Sunday, December 9, 2007, the Twinning Committee of Saint-Remy organizes his first Salon du Chocolat at Salle du Parc de Saint-Rémy (Saône-et-Loire).
Programme: tasting, selling chocolates, tea ...
Saturday, November 24, 2007
Pet Shop That Sale Ducks
Salon du Chocolat
Sunday, December 9, 2007, the Twinning Committee of Saint-Remy organizes his first Salon du Chocolat at Salle du Parc de Saint-Rémy (Saône-et-Loire).
Programme: tasting, selling chocolates, tea ...
Sunday, December 9, 2007, the Twinning Committee of Saint-Remy organizes his first Salon du Chocolat at Salle du Parc de Saint-Rémy (Saône-et-Loire).
Programme: tasting, selling chocolates, tea ...
Thursday, November 22, 2007
Jammed Combination Lock Vip
Bernard Plantive #06
Any work could be interpreted in two ways: either we seek to understand the historical development or the artist's personal journey through which we read the conditions for developing a work, or we use our own ability to deduce the particular world that has conducted the same work for its realization. Two different but not opposed. While the first focuses on a point of view by which the diachronic events will situate the work, it does not invalidate an examination schedule and complementary. It said in general of a work of art it is the result of a long work where the sudden discovery has played in gestation. Now, say what must, by duty and discipline, the early work of Bernard Plantive aware Supports-Surfaces is one thing, show what led him to use such weapons first to reach this solution, purified is another, as soon as it wishes to retain the exclusive mention of successive events specific to the artist when we believe we must enter the game to work, finally we give, despite the extreme confidentiality that is the unique nature of a work of art, a complete status to it.
We'll see, now and in each chapter, a work born, but she also lives since it has elicited the multiple looks including count one who draws his collection at source references and one acting on the edge of pure sensibility, naive and, what is important here, available.
Returning inspection of these "rectangles" which means that we remain bec before this thing is as much the object of the bill that the obstinacy of the act. What is the value of this work deal with what is expected generally to an artist? What would be the same value against the notion of work? Seek to answer is already gauge the principle of privilege we assume that in every true artist: deepening or depletion in abeyance or restoration, the artist side of things, assessing the resources are all those its disposal than he has in him, we have shown means that we do not have or that we dare not be: it was actually dare design an object like this, assuming full training unique look , encouraged or dismantled in the agreement concluded with a critical articulated, formed in the same manner as the creative audacity (and so few words thrown by Jacques Sauvageot could count), to build self- Similarly, faced with oneself and others already facing the proceeds from this assumption. Privilege that gives the courage and emerges with sharpness when the most prominent personality looks reserved and refractory to engage. Plantive Bernard, who has these traits, is among those who strive to express the most raw, most refined, they continue. And these are, in the performance choice of the simplest realization of what is pursued, namely, to some extent, the concentration of resources they mobilize.
These are precisely the resources that must be defined. What are they? One way to control things, restitution of know-how both material and spiritual justification for the meeting of like-minded artists involved, or the achievement of an understanding that occurs between the artist and ourselves, not the achievement heritage of a legacy but rather the establishment of a new code?
look back these objects we find that nothing really distinguishes the support of the work itself, the frame is wood work as well as casein coating that covers or the wax overflowing. What part occupies Supports-Surfaces in this work? The apparent challenge to the media and the deliberate use of rudimentary techniques of application? Or a negligible suggesting that the lesson has been understood and overcome, and finally it allows the author to propose in the work itself features which ensure its validity?
If Soulages puts all his energy in a single color often, in this case the black is that it seeks what one critic called one day polyluminescence (1 ) . In order to restore the qualities of the pigment used, in order also to remove any interference that would be a barrier between his painting and the spectator, he refused and gestural expression is successful, it could be said in a technically mandatory, this nudity . Desire to erase his doubts, but will also, says Clement Rosset, "the work of removing the temporality : therefore eliminate everything that bears the mark of time, as precisely the gesture which suggestion about the web is sufficient to evoke the feeling by the time it involves the term so short it is, its fulfillment " (2) .
Yves Klein, he reveals to the eye than absolutist research on color resulted, he said, to blue (the Klein blue). A choice conditioned by a universal even where the relief is subject to the same hue, a kind of annexation monochromatic (3) .
Already, from reading the respective missions that Soulages and Klein continued, we perceive the fundamental difference of aim. The absolute count is the first own refusal to the Lyrical Abstraction now account explicitly the fact that for the second, a "new perceptual approach of reality." You can multiply the examples. But we can now say that simplicity is both a trial and a state.
Plantive For Bernard, it is important to see that this way of using the same elementary, touch something you can not approach otherwise will made under the species of wood tables, has its roots in a world that Not the Soulages, nor that of Klein, nor of those who pursued the same goals: Reinhardt, Ryman, Malevich, or Federle Barre. What counts for Plantive Bernard - and the reasons are as valid as those of his colleagues - is not that part of a work of installation and use of space to achieve this table is that painting, in its principles the deepest and most basic (a matter on a stand), but also sculpture, architecture, all things known, celebrated, performed guard the news their principles: I handled the matter, I play with the tides, I use the resources of the earth Camaret, earth clay, stone, wood, my personality delivered me the secrets of the concentration of this manipulation and so I rediscovered line and color of the painting, I rediscover area and volume of the sculpture, I rediscovered order, arrangement, system of measurement, eurythmy, decor and distribution architecture (4) . Freedom won, the rediscovery of who speaks to us rediscover constant power, not of art but one that the art itself gives us.
Notes:
1 Olivier Cena Telerama No. 2762, December 18, 2002, p. 60.
2 Clement Rosset, "The object pictorial stones Soulages matter in art, Tributes , Nantes, Editions Cecofop-The Giver, 1992 31.
