tag:blogger.com,1999:blog-40873351465865936832024-03-14T05:09:11.364-07:00Reclaim FantasyMy on-line, on-going, on-art diary.
Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.comBlogger20125tag:blogger.com,1999:blog-4087335146586593683.post-37437791022113933332018-07-09T04:21:00.000-07:002018-07-09T05:46:15.293-07:00Flesh of the world- 2016/18<div dir="ltr" style="text-align: left;" trbidi="on">
In 2016 I started recognizing that the quality of flesh that I had been exploring, was also a quality found in nature. This was the result of daily trips to the forests of the Ipirus region. What caught my interest were especially trees and fungi developing on them.<br />
I drew and painted these natural bodies, approaching them in the same way as I approached my own flesh. This was the start of my work on the connection of the body and nature, something that has come to interest me more and more. A view of nature as bodily flesh, and the body as an extension of nature.<br />
Since then I have been aquainted with the phenomenology of Maurice Merlau Ponty, and his final work 'The Visible and the Invisible'. Also with the writings of David Abram and Suzi Gablik. I was so happy to find a connection of my thinking to these approaches to the world and art, bringing me before the realization that my work had a strong link to contemporary ecological thinking.<br />
Ever since my first studies in Social Psychology, my work has been about going beyond the dualistic dichotomies between e.g. the self and the world, the human body and nature that have dominated the worldview of our Western culture. Exploring and revealing the fundamental unity of the human being and the natural world is the basis of my recent work and the start of a new period.<br />
As Suzi Gablik says, relationship is the key insight of ecology.<br />
Here are some examples of this work, from 2016<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidKh3kf5YIQqLd8lQIq4KhyphenhyphenJe3BcpKi8L12DZMuHQNnKf2xuma10iP7B8SwdYxB0HTmPsmZlLlr4HmaLoSSHRKWKiEYLUwHeOxq6FfEz0jKW5AyaLcqG7gAY_9eMgFabwiZUewOts5KdA/s1600/1.+ALK7134.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1503" data-original-width="1063" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidKh3kf5YIQqLd8lQIq4KhyphenhyphenJe3BcpKi8L12DZMuHQNnKf2xuma10iP7B8SwdYxB0HTmPsmZlLlr4HmaLoSSHRKWKiEYLUwHeOxq6FfEz0jKW5AyaLcqG7gAY_9eMgFabwiZUewOts5KdA/s320/1.+ALK7134.jpg" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Fall (After Rubens) 2016, Soft Pastel on paper</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOfuy_4db_wJHiKZwmp5wRh5ZBau0LYWKoA2RoGp37lIPsjUT8Qvba73_qLP1WBAZiFoZPSspR2wUwZIlrlwczn3nldIoQiBGWQxubynGq1KNEPP7NBRN97b-NoObtvPgNCZ-oWHHsjo4/s1600/2.ALK4791+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1527" data-original-width="1102" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOfuy_4db_wJHiKZwmp5wRh5ZBau0LYWKoA2RoGp37lIPsjUT8Qvba73_qLP1WBAZiFoZPSspR2wUwZIlrlwczn3nldIoQiBGWQxubynGq1KNEPP7NBRN97b-NoObtvPgNCZ-oWHHsjo4/s320/2.ALK4791+2.jpg" width="230" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Unknown pleasures, 2016 Soft pastel on paper 70x100cm</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjazGGDk1FSrBvb6FDD8d1mPqYOPgHq_vFXRoCHepUMC-ibEqz9GNYyltQy7DpWpR5r0RY4_LZR9O74Kxi-Yv8uXvKF88p9HQY1pd1kusH0ssKl-Z4zontCTJ9vuCgSv1TMUwRS-nlfS8s/s1600/3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1530" data-original-width="1102" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjazGGDk1FSrBvb6FDD8d1mPqYOPgHq_vFXRoCHepUMC-ibEqz9GNYyltQy7DpWpR5r0RY4_LZR9O74Kxi-Yv8uXvKF88p9HQY1pd1kusH0ssKl-Z4zontCTJ9vuCgSv1TMUwRS-nlfS8s/s320/3.jpg" width="230" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Inferno, 2017 Soft pastel on paper, 87x125 cm</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo0k_KRxD1OmSUkAroRNgjmqCwtpRJpZXQ0SbhVTfjd32hrcE_RAJoFx7XAabM1qfdEemeBezLP1zOxoM25MLZhIltno4X-pE6N8AhG56QDlYMnM1z9IIbHUkxi1iRCMB9Z2LJPev9B1g/s1600/13.%25CF%2580%25CF%2581%25CE%25BF%25CF%2583%25CE%25BA%25CE%25BF%25CE%25BB%25CE%25BB%25CE%25B7%25CF%2583%25CE%25B7%252C+2016.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1062" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo0k_KRxD1OmSUkAroRNgjmqCwtpRJpZXQ0SbhVTfjd32hrcE_RAJoFx7XAabM1qfdEemeBezLP1zOxoM25MLZhIltno4X-pE6N8AhG56QDlYMnM1z9IIbHUkxi1iRCMB9Z2LJPev9B1g/s320/13.%25CF%2580%25CF%2581%25CE%25BF%25CF%2583%25CE%25BA%25CE%25BF%25CE%25BB%25CE%25BB%25CE%25B7%25CF%2583%25CE%25B7%252C+2016.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Attachment, 2016 Soft pastel on paper, 1x1.5m</td></tr>
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-64124243424346910982018-07-01T15:17:00.002-07:002018-07-09T04:28:40.602-07:00connections and inspiration -2017<div dir="ltr" style="text-align: left;" trbidi="on">
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Some of the paintings that inspired me in 2017 in my work on the representation of the element of flesh. I see all these paintings as having an organic quality that is actually the guiding principle of their design. It is the twists and turns, the folds of the flesh that guide the hand of the artist in their creation. The result is much more than the representation of the actual scene depicted. It is a whole worldview experienced and presented in paint.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1FmJPvNk2OEtK-Isdi90ryLHOpTcqMNzSMyMour-EbdHIWGxOpVeqeFtg3Rp8Uhf1uB4oxZIf7Bnt011ZhJ3L4zGyrNnaTaVfSNSLPS-ShZgE8uSia7ztIdNtnpZWHTm9vfpDSd1F78U/s1600/Titian_-_The_Flaying_of_Marsyas.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1474" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1FmJPvNk2OEtK-Isdi90ryLHOpTcqMNzSMyMour-EbdHIWGxOpVeqeFtg3Rp8Uhf1uB4oxZIf7Bnt011ZhJ3L4zGyrNnaTaVfSNSLPS-ShZgE8uSia7ztIdNtnpZWHTm9vfpDSd1F78U/s320/Titian_-_The_Flaying_of_Marsyas.jpg" width="294" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Titian 'The Flaying of Marsyas'</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Rubens 'Bacchus' 1638</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIUyec_EEBEUBhfzxL7V7ewHOy0iAhqh3_GcvO0z7eIPrNwN46270dTHJQeNg-CF2ErCHQLaXmtOdmt33LOVYcgvdiw1-zDHM6H8U9v1WNU3tDHmejrRyUWZ01sB9gsgCIUEgbUSiU7-U/s1600/%2527Bride_of_the_Wind%2527%252C_oil_on_canvas_painting_by_Oskar_Kokoschka%252C_a_self-portrait_expressing_his_unrequited_love_for_Alma_Mahler_%2528widow_of_composer_Gustav_Mahler%2529%252C_1913.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="742" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIUyec_EEBEUBhfzxL7V7ewHOy0iAhqh3_GcvO0z7eIPrNwN46270dTHJQeNg-CF2ErCHQLaXmtOdmt33LOVYcgvdiw1-zDHM6H8U9v1WNU3tDHmejrRyUWZ01sB9gsgCIUEgbUSiU7-U/s320/%2527Bride_of_the_Wind%2527%252C_oil_on_canvas_painting_by_Oskar_Kokoschka%252C_a_self-portrait_expressing_his_unrequited_love_for_Alma_Mahler_%2528widow_of_composer_Gustav_Mahler%2529%252C_1913.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Oscar Kokoschka 'The Bride of the wind' 1913</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWHCsxYGbGG7vb4y0l4bwIedt_PSK9xLnnxeMYlkZeJgLmiBplUQcyWTpMeoVuBdhqOKmcSnVFvb1_HOum8GsW-rnvT7V3FEEuIL6daL5cWZbvKPkoyLtOHTERjf7qwmtbqtYShN4Lzfk/s1600/Brown-C_TheGangsAllHere.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="682" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWHCsxYGbGG7vb4y0l4bwIedt_PSK9xLnnxeMYlkZeJgLmiBplUQcyWTpMeoVuBdhqOKmcSnVFvb1_HOum8GsW-rnvT7V3FEEuIL6daL5cWZbvKPkoyLtOHTERjf7qwmtbqtYShN4Lzfk/s320/Brown-C_TheGangsAllHere.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cecily Brown 'The Gang's all here' 1998</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWHCsxYGbGG7vb4y0l4bwIedt_PSK9xLnnxeMYlkZeJgLmiBplUQcyWTpMeoVuBdhqOKmcSnVFvb1_HOum8GsW-rnvT7V3FEEuIL6daL5cWZbvKPkoyLtOHTERjf7qwmtbqtYShN4Lzfk/s1600/Brown-C_TheGangsAllHere.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWHCsxYGbGG7vb4y0l4bwIedt_PSK9xLnnxeMYlkZeJgLmiBplUQcyWTpMeoVuBdhqOKmcSnVFvb1_HOum8GsW-rnvT7V3FEEuIL6daL5cWZbvKPkoyLtOHTERjf7qwmtbqtYShN4Lzfk/s1600/Brown-C_TheGangsAllHere.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWHCsxYGbGG7vb4y0l4bwIedt_PSK9xLnnxeMYlkZeJgLmiBplUQcyWTpMeoVuBdhqOKmcSnVFvb1_HOum8GsW-rnvT7V3FEEuIL6daL5cWZbvKPkoyLtOHTERjf7qwmtbqtYShN4Lzfk/s1600/Brown-C_TheGangsAllHere.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWHCsxYGbGG7vb4y0l4bwIedt_PSK9xLnnxeMYlkZeJgLmiBplUQcyWTpMeoVuBdhqOKmcSnVFvb1_HOum8GsW-rnvT7V3FEEuIL6daL5cWZbvKPkoyLtOHTERjf7qwmtbqtYShN4Lzfk/s1600/Brown-C_TheGangsAllHere.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWHCsxYGbGG7vb4y0l4bwIedt_PSK9xLnnxeMYlkZeJgLmiBplUQcyWTpMeoVuBdhqOKmcSnVFvb1_HOum8GsW-rnvT7V3FEEuIL6daL5cWZbvKPkoyLtOHTERjf7qwmtbqtYShN4Lzfk/s1600/Brown-C_TheGangsAllHere.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWHCsxYGbGG7vb4y0l4bwIedt_PSK9xLnnxeMYlkZeJgLmiBplUQcyWTpMeoVuBdhqOKmcSnVFvb1_HOum8GsW-rnvT7V3FEEuIL6daL5cWZbvKPkoyLtOHTERjf7qwmtbqtYShN4Lzfk/s1600/Brown-C_TheGangsAllHere.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><br />
