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Budvytyte, Eglè --- Deraedt, Sara --- Esquivias, Patricia --- Gibson, Beatrice --- Waterman, Alex --- Johannessen, Toril --- Mackay, Fiona --- van der Put, Emma --- Vanbesien, Robin --- kunst --- Vanbesien Robin --- 7.039 --- Van der Put Emma --- Mackay Fiona --- Johannessen Toril --- Gibson Beatrice --- Esquivias Patricia --- Deraedt Sarah --- Budvytyté Eglé --- kunst en geografie --- eenentwintigste eeuw --- installaties --- fotografie --- Exhibitions

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De masterscriptie onderzoekt de fenomenologische grond van de verschillende modaliteiten in de spanning tussen zichtbaarheid en zegbaarheid in figuratieve schilderkunst, en dat meer specifiek vanuit een dialoog tussen mijn werken en het denken van Heidegger, Agamben, Levinas, Merleau-Ponty en Susan Sontag.

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Deze thesis bespreekt het maken van kunst en meer bepaald mijn eigen artistieke praktijk aan de hand van een blik op het verleden en hoe we die registreren en (her)beleven. Via herinneringen keren we terug in de tijd waardoor gevoelens van weemoed opduiken. Deze gevoelens uitten zich op gemeenschappelijk vlak in nostalgie en op persoonlijk vlak in melancholie. Zowel herinneringen als nostalgie en melancholie kunnen een negatief of positief effect uitlokken. Dat positieve effect zet aan tot creativiteit en resulteert in het creëren. Via deze bedenkingen ontwikkelde ik een dieper inzicht in mijn eigen werk.

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In this thesis, I first attempt to clarify the notion of perception based on phenomenology. Further, I involve the difference between a passive eye and an active eye, the activation of the active eye has a lot in common of that of a spectator. The artist often deals with spectatorship as part of the process of art, itself. I connect the spectatorship of an artist with the genesis of art. It will not be the first time that an artist studies the nature of visual experience, centuries have passed in which artists tried to grasp how we render what we see. From Leonardo Da Vinci (1452-1519) and his discovery on perspective by the use of the grid, to Georges Braque (1882-1963) who also tried to depict the experience of what he saw, he employed the genre of the still life to conduct a lifelong investigation into the nature of perception through the tactile and transitory world of everyday objects. The introduction of the camera has also changed a lot in our understanding of perception and converts what the artist had seen in images. The artist gives a visual and/or material existence to that which eludes ordinary seeing. The text fragments on the left are reconstructed situations and reflections in which I found myself in a role between an artist looking and a spectator, whether or not of art or everyday life situations. It exposes the spectatorship of me as an artist, that precedes an artwork and influences the process of making. Many of the associations, dissociations, interpretations, comparisons and, observations of the text fragments appear in my art practice, they have led me there in a certain way. The text fragments are supported by a parallel text on the right that offers a theoretical framework. I do not intend to provide answers, but to give the reader an insight into what I call the spectatorship of an artist, which, by the way, corresponds to that of a spectator in an art context. It shows how we build on what we see, and that what we see, complements our mental image.

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Irony, the expression of one’s meaning by using language that normally signifies the opposite, typically for humorous or emphatic effect. It’s comparable to sarcasm, dryness, mockery, cynicism, satire, ridicule and even a paradox. Irony, in contrast to a blunt lie, is a lie that wants to be seen as a lie, but only by a certain group of people. So who are these people and how do you decide who gets it and who doesn’t? What’s considered to be funny and what is not? What are the limits of humor and does irony have a positive effect on ourselves and society? In this thesis, I try to find out what the value of humor is and how it affects artists and their artworks. I cite the positive and negative effects by using sources of writers and artist that use humor as a tool in their art practice to make statements or try to look at things from a different perspective. The thesis contains two sides, one which is more informational and one which is more personal. In the personal side I try to let my thoughts flow and think about things I have issues with, in an ironic and sometimes painful way.