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The old idea of the masterpiece, the bane of artists throughout the century that is now drawing to a close, is barely recognizable any more. For the general public, this idea remains a facile cliché that is always ready when needed to put an end to a serious discourse on art. Only the label, not the idea itself, was left when artists came to the point of holding masterpieces responsible for the tenacious survival of outdated artistic ideals. The idea of (...) perfected art has become so far removed from the object of its incarnation that we have long been forced to seek the masterpiece by other names. On the other hand, the term masterpiece lends itself to cut-rate uses in which the Utopian content is but a dim gleam. The avantgarde, in search of a scapegoat, decries favored artistic objects as false idols or as fetishes of art. The Mona Lisa, which did not achieve the status of a universal idol until the nineteenth century, thus became the prime target of ill humor: was it not the very epitome of society's trivialization (and mystification) of art? (shrink)

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The visit (1479-1481) of Gentile Bellini to the Ottoman court is a precious and significant memory of a cross-cultural meeting of East and West. Bellini's stay in Constantinople is attested to mostly in Italian sources. It did, however, leave testimonies in works by the Ottoman palace school as well as by Bellini's workshop. These works warrant close reading to understand this encounter of two visual cultures. There is the Boston leaf (Isabella Stewart Gardner Museum, P15e8) of a seated scribe that (...) has been interpreted as providing a model of an Ottoman artist as seen from an Italian perspective. The picture is an exception in Bellini's working method, as it is a miniature painting on parchment - a practice common at the Ottoman court. From the opposite viewpoint, there are portraits of Mehmed ii that clearly respond to the portraiture created in Bellini's workshop at the Ottoman court. In one of these, the Ottoman response picture depicts the Sultan smelling a rose, which is taken to be a subtle reference to the prophet. Such a departure from tradition, however, met also with resistance among the Venetian's Ottoman colleagues and did not survive the reign of Mehmed ii, as it was regarded by Mehmed's successor, Bayezid ii, as too liberal. The exchange between Bellini and Ottoman artists must be regarded as part of a program to fashion the new Ottoman court, as it emerged after the conquest of Constantinople, as a cosmopolitan place comparable to the Renaissance courts in the West. (shrink)

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Résumé Peter Weibel a produit, entre 1969 et la fin des années 70, une série de performances et d’installations vidéo qui cherchaient à redonner vie aux images de télévision. Il s’agissait, suivant les cas, de perturber les émissions existantes, d’inventer de nouveaux dispositifs de projection, de transformer les relations acteurs / spectateurs ou de produire de la pensée à partir de ces images.

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