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<tr><td class="tr-caption" style="text-align: center;">Rubens 'Massacre'</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Hokusai The Dream of the Fisherman's wife 1814</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Francis Bacon -Two Figures fucking on a couch 1953</td></tr>
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-82853103995000583262018-06-07T14:02:00.001-07:002018-07-09T05:44:09.889-07:00Flesh in the Baroque<div dir="ltr" style="text-align: left;" trbidi="on">
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The subject of flesh is dominant in the Baroque, where voluptous bodies or cascades of bodies and cloth create endless folds.<br />
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I see the baroque as the demand and desire of the flesh, or matter, to represent itself and expand into space. The Baroque celebrates the 'Flesh of the World'. It predates Merlau Ponty's vision of 'Flesh as a choreography between the flesh of the world and the flesh of the body'.<br />
According to Giles Deleuze, writing in 'The Fold' about the Baroque, '<span style="background-color: white; color: #1b1a1a; font-family: "helvetica" , "arial" , sans-serif; font-weight: 700;">the world is interpreted as a body of infinite folds and surfaces that twist and weave through compressed time and space'</span><br />
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<span style="color: #1b1a1a; font-family: "helvetica" , "arial" , sans-serif;"><span style="background-color: white;">The Baroque is movement, and this is why it interests me. </span></span><br />
<span style="color: #1b1a1a; font-family: "helvetica" , "arial" , sans-serif;"><span style="background-color: white;">Moving away from the idealism of the Renaissance it is more related to life and the turbulence and change it entails. </span></span><br />
<span style="color: #1b1a1a; font-family: "helvetica" , "arial" , sans-serif;"><span style="background-color: white;">It is closer to my experience of my insides, my doubts, my desires. </span></span><br />
<span style="color: #1b1a1a; font-family: "helvetica" , "arial" , sans-serif;"><span style="background-color: white;">The Baroque characterises a period of change and instability itself. So form communicates with reality. </span></span><br />
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<span style="color: #1b1a1a; font-family: "helvetica" , "arial" , sans-serif;"><span style="background-color: white;">A characteristic of the Baroque is excess. It is the excess of flesh that demands to assert its own self. Art moving closer and closer to life instead of an ideal representation of it. </span></span><br />
<span style="color: #1b1a1a; font-family: "helvetica" , "arial" , sans-serif;"><span style="background-color: white;">The Baroque builds on the depth of pictorial space created by the Renaissance but adds to it the dimension of forwards. It is thus that its pulsating surface moves outwards to real space. </span></span><br />
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In the development of my recent work I have been inspired especially by the work of Rubens. And especially by the painting The Fall of the Rebel Angels. This painting for me represents at the same time the joy of experiencing flesh and the pain and suffering its breaking free entails. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGG7IzYFtDn4BSbCOPR_eD3k7Pz4JzlSAuW94fj0N1gB4uuBh3A4DC-a4_3K6bQaPVvn7xJb6Y693uQoFqMcAhftGe0tOlhPs8_ybX-sosA2ReXF-Q1_c8U25-mOSotDTHs2SAAY0wY64/s1600/Fall-Of-The-Rebel-Angels.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="443" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGG7IzYFtDn4BSbCOPR_eD3k7Pz4JzlSAuW94fj0N1gB4uuBh3A4DC-a4_3K6bQaPVvn7xJb6Y693uQoFqMcAhftGe0tOlhPs8_ybX-sosA2ReXF-Q1_c8U25-mOSotDTHs2SAAY0wY64/s320/Fall-Of-The-Rebel-Angels.jpg" width="236" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rubens, The Fall of the Rebel Angels<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgex4OSd2X37BdK8fvCqzVSzxgEU2WbxzK5H9-eaTYBOkiSUs2KwP7lWKwENz5U0sM14H1H7nAW8o8HbMyxPDW48s8BtZXa3amm7gOk88ZJIcTSh9LPgJfgcJhMhQ23D1qgVJg-aT2Dw-E/s1600/Peter_Paul_Rubens_-_Small_Last_Judgement_-_WGA20226.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1325" data-original-width="860" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgex4OSd2X37BdK8fvCqzVSzxgEU2WbxzK5H9-eaTYBOkiSUs2KwP7lWKwENz5U0sM14H1H7nAW8o8HbMyxPDW48s8BtZXa3amm7gOk88ZJIcTSh9LPgJfgcJhMhQ23D1qgVJg-aT2Dw-E/s320/Peter_Paul_Rubens_-_Small_Last_Judgement_-_WGA20226.jpg" width="207" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Study for the Fall</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVTtc8UcCWF8qE_bitGiyCDteH8rN6_0WmjHdJrOkKQjN506aCsin_A4n9roB3CKdRmwp2qId0rywqhobh1f6vZ-h2hxxQH-E1PNCmDLiCnUvguQVkNgJal7rmxzdNGkC9Uotuq4pw3m8/s1600/800px-Bernini_-_Santa_Teresa_em_extase.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1022" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVTtc8UcCWF8qE_bitGiyCDteH8rN6_0WmjHdJrOkKQjN506aCsin_A4n9roB3CKdRmwp2qId0rywqhobh1f6vZ-h2hxxQH-E1PNCmDLiCnUvguQVkNgJal7rmxzdNGkC9Uotuq4pw3m8/s320/800px-Bernini_-_Santa_Teresa_em_extase.jpg" width="250" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Ecstasy of St. Teresa</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyjPZe0Bcitz4jiymJmXzNkEUKJ261tqGAAIOAU4d4luOphKkkDGS2Oyh9HjwQEa0hNO-31F8UD0RQnOZZZL-G7jnVBROlXSsAovrr2gBY7vI8llVMU-rDB1aisraHNEk4nAlil7IWo2k/s1600/800px-Rubens_-_The_Consequences_of_War.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="479" data-original-width="800" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyjPZe0Bcitz4jiymJmXzNkEUKJ261tqGAAIOAU4d4luOphKkkDGS2Oyh9HjwQEa0hNO-31F8UD0RQnOZZZL-G7jnVBROlXSsAovrr2gBY7vI8llVMU-rDB1aisraHNEk4nAlil7IWo2k/s320/800px-Rubens_-_The_Consequences_of_War.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgrSkOWxZsthjlROZh93Xs658nOv2JcvT7P33idM3D997qt3Ghe-2UWTcIxjlvnDmrL3u4fRE2I40JCyz6oooCg7AleH6DbsxVc34UCzrK5ekuRnR-MCzfmoHLjZr47TtdRPr0Tlz5Ag4/s1600/goujon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgrSkOWxZsthjlROZh93Xs658nOv2JcvT7P33idM3D997qt3Ghe-2UWTcIxjlvnDmrL3u4fRE2I40JCyz6oooCg7AleH6DbsxVc34UCzrK5ekuRnR-MCzfmoHLjZr47TtdRPr0Tlz5Ag4/s1600/goujon.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXzKxnfhxJJRkswAP-MC9HhVOjTDO90OP8toAOjQbTh7aOqTJ55rJ7PsvJ6ws7oIZ4KA3RFzHSTrhyphenhyphenKngzllpZZyXkPVYekD0m8lJM5B75rZGZwBbJfWCpDA4TOx9UyWKD3lCApXW-BbM/s1600/faith-spinazzi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1023" data-original-width="773" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXzKxnfhxJJRkswAP-MC9HhVOjTDO90OP8toAOjQbTh7aOqTJ55rJ7PsvJ6ws7oIZ4KA3RFzHSTrhyphenhyphenKngzllpZZyXkPVYekD0m8lJM5B75rZGZwBbJfWCpDA4TOx9UyWKD3lCApXW-BbM/s320/faith-spinazzi.jpg" width="241" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKIbqM02rQBTZHBjW4bCY5kHrA15J1bP-utI9Ld2DP2IDBX47cV7Jjp1Xntw8X4L-m6_AzksUdeok5f__XrzJUeAS70tBV13avPo5JFST25R2fNFmSR6uGGsDqpyQRIUj-RH4O-X1VSQo/s1600/corradini+modesty+1751.