Professional Documents
Culture Documents
Q C C ART GALLERY Queensborough Community College - The City University of New York
december 2005 - march 2006
www.stefanarteni.net
The Polyphonic Monologue Addressing the Intersection of Art and
Meditative Spirituality at the Heart of Form
Folktales. The ancient Bird
Goddess appears first in
Paleolithic totemic carvings.
By the beginning of agriculture
in the Neolithic, Her worship
achieves equivalent
importance to the Great Earth
Mother. Throughout classical
antiquity She appeares linked
to the worship of many
important goddesses in the
form of their sacred bird
companion and alter-ego,
e.g. Aphrodite's dove,
Athena's owl, Saraswati's
peacock. Her gift to the
magical arts was a form
of divination called
Ornithomancy. Folktales
suggest the persistence of the
Goddess worship in the guises
of Artemis, Hekate or
the Virgin Mary.
Imagic constructs appear ambiguous. The baroque disposition of spaces, making use of friezes of interlocking
figures in elaborate paratactic [side by side] compositions reminiscent of carved metopes and polychrome
Gothic friezes, the linear quality and the stylization, recall pure stereometric forms.. The projecting low relief
and various levels of modelled texture alternating with a sunken relief created by incisions suggest a sculptural
painting revealing the cumulative effect of pentimenti.
Centaurs and Lapiths
The Centauromachy
refers to the tension
between nature and
culture, the archetypal
struggle between human
Lapiths and the half-
human and half-horse
Centaurs, barbaric forces
intolerant of culture.
Entities on the margins of
humanness have always
elicited cultural anxiety.
The inner
monumentality of the
visual continuum
derives from spiral
frieze narratives on
Roman monuments.
The Return of Ulysses
Ulysses , the sacker of cities, the migrant and the
wanderer, is the archetype of knowledge as survival. “The
Return - the Eternal Return- is the cosmic figure of
identity, the ontological tautology of Being the Same”,
writes Boyan Manchev. The nostos [nostos, return, is also
the root of the word nostalgia,] the harrowing return,
speaks of the migrant's tale, of the exile's story. “Every
exile is a Ulysses traveling toward Ithaca…toward the
center,” writes Mircea Eliade. “The power to become a
new Ulysses is given to any exile whatsoever (precisely
because he has been condemned by the gods…)” The
homeland becomes a lost Ithaca, and the modern-day
Ulysses bears witness to the debasement and degradation
of his homeland . There is also a kind of nostalgia for
Troy's brave siege, a tension between what was and what
may be. Ulysses still needs to achieve a mental/emotional
nostos, he has to find the true path to the Self. It is the
loop of nostos, the eternal return, the will to become what
one is. If ever we need to heed the poet’s rendition of the
monologue of Ulysses, it is now:
Within the context of Erving Goffman's dramaturgical metaphor, people barely mentioned in history will be defined as
being removed from the stage - their senseless suffering, a suffering without redemption, is described by the obscure
folktale riddle: "If you turn right, you will be in sorrow, if you turn left, you will be in sorrow as well".
A civilization far from the state model, based on a network of cultural nodes, developed in South-East Europe about
7000 years ago. It had introduced the ritual use of markings and signs known as the lower Danube Valley protoscript,
which appears as the oldest human ars scriptoria, whose elements are still present in the folk art rooted in the region's
distant past. Marco Merlini describes a peculiar semiotic system based on a relationship between script, decoration
and symbolism. In rural tradition, where the Horae of Greek mythology, personification of the seasons and of the
natural order, and the choral performances in praise of Dionysos are still celebrated by sacred circular dances, such
markings are elusive expressions associated with magic powers and epiphanies.
The series stresses the topography of visual interfaces and explores ways to manipulate and restructure perception.
Multiple inheritances are at work. The technology of art becomes a display of virtuosity. Work on the material medium
provides a ductile visual texture saturating the surface and susceptible of all transformations and metamorphoses
which are embodied by means of a technique proper to monochrome Japanese ink painting mixed with rubbing and
monotype singular impressions.
Calligraphic (Zen) Icons
Calligraphic (Zen) Icons
Wen C Fong, the art historian,
Wen C Fong, the art historian,
explains: "Knowledge of the past
explains: "Knowledge of the past
means action rather than an end in
means action rather than an end in
itself; it is intuitive and existential,
itself; it is intuitive and existential,
rather than historical."
rather than historical."
Always unnaturalistic, painting as
Always unnaturalistic, painting as
graphia, as a form of writing, consists
graphia, as a form of writing, consists
of a 'given' form that is subtly
of a 'given' form that is subtly
changed by the subject who uses
changed by the subject who uses
it, by the sweep of a single
it, by the sweep of a single
brushstroke where different parts
brushstroke where different parts
of the picture are rhymed and unified
of the picture are rhymed and unified
by the artist's touch.
by the artist's touch.
