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KLEIN Miryan
TIHAY Daniel
SZENDY Grinhilda
LONZI Philippe
MIALET Nicolas
BERNY
VIGORIE François
http://www.francoisvigorie.com






Classification : A140-B180-B250-C190-D110
The classification provides four or more codes placed on four axis (A - formalism, B - matériality, C - involvement body/mind, D - communication). These codes are positionning the artist in the art history.

A axis : FORMALISM
When looking at the work, what type of formalisation first strikes the eye? Is it more abstract or more figurative, etc ? (on a scale from more "immaterial" to more "realist").
A140 : Abstracts Geometrical constructs: Hard Edge, Minimalism, Neo-Minimalism
From "Concrete Art" to "Minimalist Art", all shapes or colors treated in a strictly orthogonal way, reducing sensitivity to a minimum (Joseph Albers, Mondrian, Gorin, Ad Reinhardt, "monochromes" by Rodtchenko, Frank Stella, Peter Halley, J. Armleder, R.M. Trockel, ... and in sculpture; Carl André, Sol Lewitt, Tony Cragg, ...).


B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").
B180 : Materiality
in painting, but also with all other materials with the following possibilities: mixed materiality: structured / unstructured
when a work is "structured" in its "lack of structure", and vice versa (repetition of forms, signs, matter ... Viallat, Toroni, Degottex, Hantaï,...).
B250 : tautology
any object, or material, etc ... taken and presented alone and as such. reworked objects
in particular sculptors in wood, stone, etc. But also all objets trouvés, recycled and re-worked objects (in particular with Art Brut).


C axis : INVOLVEMENT BODY/ MIND
With what body:mind ratio does the artist enter into his work?
Classify from the most "intellectual" (e.g."Concept Art"...) to the most "physical" (e.g. "Body Art", ...).
C190 : tending towards the corporeal / the senses the work as the result of an action gestural
the work as the result of a bodily movement, chiefly a hand movement: from Jackson Pollock's "Dripping" to Georges Mathieu's "Lyrical Abstraction", L. Fontana's "perforations" to the flayed figures of V. Vélickovic.


D axis : COMMUNICATION
Does the artist have the deliberate intention to convey a message of any sort through his work?
(classified from the most "mystical" to the most "worldly").
D110 : via what is meant with various spiritual or less marked religious influences
(from Barnett Newman to Mark Rothko, from Roman Opalka to Arnulf Rainer, ...).