 V. Sager charcoal on paper 2008
Vjeko Sager : drawing
is a martix
Historically,
drawing has been acknowledged as a frame of visual language,
but its tangible position has been often changed and/or
challenged. Today, due to digital and photo-based image
making, those who never fully discovered the supremacy
of this medium are critical to drawing in general. We
have to verify drawing’s ability to outlive all
disciplines not because of its simplicity, but because
of its capacity to interact with every medium, shift
the mode of expression, mimic and penetrate surfaces,
etc… in other words, drawing “survives”
because it is a primary visual instrument capable of
communicating our “inner and outer” experiences.
Smart links
INDIPENDENT ART Looking
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Lots of ART
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Mapping
the mind
Gregory
Bateson
“Steps to an Ecology of Mind”
We say map is different from the territory. But what
is territory? Operationally, somebody went out with
a retina or a measuring stick and made representations
which were then put on paper. What is on the paper map
is the representation of what was in the retinal representation
of the man who made the map; and as you push the questions
back, what you find is an infinite regress, an infinite
series of maps. The territory never gets in at all…
Always, the process of representation will filter it
out so that mental world is only maps of maps, ad infinitum.
BOOKMARKS
Comprehensive
sites: ART + CULTURE http://www.artandculture.com
instant TEXT gratification
here
FRENCH
THINKING REVOLUTION
How
French philosophers occupied America? here
Follow
the link to one of the most influential essays of J,
Derrida on
"Structure, Sign, and Play in the Discourse of
the Human Sciences" here
EROSION
Robert
Smithson “A Sedimentation of the Mind:
Earth Projects”
The Earth’s surface and figments of the mind have
a way of disintegrating into discrete regions of art…One’s
mind and the earth are in a constant state of erosion,
mental rivers wear away abstract banks, brain waves
undermine cliffs of thought, ideas decompose into stones
of unknowing, and conceptual crystallizations break
apart into deposits of gritty reason. Vast moving faculties
occur in this geological miasma, and they move in the
most physical way. This movement seems motionless, yet
it crushes the landscape of logic under glacial reveries.
This slow flowage makes one conscious of the turbidity
of thinking. Slump, debris slides, avalanches all take
place within the cracking limits of the brain. The entire
body is pulled into the cerebral sediment, where particles
and sediments make themselves known as solid consciousness.
A bleached and fractured world surrounds the artist.
To organize this mess of corrosion into patterns, grids,
and subdivisions is an aesthetic process that has scarcely
been touched.
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