Wondering what art is like asking what is life, so great is the extension of the conceptual and practical human activity that operates under the name of artistic activity.
Today, in this hi-tech, explain what art is even more diffcile.
So it seems appropriate to focus attention on the outcome of these activities, ie the artistic product: it springs from the activity of a creator, the artist , who then submits it to the opinion of users who attach value judgments to that product.
The artworks are created to survive their creator and eternal spiritual values they contain, resulting from the artist's personal experience about the social reality in which he lives or has lived or will live.
The works of art, therefore, have the important task of being a common source of evidence of temporal values that have become eternal.
Bearing in mind that art is not just about purely cultural sphere, but each of us live with on a daily basis (see our clothes, the objects we use for our jobs ....) any attempt at definition is almost impossible since there are many sciences which have as their object of study this activity (art history, psychology, sociology, aesthetics, anthropology ,....).
The artistic product comes from a creative act of the artist, who by ancient craftsman par excellence engineering has gone through in history, all walks of life. This historical path led to the emergence of many "tapas" on the figure of the creative, the one who possesses the uncanny ability to create from scratch an "object" that there is now and not before, the result of an idea born in a place dark, mysterious, of his mind.
In the Upper Paleolithic man develops intellectual capacity of its own species. hours and subsequently graphic pictorial art activities that seems to have a communicative purpose and exorcism.
The Rise of the birth of man's cultural determines, in turn, built from its own culture within a dynamic process that leads down to us an experience of life along the ancient but ever new and renewable if the art itself as a Universal intrinsic characteristic of the human species.
The artistic product is born from a creative act, which always involves the concept of subversion "creativity".
The word creativity always includes the character of unpredictability, that is a thought process that totally escapes the influence of deterministic laws and the concept of "beauty" modern beauty is that which is spontaneous, original and generates individual responses.
When the fruit of this creative act is attributed also value judgments, it becomes art.
Thursday, 15 September 2011
Wednesday, 14 September 2011
In the meantime / Meanwhile. Group Exhibition
At the Fruit Market in the center of Valeggio, a classic Art Deco style building in 1938 abandoned for years, on display, before it is restored or dismantled, from September 23 to October 16 next, in the meantime / Meanwhile, by Lucio Pozzi, artist of the original group of PS1, New York school, which in 1975 became the first alternative art space.
The peeling walls, the remnants of plaster and decor of the long history of the property, enter into dialogue with the works of some artists, very different, scattered into the large room.
Instead of a common theme, will connect them to the void that surrounds them and the indefinable difference that distinguishes them.
Giacinto Cerone participate, Arthur Duff, Bruna Esposito, Sara Faccin, Andrew Sheets, Raffaella Formenti, Armida Gandini, Jeff Hendricks, James Hyde, Alison Knowles, David Lindberg, Emil Lukas, Hector Mamet, Philip Manzini, Paolo Masi, Albano Morandi, Giovanni Morbin, Lucia Pescador, Giordano Pozzi Luca Pozzi, Lucio Pozzi, Roberto Pugliese, Giovanni Rizzoli, Fabio Sandri, Lorenza Sannai, Nida Simaokrot, Fulvio Testa, Blair Thurman.
In modern times, people seem to bring himself to associate art works in their definitions, programs or statements prepared in order to distinguish it from the past, even recently, is the mass of arts events around us. Less art performs functions established and more it seems to squirm in order to legitimize their own events in packages that limit.
Often, the excuse used are the formulas of the novelty or originality, or the artist felt compelled to decipher the reasons for the viewer of his work, what he believes to be its subject or content. Some rare times, the enunciation of the ulterior motives underlying the work is really necessary to increase the enjoyment, but often it is not 'that limit the creative contribution of the spectator, the artist and or channeling the agenda of the interpreter.
Lucio Pozzi believes that art is finally freed from the addiction which had been subjugated for centuries. His new freedom frightens many. In a panic to find themselves with no hooks on which there is mutual agreement, many people do invent constraints that echo the ancient lost consensus. Even the drive to get rid of old conformism, in the vanguard of the twentieth century and its followers today, is found mummified in parasitic formulas.
