Zurbaran is an enormous experience | Art and architecture
It is not painted religious painting to display it in the museum. In reverse, the work of art is not even inserted in worship places, there is no character, that is, in the worship process. Make symbols. In Russia, after the revolution, the elderly women kneel to pray in front of them, and these items have already accepted museums as a new divinity: people. But here is the difference. Hannah Arendt In the West, there is no hardness and religious art, but the art of religious theme, no matter what the experience.
However, modern and contemporary art, although the roots in the autonomy of the aesthetics, are sinking, by the confusion of these boundaries, on the contrary, to this day, to this day. In fact, the new religion of art is often clear proposed. In his memorable statements, Angel Gonzalez Garcia said that artistic condensation is like spirituality and the value of the army. From Malevich, Mandrian and Kandinsky, “spiritual”, “sacred” or “spiritual” are also praised by artists and their performers. They feel in their own territory to talk. Paul CladellIts poetry is not an artistic alternative to religious doctrine, but Rimbad supports “wild spiritual”. Therefore, wild mystic – without theory, without the theoretical transmission – in the best cases, the instinct of modern art and culture. Something similar to literature without literature, though not always illiterate. If the specific meaning is empty, all cats – the greatest apaffective signs of the perfect spiritual (night, light, nothing, etc.) – are black. There is also other approach to spirituality or religion from the Bill Viola course to fears EpitantDespite the present, Leone Ferrari or Mourigio Catlan type.
Performance Zurbaron (on) is natural. Central nucleus three replicated paintings, from Leon, Boston and Barcelona Museums, have dedicated to the attention of the Pope Nicolow V in front of the Zurbaron body – practically alive or renewable – sant francisk. It went to the Basilika of ACC, in the middle of the -15th century, but the myth was running from death PoorTo whom the Franciscans were present Old Christ. Pope and his entourage body standing, open eyes, anjing of the face, bloody streams, all the evidence of Christish similarity. But Jurbaran’s intellectual has nothing to do with the beautiful kindness of the scene, not even with faith. It is particularly artistic and represents the structure of the film, to the assembly, in which its upset effects. Zurbaran did not offer us In the spirits A. Patrician dream (Or many illustrations of Franciscan mythology, some are here), representing the scene of that vision, but very focus. In this theater, we see what the Pope is. St. Francis is the only person here: the resurrected body in the darkness of a niche, with its shade only: as Victor Stoyichita says, undoubtedly, its current presence.
In many other virtues, this appearance provides aesthetic experience under the pressure of this “other” experience, in which the image opens to the undesirable secret. We are in a museum, three paintings together (it cannot be ink elsewhere and other time ink). Along with abnormality or encounter Great grass fabric to documenta (1964), one of the contemporaries has spirituality (without literature, only music). Against the propensity of the hairs taken by other shows on this topic, the remaining contemporary connections Franciscos They are equally taxed from Zurbaran and are almost literally: the black and white radical of ginovart, the botresent nature of Tony Catani, the golden fabric of Ura Ria Munoz, the spectral projection on the wall of the Yulalia Waldosera.
In March 1966, there was a lot of memory in Barcelona. Many intellectuals, artists, journalists, etc., in the Kapuchin Convent, were closed, and the anti -franco union was found. The police surrounded them, a few days later they made them and fined them; Friers gave them food, and many priests expressed themselves in their protection, a little lovely, but with historical effects. One of the monks was Antony Lana, who was very young at the time. There he met tappies and ràfols, where he decided to leave his orders to enter the artists. But he was carryingArt Powera At one end, poverty, to its void and luxurious heritage. Here his contribution to the collection of drawings – or graphic traces – is clearly described for a show like Waldosera Peace.
Avant -from -guard, an invitation Jurbaranesca It is stable: Juan Gris, The Valecons, El Paso, Christino de Vera … Schematic synthesis, geometry, habits and pitfall iconic power, which is irresistible. But this is not a historical performance (already existed). This is basically a display separated to the nearest and eloquent readings of the enlightenment simplicity of the syntax and semantic purpose. “Image painter” in his sources, attentive to the strategy of volumes, did not think about the contents of faith, but the supernatural pronunciation of the inory haunted vision. It is Zurbaran, of course, keeps us before the mechanics of our experience. This is an enormous experience.
