Arquivo para a ‘Pintura’ Categoria

From Dali to Gaudi

20 Mar

The first contact with Gaudi would not be the first post, it was the experience I did that made me reverse the post, yesterday separated them to notice the end of the conception of objective reality.
Yes the historical path of these two Catalans is the reverse, in the Virtual Multimodal Gallery that I did, you can find 2 works of the last Dali that bring you closer to the current virtual universe (not objective therefore), while Gaudi had a great dialogue with Gothic and naturalism.
Alias for physical reasons, Gaudi was always a vegetarian long before this was fashionable.
I would say that they are complementary, but Antonio Gaudi i Cornet (1852-1926) will only impress us if we walk through his work, we feel his “aroma”, and his connection with Dali can be found in a lecture at Park Güell in 1956, for on the occasion of the feast of Mercy, the complete text in Spanish can be found on the Gaudi Club website.
In this conference Dali in defending him was 52 years old, when he died he was 22 years old.
Gaudi designed the interior of the cathedral in the form of a cross, in a stylized way the cross is present in all his works, the novelty of this church is that the representative biblical figures are all out of the church, inside there is a harmony of light, colors and sounds (above the picture I took) with the tube organs that were later placed, but certainly were in Gaudi’s imaginary, which we have already said has a cosmogony that goes beyond Christianity.
The church outside is what he wanted “a catechesis of stone,” and perhaps the height does what was his purpose “I will make all look to heaven.”
The proposal of finalization is for the year 2026, when it will be the centenary of Dali, it is also expected his canonization by the Catholic Church, nothing more just.



Ashes in the Snow, now the movie

06 Mar

The novel by novelist Ruta Sepetys, on the theme of Stalinist repression at the beginning of Stalinism and World War II, the character Lina is deported from Lithuania to Siberia with her mother and the younger son, the novel, translated into 27 languages, is 2012, won several awards and now goes to the screens.
The film directed by Marius A. Markevicius, had several producers, among them Sepetys own, will have among other appearances: the actress Isobel Dorothy Powley, or Bel Powley of 26 years, in the paper of Lina Vilkas, Lisa Loven Kongsli like Elena Vilkas, Sophie Cookson as Ona, Sam Hazeldine as Kostas Vilkas, Peter Franzén as Commander Komarov, Martin Wallström as Nikolai Kretzky and others.
As important as the theme of repression is the artistic resistance of Lina, who placed her separated from the family in another prison camp struggling to survive documenting her experience with artistic notes and waiting for her messages to reach her father’s prison camp separate from her, so you know she’s alive.
She risks everything, waiting for her messages in art to reach her father’s prison camp and she hopes her messages will arrive and console her.
Sepetys decided it was more important to write a novel of fiction than a documentary of more than a dozen people he interviewed, this would make it easier for the survivors to talk to her without fear.
The film premiered January 19 and the photography, costumes and art look very good:


An immersive digital exhibition

18 Feb

Paris is famous for the Louvre, Orsay and Grand Palais museums, it also has a digital art space, called Atelier des Lumières (photo), a fair tribute to the Lumières brothers.
His great attraction that starts now is an Immersive Van Gogh Exhibition, which has inspired so many inspirations, the film Akira Kurosawa’s Dreams, various types of animation, and a lot of art was inspired by the genius of the Netherland.
The space debuted with Gustav Klimt’s exhibition and quickly caught the eye.
Van Gogh is known, but Gustav Klimt (1862-1918) is not so curious, the connection of the two with this house of Digital Media Art, both opposed to realism (would say to realistic objectivism, but anyway …) and also the positivism that penetrated different humanities, art did not escape.
One can also link it with Art Nouveau, its movement in another direction arose from a work commissioned by a wealthy Belgian Adolphe Stoclet, who had a palace built by leaving him in charge of Wiener Wekstratt, of the Viennese Atelier, where Klimt was an exponent .
The style now appears with repetitive geometric styles, letting appear some realistic parts (that is to say …) that allow the understanding, there uses a Byzantine style cover, and mosaics where realism and abstraction are in contrast, and finally its style.
Returning to Van Gogh’s immersive exhibition that takes place at the Atelier des Lumières, the exhibition begins now in February and runs through December 2019.

The video below gives a sample of the exhibition, with presentation of the co-director of the exhibition Gianfranco Iannuzzi.




