Page 9 - The Venice Biennale 2001 issue of World of Art Magazine
P. 9

signs. nevertheless, if the artists’ desire is to reach an almost absolute
                                                               ethical beauty, they will have to conceive a highly ‘opener” art, and
                                                               also maintain a boundless faith in the public’s fruition. in fact, even
                                                               if the artwork is autonomous and definite, it will still give rise to the
                                                               inevitable, personal interpretation that renders it existent to one of its
                                                               possible aspects. therefore, it is possible to configure the faculty of
                                   andRea Pagnez is A          interpretative freedom with the creative participation of the viewer,
                                   FreelAnce critic BAsed in veneZiA  who is capable of establishing a sort of creative dialogue of the artwork
                                                               he is viewing: sometimes this dialogue is determined by the viewer
                                                               himself, at other tunes it is determined by the inner intensity of the
                                                               artwork itself. consequently, it appears that only “simplicity” (intended
         BeloW: niKKi
         A younG doBerMAn livinG in FinlAnd                    as a lack of affectation) is the value to be pursued; but how can this
         2001 diGitAl MAniPulAted PhotoGrAPh                   simplicity be possible, if nowadays art is surrounded by scenery of an
         By Petru russu
                                                               extremely  complex  and  differentiated  reality,  where  eclecticism  of
                                                               the contemporary thought is dominant? Art cannot avoid observing and
                                                               referring to its own time, because to evoke other possible or imaginary
                                                               worlds  is  a  form  of  mystification. therefore,  at  this  point,  the  six
                                                               memoranda for the third millennium on which calvino wrote about
                                                               in his “American lessons” just few years ago - luminosity, quickness,
                                                               exactitude, visibility, Multiplicity, consistency - must be duly kept in
                                                               mind.  if  we  want  to  improve  and  develop  our  culture,  perhaps  we
                                                               should pursue this way. however, it is also logical that artists mustn’t
                                                               deliberately  look  back  on  history:  they  should  be  conscious  that
                                                               the  most  important  thing  to  do  is  to  go  over  once  again  history’s
                                                               space-temporal  contest.  conflicts,  contradictions,  dystonias,  in  one
                                                               word the continuos failures of contemporary art, follow the fact that
                                                               today art seems to have the chance of realizing “possible utopias”,
                                                               while, to the contrary, all it does is put mankind in front of its ordinary
                                                               condition, continuously covering it with the fictitious veil of fiction.
                                                               enticed  in  this  factious  process,  art  not  only  mystifies  reality,  but
                                                               also  itself  as  it  belongs  to  reality.  inevitably,  both  authors  and
                                                               public become participants, protagonists who have lost all trace of
                                                               innocent behavior because they are entrapped inside cultural habitats
                                                               continuously mutable and discordant.

                                                                   oday human behaviors are induced, as needs are artificial. this
                                                                   is the historical condition of today’s mankind. this is the new
                                                               tmechanism of its cultural production. if we ask for conditions
                                                               (and concepts!) of such lost freedoms, we stray from the point (and
                                                               at that same point we will arrive) of not accepting reality, that reality
                                                               that  man  compromises  with,  and  corrupts  day  by  day.  inside  this
                                                               reality, human potentialities are strongly reduced, while values are only
                                                               dictated by the individualistic, particular deformities of taste, and the
                                                               unrefined uniformity of fashions. it is a reality that our comprehension
                                                               has difficulties of holding: a reality often indecipherable, most of all
              rt  is  changing  its  own  identity:  it  is  becoming  a  way  of  a   because  man  obtusely  continues  to  be  an  accomplice,  a  slave,  a
              conceptual communication that just produces effect however,   victim  of  his  own  greed:  he  doesn’t  research  what  he  should  be
         Arequesting and soliciting an effort of acknowledgment that is   searching for. if it is true that mankind moves towards a culture of
         the exact contrary to the deceitful appearance of its supposed “truths”.   “becoming” and not of “being”, we have to understand that “becoming”
         this, at the same time, creates difficulties for the artists as well as for   doesn’t coincide with “having”.
         the  creative  management,  and  definitely  creates  difficulties  for  the
         fruition of shown art works in galleries, museums or alternative spaces.   n the culture of “having” we would look like just temporal dwarves,
         the public should be totally free to choose “how” to view, in accordance   deprived  from  each  sense  of “existing”;  if,  instead,  we  were  to
         to its real effective needs and desires.              ichoose the culture of “being”, we would still have some hope in
                                                               simply  confirming  ourselves  as  Men  and Women. to  be  objective,
              ontemporary art is truly art when viewed and recognized in all   honest, sincere, it doesn’t cost so much...
              its passed meanings. it ought to have qualities such as continuity   however, a part from this personal consideration, i believe that art,
         cand  openness,  though  now  unfortunately,  it  only  seems  to   nowadays,  must  look  for  continuity,  progressive  shifting,  gradual
         survive because it has been dequalified to an inferior range, as if it were   transformation,  and  active  integration,  adopting  languages  capable
         simply one of the many ordinary commodities.          of sintomatica]ly and semantically re-conducing mankind toward the
                                                               present experience of “today”. if the artificious and artificial needs of
             he congestion of signs and images that characterize our society   contemporary man will cause artists to be more open and reflect on how
             and culture is subdued by a constant, progressive impoverishment   serious the problem of the “artificiuos” is, only then can art be considered
         tof  the  messages’  inner  meanings,  which  the  artists  wish  to   once again as an “anticipation” of what will be tomorrow, giving us new
         profuse  in  their  works. today,  messages  only  exist  as  mnemonic   notable and logical answers to our questions.
         stipulations,  weakly  reactive:  they  are  mere  graphic  or  decorative          (to be continued in the next number)

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