Arquivo para a ‘Pintura’ Categoria

The cultural crisis and the pandemic

15 Apr

The second great blindness of the Western crisis is culture, the book Anything Goes by Theodore Dalrymple, pseudonym of english´s psychiatrist Anthony Daniel who treated dangerous prisoners, is an anthology of short stories written from 2006 to 2009, and called his studies declinology (see the video below) but in the book cited there are beautiful passages on how to read a culture. in many countries. 
Since the dawn of human culture, the discovery of the Chauvet Cave (dated 32,000 BC) proves this, man builds and records his culture, and here a parallel with #StayAtHome this is done in a cave, probably a meeting place and protection of families.
It may seem too much the term used by Peter Sloterdijk, but human domestication is nothing other than the structuring of “domestic” life, and also the Greek origin of the word oikos-nomicus (we have already made a post) means oikos – home.

We add here Xenophon’s Socratic dialogue, which refers to the term how to be a good gentleman, Kalokagathos (good in beautiful, in Greek), which is thus a reference to culture.
Byung Chul Han, who wrote Salvação do Belo, where he criticizes the culture of the plain and in particular that of Jeff Koon and his sculptures of “baloons” (figure) that say a lot or nothing, the desire for total immunity, without seeking the co-immunity, concept of its master Sloterdijk, that can be applied to the current pandemic.
A hard article, even for me as an appreciator of Chul Han, about the current pandemic crisis, published in El País, states that: “it seems that Asia controls the epidemic better than Europe”, quotes the data of March 20 when the epidemic had not yet reached its peak in Europe and is based on the disciplined and ancestral structure of the east. 
Earlier than us, they bet on Big Data, says the author, and “they suspect that big data may have enormous potential to defend themselves against the pandemic” says in the article by El País, but warns that this could lead to a digital dictatorship, as in China and this is not a change.
About the current culture, the author affirms “today not only the polished is turned to the beautiful, but also the ugly” in the work A Salvação do Belo (page 19), we hope that the scourge of the virus will move our hearts and make us go from discovery from interdependence, as Morin says, to solidarity.  


The sense of pain and sacrifice

10 Apr

Death causes us pain, fear and even despair; in the face of a pandemic, it reveals aspects of tragedy, anxiety and apprehension, and we can do everything we can to prevent greater pain, but some go further and worry and donate to reduce the pain of others.
This is a human meaning, but the divine goes beyond what it means to be able to donate one’s life, or to put it at risk for the sake of the Other, only in this limit do we really understand the meaning.
Teilhard de Chardin, after admitting that the cross means “evasion out of this world” (p. 114), will explain to us that it is precisely it (in the present case the fear of death by the pandemic, “that exactly the path of human effort , supernaturally rectified and prolonged.
Because we have fully understood the meaning of the Cross, we no longer risk thinking that life is sad and ugly. We simply become more aware of its unspeakable seriousness.”(page 115).
So we thought of the happy days that we could walk freely and savor the air of the city, see the beaches now banned from being visited, the joyful family lunches, but it is for this loss that we now look with other eyes whose blindness could not allow.
How beautiful it would be an Easter Sunday with the whole family, or just going out to see happy autumn days in the southern hemisphere or early spring in the northern hemisphere, but it is this pain and this terrible pandemic that makes us “change glasses”, also in spiritual aspect.
So Chardin points out: “the cross is not an inhuman thing, but a superhuman one. We see well that the origin of Humanity today, the Cross was erected at the front of the road that leads to the highest peaks of creation ”, we will have to rethink home and social life after this pandemic. Chardin invites us to the mystery: “let us get closer. And we will recognize the flamed Seraph of the Alverne (picture), the one whose passion and compassion are “incendium mentis” *. For the Christian, it is not a question of disappearing in the shadow of the Cross, but of ascending in the light of the Cross.” (page 116).
Take advantage of this night of the pandemic to shed light on the “night of culture”, on the “night of God” and on the “night of the senses” that seemed to make us suppress all sensitivity to human life and the Other.
Let us live these three “nights” well to achieve an Easter (in sense of passage) for all humanity.

* incendium mentis – David Grummet says that in Chardin it is “fire of divine love in our soul”.
Chardin, T. (no year) O meio divino (The divine medium). Lisbon: Editorial Presença.


Tragedy and the arts

30 Jan

I am not speaking here of tragedy in the ordinary sense, but as an artistic category that is not only important for understanding the arts and beautiful Greek, but is claimed as a new idea of ​​tragedy “as proposed by Hölderlin, Hegel or Nietzsche.” (Ranciére, 2009, p. 25).

Just as Byung Chul Han in “The Salvation of the Beautiful” will problematize the dualism between contemplation and action, typical of modern philosophy that separates subject from object, Rancière penetrates further by proposing his “aesthetic revolution”, stating that what is there is “The abolition of an ordered set of relations between the visible and the sayable, knowledge and action, activity and passivity” (Ranciére, 2009, p. 25).