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="701" data-original-width="676" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKIbqM02rQBTZHBjW4bCY5kHrA15J1bP-utI9Ld2DP2IDBX47cV7Jjp1Xntw8X4L-m6_AzksUdeok5f__XrzJUeAS70tBV13avPo5JFST25R2fNFmSR6uGGsDqpyQRIUj-RH4O-X1VSQo/s320/corradini+modesty+1751.jpg" width="308" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBtOresMJrDUL6RPwktKgCcPUH0eGVlsfFdjamPMSfCRQGhWzWwPvO7T7myGOlg9CXTkfu3-3RHl0wz-EFtS2GFU2QLKmYe21PfM2ks_ohZcnb9plbkTg8T3qSmRC4uXbpOUf-fmnsnPs/s1600/Caravaggio-Sa%25CC%2583o-Mateus-1602-1024x1294.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1294" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBtOresMJrDUL6RPwktKgCcPUH0eGVlsfFdjamPMSfCRQGhWzWwPvO7T7myGOlg9CXTkfu3-3RHl0wz-EFtS2GFU2QLKmYe21PfM2ks_ohZcnb9plbkTg8T3qSmRC4uXbpOUf-fmnsnPs/s320/Caravaggio-Sa%25CC%2583o-Mateus-1602-1024x1294.jpg" width="253" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carravaggio</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9sS_dJHEf8S0itI7bU95vdYRB8SeeDTybbwfDRIpnJTDy-TRecjIl5X8rbDPW34VgxgWbxGR1poXt_hkg6u39wqhmy_KoKM3bhdW_O8a16W8mWdM4WY8ZSHGj80vkEokKuqcrbtUrPpE/s1600/baroque.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="767" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9sS_dJHEf8S0itI7bU95vdYRB8SeeDTybbwfDRIpnJTDy-TRecjIl5X8rbDPW34VgxgWbxGR1poXt_hkg6u39wqhmy_KoKM3bhdW_O8a16W8mWdM4WY8ZSHGj80vkEokKuqcrbtUrPpE/s320/baroque.jpg" width="239" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWHo1CrThafcBn6bcaAJZ2_2rV2evb3LACBi5CTUz6HHzMaklauL6j3Zwk3X1-3qc4YhsLzEv7OEkNIORRvQ2pw1tb_Et5j796yxgvKhY2-SwFxSH0x34fSxtV4UY6l08fXR_2xdYBxUM/s1600/Rome-Trevi-Fountain.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWHo1CrThafcBn6bcaAJZ2_2rV2evb3LACBi5CTUz6HHzMaklauL6j3Zwk3X1-3qc4YhsLzEv7OEkNIORRvQ2pw1tb_Et5j796yxgvKhY2-SwFxSH0x34fSxtV4UY6l08fXR_2xdYBxUM/s320/Rome-Trevi-Fountain.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fontanta di Trevi</td></tr>
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-49535596420713309342018-06-02T06:35:00.000-07:002018-07-09T05:43:04.902-07:00Psychomachia 2015-2016<div dir="ltr" style="text-align: left;" trbidi="on">
2015- 2016<br />
Making space for painting<br />
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I wanted to go beyond the focus on the orifices characteristic of the previous work (see That That is Not on my site <a href="http://www.katerinapapazissi.com/">www.katerinapapazissi.com</a> ) to more painterly and juicy approach.<br />
To attain a pictorial expansiveness, and assert materiality.<br />
A desire of the flesh to expand, to see itself portrayed.<br />
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I had a vision (I think maybe a dream) of many folds, many bodily orifices creating their own kind of space perpetually in movement. This drawing resulted<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrbka8vfTZnk-xUpGtytJxHZ_ai85I61qLOAKhQhVbv9NvMVcBqSMm2eF6_yKWa764nHs3t-h_9YjzZZ4mDnYqp6mRvGGTFcnpbxPYHjlajqIZayQB0NeIOV1xBRgWImFdWdN-aA_SL2E/s1600/4-1-72.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="885" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrbka8vfTZnk-xUpGtytJxHZ_ai85I61qLOAKhQhVbv9NvMVcBqSMm2eF6_yKWa764nHs3t-h_9YjzZZ4mDnYqp6mRvGGTFcnpbxPYHjlajqIZayQB0NeIOV1xBRgWImFdWdN-aA_SL2E/s320/4-1-72.jpg" width="320" /></a></div>
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Soft pastel on paper, 18x24cm</div>
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<span style="text-align: left;">Thus result this series, subsequently entitled Psychomachia, which consists of drawings with soft pastel and smaller watercolours.</span></div>
The drawings, that oppose geometrical to organic abstract forms, make a transition from my past to my current work.<br />
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Still, in this series the body is trying to break free from the grids and hard structures that contain it.<br />
Here is a sample of the drawings<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgliSSOANyynUQD0j8Q1kSPcMjz5IvcKgVjo-GAYCK7Vr4n1JizgJPYprRNfaa-Fxf7lm-2TZiM9q2cPSlgV1OPWuu0yZpvVBNXXqB1bqUySGeuWfBlCcq-L6oDAvMp93oW62ikDEVVsc8/s1600/_DSC0009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="804" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgliSSOANyynUQD0j8Q1kSPcMjz5IvcKgVjo-GAYCK7Vr4n1JizgJPYprRNfaa-Fxf7lm-2TZiM9q2cPSlgV1OPWuu0yZpvVBNXXqB1bqUySGeuWfBlCcq-L6oDAvMp93oW62ikDEVVsc8/s320/_DSC0009.jpg" width="320" /></a></div>
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The Battle I, 2016 87.5x125cm</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyVIMX5-J4fa2OFGIceXD-rk3DPhy41oFJKcXd5sby9fwQdCEWJykXroGevp2P56a1y9tDnykJZHvNYFi4g68isdT34X2zjvNZ-oRyfKXebafd-pUfB8xV8jhlV47lOFD-txOZ2u90xHQ/s1600/the+battle2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="887" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyVIMX5-J4fa2OFGIceXD-rk3DPhy41oFJKcXd5sby9fwQdCEWJykXroGevp2P56a1y9tDnykJZHvNYFi4g68isdT34X2zjvNZ-oRyfKXebafd-pUfB8xV8jhlV47lOFD-txOZ2u90xHQ/s320/the+battle2.jpg" width="320" /></a></div>
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The Flood, 2016 87.5x125cm</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiySs3G0boPFtBRJC3ZCEdq5Yau_UrDMUCHg0vpJm9cFpPN8zDLmAZ3tTpZAOGrQkrf-P80nJ1w-MJeV2olXrskcxepKP0Z-n3CROWrxRPEJEvwQizqcOIgtAEyggKJgQvbbTfmjwV5XV8/s1600/3.pastel+87.5x125.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="870" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiySs3G0boPFtBRJC3ZCEdq5Yau_UrDMUCHg0vpJm9cFpPN8zDLmAZ3tTpZAOGrQkrf-P80nJ1w-MJeV2olXrskcxepKP0Z-n3CROWrxRPEJEvwQizqcOIgtAEyggKJgQvbbTfmjwV5XV8/s320/3.pastel+87.5x125.jpg" width="320" /></a></div>
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The Battle II, 2016 87.5x125cm</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Tt5b4yHCGyyvkskfUbundaiv7rzEKnLw94MbLmabMrQ-IxHFolPSqZOm6A0X6SxTilFqCpovtTwkkH0SyxKaKtAuOhqbUZ2cDawtsDUwb25DMBc0A6JgIvJ8Qw6vb8jze8mm75dN7p8/s1600/_ALK8321.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="1142" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Tt5b4yHCGyyvkskfUbundaiv7rzEKnLw94MbLmabMrQ-IxHFolPSqZOm6A0X6SxTilFqCpovtTwkkH0SyxKaKtAuOhqbUZ2cDawtsDUwb25DMBc0A6JgIvJ8Qw6vb8jze8mm75dN7p8/s320/_ALK8321.jpg" width="320" /></a></div>
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Quay, 2106 Watercolour and soft pastel on paper, 21x30cm</div>
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Untitled, 2016. Watercolour on paper 24x29cm</div>
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Gross anatomy, 2016 22x33cm</div>
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-33047799745439636022018-06-01T01:21:00.002-07:002018-07-09T05:41:28.980-07:00Space Oddity, 2014<div dir="ltr" style="text-align: left;" trbidi="on">
A step further back to consider these three collages from 2014.<br />
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Watercolours of studies of skin are combined with photos of the burnt down buildings of Athens in 2008<br />
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They are actually a sort of battle between my painting and my photography and signal a transition to a more complex pictorial space. However, they were an anarchic strand at the moment, still within the time frame of the extreme close up focus period, the period of the That That is Not.<br />
