The transformation of aesthetics and politics
A practical research explicitly distinguishes between what is beautiful and what is interesting, exploring the differences between representation and reality.
The project tackles the religious, social, cultural and political variables that have been influencing art practice through selecting number of artists and artefacts from renaissance into today art movements in comparing to Islamic art from 7th century onwards. The research and production raise explicitly the issue of possible relations between jurisprudence, philosophy and the aesthetics that appropriate with them within the influence of adjacent environments. A number of hollow porcelain objects will be produced and installed in causal way at several spots of a city for couple of days – then blowing them with explosive devices that will be fixed inside the sculptures. When they hit by the explosion they burst into large/small fragments. A camera of high-speed photography technology captures the moment of the sculptures destruction.
What interests me is not so much the moment of impact as the transformation taking place in one seven-thousandth of a second. The porcelain objects bursting into pieces isn’t what really captures the attention; the fascination lies in the genesis of a dynamic figure that replaces the static pose. My intention is to explore what is beyond the physicality and formality of artwork. The concept is reflecting the actual forms of political conflicts in the history on mankind and the flux state of the history of art practice and the stuckism that stamped the last four decades practice.
We cannot experience a cultural product, if we do not understand the forces that affect it practice.
The research and working process will be thoroughly documented at every step, both technically and graphically, from conception to completion, detailed project descriptions, drawings and full-colour before and after photographs ex¬plain the thinking and process behind each product from inception to completion. The research based on relevant books and essays, as well as field visits to museums and cities.
Strategy of the constantly shifting strategy In recent years I often-voluminous installations reveal a particular interest in being in an in-between state. I research intermediate forms of cultures and languages and of various forms of religion, its potential for creating a new, more beautiful and soulful world, but also the loss of identity and kinship with the culture of origin. In my latest installations the emphasis is on objects and sculptures. My exhibits sometimes have the character of a situationist-style, temporary, autonomous zone, in which I offer people an opportunity to discover and explore universal fascinations with culture, politics and play within themselves and others. I intend to lead the public into a parallel reality, where a momentary liberation can be sought, a heightened state of consciousness.
I am interested to explore the artistic potential of performances, events or ceremony-like happenings in these works. The typical my time-space environments always have there own protagonists and rituals, which, although usually inspired by the existing world, are twisted around to arouse this frame of mind. Real worlds and a world in calling thus flow together in an adventurous setting, in which the act of traveling, both physical and mental, is an important metaphorical binding thread. I am trying to answer questions about the attitude of contemporary human beings, about cultural identity and soul-searching. In my area of research I work like a quasi-anthropologist and trying to make connections where there apparently never were any before. I construct poetic dispositions, between fact and narrative, between present and past.
The transformation of aesthetics and politics
A practical research explicitly distinguishes between what is beautiful and what is interesting, exploring the differences between representation and reality.
The project tackles the religious, social, cultural and political variables that have been influencing art practice through selecting number of artists and artefacts from renaissance into today art movements in comparing to Islamic art from 7th century onwards. The research and production raise explicitly the issue of possible relations between jurisprudence, philosophy and the aesthetics that appropriate with them within the influence of adjacent environments. A number of hollow porcelain objects will be produced and installed in causal way at several spots of a city for couple of days – then blowing them with explosive devices that will be fixed inside the sculptures. When they hit by the explosion they burst into large/small fragments. A camera of high-speed photography technology captures the moment of the sculptures destruction.
What interests me is not so much the moment of impact as the transformation taking place in one seven-thousandth of a second. The porcelain objects bursting into pieces isn’t what really captures the attention; the fascination lies in the genesis of a dynamic figure that replaces the static pose. My intention is to explore what is beyond the physicality and formality of artwork. The concept is reflecting the actual forms of political conflicts in the history on mankind and the flux state of the history of art practice and the stuckism that stamped the last four decades practice.
We cannot experience a cultural product, if we do not understand the forces that affect it practice.
The research and working process will be thoroughly documented at every step, both technically and graphically, from conception to completion, detailed project descriptions, drawings and full-colour before and after photographs ex¬plain the thinking and process behind each product from inception to completion. The research based on relevant books and essays, as well as field visits to museums and cities.
Strategy of the constantly shifting strategy In recent years I often-voluminous installations reveal a particular interest in being in an in-between state. I research intermediate forms of cultures and languages and of various forms of religion, its potential for creating a new, more beautiful and soulful world, but also the loss of identity and kinship with the culture of origin. In my latest installations the emphasis is on objects and sculptures. My exhibits sometimes have the character of a situationist-style, temporary, autonomous zone, in which I offer people an opportunity to discover and explore universal fascinations with culture, politics and play within themselves and others. I intend to lead the public into a parallel reality, where a momentary liberation can be sought, a heightened state of consciousness.
I am interested to explore the artistic potential of performances, events or ceremony-like happenings in these works. The typical my time-space environments always have there own protagonists and rituals, which, although usually inspired by the existing world, are twisted around to arouse this frame of mind. Real worlds and a world in calling thus flow together in an adventurous setting, in which the act of traveling, both physical and mental, is an important metaphorical binding thread. I am trying to answer questions about the attitude of contemporary human beings, about cultural identity and soul-searching. In my area of research I work like a quasi-anthropologist and trying to make connections where there apparently never were any before. I construct poetic dispositions, between fact and narrative, between present and past.