Revista Umělec 1998/2 >> Einmal ist Keinmal 3 (Twin Peaks for artists) Lista de todas las ediciones
Einmal ist Keinmal 3 (Twin Peaks for artists)
Revista Umělec
Año 1998, 2
2,50 EUR
3 USD
Enviar la edición impresa:
Suscripción de orden

Einmal ist Keinmal 3 (Twin Peaks for artists)

Revista Umělec 1998/2

01.02.1998

Tomáš Lahoda | serial | en cs

"The mosaic of suspicious artists who could have been connected with projects that we were sort of “sight-seeing“ in the past two issues of The Artist shows only its tiny stones but the whole of it is still far from sight. In the meantime, the obscure artist Mondrian from New York continues, undisturbed, to pile up copies of Mondrian under his bed in the attic of some sky-scraper. Or he just happens to present himself as Malevich and through this prism he takes part in events of today’s antagonistic art community. We may be reminded of his response to Alexandr Brener’s spraying of Malevich’s painting in the Stedelijk Museum which was addressed to Rudi Fuchs as published in The Artist, issue 4. In another of his previous commentaries, Malevich wrote about an article published in Art In America (September 1986) concerning an exhibition of Malevich’s appropriations by David Diao:
“Dear friends, I was very pleasantly surprised to read in an article entitled Diorama (Art In America, March 1986) about artist David Diao who basically copied my works when he used a photograph of my Last Futuristic Exhibition in St. Petersburg (Dec. 17, 1915 - Jan. 19, 1916). I was a bit confused but in the end I found the idea great and I liked the paintings, too. I just hope that someday I will be able to see them in person. It was also surprising to find out that my paintings were used by a group of artists from your beautiful city of New York. I ask myself: Why? Why now, after so many years?
As if it was yesterday, I remember the cold winter 1915 in St. Petersburg, so full of snow. It was time of great expectations, enthusiasm, optimism, futurism, and, of course, the Revolution. You could feel it in the cold Russian air. The end of a great century... new age... great, cold building in 17 Mars Field... ‘The last futuristic exhibition 0.10‘... no heating... Puni running around kept on looking for nails... The nervous Kluin like a bride before a wedding. I have to admit I didn’t have any premeditated plan for my ‘installation‘ as you call it today. It was completely accidental. I only know that the red square just had to hang in the upper corner. Everything else was subordinate. As I was hanging my little supremacistic paintings here and there, I didn’t have any idea that the photograph of this installation would become so famous one day and appear in hundreds of books and articles. It is even quoted in works by my colleagues today! I don’t even remember who took that picture but it is just a black and white photograph! No colors! I have a feeling that the photograph has become more important than my supremacistic paintings! That is the main reason why I thought of organizing the exhibition again. But because of obvious reasons it was impossible for me to organize the exhibition in St. Petersburg, so I decided to show The Last Futuristic Exhibition in a small apartment in Belgrade exactly 70 years after (Dec. 17, 1985 - Jan. 19, 1986).
I realize that this letter will be a big surprise to many of you. It is a general notion that I died in 1935! I know... Suetin’s coffin... a large funural march through the streets of Leningrad... a red square on my grave... Yes, there are many people who believe I am dead. But is it really so?“