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I love the combination of subdued skin tones with the grey tones of the burnt down buildings. The harsh actual composition is compensated by this subtle contrast.<br />
Buildings are torn down by an invasion of flesh.<br />
My idea of a revolution.<br />
Rather spatial or sci-fi<br />
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They are all 35x50 cm each.<br />
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-19966950096586030592018-05-31T05:41:00.000-07:002018-06-02T06:26:54.550-07:00Starting anew 2015<div dir="ltr" style="text-align: left;" trbidi="on">
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These copies of the painting by Caravaggio were the beginning of the journey for my recent work.<br />
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I was reading Frank Stella 'Working Space', a wonderful book on abstract painting with a proposition that it opens up its notion and construction of pictorial space, something that abstract art of the time had narrowed down to the surface, by looking at the masters of the past.<br />
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I began to study flesh and how space is created through and around flesh. Flesh that is a marvel for sensation can be found in Baroque paintings and this is where I looked at.<br />
I actually see the Baroque as space created through the form of the movement of flesh. It follows the twists and curls of flesh and objects that parallel it, like cloth and leaves.<br />
The Baroque is 'Movement imported into mass' - Heinrich Wolfflin<br />
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Both of these studies are with soft pastels on paper and measure 60x80cm<br />
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-473606353054710962013-04-01T08:15:00.000-07:002013-04-23T05:25:02.108-07:00Ach Alma Manetro - Is it a great work of art?<div dir="ltr" style="text-align: left;" trbidi="on">
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Ach Alma Manetro is a decollage, or torn-poser work by Raymond Hains and Jacques de la Villegle made (or rather presented) in 1949.<br />
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The practice of the decollage artists was to raid the streets of Paris (or Rome) and collect pieces of torn billboard posters, which they presented as they found them, sometimes together with the support on which they were glued, or by subsequently mounting them on canvas with minimum adjustment. Sometimes they presented the works in the streets rather than in a gallery.<br />
I am generally fascinated by the images created by torn posters around the city. I photograph them and I also collect posters in order to make artworks from them myself (with a lot of adjustments).<br />
In discovering the decollage artists of the late 40s and 50s, I was therefore once more confronted with an image which I particulary like. However, the problem was that it seemed to me that as soon as one had seen a torn-poster (affiche laceree), one had seen it all. There is no big difference between a torn poster of today and a torn poster of then. Moreover, I could not easily accept them as art. A curious fact, I know. How can you be fascinated by something and still not accept it as art. Well I think it has to do with my belief that an artwork is not the presentation of a reality, but a transformation of reality. These seemed to be mere documents of reality. Not creations.<br />
Reading about this work has made me reflect more deeply on whether it can potentially not be merely an interesting, even striking picture, but also a great work of art. Which in turn made me think some more about what the heck is a great work of art. Here we go.<br />
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Ach Alma Manetro is a great work of art because it is the complete and perfect solution to the artistic problems and questions of the day.<br />
Which were the circumstances and artistic problems of the city of Paris in late 1940?<br />
1. World War II. The artists had a living memory of and wanted to speak about an environment<br />
devastated by war.<br />
2. The restoration and rebuilding of cities was under way, and this restoration brought with it a new form of urban life, organized around consumerism and advertising culture. The way out of the strife of the war was proposed as the ability to consume better and ever- newer products.<br />
3. Advertising takes on a huge part of public space. Large advertising posters are hung on billboards, forming atttitudes, guiding the world. The critique of advertising from the part of artists, the critics of the images of reality, is a must.<br />
4. The artists had already seen the american Abstract Expressionist works, were familiar with the idea of Action Painting and the view of the canvas as an arena on which to act.<br />
5. However, the particular circumstances of Europe, with its profound historicity, precluded mere gestural abstraction, with no deeper underlying meaning.<br />
6. The artists were born in the city of the Surrealists and shared their ideas about uniting art and life, as well as imagination and reality and the idea of making the street the locus of the Magnificent.<br />
7. The artists shared the Dadaists' and (especially) Surrealists' questioning of the idea of the artist as a genius. They wanted to develop more collective forms of creation.<br />
8. The question was how to overcome the alienation which is the result of life in the modern city.<br />
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The discovery of decollage epitomizes all these requirements of the artists of the time. The torn poster is first and foremost an image that speaks about a rupture, a dislocation, even dismemeberment. It resembles a war zone. It is also an object created over time by the actions of anonymous passers-by as well as by the effects of the weather. Not by an individual artist. It gives us the image of an action, but we do not know whose action. No glory to the creator here. Moreover, Ach Alma Manetro in particular is not even the discovery of one creator. Two persons have discovered this together and presented it as a pair. The object was furthermore situated in the street. The continuous layering and tearing of the posters speak about a process of decay as well as creation, which ultimately creates an image of the passage of time in the realm of the urban environment. A kind of history of the city. It shows the relationship between degraded public space and radiant advertising space. The torn poster deconstructs language and communication, and at the same time proposes a new form of communication. It is therefore a critique of advertising. Advertising language is still there for the audience to see and ponder on its effects. It is in this sense the continuation of the project of the futurists and dadaists. The torn posters speak about the possibility of disalienation via the acceptance, understanding, manipulation and communication of the very products of this alienation.<br />
Therefore, a found object (objet trouve) is the artwork par excellence of the time. No creator needed, no adjustment required, no artistic standards set or fulfilled. An art object is discovered, collected and presented as such. A ready-made.<br />
Still have to persuade myself on this possibility, while my creation-greedy self moans.<br />
On the other hand, what this work does not create is a transformation of reality. Of course, this was not the point for the artists. They wanted us to see reality in a different way. Anyway a transformation has already taken place, as the posters got changed by the actions of the passers by and the weather. However, at least for me, this remains an unanswered question, a thorn in the argument on whether Ach Alma Manetro is a great work of art.<br />
