Color between materiality and signification
Publikation: Bidrag til bog/antologi/rapport › Bidrag til bog/antologi › Forskning › fagfællebedømt
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Color between materiality and signification. / Rösing, Lilian Munk.
Analyzing the Cultural Unconscious: Science of the Signifier. London : Bloomsbury Academic, 2020. s. 215-224.Publikation: Bidrag til bog/antologi/rapport › Bidrag til bog/antologi › Forskning › fagfællebedømt
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TY - CHAP
T1 - Color between materiality and signification
AU - Rösing, Lilian Munk
PY - 2020
Y1 - 2020
N2 - I want in this article to discuss the ambiguity of color between representation, materiality, and abstraction. What dimension of the artwork do we capture when we focus on color? Is the fascination with color a fantasy to escape the cut of the signifier, that is the symbolic order, or could it testify to a traumatic or/and revelatory encounter with the beyond of the symbolic order, the cut or opening in the symbolic order itself? In that case, could that explain why color in our culture is connected to femininity, given that Lacan defines the feminine position as the one related to the cut in the symbolic order? I shall start by reflecting on the connection between color and femininity at stake in the “chromophobia” of our culture, and finish by affirming a more “chromophile” (and femininity-friendly) liaison. The argument will pass through the different conceptions of color involved in Didi-Huberman’s concept of “pan” and Merleau-Ponty’s concept of “flesh”, and the different conceptions of “flesh” to be found in Merleau-Ponty and Eric Santner. A last important concept will be the concept of “incarnation” as used by Didi-Huberman to designate what happens when signifiers do not so much signify an abstract meaning as materialize them. Could color, like the yellow in Vermeers painting, be an “incarnation” in that sense?
AB - I want in this article to discuss the ambiguity of color between representation, materiality, and abstraction. What dimension of the artwork do we capture when we focus on color? Is the fascination with color a fantasy to escape the cut of the signifier, that is the symbolic order, or could it testify to a traumatic or/and revelatory encounter with the beyond of the symbolic order, the cut or opening in the symbolic order itself? In that case, could that explain why color in our culture is connected to femininity, given that Lacan defines the feminine position as the one related to the cut in the symbolic order? I shall start by reflecting on the connection between color and femininity at stake in the “chromophobia” of our culture, and finish by affirming a more “chromophile” (and femininity-friendly) liaison. The argument will pass through the different conceptions of color involved in Didi-Huberman’s concept of “pan” and Merleau-Ponty’s concept of “flesh”, and the different conceptions of “flesh” to be found in Merleau-Ponty and Eric Santner. A last important concept will be the concept of “incarnation” as used by Didi-Huberman to designate what happens when signifiers do not so much signify an abstract meaning as materialize them. Could color, like the yellow in Vermeers painting, be an “incarnation” in that sense?
KW - Det Humanistiske Fakultet
KW - colour analysis
KW - Lacan, Jacques
KW - Santner, Eric
KW - Merleau-Ponty, Maurice
KW - Didi-Huberman, Georges
KW - signifier
KW - chromophobia
KW - Freud, Sigmund
KW - Demy (Jacques)
KW - Irigaray, Luce
KW - femininity
M3 - Bidrag til bog/antologi
SN - 9781350088368
SP - 215
EP - 224
BT - Analyzing the Cultural Unconscious
PB - Bloomsbury Academic
CY - London
ER -
ID: 235740850