From 1914 onwards, Mondrián assumed himself definitively abstract. But during his second stay in Paris – between 1921 and 1930 – he established a different field of restrictions: through an even more precise and instrumental geometry he investigated structures whose fidelity could relate the fundamental opposites that Steiner rehearsed: inert matter versus restless spirit. .
Customs, ultimately the model where society distinguishes its own limits and scope, are not a matter of art. Much less should they include their virtue. Art does not correct any morals. Neither is honest nor fair; He points out his speech as a circumlocution, a space to present the underside of things, the connections and circuits that are definitively hidden under the opacity of what society prohibits but sneakily allows.
Miyazaki seems to paint his projects like XNUMXth century prints: he becomes an engraver, a colorist and a printer at the same time. That's why he gets annoyed; perhaps he is moved by the transitory detail of gestures, circumstantial behaviors and body movements in perpetual change. Impermanence finally pushes the transience of his drawings: by becoming a film, nothing can ever be corrected; neither die.
Katchadjian's spiritual tales seem to show the specific moment where an archaic community, barely motivated by spontaneous ways and techniques based on necessity, becomes a culture of power. In the end, it is a narrow temporal space, a kind of funnel where spiritual submission, of a generous and naive nature, connects the peculiar nature of feelings with the mastery of intellectual gifts.
Bolshevik society actively educates its artists: while Alexei Gan is involved with the Moscow Food Workers Union, Varvara Stepanova produces designs for the costumes of the so-called "technical trades", finally, an accessible and functional art at the revolution; fundamentally anti-bourgeois and eminently utilitarian. And this is her direct contribution to the Bolshevik revolution: How to dress Soviet society?
The discussion between rationalist and empiricist philosophers is well known. What was at stake was nothing less than the sovereign value of perception as the foundation of knowledge. However, Margaret Cavendish, a peculiar XNUMXth century aristocrat, discussed this problem in a small volume written in just three weeks.
The aesthetic field is a domain of philosophy: both the eternal beauty and the negative perception are common considerations to a discourse that precedes the artistic field: design is an artifice that contemplates a need. What will be the aesthetic degree possible to produce a social tool based on moral learning; and even more, in punishment?
Even though at first the church reads Pasolini's film politically, after a short time it retraces its steps to cancel it: it considers it immoral; abject The thesis on contemporary sacrifice –the replacement of God by new deities such as consumption, comfort and corruption– simply establishes an intolerant political and theological provocation.
Aira's stories can be read as plots under logical events—and even caveats—rather than the consummate fantasies of an imaginative writer. It is considered a kind of surrealist: his narrative, supported without juggling by his friendly unconscious, maintains the classical and technical form that pushed that historical period: it is himself that he seeks to expel from reality first.
Evil, as we know it, is the ethical and moral capacity to maliciously cause harm. In his films, Spielberg teaches it in a concerted and animal way, although in the contest of nature, such a thing does not exist as a purpose. While a shark tears a woman to pieces in the sea, the mayor of the spa forces the episode to be hidden to favor the long-awaited start of the season.
The modern city terrifies without measure, the machines, the industrial fluids, the mechanisms that progress presents as irreducible also consider an unknowable space that only the scientific police is in a position to unravel: a precise mind, perhaps logical, but also perverse. The serials collect the experience of crime directly from the street.
It could be thought that the events we observe are current and that there is no representation but reality. The documentary wrapper of the film does not allow elucidating the historical reconstruction except as episodes of a certain nature, such as if we exposed a rabbit in front of a hungry tiger, to reconstruct the attack of a cougar on a defenseless goat.
His first exhibition is in a bookstore – the Galerie Saint Laurent, in Brussels. He shouldn't be surprising. Words are the inescapable matter of art. But the site
shop windows and their books; the place that leaves
exclusivity of the written word as a literary discourse, seems to shelter it from the representations that the artists of the time consecrated as language: pop culture and the new realism.
Hell is a downward spiral made up of nine rings of exemplary punishments. Each one must be considered a painful stay where thoughtlessness acts as a didactic paradigm and suspends redemption. Who accompanies Dante, is Virgilio, a poet. The first ring is a limbo where the pagans are discarded, those who lived meaninglessly as the indifferent.
When he died, Albert Camus got rid of his indifferent dead, the same ones who lived with his clear and hermetic texts; erratic of emotion. Who was driving that afternoon on the road to Villeblerin was not Gallimard but Mersault. It meant a pending talk that was cut short and the continuation of a number of texts that were ultimately incomplete in words, but full of discussion. "A rebel is a man who says no"
Between the tyranny of the idle and bloodthirsty rich and the starving crowds a crack provides an intense light: justice no longer responds to the isolated reflection of an enlightened petty bourgeois but considers the opinion of debased societies, slaves and the wretched: « talent, says Stendhal, is born of necessity»