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Scriptures silent space to Louis Vuitton Beaubourg

Back on the classic theme of the print and language, aesthetic effects that emanate signs where the meaning is gone.

We do not count the exhibitions and publications around the theme of the imprint, the trace often accompanied by turgid meditations on the passing of time and persistence of the gesture. The exhibition space Louis Vuitton has the merit of addressing this issue with rigor, and deploys about a rich and delicate, served with some huge artists, including Joseph Kosuth, Sun7, and Ernesto Neto.

Exhibition "silent writes" effectively explores the various ways to writing, to be silent. There are silences forced, selected, silence born of fear to speak of the impossibility to say, oblivion. The play that opens the exhibition is an example of writing indecipherable three Rongo Rongo tablets writings of Easter Island probably made for religious ceremonies and kept in the Vatican Museum since 1925. The visitor can only assess the correctness of the abstract shapes like little drawings Aligned animated by an intention that has not yet discovered the secret.

There are also entries that have been deliberately encrypted to ensure confidentiality. This is the case of e-secret defense lawyers of Guantanamo prisoners presented by Jenny Holzer: just a few words should be removed or masked for an entire text falls into silence, and be degraded state stacking of signs without meaning. Another form of silence, not imposed by history and the passage of time (footprint) but deliberately and consciously designed by the law and regulation (Fig. Jenny Holzer / Galerie Yvon Lambert).




There are records that remain silent because the pile of things to read, the potential multiplicity of languages and our inability to master all discouraged by the company to advance reading. Silence is not absolute, it is relative: it depends on the time of each. The musical writings, the closed SBooks are about to speak, one feels that they could remain silent débaillonées but for us who do not comrpenons or do not do the effort to read. This is the case of these libraries with all these books neatly lined up on dusty shelves from floor to ceiling (see pictures of J Kosuth) or the Great Barrier books stacked by Ni Haifeng (illustration cons). The artist has superimposed the books on each other, to form a wall which is sees first that slices title. On the reverse, a hand aligns algebraic writings as signs cabalistic incomprehensible. The printed book serves as a blank surface to other records, the mathematical codes invest linguistic support.


Each piece of course is an opportunity for a shift in the normal use of signs, in the tradition of the Library of Babel by Borges or zero degree of writing of Roland Barthes, to name only the more evident. Each piece operates this slight shift in which handwriting thought to be familiar or should be, since it comes to communicating, suddenly becomes opaque as alien and a series of hieroglyphics. The mix of writing systems, Arabic, algebra, musical score, shows the diversity of the tools of human language, the arbitrary element in the heart of communication and the important work of interpretation Required for understanding the most basic.


Any language works on a collective interpretation of abstract symbols which in themselves mean nothing. It suffices that the code is missing, that interpreters are dying, and the significance disappears. It remains a complex system of notations that appear in the same bizarre ny blow in its materiality: the sounds, shapes, colors, patterns. The exhibition looks at all these phenomena of expansion and distortion of the signs and their own lives of their emancipated according to the vehicle direction.


The artists here use words and signs as a standalone graphic material. By projecting moving computer records on the walls of a room, Charles Sandison worked on the perception of writing code is no longer an inert but a living organic matter, and is no longer something posed for itself that should be read in a surrounding environment but which one bathes (Illustration: Charles Sadison / Cryptozologie). That signs no longer perceived simply as fingerprints or traces of something that should be faded back, but as living forms intensely expressive in themselves, that's very like a consecration.

See here the site of the expo. On a related topic and interest in graphic signs communication, see also this text exposure Villeglé

Can Hcg Give U Hot Flashes

Vassily Kandinsky

The magnificent retrospective at the Pompidou Centre insists first on the painter Kandinsky, sometimes obscured by the great theorist creator abstract art.

Most of the critical discourse on Kandinsky addresses the theoretical dimension of his work, including the radical decision to move into abstraction, the choice to switch from figurative painting to abstract art. It was written thousands of pages on the reasons for such a revolution, the warning signs, and the many implications of this inaugural decision. (With the black arc)

Exposure Beaubourg has the merit of one more step to provide access to the painting itself, rather than theory. It does not in fact answer the question "How did we go to abstraction?" but it must be told that "what we do once you're inside?" What happens once he crossed the Rubicon once the decision to move from side abstract painting? That's where we discovered, not without astonishment, the extraordinary richness of forms, diversity of abstract patterns painted and progressive on for decades, Russia, Germany, France.

A countdown to the naive intuition that "all resemble abstract paintings," or false intuition that "if we delete the object, there is only emptiness, or chaos, "Kandinsky's work reflects the richness of the graphical abstract universe. There are impressions, compositions and improvisations. The tables in the beginning, still imbued with Russian folk tales, and piles of colors and arches, with irregular spots. Followed by rigorous geometric compositions, the alphabet mathematical forms and biomorphic figures, small animals and hieroglyphics by which painting verges on writing (composition VIII).

The surprise - and shock - of this exhibition, beyond the chance to cross the all of the work of Kandinsky thanks to special loans from the three largest museums in the world, is undoubtedly the presentation of stunning watercolors of painter and in particular those the collection of Alexander Kojeve acquired in 2001. They are considered in their full flavor for the work on canvas, they are like a double-secret, underground, that Kandinsky has continued to compose in parallel. There's illustrations of children's stories, painting projects, small jewelry unprecedented color quality (untitled, 1915, donation from Kandinsky).

These works, which was aptly named the "secret of Kandinsky paintings" to complete this huge retrospective at the number of exposures that do not forgotten.

Centre Georges Pompidou until August 10 View as always thematic dossier prepared by the staff of the museum.

Not something posed for itself, but an environment in which one bathes