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David Salle
Aesthetics is not a discipline dealing with art and artworks, but a kind of, what I call, distribution of the sensible. I mean a way of mapping the visible, a cartography of the visible, the intelligible and also of the possible. Aesthetics was a kind of redistribution of experience, the idea that there was a sphere of experience that didn't feed the traditional distribution, because the traditional distribution adds that people have different senses according to their position in society. Those who were destined to rule and those who were destined to be ruled didn't have the same sensory equipment, not the same eyes and ears, not the same intelligence. Aesthetics means precisely the break with that traditional way of embodying inequality in the very constitution of the sensible world.
Jacques Rancière.
Jacques Rancière.
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When we can’t determine what art is—when we get to that point where we’re not sure, that’s the strongest likelihood that we’re actually experiencing something great. That’s what the art world is most afraid of, because we don’t know how to assign value, whether it’s cultural or otherwise. In a way the films were meant to be a destabilizing artwork. They exist in another area, a zone where we were free to work. —Richard Phillips
The American Artist was born today, October 8th in Marblehead, Massachusetts.
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Image: Richard Phillips, Nude From Below, 2016, oil and wax emulsion on linen, 84 × 66 ½ (213.4 × 168.9 cm)
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Camille Henrot, Grosse Fatigue, 2013.
“In the beginning there was no earth, no water – nothing. There was a single hill called Nunne Chaha.
In the beginning everything was dead.
In the beginning there was nothing; nothing at all. No light, no life, no movement no breath.
In the beginning there was an immense unit of energy.
In the beginning there was nothing but shadow and only darkness and water and the great god Bumba.
In the beginning were quantum fluctuations.” +Watch artist Camille Henrot explaining her work here
(via abramovicinstitute)
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Camille Henrot, Is it possible to be a revolutionary and like flowers?, 2012. Installation view: kamel mennour, Paris.
This project is a translation of an entire library into ikebana. According to Japanese tradition, ikebana was originally created to “console the soul”. The form of a piece of ikebana, its colours and the choice of flowers used constitutes a form of language. The function of consoling and language – two aspects shared by books and flowers – are the starting point. So each piece of ikebana represents the works chosen by the artist following a principle of translation the rules of which have been reinvented, using the evocative power of the Latin and common names of the flowers, the names designed for their commercial exploitation, their pharmacological power or even the history of their travels.
(Source: camillehenrot.fr)
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Theme: Linear by Peter Vidani