Sunday, 26 August 2012

Opfattet, grebet og set


PERCEIVED, APRREHENDED AND SEEN


ENGLISH TRANSLATION IN ITALICS


- Der kan ikke skrives om Ib Andersens tegninger, for de er et stykke af virkeligheden lagt ned på papir, erklærede kunsthistorikeren Merete Bodelsen engang.

Tænk, hvis en tegner vitterligt kunne sætte kunsthistorien, videnskaben og i sidste instans en mulig guddommelighed ud af kraft. På et stykke papir.

- It is not possible to put Ib Andersen's drawings into words in that they are a piece of reality put directly onto paper, as once stated by the art historian Merete Bodelsen.

Imagine if an artist was indeed able to put art history, the sciences and ultimately a possible divinity out of power. On a piece of paper.


Ivar Gjørup, Egoland, sidste rude fra nr. 5557 i serien om Det Hellige Papir, 20.9.2006/
Ivar Gjørup, The final frame of No. 5557 in the series of "The Holy Paper", 20.9.2006.
- THAT is one BOLD theory!!

Faktum er naturligvis, at kunsthistorien ikke har ord for tegnerens kunst.

Men rytmen, som den første formelle æstetiske relation af hver del til de øvrige dele af enhver æstetisk helhed eller af en æstetisk helhed i forhold til dens del eller dele eller af nogen del til det æstetiske hele af hvilken, den er en del -

Sådan skriver kun én: James Joyce med Portrait of the Artist as a Young Man, der blev til omkring den tid, da Ib Andersen var 10 år gammel.

Det var Tue, som førte på sporet igen, fordybet og diskuterende i kunstnerens egen bog om ungdommens vej til rytmen i hver del i forhold til helheden og omvendt. For Joyces vedkommende lå vejen i ordene. Tue Ebert er for sin del musiker:


The fact is of course that the history of art has no words for the cartoonist's art.

But the rhythm, as the first formal esthetic relation of part to part in any esthetic whole or of an esthetic whole to its part or parts or of any part to the esthetic whole of which it is a part -

Thus writes only one: James Joyce in "Portrait of the Artist as a Young Man", when Ib Andersen was about 10 years old.

It was Tue, who brought back the remembrance of the young Joyce, having the author's book under one arm while debating youth's road to the rhythm of each part in relation to the whole and vice versa. In Joyce's case the road lay in the words. Tue Ebert is, in turn, a musician:





Tue Ebert med bandet E bird leger i Modern Man med det modernes menneskes erfaringsverden, absurditet og rutine i stadig nye kæder - day break, earth quake, city train, belly ache, autumn leaf - alt lagt i en lazy beat, som Joyce ville have elsket at føje nye rækker til.

Begge søger de mod koncentrationen af erfaringen, for Joyce's vedkommende gennem hovedpersonen Stephen Dedalus, der endnu har mødet med Leopold Bloom foran sig. Den unge Dedalus ser idealet i den statiske følelse, når bevægelse sættes ud af kraft, så sindet kan løfte sig over menneskets gemene - fysiske - reaktioner, som begær og afsky.

Og det er jo ansatsen til en æstetik, Dedalus gør sig, med ord, der får en Ib Andersen-tegning til at tone frem. Vi har før set på Ib Andersens koncentrerede blik, som en meget fysisk proces, hvor præcist han ville kende det tegnede indefra stadig mere detaljeret som fund, han kunne notere på papiret. Det er den intense tilstedeværelse, processen, vi som beskuere oplever i hans værk:

Joyce bruger billedet af en kurv, lad os bruge en kælk. For at se kælken, må sindet lukke den ude fra resten af det visuelle univers, som ikke er kælken. Den første fase af, hvad Joyce kalder opfattelse er en konturlinje tegnet omkring det objekt som opfattes. Kælken opfattes som én ting, som en helhed.


Tue Ebert along with his band E bird is in Modern Man pondering the experience of the world of modern man, the absurdity and routines of it, constantly wringing out new chains of words - day break, earthquake, city train, belly ache, autumn leaf - all put into a lazy beat to which Joyce would have loved to add new strings.

The aim of both author and composer is the condensation of what is experienced. In Joyce's case through the main character, Stephen Dedalus as a young man, who has yet to meet Leopold Bloom. The young Dedalus sees an ideal in the feeling of stasis when motion is taken to a halt so that the mind can rise above the sordid - physical – reactions of man. Reactions such as desire and disgust.

