Abstract
In 1963, Christian Dotremont began to contrive his “logoneiges” during a trip across Lapland, artworks which take to the limit the “logogrammes”, creations between calligraphy and verse. Here the white of the paper is replaced with the infinite whiteness of Lapland’s landscape. Indeed, the “logoneige” would disappear if a “second writing” were not added: the photographs themselves. By analyzing alongside Roland Barthes and Jacques Derrida, with the writings of Dotremont, we propose that photography is, in the “logoneiges”, not only a mere whitness but a writing tool, that re-produces the poetic sense. We want to develop this multiple time that creates even triple writings compared with “logogrammes”, attempting to prove the poetical reach of this singular machine.
 DOI: https://doi.org/10.14195/2182-8830_7-1_5
Highlights
In 1963, during a trip across Lapland, Christian Dotremont began to contrive his “logoneiges”, artworks which take “logogrammes” – creations between calligraphy and verse – to the limit
By analyzing the writings of Dotremont alongside those of Roland Barthes and Jacques Derrida, I propose that photography is a mere witness in the “logoneiges”, but a writing tool that re-produces the poetic sense
My aim is to dissect this multiple time that creates triple writings, in comparison to “logogrammes”, in an attempt to prove the poetical reach of this singular machine
Summary
In 1963, during a trip across Lapland, Christian Dotremont began to contrive his “logoneiges”, artworks which take “logogrammes” – creations between calligraphy and verse – to the limit.
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