What happens to literary and critical description when painting emancipates itself from all physical mediums, when the work of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of verbal depiction and aesthetic relationship is possible under these programmed and produced conditions? What type of phenomenology, pragmatic, rhetoric, poetics, and ontology of a so called 'work of art' is possible upon? What type of signs, of percepts, of effects and affects, of appearance and verbal apparatus, actually of beliefs, are put into play in this an-aesthetic relation? Until this day, after more than 50 years, the “Exposition of Void” of Yves Klein doesn’t quit asking these and other questions on aesthetics, theory of literature and critics, and to the history of art.
Spazi vuoti, istruzioni per l’uso.Tra mondo dell’arte e mondo della vita.
FIMIANI, Filippo
2014
Abstract
What happens to literary and critical description when painting emancipates itself from all physical mediums, when the work of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of verbal depiction and aesthetic relationship is possible under these programmed and produced conditions? What type of phenomenology, pragmatic, rhetoric, poetics, and ontology of a so called 'work of art' is possible upon? What type of signs, of percepts, of effects and affects, of appearance and verbal apparatus, actually of beliefs, are put into play in this an-aesthetic relation? Until this day, after more than 50 years, the “Exposition of Void” of Yves Klein doesn’t quit asking these and other questions on aesthetics, theory of literature and critics, and to the history of art.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
