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. "
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