Del contingut en art per la via del disegno. 0, ¿per què de kooning dibuixa amb els ulls tancats?
- Autores: Pere Salabert Solé
- Localización: Temes de disseny, ISSN 0213-6023, ISSN-e 2385-4863, Nº. 2, 1988 (Ejemplar dedicado a: Diseño, Comunicación, Cultura), págs. 109-122
- Idioma: inglés
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Resumen
To put it very briefly. artistic production can ben described as an imposition of a formal order on some previously given material. Artistic formalization is therefore considered �ever since the classics� as an act of delimitation in its aspects of fixing and enclosing. The most convenient element for formal delimitation is the line or profile. It is the renaissance «disegno» which clearly exposes the problem of creativity in art (invenzione). This poetical creative function derives from the aspect of fixing that the line (drawing as projecte and delimitation: design) involves. But it also depends on some other factor: according to the latest theory is the opposite of the determining order: some kind of rebellion of the artist agains the lingüístic prescriptions.
If art teaches us to see the world, it is not thanks to what we see in it (formal order: figures, bodies) but for its announcement of all the things that come behind it. How should one call it? Let's call it the «desfigure» that underlies any figure: let's call it the «inimage» that runs through any image The intuition of the inimage beyond the image, of some kind of profileless magma beneath the figure's profile is a privileged intuition that brings us near to naked reality, the other side of language.
The order of art (disegno) is the lenitive veil that hides from our sight the very same thing of which it announces an existence that has become unbearable
