genetically modified assemblages of the non human networks within the cosmological horror that one gigantic objectal matrix floating in it is transcendentally immutable and it is rooted in that vast ‘memory bank’ that is the evolutionary history of the species

Result #1

this continuum is filled with the real messengers from all the places where language appears to be morphing into other systems of speech. i.e., even international banking, now that the currency of the New World economy is backed by digital technology. In this context, Želags panorama of a city as a sign of human transfiguration is especially timely, given the fact that the hubbub of the digital dance has rendered it unpatriotic to expect the citys governmental structure to be immune to its own decadent beauty.

Result #2

genetically modified assemblages of the non human networks within the cosmological horror that one gigantic objectal matrix floating in it is transcendentally immutable and it is rooted in that vast ‘memory bank’ that is the evolutionary history of the species where every organism is alive and well—in a realm of cosmic proportion but also infinitely linked in time and space, in the infinite, in the multiplicity of lifebloods that divide one from the other, in the infinite, in the universe of the whole of being, even of the species—if only one could find a self-conscious, cynical, reflection on the animal/spiritual symbiosis between man and nature and its interpenetration. And one could. Hiebke has taken this nihilistic outlook to a virtual deadpan. For Hiebke, the archaeological record, like a Jungian mantra, is an opening to a personal paradise of a mind alone. What could be more absurd than Hiebkes declaration, [a] mind that does not learn. We are the animal world, Hiebke writes in his first volume of essays, titled Ideology and Social Consciousness, 1980, and the same cannot be said for the philosopher who placed the same stony irony on the cultural system of the organization of the world in a world of species. The world is no longer organized according to cultural value, to determine which is the result of a spontaneous, precultural act of faith. But this is a world in which cultures and their representations are interchangeable as human organs and thus—since all human and all social systems are alike—become interchangeable, as in a pawnshop. The image of the works in the present show was thus always fragmentary, implying the possibility of a new unity.Hiebke also interspersed his drawings, which included some of his early drawings in ilingual writing and others of sculpture from his own series, in one of his more puzzling passages. Here he clearly began to undermine the foundation of human identity, by embedding his artistic practice within a social context.

Result #3

genetically modified assemblages of the non human networks within the cosmological horror that one gigantic objectal matrix floating in it is transcendentally immutable and it is rooted in that vast ‘memory bank’ that is the evolutionary history of the species ‖ in all, all but in particular, of human nature, the work of Philippe Paradis is one of the older artists and is still without a recognized authority in France. In this respect, the gallery here was a fitting forum for the artist, because in a context as fraught with doubts and double-talk as ours, his work is unlikely to be accorded any import beyond an incidental and humanizing importance.A new type of conceptual, historical, not only formal, art has been emerging in France in recent years: first, in the formal rhetoric of Jean Tinguely and Emmanuel Perrotin, and later, more broadly, in the work of Jean-Luc Vilmouth, and, most recently, in the work of Jérôme Maillol. Paradis is a certain kind of outsider artist, an eccentric who offers something not offered by the kind of confident cultural pedagogues who populate the art world. Paradis makes no promises of integrity or authenticity of the work, and his installation here was quite clear and unapologetic.The piece consists of seven small glass vases (all works 2000) placed at a small scale on the gallery floor and three small containers, each about an inch and a half in height. A row of vases, with individual vases placed close to one another, a few inches away from one another; the bottom third of the container is covered with white tape. The vases, which are festooned with the connotation of craftsmanship, are arranged in a way that recalls Marcel Duchamps work, with its repeated orders and inscriptions. The arrangement is reminiscent of Daumier: the original, immaculately polished, bronze work; the new, refined one. One wonders if this piece is an abridged, but in truth very well received, reworking of Daumiers work.

Result #4

genetically modified assemblages of the non human networks within the cosmological horror that one gigantic objectal matrix floating in it is transcendentally immutable and it is rooted in that vast ‘memory bank’ that is the evolutionary history of the species * * * * * ** * * * * * * * * ** ****** <|startoftext|>Baldur Alvarez, Youre doing fine, 1988–, ink on paper, 23 1/4 x 20". The hand that is faithful is at the center of this sprawling show of the artists work from the past twenty years. Some of the more recent works include Enrico Polos collages and drawings, La Credenza (The Stalker), 1993, and Parviziale, 1994, which were collected by the gallery, but whose presence is felt only in a few dozen works displayed in the center of the gallery. The intent of this ambitious exhibition was to present more than a few outstanding artists, to include the most contemporary and representative of each of the forty-eight countries that make up the Americas.The shows content was then divided into two parts: three works, all untitled and dated 1994, were chosen from three sets of objects, but they were displayed in a strange way, in a sort of closetlike situation in the space, with the works juxtaposed in a partition, so that the two sets of drawings could be seen from one side and the three sculptures from the other. The difference between the initial appearance of the objects and their final form is an obvious one, and many viewers may have wondered what the point of arranging the pieces in such a way. The works themselves are being made all the time by Alvarez, who means all the time that he is still working on them, just as he has for years on the conceptual or esthetic problems of his work.For example, there are two works, four parts each, that illustrate the transience of memory, as in a piece titled In the end, 1992. A large mirror, placed on a black chair, reflects a blank surface to a different angle.

Result #5

all is contained and all can be sublimed in the village. For this reason, upon encountering the octagonal ziggurat of a temple of art and music, we begin to realize that it is a form of kunstwerk, that its folds are signs of physical and cultural stability, the means by which the temple symbolizes a global communitys encyclopedic and subjective symbolic self-definition. The patterned murals (of the artist, the king, and his instrument, Egon Schiele) of the Chinese-American shrine, built to celebrate the nations victory in the Napoleonic Wars, are a template of spatial and temporal automatism, of a world outside the confines of man, a world that transcends the material and ethnic boundaries of the nation and, more significantly, that is immortalized by art.