{boogie art}
niedziela Lipiec 23rd 2017

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{invisible transformation}

the artist of space who focuses on the problem of urban surrounding as the public place of social activity, Roeland Otten from Rotterdam, made an ‚invisible’ transformation substation in his city. when I saw it, first I thought it was a mirror placed around the cube. but he achieved that effect by attaching photographs of the scene behind to the original concrete substation.


he changed the look of the boring area into an extravagant place with an artistic atmosphere. and all that thanks to the piece of a wallpaper with a photography of the piece of the real space… I used to identify such ideas with bars that pretended to be posh in the late 90′; a view of a beach or mountains, red tables, leather chairs and barman with long curly hair. now I will think about putting something like that behind my window. cause we have to know that:

Visiting Hans Memling


Visiting Memling is a performance organized by the National Museum and Urban Gallery in Gdańsk (12th November – 31st December 2009), based on a ‚conversation’ of two paintings, the medieval masterpiece of Hans Memling, The Final Judgement, and the constructive painting of Nicholas Bodde which has been already called Memling with Stripes.
Memling modelled its composition on the masterpiece of Rogier van der Weyden, The Altar of Final Judgement from Beaune.


it is nothing new in presenting the old good art with the modern pieces, I’ve already saw something like that in, i.e. Gemäldegalerie, Berlin. but, apart of the whole idea, the range of the masterpiece is more than high.


the painting of Nicholas Bodde, inspired on the Memling’s triptych, was created for the exhibition Lost in colour. Dialog 1, which was the first organized by the Urban Gallery (Miejska Galeria) in Gdańsk.
it is a very interesting meeting of two painting conceptions, of two different worlds, of diverse ideas of perception. nevertheless the constructive painting derives its colours from the basic colours that Memling used. it’s a juxtaposition that produces opposition but also a kind of a fusion that unify the general idea of art.


here some painting by Nicholas Bodde:



at last but not at least, it’s worth to mention the history of the Memling’s masterpiece.
the triptych was created between 1467 and 1471. currently it belongs to the collection of National Museum in Gdańsk. till the middle of the XVII century the author of the piece remained unknown and it was being only attributed to the Brothers Eyck. in 1843 Heinrich Gustav Hotho affirmed the authorship of Memling. the painting was made to order of the branch of the Medici’s bank and was destined originally for the church Badia Fiesolana in Florence. during the transport to Italy, on the deck of the Saint Matteo galeon, it was captured by Paweł Beneke, a pirate from Gdańsk. the owners of the ship of Beneke after the division of spoils decided to offer the masterpiece for the church of the Assumption of Mary. during the era of Napoleon’s war, due to Vivan Denon the triptic got to the Louvre’s collection, but after the fall of Napoleon it was revindicated to Berlin and in 1817 eventually came back to Gdańsk. but that’s not the end of the story… after the Second World War the Germans took it to the Reich and after that the Russians placed it in Ermitage, Lenningrad. and, as the history likes to repeat itself – in 1956 the painting came back again to Gdańsk, but this time it became the part of the museum’s collection (and it still is). THE END

Clayton James Cubitt – sensuality saturated in deep colours


„our own physical body possesses a wisdom which we who inhabit the body lack. we give it orders which make no sense.” 
(Henry Miller)

according to the Eyemazing Journal, Clayton James Cubitt  „with his rock star dalliances and a desire to marry high-art style and low-brow subjects sits at the photographic edge”. he likes to provoke, we would say and we would smile lasciviously… but his desire for a ‚provocation’ is not cheap in any case, due to the fact that he takes photographs which are meant exclusively for a sophisticated eye and sensitive, sublime minds. anybody who sees only naked bodies in promiscuous or weird poses will not never ever value his work properly and with required good taste (look: category of so called ‚bon goût’, created in the XIX century).
let’s say it appears on one of the billboards in Poland, gosh!, it would be an extraordinary reason to start a silly discussion about the morality, religion, our laws, our sick brains, our common hipocrisy which kills the creativity. unfortunately – that’s not the land for people like Clayton.

in our native consciousness the myth of social-engaged art is still alive and catchy. it seems better to create shitty art, simply disgusting, boring or ugly than give audience something refreshing that derives from the human nature. but we are afraid of our nature, closed in the concrete boxes we preffer waiting for the death with a neverending premonition that we are being passed over for something important, unless dangerous.
meanwhile, watch carefuly: those photos are just amazing; just like visual samples of aesthetics wrapped with a bit dirty piece of paper, with stains of blood or any other body-secretion on it.

maybe it is not the art that will be hanging one day on the walls of some respectable institution, but it is the art that make us thinking (I hope so…).