3 "When the paint wants to start anew, remind Gilles Deleuze and Felix Guattari, constructing the percept as a minimum before the void, or the approximate up the concept, it proceeds by monochrome released from any house or any flesh. This is particularly the blue that takes care of the infinite, and that makes a percept "cosmic awareness", or what is more conceptual in nature, or more "propositional", the color in the absence of man, the man passed through the color, but if the blue (or black or white) is perfectly identical in the table, or table to another, the painter who turns blue - "Yves, the Monochrome" - following a pure affect that tilts the universe in space, and does not leave nothing to make the painter par excellence. Gilles Deleuze, Felix Guattari, What is philosophy? Paris, Editions de Minuit, pp. 171-172.
4 Vitruvius, De architectura , Book I, chap. 2, Paris, Klincksieck, 1995.
© Fields of Art
We'll see, now and in each chapter, a work born, but she also lives since it has elicited the multiple looks including count one who draws his collection at source references and one acting on the edge of pure sensibility, naive and, what is important here, available.
Returning inspection of these "rectangles" which means that we remain bec before this thing is as much the object of the bill that the obstinacy of the act. What is the value of this work deal with what is expected generally to an artist? What would be the same value against the notion of work? Seek to answer is already gauge the principle of privilege we assume that in every true artist: deepening or depletion in abeyance or restoration, the artist side of things, assessing the resources are all those its disposal than he has in him, we have shown means that we do not have or that we dare not be: it was actually dare design an object like this, assuming full training unique look , encouraged or dismantled in the agreement concluded with a critical articulated, formed in the same manner as the creative audacity (and so few words thrown by Jacques Sauvageot could count), to build self- Similarly, faced with oneself and others already facing the proceeds from this assumption. Privilege that gives the courage and emerges with sharpness when the most prominent personality looks reserved and refractory to engage. Plantive Bernard, who has these traits, is among those who strive to express the most raw, most refined, they continue. And these are, in the performance choice of the simplest realization of what is pursued, namely, to some extent, the concentration of resources they mobilize.
These are precisely the resources that must be defined. What are they? One way to control things, restitution of know-how both material and spiritual justification for the meeting of like-minded artists involved, or the achievement of an understanding that occurs between the artist and ourselves, not the achievement heritage of a legacy but rather the establishment of a new code?
look back these objects we find that nothing really distinguishes the support of the work itself, the frame is wood work as well as casein coating that covers or the wax overflowing. What part occupies Supports-Surfaces in this work? The apparent challenge to the media and the deliberate use of rudimentary techniques of application? Or a negligible suggesting that the lesson has been understood and overcome, and finally it allows the author to propose in the work itself features which ensure its validity?
If Soulages puts all his energy in a single color often, in this case the black is that it seeks what one critic called one day polyluminescence (1 ) . In order to restore the qualities of the pigment used, in order also to remove any interference that would be a barrier between his painting and the spectator, he refused and gestural expression is successful, it could be said in a technically mandatory, this nudity . Desire to erase his doubts, but will also, says Clement Rosset, "the work of removing the temporality : therefore eliminate everything that bears the mark of time, as precisely the gesture which suggestion about the web is sufficient to evoke the feeling by the time it involves the term so short it is, its fulfillment " (2) .
Yves Klein, he reveals to the eye than absolutist research on color resulted, he said, to blue (the Klein blue). A choice conditioned by a universal even where the relief is subject to the same hue, a kind of annexation monochromatic (3) .
Already, from reading the respective missions that Soulages and Klein continued, we perceive the fundamental difference of aim. The absolute count is the first own refusal to the Lyrical Abstraction now account explicitly the fact that for the second, a "new perceptual approach of reality." You can multiply the examples. But we can now say that simplicity is both a trial and a state.
Plantive For Bernard, it is important to see that this way of using the same elementary, touch something you can not approach otherwise will made under the species of wood tables, has its roots in a world that Not the Soulages, nor that of Klein, nor of those who pursued the same goals: Reinhardt, Ryman, Malevich, or Federle Barre. What counts for Plantive Bernard - and the reasons are as valid as those of his colleagues - is not that part of a work of installation and use of space to achieve this table is that painting, in its principles the deepest and most basic (a matter on a stand), but also sculpture, architecture, all things known, celebrated, performed guard the news their principles: I handled the matter, I play with the tides, I use the resources of the earth Camaret, earth clay, stone, wood, my personality delivered me the secrets of the concentration of this manipulation and so I rediscovered line and color of the painting, I rediscover area and volume of the sculpture, I rediscovered order, arrangement, system of measurement, eurythmy, decor and distribution architecture (4) . Freedom won, the rediscovery of who speaks to us rediscover constant power, not of art but one that the art itself gives us.
Notes:
1 Olivier Cena Telerama No. 2762, December 18, 2002, p. 60.
2 Clement Rosset, "The object pictorial stones Soulages matter in art, Tributes , Nantes, Editions Cecofop-The Giver, 1992 31.
3 "When the paint wants to start anew, remind Gilles Deleuze and Felix Guattari, constructing the percept as a minimum before the void, or the approximate up the concept, it proceeds by monochrome released from any house or any flesh. This is particularly the blue that takes care of the infinite, and that makes a percept "cosmic awareness", or what is more conceptual in nature, or more "propositional", the color in the absence of man, the man passed through the color, but if the blue (or black or white) is perfectly identical in the table, or table to another, the painter who turns blue - "Yves, the Monochrome" - following a pure affect that tilts the universe in space, and does not leave nothing to make the painter par excellence. Gilles Deleuze, Felix Guattari, What is philosophy? Paris, Editions de Minuit, pp. 171-172.
4 Vitruvius, De architectura , Book I, chap. 2, Paris, Klincksieck, 1995.
© Fields of Art
Milena Velba Underage
Bernard Plantive #05
Plantive Bernard, Untitled, 2002, wood, casein, carbon black, 20 x 25 cm.
Table
Without conducting further action than just contact our gaze rests lazily on the space that the table circumscribed. He met the sizes and shapes. Recognition there is no problem. The table , fixed, presentation, submits this brief review gives us the elemental composition of a program: some squares appear in a grid which we perceive only the suggestion, an fixing pigment occupies the plan, revealing for the occasion the proportion of its strength with that of the plane that hosts them.
