'image/jpeg',	0),
(6205,	3,	'2020-05-20 09:17:53',	'2020-05-20 09:17:53',	'',	'carte rouge',	'',	'inherit',	'open',	'closed',	'',	'carte-rouge-19',	'',	'',	'2020-05-20 09:17:53',	'2020-05-20 09:17:53',	'',	6202,	'https://www.heidiwood.net/wp-content/uploads/2020/05/BD-PB-Alt-right-3.jpg',	0,	'attachment',	'image/jpeg',	0),
(6206,	3,	'2020-05-20 09:23:22',	'2020-05-20 09:23:22',	'Banish damp mold. Open all windows.',	'Oracle 321',	'',	'publish',	'closed',	'closed',	'',	'oracle-321',	'',	'',	'2020-05-20 09:24:10',	'2020-05-20 09:24:10',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6206',	0,	'oracle',	'',	0),
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(6212,	3,	'2020-05-20 12:10:51',	'2020-05-20 12:10:51',	'',	'carte rouge',	'',	'inherit',	'open',	'closed',	'',	'carte-rouge-24',	'',	'',	'2020-05-20 12:10:51',	'2020-05-20 12:10:51',	'',	5511,	'https://www.heidiwood.net/wp-content/uploads/2020/04/BD-PR-waste-pile.jpg',	0,	'attachment',	'image/jpeg',	0),
(6223,	3,	'2020-05-22 06:56:25',	'2020-05-22 06:56:25',	'Shareholders are rubbing their hands together.',	'Oracle 324',	'',	'publish',	'closed',	'closed',	'',	'oracle-324',	'',	'',	'2020-07-15 20:18:29',	'2020-07-15 20:18:29',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6223',	0,	'oracle',	'',	0),
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(6225,	3,	'2020-05-22 07:09:03',	'2020-05-22 07:09:03',	'Don’t listen to blood tests.',	'Oracle 325',	'',	'publish',	'closed',	'closed',	'',	'oracle-325',	'',	'',	'2020-05-22 07:09:03',	'2020-05-22 07:09:03',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6225',	0,	'oracle',	'',	0),
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(6227,	3,	'2020-05-22 07:20:29',	'2020-05-22 07:20:29',	'Criticism is unhelpful in current circumstances.',	'Oracle 326',	'',	'publish',	'closed',	'closed',	'',	'oracle-326',	'',	'',	'2020-05-22 07:21:26',	'2020-05-22 07:21:26',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6227',	0,	'oracle',	'',	0),
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(6230,	3,	'2020-05-22 12:17:43',	'2020-05-22 12:17:43',	'An unwanted passenger will slip in unnoticed.',	'Oracle 327',	'',	'publish',	'closed',	'closed',	'',	'oracle-327',	'',	'',	'2021-01-11 17:58:47',	'2021-01-11 17:58:47',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6230',	0,	'oracle',	'',	0),
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(6248,	3,	'2020-05-26 10:45:56',	'2020-05-26 10:45:56',	'Stop eating bats.',	'Oracle 328',	'',	'publish',	'closed',	'closed',	'',	'oracle-328',	'',	'',	'2020-05-26 10:45:56',	'2020-05-26 10:45:56',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6248',	0,	'oracle',	'',	0),
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(6475,	3,	'2020-07-10 05:59:26',	'2020-07-10 05:59:26',	'This group exhibition takes gender as its theme, pairing male and female artists with thematic or formal similarities. My ORACLE electronic card game and wall paintings depicting the mutation of the Covid-19 virus dialogue with Olivier Garraud\'s disident pseudo press cartoons. Our shared interest in mapping current affairs, the ironic use of text and a taste for high impact graphics motivated this \"arranged mariage.\"\n\nCurator: Jean-Paul Blanchet',	'OÙ EST LA DIFFÉRENCE ? 2020',	'',	'inherit',	'closed',	'closed',	'',	'6469-autosave-v1',	'',	'',	'2020-07-10 05:59:26',	'2020-07-10 05:59:26',	'',	6469,	'https://www.heidiwood.net/6469-autosave-v1/',	0,	'revision',	'',	0),
(6476,	3,	'2020-07-10 05:41:47',	'2020-07-10 05:41:47',	'',	'Où est la différence ?',	'',	'inherit',	'open',	'closed',	'',	'ou-est-la-difference',	'',	'',	'2020-07-10 05:41:47',	'2020-07-10 05:41:47',	'',	6469,	'https://www.heidiwood.net/wp-content/uploads/2017/07/Où-est-la-différence-.pdf',	0,	'attachment',	'application/pdf',	0),
(6477,	3,	'2021-09-30 06:30:24',	'2021-09-30 06:30:24',	'July 4 to October 11 2020\r\n\r\n&nbsp;\r\n\r\nThis group exhibition takes gender as its theme, pairing male and female artists with thematic or formal similarities. My ORACLE electronic card game and wall paintings depicting the mutation of the Covid-19 virus dialogue with Olivier Garraud\'s disident pseudo press cartoons. Our shared interest in mapping current affairs, the ironic use of text and a taste for high impact graphics motivated this \"arranged mariage.\"\r\n\r\n&nbsp;\r\n\r\nCurators: Caroline Bissière &amp; Jean-Paul Blanchet',	'OÙ EST LA DIFFÉRENCE ?',	'',	'publish',	'closed',	'closed',	'',	'ou-est-la-difference',	'',	'',	'2022-01-10 07:48:34',	'2022-01-10 07:48:34',	'',	0,	'https://www.heidiwood.net/?post_type=news&#038;p=6477',	0,	'news',	'',	0),
(6481,	3,	'2021-10-31 05:34:26',	'2021-10-31 05:34:26',	'Competition won in November 2019.\r\n\r\nProject delivered July 2020.\r\n\r\n&nbsp;\r\n\r\n53 enamel panels grouped into 12 polyptychs decorate the school\'s corridors. 8 works designed by the students using the coats of arms they created during workshops earlier in the year are hung in the staircase.',	'NEW PUBLIC ART PROJECT',	'',	'publish',	'closed',	'closed',	'',	'new-public-art-project-2',	'',	'',	'2022-09-02 06:41:50',	'2022-09-02 06:41:50',	'',	0,	'https://www.heidiwood.net/?post_type=news&#038;p=6481',	0,	'news',	'',	0),
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(6489,	3,	'2020-07-12 05:57:52',	'2020-07-12 05:57:52',	'',	'BD R2 2A d',	'',	'inherit',	'open',	'closed',	'',	'bd-r2-2a-d',	'',	'',	'2020-07-12 05:57:52',	'2020-07-12 05:57:52',	'',	4789,	'https://www.heidiwood.net/wp-content/uploads/2020/02/BD-R2-2A-d.jpg',	0,	'attachment',	'image/jpeg',	0),
(6490,	3,	'2017-07-12 06:08:03',	'2017-07-12 06:08:03',	'<strong>Alentour</strong> is the public art project for the Aretha Franklin junior high school in Drancy, Seine Saint-Denis. It consisted of envisaging a new city around the school and working with the students on a fictional application to have it classified Unesco World Heritage. The study of the area done during the competition phase generated works representing the real city at its best: 12 wall pieces made of enamel panels to be hung in the corridors. During workshops with 5 classes we identified the tangible and intangible heritage that could make Alentour an example for all humanity. The students drew subjective maps and created heraldry for 8 coats of arms to embody the identity of Alentour’s inhabitants. The project was documented on four thematic blogs accessed via QR codes on posters. The wall pieces were modified to incorporate the students’ utopian vision.\r\n\r\n&nbsp;\r\n\r\nCompetition won in November 2019.\r\n\r\nWorkshops in January – February 2020.\r\n\r\nInstallation of permanent works in July 2020.\r\n\r\nPhotographs: Sylvain Hitau',	'ALENTOUR',	'',	'publish',	'closed',	'closed',	'',	'alentour',	'',	'',	'2021-11-10 15:55:51',	'2021-11-10 15:55:51',	'',	0,	'https://www.heidiwood.net/?post_type=public_art&#038;p=6490',	0,	'public_art',	'',	0),
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(6519,	3,	'2020-07-12 07:38:17',	'2020-07-12 07:38:17',	'',	'atelier 11',	'',	'inherit',	'open',	'closed',	'',	'atelier-11',	'',	'',	'2020-07-12 07:38:17',	'2020-07-12 07:38:17',	'',	0,	'https://www.heidiwood.net/wp-content/uploads/2020/07/atelier-11.jpg',	0,	'attachment',	'image/jpeg',	0),
(6520,	3,	'2020-07-12 07:47:07',	'2020-07-12 07:47:07',	'Ensuite, elle a transformé des visuels en fichiers informatiques pour l’usine qui allait fabriquer les œuvres en acier émaillé. Cette usine fabrique aussi les panneaux de rue et la signalétique dans les transports. Quand on recouvre les plaques d’acier avec de l’émail et qu’on les cuit au four à haute température, elles deviennent très résistantes (ce n’est pas une raison pour taper dedans !). Les œuvres ont étéinstallées au collège en juillet 2020.',	'',	'',	'inherit',	'closed',	'closed',	'',	'4692-autosave-v1',	'',	'',	'2020-07-12 07:47:07',	'2020-07-12 07:47:07',	'',	4692,	'https://www.heidiwood.net/4692-autosave-v1/',	0,	'revision',	'',	0),
(6521,	3,	'2020-01-12 08:00:00',	'2020-01-12 08:00:00',	'',	'LES ŒUVRES INSTALLÉES ENFIN !',	'',	'publish',	'closed',	'closed',	'',	'les-oeuvres-installees-enfin',	'',	'',	'2020-07-12 08:01:19',	'2020-07-12 08:01:19',	'',	0,	'https://www.heidiwood.net/?post_type=alentour&#038;p=6521',	0,	'alentour',	'',	0),
(6522,	2,	'2020-07-12 08:48:08',	'2020-07-12 08:48:08',	'<strong>Alentour</strong> is the public art project for the Aretha Franklin junior high school in Drancy, Seine Saint-Denis. It consisted of envisaging a new city around the school and working with the students on a fictional application to have it classified Unesco World Heritage. The study of the area done during the competition phase generated works representing the real city at its best: 12 wall pieces made of enamel panels to be hung in the corridors. During workshops with 5 classes we identified the tangible and intangible heritage that could make Alentour an example for all humanity. The students drew subjective maps and created heraldry for 8 coats of arms to embody the identity of Alentour’s inhabitants. The project was documented on four thematic blogs accessed via QR codes on posters. The wall pieces were modified to incorporate the students’ utopian vision.\n\n&nbsp;\n\nCompetition won in November 2019.\n\nWorkshops in January – February 2020.\n\nInstallation of permanent works in July 2020.',	'ALENTOUR',	'',	'inherit',	'closed',	'closed',	'',	'6490-autosave-v1',	'',	'',	'2020-07-12 08:48:08',	'2020-07-12 08:48:08',	'',	6490,	'https://www.heidiwood.net/6490-autosave-v1/',	0,	'revision',	'',	0),
(6531,	3,	'2020-07-14 18:45:54',	'2020-07-14 18:45:54',	'Statistics fudging will be rife.',	'Oracle 329',	'',	'publish',	'closed',	'closed',	'',	'oracle-329',	'',	'',	'2020-07-21 08:11:05',	'2020-07-21 08:11:05',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6531',	0,	'oracle',	'',	0),
(6532,	3,	'2020-07-14 18:45:08',	'2020-07-14 18:45:08',	'',	'carte rouge',	'',	'inherit',	'open',	'closed',	'',	'carte-rouge-42',	'',	'',	'2020-07-14 18:45:08',	'2020-07-14 18:45:08',	'',	6531,	'https://www.heidiwood.net/wp-content/uploads/2020/07/BD-PB-old-peasants.jpg',	0,	'attachment',	'image/jpeg',	0),
(6533,	3,	'2020-07-14 18:47:29',	'2020-07-14 18:47:29',	'Comparing death tolls will become a national pastime.',	'Oracle 330',	'',	'publish',	'closed',	'closed',	'',	'oracle-330',	'',	'',	'2020-07-14 18:48:00',	'2020-07-14 18:48:00',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6533',	0,	'oracle',	'',	0),
(6534,	3,	'2020-07-14 18:46:19',	'2020-07-14 18:46:19',	'',	'-carte blanche-noire 2',	'',	'inherit',	'open',	'closed',	'',	'carte-blanche-noire-2-26',	'',	'',	'2020-07-14 18:46:19',	'2020-07-14 18:46:19',	'',	6533,	'https://www.heidiwood.net/wp-content/uploads/2020/07/BD-gospel-2.jpg',	0,	'attachment',	'image/jpeg',	0),
(6535,	3,	'2020-07-14 18:48:55',	'2020-07-14 18:48:55',	'Don\'t get too comfortable.',	'Oracle 331',	'',	'publish',	'closed',	'closed',	'',	'oracle-331',	'',	'',	'2020-07-20 15:30:00',	'2020-07-20 15:30:00',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6535',	0,	'oracle',	'',	0),
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(6537,	3,	'2020-07-14 19:07:40',	'2020-07-14 19:07:40',	'Relax, it’s probably just an allergy.',	'Oracle 332',	'',	'publish',	'closed',	'closed',	'',	'oracle-332',	'',	'',	'2020-07-14 19:10:34',	'2020-07-14 19:10:34',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6537',	0,	'oracle',	'',	0),
(6538,	3,	'2020-07-14 19:06:50',	'2020-07-14 19:06:50',	'',	'-carte blanche-noire 2',	'',	'inherit',	'open',	'closed',	'',	'carte-blanche-noire-2-29',	'',	'',	'2020-07-14 19:06:50',	'2020-07-14 19:06:50',	'',	6537,	'https://www.heidiwood.net/wp-content/uploads/2020/07/BD-PB-sol.jpg',	0,	'attachment',	'image/jpeg',	0),
(6539,	3,	'2020-07-14 19:16:45',	'2020-07-14 19:16:45',	'The devil rides on airborne spit.',	'Oracle 333',	'',	'publish',	'closed',	'closed',	'',	'oracle-333',	'',	'',	'2020-07-14 19:16:45',	'2020-07-14 19:16:45',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6539',	0,	'oracle',	'',	0),
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(6544,	3,	'2020-07-14 19:23:06',	'2020-07-14 19:23:06',	'Only breathe when strictly necessary.',	'Oracle 334',	'',	'publish',	'closed',	'closed',	'',	'oracle-334',	'',	'',	'2020-07-15 04:22:05',	'2020-07-15 04:22:05',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6544',	0,	'oracle',	'',	0),
(6546,	3,	'2020-07-14 19:26:55',	'2020-07-14 19:26:55',	'',	'carte rouge',	'',	'inherit',	'open',	'closed',	'',	'carte-rouge-48',	'',	'',	'2020-07-14 19:26:55',	'2020-07-14 19:26:55',	'',	6544,	'https://www.heidiwood.net/wp-content/uploads/2020/07/BD-PR-sol-supermarché.jpg',	0,	'attachment',	'image/jpeg',	0),
(6547,	3,	'2020-07-14 19:54:23',	'2020-07-14 19:54:23',	'If it’s fun, it can wait.',	'Oracle 335',	'',	'publish',	'closed',	'closed',	'',	'oracle-335',	'',	'',	'2020-07-14 20:01:45',	'2020-07-14 20:01:45',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6547',	0,	'oracle',	'',	0),
(6549,	3,	'2020-07-14 20:01:33',	'2020-07-14 20:01:33',	'',	'-carte blanche-noire 2',	'',	'inherit',	'open',	'closed',	'',	'carte-blanche-noire-2-33',	'',	'',	'2020-07-14 20:01:33',	'2020-07-14 20:01:33',	'',	6547,	'https://www.heidiwood.net/wp-content/uploads/2020/07/BD-PN-sol-ronds.jpg',	0,	'attachment',	'image/jpeg',	0),