This shows the curator tries to avoid the pitfalls of 'explanation' acute infection, the virus that suppresses the modern art. Try to enable the highest degree and with modesty 'and there being a' work.
The various perspectives presented here are woven and memories in the immense variety of materials, processes and ideas that each author or the author chooses as the field in which to exercise his imagination and his intellect.
Lucio Pozzi want the sense of the exhibition proves, even to himself, only after it has been built.
The artist of our time in perennial and intermittent oscillation is only. It is not lonely, because it interacts with others who feel sympathy for the intellectual, but it is only because only handles its own decisions without reference sure, shared by the community. Even those who look or listen to it alone, bewildered by the multiplicity of horizons that is in art. Lucio Pozzi This is a big step forward in the global artistic consciousness. You can not lose sight of the various contexts within which the discourse of art is, but the loneliness of people who engage in it, makes it alive, like never before, the individual creativity of all who are interested in art.
"When I look, I follow a simple principle: if after all the factors enumerated in a work that I recognize nothing remains that escapes me completely, then I lose interest," said the curator, in the selection of works to be exhibited has decided to rely to subjective intuition, focused on this place and this gathering of works. "I entrust myself to feel affinity with the art of artists I've seen around and they have piqued my attention, even with the art of friends, relatives and acquaintances, some of which I included because I feel the importance in this specific context. There is also my work, "he says.
The title implies the presence Meanwhile, between a before and an after. The Fruit Market of obsolete Valeggio is full of layers. Placed in a place like this, works of art are on the one hand incontrovertible being where they are located, on the other hand changes. Wherever they are, but their addition changes the environment, it also absorbs the place of its forms, lights, shadows and history.
Meanwhile indicates transience. Not all the works presented here were made specifically for this site, some were born years ago, but put in this context suggests that the transition to longer term. Beneath all the noise that grows around the controversial contemporary art, beyond the arbitrary and competitive certainty about the quality of this or that form of art, Lucio Pozzi and melancholic feel an exhilarating sense of insecurity in our artistic culture: hilarious, because the oriented towards a permanent warning to exercise caution in a way that can not take anything for granted, because it opposes the permanent melancholy confirmation of the innate frailty of life, hope of eternal life.
This building is so steeped in history and art that it is now temporarily placed, are entities in transition.
"A well-articulated attracts me the most precarious of final solutions increasingly sought after by modern and always intended either to collapse or fossilized. I am fascinated by the symbiosis between art work and place of exposure, that it is the white cube or a local retired. I fascinated by this as I am seduced by the symbiosis between the person who made it and the viewer. Between the two formed a contract, an unbearable tension which comes from the intensity of the exchange, the gaze inevitably related to the time. Although rooted in lattice of its history and its terms of reference, the work falls more then that in all the cages in which both artist and the viewer then try to fence. The works presented here arise from extremely varied personal and social narratives I feel that here is not my job to decipher, so as not to lock to start an open dialogue. They contain different levels of accessibility and it will be interesting to hear the buzz of the comments they involve contradictory. In certain of these themes will recognize the most obvious, in others the issues are hidden. Some visitors will feel disappointed, while other stimuli to their deep feelings and thoughts. There are constructions and projections, and even sounds. Even the paint is applied by hand on flat surface and rectangular, eternal and often controversial basis for comparison of 'modern art, is here presented in two forms one of the most abused, the geometry and the landscape, just because you feel rediscovered as fertile fields of fresh creativity after their apparent exhaustion "Lucio Pozzi.
The peeling walls, the remnants of plaster and decor of the long history of the property, enter into dialogue with the works of some artists, very different, scattered into the large room.
Instead of a common theme, will connect them to the void that surrounds them and the indefinable difference that distinguishes them.
Giacinto Cerone participate, Arthur Duff, Bruna Esposito, Sara Faccin, Andrew Sheets, Raffaella Formenti, Armida Gandini, Jeff Hendricks, James Hyde, Alison Knowles, David Lindberg, Emil Lukas, Hector Mamet, Philip Manzini, Paolo Masi, Albano Morandi, Giovanni Morbin, Lucia Pescador, Giordano Pozzi Luca Pozzi, Lucio Pozzi, Roberto Pugliese, Giovanni Rizzoli, Fabio Sandri, Lorenza Sannai, Nida Simaokrot, Fulvio Testa, Blair Thurman.
