Browsing Tag: poetry

    Uncategorized

    Book: The Aesthetics of Mimesis: Ancient Texts and Modern Problems, by Stephen Halliwell

    March 15, 2021

    In my work in progress on Lascaux, Altamira and Chauvet it has not been easy to find a word with which to talk about the various representations of these painted caves. But, I was recently reminded of the word mimesis since it is one of the earliest art historical terms, and, as I learned from this erudite book, mimesis is best thought of as a familial framework of ideas, through which we might sometimes speak of imitation and copying, sometimes of representation or description, and sometimes of expression and interpretation.

    Plato’s ideas around mimesis, frequently thought of as a monolithic dismissal of poetry, are themselves shown to be complex here, and he allows for a way of rendering the real world, through poetry or painting, that is, in itself, not degenerate at all, but, rather, ethical and good. Later Aristotle took up this term mimesis and gave it a twofold definition: encompassing external reality and internal logic – the Greek tragedy, for instance, should offer a true sense of the world and an audience response governed by the artwork’s structure

    In the first two parts of The Aesthetics of Mimesis, Halliwell explodes this dusty academic term and offers a dazzling array of the varied thinking of the ancient world. From its beginnings, poetry, and by extension painting, was understood to deal in hypothetical yet emotive realities. As long we have recorded notions about art, art could be said to simulate the world, as much as to reflect it. Whereas Plato famously thought of poetry as a potential negative influence, he also looked for correctness, mental benefits and pleasurable qualities in the sphere of art. Plato did not equate mimesis to verisimilitude; instead he looked for the ‘what’, ‘how, and ‘what for’ of form and beauty: these questions remain relevant to any 21st attempt to write art criticism. He wasn’t convinced by visual illusion, so mimesis has in fact never been about simply mirroring external realities; confounding what I had assumed to be the case. Aristotle later saw the work, whether written or painted, as both a performance and an intention. (Mimesis is, of course, applicable to acting, human learning, and music.) He was to argue that likeness need not be literal minded and so I hope to show by these examples, of which there are many in the book, just how complex and lively the debates of Ancient Greece remain today.

    Having said that, mimesis is not what it used to be. Leonardo da Vinci criticises fidelity to appearances. The Romantics gave up all attempts to depict the world out there and made expressive pictures and poems about the inner life, and for the Moderns there was no going back to the aim of mirroring nature. But that had never been the primary aim of mimesis, after all. We now live in what has been called a post-mimetic era. And yet the impact of both romanticism and modernism is show in these pages to have been more gradual and inconsistent than you might imagine. In the third and final part of his book, Professor Halliwell shows that, although Plato and Aristotle had the most to say about mimesis, the idea did not spring up with their arrival, and nor did it vanish with the passing of neo-Platonism.

    Perhaps most interesting is the encounter between mimesis and a thinker frequently engaged with on this blog. Derrida is oft said to unsettle the foundations of Western civilisation by destabilising, among other of his tenets, Plato’s conception of truth in poetry/painting. But this idea can be destabilised in turn because 1) Western thought is perhaps equally indebted to Aristotle and owes a further debt to an array of philosophers from the ancient world; and 2) Plato himself takes up a number of evolving positions in his writings about mimesis beyond the most familiar passages in The Republic. Perhaps I have got this wrong, and I invite comments which qualify this short review. I have tried to represent The Aesthetics of Mimesis, but I don’t promise to show things as they (really) are.

    This title is from Princeton University Press (2002) and read via Kindle.

    literature

    Interview: Karelle Ménine

    December 3, 2015

    la phrase

    The technical challenges of poetry have usually to do with meter, rhyme and form. In Mons this year, the greatest poetic achievements have all been around measuring buildings and tracking down their owners. By the end of December, the results will be 10km of verse painted onto the city’s stony grey facades.

    This single, sinuous line, by multiple authors, began to snake through the streets at the beginning of 2015, just as Mons began its stretch as European Capital of Culture 2015. It comes and goes from all four corners of the scenic Grand Place and runs a ring around the city’s imposing prison. And, as it begins and ends at the station, it is the first and last of the attractions that visitors see.

    Locals, meanwhile, will live with the well-chosen words and find they change meaning along with the individual’s mood and the weather. During my visit, there was a drizzle in the air and the poetry took on an air of rainproof defiance. It may not be a good idea to read a book in the rain, but stopping for a poem of hope on the damp walls of a prison is recommended.

    The instigator of this project is author, artistic director and journalist Karelle Ménine; she told me a bit more when we spoke on the phone. “I deeply believe we have to rediscover our own literature. We have to try to rebuild the link between literature and the people,” she says, with a passion that must have been needed to plan and execute the world’s longest line of poetry.

    Ménine and her team, which includes graphic designer Ruedi Baur, were faced with contacting 400 landlords with varying fondness for the business of verse. “Maybe it would be impossible to create this kind of project in any other place than in the Capital of Culture,” she muses. Meanwhile Baur was faced with typesetting 250,000 characters for some 77 streets.