(6550,	3,	'2020-07-14 20:09:33',	'2020-07-14 20:09:33',	'The muscle tone of entire nations will suffer.',	'Oracle 336',	'',	'publish',	'closed',	'closed',	'',	'oracle-336',	'',	'',	'2021-01-11 17:57:21',	'2021-01-11 17:57:21',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6550',	0,	'oracle',	'',	0),
(6553,	3,	'2020-07-14 20:18:44',	'2020-07-14 20:18:44',	'Everyone on earth will gain 3 kilos.',	'Oracle 337',	'',	'publish',	'closed',	'closed',	'',	'oracle-337',	'',	'',	'2020-07-14 20:18:44',	'2020-07-14 20:18:44',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6553',	0,	'oracle',	'',	0),
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(6555,	3,	'2020-07-14 20:24:34',	'2020-07-14 20:24:34',	'',	'-carte blanche-noire 2',	'',	'inherit',	'open',	'closed',	'',	'carte-blanche-noire-2-34',	'',	'',	'2020-07-14 20:24:34',	'2020-07-14 20:24:34',	'',	6550,	'https://www.heidiwood.net/wp-content/uploads/2020/07/BD-PN-ape.jpg',	0,	'attachment',	'image/jpeg',	0),
(6556,	3,	'2020-07-14 20:31:19',	'2020-07-14 20:31:19',	'Fear will do your head in.',	'Oracle 338',	'',	'publish',	'closed',	'closed',	'',	'oracle-337-2',	'',	'',	'2020-12-04 17:13:35',	'2020-12-04 17:13:35',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6556',	0,	'oracle',	'',	0),
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(6562,	3,	'2020-07-15 04:15:38',	'2020-07-15 04:15:38',	'',	'-carte blanche-noire 2',	'',	'inherit',	'open',	'closed',	'',	'carte-blanche-noire-2-36',	'',	'',	'2020-07-15 04:15:38',	'2020-07-15 04:15:38',	'',	5529,	'https://www.heidiwood.net/wp-content/uploads/2020/04/BD-PN-bra-mask.jpg',	0,	'attachment',	'image/jpeg',	0),
(6563,	3,	'2020-07-15 04:19:47',	'2020-07-15 04:19:47',	'Isolation can be fun!',	'Orcle 339',	'',	'publish',	'closed',	'closed',	'',	'orcle-339',	'',	'',	'2020-07-15 04:19:47',	'2020-07-15 04:19:47',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6563',	0,	'oracle',	'',	0),
(6564,	3,	'2020-07-15 04:18:57',	'2020-07-15 04:18:57',	'',	'-carte blanche-noire 2',	'',	'inherit',	'open',	'closed',	'',	'carte-blanche-noire-2-37',	'',	'',	'2020-07-15 04:18:57',	'2020-07-15 04:18:57',	'',	6563,	'https://www.heidiwood.net/wp-content/uploads/2020/07/BD-PN-Joe-Biden.jpg',	0,	'attachment',	'image/jpeg',	0),
(6565,	3,	'2020-07-15 04:25:24',	'2020-07-15 04:25:24',	'Don’t believe that children are innocuous.',	'Oracle 340',	'',	'publish',	'closed',	'closed',	'',	'oracle-340',	'',	'',	'2020-07-15 04:31:56',	'2020-07-15 04:31:56',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6565',	0,	'oracle',	'',	0),
(6566,	3,	'2020-07-15 04:24:22',	'2020-07-15 04:24:22',	'',	'carte rouge',	'',	'inherit',	'open',	'closed',	'',	'carte-rouge-49',	'',	'',	'2020-07-15 04:24:22',	'2020-07-15 04:24:22',	'',	6565,	'https://www.heidiwood.net/wp-content/uploads/2020/07/BD-PB-knitting.jpg',	0,	'attachment',	'image/jpeg',	0),
(6567,	3,	'2020-07-15 04:32:51',	'2020-07-15 04:32:51',	'Gender roles will flip back into the 1950’s.',	'Oracle 341',	'',	'publish',	'closed',	'closed',	'',	'oracle-341',	'',	'',	'2020-07-15 04:32:51',	'2020-07-15 04:32:51',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6567',	0,	'oracle',	'',	0),
(6568,	3,	'2020-07-15 04:32:46',	'2020-07-15 04:32:46',	'',	'BD PN clear mask',	'',	'inherit',	'open',	'closed',	'',	'bd-pn-clear-mask',	'',	'',	'2020-07-15 04:32:46',	'2020-07-15 04:32:46',	'',	6567,	'https://www.heidiwood.net/wp-content/uploads/2020/07/BD-PN-clear-mask.jpg',	0,	'attachment',	'image/jpeg',	0),
(6569,	3,	'2020-07-15 04:35:26',	'2020-07-15 04:35:26',	'Women will realize that the office is a room of one’s own.',	'Oracle 342',	'',	'publish',	'closed',	'closed',	'',	'oracle-342',	'',	'',	'2020-07-15 04:35:26',	'2020-07-15 04:35:26',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6569',	0,	'oracle',	'',	0),
(6570,	3,	'2020-07-15 04:34:53',	'2020-07-15 04:34:53',	'',	'carte rouge',	'',	'inherit',	'open',	'closed',	'',	'carte-rouge-50',	'',	'',	'2020-07-15 04:34:53',	'2020-07-15 04:34:53',	'',	6569,	'https://www.heidiwood.net/wp-content/uploads/2020/07/BD-PR-turban-mask.jpg',	0,	'attachment',	'image/jpeg',	0),
(6577,	3,	'2020-07-15 15:16:34',	'2020-07-15 15:16:34',	'Your colonoscopy will need to be rescheduled.',	'Oracle 343',	'',	'publish',	'closed',	'closed',	'',	'oracle-343',	'',	'',	'2020-07-15 19:54:54',	'2020-07-15 19:54:54',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6577',	0,	'oracle',	'',	0),
(6579,	3,	'2020-07-15 15:20:54',	'2020-07-15 15:20:54',	'The third wave will be a tsunami.',	'Oracle 344',	'',	'publish',	'closed',	'closed',	'',	'oracle-344',	'',	'',	'2020-07-15 15:22:20',	'2020-07-15 15:22:20',	'',	0,	'https://www.heidiwood.net/?post_type=oracle&#038;p=6579',	0,	'oracle',	'',	0),
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(8071,	3,	'2020-11-26 16:31:28',	'2020-11-26 16:31:28',	'Interview with Pierre Rabardel, sculptor, photographer and ergonomist, for the website <a href=\"http://revue-bancal.fr/\">revue-bancal.fr</a>\r\n\r\nPosted November 20 2020\r\n\r\n&nbsp;\r\n\r\n<strong>Pierre Rabardel:</strong>\r\n\r\n<em>... you said earlier that you still feel like you’re in transition.</em>\r\n\r\n&nbsp;\r\n\r\n<strong>Heidi Wood:</strong>\r\n\r\nI felt more and more like my practice was going nowhere. I’d set up a system that needed to be broken down.\r\n\r\nMy work had been grounded in a sort of alternative tourism. I’d visit unlikely destinations and then create offbeat promotion campaigns for them: down-at-heel suburbs of Paris, hidden corners of the ex-Soviet empire, deindustrialized areas, towns made accessible by low-cost flights… I’d create a set of pictograms to express the essential physical characteristics of the place, like subtitles. Then works would be made based on the pictograms. They could be poster campaigns in a city’s advertising space, souvenir plates, tourist trinkets or an imaginary visitors’ center, for example.\r\n\r\nI practiced that studious tourism for ten years. In the end, I thought it was too simplistic given the complexity of the places I was representing. Systematically formatting them into pictograms weakened their specificity. It didn’t do them justice. Reading translation theory, with its distinction between target and source-oriented translations confronted me with the limits of my approach.\r\n\r\nSo I decided to take a year off and do the second year of a Masters program at Paris 8. I needed some theoretical baggage to move forward.\r\n\r\n&nbsp;\r\n\r\n<em>Translation theory?</em>\r\n\r\n<em> </em>\r\n\r\nWhen you do a translation you can either play to the reader - the target-oriented approach, which is sometimes seen as colonizing the original text – or to the source, even if it confuses the reader (i.e. source-oriented translations). This framework allowed me to question my utterly target-oriented way of working up until then. Making the source readable for the audience puts it at a distance. By working that way, instead of paying homage to these strange places I love, I was helping smooth over their specificities.\r\nI realized there was an ideology at work despite my intentions, and that it didn’t match the values I felt I held.\r\n\r\n&nbsp;\r\n\r\nThat’s what I came looking for at university, as well as a fine-tuning of my written French. It’s a language that still isn’t mine after all these years and I wanted to use it in my work. The choice of French is dictated by the fact that I live in France. I thought my visual work could be better and more complex with the addition of words.\r\n\r\n&nbsp;\r\n\r\nAt Paris 8 I studied \"Fish Story\" by Allan Sekula, which was emblematic of the direction I wanted to take. Sekula makes a brilliant back-and-forth use of texts and images to study maritime transport and allow a subtle understanding of political context. He began the work in 1989 and it marks a break with his previous proselytizing work as a militant Marxist. He renews his language, seeking a more indirect way of pursuing class struggle in a post-communist era while integrating the rise of identity politics.\r\n\r\n&nbsp;\r\n\r\nAt the same time as this apprenticeship in academic writing, I began building a new hybrid language using elements gleaned from the world for a project specific to that year, called <em>Cartographie d’une année sans voyages</em> (Mapping a Year Without Travel). It includes, for example, extracts from the administrative correspondence to do with my naturalization and anecdotes about the occupation of Paris 8 by refugees.\r\n\r\n&nbsp;\r\n\r\nThe monthly diary I send out to my electronic mailing list is an extension of this written and visual language. It began with the yellow vest protests. I looked for traces of conflict in the streets, but I also explored the outrageous new means of surveillance involved in “evaluating your delivery man”. We’re constantly asked to police those who provide us with services. In the first diary, I juxtaposed these profound changes in relations between consumers and workers and the tensions revealed by the yellow vest demonstrations. Then Covid hit and it became my lockdown diary.\r\n\r\n&nbsp;\r\n\r\n<em>With the diary, words become part of your work.</em>\r\n\r\n&nbsp;\r\n\r\nInitially, there were no words in my work, then they appeared gradually to accompany my paintings. They were already essential to the work I did to earn a living: teaching English, translating and subtitling. There’s a convergence happening in my work at the moment. The work with words has infiltrated my art practice.\r\n\r\nThis “narrative turn” is a throwback to my Australian origins because Australia is a country in which people are suspicious of elitist culture. Few visual artists gain mass public recognition. The only cultural form that is acceptable in popular culture is telling stories.\r\n\r\nCombining text and image is the way my work is heading now. I started with abstract painting, moved on to playing with the codes of communication (logos, signage, advertising slogans, etc.) and now I’m working on a language that portrays the world we live in.\r\n\r\n&nbsp;\r\n\r\n<em>How about your website?</em>\r\n\r\n&nbsp;\r\n\r\nAfter my year at university, I created a new website that was less predictable. It’s turned into a bit of an obstacle course with some kooky functions. For example, when you’re scrolling through reproductions of paintings, you might come across a Detour card. If you click on it, you find yourself on a new page. There’s a picture, a sentence or two, nothing very coherent. You flick through three or four of them and suddenly, you’re catapulted into a different place in the website. The Detours are absurd moments that unhinge the orderly visit of my archives.\r\n\r\nThere is also Oracle, a sort of electronic card game that randomly draws cards, generating combinations of Covid-era imagery with prophecies and snatches of conspiracy theories. It’s like a game of tarot but it’s not clear exactly what it is. I was trying to recreate the atmosphere that Covid brought about: the hunger for answers and the impossibility of getting any. It sums up the spirit of a particular place at a given time.\r\n\r\n&nbsp;\r\n\r\n<em>You left your gallery a few years ago.</em>\r\n\r\n<em> </em>\r\n\r\nThe relationship was at a dead end but I couldn’t blame my dealer because I was less and less convinced myself by what I was doing. I was already at a point where most of my fundamental research took place on the computer. Only a few objects were made for the gallery based on that research. At one point, I offered a catalogue of virtual paintings that would only be made to order. Later I announced that all my paintings would be destroyed if nobody had bought them within a five-year period. It was a way of completely stripping the work of its aura. Maybe that’s why collectors weren’t interested. Now I hardly make any intermediary objects like paintings of framed photographs. There’s not much between the PDF files you can download from my website and the monumental works I make for public commissions.\r\n\r\nWith these big commissions, I put forward a proposal, which is only ever comes to fruition if I win the competition. The work starts out as fiction. The images made during the periods of research adapt to a context and an audience. If the project goes ahead, the visuals emerge from the computer and come to life in the urban environment. These projects allow me to earn a living and they subsidize new periods of research.\r\n\r\n&nbsp;\r\n\r\n<em>How do you see what lies ahead? </em>\r\n\r\n<em> </em>\r\n\r\nIt’s hard to know. My life is on hold until the pandemic decides what it’s doing. For the last five years I’ve been moving towards something but I don’t know what it is exactly. I’ve come up with a method that needs to find an outlet in a more lasting form, in publications or elsewhere. Maybe my practice is more source-oriented now, moving back-and-forth between image and text to tell stories. Over the last year, I’ve missed the dialogue that art centers allow. 