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- an artist collective and curatorial group aiming to promote the work of current artists, through the website and a collection of exhibitions.
- About my artwork
- We have organised exhibitions within Leicester and Nottingham, but are now pushing other cities, as one of the members is now in Bristol, while the two founders of 'iheartart' remain in Leicester (for the time being).
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I Heart Art's Blog
Web gallery started
Hello to all, Just to let you know that the first stages of the 'i heart art' web gallery have been uploaded. At the moment, it is only showing the work of Alex Thomson, but soon will be showing the work of Matthew Everatt (also has his own personal artreview page -
…
ContinuePosted on 7th July 2008 at 4:58pm —
Welcome, all, to i heart art!!!
Hello to all, This is the first of the blog posts that come from i heart art, on artreview.com. We are using this site as a way of expanding on our current website (http://www.iheartart.org.uk). We are a curatorial and art collective that originated in Leicester, but are only just starting to expand elsewhere. Having already been a part of an exhibition in Nottingham's Surface Gallery, and been involved with, and curated a number of shows in Leicester,… Continue
Posted on 6th July 2008 at 2:38pm —
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am going to a reunion for a week and will be out of touch. Please keep me posted on your news and I will get back in touch at the end of August and look forward to reconnecting with you in Bath.
Ps already have thumbs up from 3 galleries in Frome and Stroud to help promote the show for Nov so perhaps I could put you in touch with them vis a vis promoting galleries on your site?
Best from Luke :)
Please check out my site.
cheers,
Frank Fu
Welcome to artreview.com. Thanks for sharing your space with us...
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Carmen
I transmit the translation of the text " The PURAISMO child Of the Pictorial Modernism" I hope that I am comprehensible sight the scarce knowledge that I have some language Beppe Devoti.
PURE-PAINTING or Puraismo 2006
Movement founded by the painter Giuseppe Sebastiano Devoti Turin that is set in the seam of the European cosalismo.
The artists of the “cosalismo visibilista” gain the look of the observer, but they look for - in
way more and more radical as soon as they evolve their project - to eliminate theirs
look from the picture. Their metaphysics of the to look, returns the world before each
look, also of that of the artist, introduces the archetype of the reality reinventata, that
aurorally of the dream in a vision dreamlike of the cosmogonico myth of the universe before
the man to phagocytize integrating him/it to his/her own desires and needs.
This world makes him look as it makes him look at the surface of an unknown planet:
the anxious beauty (unheimlich) of what has not been seen before never, this pure art
or Puraismo is born in the world of the artistic cosalismo and is asoggettiva. The triumph
of the appearance on the reality recognized that the cubism complete multiplying the points of
sight, the Puraismo pursues him/it projecting on a surface synchronic (coexistent) the
following moments of the process of visual identification of the composition. The faculty
innate to recognize and to interpret, the perceptive inheritance as legacy of ours lived, is the job of visual appropriation of the world since our birth
The world of the artists of this new pictorial tide, as they quote in theirs
apparent, it is a place in which there is no space for the familiarity, for the effusions, in which not there
it is had to feel to really ease is the place in which to make to emerge a feeling of extraneousness
toward the cultural continuity, the place of the existence every time REINVENTATA as utopia
of the genesis. A new aboriginal mythology, in which the metaphysical state of the reproduces him
feelings of the "it was Of the Dream."
Pure-Painting or Puraismo:
The Manifesto
"I DON'T SPEAK OF THINGS IN WHICH I DON'T BELIEVE"
Devoti Giuseppe Sebastiano detto Beppe
1. as in the classical Purism us artists of the Pure-Painting we want to express us through images introduced in a sober and rigorous expressiveness, whose forms are synthetic, in which the contours insert him the one in the others in a puzzle frontal what it brings to a composition to the abstraction.
2. the Pure-Painting, it is a tide new-purist that continues to affirm the plain surface through a definite colour, readable self-going , not neutral.
3. The treatment of the colour both a formal fact characterizes the magic relationship that the artist entertains with the subject of expressiveness the stylistic element that identifies a function mediated through a true emotional pathos.
4. our work has to be born from the precise analysis of the appearances abdicating the optic interpretation of the world.
5. it is necessary to leave that the things penetrate in us and they invade us.
6. it needs that our art takes form from the native thoughts of the movement cancelling from ours to act: the academic visual habits, the perceptive adjustments, and in general the pictorial tradition.
7. we don't deny the tradition, simply we don't intend to be a part it. The tradition stops the search, it pushes to crystallize on stereotypes already experimented and therefore discounted.
8. our world is the place in which there is no space for the familiarity, for the effusions, in which it is not owed us to feel to really ease, is the place in which it makes him emerge a feeling of extraneousness toward the cultural continuity, the place of the existence every time again invented as utopia of the genesis. The new aboriginal mythology, in which to reproduce the metaphysical state of the feelings of the "it was Of the Dream."
