There is a non-limit in general, if I conceive the limit as an absolute point of view.
The overcoming of the same is the material proof of its non-existence. As outdated it does not arise, because outdated ergo cancelled. Its existence is outdated, altogether.
The non-form in the expression and the spasmodic research of the unconscious guide any form of art. And its constant change. Necessary.
In 1912 Duchamp was denied the exhibition of NUDE DOWN THE STAIRS N.2 as outside the orthodox rules of the new cubist current based on mathematical orders, as it was imbued with movement, a hallmark of futurism.
That non-form, that contamination, that breaking of the pattern defined by American critics as “an explosion in a tile warehouse” is the basis of the vision and conception of art of 2 CHANGING ART.
Nothing is denied, everything is represented, as long as it respects the rule of being art. poetic.
Arthur C. Danto poses the question What is art, giving indications and reading codes between the philosophical space and rational reading, which determine without the possibility of error an expressive form in constant evolution and metamorphosis, where precisely the non-form represents the nerve center of his being. Without canceling or denying the ancient representation of beauty, which has been taken up again and again over the centuries, even in recent times.
Added to this is that in general, there is no reading if there is no interpretation and therefore subjective vision, personal reading. Because this is one of the main codes of reading art. That of allowing each reader to see what his own soul allows him to see. And the non-existence of the pre-assigned form or of the necessary coding on the basis of a style or trend, or code, is based even more on this principle of the subjectivity of reading on interpretation.
It may be only to appreciate the rigor and emotion of the brushstroke, the light that reflects in the form of aesthetics and design on the line of the marble sculpture, the reading of the poetic rigor of the word expressed in the lyric to stimulate the pleasure of the work. It is not necessary for everyone to see the reading of an intrinsic message, a narrative that gives an intimist message or a historical reference.
Who and where better than a box not a box, a gallery not a gallery, a studio not a studio, a location not a location, a space not a space. The strawberry place. Where it is possible in a non-form to express a path that generates discussion, contamination, clash, meeting, dialectic, constant modification for an eternal change. Because art in absolute terms is, from its awareness, a moving engine directed towards eternal change.
Da una parte sentimenti apparentemente superficiali, in realtà complicatamente sofferenti, ostici e acidi come la considerazione di Frank Stella “Quello che vedi, è quello che vedi”. Tutto e nulla, il tuo personale punto di essere, e quello che oggettivamente si rappresenta. Non c’è un punto sopra gli altri, è proprio lo scontro generato dalle credenze e certezze dei più, ad essere il perno. La linfa di questo viaggio interminabile alla ricerca dell’impossibile equilibrio dell’arte.
Kant somehow says that to be art it must possess the spirit, beyond the expressive form. In other forms we speak of the poetics of representation. Perhaps the link and the answer, if we really have to look for it and we deem it necessary to identify it, lies in the emotion that its existence arouses. The art.
No hay reglas en la pintura –Goya says. There are, perhaps, no rules in art. Because art is probably precisely the precise absence of rules, expressed in poetic form.