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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