Arte Institute

Newsletter

ARTE INSTITUTE


Sign up for Arte Institute free Newsletter!





Subscribe
Unsubscribe

SUGGESTIONS

EDGE ARTS | Conceito Percepto Afecto

Arte Institute support and suggest a EDGE ARTS show "Conceito Percepto Afecto" by Maria Cohen.


CONCEITO PERCEPTO AFECTO | Maria Cohen
Opening 9 JUL 7:30 PM 
Weekdays from 7am to 11pm | Saturdays from 9 am to 9 pm | Sundays and bank holidays
from 9am to 6 pm
ESPAÇO AMOREIRAS | LISBOA


Concept Percept Affect : Drawing is structured based upon the presumption of these three elements playing in tension. In this triple tension, as Deleuze mentions in the Letter to Reda Bensmaïa, on Spinoza, in Negotiations: “… And it takes all three wings, nothing less, to form a style, a bird of fire.”1 The bird of fire turns into becoming. And, with him, a pressing need of answering to the Concept (new ways of thinking), to the Percept (new ways of seeing and listening, not as perceptions, but as an agglomerate of sensations and relationships that survive from the experimentation) and to the Affect (new ways of experimenting, where there is a transformative movement which affects who it passes by).

Drawing does not fulfill only from obeying to this structure, however it tries to draw it! It is at this time that we recognize bodies as bodies in limbo, searching for new raiment, the many wings’ representations that compose phoenix, elements of three figures among others, without, however, neglecting the frustrations of this research and hence the appearing of other figures (masks, noses, bees, …) and the use of another material, charcoal, to face this adversity, opening up new paths.

The figure in the drawing’s space assumes the entire role. It manifests through fragments of its features. The whole does not matter!

From fragment new possibilities appear, whereby from the repetition of forms, moved by a need of construction of an expressive mechanism (experimentation/error), new raiment arise and with it another meaning.

Drawing alternates between line and patch, occurring occasional color notes, but never in order to create another consequence than to sublimate the figure. The absence of backgrounds obeys to the intention of removing the figure from its narrative context, where it is enough in itself. The use of small scales adds an intimate sense to the drawing, where the readiness of its making propounds/suggests fluidity in the composition.