{"id":271,"date":"2009-05-18T21:02:54","date_gmt":"2009-05-19T02:02:54","guid":{"rendered":"\/h\/?p=271"},"modified":"2011-02-28T15:33:27","modified_gmt":"2011-02-28T20:33:27","slug":"the-oblique-look","status":"publish","type":"post","link":"http:\/\/www.gallerymc.org\/h\/the-oblique-look\/","title":{"rendered":"The Oblique Look"},"content":{"rendered":"

T<\/em><\/strong><\/span>he <\/span>O<\/em><\/strong><\/span>blique <\/span>L<\/em><\/strong><\/span>ook<\/span><\/span>
\n\"The<\/a><\/p>\n

The word oblique is used in different contexts, from the mathematical and geometric to the grammarian and figural, up to military. In our case, we are interested in the context in which obliquity is linked both to the representation of the vision and vision as an attitude. The representation or oblique axonometric is not perspective and was preferred by ancient for a range of clearness and measurability. Its history is more one thousand years old being used by Mediterranean and Chinese people, who continue to prefer the parallel projection to the perspective. The use that Leonardo himself did of the parallel projection is really a significant signal in the context of the Renaissance perspective.<\/p>\n

The absolute dominance of the representation of perspective made it impossible to focus on other modes of representation that long-lasted and had an equal importance like perspective, starting from vascular representations of ancient Greece to the Pompeian frescoes, from Byzantine mosaics of the Italian Renaissance, up to the return of the axonometry within historical Avantgarde (Scolari).<\/p>\n

Without going into historical implications, this diversity “dissimilar” of the representation of vision is of our interest because it confirms that the look of vision is not trapped in the laces of external codings, however important they may be, but on the contrary, it cohabits with other ways, equally valid and fundamental of vision. So the oblique look is this different and “dissimilar” capability that the artist moves towards things and the world in which he lives and symbolize.<\/p>\n

What does it mean for you to work on the image?
\n<\/span><\/p>\n

Do you give a unique meaning to “the world” or do you mean it as a plurality of meanings?
\n<\/span><\/p>\n

Can a transversal look give an opportunity to provide other “reading keys” different than those encoded on the reality and on our being in the world?
\n<\/span>
\nWhat is contemporary and what it means to be contemporary for you?
\n<\/span>
\nWho is the artist getting you a deep impact? Why?
\n<\/span><\/p>\n

———————————————————————————————————–<\/p>\n

<\/p>\n

<\/p>\n

Sibyl Cohen<\/span><\/strong><\/p>\n

<\/span><\/strong><\/p>\n

What does it mean for you working on an image?<\/span><\/strong>
\nI work on an image that refers to an idea and then return back to be image.
\n
\n<\/span><\/p>\n

Can the image be “world” as plurality of meanings or do you attribute to it an-univocal meaning? <\/span><\/span><\/strong><\/p>\n

It starts with the univocal meaning of the artist, however in front of the spectator it can turn into a plurality of meanings.
\n
\n<\/span><\/p>\n

Can an \u00e2\u20ac\u0153oblique glance\u00e2\u20ac\u009d give us the possibility of another reading in comparison to those encoded, on the reality and on our being in the world? <\/span><\/span><\/strong> <\/strong><\/p>\n

The concept of \u00e2\u20ac\u0153oblique glance\u00e2\u20ac\u009d it means a plurality of meanings that are not into the artwork.<\/span><\/p>\n

Who has been the artist that has had a great impact on you? <\/span><\/strong>Why? <\/span><\/strong> <\/span><\/span><\/strong><\/p>\n

What impress me is art in the world, art as a theme.<\/span><\/p>\n

What is contemporaneity and what does it mean for you?<\/span><\/strong><\/p>\n

Contemporaneity doesn\u00e2\u20ac\u2122t exist because is diluted during the time: we can\u00e2\u20ac\u2122t be contemporary, because this means that we don\u00e2\u20ac\u2122t have substance. <\/strong><\/span><\/p>\n

