from "poison/toxication"
artist's commentary on works
Flowers - The other side of the concept, or the memory of blue sketch
beyond the concept ; the exterior of the concept
Nostalgia on timeworn beauty, or senses that traverse the excess of
semantics
<I too, sometimes want to be the actress in a pornography>. A
few years ago, a TV actress published a biographic story with the theme
of physical attraction, and above was the title chosen.
--<I too, sometimes want to paint>. Not just that, I want to
paint fantastically beautiful sensual painting. In a sense that is occasionally
dreary, melancholic and yet severe and sensual- or following the attraction
of turning into a body of someone else that I can no longer control,
as such.
Although such thought is nothing new, I wonder the conception of the
beauty, and while floating in that thought, I cannot help asking myself
whether the condition of harmony could always be new, if a beauty is
supposed to be born out of the sensitivity of that <harmony>.
Is the sensibility towards the newborn beauty able to exist without
collapsing the existing sensibility on harmony? When our condition of
sensibility has already been established, so that the condition of beauty
is already somewhat ready-made notion, I guess the contemporary sublimity
that goes beyond our ability of general awareness would be the only
thing that could replace what our existing sensibility nor conception
could apprehend.
I wonder how late and trained the concept of beauty we now appreciate
is. Nonetheless I miss the sensibilities that could actually be regressive.
Yes. It may be a nostalgia towards the existing beauty. I will just
put it as a nostalgia on timeworn beauty. But what if we could recultivate
the time-that is, what if we could newly organize and arrange the ingredients
of sensibility- not only that, what if we could deviate from both old
and new..
If the most contemporary sensibility of art in post-Duchamp era is
the birth of conceptual art, I think the essay by J. Kosuth 'art after
philosophy' is the one that wonderfully summarizes and represents it.
The fact that conceptual sensibility was the paradigm that ruled over
the artworld during the 70s, Kosuth stated rather dramatically as <philosophy
leads the way and art follows its lead>. It was very radical of the
art back in those days and it was resisting the art until then by being
a form of philosophy than art. It was just a radical aspect of the "post-Duchamp
art" that said adieu to the art of retina.
It was no wonder how general public responded abstrusely. Although
there was the unstoppable aspect that excessive phenomena of semantics
in art without sufficient philosophical ground all booming up, I take
that as a historical counterevidence of art that could not revel philosophically
against the reality and society that lacked in philosophy. As Adorno
once said, the very existence of contemporary art itself is already
antisocial and the fact that contemporary art exists is itself a criticism
resisting to adapt to the society.
I have another thought. The other day I was driving and an antithesical
phrase came up on my mind <philosophy after art>. But isn't leading
philosophy this century tracking after art/literature? Foucault did
so. Deleuze did so as well. It is an era where the incompetency of philosophical
concepts that fails to capture original senses. The era where contempted
on inconceptified senses is going over hill. Present day is the era
where philosophy is required to look up to senses to make it the object
of thoughts. A new way to organize matters of senses is called for.
The game with senses holding power to postpone interpretation and perception,
and for the deviation and liberation of senses that fail to harmonize
with concepts, things that cannot be conceptified are calling for us
from the other side of our subjective point of view. I reversed such
situation to put a name on that aspect, <philosophy after art>.
How have we been through the outcomes created by excessive wills of
semantics and how will we go through it from now? I think it is the
task and question given to the contemporary art now.
Since I am a lazybone, to me, dreaming of painting without having paints
on my hand is photography and computer layering work. For me photography
as an established mechanism is only a techniques to design paintings
and extended senses. I like experimenting with the toxicity of aesthetic
hallucination by trifling gentle reversion by applying layers and colours
that go beyond our perception on collected still images.
2008
myung -seop hong
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