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2013.09.12(Thu)-29(Sun) Invited Solo Exhibition "landscape and other Implements" by Klega
mass  2013-09-06 11:53:12, 조회 : 4,467, 추천 : 627
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2013.09.12(Thu)-29(Sun) Invited Solo Exhibition "landscape and other Implements" by Klega

*Open Friday to Sunday 12-5pm and by appointment

Opening 09.12 (Thursday) 6-8pm


Landscape and other Implements

Nature (φυσισ), it is said, "likes to hide" while at the same time it is impossible to avoid. We do not understand that which we are embedded in already. That within which we are embedded is natural to us but apparently differently to everyone. It is however, our experience of tools with which we maintain everyday tasks, which sets the form of understanding our environment. This use of tools is paradigmatic, in that all those implements - including nature - remain transparent and outside consideration of their essence, obversely nature is considered only in the moment of a catastrophe, namely as that incalculable and destructive force which sets it apart from the broken tool. Nature thus is a difficult concept. Once it is uttered, we are already beyond its grasp. To say "nature", culture, the human realm, has to have been established already and separated from it. Nature and the natural on the other hand also serves as norm or paradigm to the cultural. To do what is natural is somehow justified (nature becomes culture critique), although we never agree what actually is natural, especially in social relations, morality, justice or even art. However, that too can become what is called second nature, a habit is beyond questioning, but it is not natural at all.

In (western) landscape painting nature is represented either as an ideal, again a paradigm of productive forces (in Romanticism, enlightened by ancient Stoa) or as the sublime threat overcome by human ethical possibility, while in (eastern) "literati" paintings the landscape painting itself reveals the productive principle of the world which includes the artist's production. The landscape painting attempts to use the natural as the unconditional productive movement of opposites, including and at the same time outside and observable by the human itself. The natural production emerges from the movement of ink and brush by the artist. It is itself and at the same time represents the miraculous production of the world. Nature then is a model of unfathomable change, the movement between high and low, mountain and water, brush and ink. What in some way unites the two different approaches is the model which is given by nature, the natural justifies human actions.

Within the city other things than mountains and water operate as poles of this "harmony of opposites". In a city the conventions and rules of a second nature replace the metaphorical opposites of traditional landscape paintings. Space is used as a "model landscape". A model of the second nature's forces of the city. On the other hand it focuses on the euphemisms and forces which relate back to the natural in the city. The concepts of nature permeated deeply and in manifold ways within the cultural detritus in which the nature of culture and the culture of nature are merrily mixing up the metaphors.


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