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    GUMAGUARmoderní :: postmoderní :: současné umění




    "My favorite art is the art I don't understand." Pae White
    "Umění chce tvořit konečnost, která vrací nekonečno." Deleuze a Guattari
    "The ‘value’ of particular artists after Duchamp can be weighed according to how much they questioned the nature of art; which is another way of saying “what they added to the conception of art” or what wasn’t there before they started. Artists question the nature of art by presenting new propositions as to art’s nature. And to do this one cannot concern oneself with the handed down ‘language’ of traditional art, since this activity is based on the assumption that there is only one way of framing art propositions. But the very stuff of art is indeed greatly related to ‘creating’ new propositions. That there is no ‘truth’ as to what art is seems quite unrealized." Peter Coffin z rozhovoru

    než začneš diskusi o tom, o co je to umění, čti: 1, 2, 3, 4, 5 - krátký a čtivý úvod do kritiky umění
    rozbalit záhlaví
    VYTVARNICE
    VYTVARNICE --- ---
    LOSBASTARDOS: Fajn práce :) Minulej ročník byl nejlepší, řekla bych. Měla jsem svoje obrazy o pár bothů dál...
    LOSBASTARDOS
    LOSBASTARDOS --- ---
    1 odpověď

    Czech Art festival 2007

    LAVA
    LAVA --- ---
    výjmečný člověk, musel mít i "netradiční" odchod...každopádně je to škoda
    TANAIS
    TANAIS --- ---
    Zemřel Jan Kaplický

    http://zpravy.idnes.cz/zemrel-architekt-jan-kaplicky-v-den-kdy-se-mu-narodila-dcera-poy-/domaci.asp?c=A090114_230954_domaci_jte
    ALBATROS
    ALBATROS --- ---
    veronka ........tyjo au_???co to je
    VEROUNKA
    VEROUNKA --- ---
    KHALAVERA: spatny pruzkum, chybi tam urcite kvantova fyzika! ;)
    VEROUNKA
    VEROUNKA --- ---
    ALBATROS: tyjo au! ;]
    KHALAVERA
    KHALAVERA --- ---
    TANAIS: jenom ten pravý sloupec .)
    TANAIS
    TANAIS --- ---
    1 odpověď
    KHALAVERA: tvoje knihovna? :D
    KHALAVERA
    KHALAVERA --- ---
    2 odpovědi
    TANAIS
    TANAIS --- ---
    Ráda bych vás tímto pozvala do nového klubu
    [ Akt ve výtvarném umění (malířství, sochařství) ]

    Za spam se omlouvám.
    GUMAGUAR
    GUMAGUAR --- ---

    JAKUB NEPRAŠ
    REACTOR

    16.1. – 6.3.2009
    ________________

    vernisáž 15. ledna
    v 18 hod

    VERNON PROJEKT
    Heřmanova 12
    170 00 Praha 7
    ČESKÁ REPUBLIKA

    PASH
    PASH --- ---
    KHALAVERA: Ikea'a Lack table upgraded : http://www.kellyjazvac.com/LackUpgrade/LackUpgrade.html
    DKULHANEK
    DKULHANEK --- ---
    PASHAACEK: spíš jen kytarovou : ))
    PASHAACEK
    PASHAACEK --- ---
    JAZZZ: :D :D
    JAZZZ
    JAZZZ --- ---
    1 odpověď
    PASHAACEK: to znamená, že hudba musí mít říz ;)
    PASHAACEK
    PASHAACEK --- ---
    2 odpovědi
    ALBATROS: to je tvoje prace??? a to ma znamenat ze nemas rad hudbu?? :D

    KHALAVERA: pekne!!
    KHALAVERA
    KHALAVERA --- ---
    ALBATROS: piš prosím i autora, ne každý ví, že je to tvoje
    ALBATROS
    ALBATROS --- ---
    3 odpovědi
    TANAIS
    TANAIS --- ---
    KHALAVERA: tak ty knihy mě nadchly!
    KHALAVERA
    KHALAVERA --- ---
    Kaz Oshiro













    Kaz Oshiro is a master of deception. His works posit ordinary objects with a humble simplicity. Washing machines, kitchen cabinets, stereo speakers, and trashcans are presented with mundane matter-of-fact-ness ― bland commercial components, bearing the marks of their habitual use. Oshiro’s forms, however, are not usual household appliances: they are actually three dimensional hyperrealist paintings. Each of Oshiro’s works is assembled from stretched canvas, expertly faux finished and adorned with real fixtures such as handles and decals. Through openings in the back of each work, Oshiro reveals the secret of their making.

    In combining sculpture and painting, Oshiro considers his work as dissociated from both disciplines. Instead he describes his practice as “postmodern photography”, creating provocative instances of perception which simultaneously confuse and expose artifice and reality. Equally influenced by Minimalism and Pop art, Oshiro uses these references to reinterpret the traditional genre of still-life. Like 17th century paintings of flowers and fruit, Oshiro’s contemporary emblems of status symbol and commodity invoke a transitory mysticism in their contrived illusion. In replicating the quotidian, Oshiro conjures a magic in the in the experience of everyday banality.
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