GOOD FAITH Christian.
Lexicon and Diagram: Treatise on painting volume II.
The Share of the Eye.
Regular price
€24,00
| N° d'inventaire | 30035 |
| Format | 21 x 25 |
| Détails | 264 p., paperback. |
| Publication | Brussels, 2023 |
| Etat | Nine |
| ISBN | 9782930174594 |
Diptych Collection.
Regularly exhibited, the work of Christian Bonnefoi is one of the leading figures in contemporary art in France. Lexicon and Diagram is the second volume of the Treatise on Painting , the first volume of which was published in April 2023. Bonnefoi's work has been patiently developed since the 1970s, revisiting the question of the painting and the pictorial, the foundations of which he has endeavored to rethink anew. As the philosopher Michel Guérin writes in the preface to the first volume of the Treatise on Painting : "More than the motif, the driving force behind Christian Bonnefoi's writing is the construction of a concept of the painting, the purpose of which is not to ultimately replace the real painting but to share its uncertain condition."
The second volume of the Traité de peinture , this Lexique des termes de la peinture is composed like a lexical novel . Reconnecting with the tradition of Renaissance treatises, Bonnefoi extends the action of painting and its silent knowledge, its technè , into the medium of language. The headings, classified in alphabetical order and intended to be virtually enriched, develop in varied registers of writing, moving from the conceptual elaboration of a term to its inclusion in a history of painting techniques or to its poetic resumption . This is the case, for example, with the notions of "detail", "condensation", "erasure", "mode of exhibition " , "threshold", "verso" or even "collage" among a hundred other terms in the Lexique .
A true "device", which, along with the "Tableau" and the "Remake", constitutes one of the three technical modes of Bonnefoi's practice , the "Collage" develops in a reflection on the thickness of the plane, the depth of a reserve which rises to the pictorial surface and overflows it, like the memories of involuntary memory or the "foreparts" which detach themselves from the "tableau", like the simulacra of Lucretius. As Bonnefoi writes, collage cannot be reduced to this technical invention of the Cubists, "it signifies that the surface as an entity, inherited from the Quattrocento, is no longer able to accommodate new forms, that it must be duplicated , even multiplied, developing its expansion both in its margins and in its thickness and materiality".
This precept is equally valid for language where "the word that will take over from the most advanced point of painting does not, however, detach itself entirely from it; it retains the coloring which is its own way , painting, of existing beyond its place, that is to say in language." Epistolary correspondence (with Jean Louis Schefer, Gilles Hanus, Pascal Bacquè, Norbert Hillaire, Michel Guérin or Dina Germanos Besson) is therefore also invited into the elaboration of notions, which summon in a jumble the biographical event, the instance of historical criticism, reverie, the recommendation addressed to the painter, or even the fine description of his operations.
This precept is equally valid for language where "the word that will take over from the most advanced point of painting does not, however, detach itself entirely from it; it retains the coloring which is its own way , painting, of existing beyond its place, that is to say in language." Epistolary correspondence (with Jean Louis Schefer, Gilles Hanus, Pascal Bacquè, Norbert Hillaire, Michel Guérin or Dina Germanos Besson) is therefore also invited into the elaboration of notions, which summon in a jumble the biographical event, the instance of historical criticism, reverie, the recommendation addressed to the painter, or even the fine description of his operations.
Borrowed from philosophy (Bergson's growth of the real), poetry (Mallarmé's calm block), the novel (Proust's Land of the Obscure) or even constructed from the painter's experience (like what Bonnefoi calls the division of division), the notions of the Lexicon expand and densify the constellation of relationships they maintain between them over the course of a reading open to a labyrinth of possible circulations.
This second volume of the Treatise includes, in the first part, an introduction to the Diagram , which is a spatialization and a stratification of Bonnefoi's work.
"In the Lexicon , [the words] move like fleas in dog hair and jump here and there, sometimes in immense leaps, sometimes from one hair to another. They then weave strange fraternities that Lucretius found condemnable because they produce monsters like in the images where a human head is welded to a bull's body. Varro plunged his life into this teeming and unstable pot and, despite the care he took to ration it by introducing regulations exported from grammar, nothing worked; this jumped to that.
The Lexicon that I propose is therefore of this kind: it makes common cause with the movement of images and can, modestly, linger on a detail or, vainly, go to meet the greatest monstrosities, just like Lucretius who, while saying "this cannot be", lets his imagination run wild with combinations of bodies or plants that would not have displeased Ovid. (Christian Bonnefoi)
"In the Lexicon , [the words] move like fleas in dog hair and jump here and there, sometimes in immense leaps, sometimes from one hair to another. They then weave strange fraternities that Lucretius found condemnable because they produce monsters like in the images where a human head is welded to a bull's body. Varro plunged his life into this teeming and unstable pot and, despite the care he took to ration it by introducing regulations exported from grammar, nothing worked; this jumped to that.