Our perception has little difficulty in identifying the properties of these objects, their strength, unity, stability, it is first and foremost those providing salience of their form, the balance of their face, despite the concealment of square and the possible segregation units, despite the torment of the pigment and shake our unification sensitive. The rectangle requires evidence of its form.
Here we are dealing with objects of perception, that require vision and invite those who look at the simple random structuring of their visual field. Also look there is confirmation of what he gave to the collection: a furtive meeting that he just said he was not on an equal footing with that thing, that it assured though, that unlike dreams, biting in reality, it was strictly separated from him. That's not aware that the eye injury is distinct from the world in which the object is placed.
strange spectacle of banality badge, a craft for just marked as a bit outrageous the act seems simple, almost useless. As if these works gave the impression they had just been crossed by a few acts who were looking and they had kept track of the passage. As if they gave back, like an echo fossil, the first craft that will deal with audacity disorder, or the second bold, in the hierarchy of techniques, which intends to organize (1) .
Is it because of the correctness of the figure? Is this due to the thickness that clearly separates the wall? No absorption in the visual field does not conceal any form. This which is covered is not nonexistent, no review needed to analyze possible components are hidden. The object is free spell. All is well.
There is nothing in what is reviewed in this subject matter could be questioned. An accident, perhaps, would raise our brows over the edge, a black square appears in broad daylight and with a candor suggests any delicate one might well believe depth, to an assembly of cubes, as in building blocks. But the deception goes no further, the illusion is quickly thwarted. It can not be given access to a sham bill also restraint and austerity. If you notice the features that extend the grid guessed, is to note the intentions of a man conscious of his act and who intends to "leave lying around" what he did by registered surveyors, which for betraying the action taken by the single issue of his work, and almost ironic detachment that brought him.
Why such a thing? How can she claim to exist?
Note:
1 Maybe these two stages, respectively represented by the array whose support is hosting a work-based wax, and one that is plaid and wrapped, they can approach advantageously Moira of Parmenidean (power that binds all being) for the first and Heraclitean logos for the second ( logos: word assembler and assembler of things) ideas promoted by Henry Maldiney in Aître of language and thought homes.
© Domains Art
Plantive Bernard, Untitled, 2002, wood, casein, carbon black, 20 x 25 cm.
Table
Without conducting further action than just contact our gaze rests lazily on the space that the table circumscribed. He met the sizes and shapes. Recognition there is no problem. The table , fixed, presentation, submits this brief review gives us the elemental composition of a program: some squares appear in a grid which we perceive only the suggestion, an fixing pigment occupies the plan, revealing for the occasion the proportion of its strength with that of the plane that hosts them.
Our perception has little difficulty in identifying the properties of these objects, their strength, unity, stability, it is first and foremost those providing salience of their form, the balance of their face, despite the concealment of square and the possible segregation units, despite the torment of the pigment and shake our unification sensitive. The rectangle requires evidence of its form.
Here we are dealing with objects of perception, that require vision and invite those who look at the simple random structuring of their visual field. Also look there is confirmation of what he gave to the collection: a furtive meeting that he just said he was not on an equal footing with that thing, that it assured though, that unlike dreams, biting in reality, it was strictly separated from him. That's not aware that the eye injury is distinct from the world in which the object is placed.
strange spectacle of banality badge, a craft for just marked as a bit outrageous the act seems simple, almost useless. As if these works gave the impression they had just been crossed by a few acts who were looking and they had kept track of the passage. As if they gave back, like an echo fossil, the first craft that will deal with audacity disorder, or the second bold, in the hierarchy of techniques, which intends to organize (1) .
Is it because of the correctness of the figure? Is this due to the thickness that clearly separates the wall? No absorption in the visual field does not conceal any form. This which is covered is not nonexistent, no review needed to analyze possible components are hidden. The object is free spell. All is well.
There is nothing in what is reviewed in this subject matter could be questioned. An accident, perhaps, would raise our brows over the edge, a black square appears in broad daylight and with a candor suggests any delicate one might well believe depth, to an assembly of cubes, as in building blocks. But the deception goes no further, the illusion is quickly thwarted. It can not be given access to a sham bill also restraint and austerity. If you notice the features that extend the grid guessed, is to note the intentions of a man conscious of his act and who intends to "leave lying around" what he did by registered surveyors, which for betraying the action taken by the single issue of his work, and almost ironic detachment that brought him.
Why such a thing? How can she claim to exist?
Note:
1 Maybe these two stages, respectively represented by the array whose support is hosting a work-based wax, and one that is plaid and wrapped, they can approach advantageously Moira of Parmenidean (power that binds all being) for the first and Heraclitean logos for the second ( logos: word assembler and assembler of things) ideas promoted by Henry Maldiney in Aître of language and thought homes.
© Domains Art
Baby Punching Gloves Mitten
Bernard Plantive #04
front of him as we face, the dream of an order of things being built, homothetic realization that seeks to express that exists outside of nature and our natural flow of thought, a real option order, able to build only claim to that order. One way to solve the stereotype, to fill a field in order copies of a real model and concentrated structure where the singularity, despite the repetition would be valid.
What gives the work its strength and consistency is ignorance: that which does not allow us whether tiny or huge is the gap between the genesis and what remains contemporary material, the gap between the influences of artists and declared the return of their special characteristics, that finally, between the calculated coldness and extreme emotion.
Differences concerning the artist as much as ourselves.
can understand a work in terms of influence, including breaking the delicate balance of affiliations. A product of assimilation follows, by offering its new strength consistency that would reflect the inner life of its author.
can also understand, since there are times that lead to this choice means that an artist in those who preceded not specifically be inspirational but representatives of human things simple and universal. A Other Psychology undertakes less immediate in the designs, a form of behavior vis-à-Annex screw forms and events, giving the work of Bernard Plantive the character of a work fixed, hieratic, not so far from certain accomplishments that have inspired the mythical thought.
