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L'influence des médiations discursives et visuelles du bioart sur la constitution, le fonctionnement et la réception des oeuvres

Abstract : How can we explain the presence of documentation surrounding the circulation of bioart and its influence on the constitution, functioning and reception of the works, whereas this artistic movement shares with living and body art a live, embodied and performative dimension implying a direct and unmediated reception from the audience ? Because if documentation seems to be used to offset the scarcity of bioart exhibitions by ensuring media visibility, it also seems necessary to guarantee the effectiveness of its direct reception by configuring the experience felt by the audience.In fact, first produced by the artists and then taken up by various commentators, discursive and visual documentation of bioart comprises a variety of statements, interviews, commentaries and theoretical discourse with illustrations of works, published in exhibition catalogs, magazines, press reviews or even on the websites of the artists. Thus, if, through their narratives, artists find an opportunity to say more about their creations, revealing their recipes and artistic approaches, the intentions which impel them to appropriate biotechnology is the main argument taken by the experts in their discourses which aim to interpret the meaning of their works beyond their material qualities, by increasing their symbolics meanings. Pictures of works produced by artists also illustrate this wish to link them to a hidden meaning. But, despite the obvious presence of this network of meanings carried by the documentation about the works, some experts believe that bioart’s interest is based on its intrinsic and formal properties. For instance, according to the curator Jens Hauser (2008), bioart should be experienced in a phenomenological way of «co- corporeality» because it goes «beyond representation» to produce «effects of presence » through the performative staging of « bioartefacts » (Andrieu, 2008). But the author adds that the effectiveness of this « co-corporeal » experience is based on a « liminal » verbal mediation between the viewers and the bioartefact, to inform them about the underlying and imperceptible processes implemented by the artist. So, although bioart is valued for the unusual aesthetic experience provided by its bioartificial dimension, it seems that it would have no effect on the audience without the documents.On the assumption that there is interdependence between bioartistical works and their documentation to structure and ensure the effectiveness of their reception as works of art, this thesis will explore through media and empirical approaches, the dynamics that take place between the mediation of bioart and the works to which they refer. The results will show that, despite its exit from the mimetic paradigm and the process of "re-materialization" it engages in art history (Hauser, 2008), bioart works similarly to dematerialized art, because the experience it generates does not rely on the intrinsic aesthetic properties of its productions, but on the extrinsic network of meanings assigned to them and through which their tangible and symbolic compositions as works of art are unveiled to the viewer. The fact that bioartistical works need documents to convey their principles of intelligibility to the audience and to become works of art calls into question their autonomy as artworks with intrinsic aesthetic and material properties, and it unsettles the belief which overvalues a phenomenological approach to this art form.
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Flore Bugnicourt. L'influence des médiations discursives et visuelles du bioart sur la constitution, le fonctionnement et la réception des oeuvres. Art et histoire de l'art. Université Nice Sophia Antipolis, 2013. Français. ⟨NNT : 2013NICE2010⟩. ⟨tel-00864110⟩

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