| Harris Kondosphyris | Think-Tank or Adorno in Love - Installation |

O cul-de-sac da Filosofia?

Adorno The work employs kaleidoscopic mirrors, in a dynamic installation consisting of two images immersed in an ever developing soundtrack: the philosopher T. Adorno taking a photo of himself and by doing so, photographing the end of a couple's love making. The indulgent thinker masturbates as he bears witness to a subdued human relationship. Love_making_couple
The soundtrack resembles a survival log where day after day, the songs of a virtual shipwreck are deposited. The composer evades the illusive substance of self, engaging in "progressive digital approximation". The digital platform remains as challenging as ever, regarding media inflection translation and composition of identity.

The last sentence in Wittgenstein's "Tractatus" says that «for those things one cannot speak, he had better remain silent». Nevertheless, if some cannot be silent, let them enunciate images. In doing so, they show determination to create a system of communication that favors approximation instead of truth.

Truth is a matter of language and the meaning of a word is a relation between a word and its signified object. As meaning is not a fixed attribute, but a relation, it is not unique and language is not a book of truth. Words are often not adequate, images can prove insufficient and we fear to find ourselves in a meaningless universe. Culture becomes more scientific to study our world and extract truth more systematically. This confusion about meaning sheds new light on the question of truth; according to Wittgenstein it will lead to action. Contemplation would thus reach its conclusion in a description, rather than linger indefinitely.

In my last work “Athens-Beijing” I tried to put together the terms of an explanation about people that emigrate and approached immigrants as emigrants. I structured my work “Athens-Beijing” with visual plenitude. I was not advocating any theory but meant to analyze and make explicit what happens: how one experiences emigration. Neither theory, nor the formal remodeling of terms such as “migrant”, can create a different meaning. In my recent work, the desired interaction is better expressed as an underlying order: “Don't think! Observe!” An image cannot constitute truth -despite its value as evidence in a court of justice. The notions that a visitor of "Athens-Beijing" was able to form, in observing the work, were far from securely fixed, as they were not constitutive of any form of linguistic truth of the concept “migrant”. I feel particularly exposed as a visual artist, with my cultural foundations beyond the yield point and a chronic wish for firm knowledge. Our visual culture, rife with subjective symbols like proper names cannot truly rephrase a notion, cannot define what concerns our life. In the “Think-Tank”, T. Adorno takes a photo of himself and in doing so, is photographing a couple at the end of love: in total alienation. Which are the dregs, the solid sediment, in the deposit of thought? Can an artist reflect on the Word, that is, on self as creator, in order to hold on to the lived-experience of creativity, leaving the rest behind? Can the digital plasticity of sound give breath to the glow of cogitation, and let the silent Logos be exposed, as truly so. The ultimate art of absolute technique tending to abolish the means, is the formidable end to this struggle: the liberty of idealistic humanity to abolish itself, by approximation.“Knowing something means knowing how to make it rather than knowing what it is”. - Harris Kondosphyris, Manos Kornelakis - Athens, November 2004

Manos Kornelakis: Sound Composition

Curator: Tereza De Arruda

For more information, please, clic: Harris Kondosphyris

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