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Short shadows

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Marilena Preda Sânc belongs to that category of artists who understand that at the origin of the artistic community lie desire, longing, grace through which the artist introduces people from a state of barbarism to the candid and tender civilization. In her vision, art is a consequence of compensatory withdrawal in history of the charismatic spirits that governed people’ souls, as they will be shown at the dawn of her own Cosmic Landscapes. Abandoned by those patronizing and creative patron spirits, people feel compelled to seek and find in themselves and for themselves, guidance, care and happiness. In fact, art in this context is nothing but a substitute for the happiness of that golden age, and artists - imitators of the gods. It is also understood from the perspective of Platonism, from such an understanding of the myth of Protagoras, that the artist-and our artist makes it loud and clear-clearly rejects isêgoria, living with the belief that artistic understanding of the world is given only to a few, from time to time, and therefore the artist becomes the one that embodies, creates and shows to the others the royal way. From this perspective and understanding we refer to the entire artistic episteme and approach of Marilena Preda Sânc as a syncretic one.
Her body of work is understood by the author as a show. This show aims to rewrite history in this crepuscular world and for this purpose the artist seeks her power that can subordinate the space of time lived. In this space of moving game and free choice variation of game rules, the autonomy of the place can be found without introducing other than the rules that make the reality show of art and life, understood as show and show time, bear their full significance within the journey itself.The show is presented as a deletion of the limits of the self and world by crushing the self that is harassed by the presence-absence of the world and by deleting the limits of truth and falsehood through the discharge of any experienced truth in the real presence of falsehood caused by organizing the appearance. In this docile context, the artist endures his/her fate, organizes his/her utopian world by using magical techniques, making the painting, drawing, object, film, video and performance to become the illusory reactions to this fate. The Daily/Utopias determine Marilena Preda Sânc to place and take an exclusive current point of view and to practice only a humanizing form of time. The circular time of traditional societies and arts becomes pseudo-cyclical and spectacular time. From the perspective of Daily/Utopias the consumable, pseudo-cyclic time, is the spectacular time - essentially meaning a consumption time of images and, in its widest sense, an image for time consumption.
The Uchronia that the artist offers us may become a remedy against history and memory paralysis, against the abandonment of history that stands on the foundation of historical time in which the show appears as a false consciousness of time. In the play of these Daily/Utopias - which are nothing but the site for traditional theories production - Marilena Preda Sânc draws us through her images to the place of a general detachment from theory and of a subtle recovery of the narrative dimension. The nominalist culture on which the artist’s liberal utopia is based favors story-telling because only the epic stories can place in relationship, in a significant way, this past on the one hand, and the future as utopia on the other. For Marilena Preda Sânc the intellectual and moral progress consists in a history composed of the living and revealing metaphor, always more effective. Re-writing and going beyond her 1980s-1990s painting stage - a post-metaphysical painting - the artist privileges in the new millennium those configurations that lead to a conscious gender fusion. The utopia suggested by the author is a utopia that does not need to prohibit melancholy. Gender fusion - an aspect well known by Marilena Preda Sânc - is a contemporary trend of contemporary history which the author shares and to which she fully applies the iconic substance. The fact that the boundaries between artistic series are more permeable is a postmodern trend with roots in pre-romanticism and romanticism. There is here a rejection of the order which is reflected in a tendency to avoid restrictive determinations and to preserve the identity always in suspension. Postmodernism seems to be also for Marilena Preda Sânc the crosscutting concept that defines the current mannerism which, recording the disappearance of wildness and witnessing flourishing times of metropolitan barbarism, enables for us the face, the portrait of a contemporary author who is kept on the frontier where science and art meet and where it is decided what is left of art for the soul to be able to regain its identity and substance. In this context, Marilena Preda Sânc’s distinctive feature is, over the last two creative decades, the bricolage. A constantly renewed composition of old pieces, an alienated game with the already-known, a rearrangement, a regrouping, a reordering: all these are elements of her syncretic mood, but also the constructive characteristics of a kaleidoscopic logic.
