‘cobra_d way of dancing with colors

Today, my friend from twitter & facebook Andrew Crane share this amazing video work where we have d opportunity to see this great artist, amsterdamishen Karel Appel in d moment of work/ pleasure/ new experience. .. I have a lot of other places from where I can share only d video or just d link, without opinion but this technique and style of painting I really want to mention here in this blog.

I have had experiences like this also and I really hope in future to have d ability of traveling inside me again and doin’ this wonderful yoga with d canvas. someones thinks that this is fight, expression of negative feelings some are thinking d opposite, making love with that what’s ur spirit, wind that guides u trough d process of creating. well, it costs a lot of money, especially if u want to do that with oil colors and still we need to become directors or curators in some galleries first  😉

.What a miss that I didn’t know about this video till now, I really like this „cobra“ style of expression. .. and d tea moment on d end of the video, priceless*. He use to say “If I paint like a barbarian, it’s because we live in a barbarous age” about his technique of bringing those hidden feelings out of his soul.

from wikipedia we read: Christiaan Karel Appel (25 April 1921 – 3 May 2006) was a Dutch painter, sculptor, and poet. He started painting at the age of fourteen and studied at the Rijksakademie in Amsterdam in the 1940s. He was one of the founders of the avant-garde movement Cobra in 1948.

The Wild Firemen 1947

..more extraordinary were his associations with people from totally different artistic genres. In the 1980s and 90s he produced intriguing combinations of painting and visual poetry with Allen Ginsberg, while in 1987 he worked with the Japanese choreographer Min Tanaka on Can we Dance a Landscape? at the Opéra Comique in Paris – a performance set against a background of bright landscapes, feline faces and spotted cows on wheels. The reviews were mixed.

Helen A. Harrison for d The New York Times in 1981, said that Cobra’s major achievement “was in fostering an amalgam of aspects of the major trends in contemporary artistic thinking” with “the dark, mystical Northern sensibility that gives their work its peculiar character, so appropriate to postwar Europe.
She also added: “In short, they seem to have been able to express both optimism and anxiety at the same time.”

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It’s a video from d early 6o’s [’62] where d artist/ painter show his childish way of communication with canvas & d colors. Every second he is deeper in his inner personality and from that dialog he write trough d spectra of fast, naive moves amazing moments, pictures that create inside u unique feeling.

:composition

Very important artist in d plead of contemporary history of art, that left behind a lot of works that are pretty respected from d art community and mostly if u’re interested u can see them in d most important museums & galleries around d world. Besides this stunning paintings in his collection of works we can find sculptures, drawings, litho & prints.

As we mention he was poet/ thinker also, so for d end of this first post on my blog for this great artist I’ll share few of d quotes that I found googling about him:

– (artists are people) who employ matter between birth and death. Matter is something to use, not possess.

– Every day I have to be awake to escape… …The whole world is sleepy. It is a real fight to be awake, to see everything new, for the first time in your life.

– I’m not a pessimist. Maybe I don’t have a primitive feeling of happiness, that is true. Sometimes my color is happy but not the expression.

‘d whole world’ in one wall

#micro & #macro and d world in between

I totally like d whole process in this work. Since d beginning of d idea, d approach to d idea, d finesse that he use and all details. The idea a form to be broken down into its parts and re-create is perfect. Artist goes from one level of macro world where using a microscope is trying to portray d minimalistic perspective of d world we live in and that the nubs are d content that it takes one thing to exist like whole and vice versa we have d miniaturism of our civilization as our property, and the whole world that surrounds us, which he captures in the second half of his work – the telescope.

:telescope

The wall between is like bridge, is like d mind that is trying to observe d duality of d world in which we exist. He counts all of d pieces and make from them d whole structure of this installation. It’s kind of philosophy and architecture in one, but expressed trough d prism of art. In one clean, gentle way he shows d connection between this two worlds the one that is inside Us and the other one that like open sky wait for our eyes to be realized.

:microscope

In d video we can see d love that he put into his process, all d steps that he is passing trough nut also d final result that is stunning in that new pure clean minimalistic way of expressing d concept. We have three elements [macro, wall, micro] presented in a beautiful way that brings Us in a state of peace and joy of d energy that the masterpiece produce by himself.

A documentary capturing Chris Sauter’s making of his installation entitled “The Whole World”, part of the exhibition Wish You Were Here at the Fort Worth Contemporary Arts Gallery.

Chris Sauter was born in San Antonio, Texas in 1971. He grew up on his grandparent’s ranch in Boerne, a small German town north of San Antonio.He attended the University of the Incarnate Word (then Incarnate Word College) where he earned a Bachelor of Arts degree in 1993. Sauter later received a Master of Fine Arts degree from The University of Texas at San Antonio in 1996. He exhibits nationally and internationally with solo exhibitions at John Michael Kohler Arts Center, Sheboygan, WI, Cueto Project, NY,NY, Finesilver, Houston, TX,  Elizabeth Dee, NY,NY, Galerie Valerie  Cueto, Paris, France and Susanne Vielmetter, Los Angeles Projects, Los Angeles, CA.  Group exhibitions include  EVA in Limerick, Ireland, Domicile: Public.Prive at the Musee d’Art Moderne Saint-Etienne, France, Wall to Wall Drawing at The Drawing Center, NY, Drawing Outside the Lines at the Scottsdale Museum of Contemporary Art, AZ, Out of the Ordinary at the Contemporary Art Museum, Houston and Come Forward: Emerging Art in Texas at the Dallas Museum of Art. In 1999, he was chosen by Okwui Enwezor to participate in the Artpace international artist residency. Chris Sauter lives and works in San Antonio.

:Guitarbotana avec Mari Kimura

I found this link via @Milica Popovic on facebook and I think that this project sounds amazing. It’s first time for me to see this combination of electronic maschine (robot musician?!??) and awesome violinist. I enjoy almost every second of this video. this audio can be heard in Kimura’s CD POLYTOPIA that is probably unique example of music from this kind (or I’m not good informed).

The violin gives those classical emotions that usually the classical music create in Us but with d maschine it shows d duality of our personality. One of d comment on youtube say: she’s the mars volta or pink floyd equivalent of violins and I agree with this constitution. From one side this music is pretty weird even that I listen and play some noise but that violin brings the frequency that on moments makes u joyful or from other point hysteric, nervous even scared.

Mari Kimura explain more clear for this:
Behind the white box, there is a Mac and an audio interface. I am running a software MaxMSP, which is LISTENING to the pitch. loundess and the timing of the violin. The ‘patch’ I created in Max contains certain interactive instructions such as “listen to the E (highest open string on the violin)”. For example in the beginning, if you listen carefully you notice when I play above E, it stops. Iinteractions change inpredetermined time frames.

Ok, enough for this goody Frankenstein type of music. 😀