Murdering Airplane" is an excellent example of such a revolutionary art. The title is ironic. This "aircraft"half-machine, half-humanis missing its propeller. And its nose is bent at a self-destructive angle. And what is that transparent shield that hangs underneath it? Does it represent nothingness? A cultural vacuum? The transparency of a civilization that had utterly failed? The background is disturbingly vacant, with an empty field that stretches to the horizon. Above that, we see a featureless sky. And suspended in between, as if hanging from an invisible hook, is this hybrid machine.

Result #1

Murdering Airplane" is an excellent example of such a revolutionary art. The title is ironic. This "aircraft"half-machine, half-humanis missing its propeller. And its nose is bent at a self-destructive angle. And what is that transparent shield that hangs underneath it? Does it represent nothingness? A cultural vacuum? The transparency of a civilization that had utterly failed? The background is disturbingly vacant, with an empty field that stretches to the horizon. Above that, we see a featureless sky. And suspended in between, as if hanging from an invisible hook, is this hybrid machine. A two-part world, it is a surreal world, and no one person can penetrate this world. The scenes surrounding it, like the moments from which the story emerges, are incredible. Yet this little world is also all-too-human.The work includes a series of allegories, from the "Catastrophe of Atomic destruction," to the American Civil War, and the end of the American empire. The symbolism of the American Civil War in particular is a cross between Altdadts symbols and Ulysses myth. One of the most haunting scenes in the show is a scene from the Civil War when Abraham Lincoln enters a room in a house where a Confederate soldier is kneeling before the dead body of his brother. The southern townsfolk look on, and the soldier stands at attention. When Lincoln is done kneeling, a tall Confederate soldier stands before him. Lincoln looks at the soldier, lifts his hand, and whispers, You are a friend of mine, you are a man of honor. He turns to the soldier who holds his hand, who is standing before him, and kisses him, the soldier holds his own son. Lincoln looks at the soldier who has his own son and smiles. And then we are in a world that was once our own. He is the enemy.This world is one of a kind. We are not alone in it, but we are part of it. Theres no true heaven or hell, no true innocence or evil. There is only joy and fear. Men are not the only creatures in the world, but they are the most important ones. What is it like to live under the influence of these emotions? Should we be afraid? The two American Civil War scenes are stunning in their depiction of courage, of heroism, and of faith. This America is powerful. In many ways, its strength is unknown to anyone. The United States is one of the most beautiful nations on the planet.

Result #2

Murdering Airplane" is an excellent example of such a revolutionary art. The title is ironic. This "aircraft"half-machine, half-humanis missing its propeller. And its nose is bent at a self-destructive angle. And what is that transparent shield that hangs underneath it? Does it represent nothingness? A cultural vacuum? The transparency of a civilization that had utterly failed? The background is disturbingly vacant, with an empty field that stretches to the horizon. Above that, we see a featureless sky. And suspended in between, as if hanging from an invisible hook, is this hybrid machine.A version of this symbolism of the avant-garde can be found in other contemporary art. In this, the flying saucer is the latest but not least famous invention in the art world. Yet the simplest description of the flying saucer would be to describe it as an unusual kind of vessel with a cylindrical shape, a hollow hull, and a surface of black velvet. More powerful than the wings of an aircraft, the flying saucer is a device that floats and splashes about on a stormy surface. Flying vessels are usually designed to serve as transports and even more usually as capsules. Yet what is the most likely place where the creature that is propelled by a flying vessel can land?The product of this phenomena is the flying saucer. This collection of works by 18 artists was selected from a series of memorial works, selected from those works in which one or more images of the animals that developed under the influence of the avant-garde come together with a resonance that, in the context of a museum exhibition, may look too obvious to allow a deep or personal view of the avant-garde. If the exhibition, then, is a way of rethinking the avant-garde in the face of the avant-garde, then it is in the spirit of modernity that the exhibition ends up being most fascinating. Some of the works are decidedly contemporary. Like the airplanes they recall, these animals use a device that was previously unknown to mankind: flight.But the majority of the works in the exhibition are 20th century. These pieces are just as imaginative and enchanting, but they come together with a more persuasive force. The history of avant-garde art can be traced back to its popularity in the 60s. This is why many of the avant-garde artists end up feeling like characters in a childs story.

Result #3

Invisible to the spectators, it seems to float like a shadow. As if it had been shot through with a wave. The photo combines three moods—happy, disgusted, and afraid—which are all set in a profound blue light. Here, in a way, all of the information—the reality of the machine, the world of art, and the reality of society—is implied in this black-and-white photograph.The fact that this sort of work can be performed with even less care and skill than the work of lesser artisans does not mean that its value is a matter of taste. It is a matter of survival. Nothingness is the result of culture. And its with this culture, which one cannot resist, that this survival can be achieved.

Result #4

The show, curated by Ryan Sammon, Andy Coulson, and Hélio Mujica, was like a sprawling old retrospective, whose artifacts were put on display and exhibited. One of the sections was devoted to the 1970s. But there were too many items, and you could have read the whole show and not gotten it at all. The section on the 80s was rather good. The section on the 90s was good. And that was the show that mattered. A truly innovative show that contained the good and the bad. For all its cultural ambivalence, the show was deeply serious.

Result #5

Murdering Airplane" is an excellent example of such a revolutionary art. The title is ironic. This "aircraft"half-machine, half-humanis missing its propeller. And its nose is bent at a self-destructive angle. And what is that transparent shield that hangs underneath it? Does it represent nothingness? A cultural vacuum? The transparency of a civilization that had utterly failed? The background is disturbingly vacant, with an empty field that stretches to the horizon. Above that, we see a featureless sky. And suspended in between, as if hanging from an invisible hook, is this hybrid machine. With its inner workings open, it is like a piece of crazy machinery that has spontaneously exploded. Does it signify something? A mysterious self-satisfaction? A kind of destructive craziness? Its like a piece of graph paper that has been blown to bits and pieces. A mind so messed up that it can't see the world? It is a strange place where nothingness is not yet everywhere. For them, the image is a snapshot, a snapshot of an emergency, a flashback, a moment of death. The world is on fire, and their only hope is to escape it.To set the scene, Im not sure I want to go through a graphic description of the pictures, but Im sure Im going to describe the setting, the composition, and the layout of the image. It is a mind in chaos. One wall is covered with a vague or tangled grid, a grid of intersecting black lines, or streaks of gray. The image and its background are layered, sometimes up to twenty-five layers deep. The first part of the picture is black with white lines; the second, black with black lines. The third, black with white lines, and the fourth, black with black lines. And so on. The images are fuzzy, in which the blurring of the boundaries between black and white creates an effect of depth that the viewer can't get anywhere near. Black itself is a dense, sprawling mass that gives the pictures a ghostly, ghostly quality. In fact, the black images seem to be floating off into the distance, and the white ones seem to be floating away into the foreground. The difference is that black is over-worked, and white is under-worked.Aural echoes, stylistic traces, and the appearance of air travel—this is where we are at.