———————————————————————————————————–<\/p>\n

<\/p>\n

<\/p>\n

PIETRO FINELLI<\/span><\/strong><\/p>\n

<\/span><\/p>\n

<\/span><\/p>\n

D Cosa significa per te lavorare sull\u00e2\u20ac\u2122immagine?<\/span><\/p>\n

R L\u00e2\u20ac\u2122immagine \u00c3\u00a8 quella che incontri una volta nella vita, ti apre il suo grembo e non ti abbandona pi\u00c3\u00b9. Si apre, si chiude, si sviluppa, si attorciglia, \u00c3\u00a8 il sogno lungamente atteso e visto in un brevissimo instante. Devi coglierla e sovvertirla.<\/span><\/p>\n

<\/span><\/p>\n

D Pu\u00c3\u00b2 l\u00e2\u20ac\u2122immagine essere \u00e2\u20ac\u0153mondo\u00e2\u20ac\u009d intesa come pluralit\u00c3\u00a0 di significati o attribuisci ad essa un significato univoco?<\/span><\/p>\n

R Concetti, idee, forme, esposizioni, comunicazioni sono aggiunte a posteriori, dormono con essa, la quale, unica nella sua potenza, dispiega il suo potere infinito. Tutto il resto non \u00c3\u00a8 che ripetizione.<\/span><\/p>\n

<\/span><\/p>\n

D Uno sguardo obliquo ci pu\u00c3\u00b2 fornire una possibilit\u00c3\u00a0 di lettura diversa da quelle normalmente codificate nella realt\u00c3\u00a0 e nella nostra esistenza?<\/span><\/p>\n

R Lo sguardo obliquo \u00c3\u00a8 il coltello di Leibniz, taglia e discetta le infinite piegature del reale nella monadicit\u00c3\u00a0 dell\u00e2\u20ac\u2122istante unico.<\/span><\/p>\n

<\/span><\/p>\n

D Cos\u00e2\u20ac\u2122\u00c3\u00a8 la contemporaneit\u00c3\u00a0 e cosa vuol dire essere contemporanei per te?<\/span><\/p>\n

R Essere contemporanei significa entrare e uscire contemporaneamente da uno stato, <\/span>da un\u00e2\u20ac\u2122ebbrezza, da una storia. L\u00e2\u20ac\u2122essere con-tempo o fuori-tempo produce, insieme, una Stimmung (disposizione di spirito), uno stato di contemporaneit\u00c3\u00a0 non contemporanea. <\/span><\/p>\n

<\/span><\/p>\n

D Chi \u00c3\u00a8 stato l\u00e2\u20ac\u2122artista che ha avuto un grande impatto su di te? Perch\u00c3\u00a9?<\/span><\/p>\n

R Raffaello per questa sua sorta d\u00e2\u20ac\u2122essere dentro e fuori questa contemporaneit\u00c3\u00a0 (sua\/nostra) produce un massimo di reattivit\u00c3\u00a0, dalle infinite implicazioni, \u00c3\u00a8 oltre e sulla superficie, in lui l\u00e2\u20ac\u2122immagine perde il suo carattere di forma, collocandosi nella zona che \u00c3\u00a8 appena pi\u00c3\u00b9 sotto e appena pi\u00c3\u00b9 sopra del reale!<\/span><\/p>\n

<\/span><\/p>\n

Image is the one you meet once in your life, it opens its lap and does not leave you, for ever.<\/span><\/p>\n

It opens, it closes, then develops and winds, it\u00e2\u20ac\u2122s the dream so long waited and saw in a very short moment. You have to catch it and overthrow.<\/span><\/p>\n

Concepts, ideas, shapes, communications are added in a second time, they sleep with it, which, sole in its power, shows its infinite power. The rest is just a repetition. <\/span><\/p>\n

The oblique look is the knife of Leibniz, it cuts and distinguishes the infinite folding of reality in the monadic <\/span>of unique instant. <\/span><\/p>\n

To be contemporaneous means come in and out contemporaneously from a condition, an history, an inebriation. To be with-time or without-time, together, produces a Stimmung (disposition of wit), a condition of contemporaneity not contemporary.<\/span><\/p>\n

