Jacques Perconte
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  3 avril 2016   fragment du document :: 1422 chars → 217 mots
142 LIV :: LIVRE PR :: PRESSE
Ama, Art Media Agency (AMA) .
The new developments of painting at Art Paris Art Fair?
en.artmediaagency.com/1183...
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“The single static viewpoint in painting […] can no longer satisfy the expectations deriving from our new knowledge of history, physical structure, psychology. We now think in terms of process rather than substance.”  This statement, made by John Berger in 1959 while speaking of Lipchitz is not a new idea ; yet this notion of deriving process, as well as product and substance is clearly on display at the 2016 edition of Art Parts Art Fair. We have the opportunity within the environment of an art fair to move along from booth to booth, taking a small taste of galleries and artists from around the globe with the unique chance to tie a link between the dynamic importance of creating, and how it may manifest in similar ways yet with varied results.

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New Media and Painting 

“The art world is a model of a pluralistic society, in which all disfiguring barriers and boundaries have been thrown down […]” (Danto). Purity in art consists in the acceptance, willing acceptance, of the limitations of the medium of the specific art. Is the dominant art of today mass media, with the others trying to “shed their proper characters and imitate its effects?” This willing acceptance towards pushing limitations created in painting is on display at Galerie Charlot. The gallery is updating the classical art genres—the portrait and the landscape—through contemporary forms. A Fleur d’Eau, is a generative landscape by artist Jacques Perconte where a computer specific program endlessly moves, dancing around a compression of video data. This landscape, although completely analytical, is also poetic as the artist transports us to “[…] the transparent hull of a boat, travel in waves to Ajaccio Sanguinaires Islands […]” (Perconte). This landscape is created using studies of internal pyscho-visuals, mathematical structures of the movement of a tracking shot filmed, although “pluralistic” and “disfiguring boundaries” goals of the most basic idea of landscape and the sublime within nature, and idea which artists have been tackling for centuries now.

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