To speak of aesthetic rationality is not simply to pronounce a verdict that a work of art is good or bad. What constitutes the real aesthetic judgment is the process of explaining valid reasons to justify the artistic qualities of a work attributed to it. In contemporary art, each language game of an artistic practice […]
I don’t draw. I start doing all kinds of stains. I am waiting for what I call “the chance ”: the stain from which the painting will start. The stain is the chance. But if we care about the chance, if we believe that we understand the chance, we will still do illustration, because the […]
The ontology of the ready-made always has a controversial meaning compared to that of traditional art. The Mona Lisa da Vinci, for example, is a work that is based on the process of creation, virtuosity or know-how of the artist. We do not question its status, its actuality, the moment at which this work exists. […]
Some works of contemporary art sometimes give us disturbing, strange, immersive emotions, without offering any object to see or feel. These are devices that disorient and decondition the viewer’s habits. Among them we can notice the installation Blind Light by Antony Gormley (2007), which leads our perception to new sensory discoveries (1). By excluding the […]
By reexamining Michaud’s notion of the pluralism of artistic practices and values, I have attempted to reconstruct the aesthetic rationality that manifests itself through specific arguments about the qualities of works of art. It is about the analysis and the union of language games in the Wittgensteinian sense that allows us to account for our […]
Sir Francis Bacon (1561–1626) was a successful English lawyer, politician, scientist, orator and philosopher. His works were enormously influential during a scientific revolution, in which Bacon proposed a great reformation of all process of knowledge. He popularized a scientific knowledge, often called the Baconian method, based only upon inductive and careful observation of events in […]