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30 mars 2021 2 30 /03 /mars /2021 10:31
Guillaume Bottazzi  sur Tendances magazine
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29 mars 2021 1 29 /03 /mars /2021 14:44
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29 mars 2021 1 29 /03 /mars /2021 13:35
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28 mars 2021 7 28 /03 /mars /2021 14:01
Guillaume Bottazzi - fifty&me magazine

Guillaume Bottazzi - fifty&me magazine

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23 mars 2021 2 23 /03 /mars /2021 18:02
ART & DESIGN La revue des nouveaux usages et du pouvoir des lieux

ART & DESIGN La revue des nouveaux usages et du pouvoir des lieux

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22 mars 2021 1 22 /03 /mars /2021 16:28
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19 mars 2021 5 19 /03 /mars /2021 19:23
Neuroaesthetics is an empirical aesthetic. The discipline aims to study the aesthetic perceptions of art from the point of view of science. François Dagognet wrote: “Drawing on the outer rather than on the inner” 1, and this approach must be applied to art which, by feeding on the neurosciences, changes its paradigm. Neuroaesthetics is a renaissance of art; it marks a great turning point: the shift from one world to another.
 
Neuroaesthetics uses knowledge from the neurosciences, which allows us to understand better the effects of a work of art on humans and to optimise these. This approach involves a study of the phenomena with the aim of optimising the virtues of a work of art. Thus, in contrast to modern art, the work escapes any doctrine of speculative, hazardous and closed belief, since it is based on observed facts or effects. Neuro-aesthetics makes it possible to optimise the benefits of a work of art, and thus to widen its scope.
 
Arbitration
 
Today we can recognise, or not, the relevance of artists. For example, Vassily Kandinsky wrote that art allowed us to rise spiritually; 2 he was right, because we can – thanks to neuroscience – see that art creates cognitive activity and modulates our neurones.
 
In Art and Reductionism, neuroscientist Eric Kandel explains why abstract art stimulates our brain activity. He states that an abstract work, and what is more one with diffuse contours, will produce greater brain activity in the observer. The painter Henri Matisse was also right when he wrote that “the role of painting is to give what photography does not”.3
 
In A Psychological Look at the Art of Guillaume Bottazzi, 4  the neuroscientist Helmut Leder shows why my works tend to promote well-being. The latter has a connotation that is misperceived by a category of people, but this is because they are unaware that if a work does not arouse empathy, it simply creates little or no cognitive activity.
 
Immersion
 
The size of the works draws the viewer into an immersive sensory experience, allowing him to record it in the register of his personal experiences. This explains why my creations tend to be larger than a person. Moreover, the installation is not a peculiarity of our time, since we benefit from a heritage of immersive works, such as cave art or Italian frescoes for example.
 
Neurosciences allow us to anticipate the future
 
For example, since we know that our perception is global, the consequence is that works of art will integrate into our daily life with devices that will no longer be made from bits of string, contrary to what we can sometimes observe in contemporary museums and art centres.

Phenomenology

The German writer Karl Philipp Moritz was right when he wrote that the work of art assumes the experience of the spectator. The work of art is not science, but it uses science to move forward. The work of art is a plastic and malleable material.

1François Dagognet – Changement de perspective : le dedans et le dehors (A change of perspective: the inside and the outside).

2Vassily Kandinsky, Concerning the spiritual in art.

3 Henri Matisse in conversation with Georges Charbonnier in a television programme called “Couleurs du temps” broadcast in 1951.

4 Helmut Leder and Marcos Nadal – Curved art in the real world: A psychological look at the art of Guillaume Bottazzi.

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17 mars 2021 3 17 /03 /mars /2021 09:59
©Guillaume Bottazzi - La revue des nouveaux usages et du pouvoir des lieux

©Guillaume Bottazzi - La revue des nouveaux usages et du pouvoir des lieux

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15 mars 2021 1 15 /03 /mars /2021 11:46
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13 mars 2021 6 13 /03 /mars /2021 15:01
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12 mars 2021 5 12 /03 /mars /2021 10:09
ギヨム・ボタジ Guillaume Bottazzi - 10 years after Fukushima
"HOPE 2011” was the title of a major event open by the Miyanomori International Museum of Art to the French artist Guillaume Bottazzi whose work adorns the museum since then. The cultural event took place from September 16th to November 27th 2011. It was presented in several forms : an exhibition, the public execution of permanent painting and meetings with the artist.
HOPE 2011 a tribute to Japan’s Earthquake and Tsunami Victims March 2011
Guillaume Bottazzi who has stayed in Japan on many occasions felt a strong concern for the horrifying impact of the earthquake and tsunami that devastated Japan in March 2011. To overcome this disaster people needed positive motivational inducement to help them to stand up and go ahead again. The decision to rebuilt the museum and ask the great European artist to be associated to this revival, proved that contemporary art can spur Japanese’s revival by showing the way of boldness and courage. Few months later after the natural disaster, the decision of the Miyanomori International Museum of Art to renovate the museum and prepare it as a base for Guillaume Bottazzi’s performance, was a clear proof that art is capable of leading a new Japan. The main purpose of the exhibition was to provide a large scale program of support to Japan victims of tsunami and earthquake. A part of admissions fees to the exhibition has been given for the reconstruction of affected areas from the earthquake.
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10 mars 2021 3 10 /03 /mars /2021 20:07
©Guillaume Bottazzi - 紀堯姆.波塔茲 - 搪瓷-中國鄭州  - Zhengzhou

©Guillaume Bottazzi - 紀堯姆.波塔茲 - 搪瓷-中國鄭州 - Zhengzhou

« Depuis 30 ans, le très prolifique Guillaume Bottazzi parcourt le monde pour y disséminer des œuvres in situ. Affectionnant l’émail et le tissu, c’est un ambassadeur de l’art environnemental. » Journal Le Monde, septembre 2020 

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10 mars 2021 3 10 /03 /mars /2021 11:00
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6 mars 2021 6 06 /03 /mars /2021 17:05
« Pour Guillaume Bottazzi, la dimension esthétique est toujours présente dans ses œuvres in situ qu’il ne conçoit ni comme provoquantes ni comme fondues dans l’espace. »
 
Tendances Magazine
Guillaume Bottazzi - Art environnemental, Ile-de-France
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3 mars 2021 3 03 /03 /mars /2021 11:28
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