From the rethinking of modernity that extended globally in the twentieth century, from Rudolph Steiner to Rabindranath Tagore, from the Black Mountain College to Joseph Beuys, we can see the strength of the efforts to construct art as life. Only in using things to their utmost is it possible to intrinsically connect the creation of things to the universe.
Some labor is merely a substitute for machinery and will ultimately be replaced by machinery.
This kind of pendulum-like movement has even become a feature of the curatorial discourse of international exhibitions.
It might occur between particular individuals, yet it can be woven around our public events and media. Its objective is to connect individual practice with social responsibility; to link unrestrained fantasy with reality, to link labor with creation, and to connect everyday life with the barriers to art.
Total art does not consider that artistic self-discipline exists independently of historical questions; nor does it consider that the inner world of the individual is an interlocutor that can be sealed off from social discourse.
For this reason, the general orientation of total art tends to seek a certain broad sociality. Emotion Individual Core Problem Sociality Educational reasons Experience Cultural psychology Local conditions Expansion of form In order to see extensively, we gaze across the horizontal axis towards the social dimension.
Your piece taken alone might have its very own cellular wall; but once it is placed with others, they will adhere to each other to become an organism possessed of a formidable power to reproduce itself.
This attitude of total art actually has always existed in Chinaand in fact has always been very strong. The new arenas and worlds made by great artists and scientists exhibit the wonders of creation and of human ingenuity. Thus an even more accurate phrase would be: At the same time, it advances a non-partisan critique of the tendencies of vulgar sociology and private language.
We merely propose vigilance against vulgar sociological tendencies, and, when discussing the efficacy of art, we warn against falling into theories of morality, imagism, or instrumentalism.
In its wake, so shall happiness become possible. Reality is the point of departure. The aim of knowing emptiness is to put something there, a presence that is fresh and pure, which is the most eloquent evidence of emptiness.
Interpretation invariably can never conceal a work of art in its entirety.
People might find that they wish to take one piece out of this system, to hold it up and pull at its many threads. Total art does not consider that artistic self-discipline exists independently of historical questions; nor does it consider that the inner world of the individual is an interlocutor that can be sealed off from social discourse.
Or why not a dog. To know the truth of the self is to recognize one's own freedom. Jing Tsu.
Jing Tsu, a Guggenheim Fellow, is Professor of Modern Chinese Literature and Comparative Literature at Yale University. She has published widely on sinophone literature, the science and technology of scripts, and Chinese diaspora and nationalism.
Elaine Chiew's essay on Singapore Biennale titled The Myth, the Mirror and the Map. This essay is written for the AICA & ArtsEquator Essay Competition. the mirror, the myth — power four works of the Singapore Biennale Qiu Zhijie’s One Has to Wander Through All the Outer Thus, a flow of letters from the English alphabet.
In light of his new exhibition, artist Eric N. Mack talks John Galliano, and drawing parallels with the process of styling Find this Pin and more on Artsy by Jennifer Foley. Emerging Star Eric N. Mack on Growing Up In a Museum. Then, from the weaving and pottery of the rural areas, from their songs to their festivals, from their clothing to their architecture, from their use of a chair to their writing of the alphabet: these can all be new points of departure.
The essays in this book present a complex theme at the heart of the philosophy of Gilles Deleuze, what in his last writing he called simply "a life." They capture a problem that runs throughout his work—his long search for a new and superior empiricism.
*This essay is one of 4 written by finalists of the inaugural Best Essay on the Singapore Biennale by an Emerging Art Writer lanos-clan.com competition is a new initiative, jointly organised by ArtsEquator and AICA SG (Singapore Section, International Association of Art Critics).Qiu zhijie light writing alphabet