Painting Before Painting

Generally speaking, the grey area or the so-called no man's land, in which nothing or little is known about the function (of the object) of painting, or even the nature of being a painting, the observations allow us to consider that this no man's land is a land of passage - when there are operative or procedural methodologies that indicate, but do not yet say, as is the major example of Nadir; or that this no man's land is a land of fixation and occupation - when there are methodologies of a certain hybridity, and where preparation and result, support and discipline are reconciled in the same support, namely, as is the major example of Queiroz. In the first case, gesture and drawing are confined to singular actions of organisation and preparation; in the second, gesture and drawing encompass general and plural actions of expression and result. Therefore, painting before painting, beyond the uncertain, the implicit and the unthought, is zero-degree painting.

Autorentext

Profesor Emérito de la Facultad de Bellas Artes de la Universidad de Oporto. Académico Correspondiente de la ANBA, Academia Nacional de Bellas Artes. Presidente del CAE de Bellas Artes/Artes Visuales de la A3ES. Coordinador de los proyectos BCIP, Bases Conceptuales para la Investigación en Pintura, 2014-2019, y ARTplus, Arte, Investigación y Enseñanza hacia el Futuro.

Klappentext

Generally speaking, the grey area or the so-called no man's land, in which nothing or little is known about the function (of the object) of painting, or even the nature of being a painting, the observations allow us to consider that this no man's land is a land of passage - when there are operative or procedural methodologies that indicate, but do not yet say, as is the major example of Nadir; or that this no man's land is a land of fixation and occupation - when there are methodologies of a certain hybridity, and where preparation and result, support and discipline are reconciled in the same support, namely, as is the major example of Queiroz. In the first case, gesture and drawing are confined to singular actions of organisation and preparation; in the second, gesture and drawing encompass general and plural actions of expression and result. Therefore, painting before painting, beyond the uncertain, the implicit and the unthought, is zero-degree painting.