ਗਉੜੀਮਹਲਾ੫॥ ਜਾਕੈਦੁਖੁਸੁਖੁਸਮਕਰਿਜਾਪੈ॥ ਤਾਕਉਕਾੜਾਕਹਾਬਿਆਪੈ॥੧॥ ਸਹਜਅਨੰਦਹਰਿਸਾਧੂਮਾਹਿ॥ ਆਗਿਆਕਾਰੀਹਰਿਹਰਿਰਾਇ॥੧॥ਰਹਾਉ॥ ਜਾਕੈਅਚਿੰਤੁਵਸੈਮਨਿਆਇ॥ ਤਾਕਉਚਿੰਤਾਕਤਹੂੰਨਾਹਿ॥੨॥ ਜਾਕੈਬਿਨਸਿਓਮਨਤੇਭਰਮਾ॥ ਤਾਕੈਕਛੂਨਾਹੀਡਰੁਜਮਾ॥੩॥ ਜਾਕੈਹਿਰਦੈਦੀਓਗੁਰਿਨਾਮਾ॥ ਕਹੁਨਾਨਕਤਾਕੈਸਗਲਨਿਧਾਨਾ॥੪॥੩੪॥੧੦੩॥
For more infomation >> BMW 7 Serie 735I EXECUTIVE / SOFTCLOSE / NAVI / LEER / COMFORTSTOELEN / OPEN DAK / PDC V+A / ALPINA - Duration: 0:54. 
For more infomation >> BMW 5 Serie 525D HIGH EXECUTIVE / M PAKKET / LEER / NAVI / XENON / PDC V+A / STOELVERWARMING / EXPOR - Duration: 0:54. 
For more infomation >> ごめんなさい。これで勘弁してください。【新制度】 - Duration: 2:27. 
For more infomation >> Quick Bites: Mill Tavern - Duration: 2:10. 
For more infomation >> Experience Koi Live Stream - "Til Death Do Us Part" Week 3 - Duration: 2:33:52. 
For more infomation >> Kid goes viral with carpool karaoke of Whitney Houston classic - Duration: 1:03. 
For more infomation >> Changer roulement roues avant HONDA JAZZ GD TUTORIEL AUTODOC - Duration: 20:23. 
For more infomation >> Zombies Ate My Neighbors (SNES) - Retro Game Review - Duration: 8:56. 
For more infomation >> Yeni Kanallarımız Hakkında Duyuru | Hepinize Çok Teşekkürler❤💓💕 - Duration: 1:01. 
For more infomation >> July Favourites: Books, Series, Products & a Podcast! - Duration: 7:28. 
I will start with your methods, with your ways of making
when we look at your practice when we look at your projects
the range changes a lot from photograpgy to painting from collage to site specific works
even some architectural experimentations to scientific experimentations
that turns into tangible objects that you reflect
yourself so I would like to ask your ways of making from the beginning of your career to today
how it changed how it evolved and your journey... it's been a long journey because I
started studying painting and my first studies were in Italy in between Tuscany and Milan
Milan and then after the Academy of Fine Arts I was really interested in
the shifting between in photography between analogic and digital so in that
time I remember that we were really involved in this kind of cyber culture
that was related to the the body the vision to the Baudrillard sense of the
losing the reality in a sense and for me that the digital photography gave me the
possibility to to work like a director in a sort of narrative so the paradox
between the image the situation the double situations in the image I
mean real people in a fake stage or something similar and for me the answer
was was this sort of paradoxical approach respect work what's the reality and then after five four five years of working only with
photography I start again with sculpture just because I need to handle
something in that sense I'm being lucky because the first series of sculptures
were all these copies in 1/1 scale of real objects realized it in rubber so those
pieces were without the internal structure
exactly copies of the reality but without the structure in that sense
because the rubber give you this
translation of an object losing the object itself it was they were like
ghosts like phantoms in that sense the gray color that keep all these objects
together it's it's another form of neutralization of your turn and
for me was just to say what the reality and we are just in front of something
that we can't recognize really like what's real and what's fake
okay so at the beginning then all the work was around this problem you know in
you are in search of reality somehow... okay yes but always I love this word Transfiguration always
not presenting real objects or real stuff but are always working again on
something that produced like an art object I mean using the typical
sculptural methods of moulding casting so you see something that exactly the
reproduction of the real but is not real as an example can we give *********used to be our bags
yes the albergue comes from these areas
but the main problem was this aspect of this defunctionality
and but how is the process exactly we start with a certain material or do you
have an idea exactly and of all during I mean for the
exhibitions for example it was really strictly related with all biographical
objects or with the subject the theme of an installation so in that in that
series I was working with a lot of architectural elements for example doors
windows but also pianos my bike so an entire world reproduced but in
collapsing
in that sense probably the recent work is going to the opposite because I was
working losing the structure from the things
today I'm working exactly on the opposite because all the stuff and after
after 10 years 15 years of deconstruction I started trying to
build again in that sense the modular pieces are formulated in this sense that
the structure the internal structure of the of something should grow in in an
organic way and this mixed culture between digital and but also I grew
up in the countryside so that is always looking to nature now for me really the
base of many projects if I think to the recent sculpture I love to relate them
to plants or corals or this sort of diagramatic systems but this is the
point digital versus nature or they go hand in hand and not at that time
, this came later in the 2000s because my passion for
architecture in that sense I start to work with this idea of the space like a
Euclidean box and if you have a look you will see different installations where.
