Colloque : Force de figures
Le travail de la figurabilité entre texte et image
23-24 novembre 2012
Paris - Fondation Biermans-Lapôtre
Cité internationale universitaire,
9a Boulevard Jourdan
75014 Paris
"Ce colloque s’attachera à mettre en évidence comment les diverses théories critiques de la représentation développées ces dernières années (approches psychanalytiques, phénoménologiques, sémiotiques, etc.) ont cherché à rendre compte du travail de la figurabilité en mettant au point un véritable outil herméneutique dans les termes d’une analyse figurale. Il se donne pour objectif d’enrichir la construction théorique de la figurabilité dans le champ du lisible et du visible."
Vendredi 23
09h30 Agnès Guiderdoni (FNRS-UCL) et Ralph Dekoninck (UCL), « Donner corps à l’ombre, vie au corps, & âme à la figure muette » (Richeome). De la figure à la figurabilité au premier âge moderne
11h15 Florence Dumora (Paris VII), Force de rêve : figural et figurabilité avant la Traumdeutung
14h Denis Bertrand (Paris VIII), Figure et figurabilité : approche sémiotique
15h15 Jacques Aumont (Paris III), Un art d’apparition
16h45 Mauro Carbone (Lyon 3), La déformation en tant que principe de déreprésentation : le Cézanne des philosophes français,
Samedi 24
09h30 Bernard Vouilloux (Paris IV), La figurabilité entre la représentation, le figural et la figuration
11h Bertrand Rougé (Pau), Énergie des figures et indiscernabilité : autour de la fin de l’art entre rhétorique et arts visuels
14h Bruno Nassim Aboudrar (Paris III), Moins que la figure
15h30 Daniele Guastini (Roma 3), Transfigurabilité et transcendance. À partir de Louis Marin
lundi 12 novembre 2012
lundi 5 novembre 2012
picture / tableau /screen
picture / tableau /screen
a visual symposium at UCA Canterbury
organised by Moyra Derby and Matthew de Pulford
Herbert Read Gallery
UCA Canterbury
New Dover Road
Canterbury
CT1 3AN
6 November - 4 December 2012
Gallery-based discussion with the artists and supporting speakers each Tuesday at 3pm
Picture / Tableau /Screen are terms shared by film, photography, painting and other fine art practices that engage with the pictorial. The visual symposium at UCA’s Herbert Read Gallery will consider the distinct but overlapping contexts they might open up.
Four separate installations of work will take place on consecutive Tuesdays in November 2012. Each installation will be followed by a talk and gallery-based discussion with the artists.
The ongoing installation of work during the symposium aims to foreground the process of work becoming aligned to a viewer and a viewing space. Viewing is considered active, offering a form of participation within the restraints of the pictorial. This alignment is considered a dialogic moment between art object, environment and viewer at which point all three become active participants (1).
Picture / Tableau / Screen all imply the sense of something composed, ‘cut out’ (2) distanced, staged and contained in order to be looked at. George Berkley writing in 1732 asks us to imagine a ‘diaphanous plane erected near the eye and perpendicular to the horizon’ (3), a theoretical proposition that delineates a pictorial version of vision. Proposed here as an articulation of ‘picture’ ‘tableau’ and ‘screen’, Berkley’s plane can be said to both enable and stand in the way of visibility. An external projection that infers an internal counterpart, it shares with these three terms the presumption of a front; it is a plane that faces a viewer. Within the pictorial, the quality of facing activates an attitude of looking, a particular form of attention and reception, even if it is articulated through turning away or moving past.
