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MASTERS-117
Contemporary Artists
Collectible global art book
ISBN:
978-91-89685-18-5
released
December 2008
Hardcover, 264
PAGES
Edited and
Published by MOT
DIMENSIONS:
8.5X8.5 IN / 22x22 cm
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The
Meaning of the art Truth
Many deal with art in
the world. And many of these paint, sculpt, draw and make
installations, using all sorts of media. Few, in truth, aim for or
obtain appreciable results. Intellectual ability, conceptual
lucidity, expressive command, expository clarity, acceptable basic
knowledge of the history of art and originality are prerogatives
very few have – they may be convinced, or believe, or hope they do,
after having outlined marks on a canvas, or made objects or
videographic images, in short after having composed a work of art.
Cultural “massification” (now called globalisation), which has
indeed brought benefits, has also led to an impoverishing of culture
itself. However, the dissemination of culture, which invests ever
greater numbers of mediatic channels, has not succeeded in teaching
large numbers of people how to evaluate and discern. The massifying
effect has had a negative impact on the ability of individuals to
evaluate the worth of a work of art qua intrinsic value, or even to
evaluate a different relationship to art, whether it be ancient,
modern or contemporary. How many of us are really convinced and
fully understand that the use of a work of art may not only give
pleasure and be pleasurable, but above all promote a broadening of
cognitive horizons and personal spiritual growth? Very few, I think.
Mass culture has effected what could only be termed an example of
social blackmail on man: it has coercively imposed on the majority
what is deemed most useful for the system, at the same time limiting
the individual’s various choices – and therefore his or her
possibility of action.
Those who love art because they feel the need to produce it very
often limit themselves to this and do not hone their ability through
study, reading, debate and, this must be said clearly, they are
almost always the root cause of the poor quality of publications on
contemporary art that they would like us to consider art simply
because it has been reviewed or written about by a famous critic,
author or publisher. Do they think the general public are stupid,
and that they will devour whatever they’re given as long as they’ve
been provided with the right prestigious references? In part, that’s
what it would seem like: yes, the meagre, elitist art public seems
incapable of imposing their own taste through declared approval, or
buying works or art books. This, in fact, is almost always toned
down by models that are not always freely chosen but imposed from
above, and then assumed by those “below” who want points of
reference that offer guarantees in terms of validity, even though
this is often a mere fiction. In other words, the referential
mechanisms of unmerited legitimacy works extremely well with the art
public who, having supinely accepted the present as the
pre-existing, seem disposed to continue their consumption of
everything that is labelled “good” only because it comes from, or is
gilded, by this “higher realm”. The mistaken models towards which
the art public’s “taste” has been channelled really seem to make us
believe that art is dead, as some of its assassins maintain through
their inability to produce art of any value.
Some critics even maintain that everything has already been done,
that nothing of any interest could ever exist again. They are
suspicious of and revile art that is able to induce pleasure or
convey messages, that has meaning; in truth, only because they have
nothing to say and do not want others to eradicate this nothing.
Why, though, if this is what they want, do they continue to publish?
Isn’t it contradictory for them to want to extenuate death, to
perpetuate mourning? Why did they start dealing with art? Why on
earth do they continue to deal with art, considering their premises?
Perhaps they only want to enhance their own prestige, their academic
careers, and this is how they are able to do it... Have these poets
ever posed themselves the problem of the consumption of art, or
wondered if what they write might ever reach a public made up not
just of people who make art, or want to make art, or study it?
Officially, or “semi-officially”, and carefully evaluating the
latest poetic production and the generalised attitude of these
seigneurs de l’art (who are, with due exceptions, generals without
troops), you are overwhelmed by their inability, or even worse their
unwillingness, to examine or even face the problem of the
dissemination-popularisation of the artistic product among a vast
public. It seems that this doesn’t interest them much at all, for
they are by no means committed to formulating hypotheses about this
work or coming up with strategies or solutions. What’s more, if they
are quizzed on the argument they reply evasively or by deploying
commonplaces: art is apparently necessarily difficult, and therefore
unable to galvanise larger numbers of consumers. Nor do they even
dream of considering their own enormous responsibilities vis-à-vis
the entire situation, or of attempting to invert this negative
trend, which is death-inducing and counterproductive, most evidently
for themselves as well as art in and of itself and contemporary and
future artists. Obviously, the situation is certainly not a positive
one, but it shouldn’t lead artists, critics and art lovers to assume
that everything is destined to remain as it is now or that it will
get worse. Only if each one of us, individually and through an act
of personal will, decides to set as their main aim that of bucking
the trend and begin to feel hopeful and think of a new collocation
of art within the social, able to invade places within our daily
life in the same way that news programmes, soap operas and goods in
general have, even by using the same type of invasiveness they have
used, then art may well begin to regain some of the ground it has
lost.
(Excerpt)
ANDREA PAGNES, art critic, editor,(Venice, Italy
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FAMOUS
-121 Contemporary
Artists
ISBN: 9789189685116
released
June
2007
Hardcover, 262
PAGES
EditEd and
Published by MOT
PUBLISHEd by MOT
DIMENSIONS: 8.5X8.5 IN / 22x22 cm
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page-by-page
Available Upon Request
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tRENDS-136
Contemporary Artists
Collectible global art book
ISBN:
978-91-89685-17-8
released
December 2008
Hardcover, 168
PAGES
Edited and
Published by MOT
DIMENSIONS:
8.5X8.5 IN / 22x22 cm
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To mark the beginning
It looks like a black line, rising at dusk. A sharp purple-grey
cloud that becomes obscure and then grows endlessly. While it rises,
the sky – with all its stars - begins to darken in my sight.
