ABSTRACT
The relations between art and philosophy have proved to be close when conceptual art introduced the logic of the series in its processes. From the cross-reading of some philosophical thoughts of various horizons and the work of artists of the seventies (Mel Bochner, Robert Smithson), this article suggests some methodological analogies between the construction of artistic and philosophical propositions, which we call “reason of the rhythm”. Remarkable excerpts from the Kantian “system of cosmological ideas” and from “architecture of reason” or from the famous “series” of the Logic of sense published by Gilles Deleuze in 1969 allow problematizing procedural convergences typical of a historical phase in which some artists sought enunciative forces similar to those of the concept.
keywords:
conceptual art; processology; series, Kant; Deleuze