________________________________________
(1) Jacques Rancière The Emancipated Spectator ‘Being a spectator is not some passive condition that we should transform into activity. It is our normal situation’ (Verso 2009 p 17)
(2) Roland Barthes Diderot, Brecht, Eisenstein 1977 tableau as ‘cut out’ in Image, Music, Text (Fontana Press 1977 p 69-78)
(3) George Berkley The Theory of Vision Vindicated 1732 (The Works of George Berkley). Jonathan Crary discusses Berkley’s ‘diaphanous plane’ in Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Mitt Press 1990 p55)
Installation 1
Tues Nov 6th open discussion at 3pm
Angus Saunders –Dunnachie ; Mick Finch ; Derek Hampson ; Jost Münster
Installation 2
Tues Nov 13th open discussion at 3pm
Beth Harland and John Gillet ; Joan Key and Anton Lukoszevieze ; Laura Lisbon ; Andrea Medjesi-Jones
Installation 3
Tues Nov 20th open discussion at 3pm
Nicky Hamlyn ; Bob Matthews ; Philomene Perecki
Installation 4
Tues Nov 27th open discussion at 3pm
Ian Bottle ; Kate Hawkins ; Anthony Matt ; Pat O'Connor
Discussions supported by:
Moyra Derby ; Mathew de Puford ; Mick Finch ; Adrain Lovis ; Dominc Rahtz
a visual symposium at UCA Canterbury
organised by Moyra Derby and Matthew de Pulford
Herbert Read Gallery
UCA Canterbury
New Dover Road
Canterbury
CT1 3AN
6 November - 4 December 2012
Gallery-based discussion with the artists and supporting speakers each Tuesday at 3pm
Picture / Tableau /Screen are terms shared by film, photography, painting and other fine art practices that engage with the pictorial. The visual symposium at UCA’s Herbert Read Gallery will consider the distinct but overlapping contexts they might open up.
Four separate installations of work will take place on consecutive Tuesdays in November 2012. Each installation will be followed by a talk and gallery-based discussion with the artists.
The ongoing installation of work during the symposium aims to foreground the process of work becoming aligned to a viewer and a viewing space. Viewing is considered active, offering a form of participation within the restraints of the pictorial. This alignment is considered a dialogic moment between art object, environment and viewer at which point all three become active participants (1).
Picture / Tableau / Screen all imply the sense of something composed, ‘cut out’ (2) distanced, staged and contained in order to be looked at. George Berkley writing in 1732 asks us to imagine a ‘diaphanous plane erected near the eye and perpendicular to the horizon’ (3), a theoretical proposition that delineates a pictorial version of vision. Proposed here as an articulation of ‘picture’ ‘tableau’ and ‘screen’, Berkley’s plane can be said to both enable and stand in the way of visibility. An external projection that infers an internal counterpart, it shares with these three terms the presumption of a front; it is a plane that faces a viewer. Within the pictorial, the quality of facing activates an attitude of looking, a particular form of attention and reception, even if it is articulated through turning away or moving past.
________________________________________
(1) Jacques Rancière The Emancipated Spectator ‘Being a spectator is not some passive condition that we should transform into activity. It is our normal situation’ (Verso 2009 p 17)
(2) Roland Barthes Diderot, Brecht, Eisenstein 1977 tableau as ‘cut out’ in Image, Music, Text (Fontana Press 1977 p 69-78)
(3) George Berkley The Theory of Vision Vindicated 1732 (The Works of George Berkley). Jonathan Crary discusses Berkley’s ‘diaphanous plane’ in Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Mitt Press 1990 p55)
Installation 1
Tues Nov 6th open discussion at 3pm
Angus Saunders –Dunnachie ; Mick Finch ; Derek Hampson ; Jost Münster
Installation 2
Tues Nov 13th open discussion at 3pm
Beth Harland and John Gillet ; Joan Key and Anton Lukoszevieze ; Laura Lisbon ; Andrea Medjesi-Jones
Installation 3
Tues Nov 20th open discussion at 3pm
Nicky Hamlyn ; Bob Matthews ; Philomene Perecki
Installation 4
Tues Nov 27th open discussion at 3pm
Ian Bottle ; Kate Hawkins ; Anthony Matt ; Pat O'Connor
Discussions supported by:
Moyra Derby ; Mathew de Puford ; Mick Finch ; Adrain Lovis ; Dominc Rahtz
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