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Arts & Communication Geographical-artistic horizons

that we have the content of the notion of imaginary” do we have to work intertwined with the artistic and
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(DEBARBIEUX, 2004, p. 1). 10 geographical dimensions? Something is evident, we have
The author asserts that we must continue to resist accepting seen at the national and international level research that
a single positivist conception of science, “as prevailed in brings themes and discussions in which geography and art
geography until the middle of the 20 century and which still overlap and converge in exciting ways, demonstrating in
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postulates that the images produced (maps and photographs their conclusions possible answers to this question.
for example) show the real as it truly is” (idem). This reflective horizon is supposed to trigger the
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Likewise, the artists carry out the daily “poeticization” of the perspective of the subject and the body, considering not only
world, in what Matthias Youchenko called the configuration the subjective dimension interlocked in the experience of a
of “a topological identity card” (YOUCHENKO, 2007, body engaged in an artistic practice (be it dance, painting,
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p. 55) even producing, in this process, poetic cartographies, literature, music, poetry, poem, cartography, etc.), but also
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as already addressed by Seemann (2012). 12 a subjective game (conscious or unconscious, which goes
through the cognitive process of an artist or a researcher in
With regard to film images, it is necessary to recognize geography), in which “the body can be considered a spatial
in them a powerful ability to mobilize the imagination of operator; being at the same time cause and effect of spatial
viewers. According to Debarbieux (2004): practices” (HOYAUX, 2016, p. 11). 15
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It is also in this perspective that it is possible to
speak of a spatial imaginary for any subject whose Artists make art with space and not only in space,
geography and spatial practices make every individual grasping it subjectively. Geographers also increasingly
permanently manage a stock of images inherited come into resonance with artistic approaches, to
from his history (and worked on by memory and his appropriate, complement or revise their contributions.
unconscious) or even from his human condition (if We are invited to feel the improvisation of everyday life,
here we consider the hypothesis of G. Jung), which are to listen to the other with the fullness of our senses, and to
constantly put in tension with the images experienced express from the depths of our being this growing dialog
in our everyday life (DEBARBIEUX, 2004, p. 1). between geography and art: something that is subtle,
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intelligible, and sensitive at the same time.
This also involves the poetic dreams or daydreams
addressed by Gaston Bachelard (1968) or the daily 4. Final considerations: future
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practice of places and images received from these places, geographical-artistic horizons
which introduces us to a dynamic of the imaginary, for
example, linked to tourist mobility and the attractiveness In dialog with “German artistic geography”: Kunstgeographie,
promoted by Brazilian music (DOZENA, 2018). 14 Besse reminds us that “all artistic creation is affected by the
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It is also necessary to reflect on the theoretical and spatial condition and the place” (BESSE, 2010, p. 213),
methodological foundations of the appropriation of from the learning (savoir-faire) stemming from local cultural
traditions and local learning. According to the author, the
artistic aspects by the geographical perspective, which “German artistic geography” was taken up by art historians:
directs us as teachers and researchers to an exit question: Art historians reactivated the ancient “artistic
what theoretical, conceptual, and methodological tools
geography” (Kunstgeography), but considerably
modified its concepts and methods, and even
4 C’est la nature du lien que l’on conçoit entre le réel et l’image philosophical inspiration, formalized in Austrian and
qui conditionne le contenu de la notion d’imaginaire. German universities in the early twentieth century
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5 Telle qu’elle a prévalu en géographie jusqu’au « milieu » du (BESSE, 2010, p. 212, our translation).
XXe siècle par exemple, postule que les images produites
(cartes et photographies par exemple) donnent à voir le réel
tel qu’il est. 8 … à partir du corps considéré alors tout à la fois comme
6 Une carte d’identité topologique. opérateur spatial (au sens où il est tout à la fois cause et effet
7 C’est également dans cette perspective qu’il est possible de de pratiques spatiales.
parler d’imaginaire spatial pour tout sujet dont on cherche à 9 La création artistique ne s’effectue pas en dehors de toute
comprendre la géographicité et les pratiques spatiales : tout condition d’espace et de lieu (2010).
individu gère en permanence un stock d’images héritées 10 Les historiens d’art ont réactivé, mais en en modifiant
de sa propre histoire (et travaillées par la mémoire ou son de manière considérable les concepts et les méthodes,
inconscient) ou même de sa condition humaine (si l’on voire l’inspiration philosophique, la vieille «
attache crédit à l’hypothèse des archétypes de G. Jung) qui géographie artistique » (Kunstgeographie) qui avait été
se trouvent constamment mises en tension avec les images formalisée dans les universités autrichiennes et allemandes
expérimentées dans sa vie quotidienne. au début du XXe siècle.

Volume 2 Issue 2 (2024) 4 doi: 10.36922/ac.1870