ANGELA DE LA CRUZ: THE SOUND AND THE FURY AS
Tuesday, February 1, 2011
Kanye West Fish Quote
ANGELA DE LA CRUZ: 'TRANSFER'
Galería Helga de Alvear: 01/20/1911 to 03/05/1911
Referring to the Cr Angela uz, is the most common being to emphasize the fact that it was the first English artist to choose the Turner Prize. Even being this way, the truth is that pretty soon he says: Although English by birth, is more artistically than English, and that the Turner Prize should be applauded right up there as far as starting the perennial criticism of the state of the art of pulse moves jerky self-aggrandizement and promotion.
Having said that, the second one venírsele usually to head to speak of the artist Coruña is that the little speech and a little out of yet another death of painting and others. Because, while it is true that Angela preferred strategies are those that dismantle and deconstruct the pictorial, mainly transforming stand-canvas sculptures fact, yours is far from being a nod more to the ruins in which, for some, seems paint have fallen.
And is that if we were to an artist who uses afond in fact violate the formalism of painting to bring it to the limits of the expanded field conceptualized by Krauss Rossalind , would, perhaps, to a great artist, but not before, as is Angela, a very great artist.
topicazo Because for her the death of painting, but a conceptual fact associated with the timing of the concept of art, and responds to what can be anyone with an aesthetic category which work without any complex. Hence, their works are not cloistered in conceptual terms, but the physical component, the violence of destruction, is of vital importance to Cross.
And, if we do a bit of philosophy of art, associated with the death of painting, the dialectic of desartización, this strange dialectic temporalizes history of the concept of art, has been nourished by the self-referentiality that each artistic technique seemed to have run aground at the thrusts of the spectacular and transbanal art. And for the painting, as she touched more closely, were the speeches of the impossibility of representing the unrepresentable- sublime as Lyotard ultimate fate of all modern art, which made him be condemned to a mere outdated and dull subject which skin you mercilessly.
But Angela is well aware that everything has its time and the time of the death of painting has already been passed by the very concept of art. In a historic moment as we are, perhaps seasoned with the leitmotif of 'anything goes' there is no longer a refuge in death but in what it is to get another drive and, yes, perhaps destroy, virulence may provide that before were mere ruins of the wreck.
Having said that, the second one venírsele usually to head to speak of the artist Coruña is that the little speech and a little out of yet another death of painting and others. Because, while it is true that Angela preferred strategies are those that dismantle and deconstruct the pictorial, mainly transforming stand-canvas sculptures fact, yours is far from being a nod more to the ruins in which, for some, seems paint have fallen.
And is that if we were to an artist who uses afond in fact violate the formalism of painting to bring it to the limits of the expanded field conceptualized by Krauss Rossalind , would, perhaps, to a great artist, but not before, as is Angela, a very great artist.
topicazo Because for her the death of painting, but a conceptual fact associated with the timing of the concept of art, and responds to what can be anyone with an aesthetic category which work without any complex. Hence, their works are not cloistered in conceptual terms, but the physical component, the violence of destruction, is of vital importance to Cross.
And, if we do a bit of philosophy of art, associated with the death of painting, the dialectic of desartización, this strange dialectic temporalizes history of the concept of art, has been nourished by the self-referentiality that each artistic technique seemed to have run aground at the thrusts of the spectacular and transbanal art. And for the painting, as she touched more closely, were the speeches of the impossibility of representing the unrepresentable- sublime as Lyotard ultimate fate of all modern art, which made him be condemned to a mere outdated and dull subject which skin you mercilessly.
But Angela is well aware that everything has its time and the time of the death of painting has already been passed by the very concept of art. In a historic moment as we are, perhaps seasoned with the leitmotif of 'anything goes' there is no longer a refuge in death but in what it is to get another drive and, yes, perhaps destroy, virulence may provide that before were mere ruins of the wreck.
And, ultimately, if the art of post-history is one that has lost its narrative, if all the pluralism that populate the world of art has its rationale in the fact that the existence of art has already reached the very concept of art-as Danto assumed radicalizing the autonomy of art through the act of opening the scope of what can be classified as' arte'-epocalizando follow the concept of art, keep putting up barriers to a field that has long since marched, the plausibility of being understood as mere cultural body to serve the entertainment industries, is nothing a reflection mirror with an almost zero as the critical proposed.
thus freeing support postulated by Angela de la Cruz not be taken as an apology for the death of painting, but rather the opposite, as a gesture, last and necessary, provide vitality and fury a practice, the pictorial, corseted as fearful of a Death Foretold.
For Finally, if no symptoms and are repeated inbreeding of our time, may not be unreasonable to infer a contact point between the aesthetics of absence and an instinct of destruction, ours, who knows he has no more than point and fragment to survive among the ruins.
So gestures Cross, the folding and unfolding, the assembly and disassembly, assembly facility that fuses the heterogeneous, point to this dynamic and repetitive ciclotópica with that, yes now once and for all, exhortizar the absence of that story that holds us. If for Buci-Gluksmann baroque reason is "a difference that continues to unfold and refold in each of the sides ", the work of Angela de la Cruz would be the safety of our living space is this: no longer that of the wreck, not that of the tragedy in the post-Auschwitz Adorno , but one that emerges to be erased, which is located in his own deposition, which promises the safety of the crack and crease. Then overcome death: there says the noise and fury of the art of Angela de la Cruz .
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