I said this when analyzing the Oedipus of the “psychoanalytic revolution” that invalidates “those of Corneille and Voltaire and who intends to resume – beyond the French tragedy, as well as the Aristotelian rationalization of tragic action – as the tragic thought of Sophocles” (idem , p. 25).

Ranciére will discuss in the following pages of his chapter on the “aesthetic revolution” on psychoanalysis saying that it is “invented at that point in which philosophy and medicine are mutually questioned to make thinking a question of disease and disease a question of thinking ” (Ranciére, 2009, p. 25), in paint above Marie Spartali Stillman (1844–1927),.

A large part of modern neo-therapies (I call exoteric psychoanalysis) go around, as if the problem of idealistic thinking was “disease” and a large part of human suffering could be solved as “thought” transforming it into disease.

This happens due to a bad relation with the thinking of tradition, late modernity is nothing but the bad reading of rationalism and idealism, or the delayed reading of empiricism, the thinking of Hanna Arendt’s “active” action, expressed in Byung Chul Han , is also part of the thinking of tradition that Ranciére will identify in the “representative regime as an absolute power of making” (Ranciére, 2009, p. 27).

It clearly identifies this regime in Baumgarten’s discourse on “confused clarity”: “in the aesthetic regime, this identity of knowledge and non-knowledge, of acting and suffering, which… constitutes the very way of being of art ”(Idem, p. 27), of course this is the art of tradition. And so it says, that the aesthetic revolution had already started with Vico, in his New Science, who against Aristotle and the representative tradition, although Rancière knows that his problem was not the theory of art, but the theological-poetic problem of “ wisdom of the Egyptians ” about hieroglyphs.


What place does aesthetics occupy in our time

29 Jan

I imagined that it would be difficult, even impossible, to approach the subject, since it is concerned with art critics of various types, Freudian psychoanalysts and very rarely anyone with our aesthetic, in the sense of beautiful Greek, or the contemplation of which Byung Chull speaks Han.

I found in a small text by Jacques Rancière, I am increasingly meeting this author, who came to know his work almost by chance (The emancipation of the spectator), referring to the theme as the aesthetic unconscious, but he himself explains it at the outset. psychological aspect of the theme.

I find right at the beginning of the book: “aesthetics does not deal with science or the discipline that deals with art.

Aesthetics designates a way of thinking that deals with the things of art ” (Rancière, 2009, p. 11) and this would be enough, but it complements their thinking and that they seek:“ to say what they consist of as things of thought. ” ( Rancière, 2009, p. 12).

It is a finding, but it could not be otherwise in a dialogue with the Kantian “tradition”, the following complement follows, saying that art as a thought is a recent reference and refers to the work Genealogy of art by Baumgarten of 1790 as the criticism of the Faculty of Judging of Kant.

From Baumgarten, a simple reference in his work would suffice, referring to the union of objects that “must be thought in a beautiful way with causes and effects, as this union must be sensitively known through the analogue of Reason” (Baumgarten, 1933 , p. 127) and so both he and Kant will establish “confused thinking” about the definition of aesthetics.

Rancière will say that both when calling Kant’s confused or heterogeneous sensitive thought, both will make art “no more than a minor knowledge, but a knowledge of what is not thought” (Rancière, 2009, p. 13) and the note of author will link it to enlightenment and liberalism.

There is no explicit reference to Nietzsche’s thought about art, but when discussing Oedipus, the most typical Greek tragedy and Nietzsche defends its role in art, he says about the Freudian use of this tragedy as “universal”, which at the same time encompasses three aspects: “a general tendency of the human psyche, a determined fictional material and a dramatic scheme considered exemplary.” (Rancière, 2009, p. 15).

Of course, this is only introductory, what Ranciére wants to explain is that it is not a matter of subjective or “confused knowledge”, but “a paradoxical union of disease and medicine that is, a paradoxical union of the two” (p. 26) in a reference to “The birth of tragedy” of the Nietzsche, what idealism as thought and romanticism as “aesthetics” want to deny.

Rancière, J. (2009) O inconsciente estético. trad. Monica Costa Netto. São Paulo: ed. 34.



The complexity, the infinite and God

17 Jan

Except for areas such as art and sectors of astrophysics, the rest of scientific research is a prisoner of its own methodologies, designed to “maintain the balance of discourse by banishing contradiction and wandering; controlled or guided all developments of thought, but it itself stood out as impossible to solve. ”(Morin, 2008, pp. 80-81).

It does not mean, of course, to destroy the balance and rationality of human thought, but to let it penetrate: in a sense of the simplest, the most elementary, the most ‘childish’: changing the basis of reasoning, the associative relations, and repulsive among some early concepts, but upon which the whole structure of reasoning and all possible discursive developments depend. And that is, by the way, the most difficult. ” (Morin, 2008, p. 82).

