Blog Marcos L. Mucheroni Filosofia, Noosfera e cibercultura

To see one thing one has to see beyond the apparent, that is, what Rancière has already called (see in the previous post) of double vision, which means to see two things at the same time, is “not a matter of trompe l’oeil or effects. It is a problem of relations between the surface of the exposition of the forms and the inscription surface of the words” (Ranciere, 2003, p.89) and therefore can not be a play of illusions, or that idealist painting seeks the ideal of forms under immediacy of presence, that style of “dead nature” or “scenes of customs.”
This art which aimed at re-presentation or re-veil-action, we note well the etymology of these words that give them a more correct sense, that is, of renewing the presence and the other, of renewing the veil that covers the image, to see, therefore, it is not the “mediation of the words that configure the regime of the” mediaticisms” of presence.” (Rancière, 2003, p.89).
The imaginary, the playful and the spiritual escaped for a long time, but a revival began again with Kandinski, Henri Matisse and other more contemporary Pablo Picasso, Miró, a classic example was Matisse’s Dance II (in pincture), whose idea of ​​the painting would have arisen from a dance of the roda called “The Sardana” of the south of France, and was commissioned by its Russian patron Sergei Schukin, to be exposed in the Palace of Trubetskoy next to another work of Matisse “The Music”.
The sinuous dance in which the movement is transported to the bodies and legs is intentional to affirm the involvement of the dancers, and this representation in a circle becomes an eternal presentation and the re-enlightenment becomes an unveiling, that is, to remove the veil of what is hidden and therefore the nakedness of the bodies, which the patron Sergei would have disagreed at first, but after seeing the sketch would have changed at the beginning, that is, it is not the nudity but of the signification that has the dance that is the harmonious involvement of the dancers.
The ideal of form becomes forms of ideals, what Matisse himself said to look for in his art: “My sleep is to realize an art of balance, purity and serenity.”
The perfect interaction between these dancers is not an idealism, but the search for interaction between people, peoples and cultures, the dream of Matisse.
There is a time of blindness, not only in the world of culture and as a consequence of art, but also social, political and even religious blindness, what José Saramago describes in his “Blindness Essay” by a driver who suddenly stands blind in a sign, in this the author seeks to remind us “the responsibility of having eyes when others have lost them.”
Art is a wonderful way to make us see and recover the lucidity, serenity and balance that are lacking to this day, while being bold and purposeful.

RANCIÈRE, J. O destino das imagens. Rio de Janeiro: Contraponto, 2003.