Review | the work is a geneti...

Generated on 2022-01-22 06:11:47

Result #1

the work is a genetically modified assemblages of non human networks. A one gigantic objectal matrix floating in space. It is rooted in that vast memory bank that is the evolutionary history of the species . Revealing the the cosmological horror of existence, the object is transcendentally immutable and will be part of us for a while. The work of Pia Rössler-Becker and Ute Müller-Winterling is based on the occult, the lost and the mysterious. The artist deliberately refers to her work as the mysterious because she cannot be identified with the enigmatic; her works are inherently mysterious. But the work is not as mysterious as the work of Jean Baudrillard; her work is not all bad. Indeed, it is extremely ambiguous. The work is not the abstracted, paranoically related thing that one imagines it is, but rather a substance, a residue of traces, like the snow on the ground. In this sense, the work is an occult inscription of the earth. The words on the paper are signs that point toward the surface, toward the presence of the thing itself. In this sense, the work is a sign of the occult, or at least of the occult expressed in a sign. In this sense, the work is an artifact, a ghost.The artist has worked for the last ten years in three different media. Painting, gouache, and pastels. Her work has always been rather informal, with a peculiarly loose brush and a light touch, and she never uses the traditional tools, brushes, or markers. Her paintings are the result of prolonged concentration on a single idea and, consequently, always reveal a weakness, a weakness that is hidden. Painting is a way of finding the missing points of a pattern. Pastels are lines of paper that are drawn with charcoal, with streaks of paint; they are black. Rössler-Winterlings works are like paper paintings, created by the light of day, and they reveal a weakness that is hidden. Her paintings are an extension of this light, a signal of concentration on an idea. For her, this search is connected to the idea of madness.

Result #2

the work is a genetically modified assemblages of non human networks. A one gigantic objectal matrix floating in space. It is rooted in that vast memory bank that is the evolutionary history of the species . Revealing the the cosmological horror of existence, the object is transcendentally immutable and will be part of us for a while. <|startoftext|>Paul Nicosias current exhibition at this gallery consists of paintings and constructions that deal with the same subject as the artist regularly does, painting. But unlike the artists earlier works, which were based on the Western tradition of abstraction, they are no longer abstract and representational. Instead they are representational constructions, constructions of color that carry the mark of an encyclopedic investigation of natural forms and appearances.The history of abstract painting has often been regarded as the particular history of Western culture. The later abstract works are seen as the recent work of an artist who was around a long time before the advent of the computer. But now, after the separation of Western and Eastern cultures, is the painting of a different artist presented as a Western production? Is it any less Western? In the new paintings, Nicosia applies a particularly Western color structure, in which spaces are isolated and color is defined by the ability of the paint to express the marks made by its environment, rather than by an impersonal, or, in other words, Western, grid. Nicosias paint carries the marks of the Western tradition of abstract painting. One can read it as an analysis of natural forms. Another painting consists of a grid of eight horizontal bands, on which are painted the numbers that appear in the paintings title. The titles were drawn from the period when the painter was studying the trigonometric analysis of Chinese characters.The project of painting as a means of understanding the nature of nature, its relationship to mathematics, is obviously as foreign as it is foreign to Nicosias intentions. Yet this project is ultimately linked to Western Europe. Nicosias work is really about Western understanding, and the Western way of thinking about it. In some sense, it is a quest for the perfect representation of nature. Nicosia presents his paintings with a completely Eastern style, using color that is both geometrical and abstract, but also naturalistic.

