Tag Archives: contemporary

Sublime Now

Though it’s impossible to discuss sublime today without historical references, I would like to use these to contradict the traditional denotations.

The term has its background in the ancient rhetorics, then – mainly through eighteenth-century Western-European philosophy it establishes itself firmly as an aesthetic concept, functioning along and in an opposition to other terms within the area like: beautiful, tragic, humorous, profane, ugly etc.

Yet, it’s probably worth to emphasize that, strangely enough, in E. Burke’s and I. Kant’s understanding the Sublime never fits into criteria of metaphysical or ontological phenomenon (or entity) – it simply exists in a beholder’s mind as a powerful yet transient, fleeting psychological and spiritual reaction, an emotion, feeling of sublime. From a historical point of view is interesting to see how the dialectics of the sublime, used by two great ontologists fits into the nature of the phenomenological school of thought, which is both specifically twentieth-century and opposed to metaphysics discipline. It seems that the concept under discussion never fully integrates into a traditional philosophical inquiry – being more Dionysian than Apollonian in its nature – the sublime is born from paradoxes, it’s based on these and – if it functions in any universal form (out of a beholder’s mind) – it probably takes the form of  an ontological oxymoron, an enigma – as unnerving as it is alluring.

Looking forward to the modern and postmodern times one may be easily dazzled by its potential to embody and to convey the sublime to an intensity not possible ever before. After ‘growing out’ of the Great Romantics’ idealistic enthusiasm on the matter, in the ‘after-God” era when the sublime cannot be simply mistaken for a religious/mystical experience, facing the challenges of  the shattered, discontinuous, idiolects and antitheses – based world, reaching scientific and technological heights difficult to imagine even few decades before – the humankind not longer chases but seems to meet on a regular basis that great oxymoron – the sublime.

It takes many forms and definitions – from the A. Hitchcock’s and C. Jung’s shadows then – G. Lucas’s astriferous epics, from Big Brother’s house grotesque and through the war/terrorism-rooted atrocities to Barrack’s Obama intense political charisma – Burke’s mind-expanding ‘negative pain’ and Kant’s ‘indefinite’ yet desired dread is as indisputably a part of the contemporary condition as Aristotle’s catharsis had to be for ancient Greeks.

Andreas Gursky’s photos, which  embrace the traditional understanding of the sublime as the vast, terrifying, annihilating, formless, liminal etc. and the ultra-modern embodiment of it in digitally mastered photographs of a postmodern – globalized and impersonal universe.

His approach would be that of a shock-therapy and a direct, uncompromising attack – perhaps the best way of a defense against the audacity and the… ridicule of the contemporary sublime.

Both Gursky’s work gives a picture of a formidable, limitless, always deeply confusing, often ugly and grotesque, sometimes eerily attractive spectacle, some sort of Baudrillard’s hypo-reality , and the ancient Roman bloody games – the reality, we live in today.

In Chicago Board of Trade II (above) human beings are nothing more than annoyingly numerous, uniform, yet nicely coloured dots, the well-rehearsed pixels; while in 99 Cents (above, 2) the supermarket goods take their place – and guess what? – one can hardly notice any substantial difference…

Advertisements

Retreat

Presenting below – some blog-cuttings by SARSPARlllA – a blogger who ‘approaches Borges’ as one of his followers has noted.

Brilliant, thoughtful writing from someone who looks like the contemporary James Cook.  And the entire world seen in fractals – incomprehensible, awe-inspiring, hurtful… A place to run away from – or rather, like in a vertigo trap – to escape to by retreating from…

You go to that house and work it like a Chinese gymnast: wear  something tight, force a smile, and lie about your age

Woken by five phone calls a night. Panicked, jealous.
The heat so enervating, my toes burned.
‘What do you think of Belen?’ Unable to lie.’It makes my heart hurt.’
Prehistoric turtles with diamond heads. With leaf heads, floating. Ayahuasca. A capuchin tied by the penis.
The attention Is gets, and that I’ve grown too old for; and the pleasant feeling of not resenting it.
The tiny frogs in the rain outside a sushi restaurant.
Slipping through black silt faeces in the floating village,dry season on the orillas of the Itayo river.
Everyone looks like Josue – delicate noses – when the Iquito tribe were wide-nosed.
Wanting desperately to do something to help lift them out of this poverty.
Well, we've done it again. We still haven't finished the story. How  extremely careless of us. But I promise you on my honor the truth will  be out next time. I've excused the actors until we return when they will  present the final act of our play. Unfortunately, since you are all  accessories after the fact, I cannot permit you to leave the room.

