Posts Tagged ‘ aesthetic ’

High baroque/rococo modern reinterpretation

 

 

 

High baroque/rococo modern reinterpretation, through Percy. Feel free to zoom in, the images are quite large.(check Urban Dweller on my blog if you haven`t already, more information will be available after the exhibition) Enjoy!

 

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chapel2

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Symmetrical speculation

 

After the collection of towers I`ve created, I decided to explore the object of Percy through a controlled symmetrical photographic series. I found it curious how much our own body alters the perception of images. A lot of images that are boring on their own, get a lot more overwhelming, fascinating and aesthetically pleasing, which can only be attributed to the symmetry humans share as a species. Although most look uncanny because the mind keeps trying to attach meaning to them and due to their perfection, they are have a much better reception of the human psyche than their opposite,the pronounced lack of symmetry in the human body or figure, dis-figuration. With those said, I`ve named them as a Rorschach test, by perceptual instinct. Who knows what you`ll see in this. Enjoy!

 

embraceEmbrace

tunnelTunnel

smile

Smiletwins

Twinsprayer

Prayerhorns

Hornshearth

Hearthgaze

Gaze  dissaproval

Disapprovalcrown

Crownantitetic

Antithesisaggressive

Aggression

Sohei Nishino

Interesting reinterpretation of the urban context. It grasps the chaotic growth of the metropolis in an uncanny, organic way, showing a side of the modern city that was never dealt with. The modernists promised us the ideal of the gestalt, but felt too short and crumbled under the heavy boot of capitalism, while their doctrine of form follows function became nothing more than an excuse to build boxes. And then came the glass boxes, stacked on top of the other, the gargantuan machines that maintain their interior metal bowels at the expense of the breathable air outside. It almost like there is no answer: this is the city center, there is nothing we can do about it, better build up, better build out of glass because it`s light weight, who knows how much temperature management would cost, but then again who cares, who cares about the traffic density`s impact or about how breathable the outside air is, because everyone spends all their time inside the glass box where the air is clean, arrive there through a means of mechanized transport, and besides outside is dangerous anyway. Interesting enough we happen to live in the 21st century, the age of information, things don`t have to be in the same place in order to happen. There are oceans of information on our finger tips, in less than a minute we can be anywhere on the globe. So the question is why is everything so centralized, maybe this is the normal evolutionary status of human activity. Just like nature tends to dissipate, to exhaust its energy in order to achieve equilibrium, we tend to conglomerate in our attraction towards being where its at, where stuff happens, to concentrate, gather,vibrate just like ants over a dead rat. How can anyone build a glass box with no windows and claim it was raised in the spirit of the gestalt, it seems to be very compelling to agree at first glance: it`s a glass box, its cohesive, its consistent and no part of it is better than the whole. But that is a very fetishistic, perverse and almost juvenile way to look at it, because the object does not exist in a pocked dimension that can be observed through a tiny keyhole that exists under the architects desk so you can properly bend over in front of the creator of such a magnificent masterpiece. Whats the glass box`s relationship with the surrounding buildings ? Whats its relationship with the people outside or inside for that matter? Is it critical about its surroundings? Is it a technological breakthrough in something else than stacking glass on top of steel? Is it complex and original work of art that is critical of itself? Does it have an poetic subtext only visible to the trained eye? Is it a satirical interpretation of the human condition???maybe?? NO! Then where is the architecture, where is the frozen music, where is the abstract or the erotic? Because I don`t see it, all I see is glass boxes that shatter fundamental concepts on how life should be lived.

---ArchiPress---One---

These maps of famous cities by Sohei Nishino encapsulate the bustle of the metropolis in the modern world. Skewed and twisted, the irregularity and flexibility of city life is conveyed through the warped pieces of the cityscape.

“Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.”Italo Calvino, Invisible Cities

Nishino’s collage represent his experience of the cities he painstakingly combed through; photographing as many places as possible, from all angles he could chance upon. The work is not about creating a precise geographic recreation of a cityscape, but instead an emotive scale is applied to the imperfect mix of monuments and landmarks, to re-create the image of the city through his own lens and his own hands.

