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1o Εργαστήριο Ζωγραφικής 12η Εβδομάδα Μαθημάτων Εαρινό 2014 15

lpozzi_inventorygame1969_body

 

O δεύτερος δάσκαλος (μετά τον Ray Yoshida) που κρατώ ζεστή την ανάμνησή του, και που και τώρα   βρίσκομαι κάτω από την επίδρασή του είναι ο Lucio Pozzi. Ο Lucio υπήρξε καθηγητής μου στη School of Visual Arts περίοδο 1989-91, στο μεταπτυχιακό. Για τον Lucio η τέχνη είναι πιθανή οπουδήποτε: στο καρφάκι που κρεμά το έργο, στην ελαφρά κλίση ενός άστοχου κρεμάσματος ακόμη και στις πιτσιλιές που μπορούν να πέσουν σε ένα ήδη τελειωμένο έργο. Από αυτόν έμαθα εκείνο που ονομάζουμε : «ειλικρίνεια του υλικού». Το υλικό είναι “ειλικρινές» μιλά με την παρουσία του, υπαγορεύει με όλα εκείνα που υπονοεί, όλα όσα δηλώνει και τελικά είναι εκείνο που σχηματίζει την εικόνα.

Επίσης μαζί του είχαμε ατέλειωτους διαλόγους για την τέχνη και όλα όσα η τέχνη μπορεί να υποδηλώσει. Τις σκέψεις του συνόψισε σε 8 αφορισμούς, παραθέτω τον τρίτο (για το Νέο) επισυνάπτω τους υπόλοιπους.

  1. THE NEW

 

The strongest surrogate standard of recent times was the concept of progress in the arts. Like an addictive poison it is the surrogate standard that many of us still rally to, again and again. We hang on to it as if it were a last raft before we drown and instead it makes us sink deeper and deeper into a bureaucratic quagmire. Bereft of arguments to validate our preferences many of us qualify or disqualify a work of art by determining whether it is new or not. Lucio Pozzi Page 2 8/19/2008 Concern for newness blinds us to the inherent characteristics of the single artwork. Several of the formulaic tenets that hamper an open creativity in the field of art derive from the prison of the new. Concern for newness causes us to shift attention from our feelings to matters that belong in the field of packaging more than in the field of visual substance. The package becomes more important than what it contains. An artist is encouraged to think her or his art in terms of how it shall be promoted rather than of how emotions and intellect weave into its substance. Concern for novelty reduces the time frame an artist works within to that of a short-lived commentary, consumed and tossed away in a hurry. It prevents a long view capable of engaging the deeper potentialities of existence, the mystery of life and death, the surprise and panic of discovery.

9. Κατεύθυνση επιστολή 12η εβδομάδα εαρινού 2014-15

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