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IMPERIUM
Norman Lowell
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« on: March 14, 2005, 07:47:40 AM »

ART IS DANGEROUS 

Art has been described by Nietzsche as that primal faculty of human fantasy, by which our original and most fundamental experience is artistically expressed in images and apposite cadences - the way we feel and perceive the world.

The ancient Greeks were never the serene spirits that the Hellenists once thought them to have been.   A streak of insecurity and strong superstition ran through their culture.    They were sensitive to suffering to an extreme degree and all this made them deeply pessimistic.   Silenus muttered that it was best for man never to have been born; and the next best thing was to die quickly.

Greek art then, like Greek religion evolved to cope with the tragedy of life.   It was a response to great suffering and as a means of making existence bearable.   It took two forms: Apollonian and Dionvsian.

Apollonian art is imagination - Dionvsian art is intoxication.   To the Greeks the former was but a thin veil covering the barbaric, dithyrambic undertones of their nature.   Both served the purpose of making life tolerable.

However, art whether Apolonian or Dionvsian, is in itself dangerous.   It is always eclectic, elitist and individualistic.   No art is democratic it cannot be. Where the masses drink, all wells are poisoned.

Nothing is more tragic-comic than the art critic trying to democratise art.   He goes about this by vengefully pulling down the artist while artificially glorifying the mediocrity, the sham, the humble non-performer, and the non-artist.   Eventually however, inevitably, true art emerges and endures.   

Why? Because true art is dangerous. It always is and always will be - and it is this danger, intertwined with the beauty of art that gives it its permanence.   After all; What is the most beautiful thing in life? To live dangerously!

Wagner is dangerous, Beethoven is dangerous, Mahler is dangerous, Nietzsche is dangerous, Van Gogh, Gaugin, Pollock is dangerous, as is Henry Miller.

The last, in his Tropic of Cancer describes the artist thus;  "Side by side with the human race there runs another race of beings, the inhuman ones, The race of artists who, goaded by unknown impulses, take the lifeless mass of humanity and by the fever and ferment with which they imbue it turn this soggy dough into bread and the bread into wine and the wine into song.   Out of the dead compost and the inert slag they breed a song that contaminates.

I see this other race of individuals ransacking the universe, turning everything upside down, their feet always moving in blood and tears, their hands always empty, always clutching and grasping for the beyond, for the god out of reach; slaying everything within reach in order to quiet the monster that grows at their vitals.    I see that when they tear their hair with the effort to comprehend, to seize this forever unattainable, I see that when they bellow like crazed beasts and rip and gore, I see that this is right, that there is no other path to pursue.   A man who belongs to this race must stand up on the high place with gibberish in his mouth and rip out his entails.   It is right and just, because he must!

Anything that fails short of this frightening spectacle, anything less shuddering, less terrifying, less mad, less intoxicated, less contaminating, is not art.    The rest is counterfeit.   The rest is human.   The rest belongs to life and lifelessness.  Art, that great seductress; is dangerous."

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« Last Edit: October 19, 2012, 09:51:23 AM by IMPERIUM » Report to moderator   Logged
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« Reply #1 on: January 18, 2012, 09:23:02 AM »

http://www.maltatoday.com.mt/en/magazinedetails/magazine/art/Maltese-art-in-crisis-20120117

Art Tuesday 17 January 2012 - 21:20
Maltese art in crisis?Maltese visual art seems to be on the brink of some kind of breakthrough, however prevailing conservative tastes and a general lack of support risk undermining any true development.

That, at least, appears to be the opinion of many gallery owners and local artists.

"I seem to be noticing some exciting new sparks of creativity," Chris Gatt, General Manager at St James Cavalier Centre of Creativity, Valletta said. "Yes a lot of it is still derivative, however there seems to at least be a greater sense of the need to explore," Gatt added, while also voicing a very real concern: "My big fear is that these artists will continue to be frustrated about basing themselves in Malta and seek broader horizons."

The fear of a creative brain drain was brought into sharper focus last year, when Malta Contemporary Art - first set up in Marsa in 2008, then moved to the Upper Galleries of St James Cavalier in January 2010 - had to move away from St James altogether, "due to a lack of local support," according to its curator, Mark Mangion.

Mangion, now working overseas, described the local mentality towards art as "still a little backwards due to the general public's lack of exposure," though he still believes that "there is a growing interest in contemporary culture in Malta". But local artists might just give in to the temptation of moving abroad to pursue their passion if a more tangible support system doesn't present itself.

