1.
In view of the spate of interviews he has dealt in recent days, it follows that the great Richard Serra is a man with clear ideas and strong views. And perhaps that their partners have been a unconventional and lazy when it comes to throw the tongue, is perfectly understandable in a meeting public and who starred in Labor, but perhaps less in talks with specialized media. During his brief but captivating way through the Art and Industrial Creation Centre, last Thursday, to talk for an hour with Rosina Gomez-Baeza Prince of Asturias Award for Arts, repeated statements that we have heard for a long time; This does not detract at all pleased to have it a few feet and check that their pronouncements paralanguage involving attitude is revealing a strong, passionate and persuasive. With the exception of the architects present (a little itchy about the fact that the artist were questioned, in turn, the status of artists) the public came out very pleased (and flattered by more than one case for the fact that Mr. Serra questioned at all times to the audience as "students"). In fact, just learned something new about the teacher: it has no objection to show, without shame, the newly rising almost make their shoes in one of his monumental works.
2.
I can not resist adding a lateral thinking, and totally partial view of the media fool pandemic every October we surrender to the glare of the lights visitors and pages filled with tons of extra special broadcast hours an awe and reverence pretended to texts, most of the time, have not read, works that are unknown (and, if known, will despise) and achievements that, in essence, care a damn. The reflection is rather the realization of a tort.
Among those attending the meeting with Serra-artists of all ages and tastes, gallery owners, architects, designers, photographers, fans generally focused much of the best of the rich and varied artistic talent that accumulates in this region, the same as at present culture is very tough for most orphan attention and media support, necessary to disclose his work and maintain a minimum presence in society. That does not require supplements or full pages, but a modest daily monitoring and elemental sensitivity public service.
course, nothing in this or hint of criticism or any challenge to Mr. Serra: if you were still hanging the strips of rubber or pouring liquid lead at the dawn of his career if he had been accommodated in the public instead of appearing as winning on the platform of Labor or the stage of Campoamor, if residing in Asturias and is limited to having talent and working as a mule in exchange for almost nothing, he would not receive, today, a treatment too than the rest of their colleagues Asturian by the media ... except, of course, that would have crossed a new version of its Tilted Arc in La Escandalera.
3.
Some of the things that went on to say Mr. Serra in the breviary:
- The basic attitude of the artist, in particular the beginning, should be to question, to demystify authoring, learning to ask.
- can not teach art. You can, in any case, direct the student to the different sensitivities of history art.
- authority is never a guide. Each artist must invent their own methods, to find their own tools and his own creative path based on intelligence and obsession, must find its own language, logic and the need that drives him to create his works.
- " All material whether it is good to express what is needed to express." What is the willingness to do.
- An essential part of Serra's own work is to develop processes to capture "verbs of motion" in material objects.
- Gravity can be used as a force for creating forms-based unstructured.
- does not have much to define a priori artistic discipline in which to work, but the movement time, the material to be used in each case. There are no standard procedures, no standard tools.
- The emergence of the cultural industry has created a market that inhibits and limits the creativity of artists.
- The mass media, new information technologies and new virtual media have replaced the physical experience of time.
- The art object is no longer on the pedestal, but remains in the cabinet, there is a divorce from the plane that is the artwork and the plane that looks, thinks and is.
- should be forced to work with that which you do not have familiarity and what can not be found handholds.
- "Drawing my hand becomes an extension of my central nervous system."
- The use of repetition as a method favors changes that enrich what is repeated.
- " work for me, but with the hope that people can find then I do something that is valuable information."
- Art is useless to functional effects. It is a product for sale or design, and the only function affects the soul, sensitivity, spirit.
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