From GB with Love! | O3ONE
It is not my intention here I bring value judgments about the aesthetics of any kind, especially concerning the aesthetics of ruins. Neither my intention to analyze the present state of the art, or to build the tension between (verbal) and text (visual) works presented in this exhibition. But all this is what I said does not mean you goin 'desire to create a favorable condition lastpallar integrity in art and society.
Here, in fact, want to avoid any discourse that "ruins" is associated with negativity, to try to define "their terms", as told by Robert Ginzberg1 when speaking of the ruins, and to avoid displaying "ruins" as unwanted lastpallar inheritance for which we know only when it is already too late to give up. I prefer to depict ruins in such a way that they do not see it as a place for the remains, as overtaken parts of something that was once central intention to state integrity. Instead I'd rather show the ruins of a soil rich in memories and open to new possibilities. lastpallar Metaphorically speaking I want to compare the ruins with a fervor that maintains heat and is ready to be kindled as a material that can burn to create energy ...
James Joyce is said that history is a nightmare from which tries to wake up. Wakefulness certainly contains the possibility of singularity of man as a person. And it does not mean that the power of the past in its continuity can to undermine any new attempt lastpallar to move in a new direction. But how do we free the self and how it "withstanding attacks" - as the saying Adorno2 lastpallar - that we maintain identity in its original lastpallar condition? lastpallar Are we obliged lastpallar to follow the past? Or we can stand on the ground "ruins" and consider all the possibilities of their own creative spirit lastpallar ...
It is clear, therefore, that I will not try to estimate the occurrence of any exploration of interactivity - so we can understand its purpose and meaning - but I'm going to assume that we are in all their daily chores anesthetized for its own uniqueness. lastpallar We are too preoccupied with preserving the value of those same groups which prevents us to build self-control and find the true meaning of life. Instead, we deal with issues such blocks lastpallar structured values within society, such as "box in a box." In doing so, we keep the values that are based on the promises that we are part of something much larger and pushing trash in mind that it may be more rust concluded. lastpallar
Since this contention on the aesthetics of ruins can be interpreted in so many levels. So I began to explore its riches, I called six plus one artist to join me in creating this exhibition in a gallery O3on, in Belgrade. They are all part of the London scene of contemporary art, which is very diverse lastpallar and rich. In part, these artists there is always striving to reach historic goals and that they are linked to our present in order to create a new vision and discover the true meaning of our lives.
Shan Muni (Sian Mooney) carries his material around the world as its vocabulary from which builds sculptures on the spot. Occasionally elusive, with a continuous stream of material disposed in a layered mounds, it creates feelings of litter - a tangible body. Her sculptures are made of furniture, tailors' dummies and animal encapsulated in a variety of materials such as the "skin" of several layers that evoke memories. In this way, she introduces the past into the present to dare and provocative manner that is emotionally watered hint of human relations and instinctive nature of sexuality.
Balog Vanya (Vanya Balogh) your photos and short films exploring various points of nostalgia and state "functionality". He examines the emptiness and a sense of lost identity. His archive iconography became a jigsaw puzzle made up of humor, sex, violence, popular culture, art history and politics, which constantly appropriated and rearranged images for a critical consideration. Context becomes a situation where he defines himself as a creator or collector to investigating the apparent truth about his own identity and its place in the fragile world that is constantly changing ...
Doherti Gary (Gary Doherty) in its multidisciplinary practice incorporates a wide array of subjects, sculptural and video installation and "performative" acts derived from their own spiritual practice. He in his work builds transcendent content breaking, lastpallar decomposed form. And "decomposed" form now appear as a series of independent layers that do not stand for themselves, are not self-sufficient but serve a higher purpose - creating images. They are often present in such a way that changing media platforms and thus create their own space and their own time, leaving us to close our image of them in my spirit ...