you can go in and you can pass through those spaces and the Euclidean grid
that make the drawing of this three-dimensional space is going the
formal like an organic process so from the corners
it goes on in the sphere let's say and probably that was because I would like
to introduce the viewer inside the piece and not only looking at something
but walking .how do you do it using those kind of spaces that they have a double
distortion one is acted by the structure the other is acted by the surface I mean
I have I have used this kind of prismatic film has had the beginning of
2000 that give you a particular optical effect and it's useful
lighting in architecture in or something but and and for me was very
interesting because it give you a distortion again working with the
prismatic structure of the light so it's difficult to explain the effect of the
material but so interaction is one of the main points in your works can we say that. yes from
those spaces and the caravans for example but also the first project on
the tree it's being in 2004
the title of all the series is monologue patterns because for me they
were related just to one or two people inside space that should feel in in a
sort of poetic way and how I can explain you mean by poetical landscape
yes exactly there were not social spaces, asocial places in right now
yes yes because the character of the space give you works on your integrity I
mean for example the transparent Caravan they play on this double situation that
you are inside a space that is transparent so you can see outside and
the other can see you I like the question about architecture and how you
use the basic rules of physics and basic rules of nature to create this reflection
by itself also your dilemma in between digital and analogue so you consider your works as an extension
of architecture or your works have a typical architectural style for
you how do you see your works because you're talking about like creating an
atmosphere, creating a landscape which is a subject of architecture so first I would
I think those kind of pieces are still objects
because they start from a sculptural point of view but then they became
spaces in that sense the approach to architecture is very natural is very I
mean is not is not a barrier for me and and this work is fantastic because every
time you are going into other landscapes, yesterday we were talking
about design there are all these kind of things but I don't want to stop in front
of anything you know yeah so during the time during the time I was trying to
have for example like a kind of work that should react to architecture
because for 10-15 years we have all this sculpture amazing new spaces and have
produced from the artists and so on so I said have you seen some Museum and it's
very difficult to interact in this museum because it's a skull
the museum itself is a sculpture and so art has to I mean probably the usual
reaction it's been to to work with videos to work with different media'
also for that reason because you lose the frame
so for me those kind of modular pieces for example are really a reaction they
should be a reaction to the space I want to dance inside the box of some somebody
else or I can make something on this facade on that bridge working like an
organism in that sense I'm free and I totally agree with you talking about
the museums have became sculptures because they become signature buildings for sure, exactkly, landmarks.