Could it have been really so? This suggested doubt is followed by a similar reflection of immortality of another giant, Andy Warhol, confronting the project entitled “Beauty, thy Name is ... L. Mot” by Louis Mot. If it is not Modrian/Malevich under another of his assumed names, this time with the identity of a woman similar to Marcel Duchamp’s alter ego Rose Selave. L. Mot presents herself as Andy Warhol’s alter ego: “Beauty, thy name is ... L. Mot” as a paraphrase to “Beauty, thy name is ... Andy Warhol” - a series of photographs on which Andy Warhol poses with wigs and make-up like female models and superstars. L. Mot continues in Andy Warhol style “as if Andy was sending it all through her from some kind of virtual other world“ (S. Clemens).
Andy Warhol once said: “I’ve never understood why one just doesn’t evaporate when one dies and why everything goes on just like it went until now, you’re just not here. I’ve always wanted to have my own tombstone with no sign. Actually I would like one sign: Nonsense.“
A part of L. Mot’s project “Beauty...” is a series “Drugs”, “Fountains” and “Copyright-copies”. Drugs consists of semiabstract paintings evoking Warhol’s series “Eggs”. Scattered pills of various drugs form “abstract“ stencil on a black background. Colorful red circles and ovals of pills looked at from above remind one of some quasi-minimalistic, formalist abstractions.
The motif of the Fountains is a well-known urinal by Duchamp. It consists of hand-painted mimicre made of mechanic silk-print technique with typical double outlines of Warhol while Duchamp’s porcelain icon undergoes multiple transformations back to painting. A U.S. firm J. L. Mott mass produces white urinal. One day, Duchamp walked by a shop window of this company and he bought one. Using the name of Richard Mutt he sent the urinal to an exhibition as an art work entitled Fountain. (One remembers slightly the popular comic characters Mutt and Jeff from that time.) The photographer Alfred Stieglitz takes a picture of the Fountain and this picture becomes more famous than the pissoir itself which got lost later anyway. L. Mot found the photograph, and based on the picture, paints a series of fountains.
“Help me out, what should I paint?“ Warhol used to ask. The series Copyright-copies consists of several hundred little pictures (20x20 cm) with a motif of six various types of the letter c in a circle - representing the copyright mark. The copyright symbol appears as a logo repeated in a countless number of variations, including an absurd Gothic c written in Schwabach as if the mark was already known during those times... But who knows?
As Nietsche would say, Einmal ist Keinmal - one time is as if it wasn’t at all. Denouement and understanding of all accumulated and interweaving parts of the mosaic may now come to a conclusion in a note in L. Mott’s diary: “Authenticity, originality, otherness. Venus of Miletos and Laocoon statues are probably Roman copies of their lost originals. The famous painting of a man with a golden helmet was proclaimed not to be made by Rembrandt. William Shakespeare was a pseudonym. The historical figure of William Tell is considered fictitious by many historians. The KdF vehicle made in 1936 by Ferdinand Porsche, later known as VW Beetle, would not exist if it weren’t for the gear constructed in 1928 by Béla Barney. The Knossos Palace was for the most part made by Sir Arthur Evans. Many of Beuys’ retrospectives include his statue Schneefall (1965) only as a copy; once he needed to show the statue at two places at the same time so he decided to have a copy made. While making a copy of Franse Halse’s painting “Man With a Soft Hat”, Lovis von Corinth said in Kassel in 1970: ‘That uneducated bastard Frans Hals could paint as well as I do!‘ The most famous Notre Damme bell-ringer is Anthony Quinn, the most beautiful Cleopatra is still Elisabeth Taylor. Traditional Japanese cathedrals are taken into parts every 20 years and then reassembled...“ Searching for the origin and authors of art works may seem as vain at least in the case of our anonymous artists, like curious poking at a termite nest. “We have to accept all the good with the bad,“ Danish film director Lars von Trier would say with a twitch in his eye.
"




