{"id":3393,"date":"2023-07-10T16:45:05","date_gmt":"2023-07-10T14:45:05","guid":{"rendered":"https:\/\/bis-art.com\/?page_id=3393"},"modified":"2023-07-10T17:00:34","modified_gmt":"2023-07-10T15:00:34","slug":"diana-thater-the-conversation-2021","status":"publish","type":"page","link":"https:\/\/bis-art.com\/index.php\/diana-thater-the-conversation-2021\/","title":{"rendered":"Diana Thater – The conversation, 2021"},"content":{"rendered":"\n
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Diana Thater
<\/span>The Conversation, 2021\u00a0<\/span><\/span><\/h2>\n

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Plusieurs des oeuvres de Diana Thater commencent par le point de rencontre entre la subjectivit\u00e9 des humains et celle des animaux. Par la couleur, la lumi\u00e8re, l\u2019image et la forme, l\u2019artiste g\u00e9n\u00e8re une exp\u00e9rience qui permet au spectateur d\u2019\u00e9prouver de l\u2019empathie sans anthropomorphiser le monde naturel. Dans Talk to Us <\/i>(2021) et Listen to Us <\/i>(2021), qui constituent ensemble la deuxi\u00e8me grande installation sonore de l\u2019artiste, deux voix humaines se refl\u00e8tent l\u2019une l\u2019autre dans un appel et une r\u00e9ponse, tandis qu\u2019une troisi\u00e8me piste audio d\u2019un perroquet gris d\u2019Afrique qui se parle \u00e0 lui-m\u00eame (sans savoir qu\u2019il est observ\u00e9) est diffus\u00e9e simultan\u00e9ment comme un monologue interne ext\u00e9rioris\u00e9.\u00a0<\/span><\/p>\n

L\u2019audio parl\u00e9 commence simplement, avec des phrases qui peuvent \u00eatre comprises comme des instructions ou des propositions \u00e0 mettre en oeuvre, faisant \u00e9cho aux premi\u00e8res oeuvres conceptuelles telles que Statements<\/i>, 1968, de Laurence Weiner, ou \u00e0 la r\u00e9p\u00e9tition tel un mantra d\u2019oeuvres telles que I Will Not Make Any More Boring Art<\/i>, 1971, de John Baldessari. L\u2019appel et la r\u00e9ponse gagnent ensuite en complexit\u00e9, des phrases plus longues rempla\u00e7ant les instructions, faisant \u00e9voluer la r\u00e9f\u00e9rence pour inclure des oeuvres telles que Good Boy Bad Boy<\/i>, 1985, de Bruce Nauman.\u00a0<\/span><\/p>\n

Thater utilise ces r\u00e9f\u00e9rences \u00e0 l\u2019histoire de l\u2019art comme mati\u00e8re premi\u00e8re pour resituer la place du langage dans le paradigme humain. L\u2019id\u00e9e fausse la plus r\u00e9pandue est que les perroquets sont des imitateurs, alors qu\u2019en fait ils traitent le langage comme les humains, par le biais de la socialisation. En outre, comme les humains, la subjectivit\u00e9 d\u2019un perroquet s\u2019exprime \u00e0 travers ses vocalisations, affirmant sa pr\u00e9sence par l\u2019affect et le volume, ainsi que par le contenu. En isolant et en superposant ces utilisations sp\u00e9cifiques du langage, Thater conteste l\u2019id\u00e9e que le langage est ce qui s\u00e9pare l\u2019humain de l\u2019animal, la compr\u00e9hension de l\u2019imitation. Ce qui \u00e9merge de cette investigation est une dualit\u00e9 tendue o\u00f9 l\u2019accumulation cacophonique de \u00ab voix \u00bb sert \u00e0 souligner comment le langage fa\u00e7onne nos environnements culturels, ainsi que nos engagements avec d\u2019autres formes de vie.\u00a0<\/span><\/p>\n

Ce d\u00e9placement du point de perception du spectateur est une caract\u00e9ristique des installations r\u00e9volutionnaires de Thater, et il est encore renforc\u00e9 dans The Conversation <\/i>par la superposition nuanc\u00e9e et immersive de l\u2019image, du son et de la lumi\u00e8re. En p\u00e9n\u00e9trant dans l\u2019exposition, les visiteurs entrent dans une exp\u00e9rience cin\u00e9tique, visc\u00e9rale et psychique, plut\u00f4t que de se contenter d\u2019une observation passive. De cette mani\u00e8re, l\u2019oeuvre et le spectateur forment ensemble un dialogue qui remet constamment et subtilement en question les r\u00e9cits lin\u00e9aires sur lesquels les humains s\u2019appuient pour donner un sens \u00e0 eux-m\u00eames et au monde naturel.\u00a0<\/span><\/p>\n

