Szilvashi TiberiyAll projects
More about the artist
There are ages, in which systems regulating its viability are made relatively stable and have inner hierarchy. The contrary, dynamic and critical principle, which undermines the indisputability of senses and established system of coordinates, is embedded in the system itself.
The absence of answers increases the number of questions. The memory is busy with self-replication of images the name of which is quotes. Being an antithesis to the time, the occurrence dithers the clearness of way marking and augment variance of its implementation.
In Deleuze and Guattari’s “Treatise On Nomadology” there are marvelous reasoning of difference between a nomad and a migrant and of types of territories they master. The nomad walks on ruled territory; he does not run anywhere and does not want to: he is merged with this smooth territory. The migrant moves between two points. The migrant is a fugitive which abandons the territory when its resources are depleted. We live in the age of questions and migration. Formerly the art was a territory with clearly ruled and marked territory where media, languages and communications existed within conventions. Now the boundaries are dithered. As we are now under the conditions of choice among innumerable opportunities, we are lost in this innumerability. The great number or variants do not make us almighty. And the problem of the artist’s freedom is not in the access to the greatest number of variants, but in the inner urge which defines his choice. But possibly the wrong questions were put and the instruments for continuation of work on the given territory are used in the wrong way.
In the 60s Adorno wrote about the relevance of philosophy: “Once seemed to be absolute, philosophy still exists because the moment of its realization was missed”. Isn’t it the same phenomenon which happens to the art? Or to the painting? The art’s territory was appropriated by politics, mass-media, masscult, design. So won’t it vanish in communicative currents? There was no other kind of art but painting which has suffered so many burials. And it came back each time. Probably the speed and intensity of innovations in the art of the 20th century did not give any possibility to concentrate on the development of resources hidden in the innovations proper? Probably, when all the ways are trampled, littered, it is reasonable to come back to the roots, to the ways, which we have not walked through yet, to set about the development of resources we did not notice earlier.
What is the art today? What is its function? Is the artist an object of manipulation by market or an instrument of transmission of special experience inherent only to this certain practice? What is the painting as the special practice today? The project “Simple Form” is just about this… and also about the other variant of existence of painting, namely the painting after image, considering the experience of experience and monochromatics, the painting after conceptualism – as the capacity of non-symbolic language. The research of matter properties, the adventure of nonverbal, minimum of information and reduction of discourse field, of painting not in a picture form, i.e. traditional subject-object relations, but in the form of presence space, space in the middle of color itself. The gallery is not hollow with walls serving as supports for stretchers and canvases and being a part of color field which contain the following space – “wall”. The wall and the “wall”, surface and emptiness, body through body, smoothness and texture, chromatism and achromatism – these are not “or” confronting pairs, but unity pairs where the subject of presence (spectator), as well as “and” conjunction, encloses the whole color space and time, not the frozen time during the glance at the picture, but the dynamic time of motion of object along the wall – it can be discovered only by the consecutive motion in space. In the same way the ritual was observed by the participants of the “Painting” project (spectators), where the blue space of the hall reflected in water, introducing additional dimension of perception. Reflections are another form of extension of painting borders, which are interesting to me and need realization. 10 years passed since the “Painting” project. At the same time “The Wall” for Venetian biennale was conceived but there was no success. Two years later Ерzy Onuch and I wanted to realize it in the transformed shape in the CAC, but there was no success again, as well as several other projects, which I started to pile into the “Unrealized Projects” folder.
But part of my ideas was implemented in the “Simple Form”. “The Wall” – in memory of Venice. The blue – in memory of “The Painting”.
T. Silvashi, 05.04.2010