Revues scientifiques académiquesKim Tschang-Yeul : La voie de l’eau
Mots-clés :
réel, irreprésentable, impermanence, videet plein, non-agir, non-peintureRésumé
From the series Event of the Night in 1972 to Neige in 2003, via Gouttes d'eau (1979-2013), the painter Kim Tschang Yeul has developed a poetics of formlessness in which negation, emptiness and absence direct the creative process. The Korean plastic artist offers through the materiality of the work a meditation on the fluence of worlds and forms. The drop of water expresses the precariousness of things, but also evokes a beyond of representation whose richness is as great as its restraint. Water is the metaphor of the void without which the full cannot unfold; it introduces the practice of non-action, which does not consist in doing nothing but in letting the supporting factors at work in the form happen. The creative process abstains from any intentional action, to let the invisible power of the tao act.
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Références
Coomaraswamy A. K., La Transformation de la Nature en Art, X. Mignon et J. Poncet (trad.), Paris, Dervy, 2017.
Escande Y., Montagnes et eaux, Paris, Hermann, 2005.
Jullien F., Éloge de la fadeur, Paris, Picquier, 1991.
Jullien F., La grande image n’a pas de forme, Paris, Seuil, 2003.
Lacan J., L’Angoisse, Paris, Seuil, 2004.
Lao-Tseu, Tao-tê-King, F. Houang et P. Leyris (trad.), Paris, Seuil, 1979.
Tschang Yeul K., « Où il est question de la queue d’un tigre », [dans :] Enrici M., Kim Tschang Yeul, Arles, Actes Sud, 2018.
