sábado, 14 de março de 2015

Vintage, 1985

Antonio Cerveira Pinto
Pintura repetitiva (Repetitive painting], 1985
135 cm x 200 cm
Col. Museu Berardo

Two paintings in a burning court *

In post-contemporary times reality has been split in two: the old space-time fashion, where everything takes place per se, and which we partially see, hear, smell, feel, touch and learn as indexes, prototypes and memories (Gell, 1998), and the new given digital and wireless extension of human species, non space related, asynchronous, dynamic, moveable, generative, immaterial, etcetera.

A large portion of humankind is already embedded in these two worlds, and these two worlds control almost all behavior towards perceived inner and outer spaces, space-time events as well to all inner and outer perceived indexes and prototypes.

There is no point in judging these two orders of reality, as it is useless to divide these two relational states.

The fast-growing world of computer machinery depends on us as users, as well as on growing energy feeding. Apart from out-of-control nuclear chain reactions and bio-epidemics, generative and computational digital worlds are human extensions and cannot survive unless for our own will.

To summarize this idea, stones are older in comparison to humans, we usually have larger time frames that machines have, digital caves outburst from old hardware, and organic computers may eventually remove in the future silicon motherboards and flat screens as the prevailing cognitive engines and sensitive interfaces.

To foster such developments though we have to return to our fleshy realm.

There is more beyond images and representations in every painting. Photography, and digital photography, as well as any spectrum, operate as layers of forms (gestalt) that add to a more deep perception and understanding of any index, as a painting is. But we still have that painting to contemplate, that real and that mental river in front of us to cross. It is this time-based painting, a duration ('la durée', according to Henri Bergson) that informs nothing that gives us a phenomenological permission to challenge once more the premature death announcement of painting as art.

*—This is a note about an installation to be shown at MOSTRA '15, in April, 2015, with the following title: Vintage, 1985—two paintings in a burning court.

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