By Yuk Hui
In 1985, the French thinker Jean-François Lyotard curated a groundbreaking exhibition known as Les Immatériaux on the Centre Pompidou in Paris. The exhibition confirmed how telecommunication applied sciences have been starting to effect each element of lifestyles. while, it used to be a cloth demonstration of what Lyotard known as the postmodern . This ebook incorporates a formerly unpublished record through Jean-François Lyotard at the notion of Les Immatériaux and its relation to postmodernity. Reviewing the old signifi cance of the exhibition, his textual content is followed by means of twelve modern meditations. The philosophers, paintings historians, and artists - between them Bernard Stiegler, Sven-Olov Wallenstein, Anne-Elisabeth Sejten and Jean-Louis Boissier - examine this significant second within the heritage of media and thought, and refl ect at the new fabric stipulations led to via electronic applied sciences within the final 30 years.
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Extra resources for 30 Years after Les Immatériaux: Art, Science, and Theory
The lines of a Networked Life”, in Networked. A Networked e-book approximately Networked artwork, 2009, http://networkedbook. org; Jay D. Bolter and Richard Grusin, Remediation. figuring out New Media (Cambridge MA: MIT Press, 1999). eight Lynn Hershman Leeson, within the artwork and movie of Lynn Hershman Leeson. undercover agent, inner most I, ed. Meredith Tromble (Berkeley: college of California Press, 2005). nine Cf. Paul Crowther, serious Aesthetics and Postmodernism (London: Oxford collage 10 Cf. Hal Foster (ed. ), The Anti-Aesthetic: Essays in Postmodern tradition (Port Townsend: Bay Press, 1996, 1st ed. 1993). Press, 1983); Brian Wallis (ed. ), paintings after Modernism: Rethinking illustration (New York: Contemporary artwork as an “Immatériaux” [Figure 14] Annegret Soltau: Schwanger, 1978–80, website Trois mères (Source: Annegret Soltau, VG Bild-Kunst, Bonn 2015). Even one of the painters featured within the exhibition, one reveals artists who Lyotard heavily, like Jacques Monory. the positioning Peintre sans corps, in truth, is completely occupied by means of Explosion (1973), a suite of 4 diptychs (one portray and 3 photographic print canvases) depicting, from a detailed vantage aspect, the explosion of an aeroplane touchdown on a runway. within the series of canvases, the picture fades and grows dim, ultimately changing into slightly discernible, as though it were washed away. The name of the location (Peintre sans corps or “Painter with no body”) alludes to the alternative by way of Monory, in addition to different hyper-realist painters, to suppress the gesture of portray in favour of the photographic print, a “mechanical” strategy. however the feeling while status in entrance of the canvases is that portray itself used to be disadvantaged of its physique – i. e. the sensual element, the color. this can be one of many websites the place the fundamental assumptions of a piece of artwork, similar to its actual points and its techniques, are challenged by means of the equipment of the artist, following a feeling of immateriality. Lyotard, on the time, had simply devoted to Monory a hugely advanced textual content, the Assassinat de l’experience de l. a. peinture (1984), such as essays – the 1st written in Museum of latest paintings, 1984); M. Lovejoy, Postmodern Currents: paintings and Artists within the Age of digital Media (Ann Arbor: UMI study Press, 1989). a hundred twenty five 126 30 Years after Les Immatériaux the ‘70s, the second one at first of the ‘80s11 – which, taken jointly, rfile the transition from a approach dependent in psychoanalysis and Marxism, within which the varieties of inventive creation are mirrored within the kinds of monetary construction, to the aesthetics of the elegant utilized to modern artwork. Monory – a dispassionate painter who portrays the environments of the “jet set” and stylish interiors – has develop into well-known for polyptychs devoted to violent occasions, during which he painted the scene of a criminal offense or its protagonists, with out sentiment, just like a photojournalist. In those work, the picture is usually repeated, as though it have been the body of a movie, or a chain of images; an influence that is additionally accentuated by way of the serial nature of the composition, bought via adjoining panels.