Raffaello for his condition to be inside and outside this contemporaneity (his\/our) producing a reactivity, multiples <\/span>implications, he is beyond and on surface (layer); with him the image looses its <\/span>character of form, placing in an area that is just beneath and upon the reality.<\/span><\/p>\n

———————————————————————————————————–<\/p>\n

<\/p>\n

<\/p>\n

Martin Gimenez<\/span><\/strong><\/p>\n

<\/span><\/strong><\/p>\n

What does it mean for you working on an image? <\/span>Can the image be “world” as plurality of meanings or do you attribute to it an univocal meaning? <\/span><\/span><\/strong><\/p>\n

The image doesn’t have a meaning: it\u00e2\u20ac\u2122s a presence that realizes and it gives form to the order. For this reason, it doesn\u00e2\u20ac\u2122t exist a \u00e2\u20ac\u0153personal\u00e2\u20ac\u009d world, but a \u00e2\u20ac\u0153unique\u00e2\u20ac\u009d world. <\/span><\/p>\n

Working on an image means to adapt yourself to that order, and only in that way a person can reach a own \u00e2\u20ac\u0153originality\u00e2\u20ac\u009d<\/span><\/p>\n

.<\/span><\/p>\n

Can an \u00e2\u20ac\u0153oblique glance\u00e2\u20ac\u009d give us the possibility of an other reading in comparison to those encoded, on the reality and on our being in the world? <\/span>Who has been the artist that has had a great impact on you? Why? <\/span><\/span><\/strong><\/p>\n

<\/span>An “oblique glance” it is the only possible way to discover how much far or near you are from <\/span>the “sense” of the order. In the respect of this affirmation, <\/span>Fra Angelico it is the artist that has had a great impact on me.<\/span><\/p>\n

<\/span><\/p>\n

What is contemporaneity <\/span>and what does it mean for you?<\/span><\/strong>
\nContemporaneity is the most rooted pretense of the present and belongs to the “time.” <\/span><\/span><\/p>\n

It is therefore the more unselfish to the “art” whose aspired to “eternity.” <\/span><\/span><\/p>\n

“Contemporaneity” it is a diabolic concept and not necessary<\/span><\/p>\n

———————————————————————————————————–<\/p>\n

<\/p>\n

<\/p>\n

HELBLING ARNOLD<\/span><\/strong><\/p>\n

<\/span><\/p>\n

D What does it mean for you to work on the image?<\/em><\/span><\/p>\n

R I <\/span>extract information for my paintings by manipulating a photographic image of architectural structures, that are in the process of being built or demolished.<\/span><\/p>\n

To create or recreate an image is building a model, a metaphor, a visualized, materialized process of reflective thinking \u00e2\u20ac\u201c entering a dialog with the \u00e2\u20ac\u0153world\u00e2\u20ac\u009d \u00e2\u20ac\u201c it is as much about trying to understand the world as to is to ask questions about it.<\/span><\/p>\n

<\/span><\/p>\n

D The image may be the \u00e2\u20ac\u0153world\u00e2\u20ac\u009d as a plurality of meanings and gives it a meaning?<\/em><\/span><\/p>\n

R Inherently artworks have a multiplicity of meanings \u00e2\u20ac\u201c many are beyond the intention of the artist. The work is always part of the \u00e2\u20ac\u0153world\u00e2\u20ac\u009d and therefore it is contextualized by it. However, the terms, rules and intentions set forth by the artist invite the viewer to respond to specific aspects of the \u00e2\u20ac\u0153world\u00e2\u20ac\u009d leading to awareness, and hopefully knowledge, in his or her own specific \u00e2\u20ac\u0153world.<\/span><\/p>\n

<\/span><\/p>\n

D A look oblique can provide an opportunity to read other than those encoded on the reality and our being in the world<\/em><\/span><\/p>\n

R Well, I think everything is somehow \u00e2\u20ac\u0153encoded\u00e2\u20ac\u009d in reality, but not all is easily visible or accessible for various reasons. The \u00e2\u20ac\u0153indirect\u00e2\u20ac\u009d or \u00e2\u20ac\u0153peripheral\u00e2\u20ac\u009d look at the world is an inherent chance to discover surprising connections, leading to different layers of understanding of reality, to unexpected conclusions. My ability to decipher reality changes with each newly informed \u00e2\u20ac\u0153look\u00e2\u20ac\u009d at that reality, which is, I think the fundamental goal and merit of art. The best works of art change my ability to read (understand) the world in and around me.<\/span><\/p>\n

