Main Page
From S E B A S T I E N G O Y
(Added Patti and TL) |
m |
||
| Line 58: | Line 58: | ||
[[File:Artworks map F1F2.png|x733px|frameless|right|Artworks map]] --> | [[File:Artworks map F1F2.png|x733px|frameless|right|Artworks map]] --> | ||
| - | + | Sébastien Goy (1975) is a BFA candidate at the Gerrit rietveld Academie in Amsterdam. His artistic practice increasingly revolves around Authority: the forms its political, scientific and artistic instances adopt, the means of legitimation they deploy and the responses they trigger - be it obedience, influence or abhorrence. He questions the relationships between these instances, study their collisions, their discursive cannibalism. Sébastien engage these means and responses plastically, as a medium to be explored using our experience of producers and recipients of authoritarian interactions. The investigation usually oscillates between a performative-naive approach and a linguistic-ironic take on his own reactions. A form of fetishism for epistemic and aesthetic beauty, or rather: a nostalgia for formal beauty, occasionally surfaces despite the overwhelming authority of the image. His works thus encompass naive resistances against the powers that be, contemplative registrations mourning the image's lost allegiances, longing for a new Authority, ironic bravados and critical plays on legitimacy. | |
Revision as of 15:19, 2 March 2011
Sébastien Goy (1975) is a BFA candidate at the Gerrit rietveld Academie in Amsterdam. His artistic practice increasingly revolves around Authority: the forms its political, scientific and artistic instances adopt, the means of legitimation they deploy and the responses they trigger - be it obedience, influence or abhorrence. He questions the relationships between these instances, study their collisions, their discursive cannibalism. Sébastien engage these means and responses plastically, as a medium to be explored using our experience of producers and recipients of authoritarian interactions. The investigation usually oscillates between a performative-naive approach and a linguistic-ironic take on his own reactions. A form of fetishism for epistemic and aesthetic beauty, or rather: a nostalgia for formal beauty, occasionally surfaces despite the overwhelming authority of the image. His works thus encompass naive resistances against the powers that be, contemplative registrations mourning the image's lost allegiances, longing for a new Authority, ironic bravados and critical plays on legitimacy.
