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The implied experience

by | Vol 26 (1/2) 2008

This text aims to explore the political implications of the creative act of painting. The author refuses to describe creation within that field of creative art which is defined purely by its own history. His goal is to broaden this field by questioning it and also to determine what connection exists between the act of painting and its socio-historical context. The recognition of such a connection leads the author to reconsider the conditions of that creative practice. In fact, if an art work obeys any other conditions than its own, it would be important to explore their role in the creative process and also to evaluate these various practices regarding their real inscription in a history which is not reducible to art history. Only then will it be possible to speculate about the possibility of aesthetic politics. More simply, this text reformulates the problem of the power of visual creation by insisting on the relationship of reciprocity it maintains with a socio-historical context which is a condition of that creation but which is also simultaneously altered through its influence.

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