Fiche du document
2022
- handle: 10670/1.8hkt56
- hal: hal-04267479
- doi: 10.37050/ci-21_03
Ce document est lié à :
info:eu-repo/semantics/altIdentifier/doi/10.37050/ci-21_03
info:eu-repo/semantics/OpenAccess
Mots-clés
double repetition representation mimesis Foucault Michel Velázquez Diego Picasso Pablo criticismSujets proches
Oil painting Paintings Painting, PrimitiveCiter ce document
Arianna Sforzini, « The Reenacted Double: Repetition as a Creative Paradox », HAL-SHS : philosophie, ID : 10.37050/ci-21_03
Métriques
Partage / Export
Résumé
The essay engages with a screenplay by Michel Foucault, written in 1970 for a film, not realized during Foucault’s lifetime, about Pablo Picasso’s Las Meninas, a series of 58 paintings that the artist made in 1957, taking up, updating, reinterpreting the famous painting with the same title by Diego Velázquez (1656). This screenplay is at the same time an example of critical reflection on reenactment in art history and itself a reenactment practice of sorts: the filmic repetition of an artistic repetition. It invites a reflection on the role of repetition as a critical operation: how doubles, reenacted images, and ‘counter-mimesis’ can become creative gestures and opening movements of transformation through plays of refraction, duplication, and multiplication of the realities and subjectivities at stake in them.