Haloportrait

halo: (...) the aura of majesty or glory surrounding a person or thing that is regarded with reverence, awe, or sentiment; a luminous ring or disk of light surrounding the heads or bodies of sacred figures, such as saints, in religious paintings (dictionary.com)


Wouldn't the artist of the future be the one who expresses, through silence, but eternally, an immense painting lacking every notion of dimension?

L’artiste futur ne serait-il pas celui qui, à travers le silence, mais éternellement, exprimerait une immense peinture à laquelle manquerait toute notion de dimension?

Yves Klein

http://ledeurjp.club.fr/Klein.htm

http://ikb2002.altervista.org/home.htm http://blancardi.jeanjacque.free.fr/yvesklein/yves.htm

A very short introduction to the very short career of Yves Klein (excerpts)

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Yves Klein chose the limitless as his own field of creation and the void (not the same as emptiness or hollowness) as the expression of immaterial. What I think is new in Yves Klein's work (and at that time unique, if we are to consider art history as a linear narrative, which I think is not), is the effacement of the level of discourse through its very redimensioning. What I’m trying to say is that his search for monumentality (the experiments with Electricité de France for the experience on the Place de la Concorde, in Paris), political power (the letter to W. Churchill, presenting the Blue Movement), civil power (the projects for air architecture with Werner Murnau) and so forth find their way to dissolution in their own lack of materiality (“blue is the invisible becoming visible”, “my pictures are the ashes of my art”, “man will be able to conquer space only after having realized the impregnation of space by his own sensibility”).

On the subject of Yves Klein’s blue monochromes, Banai also writes: “self-presence and self-efacement, then, are the coordinates of the crisis engendered by this hybrid object, which, in its heterogeneity, perpetually emphasizes the experience of limits – themselves always shifting” (18). However, “Klein’s monochromes take on a chimeric aspect, offering themselves up for consumption as a sensation of spiritual union with oneself and the world. The result is a circulation of signification among these three sutured sites: a society mediated by images, which frames itself as a spatial construct, the monochrome, which manifests itself as a sacred space, and the spectator, who experiences his or her own bodily presence in space as a sensation of the sacred. (…) Paradoxically, the sacred aspect of space has to be “spoken”, revealed to the world (…) if it is to be preserved as a public secret” (20-1).

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The utopy of becoming no-bodies after having been members of the capitalist state, i.e. no-things in a consumer society of both available and unreachable things, becomes a possibility in a reality devoid of itself, a reality turned into a fiction that would be the site of ultimate freedom but also of absolute truth, because where is dissolution, there will be absolute no-thing, radical negativity.

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Bibliography

Olivier Berggruen et al. (eds.), Yves Klein, Hatje Cantz Publishers, 2004.

(Spanish version) AAVV, Yves Klein, catálogo de la exposición, Bilbao: Museo Guggenheim, 2005.

Peter Noever, François Perrin, Yves Klein: Air Architecture, Hatje Cantz Publishers, 2004.

Weitemeier, Hannah, International Klein Blue, Benedikt Taschen Verlag, 1996.

Yves Klein, Le Dépassement de la Problématique de l'Art et autres écrits, Ecole Nationale Supérieure des Beaux-Arts, 2003.

Martin Heidegger, "Bauen, Wohnen und Denken", Vorträge und Aufsätze, Pfullingen, 1951.

(French version) "Construir Habiter Penser", Essais et Conférences, Paris: Gallimard, 1958.

(English version) "Building Dwelling Thinking", Poetry Language Thought, New York: Harper Colophon, 1971.

http://www.guggenheim-bilbao.es/ingles/exposiciones/las_exposiciones.htm

http://www.guggenheim-bilbao.es/frances/exposiciones/las_exposiciones.htm

how blue is our burden