Rainer Maria Rilke
"L'artiste, c'est l'éternité qui pénètre d'en haut les jours."
Rainer Maria Rilke
"L'artiste, c'est l'éternité qui pénètre d'en haut les jours."
“I HAVE FORGOTTEN MY UMBRELLA “
Nietzsche
Archeology of Precincts of Memory
The work of art as a ‘new ruin’
art making is building new ruins with debris conjured up from the excavation site
AN APPEAL TO PEOPLE
WHO DOESNT YET EXIST
L’acte de résistance, il me semble, a ces deux faces : seul il résiste à la mort, soit sous la forme d’une œuvre d’art, soit sous la forme d’une lutte des hommes. Et quel rapport y a-t-il entre la lutte des hommes et l’œuvre d’art ?
Le rapport le plus étroit et pour moi le plus mystérieux. Exactement ce que Paul Klee voulait dire quand il disait : « Vous savez, le peuple manque. » (…) Il n’y a pas d’œuvre d’art qui ne fasse appel à un peuple qui n’existe pas encore.
Gilles Deleuze ,
extrait de la conférence « Qu’est-ce que l’acte de création ? » donnée dans le cadre des Mardis de la fondation Femis, 17 mai 1987.
The act of resistence, it seems to me, has these two sides: it is the only thing that resist death, either in the form of a work of art or in the form of a struggle of men. And what is the connection between the work of art and et struggle of men?
There is the most close connection and for me the most mysterious one. It is exactly what paul Klee meant when he said: “ You know, the people are missing”. (...) there is no work of art that doesn’t call out to people who doesn’t yet exist .
Gilles Deleuze ,
Extract from the conference “ What is the act of creation”, 17 mai 1987.
My translation from original
mapping memory lane/
“ mapping terra incógnita “
our past , a terra incógnita , where memories are discovered and unrooted and new memories are made and being seminated. the past is never over and its memories are inscribed in us from bygone days.
at the same time, this past can be changed by an act of tikun, amendment. in an archeology of memory i bring back invisible bricks to build new ruins. an ancestral past is very much alive, in as much it is inscribed in our memory. remembering is a journey toward discovery, pearl diving expedition to use WB’s marvellous metaphor. it can also be a journey of changing the past by depositing in the ocean floor new pearls to be, once again, rediscovered
A Cypress overlooking a stormy Mediteranean bay.
pic: Avigail Sfez
a cypress, at the still
point of a stormy bay,
remembers the dervish dance
in the tempest and the swirling around his vertical, inner, still axis.
“At the still point
of the turning world.“
T.S.Elliot
studio praxis opens the pandora
box, conjuring up genies, evoked
into the light where they undergo
photosynthesis to become
emissaries of luminosity
and agents for liberation.
box, conjuring up genies, evoked
into the light where they undergo
photosynthesis to become
emissaries of luminosity
and agents for liberation.
archive
This is a technical term Foucault uses in The Archaeology of Knowledge. It designates the collection of all material traces left behind by a particular historical period and culture. In examining these traces one can deduce the historical a priori of the period and then if one is looking at science, one can deduce the episteme of the period. None of these concepts has predictive value - they are all descriptions of limited historical orders. In the arts of existence (life as a work of art)
Foucault defines 'techniques of the self' or 'arts of existence' as 'those reflective and voluntary practices by which men not only set themselves rules of conduct, but seek to transform themselves, to change themselves in their singular being, and to make their life ian oeuvre that carries certain aesthetic values and meets certain stylistic criteria'.
Foucault (1992) [1984]. The Use of Pleasure. The History of Sexuality: Volume Two. Tr. R. Hurley. Harmondsworth, Middlesex: Penguin, pp. 10-11.
author/artist
Foucault described traditional notions of the author as being restrictive. The author is a category or way of organising texts which has a history and needs to be challenged. For example, the psychological entity of the author and the use of the author as a way of organising texts are two different things and need to be treated separately.
12/3/2014
This is a technical term Foucault uses in The Archaeology of Knowledge. It designates the collection of all material traces left behind by a particular historical period and culture. In examining these traces one can deduce the historical a priori of the period and then if one is looking at science, one can deduce the episteme of the period. None of these concepts has predictive value - they are all descriptions of limited historical orders. In the arts of existence (life as a work of art)
Foucault defines 'techniques of the self' or 'arts of existence' as 'those reflective and voluntary practices by which men not only set themselves rules of conduct, but seek to transform themselves, to change themselves in their singular being, and to make their life ian oeuvre that carries certain aesthetic values and meets certain stylistic criteria'.
Foucault (1992) [1984]. The Use of Pleasure. The History of Sexuality: Volume Two. Tr. R. Hurley. Harmondsworth, Middlesex: Penguin, pp. 10-11.
author/artist
Foucault described traditional notions of the author as being restrictive. The author is a category or way of organising texts which has a history and needs to be challenged. For example, the psychological entity of the author and the use of the author as a way of organising texts are two different things and need to be treated separately.
12/3/2014
