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:
© Fields of Art
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.
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
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