BRIAN WALLIS ARTE DESPUS DE LA MODERNIDAD PDF

Facing the unfolding of nature, from the intimacy of the bed, Cardoso draws a fold that evokes it and becomes its ontological self. And the genealogy of that fold, according to what Deleuze has said, is in the baroque, whose characteristic "is the fold unto infinity", acting "according to two directions, to two infinities, as if the infinite had two floors: the folds of the material and the folds in the soul". Cardoso's bed sheets - shrouds, profane linens - fold in the morbid and sumptuous sensuality, they inherit the tension and twists which pierce the spirit of the baroque, just as the programmed staged lighting which directs painting, sculpture and architecture of that period. It is precisely to accentuate this dramatic effect that these sheets were photographed with backlighting -equivalent to the baroque chiaroscuro and penumbra -, conferring to the paintings on one hand that vespertine atmosphere, and on the other, outlining the contours, their sculptural volume. The bed sheets, of course, can also become shrouds. Certain paintings remind us of the steep and desolate landscapes of romantic painting, particularly some of the cliffs and seascapes of Caspar David Friedrich.

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Facing the unfolding of nature, from the intimacy of the bed, Cardoso draws a fold that evokes it and becomes its ontological self. And the genealogy of that fold, according to what Deleuze has said, is in the baroque, whose characteristic "is the fold unto infinity", acting "according to two directions, to two infinities, as if the infinite had two floors: the folds of the material and the folds in the soul".

Cardoso's bed sheets - shrouds, profane linens - fold in the morbid and sumptuous sensuality, they inherit the tension and twists which pierce the spirit of the baroque, just as the programmed staged lighting which directs painting, sculpture and architecture of that period. It is precisely to accentuate this dramatic effect that these sheets were photographed with backlighting -equivalent to the baroque chiaroscuro and penumbra -, conferring to the paintings on one hand that vespertine atmosphere, and on the other, outlining the contours, their sculptural volume.

The bed sheets, of course, can also become shrouds. Certain paintings remind us of the steep and desolate landscapes of romantic painting, particularly some of the cliffs and seascapes of Caspar David Friedrich. This is not coincidental: the romantic artist is the first to experience the profound excision between man and nature, a breech which in the modern period will augment to the point of expelling nature from its imagery.

While the romantic painter projects his subjective mood into a painting of mountains or a sunset, in Cardoso, on the contrary, it is the infinity of these spaces that waken a sense of the finite, of our emptiness and essential precariousness. These spaces where nothing happens, or nothing seems to occur, become places appropriate for metaphysical revelation. In these landscapes of otherness, we have dialogues with the other: emptiness, death.

It is possible to establish an analogy between this trilogy and the cinematographic genre of the road-movie , films filled with narrative events, where the characters live a series of adventures.

At this time the artistic itinerary of Cardoso ends with the series FF nomenclature of "fast forward", the option on the remote control for video equipment to advance the sequences.

The work at this point consists of four sequences of eight frames each that correspond to four different characters. What we see are figures running, out of focus, and as such not recognizable, anonymous.

Not only is each frame treated like a photogram, but also it is placed in perpendicular form which reminds us of movie cameras where the film passes vertically. We could say that these works deal with the voyages series in that they are derivative, but different in that they do not presuppose the idea of moving from one point to another; the actors go from whatever point to any other, or to none at all.

Each runner bears a story and appears to find himself in a dire situation. Thus the deliberate use of low angle shots, recurring planes used in expressionist cinema to accentuate drama, tension and suspense in the scene. Photographing his characters in the act of running the artist activates in the spectator multiple interrogatories: who, why, what for, to where, underlining the mystery and narrative dimension of his proposal.

Beyond what these runners may signify the fugacity of time, the speed of contemporary life , Cardoso again stretches the boundaries between document and fiction.

With this last cycle, Cardoso closes a circle of extraordinary coherence: from still life to film-still , from still life to photogram. In terms of time, his work has gone from time immobilized in the instant "the fundamental of still life", to time in movement of cinema. Two manners diametrically opposed of visualizing and experiencing time, of understanding and comprehending it; but also of grasping and capturing it: the great inducements of his indefatigable voyage.

Cuenca, August 18, He lives and works in Cuenca, Ecuador. Courtesy of Pablo Cardoso and dpm gallery. Link: dpm gallery.

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I met him at the start of his stay in Barcelona and he repeated the entreaty with sarcasm, imitating the same, recorded voice that one hears in the tunnels of the underground. One might think initially, that he did so joking about what these words represented: the culture of the institution and the preservation of order. But by contagion his words also became a joke about Catalan itself which, more than as a cultural element, the artist probably perceived as a mechanism of the state apparatus. Amongst the local artistic community, P.

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