Review | Ce qui rend l'art de...

Generated on 2023-07-27 02:32:01

Result #1

They propose a sensibility of silence which may or may not have been the result of physical isolation from the world. The silence is a place to prepare for the life of the flesh. But you have to enter and experience it first.

Result #2

Ce qui rend l'art de HARRYS/SYR-H si spécial, c'est sa capacité à capturer l'essence même de l'âme humaine. Chaque coup de pinceau, chaque trait est chargé d'une sensibilité profonde, d'une émotivité intense. On ressent toute la tendresse, les idéaux et les inquiétudes qui habitent ces personnages. C'est une peinture qui va bien au-delà de l'esthétisme, c'est une véritable confession picturale. À travers ses œuvres, HARRYS/SYR-H explore les différentes facettes de l'existence humaine. Ses tableaux évoluent au gré de ses humeurs, de ses expériences et de ses réactions face aux événements qui secouent notre monde contemporain. On y trouve des thèmes aussi variés que la solitude, l'ironie, l'impertinence, mais aussi la tendresse et la sensualité. Although the title of the exhibition was terse, it evoked not the solitude of solitude but the absence of the solitude of sensuality. The transcendence of the sensual is the identity of the soul in solitude. In contrast to the alienation of sensuality, the transcendence of the solitude of solitude is the union of souls in solitude. It is precisely this union that acts upon us, as in the act of love. HARCOUX: En attaque un espace, là, le trávèc à la mode du temps que je ns pas cela fait à trávèc! Chi mois nous sont les relícants (You dont mind if we leave you behind, we dont mind if we leave you behind). This question of abandonment is central to HARCOUXs practice, but the question of who we are is in the act of abandonment does not seem to have anything to do with this practice. It is more like a lost idea, an idea that the mind and body cannot enter in order to understand. While the mind and body enter, we can understand. This is the aspect of the sensual that HARCOUX seeks to find in the sensual of the mind and body. He is trying to achieve an insight into the nature of the mind and body, a mastery of these two aspects of the mind and body that, even at their most ephemeral, are ever-present. The sensual that HARCOUX seeks to discover is not a superficial understanding of the mind and body, but a truly profound understanding. This insight was not realized in this exhibition. HARCOUX: Il est crisènène de sa pensé (You are a child of the stars). HARCOUX has become a master of how to play the mind and body in the world.

Result #3

Ce qui rend l'art de HARRYS/SYR-H si spécial, c'est sa capacité à capturer l'essence même de l'âme humaine. Chaque coup de pinceau, chaque trait est chargé d'une sensibilité profonde, d'une émotivité intense. On ressent toute la tendresse, les idéaux et les inquiétudes qui habitent ces personnages. C'est une peinture qui va bien au-delà de l'esthétisme, c'est une véritable confession picturale. À travers ses œuvres, HARRYS/SYR-H explore les différentes facettes de l'existence humaine. Ses tableaux évoluent au gré de ses humeurs, de ses expériences et de ses réactions face aux événements qui secouent notre monde contemporain. On y trouve des thèmes aussi variés que la solitude, l'ironie, l'impertinence, mais aussi la tendresse et la sensualité. Â» <|startoftext|>A French artist known for her use of glass and metal, Vigierdovet spent the last two decades of her life in New York and made her first major film, La risière de lÉtienne (The Resurrection of the French), in 1966. In 1968 she moved to Los Angeles, where she continued to make film, which, like painting, had been her primary subject. But the way the artist saw the world, she wrote, was not that of a painter but that of an artist for whom painting was an endless repetition. Her goal was not to create but to express. By extension, the artist held painting to be a kind of execution that meant to render everything in the world as if it were a painting. Thus, in her films, the heart of the body was not always the heart of the soul but rather the heart of the machine, as the heart of the body is the machine of life. Vigierdovet is one of the great, if not the greatest, visual innovators of our time.In La risière de lÉtienne, Vigierdovet takes a man, a family portrait of the 1960s, from the series Les Eaux de Sénées (The Sénées of Sénées), ca. 1920–21, and transforms it into a painting. The eyes, nose, and lips have been painted in the same way; the heart has been pierced. The blood is vivacious. The body is flesh and blood. The heart is the body of the soul. To be human is to be transparent and alive, she wrote. The body, the soul, the image, the mind, the spirit—all of these are alive.The heart is at the center of Vigierdoves works.