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(8074,	3,	'2020-11-26 16:44:33',	'2020-11-26 16:44:33',	'Interview with Pierre Rabardel, sculptor, photographer and ergonomist, for the website <a href=\"http://revue-bancal.fr/\">revue-bancal.fr</a>\n\nPosted November 20 2020\n\n&nbsp;\n\n<strong>Pierre Rabardel:</strong>\n\n<em>... you said earlier that you still feel like you’re in transition.</em>\n\n&nbsp;\n\n<strong>Heidi Wood:</strong>\n\nI felt more and more like my practice was going nowhere. I’d set up a system that needed to be broken down.\n\nMy work had been grounded in a sort of alternative tourism. I’d visit unlikely destinations and then create offbeat promotion campaigns for them: down-at-heel suburbs of Paris, hidden corners of the ex-Soviet empire, deindustrialized areas, towns made accessible by low-cost flights… I’d create a set of pictograms to express the essential physical characteristics of the place, like subtitles. Then works would be made based on the pictograms. They could be poster campaigns in a city’s advertising space, souvenir plates, tourist trinkets or an imaginary visitors’ center, for example.\n\nI practiced that studious tourism for ten years. In the end, I thought it was too simplistic given the complexity of the places I was representing. Systematically formatting them into pictograms weakened their specificity. It didn’t do them justice. Reading translation theory, with its distinction between target and source-oriented translations confronted me with the limits of my approach.\n\nSo I decided to take a year off and do the second year of a Masters program at Paris 8. I needed some theoretical baggage to move forward.\n\n&nbsp;\n\n<em>Translation theory?</em>\n\n<em> </em>\n\nWhen you do a translation you can either play to the reader - the target-oriented approach, which is sometimes seen as colonizing the original text – or to the source, even if it confuses the reader (i.e. source-oriented translations). This framework allowed me to question my utterly target-oriented way of working up until then. Making the source readable for the audience puts it at a distance. By working that way, instead of paying homage to these strange places I love, I was helping smooth over their specificities.\nI realized there was an ideology at work despite my intentions, and that it didn’t match the values I felt I held.\n\n&nbsp;\n\nThat’s what I came looking for at university, as well as a fine-tuning of my written French. It’s a language that still isn’t mine after all these years and I wanted to use it in my work. The choice of French is dictated by the fact that I live in France. I thought my visual work could be better and more complex with the addition of words.\n\n&nbsp;\n\nAt Paris 8 I studied \"Fish Story\" by Allan Sekula, which was emblematic of the direction I wanted to take. Sekula makes a brilliant back-and-forth use of texts and images to study maritime transport and allow a subtle understanding of political context. He began the work in 1989 and it marks a break with his previous proselytizing work as a militant Marxist. He renews his language, seeking a more indirect way of pursuing class struggle in a post-communist era while integrating the rise of identity politics.\n\n&nbsp;\n\nAt the same time as this apprenticeship in academic writing, I began building a new hybrid language using elements gleaned from the world for a project specific to that year, called <em>Cartographie d’une année sans voyages</em> (Mapping a Year Without Travel). It includes, for example, extracts from the administrative correspondence to do with my naturalization and anecdotes about the occupation of Paris 8 by refugees.\n\n&nbsp;\n\nThe monthly diary I send out to my electronic mailing list is an extension of this written and visual language. It began with the yellow vest protests. I looked for traces of conflict in the streets, but I also explored the outrageous new means of surveillance involved in “evaluating your delivery man”. We’re constantly asked to police those who provide us with services. In the first diary, I juxtaposed these profound changes in relations between consumers and workers and the tensions revealed by the yellow vest demonstrations. Then Covid hit and it became my lockdown diary.\n\n&nbsp;\n\n<em>With the diary, words become part of your work.</em>\n\n&nbsp;\n\nInitially, there were no words in my work, then they appeared gradually to accompany my paintings. They were already essential to the work I did to earn a living: teaching English, translating and subtitling. There’s a convergence happening in my work at the moment. The work with words has infiltrated my art practice.\n\nThis “narrative turn” is a throwback to my Australian origins because Australia is a country in which people are suspicious of elitist culture. Few visual artists gain mass public recognition. The only cultural form that is acceptable in popular culture is telling stories.\n\nCombining text and image is the way my work is heading now. I started with abstract painting, moved on to playing with the codes of communication (logos, signage, advertising slogans, etc.) and now I’m working on a language that portrays the world we live in.\n\n&nbsp;\n\n<em>How about your website?</em>\n\n&nbsp;\n\nAfter my year at university, I created a new website that was less predictable. It’s turned into a bit of an obstacle course with some kooky functions. For example, when you’re scrolling through reproductions of paintings, you might come across a Detour card. If you click on it, you find yourself on a new page. There’s a picture, a sentence or two, nothing very coherent. You flick through three or four of them and suddenly, you’re catapulted into a different place in the website. The Detours are absurd moments that unhinge the orderly visit of my archives.\n\nThere is also Oracle, a sort of electronic card game that randomly draws cards, generating combinations of Covid-era imagery with prophecies and snatches of conspiracy theories. It’s like a game of tarot but it’s not clear exactly what it is. I was trying to recreate the atmosphere that Covid brought about: the hunger for answers and the impossibility of getting any. It sums up the spirit of a particular place at a given time.\n\n&nbsp;\n\n<em>You left your gallery a few years ago.</em>\n\n<em> </em>\n\nThe relationship was at a dead end but I couldn’t blame my dealer because I was less and less convinced myself by what I was doing. I was already at a point where most of my fundamental research took place on the computer. Only a few objects were made for the gallery based on that research. At one point, I offered a catalogue of virtual paintings that would only be made to order. Later I announced that all my paintings would be destroyed if nobody had bought them within a five-year period. It was a way of completely stripping the work of its aura. Maybe that’s why collectors weren’t interested. Now I hardly make any intermediary objects like paintings of framed photographs. There’s not much between the PDF files you can download from my website and the monumental works I make for public commissions.\n\nWith these big commissions, I put forward a proposal, which is only ever comes to fruition if I win the competition. The work starts out as fiction. The images made during the periods of research adapt to a context and an audience. If the project goes ahead, the visuals emerge from the computer and come to life in the urban environment. 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(9054,	3,	'2021-10-10 17:52:36',	'2021-10-10 17:52:36',	'This interactive, electronic card game, created during the first Covid-19 lock-down, assumed that the crisis would spark a return to superstition. It works with a set of 400 cards, mostly using imagery pulled off the Internet, and as many fortune cookie-type prophecies. Viral animations spring out of nowhere. The pandemic-themed texts, images and animations are at the service of old divination techniques. The cards are drawn automatically but you can also intervene, following obscure and changing rules, to try and influence what the <strong>Oracle</strong> says.',	'ORACLE',	'',	'publish',	'closed',	'closed',	'',	'oracle',	'',	'',	'2022-02-14 20:42:06',	'2022-02-14 20:42:06',	'',	0,	'https://www.heidiwood.net/?post_type=news&#038;p=9054',	0,	'news',	'',	0),
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(9056,	3,	'2021-10-20 18:16:30',	'2021-10-20 18:16:30',	'Proposal for the monthly drawing magazine Kontakt, published by Alex Chevalier.\r\n\r\nElectronic mail-out September 30 2020.',	'KONTAKT #46',	'',	'publish',	'closed',	'closed',	'',	'kontakt-46',	'',	'',	'2022-04-29 06:40:44',	'2022-04-29 06:40:44',	'',	0,	'https://www.heidiwood.net/?post_type=news&#038;p=9056',	0,	'news',	'',	0),
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(9059,	3,	'2021-11-01 18:38:31',	'2021-11-01 18:38:31',	'<strong>Student Union building, La Doua campus, Lyon University</strong>\r\n\r\nThe proposal for the this science and technology campus is a six-part comic strip. Born of consultations with experts in several fields (engineering, sociology, comparative literature, graphic design), it adopts what appears to be the language of science but is in fact transdisciplinary. From a distance, with its figures and pseudo-formula, it seems to embody the scientific spirit. If we look at its narrative content, the scenario is absurd.\r\n\r\n(Proposal not accepted).',	'OF INEXACT SCIENCE',	'',	'publish',	'closed',	'closed',	'',	'from-inexact-science',	'',	'',	'2022-11-06 18:24:43',	'2022-11-06 18:24:43',	'',	0,	'https://www.heidiwood.net/?post_type=news&#038;p=9059',	0,	'news',	'',	0),
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(9076,	3,	'2021-03-31 18:28:12',	'2021-03-31 18:28:12',	'&nbsp;\n\nARTIST STATEMENT\n\n&nbsp;\n\nMy work consists in mapping contemporary existence. I am equally interested in the urban environment, museum collections and traces of tensions in human relations. I create sets of visuals and texts and gather evidence from the street. Then, I put these elements to work to distill an atmosphere or generate narratives.\n\n&nbsp;\n\nFor the past ten years, part of my work has consisted in questioning residential and geo-political hierarchies by promoting the attractions of disadvantaged suburbs, industrial ports, abandoned steelworks and obscure corners of the former Soviet empire. I collect material during field trips or long-term residencies and then process the elements into pseudo-tourist promotion campaigns. My approach appears offbeat because I sing the praises of places that are not necessarily where people imagine spending their vacation. The form of this undertaking depends both on the location itself and the exhibiting context (art center, public commission, billboard, website, etc.). Works are as likely to be industrially produced as hand-made. My research may find its ultimate form as a pdf file or a large-scale, lasting part of the urban landscape.\n\n&nbsp;\n\nThe <em>Museums of the World</em> project (2009 – 2015) also sought to capture the identity of a given place, this time through the prism of its museum collections. Line drawings were made to inventory objects contained in a range of museums across 33 cities in Europe, Asia, North Africa, North America and Australia. Then a collage combining two particularly revealing objects attempted to embody the spirit of place.\n\n&nbsp;\n\nMore recently, having reduced the distances I travel, I have begun to map social relations and the way technology modifies the way we interact. The downloadable booklets I produce allow me to experiment with associations of texts (of my own composition or borrowed) and visuals. I look at the formatting of our personal, commercial or administrative exchanges by juxtaposing drawings of flowers and received sms or emails (<em>Vie parisienne</em>). I report back on my strange journeys by juxtaposing narrative snippets and pictograms (<em>Détour</em>). I document traces of current events in graffiti, spam and statistics (<em>Journaux</em>). An interactive on-line card game (<em>Oracle</em>) including prophetic pronouncements in French and English recreates the atmosphere generated by the Covid-19 pandemic.\n\n&nbsp;\n\nMy work as a whole reveals a curiosity for distant countries, what is just outside my front door and what appears on my computer screen.\n\n&nbsp;\n\nHeidi Wood\n\n&nbsp;',	'Artist statement',	'',	'inherit',	'closed',	'closed',	'',	'1909-autosave-v1',	'',	'',	'2021-03-31 18:28:12',	'2021-03-31 18:28:12',	'',	1909,	'https://www.heidiwood.net/1909-autosave-v1/',	0,	'revision',	'',	0),
