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This book accompanies the exhibition 'In-finitum' at the Palazzo Fortuny in Venice from 6 June until 15 November, 2009. With 'In-finitum', the trilogy which started with 'Artempo: Where Time Becomes Art' (Venice, 2007) and continued with 'Academia: Qui es-tu?' (Paris, 2008) has come full circle. The trilogy as conceived by Axel Vervoordt establishes a perfect balance through the natural time-flow between its three chapters. 'Artempo: Where Time Becomes Art' dealt with the beauty of passing time touching the world, with the mysteriousness of patina and the magical osmosis which exists where cosmos and 'matière' interact. In 'Academia: Qui es-tu?', the transmission of knowledge and wisdom held center stage, a fixed focal point gently rocked however by the continuous perpetuum mobile of questions and answers. The finale, 'In-finitum', will traverse into the other realm as it reaches into the universe of the unfinished and the infinite.
Art --- 7.039 --- 7.074 --- België --- eenentwintigste eeuw --- iconografie --- kunst --- kunstcollecties --- kunstverzamelingen --- oneindigheid --- 700.5 --- Vervoordt, Axel --- tijdsbeleving --- verzamelingen --- beeldende kunst, kunstverzamelen - kunsthandel - kunstvervalsing --- Exhibitions --- Infinite in art --- Space and time in art --- Unfinished works of art --- Art, Incomplete --- Art, Unfinished --- Arts, Incomplete --- Arts, Unfinished --- Incomplete works of art --- Arts --- art [fine art] --- Fontana, Lucio --- Rothko, Mark --- Bruyckere, De, Berlinde --- Stroobant, Dominique --- François, Michel --- Klein, Yves --- Manzoni, Piero --- Noguchi, Isamu --- Wouters, Rik --- Mack, Heinz --- Beeck, Op de, Hans --- Judd, Donald --- Turrell, James --- Kapoor, Anish --- Thater, Diana --- Nevelson, Louise --- Giacometti, Alberto --- Calder, Alexander --- art [discipline]
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Why are early modern English dramatists preoccupied with unfinished processes of 'making' and 'unmaking'? And what did the terms 'finished' or 'incomplete' mean for dramatists and their audiences in this period? Making and unmaking in early modern English drama is about the significance of visual things that are 'under construction' in works by playwrights including Shakespeare, Robert Greene and John Lyly. Illustrated with examples from across visual and material culture, it opens up new interpretations of the place of aesthetic form in the early modern imagination. Plays are explored as a part of a lively post-Reformation visual culture, alongside a diverse range of contexts and themes, including iconoclasm, painting, sculpture, clothing and jewellery, automata and invisibility. Asking what it meant for Shakespeare and his contemporaries to 'begin' or 'end' a literary or visual work, this book is essential reading for scholars and students of early modern English drama, literature, visual culture and history.
English drama --- Art and literature --- History and criticism. --- History --- Theatrical science --- Drama --- English literature --- anno 1500-1599 --- anno 1600-1699 --- Iconoclasm in literature. --- Unfinished works of art. --- Art in literature. --- Material culture in literature --- Literature and art --- Literature and painting --- Literature and sculpture --- Painting and literature --- Sculpture and literature --- Aesthetics --- Literature --- Art, Incomplete --- Art, Unfinished --- Arts, Incomplete --- Arts, Unfinished --- Incomplete works of art --- Art --- Arts --- literature --- plays and playwrights --- Apelles --- Brazen head --- Early Modern English --- Early modern period --- England --- Iconoclasm --- Visual arts --- Visual culture --- William Shakespeare --- Visual perception in literature. --- Literature and literary studies --- Literature: history and criticism / Literary studies: plays and playwrights. --- LITERARY CRITICISM --- Biography, Literature & Literary studies --- Drama. --- Literary studies: plays & playwrights.
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