It is therefore the universal patterns that artists have raised fundamental to which Bernard turns Plantive, unambiguous mission, supported by a declaration in which the traits most congenital associate with the most achievements of record:
All the space between Malevich and my father
All evanescence between Duchamp and my father
All work between Beuys and my father
Any doubt between Giacometti and my father
Any color between Reinhardt and my father
Any paint between my father and Ryman
Any light between Giotto and my father
The art between my father and I (1)
As we operate, following a rigorous plan, among the spirit world and that of the real measurable between the riddle and transparency between the ages classical and post-industrial era, we go knowingly into a work that illuminates this process constantly. It is in this sense that we must return in the work mode of recognition as understood to Vermeer or Delvoye, but in the sense this time, an instruction manual especially the defended by G. Steiner (2) or I. Calvino when explaining the true genealogy of art: not found best commentary of the Odyssey in the Ulysses of Joyce, the Aeneid in the Divine Comedy . And like it or not, that mustaches decked Duchamp's Mona Lisa have nothing, absolutely nothing irreverent, just as Mahler or Debussy's collages of the late Sinfonia Berio.
Bernard Plantive muddies the then redistributes them by multiplying forms of comments, in a sense close to that of Ezra Pound Poetry: formal comments in its analysis of eurythmy, commentary instructing the controversial moral standards, Comment human attention to the doubts and desires of its predecessors. With the strength of exegete which is silent with any true artist, he says so in emulation of the axonometric Malevich and biology by Beuys, Duchamp's infra-thin and the delirium of dictator Eyadema of Togo, the desire to get rid of the myth in Ryman and the impossibility of recognizing individuals at Giacometti. But he did a picture book or controversy, or a wink to private.
's work strange walking into the sphere of culture, one in which we live often without our knowledge, free and alive enough not to justify what has brought it. After all, Joyce remains a great even though we would not read Homer. But read Homer, remains a unique and unforgettable experience that does not reduce the Greek bard a stooge of the Irish writer.
There is no hierarchy in the proper sense, not even as results posterity is Ryman Ryman Plantive Plantive and each vision is still sovereign. But both are in the negation of linear time, in what might be the true artistic time, a profit equal: a new and unexpected resonance for the former by the latter, a capture ideal solutions for the second through the first.
Also the presence of such a work would relate not only to the work that preceded it but rather that the work itself was a thing you only see when the vision has finally adjusted: it is not Ryman matters is the secret of Ryman's work Plantive which aims to be the custodian as well as all those who decided or will decide to do it.
Act singularly deep and honest culture, this work must be understood not as the benchmark of an artist's community, but as the eternal recurrence unexpected gestures that build endlessly art.
Notes:
A choice like Bernard Plantive would result in the discipline and would require careful adaptation of our eyes to what might look like a rule, it can look really fully receive what amounts to his faculties.
Matter and the rule: a mutual submission entails a mandatory suspension. When rule "says" what she wants, when she consulted our understanding to be properly recognized as such, it proclaims its normative force, it claims it loud and clear. But when the material also claimed his place, there can be a winner. This ambiguity can only be solved in our own understanding: we know that such a balance, even fragile, extremely limited in where it is maintained - wood, casein, black smoke material, parallelograms to the rule - can find its real meaning in the art field.
Matter and the rule: a mutual submission entails a mandatory suspension. When rule "says" what she wants, when she consulted our understanding to be properly recognized as such, it proclaims its normative force, it claims it loud and clear. But when the material also claimed his place, there can be a winner. This ambiguity can only be solved in our own understanding: we know that such a balance, even fragile, extremely limited in where it is maintained - wood, casein, black smoke material, parallelograms to the rule - can find its real meaning in the art field.
front of him as we face, the dream of an order of things being built, homothetic realization that seeks to express that exists outside of nature and our natural flow of thought, a real option order, able to build only claim to that order. One way to solve the stereotype, to fill a field in order copies of a real model and concentrated structure where the singularity, despite the repetition would be valid.
What gives the work its strength and consistency is ignorance: that which does not allow us whether tiny or huge is the gap between the genesis and what remains contemporary material, the gap between the influences of artists and declared the return of their special characteristics, that finally, between the calculated coldness and extreme emotion.
Differences concerning the artist as much as ourselves.
can understand a work in terms of influence, including breaking the delicate balance of affiliations. A product of assimilation follows, by offering its new strength consistency that would reflect the inner life of its author.
can also understand, since there are times that lead to this choice means that an artist in those who preceded not specifically be inspirational but representatives of human things simple and universal. A Other Psychology undertakes less immediate in the designs, a form of behavior vis-à-Annex screw forms and events, giving the work of Bernard Plantive the character of a work fixed, hieratic, not so far from certain accomplishments that have inspired the mythical thought.
It is therefore the universal patterns that artists have raised fundamental to which Bernard turns Plantive, unambiguous mission, supported by a declaration in which the traits most congenital associate with the most achievements of record:
All the space between Malevich and my father
All evanescence between Duchamp and my father
All work between Beuys and my father
Any doubt between Giacometti and my father
Any color between Reinhardt and my father
Any paint between my father and Ryman
Any light between Giotto and my father
The art between my father and I (1)
As we operate, following a rigorous plan, among the spirit world and that of the real measurable between the riddle and transparency between the ages classical and post-industrial era, we go knowingly into a work that illuminates this process constantly. It is in this sense that we must return in the work mode of recognition as understood to Vermeer or Delvoye, but in the sense this time, an instruction manual especially the defended by G. Steiner (2) or I. Calvino when explaining the true genealogy of art: not found best commentary of the Odyssey in the Ulysses of Joyce, the Aeneid in the Divine Comedy . And like it or not, that mustaches decked Duchamp's Mona Lisa have nothing, absolutely nothing irreverent, just as Mahler or Debussy's collages of the late Sinfonia Berio.
Bernard Plantive muddies the then redistributes them by multiplying forms of comments, in a sense close to that of Ezra Pound Poetry: formal comments in its analysis of eurythmy, commentary instructing the controversial moral standards, Comment human attention to the doubts and desires of its predecessors. With the strength of exegete which is silent with any true artist, he says so in emulation of the axonometric Malevich and biology by Beuys, Duchamp's infra-thin and the delirium of dictator Eyadema of Togo, the desire to get rid of the myth in Ryman and the impossibility of recognizing individuals at Giacometti. But he did a picture book or controversy, or a wink to private.
