mercoledì 28 gennaio 2015
martedì 27 gennaio 2015
lunedì 26 gennaio 2015
domenica 25 gennaio 2015
venerdì 23 gennaio 2015
Dialogue between artists
A: Yes, the point is: how are we addicted to context, and manipulation of it (as media do on us?) so I think that the art must be (not only, instead) decorative, but also NOT design. Art is uncomfortable.
L: I really do always look for narrative in the art, don't I? I guess, from what you are saying, that 'comfortable art' might just be art being viewed out of context? Out of the setting/circumstances in which it can be most effective (whether or not the setting is of the artist's intentions).
A: I believe that the search for a narrative sequence is common to all human beings. It 'a form of evolutionary adaptation that serves to survival. I do not think that we choose to use this view, we are inclined to do so. About the word "comfortable", I have to explain. I think the design is comfortable: it has to "look after" the human being, coming to meet him. The art, however, often is "annoying": trying to get us out of our habits, our common ways of seeing, from our comfort zone. It has to communicate the right part with the left part of the brain. The context is another concept strongly rooted in our culture. An art gallery is a "context" that gives credit to the work of art. There are other contexts that give a different hint to understand art: think of those hanging on the walls of a restaurant. Finally, what about the works that, in the last century, usually break through the barriers and begin to permeate the network, or are "made" of shares, or collaborations? The art continuously goes beyond definitions and containers that we assign. If it does not, is not art but decoration.
A: First at all, thank you for your comments. I appreciate a lot, and it's very useful for me to have a feedback from someone like you. So, thanks, I hope I can send you something as soon as possible. Yes, you are right. The title of the serie is exactly what you mean. This is a good news. The other news (bad? Don't know) it is that I'm thinking about this fact that the title is a sort of contextualisering of the artwork. It is not just a problem for me, but also for all the contemporary artists. So, let's think about that...
L: I think the grey paper foundation does so much to make each composition a harmonious whole. The colors in the flowers bring life to them. I am wondering if this series is about approaching God? It's what it looks like to me, but I don't really know.
A: It is very interesting that, for our culture, our mind is in search of a narrative meaning of a work; and, in particular, from left to right. I think there are some mental forms in ourselves with which we have to compromise, as artists but also as public and observers. For the rest, you are right: I think the the flowers - metaphorically, the living matter, colored - is a vital turning. There is also a trascendent component, in the images... but the written parts come from a book about Second World War. So, we have the trascendent, the human decisions (also bad) and also the nature in her vitals forms - but not free as us. If this is a way to try to approaching the divinity... maybe yes.
L: Ciao Andrea! another really good series. As I viewed the 'Omens', I realized I couldn't decipher the code, again! Ha ha! the red tags mislead, lulling me into a false sense of happy. The creepy symbols and the little window views don't let me stay happy. As I go from one to the next, I feel like the scary music is getting louder and louder...
A: I love codes. I have an hobby, to listen shortwaves, coded messages, and try to decode them. In my videos, on my Youtube channel, often I use registration of shortwaves on Khz. In this particular artwork, I try to re-present the question of ours expectation for the future... so, the tarots... juxtaposed to natural elements, that are predictable in their life cycle. About scary music... why not ;)
L: The arrangements and colors are so playful.
A: Thank you. There is also another fact: the inscriptions are assembled so as not to be read, in Italian, as if they were a different language, or mispronounced.
L: I was thinking of that. I tried to translate, but got nowhere, so I assumed they were meant to be absurd or nonsensical.
* * *
giovedì 22 gennaio 2015
mercoledì 21 gennaio 2015
martedì 20 gennaio 2015
lunedì 19 gennaio 2015
domenica 18 gennaio 2015
sabato 17 gennaio 2015
venerdì 16 gennaio 2015
giovedì 15 gennaio 2015
mercoledì 14 gennaio 2015
martedì 13 gennaio 2015
Why am I an artist? / Perché sono un artista?
Why am I an artist?
Art is like the moon; the artist is an astronaut who, inside his space capsule, makes an orbit around it; and there is a period during which he flies over the dark side of it; the artist / astronaut sees things that others, from Earth, can not; however, he can tell when he will be returned at telecommunications, on the illuminated side. Then he can tell everyone that the other side of the moon / of the art is not so different from what we see, or that is populated by green beings with antennas instead of ears.
I discovered me as an artist when I realized that, among other things, I did not trust most of what they were telling me.
----------
Perché sono un artista?
L'arte è come la luna; l'artista è un astronauta che, dentro alla sua capsula spaziale, compie un'orbita attorno ad essa; e c'è un certo periodo durante il quale si trova a sorvolarne il lato oscuro; l'artista / astronauta vede cose che gli altri, dalla Terra, non possono; tuttavia potrà raccontarle quando sarà di nuovo a portata di telecomunicazioni, sul lato illuminato. Allora potrà dire a tutti che la faccia nascosta della luna / dell'arte non è poi così diversa da quella che si vede, oppure che è popolata da esseri verdi con le antenne al posto delle orecchie.
Mi sono scoperto artista quando ho capito che, tra le altre cose, non mi fidavo più di quello che mi raccontavano.
