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Schrijven is kijken in een spiegel van woorden. Eerst bots je op het vanzelfsprekende, de vraag of woorden verschil kunnen maken. Spreken beelden niet voor zich? Daarna kom je bij zinnen en tekent zich een textuur af in je reflectie, het motief van een verscherpte intuïtie, voorbij het vanzelfsprekende, waar een andere taal begint. Dit boek brengt stemmen samen die vertellen hoe schrijven ertoe doet in de blijvende ontwikkeling van hun praktijk als kunstenaar, criticus, essayist, docent. Het toont vormen van schrijven naar levend model.

Writing --- kunst --- onderzoek in de kunsten --- 7.01 --- 373.67 --- woord en beeld --- kunsttheorie --- LUCA --- Sint-Lukas Gent --- schrijven --- teksten schrijven --- Literature --- Kunst ; theorie, filosofie, esthetica --- 700.6 --- beeldende kunst, filosofie, esthetiek en kritiek der beeldende kunst --- Kunsttheorie ; 21ste eeuw ; essays over schrijven

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Humanities and social sciences --- Education --- Language and literature. --- Language, literature, and linguistics --- Literature --- Germanic.

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Ritsart Gobyn (b. 1985) explores the boundaries of our perception in a subtly subversive way. His paintings on rough, unprimed canvas are covered with shreds of paper, smears and stains, tape, traces of pencil, dirt and dust. They are the traces of the creative process that have gathered on the canvas, while lying on the studio floor. The more attentively we look at the paintings, the more we start to doubt what we observe. The tape turns out to be a painted trompe l'oeil, as are the shreds of paper. What about the other traces? The perception tilts from accidental to deliberate, from reality to illusion, from process to product, and back again. With this book Posture Editions aims to plunge deeper into this changing perception and seeks to touch the skin of the paint, page by page. Some key works will be scanned in high resolution and presented in full-scale reproduction. As reader, you wander through the razor-sharp landscape of the painting, and through its details, the materiality and the illusion, a complete image gradually starts to form. The book zooms in to the intimacy of the studio, it touches the painterly illusion and zooms out again to the objectified distance of the exhibition space. For an artist, a book not only offers new insights into his or her own practice, but can also broaden his or her horizons and form the basis for future collaborations.

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Dutch literature

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