It’s beginning to hurt him more than it’s hurting me.

Partly, that’s because raw terror is making me block all thoughts of future, or of change, out. (it’s a coping mechanism, leave me be).

Partly it’s because running away is always the easier role than being run from.

I can’t help him much with that. He’s the one who made me choose. I could have managed half my life not choosing.


Deleuze and Guattari’s flesh-appeal…

Well, these thinkers are not for faint-hearted or narrow-minded; they not even for those rebellion-minded and lion-hearted…They are someone between and beyond, the very dismissal of any signification or categorization right in the core of their beliefs…

How did I fall for D&G’s double charm? Typically perhaps – via theirs passionate pupils and followers. Manuel Delanda’s lectures at the European Graduate School (below) have slapped me right across my safe, familiar thinking waking me up to a world of another possibility – that there are still highly inspirational thoughts and theories resonating from within the contemporary philosophy – those compelling enough to alter one’s perception of things… And I thought that after Sartre’s death few decades ago it was rather impossible to experience that thrill again…

Then I started to read their whimsical yet carefully crafted theories; seasoned generously with the idiosyncratic concepts, which I could not grasp intelligibly even the half of…It took me some time to get the very principle of the philosophy – that is meant to be on the opposite of the ‘proper’ and classical reasoning, that the fact that is seems to grow in all different directions at the same time, fluctuating with co-existent possible readings – that is – what is was designed to be… Not that easily accepted for anyone nurtured on the great, perfectly logical and systematic systems of thought – if you remove one part from them – they fall; if you get one concept – others add on like letters of an alphabet…

Not in D&G’s world though – here the system is anti-hierarchical, not ABC code but rather ASDFG… riddle (letters of your keyboard, second row)… Their called it the ‘rhizomatic’ reasoning – horizontal, open and multi-centered. Just like the chosen organic structure – the thought multiplies in a semi-random pattern of many possible threads springing from the one common source; yet no one can predict which, if any of the threads will survive, or will become the satellite-wombs for another ideas to be born…

Perhaps the easier way to introduce the thought of the two French thinkers is to contra pose the old, classical concept of the ‘body’ with the one of the ‘flesh’. The Greek ‘body’ is the self-contained, dignified object of an admiration – an epitome of beauty and epiphany of the transcendent divine order – just as their thought used to be. The ‘flesh’ is more primitive and Hebrew (‘Bible’ originated) – it’s shapeless, featureless and extremely vulnerable; it’s a place of suffering and weakness – it’s extremely human – it’s so human that it becomes… animal…

D&G’s philosophy is the one of the ‘flesh’ – of a formless lack and a painful transformation, of a celebrated dis-unity and perpetual ‘becoming’. It’s a difficult, yet strangely soothing proposition for someone trying to make sense of the contemporary times…

It’s an anti-philosophy after all, if one keeps up with the rigid standards; that’s why it’s been struggling to sink into the academic grounds – right now it gets more of the deserved attention, with the esoteric texts being translated from French and commentaries being published… Still it remains mostly inaccessible in Polish ( I guess in many other languages too), too bad – over two decades after the original publications…

It’s a remotely optimistic vision for the remotely optimistic times of ours… I hope to present some of its aspects in the posts, which will follow…


Contemporary Art (9) Nathalie Djurberg

Nathalie Djurberg (b. 1978 BirthLysekil, Sweden) – young multimedia artist, lives and works in Berlin. She has won the Silver Lion for a Promising Young Artist at this year’s 53rd Venice Biennale. She was awarded for her multimedia installation “Experiment” (above – first photo shows the work still in progress).

Gothic, rich, visceral and provocative work of this girl could not to leave any mark on the viewers’ collective and individual consciousness. I met people who hated it, yet still remained under its dark spell respecting the way this artist had teased their common sense of civilized, dignified beings.