So we start from the “childish” idea of ​​infinity, but which is the great scientific complexity of modern thinking as well, the immensity of the universe that is 96% mass and dark energy is still mysterious, but it may help us and finally the idea that in this infinity there is more than one energy, there is a living Being that precedes the universe itself can be another generous “childish idea”: God.

The eschatology that derives from these two fundamentals, a mysterious universe and a Being that precedes everything (in Christian eschatology is a Trinitarian God, who is also the ‘divine man’ Jesus), can give us a new dialogue in which what we think about matter. , spirit and science can change.

The essential relationship of God through Jesus with the world has as its crucial point the substitution of the metaphor of the lamb that Abraham killed in place of his son (the origin of God’s lamb comes from there), and is manifested by the evangelist John about John the Baptist ( Jn 1:29) who saw Jesus approach and said, “Behold the Lamb of God, who taketh away the sin of the world.”

The Josefa d’Obidos painting that we have already posted here by virtue of building a hologram installation is depicted above.


The Essentials List

02 Jan

We carry too many burdens, not just our bags, bags, even books and too much to do, because the contemporary world has difficulty making the list of the essentials.
Taking care of small household chores, not just leaving them to others, taking work seriously and taking time to rest, also dealing with what can get us out of the stress and anxiety of everyday life, having time for family members and to meditate , contemplate or even just think.
Baroque paintings, paintings and music seem to speak of a still world, too calm for my taste, some would say, but the aspects of flowers, bodegons, and still life indicate something else that is hard to see these days: flow power.
It is not the energy of force, but the energy of soul and spirit, the one that can really put us in the essentials in the face of such a troubled life, full of conflict and contradictory values, even if it is claimed to have difficulty living, it is the flow of everyday life, which is not the flow of life, of energy can be said of baroque art.
Some form of spirituality and inner well-being is responsible for harmony and life on the outside, even though daily life pushes us in the opposite direction, we must have the ability to “get out of the conventional” to make the list of essentials. When we were asked by the apostles to teach them how to pray, we could think of meditating or even just thinking for people who have no religious background.
One can for all indicate the Lord’s Prayer, the one in the “heavens” not far away, but contemplative and in Being.
May his name be holy in present terms, let meditation and contemplation always be present, may your kingdom of peace and harmony come, if not from the outside, to which we are fighting, at least the interior to face conjunctural difficulties.
And lastly, let us work for daily bread, without seeking excess and consumerism, that we may be able to forgive and be forgiven to go beyond the daily conflict. And deliver us from the evil of war, the destruction of nature, and all social ills.


Agnus dei´s Josefa, Óbidos, PT

24 Jul

This main work Josefa d’Ayala and Cabrera, or Josefa d´Óbidos (1630-1684), was a baroque painter in the city of Óbidos, her main work was Agnus Dei, whose painting is in the Évora museum.

The painting “Cordeiro Pascal Agnus Dei” was painted between 1660 and 1670 and is in the Museum of Évora, being one of his main works, but it is for the next post.

Its baroque style of still life is characteristic of the period called “Siglo d’Oro” of the arts. There was a new glimpse of nature by integrating floreros, scenes of hunting and representation of animals and still life in the painting.

Strong Iberian influence, among them of Francisco de Zurbarán, see Still Life with Lemons, Oranges and a Rose of the Iberian style of the “bodegóns” and “vases”, of the time.

The Christian influence is also in the work, which can be observed by the grapes, two branches of wheat below and details of the leaves of the vines, besides the Lamb himself.



Josefa, Óbidos, painting Portugal´s barroque

23 Jul

Josefa d’Ayala and Cabrera, a Josefa d’Óbidos (1630-1684), daughter of father, painter Baltazar Gomes Figueira. and Spanish mother D. Catarina de Ayala Camacho Cabrera Romero, noble Andalusian.

The father is in danger in Seville in 1626 to follow ephemeral military career. Josefa was the first daughter of her eight children, having been patronized by a famous Sevillian painter, Francisco de Herrera, el Velho. who is the master of Josefa’s father in Spain.

The return to Portugal of Baltazar and D. Catarina, in 1634 (until then made in 4 years), is not a case that the woman returned with her parents and a sister Luisa (born in 1632).

He will probably stay in Seville during his childhood with his father. Juan Ortiz de Ayala, collector and amateur of Fine Arts and his godfather Francisco de Herrera.

Josefa meets the family in Óbidos in 1647. It will be in Coimbra, that realizes its first work: the engraving “Santa Catarina”, signed by Jozepha d’Alla. Coimbra 1646.

It was important for Josefa to stay in Coimbra, in the Augustinian Convent of Santa Ana (1644-47), since it was a great source of information and instruction in the seventeenth century.

It will have been through the office of the father or the convent that Josefa de Óbidos will have had access to an engraving of Italo-Flemish origin, available free of charge in an office of any medium painter of the time, or in the library of any convent.

A short video of RTP shows the work of Josefa de Óbidos:



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: .