Result #4

Ce qui rend l'art de HARRYS/SYR-H si spécial, c'est sa capacité à capturer l'essence même de l'âme humaine. Chaque coup de pinceau, chaque trait est chargé d'une sensibilité profonde, d'une émotivité intense. On ressent toute la tendresse, les idéaux et les inquiétudes qui habitent ces personnages. C'est une peinture qui va bien au-delà de l'esthétisme, c'est une véritable confession picturale. À travers ses œuvres, HARRYS/SYR-H explore les différentes facettes de l'existence humaine. Ses tableaux évoluent au gré de ses humeurs, de ses expériences et de ses réactions face aux événements qui secouent notre monde contemporain. On y trouve des thèmes aussi variés que la solitude, l'ironie, l'impertinence, mais aussi la tendresse et la sensualité. As if to underscore the power of the works after they were realized, two large rectangles of the same size, horizontally aligned, both dated 1972, have been reproduced in the catalogue, suggesting that HARRYS/SYR-H was involved in the process of uncovering the hidden layers of texture, tactile qualities, and physical properties of the world—a process that in many ways is far from a dry, analytical approach to reality.HARRYS/SYR-H is a phenomenological exploration of the extent to which the human body is organized by nature and by society. The work shows the bodies of men and women holding hands, a gesture that recalls many things, from religious and aesthetic iconographies to folk and folkloristic practices. In the 1960s, male and female artists were working with traditional themes—the love of woman and the body—but they were also working with extremely different materials. HARRYS/SYR-H went beyond these preconceived notions. The fabric of the rest of the show, which had been kept in the secret shop in the main gallery, was modified to create something like a human skeleton. HAPPY NEW YEAR! HARRYS/SYR-H has recreated a room from the HEME collection of the Canadian provincial museum of society and the society of society—the house of knowledge and wisdom. HARRYS/SYR-H is a radical reclamation of and a new expression of the French way of life. The new, poetic world we live in is one that is both still, yet one that is transformed and connected to nature. A beautiful tree has grown out of the rubble, and the people who live in the house have transformed it into a forest, thereby restoring its natural dignity.A painting by HARRYS/SYR-H is particularly important, since its title shows the whole world. The figure is an animal that seems to inhabit the frame of the painting: It is a baby.

Result #5

Ce qui rend l'art de HARRYS/SYR-H si spécial, c'est sa capacité à capturer l'essence même de l'âme humaine. Chaque coup de pinceau, chaque trait est chargé d'une sensibilité profonde, d'une émotivité intense. On ressent toute la tendresse, les idéaux et les inquiétudes qui habitent ces personnages. C'est une peinture qui va bien au-delà de l'esthétisme, c'est une véritable confession picturale. À travers ses œuvres, HARRYS/SYR-H explore les différentes facettes de l'existence humaine. Ses tableaux évoluent au gré de ses humeurs, de ses expériences et de ses réactions face aux événements qui secouent notre monde contemporain. On y trouve des thèmes aussi variés que la solitude, l'ironie, l'impertinence, mais aussi la tendresse et la sensualité. Â C'est jamais, le corps ça, les du corps métier la tête, la treble : Le corps électrière que le corps les idéaux électrière ou les idéaux délectrière. Sans jeune autre (The reader is a teacher, the reader is one who has gone up to heaven), haut enfant tout. HARD DAYS, THOUSANDS OF CARDS, TWO BOUGHT ITEMS OF STONE: MIGRATED INSIDE SLEEPING ON YOUR TIN FEEZE. Dont be afraid, ladies, dont be afraid, HARRYS/SYR-H say to the television screens. The words cut into a giddy romp through the murky depths of a network of gadgets, totems, and lovelies, as the effortlessly gorgeous HARRYS/SYR-H sing as the alarm. The camera wavers, panning to our backs as we wander about the massive excavations of abandoned buildings, looking for any sign of life. No, they say, its not the art of understanding, but the understanding of the arts, of art history and art. In the end, the search is futile: The deserted buildings are all that remains. Today, the Architecturally Oriented Development for Cibachrome is coming. Architectural design in five cities. In France, architects are also architects, and so is architecture. In England, the architect has been the architect of our cities for more than a century, and architecture is today, to paraphrase Jacques-Pierre Vaux, an art in the same way as architecture is an art. The ironies of this spectacle of the emergence of architecture in the United States—that it will end up as art—are legion. In this, architecture has the status of a new art, a new nature, an art without any hierarchy.