Bill Viola ou l’image sans représentation
Bill Viola claims that the era of optical vision is over and, despite this, his works give the impression of a perfect visual evidence. This article sets out to look at the paradox of an image which is not aimed to the sight. First, in comparing the work of this video-maker with figurative art and t...
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| Main Author: | |
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| Format: | Article |
| Language: | fra |
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Centre d´Histoire et Théorie des Arts
2011-04-01
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| Series: | Images Re-Vues |
| Subjects: | |
| Online Access: | https://journals.openedition.org/imagesrevues/497 |
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| Summary: | Bill Viola claims that the era of optical vision is over and, despite this, his works give the impression of a perfect visual evidence. This article sets out to look at the paradox of an image which is not aimed to the sight. First, in comparing the work of this video-maker with figurative art and theatre, we can see that it partakes of a specific aesthetic autonomy grounded in the previous elision of the threshold of vision. Second, we can see that B. Viola offers once more the innocent eye which was believed not to exist, under the form of a sincere body whose existence remains to be proven. He indeed creates audio-visual configurations which allow by bringing forward the original expressivity of man, to produce a persuasive or even claiming effect on the viewer, be he naive or sophisticated in using his nervous system. Thirdly, the same aesthetic problem operates in his whole work: the deleting of psychological identity of the viewer experiencing within himself the theme of the video, this theme being emotion. Such images will then be incorporated within him. |
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| ISSN: | 1778-3801 |