Le lieu propre du néant
For Rachel Whiteread, the void has a shape, and nothingness occupies a place. The British artist solidifies specific volumes of air (the interior of bottles, the space surrounding a mattress, the interior space of a room, a house, etc.); in doing so, she highlights the emergence of absence. The orig...
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| Format: | Article |
| Language: | English |
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Centre de Recherche "Texte et Critique de Texte"
2018-11-01
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| Series: | Sillages Critiques |
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| Online Access: | https://journals.openedition.org/sillagescritiques/7638 |
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| _version_ | 1832578585059131392 |
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| author | Pamela Bianchi |
| author_facet | Pamela Bianchi |
| author_sort | Pamela Bianchi |
| collection | DOAJ |
| description | For Rachel Whiteread, the void has a shape, and nothingness occupies a place. The British artist solidifies specific volumes of air (the interior of bottles, the space surrounding a mattress, the interior space of a room, a house, etc.); in doing so, she highlights the emergence of absence. The original object disappears and a new form appears, a kind of simulacrum which is neither trace nor ruin, but a liminal and monumental object. As a form of positivist deconstruction, the object disappears by returning in the form of an archetypal image, as a new object to contemplate. Through the analysis of some of her works, this paper deepens the concepts of vestige, trace, and contemporary anti-monumentality. |
| format | Article |
| id | doaj-art-fda0be23f31b4c318773d21280e70167 |
| institution | Kabale University |
| issn | 1272-3819 1969-6302 |
| language | English |
| publishDate | 2018-11-01 |
| publisher | Centre de Recherche "Texte et Critique de Texte" |
| record_format | Article |
| series | Sillages Critiques |
| spelling | doaj-art-fda0be23f31b4c318773d21280e701672025-01-30T13:47:04ZengCentre de Recherche "Texte et Critique de Texte"Sillages Critiques1272-38191969-63022018-11-012510.4000/sillagescritiques.7638Le lieu propre du néantPamela BianchiFor Rachel Whiteread, the void has a shape, and nothingness occupies a place. The British artist solidifies specific volumes of air (the interior of bottles, the space surrounding a mattress, the interior space of a room, a house, etc.); in doing so, she highlights the emergence of absence. The original object disappears and a new form appears, a kind of simulacrum which is neither trace nor ruin, but a liminal and monumental object. As a form of positivist deconstruction, the object disappears by returning in the form of an archetypal image, as a new object to contemplate. Through the analysis of some of her works, this paper deepens the concepts of vestige, trace, and contemporary anti-monumentality.https://journals.openedition.org/sillagescritiques/7638spacetracecontemporary artsculpturevoidcast |
| spellingShingle | Pamela Bianchi Le lieu propre du néant Sillages Critiques space trace contemporary art sculpture void cast |
| title | Le lieu propre du néant |
| title_full | Le lieu propre du néant |
| title_fullStr | Le lieu propre du néant |
| title_full_unstemmed | Le lieu propre du néant |
| title_short | Le lieu propre du néant |
| title_sort | le lieu propre du neant |
| topic | space trace contemporary art sculpture void cast |
| url | https://journals.openedition.org/sillagescritiques/7638 |
| work_keys_str_mv | AT pamelabianchi lelieupropreduneant |