Space time sensory introduction.
This fall the Museum of Fine Arts Tours, we are continuing the questioning of the artwork and its social interactions. The Cycle Space time and sensory "try to decipher the close relationship between changes in spatial representation, the intellectual exercise and individual generated by the work and finally emerges temporality of artistic work by his comment. The acquisition of the painted work is not simply a space object but an object by its testing time.
The theme of this cycle is directly came from my doctoral research. For five years now I lead at the Université François Rabelais a doctorate on German artist Raoul Hausmann and the reflection Optophone. This device to enable blind people to hear the light, is a prosthesis system belonging to the artistic reflections of the early twentieth century for experimental work from its creator and those who practice it.
Between 1921 and 1922 in two texts: the Manifesto of presentism and Optophonétique, Hausmann says he wants to fundamentally transform the experience and the physicality of the work. For him, perspective and all the principles of geometric construction of the employed are outdated systems. For a work to be effective and functional, it must include sensory viewers. In keeping with a principle of philology, Raoul Hausmann did not deconstructed value of past works but trying to update a work in harmony with the times. Within two manifestos, he said that the construction time and space of the work must include the logic senses. To him a work of art is an element of space, time and sensory. Getting to generate such an artistic process leading to the emergence of a sixth sense.
As part of this cycle, I want to implement the principle of the experiment of the artwork. The spatial and temporal evolution of the work for its reception, explains or illuminates again the changes implemented by visual artists.
By focusing on painting, we seek to understand the implications of exceeding the flatness of the work. The three-dimensionality of the geometric perspective, we have already discussed in the previous cycle "Transparency and Opacity" is the live visual cone of the eye of the beholder and feigned a space by a mathematical system. The scenery, sets, descriptions become elements engines and an elongation of reflection following the observation of the work. Through 12 events we try to decipher the methods of evolution and interaction generated by the sensory table.
cycle passport for art retains its challenges: Both illuminate the museum's collections and allow the greatest number of appropriating them, reposition the big names but also of great artistic movements to have a real passport to the best conditions for collections, exhibitions and artistic object visible at any later and outside the museum. My approach to art history rests on a logic of continuity and evolution of the work since the fourteenth century to today. For me, the artwork evolves as the society around her and in a mutually inflected dialogue. Issues empathetic, emotional, sensuous of the work are just outstanding in each period of trying to coexist with the art collection of the world.
Space and time form the four dimensions of our reality. Artists in a logic of mimesis seek that the work is a sensory point of view and the same experimental value, these four dimensions. Developments in scientific knowledge, but also generate a philosophical reflection that the artist must integrate so that his work is as current as possible.
To return to the text of Raoul Hausmann, in this Manifesto, published in 1921 in a Dutch avant-garde magazine, argues that the artist's work fits perfectly in his time. This presentist character of obligation requires integrating practical and completely all new scientific data. Electricity, the birth of talking pictures, generate in a number of artists of the early century fantasy a possibility of a show covering the entire audience in a sensory experiment. These issues of the vanguard that are reminiscent of previous artistic questions. Raoul Hausmann calls philology as a form of reflection. Philology can be viewed from three perspectives: it aims to capture, in their linguistic manifestations, the genius of a people or civilization and their cultural evolution, it follows examination of the texts we have inherited the tradition in question and it embraces not only literature, but writing. In practice, philology tends to be reduced to textual documents. Philology sits on the historic achievements in order to provide an excess and a progression. The genesis of modern painting in the early fourteenth century is the mirror of the evolution of a society that perceives itself, based on the frames passed between another model of ancient and evolving to exceed in a logic progressistee.
Issues in representation of space and time, therefore urges the artwork to become a physical and intellectual. We will come back but the evolution of the representation of space in painting can be done with the development of a logical narrative and descriptive qualities of the work.
Temporality becomes ground when the table is a reflection of the inhabited world and empirical. The disappearance of funds or for "an open window on the world" can not be done in the quest for implementation of an object represented, its temporally contemporary observer. This is where the work Art is both a witness of his time, but also included an object in space and in a proper time. Even if we are not a spectator of the fourteenth century or the eighteenth, the work retains its internal space and time forcing the viewer to dialogue and making it an object generating the feeling. With a hint of irony, so we could say that the establishment of a contemporary work, gives the spiritual exercise that generates a certain timelessness.
Cohabitation between a reference space-time artificial, that of painting and a referent real time space that the viewer plays a modality interréférentiel where cohabitation and fusion of the two should be routed for optimal empirical principle and empathetic.
The artwork is not a mere object of sight but truly a invitation to the body. Behind this issue is the denial or glorification of the body to paint. Between spirituality and religious or devotional voluptuous and carnal consequences on the interpretation of visual information its very different.
The first conference is devoted to landscape painting. Entitled "Landscapes scenic, it will return to the evolution of this genre in the 14th century witnessed both the selection of the topic covered by the term picturesque worthy to be represented in painting, and character from sensory until the disappearance of the subject to make room for color fields. The lyrical abstraction by Olivier Debre can be read as a continuation of a dialogue between pictorial space and natural areas. The artificiality and expressive work is based on dialogue with the feelings and issues Sharing the paint. Understanding the evolution of the representation of space, narrative and then first autonomous, lights on more than one point of evolution and the representation of reality.