The spiritual in art, almost forgotten

15 Nov

In addition to Kandinsky, a contemporary recognized as having influence in spiritual art, there are three others almost forgotten: Raymond de Sebonde, author of Natural Theology; Gaudí, creator of the Mediterranean Gothic, and Salvador Dali, incorrectly seen as paranoid-critic, see this in sequence.
Dali said after a long phase that he himself said he had a psychological and indirect influence of Freud, to integrate into a new phase, where his frame Christus Hypercubus will be a landmark, and may even relate contemporaneousness with Quantum Physics, the fourth dimension of the universe (the Hypercube), and to a certain extent to the tesseract of Charles H. Hilton.
He says in his Anti-matter Manifesto he writes in all letters: “In the surrealist period, I wanted to create the iconography of the inner world and the wonderful world, of my father Freud … Today, the outside world and that of physics transcended the world of psychology, he declair:  “My father today is dr. Heisenberg”, so is a Dali post-surrealism as he proclaims himself.
We have already posted something about this before, but we have developed a little more here.
Proclaimed Dali about his work: “I Dali, re-updating Spanish mysticism, I will prove with my work the unity of the universe, showing the spirituality of all substances,” in which the use of substance is not by chance, even of the physical universe, but may also be that which Teilhard Chardin called the “Christocentric universe,” that is, his Noosphere in the most substantial sense of the word, or in the physical sense of the universe.
This dimension, besides being studied in Particle Physics and Astrophysics, appeared in films like “Contact” (1997, direction of Robert Zemeckis) based on the work of the same name of Carl Sagan, and recently the film Interstellar (direction of Christopher Nolan , 2014), and the possibility of the fourth dimension and the universe being immersed in a hypercube is scientific.
Einstein had predicted a relativistic phenomenon Lense-Thirring (homage to Josef Lense and Hans Thirring) that remained for a long time without proof until this effect began to be detected in artificial satellites and since then has been studied as a real possibility, is a effect of a gyroscope due to the gravitational magnetic field.
The Artefacto 2018 event will begin tomorrow in Lisbon, at Palácio da Ceia, among other works, and will present an Ode to Christus Hypercubs by Dr. Jônatas Manzolli from Unicamp, which will feature pianist Helena Marinho from Aveiro and the soloist Beatriz Maia


The Monotization of the World

14 Nov

So begins the text of Stefan Zweig on his impression of the contemporary world: “Everything is becoming more uniform in its outward manifestations, all flush with a uniform cultural scheme. The characteristic habits of the individual people are being worn, the native clothing giving way to the uniforms, the customs becoming international.
Countries seem increasingly to have slid simultaneously to each other; the activity and vitality of people follows a unique scheme; cities grow more and more alike in appearance. “(Zweig, 1925)
With this quotation I also begin the presentation booklet with Dr. Jônatas Manzolli, Professor of Arts at Unicamp, in our joint work: “Transmediatic architecture of the Ode To Christus Hypercubus”, which is presented on fryday at the Palácio de Ceia in Lisbon, with the pianist Dra. Helena Marinho and the soloist Beatriz Maia, both from the University of Aveiro.
This small report intends to present, besides the ode, Photographic work and animation that relate music, images and a hologram in 3D dimensions with an imaginary space hypercube that extrapolates this dimension, inspired by the work of Salvador Dali: Christus Hypercubus.
It is for that reason inspired in the Mystical Manifesto of Salvador Dali of 1950 is a decisive phase and that changes the very conception of Salvador Dali, it can be said for a post-surrealism, in which the mystical influence united the new quantum conception of the emergent Universe (1952) (photo), the Disintegration of Persistence of Memory (1954), The Last Supper (1955), and the Discovery of America (1958-59) are works of this phase.
The Artefacto 2018 event takes place in Lisbon at the Ceia Palace, on November 16 and 17, with several other works that can be found on the event’s website.

ZWEIG, Stefan (1925) “The Monotonization of the World”   Disp. em: .


There is way, this is a method

13 Sep

Beyond the historical truth, opposed to hermeneutics (Shcleimacher) and romantic historicism (Dilthey), Gadamer deals with the question of truth linked to both religion and art, a transdisciplinary anticipation, and perhaps perhaps its “method” (see our previous post the Ricoeur question), put it this way: “A cultured society that has fallen away from its religious traditions expects more from art than the aesthetic consciousness and the ‘standpoint of art’ can deliver.

The Romantic desire for a new mythology… gives the artist and his task in the world the consciousness of a new consecration. He is something like a ‘secular saviour’ for his creations are expected to achieve on a small scale the propitiation of disaster for which an unsaved world hopes.” (Gadamer, 1989),  of course, salvation here would be earthly and not heavenly.