Cedric Christie (Cedric Christie) shows the emotionally charged lastpallar tracks rope soaked in charcoal and graphite and then vigorously printed on paper. Asceticism of these images remind us of zip paintings lastpallar Barnet Njumana3, lastpallar but the way he carried the line, the mechanics of the indenter
It is not my intention here I bring value judgments about the aesthetics of any kind, especially concerning the aesthetics of ruins. Neither my intention to analyze the present state of the art, or to build the tension between (verbal) and text (visual) works presented in this exhibition. But all this is what I said does not mean you goin 'desire to create a favorable condition lastpallar integrity in art and society.
Here, in fact, want to avoid any discourse that "ruins" is associated with negativity, to try to define "their terms", as told by Robert Ginzberg1 when speaking of the ruins, and to avoid displaying "ruins" as unwanted lastpallar inheritance for which we know only when it is already too late to give up. I prefer to depict ruins in such a way that they do not see it as a place for the remains, as overtaken parts of something that was once central intention to state integrity. Instead I'd rather show the ruins of a soil rich in memories and open to new possibilities. lastpallar Metaphorically speaking I want to compare the ruins with a fervor that maintains heat and is ready to be kindled as a material that can burn to create energy ...
James Joyce is said that history is a nightmare from which tries to wake up. Wakefulness certainly contains the possibility of singularity of man as a person. And it does not mean that the power of the past in its continuity can to undermine any new attempt lastpallar to move in a new direction. But how do we free the self and how it "withstanding attacks" - as the saying Adorno2 lastpallar - that we maintain identity in its original lastpallar condition? lastpallar Are we obliged lastpallar to follow the past? Or we can stand on the ground "ruins" and consider all the possibilities of their own creative spirit lastpallar ...
It is clear, therefore, that I will not try to estimate the occurrence of any exploration of interactivity - so we can understand its purpose and meaning - but I'm going to assume that we are in all their daily chores anesthetized for its own uniqueness. lastpallar We are too preoccupied with preserving the value of those same groups which prevents us to build self-control and find the true meaning of life. Instead, we deal with issues such blocks lastpallar structured values within society, such as "box in a box." In doing so, we keep the values that are based on the promises that we are part of something much larger and pushing trash in mind that it may be more rust concluded. lastpallar
Since this contention on the aesthetics of ruins can be interpreted in so many levels. So I began to explore its riches, I called six plus one artist to join me in creating this exhibition in a gallery O3on, in Belgrade. They are all part of the London scene of contemporary art, which is very diverse lastpallar and rich. In part, these artists there is always striving to reach historic goals and that they are linked to our present in order to create a new vision and discover the true meaning of our lives.
Shan Muni (Sian Mooney) carries his material around the world as its vocabulary from which builds sculptures on the spot. Occasionally elusive, with a continuous stream of material disposed in a layered mounds, it creates feelings of litter - a tangible body. Her sculptures are made of furniture, tailors' dummies and animal encapsulated in a variety of materials such as the "skin" of several layers that evoke memories. In this way, she introduces the past into the present to dare and provocative manner that is emotionally watered hint of human relations and instinctive nature of sexuality.
Balog Vanya (Vanya Balogh) your photos and short films exploring various points of nostalgia and state "functionality". He examines the emptiness and a sense of lost identity. His archive iconography became a jigsaw puzzle made up of humor, sex, violence, popular culture, art history and politics, which constantly appropriated and rearranged images for a critical consideration. Context becomes a situation where he defines himself as a creator or collector to investigating the apparent truth about his own identity and its place in the fragile world that is constantly changing ...
Doherti Gary (Gary Doherty) in its multidisciplinary practice incorporates a wide array of subjects, sculptural and video installation and "performative" acts derived from their own spiritual practice. He in his work builds transcendent content breaking, lastpallar decomposed form. And "decomposed" form now appear as a series of independent layers that do not stand for themselves, are not self-sufficient but serve a higher purpose - creating images. They are often present in such a way that changing media platforms and thus create their own space and their own time, leaving us to close our image of them in my spirit ...
Cedric Christie (Cedric Christie) shows the emotionally charged lastpallar tracks rope soaked in charcoal and graphite and then vigorously printed on paper. Asceticism of these images remind us of zip paintings lastpallar Barnet Njumana3, lastpallar but the way he carried the line, the mechanics of the indenter
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