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(9830,	3,	'2018-10-15 12:12:39',	'2018-10-15 12:12:39',	'<strong>Le principe fondamental et partagé de la programmation anniversaire des 30 ans des FRAC est de demander à un artiste de créer un dispositif inédit de diffusion d’œuvres de la collection. Comment as-tu répondu à cette invitation ?</strong>\r\n\r\n&nbsp;\r\n\r\nJ’ai depuis longtemps l’envie de mettre en scène des œuvres des autres, comme je l’ai fait avec mes propres tableaux abstraits dès ma première série photographique <em>Serving Suggestions</em>. Mais si je me permets de malmener mes propres œuvres en soulignant le devenir décoratif de la peinture abstraite, il est plus compliqué de le faire avec des œuvres qui ont des préoccupations toutes autres. Ici, je me suis donné le rôle de commissaire d’exposition dont les regroupements associent une œuvre physiquement présente avec deux autres évoquées par des silhouettes peintes sur le mur. C’est le fonctionnement du FRAC qui m’a intéressée dont un des modes d’action remarquables, tant en matière de diffusion que de médiation consiste à associer ses différentes œuvres afin de dégager des pistes de lecture, des thématiques communes, des oppositions, des rapprochements formels…\r\n\r\n&nbsp;\r\n\r\n<strong>Dans ton travail en cours <em>Musées du monde,</em> tu te concentres, pour les dessiner, sur des objets constitutifs des collections de musées d’histoire, de science ou de civilisation. Quel regard portes-tu sur ces objets ?</strong>\r\n\r\n<strong> </strong>\r\n\r\nLe projet <em>Musées du monde</em> est consacré à toutes sortes d’objets trouvés dans un musée à l’exception des œuvres d’art. Ceux que je retrouve dans beaucoup de villes sont des uniformes et des armes militaires, des trophées de chasse, des fœtus humains en bocal et des outils agricoles primitifs. En faisant un inventaire subjectif en dessin de ce qu’une ville choisit de conserver pour les générations futures, je cherche à voir si un portrait de cette ville se dégage de l’accumulation d’objets. C’est un prolongement de mon travail sur les pictogrammes qui décantent l’identité visuelle d’un lieu choisi.\r\n\r\n&nbsp;\r\n\r\n<strong>Quelle est ton approche des œuvres contemporaines autres que les tiennes ? Quel type d’intérêt peuvent-elles susciter en toi ? Quels critères d’appréhension retiens-tu ? Les évalues-tu en relation ou indépendamment de ta propre démarche artistique ?</strong>\r\n\r\n<strong> </strong>\r\n\r\nJe suis émue devant des œuvres aussi diverses que les photographies des Becher, les aquarelles de Walton Ford ou les installations picturales de Kara Walker. Mais je pense que tout artiste qui consacre sa vie à la création d’un univers ne peut pas s’empêcher d’en chercher les échos dans les œuvres des autres. Par exemple, quand je travaillais sur les parallèles entre le modèle économique de l’entreprise et les pratiques artistiques, je m’intéressais à Jeff Koons et Damien Hirst, moins pour leur valeur esthétique que pour leur valeur marchande et leurs méthodes de production. J’aime l’abstraction géométrique moderne et ses manifestations contemporaines. Je pense, par exemple, à Stéphane Dafflon et Francis Baudevin.\r\n\r\nMon intérêt pour les formes génériques de l’architecture moderne trouve un reflet dans le travail de Didier Marcel, Nicolas Moulin, Karina Bisch à ses débuts ou Callum Morton. Ma pratique consiste à creuser l’identité visuelle d’un lieu donc j’apprécie aussi la démarche de Kristina Solomoukha. Le visuel est, pour moi, la porte d’entrée démocratique à toute œuvre. Les couches de signification sont plus ou moins accessibles ensuite. Je ne suis pas sensible aux œuvres qui sont exclusivement conceptuelles. Je ne suis pas non plus attirée par les débordements de matière ou les délires baroques. On s’en doute en regardant mon travail.\r\n\r\n&nbsp;\r\n\r\n<strong>Le « Baroque » peut s’entendre comme une esthétique de la conjugaison formelle d’élans contraires. Ta peinture n’est certes pas baroque, mais tu sembles articuler dans ton œuvre des sources et des aspirations éparses : histoire de la peinture et communication visuelle, abstraction géométrique et kitsch, musée et intérieur domestique, grand art et culture populaire, système de l’art contemporain et tourisme… Quelle a été la genèse de ce positionnement artistique ?</strong>\r\n\r\n<strong> </strong>\r\n\r\nIl y a eu des strates d’influence dans mon travail qui sont, chronologiquement, le dessin académique de ma formation initiale en Australie, la peinture géométrique abstraite, les images publicitaires, le fonctionnement économique de l’entreprise appliqué à la production artistique, puis, actuellement, les stratégies de la promotion touristique.\r\n\r\n&nbsp;\r\n\r\nEn sortant des beaux-arts de Paris, je concevais ma peinture comme un inventaire des formes génériques du modernisme. Puis j’ai commencé à mettre en scène ces tableaux dans des décors domestiques fabriqués de toutes pièces, singeant les stratégies promotionnelles des fabricants de meubles. Je me donnais une double mission : creuser la question de la filiation avec les arts appliqués mais aussi activer véritablement les ressorts de la publicité – valoriser mon œuvre en la juxtaposant aux classiques du design et aider un collectionneur potentiel à projeter mon œuvre chez lui.\r\n\r\n&nbsp;\r\n\r\nMa série <em>Serving Suggestions</em> a suscité des invitations de la part d’organismes désireux de me voir appliquer le même procédé à leurs intérieurs. Est ainsi venu le temps de la réalisation de tableaux conçus pour s’inscrire dans un décor donné. Il y a eu un flottement intéressant sur l’identification de l’objet de la promotion : était-ce le tableau ou l’institution/entreprise représentée ? J’ai produit une montagne de tableaux, à cette période, qui me restaient sur les bras comme des accessoires encombrants. Le coût élevé des prises de vue avec un photographe professionnel et son éclairage m’obligeait à trouver des financements en amont pour chaque série. Le numérique et la lumière naturelle s’imposaient. Je me suis initiée à Photoshop et je suis partie en résidence à Los Angeles.\r\n\r\n&nbsp;\r\n\r\nCes trois mois passés à Los Angeles en 2004 ont marqué un tournant dans mon travail. Pour la première fois, le contexte économique et culturel du lieu que j’infiltrais déterminait le medium des œuvres. J’ai réalisé les photos de paysages urbains dans lesquels j’ai incrusté mes formes abstraites sur les panneaux publicitaires. Adossés à un slogan publicitaire trouvé, ces photomontages étaient envoyés sous forme de spams à un mailing international. Comme l’a écrit Stephen Wright à l’époque, je vendais des produits qui n’existaient pas à des gens qui n’avaient rien demandé. Cette forme d’autopromotion agressive était suggérée par le comportement des habitants de Los Angeles, ville de stars aspirantes. Dans cette fiction publicitaire, le produit marchand était une prestation. L’œuvre dématérialisée, j’ai pu m’affranchir de l’atelier et dissocier mes recherches de la fabrication d’objets.\r\n\r\n&nbsp;\r\n\r\nPar la suite, j’ai calqué ma production artistique sur les méthodes ultra-rationalisées de l’industrie. J’ai créé des prototypes de tableaux qui devaient être vendus sur plan. Mes photographies de cette période avaient un double statut d’œuvres et de supports marketing car elles mettaient en scène des tableaux virtuels disponibles à la demande. J’ai annoncé lors de mon exposition <em>Date limite de consommation</em> (galerie Anne Barrault, Paris) que tout tableau invendu serait détruit au bout de cinq ans. Un catalogue numérique de « cadavres » me permettrait de réactiver ces tableaux sous d’autres formes à une date ultérieure. Je permettais au marché de déterminer le droit d’exister de mes tableaux. C’était fin 2008, le trimestre du plus fort recul économique depuis la grande crise des années 30.\r\n\r\n&nbsp;\r\n\r\nN’ayant pas d’atelier, j’ai fait plusieurs résidences d’artiste : Budapest, Santa Fe, Meymac, Brême. A chaque fois la ville elle-même était le sujet de mes recherches. Je commençais toujours par créer un répertoire de pictogrammes censé décanter l’essentiel du lieu. Puis je laissais le contexte déterminer la matérialité des œuvres : assiettes souvenirs avec paysages industriels en bleu Delft à Brême, collages en feutrine de poupées <em>Kachina</em> à Santa Fe, etc. La charge promotionnelle, voire commerciale des pictogrammes que je créais de par leur proximité avec des logos, m’incitait à voir chaque résidence comme une campagne promotionnelle pour la ville. Je conçois les expositions désormais comme des stands de foire ou des syndicats d’initiative qui présenteraient une vision synthétique et valorisante du lieu (parfois une grande capitale, parfois une banlieue ingrate). Le tableau est désormais un élément parmi d’autres composant les environnements que je produis.\r\n\r\n&nbsp;\r\n\r\n<strong>L’ensemble de ton œuvre s’enracine dans une histoire de la peinture. Que gardes-tu de la peinture ou, selon les points de vue, qu’apportes-tu à la peinture, lorsque tu recours à des technicités autres (fichier numérique, films adhésifs, sérigraphie industrielle…), lorsque tu choisis d’autres supports que la toile tendue sur châssis (internet, assiettes en faïence, panneaux routiers, bannières, objets divers, murs…), lorsque, enfin, comme c’est le cas pour les commandes publiques auxquelles tu as accès et pour <em>Apparitions collectives</em>, le dispositif que tu as imaginé pour nous dans le cadre des <em>Pléiades – 30 ans des FRAC</em>, tu délègues la réalisation de l’œuvre ?</strong>\r\n\r\n&nbsp;\r\n\r\nToute ma démarche est enracinée dans l’instrumentalisation du langage visuel de la peinture abstraite de Malevitch et Mondrian qui a été vidé de ses aspirations métaphysiques et révolutionnaires pour fournir des motifs pour les rideaux et les robes. En tombant dans le domaine public, ce langage a été domestiqué. Ses mutations sont riches. Elles génèrent les produits dérivés que je déploie dans mes expositions.\r\n\r\n&nbsp;\r\n\r\nDéléguer ou réaliser moi-même est une décision qui naît du contexte de chaque projet. Je délègue lorsque je recherche une facture industrielle comme des panneaux routiers ou des plaques en émail, par exemple. D’habitude, je réalise moi-même mes peintures murales. Pour ce projet, la possibilité d’impliquer pleinement les partenaires faisait que c’était plus intéressant de leur demander de le faire.\r\n\r\n&nbsp;\r\n\r\n<strong>Ton œuvre en général et <em>Apparitions collectives</em> en particulier, m’incitent à te demander de préciser ta position par rapport à la notion « d’aura » de l’œuvre d’art originale telle que théorisée par Walter Benjamin dans les années 1930, au début de ce qu’il a perçu comme l’époque de sa « reproductibilité technique ». </strong>\r\n\r\n<strong>La question de l’originalité au sens de « singularité » est aussi intimement liée aux avant-gardes de la première moitié du début du XXe siècle envisagées comme des opératrices de ruptures historiques et des génératrices d’innovations spontanées. </strong>\r\n\r\n<strong>Les impératifs d’authenticité et de singularité sont, depuis les années 1980, remis en cause par les artistes qualifiés de post-modernes. Ta démarche artistique n’est pas étrangère aux stratégies de citation, de duplication, de référencement, d’appropriation, de mixage, adoptées par nombre d’artistes aussi divers que Sherrie Levine, Philippe Parreno, Etienne Bossut, Pierre Huyghe, Jim Isermann, Franck Eon ou Francis Baudevin pour ne mentionner que quelques artistes présents dans notre collection. Ces stratégies dont la tienne sont-elles des alternatives à la vanité et à l’égo de l’artiste inspiré ? Des dénonciations du consumérisme généralisé ? Un repositionnement face au déplacement depuis le champ de l’art vers celui du spectacle généralisé des forces de narration, de divertissement ou de sidération ? </strong>\r\n\r\n<strong> </strong>\r\n\r\nWalter Benjamin écrivait à une époque où il constatait une fracture de la perception liée à la l’émergence de la photographie et du cinéma. Il interrogeait les conséquences des reproductions sur les œuvres, ainsi sorties de leurs contextes et libérées du statut d’objets de culte. La banalisation de l’image s’est poursuivie avec la télévision, l’internet et les réseaux sociaux.\r\n\r\n&nbsp;\r\n\r\nJe prends acte de cette banalisation et cela génère les stratégies que tu décris. Je ne crois pas à l’œuvre charismatique qui doit être vue en vrai pour dégager son aura. J’ai été initiée à l’art moderne par les reproductions et j’ai pu aller jusqu’à décider d’exposer les reproductions photographiques de mes tableaux installés plutôt que ma peinture elle-même. La reproduction est aussi pour moi un moyen de garder la trace d’une œuvre détruite pour qu’elle puisse renaître, peut-être sous une forme modifiée, dans d’autres contextes. Son authenticité, sa singularité dépendent de cette adaptation.\r\n\r\n&nbsp;\r\n\r\nDe toute évidence, nous ne sommes plus dans l’exaltation des modernes, avec leurs tables rases à répétition. Le rôle de l’artiste-shaman, tenu par Joseph Beuys, est aussi dépassé. Une amie m’a raconté sa rencontre avec un artiste invité quand elle était élève à Goldsmiths à Londres. Il lui disait que les couleurs de ses tableaux étaient « très années 80 ». Pour qu’elle s’imprègne des couleurs de son époque, il lui conseillait de regarder les baskets que portaient les jeunes. C’est une anecdote qui dit beaucoup sur le statut des œuvres aujourd’hui (égal, voire inférieur, à celui des biens de consommation) et sur ce qu’on attend des artistes : refléter le monde, pas en proposer un meilleur. Comme beaucoup d’artistes de ma génération, ça ne me viendrait pas à l’idée de dénoncer le fonctionnement du monde. Je le regarde simplement, en sélectionnant mes sources d’information. 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(12351,	2,	'2022-01-04 10:56:46',	'2022-01-04 10:56:46',	'This interactive, electronic card game, created during the first Covid-19 lock-down, assumed that the crisis would spark a return to superstition. It works with a set of 400 cards, mostly using imagery pulled off the Internet, and as many fortune cookie-type prophecies. Viral animations spring out of nowhere. The pandemic-themed texts, images and animations are at the service of old divination techniques. The cards are drawn automatically but you can also intervene, following obscure and changing rules, to try and influence what the <strong>Oracle</strong> says.',	'ORACLE',	'',	'inherit',	'closed',	'closed',	'',	'9054-autosave-v1',	'',	'',	'2022-01-04 10:56:46',	'2022-01-04 10:56:46',	'',	9054,	'https://www.heidiwood.net/9054-autosave-v1/',	0,	'revision',	'',	0),
