Artrinet analysis of the work of BERAET Chris-Ailm
Classification: A370-B230-C190-C200-D115
https://chris-beraet.odexpo.com
The explanatory text associated with each of the four criteria analyzed (A - formalism, B - materiality, C - investment, D - communication) positions the artist's work in art history, possibly recalling the artistic movements to which it is linked, or the names of illustrious artists who have expressed themselves in a similar approach.
A: FORMALISM
The first criterion concerns the formalism of the work: what do we see when we look at a work, what type of formalization is immediately apparent? Is it more abstract, more figurative, more..., etc. (ranked from most “abstract” to most “realistic”).
A370: “Expressionist” figurations
Expression of the artist's turbulent, even violent, inner life, which, unlike “Abstract Expressionism,” is achieved through the multiple possibilities of materializing the Figure (from historical Expressionism to COBRA, from “Violent painting” to the “Neo-Fauves,” ...) in a more gestural way
the expression is liberated above all in the breadth and/or force of the pictorial gesture (Willem De Kooning, Antonio Saura, Vladimir Velickovic, Yan Pei Ming, etc.).
B: MATERIALITY
The second criterion concerns the materiality of what is being shown. Is it a pure concept, a play on materials, a repurposed object, etc. (ranked from most “immaterial” to most “real”)
B230: structured materiality, structured combinations
combines lines, colors, materials, or volumes in a rather structured way (Michail Heizer, Anish Kapoor, Miguel Barceló, etc.).
C: BODY/MIND INVESTMENT
The third criterion concerns the artist's “investment” in their work. What is the Body/Mind ratio with which the artist invests in their work? Ranked from most “intellectual” (e.g., “Conceptual Art,” etc.) to most ‘physical’ (e.g., “Body Art,” etc.).
C190: more towards physicality/the senses, the work is the result of a gestural action
the work as the result of physical gestures, but essentially manual: from Jackson Pollock's “Dripping” to Georges Mathieu's “Lyrical Abstraction”; from L. Fontana's “perforations” to V. Vélickovic's raw figuration.
C200: more towards corporeality/the senses, the work is the result of an action with the whole body/on the body
“Viennese Actionism”; Body Art (Gina Pane, Michel Journiac, etc.); Yves Klein's colorful nude Happenings; the cross-dressing of Urs Luthi and Pierre Pinoncelli; the interventions of Fabrice Hybert, Gilbert and George, J. Beuys, and Vanessa Beecroft; Orlan's kisses, etc.
D: COMMUNICATION
The fourth criterion concerns the aspect of “communication”: Does the artist have a deliberate desire to communicate a message through their work? (ranked from most ‘spiritual’ to most “societal”).
D115: through the meaning conveyed in various narratives or symbols, whether
allegorical, metaphorical (the materials used by J. Beuys, etc.), analytical (the “Fibonacci sequences” by Mario Merz, or those by Robert Filliou, etc.), critical (from Henri Cueco to Hans Haacke or Guillaume Bijl, etc.).
source : https://www.artrinet.com/fiche_classification.php?id=5160
Classification: A370-B230-C190-C200-D115
https://chris-beraet.odexpo.com
The explanatory text associated with each of the four criteria analyzed (A - formalism, B - materiality, C - investment, D - communication) positions the artist's work in art history, possibly recalling the artistic movements to which it is linked, or the names of illustrious artists who have expressed themselves in a similar approach.
A: FORMALISM
The first criterion concerns the formalism of the work: what do we see when we look at a work, what type of formalization is immediately apparent? Is it more abstract, more figurative, more..., etc. (ranked from most “abstract” to most “realistic”).
A370: “Expressionist” figurations
Expression of the artist's turbulent, even violent, inner life, which, unlike “Abstract Expressionism,” is achieved through the multiple possibilities of materializing the Figure (from historical Expressionism to COBRA, from “Violent painting” to the “Neo-Fauves,” ...) in a more gestural way
the expression is liberated above all in the breadth and/or force of the pictorial gesture (Willem De Kooning, Antonio Saura, Vladimir Velickovic, Yan Pei Ming, etc.).
B: MATERIALITY
The second criterion concerns the materiality of what is being shown. Is it a pure concept, a play on materials, a repurposed object, etc. (ranked from most “immaterial” to most “real”)
B230: structured materiality, structured combinations
combines lines, colors, materials, or volumes in a rather structured way (Michail Heizer, Anish Kapoor, Miguel Barceló, etc.).
C: BODY/MIND INVESTMENT
The third criterion concerns the artist's “investment” in their work. What is the Body/Mind ratio with which the artist invests in their work? Ranked from most “intellectual” (e.g., “Conceptual Art,” etc.) to most ‘physical’ (e.g., “Body Art,” etc.).
C190: more towards physicality/the senses, the work is the result of a gestural action
the work as the result of physical gestures, but essentially manual: from Jackson Pollock's “Dripping” to Georges Mathieu's “Lyrical Abstraction”; from L. Fontana's “perforations” to V. Vélickovic's raw figuration.
C200: more towards corporeality/the senses, the work is the result of an action with the whole body/on the body
“Viennese Actionism”; Body Art (Gina Pane, Michel Journiac, etc.); Yves Klein's colorful nude Happenings; the cross-dressing of Urs Luthi and Pierre Pinoncelli; the interventions of Fabrice Hybert, Gilbert and George, J. Beuys, and Vanessa Beecroft; Orlan's kisses, etc.
D: COMMUNICATION
The fourth criterion concerns the aspect of “communication”: Does the artist have a deliberate desire to communicate a message through their work? (ranked from most ‘spiritual’ to most “societal”).
D115: through the meaning conveyed in various narratives or symbols, whether
allegorical, metaphorical (the materials used by J. Beuys, etc.), analytical (the “Fibonacci sequences” by Mario Merz, or those by Robert Filliou, etc.), critical (from Henri Cueco to Hans Haacke or Guillaume Bijl, etc.).
source : https://www.artrinet.com/fiche_classification.php?id=5160