Conceptions et déterminations récentes du baroque et du néobaroque

Baroque needs to be thought across chronological and geographical divides to connect architecture and dance, painting and natural science, philosophy, sculpture and music (and not in the sense of representations of music) and, above all, in relation to encounters with difference – heavenly, earthly, social, political, religious, geographical. What possibilities in baroque are open now in relation to present dilemmas in art history and world events? Baroque enables – arguably, it demands – a radical rethinking of historical time – and a rethinking of familiar history. It permits a liberation from periodization and linear time, as well as from historicism. While the scholars below acknowledge that baroque is often equated with style or historical period, it is most productively thought beyond them. Mieke Bal has argued that baroque epistemology permits an “hallucinatory quality” of relation between past and present that also allows a release from a supposed academic objectivity, while insisting that the engagement with the past should remain discomfiting and profoundly disturbing.1 Instead of repressing the past and time, creative retrospection allows its implications to emerge. In its materiality and bodiliness, baroque undermines resolution, gropes towards fragmentation, overgrows, and exceeds. Baroque architecture may be seen as overflowing, an excess of ornamental exteriority and evasive proliferation. This brings to the fore the question of surface. Andrew Benjamin’s approach to surface as neither merely structural nor merely decoration in architecture is important here. Baroque time and form impinge on each other – that is, not simply the time that it takes to process point of view into form, but of form into point of view.2 Thus the pursuit is for a baroque vision of vision, a baroque audition of hearing, and a multitemporality. The question of materiality (not mere matter, materials, or technique) must also come into play.Fil: Farago, Claire. State University of Colorado at Boulder; Estados UnidosFil: Hills, Helen. University of York; Reino UnidoFil: Kaup, Monika. University of Washington; Estados UnidosFil: Siracusano, Gabriela Silvana. Universidad Nacional de Tres de Febrero. Instituto de Investigaciones en Arte y Cultura "Dr. Norberto Griffa"; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; ArgentinaFil: Baumgarten, Jens. Universidade Federal de Sao Paulo.; BrasilFil: Jacoviello, Stefano. Università degli Studi di Siena; Itali

Varia

Dans ce numéro, Perspective se fait l’écho de la recherche internationale en histoire de l’art moderne et contemporain. La nouvelle couverture, parée de quatre images en couleurs, reflète l’élargissement du champ géographique couvert par la revue quant à l’art et son histoire. Quatre continents (Afrique, Amérique, Asie, Europe) sont approchés dans des articles qui questionnent les notions de centre et de périphérie sur les plans artistique et historiographique. Philosophes, anthropologues, architectes, historiens de l’art (conservateurs et universitaires) croisent leurs expériences de l’œuvre, de l’objet d’art, de la technique, de l’exposition et du musée, tandis que les catégories stylistiques telles que le baroque et l’art écologique sont revisitées en parallèle de comptes rendus de lecture sur la sculpture funéraire, le paragone ou encore Federico Barocci. Ce numéro est en vente sur le site du Comptoir des presses d'universités