Here are surfacing resurrected issues for our description: the relationship between urbanism and Utopia is so obvious and trivial and handy that it is enough to remember only the reasons and the main issues. This relationship stated in the nature of things binds the urbanist painter and the utopian through a psychological affinity. These great people of imagination share the postulate that people can change organizing themselves or for them the space where they move. A somewhat magical virtue of urban landscapes: from the mandalas which any disciple of C. G. Jung would not lose the opportunity to represent, to the strange urban landscapes of Paul Klee, variations on basic shapes that are plans for ideal cities, serve as support to the transfiguration of the drawer and painter into a magician. The disciplined Heliopolis labyrinths - those strange and hieratic black and white drawings - from Marilena Preda Sânc’s work have the virtue, be it unconscious, of exorcism and are the site of the projected image of the self which bears the seal or symbol of either the cosmos, the artistic style of the epoch, or of some lost islands of energies which are to arise in the world along with their creator’s personal energies. Imaginary kingdoms rise, naturally, in form of worlds parallel to that in which the artist lives to such an extent that the utopian world becomes the product of a sui generis nature or philosophical fiction, or both together, always revealing. For the viewer, the ideal or utopian city is easily a reduction of the cosmos where astro-worshipping becomes a common feature and easily explained in this perspective, reminding everyone of the shape of the archetype world. The urban project reveals a solid ideal of city construction and regularity, giving rise to an allegorical landscape, to a divergent political utopia and - why not? - to a manner of thinking the shapes that bring freshness, reverie and social performance.
Marilena Preda Sânc’s poetic allegorism, without a certain symbolism and without reaching anagogic meaning, is built on visual figures (cosmic landscape, urban landscape, dream world and the body as expressive nature) is given as territory for rhetorical decoding. It is clear that from this point of view each core and thematic field is developing individually. The metaphysical pansemiotics - sometimes also present - excludes figurative representations. The artist’s poetic allegorism represents especially in video performace a fabulous and exalted way to observe the nature of humanity not through realism, but rather through what it might suggest. Her artistic episteme confronts a world of imagination that invents against a world of shapes that investigates reality: as an instrument each of them is by now well defined in its own sphere, the allegorical reading of the image and the represented world. Beyond this - to attribute allegorical value to the artistic approach - is to place art on the same level with reality as a vivid repertoire of images. The aesthetic principle of concordance dominates and governs in all video compositions.
Another favorite and privileged attitude of the artist - skillfully hidden in video film, in objects, video installations and performances - is allegory. Although allegory is an essential expression of baroque art and the successor of the dramatic and theatrical spirit of classical art which I have already mentioned, it must be seen in terms of allegation and innuendo, but also congruence. The plurality and pansemiotic characteristic of allegorical meaning can be determined, converted into an unequivocal statement, applied through allegation and allusion. For the film’s or a painting’s allegorical interpretation of an element a research will often be needed to know whose allegorical field belongs to each element of the work, or to make an overall allegorical interpretation. Viewed as processuality, as performance, as happening and less as works of art, Marilena Preda Sânc’s video works are often examples of intertextuality, with frequent traces of irony, in which reality and fiction intertwine, history is distorted and degraded by the media and the happening (work of art-show based on improvisation) is lost in allegorical polymorphism. Imaginary regimes, as we perceive them in most creative writings of Marilena Preda Sânc, are the only reality, due to the harmony and counterpoint of her play, beyond the
Daimon and Kind God: a type of zenith light that makes the objects and world artistically configured by Marilena Preda Sânc to have short shadows. The art of Marilena Preda Sânc contains a sufficient dose of magic idealism, of novelty and interestingness, of ironic life and ironic art, of postromanticism (and here I think of what follows Baudelaire and Kierkegaard), a direct and experimental experience of new languages, of the correspondence between the sensory and spiritual, contains iconic repertoires about the human body as aesthetic object and about the ways of the public to understand and appreciate the art of the time she is living in. Her art contains, I think, all it has to contain in order to be present at her own Present Tense. Therefore, what follows will be surprising through the relation with the past that awaits us in the immediate future.

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