By Zsuzsa Baross

The 2 essays within the quantity persist with a protracted culture in severe discourse that turns to Arts area as a resource of proposal, guide, and as fabric for the development of its options and the improvement of its difficulties. The case learn of Suite Grunewald, 159+1 diversifications, via the artist Titus-Carmel, returns to a topic that has been eclipsed in earlier many years through the valuable to recollect: specifically, the production of the hot as an occasion, or particularly, the development of the hot as production. this can be a particularly vexatious challenge following, at the one hand, the large displacement of the topic because the writer and author of its works and, at the different, the advent of the influential DeleuzianBergsonian concept of the hot as immanent continuity instead of because the common-sense idea might have it a rupture, interruption, and discontinuity. the 1st essay develops this complex through operating along with Titus-Carmel diversifications / deconstruction of Grunewalds unique portray of the Crucifixion as an exemplary web site the place the construction of the hot instantly incalculable and invaluable reveals a residing and pressing expression. the second one essay phases an come across and units loose the resonances among the writing of Jean-Luc Nancy on and round the physique and the cinema of Claire Denis as a cinema that mobilizes the strength of our bodies that it itself invents, and to which it offers a special kind of presence.

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Additional resources for Encounters: Gerard Titus-Carmel, Jean-Luc Nancy, Claire Denis

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Line and color jointly trace the joint movement of the two bodies: the faint-faIl and the holding-up. Now the image itselfis mobilized, dramatized by the tension it stages between two contrary movements that traverse its space on either side of the upward curve (MM's back, her outstretched arms) that diagonaIly divides it into two triangles. On the one side, the line faIls backward as if itself in faint; inert, it lets itselfbe pulled down by an invisible weight it makes visible; on the other side, the upward thrust of supplication agitates, has taken possession of MM's entire body, her back arching backward as if leaning against or being pulled back by that strange black form, the "wing" she will carry throughout the series.

In the extended sequence (63-82) of a frenzied fragmentation, if one may say, in "rhythmic speed," the fingers are detached, amputated, from the hands; the drawing trait, in monochrome--black or the color of dried blood-amputates, violently rotates, then re-assembles, recomposes, a single hand [10]: an icon, a hand that has no original but is a combination of aIl the suffering hands; then, in yet another operation of fragmentation, the vélin d'Arches itself is eut-halved, quarteredbefore, like Frankenstein's monster, the parts are re-assembled, bearing the scars of the history of their creation: something absolutely new, yet not a creation ex nihilo.

Or alternatively, the unpaired image may open the variation to the future, breach a line to the next series, as does the extraordinary No. 7 [51, to which l will return more than once. Despite being in the colors ofblack and white, for on TC's vellum both are colors, the drawing is the most extravagant image in the first block. The dessin is dense and layered, partially resurfaced, as one resurfaces a road, by rectangles of thin Asia paper cut and pasted onto the vellum, here and there redrawing the frame itself.

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