What happens when painting emancipates itself from all physical mediums, the work of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of aesthetic belief is possible under these programmed and produced conditions? What type of phenomenology, pragmatic, rhetoric, and ontology of a so called 'work of art' is possible upon? What type of percepts, of effects and affects, of appearance and apparatus, are put into play in this aesthetic relation? Until this day, after more than 50 years, the “Exposition of Void” of Yves Klein doesn’t quit asking these and other questions on aesthetics and to the history of art
Add to ORKG