No, tu non lo sai fare

Libretto di istruzioni per l'arte contemporanea
L’ horror vacui dunque dovrebbe essere sostituito dall’ horror pieni. Sarebbe giusto che si andasse a caccia d’uno spazio vuoto da non riempire; d’un intervallo tra due suoni; di uno spiazzo beante tra le orrride villette a forma di lumaca che infestano le nostre coste; d’una pagina candida in un libro stampato; d’un’ ora libera da rumori e da suoni. Malauguratamente solo pochissimi intendono questa fisiologica necessità del vuoto e della pausa. La maggior parte degli uomini è ancora profondamente ancorata all’ errore del pieno e non all’ orrore dello stesso. […]Troppe notizie, troppe letture finiscono per occludere le nostre possibilità d’immagazzinamennto immaginifico.Gillo Dorfles - L’intervallo Perduto Immagine: Lucio Fontana, Concetto Spaziale - Attese.

L’ horror vacui dunque dovrebbe essere sostituito dall’ horror pieni. Sarebbe giusto che si andasse a caccia d’uno spazio vuoto da non riempire; d’un intervallo tra due suoni; di uno spiazzo beante tra le orrride villette a forma di lumaca che infestano le nostre coste; d’una pagina candida in un libro stampato; d’un’ ora libera da rumori e da suoni. Malauguratamente solo pochissimi intendono questa fisiologica necessità del vuoto e della pausa. La maggior parte degli uomini è ancora profondamente ancorata all’ errore del pieno e non all’ orrore dello stesso. […]Troppe notizie, troppe letture finiscono per occludere le nostre possibilità d’immagazzinamennto immaginifico.
Gillo Dorfles - L’intervallo Perduto
Immagine: Lucio Fontana, Concetto Spaziale - Attese.

losgabuzzo: “Money Creates Taste” Jenny Holzer 1982 Pagine e pagine di belle parole, di se, di ma, eh ma l’Arte, la Cultura, eh ma i musei, eh ma come mi fa stare bene una bell’opera d’arte, l’arte è vita, spendo milioni di dollari in opere per poi condividerle con la comunità, la vita è arte, creo per rappresentare il mondo di sto cazzo perché sento che dentro di me sto cazzo vive.  Che alla fine l’unica cosa, da 30 anni a questa parte è solo una, cioè quella qua sopra. Quando cercherete in futuro qualche notizia sull’arte, la trovate alla voce economia.  

losgabuzzo:

“Money Creates Taste” Jenny Holzer 1982

Pagine e pagine di belle parole, di se, di ma, eh ma l’Arte, la Cultura, eh ma i musei, eh ma come mi fa stare bene una bell’opera d’arte, l’arte è vita, spendo milioni di dollari in opere per poi condividerle con la comunità, la vita è arte, creo per rappresentare il mondo di sto cazzo perché sento che dentro di me sto cazzo vive. 


Che alla fine l’unica cosa, da 30 anni a questa parte è solo una, cioè quella qua sopra.

Quando cercherete in futuro qualche notizia sull’arte, la trovate alla voce economia.  

publicartfund: Happy Birthday Willem de Kooning! We were lucky to exhibit him twice. Here is Reclining Figure in Bryant Park, 10/10/98 - 1/31/99.

publicartfund: Happy Birthday Willem de Kooning! We were lucky to exhibit him twice. Here is Reclining Figure in Bryant Park, 10/10/98 - 1/31/99.

The Green Car Crash painting has been appraised by art critics to be the most important piece in Andy Warhol’s seminal Death and Disaster series to ever appear at auction. Just as Warhol’s Mao series is now acknowledged in retrospect to have forecast China’s rise as a world super power, the Death and Disaster series offered a prognosis of today’s cult of the self. Perhaps unrecognized as such at the time, it can be viewed as a movement in the art world that paralleled a revolutionary transformation of psychoanalytic thinking, which was being carried out during the same period of time by Heinz Kohut’s project in Chicago, the emergence of modern self psychology with its more sophisticated considerations of the vicissitudes of narcissism. From the perspective of contemporary popular culture, the sensibility that is conveyed by Warhol’s Death and Disaster series can be seen as the bedrock for the transient world of YouTube, MySpace, FaceBook and blogging on the internet, dimensions where everybody and anybody can act out their tragedies and be on stage for the world to see. Warhol got the “15 Minutes of Fame” concept down to an art long before we all realized that it had changed our lives irrevocably and forever. Green Car Crash (or Green Burning Car I) is based upon what is arguably the most extraordinary, strange and disturbing source image of all the paintings in Warhol’s Death and Disaster series. The original photograph was taken by photographer John Whitehead and inserted, apparently arbitrarily, into an article on racial integration that appeared in the June 3rd issue of Newsweek Magazine in 1963. The caption that accompanied the photograph in the magazine described the photograph and the scene that it recorded as follows: “End of the Chase: Pursued by a state trooper investigating a hit-and-run accident, commercial fisherman Richard J. Hubbard, 24, sped down a Seattle street at more than 60 mph, overturned, and hit a utility pole. The impact hurled him from the car, impaling him on a climbing spike. He died 35 minutes later in hospital.” The scene, as it is depicted in Warhol’s painting, is a tediously dull suburban street that has been instantaneously transformed into an almost surrealistic nightmare, in which an overturned car in flames is shown in the foreground while the catapulted body of the driver can be seen hanging, although still alive, impaled on a post. The image becomes even more morbid when one observes that there is a figure at the heart of the picture, a man with hands in his pockets, passing by devoid of any concern, seemingly oblivious to the actual that is hell breaking out just on the other side of the sidewalk. Some have described it as being like something from David Lynch’s Twin Peaks or Blue Velvet, where the charming and banal aura of a suburban community is shown to be nothing more than the tenuously compensatory defense of a shallow, seemingly respectable surface beneath which lurks the darker reality of eternal horror. Similarly, Green Car Crash (Green Burning Car I) reveals this disconnect in the world of appearances. The extraordinary contrast between the mundane normality of everyday suburbia versus the exceptional tragedy and violence that periodically strikes at its heart is exactly what Warhol wanted to convey to us, expressed through what one might characterize as a schizoid detachment in the Death and Disaster series.  In effect, for the careful observer Warhol doubles the underlying sense of horror in everyday life by expressing its banality without any sense of shock or dismay, but rather in a tone of utterly banal solitude. In addition to showing Warhol’s preoccupation with what some might describe as the morbid underbelly of realizing the fleeting aspect of life, or of acknowledging the real sense of our own mortality, the Death and Disaster series also presents Warhol’s razor-sharp criticism of the moral complacency that middle-class America had stumbled into by the 1960’s. In his own almost incomparable way, Warhol, who was once described as “a rather terrifying oracle,” now has come to be understood by many observers as holding up a deeply percipient mirror, shattering the illusory American dream mercilessly.Continua qui.