"At first", Collage, P-Ars 2015
lunedì 12 gennaio 2015
domenica 11 gennaio 2015
sabato 10 gennaio 2015
venerdì 9 gennaio 2015
giovedì 8 gennaio 2015
Malleability
This pen is impermanent. This agenda is impermanent. Plastic, ink and paper, each according to its chemical characteristics, each according to physical events which will face, sooner or later give up their form, the form that for various purposes has been given by the man; no longer called plastic, ink and paper, but something different. The keyboard with which I copy what I wrote on the agenda is impermanent; the screen that returns me information of what is happening inside the computer into machine language is impermanent; the hard disk on which are stored sequences of 1 and 0 is impermanent. All the tools and support to make the matter thought, or all the tools to transform the matter according to the thought, are impermanent. However, if all the matter was not permanent, it is not possible to give it a form; Therefore, it is thanks to impermanence of matter that we can shape it, and profit from its provisional configuration. Perhaps the universe suggests that everything flows; and that in this flow in transformation, thanks to the evolution of the subject, the effort to create stable systems, and the ability to create copies, there is in some form a survival. All this leads us to consider in another perspective the concepts of identity and possession, even in the context of art. Like it or not, as far as we can try to lengthen her life, even the Mona Lisa is impermanent.
mercoledì 7 gennaio 2015
martedì 6 gennaio 2015
lunedì 5 gennaio 2015
Forecast and not
Even if, as a component in the communication is non-verbal and unconscious, so also in art a part of the final result escapes the intent or the forecasts of the artist; of these unexpected results intrigue me the causes, not the ones that we can define rooted (training, personal history) but those momentary, accidental: Leonardo also had toothache, will also Caravaggio had indigestion, a gloomy day will have saddened Tiepolo ; and if, and how deep, these accidents have left traces in their works; or can be ignored these temporary situations, if they were able, and if something of this resistance is left in the work, and so on.
domenica 4 gennaio 2015
sabato 3 gennaio 2015
venerdì 2 gennaio 2015
Installation: sternness, appeasement, and freedom of all
5 cabins, arranged in a circle, each of which communicates with the next one by a one-way door. In each cabin there is a switch that turns on a light green on the outside of the cabin.
5 participants each come in a cabin. The first revises the "Text X", then passes it to the next cabin. The second participant, in the second cabin, revises the "Text X", and in turn passes the work revised the cabin next.
When one of the participants believed that the revisions introduced to the "Text X" are sufficient for him, he pushes the button and the green light on the outside of his cabin. However, the lock of the cabin remains closed until all participants are satisfied with the revisions, press the button and turn on the green light. If the "Text X" comes in a cabin and its occupant, reading the corrections of the others, believes that it is removed from the version congenial to him, he can press the button and turn off the light green.
The "Text X" continues to move in a circular booth in the cabin as long as all participants agree to its final revision. However, being closed in their own cabin, they don't see how many and which green lights are on, then continue to move the "Text X" from the previous cabin to the next, making any additional changes to meet the wishes of the other participants and be free to go out.
Whereas the participants can not communicate with each other, and do not know how many green lights are on or not, the "Text X" will continue to turn from one cabin to another for a long time, since each subsequent correction to meet the favor of the other participants could move it away from the version approved by all.
The purpose of the installation is to get out of the cabins, unlocking all locks simultaneously.
5 participants each come in a cabin. The first revises the "Text X", then passes it to the next cabin. The second participant, in the second cabin, revises the "Text X", and in turn passes the work revised the cabin next.
When one of the participants believed that the revisions introduced to the "Text X" are sufficient for him, he pushes the button and the green light on the outside of his cabin. However, the lock of the cabin remains closed until all participants are satisfied with the revisions, press the button and turn on the green light. If the "Text X" comes in a cabin and its occupant, reading the corrections of the others, believes that it is removed from the version congenial to him, he can press the button and turn off the light green.
The "Text X" continues to move in a circular booth in the cabin as long as all participants agree to its final revision. However, being closed in their own cabin, they don't see how many and which green lights are on, then continue to move the "Text X" from the previous cabin to the next, making any additional changes to meet the wishes of the other participants and be free to go out.
Whereas the participants can not communicate with each other, and do not know how many green lights are on or not, the "Text X" will continue to turn from one cabin to another for a long time, since each subsequent correction to meet the favor of the other participants could move it away from the version approved by all.
The purpose of the installation is to get out of the cabins, unlocking all locks simultaneously.
giovedì 1 gennaio 2015
The human need for ritual
The dance of new beginnings, of good intentions, this thing at the same time so natural and unnatural: to weigh what happened, to put an unwavering commitment to the future, and all because the conventional numerical sequence has triggered some figures on 01/01 (our computers are full of 01010101, but who knows if they celebrate?). While the universe instead flows in all its forms, visible and crystallized, and in all its forms invisible yet present laterally relative to the human eye, in a single instant that embraces all the past, the future, and that instant imaginary and human that is the present.
I remember a science fiction story, in which an alien race bordered the human beings to the solar system, because their (our) eyes were dangerous: they (we) did collapse the wave function of quantum reality in just one fixed form, while the nature of the universe is to contain all the possibilities, not only one, at the same time. There are boundaries that we can touch, like blind groping, boundaries that represent our being humans: exceeded those, no more than humanity we can talk, but something different, which transforms the concepts of life, individual freedom, conscience.
You could talk about it with a buddhist, sitting doing nothing, no expectations, no desires, empty and yet full of reality; or with a scientist, sitting doing everything possible to understand the deep weft of the universe; few of us could make a choice as them, but everyone at least once in life felt the thin shell - so precious - of things, covering the utter voidness.
scape.jpg)
Iscriviti a:
Post (Atom)