Les Immatériaux: the expansion of philosophy and its hybridization with art and curatorship

In 1983, the Centre Georges Pompidou invited Jean-François Lyotard, the prominent theorist of postmodernism, to organize an exhibition at the Centre de Création Industrielle. The exhibition Les Immatériaux examines the intersection of philosophical practice and curatorial craft. This article contend...

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Autor principal: Belgrano, Mateo
Formato: Artículo
Lenguaje:Inglés
Publicado: Universidad Abierta de Cataluña 2025
Materias:
ARTE CONTEMPORANEO
POSMODERNISMO
FILOSOFIA CONTEMPORANEA
CURADURIA
Acceso en línea:https://repositorio.uca.edu.ar/handle/123456789/19916
Aporte de:
Repositorio Institucional de la Universidad Católica Argentina (UCA) de Universidad Católica Argentina
id I33-R139-123456789-19916
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spelling I33-R139-123456789-199162025-06-04T05:00:50Z Les Immatériaux: the expansion of philosophy and its hybridization with art and curatorship Les Immatériaux: la expansión de la filosofía y su hibridación con el arte y la curaduría Belgrano, Mateo ARTE CONTEMPORANEO POSMODERNISMO FILOSOFIA CONTEMPORANEA CURADURIA In 1983, the Centre Georges Pompidou invited Jean-François Lyotard, the prominent theorist of postmodernism, to organize an exhibition at the Centre de Création Industrielle. The exhibition Les Immatériaux examines the intersection of philosophical practice and curatorial craft. This article contends that Les Immatériaux should be regarded not just as an exhibition but as an artistic installation. According to Juliane Rebentisch, the key characteristics of an art installation are theatricality, intermediality and site-specificity, all of which are present in Les Immatériaux. This positions Lyotard as both an artist-curator and a philosopher-curator, thus embodying Nietzsche’s concept of the philosopher-artist. The philosopher-artist empowers life and opens up new possibilities. Similarly, the philosopher-curator-artist creates a reflective space that fosters the development of new values. En 1983, el Centre Georges Pompidou invitó a Jean-François Lyotard, el destacado teórico del posmodernismo, a organizar una exposición en el Centre de Création Industrielle. La exposición Les Immatériaux examina la intersección de la práctica filosófica y la artesanía curativa. Este artículo sostiene que Les Immatériaux debe considerarse no solo como una exposición, sino como una instalación artística. Según Juliane Rebentisch, las características clave de una instalación artística son la teatralidad, la intermedialidad y la especificidad del sitio, todas ellas presentes en Les Immatériaux. Esto posiciona a Lyotard como artista-curador y filósofo-curador, lo que representa el concepto de Nietzsche del filósofo-artista. El filósofo-artista da poder a la vida y abre nuevas posibilidades. Del mismo modo, el filósofo-curador- artista crea un espacio reflexivo que fomenta el desarrollo de nuevos valores. 2025-06-03T16:14:25Z 2025-06-03T16:14:25Z 2025 Artículo 1695-5951 https://repositorio.uca.edu.ar/handle/123456789/19916 10.7238/artnodes. v0i35.430858 eng Atribución-NoComercial-CompartirIgual 4.0 Internacional http://creativecommons.org/licenses/by-nc-sa/4.0/ application/pdf Universidad Abierta de Cataluña Artnodes. 35, 2025.
institution Universidad Católica Argentina
institution_str I-33
repository_str R-139
collection Repositorio Institucional de la Universidad Católica Argentina (UCA)
language Inglés
topic ARTE CONTEMPORANEO
POSMODERNISMO
FILOSOFIA CONTEMPORANEA
CURADURIA
spellingShingle ARTE CONTEMPORANEO
POSMODERNISMO
FILOSOFIA CONTEMPORANEA
CURADURIA
Belgrano, Mateo
Les Immatériaux: the expansion of philosophy and its hybridization with art and curatorship
topic_facet ARTE CONTEMPORANEO
POSMODERNISMO
FILOSOFIA CONTEMPORANEA
CURADURIA
description In 1983, the Centre Georges Pompidou invited Jean-François Lyotard, the prominent theorist of postmodernism, to organize an exhibition at the Centre de Création Industrielle. The exhibition Les Immatériaux examines the intersection of philosophical practice and curatorial craft. This article contends that Les Immatériaux should be regarded not just as an exhibition but as an artistic installation. According to Juliane Rebentisch, the key characteristics of an art installation are theatricality, intermediality and site-specificity, all of which are present in Les Immatériaux. This positions Lyotard as both an artist-curator and a philosopher-curator, thus embodying Nietzsche’s concept of the philosopher-artist. The philosopher-artist empowers life and opens up new possibilities. Similarly, the philosopher-curator-artist creates a reflective space that fosters the development of new values.
format Artículo
author Belgrano, Mateo
author_facet Belgrano, Mateo
author_sort Belgrano, Mateo
title Les Immatériaux: the expansion of philosophy and its hybridization with art and curatorship
title_short Les Immatériaux: the expansion of philosophy and its hybridization with art and curatorship
title_full Les Immatériaux: the expansion of philosophy and its hybridization with art and curatorship
title_fullStr Les Immatériaux: the expansion of philosophy and its hybridization with art and curatorship
title_full_unstemmed Les Immatériaux: the expansion of philosophy and its hybridization with art and curatorship
title_sort les immatériaux: the expansion of philosophy and its hybridization with art and curatorship
publisher Universidad Abierta de Cataluña
publishDate 2025
url https://repositorio.uca.edu.ar/handle/123456789/19916
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