Djurberg’s theater of absurd – devil’s Eden of huge, colorful wax vegetation was seasoned with caves of screens where the true drama of life, lust, violence and death went on over and over again. Sounds were those of some tribal ‘mysteria’ inter-weaved with some primordial  sub-resonance of deep earthy tones which went on creeping into one’s unconscious. Child-like fascination with this chaotic, pre-rational microcosm battled with one’s impulse to treat the entire spectacle as pure fiction, a theater performance with no or little valid reference to the ‘real’ life outside that extravaganza…

Nothing more deceptive… Djurberg’s worldview is hyper-real and indulgent in parts – indeed – yet it’s much more realistic in its portrayal of the human nature and the Nature in itself than many works of so-called ‘Realism’ in art, where polite and dull landscapes or family portraits were given to the public as the ‘truthful’ depiction of life and man…

‘It’s a strange world’ and ‘Owls are not what they seem’… Let’s Breughel’s, Goya’s, the Romantics and the Surrealists’ dreams go on …


Contempotary Art (8) Chris Marker

Chris Marker (b. Neuilly-sur-Seine, France 1921) – actual  name: Christian François Bouche-Villeneuve – multimedia artist, photographer, film director, writer. Lives in Paris and does not grant interviews. When asked for a picture of himself, he usually offers a photograph of a cat instead (so far as the gossip says). His cat is named Guillaume-en-egypte. (See more details in my previous post here: http://wp.me/p8s8b-66)

Creator of: La Jetée (1962), A Grin Without a Cat (1977), Sans Soleil (1983) and AK (1985) a documentary on Akiro Kurosawa. From the recent projects: in 2005 Marker created a multimedia piece for The Museum of Modern Art in New York titled Owls at Noon Prelude: The Hollow Men (influenced by T.S. Elliot’s poem); in 2008: Immemory – an interactive video produced  by Centre Pompidou, created out of fascination by digital technology. 

Marker is as enigmatic, brilliant and witty in his collages above as he would be behind his directorial camera viewfinder. One simply cannot get enough of this artist’s vision – it escapes one’s full comprehension and intuitive potential. It’s a one-man world-view, a singularity which resists any thorough penetration. A beauty and power of human uncanniness captured into a compelling, enthrilling  visual extravaganza. Just keep exploring…

Site about Marker’s view of the world:  Chris Marker


Raffi Lavie: ‘In the Name of the Father’

0

0

0

Raffi Lavie (1937-2007) Late Israeli artist representing Israel at the 53rd International Biennale in Venice.

A painter, educator, art critic, music connoisseur, and curator. The most central, charismatic figure in the art scene in Israel for the past four decades until his death in 2007.

Influenced by Paul Klee, Jean Dubuffet, and Robert Rauschenberg, as well as by local artists such as Aviva Uri and Arie Aroch, he introduced the avant-garde of his time to Israel by adapting its components into a local discourse. Lavie was the founder of the “10+” group which started its activities in 1965 in a series of theme exhibitions that brought home current international trends.

He was also the key figure in the style that formed around him in the 1970s, which would become known as the “Want of Matter” due to its adherence to inexpensive, ascetic materials such as plywood, and the use of collage; a style associated with the city of Tel Aviv, conveying urban, secular, local values untainted by the narratives of any given ideology.

In some respects, Lavie succeeded in distilling an Israeli aesthetic; by giving it form, he reaffirmed the ethos of the place. His genius stems from the fact that his art reflects our values, ideals, and aspirations that have gone awry. An exhibition of Raffi Lavie’s work at the present Biennale attests to the yearnings invoked by his art, forcing us to question what is it that we wish to remember, and why this therapeutic memory has the taste of urgency.

Observing Lavie’s works, two qualities stand out: the child-like painting, and the obsessive erasure of images via scribbling, carving, and generous color strokes. These practices are connected to his perception of the periphery’s double role as an actual place and as a spiritual dimension. The acts of erasing and starting anew are closely related to Lavie’s cultural heritage as an Israeli and a Jew. Working from within a scopophobic tradition, far-removed from any center, he created an idiosyncratic language, specific to the place, its needs, and desires. (Biennale Information Note on the painter)

——————————————————————————————

Despite of bearing similarities and invoking comparisons to other artists and trends in the contemporary art (mostly to Cy Twomby, abstract expressionist art or Outsiders Art) Lavie’s works stand out as singularities – created outside the mainstream of art-world, by an alpha – individual, they got that sort of an authority and idiosyncrasy about them, which makes them both commanding and closed to any simplified, superficial reading.

