All 2 entries tagged Joan Miro
No other Warwick Blogs use the tag Joan Miro on entries | View entries tagged Joan Miro at Technorati | There are no images tagged Joan Miro on this blog
June 25, 2004
I am still slowly working my way through Deleuze's book on Francis Bacon, the Logic of Sensation. It is quite superb. In fact I think the most effective (solo) book by Deleuze. If I had more time I would blog extensively about it. When I move to Kenilworth I will have more time, and hopefully might even finish reading it (and the 5 other books i'm in the middle of). Anyway, all i want to say for now is that it's a great primer for looking at any paintings, for example, this helps me to see why Miro is so special:
…there is a special relationship between painting and hysteria. It is very simple. Painting directly attempts to release the presences beneath representation, beyond representation. The colour system itself is a system of direct action on the nervous system. This is not a hysteria of the painter, but a hysteria of painting.
Last weekend Emma and I bought a Fundació Miró print of Pintura. This is to go in our bedroom at the new house in Kenilworth. Looking at it reminded me of something that I wrote just after visiting the Fundació, an interesting coincidence of reading a book on Miro and Guattari's Chaosmosis. I've rescued the text from my old MT blog and repeated it below…
Andre Breton on Miro's Constellations: "They belong together and differ from one another like the aromatic or cyclic series of elements in chemistry. If one considers them both in their development and as a whole, each of them assumes necessity and value like a constituent in a mathematical series. And finally, they give the word 'series' that special meaning by their uninterupted and exemplary sequence." Miro by Janis Mink, Taschen 2000.
Felix Guattari on the Production of Subjectivity: "In this conception of analysis, time is not something to be endured; it is activated, oriented, the object of qualitative change…A singualrity, a rupture of sense, a cut, a fragmentation, the detachment of a semiotic content – in a dadaist or surrealist manner – can originate mutant nuclei of subjectivation. Just as chemistry has to purify complex mixtures to extract atomic and homogeneous molecular matter, thus creating an infinite scale of chemical entities that have no prior existence, the same is true in the 'extraction' and 'seperation' of aesthetic subjectivities or partial objects…that make an immense complexification of subjectivity possibile – harmonies, polyphonies, counterpoints, rhythms and existential orchestrations, until know unheard and unknown." Chaosmosis (page 19)
Miro described how he would evolve the elements of his works from partial objects viewed while staring at the ceiling above his bed. He worked these partial objects into existential orchestrations relative to each other, generating a "necessity" (in the Kantian sense) to their being produced. Guattari takes the Bergsonian interpretation of Kant in seeing subjectivity as enduring or being subject to necessities (refrains or exemplary sequences). But like Miro he knows that these necessities are not given, they are produced through knowable mechanisms (time is activated) – and if they can be known, then they can be chosen, so he has the possibility of an ethico–aesthetic paradigm.