Art et publicité : une relation dialogique ambiguë (original) (raw)
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L'article aborde la relation complexe entre l'art et la publicité, en se basant sur les réflexions de Walter Benjamin sur les effets des techniques de reproduction sur l'œuvre d'art. L'impact des techniques mécaniques de reproduction, telles que la photographie et la lithographie, est exploré pour comprendre comment elles modifient la perception, la valeur et la fonction de l'art, entraînant une évolution vers une marchandisation et une nouvelle conceptualisation de l'œuvre, souvent éloignée des valeurs esthétiques traditionnelles.
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*Abstract: Around the year 1900, the reproduction of works of art and the art of the film have had on art in its traditional form. In this piece, Benjamin discusses the profound impact of photography and film on our cultural conceptions of art. He argues that photography inherently lacks essential characteristic more stylish forms to create a visual representation: the aura, and hence that its main use ships from ritual to political. He discusses a shift in perception and its affects in the wake of the advent of film and photography in the twentieth century. He writes of the sense changes within humanity's entire mode of existence; the way we look and see the visual work of art is different now and its consequences remain to be determined. Benjamin devices the concept of the « aura » to explain what he sees as the near universal significance of uniqueness and permanence regarding what we consider as art.
Ces deux dernières décennies ont été le théâtre de l’accroissement d’un phénomène complexe, celui des reproductions d’expositions. Selon qu’il s’agisse d’une inclusion à la manière d’une period room ou d’une réédition complète d’un précédent fameux de l’histoire de l’art du XXe siècle, la répétition ne produit pas les mêmes effets. The two last decades have seen the growth of a complex phenomenon: exhibition reproductions. A reprise produced as the inclusion of a “period room” doesn’t have the same effects as a complete restaging of a famous precedent in twentieth-century art history.
2004
Gagnier, R. (2004). L’oeuvre à refaire : Existence de l’oeuvre en tant qu’exposée et attitude de l’artiste face à sa reconstruction / Re-Making Artwork : Its existence as an exhibition and the artist's attitude concerning its reconstruction. Espace Art actuel, (69), 10–17. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. [https://apropos.erudit.org/fr/usagers/politiquedutilisation/\]
A Critical Reading of Walter Benjamin´s The work of art in the age of mechanical reproduction
Cadernos Walter Benjamin
Minha intenção é apresentar uma resenha crítica do mais festejado ensaio de Walter Benjamin, intitulado "A obra de arte na era de sua reprodutibilidade técnica". Várias dificuldades numa primeira leitura desse texto, especialmente devido a um contraste sensível entre sua brevidade e o grande número de questões por ele levantadas. As razões para isso residem nas próprias circunstâncias em que o ensaio foi escrito, mas se devem igualmente ao estilo epigramático adotado pelo filósofo. Isto por si só já constituiria um ótimo tópico de análise. Pretendo, porém, enfatizar outros aspectos: 1) o contexto em que o texto foi produzido, a fim de mostrar que se trata de uma espécie de manifesto; 2) o desenvolvimento do conceito-chave de "aura", que já havia sido mencionado num texto anterior ("Sobre alguns motivos de Baudelaire"); 3) a questão da "politização da arte", conforme aparece no epílogo do ensaio.
re-published in a modified version as The Psychoanalytic Approach to Artistic and Literary Expression in Toward the Postmodern, ed. R. Harvey and M. Roberts (Amherst, NY, Humanity Books, 1993, pp. 2-11). Opposing itself to various other psychoanalytic approaches to art and literature (approaches that Lyotard criticises along the way), the paper argues that because artistic and literary works are laden with figure, which operates according to a different logic than that of language, artistic expression must be understood as having properties different from those of spoken or written commentary. Expression is thus set off from meaning, and is shown to reveal a very specific kind of truth: the trace of the primary process, free for the moment from the ordering functions of the secondary process. Its formative operations not only leave their mark on the space in which artistic works appear, but produce new, plastic, figures. Lyotard argues that the artistic impulse is the desire to see these unconscious operations, "the desire to see the desire." Attention to this function of truth and to the role of artistic space in giving the artwork its "play" brings attention back to Freud's analysis of expression in tragedy and its link to the results of his own self-analysis -and thus to the very constitution of psychoanalysis itself.
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