coming to your ways of making again, you also and mentioned that you started this
you know method shifting between analog and digital in terms of social visit
but then you took this method this idea this this statement to other works of
yours like also your searching for reality you talk about neutralization of
the object that you are doing it by using nature, natural elements, natural rules like basic
rules of physics but at the same time you wotk with science and technology without
this you cannot realize your projects and I would like to ask you where do you stand
between physical and dygital. there is a new term that we are also using now: phygital ... yeah I know
so how phygital you are? I think in digital it's a sort of continuous
parametric approach parametrically means that you can ship
something and dividing your interest and you know what the parametrical
architecture what is this? it's something that's learning from natural
laws so I am making a lot of architects are asking to me
if the modular pieces are projected in a parametrical way but it
isn't. because when when I say to you that I want to react like an organism
and the seeds the ***** give you the possibility to grow it's something
very close to the parametrical approach in architecture but is like a
plant and I'm doing that in a very empirical way you know because I never
study science I studied Leonardo da Vinci so
that's probably the starting point of my culture he was looking to so many things
and everything should be the subject for something else but this
empirical approach give me a freedom also give me a lot of failures
because you never know what's happened with until you
build something I mean I started from watercolor then I go in 3d the 3d
softwares are always there because we think in 3d and also the at the very
beginning I was talking about this great sculpture for me they were like I mean
the the gray color the neutralization of the surface the absence of texture give
you this idea of the model of the prototype of some
so the object is without the external qualities but keep only the its own mass
and shape and yesterday you were mentioning a lot about sharing and
we live in a digital world so anyone with access to internet social media the
changed the whole way of communication and also production in my
eyes is not anymore at a monologue but we turn everything into a dialogue how
do you integrate this phenomenon into your work I don't care too much about
these kind of social portals for me just an instrument, a tool but I think
that art has to be stronger than these stuff because the socials are just a
sort of flowing of things
and when you try to make a good watercolor, a good sculpture a good video
in the sense of the poetical approach you have to look at yourself not only to
to the external factors in that sense I really
think that art became a social subject but the very beginning is
at the very beginning is produced with another sense that something that I mean
give you the possibility to to know yourself and what's around you the
social media are so superficial yeah but on the other hand if I
look at an old painting but also Francis Bacon if I look to the ancient art or
I don't know I love for example this ethnographic museum yes because I see
all those manufacture all those kind of symbolic so the question is how we can
produce
something symbolic if you don't look in the D and I don't know I mean those kind
of social media they they need they need materials to be filled but
quite often everything is so superficial that to be
honest I don't love them too much I love people
that is going deeply inside poetry or science because this way I
learn a lot of things from these people and today we are always ok we
should we should see what's happened there and there and there but then and I
mean there is a lot of difference between to see something on the screen
of the telephone and and an artwork to be in front of a real artwork. two
different worlds. I'd like to see this landscape in the phone or just in front
usually you feel the smell of the things
and this is the analogical yes it is something I'm quite curious
actually because okay, the digital technology the three-dimensional
visualization has developed a lot but at the same time there are some
things that some interpretations we can still make of course using the very
simple and basic rules of physics nature and chemistry
making life is creating the infection you can use a mirror and some pasta so
and let's also make a comparison because you mentioned that you
grew up with Leonardo. So when we look at the art history
reneiisance happened because of the people that's gathered in Italy
at the time in France, in Milan in Venice anyway so if there was a
Renaissance at the same time it was because
of that community existed there at that very specific time and they created a
new thing and also of course after all the black age of Europe they needed
something to rebirth so today do you see this kind of community from where you're
standing artists designers architects there are some communities around the
world making some collective works as well at the same time some solo work
do you think that how do you see today's art and design age community I like its
approach a lot because for example we are also working in the south of
Italy to a sort of ***of the *** project and
it's super nice because we are talking with the habitants of this part of the
city Matera. Also Joseph Grima is doing something there. Exactly because there
will be the capital of culture 2019 so it's very interesting to see the reaction of the
normal people and I have to say that show a showing my work to them all these
people fall in love because the words are given to you something that I mean
going back to the relationship between nature and science for example these
installation in Venice that made with eight thousand pieces it is also a
visual metaphor of what you are talking about I mean all those connections,
the those nets so I think a visual object should be should be read from the
viewer in many different ways it depends on your language, on your culture
and I was trying to make something exactly in that direction I mean a work
of art has a meaning but the meaning is so open and that's the power
of that piece because you are you are working on many levels of meaning
then there's the relationship that you were saying about the design the architects
I mean it becomes open an opener and if you look at the architectural Biennal
and those kind of things I was invited for many many architects during
this 15 years to make project together but you know what they need you
because you have more freedom than them producing a visual
sign that's going to that kind of meanings that I was talking before
alejandro aravena curated the last architecture biennal of Venice and he put this
acclaim reporting from the façade