The Green Car Crash painting has been appraised by art critics to be the most important piece in Andy Warhol’s seminal Death and Disaster series to ever appear at auction. Just as Warhol’s Mao series is now acknowledged in retrospect to have forecast China’s rise as a world super power, the Death and Disaster series offered a prognosis of today’s cult of the self. Perhaps unrecognized as such at the time, it can be viewed as a movement in the art world that paralleled a revolutionary transformation of psychoanalytic thinking, which was being carried out during the same period of time by Heinz Kohut’s project in Chicago, the emergence of modern self psychology with its more sophisticated considerations of the vicissitudes of narcissism. From the perspective of contemporary popular culture, the sensibility that is conveyed by Warhol’s Death and Disaster series can be seen as the bedrock for the transient world of YouTube, MySpace, FaceBook and blogging on the internet, dimensions where everybody and anybody can act out their tragedies and be on stage for the world to see. Warhol got the “15 Minutes of Fame” concept down to an art long before we all realized that it had changed our lives irrevocably and forever.

Green Car Crash (or Green Burning Car I) is based upon what is arguably the most extraordinary, strange and disturbing source image of all the paintings in Warhol’s Death and Disaster series. The original photograph was taken by photographer John Whitehead and inserted, apparently arbitrarily, into an article on racial integration that appeared in the June 3rd issue of Newsweek Magazine in 1963. The caption that accompanied the photograph in the magazine described the photograph and the scene that it recorded as follows: “End of the Chase: Pursued by a state trooper investigating a hit-and-run accident, commercial fisherman Richard J. Hubbard, 24, sped down a Seattle street at more than 60 mph, overturned, and hit a utility pole. The impact hurled him from the car, impaling him on a climbing spike. He died 35 minutes later in hospital.”

The scene, as it is depicted in Warhol’s painting, is a tediously dull suburban street that has been instantaneously transformed into an almost surrealistic nightmare, in which an overturned car in flames is shown in the foreground while the catapulted body of the driver can be seen hanging, although still alive, impaled on a post.

The image becomes even more morbid when one observes that there is a figure at the heart of the picture, a man with hands in his pockets, passing by devoid of any concern, seemingly oblivious to the actual that is hell breaking out just on the other side of the sidewalk. Some have described it as being like something from David Lynch’s Twin Peaks or Blue Velvet, where the charming and banal aura of a suburban community is shown to be nothing more than the tenuously compensatory defense of a shallow, seemingly respectable surface beneath which lurks the darker reality of eternal horror.

Similarly, Green Car Crash (Green Burning Car I) reveals this disconnect in the world of appearances. The extraordinary contrast between the mundane normality of everyday suburbia versus the exceptional tragedy and violence that periodically strikes at its heart is exactly what Warhol wanted to convey to us, expressed through what one might characterize as a schizoid detachment in the Death and Disaster series.  In effect, for the careful observer Warhol doubles the underlying sense of horror in everyday life by expressing its banality without any sense of shock or dismay, but rather in a tone of utterly banal solitude.

In addition to showing Warhol’s preoccupation with what some might describe as the morbid underbelly of realizing the fleeting aspect of life, or of acknowledging the real sense of our own mortality, the Death and Disaster series also presents Warhol’s razor-sharp criticism of the moral complacency that middle-class America had stumbled into by the 1960’s. In his own almost incomparable way, Warhol, who was once described as “a rather terrifying oracle,” now has come to be understood by many observers as holding up a deeply percipient mirror, shattering the illusory American dream mercilessly.

Continua qui.

(Fonte: losgabuzzo)