(12352,	2,	'2022-01-04 10:57:11',	'2022-01-04 10:57:11',	'August 2 - September 27 2020\n\n&nbsp;\n\nMy contribution to this group exhibition in the pyramid-shaped barns of the Pays Fort region was inspired by the local tradition of witchcraft. I adopted its assumption that answers to problems can be found in a parallel realm and certain rituals give access to it. Groups of construction signage inscribed with pictographic representations of rural life and QR codes were spread among the three sites. They marked the entry points to underground content: the card game <em>Oracle</em> and four electronic flip books (<em>Rural Flip 1 – 4</em>).\n\n&nbsp;\n\nCurator: Lucile Encrevé\n\nOrganizers: Singularités.',	'ALLONS VOIR',	'',	'inherit',	'closed',	'closed',	'',	'6813-autosave-v1',	'',	'',	'2022-01-04 10:57:11',	'2022-01-04 10:57:11',	'',	6813,	'https://www.heidiwood.net/6813-autosave-v1/',	0,	'revision',	'',	0),
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(14496,	3,	'2022-04-29 06:40:13',	'2022-04-29 06:40:13',	'The artist book <em>Tour du monde en transition</em> has arrived. It covers 10 years of work reconfigured in light of my narrative turn. Chapters documenting projects alternate with micro-narratives made up of various elements. It is divided into three sections: contemporary experience, museums and heritage and the urban environment.\r\n\r\n&nbsp;\r\n\r\n256 pages\r\n\r\ntexts by Julie Crenn and Heidi Wood\r\n\r\néditions friville',	'NEW BOOK',	'',	'publish',	'closed',	'closed',	'',	'new-catalogue',	'',	'',	'2022-09-04 11:46:47',	'2022-09-04 11:46:47',	'',	0,	'https://www.heidiwood.net/?post_type=news&#038;p=14496',	0,	'news',	'',	0),
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(14499,	3,	'2022-04-29 07:46:55',	'2022-04-29 07:46:55',	'<strong>WAKE UP</strong>\r\n\r\n&nbsp;\r\n\r\n<em>Instead of a diverse world, made of ever new phenomena, of events that cause change and realities that resist, the consummation of \"nihilism\" imposes itself everywhere; a process by which, under the avalanche of \"news\" and \"notifications,\" events no longer occur and nothing seems to have to happen anymore.</em>\r\n\r\n&nbsp;\r\n<p style=\"text-align: right;\">Barbara Stiegler - <em>Du cap aux grèves</em> (Verdier, 2020)</p>\r\n&nbsp;\r\n\r\nHeidi Wood is attentive to the polyphony of signs that are part of our everyday landscapes. Whether they are commercial, informative, economic, cultural, security-driven, political, mediatic or otherwise, signs have invaded our visual and cognitive spaces. They organize the society in which we exist. They are so well integrated that we no longer really see or read them. We have an intuitive relationship with them. Yet they are omnipresent and influence our bodies. A major part of the artist\'s work invites us not only to question the violence of this ultra meta-presence, but also to understand its impact on our behavior, our choices, our relationships to others and to places. Because they affect us directly and/or insidiously, signs have become both a resource and a material for (re)thinking the world.\r\n\r\n&nbsp;\r\n\r\nThe proliferation of signs telling you what to do is evident in cities and particularly in so-called disadvantaged areas: commercial zones, the more or less distant outskirts of city centers and satellite suburbs. These are the places that Heidi Wood has observed, frequented and analyzed for many years. The result is critical projects that adopt a formatted language: numbers, signs, graphs, logos and bright, high-impact colors. The artist appropriates the visual expression of those who produce strategic writing. She works with the codes of these means of communication that are simultaneously instructive, basic and authoritarian to create a critical space. To do so, she commandeers and repurposes pictograms, systems of logos, typographies and colors, as well as their layouts and configurations. She exploits the effectiveness of this conditioning and alienating language to formulate her concerns and considerations, in search of meaning. She also invites us to remobilize our critical faculties in the face of these thousands of recommendations, stimuli, identity straitjackets or prohibitions. She asks us to understand their uses and objectives, but also to reinject nuance, detachment and substance into our collective imagination. By corrupting and exposing these signs, Heidi Wood stimulates a collective, pro-active approach to brutally imposed methods of communication; methods that are visually and ideologically formatted to consolidate norms, enslave and condition society.\r\n\r\n&nbsp;\r\n\r\n<strong>Critical narratives</strong>\r\n\r\n&nbsp;\r\n\r\nSo how does society accommodate, suffer or thwart these imposed modes? This multi-faceted question has provoked a complete and profound rethink of her artistic practice. Over the past few years, Heidi Wood has undertaken a critical analysis of her work in order to open up new directions and new ways of making art. She now focuses on a vast subject - contemporary existence - both hers and ours. By means of booklets accessible in PDF format (downloadable and dematerialized), she is developing a critical reflection on life in the West. In doing so, the artist seeks a way and a means to situate her perspective as a woman, as an immigrant, as an artist and as a citizen. This undertaking requires the creation of a situated language.\r\n\r\n&nbsp;\r\n\r\nHeidi Wood is working on a long-term project that began with her monthly <em>Journals </em>(January 2020 - December 2021). Each month, she puts online and distributes by email a digital booklet made up of eleven pages. Conceived as a field of narrative experimentation, each edition is fed by reactions to current events, real-life situations, words taken from the street, statistics, polls or quotes from the media. The artist keeps a close watch on the media and how news is portrayed, in words and images. From the Yellow Vest demonstrations to the pandemic that has dominated the news for over two years now, nothing escapes her. Heidi Wood confronts a range of issues: police and administrative violence, systemic racism, Islamophobia, feminicide, legalized prohibitions, respect for the rule of law, ecology, conspiracy theories, control of bodies, surveillance, image management, animal rights, social distancing, feminist demands, food choices, consumer society and its daily spectacle. They intersect and sometimes clash from page to page and edition to edition. \"By juxtaposing bits of evidence, I compose and try to make sense of things. I take blurred, incomplete signs and knit them into critical narratives.\"[1] The artist puts into dialogue elements photographed in the street, extracts of conversations and information taken from newspapers (French and Australian) or from the Internet.\r\n\r\n&nbsp;\r\n\r\nTheir intertwining produces criticism and highlights the prevailing cynicism. For example, a poster informs us that a dog named <em>Hope</em> is lost, and promises a reward for its return. On walls, placards from demonstrations or posters, we read: <em>Contemplate the void / Stop setting the bar so low for mankind / School’s out – surveillance never ends / Under the masks the memory of smiles / PARTRIARSHIT</em>. The text, whether illicit or official, is considered as a visual and political resource. Tags, torn posters, superimposed messages, comments, advertisements: \"I observe how digital technology formats our interactions. I seek out traces of current events in the urban environment as well as on our computer screens. I’ve started giving more space to absurdity and randomness.” Since the beginning of 2022, the <em>Journals</em> have been replaced by a new series of digital booklets entitled <em>À la Une</em> (<em>Breaking News</em>), where she explores other stories, born of direct experience and personal musings. In the substrate of the booklets published over two years, Heidi Wood has constructed a self-portrait where her concerns, doubts, questions, exasperations, disbelief, struggles and anger collide.\r\n\r\n&nbsp;\r\n\r\n<strong>Emerging from silence</strong>\r\n\r\n&nbsp;\r\n\r\nThe booklets supplement and make visible a long-term interest in contemporary existence - an existence that is both individual and collective. They introduce an underlying question: what makes culture? Baptiste Morizot, a philosopher, proposes a definition: \"Culture is what, as a person and as a member of the social body, transforms you, makes you a more intelligent and more sensitive body, more capable of being fair towards the world that makes you, and that you now take more fully into account.\"[2] Heidi Wood looks for this elusive and potentially transforming matter in details, snatches of dialogue and tenuous situations. Through her visual and narrative experiments, she questions a state of the world located on a level familiar to her. She highlights the connections, blockages, actions, inactions, battles, cop-outs and paradoxes that make up a culture shared and nourished by a group. Because she chooses to focus on a strategic, mediatic, commercial and political aesthetic, the artist reveals a facet of a Western conditioning culture that is as disturbed as it is disturbing. Out in the field, mostly in the street, she studies the flow of circumstances, debates and profiles. \"It’s in the juxtaposition of traces left by others that the narrative is constructed and a point of view voiced. Dialogues also help situate me as a curious spectator. The reader’s interpretation will always elude me.\" Heidi Wood prefers the status of scribe to that of prophet. She opens up leads or possible avenues for collective consideration. In this sense, juxtapositions bring both options and disruptions. They generate a necessity: the need to wake up and produce thought, analysis and criticism that will emancipate us from an organized and consented enslavement.\r\n\r\n&nbsp;\r\n\r\nThis enslavement of bodies is serviced by the mainstream media, which favors efficient messages, limited and formatted thought declaimed via sound bites, punchlines, hashtags, explosive slogans, fake news and unfinished sentences: the ingredients of the \"slow poison\" against which Barbara Stiegler says she is determined to fight. [3] While the artist\'s intention is not militant, her booklets make a statement, whose words and images are symptomatic of a deep societal, political and cultural crisis that has been structured over a long period. The <em>Journals</em> lead us to think about the issues and consequences of this crisis. Since they are open to any number of interpretations, we can detect in them a criticism of inertia, of individualistic escape or of collective stupefaction. Caught in a movement where immediacy and flashiness prevail, thought is indeed paralyzed. It runs out of steam and fades away. \"Our era is dumbed down by the filter of screens where a new, almost demented way of thinking is rampant, with its simplification, its disproportion and its moralization of everything\"[4]. The time is ripe for schematization, extreme binarity and reductive dogmas; for communication that is summed up in a few characters, GIFs, stickers and emojis. For a long time now, we have seen a systematized simplification of thought that leads to totalitarian, sterile and stultifying thought. Well-reasoned articles have given way to snarky comments, tweets, thumbs up or down and ideas that must be expressed in just a few characters. We no longer have time. Hartmut Rosa speaks of a modern crisis that is \"entirely a crisis of the relationship to the world, a crisis of the institutional and cultural relationship that society has with the world, a crisis that, at the stage of late modernity, shakes the mode of reproduction of this social formation to its very foundations.\"[5] We face a structural crisis that, according to the German sociologist and philosopher, reduces the world to <em>silence</em>, to a form of widespread inaction.\r\n\r\n&nbsp;\r\n\r\nWe must then emerge from the silence, refuse impotence, shake off an aseptic aesthetic, and counter, through contestation and contradiction, the organized anesthetizing of consciences. The philosopher Aurélien Berlan writes, \"the megamachine is not a bulldozer that crushes us from the outside. It is rather a matrix that we are all, willingly or unwillingly, part of. We are not outside of it. We are in it and we are even its basic components. We must therefore stop playing our role as docile little cogs, whether as consumers, employees or citizens. [6] Through her booklets, Heidi Wood informs us that it is urgent to individually and collectively sabotage this system that advocates a loss of meaning. In a humble and direct manner, the artist confides in us at once her concerns about the issues at hand and her love for her era, with all its complexities and confusions. The <em>Journals </em>invite us to mobilize to create a space where a critique of the information-spectacle can take root.\r\n\r\n&nbsp;\r\n<p style=\"text-align: right;\"><strong>Julie Crenn</strong></p>\r\n<p style=\"text-align: right;\">February 2022</p>\r\n&nbsp;\r\n\r\nNotes /\r\n\r\n[1] Quotes from the artist, from February 2022, are extracts from emails or telephone conversations.\r\n\r\n<sup>[2]</sup> MORIZOT, Baptiste. “Nouer culture des luttes et culture du vivant” in <em>Socialter</em>, January 2021.\r\n\r\n<sup>[3]</sup> STIEGLER, Barbara. <em>Du cap aux grèves - Récit d’une mobilisation 17 novembre 2018 - 17 mars 2020</em>. Paris: Verdier, 2020.\r\n\r\n<sup>[4]</sup> DUMONT, Bruno. Interview. <em>Le Monde</em>, 25 August 2021.\r\n\r\n<sup>[5]</sup> ROSA, Hartmut. <em>Résonance - Une sociologie de la relation au monde</em>. Paris: La Découverte, 2021, p.657.\r\n\r\n<sup>[6]</sup> BERLAN, Aurélien. Interview. <em>Reporterre</em>, 4 January 2022.',	'JULIE CRENN, 2022',	'',	'publish',	'closed',	'closed',	'',	'julie-crenn-2022',	'',	'',	'2022-04-29 14:45:06',	'2022-04-29 14:45:06',	'',	0,	'https://www.heidiwood.net/?post_type=doc_article&#038;p=14499',	0,	'doc_article',	'',	0),