…“begin to see yourself as a soul with a body rather than a body with a soul.” (Wayne Dyer)


here we have the samples of Clayton James Cubitt’s works. to see more visit his web-gallery.

zaczyna się całkiem normalnie…


spacerowała po krawędzi wydmy, terenem oznaczonym tablicą „wstęp wzbroniony” i zastanawiała, gdzie mogłaby usadowić swój tyłek wygodnie na tyle, aby bez szczególnych wyrzutów sumienia móc nielegalnie zapalić papierosa i nielegalnie zgasić go następnie w zasuszonych liściach.  jakby była dzieckiem, robiła ostatnio wszystko na przekór, żeby tylko nie wziąć odpowiedzialności za siebie, a móc ją zrzucić na kogoś innego, powołanego do pełnienia roli piewcy moralności. zignorowała więc zakaz i rozsiadła się w miejscu, które wydawało się wolne od wszędobylskich mrówek.

obserwowała przez jakiś czas te pracowite stworzenia, krzątające się w kółko, czyniące ziemię ruchomą magmą, po czym pogrążyła się w lekturze Murakamiego, zdającego wywodzić się z iście lynchowskiego świata.
niebo spowite fluorescencyjnym różem, z gatunku tych od ciotki Józi, a la Majka Jeżowska, rozproszyło jej skupienie i sprawiło, że przepełniło ją jak najgłębsze poczucie jedności z kiczowatością całego uniwersum.

historia o siedzeniu na gałęzi i czytaniu wydała jej się początkowo zupełnie normalnym początkiem dla opowieści dramatycznej i absurdalnej tak, jak jej dotychczasowe życie. jakoś jednak przeczucie banału nie pozwoliło na ciąg dalszy. zapalenie papierosa w miejscu niedozwolonym, widok kiczowatego nieba i te, ganiające jak oszalałe, mrówki – to chyba wystrczająca dawka dramatyzmu, jak na dzisiejsze czasy prostych historii autorstwa emocjonalnych sierot.

 

{stuff}

refreshing...

{owl as a symbol of occult}

the owl appears in fairytales (could have anybody forgotten the owl from the Winnie the Pooh?) as an animal which symbolises wisdom. but there are much more possibillities of symbolism of that mysterious animal. here are the cinese letters for the OWL:

 

in fact, the origins of its symbolism reach the ancient times and in every culture have different connections. I’ve found that representations of the owl are still very popular in art, nevertheless, without any relation with the occultism, rather as a nice mascot with lovely feather and funny ‚face’.  


Goya, Linda Maestra

I’ve decided to make a mixture of the sweet art and an explanation of the occult symbolism of the owl – so postmodern and so queer…




in Greek mythology, the owl, and specifically the Little Owl, was often associated with the goddess Athena, a bird goddess who became associated with wisdom, the arts, and skills, and as a result, owls also became associated with wisdom.
the Romans, in addition to having borrowed the Greek associations of the owl (Owl of Minerva), also considered owls to be funerary birds, due to their nocturnal activity and often having their nests in inaccessible places.

in France, a difference is made between hiboux, eared owls, which are considered symbols of wisdom, and chouettes, earless owls, which are considered birds of ill omen.


in Finland the owl is paradoxically viewed as both a symbol of wisdom, and as a symbol of imbecility, presumably because of its „dumb stare” :D


for more look here: The Illuminatus Observor !!!


God Ra with an owl

{obsession}

I think it’s kind of obssesive, but I can not stop myself from this tainted love to the bloody-body-objects.


Dash Snow


Dominique Fung: Requiem final

beyond this lies nothin’?

“We follow the mystics. They know where they are going. They, too, go astray, but when they go astray they do so in a way that is mystical, dark, and mysterious”Ryszard Kapuściński


True Blood, dir. Alan Ball

according to the postmodern fascination with misticism and strange beings which exist on the border between reality and a dream, let me introduce you THE BLOODY ART. as we can see, the artist look for something more than a pop-culture as well.


Seppuku. from: Trevor Brown
one or two months ago the second season of the True Blood ended, so it’s like a reminder of that specific climate. on the field of art the topic of blood is strictly related to the body. I want to present some of the most interesting examples of that kind of art, which usually shouldn’t be taken literally (as we know, the art isn’t a literal thing at all). sometimes its motives and roots are ingrained in the culture, sometimes in the common sense of majority, sometimes in the past… (so are the themes from the True Blood…). we  don’t even fully realise how deeply we are related to the mythology.

I think those artist recuperate our bodies from the collusion and make us think about them like about good friends, all the emissions of our body are only our owns. bacause of that we should know how to use our senses to make them work for us.


