Paolo Ferrari

Aphorisms on Art


3.       Art (in-Absence) is the expression of the mind-brain coupling with the new real being which, constituted by the object in-art, brings to light the antecedent of reality: this coupling would enable the emergence of all that is other than short lived darkness, as it has so far manifested in the thinking, living and history of Homo s.


4.         A work of art should represent - sometimes even in a dramatic way - the light capable of taking things beyond the threshold in which they have been confined by a creating act that was too poor and not abstract enough for a brain which has thoroughly accepted its own evolutionary path towards the nothing, beyond the usual negative figment of imagination this concept arouses.


5.         An in-Absence action is brought about, in art, through single points, signs and layers in which every single element is a whole outright; every act, sign colour and state are the accomplished expressivity of an artwork which, at every single step, is already defined.
Each step of action represents the doubling-fulfilment of the previous step and of all those before: it is the unitary and accomplished expression of a place which, in the very same act of being composed, constructs, in a virtual way, the entirety of its own level and of all the probable ones, given the strains and forms through which action becomes evident.


6.         Each stroke, point or dot in an artwork or in music implies the fulfilment of the work as a whole. What is going to happen afterwards is the expression of the existence of the work on several planes- infinite planes- interacting together to generate in the user - within the relationship between the work (object) and the subject (observer) - that abstract dynamics of infinite points in simultaneous action which are the fundamental quality of action in in-Absence art.


7.         Art - should a form of reality like this still have to exist - has the task of letting a stage anteceding things emerge (in a subliminal time); it should give voice to what precedes the Big-bang which originated the universe the way we experience it; a second universe were to be born having form and matter capable of not obstructing the speed of the thought released at last according to its abstract capabilities.


8.         Art is the mediation of a new universe which has as its own fundamental the fact of being empty at its centre; it takes place without necessarily showing such a space at the very start - according to a the evident codification by the nervous apparatus assigned to this task - a central space like this, a space which designates a stage in which time flows quiet and discreet, not necessarily and not directly induced to imprint whatever project of thought or expression of existence.


9.         Art in-Absence is in constant correspondence with reality : it is neither a stage of imagination nor an hypothesis of form, or feasibility about the developement of things in the world. It is brought about in constant coupling with that state of things struggling to emerge, ruled as it is by the laws of evidence that, in their turn, are subject to senses, perceptions and thought of a (human) kind which is by now to be superseded actually because of its central evolutionary structures (the developed brain neo-cortex) that, for the time being, are bound to and saturated by activities and functions not pertaining to it.


10.       The kind of form to be assigned to an observed object is almost irrilevant: the object is anyway poor because of the reality usually perceived and elaborated by ordinary senses and thought; the object in itself is not important, neither is the representation of it imposed by the mind-brain. What would count most in an art of the future (Homo abstractus) is the acquired capabililty of an idea, of an act, of a jesture to deliver a complex universe, which could provide, at any rate, for its own annihilation, should it meet a peculiar quality of a mind(-brain) willing, in the end, to accept that it is not necessary for something to exist or for someone to leave a mark, an imprint to dialogue.


11.      We have no sign, no picture, no abstraction truly indicating the existence of a world: this world ceased already an infinite time ago and everyday the man's brain, sick almost to death of a very sharp, incurable nostalgia, brings on the stage the cobbles of a reality that has really little hope of surviving an (artistic) act capable of looking beyond past objects... so incomplete, so dull and imperfect they appear, of so poor a truth, so heavy and bulky they are because of their fixity and concreteness due to a world-brain(-body) brimming with inborn immaturity, that one had better lose than find them.


12.       The objects of the world, those of art included, would fail in every instant of their time, should they mean to show a chance for possible human and ultrahuman worlds: only ultraretinal objects could indicate the possibility of a highly conductive way bringing men into that territory where things cease to be things and the nothing is capable of an infinite of different expression.

 


13.       No object showing itself just as a derivative of the thing (of the world the way it is) can be regarded as an artistic object. Only that object which is able to overcome reality's temptation for it to remain just as nature and history tend to keep it, will bear the name of object in-art.
Up to now art has mostly mirrored human time, the uncertain time of Homo s.: art will have to prove to be a threshold or vehicle inviting the human species to take their eyes away from that reflecting mirror in which they have so far fruitlessly mirrored themselves, to finally take part in the limpid games of the nothing dwelling in the infinite, beyond the claustrophobic bond of human sentiment, of human insubstantial imagination.


14.       Wherever there is utmost objectivity and thus reality, reaching its extreme detachment from whoever observes and experiences it, has disappeared, there emerges the object (in-Absence) - my works of art in-Absence - which is the expression of the nouminous and bright nothing made of cessation and loss (defeat) of the thing the way it is. 

 

15.       There, on the border, where the object is indeed object (objective) and it is therefore so distant from any subjectivity, that it can almost do without it, and remove itself from sight and intellect for good, there I stand as thinking activity in order to generate what I call Art in-Absence.

 

 

 

 

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