Artist in residence from May 01 ’till June 30 – 2014
at Bains Connective
It
does not deal with throwing forth (pro-jet) things in the world for a
future memory. What we do with the work of art is to create a physic and
a thought dwelling for a mortal being. The source of the work of art is
the human capacity of thought, which transforms the “unarticulated
passivity” of sensation. The reification of the art woks makes the
thought tangible, inasmuch the works of art are things and they
constitute themselves thanks to hand’s ability in fabricating durable
things, as in example, writing, staging, filming, painting,
photographing. The price payed by working is life itself. “This
deadness, however, though somehow present in all art and indicating, as
it were, the distance between thought’s original home in the heart or
head of man and its eventual destination in the world, varies in the
different arts” (Arendt, Hannah, Human condition, Cap IV, The work, The
permanence of the world and the work of art, The university of Chicago
Press, second edition 1998, p. 169).
The thought, in the dead material of the art works, could be saved from his death condition when it enters in contact with a life willing to revive it. As such, a film, a poetry, a dance or an installation remains death as long as it is not revived by some kind will. Although this will shares the fate of death with the other living being, in the work of art it is not a fate due to consumption, because, for his uselessness, it is the higher expression of durability. That means that work of art shares the fate of death, as a relatively durable dwelling in the world and engendered by thought capacity. But exactly for this fact it has at his base the awkward of the relationship between consumption and durability.
The thought, in the dead material of the art works, could be saved from his death condition when it enters in contact with a life willing to revive it. As such, a film, a poetry, a dance or an installation remains death as long as it is not revived by some kind will. Although this will shares the fate of death with the other living being, in the work of art it is not a fate due to consumption, because, for his uselessness, it is the higher expression of durability. That means that work of art shares the fate of death, as a relatively durable dwelling in the world and engendered by thought capacity. But exactly for this fact it has at his base the awkward of the relationship between consumption and durability.
