Leonardo's bioconstruction , the conjunction of new and classic

Result #1

art, and the allusion to the theory of Cartesian dualism, in the title of the exhibition, offered a clue to the difference between a painting that has a unique composition and one that is simply a composite of unrelated, often seemingly unrelated elements, and one that has no clear distinction between the gesture of painting and that of the objects or objects depicted. The artist's reference to the theory of dualism in a painting like Città in the title of the show was, in effect, a self-referential act, and the concomitant reduction of the work's disparate elements to a single, unified, and fixed position.This self-referential position was further emphasized by the absence of any reference to the work's source material. The only reference to the original works was the authors' comment on the works' appearance as images in a digital reproduction. But the works' ambiguous status as images and the fact that they were digitally created from digital images do not, as the artists' comments suggest, imply a certain loss of the works' source material. The works are, in fact, not originals, but reproductions of reproductions. The difference between originals and reproductions is not a matter of degree, but of position. If the works' originality is thus not a matter of degrees, but of position, it is precisely that of a situation that is not accessible to the observer. As a result, the works' appearance as images and their placement in the gallery as reproductions, on the one hand, and original works on the other, are not the result of an evaluation of the work's originality, but of the works' position in relation to the gallery.

Result #2

Leonardo's bioconstruction , the conjunction of new and classic forms, the attempts to construct a new world, and the dissolution of the old world into the new. What the work reveals, in the end, is that we are in a world in which things have to be made and exchanged. But this is not the world of an artist, but of a human being. For, as Antonin Artaud has shown us, it is the world of the artist. The artists and their art are in constant transition, a constant struggle to find a balance between old and new, old and new, and to form new relationships in the world. They do not want to lose the sense of the old and of the new, so they use the old and new as a basis for a new language of relationships. But they do not use language as an end in itself, or as a means to an end. They seek to find a way to make the old and new come to terms. They do not want to be like the old world, but they want to represent it. They want to restore to the world a sense of its original reality. They want to transform the world through a dialectic of oppositions and of signs. They want to do this in an art that is not merely a means, but a method, an activity. It is a means to an end, not an end in itself, and it is a method that is not merely a means to an end. It is not merely a means to an end, but a means to an end that is itself a method. It is not merely a means to an end that is not merely a means, but a means to an end that is itself an end. And this is what the work of art is. In this respect, it is a work of art, not an art of knowledge, and it is not merely a means to an end, but a end in itself.

Result #3

art, and the spirit of abstraction is a reminder that painting is as much a process of discovery as it is a result of any specific impulse. A contemporary version of this question is found in the work of the artist Jannis Kounellis, who, as a young man, has been the object of much speculation and fascination. He is, in fact, not known to have had any artistic breakthroughs, but his work continues to be of interest. Kounellis has never ceased to be a student of the old masters and, in so doing, has pursued a search for the most traditional, even classical, of themes. The main feature of his art is that it is rooted in the form of the painting itself. This is shown by the number of the paintings that were included in this exhibition. In addition to the classical themes, Kounellis has also explored the human figure. This is the first time that he has shown this body of work. And yet, as if to emphasize the fact that the body is not an isolated and mechanical entity, he has included, for example, a painting that features a naked female torso in a state of tension with her hands, as if she were the artist herself. In this way, Kounellis has not only referred to his predecessors, but also to the body as an entity that is not quite human. And yet, for all this, Kounellis has not lost the confidence of the ancient theme of the figure, for it is not a form that is transformed, but rather, rather, that which remains mysterious.

Result #4

Leonardo's bioconstruction , the conjunction of new and classic is of great importance. The most obvious example is the massive, anachronistic sculptures that have appeared in the art of Art Nouveau, from the early 20s, but also include the work of, among others, Salvador Dali, Jean Tinguely, and the Futurist Archigram. The fusion of art and life is a recurrent theme in the work of many young artists, but one that is also a theme in the work of many artists of the 70s. Although this fusion is more or less the norm, there are exceptions, such as the case of the British artist Richard Hamilton, who, like Leonardo, has worked in both media and has exhibited extensively in both cities. In the 80s, he has created a series of sculptures that use the body as a vehicle for a completely new way of being. The range of his work is vast and includes sculptural elements, paintings, and installations. Hamilton has developed a clear, concise and highly personal vocabulary of forms and colors that is permeated with a spirit of playful abstraction. His work is grounded in the spirit of the American Minimalism that was very much a part of the aesthetic of the 60s. The kinetic sculpture that accompanied Hamilton's recent show, which consisted of a number of motorized vehicles (a truck, a motorcycle, a scooter), seemed a natural extension of his earlier work. This new kinetic work, however, is not a vehicle for an autonomous and autonomous vehicle but rather a vehicle that moves and is driven by the viewer. The work is a vehicle that is constantly in motion and thus a vehicle that can be continuously constructed and dismantled, like a house. The viewer is invited to enter the sculpture, to move the work and to stop it. In this way, the work becomes an open work, a vehicle for a voyage of discovery. The form of the sculpture follows the order of movement of the body, and therefore of the body.

Result #5

modernism. In the late 40s and early 50s, when the country was still reeling from the devastation of the war in Vietnam, she made monumental abstract paintings of the light of day. These works are dense and complex, featuring space, figures, and figures in motion. They are like the fragments of a dream, as if we were seeing them as a family of images, the light of day and a twilight twilight. In the early 60s, she began making wall-mounted, meticulously rendered, full-color paintings, with which she explored her own sense of being in the world. These works are detailed, but not quite abstract, and they have the same contemporary quality that is present in the sculptures of Helen Frankenthaler and in the paintings of Susan Rothenberg. A woman of considerable artistic accomplishment, who also happens to be an artist, the artist of the world, the artist in the world, and the artist herself, the artist has to make art, she has to make art.