Articles liés à Diagrammatics of the Contemporary (Vol 0)
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Synopsis
This introductory volume to Eric Alliez and Jean-Claude Bonne's major work on contemporary art outlines their exploratory and speculative project: not so much to produce a new 'philosophy of art' as to enter into a space in-between philosophy and art: between a contemporary philosophy of contemporary art and an art contemporary with contemporary philosophy. Contemporary art seen in this doubled manner is not a question of a philosophical condition, but rather asks how we can make ourselves, philosophically, the contemporaries of works whose problematic nature no longer sits well under the categories of the 'aesthetic' inherited from romanticism.The multiplicity of essays proposed by Alliez and Bonne carry out a series of thought-experiments via particular, closely-studied contemporary artists and works, in order to produce an analysis that is both genealogical and archaeological. In a dynamic that moves through and beyond the work of Deleuze and Guattari, the task of 'undoing the aesthetic image of art' is understood as that of discovering a 'diagrammatic' regime, assemblage, or mode of thought at work in contemporary art. In these case-studies of an art-thought that is inseparable from the continued construction of the very concept of a 'contemporary art', philosophical analysis is continually displaced by the forces of works and practices of creation and reception that construct a new, processual and post-conceptual, configuration of art, with Matisse and Duchamp-Matisse-thought and Duchamp-thought-establishing a tension that, since the 1960s, has been 'recharged' by the micropolitical options which have given rise to the critical and clinical problematisation of art. 'Diagrammatics of the Contemporary' sets out the philosophical stakes and methodology of this remarkable series of studies, the itinerary of which will pass, via Matisse and Duchamp, through Daniel Buren, Gordon Matta-Clark, and Gunter Brus, with a particular focus on the singular case of Brazilian contemporary art, from Ernesto Neto to Helio Oititica.
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Présentation de l'éditeur
In the first volume of Eric Alliez and Jean-Claude Bonne's 'Undoing the Image: On Contemporary Art' the authors begin their exploration of a diagrammatic regime of the contemporary synonymous with an undoing of the image of the aesthetic regime of art via an engagement with the Brazilian artist Ernesto Neto.Through an analysis of the diagrammatic forces at work in the 'Neto-operation', their close study of 'Leviathan Toth', Neto's major 2006 intervention-installation in the Pantheon de la republique-a political monument itself contemporary with the 'aesthetic'-reveals the fundamental stakes of a contemporary art in the process of undoing the image-form.Attached to the vault of the Pantheon like a monstrous parasite, at once to scale and out of all proportion, irreducible to any kind of metaphor or image, the installation confronts the visitor with a foreign body whose motifs Alliez and Bonne address both 'critically' and 'clinically'. Grappling with its site on every architectural 'scale' (technical, functional, material, optical, symbolic), confronting the building and its sheer size by placing all of its physical and metaphysical coordinates into and under tension, the 'Neto-operation' engages with nothing less than the image of power in its relation to the power of the image that animates it and gives it a discursive existence. This 'an/architectural' denunciation of the Pantheon is in turn referred to the (Hobbesian) metaphysical enunciation of the Leviathan which the monstrous intervention recalls and reproblematizes.
Biographie de l'auteur
Éric Alliez is a philosopher and Professor at Université Paris 8 and at the Centre for Research in Modern European Philosophy at Kingston University, London. He is author of Capital Times (preface by Gilles Deleuze, University of Minnesota Press, 1996), The Signature of the World: Or, What is Deleuze and Guattari s Philosophy? (Continuum, 2004), The Brain-Eye: New Histories of Modern Painting (Rowman and Littlefield, 2016), and Wars and Capital, with Maurizio Lazzarato (Semiotext(e), 2017), and editor of The Guattari Effect, with Andrew Goffey (Continuum, 2011) and Spheres of Action: Art and Politics, with Peter Osborne (Tate Publishing, 2013). Jean-Claude Bonne is an art historian and Director of Studies at the École des Hautes Études en Sciences Sociales, Paris. He is author of L Art roman de face et de profil: Le tympan de Conques (Le Sycomore, 1984, new edition 2018), Le Sacre royal à l époque de Saint-Louis, with Jacques Le Goff (Gallimard, 2001), and La Pensée-Matisse. Portrait de l artiste en hyperfauve, with Éric Alliez (Le Passage, 2005).
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