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p.s. Weeks after writing this post, I have come across a very interesting interview of Herbert Marcuse, in 1978. Marcuse says about the avant garde.<br />
<span style="background-color: white;">''Art in its radical forms—the present day avant-garde, for example: I would say yes, it is art. But the question is to what extent aesthetic criteria can be applied to some manifestations of avant-garde art. I had a long discussion on that here with the Visual Arts department two or three years ago. There was an exhibit that simply reproduced a garage sale. That wouldn't do because it just isn't art; it's a repetition of the given reality. It does not have the transcendence and dissociation which in my view are essential for art.''</span><br />
<span style="background-color: white;">Very clearly put...</span></div>
Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-60713340740699872002013-03-30T03:55:00.003-07:002013-03-30T05:18:44.277-07:00On double space B. Karel Teige.<div dir="ltr" style="text-align: left;" trbidi="on">
I came across this artist while studying for the collage class I am teaching (Surrealism). I found an interesting parallel between my ideas and his, when it comes to the question of the boundary between the inside and the outside, body and space. His collages from the late 40s epitomize the union of internal and external, phantasy and reality.<br />
Karel Teige was born on 13 December (another interesting parallel, I was born on the 14th!) 1900 in Prague. He represented the Chech avant-garde movement and was a photographer, typewriter and graphic artist. He was also a theorist of the arts and architecture.<br />
After joining the surrealist movement in 1934 and until his death from a heart attack in 1951 he created about 400 collages. In these he puts together photographs of female bodies and photographs of landscapes, trees and interiors. This is done in such a way so that the bodily forms seem to emerge from the natural or domestic spaces. The result is an eroticised space, populated by what seem to be enormous statues of female goddesses.<br />
Like this picture below that I particularly like. I can imagine it as a 3-d sculpture.!<br />
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Looking at his pictures on the internet I came across an interesting site that presents his collages in the context of a discussion about the milieu. </div>
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(<a href="http://www.geocities.ws/ateliermp/milieu.html">http://www.geocities.ws/ateliermp/milieu.html</a>)</div>
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There I read that Isaac Newton defined the milieu as the fluid, and as the intermediary between two bodies. Pascal as the median situation, a fluid of suspension, a life environment. </div>
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The fluid in this case seems to be the boundary between the body and its space. The milieu is the world that is created in this transgression of boundaries. A world made possible in art. I like this possibility of art practice. </div>
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The body emerges from space, like a giant flower or tree. It is not separated from space but merges with it. Is born from it, with it. However, its enormous size prevents it from being contained by space. Its seems that they mutually contain each other. A second aspect of the accepted relationship between body and space is thus changed. </div>
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Fluidity is finally down to the very essence of the above form, which is a female torso as well as an inverted penis. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisDVOregHaqCRUnRN0SnNNxRG40pjZ5WntMiuH9d3cCzXYnfwo64X9EL9gr0STU4oHNSHLCyxvZOIqyMok1P1RPjgmM_fdWY8HrqhllqvHyyp2L7YgO23vCz79y0V0Hq0ft6KF0cfDva0/s1600/Karel+Teige-Collage+No.+353,+1948s.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisDVOregHaqCRUnRN0SnNNxRG40pjZ5WntMiuH9d3cCzXYnfwo64X9EL9gr0STU4oHNSHLCyxvZOIqyMok1P1RPjgmM_fdWY8HrqhllqvHyyp2L7YgO23vCz79y0V0Hq0ft6KF0cfDva0/s320/Karel+Teige-Collage+No.+353,+1948s.png" width="241" /></a>Kollaz 353, 1948</div>
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Similarly in the collage above. The woman emerges from the tree, as the tree emerges from the earth, forming a new entity, a woman-tree. The two formerly separate entities are merged into one, preserving their different characteristics while losing their separate identity. Merged in infinite Oneness. </div>
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Which brings us to the concept of the subjectile, by Antonin Artaud (still reading the entry in the site above). The subjectile is neither object nor subject, neither inside nor outside, neither above nor below but rather both. The subjectile is between two places. An interval. A double.</div>
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Artaud describes how his body is in a state of fusion with objects. Thus objects, acquiring bodily qualities, are also capable of sensations. Seeing the collage below in this context is particularly interested. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPqJoiPLWuzTnvx5dPwvX7IX5XKD4_xCI4-dYlTfHk_f10-5Xze29Vu1rAPr0BiTCQI3DVGdPuGrXMc5dhKIrJRQGkj1aP9cy750TJXF1E7O3d5XsKxhwRCYWApuPYMbAEfeP3VskPDgo/s1600/tumblr_ljtjgjLNQH1qdn10eo1_500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPqJoiPLWuzTnvx5dPwvX7IX5XKD4_xCI4-dYlTfHk_f10-5Xze29Vu1rAPr0BiTCQI3DVGdPuGrXMc5dhKIrJRQGkj1aP9cy750TJXF1E7O3d5XsKxhwRCYWApuPYMbAEfeP3VskPDgo/s320/tumblr_ljtjgjLNQH1qdn10eo1_500.jpg" width="233" /></a>323, 1946</div>
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This is a woman-house, a kind of building or rather wall since it contains a window. This window creates a space where inside and outside lose their meaning. Since there is no longer an inside, therefore nor an outside. </div>
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In this final one, the body is frozen. Like a building would be in cold weather. </div>
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The body thus becomes a space to inhabit, to enter. </div>
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Looking up 'subjectile' I came across an artist's (Tim Long) Phd thesis on the notion which I am about to read. Thank you internet. <a href="http://create.canterbury.ac.uk/11594/1/1364563_T_Long_thesis_no_images_28_9_12.pdf">http://create.canterbury.ac.uk/11594/1/1364563_T_Long_thesis_no_images_28_9_12.pdf</a></div>
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On the whole, Teige's work seems to me to create a space where one can think about the possibility of a union of phantasy and reality, body and space, nature and the city, Eros and Civilization. It is what Herbert Marcuse refers to when he speaks about '<span style="line-height: 12pt; text-align: left;">the truth of the Great Refusal', which is preserved by fantasy. This Great Refusal is the refusal to accept as given the alienation of man from nature, the limitations on freedom and happiness which result from humanity's adherence to reason, and its raison d'etre, the performance principle. In Marcuse's words " In the realm of
phantasy, the unreasonable images of freedom become rational, and the lower depth
of the instinctual gratification assumes a new dignity."( in Eros and Civilization, p.160)</span></div>
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<span style="line-height: 12pt; text-align: left;">More from Marcuse soon. </span><span style="line-height: 12pt; text-align: left;"> </span></div>
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-10247011660230624352013-03-02T10:32:00.000-08:002013-03-04T03:11:21.366-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 style="text-align: left;">