    Gritty, urban typeface Garaje was chosen for the project and letters have been stretched to grab the attention of passersby. “If you want to read it, you absolutely have to slow down. You can’t rush, as usual. You have to walk. Walking pace is the right speed to catch this poetry and memorise the line”, says Ménine. Much of this verse was composed before cars were the dominant mode of transport.

    So who are the poets now lining the streets of Mons? Well, they all have connections with the city. Best known is Paul Verlaine, who spent two years in Mons prison after he shot Arthur Rimbaud, in Brussels. “When he was in jail, he wrote so many beautiful poems which changed French Literature really,” says Ménine. “It was an important movement for poetry, the presence of him in this jail”.

    Then there are the poets of surrealist group Rupture who were writing between the wars. Poet and resistance fighter Marguerite Bervoets. plus Flemish poet and local resident Emile Verhaeren can also be rediscovered on the walls here. During WWII, Bervoets and prominent surrealist Fernand Dumont were also detained in the prison, which was for them both, sadly, just a stay of execution.

    “It’s not two worlds. It’s the same world, in or out,” says Ménine of the prison. “Literature maybe can be a kind of common thread.” She tells me that as part of this unifying project, which goes by the singular name La Phrase, the team has organised workshops to re-introduce prisoners to the comforts of reading and, “also to give them the ability to realise that they really need literature”.

    So the literary pedigree of Mons, which will come as a surprise to many, could this year earn the Belgian city comparisons with Prague (with the 19th century prison as Kafka’s nightmarish Castle). Ménine, however, thinks that visitors to the Czech capital often fail to go to the texts which have made the city famous, happy just to visit cafés where Kafka is said to have frequented.

    “The thing which we tried to do is to open the book and to offer you the opportunity to read these poems, these writers, this movement, and because we are here for one year we offer you also the possibility to read it every day,” the project director explains, offering the wide Belgian skies as the changing context for her chosen authors.

    Put that way, the setting is indeed more favourable to poetry than advertising or municipal signage. “Public space is a fabulous blank canvas, a fabulous opportunity to show something very important,” says Ménine. At the moment this space is invaded by advertisers, a fact which the director bemoans, before adding: “If you want to take a pen and write the word freedom on the wall it’s forbidden. It’s called graffiti”. 

    “I don’t think that literature is superior to anything else,” she insists. “I just think that literature is really in danger.” Her energy for the project appears to stem from this awareness. La Phrase is a mission to restore books to an audience which doesn’t even know what it’s missing. “Putting literature into the city is giving people the chance to feel the necessity of literature,” she says.

    But whereas a billboard might occupy a site for many years, most of these lines of poetry are due to be erased in January. The programme director tells me this has been a political decision rather than an artistic one, but she remains positive. She hopes locals will miss the verse, and respond by visiting libraries and bookshops: “to take the further step,” as she puts it.

    If a single poem can change a life, the work of 40 poets can surely change a city. In one voice, this year, they speak of a love for Mons and the vitality of the written word.

    Mons remains European Capital of Culture for less than a month. Plan your visit soon!

    contemporary sculpture

    Nicole Wermers, Untitled Chairs (2015)

    October 9, 2015

    wermers

    Last night I dreamed about this, my least favourite piece of art from the 2015 Turner Prize exhibition in Glasgow. What you see, is what I thought I was getting: fur coats on chairs.

    The coats are actually sewn around the chairs. So this is presented as a comment on claiming space in an urban environment. And about design. And about feminism. But I wasn’t dreaming about that.

    And I don’t think I was dreaming about death, so I must have been dreaming about sex. Although until this point, Wermers’ furry chairs, with their parted fringes, had flown under the erotic radar.

    Or was it plainly death, after all? How many creatures were bred for slaughter to make these coats and where are the coat owners? God knows you feel their absence.

    The catalogue will draw your attention to the fact the chairs are a Marcel Breuer design classic. But in art sometimes, as in poetry, meaning is just the meat with which the burglar distracts the dog.

    Let’s call it a poem, not only to paraphrase TS Eliot there*, but so we can allow it complete semantic ambiguity. (Another crazy aspect of my dream: Wermers was supposedly referencing a popular poet.)

    It appears the artist has form with this kind of thing. Double Sand Table is a 2007 work which also plays with modern design. “I had to keep thinking of them”: so says critic and poet Barry Schwabsky.

    That is from the catalogue too. Was I dreaming myself into the shoes of a far more eminent writer? Or does this sculptor really have a knack for tickling the unconscious mind and provoking REM?

    She’s up against an archive, a choral piece and an assemblage of house fixtures & fittings, so by default Werners’ chairs are the strongest visual image in this year’s show. My eyes are opened.

    Nicole Wermers can be seen in Turner Prize 2015 at Tramway, Glasgow, until 17 January 2016.

    *T.S. Eliot, The Use of Poetry and the Use of Criticism; Studies in the Relation of Criticism to Poetry in England [London: Faber, 1933]