I am really looking forward to reading this new book on olfactory art. My project, c (pronounced / k /) Wellness Center , is featured in the chapter Jim Drobnick wrote, which is called "Smell: The Hybrid Art".
Abstracts to follow, courtesy of Boris Raux:
Available on the internet or in specialized bookshops
The book gathers partners from different disciplines, philosopher, art historians, neurobiologists, artists, perfumers, who wonder about the conditions for the emergence of an olfactory art and on contemporary artistic practices based on odors and perfumes.
Things to smell at fragrant work
If the composition of perfumes is not part of the fine arts, the question arises as to whether it is possible to conceive an artistic olfactory creation appreciated by the public, irrespective of the use of fragrances for hygiene purposes and of seduction. The objective is then to analyze the emergence of a contemporary olfactory art and the passage of objects to smell Marcel Duchamp to the fragrant work of monosensory or polysensory type.
Isabelle Rieusset Lemarié:
Recognizing perfume: the historical horizon of a new conception of the enlarged art
The development of perfume culture is subordinated to theoretical conditions relating to the definition of art and its overhaul. It is therefore a question of returning to the history of the exclusion of the perfumes of the artistic field and of promoting a thought of the art expanded. This approach presupposes revising the established categories by highlighting the presence of a true olfactory art from prehistory.
Annick Le Guérer:
Artistic recognition of perfume
The artistic recognition of perfume is the result of a long-term historical process. The objective of the article is to analyze the steps by showing how the composition of perfume conquers its letters of nobility, separating itself from the pharmacy, and then resisting the industry to become a creation in its own right, favored by the advent of chemistry.
The Three Pillars of Perfume
In order to achieve effective recognition of the olfactory creation, it is necessary to overcome the reluctance to give the perfume composition the status of a work of art. This involves building on the three pillars of perfume art, the process of creation, the constitution of a history of works and the existence of a public of enlightened amateurs.
In pursuit of the olfactory dimension
The development of an art integrating odors is dependent on technological advances related to the diffusion of fragrances in a given space without deteriorating their quality. Jacqueline Blanc-Mouchet examines how to odourize the works and describes her career as an olfactive director, from the invention of the first Odorama de la Villette to the various techniques currently available to artists.
Sophie Domisseck, Roland Salesse:
Techniques of odorisation in the living arts
An olfactory art worthy of the name depends fundamentally on technical conditions: the development of odorisation systems, control of diffusion and ventilation. The article focuses on odorisation practices, their history and technological advances in this field. In this way, he takes stock of the various means of odorising, particularly in the performing arts in the theater, and compares their respective effectiveness by highlighting both their merits and their limits.
Jean-Pierre Royet, Anne-Lise Saive, Jane Plailly, Alexandra Veyrac:
Being a perfumer, a question of predisposition or training?
The olfactory art implies the existence of Nose capable of smelling and conceiving fragrant compositions. The article is based on the neurobiological study of the olfactory system and questions the innate or acquired character of the performance of perfumers in order to determine whether their art is a predisposition or a training.
olfactory aesthetic judgment and neurosciences?
There can be no development of olfactory art without an enlightened public capable of appreciating it and forming olfactory judgments. The purpose of this article is to examine the activity of the brain at the reception of works and to consider whether it is possible to draw inspiration from the current neuroesthetic studies carried out for other modalities sensory, such as vision, to try to find the cerebral correlates of olfactory aesthetic judgment.
Perfume, a poetic act
Returning to his trajectory, Jean-Claude Ellena assimilated the creation of perfumes not to the production of a concept, but to a poetic act that draws its source from the encounters between man and the world. The article aims to account for its artistic approach during the creation of perfumes in the literary form of a newspaper that relates the birth of marine spices.
Three olfactory works of art putting into practice the concept of Interface Parfum-Musique
The article explores the interactions between music and perfume and examines the possibility of translating one into the other, based on the analysis of three olfactory works of art created in homage to Poulenc, Chopin and Ravel. It emphasizes the necessary synergy between musician and perfumer to design this interface.
Smell: the Hybrid Art
On the basis of the idea that olfactory art is necessarily hybrid, the article looks at contemporary artistic practices in this field and explores its various facets, analyzing in particular the works of Oswaldo Macià, Leslie Hill and Helen Paris , as well as that of Brian Goeltzenleuchter.
My olfactory chronicles
Combining theoretical reflection and presentation of his works, Boris Raux evokes his olfactory chronicles and the evolution of his work in recent years. He describes his practice as an artist playing with subversive and plastic powers of smell, through performances and installations.
The path of olfactory art at Maki Ueda
The article aims to trace the path of the Japanese artist, Maki Ueda, who is gradually following the path of olfactory art. He analyzes the reasons for his choice of the olfactory dimension and describes the evolution of his artistic research at the crossroads of Eastern and Western culture.
The possibility of the new recognition of space and Japanese olfactory art
The frequency of the use of odors in the installations leads us to question this type of contemporary art and to take into account its specificity. The article thus shows that the installation is undoubtedly the form of expression most appropriate to art perfume-only and highlights the decisive role of odors in the recognition of space within art Japanese.
The olfactory actor
Within the framework of the living arts, like the theater, olfactory artistic practices are developed. The article focuses on the construction of an actor's olfactory body and analyzes the effects induced on the theatrical play by introducing odors and perfumes on the plates and taking into account this sensory dimension in the scenic postures.
Violaine De carné:
The olfactory theater: a singular itinerary
The theater can be the privileged place of a staging where olfactory pieces are written, played and diffused. Violaine de Carne author and director recounts her singular journey based on a dramaturgy of odors, notably in Incense and Tar, or more recently in Les parfums de l'âme.
Olfactory creation "off-piste" The theatrical odorization of the Perfumes of the Soul
An odorized play requires collaboration between director and perfumer to create the right odors and integrate them into the actors' game. Laurence Fanuel analyzes the experience of perfumer off-piste which led her to odoriser The Fragrances of the soul and the movement of synergy between her art and that of the author and director, Violaine de Carné.
Summary Sophie Domisseck, Roland Salesse:
The olfactory spectator: the reception of the play Les Parfums de l'âme by the public
The understanding of the integrated approach implied by a play such as The Perfumes of the Soul where author, director, actors, perfumer and broadcaster must work together, takes into account the reception of the work by the public . The aim of the article is to study the reception of the perfumes of the soul on the basis of surveys carried out during the successive representations of the piece.