creative writing school
Module 9: Text & Visual Arts
Welcome to our online creative writing course, where we embark on a journey into the captivating realm of text and object. In this course, we will delve into the rich historical concept of palimpsest, exploring its layers of meaning and significance, and delve into contemporary interpretations by artists such as Aurore Pallet and Sara Favriau. We will also unravel the enigmatic tapestry woven by Jérôme Bel's "Shirtologie," exploring the intricate interplay between text and object in diverse and thought-provoking ways.
Throughout this course, we will eschew academic convention and embrace the subjective and non-canonical. Our aim is to tap into the wellspring of creativity within us, allowing intuition and emotion to guide our exploration of text and object. We will journey beyond the confines of logic and rationality, venturing into the realm of personal reflection and imaginative expression.
Prepare to embark on a journey of self-discovery and creative exploration. Let us embrace the beauty of subjectivity and non-conformity as we delve into the fascinating world of text and object. Enjoy the ride!
Throughout this course, we will eschew academic convention and embrace the subjective and non-canonical. Our aim is to tap into the wellspring of creativity within us, allowing intuition and emotion to guide our exploration of text and object. We will journey beyond the confines of logic and rationality, venturing into the realm of personal reflection and imaginative expression.
Prepare to embark on a journey of self-discovery and creative exploration. Let us embrace the beauty of subjectivity and non-conformity as we delve into the fascinating world of text and object. Enjoy the ride!
theory
A palimpsest originally referred to a manuscript or document that had been written on more than once, with the previous text erased or obscured to make room for new writing. Over time, the term has come to be used more broadly to describe any object or surface that bears visible traces of its earlier use or history, often through layers of alteration, inscription, or accretion.
In the context of contemporary art, the concept of a palimpsest can be applied metaphorically to artworks that incorporate multiple layers of meaning, history, or materiality. This can manifest in various ways:
1. Textual Layers: Artists may use textual elements in their work that evoke multiple layers of meaning or reference. These texts can be literal, such as excerpts from literature, poetry, or historical documents, or they can be symbolic or abstract, inviting interpretation and dialogue with the visual components of the artwork.
2. Material Layers: Objects themselves can become palimpsests through the accumulation of layers of material, such as paint, collage, or found objects. Each layer may carry its own history or narrative, which intersects and interacts with subsequent layers to create a complex and layered visual experience.
3. Historical Layers: Artworks may also function as palimpsests in a broader cultural or historical sense, incorporating references or allusions to past events, ideologies, or cultural artifacts. These layers of historical resonance can enrich the meaning of the artwork and invite viewers to consider its significance within a larger context.
In this way, the concept of a palimpsest highlights the interconnectedness of object and text in contemporary art, emphasizing the ways in which both material and symbolic elements can accumulate meaning and significance over time. Objects become imbued with layers of history and interpretation, inviting viewers to peel back the surface and engage with the rich tapestry of associations and narratives embedded within.
In the context of contemporary art, the concept of a palimpsest can be applied metaphorically to artworks that incorporate multiple layers of meaning, history, or materiality. This can manifest in various ways:
1. Textual Layers: Artists may use textual elements in their work that evoke multiple layers of meaning or reference. These texts can be literal, such as excerpts from literature, poetry, or historical documents, or they can be symbolic or abstract, inviting interpretation and dialogue with the visual components of the artwork.
2. Material Layers: Objects themselves can become palimpsests through the accumulation of layers of material, such as paint, collage, or found objects. Each layer may carry its own history or narrative, which intersects and interacts with subsequent layers to create a complex and layered visual experience.
3. Historical Layers: Artworks may also function as palimpsests in a broader cultural or historical sense, incorporating references or allusions to past events, ideologies, or cultural artifacts. These layers of historical resonance can enrich the meaning of the artwork and invite viewers to consider its significance within a larger context.
In this way, the concept of a palimpsest highlights the interconnectedness of object and text in contemporary art, emphasizing the ways in which both material and symbolic elements can accumulate meaning and significance over time. Objects become imbued with layers of history and interpretation, inviting viewers to peel back the surface and engage with the rich tapestry of associations and narratives embedded within.
inspirations
Aurore Pallet
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Sara Favriau
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Aurore Pallet's and Sara Favriau's works can be considered contemporary interpretations of the palimpsest concept. Both artists engage with the idea of layering, erasure, and the coexistence of past and present within their artistic practice.
