Baby Punching Gloves Mitten

Bernard Plantive #04

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.

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.

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