Result #3

the work is a genetically modified assemblages of non human networks. A one gigantic objectal matrix floating in space. It is rooted in that vast memory bank that is the evolutionary history of the species . Revealing the the cosmological horror of existence, the object is transcendentally immutable and will be part of us for a while. <|startoftext|>Spanning six decades, Luca Fusi(e)rtella(es)s monumental reconstruction of the Library of Venice is a monumental vision in the material world. It is not an ordinary restoration of the library. Fusi(e)rtella constructed the enormous library in one of the busiest streets in Venice, one of the oldest. By capturing the symbolic power of the place and the history of the city, she was able to create a space of mystery, a site for recreating, through the power of her imagination, the unknown.The reconstruction begins with the dining room of the library. Painted black, the first chamber is dominated by a single bed with a wooden desk. The bed is made of painted wood, the desk bare, while four chairs stand in a ring at the center of the room. They form a kind of bench on which are hung a series of books. Three are red, the fourth one is green and blue, and the chair is orange. A wall of books on ivory covers one entire room of the library. In the dining room stands a table with lamps; it serves as a table for reading. The books are arranged in a semicircular way, and a glass of water lies on the table. Next to the table, a wooden pedestal holds four books: A. B., 1878, by C. L. Webster; The Mathematical Sciences, 1875, by C. L. B. Henrot; Philosophical Investigations, 1874, by C. L. B. Flavin; and Leonardo of Pisa: The Art of the Universe, by S. T. Adorno. The book assemblage and the flat-wood table are then moved to the center of the room. From this point, one discovers the second and most interesting room, which is the space of the library.

Result #4

the work is a genetically modified assemblages of non human networks. A one gigantic objectal matrix floating in space. It is rooted in that vast memory bank that is the evolutionary history of the species . Revealing the the cosmological horror of existence, the object is transcendentally immutable and will be part of us for a while. <|startoftext|>The work of Russian artist Oleg Vassilievs architectural set design is in a sense the only true element of his work. His plans for the construction of the ancient city of Yekaterinburg, now part of the Ukrainian city of Novgorods Paleolithic capital of Yakutsk, are totally intelligible as both a strictly architectonic and an all-inclusive application of geometry. The genius of the designs was the display of the necessity of the architect and its proper placement. Architectural structure is used in an understandable and logical manner to form a complete social space. The problem Vassiliev poses is that of the building of a model for a city of the future.To do this Vassilievs plan required the presence of a lively, intelligent and playful public. The task the architect set himself was to observe and record the very essence of human activity. The data that is gathered and transcribed during the construction of the building are the laws, customs and customs of every nation and of all living beings. In order to perform the task of building a model the architect must be fully present in the process of thinking, executing and finally building the plans. Vassilievs proposal is a brilliant one, the sole product of a vast experience of living and working in the world. The selection of the details for this installation was a display of the most meticulous concentration and care. Yet the plans also possess a great responsibility to the viewer, and a task which has to be fulfilled by all those who enter the space of the exhibition. The architect is present in every part of the construction of the building; his presence at the moment of the planned operation is absolutely necessary. The planner is present in every step of the process of setting up the building, and the designer as well. The exhibition premises, equipped with the necessary files and photographs, are ready to be utilized.

Result #5

the work is a genetically modified assemblages of non human networks. A one gigantic objectal matrix floating in space. It is rooted in that vast memory bank that is the evolutionary history of the species . Revealing the the cosmological horror of existence, the object is transcendentally immutable and will be part of us for a while. <|startoftext|>Just when you think you have the definite image of something beautiful, along comes a young boy with a moustache, a blue trench coat, a teddy bear, and a pair of plaid shorts and an earring. . . . The boy is the artist, and this is the first show of his in London, so you get the same confused impression you always do. But then again, that might be the same old boy.There has been a lot of artmaking about this young man in the past year, and the shows runs are now much shorter and the catalogue has been edited to suit shorter running times. The boy who was the previous figure of that memorable act of transcendence and symbolism has stepped out of the art world for a while, but is now joining the current enthusiasms of a younger generation. This is a very exciting time for him. He has very few critics; in fact, the obviousness of what he has done may at times render his contribution somewhat trivial, at least among younger artists. But now he is being taken seriously as a figure of art. If he has a target, he is aiming quite carefully. This is not a daring thing to do. By now he has been painted by all the great painters of the century, but he is still young. It is too early to be a target.The street is empty. The mall is empty. These are empty cities, and it is a hollow feeling to think that there will be a target. But there is a target. It is a hole, a hollow one, and there is no target to hit. Only one boy can make the hole his own. The hole is visible through the windows, and the viewer can see through it, but he cant. It is the void, the eternal and impalpable. The hole has become a boundary between the city and the art world.