Why, that is the beginnings of an aesthetic, Dedalus is articulating with words that make the drawings of Ib Andersen appear to our inner eye. We have previously looked into the concentrated gaze of Ib Andersen. A very physical process in which he strived to know the drawn items from within if possible, discovering, uncovering and detailing everything onto paper. It is the intense presence, the process, we as beholders experience in his work:

Joyce uses the image of a basket, we shall use a sleigh. In order to see the sleigh, the mind has too shut it out from the rest of the visual space, which is not the sleigh. This is the first phase of what Joyce calls presentation, where a contour line is drawn around the object perceived. The sleigh is perceived as one thing, as a unity.




I næste led følger beskueren punkt for punkt kælkens linjer. Som figur er den kompleks, multipel, delelig, skabt af sine dele og summen af dem. Beskueren opfatter den som balanceret del for del inden for dens rammer, føler rytmen af dens struktur. Syntesen af den umiddelbare synshandling følges således op af analysen for at gribe og forstå, snarere end at se. Joyce betoner konstant delen over for helheden, som kan adskilles, men ses under ét. Hvad der først blev opfattet som at være én ting, ses nu at være en TING.


Next, the beholder follows the lines of the sleigh, letting the eyes take it in bit by bit. As a figure it is complex, multiple, divisible, created by its parts and the sum of them. The beholder apprehends it as balanced piece by piece within its framework, feeling the rhythm of its structure. The synthesis of the immediate visual action is thus followed by analysis to grasp and understand, rather than to see. Joyce constantly emphasizes the part within the whole, the two of which can be separated, but are seen as one. What was first considered to be one thing is now seen to be a THING.




Det sidste og samlende punkt er som altid det vageste, eftersom det er kulminationens øjeblik, hvor altings forklaring skal findes, i dette tilfælde hvad der gør kunsten. Joyce har i de første led brugt verberne at opfatte, derefter at gribe og i tredje led bliver det at se - beskueren ser, at det er denne kælk og ingen anden.

Udstrålingen fra den er tingens hvadhed - whatness, så vidt anes i Joyces egen oversættelse direkte fra det latinske quidditas - udgået fra kunstnerens indre. Beskueren standser op over for tingens fuldendte substans, fascineret af dens harmoni i en lysende, tavs stasis af æstetisk nydelse.

- En åndelig tilstand, der svarer til at blive ramt af et hjertestop, for nu at citere Joyce. Som ikke kunne lade være med at indlægge en chokeffekt, selvom den bryder med den salige fuldendelse i hans beskrevne stasis.

Æstetisk stasis i dens yderste konsekvens, og vi ville også have været skuffede over mindre fra Joyce. Forbilledet var Thomas Aquinas, men uforfalsket i Joyces egen fortolkning. Med denne indsigt kunne Dedalus gå videre gennem Dublin og møde sin skæbne i Ulysses, mens vi ser den tilsyneladende tilfældighed i kælken efterladt i sneen, netop denne slidte, afrundede genstand ved siden af spurvene, kultur i forening med natur som i deres dele og helhed synes så selvfølgelige, at de jo bare har været der, og dog er det netop kunsten, at de er der, så nøje opfattet, grebet og set, at vi kan lægge an til - hjertestoppet.

The final point where all is to be brought together is as always the vaguest, since it needs to encompass the notion of "everything". In this case what makes the art. Joyce first used the verb "to perceive", then "to apprehend" and thirdly "to see" - the beholder sees that it is this sleigh and no other.

The radiance coming from the item is its whatness – which seems to be Joyce's own direct translation from the Latin quidditas - stemming from the artist's inner self. The beholder comes to a halt when confronted with the perfect completion of the thing, fascinated by its harmony in a luminous and silent stasis of aesthetic pleasure.

- A spiritual state similar to a cardiac arrest to quote Joyce. Who could not help himself from using a shock effect at that very point even if it rather breaks with the blissful completion of his described stasis.

 The above takes aesthetic stasis to its extreme, and we would have been disappointed with any less from Joyce. It was modelled on Thomas Aquinas, but so palpably Joyce's own interpretation. This insight allowed Dedalus to proceed through Dublin and meet his fate in "Ulysses", while we see the apparent randomness of the sleigh left in the snow in Ib Andersen. This very worn, rounded object next to the sparrows, culture in union with nature, both of which in their parts and in their whole seem so obvious as if they were there by chance, and yet they have an artistic reason for their being there, to be perceived, apprehended and seen that we prepare ourselves for – the cardiac arrest.


Tak til Ivar Gjørup og Ib Andersens familie for tilladelse til at bringe tegnekunst af så fuldendt subs tans / Thank you to Ivar Gjørup and the family of Ib Andersen for their permission to show graphic art of perfect completion.


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