9. The photographic painting of the reality there is extraneous in how much the world of the third millennium already has a whole series of tools actions to use this form of realistic representation: the cinematography, the photo the advertising placard, the murales they develop very well this explanatory function.
10. It is necessary to propose a pure subjective vision, to paint a subject that takes form, in almost spontaneous and primordial way, under our hands.
11. It needs that our painting results as a native together "coacervo" of all of this that will be
12. We have to know how to evoke a divine force to return to the perception virgin of the origins, that not infiltrated by looks that they judge, they welcome or they throw back.
13. We firmly believe in the expressive liberty provided that exempted by the foolish overlap that they characterize the crepuscular way of painting.
14. Liberty is the status been born by the knowledge, this Socrates’ vision of the liberty according to which: "the sin is an unintentional consequence of the ignorance", has been taken back and modernized toward a new community thought of liberty. In this perspective we set there in the position to teach to observe over the simple action to see the reality.
15. The indications of this manifesto are not to imposes bridles but an ethical that it proposes of behaviour that points out the direction not the road.
16. Our art won't be decadent, banal and academic therefore it is PURE PAINTING.
The pure painting child of the pictorial modernism
What the pictorial modernism is divided in: mainstream expressionist, of culture center European and mainstream cosalista evolved oneself in the cosalismo visibilista or visibilismo, of Latin culture, it is what known more to the critics that to the impassioned communes of art.
This second stream is born by the way of classifying the reality as a world of "things", it doesn't represent a real necessity, the two groups, in fact, also making to suppose the will to open two perceived roads as alternatives in the modern search, they represent only a marginal aspect of the project artistic modernist.
From the analysis of these two mainstreams the different perceptive formalities of the relationship emerge among only the subject and the reality but these at the end they end up converging in an only expressive project.
The mainstream European centre would aim to first of all represent the look of the painter on the seen things;
The Latin mainstream, for so to say, makes to prevail a vision that tries to free the look. This distinction is born from some psychoanalytic reflections on the dynamics of the look confirmed by the search on the activity of the human brain.
Such search would point out that they exist one "painting of the vision" and one "painting of the look."
To understand the difference of these two approaches we analyze a very famous picture - Edward's Munch Howl. Considered alike of: " apparent of the expressionism" that as painting of the look can be defined.
To the canter in low we see a figure stylized by the indefinable sex a kind of undulated ectoplasm that howls with the wide open mouth and with a gesture of horror,; blood-curdling this figure is standing rather on a wood bridge, while on the background we see a landscape of sea, hills and a port with ships, a yellow sunset and red-blood. Part of the effect of the picture founds him on the contrast among the straight and rigid lines of the bridge and two silhouettes that cross it and the wavy curved forms after all of the landscape and of the howling figure in the foreground.
You has the impression that the sonorous shock of a howl crosses the nature, deforming the sinuosities of the landscape and giving a tenebrous tone of anguish to the uncertain colours of the sunset.
If we try to analyze the picture going over the verbalization of our emotional reactions, it will be perceived that in it is the nature that appears us howling - as shaken by an intense sonorous wave - because the "ghost" central it evidently howls. It is turned in the direction of us spectators, but its look surpasses us verse something horrendous and threatening, that we don't see, but we perceives from our same part.
We think seeing the howling figure that doesn't howl because she sees out something of itself, but because inwardness herself, as in an introspective mirror. Munch, with a teacher hit it doesn't show us something horrendous or of threatening to create in us spectators a sorrowful feeling, but, escaping the perturbing object to our sight, it makes us assemble in the way in which the protagonist of the picture (what it appears as a representation projected of us, or of the painter as him same spectator) it looks at something sorrowful; it tries in short to show us not the gruesome thing but the shuddered look.
But as to represent the look? In a picture we can represent the eye; the object that the eye sees; what unites the eye to the object but the look that the subject has on the object, it is in the order of the invisible one.
The expressionism looks for, hopelessly, to represent really the not representable. In the scream this is become paradigmatic, of this attempt: the anguish that the scream provokes here represented is evoked in the spectator showing him suffering look in the same nature. The gulf, the bloodstained sky, the hills that sink in the dark, all of this "apparent" the suffering look. Deforming the nature represented in the inclusive human body, the painter expressionist not only evokes his own look, but he aspires to represent it in the same nature. The expressionist doesn't limit him more to propose to our look the objects seen by the painter but he proposes to the public his same look as worthy of to be looked.
The wide open mouth of the howler of Munch, virtual canter of the picture, is the visual eddy that the artist arouses in the stagnant waters of the vision. From here the tendency expressionist to prefer curved or serpentine lines; it deals with circumscribing a virtual area of the picture, that is properly a blind point, around which the vortexes rotate evoked by the look. The utopia expressionist consists of trying to disclose the look, always party and tendentious, of the painter. That howl of Munch that tears the nature is the allegory of the tear expressionist: to tear the veil, constituted by the visible objects, that it hides the pictorial look.