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Suprematist art a lie?

Ok for some reason, I cannot publish the actual article so there you go an link to it, feel free to comment as you wish.Dynamic Suprematism 1915 or 1916 by Kasimir Malevich 1878-1935Ok for some reason, I cannot publish the actual article so there you go an link to it, feel free to comment as you wish.

https://agiurgea.wordpress.com/2013/10/15/suprematist-art-a-lie-please-debate/

Suprematist art a lie?

Dynamic Suprematism 1915 or 1916 by Kasimir Malevich 1878-1935

Suprematism was a current that started in Russia in 1913 founded by Kazimir Malevich, depicting compositions or constellations of basic geometric forms such as squares, circles, lines etc. But the point of this post is not to explain the current, you can wiki it or grab a book (haha). The main course is this:

The most expensive piece of Russian art ever created and sold was the Suprematist composition by Malevich, it was sold for 60 million dollars. And the question at hand is why? Why does it value that much?april 2008

They say that suprematism renounces any tangent with reality and refers or depicts “the supremacy of pure artistic feeling”.

Under Suprematism I understand the primacy of pure feeling in creative art. To the Suprematist, the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling, as such, quite apart from the environment in which it is called forth.

And I was wondering what is this so called pure artistic feeling? Where does this vision of dynamic-static geometry come from? Isn`t everything we do a reaction to an exterior factor? When did anyone do something for absolutely no reason without expecting any reaction from it? I think what they were saying is that they were not depicting an object, they were creating the object, they were objectifying the abstract. So all the compositions were their attempts of resolving graphically their spiritual conditions, which means that when they said that they produced art devoid of the concept of the object, not serving religion, politics or anything, it was a lie. They were depicting the object just as any other artist would do it, by interpreting it through their own spectrum of understanding by using constellations of basic geometric shapes. Basically what I`m saying is that they were painting in regard with their spiritual and emotional condition they were in at that particular moment, but if you ask them why they felt that way, well its obviously because of the object they dismissed so much, because of politics, religion, or waking up on the wrong side of the bed for that matter. Thus in reality there is not such a big difference between suprematist art and any other art form. Or is it?black-square-and-red-square-1915

…a blissful sense of liberating non-objectivity drew me forth into a “desert”, where nothing is real except feeling… (“Suprematism”, Part II of The Non-Objective World)

Another iconic painting was Malevich`s Black square and red square. The creative process was over-imposing a canvas to a painting of the virgin Mary and Jesus Christ as a child, and drew the squares where their faces would be. After this exercise Malevich resolved the composition. What does “resolved” mean?? What happened was that he moved the red square under the black square, and rotated it slightly. Was that the pure artistic feeling or was it a lie? Besides the fact that the painting was a recreation of an object in a different manner, what further artistic or intellectual ambition has that “resolving” of the composition bestowed upon it? I personally have no answer to it, but some people hold his art in extremely high regard, and I want to know if it is anything else besides the fact that he came up with it first. And comparing Black square and red square to the painting it was based on would be like comparing Saturn devouring his son by Goya with the one by Rubens, same image, same object, depicted by different artists in different manners, from different artistic currents.

As a final point, wasn`t art supposed to transmit feelings as well, wasn`t the point of it to be observed and emotionally relevant? White on white was a breakthrough from polychrome to monochrome suprematism? But looking at it, it doesn`t really evoke any emotional response, so why was it created? Why was an object that had the sole role of existing be created, was it just some sort of personal, emotional, visual diary? Just grab a piece of canvas and depict the way you are feeling right at that moment through basic geometry kind of thing? Well then why would his feelings be more relevant than any other person’s feelings? With a months of exercise and compositional routine, we`d have a Malevich at every crossroad, depicting his feelings through shapes.url22

I was going to write a lot more, but I don`t want to make this post daunting to read, what I truly want to start an aesthetical debate on why are those paintings valued so much, further more I`m not dismissing them or trying to undermine their value, I`m trying to communicate and understand. Was the suprematist doctrine a sincere and truthfully impactful artistic current, or was it a lie to “resolve” aesthetically pleasing compositions?

P.S. Malevich died poor.