Source of the foto: http://www.icons.org.uk/library/stock-images/angel-of-the-north/ag-portrait-2002-by-pete-moss-1.jpg
Quoting British artist Antony Gormley:
‘The body is the most potent and intelligent object' (statements published on Thursday April 22, 2004, in “The Guardian”):
“The body is central to my work. It is an instrument of reflexivity. How does it feel to be alive? What is it to be conscious? Where does life begin and end?
“At a time of extreme tension between individual freedom and the rise of global capitalism and communication, each of us has to ask these questions to build something that we call self, questions that might once only have been asked by philosophers.”
“There are only two subjects in art: space and objects. The most potent and intelligent object that occupies space happens to be the human body. It's interesting that we now call it "the body" and not "the figure", the latter being the vehicle of representational art, whereas the former suggests an investigation of a primal condition.
“In 1980, when I started making moulds of my own body, nobody else was doing it. It had been a taboo subject in the 1970s. The dominant ideologies in art then were concerned with conceptual and minimal strategies analysing the structural syntax of visual language. This was a puritan influence coming from America. I wanted to do something equally radical but to do it with experience and not language.
“I started very simply with eating my volume out of bread and expanding my clothes into spatial en-closures, trying to define the place of life. And it seemed a very obvious thing that if you're interested in questioning existence you should use your own existence and I started to use my own body as material, instrument and subject. It seemed futile to invent a body when I had a real one already. I have to start with something in real time, a real, lived moment.”
“There is evidence that other artists would agree that if you are dealing with the human condition you can't ignore the human body as its primary vehicle.
“Without the body, we're left only with the structures with which we have tried to contain and colonise space rather than to energise it.
“For me one of the most important lessons of the 20th century was that structure and certainly ideological structure on its own doesn't work.
“We have to return to the fundamental linkages between biology and intelligence, and that is the body.” *
“I'm interested in the central paradox that we are finite, material, organic, biological beings with a finite time/space experience
and yet we have this imaginative ability to overcome the horizons of our physical limitation through mental and imaginative activity; an inherent contradiction, but one that is eternally engaging.” *
“At a time of extreme tension between individual freedom and the rise of global capitalism and communication, each of us has to ask these questions to build something that we call self, questions that might once only have been asked by philosophers.”
“There are only two subjects in art: space and objects. The most potent and intelligent object that occupies space happens to be the human body. It's interesting that we now call it "the body" and not "the figure", the latter being the vehicle of representational art, whereas the former suggests an investigation of a primal condition.
“In 1980, when I started making moulds of my own body, nobody else was doing it. It had been a taboo subject in the 1970s. The dominant ideologies in art then were concerned with conceptual and minimal strategies analysing the structural syntax of visual language. This was a puritan influence coming from America. I wanted to do something equally radical but to do it with experience and not language.
“I started very simply with eating my volume out of bread and expanding my clothes into spatial en-closures, trying to define the place of life. And it seemed a very obvious thing that if you're interested in questioning existence you should use your own existence and I started to use my own body as material, instrument and subject. It seemed futile to invent a body when I had a real one already. I have to start with something in real time, a real, lived moment.”
“There is evidence that other artists would agree that if you are dealing with the human condition you can't ignore the human body as its primary vehicle.
“Without the body, we're left only with the structures with which we have tried to contain and colonise space rather than to energise it.
“For me one of the most important lessons of the 20th century was that structure and certainly ideological structure on its own doesn't work.
“We have to return to the fundamental linkages between biology and intelligence, and that is the body.” *
“I'm interested in the central paradox that we are finite, material, organic, biological beings with a finite time/space experience
and yet we have this imaginative ability to overcome the horizons of our physical limitation through mental and imaginative activity; an inherent contradiction, but one that is eternally engaging.” *
Source: http://arts.guardian.co.uk/guesteditors/story/0,,1200441,00.html
Note how this thought by an extremely interesting artist like Gormley expresses very clearly the typical mentalist dichotomy between body and mind that many authors today are trying to treat critically and to overcome. It shows how that dichotomy is so much imprinted in our way of seeing and interpreting the world - even when we try to innovate.
2 comentários:
É esta vondade de criar e recriar- de produzir e de construir- que faz dele o primus inter pares.j
O problema é q este artista não tem nada de interessante...
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