<b>Picasso's Man with pipe 1915 and the representation of a representation.</b></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdOcZipi9X7uOhpt5f3P7xjB_opfWX1YvkxP1o9Y6q_Kd5gev1BAf03NxDk5qdJUDw5PO0mmMIirYhNXncJNsu6XmeBr1bCRdesxkhWWRP2wmEmSlQoQgYA44HFnxTgDbdVUxoiCyVzC4/s1600/pablo-picasso-man-with-a-pipe_b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdOcZipi9X7uOhpt5f3P7xjB_opfWX1YvkxP1o9Y6q_Kd5gev1BAf03NxDk5qdJUDw5PO0mmMIirYhNXncJNsu6XmeBr1bCRdesxkhWWRP2wmEmSlQoQgYA44HFnxTgDbdVUxoiCyVzC4/s400/pablo-picasso-man-with-a-pipe_b.jpg" width="266" /></a></div>
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While looking at the painting 'Man with Pipe', 1915, by Pablo Picasso, an alternative interpretation occurred to me. What Picasso has created is in fact a painting of an idea about a painting.<br />
Of course, I am not totally familiar with writings on the subject and it is possible that somebody has already put forward such an argument. Nevertheless here it is.<br />
Let's first look at the painting. We see some parts of a man's body. Half of his head and hat, his right arm and his left hand, holding a cigar. Other elements include parts of his jacket and vest, as well as abstract areas of plain colour and dots. There are also elements depicting parts of a chair and elements that refer to parts of a room. The different painting styles co-exist, in classic Picasso style.<br />
The composition forms a sort of irregular triangle, from top to bottom.<br />
I see one dark blue rectangle cutting the head in two at the top , and a brown form in the shape of a greek π at the bottom-center. I see these two elements as the edges of an easle. The rest of the elements can be seen as parts of dismantled paintings, one of them being the painting of a man with a pipe, others perhaps being paintings of a chair, a painting of the room, and abstract paintings. In my mind, these fragments of paintings are reassembled to form a three dimensional picture with irregular edges, supported by the easel that breaks out of the frame of a standard easel painting. The picture is thus opened up to the space around it. It is opened up perhaps to the real (in the painting) man with pipe, the representation thus merging with the represented.<br />
We can take this further. If we take the form in the upper right corner to be a keyhole, what we are witnessing is a sneak view of a painter's mind.<br />
Picasso has thus painted his idea of a painting. By confining it to two dimensions, making an easel picture out of it, he preserved the status of this as an idea. It is not reality, but a construction of reality. Even, a construction of a construction of a constructed reality. (!) Picasso has painted an infinite space.<br />
Perhaps the π shape stands for man-with-a-pipe's legs, but to me, the easel explanation is much more interesting.<br />
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-87094362600266479842013-01-25T06:44:00.002-08:002013-01-25T06:49:36.273-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
Just came across a very interesting and inspiring exhibition!<br />
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It is called 'Photography into Sculpture' and is an exploration of the sculptural and three dimensional uses of photographs by artists and photographers. Interesting to see some of my experiments were taken up in the 70s, especially by Robert Heineken, whose work I will soon have to review here!<br />
Check it out.!<br />
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<a href="http://www.cherryandmartin.com/exhibitions/96/21">http://www.cherryandmartin.com/exhibitions/96</a><br />
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-574760964758717262013-01-07T07:48:00.002-08:002013-01-12T02:07:37.852-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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On Double space part A.</div>
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Victor Burgin</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYHXHcW4vGiTjMKA38bwQe9eF1CizFCwJ9D1ddmmzvBtEYW79tb99kJeFI_mqjYdbFBFOqKmEaNRc9SRLb2PxDxzLjGXJRhtcDrYIuNMavOwHH1wGizypqZlISVZ5ghbzTNWcr79kqi-s/s1600/Victor_Burgin,_The_Bridge_%5Bdetail%5D,_1984.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYHXHcW4vGiTjMKA38bwQe9eF1CizFCwJ9D1ddmmzvBtEYW79tb99kJeFI_mqjYdbFBFOqKmEaNRc9SRLb2PxDxzLjGXJRhtcDrYIuNMavOwHH1wGizypqZlISVZ5ghbzTNWcr79kqi-s/s320/Victor_Burgin,_The_Bridge_%5Bdetail%5D,_1984.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Victor Burgin, The Bridge. 1984.</span><br />
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<span style="background-color: white; color: #444444; font-family: Arial, Helvetica, sans-serif; line-height: 21px; margin: 0px; padding: 0px;"><span style="margin: 0px; padding: 0px;">Victor Burgin is an english conceptual artist, writer and photographer. He studied painting at the Royal College of Art from 1962 to 1965 and philosophy and fine art at Yale University from 1965 to 1967. His work combines photographs and printed texts to reveal what lies behind processes of looking.</span></span><br />
<span style="background-color: white; color: #444444; font-family: Arial, Helvetica, sans-serif; line-height: 21px; margin: 0px; padding: 0px;"><span style="margin: 0px; padding: 0px;">In this post, I looked at his work from the 80s. </span></span><br />
<span style="background-color: white; color: #444444; font-family: Arial, Helvetica, sans-serif; line-height: 21px; margin: 0px; padding: 0px;"><span style="margin: 0px; padding: 0px;">His position is that of a male subject. In his body of work 'The Bridge' he juxtaposes images of bridges, man-made constructions and water, as well as images from Art depicting females in the water. The birth of Venus, the death of Ophelia. </span></span><br />
<span style="background-color: white; color: #444444; font-family: Arial, Helvetica, sans-serif; line-height: 21px; margin: 0px; padding: 0px;"><span style="margin: 0px; padding: 0px;">I find this picture very interesting, in its juxtaposition of the man-made and the natural, activity and passivity, movement and stasis. It reveals the contents of our imaginary with respect to the categories male and female. </span></span><br />
<span style="color: #444444; font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 21px;">In his article on Burgin, theorist Paul Smith writes of the way the bridge, the San Francisco Golden Gate Bridge works. </span></span><br />
<span style="color: #444444; font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 21px;">"It is offered both as a geographic or topographic signifier and as an imaginary one. That is, it acts as a kind of two-way object, a projection of the imaginary into worldly space and an introjection of the material world to become a marker of psychical space". </span></span><br />
<span style="color: #444444; font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 21px;">It is this double space that interests me. The merging of the inside and the outside. The contents of the imaginary, and the contents of the external world. Dualistic dichotomies between in and out, existence and non existence, male and female, etc, are man-made constructions. Abstractions that fail to account for what is. I see reality as continuous becoming. The world may consist of opposites but it is finally one. We are trapped into this binary way of conceiving things, what Smith calls a linguistic doublet, unable to see the essence of things, the primordial affinity of everything. </span></span><br />