's work strange walking into the sphere of culture, one in which we live often without our knowledge, free and alive enough not to justify what has brought it. After all, Joyce remains a great even though we would not read Homer. But read Homer, remains a unique and unforgettable experience that does not reduce the Greek bard a stooge of the Irish writer.
There is no hierarchy in the proper sense, not even as results posterity is Ryman Ryman Plantive Plantive and each vision is still sovereign. But both are in the negation of linear time, in what might be the true artistic time, a profit equal: a new and unexpected resonance for the former by the latter, a capture ideal solutions for the second through the first.
Also the presence of such a work would relate not only to the work that preceded it but rather that the work itself was a thing you only see when the vision has finally adjusted: it is not Ryman matters is the secret of Ryman's work Plantive which aims to be the custodian as well as all those who decided or will decide to do it.
Act singularly deep and honest culture, this work must be understood not as the benchmark of an artist's community, but as the eternal recurrence unexpected gestures that build endlessly art.
Notes:
1 From father to son a carte blanche given to David Ryan, Pierce Ears Productions, House Billaud Fontenay-le-Comte, Nantes, Editions Joca seria, 2002 , p. 20.
2 George Steiner, Actual attendance, meaning Arts, Paris, Gallimard, 1991 for the French edition.
© Fields of Art
2 George Steiner, Actual attendance, meaning Arts, Paris, Gallimard, 1991 for the French edition.
© Fields of Art
Tuesday, November 20, 2007
Bangbros Online Full Watch Free
Exhibition "OFO Nassara"
Newspaper article of the Saône et Loire 19 November 2007
Saint-Rémy: International Solidarity Week
William Gauthey exhibited his photographs in the lobby of City Hall and Library until 30 November
At 27, William Gauthey already quite experienced. The young man, who now lives in Chalon, has in fact spent three years in Benin, as a member of an NGO. "When I came back two years ago, I had a great desire to communicate my journey "he says. Through his images of everyday life, but also via a staging of words and phrases painted on small wooden logs, the young man invites visitors to travel. At the initiative of the twinning committee of Saint-Remy (the town is twinned with the community of common Pouni, Burkina Fasso), this exhibition entitled "OFO Nassara, hello White framework with the launch this week of international solidarity. Moreover, it has been mounted "to bring again focus on the inequalities that exist. (...) I worked three years in Benin, my views on men has changed my outlook on the work of International Solidarity was upset, my behavior changed. (...) There are also some feelings that I tried to recreate in pictures. " Through this immersion in Africa every day through the eyes of a "ONGiste, so it's a lot of emotions that awaits you. Check out the opening hours of the Town Hall and Library of Saint-Remy, until 30 November.
Ch.R. 
Newspaper article of the Saône et Loire 19 November 2007
Saint-Rémy: International Solidarity Week
William Gauthey exhibited his photographs in the lobby of City Hall and Library until 30 November
At 27, William Gauthey already quite experienced. The young man, who now lives in Chalon, has in fact spent three years in Benin, as a member of an NGO. "When I came back two years ago, I had a great desire to communicate my journey "he says. Through his images of everyday life, but also via a staging of words and phrases painted on small wooden logs, the young man invites visitors to travel. At the initiative of the twinning committee of Saint-Remy (the town is twinned with the community of common Pouni, Burkina Fasso), this exhibition entitled "OFO Nassara, hello White framework with the launch this week of international solidarity. Moreover, it has been mounted "to bring again focus on the inequalities that exist. (...) I worked three years in Benin, my views on men has changed my outlook on the work of International Solidarity was upset, my behavior changed. (...) There are also some feelings that I tried to recreate in pictures. " Through this immersion in Africa every day through the eyes of a "ONGiste, so it's a lot of emotions that awaits you. Check out the opening hours of the Town Hall and Library of Saint-Remy, until 30 November.
Ch.R.
Friday, November 16, 2007
When To Be Concerned About A Headache
Christmas Market, 2007
Sunday, November 25, 2007, the Twinning Committee will hold its traditional Christmas market.
It will be held from 9 to 19h room Georges Brassens in Saint-Rémy (Saône-et-Loire). Free admission. 
Sunday, November 25, 2007, the Twinning Committee will hold its traditional Christmas market.
It will be held from 9 to 19h room Georges Brassens in Saint-Rémy (Saône-et-Loire). Free admission.
Friday, October 26, 2007
Do U Need To Thaw Sausages
Bernard Plantive #03
What about a work that she, her bill would enshrine in the instruction of a specific path, a work that would provide, in the absence of keys, the area where we should engage our perception? It would be a work that would require a very different approach: we would be invited to see the thing in the same manner as we are invited to understand. It is through this concentration of intentions at best be approached the work of Bernard Plantive. A work necessarily balanced in the field that defines it and which will rise the precision and accuracy of these designs : Multiple versions of formal rectangle are exactly parallel to those organic elements that compose them, wood, casein and black smoke. They form a block of elementary sensations that call at the same time in all possible ways of adjustment. The balance, precarious as the backing from these objects, powerful as are the buildings, these volumes, these architectural figures, a book covering both material and semiotic question of how it presents itself to our consideration.
The equilibrium of a material object and semiotics. What does that mean?
When we understand that the light painted by Vermeer is worthy of color, we accept and we neglect the time it is the color that is to say the pigment, the material spread over the canvas that has produced this miracle: the color that reflects light in the representation, appearing naturally in a world that no longer is, is elevated to a color. Admitting that something is there (the color), forgetting his presence because it means we are something else (light), on finding her as a sublimation of what it means (light, "Soul of any color), we mobilize the powers that lead us towards a recognition of both sensitive and historic setting on the canvas of a model in the past has the power to keep the freshness of eternity. It "knows" open the field of painting, subject to rules of proportion and accurate representation on another universe, that of a radically different chromatic function. The topic needed to call sooner or later to be translated according to this solution. And Providence has given to Vermeer to be among those who fought the most brilliant results.
