|
|
| Line 1: |
Line 1: |
| − |
| |
| − | My name is Alexander Acosta Osorio, a Colombian by birth and a New Yorker by persuasion. For
| |
| − | the past three years, I have been exploring the limitless offerings of New York, an
| |
| − | experience that has been at once useful and satisfying on both a personal and a professional
| |
| − | level. I am pursuing a Fine Arts degree at LaGuardia Community College in addition to
| |
| − | free-lancing as a photographer and volunteering in an art workshop at the Museum of Modern
| |
| − | Art. In these weekly workshops, I provide support to guest art educators, as a result of
| |
| − | which I have gained a meaningful insight into the different social uses of art.
| |
| − | In visual art, I found a meaningful vent for emotions and thoughts that being away from my
| |
| − | country of birth brought about and a great medium through which I could recount and relive
| |
| − | salient moments of my new life. I have been exploring the relationships we have with the
| |
| − | objects that surround us and with the situations we find ourselves in every day. I am
| |
| − | interested in how these relationships change the way we perceive ourselves, and consequently,
| |
| − | the way we look at things.
| |
| − | I started my exploration of art with photography, drawing, and collage here in New York. My
| |
| − | photography captures different aspects of contemporary metropolitan life. That said, it is
| |
| − | not just urban. I would like to think of it as universal in being capable of speaking to
| |
| − | schooled and unschooled, to city- and country-dwellers alike.
| |
| − | In my work, I have tried to encourage people to think and re-assess the obvious: what we all
| |
| − | see but never linger upon. I have tried to tell stories public and private. I have attempted
| |
| − | to explore knowledge both formal and informal. I want to interpret visually that tingling de
| |
| − | ja vu sensation we get every day immerse in routine. I want to reflect the feeling of the
| |
| − | ordinary and the unique; inhaling the aroma of freshly brewed coffee coming from the
| |
| − | coffee-shop around the corner or hearing the same persistent don't miss our lunch special of
| |
| − | the Italian joint's barker. In my work, that feeling of the always growing city and the
| |
| − | melancholy of present and gladly remembered past times,is always welcomed.
| |
| − | Today, I seek to pursue a degree in Fine Arts because I am looking to re-invent myself in a
| |
| − | new and exciting direction, live new experiences and find new paths to follow. My goal is,
| |
| − | broadly speaking, to become a complete individual as well as a better artist. What this means
| |
| − | is that I seek to expand my awareness of human nature, as well as my knowledge and vision of
| |
| − | the world. I want to branch out and diversify the media I use in order to be able to develop
| |
| − | my own visual language through which I can communicate this reality of ours in a coherent and
| |
| − | meaningful form. I believe that my artistic experience will be greatly enriched by changing
| |
| − | the cultural setting in which my baptism in the arts took place.which means that i want to meet lots of interesting people and i wish totravel alot!
| |
| | | | |
| − | Culture is the basic material of my art, my laboratory, and the reason of my endeavors.
| |
| − | Culture to me, is a live organism which in its own merit deserves to be exposed. In my work,
| |
| − | I intend to communicate and express ideas and thoughts to generate provocative personal
| |
| − | feelings and social awareness of what we are as individuals, and how the way we live today in
| |
| − | society morphs constantly.
| |
| − |
| |
| − | I believe that my artistic experience and craft will
| |
| − | greatly be enriched by my life experiences,past and present and by pursuing mayor studies and traveling.I would like to continue this
| |
| − | artistic exploration of my self ,in order to achieve satisfactory results.
| |
| − |
| |
| − |
| |
| − |
| |
| − |
| |
| − | In this final decade of the 20th century, we have an enormous amount of information at our disposal. On the one hand, this makes it easier for us to form an image of the world in which we live, but on the other hand this introduces a new type of difficulty, i.e. we must develop the ability to take into account all this information. Indeed, the integration of all this data poses an enormous problem. In connection with this problem we must consider the seven sub-tasks mentioned above. Irreversible change has drawn as much attention as invariance. In our time attempts are being made to construct a theory of irreversible change, often connected with the second law of thermodynamics. To the extent that Hegels and Marxs dialectics have a foundation in reality itself, they belong to this trend of thought. We propose to look for a theory of irreversible change, applicable in various areas, from the physical to the human sciences. The construction of a rational view of the cosmos and the polis is often identified with the ideal of Modernism. Sapere aude, dare to trust your own knowledge, was the motto that, according to Kant, characterised the Enlightenment. Modernism often means, in this context, an attempt to introduce a global reorganisation of human knowledge, human activities and human society, on the basis of human insight. But the ideal of the Enlightenment has, for many, proven itself internally contradictory (Max Horkheimer and Theodor Adornos Dialektik der Aufklärung, 1947). Their harness studded all with gold and pearl.Although a world view must be much larger than all that the physical sciences can offer us, the knowledge acquired in a systematic and methodological way by these sciences is of great importance, especially in the light of the widespread consensus that exists for this knowledge. The human and social sciences continuously provide us with a deeper insight into the nature of man and society. A world view cannot contradict known experimental facts, but this does not mean that it coincides with them. A world view may even inspire further development of science and if necessary, from a synthetic vantage point, criticise certain one-sided aspects of it. In this sense a world view is a continuation of what the sciences pass on to us, sometimes coinciding with it, sometimes generalising from it, and sometimes critically rejecting it. The contribution of scientific knowledge and the continuous critical evaluation of it are of great importance. Every scientific theory, no matter how well it describes and explains facts in its own domain, will always be confronted with problems that cannot be solved in the theory. Therefore, a fortiori, a world view will always be a fragile system. 3. Humans relate themselves to other persons and strive towards a certain state of well-being. Psychology, psychiatry (individual and social) and pedagogy study this field.