he also called a lot of artists to join because as a social
architect he's always very much judged by his decisions of making social
houses but at the same time gaining money from a petrol company now the
contributions always on the table I want to take this question and maybe extend
it again in community this time not the interaction between an artist architect
and designer but the interaction between the artist and a curator. the role of the
curators has change in the recent years and they are not anymore
setting up a exhibition but they are a part of the process and
there was a very interesting article "Curator as Producer"
how do you see this and because I have to say also *** their creators
how does it go in your world I think in the recent years but also for this
Biennale the reaction is that after ten years of curating this way and not
writing because we need right back I mean we need ideas happen text now
expected philosophy related to our and nobody's writing I mean this collateral
aspect that's like a producer is bypased by the themselves
also this Biennal is curated by *** also in Berlin you remember Johnny
with Catherine I mean there are a lot of exhibitions curated by artists and I
think this is a reaction after 10-15 years of *** that's
not enough for artists
what I mean is that for sure the curator should be we should be an important part
of for example a group show because the curator is like a DJ , take samples (?) but I don't like
the possibility there are so many artists around today the artists are
interchangeable so something is good, something not. I remember a
few years ago and I think to have a *** to challenge to other old curators
they were writing and they were choosing the artists for that kind of work for
that kind of language today the *** face of the things bring the curator to
change the earth it's okay you have an idea you have to sample to make sort of
record talking about the subject but the artists are so many that you can check
into if you don't have that artist you change and I think the artists
are not so happy about it so you mean the greater should put the
context create a philosophical and maybe ideological way but then let the artists
to not intervene to their productivity. No,
the artist the artist is an import an important factor if you are a curator
but if you only I don't know I mean you should make a project using artists like
materials and that's what I see around I mean a curator make a project and use
the artists like the sort of index of somebody that representative of that
idea you're against it? no I like this approach
but if I see ten exhibitions only two are good in this sense. the other eight
exhibitions are searching
probably the greater like an artist and I remember that English in the eighties
Aquila bonito libram (?) was writing this stuff in Italy he was writing that to
the curator is an artist itself in a sense
choosing and giving you that kind of vision yes we are talking about this prosedure I would like to as about
your exhibition in MoMa in
2006 cloudless. Can you tell us the prosedure, how you worked with curator, with
MoMA and how did you create this cloudless space with clouds with balls
this cloudless piece was an installation made with 50,000 white
but was not on the market it was my first module and I presented the
piece at the beginning in Beijing and this sort of cloudless was related to
the mass of people in China it was a sort of diagram but also a
cloud because the internal structure was done with leathers in aluminium
and what you see is an organic shape with this leather side so like
every cloud this clarity system before in Beijing then on a tree bring the
Shanghai by n1 humans later and then to the ps1 and then to the Palais de Tokyo
Canadian we arrive to the first one because I was there with my image with
Lorenzo and at the time the this one was directed from Alana it's fantastic woman
that 20 years ago often there
see you and she saw this Rajat she saw some pictures so she says okay I want
this piece here
so without curators and at the time I remember that I was asking you a couple
of most x2 curators friends of mine and I I love this relationship that when
when I asked a text went to somebody I read something about my word that I
don't know I like okay for that reason I say should be really important that
these guys say started right yes it's important to have visions about the word
so every surprise what we are going to see actor
exhibition in it someone check the cameras
okay look if you would like to open you see so the dish I get today for the
first time may be here for the first response how you would like to create
this place education for Istanbul and eBay and I may I would like to interact
with the space of the gallery I love this world with the columns and I would
like to make something there working like a plan and I hope that the the word
should be should be seen in this continuous relationship with geometry
and the basis of geometry the nature and what we have seen before
also because I love your geometric Islamic art formation and in something
of really amazing in terms of knowledge and I think in all these kind of
beautiful geometries there is the sense of nature the sense of order disorder I
mean there is a cosmic approach a mathematical conservative exactly and
there is a like eerie surprise me like whatever is like magical like
fascination by say New England I what I would like is to create a relationship
between my Western culture and those kind of results in sculpture and this
place exactly linked into this kind of relationships we live in the system of
defined order actually law system it's not biological it's not natural which we
find like the beginning of the heuristic of system Hammurabi was defining if
somebody's killing somebody's daughter or not the man who killed but the man's
daughter of attention what is true so coming from geometric
equality or the cosmic world how do you define your orders
what are your references narrative I I don't like for example I prefer I don't
like narratives I don't get any any writer in particular I love books that
are related to you know natural topics geography cosmology but not narrative
this is whether you're human and I don't know why but for many years I stopped
you to read narrative and I mean I have also also on the internet I'm always
studying solutions for me technology is a part of our contemporary landscape and
give me a lot of meaning in terms of what we are what we are doing what we
can do so in that sense is that for me it's really a deep part of the culture
in the same time I think like an axis I have to translate this kind of solutions
in something that's more vertical
and what about being in between cultures and cookies how does it affect your
products you learn something if you learn 10% in you all the times I mean
this approach to technology but also culture yesterday I was looking these