When the fecal matter that reconstitutes Delvoye through a reproducing apparatus digestion (1) , slowly unfolds before our eyes at the end of his training, we are invited to include this in the same way that we should seize the Vermeer-color denoting the light-as-soul-of-all-color: it focuses our attention because it is the product of an act that trial, who is special and that we require for occasionally admits to being a work of art. This ruling is one who knows how many today have the technical device, the impact Ethics and spooky and the clone's own artistic criticism addressed to the value of art and those who have misappropriated.
result immediately controversial one suspects, because as the light is no longer suitable to a particular debate (which indeed was not always so, judging by the controversies aroused designs chromatic Gauguin and Cezanne), as social values are still on dangerous ground, more so if they raise a controversy that still considers "current" (2) .
Bernard Plantive reverses the problem: neither the rules figurative, neither the assumptions above do social work to be translated back into work. There is no need to extend as far as possible the scope of our knowledge and our intuition of light, or see the ethical consequences which an organic work invites us to recognize the intentions that drive the implementation. There is no need to unroll the scope of the review hope to touch the limits induced by the work, since the author intends to show the space as specific and as visible as possible.
What strikes at first in his work is the presentation , it should take almost liturgical sense, an object carrying both an act and a power. These are not empty words because this work is part of the journey qu'empruntèrent those who, in their work, wished to unite in a field defined the feel and symbol. Joints strict rectangles, the declination of simple shapes belong to a process of formal proposals and the results have become historical models, which appear the names of Malevich, Mondrian and Duchamp. By making this process visible, Bernard Plantive deliberately reduced means. The challenge of its work depends on finding a common denominator that unifies the construction of thought to his sensitive organization.
Approach austere but poetic immediate impact: This work, never give in to the sunset, sits on the border that separates the world of objects and the lucid and opaque, their mysteries. It can then return with a newly gained transparency that reference hot stage which would to test the prism of culture and sense what is quoted. The quote becomes a signifier, but placed the same degree as that of the more formal about it is private and its immediate significance. No context as intuitive, although it is social or historical.
In a sense, Bernard Plantive abolishes the distance between what is represented (beyond even the extras) and what is, and exceeds by inoculating his works and an image and a model of the world. A position reminiscent of the early Wittgenstein (3) .
Notes:
1 Cloaca, 2000, 270x1160x170cm, installation.
2 Pierre Bourdieu once remarked that the difference in intensity analysis can lead, as it focuses on the Dreyfus Affair or the sermons of the bishop of Evreux.
3 Soulez Antonia, "How to raise the concern of the philosopher? A question template for a method of synopses, "in Lectures of Wittgenstein and Waismann Schlick, T. II, Critical Studies, Paris, Presses Universitaires France, 1997.
© Fields of Art.
The equilibrium of a material object and semiotics. What does that mean?
When we understand that the light painted by Vermeer is worthy of color, we accept and we neglect the time it is the color that is to say the pigment, the material spread over the canvas that has produced this miracle: the color that reflects light in the representation, appearing naturally in a world that no longer is, is elevated to a color. Admitting that something is there (the color), forgetting his presence because it means we are something else (light), on finding her as a sublimation of what it means (light, "Soul of any color), we mobilize the powers that lead us towards a recognition of both sensitive and historic setting on the canvas of a model in the past has the power to keep the freshness of eternity. It "knows" open the field of painting, subject to rules of proportion and accurate representation on another universe, that of a radically different chromatic function. The topic needed to call sooner or later to be translated according to this solution. And Providence has given to Vermeer to be among those who fought the most brilliant results.
When the fecal matter that reconstitutes Delvoye through a reproducing apparatus digestion (1) , slowly unfolds before our eyes at the end of his training, we are invited to include this in the same way that we should seize the Vermeer-color denoting the light-as-soul-of-all-color: it focuses our attention because it is the product of an act that trial, who is special and that we require for occasionally admits to being a work of art. This ruling is one who knows how many today have the technical device, the impact Ethics and spooky and the clone's own artistic criticism addressed to the value of art and those who have misappropriated.
result immediately controversial one suspects, because as the light is no longer suitable to a particular debate (which indeed was not always so, judging by the controversies aroused designs chromatic Gauguin and Cezanne), as social values are still on dangerous ground, more so if they raise a controversy that still considers "current" (2) .
Bernard Plantive reverses the problem: neither the rules figurative, neither the assumptions above do social work to be translated back into work. There is no need to extend as far as possible the scope of our knowledge and our intuition of light, or see the ethical consequences which an organic work invites us to recognize the intentions that drive the implementation. There is no need to unroll the scope of the review hope to touch the limits induced by the work, since the author intends to show the space as specific and as visible as possible.
What strikes at first in his work is the presentation , it should take almost liturgical sense, an object carrying both an act and a power. These are not empty words because this work is part of the journey qu'empruntèrent those who, in their work, wished to unite in a field defined the feel and symbol. Joints strict rectangles, the declination of simple shapes belong to a process of formal proposals and the results have become historical models, which appear the names of Malevich, Mondrian and Duchamp. By making this process visible, Bernard Plantive deliberately reduced means. The challenge of its work depends on finding a common denominator that unifies the construction of thought to his sensitive organization.
Approach austere but poetic immediate impact: This work, never give in to the sunset, sits on the border that separates the world of objects and the lucid and opaque, their mysteries. It can then return with a newly gained transparency that reference hot stage which would to test the prism of culture and sense what is quoted. The quote becomes a signifier, but placed the same degree as that of the more formal about it is private and its immediate significance. No context as intuitive, although it is social or historical.
In a sense, Bernard Plantive abolishes the distance between what is represented (beyond even the extras) and what is, and exceeds by inoculating his works and an image and a model of the world. A position reminiscent of the early Wittgenstein (3) .
Notes:
1 Cloaca, 2000, 270x1160x170cm, installation.
2 Pierre Bourdieu once remarked that the difference in intensity analysis can lead, as it focuses on the Dreyfus Affair or the sermons of the bishop of Evreux.
