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Artists, artworks, art history Discuss artists, their lives and works, the history of works’ creation and other art history issues.

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Старый 29.10.2009, 22:52 Язык оригинала: Русский       #1
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По умолчанию Interview with Magritte (old, as you know, but interesting)

Not always the same to write about artists who love me
Here's my gift to the Master, so as not very grief if Tselkov reaches 500 pieces euros (or pounds or dollars, do not remember).


Rene Magritte: "In relation to my painting the word" dream "abused»

I beg your pardon for having interrupted your thought on the chess board ... Do you have vertigo, which transposes the figures?

Chess zadachka only interested in quality as set out in these problems. But solving it, immediately forget about it.

You have a very long time not exhibited new works. Why?

I'm working on little. I'm waiting for "inspiration". From fatigue, I became very critical of what can be visualized. In this condition have an advantage - I need to find something truly worthy of close scrutiny, only to find that "something", I'll work on a new picture.

This is inspiration, not whether it is akin to dreams?

In relation to my painting the word "dream" abused. I admit that the domain of dreams is worthy of respect, but my work does not onirichny, just the opposite . "Dreams" in my pictures quite deliberately , they lacked nebula, characteristic of dreams. The effort will lead me to search for images, primarily manifested in the fact that I want to make in my paintings as much as possible clarity, certainty . I can only work in situations of absolute certainty. Such work can and called "inspiration." I never dreamed of his future films. Generally in a dream I do not see images in the world. I can "see" the picture only awake and being in a state of complete concentration.

What do you mean by "total concentration»?
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I wake up very late, I need a lot of sleep. When I open my eyes, I come to mind many thoughts. They are - a reflection of things that I saw yesterday. It also happens that I think of things that I dreamed at night. Generally, when I can not remember my dreams, it is for me a great victory. I noticed that my morning thought strange. It seems that I'm trying to remember as much as possible of what he saw, but only in the last twenty-four hours.
This morning, I remembered a few characters from my dreams: a woman on a bicycle, which touched me, passing by me, accompanied by a man, also on a bicycle. This happened at night, and I am very well aware of the departing woman, her white stockings ...
Then I was moved by the magical way, it was a vision. I saw the character, which unwound skein of blue silk, and silk, this scared me. But it was nothing to worry about. The one who showed it to me, smiling, never gave it a value. At that moment I knew where I was. We were on some island of the Pacific Ocean, beside me lay a woman with his face to the ground, not daring to look at this silk, which they had never seen. Remembering all these events, I suddenly realized that he had seen them not a dream. I saw this woman on a bicycle before, coming out of the cinema.

Sometimes you have that suddenly you see strange things in reality?

Today, under the bright midday sun, I saw a woman waiting at a tram in the company of his body.

Do you believe in coincidence?

We can prove that the accident is subject to a certain order, which regulates the procedure for an accident that the order is subject to chance, that it is the order of randomness, etc. Surrealists have spoken a lot of stupid things, and I am afraid that, despite all their genius, they can not figure it out. "Automatic" letter naive flatters their banal claim that their methodical experiments they "talk the idea," as if the idea - this kind of machine, as if written words or images may be of interest outside of unconscious, unsolicited.

So, the picture - this is primarily an idea?

Not every idea can give the concept of the picture. Of course, it is necessary that this idea was sufficiently stimulating that I wanted to portray her. Thus, in the film "Empire of Lights", I pictured things according to his idea about them, that is, specifically, night landscape and sky, which we see the light of day. I think that this

«surprise and delight" - these verbs imply a serious dose of reflection prior to the creation of the painting. Do you use any method?

My quest to find a solution similar problems to which I have 3 types of data: an object, a thing associated with him in the shadows of my consciousness, and the light, which is this thing supposed to come. Problem doors led to the opening through which one could pass. In the unpredictable response, "I showed the apartment with a closed door, through the shapeless aperture which was visible the night.

The problem of the window led to the creation of "human condition". Before the window, visible in the interior of the room, I put a picture with an accuracy of representing part of the landscape, the hidden this very picture. Hence, the tree shown in the picture, concealed tree, located behind him, outside the room. For the viewer it is a tree located at the same time and turned inside the room - a painting, and outside it, in the real landscape. This simultaneous existence of two different spaces, similar to the simultaneous existence of a certain moment in the past and present - as it happens in "false recognition", in "deja vu".