Aurore Pallet's departure from traditional media and techniques towards transfer and silkscreen, as well as her use of images drawn from old paintings, reflects the palimpsest's concept of overlaying and reinterpreting existing layers of text or image. By creating works that are transparent and elusive, yet filled with historical references, Pallet invites viewers to contemplate the fluidity of meaning and the constant process of reinterpretation.
Similarly, Sara Favriau's negotiation with the fragility of materials, as seen in her use of plaster pieces and debris, embodies the palimpsest's notion of presence and absence. Her monumental ensemble of garlands and linear array of small formats blur the distinction between erasure and recomposition, inviting viewers to explore the layers of history and memory embedded within each piece.
Overall, both artists offer contemporary interpretations of the palimpsest concept through their exploration of layering, fragmentation, and the interplay between past and present. Their works serve as poignant reflections on the fluidity of meaning and the enduring resonance of the past in contemporary artistic practice.
Aurore Pallet's departure from traditional media and techniques towards transfer and silkscreen, as well as her use of images drawn from old paintings, reflects the palimpsest's concept of overlaying and reinterpreting existing layers of text or image. By creating works that are transparent and elusive, yet filled with historical references, Pallet invites viewers to contemplate the fluidity of meaning and the constant process of reinterpretation.
Similarly, Sara Favriau's negotiation with the fragility of materials, as seen in her use of plaster pieces and debris, embodies the palimpsest's notion of presence and absence. Her monumental ensemble of garlands and linear array of small formats blur the distinction between erasure and recomposition, inviting viewers to explore the layers of history and memory embedded within each piece.
Overall, both artists offer contemporary interpretations of the palimpsest concept through their exploration of layering, fragmentation, and the interplay between past and present. Their works serve as poignant reflections on the fluidity of meaning and the enduring resonance of the past in contemporary artistic practice.
Jérôme Bel's "Shirtologie" (1997) is a performance piece that explores the relationship between text and object in a playful and thought-provoking manner. In this work, Bel invites performers to wear T-shirts emblazoned with various slogans, words, or phrases that hold personal or societal significance. The T-shirts themselves become both text and object, serving as vehicles for communication and expression.
"Shirtologie" blurs the boundaries between language and materiality, as the words on the T-shirts convey meaning while also functioning as physical objects worn by the performers. Through this interplay between text and object, Bel raises questions about the power of language, the construction of identity, and the ways in which words can shape our perceptions and interactions.
By presenting T-shirts as the central element of the performance, Bel transforms everyday objects into symbols of individuality, collective identity, and social commentary. The performers' choices of T-shirts and the messages they convey reflect diverse perspectives and experiences, inviting audiences to contemplate the significance of language in shaping our understanding of the world.
In "Shirtologie," Jérôme Bel offers a unique exploration of text and object, demonstrating how simple garments can become vessels for complex ideas and emotions. Through this innovative approach, Bel challenges conventional notions of art and communication, inviting viewers to engage with the intersections of language, materiality, and human experience.
"Shirtologie" blurs the boundaries between language and materiality, as the words on the T-shirts convey meaning while also functioning as physical objects worn by the performers. Through this interplay between text and object, Bel raises questions about the power of language, the construction of identity, and the ways in which words can shape our perceptions and interactions.
By presenting T-shirts as the central element of the performance, Bel transforms everyday objects into symbols of individuality, collective identity, and social commentary. The performers' choices of T-shirts and the messages they convey reflect diverse perspectives and experiences, inviting audiences to contemplate the significance of language in shaping our understanding of the world.
In "Shirtologie," Jérôme Bel offers a unique exploration of text and object, demonstrating how simple garments can become vessels for complex ideas and emotions. Through this innovative approach, Bel challenges conventional notions of art and communication, inviting viewers to engage with the intersections of language, materiality, and human experience.