In modern times, people seem to bring himself to associate art works in their definitions, programs or statements prepared in order to distinguish it from the past, even recently, is the mass of arts events around us. Less art performs functions established and more it seems to squirm in order to legitimize their own events in packages that limit.
Often, the excuse used are the formulas of the novelty or originality, or the artist felt compelled to decipher the reasons for the viewer of his work, what he believes to be its subject or content. Some rare times, the enunciation of the ulterior motives underlying the work is really necessary to increase the enjoyment, but often it is not 'that limit the creative contribution of the spectator, the artist and or channeling the agenda of the interpreter.
Lucio Pozzi believes that art is finally freed from the addiction which had been subjugated for centuries. His new freedom frightens many. In a panic to find themselves with no hooks on which there is mutual agreement, many people do invent constraints that echo the ancient lost consensus. Even the drive to get rid of old conformism, in the vanguard of the twentieth century and its followers today, is found mummified in parasitic formulas.
This shows the curator tries to avoid the pitfalls of 'explanation' acute infection, the virus that suppresses the modern art. Try to enable the highest degree and with modesty 'and there being a' work.
The various perspectives presented here are woven and memories in the immense variety of materials, processes and ideas that each author or the author chooses as the field in which to exercise his imagination and his intellect.
Lucio Pozzi want the sense of the exhibition proves, even to himself, only after it has been built.
The artist of our time in perennial and intermittent oscillation is only. It is not lonely, because it interacts with others who feel sympathy for the intellectual, but it is only because only handles its own decisions without reference sure, shared by the community. Even those who look or listen to it alone, bewildered by the multiplicity of horizons that is in art. Lucio Pozzi This is a big step forward in the global artistic consciousness. You can not lose sight of the various contexts within which the discourse of art is, but the loneliness of people who engage in it, makes it alive, like never before, the individual creativity of all who are interested in art.
"When I look, I follow a simple principle: if after all the factors enumerated in a work that I recognize nothing remains that escapes me completely, then I lose interest," said the curator, in the selection of works to be exhibited has decided to rely to subjective intuition, focused on this place and this gathering of works. "I entrust myself to feel affinity with the art of artists I've seen around and they have piqued my attention, even with the art of friends, relatives and acquaintances, some of which I included because I feel the importance in this specific context. There is also my work, "he says.
The title implies the presence Meanwhile, between a before and an after. The Fruit Market of obsolete Valeggio is full of layers. Placed in a place like this, works of art are on the one hand incontrovertible being where they are located, on the other hand changes. Wherever they are, but their addition changes the environment, it also absorbs the place of its forms, lights, shadows and history.
Meanwhile indicates transience. Not all the works presented here were made specifically for this site, some were born years ago, but put in this context suggests that the transition to longer term. Beneath all the noise that grows around the controversial contemporary art, beyond the arbitrary and competitive certainty about the quality of this or that form of art, Lucio Pozzi and melancholic feel an exhilarating sense of insecurity in our artistic culture: hilarious, because the oriented towards a permanent warning to exercise caution in a way that can not take anything for granted, because it opposes the permanent melancholy confirmation of the innate frailty of life, hope of eternal life.
This building is so steeped in history and art that it is now temporarily placed, are entities in transition.
"A well-articulated attracts me the most precarious of final solutions increasingly sought after by modern and always intended either to collapse or fossilized. I am fascinated by the symbiosis between art work and place of exposure, that it is the white cube or a local retired. I fascinated by this as I am seduced by the symbiosis between the person who made it and the viewer. Between the two formed a contract, an unbearable tension which comes from the intensity of the exchange, the gaze inevitably related to the time. Although rooted in lattice of its history and its terms of reference, the work falls more then that in all the cages in which both artist and the viewer then try to fence. The works presented here arise from extremely varied personal and social narratives I feel that here is not my job to decipher, so as not to lock to start an open dialogue. They contain different levels of accessibility and it will be interesting to hear the buzz of the comments they involve contradictory. In certain of these themes will recognize the most obvious, in others the issues are hidden. Some visitors will feel disappointed, while other stimuli to their deep feelings and thoughts. There are constructions and projections, and even sounds. Even the paint is applied by hand on flat surface and rectangular, eternal and often controversial basis for comparison of 'modern art, is here presented in two forms one of the most abused, the geometry and the landscape, just because you feel rediscovered as fertile fields of fresh creativity after their apparent exhaustion "Lucio Pozzi.