The problem I let the light, lighting a candle, a bust of a woman, written on the painting, which covered the same, only a candle. This decision has been called "Light of coincidences. The problem of shoes shows how many terrible things out of habit perceived as harmless. Red model "gives us the opportunity to feel that the combination of a human foot and the shoe is actually a monstrous custom. In "Eternal Spring" sexual organ of Hercules, which lies on the coast, replaced the dancer.

sexual organ in your works are often depicted in isolation from whatever it was sexuality. Why?

Sexual intercourse is often used for, for example, shokirovaniya public or in vospitelnyh purposes - thus depriving him of any significance. What a convenient misunderstanding - to take over sexuality identity. Sexuality can be understood only in a neutral thinking.

Why is the distrust of psychoanalysis?

It can only interpret that might lend itself to interpretation. Fantastic and symbolic art provided him numerous opportunities to do so - they often this is about more or less obvious fantasy.

Art, as I imagine it currently is not amenable to psychoanalysis. It refers to the sacrament, without which the world would not exist, it is a sacrament that can not be taken for some particular problem, whatever the difficulty of its solution.

I try to write only the image, lifting the veil on this mystery of the world. In order to achieve this, I must be very conscious, and this means that I must absolutely get rid of self-identification with any ideas, feelings, sensations, and dreams and insanity, on the contrary, contribute to this identity. None zdavomyslyaschy people do not believe that psychoanalysis can help to understand the mystery of the world, and about the works in which the mystery is being reopened, to say absolutely nothing. Perhaps the best story for psychoanalysis - is itself psychoanalysis.

sacrament, of which you speak, can be objectively shown?

Indeed, the lack of plastic qualities, noticed by critics, is compensated in an objective picture of things, well understood by those whose taste is not spoiled by all this literature on the painting. It seems to me that such a neutral way to represent objects is part of a universal style in which there is no place maniyam and personal predilections of the individual.

For example, unlike the bourgeois artists who write the sky to show it here - in blue, and there - a gray, as was his addiction, I have to take pictures of the sky blue paint, I think these little personal preferences may not be of interest to us, and that the works of these artists, written in all seriousness, is a ludicrous spectacle.

In my work can not find the traditional, the only permissible criticism "scenic" - and I refused it, quite consciously: this scenic by itself ineffective, each time identical to itself, it denies itself the most. After all, the attractiveness of her when she did not become more traditional, lay in its suddenness, novelty and strangeness. But becoming a technique learned by rote, she turned into a nasty monotony. How viewers can each "Spring salon" without nausea look at the wall of the old church, lighted the sun or moonlight? This onion, the eggs, then right there - to the left of the inevitable copper pot with a long cataloged sheen? But this swan, which since antiquity all ready to master thousands of ice?

It seems that the ambiguity of your paintings at times puts the criticism in a deadlock. Why, in your opinion?

What kind of recognition from those who complain! They naively recognized in disarray, which covers them, as not only can back up their minds guarantees some vague expert. It is much easier to deal with the product of the author, whose place has long been established, and even easier to - to heed the recommendations of other critics.

you accuse that you rarely somewhat interested.

Amazing criticism from those for whom the rarity is synonymous with value.

As the viewer must react, seeing your picture? What questions should it ask yourself?

What is this picture? The picture represents its audience. Pictures represent his thoughts and feelings. Our thoughts and feelings, no matter how unusual they may be, can not be expressed or represented by means of painting. Thoughts and feelings can be caused the image, then they are connected with this image. The picture does not represent thoughts or feelings, but feelings or thoughts may be a picture. My paintings were conceived as tangible signs of freedom of thought.

But at the same time as the riddle?

All my work is generated by the sense that we are part of the mysterious world. Confidence in the attachment mystical, moral order, completely alien to the region in which things need to "prove" to open, in opposition to each other. When the spirit is freed from the obsessive desire to enslave or to use things, the actual identity becomes "legal". Rather than give things meaning, the spirit can then see the meaning.

Enigma - this is not an open secret. Not that she was "key", carefully hoarded by some vague by the author to make his work "mysterious" or fantastic. A wonderful mystery, of which I speak, and which may be palpable spirit of this mysterious world, the universe and not some more or less esoteric author.


I apologize for persistence, but that you want to express in their works?

I have nothing to express. I'm just looking for images, and invent, invent. I absolutely do not care about the idea: Once the image is important, inexplicable way. I depict heavenly world - animate or not, and portraying him, I go beyond the bounds of ideas to the image.

The word "express" is not appropriate, because in my opinion, the artist nothing, but if it is something that is without any interest. I do not see any sense in terms of feelings - assuming that is possible. Of course, the sacrament can not comprehend, and therefore, and to portray - not figuratively, or symbolically. Therefore, I am not looking for images sacraments, and images of the visible world, connected in the order, which refers to the sacrament of the real world. My painting is woven from strange images of familiar things. She describes the idea, consisting of appearances, offers us peace and joined in the order, referring to the mystery of reality.