Joseph Kosuth, "One and Three Chairs", 1965
Alain Robbe-Grillet (1922–2008) was a French writer and filmmaker known for his pioneering contributions to the Nouveau Roman literary movement. His concept of "objet-texte," or "object-text," refers to the technique in his novels where objects take on symbolic significance and become integral to the narrative structure. Instead of merely serving as background props, these objects are imbued with layers of meaning and often serve as enigmatic signifiers that resist straightforward interpretation.
In Robbe-Grillet's works, objects are meticulously described with intricate detail, often repeated with slight variations throughout the narrative. This repetition and emphasis on physical description create a sense of disorientation and ambiguity, challenging readers to engage actively with the text and uncover the hidden connections between objects, characters, and events.
"Objet-texte" blurs the boundary between language and the material world, suggesting that objects themselves can be read as texts, conveying meaning through their physical presence and associations. By foregrounding the significance of objects within the narrative, Robbe-Grillet invites readers to consider how perception shapes reality and how the material world influences our understanding of the story.
Overall, "objet-texte" underscores Robbe-Grillet's innovative approach to narrative, highlighting the interplay between language and perception while inviting readers to explore the rich symbolism embedded within everyday objects.
Here's an extract from Alain Robbe-Grillet's novel "Jealousy" ("La Jalousie") that illustrates his concept of "objet-texte":
"The chairs, standing at regular intervals along the strip of pale carpeting beginning at the foot of the bed, are of bentwood, of a simple, square design. They are identical in every respect, down to the straight-line patterns of the weave on their seats and the metal fillet at the end of each of their backrests. But they are of different colors. One is red, the next orange, the next yellow, and so on, in the same order as the chairs in the dining room, in the same order as the colors of the shutters, in the same order as everything that is situated at a certain distance from where the chairs are, here, along the strip of pale carpeting beginning at the foot of the bed."
In this passage, Robbe-Grillet meticulously describes the chairs in the room, presenting them as objects of significance in the narrative. Each chair is meticulously described, not only in terms of its physical attributes but also in relation to its color and spatial arrangement. These chairs become more than just furniture; they take on symbolic importance and contribute to the overall atmosphere and meaning of the scene. This exemplifies Robbe-Grillet's concept of "objet-texte," where objects in the narrative carry symbolic weight and contribute to the construction of meaning in the text.
In Robbe-Grillet's works, objects are meticulously described with intricate detail, often repeated with slight variations throughout the narrative. This repetition and emphasis on physical description create a sense of disorientation and ambiguity, challenging readers to engage actively with the text and uncover the hidden connections between objects, characters, and events.
"Objet-texte" blurs the boundary between language and the material world, suggesting that objects themselves can be read as texts, conveying meaning through their physical presence and associations. By foregrounding the significance of objects within the narrative, Robbe-Grillet invites readers to consider how perception shapes reality and how the material world influences our understanding of the story.
Overall, "objet-texte" underscores Robbe-Grillet's innovative approach to narrative, highlighting the interplay between language and perception while inviting readers to explore the rich symbolism embedded within everyday objects.
Here's an extract from Alain Robbe-Grillet's novel "Jealousy" ("La Jalousie") that illustrates his concept of "objet-texte":
"The chairs, standing at regular intervals along the strip of pale carpeting beginning at the foot of the bed, are of bentwood, of a simple, square design. They are identical in every respect, down to the straight-line patterns of the weave on their seats and the metal fillet at the end of each of their backrests. But they are of different colors. One is red, the next orange, the next yellow, and so on, in the same order as the chairs in the dining room, in the same order as the colors of the shutters, in the same order as everything that is situated at a certain distance from where the chairs are, here, along the strip of pale carpeting beginning at the foot of the bed."
In this passage, Robbe-Grillet meticulously describes the chairs in the room, presenting them as objects of significance in the narrative. Each chair is meticulously described, not only in terms of its physical attributes but also in relation to its color and spatial arrangement. These chairs become more than just furniture; they take on symbolic importance and contribute to the overall atmosphere and meaning of the scene. This exemplifies Robbe-Grillet's concept of "objet-texte," where objects in the narrative carry symbolic weight and contribute to the construction of meaning in the text.
creative exercise
Prompt:
Imagine you are exploring Jérôme Bel's "Shirtologie" (1997) for the first time. Instead of analyzing the performance academically, write a subjective essay sharing your feelings, emotions, and personal experiences.
