Sommaire du livre "Rectoversion, l'issue"
Historique de la rectoversion
 

 
 
 
 
 
   
 

Résumé and extracted from the epilogue of the book " Rectoversion, the exit "

EPILOGUE

.... (...)... We have tried throughout these pages to share a certain number of experiences with you, experiences undertaken by visual artists. You will have noted that the most incredible visual experiments have been carried out for almost one century. This artistic expansion corresponds to a more general transfer which has an impact on all knowledge and all practices. Certain protagonists no longer hesitate to express what they have concealed until today.

Science is more and more efficient at describing ' how ' phenomena occur but is unable to explain ' why ' . Even if one day the scientists manage to explain that in the form of mathematical equations the origin of the Universe, they will not be able to explain why there was this rather than nothing. This metaphysical impossibility is the abc of any honest scientist.

The history of modern and contemporary art knows the same metaphysic limits. Some even sometimes wanted to make of art into a pseudo-science.

For many, including for specialists in artistic speculation, 'rectoversion' seems unsuitable for consumption. This non assimilation can be explained in the following way: 'rectoversion' does not oppose the causal evolution of visual facts (modern and contemporary in the majority, in which the concepts of rupture and innovation play the major part), with the continuity of artistic tradition which maintains painting within the traditional scope of the flat exclusively two-dimensional surface.

It would seem that modern sequencing of visual facts and their analysis obeys a logic where objectivity is the driving force. Painting is regarded there as a suitable material for objective experimentation. This empirical aspect brings it closer to renewable almost scientific experimentation. The trouble is that in fact from objectivity, contemporary art often evolves in an exasperated subjectivism, which moves it away from any scientific process.

If physics cannot delete several milleniums of metaphysics, it is the same for painting. Any art that is satisfied with this chronic subjectivism cannot ignore that the founder role of art is a magic act where the artist stands back and makes way for reality which exceeds him and which he serves. How to reconcile tradition and innovation? 'Rectoversion' is one of the proposals able to solve such questioning...(...)...


 

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