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(14502,	3,	'2022-04-29 08:03:46',	'2022-04-29 08:03:46',	'<strong>WAKE UP</strong>\n\n&nbsp;\n\n<em>Instead of a diverse world, made of ever new phenomena, of events that cause change and realities that resist, the consummation of \"nihilism\" imposes itself everywhere; a process by which, under the avalanche of \"news\" and \"notifications,\" events no longer occur and nothing seems to have to happen anymore.</em>\n\nBarbara Stiegler - <em>Du cap aux grèves</em> (Verdier, 2020)\n\n&nbsp;\n\nHeidi Wood is attentive to the polyphony of signs that are part of our everyday landscapes. Whether they are commercial, informative, economic, cultural, security-driven, political, mediatic or otherwise, signs have invaded our visual and cognitive spaces. They organize the society in which we exist. They are so well integrated that we no longer really see or read them. We have an intuitive relationship with them. Yet they are omnipresent and influence our bodies. A major part of the artist\'s work invites us not only to question the violence of this ultra meta-presence, but also to understand its impact on our behavior, our choices, our relationships to others and to places. Because they affect us directly and/or insidiously, signs have become both a resource and a material for (re)thinking the world.\n\n&nbsp;\n\nThe proliferation of signs telling you what to do is evident in cities and particularly in so-called disadvantaged areas: commercial zones, the more or less distant outskirts of city centers and satellite suburbs. These are the places that Heidi Wood has observed, frequented and analyzed for many years. The result is critical projects that adopt a formatted language: numbers, signs, graphs, logos and bright, high-impact colors. The artist appropriates the visual expression of those who produce strategic writing. She works with the codes of these means of communication that are simultaneously instructive, basic and authoritarian to create a critical space. To do so, she commandeers and repurposes pictograms, systems of logos, typographies and colors, as well as their layouts and configurations. She exploits the effectiveness of this conditioning and alienating language to formulate her concerns and considerations, in search of meaning. She also invites us to remobilize our critical faculties in the face of these thousands of recommendations, stimuli, identity straitjackets or prohibitions. She asks us to understand their uses and objectives, but also to reinject nuance, detachment and substance into our collective imagination. By corrupting and exposing these signs, Heidi Wood stimulates a collective, pro-active approach to brutally imposed methods of communication; methods that are visually and ideologically formatted to consolidate norms, enslave and condition society.\n\n&nbsp;\n\n<strong>Critical narratives</strong>\n\n&nbsp;\n\nSo how does society accommodate, suffer or thwart these imposed modes? This multi-faceted question has provoked a complete and profound rethink of her artistic practice. Over the past few years, Heidi Wood has undertaken a critical analysis of her work in order to open up new directions and new ways of making art. She now focuses on a vast subject - contemporary existence - both hers and ours. By means of booklets accessible in PDF format (downloadable and dematerialized), she is developing a critical reflection on life in the West. In doing so, the artist seeks a way and a means to situate her perspective as a woman, as an immigrant, as an artist and as a citizen. This undertaking requires the creation of a situated language.\n\n&nbsp;\n\nHeidi Wood is working on a long-term project that began with her monthly <em>Journals </em>(January 2020 - December 2021). Each month, she puts online and distributes by email a digital booklet made up of eleven pages. Conceived as a field of narrative experimentation, each edition is fed by reactions to current events, real-life situations, words taken from the street, statistics, polls or quotes from the media. The artist keeps a close watch on the media and how news is portrayed, in words and images. From the Yellow Vest demonstrations to the pandemic that has dominated the news for over two years now, nothing escapes her. Heidi Wood confronts a range of issues: police and administrative violence, systemic racism, Islamophobia, feminicide, legalized prohibitions, respect for the rule of law, ecology, conspiracy theories, control of bodies, surveillance, image management, animal rights, social distancing, feminist demands, food choices, consumer society and its daily spectacle. They intersect and sometimes clash from page to page and edition to edition. \"By juxtaposing bits of evidence, I compose and try to make sense of things. I take blurred, incomplete signs and knit them into critical narratives.\"[1] The artist puts into dialogue elements photographed in the street, extracts of conversations and information taken from newspapers (French and Australian) or from the Internet.\n\n&nbsp;\n\nTheir intertwining produces criticism and highlights the prevailing cynicism. For example, a poster informs us that a dog named <em>Hope</em> is lost, and promises a reward for its return. On walls, placards from demonstrations or posters, we read: <em>Contemplate the void / Stop setting the bar so low for mankind / School’s out – surveillance never ends / Under the masks the memory of smiles / PARTRIARSHIT</em>. The text, whether illicit or official, is considered as a visual and political resource. Tags, torn posters, superimposed messages, comments, advertisements: \"I observe how digital technology formats our interactions. I seek out traces of current events in the urban environment as well as on our computer screens. I’ve started giving more space to absurdity and randomness.” Since the beginning of 2022, the <em>Journals</em> have been replaced by a new series of digital booklets entitled <em>À la Une</em> (<em>Breaking News</em>), where she explores other stories, born of direct experience and personal musings. In the substrate of the booklets published over two years, Heidi Wood has constructed a self-portrait where her concerns, doubts, questions, exasperations, disbelief, struggles and anger collide.\n\n&nbsp;\n\n<strong>Emerging from silence</strong>\n\n&nbsp;\n\nThe booklets supplement and make visible a long-term interest in contemporary existence - an existence that is both individual and collective. They introduce an underlying question: what makes culture? Baptiste Morizot, a philosopher, proposes a definition: \"Culture is what, as a person and as a member of the social body, transforms you, makes you a more intelligent and more sensitive body, more capable of being fair towards the world that makes you, and that you now take more fully into account.\"[2] Heidi Wood looks for this elusive and potentially transforming matter in details, snatches of dialogue and tenuous situations. Through her visual and narrative experiments, she questions a state of the world located on a level familiar to her. She highlights the connections, blockages, actions, inactions, battles, cop-outs and paradoxes that make up a culture shared and nourished by a group. Because she chooses to focus on a strategic, mediatic, commercial and political aesthetic, the artist reveals a facet of a Western conditioning culture that is as disturbed as it is disturbing. Out in the field, mostly in the street, she studies the flow of circumstances, debates and profiles. \"It’s in the juxtaposition of traces left by others that the narrative is constructed and a point of view voiced. Dialogues also help situate me as a curious spectator. The reader’s interpretation will always elude me.\" Heidi Wood prefers the status of scribe to that of prophet. She opens up leads or possible avenues for collective consideration. In this sense, juxtapositions bring both options and disruptions. They generate a necessity: the need to wake up and produce thought, analysis and criticism that will emancipate us from an organized and consented enslavement.\n\n&nbsp;\n\nThis enslavement of bodies is serviced by the mainstream media, which favors efficient messages, limited and formatted thought declaimed via sound bites, punchlines, hashtags, explosive slogans, fake news and unfinished sentences: the ingredients of the \"slow poison\" against which Barbara Stiegler says she is determined to fight. [3] While the artist\'s intention is not militant, her booklets make a statement, whose words and images are symptomatic of a deep societal, political and cultural crisis that has been structured over a long period. The <em>Journals</em> lead us to think about the issues and consequences of this crisis. Since they are open to any number of interpretations, we can detect in them a criticism of inertia, of individualistic escape or of collective stupefaction. Caught in a movement where immediacy and flashiness prevail, thought is indeed paralyzed. It runs out of steam and fades away. \"Our era is dumbed down by the filter of screens where a new, almost demented way of thinking is rampant, with its simplification, its disproportion and its moralization of everything\"[4]. The time is ripe for schematization, extreme binarity and reductive dogmas; for communication that is summed up in a few characters, GIFs, stickers and emojis. For a long time now, we have seen a systematized simplification of thought that leads to totalitarian, sterile and stultifying thought. Well-reasoned articles have given way to snarky comments, tweets, thumbs up or down and ideas that must be expressed in just a few characters. We no longer have time. Hartmut Rosa speaks of a modern crisis that is \"entirely a crisis of the relationship to the world, a crisis of the institutional and cultural relationship that society has with the world, a crisis that, at the stage of late modernity, shakes the mode of reproduction of this social formation to its very foundations.\"[5] We face a structural crisis that, according to the German sociologist and philosopher, reduces the world to <em>silence</em>, to a form of widespread inaction.\n\n&nbsp;\n\nWe must then emerge from the silence, refuse impotence, shake off an aseptic aesthetic, and counter, through contestation and contradiction, the organized anesthetizing of consciences. The philosopher Aurélien Berlan writes, \"the megamachine is not a bulldozer that crushes us from the outside. It is rather a matrix that we are all, willingly or unwillingly, part of. We are not outside of it. We are in it and we are even its basic components. We must therefore stop playing our role as docile little cogs, whether as consumers, employees or citizens. [6] Through her booklets, Heidi Wood informs us that it is urgent to individually and collectively sabotage this system that advocates a loss of meaning. In a humble and direct manner, the artist confides in us at once her concerns about the issues at hand and her love for her era, with all its complexities and confusions. The <em>Journals </em>invite us to mobilize to create a space where a critique of the information-spectacle can take root.\n\n&nbsp;\n<p style=\"text-align: right;\"><strong>Julie Crenn</strong></p>\n<p style=\"text-align: right;\">February 2022</p>\n&nbsp;\n\nNotes /\n\n[1] Quotes from the artist, from February 2022, are extracts from emails or telephone conversations.\n\n<sup>[2]</sup> MORIZOT, Baptiste. “Nouer culture des luttes et culture du vivant” in <em>Socialter</em>, January 2021.\n\n<sup>[3]</sup> STIEGLER, Barbara. <em>Du cap aux grèves - Récit d’une mobilisation 17 novembre 2018 - 17 mars 2020</em>. Paris: Verdier, 2020.\n\n<sup>[4]</sup> DUMONT, Bruno. Interview. <em>Le Monde</em>, 25 August 2021.\n\n<sup>[5]</sup> ROSA, Hartmut. <em>Résonance - Une sociologie de la relation au monde</em>. Paris: La Découverte, 2021, p.657.\n\n<sup>[6]</sup> BERLAN, Aurélien. Interview. <em>Reporterre</em>, 4 January 2022.',	'JULIE CRENN, 2022',	'',	'inherit',	'closed',	'closed',	'',	'14499-autosave-v1',	'',	'',	'2022-04-29 08:03:46',	'2022-04-29 08:03:46',	'',	14499,	'https://www.heidiwood.net/14499-autosave-v1/',	0,	'revision',	'',	0),