<span style="color: #444444; font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 21px;">Art is a way of seeing things differently, bringing together the inside and the outside. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3wA4FyDytJ9g3nWR6EocUkOxHlVqXjgEaDi7bv8NSSh7cj_H93jf5lEjh7Q2GZNIJqKb52oOk0rmTNaOuRUPc0srd06CrZkr00XuDeGrmPOu7UI-36FNAsDxkHs-zVHvl8YFQh9yuNUc/s1600/burgin_025.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3wA4FyDytJ9g3nWR6EocUkOxHlVqXjgEaDi7bv8NSSh7cj_H93jf5lEjh7Q2GZNIJqKb52oOk0rmTNaOuRUPc0srd06CrZkr00XuDeGrmPOu7UI-36FNAsDxkHs-zVHvl8YFQh9yuNUc/s320/burgin_025.jpg" width="320" /></a></div>
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<span style="color: #444444; font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 21px;">The above image speaks again of a double spae. There is the space of the viewer (and of the woman performer) but also the space of the viewer's gaze, situated in the mirror at the back. Real space and imaginary space. The woman looks away from the mirror, which makes us see only her back. She therefore cannot share the image of herself. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTkg0_EPcUPxz-7AP4r_3-5LHxnycJWNS6DVl0tJYrPPJp7BHAFCHsFM1qukoKfsBAluTU7toeGBowV49LO9Ab0OHoXor0ywmN_uVL54x7NXc-GI7Ik1he5GjEYLz2FzsZxTrxoqqzAcw/s1600/burgin_026.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTkg0_EPcUPxz-7AP4r_3-5LHxnycJWNS6DVl0tJYrPPJp7BHAFCHsFM1qukoKfsBAluTU7toeGBowV49LO9Ab0OHoXor0ywmN_uVL54x7NXc-GI7Ik1he5GjEYLz2FzsZxTrxoqqzAcw/s320/burgin_026.jpg" width="320" /></a></div>
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<span style="text-align: left;">I</span><span style="text-align: left;">n this image, Burgin puts a photograph of a city on a tapestry laden wall, again creating a double space. There seems to be an opening or window on the wall, giving view to a city, reversing the situation where we take the larger context to be the city, and what is contained within it to be the house. Here the house contains the city. It also makes me aware of the egoistic need to contain, to possess. To feel more powerful than one really is, by acquiring possession of. This feeling is strengthened by the wooden frame, reminiscent of classic paintings, which are again something desirable to possess. </span></div>
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<pre style="white-space: pre-wrap; word-wrap: break-word;">Sources: </pre>
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<pre style="white-space: pre-wrap; word-wrap: break-word;">Wikipedia.Victor Burgin.</pre>
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<pre style="white-space: pre-wrap; word-wrap: break-word;">Paul Smith "On Victor Burgin"</pre>
<pre style="word-wrap: break-word;"><span style="white-space: pre-wrap;">http://theory.eserver.org/burgin.txt</span></pre>
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-82203402733472863702012-12-03T03:11:00.000-08:002012-12-03T09:11:11.803-08:00Introducing Mark Bradford.<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3iSrBC__iUEL_G6TyR4bSbMEqxSYnpjQ0rFf1J_ZwizTK-OSYlTgHuu-j_Y64lSpBibAe407yBpQxy6I5bsNYW-nXh8Vz8ZD7JVPNuhYhiPgdq8jur2qrx8bWXbyaqP6oF6g1X0R2bk4/s1600/mark_bradford_devil.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3iSrBC__iUEL_G6TyR4bSbMEqxSYnpjQ0rFf1J_ZwizTK-OSYlTgHuu-j_Y64lSpBibAe407yBpQxy6I5bsNYW-nXh8Vz8ZD7JVPNuhYhiPgdq8jur2qrx8bWXbyaqP6oF6g1X0R2bk4/s400/mark_bradford_devil.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The devil is beating his wife, 2003.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSTFcpU_KdZkE6be_HK8aTy9E7kLPcHrS8UPQIKyLV3xZv3hEmW53QT1NuCKB6V6q2N6XIldt55bVQexmMdW9_HF0-gg7sKXzhK6CmtmC2mRkJT5LOh2rx7HnFff6FxarJVjsyZcG54zo/s1600/MB-Across110thSt-2008b1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSTFcpU_KdZkE6be_HK8aTy9E7kLPcHrS8UPQIKyLV3xZv3hEmW53QT1NuCKB6V6q2N6XIldt55bVQexmMdW9_HF0-gg7sKXzhK6CmtmC2mRkJT5LOh2rx7HnFff6FxarJVjsyZcG54zo/s400/MB-Across110thSt-2008b1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Across 110th street, 2008</td></tr>
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The work of this artist inspired me to start making large scale collages mixing printed advertisements with paint. He therefore deserves an introduction.<br />
Mark is based in the United States (where else?). In particular, in Los Angeles.<br />
His monumental compositions mix billboard advertisements with paint, resembling giant maps. His materials are found on the street, making his work a kind of street art made by a studio based artist. His relationship to the french 'Decollage' group (Francois Dufrene, Raymond Hains, Mimmo Rotella, Jacques de la Villegle) is apparent, although in Mark's case the work is composed so that it becomes something other than merely a record of the process of the accumulation and destruction of urban posters. Not reality, but a transformation of reality is what he is interested in.<br />
In the resulting compositions, what I find particularly fascinating is the look of a city struck by natural disaster.<br />
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Much has been written about his work. For example, the racial issues raised or the mixing of popular culture with high art. What is interesting for me however, is considering his work in the light of what Frederic Jameson defines as an aesthetic of cognitive mapping in his "Postmodernism or the Cultural Logic of Late Capitalism".<br />
In this text, Jameson argues for a kind of art that will raise spatial issues as its fundamental organizing concern. This is in response to the increasing alienation felt in the postmodern city, where people are unable to map in their heads the space in which they live in , or the sociopolitical totality that organizes and shapes this urban space as an experience.<br />
Moreover, this results in a difficulty to connect private experience to the experience of the city and the difficulty to internalize or make one's own, the problems of our cities or the information about our world provided by intermediary authorities, such as the politicians and the media.<br />
We are not actors in the space we live in, and therefore we are alienated from this space. Disalienation, for Jameson, means "the practical reconquest of a sense of place, plus the construction or reconstruction of place. An articulated ensemble which the individual subject can map and remap along the moments of mobile, alternative trajectories".<br />
Works like Bradfrord's, work towards disalienation, if only in play. This happens because by collecting, reassembling and restructuring mass media images which make up the public communication of the city, this information is personalized. By appropriation and creation, the role of the passive city-dweller who cannot act to change his/her circumstances is overturned in the artist's case and questioned for everyone.<br />
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Mark Bradford's site is really interesting. I have particularly enjoyed the option of zooming in to his works.<br />
<a href="http://www.pinocchioisonfire.org/">http://www.pinocchioisonfire.org/</a><br />
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Jameson, F. Postmodernism or the Cultural Logic of Late Capitalism, 1991. Available in<br />
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<a href="http://www.marxists.org/reference/subject/philosophy/works/us/jameson.htm">http://www.marxists.org/reference/subject/philosophy/works/us/jameson.htm</a><br />
