FAMOUS-121 Contemporary Artists
Collectible global art book
ISBN: 978-91-89685-11-6
released June 2007
Hardcover, 264 PAGES
Edited and Published by MOT
DIMENSIONS: 8.5X8.5 IN / 22x22 cm

 Book in editing

MASTERS-117 Contemporary Artists
Collectible global art book
ISBN: 978-91-89685-18-5
released December 2008
Hardcover, 264 PAGES
Edited and Published by MOT
DIMENSIONS: 8.5X8.5 IN / 22x22 cm

The principal goal is to address different efforts and resources towards a more complex common activity, in order to develop already existing actions and future projects not necessarily finalized and destined to a “product tout court”: therefore, instead, to those products that are not consequentially circumstantial to the single event, but rather to a more wide-open vision, necessary to consolidate a philosophy of endurable development for the environment and the territory. Something that is highly civil and social at the same time.

In the specific – as previously said above - the overcoming of the actual stagnating situation can be spotted in that self-conscious, intuitive, constructive planning, where feelings and intelligence move together towards common goals. It is what the ancient Greek philosophy called with the word poiesis: the art f doing. Actually, whatever it will be the project that someone is going to do, face, make, it is always how good and serious will be his approach and, how ethically honest are his intents that is the real value. Whatever we can do, it will always be needed to arrive to give an expression of course complete and finished, but never definitive or closed in itself. It must be somehow comprehensible – not damaging – and always open and flexible to be modified, in order to give it new added values.

Nevertheless, to understand fully the reach of this precept, we must re-conciliate with the universal value that culture has; a value that has been already lately destroyed, crumbled away by a dull distinguishing of senseless rules, fragmented in the ghetto of useless roles, while it ought to be entirely rooted into the contemporary dynamics of the productive processes. It is in this way that the aspirations of mankind can be positively alimented, feeding and nourishing the spirit of all we contemporary human beings that live in this planet and move across it.

Therefore (so then), why art?

Wanting or not, an artist expresses always his spirit towards his emotions, thoughts, feelings and, matters. He bears this knowledge inside himself, more or less aware of it. It is part of his condition, it is something ingrained in his state of being. The artist investigate to bring to light something that it is hidden to the normal sight, as an eye – as pure physic sensor – can’t see. In few words, the artist always tries – or look for – a way to see more concentrate through things and reality, inside the things, for the reality. And also for he himself the destination of his work is equally important. To question himself about what the public can understand, digest, appreciate or feel the most- therefore capable of conducing the single fruitor to a more profound reflection, it is undoubtedly a post-modernist action, maybe even a bit spoilt if not vicious. Nevertheless, are the artists themselves that – everyone with his own peculiar language and way of expression – are capable to face individually these kinds of problematic and subjects, talking of their worries, allowing their works to exist as results of these thoughts, although in many different ways.

The soul of an artist can still do a lot for him: it can push him to choose which direction to take, or how to adapt his work and himself to the most various and different situations, or, again, to trans-form. To transform in something else the mistakes, the broken dreams, the unsatisfied aspirations.

The complexity of contemporary art leads us to consider a fundamental, determining factor that it seemed to be more and more unavoidable: the specificity given by curatorial choices, in other words the “vision d’ensamble” (analytic and punctual) that allows to relate the work of one – or more than one – artist to a particular space and, a particular situation, as it is vital to contextualize to stimulate, to diffuse to contaminate , this in order to make art the most comprehensible to fruitors inside a specific framework, trying to give evidence to a soul of art which is different from what was in the past, probably more powerful and clear in its own aims. An art that emerges because of the fusion of the pars construens with collective intervention.

It is the context, the framework that allows art to open itself to new territories of investigation and then overcome its partial vision of the world. It is always the context that, in a certain sense, allows art to find its position in this world. To look for a mutuality, for a symbiotic relation – with a precise feedback, not necessarily only economic – between art and enterprises it is undoubtedly a way to perceive and follow. In the same moment that art enters and belongs to such a context, it obviously contaminates while being contaminated as well, it dismembers and recomposes itself in a continuous process without loosing its own identity. Today, the deficiency that many operations (projects) sui generis have, is inside the idea of finding a unity at any costs, therefore neglecting possible openings to new, unknown developments, as the one of being able to perceive a possible sense of things that it can also be beauty beyond aesthetics, value beyond ethic itself. (Andrea Pagnes, artists, writer )