(14506,	3,	'2022-04-29 06:31:09',	'2022-04-29 06:31:09',	'<strong>TOURING AN APPROACH IN TRANSITION</strong>\r\n\r\n&nbsp;\r\n\r\nIn recent years, my work has taken many directions then found a certain coherence again following an existential crisis in my practice. <em>Touring a World in Transition</em> is a presentation of my research from the past ten years, yet the material is presented in a way that embodies a more nuanced perspective, the formulation of which is still in flux. The diversity of forms that I use now serves the mapping of contemporary existence. This publication is more a progress report than the celebration of a job well done.\r\n\r\n&nbsp;\r\n\r\nFor over a decade the heart of my practice has been creating positive representations of under-valued places: disadvantaged suburbs; obscure corners of the former Soviet empire served by low-cost flights; deindustrialized zones or places undergoing economic change... In parallel, I tested the hypothesis that a portrait of a city would emerge from an inventory of the objects contained in its museums (<em>Museums of the World</em>, 2009 - 2015).\r\n\r\n&nbsp;\r\n\r\nMy <em>modus operandi</em> was to distill the atmosphere of a target place by studying its urban fabric and creating a repertoire of pictograms. These schematic representations were the basis of a fictitious tourist promotion campaign. They were intended to allow immediate recognition of the place’s most recognizable characteristics. True to their advertising logic, they transformed settings for people’s lives into places to be consumed. The process is much like the reduction of a city to a list of \"must-see\" visits when mass tourism moves in.\r\n\r\n&nbsp;\r\n\r\nLittle by little I added observational drawings, collages and photographs to better describe each place. They refined the pictographic representation by adding layers of information, but the continuing aim was to enhance the place’s brand. How the repertoire was used depended on the exhibiting context. The works could take various forms (paintings, advertising billboards, souvenir plates, wall paintings, pdf files, road signs, enameled panels...). The environments that staged these elements were conceived as visitors’ centers or trade fair stands.\r\n\r\n&nbsp;\r\n\r\nReading translation theory caused me to question this process of reduction, which was the starting point of each project. I was challenged by the distinction made between <em>target-oriented</em> and <em>source-oriented</em> translations. The former, which favors readability in the target language, flatters the cultural assumptions of the translation\'s readers. Lawrence Venuti (1995) goes so far as to draw parallels between the target-oriented approach and imperialism, since the culture of the target language seeks to impose its own values on the original text, thus colonizing and subjugating it. He sees this approach as based on a model of dominant and dominated rather than a relationship between equals. According to Antoine Berman (1984, 16): \"All cultures would like to be self-sufficient so they can, based on this imagined self-sufficiency, influence others and appropriate their heritage\".\r\n\r\n&nbsp;\r\n\r\nThe source-oriented approach, on the other hand, confronts the reader with the impossibility of a fluid translation because of the intractable foreignness of the original text. The translator\'s choices in this case favor the specificities of the source text, even if it means confusing the reader. My representations of peripheral places were clearly target-oriented.\r\n\r\n&nbsp;\r\n\r\nI realized that my pseudo-tourist campaigns formatted places that I had chosen precisely because they had not succumbed to globalization. If the intention was to question residential or geopolitical hierarchies by singing the praises of unlikely destinations, I was still acting as though the periphery should resemble the center. At the same time, I was sometimes annoyed when reading source-oriented translations, which could be abstruse and therefore unfaithful in their own way to the source\'s logic. Was there a middle ground?\r\n\r\n&nbsp;\r\n\r\nI decided to fine-tune my representations and acquire some theoretical baggage by spending a year at university (a Master 2 at Université Paris 8). During this period, I was sedentary and cut off from my usual subject. I felt intuitively that the addition of text could help me singularize my generic representations, as drawing, collage and photography had done in the past. The use of found texts effectively serves this function. It is the introduction of anecdotes written in the first person that shifts the distilling of atmosphere towards the construction of stories. The downloadable booklet <em>Mapping a Year Without Travel</em> (2018) was my first attempt at finding a new language that combined image and text without using pictograms; at embodying a subjective life experience rather than a physical place presented as fact.\r\n\r\n&nbsp;\r\n\r\nThis booklet brought together elements related to my naturalization as a French citizen and anecdotes about the occupation of the university by migrants; quotes from information boards and spam; text messages received and T-shirt slogans seen on Parisian chests; graffiti and ads in the metro. These different layers of information evoked consumer society and its social tensions, my relationship to the French language and to France, as well as the irruption of technology in our personal lives. The juxtaposition of text and image was used in the same way as field - counter-field shots in movies: different angles are used to flesh out a story.\r\n\r\n&nbsp;\r\n\r\nIn addition, the creation of two websites during this period allowed me to experiment with different ways of documenting my practice: an ordered approach to archives derailed by Detours that pop up unexpectedly (<strong>heidiwood.net</strong>), and a blog-style accumulation of research material (<strong>nouvelles-du-monde.fr</strong>). Since 2020, my attempts at representing current affairs have taken the form of monthly<em> Journals</em>, replaced in 2022 by the series <em>Breaking News</em> (<em>À la une</em>).\r\n\r\n&nbsp;\r\n\r\nA public art project at the Aretha Franklin high school in Drancy in 2020 was an opportunity to renew my approach to the glorification of disadvantaged suburbs by integrating my research on heritage as a vector of shared identity. The project, as before, began with a study of the urban fabric but there were also workshops with the school’s pupils. We worked together to imagine a new city, called <em>Alentour</em>. After mapping its tangible and intangible heritage, we put together a fictitious application to have it classified as a UNESCO World Heritage Site. This time, the scenario was based on the perspective of the inhabitants, marking a step towards a source-oriented translation. However, their participation implied the construction of a consensual narrative, recognizable to all. This aspect mirrored the reduction of a place to a repertoire of pictograms. The project was also partly target-oriented.\r\n\r\n<em> </em>\r\n\r\n<em>Alentour</em>, as well as my downloadable booklets, indicate that my period of transformation has not resulted in a clean slate of forms but rather in an ongoing balancing act between the generic and the singular. Consulting others disrupts the \"imagined self-sufficiency\" of my gaze. The pictogram has been rehabilitated for its legibility. It is now part of an arsenal of tools at the service of stratified representations that seek to reveal the world’s complexity. My reorientation has been less about adding new visual means than replacing advertising-style positivism with a more ironic approach to the absurdity of the world we live in.\r\n\r\n&nbsp;\r\n\r\nFor the past five years I have produced pdf files and monumental public art projects with almost nothing in between. These works situate my thinking in a negotiation between target and source-oriented approaches. A return to exhibiting is now necessary so I can translate contemporary experience into contemporary cultural practice. For this publication, which bears the lessons of my ongoing research, the work of the last ten years, as well as non project-specific visuals and texts, are classified by theme: <strong>contemporary existence; museums and heritage; urban environment.</strong>\r\n\r\n&nbsp;\r\n\r\nChapters documenting projects alternate with micro-narratives made up of diverse elements. This is where my narrative turn reveals itself, as well as the wide range of forms that constitute my practice. Added to this are texts that are just as diverse in form: I compose, I quote, I delegate the writing to others (see the 3 pages of administrative science fiction written by an anonymous senior civil servant in the <strong>Urban Environment</strong> section).\r\n\r\n&nbsp;\r\n\r\nThese swings between generic and singular, between text and image, between asserting my perspective and integrating that of others, reflect my conception of contemporary existence as a succession of seductive clichés and random disruptions. I no longer promote the exotic pleasures of peripheries, or at least not in the same way. I now try to translate my wanderings between the familiar and the disconcerting in this unending period of restricted mobility.\r\n<p style=\"text-align: right;\">Heidi Wood</p>\r\n<p style=\"text-align: right;\">February 2022</p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;',	'Heidi Wood, 2022',	'',	'publish',	'closed',	'closed',	'',	'heidi-wood-2022',	'',	'',	'2022-04-29 11:40:01',	'2022-04-29 11:40:01',	'',	0,	'https://www.heidiwood.net/?post_type=doc_article&#038;p=14506',	0,	'doc_article',	'',	0),
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(14509,	3,	'2022-04-29 11:39:35',	'2022-04-29 11:39:35',	'<strong>TOURING AN APPROACH IN TRANSITION</strong>\n\n&nbsp;\n\nIn recent years, my work has taken many directions then found a certain coherence again following an existential crisis in my practice. <em>Touring a World in Transition</em> is a presentation of my research from the past ten years, yet the material is presented in a way that embodies a more nuanced perspective, the formulation of which is still in flux. The diversity of forms that I use now serves the mapping of contemporary existence. This publication is more a progress report than the celebration of a job well done.\n\n&nbsp;\n\nFor over a decade the heart of my practice has been creating positive representations of under-valued places: disadvantaged suburbs; obscure corners of the former Soviet empire served by low-cost flights; deindustrialized zones or places undergoing economic change... In parallel, I tested the hypothesis that a portrait of a city would emerge from an inventory of the objects contained in its museums (<em>Museums of the World</em>, 2009 - 2015).\n\n&nbsp;\n\nMy <em>modus operandi</em> was to distill the atmosphere of a target place by studying its urban fabric and creating a repertoire of pictograms. These schematic representations were the basis of a fictitious tourist promotion campaign. They were intended to allow immediate recognition of the place’s most recognizable characteristics. True to their advertising logic, they transformed settings for people’s lives into places to be consumed. The process is much like the reduction of a city to a list of \"must-see\" visits when mass tourism moves in.\n\n&nbsp;\n\nLittle by little I added observational drawings, collages and photographs to better describe each place. They refined the pictographic representation by adding layers of information, but the continuing aim was to enhance the place’s brand. How the repertoire was used depended on the exhibiting context. The works could take various forms (paintings, advertising billboards, souvenir plates, wall paintings, pdf files, road signs, enameled panels...). The environments that staged these elements were conceived as visitors’ centers or trade fair stands.