<\/span><\/p>\n

D What is contemporary and what it means to be contemporary for you?<\/em>
\n<\/span>R To be contemporary artist is at the same time a very easy yet extremely challenging task. I live today. Therefore everything I do or do not reflects that fact, one could say. But then again to be consciously contemporary artist is a incredibly demanding task \u00e2\u20ac\u201c trying to grasp what it means to be contemporary, to find the essence of ones contemporary experience. Interestingly for us here is that <\/span>the contemporary bubble is a place that has no perspective, no historical distance, and ironically, a direct look at the contemporary world proves most of the time to be a misguided illusion. One walks and works with the tools and the mind of past experiences and one tries to see and read and transform this experience into reason, sense.<\/span><\/p>\n

<\/span><\/p>\n

D Who were the artist to have a profound impact on you? Why?<\/em><\/span><\/p>\n

R Sigmar Polke for his humour in the most serious matters.<\/span><\/p>\n

Bruce Nauman for his wit to transform visceral experiences into formal work of art<\/span><\/p>\n

Bada Shanren showed me hat it is possible to express human tragedy the light way (Anselm Kiefer showed me quite the opposite)<\/span><\/p>\n

<\/span><\/p>\n

Cy Twombly for his ability to develop his higly personal mark making seemingly far from everyday concerns, yet coming up with a successful visual language that reflects everyday experiences.<\/span><\/p>\n

Jeremy Blake\u00e2\u20ac\u2122s video work has reality and pure abstract forms interact in a matter that both become more compelling.<\/span><\/p>\n

Joseph Albers for making me understand the action and interaction of colors I saw when I first fell in love.<\/span><\/p>\n

Yves Klein for jumping out of that window and not <\/span>getting hurt.<\/span><\/p>\n

<\/span><\/p>\n

Prendo le informazioni per i miei dipinti manipolando un\u00e2\u20ac\u2122immagine fotografica o architetture che sono in procinto di essere costruite o demolite.<\/span><\/p>\n

Creare o ricreare un\u00e2\u20ac\u2122immagine \u00c3\u00a8 costruire un modello, una metafora, un processo materializzato o visualizzato di un pensiero meditativo \u00e2\u20ac\u201c entrando in dialogo con il \u00e2\u20ac\u0153mondo\u00e2\u20ac\u009d \u00e2\u20ac\u201c \u00c3\u00a8 molto di pi\u00c3\u00b9 che cercare di capirlo facendosi delle domande su di esso.<\/span><\/p>\n

<\/span><\/p>\n

Le opere intrinsecamente <\/span>hanno molteplici significati \u00e2\u20ac\u201c molti vanno al di l\u00c3\u00a0 delle intenzioni dell\u00e2\u20ac\u2122artista. L\u00e2\u20ac\u2122opera \u00c3\u00a8 sempre parte del \u00e2\u20ac\u0153mondo\u00e2\u20ac\u009d e quindi \u00c3\u00a8 contestualizzato da esso.<\/span><\/p>\n

Comunque, i termini, le regole e intenzioni stabilite dall\u00e2\u20ac\u2122artista invitano lo spettatore a rispondere a specifici aspetti del \u00e2\u20ac\u0153mondo\u00e2\u20ac\u009d guidandolo alla consapevolezza e conoscenza, nel suo specifico \u00e2\u20ac\u0153mondo\u00e2\u20ac\u009d.<\/span><\/p>\n

