Reports

French sociologist Pierre Bourdieu wrote a book Rules of Art: Genesis and Structure of the Literary Field. He proves there, among other things, behaviour of strength, power or formal circuits to which concentrate individual creators (in his study especially litterateurs). In the case of Bourdieu’s book it concerns the environment of France, even more narrowly, Paris. The anchor starting point here is in the analysis of the writer’s work Sentimental Education by Gustave Flaubert, according to the imaginary ellipses of artistic enclaves pass around each other, intersect or overlap one another, thereby they in the end coexist.

Especially the latter moment seems to be remarkable and inspiring one. However, a similar scheme is highly controversial and prone to the breakage, because the artist as a universal active entity is multiple and changeable. Nonetheless, the collective psyche is accustomed to divide art into its individual disciplines, to which assigns authors and creates their qualitative hierarchy. It is a well-known traditional model, whose counterpart is mutual permeability and influence. Without having it said aloud, may the “ellipse” (area) of the visual arts in part become a place where dominate, besides the traditionally perceived forms, the ways of creative use, which according to the same perception belong to poetry and literature, theater, music or Humanities. At that moment, the activity of writing is transformed from latent to the central plane and the resulting “writing Artist” is the relevant overhang on the imaginary social body of visual arts. He writes, driven by a variety of reasons: graphomania or pure obsession and pleasure from the text, prone to colorful descriptions of facts into stories and plots, intellectual analysis erupted from type of visual thinking or understanding the artistic role as the one of director, which primarily requires initial scenario. An attempt to preview the individually “writing” in the pre-group formation is the basic motive for holding an organized event.

The space of etc. gallery for one month becomes a scene of organic events, wherein artistically reversible authors will rotate at a specified time, pass and intersect or coexist generationally. Their basic expressive connectors are need for storytelling, desire to speak through a text, current necessity of writing, but also an absolutely instrumental utilization of language in theatrical or musical form. Tangible evidence of such an enumeration of various aspects of writing is in books, publications and distinctive objective carriers, which as the only artifacts, will be on display in the windows of the gallery throughout the symposium. Literary activities of included artists by their capabilities, formal mechanics and contents destination, exceed far beyond the limits of this text. Thus, any comprehensive evaluation lies on the adventures of the individual outputs and time-boxed productions. In those we might get an opportunity to see each artist in a different structure, in another literary field.

Radim Langer

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