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GANDEMA Abdoulaye
CHRIS - CHARPENTIER
VANGERTRUYDEN Bea
LAGRIFFOUL Véronique
KÉRAMSI Robert
SANDOR SHOMI
http://www.sandor-shomi.fr






Classification : A340-B220-B210-C170-D115
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").
A340 : Representative works Work with active figures
shapes are more active but not really expressionist (Alberto Giacometti, Jean Hélion , ...).


B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").
B220 : Materiality
in painting, but also with all other materials with the following possibilities: Structured predominance of volumes
particularly in sculpture and assemblages. Specially for "Minimal Art" and its derivatives (Sol Le Witt, Tony Smith, …).
B210 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with materials predominant
their thickness, composition or the way they are worked as structures (the way they are "built up") are here the most important aspect (Eugène Leroy, Bertrand Lavier, ...).


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", ...).
C170 : tending towards the corporeal / the senses via expression with
- in a literal manner (Vladimir Velickovic, sculptures by Barry Flanagan, Thomas Grünfeld, Installations by Maurizio Cattelan or Janis Kounellis, Damien Hirst, William Wegman's photos, ...)
- or a symbolic manner (Hermann Nitsch's "sacrifices", David Nébréda's "soilings", ...), ...


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").
D115 : via what is meant in various narrations or symbolisms whatever they may be
allegorical, metaphorical (J. Beuys' "materials", ...), analytical (Mario Merz's "Fibonacci series", or those of Robert Filliou, ...), critical (from Henri Cueco to Hans Haacke or Guillaume Bijl, ...).