<\/span><\/p>\n

La mia opinione \u00c3\u00a8 che tutto \u00c3\u00a8 in qualche modo codificato nella realt\u00c3\u00a0, ma non tutto \u00c3\u00a8 facilmente visibile o accessibile per varie ragioni. Lo sguardo \u00e2\u20ac\u0153indiretto\u00e2\u20ac\u009d o \u00e2\u20ac\u0153secondario\u00e2\u20ac\u009d sul mondo \u00c3\u00a8 una possibilit\u00c3\u00a0 intrinseca di scoprire legami sorprendenti, portando a diversi strati di comprensione della realt\u00c3\u00a0, fino ad arrivare ad inaspettate conclusioni. La mia abilit\u00c3\u00a0 \u00c3\u00a8 nel decifrare cambiamenti di realt\u00c3\u00a0 attraverso ogni nuovo sguardo alla realt\u00c3\u00a0 e questo credo sia il traguardo fondamentale e il merito dell\u00e2\u20ac\u2122arte. Le migliori opere artistiche influiscono sulla mia possibilit\u00c3\u00a0 di leggere (o capire) il mondo attorno a me.<\/span><\/p>\n

<\/span><\/p>\n

Essere un artista contemporaneo \u00c3\u00a8 molto semplice ma nello stesso tempo \u00c3\u00a8 un compito estremamente impegnativo. Quindi qualsiasi cosa faccia o non faccia si ripercuote su questo, ma comunque essere un artista consapevolmente contemporaneo \u00c3\u00a8 un incredibile dovere \u00e2\u20ac\u201c cercando di afferrare cosa significa essere contemporanei, trovare l\u00e2\u20ac\u2122essenza d\u00e2\u20ac\u2122esperienza contemporanea. <\/span><\/p>\n

Interessante \u00c3\u00a8 per noi sapere che la bolla contemporanea \u00c3\u00a8 un luogo che non ha prospettiva, non ha distanze, e ironicamente, uno sguardo diretto al mondo contemporaneo si dimostra il pi\u00c3\u00b9 delle volte un\u00e2\u20ac\u2122illusione fuorviante. L\u00e2\u20ac\u2122uomo cammina e lavora con mezzi e attraverso la mente di passate esperienze e l\u00e2\u20ac\u2122uomo cerca di vedere, leggere e trasforma quest\u00e2\u20ac\u2122esperienza in ragione, senso.<\/span><\/p>\n

<\/span><\/p>\n

Sigmar Polke per il suo humour nelle situazioni pi\u00c3\u00b9 serie<\/span><\/p>\n

<\/span><\/p>\n

Bruce Nauman per il suo spirito nel trasformare esperienze viscerali in opere d\u00e2\u20ac\u2122arte formali.<\/span><\/p>\n

<\/span><\/p>\n

Bada Shanren mi ha dimostrato che \u00c3\u00a8 possibile esprimere delle tragedie umane in modo leggero. (Anselm Kiefer mi ha dimostrato proprio l\u00e2\u20ac\u2122inverso)<\/span><\/p>\n

<\/span><\/p>\n

Cy Twonbly, per la sua abilit\u00c3\u00a0 nello sviluppare la sua impronta personale nel far sembrare staccate dalla realt\u00c3\u00a0 <\/span>situazioni che riflettono esperienze quotidiane attraverso il suo vincente <\/span>linguaggio visivo. <\/span><\/p>\n

<\/span><\/p>\n

Jeremy Blake, con la sua opera fatta di forme astratte e pure che interagiscono con la realt\u00c3\u00a0 che diventano entrambe avvincenti.<\/span><\/p>\n

<\/span><\/p>\n

Joseph Albers per avermi fatto capire l\u00e2\u20ac\u2122azione ed interazione di colori che vidi quando mi innamorai per la prima volta<\/span><\/p>\n

<\/span><\/p>\n

Yves Klein per aver saltato da quella finestra e non essersi fatto male.<\/span><\/p>\n

———————————————————————————————————–<\/p>\n

Aga Ousseinov
\n<\/span><\/h3>\n

\n

<\/p>\n

<\/p>\n

Question # 1<\/span><\/p>\n

Answer : To illustrate my inventions of impossibilities.<\/span><\/p>\n

<\/span><\/p>\n

Question # 2<\/span><\/p>\n

Answer : My images justify my creative thinking.<\/span><\/p>\n

<\/span><\/p>\n

Question # 3<\/span><\/p>\n

Answer : We can pass up the opportunity to look at something obliquely if we simply think about the work.<\/span><\/p>\n

