By Chris Thompson
Building from the resonance of felt, the material, in either Tibetan tradition and in Beuys’s paintings, Thompson takes as his element of departure Deleuze and Guattari’s dialogue in A Thousand Plateaus of felt as delicate area that's “in precept limitless, open, and limitless in each direction,” its constitution decided unintentionally instead of the deliberate, woven nature of such a lot materials. Felt is hence noticeable in its place to the version of the community: felt’s anarchic shape isn't really reducible to the regularity of the web, grid, or mesh, and the extra it really is pulled, tweaked, torn, and agitated, the higher its structural integrity.
Felt hence invents its method from the cloth that represents its item of inquiry and from this advances a studying of the avant-garde. while, Thompson demonstrates that it really is occasionally the disasters of notion, the disappointing conferences, even the premature deaths that open portals wherein existence flows into artwork and permits new conjunctions of existence, artwork, and inspiration. Thompson explores either the well known engagement of Fluxus artists with japanese spirituality and the extra elusive nature of Beuys’s personal overdue curiosity in Tibetan tradition, arriving at a feeling of the way such noncausal interactions—interhuman intrigue—create tradition and form modern paintings history.
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Additional resources for Felt: Fluxus, Joseph Beuys, and the Dalai Lama
Felt: Fluxus, Joseph Beuys, and the Dalai Lama by Chris Thompson