When I entered the Israeli Pavilion in Giardini I saw these works as a manifest of pure, raw creativity without any superfluous conceptual or political scaffolding around them. Their  predominant whites and reds brought to mind the troubled history of the land they were created in, the simplicity of the technique and modest materials (plywood) had the power of some explosives, instead of undermining the message. Some of the paintings were arranged on a wall as a sort of an assemblage in paint telling a story perhaps, or just supporting each other in the common struggle for the survival in viewers’ eyes and minds.

All that felt fresh and inspiring after some hours spent in the national pavilions of the 53rd Biennale. I saw Raffie Lavie as one of those really good artists, which are rare to be found nowadays, partly because they don’t necessary seek any wider recognition. I read his paintings as a personal statement, personal one-man exhibition and as a comment on his and his land human condition. A that was a sort of a relief to experience in Venice, among the sea of (just) entertaining, ‘smart’, in parts dull and often painfully self-conscious art about art…


Human vs. Animal (1)

Anthropogenic effects, processes or materials are those that are derived from human activities, as opposed to those occurring in biophysical environments without human influence.

The term is often used in the context of environmental externalities in the form of chemical or biological wastes that are produced as by-products of otherwise purposeful human activities.

The term anthropogenic designates an effect or object resulting from human activity. The term was first introduced as “anthropocene” in the mid-1970s by the atmospheric scientist Paul Crutzen.

—————————————————————————————————–

Anthropomorphism is the attribution of human characteristics to non-human creatures and beings, phenomena, material states and objects or abstract concepts. Examples include animals and plants depicted as creatures with human motivation able to reason and converse and forces of nature such as winds, rain or the sun. The term derives from the combination of the Greek ἄνθρωπος (ánthrōpos), “human” and μορφή (morphē), “shape” or “form”.

It is strongly associated with art and storytelling where it has ancient roots. Most cultures possess a long-standing fable tradition with anthropomorphised animals as characters that can stand as commonly recognised types of human behaviour.

Anthropomorphic animals are often used as mascots for sports teams or sporting events, often represented by humans in costumes.

———————————————————————————————————-

Anthropocentrism (from Greek: άνθρωπος, anthropos, “human being”; and κέντρον, kentron, “center”) or anthrocentrism is the belief that humans must be considered at the center of, and above any other aspect of, reality. This concept is sometimes known as humanocentrism or human supremacy. It is especially strong in certain religious cultures, such as the Old Testament stating that God gave man dominion over all other earthly creatures.

Anthropocentrism has been posited by some environmentalists,  in such books as Confessions of an Eco-Warrior by Dave Foreman and Green Rage by Christopher Manes, as the underlying (if unstated) reason why humanity dominates and sees the need to “develop” most of the Earth. Anthropocentrism has been identified by these writers and others as a root cause of the ecological crisis, human overpopulation, and the extinctions of many non-human species.

Anthropocentrism, or human-centredness, is believed by some to be the central problematic concept in environmental philosophy, where it is used to draw attention to a systematic bias in traditional Western attitudes to the non-human world. Val Plumwood has argued, that anthropocentrism plays an analogous role in green theory to androcentrism in feminist theory and ethnocentrism in anti-racist theory. Plumwood calls human-centredness “anthrocentrism” to emphasise this parallel.

In science-fiction, Humanocentrism is the idea that humans, as both beings and a species, are the superior sentients. Essentially the equivalent of race supremacy on a galactic scale, it entails intolerant discrimination against sentient non-humans, much like race supremacists discriminate against those not of their race. This idea is countered by Anti-Humanism. Such an ideology echoes a potential (but not certain) future for Neo-fascism (especially Neo-Nazism).

Humanocentrism is a central theme in the science-fiction comic book series Nemesis the Warlock in which humanity (here referred to as Terrans) have conquered much of the galaxy and seek to enslave all alien life. Humans are here depicted as antagonists, an unusual plot device in science-fiction.

In the Star Wars universe, the Galactic Empire is shown to be humanocentric, ruthlessly subjugating alien worlds, enslaving many of them, and only employing humans in its military. Grand Admiral Thrawn is a notable exception to this rule, likely because of both his immense talent and his partially human bloodline.

—————————————————————————————————

Source: Wikipedia


%d bloggers like this: