Interviews, Italy, Milano, 01 December 2013
Modern art leaps confused between different echoes .
The passing of the Beautiful , the decline of the Community Foundation of the communicative and aesthetic level , the ipersoggettivismo and intimacy solipsistic denounce the death. That " death of art " that is precious pendant incapacitating the "end of history."
On the other hand, the multiplicity of stimuli modern , the pervasiveness of the image, the voltage at the symbol , the diffusion of advanced technologies and the entrenchment of a synaesthetic perception prelude to many fascinating horizons .
To unravel this complex and varied picture we chose a partner that combines the critical lucidity and international experience at a young age. Marcello Francolini , the name of the art critic , can boast a degree in Art History and Criticism , numerous curatorial exhibitions and exhibitions of various organizations . Among the last significant events organizing seminars in Albania, in Tirana , on the themes of Futurism and the modern intellectual .
Can offer our readers a its assessment of the national art scene ? Aware of the complexity of this question, we welcome his suggestion so valuable as a tank .
Today there remains a widening gap between what is officially called art and what is left out of the official channels. The art is perched more and more inside the palace ( Encyclopedic ? ) . There is no need to draw up lists, it would be like to follow the fashion of the " news " rather than the "critical" art . But there are always a number of artists with their works move in geography official and unofficial biennials and museums around the world. In recent years, then, in addition these artists , museums are raised directly with the system of the young artist residencies , which I think is a stretch and an interference in the creative processes of the institution . These bodies , tired of wandering in search of new talent , they have found a way to create them in the lab. With this system of certifications from above, the enjoyment of art can only be done in a passive way and under the auspices of fascination , running out of everything as pure entertainment. In fact, the provocation of many works of art seem to be an end in itself , which resolves substantially in its formal structure , as if it were enough to use a particular technology or assembly of certain materials to give meaning to a work , emptying of the ideological significance ( this is not the primary task of the white cube ? ) . The outcome of the event consists of linguistics , the work of art is a visual and ideological constitution , we have to transpose and read in visual terms , that is, as a form , but also in understanding what it is, we might say , the content requirement and made manifest in and through this language . So what scares me is this ease in decreeing "the artist " , quest'enormità exponential in respect of transactions frankly devoid of any significance if not shock effect an end in itself . This is because today the art system also included that type of artistic work that at first glance is a rebel against the system, but that is enjoyed in the places that have the same representation of that power which should oppose . Today, therefore, the face of officialdom may be , in terms of linguistic phenomenology , analogous to the face -garde , while if it is concealed intentionality that is opposite : conservative each, innovative the other .
In conclusion, taking an artist who provocation and shock did the styling of his work, Cattelan , in which the two levels we insert through an examination of historiography ? At first glance it looks like s- rebel that middle finger in front of the Milan stock exchange, but have you ever seen the work of a rebel ninth hour sold $ 3,032,000 ?
The passing of the Beautiful , the decline of the Community Foundation of the communicative and aesthetic level , the ipersoggettivismo and intimacy solipsistic denounce the death. That " death of art " that is precious pendant incapacitating the "end of history."
On the other hand, the multiplicity of stimuli modern , the pervasiveness of the image, the voltage at the symbol , the diffusion of advanced technologies and the entrenchment of a synaesthetic perception prelude to many fascinating horizons .
To unravel this complex and varied picture we chose a partner that combines the critical lucidity and international experience at a young age. Marcello Francolini , the name of the art critic , can boast a degree in Art History and Criticism , numerous curatorial exhibitions and exhibitions of various organizations . Among the last significant events organizing seminars in Albania, in Tirana , on the themes of Futurism and the modern intellectual .
Can offer our readers a its assessment of the national art scene ? Aware of the complexity of this question, we welcome his suggestion so valuable as a tank .
Today there remains a widening gap between what is officially called art and what is left out of the official channels. The art is perched more and more inside the palace ( Encyclopedic ? ) . There is no need to draw up lists, it would be like to follow the fashion of the " news " rather than the "critical" art . But there are always a number of artists with their works move in geography official and unofficial biennials and museums around the world. In recent years, then, in addition these artists , museums are raised directly with the system of the young artist residencies , which I think is a stretch and an interference in the creative processes of the institution . These bodies , tired of wandering in search of new talent , they have found a way to create them in the lab. With this system of certifications from above, the enjoyment of art can only be done in a passive way and under the auspices of fascination , running out of everything as pure entertainment. In fact, the provocation of many works of art seem to be an end in itself , which resolves substantially in its formal structure , as if it were enough to use a particular technology or assembly of certain materials to give meaning to a work , emptying of the ideological significance ( this is not the primary task of the white cube ? ) . The outcome of the event consists of linguistics , the work of art is a visual and ideological constitution , we have to transpose and read in visual terms , that is, as a form , but also in understanding what it is, we might say , the content requirement and made manifest in and through this language . So what scares me is this ease in decreeing "the artist " , quest'enormità exponential in respect of transactions frankly devoid of any significance if not shock effect an end in itself . This is because today the art system also included that type of artistic work that at first glance is a rebel against the system, but that is enjoyed in the places that have the same representation of that power which should oppose . Today, therefore, the face of officialdom may be , in terms of linguistic phenomenology , analogous to the face -garde , while if it is concealed intentionality that is opposite : conservative each, innovative the other .
In conclusion, taking an artist who provocation and shock did the styling of his work, Cattelan , in which the two levels we insert through an examination of historiography ? At first glance it looks like s- rebel that middle finger in front of the Milan stock exchange, but have you ever seen the work of a rebel ninth hour sold $ 3,032,000 ?
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