Il fenomeno dell’estasi
"Last night I felt unbelievably sad and sometimes it happens that way: a sensation comes out across the landscape into the cities and further into the window of the car as I’m coasting the labyrinths of the canyon streets.
It feels for a moment like nothing more than wind; it’s something I don’t see coming and suddenly it’s upon me and my eyes are blurring with tears and fragmented spills of neon and ghostly bodies of pedestrians and smokestacks and traffic lights and I’m gasping from a sense of loss and desire.
I can’t think of anything I am truly afraid of and I’m trying to give something unspeakable words; some of us live in big cities so we can be alone, so we can avoid ourselves, and yet by living within massive populations we can have help or love within reach if necessary.
I am fearful of something more than fear: it’s something in the landscape surrounding the cities and smaller towns between here and the coast, something out there that feels so empty and it is not made of earth or muscle or fur; it’s like a pocket of death but with no form other than the light one might cast upon its trail of fragments.”
- David Wojnarowicz: Close to the Knives, 1991
Otto Mühl, Materialaktion VIII, 1964.
"Just the two of us" (series) von Klaus Pichler, 2011-2013
In 1958, during a conference at the Pratt Institute of Brooklyn, Mark Rothko listed the seven necessary ingredients for “a recipe of a work of art”:
1. A clear awareness of death. All art is in relation with death
2. Sensuality, necessary to represent the world in a concrete way
3. Tension, that is to say the conflicts or desires that in art are dominated the very moment they are shown
4. Irony, a modern ingredient. A form of self deletion, and at the same time of self analysis, through which man can, at least for a moment, get away from his destiny
5. Wit, humour
6. Some grams of ephemeral and some grams of chance
7. A ten percent of hope… only if you need it; Greek didn’t have
Julie’s Haircut - Johin (Ashram Equinox)
Stills from Tautological Cinema by Ewa Partum, 1973-1974
Tautological Cinema is a series of short films made in the paradigm of structural cinema – the movement of the late 1960s which focused on the examination of material factors of a film. Looking into a film as a medium Ewa Patrum concentrates on the notion of automatisation of a film message and the structure of its language. “It’s not dealing with aesthetics” claims the author. “It’s rather a new sort of philosophical practice that operates in the area in which the relation between the film image and the camerawork covers the whole interest in the film itself”. In artistic practice, such ideas can, for instance, take a form of an analysis of how film tape makes its way through a projector, as in the film 10 Metres of Film Tape. A work which stands out is Film by Ewa, which examines different ways of artistic communication and states that the indirect passing of ideas is not possible. “Covering, in turn, her mouth, eyes, ears (meant to manifest that an idea within an artist is not transferable) Ewa Patrum formulates an opinion which is to show the alienation of an author who, creating the art of meaning, cannot fully express the intentional idea. Once it gets materialized against an art medium or gets into the area of someone else’s experience it is distorted and distanced from the original meaning” argues Łukasz Ronduda.
Detail from Francesco Hayez, “Il consiglio alla vendetta” (Vengeance) (1851)
Maledizione Diurna by Nicola Samorì