<\/span><\/p>\n

Question # 4<\/span><\/p>\n

Answer : To be present in the moment, be aware of the past and emulate the future.<\/span><\/p>\n

<\/span><\/p>\n

Question # 5<\/span><\/p>\n

Answer : To these artists I’m most grateful :<\/span><\/p>\n

<\/span><\/p>\n

Sergei Eisenstein ; For creating the strongest B & W moving images.<\/span><\/p>\n

<\/span><\/p>\n

Niko Pirosmani ; For willfully naivety .<\/span><\/p>\n

<\/span><\/p>\n

Georges Melies ; For combining sculpture, photography and circus.<\/span><\/p>\n

<\/span><\/p>\n

Tommaso Campanella ; For writing one of the possible scenarios of my childhood.<\/span><\/p>\n

\n

———————————————————————————————————–<\/p>\n

Gorazd Poposki<\/strong><\/span><\/p>\n

<\/p>\n

<\/p>\n

The work I do consists of free forms. The material I use is white marble which displays the fluidity of form most distinctly. The play of light and shadow gives the work a greater dramatic power and clarity. The obliqueness comes as the result of the indirect approach to the subject. The work gives the chance of varied perceptions of it by the different viewers. <\/span><\/p>\n

<\/span><\/p>\n

Being contemporary means living in the present. <\/span><\/p>\n

<\/span><\/p>\n

The artists that i find inspiring are as diverse as are the subjects i choose to work on. Artists I have admired that i can connect with this cycle of my works range from Michelangelo through Jackson Pollock to Anselm Kiefer.<\/span><\/p>\n

———————————————————————————————————–<\/p>\n

Read the Press Release (Italian\/Engilsh)<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

T<\/em><\/strong><\/span>he <\/span>O<\/em><\/strong><\/span>blique <\/span>L<\/em><\/strong><\/span>ook<\/span>
\n<\/span>
\n<\/span><\/span>
\n\"The<\/a><\/p>\n

The word oblique is used in different contexts, from the mathematical and geometric to the grammarian and figural, up to military. In our case, we are interested in the context in which obliquity is linked both to the representation of the vision and vision as an attitude. The representation or oblique axonometric is not perspective and was preferred by ancient for a range of clearness and measurability. Its history is more one thousand years old being used by Mediterranean and Chinese people, who continue to prefer the parallel projection to the perspective. The use that Leonardo himself did of the parallel projection is really a significant signal in the context of the Renaissance perspective.<\/p>\n

The absolute dominance of the representation of perspective made it impossible to focus on other modes of representation that long-lasted and had an equal importance like perspective, starting from vascular representations of ancient Greece to the Pompeian frescoes, from Byzantine mosaics of the Italian Renaissance, up to the return of the axonometry within historical Avantgarde (Scolari).<\/p>\n

Without going into historical implications, this diversity “dissimilar” of the representation of vision is of our interest because it confirms that the look of vision is not trapped in the laces of external codings, however important they may be, but on the contrary, it cohabits with other ways, equally valid and fundamental of vision. So the oblique look is this different and “dissimilar” capability that the artist moves towards things and the world in which he lives and symbolize.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0},"categories":[9],"tags":[],"_links":{"self":[{"href":"http:\/\/www.gallerymc.org\/h\/wp-json\/wp\/v2\/posts\/271"}],"collection":[{"href":"http:\/\/www.gallerymc.org\/h\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.gallerymc.org\/h\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.gallerymc.org\/h\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.gallerymc.org\/h\/wp-json\/wp\/v2\/comments?post=271"}],"version-history":[{"count":23,"href":"http:\/\/www.gallerymc.org\/h\/wp-json\/wp\/v2\/posts\/271\/revisions"}],"predecessor-version":[{"id":1767,"href":"http:\/\/www.gallerymc.org\/h\/wp-json\/wp\/v2\/posts\/271\/revisions\/1767"}],"wp:attachment":[{"href":"http:\/\/www.gallerymc.org\/h\/wp-json\/wp\/v2\/media?parent=271"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.gallerymc.org\/h\/wp-json\/wp\/v2\/categories?post=271"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.gallerymc.org\/h\/wp-json\/wp\/v2\/tags?post=271"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}