The touch - 2nd edition: utopia factories
17 May 2010
The radical change in the outlook of modern art, the transition toward the temporal, the multiple, may be viewed as the reversal of the movement that brought Aristotle's heaven to earth. In our days we started bringing earth to heaven. Art has become involved in our daily adventures, in order to renew everything it touches and warm all that it penetrates - the earth on which we live and the truths which enable us to live. At each turn it is not the echo of a demise, a bell tolling for a passing away that is heard, but the voice of rebirth and beginning, ever afresh, of mankind and materiality, fixed on an instant in their ephemeral permanence. One of the most powerful tools, to sketch "the touch" of these visions in our "utopia factories", is the whole digital media.
Digitalization encourages us to accept information and points of view that even challenge our preconceptions. A new and infinite world of "cognitive dissonance" is available to help us to upset some carefully worked out structures of beliefs, that keep the doors to our future closed. That´s why digital photography should not only be traditional photography with a digital camera - no: it has to be experienced like something completely new. The application of the imagination to the future requires an environment in which it is save to err, in which novel juxtapositions of ideas can be freely expressed before being critically sifted. The whole society should be transformed into a network of "utopia factories", where future can be designed continuously. Here the Internet is our next powerful tool.
The more advanced the interchange of information in any kind of a social, a commercial or a creative context, the greater the likelihood that it would be moving in the direction of literary diversity and away from uniformity. The most uniform cultural contexts are typically primitive enclaves. The most striking feature of our contemporary culture is the vast range and diversity of its alternative cultural choices ... and this spectrum of different audiences is identical with our network of "utopia factories". That´s why the project is called: THE TOUCH. If creativity should prosper re-creativities, we don´t have to forget, that all kind of art is bound up with human culture in general, and that artistic creations, even those which at the moment appear the most advanced and esoteric and difficult to grasp, are meaningless outside their cultural context. Here creativity is destined to be framed in concepts and words that have a grip on the communities and become part and parcel of the general world picture. The image we all are working on.
The purpose of all change, if it is in keeping with the nature of things, is to realize in each creation or vision the perfection of its intelligible essence, and the progress in the digital media is giving us a hand to manage real virtuallity: to come closer and closer to express our inner view of future like we experience it our minds. Thus this essence, which, in case of living creatures, is at one and the same time their final, formal, and effective cause, is the key to the understanding of nature as our basic material for aesthetic experiments. Artistic activity breaks the temporal symmetry of the object. It leaves a mark that translates our temporal dissymetry into the temporal dissymetry of the object. As a result, there is a need for new relations between man and nature, man and man, man and virtuallity. Repetitive behavior, whatever else its functions, helps give meaning to non-repetitive events, by providing the backdrop against which novelty is silhouetted. So we should repeat the innovation like a ritual in our "utopia factories". This is THE TOUCH, in which novel juxtapositions of ideas can be freely expressed before beeing critically sifted.
(I´ll have three exhibitions with these works during this summer in Ibiza: