Verizon Battery Purple

Bernard Plantive #08

We had seen the object in conquering this movement which leads us to the object, in this movement also powerless that we book data incomplete: contact summary only ever accept a reverse movement can resolve, leaving this time the object is to consider, occur in a manner which exposed him to: the condition that he gives himself to us and we will appear.

At the heart of this apparition takes the proper action to anyone who wants to reveal its power. Arbitrariness is first action, mobility in a field that we could not see and yet whose appeal to forms, references in the coincidence of these with forms that reveal causes that are ordered for the unexpected , freedom, the unexpected feeling of having been able to stop when the reference met the significant form: the design of my desires is to be placed at the same level as my tools, my gestures, my material.

In an artist like Bernard Plantive is the will personal to prohibit the perception of his work look beyond what he wants us to perceive, to know the exact dimension of the table , casein, black smoke, these materials-colors, as the term of Charles-Arthur Boyer (1) . The understanding then jumps to a step involved in the perception of a world other than that fixed the "law of good form," as defined in the Gestalt theory (2) , and organization purely physical things. This work is by no means an invitation to a year collection.

Bernard Plantive engages in extreme game that gives the object status of a solid object, eventually, something that can open all the promises, because he has completed his own donation. The object hit, unbeknownst to us, a region where the view of species has not been made universal in the renewal of such general laws that would eventually ignore them and regaining conscious and directly by an artist what makes an object visible otherwise. It is a work of art.

If the object is resistant to any merger into the world of qualities in a membership limited to a world that must elevate to a certainty, because it has granted a different level, naturally rebellious, in a process so primitive and yet so decisive hung on a wall, deriving it to him all the conditions that allow it to show such that it must show who he shows, this object is a singular work of art because it does not let himself look like a simple object. It is a work of art because it is given the privileged field and constantly moving, which remains invisible and unknowable to us, leaving us our turn invisible. Privileged field so that leaves us as a bit clueless when we feel that this world of intuition exists and agrees to deliver a corner of his secret work of art when they manifest. Maybe because it does not bend, it mobilizes no clear representation of the table refuses even more than others to deliver its qualities and give with generosity privileged, as if saying although Merleau-Ponty's "carnal formula" to seeing.

The tables would place under the light most flood light but also the most honest, not the solution austere and ethics of a strict formalism, but instead mark the simplest and most profound of our own ability to perceive, in the recall of basic laws that involves the art to be built.

transfer Strange as prompted by the contemplation of a basic figure on which we would have to use other tools than the simple "recognition of the good form" to decipher the complex mode that keeps : Forgetting the artist's intention, we act on the ground of our most intimate acquaintances, and we realize that we do not really know the nature.

in this community is receptive of things, in an area where you can find the gift that manufacturing holds the artist and that of the emotion that we have played this revelation. But this also depends on receptivity of a certain requirement for it to happen. If this is really watching the work of Bernard Plantive and design that allocating resources according to the joint, discipline is needed, one we should never overlook the significance, as it is, ultimately, the real start of any work. A discipline that would be more than a position on the art itself as it would be a source of art and how it concerns criticism that we are endowed, which means suffering so cruelly from our negligence ... The only eyes that relies on this work, it is that when you wear any form of union reveals an unexpected order.

So we have two reading levels. Rediscovery "Induction" of basic laws of art and conquest of uniqueness by the immediate visibility. Comment and object to the present time, image and style.

"Perceiving a work," says Renaud Dechamps about the work of Bernard Plantive is a phenomenon which places the viewer between reality and realization, the notion that a search of his own environment, and mutatis mutandis , led him to probe the investigation conducted by the artist. A necessary dialectical in that it needs the experience other to achieve a complete notion of special knowledge " (3) .

There are phenomena that affect the regions to be exulting even by their deep attachment to the synthesis of faculties, the spectacle of the meetings. Proposal suggests ways we can with basic materially illuminate the power of seizure beings (4) : the tables fall cleanly into this joint since they are both the start and accomplishment.

Notes:

1 Charles-Arthur Boyer, Bernard Plantive, measurement and space , catalog Ninth International FRAC Pays de la Loire, 1992 16.
2 According Gestalt theory, a form is a whole other thing and that is more than the sum of its parts. This means that the concept of element is rejected in the strict sense of the word.
3 Dechamps Renaud, Bernard Plantive , text of the exhibition at the Chateau d'Angers 1994.
4 Entering the intended meaning or Heidegger, the logos from legein , seize.