The Lexicon that I propose is therefore of this kind: it makes common cause with the movement of images and can, modestly, linger on a detail or, vainly, go to meet the greatest monstrosities, just like Lucretius who, while saying "this cannot be", lets his imagination run wild with combinations of bodies or plants that would not have displeased Ovid. (Christian Bonnefoi)
Diptych Collection.
Regularly exhibited, the work of Christian Bonnefoi is one of the leading figures in contemporary art in France. Lexicon and Diagram is the second volume of the Treatise on Painting , the first volume of which was published in April 2023. Bonnefoi's work has been patiently developed since the 1970s, revisiting the question of the painting and the pictorial, the foundations of which he has endeavored to rethink anew. As the philosopher Michel Guérin writes in the preface to the first volume of the Treatise on Painting : "More than the motif, the driving force behind Christian Bonnefoi's writing is the construction of a concept of the painting, the purpose of which is not to ultimately replace the real painting but to share its uncertain condition."
The second volume of the Traité de peinture , this Lexique des termes de la peinture is composed like a lexical novel . Reconnecting with the tradition of Renaissance treatises, Bonnefoi extends the action of painting and its silent knowledge, its technè , into the medium of language. The headings, classified in alphabetical order and intended to be virtually enriched, develop in varied registers of writing, moving from the conceptual elaboration of a term to its inclusion in a history of painting techniques or to its poetic resumption . This is the case, for example, with the notions of "detail", "condensation", "erasure", "mode of exhibition " , "threshold", "verso" or even "collage" among a hundred other terms in the Lexique .
A true "device", which, along with the "Tableau" and the "Remake", constitutes one of the three technical modes of Bonnefoi's practice , the "Collage" develops in a reflection on the thickness of the plane, the depth of a reserve which rises to the pictorial surface and overflows it, like the memories of involuntary memory or the "foreparts" which detach themselves from the "tableau", like the simulacra of Lucretius. As Bonnefoi writes, collage cannot be reduced to this technical invention of the Cubists, "it signifies that the surface as an entity, inherited from the Quattrocento, is no longer able to accommodate new forms, that it must be duplicated , even multiplied, developing its expansion both in its margins and in its thickness and materiality".
This precept is equally valid for language where "the word that will take over from the most advanced point of painting does not, however, detach itself entirely from it; it retains the coloring which is its own way , painting, of existing beyond its place, that is to say in language." Epistolary correspondence (with Jean Louis Schefer, Gilles Hanus, Pascal Bacquè, Norbert Hillaire, Michel Guérin or Dina Germanos Besson) is therefore also invited into the elaboration of notions, which summon in a jumble the biographical event, the instance of historical criticism, reverie, the recommendation addressed to the painter, or even the fine description of his operations.
This precept is equally valid for language where "the word that will take over from the most advanced point of painting does not, however, detach itself entirely from it; it retains the coloring which is its own way , painting, of existing beyond its place, that is to say in language." Epistolary correspondence (with Jean Louis Schefer, Gilles Hanus, Pascal Bacquè, Norbert Hillaire, Michel Guérin or Dina Germanos Besson) is therefore also invited into the elaboration of notions, which summon in a jumble the biographical event, the instance of historical criticism, reverie, the recommendation addressed to the painter, or even the fine description of his operations.
Borrowed from philosophy (Bergson's growth of the real), poetry (Mallarmé's calm block), the novel (Proust's Land of the Obscure) or even constructed from the painter's experience (like what Bonnefoi calls the division of division), the notions of the Lexicon expand and densify the constellation of relationships they maintain between them over the course of a reading open to a labyrinth of possible circulations.
This second volume of the Treatise includes, in the first part, an introduction to the Diagram , which is a spatialization and a stratification of Bonnefoi's work.
"In the Lexicon , [the words] move like fleas in dog hair and jump here and there, sometimes in immense leaps, sometimes from one hair to another. They then weave strange fraternities that Lucretius found condemnable because they produce monsters like in the images where a human head is welded to a bull's body. Varro plunged his life into this teeming and unstable pot and, despite the care he took to ration it by introducing regulations exported from grammar, nothing worked; this jumped to that.
The Lexicon that I propose is therefore of this kind: it makes common cause with the movement of images and can, modestly, linger on a detail or, vainly, go to meet the greatest monstrosities, just like Lucretius who, while saying "this cannot be", lets his imagination run wild with combinations of bodies or plants that would not have displeased Ovid. (Christian Bonnefoi)
"In the Lexicon , [the words] move like fleas in dog hair and jump here and there, sometimes in immense leaps, sometimes from one hair to another. They then weave strange fraternities that Lucretius found condemnable because they produce monsters like in the images where a human head is welded to a bull's body. Varro plunged his life into this teeming and unstable pot and, despite the care he took to ration it by introducing regulations exported from grammar, nothing worked; this jumped to that.
The Lexicon that I propose is therefore of this kind: it makes common cause with the movement of images and can, modestly, linger on a detail or, vainly, go to meet the greatest monstrosities, just like Lucretius who, while saying "this cannot be", lets his imagination run wild with combinations of bodies or plants that would not have displeased Ovid. (Christian Bonnefoi)