3 Soulez Antonia, "How to raise the concern of the philosopher? A question template for a method of synopses, "in Lectures of Wittgenstein and Waismann Schlick, T. II, Critical Studies, Paris, Presses Universitaires France, 1997.
© Fields of Art.
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Bernard Plantive #02
Johannes Vermeer Lane, 1658, 54.3 cm x 44 cm. Rijksmuseum Amserdam.
The value of a work certainly depends analysis of what the criticism and history will be retained. But it also crosses the scope of this provision that we all swing. This game is both sensitive and mind which seeks not so much what is beautiful in a work, but rather what it deserves, thus finding in her and around her means, in the words of Wittgenstein, the understand (1).
It would then, somehow, a way to join our inclinations extra effort, that we receive from all forms of education including curiosity would be the most personal way. Such an adjustment of the light can tell us finally, whether or not we accept that the work is important to our decision: constant practice would not be measurable, so that neither the psychology nor the analytical reasoning can not provide full the explanation. We would have thought, according to one or the other principle examine the eternally valuable mechanisms of our orders, we will never really know why we are told that a work is beautiful, a work is great, a work occupies in the sphere of a whole life a vital place.
What we work first before a work of Vermeer and Wim Delvoye is look not how to say what the work or even how to describe it, but look how to set the life of our those of our intelligence and audacity of our refusal. There are worlds to conquer more than others depending on what a work exhibited at our doubt. Either it will maintain the irresolution or she takes the party temporarily misplace the keys. The focus is not on solving these mysteries, but on the roads, more or less long, it must borrow. When
Ungaretti said, after his short presentation of Vermeer, "summarizing what I said previously, naively, Vermeer, I would note that we can already foresee the reasons that distinguish it from" small masters " his contemporaries: the importance of light for him, he sees itself as a color, and he did - his paintings attest - the soul of every color " (2), as he says? Il montre, à la faveur du progrès de sa réflexion, qu'il faut avoir saisi les véritables promesses que donnent lumière et couleur, c'est-à-dire des promesses qui nous sont faites, pour comprendre pourquoi Vermeer est went further than others.
It is this special magic to the art that suddenly puts us at what we know or understand the world that I know of light, I know what color, would I have suspected that could deliver Another thing that could be placed on the balance of science and sensation, a fact that I did not think or imagine that I wanted so much? Magic is not a lesson and we do not say "light in Vermeer." The work keeps us doing in this timely this kairos (3) where several lights are superimposed. The one Vermeer equate color, it also knows that our flesh with all its resources, its multiple deployments. "Color", of course, but also "hot," "blindness "," Day "," life "...
Once again it is the journey toward understanding that frees the means to take action. Tracking in different worlds, different or inconsistent, since that forges the work invites us to consider them. Such Delvoye's work requires that we question our own standards of taste and values that society accords to things which are declared or not beauty, to receive full replay "Indonesian" or a digger implementation of a machine excrement.
Notes: 1
Ludwig Wittgenstein, "Lectures on Aesthetics" in Lessons and conversations , Paris, Gallimard, 1992. 2
Giuseppe Ungaretti, Vermeer, translated from Italian by Philip Jaccottet, Caen, Scorp, 1990, pp. 22-23. 3 The
kairos Aristotelian, "when the course of time, inadequately managed, as seems to hesitate and waver, for good or for evil of man," Peter Aubenque, prudence in Aristotle , Paris, Presses Universitaires France, 1997, p. 104. See also Anne Cauquelin, Aristotle , Paris, Editions du Seuil, 1994 53: "Kairos : chance, what happens. Manage this kairos is a matter of careful, prudent man, who knows what to do at the right time. Born into a reflection on time, 'number of movement' as defined in Book IV of Physics the kairos introduced the idea of an evaluation of possibilities. In itself, the chance of random encounters simple, nothing, it is what the wise man will make. Prudence, therefore, is the ability to grasp in an intuitive perception of the singular, the right moment to act. "
© Fields of Art.
Johannes Vermeer Lane, 1658, 54.3 cm x 44 cm. Rijksmuseum Amserdam.
The value of a work certainly depends analysis of what the criticism and history will be retained. But it also crosses the scope of this provision that we all swing. This game is both sensitive and mind which seeks not so much what is beautiful in a work, but rather what it deserves, thus finding in her and around her means, in the words of Wittgenstein, the understand (1).
It would then, somehow, a way to join our inclinations extra effort, that we receive from all forms of education including curiosity would be the most personal way. Such an adjustment of the light can tell us finally, whether or not we accept that the work is important to our decision: constant practice would not be measurable, so that neither the psychology nor the analytical reasoning can not provide full the explanation. We would have thought, according to one or the other principle examine the eternally valuable mechanisms of our orders, we will never really know why we are told that a work is beautiful, a work is great, a work occupies in the sphere of a whole life a vital place.
What we work first before a work of Vermeer and Wim Delvoye is look not how to say what the work or even how to describe it, but look how to set the life of our those of our intelligence and audacity of our refusal. There are worlds to conquer more than others depending on what a work exhibited at our doubt. Either it will maintain the irresolution or she takes the party temporarily misplace the keys. The focus is not on solving these mysteries, but on the roads, more or less long, it must borrow. When
Ungaretti said, after his short presentation of Vermeer, "summarizing what I said previously, naively, Vermeer, I would note that we can already foresee the reasons that distinguish it from" small masters " his contemporaries: the importance of light for him, he sees itself as a color, and he did - his paintings attest - the soul of every color " (2), as he says? Il montre, à la faveur du progrès de sa réflexion, qu'il faut avoir saisi les véritables promesses que donnent lumière et couleur, c'est-à-dire des promesses qui nous sont faites, pour comprendre pourquoi Vermeer est went further than others.
It is this special magic to the art that suddenly puts us at what we know or understand the world that I know of light, I know what color, would I have suspected that could deliver Another thing that could be placed on the balance of science and sensation, a fact that I did not think or imagine that I wanted so much? Magic is not a lesson and we do not say "light in Vermeer." The work keeps us doing in this timely this kairos (3) where several lights are superimposed. The one Vermeer equate color, it also knows that our flesh with all its resources, its multiple deployments. "Color", of course, but also "hot," "blindness "," Day "," life "...
