PIERRE HUYGHE (French artist, born 1962)
Pierre Huyghe After ALife Ahead, 2017 Münster Germany online At: https://elephant.art/pierre-huyghe-indiscernible-unpredictable-irrational/ (Accessed 31.10.2022)
“Despite After ALife Ahead’s overwhelming appearance, Huyghe s quick to say, “It is a place where an uncertain ecology might occur, [but] having a dramatic place wasn’t a goal. It is not about landscape.” What it is about—much like most of the artist’s oeuvre—is the living. Through his works, the fifty-four-year-old French artist often complicates natural life-cycles using artificial technology, but the same natural processes simultaneously interact with and overtake the artificiality.” Pierre Huyghe: Indiscernible, Unpredictable, Irrational 20 Dec 2018 online At: https://elephant.art/pierre-huyghe-indiscernible-unpredictable-irrational/ (Accessed 31.10.2022)
The works of Pierre Huyghe are complex and with great integration of contextual information, technology and the simple process of life in nature. Here you can compare the invisible world of ants with invisible modern technologies that are not visible but they play a big role. Using the example of the work After ALife Ahead, you can define it as a great scientific experiment. Experimental here are animals, insects, forces of nature and artificial intelligence. The result of the wholesale is not known, but in the process of interaction between nature and AI, new patterns emerge. In addition, in my opinion, the work helps not only outside viewers, but first of all the experts themselves with whom Huyghe collaborates. According to the artist, it is difficult to find an expert who is ready to think outside of his field, to mix them up. And in the process of creating works of art, the artist, with his non-standard ideas, is ready to mix the unmixable.
WALTER DE MARIA American Sculptor And Conceptual Artist 1935 - 2013
A lot has already been said about perhaps the most significant work of artist 977 The Lightning Field. The whole expanse of the sky has turned into the working surface of the artist. That changed the attitude toward the size of the artwork and the importance of nature in our lives.
Left: Installing the first Earth Room, Galerie Heiner Friedrich, Münich, 1968, via artblogcologne.com / Right: Walter De Maria installing the first Earth Room, Galerie Heiner Friedrich, Münich, 1968, via articles.latimes.com online At: https://www.widewalls.ch/magazine/walter-de-maria-new-york-earth-room (Accessed 31.10.2022)
Another conceptual art of Walter de Maria, namely the installation with the earth of 1968, brought an inspiring result not only at the time of creation but also till now. Although the artist called this work “a minimal horizontal interior earth sculpture”, in my opinion, it is not a sculpture this work is a full-fledged conceptual art and installation or even a performance unlimited in time. The change in our perception of a room with earth in the centre of Manhattan occurs with an alteration in the situation in the world, politics in the city, changes in attitudes towards the environment, etc. The cost of land in one of the most expensive places in the world forms the meaning of value. What is expensive, the earth itself or is it still a place allocated by society? Insects and organisms that die out and continue to live inside this installation this is a whole world for researchers. Even now, when comparing this work with the After ALife Ahead, by PIERRE HUYGHE we can highlight the modification in our perception, landscape, technology ... how much more all became complicated, although it remains as simple as the earth.
ANTONI TÀPIES Catalan Spanish painter, sculptor and art theorist 1923 - 2012
This is the case when you do not know a person, but you look at his work and understand that you have the same soul.
Antoni Tàpies online At: https://www.tonitapies.com/en/antoni-tapies-main/#.Y2Ef73bMJD8 (Accessed 01.11.2022)
And again, a strange similarity - Tapies first studied law and only then began to engage in art professionally.
«Rooted in his early experiences witnessing the brutality of Franco's regime in Spain, and in his hometown of Barcelona, allusions to human suffering and pain appear throughout Tàpies work - in flayed bandages, body parts, and scarred surfaces for example - reflecting his lifelong resistance against oppression and human rights abuses. … Like many artists, Tapies was deeply affected by the dropping of the atom bomb on Hiroshima and Nagasaki in 1945, which contributed to his interest in matter, the earth, dust, and other atomic particles that go into his paintings.» Antoni Tàpies online At: https://www.theartstory.org/artist/tapies-antoni/ (Accessed 01.11.2022)
For the artist, the trauma of war and murder was reflected in the material and colour that he used in his works. Paying special attention to texture, the artist created dense and filled "walls" from scraps of fabric, paints, and marble dust. Analyzing this artist, I thought about what for me can become a material that personifies suffering and war? And do I want to show anguish and suffering? Isn't it better to create something that will generate positive qualities in a person, positive emotions? But if it's like the positive Koons with his brilliant pop art sculptures, this kind of art will not create an interpretation in the area that I would like, or?
Bibliography and references
1. Antoni Tàpies: Updated Reflections | Arnau Puig JANUARY 9, 2019 online At: http://galeriamayoral.com/en/magazine/antoni-tapies-updated-reflections-arnau-puig/ (Accessed 01.11.2022)
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