Diana Thater est repr\u00e9sent\u00e9e par la Galerie Hussenot<\/a><\/p>\n

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Many of Diana Thater\u2019s works begin with the point at which the subjectivity of humans and animals meet. Through color, light, image, and form, the artist generates an experience through which the viewer can empathize without anthropomorphizing the natural world. In Talk to Us (2021) and Listen to Us (2021), which together comprise the artist\u2019s second major sound installation, two human voices mirror each other in call and response, while a third audio track of an African grey parrot vocalizing to himself (unaware he is being observed) plays simultaneously as an externalized internal monologue.\u00a0<\/span><\/em><\/p>\n

The spoken audio begins simply, with phrases that can be understood as instructions or propositions that to be enacted, echoing early conceptual works such as Laurence Weiner\u2019s Statements, 1968, or the mantra-esque repetition of works such as John Baldessari\u2019s I Will Not Make Any More Boring Art, 1971. The call and response then progress in complexity, with longer phrases replacing the instructions, evolving the reference to include works such as Bruce Nauman\u2019s Good Boy Bad Boy, 1985. Thater uses these art-historical references as raw material to re-situate where language is placed in the human paradigm. The common misconception is that parrots are mimics, when in fact they process language as humans do, through socialization. Parrots listen and talk, they comprehend rather than simply repeat what is heard.\u00a0<\/span><\/em><\/p>\n

Furthermore, like humans, a parrot\u2019s subjectivity is expressed through their vocalizations, asserting their presence through affect and volume as well as content. By isolating and layering these specific uses of language, Thater poses a contest to the idea that language is what separates the human from the animal, comprehension from imitation. What emerges from this investigation is a tensile duality where the cacophonous accumulation of \u201cvoice\u201d serves to emphasize how language shapes our cultural environments, as well as engagements with other forms of life.\u00a0<\/span><\/em><\/p>\n

This shifting of the viewer\u2019s point of perception is a hallmark of Thater\u2019s groundbreaking installations and is further reinforced in The Conversation through the nuanced and immersive layering of image, audio, and light. By stepping into the exhibition, visitors enter into an experience that is kinetic, visceral, and psychically engaging, rather than merely observable from a passive distance. In this way, the work and the viewer together form a dialogue that is consistently and subtly challenging the linear narratives humans rely on to make sense of themselves and the natural world.\u00a0<\/span><\/em><\/p>\n

Diana Thater is represented by Galerie Hussenot<\/a><\/em><\/p>\n

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> Diana Thater<\/span><\/a>
<\/span>> Retour Liste des \u0153uvres<\/a><\/strong><\/p>\n\n\n\n

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The Conversation, 2021<\/strong><\/span>\u00a0<\/strong><\/span>
<\/span>\u00c9crans, enceintes, films color\u00e9s\u00a0
<\/span>Screens, speakers, coloured films<\/em>\u00a0
<\/span>Dimensions variables \/ Variable dimensions<\/em>\u00a0
<\/span>Courtesy Diana Thater and Galerie Hussenot<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Diana ThaterThe Conversation, 2021\u00a0 \u00a0 \u00a0 Plusieurs des oeuvres de Diana Thater commencent par le point de rencontre entre la subjectivit\u00e9 des humains et celle des animaux. Par la couleur, la lumi\u00e8re, l\u2019image et la forme, l\u2019artiste g\u00e9n\u00e8re une exp\u00e9rience qui permet au spectateur d\u2019\u00e9prouver de l\u2019empathie sans anthropomorphiser le monde naturel. Dans Talk to …<\/p>\n

Diana Thater – The conversation, 2021<\/span> Lire la suite \u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-global-header-display":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":""},"_links":{"self":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/3393"}],"collection":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/comments?post=3393"}],"version-history":[{"count":4,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/3393\/revisions"}],"predecessor-version":[{"id":3410,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/3393\/revisions\/3410"}],"wp:attachment":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/media?parent=3393"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}