Comentarios

Actualmente no hay comentarios

Agregar nuevo comentario

Artículos recomendados

Nick Land – An Experiment in Inhumanism Nick Land – An Experiment in Inhumanism
Nick Land was a British philosopher but is no longer, though he is not dead. The almost neurotic fervor with which he scratched at the scars of reality has seduced more than a few promising academics onto the path of art that offends in its originality. The texts that he has left behind are reliably revolting and boring, and impel us to castrate their categorization as “mere” literature.
Tunelling Culture II Tunelling Culture II
MIKROB MIKROB
There’s 130 kilos of fat, muscles, brain & raw power on the Serbian contemporary art scene, all molded together into a 175-cm tall, 44-year-old body. It’s owner is known by a countless number of different names, including Bamboo, Mexican, Groom, Big Pain in the Ass, but most of all he’s known as MICROBE!… Hero of the losers, fighter for the rights of the dispossessed, folk artist, entertainer…
My Career in Poetry or: How I Learned to Stop Worrying and Love the Institution My Career in Poetry or: How I Learned to Stop Worrying and Love the Institution
An American poet was invited to the White House in order to read his controversial plagiarized poetry. All tricked out and ready to do it his way, he comes to the “scandalous” realization that nothing bothers anyone anymore, and instead of banging your head against the wall it is better to build you own walls or at least little fences.
04.02.2020 10:17
¿A dónde ir ahora?
fuera
S.d.Ch, Solitarios y Cultura Periférica   (una generación nacida alrededor de 1970)
S.d.Ch, Solitarios y Cultura Periférica (una generación nacida alrededor de 1970)
Josef Jindrák
¿Quién es S.d.Ch? Una persona de muchos intereses –activa en varios campos- la literatura, el teatro, conocida por sus cómics y sus collages en los campos del arte. Un poeta y dramaturgo principalmente. Un solitario por naturaleza y determinación, su trabajo no se encajona en las corrientes actuales. Siempre antepone la enunciación personal, incluso cuando su estructura interna puede volverse…
Leer más...
fuera
Revista THC: Revisitando el Condenado Pasado
Revista THC: Revisitando el Condenado Pasado
Ivan Mečl
¡Somos el quinto partido político global! Pítr Dragota ys Viki Shock, Fragmenty geniality / Fragmentos de carisma, mayo y junio de 1997. Cuando Viki llegó de visita, fue solamente para mostrarme algunos dibujos y collages. Sólo como un pensamiento tardío me mostró la publicación checa de finales de los noventa, THC Review. Cuando vio cuánto me fascinaba, le entró el pánico e insistió que…
Leer más...
prize
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
Leer más...
Dolores de parto
¿A quién le asusta la maternidad?
¿A quién le asusta la maternidad?
Zuzana Štefková
La pluralización de las definiciones de “madre“ es, a un tiempo, un lugar de represión recrudecida y de liberación potencial. (1) Carol Stabile Corría el año 2003 y una mujer en avanzado estado de embarazo estaba de pie al borde del camino en el matorral del bosque Lapák de Kladno. En el marco de la exposición Artistas en el bosque, los transeúntes podían vislumbrar el destello de su vientre…
Leer más...
Libros, video, ediciones y obras de arte que podrían interesarle Ir a la tienda virtual
Print on art paper from serie prepared for "Exhibition of enlarged prints from Moses Reisenauer’s pocket Ten Commandments"....
Más información...
290 EUR
340 USD
A book of graphic stories by the French artist Mad Meg with liberal, security and economicistic thematics for all the wretched...
Más información...
11 EUR
13 USD
Cycle of 28 digital photographs of a photographer fascinated by watching the cold, anonymous countryside. She is trying to...
Más información...
2,01 EUR
2 USD
offset print / 15 x 22 x 0,5 cm / 32 pages
Más información...
8 EUR
9 USD

Studio

Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...
 

Cita del día El editor no se responsabiliza por los estados físicos o mentales que puedan generarse después de leer la cita

Enlightenment is always late.
Contacto e información del visitante Contactos de la redacción

DIVUS
NOVÁ PERLA
Kyjov 36-37, 407 47 Krásná Lípa
Čzech Republic

 

GALLERY
perla@divus.cz, +420 222 264 830, +420 606 606 425
open from Wednesday to Sunday between 10am to 6pm
and on appointment.

 

CAFÉ & BOOKSHOP
shop@divus.cz, +420 222 264 830, +420 606 606 425
open from Wednesday to Sunday between 10am to 10pm
and on appointment.

 

STUDO & PRINTING
studio@divus.cz, +420 222 264 830, +420 602 269 888
open from Monday to Friday between 10am to 6pm

 

DIVUS PUBLISHING
Ivan Mečl, ivan@divus.cz, +420 602 269 888

 

UMĚLEC MAGAZINE
Palo Fabuš, umelec@divus.cz

DIVUS LONDON
Arch 8, Resolution Way, Deptford
London SE8 4NT, United Kingdom

news@divus.org.uk, +44 (0) 7526 902 082

 

DIVUS BERLIN
berlin@divus.cz


DIVUS WIEN
wien@divus.cz


DIVUS MEXICO CITY
mexico@divus.cz


DIVUS BARCELONA
barcelona@divus.cz

DIVUS MOSCOW & MINSK
alena@divus.cz

SUSCRIPCIÓN AL NEWSLETTER DE DIVUS
Divus We Are Rising National Gallery For You! Go to Kyjov by Krásná Lípa no.37.