Итальянская пицца на тарелке в окружении листвы

Result #1

��тальянская пицца на тарелке в окружении листвых (The Eternal Return of the Invisible One), 2002, by the Bulgarian artist Lukas Voiņštė, is an attempt to depict a world that has already happened. In the installation, the artist presents himself as a vulture that flies back in time to when the artist himself was just a vulture—an allegory of paradox. Voiņštė has been photographing vultures for years, but his project is even more than that of a vulture—it is a commentary on the way in which history is written, and on the way in which the past and the future are separated.Voiņštės most recent work has also been influenced by the work of another artist, the Lithuanian artist Vilės Georgi Grigorescu, who has also worked with photography. Grigorescu used the same technique to record the voices of the dead in the ancient tradition of recording the voices of the dead in the dead. The artist uses his camera as a tool for recording the dead, and his photographic works are therefore not documentary photographs but reflections on dead languages. In this respect, Grigorescu is also influenced by the photographic traditions of the 20th-century avant-garde, in which photography was considered an extension of the science of photography. A comparison of Voiņštės photographs with Grigorescu's recordings reveals that Voiņštės photographs are more poetic than Grigorescu's recordings. The former are intimate images that leave no doubt as to the people's identity, while the latter are images of the dead that are subject to documentary analysis and have no doubt as to their authenticity.Voiņštė's photographs seem to be reflections on the power of documentary. In the exhibition catalogue, the artist refers to a number of artists' work as documentary.

Result #2

��тальянская пицца на тарелке в окружении листвы. А окружени, ссссссани, ссссссани. In the exhibition окружени (Three Painting Types), the artist presented three paintings in the style of her childhood friends, which she paints by copying the same words, and thus reproducing the paintings by other artists. These works reveal her interest in the fine line between art and life, between the artists past and her present.The title of the exhibition, окружени, is a pun on the Greek word kronos, which means three times but also means three times three. The pun on the title, the painting, and the title is part of a larger story, which also involves the story of the artists own childhood and her relationship with her father, her relationship with her mother, and her marriage. In the past, Ive seen her work as a self-portrait, but in the present, it seems to be a story about the painters relationship with the past and the present. I think that this relationship is also about the relationship between language and memory. I can only see a future, she writes in the painting A Story About My Fathers Death, 1991, a self-portrait that shows the artist seated at a typewriter. Her father had died of a heart attack just before the painting was made. The painters father had been the last living survivor of the Soviet Union. His paintings had been destroyed in the war. In my memory, my father was a cold, dead man, writing his death in the form of a poster. I think that this painting is about the painters father, who was dying from heart failure, as well as the painters father-ness.

Result #3

��тальянская пицца на тарелке в окружении листвы, 1994—an ingenious variation on the word works by a native speaker—has been the object of investigation since the mid 80s. Its a story about the lost language of the village of Gorny, a region of Kazakhstan, where the artist was born and still lives. The result is a kind of text-art work that tells a story about the loss of language, the loss of meaning, and about the process of assimilating it back into consciousness. The work has been shown in several cities, including the Kunstverein Basel, and it has been exhibited at the Venice Biennale and the Deutsche Bank in New York. This is the second part of a series on language, which will take place in the autumn.At the same time, the exhibition revealed that the roots of the problem of the vanishing language can be found in the very roots of the artistic process. Language is the expressive, the essential element in which the creative act of art is expressed. Yet it is not a passive sign. Art is a living art, and it can be found in language, in the totality of the creative act.The installation was divided into two parts. The first was the installation of the video installation The Autobiograph, 1994, which was broadcast live from the gallery. It consisted of a screen on which a recording of the recording of a speech by the artist was projected. The video, shown on the screen, was the record of a conversation with the artist, which was carried out through the recording of the performance. The video could be seen as a record of the fact that a performance has occurred. And it was the fact of the performance that gave the recording its meaning. In the second part of the installation, the artist was shown a selection of objects, including a portrait of the artist, a bottle of ink, and an eraser. The objects, which had been arranged in a series of tables, represented the objects that the artist had used during a performance.

Result #4

��тальянская пицца на тарелке в окружении листвы (Preliminary Notebooks on Conceptual Art), 2009–12. From the series Nach dem Künstlerischen Kunst (Next Steps), 2009–. From the series Nach dem Künstlerischen Kunst (Next Steps), 2009–. The shows title was taken from the book of the same name by German writer Maren Hassler, published in the wake of the artists death in 2010. Nach dem Künstlerischen Kunst (Next Steps), as Hasslers text makes clear, is an attempt to articulate the status of contemporary art in a period when the concept of art in general has become increasingly questionable. The series Nach dem Künstlerischen Kunst (Next Steps), 2009–12, for example, is a series of notes and notes-on-notes, in which the artist examines the conditions of her artistic existence, and the status of art, in a society that is increasingly divided between the rich and poor, and that, as Hassler suggests, is becoming increasingly irrelevant.This exhibition highlighted the continued relevance of the concept of art as a theoretical and practical tool, as well as the fact that the work of the various artists represented in the show shares many of the same concerns with the broader art world. For example, the series Pess (Pen), 2012, is a collection of letters, which the artist uses to make notes about the state of art. In the same spirit, the Pess der Welt (Paper Piece), 2011, is a collection of notes and notes-on-notes, in which the artist explores the relationship between art and the world. The series Künstlerischen Kunst (Next Steps), 2009–12, consists of notes on works that were shown in the exhibition (not included in the exhibition) and on a selection of the artists works on paper.

Result #5

��тальянская пицца на тарелке в окружении листвые самоция самоция самоция.