Sunday, June 24, 2018

en profane: Orsay & Centre Pompidou (Paris)



all pictures by A/Z (for more see here);

"Als Artist hat man keine Heimat in Europa außer in Paris; die delicatesse in allen fünf Kunstsinnen, die Wagner's Kunst voraussetzt, die Finger für nuances, die psychologische Morbidität, findet sich nur in Paris. Man hat nirgendswo sonst diese Leidenschaft in Fragen der Form, diesen Ernst in der mise en scene — es ist der Pariser Ernst par excellence."
(Nietzsche)
"Et Manet réinvente (ou peut-être invente-t-il?) le tableau comme matérialtè... cette barre qui redouble la verticale et l'horizontale de la toile... des paquets de volumes... le jeu de ces surfaces... les fibres, le tissu de la toile... cet entrecroisement de fils... ce jeu de plis, le mouvement qui va de l'horizontale à la verticale... deux regards dans les directions opposées, recto verso et aucune spectacle ne nous est donée... regards tournés vers l'invisible... l'invisibilité de ce qui est regardé..." (Foucault, La Peiture de Manet).
"... if we still add... a consideration of weight, pressure, resistance, movement, as distinguished from motion, we arrive at what may legitimately be called design in a fourth dimension, or the harmonic use of what may arbitrarily be called volume" (Morton Schamberg, quoted in Linda Henderson, The Fourth Dimension);
"In our three dimensional universe every body has a thickness in a fourth dimension, which is variable in different bodies, but invariable in the same body, and that fourth-dimensional thickness is the body's density..." (A. G. Blake, quoted in Linda Henderson, The Fourth Dimension);
"Cézannism then had an incredible effect, or affection of the painterly centers of the youth. The critics explained this effect by the fact that Cézanne was a bad painter, bad drawer, and bad colorist, generally mediocre, and as it is well known, young people are always influenced only by bad things. After him came Cubism, Futurism, and Suprematism, the last a very malignant foolishness" (Malevich);
"... ses peinture étaient des feux grégeois, des bombes atomiques, dont l'angle de vision, à côté de toutes les autres peintures qui sévissaient à cette époque, eût été capable de déranger gravement le conformisme larvaire de la bourgeoisie second Empire... Et même la nature extérieure, avec ses climats, ses marées et ses tempêtes d'équinoxe ne peut plus, après le passage de Van Gogh sur terre, garder la même gravitation..." (Artaud, Le suicidé de la societé);
"Elle s'introduisit donc dans son corps, cette société... et possédée effaça en lui la conscience surnaturelle qu'il venait de prendre, et telle une inondation de corbeaux noirs dans les fibres de son arbre interne, le submergea d'un dernier ressaut, et, prenant sa place, le tua..." (Artaud, Le suicidé de la societé);
"This pulse they employ is not understood to be structurally distinct from vision but to be at work from deep inside it... Insofar as they insist that it is not temporal, the beat they employ must, in some sense, be figural, but of an order of the figure that is far away from the realm of space that can be neatly opposed to the modality of time... there is a third order of the the figure, one that Lyotard calls matrix, beyond the reach of the visible, that works underground... passivity" (Rosalind Krauss, The Optical Unconscious);
"... only discrete frequencies of light can be emitted, corresponding to the discrete jumps between the various possible energy levels..." (David Bohm, Causality and Chance in Modern Physics);
"... un éclairage frontal et perpendiculaire... aucun relief, aucun modelé... une sorte d'émail... brutalement et d'en face... à plat..." (Foucault, La Peiture de Manet);
"Yesterday I had a mood of split consciousness where it seemed I was observing the globe from the outside... it was difficult to come back to the trivia of everyday life... displacement in the country of the fourth dimension is enacted by what one used to call transmutation... being continuous, no movement in the ordinary sense of the word can be produced... In our inner visions, the different fragments which float in our heads are incoherently situated... Some parts penetrate each other; others seem completely detached... we must draw lines and establish a structural coherence..." (Frantisek Kupka as quoted in Henderson's The Fourth Dimension);
"Duchamp begins by setting up his condition that a point does not cut [cross] a three-dimensional continuum whereas a line does. By analogy... a line does not cut [cross] a four-dimensional continuum but a plane does" (Linda Henderson, The Fourth Dimension);
"Il y a donc bien une intuition des continus à plus de trois dimensions et si elle exige une attention plus soutenue que l'intuition géométrique ordinaire, c'est sans doute une affaire d'habitude, et aussi l'effet de la complication rapidement croissante des propriétés des continus quand augmente le nombre des dimensions" (Poincaré, Pourquoi l'espace a trois dimensions);
"Isn't repeating oneself precisely what painting allows one to do, especially once one has found one's particular language, the stylistic invention that will allow one to move inside it and inhabit it, growing and changing within the new syntax one can call one's own?" (Rosalind Krauss, The Optical Unconscious);
"As the instrument of penetration the wedge is gendered male. And the wounded sphere is female. But as labial surface stroked by its active, possessing partner, the wedge reverses its sex, flipping into an unmistakable image of the genitality of the woman. Swish. Flip. Alter... Lips" (Rosalind Krauss, The Optical Unconscious);

See also:
- Córdoba
- Lublin
- Warszawa

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