| |
| − |
| |
| − |
| |
| − | ......................
| |
| − | "ANDY WARHOL WAS THE GREATEST SIMULATOR,BECAUSE IN SIMULATION THERE'S A CHALLANGE,A PROVOCATION. WARHOL'S GESTURE IS AN ANTHROPOLOGICAL EVENT. HE PUSHED AESTHETICS TO THE LIMIT AND TURNED IT INTO ITS OPPOSITE,TRANSFUSING THE IMAGE INTO REALITY,AN EVENT OF PLATITUDE. HE COMPLETED THE CYCLE IN A SINGLE STROKE. I HAVE DONE THE SAME:REACHING A ZERO-LEVEL THAT BRINGS OUT SINGULARITY AND STYLE.
| |
| − |
| |
| − |
| |
| − | EUROPA IS IN GEO-IDEO OUTDATED DISCUSSION WITH NO BORDERS ,LEADING NO WHERE, JUST AS MANY MAYOR ART INSTITUTIONS TODAY,THERE ISNT A CLEAR SCOPE...WHAT A COINCIDENCE!
| |
| − |
| |
| − | THERE IS AN IDEOLOGICAL CONSPIRACY BETWEEN SOCIETY AND ART,(INCLUDING ART PROFFESSIONALS)
| |
| − | NOW ART ART HAS BECOME NULL AS MAYOR ART INSTITUTIONS ARE MORE CONCERNED IN RUNNING THEMSELVES
| |
| − | AS TURISTIC ATTRACTIONS TO REALLY BOTHER WITH ART OR WITH WHAT IT MEANS.ART HAS BECOME JUST ANOTHER FORM OF BUSINESS.
| |
| − |
| |
| − | SOME BELIEVE ART IS NULL,AS THE CONSPIRACY OF ART STATES:
| |
| − |
| |
| − | "ART HAS COMPLETED ITS CICLE,ITS SIMULATION AS ANDY WARHOL WAS THE GREATEST SIMULATOR,BECAUSE IN SIMULATION THERE'S A CHALLANGE,A PROVOCATION. WARHOL'S GESTURE IS AN ANTHROPOLOGICAL EVENT. HE PUSHED AESTHETICS TO THE LIMIT AND TURNED IT INTO ITS OPPOSITE,TRANSFUSING THE IMAGE INTO REALITY,AN EVENT OF PLATITUDE. HE COMPLETED THE CYCLE IN A SINGLE STROKE. I HAVE DONE THE SAME:REACHING A ZERO-LEVEL THAT BRINGS OUT SINGULARITY AND STYLE." JEAN BAUDRILLARD
| |
| − |
| |
| − | ART HAS BECOME SOMETHING ELSE...ANDY HAD ANYTHING TO DO WITH IT, HE'S JUST A STEREOTYPE,AN ICON FAR BIGGER THAN REALITY.BUT THE POINT HAS BEEN MADE.ART HAS REACHED ITS POINT OF NO RETURN, IT HAS TO CHANGE,BUT TO DO IT IS NECESSARY TO LOOK AT SOCIETY ITSELF.UNFORTUNATELY , IT IS TOO BUSY SPECULATING ABOUT POLITICS AND BORDERS...
| |
| − |
| |
| − | what happens today in the center or the art scene:
| |
| − |
| |
| − |
| |
| − | "here was one artist on the panel. She said. "let's
| |
| − | talk about gender, let's talk about New York vs.
| |
| − | Brooklyn, or about money and the commericial
| |
| − | galleries." The curators ignored her. One man from the
| |
| − | audience stood up and called them dictators. They
| |
| − | laughed and ignored him. The last woman stood up and
| |
| − | brought up the point that over half of the MFA's
| |
| − | earned today are women, but less than 20% of the solo
| |
| − | shows in Chelsea last year were women. They ignored
| |
| − | her too"
| |
| − |
| |
| − | AND IT ALSO HAPPENS IN EUROPE....
| |
| − |
| |
| − | BUT THE QUESTION IS: WHAT CAN YOU DO ABOUT IT?
| |