From the artist’s biography :
From the artist’s biography :
“Rooted in Southeast European, Western
“Rooted in Southeast European, Western
and East Asian
and East Asian
spirituality, Arteni's reframing of
spirituality, Arteni's reframing of
imagic constructs has been prompted
imagic constructs has been prompted
by Niklas Luhmann's insight:
by Niklas Luhmann's insight:
"Symbols …presuppose the
"Symbols …presuppose the
difference between familiar and
difference between familiar and
unfamiliar and…enable the re-entry
unfamiliar and…enable the re-entry
of this difference into the familiar…They
of this difference into the familiar…They
are forms of
are forms of
self-reference using the self-reference
self-reference using the self-reference
of form".
of form".
Arteni's polycontextural stylistic
Arteni's polycontextural stylistic
matrix allows room for a heterarchic play
matrix allows room for a heterarchic play
and recursive catenation of
and recursive catenation of
image structures where painterly
image structures where painterly
time and painterly space - a topology
time and painterly space - a topology
of interlacings - may be envisioned
of interlacings - may be envisioned
as a polyphonic monologue.
as a polyphonic monologue.
Michel Serres remarks: "An
Michel Serres remarks: "An
object…is…polychronic,
object…is…polychronic,
multitemporal, and reveals a
multitemporal, and reveals a
time that is gathered together,
time that is gathered together,
with multiple pleats".”
with multiple pleats".”
In
Inan
anarticle
articlewritten
writtenfor
forthe
theonline
onlinejournal Theandros,Thorsten
journalTheandros, ThorstenBotz-Botz-
Bornstein
Bornstein argues that there is a striking parallel between Byzantineand
argues that there is a striking parallel between Byzantine and
Japanese aesthetics. The mute-optical element has priority.
Japanese aesthetics. The mute-optical element has priority. Acts of Acts of
formalization
formalization create
createaareality
realityof
oftheir
theirown,
own,aareality
realitythat
thatisisstrictly
strictlyaaformal
formal
one,
one, a style mediated only through style, a reality which presents nothingbut
a style mediated only through style, a reality which presents nothing but
itself - style as a virtual world, or, paradoxically, as virtual irreality.
itself - style as a virtual world, or, paradoxically, as virtual irreality.
Calligraphy.
Calligraphy.
Vibrant certainty
its touch so fine, making a sign
peak and abyss on the same line
Henri Michaux
Forms of graphic notation allow for communication. The system elements are interrelated and subjected to a surface rhetoric. Oracle bone inscriptions mainly used
for divination and bronze inscriptions on ritual vessels are among the earliest known forms of Chinese script. A web of sign practices appears as precursor to
modern characters that have evolved from these archaic graphs. But above all, calligraphy is an unique art in whose medium-scape even written words can function
iconically. Like calligraphers in earlier centuries, one draws inspiration from ancient calligraphy styles. As a result, several characters may be combined into one, or one
character may appear as two. It is a confrontation between the calligrapher and the form. .In Zen terms, the form becomes the calligrapher’s koan.
Handwriting is a long trained motor skill resulting in well co-articulated shapes like strokes and loops. Like most periodic motor behavior, graphic skills may be
conceived of as the outcome of non-linear coupled oscillators model resulting from the nonlinear coupling between two orthogonal oscillatory components,
identifying stable states (or attractors) in graphic skills. To sum up, both performance and degradation in handwriting find a unifying concept with the notion of
stability, a hallmark in dynamical systems theories, a subtle interplay between stable patterns and the necessity to adopt less stable shapes and their co-articulation
as attractors of underlying coordination dynamics that govern graphic performance.
.
Gesture, which belongs to the ‘sphere of action’, is – to use Giorgio Agamben’s formulation – ‘the staging of a mediacy, the becoming-visible of the
means as such. It makes manifest human existence as being always within a medium’… It makes the mediality of the process, of the ‘gesture’ as
Agamben defines it, the theme of its own action and demonstration…movement which enacts and annotation that holds it in time.
2004-2005
UNstant (An-instant), a collective work
packaged in book form, initiated and
made possible by I.D.E.A.C. (Institut
d'Esthetique des Arts
Contemporains/Universite Paris I -
Pantheon-Sorbonne) and
C.N.R.S.(Centre National de la
Recherche Scientifique), France, is
about exploring transversal thought and
emerging gesture in the visual, audio,
and movement mediums. Arteni's
intervention (ink works, artist's books
and monotypes portfolio) showcases a
polycontextural artistic matrix, the mark
as chronotopic palimpsest, the total
gesture as immediate enstatic
experience.
“Beauty…is
“Beauty…isfreedom's
freedom'sessence…it
essence…itisisaastate
stateofofbeing…it
being…itstays
staysininreserve,
reserve,
unobtrusive, meek, a sort of silent movie.”
unobtrusive, meek, a sort of silent movie.”
(Nicolae Steinhardt)
(Nicolae Steinhardt)