\n\n&nbsp;\n\nReading translation theory caused me to question this process of reduction, which was the starting point of each project. I was challenged by the distinction made between <em>target-oriented</em> and <em>source-oriented</em> translations. The former, which favors readability in the target language, flatters the cultural assumptions of the translation\'s readers. Lawrence Venuti (1995) goes so far as to draw parallels between the target-oriented approach and imperialism, since the culture of the target language seeks to impose its own values on the original text, thus colonizing and subjugating it. He sees this approach as based on a model of dominant and dominated rather than a relationship between equals. According to Antoine Berman (1984, 16): \"All cultures would like to be self-sufficient so they can, based on this imagined self-sufficiency, influence others and appropriate their heritage\".\n\n&nbsp;\n\nThe source-oriented approach, on the other hand, confronts the reader with the impossibility of a fluid translation because of the intractable foreignness of the original text. The translator\'s choices in this case favor the specificities of the source text, even if it means confusing the reader. My representations of peripheral places were clearly target-oriented.\n\n&nbsp;\n\nI realized that my pseudo-tourist campaigns formatted places that I had chosen precisely because they had not succumbed to globalization. If the intention was to question residential or geopolitical hierarchies by singing the praises of unlikely destinations, I was still acting as though the periphery should resemble the center. At the same time, I was sometimes annoyed when reading source-oriented translations, which could be abstruse and therefore unfaithful in their own way to the source\'s logic. Was there a middle ground?\n\n&nbsp;\n\nI decided to fine-tune my representations and acquire some theoretical baggage by spending a year at university (a Master 2 at Université Paris 8). During this period, I was sedentary and cut off from my usual subject. I felt intuitively that the addition of text could help me singularize my generic representations, as drawing, collage and photography had done in the past. The use of found texts effectively serves this function. It is the introduction of anecdotes written in the first person that shifts the distilling of atmosphere towards the construction of stories. The downloadable booklet <em>Mapping a Year Without Travel</em> (2018) was my first attempt at finding a new language that combined image and text without using pictograms; at embodying a subjective life experience rather than a physical place presented as fact.\n\n&nbsp;\n\nThis booklet brought together elements related to my naturalization as a French citizen and anecdotes about the occupation of the university by migrants; quotes from information boards and spam; text messages received and T-shirt slogans seen on Parisian chests; graffiti and ads in the metro. These different layers of information evoked consumer society and its social tensions, my relationship to the French language and to France, as well as the irruption of technology in our personal lives. The juxtaposition of text and image was used in the same way as field - counter-field shots in movies: different angles are used to flesh out a story.\n\n&nbsp;\n\nIn addition, the creation of two websites during this period allowed me to experiment with different ways of documenting my practice: an ordered approach to archives derailed by Detours that pop up unexpectedly (<strong>heidiwood.net</strong>), and a blog-style accumulation of research material (<strong>nouvelles-du-monde.fr</strong>). Since 2020, my attempts at representing current affairs have taken the form of monthly<em> Journals</em>, replaced in 2022 by the series <em>Breaking News</em> (<em>À la une</em>).\n\n&nbsp;\n\nA public art project at the Aretha Franklin high school in Drancy in 2020 was an opportunity to renew my approach to the glorification of disadvantaged suburbs by integrating my research on heritage as a vector of shared identity. The project, as before, began with a study of the urban fabric but there were also workshops with the school’s pupils. We worked together to imagine a new city, called <em>Alentour</em>. After mapping its tangible and intangible heritage, we put together a fictitious application to have it classified as a UNESCO World Heritage Site. This time, the scenario was based on the perspective of the inhabitants, marking a step towards a source-oriented translation. However, their participation implied the construction of a consensual narrative, recognizable to all. This aspect mirrored the reduction of a place to a repertoire of pictograms. The project was also partly target-oriented.\n\n<em> </em>\n\n<em>Alentour</em>, as well as my downloadable booklets, indicate that my period of transformation has not resulted in a clean slate of forms but rather in an ongoing balancing act between the generic and the singular. Consulting others disrupts the \"imagined self-sufficiency\" of my gaze. The pictogram has been rehabilitated for its legibility. It is now part of an arsenal of tools at the service of stratified representations that seek to reveal the world’s complexity. My reorientation has been less about adding new visual means than replacing advertising-style positivism with a more ironic approach to the absurdity of the world we live in.\n\n&nbsp;\n\nFor the past five years I have produced pdf files and monumental public art projects with almost nothing in between. These works situate my thinking in a negotiation between target and source-oriented approaches. A return to exhibiting is now necessary so I can translate contemporary experience into contemporary cultural practice. For this publication, which bears the lessons of my ongoing research, the work of the last ten years, as well as non project-specific visuals and texts, are classified by theme: <strong>contemporary existence; museums and heritage; urban environment.</strong>\n\n&nbsp;\n\nChapters documenting projects alternate with micro-narratives made up of diverse elements. This is where my narrative turn reveals itself, as well as the wide range of forms that constitute my practice. Added to this are texts that are just as diverse in form: I compose, I quote, I delegate the writing to others (see the 3 pages of administrative science fiction written by an anonymous senior civil servant in the <strong>Urban Environment</strong> section).\n\n&nbsp;\n\nThese swings between generic and singular, between text and image, between asserting my perspective and integrating that of others, reflect my conception of contemporary existence as a succession of seductive clichés and random disruptions. I no longer promote the exotic pleasures of peripheries, or at least not in the same way. I now try to translate my wanderings between the familiar and the disconcerting in this unending period of restricted mobility.\n<p style=\"text-align: right;\">Heidi Wood</p>\n<p style=\"text-align: right;\">February 2022</p>\n&nbsp;\n\n&nbsp;\n\n&nbsp;',	'Heidi Wood, 2022',	'',	'inherit',	'closed',	'closed',	'',	'14506-autosave-v1',	'',	'',	'2022-04-29 11:39:35',	'2022-04-29 11:39:35',	'',	14506,	'https://www.heidiwood.net/14506-autosave-v1/',	0,	'revision',	'',	0),
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(14728,	3,	'2022-05-09 05:58:14',	'2022-05-09 05:58:14',	'',	'À LA UNE 05/2022',	'',	'publish',	'closed',	'closed',	'',	'__trashed',	'',	'',	'2022-05-09 06:00:31',	'2022-05-09 06:00:31',	'',	0,	'https://www.heidiwood.net/?post_type=doc_artist_book&#038;p=14728',	0,	'doc_artist_book',	'',	0),
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(15479,	3,	'2022-06-11 19:52:58',	'2022-06-11 19:52:58',	'',	'V Une 06-2022',	'',	'inherit',	'open',	'closed',	'',	'v-une-06-2022',	'',	'',	'2022-06-11 19:52:58',	'2022-06-11 19:52:58',	'',	12785,	'https://www.heidiwood.net/wp-content/uploads/2022/03/V-Une-06-2022.jpg',	0,	'attachment',	'image/jpeg',	0),
(16729,	3,	'2022-07-26 10:05:37',	'2022-07-26 10:05:37',	'She could see no good reason for it whatsoever.',	'detour 109',	'',	'publish',	'closed',	'closed',	'',	'detour-109',	'',	'',	'2022-07-26 17:34:50',	'2022-07-26 17:34:50',	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=16729',	0,	'detour',	'',	0),
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(16731,	3,	'2022-07-26 10:07:00',	'2022-07-26 10:07:00',	'That particular hue was nicknamed \"dog dick pink.\"',	'detour 110',	'',	'publish',	'closed',	'closed',	'',	'detour-110',	'',	'',	'2022-07-26 17:33:55',	'2022-07-26 17:33:55',	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=16731',	0,	'detour',	'',	0),
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(17391,	3,	'2022-08-18 14:02:32',	'2022-08-18 14:02:32',	'Mini-retrospective, 2022\npeinture acrylique sur lin\n16 tableaux de 35 x 27 cm',	'Mini-retrospective, 2022',	'Mini-retrospective, 2022\nacrylic paint on linen,\n16 paintings 35 x 27 cm',	'inherit',	'open',	'closed',	'',	'retrospective-sur-mur',	'',	'',	'2022-08-18 14:09:22',	'2022-08-18 14:09:22',	'',	1270,	'https://www.heidiwood.net/wp-content/uploads/2018/08/Retrospective-sur-mur.jpg',	0,	'attachment',	'image/jpeg',	0),
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(17864,	3,	'2022-09-02 06:41:02',	'2022-09-02 06:41:02',	'<strong>Galerie Haut du Pavé, Paris</strong>\r\n\r\nSeptember 2 - 4, 2022\r\n\r\nOrganized by friville éditions\r\n\r\nIncluding signature of the book\r\n\r\n\"Tour du monde en transition\"\r\n\r\nWith Charlotte Puertas, Agathe Schneider, Thomas Maestro, Baptiste Roux',	'GROUP SHOW \"ET VLAN\"',	'',	'publish',	'closed',	'closed',	'',	'group-show-et-vlan',	'',	'',	'2022-09-04 11:55:04',	'2022-09-04 11:55:04',	'',	0,	'https://www.heidiwood.net/?post_type=news&#038;p=17864',	0,	'news',	'',	0),
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(17975,	3,	'2022-09-04 11:46:37',	'2022-09-04 11:46:37',	'The artist book <em>Tour du monde en transition</em> has arrived. It covers 10 years of work reconfigured in light of my narrative turn. Chapters documenting projects alternate with micro-narratives made up of various elements. It is divided into three sections: contemporary experience, museums and heritage and the urban environment.\n\n&nbsp;\n\n256 pages\n\ntexts by Julie Crenn and Heidi Wood\n\néditions friville',	'NEW BOOK',	'',	'inherit',	'closed',	'closed',	'',	'14496-autosave-v1',	'',	'',	'2022-09-04 11:46:37',	'2022-09-04 11:46:37',	'',	14496,	'https://www.heidiwood.net/14496-autosave-v1/',	0,	'revision',	'',	0),
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(19853,	3,	'2022-11-06 18:24:16',	'2022-11-06 18:24:16',	'Participation in Ping-Pong, the mini micro-publishing fair.\r\n\r\nRound table on Sunday December 4th at 4pm. With Eric Le Brun from Light Motiv Editions and Quentin Pruvost, photographer recently published by Light Motiv, as well as Dominique de Bier from Friville Editions and Heidi Wood to present Tour du monde en transition published in 2022 by Friville Editions. Chaired by Anne Lacoste and Pascal Neveux',	'FRAC PICARDIE',	'',	'publish',	'closed',	'closed',	'',	'frac-picardie',	'',	'',	'2022-11-06 18:35:12',	'2022-11-06 18:35:12',	'',	0,	'https://www.heidiwood.net/?post_type=news&#038;p=19853',	0,	'news',	'',	0),
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(19856,	3,	'2022-11-06 18:26:38',	'2022-11-06 18:26:38',	'Participation in Ping-Pong, the micro-publishing fair.\n\nRound table on Sunday December 4th at 4pm. With Eric Le Brun from Light Motiv Editions and Quentin Pruvost, photographer recently published by Light Motiv, as well as Dominique de Bier from Friville Editions and Heidi Wood to present Tour du monde en transition published in 2022 by Friville Editions. Chaired by Anne Lacoste and Pascal Neveux',	'FRAC PICARDIE',	'',	'inherit',	'closed',	'closed',	'',	'19853-autosave-v1',	'',	'',	'2022-11-06 18:26:38',	'2022-11-06 18:26:38',	'',	19853,	'https://www.heidiwood.net/19853-autosave-v1/',	0,	'revision',	'',	0),
(20657,	3,	'2022-12-04 21:00:33',	'2022-12-04 21:00:33',	'Everyone present had at least one false tooth.',	'detour 111',	'',	'publish',	'closed',	'closed',	'',	'detour-111',	'',	'',	'2022-12-04 21:02:06',	'2022-12-04 21:02:06',	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=20657',	0,	'detour',	'',	0),
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(22262,	3,	'2023-02-06 09:15:00',	'2023-02-06 09:15:00',	'Stiftung CCFA Karlsruhe\r\n\r\nMarch 21 - April 4 2023\r\n\r\nBicycle tour of sites on March 22\r\n\r\n&nbsp;\r\n\r\nCreated for the French language week (Semaine de la francophonie) the project <strong><em>Collections Francophones</em></strong> contributes to the current debate on the return of art treasures of colonial origin in our museums. The  posters represent standard museum artifacts, some of them problematic, on display in Canada, Switzerland, Belgium and France. Morocco, a former French \"protectorate\", is shown as a counterpoint to the Western hegemonic narrative. Made especially for Karlsruhe, these posters are based on the projects \"Museums of the World\" (2010 - 2015) and \"Disturbing Specimens\" (ongoing). The presentation at the CCFA was followed by a bike tour of some of the sites.',	'POSTER CAMPAIGN',	'',	'publish',	'closed',	'closed',	'',	'poster-campaign',	'',	'',	'2023-03-24 10:08:32',	'2023-03-24 10:08:32',	'',	0,	'https://www.heidiwood.net/?post_type=news&#038;p=22262',	0,	'news',	'',	0),
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