COLOR
Rebirth ISM
Rebirth ISM
With the fall of the twin towers in New York, the art, that in the last twenty years had found its American galleries in the exhibition space, seems to have stopped, as indeed for a short period, the rest of human activities.
From the rubble of civilization, no light seems to flash and the arts, always a true reflection of society, seem to have remained steady at an expression difficult to interpret anything.
As always, so at least the story seems to have taught us, after a disaster the jackals of thought take steps to revisit experiences or insights, looking in the same lever emotional tragedy that should approximate the human culture.
But in this case, the lack of a common project, the total absence, up to this moment at least, a genius of expression, gathering and simplifies the experience has not produced the desired results. That is a new artistic language of social and emotional impact.
The tragedy leaves the man with the serenity, to arrive at which art and culture in general have always offered their assistance, the film has imploded on itself, producing the opposite of what you could imagine, not terrible films destruction on American, not terrorist movies live, but images of a life and a society that has seen the danger in the face without worrying too much to defeat him, humanity is not sad and scary, but largely indifferent and utterly unconscious of the danger passed.
While this attitude is not programmed, this response to the death so submissive spontaneously generated a desire for immediate reconstruction, it also simplified the process of psychological and social recovery, leaving an awareness of the problem and the resentment el ' hatred towards destruction.
Far be it from me hope that these feelings take over, it is true that the lack of feelings of revenge has led to a failure in the cultural activities, a total absence of the plethora of images of death and disaster that you would expect to see.
other hand also the romance of a society without death and destruction has not regenerated souls, not pushed them to the idealism and the creation of the perfect society.
What is lacking is the rebirth. The construction of themselves through the pain.
If art, especially painting, has always been a reality or artificial colors and shapes, or the real and lived, after the tragedy, the New York artistic figure has not been able to be placed and reflect on itself. Did not let go by the destructive thrills, images catastrophic and apocalyptic to which television has made room for many days.
But as the television itself an image repeated ad infinitum, this attitude may be justified. Too often the killer plane flew over the towers, too often men and stones have collapsed before our eyes, to review the same images on paper.
From this state of things, this can all be taken from nothing, it has come to no conclusion, nothing has been built from nothing, nothing is produced. The ISM
rebirth is inevitable. Consider the collapse of industrial civilization as the basis from which to resurrect any type of activity, is a condition without which any kind of argument is possible.
light rises from the rubble, but after this tragedy, the lamps of mind you are definitely out, or their light is so dim as to illuminate the memory, only. The ISM is
rebirth after a long analysis of what has previously been painted, and is proposed as the first movement programmatic zero since the year end and destruction.
The coloring on the assumption that painting is the key to salvation for the annulment of memory and historical memory, and that without its ability relaxing and purifying the human soul sin of activism and blind force.
For the first time you get a chance to reconstruct a pictorial language from scratch, to re-establish the laws and canons, without having to account (at least not too much) to the artistic reality of the past.
The coloring on the assumption that the color, intended as a mass-painted, is the dominant element of the work, without which, even before the form, the word painting is not its full meaning.
color as the dominant part of the painting, color spread with a brush or spatula, observing, talking about hand signals, the master painter of the great artists of the past.
The pictorial, understood as trade craft, is the dominant element, no more structural performance or media events, but in than traditional painting based on color or tonal violent, dense or diluted in chiaroscuro, a beautiful impressionist painting in the style short or baroque.
From the rubble of civilization, no light seems to flash and the arts, always a true reflection of society, seem to have remained steady at an expression difficult to interpret anything.
As always, so at least the story seems to have taught us, after a disaster the jackals of thought take steps to revisit experiences or insights, looking in the same lever emotional tragedy that should approximate the human culture.
But in this case, the lack of a common project, the total absence, up to this moment at least, a genius of expression, gathering and simplifies the experience has not produced the desired results. That is a new artistic language of social and emotional impact.
The tragedy leaves the man with the serenity, to arrive at which art and culture in general have always offered their assistance, the film has imploded on itself, producing the opposite of what you could imagine, not terrible films destruction on American, not terrorist movies live, but images of a life and a society that has seen the danger in the face without worrying too much to defeat him, humanity is not sad and scary, but largely indifferent and utterly unconscious of the danger passed.
While this attitude is not programmed, this response to the death so submissive spontaneously generated a desire for immediate reconstruction, it also simplified the process of psychological and social recovery, leaving an awareness of the problem and the resentment el ' hatred towards destruction.
Far be it from me hope that these feelings take over, it is true that the lack of feelings of revenge has led to a failure in the cultural activities, a total absence of the plethora of images of death and disaster that you would expect to see.
other hand also the romance of a society without death and destruction has not regenerated souls, not pushed them to the idealism and the creation of the perfect society.
What is lacking is the rebirth. The construction of themselves through the pain.
If art, especially painting, has always been a reality or artificial colors and shapes, or the real and lived, after the tragedy, the New York artistic figure has not been able to be placed and reflect on itself. Did not let go by the destructive thrills, images catastrophic and apocalyptic to which television has made room for many days.
But as the television itself an image repeated ad infinitum, this attitude may be justified. Too often the killer plane flew over the towers, too often men and stones have collapsed before our eyes, to review the same images on paper.
From this state of things, this can all be taken from nothing, it has come to no conclusion, nothing has been built from nothing, nothing is produced. The ISM
rebirth is inevitable. Consider the collapse of industrial civilization as the basis from which to resurrect any type of activity, is a condition without which any kind of argument is possible.
light rises from the rubble, but after this tragedy, the lamps of mind you are definitely out, or their light is so dim as to illuminate the memory, only. The ISM is
rebirth after a long analysis of what has previously been painted, and is proposed as the first movement programmatic zero since the year end and destruction.
The coloring on the assumption that painting is the key to salvation for the annulment of memory and historical memory, and that without its ability relaxing and purifying the human soul sin of activism and blind force.
For the first time you get a chance to reconstruct a pictorial language from scratch, to re-establish the laws and canons, without having to account (at least not too much) to the artistic reality of the past.
The coloring on the assumption that the color, intended as a mass-painted, is the dominant element of the work, without which, even before the form, the word painting is not its full meaning.
color as the dominant part of the painting, color spread with a brush or spatula, observing, talking about hand signals, the master painter of the great artists of the past.
The pictorial, understood as trade craft, is the dominant element, no more structural performance or media events, but in than traditional painting based on color or tonal violent, dense or diluted in chiaroscuro, a beautiful impressionist painting in the style short or baroque.
This work entitled Nuit, I intend to open my own propaganda poster painting, a painting where color dominates the scene, the ultramarine blue and blacks tinged with mourning night of rebirth, where the light of civilization rises, such as painting, from the rubble of tragedy.
back The rural landscape, the land he calls his children to grow and work, plowed fields mark the return to antiquity, to the manual craft to rebirth from scratch.
Marco Agus Josto
Avezzano, November 9, 2002
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