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Finally, some more images<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7R9ORJfWdAS-atbl1Uv-cwIWfle3MQYs0K6eWCSQDgzP-Vofv4_gFR9bJOqwkpd_lqFWKjdlPM01eUewI-g9jHPqufEkbq_SS6OtL2PRm_pBKwe2yBXqGd94aSext37MCDvYB_AJXl4w/s1600/asm4_newmuseum2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7R9ORJfWdAS-atbl1Uv-cwIWfle3MQYs0K6eWCSQDgzP-Vofv4_gFR9bJOqwkpd_lqFWKjdlPM01eUewI-g9jHPqufEkbq_SS6OtL2PRm_pBKwe2yBXqGd94aSext37MCDvYB_AJXl4w/s400/asm4_newmuseum2.jpg" width="400" /></a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiJguygUcF_r5UhqOpMEO0y3Iixd3ZzbWtzx6wQRrjg5xoe9-VXK8vlLp3KCy9F3tiU7vNskhuaVnCXwNV-hY6i_wOfFP97FIfTm-RbaYEUbpgkCcEp8r9jIVE0BBEms0Ecyd0f27F7kQ/s1600/artwork_images_983_331536_mark-bradford.jpg" imageanchor="1" style="font-size: medium; margin-left: auto; margin-right: auto;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiJguygUcF_r5UhqOpMEO0y3Iixd3ZzbWtzx6wQRrjg5xoe9-VXK8vlLp3KCy9F3tiU7vNskhuaVnCXwNV-hY6i_wOfFP97FIfTm-RbaYEUbpgkCcEp8r9jIVE0BBEms0Ecyd0f27F7kQ/s400/artwork_images_983_331536_mark-bradford.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Noah's Third Day, 2007.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkZZk_IcWpAUruyq7BbHNhCgga5wyJ0tztaCsUeeLiD3bxLyKfR4tsM-P9V3UiaJjjP3LZ06nUrvHA_8bQSkFEyKH7_6MoO2JXBYHh1ZYWyDV_Wb4u2khpdjKHveMBfUXyy2wl7vhTPOY/s1600/orbit_2007-mm-72x84-pix.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkZZk_IcWpAUruyq7BbHNhCgga5wyJ0tztaCsUeeLiD3bxLyKfR4tsM-P9V3UiaJjjP3LZ06nUrvHA_8bQSkFEyKH7_6MoO2JXBYHh1ZYWyDV_Wb4u2khpdjKHveMBfUXyy2wl7vhTPOY/s400/orbit_2007-mm-72x84-pix.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Orbit, 2007.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1W-_3W0UMCyhFKyPgFPdmuyr3_kpMYryncSDr7jJ9qEuefNR_fBSasRGuWb5-TdPnszjOuBeyHZfVWwvggD92PZTkHssdrOl64Uq9zK_J2eTDyp3Shs7feeRgipeswWPl9FmtJEcBs-4/s1600/Mark-Bradford-006.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1W-_3W0UMCyhFKyPgFPdmuyr3_kpMYryncSDr7jJ9qEuefNR_fBSasRGuWb5-TdPnszjOuBeyHZfVWwvggD92PZTkHssdrOl64Uq9zK_J2eTDyp3Shs7feeRgipeswWPl9FmtJEcBs-4/s400/Mark-Bradford-006.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">May Heaven preserve you from Dangers and Assassins,<br />
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-61460183059838641442012-11-23T07:58:00.005-08:002012-11-23T07:58:53.927-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-35987427336668182962012-11-23T04:28:00.000-08:002012-11-23T04:28:48.223-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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KURT KOCHERSCHEIDT (1943-1992)</h1>
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<span style="background-color: white;"> "If I should try to give a definition of the artist at all, then it would most likely be a person whose profession, as it were, involves the constant reconsidering of one's own situation, continuously analyzing, continuously 'reworking' it. In the face of the threat all around, one is continually tempted to give in, to think it's all senseless. But you have to keep going, keep doing your thing consistently - as a counterforce - even if it all were over tomorrow.</span></div>
Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-57916762112939000362012-11-20T08:25:00.000-08:002012-11-20T08:25:33.504-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
Openings - Wounds.<br />
Injured tree. Resin springs from the wound.<br />
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-74989157507472752092012-11-19T06:45:00.000-08:002012-11-19T06:45:12.683-08:00An artist I discovered whose work bears an interesting affinity to my photocollages (Algedon series). <div dir="ltr" style="text-align: left;" trbidi="on">
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<b>Tsunehisa Kimura</b> (1928–2008) was a Japanese artist working in photomontage. His montages depict an urban world brought to chaos by the invasion of nature. </div>
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<span style="line-height: 1.5em;">For him photomontage is 'Like meeting a whole lot of different people on a railway station'.</span></div>
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<span style="line-height: 24px;">Interestingly, he also uses his own photos...</span></div>
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<span class="editsection" style="-webkit-user-select: none; background-color: white; float: right; font-family: sans-serif; font-size: 13px; line-height: 19.200000762939453px; margin-left: 5px;">[<a href="http://en.wikipedia.org/w/index.php?title=Tsunehisa_Kimura&action=edit&section=1" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: initial;" title="Edit section: References">edit</a>]</span><span class="mw-headline" id="References" style="background-color: white; font-family: sans-serif; line-height: 19.200000762939453px;"></span></h2>
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-20479968041468256822012-11-18T02:36:00.001-08:002012-11-19T07:09:01.584-08:00Latest Exhibition @ Rooms to Art.<div dir="ltr" style="text-align: left;" trbidi="on">
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This was an exhibition in an office building next to Omonoia square in Athens, Greece.The aim was to give a new life and a new use to these largely abandoned spaces.<br />
Participating artists: Katerina Zafeiropoulou, Thodoris Zafeiropoulos, Gianis Biliris, Christos Kotsoulas (Captain), Konstantinos Papamihalopoulos, Katerina Papazissi, Kostas Xristopoulos.<br />
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The video for the exhibition by Antonis Katrakazis, Panos Kostouros, Thanos Lazopoulos.<br />
<a href="http://vimeo.com/52754603">http://vimeo.com/52754603</a><br />
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Visit my site for photographs of my works and explanation of the interactive project<br />
<a href="http://www.katerinapapazissi.com/index.php?/exhibitions/Rooms-to-art/">http://www.katerinapapazissi.com/index.php?/exhibitions/Rooms-to-art/</a><br />
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Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0Αιόλου 103, Αθήνα 105 64, Ελλάδα37.9837155 23.729309737.186144500000005 22.465882200000003 38.7812865 24.9927372tag:blogger.com,1999:blog-4087335146586593683.post-23501123114091745732010-01-11T09:42:00.000-08:002010-01-11T09:50:38.238-08:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirdLt8yFfecZoGviZyLe-91UPuByhmAdjhc_n3NsPN8o7ebuCqPm36mMmr_TBRbgXkdDUG1_r3Ms6VISdvGymC61zz5NWe_X5HMa3_fMqoIuo_bLzzM51C16d47efLJIDLXHE5d7KlK30/s1600-h/DSC_0021.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirdLt8yFfecZoGviZyLe-91UPuByhmAdjhc_n3NsPN8o7ebuCqPm36mMmr_TBRbgXkdDUG1_r3Ms6VISdvGymC61zz5NWe_X5HMa3_fMqoIuo_bLzzM51C16d47efLJIDLXHE5d7KlK30/s320/DSC_0021.jpg" alt="" id="BLOGGER_PHOTO_ID_5425540842055681986" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_64mHQsnQvj0/S0tkpSJsFkI/AAAAAAAAAA4/UsQSMtgk3OA/s1600-h/DSC_0194.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 214px; height: 320px;" src="http://3.bp.blogspot.com/_64mHQsnQvj0/S0tkpSJsFkI/AAAAAAAAAA4/UsQSMtgk3OA/s320/DSC_0194.jpg" alt="" id="BLOGGER_PHOTO_ID_5425540836507784770" border="0" /></a>Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-18348315934546758062010-01-07T04:03:00.000-08:002012-11-19T06:48:39.943-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
There is another world but it is in this one... (Keats or Eluard?)</div>
Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0tag:blogger.com,1999:blog-4087335146586593683.post-33096081381482030852010-01-07T03:52:00.000-08:002010-01-07T03:55:53.415-08:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikzNrpgvA2R-Dah_QsAGSaX77eDYYmta5R2szL5xUJQKOSZ58QqRj86VYjA3qjlVEhGx33jPbq25VxY5Sl9HEi8a8sP1Eb14h1R9W0Q49-Ohs_cp7-SxEIVGKhRxdsfObcP43hN9v2sz8/s1600-h/DSC_0117a.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikzNrpgvA2R-Dah_QsAGSaX77eDYYmta5R2szL5xUJQKOSZ58QqRj86VYjA3qjlVEhGx33jPbq25VxY5Sl9HEi8a8sP1Eb14h1R9W0Q49-Ohs_cp7-SxEIVGKhRxdsfObcP43hN9v2sz8/s320/DSC_0117a.jpg" alt="" id="BLOGGER_PHOTO_ID_5423965311457595362" border="0" /></a>Katerina Papazissihttp://www.blogger.com/profile/05419159576255385161noreply@blogger.com0