Arabian growing's the writings I mean you can take this
growing and you put in front of you for 2 days 1 weeks two months and then at
the end that you do in make something that is related to the film so China
Germany or I mean I've every great place is a very good suggestion especially
starting from the architecture I learn a lot from the spaces and from the food
yes wisely because the food that we activity inside the food give you
exactly the measure of that of the people so it's not my perception of
these your people yes the measure in the same survey they're related to to the
measure on invention if Asus I think to the Chinese food ok Chinese use
but everything when when you have a lunch or dinner in China you have so
many dishes you put everything everything and I think the creativity
inside the food give you a translation of of the people
my perception concerning Italian food is simple here we have to have more than
250 shapes of pasta shapes we give shapes so including in the sense of
anthropology this is really important from my point of view so the texture
also changed exactly except the American
so it gives you the all those valuations but I think in Turkey should be the same
between Istanbul Ankara or other places so diverse and depth there is
the point in the same time in contemporary food in Italy you have some
chef that rain painting is typical typical good in another way
so was it what like Edison are you saying about the different places that
bring together to another kind of page I have a couple of friends that are doing
that in an amazing way with completely another approach at the
switch between design and art the major differences are in design you're the
serial production and here's the economic target and it should be also
used by the end user whereas in artist pre-production remind
and how do you play with these two things because you've also projects with
the line companies I mean R&D and channel you make some
interpretations but no usually I playing in a different way because this is the
main difference I mean if you make a drawing for a watch as to be wearable as
to be a practical object functional so in that sense you can I mean
you can bring your subject your team to the design but then you are docked and
other strategies for the production and you learn also many things in this kind
of relationship because because the process is completed is very completely
different but the copy the design companies are asking to artists to make
something that very peculiar in the sense that the reality is you don't sign
to the production process and usually it is the different resin
I mean in fact if I think that probably the both the kitchen should be done from
a minimal it up artist of the object 60s yes because it's the same approach with
you know the material the cleaning of the form the absolute I guess it's a
very important point because the branch design brands they have values they
stand for something they have a certain clientele so this should also be matched
with the values of that artist and sales process nice maitre lineal we are the
end product will be a functional one also but this is what the designer
should think of but the artisans the brandsmart should definitely your world
should match and yes you do and if you look to their for example
Calculon is working with a lot of kind of design object also working with this
magazine Pollock paper I've seen Jeff Koons with me be done with all respect
take care for the whole painting so it's a multi-layered job no but you see some
of the collaborations are really touching and strong so now that you tell
them it's just you know copy and paste another designers exam yes you're right
I have a lot of random of mine that our designers and their approach is
completely because they comes out from the Andrea Brandolini Network and the
approach is completely different so there is something of creative that
everything is should be creative but the goal is this frame and at the end file
is writing that's probably the people today is buying teaching flight
minimally installation is because this minimal art of the sixties and seventies
is a common heritage now it's a sort of cultural don't you think that they
alchimia animals that Michaela de loop here Alice and remained in a turret cosa
they opened it like a way they say interrogate they question the new
modernism which were not quite minimal and a pointillism as well no it was for
the sportsman but at the same time like they open a new way that they put their
expressions their ideas not just as an architect and designer as an artist and
absolutely calm very signature the people's also
the company's like asking out or if internet finds something actually
explain no but they have a little a description updated to designer artist
centigrams equilibration oh yeah yeah sure
I think they open they open something so if you see all those British and French
designers I mean from stock to donor adore more reason or the other guy in
rock slower growth I I love him hello but this is the first
boss morning I mean Memphis is it seems to be a Lansing the Romans in so I would
like to come come up you can ask about your afternoon stationery claim seed
syllable to make you see syllabus is a recent work that will not be in the show
okay and I really love to to mix words for the for my title in advertising and
they are quite lovely because they move the sense of what you see to other
languages to travel situation so she give you
okay this idea of the module of the unique business repeated and growth and
syllabus are only parts of the world so it's the sort of double meaning and I
discovered it for example the six syllables are the base for the mantras
as I check that out so when they start to make a mantra they
reduce the word repeating only a small part of the of the word in that sense
the word itself to lose it means becoming a sound
is this something paralyzed yeah so I hope rather send me I read so can be
called a construction yet for sure what about your future project
now you will wait to begin if summer at September and copying division will
affect your next approaches and what we have on the table already for the future
ah yes I have couple of shows one with 29 February show there in Italy in the
meanwhile I will have another piece in Paris where in the same car okay okay
and then that meeting we have this project in Matera
the south of Italy probably in November for the Kazakh capital yes then I have
other private projects because I have a very interesting project in Switzerland
building a house is more House of 60 meter square like the word
I have another project in China with a diamond company is called the history
here here soon okay and then lots of things
okay you are mentioning an additional 2018 and Hilaria continue yes I'm fine
Thank You Ramona sorry for the mess but in the morning
Đăng ký:
Đăng Nhận xét (Atom)
Không có nhận xét nào:
Đăng nhận xét