© Fields of Art

Twister Hammerhead Buggy Engine

Bernard Plantive #07

The message is both personal and didactic art, it would not this world a statue by the artist's imagination that he transcribed, even though he would deal with a surplus of lucidity. This would be something that lies somewhere in the manner which articulate man by her gesture that reveals and shows us the world. One way, described him as Claude Levi-Strauss, from a set (the object and the event) to the discovery or rediscovery of its structure (1) .

The genesis of a work is important, but it must be understood, beyond the obvious, like the ability to make us not a spectator event, but the "light" perceiving real qualities of the work (the "viewer" looks Bernard Plantive, after Duchamp), tightening its product on the episode and the permanence of art. One way ride on the world of reference, but also in the rediscovery in the reconquest of the extreme singularity, a universal technique in which the work is "elementary" lends itself naturally.

Examine the work of Bernard Plantive would not analyze its components, but stick to the abeyance of them, which makes effective the view that we must carry on this work . A hold precisely due to the fact that our perception does not look any further, an examination surface that triggers a new "agenda". No organic mixture in the sense that the product of mixing one account, the emergence of forms but not this time this kairos Aristotelian, which allows to understand the true qualities, to realize that the essence of art, says Bernard Plantive is "both" sacred "and pathetic" (2) . The sacred and the absurd: areas where realizes the true nature of the object.

must be well understood, as well as works eyeing reality, beyond interpretation, that clearly sets out what it is, something independent, something that affirms his freedom by what the same sense of purpose reveals: object, thrown before before the eye, by a desire contained in the thing, or more precisely by the capacity of a thing to be seen with us. Approach that opens up all kinds of adventures, beginning with that of Malevich that we will see later, Bernard Plantive is particularly committed. Adventure where "non-representation is not absolute, but is simply" (3) .

But understand that this event continues to keep her secret, despite the historically art world to which it relates. Beyond its value, its origins or its history, one thing appears to me it seems simple, yet it is not the thing itself that appears. The moment I understand that the thing can not be free to appear to me it must be sought elsewhere, behind the object somehow, to discover that there is something else that allows the object to appear. Rather than focus on perception, which goes to the object just to remove a given incomplete, we must focus on the object, which, instead of being viewed as a particular content, is in the manner in which he gives himself to us and appears (4) .

The rectangle table refuses in its individual donation to any book, deflower. If taken as the special case of gasoline the rectangle, it will not be like having all characters of the "generality appropriate to the species." The strange peculiarity of table, his posting material, tangible, verifiable, the pose more than others as a real object, huge, pervasive, even triumphant despite its small size.

We watch, without offering any real resistance, an object subject to the laws of the magnitude and shape. And yet during the rustle of our observation, something happened without our knowledge. In choosing which puts him away from any interference, either alongside more massive objects which he said at the solemn presence due to their exposure, the subject woke quadrangular in our judgments of strange bodies. We remain silent to this subject not because he does not have enough things that we have to talk about forever, but because he rushed to the back seat of our perception to return intact on the wall its host. We remain silent because we are faced with a simple "astounding." Of these objects, we found no mental gardens or recovery impossible prohibits a look. We remain in effect confused by the layer of the absolute form of identification at trial. Reversibility which exceeds the opacity of his face and makes it blind to the contrary extraordinarily transparent.

is there, this has immediate visibility into our head that we are perceptive bec, suddenly arrested by the arrogance of this object, by imposing its form and complete freedom to dispose our most basic patterns. It is we who become transparent.

Notes:

1 The myth follows the reverse path as part of a structure, whereby he undertook the construction of a set: object and event. Claude Levi-Strauss, The Savage Mind , Paris, Plon, 1962, p. 41. We shall see in Chapter "work", the importance of this analysis.
2 Bernard Plantive, Workbook , 1 June 1991.
3 Jean-Claude Marcadé, "From the eclipse of the objects the release of space "in Jean-Claude Marcadé, Malevich Book No. 1, a collection of essays on the work and thought KS Malevich, Lausanne, L'Age d'Homme, 1983 p. 114.
4 Edmund Husserl, Ideas guidelines for phenomenology first section, "The knowledge of species and species' first chapter," Done and gasoline ", § 3, translation of the German by Paul Ricoeur, Paris, Gallimard, 1950.

© Fields of Art