Ingrid Luquet-Gad talks at the Michel Majerus Symposium at Mudam

what looks good today may not look good tomorrow: The Legacy of Michel Majerus
Symposium
09 Nov 2022
@ Mudam Luxembourg
Ingrid Luquet-Gad, talk + Q&A
Through a series of talks and lecture-performances followed by a panel discussion, the symposium investigates the influence of Michel Majerus’s (b. 1967, Esch-sur-Alzette - d. 2002, Niederanven) work on the practice of the ‘digital-native’ generation of artists, curators and researchers.
International speakers working in and researching the field of visual arts will address the relevance of Majerus’s reflections today, while discussing different aspects of his legacy.
In the span of a short yet exceptionally prolific career, Majerus has captured his time, decades marked by the expansion of globalised consumer culture and digital technology. His large-scale paintings and installations, characterised by the ‘sampling’ and collaging of an eclectic repertoire of imagery and text borrowed from art history, video games, commercials or electronic music resonate with the image and information frenzy of the Internet 2.0 pervading contemporary society. In his work, Majerus transgressed the well-worn rules of painting and created unmistakable interpretations of the pop culture of the 1990s and early 2000s that remain of unfailing relevance today.
The symposium what looks good today may not look good tomorrow: The Legacy of Michel Majerus is the first chapter of a programme dedicated to the work of Michel Majerus and will be followed in Spring 2023 by an exhibition at Mudam and a publication gathering the contributions to the symposium.
Ingrid Luquet-Gad is an art critic based in Paris. She is the arts editor of Les Inrockuptibles, a contributing editor to Spike Art Magazine and a correspondent for Flash Art. As a doctoral candidate in Arts, Aesthetics and Science of Art at Université Paris 1 Panthéon-Sorbonne and Media Theory at Paris 8 Vincennes - Saint Denis, her research centres on strategies of artistic autonomy during the first decade of the twenty-first century. Her writings explore the ontological and epistemological transformations brought about by new technologies, as reflected in the mirror held up by artists to the present times.

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why does no one use the microphone?