Marc Quinn, Self
blood (artist’s), stainless steel, perspex and refrigeration equipment, 2001


Hanka Nowicka, Menstruation


Pipilotti Rist


Bettina Rheims

the symbolism of the color red is also very important. red is frequently used as a symbol of guilt, sin and anger, often as connected with blood or sex. a biblical example is found in Isaiah: „Though your sins be as scarlet, they shall be white as snow”. also, The Scarlet Letter, an 1850 American novel by Nathaniel Hawthorne, features a woman in a Puritan New England community who is punished for adultery with ostracism, her sin represented by a red letter ‚A’ sewn into her clothes.

such artists like Bogna Burska or Katarzyna Górna and other who appear here, try to show us the dark and the bright side of that symbolism, re-interpreting the schemes that we live by.

La Fontaine de Sang
Charles Baudelaire
Il me semble parfois que mon sang coule à flots,
Ainsi qu’une fontaine aux rythmiques sanglots.
Je l’entends bien qui coule avec un long murmure,
Mais je me tâte en vain pour trouver la blessure.

À travers la cité, comme dans un champ clos,
Il s’en va, transformant les pavés en îlots,
Désaltérant la soif de chaque créature,
Et partout colorant en rouge la nature.
J’ai demandé souvent à des vins captieux
D’endormir pour un jour la terreur qui me mine;
Le vin rend l’oeil plus clair et l’oreille plus fine!
J’ai cherché dans l’amour un sommeil oublieux;
Mais l’amour n’est pour moi qu’un matelas d’aiguilles
Fait pour donner à boire à ces cruelles filles!

Fontanna krwi
Charles Baudelaire
Niekiedy zdaje mi się, że krwi mojej fale
Uchodzą gdzieś ze mnie, słyszę ich rytmiczne żale,
Jak bijącej fontanny przeciągłe westchnienia,
Ale na próżno rany szukam bez wytchnienia.
Poprzez miasta arenę rwie naprzód wytrwale,
Tworząc wysepki w bruku, wciąż uchodzi w dale,
Gasi wszędzie pragnienie wszelkiego stworzenia,
Wszystkie barwy w przyrodzie w czerwoną zamienia.
Nieraz chciałem zatopić w oszukańczym winie
Pamięć zgrozy, co skrzydła rozpięła nade mną,
Lecz słuch się lepiej w ciszę, wzrok w noc wbijał ciemną!
Myślałem, że mnie miłość w sen głuchy spowinie,
Lecz była jak poduszka igłami natknięta,
By mogły pić do woli okutne dziewczęta!


Bogna Burska, Małgorzata


Katarzyna Górna, Madonny, 1996-2001

sex – we like


„Life is painful and disappointing. It is useless, therefore, to write new realistic novels. We generally know where we stand in relation to reality and don’t care to know any more”Michel Houellebecq (H. P. Lovecraft: Against the World, Against Life)

by: Danele Buetti

recently, I’ve been reading novels of Michel Houellebecq. I’m under his influence and I have to say that I’m totally fine. the last book, The Possibility of An Island is… so humanistic (!). the vision of life that he shows on the pages of that book is infiltrated by a deep feeling of unity between human beings in their sad and short existence, which is marked with a fear of death and corporal destruction. and, behind all that, the only thing that counts is LOVE.

and the only way of self-realization

is a sex-fulfillment… so, what we can do is to get rid of all our superstitions and plunge into a rage of our beautiful bodies!!!


„If life is an illusion it’s a pretty painful one” — Michel Houellebecq (The Possibility of an Island)

„Et l’amour, où tout est facile,
Où tout est donné dans l’instant;
Il existe au milieu du temps
La possibilité d’une île”
  — Michel Houellebecq (The Possibility of an Island)

„Love binds, and it binds forever. Good binds while evil unravels. Separation is another word for evil; it is also another word for deceit”Michel Houellebecq (The Elementary Particles)


by: Irene Cecile


„Lorsque la sexualité disparaît, c’est le corps de l’autre qui apparaît, dans sa présence vaguement hostile; ce sont les bruits, les mouvements, les odeurs; et la présence même de ce corps qu’on ne peut plus toucher, ni sanctifier par le contact, devient peu à peu une gêne; tout cela malheureusement, est connu. La disparition de la tendresse suit toujours de près celle de l’érotisme. Il n’y a pas de relation épurée, d’union supérieure des âmes, ni quoi que ce soit qui puisse y ressembler, ou même l’évoquer sur un mode allusif. Quand l’amour physique disparaît, tout disparaît; un agacement morne, sans profondeur, vient remplir la succession des jours”Michel Houellebecq (The Possibility of an Island)

 

usefulness of art & its higher aims

those words have something in common.
…as The Knife sings in the Marble House, „we have a thing in common, this was meant to be…”

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