The second lecture is devoted to "The pictorial space in question." Indeed, the artificiality of the painting lies in its capacity as sham. At all times the paint surface is understood as two dimensional. Or for an interaction with the three dimensions of reality, issues of composition is based on an acceptance of sham by the viewer. The pictorial space is therefore by no means a real space but concretely and completely artificial. The development and pursuit of dialogue between surface and depth can be analyzed as one of the fundamental evolution of the pictorial medium.
The third intervention addresses "Temporality in painting." If quickly set design painting generate three-dimensional plunging viewers into the work, the next time and the description of the art binding table space to become an art of time. The exercise covers visual and contemplative a double temporality: the one who performs the work, and one who looks and recomposed. Time in painting is both linked to the spatiality of the medium but also the temporality of the beholder.
The fourth theme questions the relationships between "painting and music." From the fifteenth century, is located opposite the painting and music. Painting, art space, is likely to be complemented by music, art time. Geometric perspective and mathematical point of concordance correlation with the music. The latter by its range of notes is to many observers and thinkers of the art mathematical and precise. For a path towards a total art in absorbing the viewer through the painting, the musical style is supported.
The fifth theme is another dialogue between different artistic practices: "Painting and Dance" and pursues a dramatization of the work. The ballet and opera to become a model for painters. Even if the movement in painting is hung, it can for the position of the body become dynamic. Representations of dancers and dancers are figuration then frozen inviting the viewer to project from moving. Dance is an art where the performer is physically occupy the space and connects callers a series of movements with a sensitivity. The musical styles and dances thus allow the artist to come to confront one another spacetime.
The sixth conference on "painting as object empirical" try to understand the evolution of the representation of subjects as a way to generate an experience of the viewer. For a table is effectively an empirical basis does only on the experience and not a theory, the artist has seen the eye of the beholder. Painting by its links with other arts, is a module of the lived experience of his time.
Seventh Conference "painting and touch." The painting is a visual object which in its fundamentals is only for the eye of the beholder and in no case to the body. Yet, by working the material and thickness from the sixteenth century, the painting seemed to speak to the eye and through him to all the senses. As St. Thomas, we do not believe everything we see but we give credibility to everything we touch. For the sake of accuracy and precision painting will play some opacity and a palette to convince her that she is both a subject but also represented a sensitive matter. The area offers pictorial thickening regime visual and tactile. With this conference addresses issues of inter sensoriality the pictorial medium.
logical continuation of the dialogue between painting and other artistic practices, the eighth conference returns on the dialogue between "painting and sculpture." First a reference question: the relationship to ancient painting was made primarily on a dialogue with the sculpture .. The sculpted object is inherently more engaging for our three-dimensional reality. We revienrons touch on this in access to sculpture. If painting is a fragile surface, inaccessible and mental sculpture in turn is a concrete object and physically. The other key element is that the sculpture is a three-dimensional object around which we can then turn to change views. The front surface painting will now find itself to have an object model as it flattens. To generate the same feeling, the artists will play the multiplication of points of view identifiable as a single body for the three graces.
Ninth Conference, "the description as activation of the work" addresses the speech as the mark of respect. The evolution of the representation of time and space by the inclusion in this sham of sensory perception of the viewer is historically the development of speech. The description is an argument for the artist but above all for the viewer this quality of absorption and communication of the work. Describe an array is an activation and ownership of the subject by the beholder. it demonstrates the subjectivity generated by the look and work.
In direct continuation of this conference, we are committed to the 10th on "The eyes of the amateur." From its original modern painting as object experience becomes polysemous. The lover, who shares a certain degree of knowledge, influences the actual reading of the work. The birth of art criticism, texts describing works become an experience in addition to eye even on the table. The look of the amateur looking for a sharing of experiences, both physical and intellectual and, emulating a work of intellectual view and referenced. This follows a logic of knowledge sharing where the work is not a mimesis, but a cultural network.
The 11th conference described the practice of contemplation: "The scheme of Table contemplative in its evolution between the fourteenth and the twentieth century." Spirituality déviotionnels principles, the issues are sensitive between the fourteenth and twentieth century progress. How do we get a table supporting a rise in religious an opera. Object both out of our space and yet who actually leads us by referring to their mental elevation. Contemplation is a visual exercise that goes beyond the observed object. Paint between the fourteenth and the twentieth century is a contemplative and reflective interface.
conference last cycle, installation and commissioning as space experimentation, addresses issues erecting and complete transformation of an exhibition to encompass the viewer. The establishment of exposures is by no means an object leaving each work individually expressed. Scenographies whether or installatoires museum, think about driving the audience into a space journey. The twentieth century has an exponential increase in installation practices of contemporary artists. The challenge is clear: by changing the complete space, the artist plays exceeded the scope to include the viewer within the work. The installation is a continuation actual sharing of sensitive linking spatial and temporal reference of the work and the viewer.
The last conference concluded this short cycle "sensory spacetime. The stakes are clear, working on the space we revisit the question of the painted surface and composition in dialogue with reality. The time is both historical narrative but also contemplative and contemporary. The painting once it starts on the path of a modern division of acquiring sensitive sensory and sensory quality. Painting, art of space becomes the medium an artistic expression correlated with the times and seeking a dialogue with the reality of the issue feeling. Despite a title abstract, this cycle looks like a painting activated material. A painting by the feelings it generates and the will of expression is not an inert object and purely decorative. The evolution of receipt and issues of representation are in a very simple issue with our own existence.
We are conscious of reality through the sensory input space of time. For the painting fits perfectly in a possibility projection of the viewer on the surface, it must engage in dialogue with space, time and the senses from what he observes. We are spectators but also actors in this activation.
0 comments:
Post a Comment