Laura Lima at Bonniers Konsthall: Aesthetic Systems as ‘Ways of Worldmaking’

IF 0.2 2区 艺术学 0 ART KONSTHISTORISK TIDSKRIFT Pub Date : 2015-02-17 DOI:10.1080/00233609.2015.1011689
Kalinca Costa Söderlund
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引用次数: 1

Abstract

The work of Brazilian artist Laura Lima offers the viewer parallel realities within which it is possible to live. Such realities often preclude the distinction between the ‘real world’ and the ‘art world’, as is apparent in Bar/Restaurant, The Naked Magician and Choice – exhibited from 10 September to 30 November 2014 at Bonniers Konsthall, in Stockholm. This exhibition – curated by Sara Arrhenius with the contribution of Caroline Elgh – shows that, instead of asking ourselves ‘what’ is art, we should ask ‘when’ is art. As Lima’s work suggests, the answer to the right question is: when objects operate aesthetically by establishing a referential connection with the body as cognitive apparatus and when such apparatus becomes part and parcel of that aesthetic system, it allowed to exist. Her work also proves that ‘how an object or event [, or person] functions as a work [of art] explains how, through certain modes of reference, what so functions may contribute to a vision of – and to the making of – a world’. Similar to Nelson Goodman in his writings, Lima presents us with a method of conceiving art where the meaning of the aesthetic experience depends on our relation to the artwork and the codes and knowledge it actualises, where visual elements and the images thereof may be distinguished from their referents and end up devising their very own meanings. It is thus possible to state that from Lima’s work, as from Goodman’s, springs a constructivist and relativist philosophy. Accordingly, it is fruitful to draw on Goodman’s ideas to interpret what has been seen at this exhibition, albeit Lima’s method was not immediately recognisable.
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Laura Lima在Bonniers Konsthall演讲:作为“世界创造方式”的美学系统
巴西艺术家劳拉·利马(Laura Lima)的作品为观众提供了可能生活的平行现实。这样的现实往往排除了“真实世界”和“艺术世界”之间的区别,正如2014年9月10日至11月30日在斯德哥尔摩Bonniers Konsthall展出的酒吧/餐厅,裸体魔术师和选择。这次展览——由萨拉·阿伦尼乌斯策划,卡罗琳·埃尔赫参与——表明,我们不应该问自己“什么”是艺术,而应该问自己“什么时候”是艺术。正如利马的工作所表明的那样,正确问题的答案是:当物体通过与身体建立一种作为认知装置的参照联系而在美学上运作时,当这种装置成为美学系统的一部分时,它就被允许存在。她的作品还证明了“一个物体或事件[或人]如何作为一件[艺术]作品发挥作用,解释了如何通过某些参考模式,这些功能如何有助于对世界的看法和构建”。与纳尔逊·古德曼的作品类似,利马向我们展示了一种构思艺术的方法,在这种方法中,审美体验的意义取决于我们与艺术作品的关系,以及它所实现的代码和知识,在这种方法中,视觉元素及其图像可能与它们的所指物区分开来,并最终设计出它们自己的意义。因此,可以说,从利马的作品中,就像从古德曼的作品中一样,产生了一种建构主义和相对主义哲学。因此,利用古德曼的想法来解释这次展览的成果是富有成效的,尽管利马的方法并没有立即得到认可。
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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
17
期刊介绍: Konsthistorisk tidskrift/Journal of Art History includes investigations on art, architecture, and visual culture. We welcome articles on works, creators, and specific themes, as well as on theory and historiography. Accepted articles can be thorough explorations of a topic in accordance with a standard academic genre. We also welcome texts in a shorter, less finished format, functioning as openings to discussions.
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