In fact, it is what we understand by history that makes us skating at levels of tradition, says Gadamer on history “In truth history does not belong to us but rather we to it.” (Gadamer, 1989)

Gadamer explains the difficulties not only historical, but mainly the prejudices linked to tradition: “It is the tyranny of hidden prejudices that makes us deaf to what speaks to us in tradition.” (Gadamer, 1989)

And agree in this dialog´s difficult: “We cannot understand without wanting to understand, that is, without wanting to let something be said…Understanding does not occur when we try to intercept what someone wants to say to us by claiming we already know it.”

It indicates how to put this into practical and real plans: “What man needs is not just the persistent posing of ultimate questions, but the sense of what is feasible, what is possible, what is correct, here and now. The philosopher, of all people, must, I think, be aware of the tension between what he claims to achieve and the reality in which he finds himself.” (Gadamer, 1989)

It is necessary to foresee (virtually) possibilities, but to be able to adapt them within the real possibilities, so there is no romantic hermeneutics or historicism, both must bear in mind the realities and interpret them.

Gadamer, H.G. Truth and Method, 2nd edn, Sheed and Ward, London 1989.


The Schelermer triadric ballet

04 Sep

Many are the biographical possibilities for Oskar Schlemmer (1888-1943), to understand Schelemmer’s humanism, beginning with his discipline “The Man” which he taught at the Bauhaus in “Teaching Matters: Man”, aiming to “familiarize apprentice with the whole man, making it from two distinct types of consideration: the visible trimming and its presentation “, as it appears in the site:
The idea of ​​the triadric bale comes from three participants (two male and one female), 12 dances and 18 costumes, there is strong puppet theater influence, the idea of ​​machinic movements, synthesis of his vision of modernity divided into two main movements : the mechanization, which makes man as a machine and the body a mechanism, and, the primordial impulses, the depths of our creative impulses.
He saw in the choreographic geometry of dance a synthesis, the Dionysian and emotional origins of dance, which made it rigid and apolytic in its final form, but wanted to be free from the historical baggage of opera and theater, and thus see the man transformed by the costume and dance.

He saw puppets and puppet movements as human beings, reading from the virtual would say that he has a “grammar”, and using a reasoning Schelemmer can be said that “the medium of all art is artificial”, and therefore , a virtual artifact.
In analyzing the body as geometry: it saw the head and eyes as circles, so the body becomes a figurine from which the costume derives, and finally, the movements of dance and music emerge from there, forming the “whole” of man where we began the analysis of his work.
Born on September 4, 1888, he would be 130 years old today, the reason he’s in Google.


The mystic Dali is little known

07 Aug

Salvador Dalí’s painting Christus Hypercubus, of 1954, created the fourth dimension of understanding in painting the fourth dimension and the quantum universe.

The mystical idea of ​​Salvador Dalí described in the picture Christus Hypercubus was already present when in 1951 he had already written the Mystical Manifesto, in this picture Jesus Christ appears hovering over the space ahead of a Cross in the fourth dimension, there are no nails, with a woman in front of the cross, whose model would have been Dali’s wife.

Cubists like Pablo Picasso had attempted to paint four-dimensional forms on two-dimensional canvases, the theories of mathematicians Bernhard Riemann and Henri Poincaré that came out of the conventional forms of straight lines and planes, and were their inspirations, but Dali went further in his early descriptions of his painting he called them painting “metaphysical and transcendent cubism”.

But he did not fail to make references to the thirteenth-century architect Juan de Herrera and to the Ars Magna treatise of the 16th-century Catalan philosopher and alchemist Raymond Lull.

Dali will explore theories of theoretical physics until his death in 1989, proving this was the contact maintained for years with the mathematician Thomas Branchoff of Brown University, and despite the initial refusal in 1975, it ended up becoming a long collaboration of almost one of each.

According to Banchoff: “Lull was a Catalan who studied two dimensions, two centuries later, Herrera took it to the third dimension. Here’s Dalí in a straight line, taking it to the fourth dimension, “Banchoff said, adding,” they were not thinking of it as a four-dimensional cube unfolded – it came a century or two later. ”

But the Hypercube or Tesseractus actually had the intention of painting the fourth dimension, and Dali wrote in his Anti-matter Manifesto in 1958: “In the surrealist period I wanted to create the iconography of the inner world and the wonderful world of my father Freud … Today, the outside world and that of physics have transcended the world of psychology. My father today is dr. Heisenberg “referring to the creator of the first concepts of quantum physics”.