Picture it! It is as if someone – which I never knew - has abruptly
rang my bell, warning me that soon I’m going to get lost, drifting
away for this oppressive silence that lasts inside myself forever. A
silence always equal to itself, although capable to change the
surface in various different ways. A silence ingrained into this
past of mine that seems to me so strange, so vague.
Between reality and me there is a veil that my thoughts cannot tear
apart. Will you simply think at yourself?
Just yourself, if only for a second.
Living together with others
Someone says that anything is transcendental and it is more or less
real, just like reality - rainbows, seas, continents, mountains as
well as every single being, every single animal, every single
object.
Although many times I feel like I am dying, I still continue to ask
from Art a way to reveal my soul to me. So my mind can freeze for a
moment while it understands that I, actually, I exist for real, that
I’m truly made of flesh, nerves, blood, energy.
Sometimes my lips whisper a love song, or I teardrop instinctually,
crying for someone I do not know yet. Are we really able to love
with that kind of love we really need and wish for ourselves?
Meanings and quest
I guess I would be quite happy if I could blow away every single one
of my thoughts, every single motion, in order to let myself drown
deeper and deeper in an empty life, just ordinary: prosaic work and
no knowledge at all. Stupidly, if not shabbily joyful, I would drink
the water of this human existence without asking where it is its
source.
Sometimes, I wonder if happiness exists only for those who know that
they can no longer feel it. When I come to the mystery, and I
understand it, I’m frightened. Are you?
No, art can’t speak about itself, at least not this particular form
of art which you feel is yours and you nourish through. Nevertheless,
I ask you not to doubt it. Sometimes, in your eyes, it might seem
too much, or not enough at all. I ask you at least not to doubt your
suffering, because you will suffer much more and in vain, if one day
you’ll realize that you doubt it.
Different languages
I admit I do not know how to speak your language, that is, the
language of your art. Nevertheless, I tell you that profoundly and
still more profoundly, inside this heart of mine – I feel a
sentiment. The same as it was that day, when I saw an image for the
very first time. Something touched my heart deeply: something
happened inside me – without being aware of it - something that
changed my life. Since then I felt that something was rushing and
rushing inside me, through my veins, enrooted its seeds into my
spine.
I love art, trying to love it as love loves. I do not know any other
reason to love art, rather than simply love art. What can I say,
more than this? You know what I mean. I just want to say to you that
anytime I talk – or write – about art is… that I love it. Sometimes
I suffer that someone can just reply to what I’ve said and not to my
love. Anyhow, as I told you, I do not take anything for granted: I
will never ask art for more that it has decided to give me, don’t
you?
Different sentiments
You can feel love for someone without being there. Without uttering
a single word. During your day, you may pronounce nonsensical
sentences (everybody does it): in those moments you know you forget
yourself and, even if you are going to talk with someone about your
art, or just to yourself, you probably may even not remember how
much you love it. So, if you’re faithful to your statement or, you
have decided it to break it, it’s all right as well: rather then
speak of anything, just tell about nothing or don’t.
When you’ll see a work of yours after years, you will not know
anymore who you were and where and, it could comes that you’ll miss
yourself too.
Are you ready to overcome the contrary stream?
I wonder what will happen if someone will see his failure again, in
the real life. I do not know, I am afraid, but somehow I sense that
everything someone needs is there, in his or her own room. That’s
why I beg you to save it. It doesn’t hurt. There will always be
moments in which we feel we miss the world outside: but you are like
everybody has been before, as you quest is still to come to an end,
also when apparently caught in a glaze of stagnating despair. I do
not want to frighten anyone casually: nobody in this world has loved
art as you love it. Your way is yours, that’s it. Sometimes you have
surely felt that your art has not been understood by those in the
way you would have wished, but you’ve always knew that this is part
of the game. However, if a ray of moonlight transforms into a
vision, a miracle of pure beauty, the firm waters of a lake, you
have good chances.
Why are you so
How can you love being so far and, to be glad only by thinking to be
arrived when someone is not arrived yet? Do you have a secret? Don’t
you want to share it? Be confident. You have always known everything
about yourself, although you do not know anything yet. If you’ll
tell your secrets, you will understand them.
We pray, we love, we cheat, we confuse ourselves, we think, we feel,
we warn, we make illusions, we dream for a number of infinite times.
Everything we do is in order to help us forget - or bless - our name,
cast a spell, look for happiness. And if one day you’ll cry once
more, caught by the muddy spirals of sadness, you can still decide
to share your sorrows with that discipline that you see somehow
magic. Be shy, but not indifferent. Shiver, tremble or scream your
feelings and thoughts like a fire that shines through the night,
before it dies down. Meet in the chaos. Shoot a flash to enlighten
your path in most truly complete human way.
Trends
Be wrong, never banal.
Andrea
Pagnes,
curator,
writer,
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