يجب تسجيل الدخول أولا
La Simplicite Chez Brancusi: Une Preuve de la Vie Reelle a L'epreuve du Viral
| المصدر: | مجلة مدارات |
|---|---|
| الناشر: | جمعية مدارات معرفية |
| المؤلف الرئيسي: | Chakroun, Nadia (Author) |
| المجلد/العدد: | ع29,30 |
| محكمة: | نعم |
| الدولة: |
تونس |
| التاريخ الميلادي: |
2017
|
| الصفحات: | 231 - 242 |
| DOI: |
10.12816/0050261 |
| ISSN: |
0330-7565 |
| رقم MD: | 852748 |
| نوع المحتوى: | بحوث ومقالات |
| اللغة: | الفرنسية |
| قواعد المعلومات: | HumanIndex |
| مواضيع: | |
| رابط المحتوى: |
عدد مرات التحميل
3
| المستخلص: |
The sculptures of Brancusi are very discernible by the simplicity of their forms, which the artist identifies as "sister of the intelligence", he renounces the art of imitation to put artistic activity to the Test of the viral.By viral we mean here the artistic production based on the imitation of the real, a procedure by which the artist produces forms that conjure life, betray it and hate it. As a result, we will talk about the viral as the production of simulacra and the simplicity of the brancusian forms as truth. In other words, we will treat the spatial articulation between the body of the sculptor, the body of the cosmos and that of the spectator through three notable events that reveal the scandal caused by the work of Brancusi by renouncing the viral during his appearance. It is thus to ask the following questions: how the real referent acts on the Brancusi consciousness independently of its viral action and how the work of this artist can act on the consciousness of receptor as a proof of real life and as a artistic production to the test of the viral. We will end by questioning the current design in which the primordial forms of Brancusi have been taken over to become utilitarian or decorative objects, which diverts their senses once again raises the question of virality in artistic activity. |
|---|---|
| ISSN: |
0330-7565 |
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