Subjective essay topic:
Can "Shirtologie" be understood as a palimpsest?
Reflect on this question through your own unique perspective and style.
Rules:
1. Don't analyze the question. Instead, focus on expressing your feelings and emotions provoked by "Shirtologie."
2. Avoid defining arguments. Your essay should be driven by intuition and empathy rather than logic.
3. Refrain from using evidence, reasoning, or scholarly references. Let your intuition guide your writing.
4. Organize your essay in a non-coherent and non-linear manner. Feel free to jump between different thoughts and emotions.
5. Don't feel pressured to write clearly. Embrace ambiguity and explore the complexity of your thoughts.
6. Rather than citing academic sources, draw from personal experiences, memories, and anecdotes to illustrate your points.
7. Experiment with language and style, breaking away from traditional academic conventions. Incorporate poetic language, imagery, or unconventional writing techniques to convey your subjective experience.
8. Emphasize emotion over academic concepts. Your essay should evoke feelings and resonate with readers on a personal level.
Instructions:
1. Begin by watching Jérôme Bel's "Shirtologie" (1997) or reading about it if you haven't seen it before.
2. Reflect on your emotional response to the performance. How did it make you feel? What thoughts and memories did it evoke?
3. Explore the concept of palimpsest through your own interpretation and understanding. What does the idea of layering, erasure, and reimagining mean to you in the context of Bel's work?
4. Embrace creativity and experimentation in your writing style. Allow your emotions to guide your words.
5. Once you've finished your essay, take some time to revise and refine it, ensuring that your personal voice shines through.
Imagine you are exploring Jérôme Bel's "Shirtologie" (1997) for the first time. Instead of analyzing the performance academically, write a subjective essay sharing your feelings, emotions, and personal experiences.
Subjective essay topic:
Can "Shirtologie" be understood as a palimpsest?
Reflect on this question through your own unique perspective and style.
Rules:
1. Don't analyze the question. Instead, focus on expressing your feelings and emotions provoked by "Shirtologie."
2. Avoid defining arguments. Your essay should be driven by intuition and empathy rather than logic.
3. Refrain from using evidence, reasoning, or scholarly references. Let your intuition guide your writing.
4. Organize your essay in a non-coherent and non-linear manner. Feel free to jump between different thoughts and emotions.
5. Don't feel pressured to write clearly. Embrace ambiguity and explore the complexity of your thoughts.
6. Rather than citing academic sources, draw from personal experiences, memories, and anecdotes to illustrate your points.
7. Experiment with language and style, breaking away from traditional academic conventions. Incorporate poetic language, imagery, or unconventional writing techniques to convey your subjective experience.
8. Emphasize emotion over academic concepts. Your essay should evoke feelings and resonate with readers on a personal level.
Instructions:
1. Begin by watching Jérôme Bel's "Shirtologie" (1997) or reading about it if you haven't seen it before.
2. Reflect on your emotional response to the performance. How did it make you feel? What thoughts and memories did it evoke?
3. Explore the concept of palimpsest through your own interpretation and understanding. What does the idea of layering, erasure, and reimagining mean to you in the context of Bel's work?
4. Embrace creativity and experimentation in your writing style. Allow your emotions to guide your words.
5. Once you've finished your essay, take some time to revise and refine it, ensuring that your personal voice shines through.
stay motivated!
As we conclude our online creative writing course on the captivating topic of text & object, I want to extend my heartfelt congratulations to each and every one of you. Throughout this journey, we have delved deep into the intricate interplay between text and object, exploring historical concepts, contemporary interpretations, and the boundless realms of creativity. It's important to acknowledge the complexity of the artistic process and the challenges we face along the way. There may be moments of doubt, uncertainty, and questioning, but remember to stay proud of the journey you are on. Embrace the creative process with all its twists and turns, and never forget the importance of dedicating specific time for creation, protected from the distractions of the outside world. With focus, determination, and a steadfast belief in your artistic vision, there is no limit to what you can achieve. Wishing you all the best on your creative endeavors. Keep shining brightly!
Photo: Georges Noël, "Palimpseste", 1960