I graduated, so long ago, in archeology and art history, but of distant times and countries (India and Afghanistan VI VI BC-AD) ... and somewhat abstract discourse on not only me is somewhat incomprehensible, but even stranger ...
at university ... I remember that ART was more similar to techniques and yet was not "mere technique" because thanks to the detailed study and analysis (Iconology) of that particular art - I, for example , I dealt mainly with sculptures of gods sometimes anthropomorphic, sometimes half male and half female, half man and half animal, represented nude and ithyphallic (with erect phallus) and an infinite number of symbols like a code to crack - not only reconstructed the identikit of the "authors / artists (Known in some cases, more often nameless), but you could also discover the history, customs, beliefs and philosophy of whole peoples and civilizations .... peoples and civilizations of which they often did not know anything and which today we know a little more ... thanks precisely to the work / skill of those who have actually made (and not just those who have desired) ...
iconography is that it was produced from (desired, for example, by a king or a priest of an official cult, and therefore more widespread, accepted and shared by the multitude) is that it was produced by the iconography low (object of worship by small sects or tribes, with a minority long gone the palace productions made absolutely unknown to unknown), these "works of art," if we like the term, were always formed on the sole purpose of representing the aspirations of the people, the worship of those people, then in a country like India, the worship is the same hope, fear, reflection on life and death, good and evil, pleasure and pain, the deepest passions, sex, creation and destruction, and the truth the myth, peace and war, wealth and famine, freedom and rebellion schivitù ... and peace ... who are you who you are ... what do you want what I want ....
the artist was somehow "interpreter" of the people, and then of his time, and drew on a language that people somehow managed to interpret that language, even when it was entirely understandable, could arouse or awaken something inside a.
Thanks to the skill of his hands and mastery of the art, the artist was the "machine" that made a lot of abstract things (intuitions, emotions, feelings, aspirations, ideas and thoughts) as concrete and clear, to be disseminated and ... people could share some identify with what he saw, he could become aware, or he could get closer to "other ".... and this was nothing but "nothing" was not an abstract concept invented by the artist (rather than an inventor he was a discoverer / explorer), but it was the 'man, nature, or the pursuit of truth, the very essence of things, perhaps an explanation for what happens in and around or at least try, try, look at each other over skin and scream ... finally say, say what others would like to keep you from saying, what is never said .. or more ... Simplify the instant, the beat ... ... breathe his last breath ... "god" (which in the East is not what that worship) ... which is the patrimony of all, who understands like someone who is not at all ...
short, this form, the artwork takes on a value if it had a meaning, as well as utility, for the viewer (the viewer) and not just for those who produce it ... which does not mean that the viewer could always understand every single element / symbol of that work ... But all those elements put together that way, represents the harmony or magical medium through which the viewer could uncover or discover ... managed to rise a little higher ... or to feel less alone and more close to others with whom he shared (in this case) = the worship vision direction ...... to detach itself from the community to rediscover itself, before falling back to earth, return single, stronger, richer, full or Simplify the light and free .... what you need from time to time to deal with life ed il tempo..e tutte le sue difficoltà.
l'artista, interprete e macchina, era tra la gente, con la gente, nella gente....Era vicino, non era lontano. Era un artigiano e aveva una bottega. Non doveva aggredire l'attenzione di nessuno, perchè l'artista era lì per la gente (TUTTA O MINUSCOLA PARTE...poco importa) ma anche e soprattutto grazie alla gente (consapevole o meno che fosse). Non doveva insegnare ma semplicemnte risvegliare le coscienze mentre risvegliava la propria...spesso imparava dalla gente molto più di quanto la gente imparasse da lui, però poteva anche sapere della gente più di quanto la gente riuscisse a percepire di sè.... perchè anche in questo consisteva la sua vera maestria...nel able to hear and see .... and feel ... especially communicate ...
is what is art (as a thousand) and those who produced it for me until now ... nothing to do with definitions, galleries - often even with museums, but only with that covers all the land and from which everything comes out sooner or later - nothing to do with the signatures, the market, the base money, the exaltation of the ego, the official consensus or general ... Art has always only had to do with the people ... and I was very affected ... because even now that I am a thousand other things are all different and no one in particular, my heart / mind is vibrating seriously and permanently alone before the art forms that tell people, its truth and its directed, my eyes are always open to those forms of art that I see so many faces, many voices, including mine, as well as that of the artist is nothing but one of us ...
And do not think I'm too far behind ... because in the network, I would not be wrong, I was able to verify that art made by people for people and not by Egocentric, from gallery owners and the market is not only but it is even possible .... earnestly sought
but maybe this has nothing to do with Walter Benjamin plagiarized and distorted that I admit that I have not even read the book and why I do not have a digital version of nemmno ... in Italian and English is a bit difficult but then it takes that long ...:)
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