"Although things are a little better now but not much and nowhere near enough has been done. I think Maltese artists need to have a more international outlook. Malta is a small place and there are much greater opportunities overseas, though not easy to have a breakthrough. There are currently perhaps five to 10 local artists who are active on the international scene and sadly not a single Maltese artist represented at the important biennials, art fairs and museums," Mangion said.

Gallery owners also appeared to be alert about the dangers of stagnation. Christine Xuereb, owner of Christine X Gallery, Sliema, complained about how local art buyers remain conservative in their choices, opting for either Maltese landscape paintings or derivative works.

"I keep noticing that Maltese are very inclined to purchasing works by well known Maltese artists just for the 'name', not giving much credit to the individual artworks," Xuereb said. The impression that buying 'safe' paintings makes for an equally secure investment, is, according to Xuereb, something of a misconception.

"There are certain artists who become famous by sticking to what they have been doing for many years without experimenting. People tend to think this is an investment but when you see the number of similar works out there by the same artist, it is hardly an investment," Xuereb said, while adding that the work of more innovative contemporary artist - she mentions Jimmy Grima and Selina Scerri as examples - need to be given the same importance in order for the scene to progress.

Like some of her fellow gallery owners, Xuereb also recognised that local artists automatically do better than international visitors as they tend to enjoy an in-built audience. According to Xuereb, this can also have a detrimental effect.

"I believe that diversity is what brings about innovation, and if all we are buying is Maltese art, there's not much diversity to go around - we're just taking in either what Maltese artists gather from their own surroundings, or from studying abroad. Accepting foreign art could lead to educating the eyes to appreciate art through means of diverse styles," Xuereb said.

Sandro Debono, curator of the Malta Fine Arts Museum also noted a clear rift between local and international artists - "People do differentiate between Maltese and International artists; the former have a local audience the latter have not and this weighs heavily when it comes to exhibition attendance and exposure" - while observing that "save for a few exceptions, the contemporary remained mostly popular with the younger generations". The Fine Arts Museum intends to press on with contemporary international exhibitions, however.

"We remain committed to promote greater awareness irrespective of market trends. In fact our exhibition schedule this year included a sizeable doze of contemporary art which relates very little to the local art market," Debono said.

But it seems as if the very idea of locally-based contemporary art is problematic in itself.

"By its nature, contemporary art is not easily marketable, and a real market for contemporary art does not exist in Malta. Yes, there are some sales, and this is a good thing of course, but the existence of contemporary art in Malta is probably best understood as a small miracle that subsists despite the absence of a market," Raphael Vella, artist and Art co-ordinator at the University of Malta, said.

-------------------------

Interesting and quite factual.
Art, contemporary Art, this fragile flower in Malta that was born in the 60s:
was stamped upon by the Squallid Socialists in the 70s.

Art went underground.
A few real Artists like Gabriel Caruana and Antoine Camilleri, held on.
All the rest, the non-artists, the pseudo artists, conformed.

The Art scene in Malta is quite a desolate landscape:
Church steeples, prickly pears and goats - and that quite sums it up.
A poverty that is a reflection on il-Gahan Malti.

http://youtu.be/Dxo0HtUNLyM

2012: Anno Zero!
Imperium
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« Reply #2 on: June 15, 2015, 03:36:06 AM »

https://www.youtube.com/watch?v=0gB-N3gPt7I


Norman Lowell fuq Sfera - Part 4

ART

Homage to all real Artists.
Those who see the world through the eyes of Art.
Those Seagulls above the clouds.



00306
The Golden Dawn
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« Reply #3 on: June 23, 2017, 09:55:18 AM »

https://www.timesofmalta.com/articles/view/20170623/opinion/Hub-for-contemporary-art.651413


Friday, June 23, 2017, 00:01 by Charlotte Agius

Hub for contemporary art

Since my return to Malta, less than a year ago, I have been trying to absorb the changes that have happened to the Maltese contemporary art scene since I left in 2007.
I must say the changes have been many; a big leap has taken place. More funds have been allocated to culture, we are present in the Venice biennale this year and a new museum will be opening in 2018, just to mention three among many other positive things.
I have always seen the potential for Malta to become a hub for contemporary art, mainly because of our geographic position, at the heart of the Mediterranean, somewhere between Africa and Europe. The mix is visible in our culture, language and landscape.
Malta became particularly interesting to me after the Arab Spring. The Mediterranean region is the birthplace of culture, dating back to the days of Ancient Greece, Rome, Egypt, Phoenicia and Mesopotamia. Throughout history, it has been a link between Europe and Africa and remains so even nowadays. Our geographical location has been key to the link between these two continents all throughout history.

