Unfinishedness encourages us to explore the artistic reason for negative gestures of abandonment as sprezzatura or as destruction, as nonchalance or as iconoclasm, in short as a disembowelling of the artist's craft. To what extent does the work of an artist not take shape as an unfinished-or unfinished-(of the work) of another, or even of oneself? Shouldn't we then ask ourselves, both historically and aesthetically, about the forms and consequences of the phenomenon that makes it possible, paradoxically, for art not to go without "artlessness" and for what seems destined to be exhibited - including the artist - to be exhibited only on condition that, at the same time, it hides what makes it what it is? In fact, the question of "unfinished art" and "hiding art" or of "art without art" and "art without an artist" encourages us to look for what inactivity and hiding mean in art and for art, to identify what art does not complete and hides or shows when it hides (art and its unfinished business) and, to use Daniel Arasse's expression, to try to explain how and why "One sees nothing" - except the artist as a snob.

Du vertige au prestige. Notes sur l'artiste en snob

Fimiani Filippo
2022-01-01

Abstract

Unfinishedness encourages us to explore the artistic reason for negative gestures of abandonment as sprezzatura or as destruction, as nonchalance or as iconoclasm, in short as a disembowelling of the artist's craft. To what extent does the work of an artist not take shape as an unfinished-or unfinished-(of the work) of another, or even of oneself? Shouldn't we then ask ourselves, both historically and aesthetically, about the forms and consequences of the phenomenon that makes it possible, paradoxically, for art not to go without "artlessness" and for what seems destined to be exhibited - including the artist - to be exhibited only on condition that, at the same time, it hides what makes it what it is? In fact, the question of "unfinished art" and "hiding art" or of "art without art" and "art without an artist" encourages us to look for what inactivity and hiding mean in art and for art, to identify what art does not complete and hides or shows when it hides (art and its unfinished business) and, to use Daniel Arasse's expression, to try to explain how and why "One sees nothing" - except the artist as a snob.
2022
2-35311-133-5
L’inachever incite à explorer la raison artistique de gestes négatifs d’abandon comme sprezzatura ou comme destruction, comme nonchalance ou comme iconoclasme, bref comme desoeuvrement du faire artisanal de l’artiste. Dans quelle mesure l’oeuvre d’un artiste ne se dessine-t-elle pas comme inachévement—ou désachévement—(de l’oeuvre) d’un autre, voire de soi-meme ? Ne convient-il pas, dès lors, de s’interroger, tant historiquement qu’esthétiquement, sur les formes et les conséquences du phénoméne qui fait que, paradoxalement, l’art n’irait pas sans le “sans art” et que ce qui semble destiné à être exposé – artiste compris - ne l’est qu’à condition, dans le même temps, de cacher ce qui le fait ce qu’il est ? En fait, la question de l’“inachever l’art” et du “cacher l’art” ou de “l’art sans art” et de “l’art sans artiste” nous incite à chercher ce qu’inacver et cacher veulent dire en art et pour l’art, à cerner ce que l’art n’achève pas et cache ou montre quand il cache (l’art et ses inachevements) et, pour reprendre une expression de Daniel Arasse, à tenter d’expliquer comment et pourquoi “On n’y voit rien”—sauf l’artiste en snob.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11386/4814333
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