Once again it is the journey toward understanding that frees the means to take action. Tracking in different worlds, different or inconsistent, since that forges the work invites us to consider them. Such Delvoye's work requires that we question our own standards of taste and values that society accords to things which are declared or not beauty, to receive full replay "Indonesian" or a digger implementation of a machine excrement.
Notes: 1
Ludwig Wittgenstein, "Lectures on Aesthetics" in Lessons and conversations , Paris, Gallimard, 1992. 2
Giuseppe Ungaretti, Vermeer, translated from Italian by Philip Jaccottet, Caen, Scorp, 1990, pp. 22-23. 3 The
kairos Aristotelian, "when the course of time, inadequately managed, as seems to hesitate and waver, for good or for evil of man," Peter Aubenque, prudence in Aristotle , Paris, Presses Universitaires France, 1997, p. 104. See also Anne Cauquelin, Aristotle , Paris, Editions du Seuil, 1994 53: "Kairos : chance, what happens. Manage this kairos is a matter of careful, prudent man, who knows what to do at the right time. Born into a reflection on time, 'number of movement' as defined in Book IV of Physics the kairos introduced the idea of an evaluation of possibilities. In itself, the chance of random encounters simple, nothing, it is what the wise man will make. Prudence, therefore, is the ability to grasp in an intuitive perception of the singular, the right moment to act. "
© Fields of Art.
Wednesday, October 24, 2007
Maggie Simpson Cartoon
Bernard Plantive #01
Plantive Bernard, Via Lactea , wood, casein, porcelain inkwell.
2 Nelson Goodman, Languages of Art, Nimes, Editions Jacqueline Chambon, 1990.
© Fields of Art. 
Plantive Bernard, Via Lactea , wood, casein, porcelain inkwell.
say what a work of art assumes that it has a lot to say about the sublime, the blindness of the material, the imprint of a force on a form, all things strange it is difficult to make. This constant difficulty of producing a typology between valid for a large part in the chaotic and teeming report that we have with a work. One could say such a work of art she gathers around her, for multiple solutions - those of accumulation, the stratification of the city, perhaps that of the organization - what it entails. It captures the intensity of gaze that are addressed, hoarding frequency vibrations that the trial issues and maintaining and the various forces that correspond to its nature released, wins and renews his own power.
You could say conversely that the artwork is not able to give us this and it will be located, to be truly understood in terms of what it denotes , at both the type of reality to which it belongs and it is the result. By becoming the subject of analysis in which we seek conditions which will ensure its "validity" beyond those which have psychologically, socially or historically generated, the artwork would be reduced by the human sense through which we want to enlighten. But she would receive in return an assurance that it has an abundance of a specific language, the precise extent to which it bears the references belong to a symbolic framework. Y would then be conveyed real signs that he would be supportive.
Those critics or historians who do not share the positions of Panofsky felt we could assign to the symbolic representation of the full support of the reading of a work. Gombrich as Goodman, each according to its methodology, devalued the balance of representation, bypassing somehow pretend to imitate that remained, despite the invention of perspective, a goal they believed essential to say anything that belonged to art. Distinguish whether the sensitivity of the understanding, in order prior noble to give the first tokens of authority and autonomy, we must also know how to distinguish in the field of creation that is or literal denotation.
Capture intensities, symbolic systems non-verbal: there are two rival conceptions. Should they refuse so far to each other? Block sensations for a thinker like Deleuze (1) - who was strongly attached to the immanence of things to flow through them, perceptions and emotions that make up the work - for a thinker as exemplification Goodman (2) - that they exist as singular concrete realities, where the idea is merely a name, a simple word - the artwork of each position receives a copy force deployed under our eyes by an arsenal that convinces us or repels us. But we also suggested by an identical way, that we are part of this review.
For we are facing at work in the same manner as those who "take the pulse" or that decode the language. We like or dislike and seek to support our feelings as that of our thinking the reasons which justify our judgments. And those who are reviewing.
Notes:
1 Gilles Deleuze and Felix Guattari, What that philosophy? Paris, Les Editions de Minuit, 1991, p. 154 You could say conversely that the artwork is not able to give us this and it will be located, to be truly understood in terms of what it denotes , at both the type of reality to which it belongs and it is the result. By becoming the subject of analysis in which we seek conditions which will ensure its "validity" beyond those which have psychologically, socially or historically generated, the artwork would be reduced by the human sense through which we want to enlighten. But she would receive in return an assurance that it has an abundance of a specific language, the precise extent to which it bears the references belong to a symbolic framework. Y would then be conveyed real signs that he would be supportive.
Those critics or historians who do not share the positions of Panofsky felt we could assign to the symbolic representation of the full support of the reading of a work. Gombrich as Goodman, each according to its methodology, devalued the balance of representation, bypassing somehow pretend to imitate that remained, despite the invention of perspective, a goal they believed essential to say anything that belonged to art. Distinguish whether the sensitivity of the understanding, in order prior noble to give the first tokens of authority and autonomy, we must also know how to distinguish in the field of creation that is or literal denotation.
Capture intensities, symbolic systems non-verbal: there are two rival conceptions. Should they refuse so far to each other? Block sensations for a thinker like Deleuze (1) - who was strongly attached to the immanence of things to flow through them, perceptions and emotions that make up the work - for a thinker as exemplification Goodman (2) - that they exist as singular concrete realities, where the idea is merely a name, a simple word - the artwork of each position receives a copy force deployed under our eyes by an arsenal that convinces us or repels us. But we also suggested by an identical way, that we are part of this review.
For we are facing at work in the same manner as those who "take the pulse" or that decode the language. We like or dislike and seek to support our feelings as that of our thinking the reasons which justify our judgments. And those who are reviewing.
Notes:
2 Nelson Goodman, Languages of Art, Nimes, Editions Jacqueline Chambon, 1990.
© Fields of Art.
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