“Strangeness is the condition of the landscape.”
Lyotard, 1988
Landscape is everywhere. It defines our particular idea of nature, but it is not nature in its simple definition. We can think of a landscape as “a social product, the result of a collective transformation of nature, and the cultural projection of a society in a given space.”
“It was a non-objective approach that naturally led me into the field of abstract painting. In the year 2005 I became a painter—strictly committed to a non-objective approach.”
Vincent Serbin
“If I knew that painting was dead, I would kill myself right now.” Raquel Forner It is not surprising that, in contemporary times, in the face of the great diversity of expressive modes or ways of making art, the presence of painting seems diminished. The tools available to generate artistic creation are innumerable, but the […]
“My work encompasses the architectural, geographical, cultural, and social spaces encountered as a person of the diaspora.”
Eugene Agyei
Current migrations are reflected in the complexity of their displacements and their desires for insertion in the new territory of arrival or reception, in which they raise their particular concerns as active subjects of their individual and collective history.
“No human being can exist in complete independence from a nation or a culture. Yet… while individuals might be geographically bound within a nation, while they might be located within a given culture, their imaginations are not; they can transcend boundaries”.
Megan Sickmueller: Understanding Afropolitanism
https://retrospectjournal.com/
“I have been interested in light for as long as I can remember. Light is everywhere and affects the world and our daily lives in many ways.”
Kari Kola
If there is anything contemporary Art has taught us, it’s that Art does not need to be restricted to paint and marble. It comes in many formats, materials, and media. In one variation, the use of electrical light as the predominant medium in a work is known as Light Art. Light Art is created through […]
Defined in the logic of an expansive process of capital, technology and culture, globalization has inevitably arrived and with it various modes of commercial integration, markets, symbolic capitals, border ruptures and other consequences that have transformed the way in which art is now defined within an apparent loss of territoriality and new combinations of representation.
The diversity of the languages of art seems to have displaced the prominence of painting as the noblest of the arts. It has displaced its preeminence over the rest of the expressions, of the complex theoretical frameworks that have been formulated about it, and that now have become references in memory of the treatises of art.
Art today expresses itself to us in the midst of its own bewilderment, before our equally bewildered senses. Today we find ourselves in the midst of the shifting sands of the diversity, the multiplicity and the plurality of the languages of art, without clear direction of what we see or in what we participate.
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