The artist "he sees" his subjectivity in the external world that he perceives.
The look therefore it is the subjective appeal in the action of the vision. the subject looking is different from that seeing: it is a subject pulsatory, that chooses with his own wish through his desires what he must be fixed and what must be ignored. The look implicates observation therefore involvement, while the vision has a neutral relationship, disinterested, dispassionate with the seen object: the look is the way in which we subject the visible world, hierarchizes ( it in relationship to our affairs, doing ours this world.
Often the artist has to reconstruct the real essence of the visible world operating through a sort of agnosia, (don't see) rather of incapability to identify what sees; the subject agnosico knows through the sight the surrounding world, but it doesn't recognize him/it it is therefore through a sort of I ascended, that the artist owes I handed the problem to recognize and to reconstruct the essence hidden of what falls under his/her eyes or rather the reality of the visible things to make recognizable. He will have to recover through a reflection (pictorial) what the immediateness of the sight cannot give. The artist has to abdicate the recognition familiarity, with which the things are observed for commonly analyzing her as novelty unknowable every time that introduces him to his look.
Is the expressionism, that wants to represent the look, that the "cosalismo", that wants to represent the reality over the vision, they have the tendency to represent the uneatable.
The pictorial search of the modern cosalismo has aimed to the representation of the invisible one, therefore it is voted to the setback. It can never interrupt it frantic activity it suffers the extinction, the representation of the impossible one will be therefore setback and food to its existence. Until the search it prospers, until the setback its doesn't take the upper hand, until it doesn't stop reaching the unattainable one it exists the motive to exist.
Good part of the today's pictorial search moves in the mainstream of the artists that they use theirs own expressive tools to show theirs technical abilities rather than theirs strength in to create ideas and innovation. The art has to be reform oneself , in the attempt to overcome the academic tendency ever calmed to represent the reality as it is seen it, effecting where an inverse operation to the cubistic adventure him proceeded to a sort of no-construction. The object through the analysis little by little he flaked, chopping itself in so many small solid fragments, (with features of mass) up to the limits of the unrecognizable one, of the pure abstraction. The cubism still fascinates really for this passage from the world reformed to the dismantlement for plain of the world. The cubistic analysis however it will substantially flow however in a decorative degeneration some subject decreeing the end of it.
Every pictorial action should be the result of a form of agnosia, a to see the world without recognizing it, the identification it results to be an action of interpretation and taming of the observed one, a way to make it familiar.
The difference among to see and to look underlines the same connotation of the metaphysical dualism for excellence among to appear and to be.
The academic realism of some recent works, to say few mincing, that a certain art pseudo-surrealist to make us swallow, explain really in the choice of the being rather than to appear; it proposes ours to drastically live visually in the world as negation of that approach eracliteo: everything flows, everything moult, that a dynamic vision shows in which the to appear some things is dynamic while the being tragically remains crystallized.
The PURE-PAINTING or PURAISMO
The artists of the cosalismo visibilista gain the look of the observer, but they look for - in way more and more radical as soon as they evolve their project - to eliminate their look from the picture. Their metaphysics of the to look returns the world before every look, also of that of the artist, introduces the archetype of the reinvented reality, that aurorally of the dream in a vision dreamlike of the cosmogonic myth of the universe before the man phagocytes it integrating it to his own desires and needs.
This world makes him look as it makes him look at the surface of an unknown planet: the anxious beauty (unheimlich) of what has not been seen before never, this pure art or pure painting it is born in the world of the artistic cosalismo and it is not subjective. The triumph of the appearance on the reality recognized that the cubism did multiplying the points of view, the Puraismo pursues him/it projecting on a synchronous surface (coexistent) the following moments of the process of visual identification of the composition. The innate faculty to recognize and to interpret, the perceptive inheritance as legacy of ours lived, is the job of visual appropriation of the world since ours
birth
The world of the artists of the puraismo, as they quote in their manifesto, it is a place in which there is no space for the familiarity, for the effusions, in which it is not owed us to feel to really ease is the place in which to make to emerge a feeling of extraneousness toward the cultural continuity, the place of the existence every time REINVENTED as utopia of the genesis. A new aboriginal mythology, in which the metaphysical state of the feelings of the reproduces him "Age of the Dream
Hi Beppe
great to see you up here! please check out Zaeger Jones page, he's got some interesting stuff going on.
best from luke :)
i am master yogendra kumar purohit
and you can visit my art work at www.yogendera-art.page.tl
i hope you will enjoy it ,
regards
yogendra kumar purohit
M.F.A.
BIKIANER,INDIA
www.yogendra-art.page.tl
I'm from ITALY. I invite you to visit my site. www.beppedevoti.com. and http://www.artreview.com/photo/album/listForOwner
I want to invite you to join me in the pure painting art http://www.artreview.com/group/puraismo . I would be honourable if You wanted to participate in the group of my friends. Beppe
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