Thursday, 1 September 2011
The art game or is it work
* Art : 1) In old, know-how, human, any practice producing a result unnatural (artificial). 2) In the modern sense of aesthetics, production or creation of works intended to please (Fine Art), that is to say, to lead in appearance, a positive aesthetic appreciation.
* Work : From the popular Latin tripalium "machine three piles" designed to stop the horses for shoeing, which "instrument of torture." Any activity aimed at producing a useful work. Specifically, all activities performed by humans to produce goods and services in return for which he is paid. * The work is often associated with pain and suffering. Elsewhere in the Bible, God punishes sin by driving the first Adam from the Garden of Eden and now forcing him to cultivate a barren land, "You earn your bread by the sweat of your brow." * For Marx, human labor is helping to transform as well as human nature. Contrary to the animal, acting out of pure instinct, the man determines his consciousness in order to achieve it before you realize it. "What distinguishes early on the worst architect from the bee the most expert, wrote Marx, is that he built the cell in his head before building the hive. '* The wage labor is, according to Nietzsche, "the best policy", "It takes everyone in check and powerful means to hinder the development of reason, desire, taste of independence."
The art requires training, discipline, technique , concentration. It reports to work instead of play Art is serious work. But artistic creation is a free activity, disinterested e, whose purpose fun and entertainment .
The artist provides a real job, because the artistic application of effort and considerable technical skill.
The art requires a technique
Like any work of art requires technical know-how. The most obvious similarity between the artist and the technician is manual labor of the material. Focillon in this regard speaks of the "tactile values" of art: "Art is done by hand. (...) In Roman iconography, God does not blow on the globe of the world to launch in the ether. He puts it up in there with the hand. And it's a great hand Rodin (1840-1917), to include the work of six days, brings out a block where the dormant forces of chaos "(life forms). Similarly, the hand reveals itself technician intelligence of man.
* i) Art is a work rather than a game
a) The art requires a technique.
b) The art takes effort.
c) Art is serious.
* ii) The art is a game rather than work.
a) Art is not utilitarian.
b) The art is free.
c) The artist plays with the forms
* Work : From the popular Latin tripalium "machine three piles" designed to stop the horses for shoeing, which "instrument of torture." Any activity aimed at producing a useful work. Specifically, all activities performed by humans to produce goods and services in return for which he is paid. * The work is often associated with pain and suffering. Elsewhere in the Bible, God punishes sin by driving the first Adam from the Garden of Eden and now forcing him to cultivate a barren land, "You earn your bread by the sweat of your brow." * For Marx, human labor is helping to transform as well as human nature. Contrary to the animal, acting out of pure instinct, the man determines his consciousness in order to achieve it before you realize it. "What distinguishes early on the worst architect from the bee the most expert, wrote Marx, is that he built the cell in his head before building the hive. '* The wage labor is, according to Nietzsche, "the best policy", "It takes everyone in check and powerful means to hinder the development of reason, desire, taste of independence."
The art requires training, discipline, technique , concentration. It reports to work instead of play Art is serious work. But artistic creation is a free activity, disinterested e, whose purpose fun and entertainment .
The artist provides a real job, because the artistic application of effort and considerable technical skill.
The art requires a technique
Like any work of art requires technical know-how. The most obvious similarity between the artist and the technician is manual labor of the material. Focillon in this regard speaks of the "tactile values" of art: "Art is done by hand. (...) In Roman iconography, God does not blow on the globe of the world to launch in the ether. He puts it up in there with the hand. And it's a great hand Rodin (1840-1917), to include the work of six days, brings out a block where the dormant forces of chaos "(life forms). Similarly, the hand reveals itself technician intelligence of man.
* i) Art is a work rather than a game
a) The art requires a technique.
b) The art takes effort.
c) Art is serious.
* ii) The art is a game rather than work.
a) Art is not utilitarian.
b) The art is free.
c) The artist plays with the forms
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