words and image for X - editorial project (by O. Pavlenko)

TIME / ART

When I was young I lived in a house in the Chianti region. It was one of this old houses where you never know if there might be a hidden room somewhere. I remember that there were several posters and paintings in the house, but the ones I recall were hanging in those places you take your time: the walls beneath your bed, the room before the toilet occupied by some family members and guests. Pieter Bruegel d.J. „Flämische Sprichwörter“ was hanging as a poster over my bed and his weird creatures told good (or bad) night stories and followed me in some of my dreams. There was a lot to see in that painting and there did not seem to be an answer to the question why some pancakes are glued to the roof of the house depicted, or why someone is embracing a pig, but that chaotic scenery was quite attracting and I would spend some sleepless nights looking it over and over, always finding some new details. The second poster showed the rear of a villa in some pastel coulored light on the left part of the picture, whereas on the left you could see a wonderful garden with delicate looking women dressed in light colours. But- wait!- were there any people in it or was it just the garden? I was sure at the time that there was a party at that house and that there was surely someone playing some soft classic music with the piano, chopin´s nocturnes maybe. This painting didn´t have many details, so I lost myself in the attempt of adding some. But now it´s hard to say what was real and was mine. Every Sunday my father as a child would go to the church, and every time a Jesus statue captured his attention: it was a particulary beautiful one, he told me. I think it was a sculpture by Michelangelo, but I would not swear it. Each time after returning home, he tried and tried again to draw that Jesus figure, and each time when he went back to church he saw that he had forgotten some aspect and that there was a detail he did not remember. He learned to know by hard every line of the shape of that body, and he learned to draw very well, to observate with attention and to remember shapes and distinctions. This Jesus was a patient model – and he remains it for many others over the times. Urs Raussmueller built an adequate place for the experience of New art: The Hallen für Neue Kunst Schaffhausen (Switzerland) is a space where the artworks rarely change their position. But to the viewer they never look the same. The changing light of the day and the seasons that enters through big windows and shines on the powerful installations has a fundamental influence on their appereance, their colours and shades. If you spend a day in this museum you will notice the subtle changes in the presence of the works. From hour to hour your eyes will catch a slightly different impression. Of course, the shape of the works, the author, the title, the material, the space is the same. But your thoughts, your mood and your sensitivity are never the same as before. The light will have turned from warm to cold, from direct to indirect – and you will have lived a change as well. Everything looks still similar, but it feels different.

___________________________________________________________

Sharing 1/60 sec for 3 months:

We underestimate the value of time regarding the confrontation With art. I made a simple experiment and gave 3 people the same photo. Over the time of 3 months they had to share time and space with it writing down a sort of diary of their changing experience with the picture. Time/ART (temporary title) When I was young I lived in a house in the Chianti region. It was one of this old houses where you never know if there might be a hidden room somewhere. I remember that there were several posters and paintings in the house, but the ones I recall were hanging in those places you take your time: the walls beneath your bed, the room before the toilet occupied by some family members and guests. Pieter Bruegel d.J. „Flämische Sprichwörter“ was hanging as a poster over my bed and his weird creatures told good (or bad) night stories and followed me in some of my dreams. There was a lot to see in that painting and there did not seem to be an answer to the question why some pancakes are glued to the roof of the house depicted, or why someone is embracing a pig, but that chaotic scenery was quite attracting and I would spend some sleepless nights looking it over and over, always finding some new details. The second poster showed the rear of a villa in some pastel coulored light on the left part of the picture, whereas on the left you could see a wonderful garden with delicate looking women dressed in light colours. But- wait!- were there any people in it or was it just the garden? I was sure at the time that there was a party at that house and that there was surely someone playing some soft classic music with the piano, chopin´s nocturnes maybe. This painting didn´t have many details, so I lost myself in the attempt of adding some. But now it´s hard to say what was real and was mine. Every Sunday my father as a child would go to the church, and every time a Jesus statue captured his attention: it was a particulary beautiful one, he told me. I think it was a sculpture by Michelangelo, but I would not swear it. Each time after returning home, he tried and tried again to draw that Jesus figure, and each time when he went back to church he saw that he had forgotten some aspect and that there was a detail he did not remember. He learned to know by hard every line of the shape of that body, and he learned to draw very well, to observate with attention and to remember shapes and distinctions. This Jesus was a patient model – and he remains it for many others over the times. Urs Raussmueller built an adequate place for the experience of New art: The Hallen für Neue Kunst Schaffhausen (Switzerland) is a space where the artworks rarely change their position. But to the viewer they never look the same. The changing light of the day and the seasons that enters through big windows and shines on the powerful installations has a fundamental influence on their appereance, their colours and shades. If you spend a day in this museum you will notice the subtle changes in the presence of the works. From hour to hour your eyes will catch a slightly different impression. Of course, the shape of the works, the author, the title, the material, the space is the same. But your thoughts, your mood and your sensitivity are never the same as before. The light will have turned from warm to cold, from direct to indirect – and you will have lived a change as well. Everything looks still similar, but it feels different. 




"Si apre la porta di casa. Tre foto nel corridoio. Non sempre si guardano. Qualche volta di sfuggita. Afosa giornata di luglio. Lo sguardo si sofferma. Una stanza Una finestra, uno squarcio di luce si apre sulla verde campagna. Una spiaggia Un uomo, una figura rossa cammina fra azzurri specchi d'acqua. Palazzi Finestre, celle buie si nascondono dietro grigie tende. Neve Uomini, figure opache affondano come in brumose onde. Vedo la stanza e la finestra, sento entrare la frescura. Vedo la spiaggia e l'uomo, sento muoversi la brezza. Vedo palazzi. Vedo neve. Il freddo diventa troppo. Il mio sguardo fugge.


 
Lulghennet Teklè - 3 months living with the image /  tre mesi di convivenza con la foto

using allyou.net