Beyond the visible

In L’Image ouverte1, Georges Didi-Huberman makes a distinction between the « visible » and  the « visual ». The author warns against the superficiality of the visible, which attaches a screen to the visual, therefore the viewers are deprived of their own personal projection into the image. The open image rightly illustrates the density of the incarnation of the visual. The visible is only a « disembodied imitation »2.
Marcela Serra’s paintings are part of this ambiguity. The artist proceeds to « an aesthetic rescue of ephemeral images »3 whose raw appearance leads the viewer to believe that they don’t go beyond the visual.
In order to understand these images, the spectators should necessarily reject their visual prejudices. For example, the fuzziness stands for the critical path against the digital images. Read more…

Focus / Thomas Baumann

In his treatise Principles of movement and equilibrium as an introduction to mechanics and physics, Jean Trabaud defines the equilibrium as « the state of many forces and powers which act ones against the others in such a way that everything remains at rest »1, and thereby suggests Read more…