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“Les spectacteurs glissent trop vite sur des choses qu'ils risquent plus tard de ne jamais oublier”

— Dominique Gonzalez-Foerster

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#LouCantor #oslo10 (à Oslo10)

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Ilse Garnier, Blason du corps féminin, (offset printing on paper), 1979 [Fonds Poésie concrète, MAMCO, Genève. © Ilse Garnier]

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regardintemporel:

Róbert Šwierkiewicz - Mask, 1977

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Travels in the air (1871)

By Camille Flammarion, Wilfrid de Fonvielle, Gaston Tissandier and James Glaisher.

(full book)

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Vincent van Gogh

Les tournesols (Sunflowers), 188

Kunstmuseum Bern

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machintruc

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Mike Kelley, Arena #7 (Bears), 1990

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#La Petite école

I have not built any theory. I have only tried to build up sensitive eyes.

Joseph Albers

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Ophélia #

« Toutes privées d’air et de liberté depuis plus d’un siècle, les fleurs portaient un léger voile gris et diaphane, obligeant le regard à se régler entre cet effet de flottement et les détails comme un objectif entre le proche et le lointain. »

Muriel Pic, Petit atlas des pleurs , 2024.

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Peter Weibel

Law / Recht, 1967

Peter Weibel’s interactive installation “Das Recht mit Füßen treten” [Trampling on the Law] is a typical example of a brand of art that began to establish itself in Austria in the 1950s and 1960s. From critiques of language such as those provoked by Ludwig Wittgenstein, through the Vienna Group and Vienna Actionism, artists focused attention on the assumption that our inability to gain precise knowledge about the world is rooted in the nature of our language.The letters written on the floor in chalk (which spell “Recht,” law) are walked on by the visitors. The design is gradually destroyed through usage, as the letters become smeared and are only partially legible—it is as if they are transformed from a text into an informal picture. But it is only through this process that the artwork is actually consummated. Through its participation, the audience performs the phrase, combining with the design on the floor (text then picture) to constitute the artwork. The performative character—contrasting with traditional definitions of art—and the political content of this work by Peter Weibel make it a typical expression of its time. G.H.

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https://books.openedition.org/pubp/7591

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https://books.openedition.org/pubp/7536