Page 6 - La Biennale di Venezia issue of World of Art Magazine
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It remains an attempt, as in fact a permanent liberation   In my contribution to this catalog, I describe some examples
         is impossible, at least not from the elementary modes of   for a creative liberation from the constraints of external
         being. But the artist has created a work. While performing   modalities (cf. pages  134 – 163 ).
         this activity, he or she may have consciously recorded
         overcoming the space-time confinement in his work. And   Placed in front of my motif – a landscape or still life – I
         enjoyed it, at least I did.                          have a kind of silent conversation with it. Recording this
                                                              dialog constitutes my work. I am quite at ease when looking
         Not every work of art created in this way must be    for beautiful motifs. While painting in the countryside, I
         successful. I appreciate the immanent value (not the market   often wear headphones listening to classical music from
         value!) of works of art according to the criteria defined by   a portable CD player. After about 20 to 30 minutes, I am
         Kurt Leonhard [1]. These criteria are – quoted briefly:  finished. No re-working. The spontaneous impression
                                                              received on site has been captured. If the work is a
         (1.) “Originality: A work of art is produced out of a unique   successful one according to the artist’s view, it will also
         personality – what is really original is also new.”  please a sensitive viewer. He or she may trace its lines,
         (2.) “Coherence of the entity as a combination of different   coloring, spontaneity, marksmanship, or design power, and
         parts, free from coincidences, unwelcome associations,   they may perhaps enrich the viewer.
         unresolved relics, impulses canceling each other out,
         superimposing effects, wrongly applied intelligence, […]   There are art philosophers and critics who claim that a
         reasoning ambition that wants to utilize everything the artist   creative work only becomes a work of art through its verbal
         knows, trying to unite mutually excluding effects in the   interpretation. I think they are wrong! The oldest works
         same work.”                                          of art in the Western world are those linear engravings of
         (3.) “Allegorical power or abundance of relations: Release   vulvas in the abris of Castelmerle (Dordogne) dating back
         from determinable objective or conceptual meanings […]   approximately 30,000 years [2]. They were, supposedly,
         The work of art released from unambiguous representation   created as pre-verbal signs at the time being. These
         is capable of constituting a representative action, […] a   engravings are artifacts of early humankind! They take
         medium which conveys new insight and knowledge to the   effect by themselves, non-verbally, they do not need any
         viewer.”                                             verbose interpretation, nor does any other work of art. My
         (4.) “Transformative power: To artists, the works they create   hypothesis is that (presumably young) men used these
         are merely a means to create themselves. […] The viewer,   drawings to “liberate” themselves from ritual constraints or
         too, has changed after the work has left its impact on him or   taboos set up by their horde.
         (5.) “Marksmanship: It combines the four above criteria,   Conclusion: Artists‘ works of color, shape, sound, word,
         […] It is the craftsmanship and knowledge from which the   dance, and acting initially enrich their creators themselves,
         term ‘art’ can be derived. […] It is the wisdom of the means   and then those perceiving them. They lead us out of the
         allowing the artist to achieve a desired effect through the   narrow conditions of everyday life and take us to idealized
         coherent design of an original concept.”             virtual world, thus making life more valuable. All these artists
         To me as an artist, marksmanship means hitting the target   are necessary and not “good-for-nothings”.
         at a sufficient expense, at best by way of a chest hit. But the
         target must not be crushed.                          [1]   Leonhard, Kurt (1961. Die Heilige Fläche und Objokus. Stuttgart: Ernst Klett Verlag.
                                                              [2]   Ruspoli, Mario (1986). Die Höhlenmalerei von Lascaux. Paris: Larousse-Bordas.

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