So, your poetic painting?

Poetry does not express any thoughts or feelings. It said the same Mallarme: «poetry does not create thoughts and feelings, it creates the words». Poetry is invisible word, poetry, image, apparently - at least on the surface. The writer thinks the familiar words of the poet, the poet thinks of painting familiar figure visible reality. Lyrics - Invisible description of thought, and art - see its description.

I am only interested in the poetic art, which should not be confused with literary painting - the latter deals with ideas and feelings, using their pseudo-image, which are commonplace characters.

Then which explains the rejection of the style in your descriptive manner?

Yes ... I always strive to ensure that the painting was invisible to her as little noticed. I work as a writer who is looking for the easiest tone, which refuses to effect the style that the reader has seen in his work only the idea that the author wants to express. So, my painting is hidden. My thoughts clearly, but this does not mean that my images are flat and devoid of mystery.

So in your view, this definition of art should approach blende?

Blende can give the image depth inherent in the visible world, and my painting should be like the world to express its mystery.

And, then you - surrealist?

That is the question which should not have zadavta. Imagine that the word "surreal" for me, absolutely does not mean anything. Also, for example, as the word "God": a word that is used to sum up - or get rid ... of care. People say: yes, it is - surrealism, yes, it is created by God - well, all at once becomes clear.

I have neither the time nor the inclination to play in surreal art. Before me is a gigantic task: to invent the charming objects that would be revived in us that we still have the instinct of pleasure. Necessary to avoid ambiguity and to isolate themselves from the Surrealists. For this I chose the definition of "amentalizm", which, in my opinion, has the advantage of reminding each of his utterance, that the era of maniacs philosophers in agony ...

Your "amentalizm" can not stand the traffic?

If I could show the absolute stillness, in my opinion, I'd reached a certain perfection, because that would be consistent with the absolute stillness cessation of thought, which can not escape outside the defined boundaries that can not understand that the world exists. For the thought of a world that our existence is inconceivable, it is completely incomprehensible to her, whatever the explanation for this phenomenon.

Why Vashi pictures you so attached to the cool tones?

I do not feel the heat in a vacuum partite world. Imperceptible, which I try to transform into matter, can only be cold.

How do you define its place in the various artistic currents?

Eternal stupidity manifests itself, especially in recent times, allegations that the art of painting was replaced by some mythical "abstract", "Non-figurative" or "informal" art consists in the fact that the surface with more or less conviction and imagination applied to "matter .

But the art of painting is the identification of poetry, not noted for the diversity of the world for its material aspects. The plot, which in my opinion the fundamental, can not retain its value if he will relinquish or share a place with beautiful mother of minor importance.

What is your reaction to the Pop artists, who consider you to its predecessor?

They are very nice, very nice, but ... sorry, they have not learned anything new. They lack the intelligence to create works, which of them is waiting for the whole world. Renaissance painting come not from them.

Yes ... I know, they call me the father of pop art, op art and all other "artov" ... But the pop art - it is only the second version, immeasurably less brave, the good old Dada fifty years ago! Modern painting went on the road of experiments that ended with Picasso. All that today we are with loud shouts as the vanguard, in fact, only a variant of what has been done long ago.

Yes, pop-art. Let's just say: this is not very serious and probably is not art. Well, or an art posters, advertising, art, ephemeral fashion. I readily acknowledge that in the street can see his influence in the clothing of young people.

How do you explain that Americans are your major customers?

Perhaps they are not aware of the causes which impel them to buy my work. They are terribly exciting "reality", materiality. Perhaps it is some compensation.

Answer me without preparation: what you like, what you can not stand?

I hate the past and the past of others. I hate humility, patience, professional heroism, and all the required noble feelings. And I can not stand decorative arts, folklore, advertising, voices of the announcers, aerodynamics, Boy Scouts, the smell of oil, news magazines and drunken people. I like irreverent humor, freckles, knees and long hair of women, the laughter of children playing, running down the street girl. I dream of living love, can not be achieved and chimeras. I'm afraid to know their limits ...

What do you feel at the sight of some of your older works?

I think I succeeded in creating good paintings: they surprise me, as if he wrote them I did not.

Do you think about the generation that comes to you to change?

My paintings are really interesting only to those who live in the present. In the future it will retain only istorichyaesky interest. But on the other hand, why people are so concerned about the durability of works, taking in the same time, the frailty of man? In my view, the hope of immortality through art - the silly ...

Bernard Mörigen




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