But how does all this reflect in our efforts to internationalise and mix with the rest of the world when it comes to art?

Over this past year, I have thought deeply about our legal frameworks regarding art, our cultural institutions, art education at the University and what is happening here in terms of art.

Malta seems to be deeply set in this very nationalist view of art. Our art has become a by-product of this neoliberal wave that has taken over the country, a means to sell our country to tourists, to the foreign uber rich.
Our notion of art is completely cut off from what is going on in the rest of the world. We live in the 21st century, an era of globalisation, which has also extended to the art world.


The art market is global, the process of making art departs from a globalised state of mind, the art world is global.

Everything happening in the visual art world in Malta has to do with our traditions and our national identity.
Our notion of art is completely cut off from what is going on in the rest of the world
An idea that is completely outdated internationally. Our art history programmes at BA level oblige students to write a thesis about art in Malta or related to Malta.
This is also the theme of our national museum.

Recently, while conducting research about the Maltese art market, I was quite shocked by the dismal state of legislation regarding consumer protection and penalties for fake provenance and corruption that is rife on the local market.
Most people do not realise how big the Old Masters’ market is in Malta and, yet, nothing is being done to make the market more transparent in an increasingly financialised art market.
Objects looted from archaeological sites, destroying entire strata and, therefore, without provenance, find their way on the local art market, sold without the slightest control. Works that are falsely attributed or without proper provenance and serious documentation are sold off as originals; no use of internationally-acclaimed authenticators for specific artists is being made.
The lack of legal control exposes the market to be infested with corruption and abuse at the expense of the consumer. The fact that no database with public prices is published means that the pricing of art work is also abusive. The process to obtain an auctioneer licence is simply too lax.
The Superintendence for Cultural Heritage enforces laws that hurt the local market and lays the ground for even more abuse.
Every artwork that enters and leaves the country must either have a permit to be exported or an inspection is held upon entry into the country. The fee is five per cent of the value of the artwork.
This would make sense for any art works and artefacts related to Maltese heritage, such as works by Noletti and other artists relevant to Maltese heritage. However, it simply does not make sense for contemporary art works by living artists.
It paralyses the dialogue that can be made between Malta and the rest of the world locally. It denies people access to international art and enforces insularity. It hurts galleries and independent institutions and makes them uncompetitive with the rest of the world.
It hinders the development of the Maltese art scene. It hinders local artists from having direct contact with international artists.

All these issues are very problematic and put Malta in a protectionist, far right-wing light, a position which most of us would refuse to assume. It is important for us as a nation to refuse this imposed xenophobic rationale, probably stemming from a lack of knowledge of what is happening globally by those who run the system.
The world must fight the rising populism and nationalism on a political level through art.
Art is the nucleus of free speech, it unites people by shedding light on the universal human condition, a threat to the very notion of fascism.
Fascism cannot co-exist with empathy.


Charlotte Agius is a graduate from Sotheby’s Institute of Art and the Sorbonne Paris IV.


------------------


A work of Art becomes internationally valid when it expresses the most National Identity (Regional) in the coming Europa.
The greatest benefactor of Art, as any Italian artist would tell you, was Benito Mussolini.
Marinetti and his Futuristi thrived under Fascism and their works, the products of real genius, still stand out proudly today.

Certainly, Art should not join the Jewish Globalised view - the "Art Game" is in the hands of the Rodents in Human Form.
They want to globalize Art, just as they do want to mongrelize the Races of the World.
Art expresses the most intimate, personal feelings - it is certainly not "international or a globalized idea".

"Art has been described by Nietzsche as “that primal faculty of human fantasy” by which our original and most fundamental experience is artistically expressed in images and apposite cadences – the way we feel and perceive the world."

Individuaism is the Key to Art - certainly not Socialism or Globalism.


http://www.vivamalta.net/VMforum/index.php?topic=44.msg186593#msg186593



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« Reply #4 on: August 05, 2017, 01:55:24 PM »

READ POST No 1


--------------


Art is dangerous to authorities
 
by Jon Rappoport
 
In 1891, Oscar Wilde wrote: "Art is individualism, and individualism is a disturbing and disintegrating force. There lies its immense value. For what it seeks is to disturb monotony of type, slavery of custom, tyranny of habit, and the reduction of man to the level of a machine."
 
Authority wants limited perception.
 
It wants "things as they are" to rule the day.
 
It wants the fire of creative exploration to go out and turn to ashes.
 
Art is dangerous. It makes people move out of standard-response channels.
 
They don't see what they're supposed to see anymore.
 
That's why colleges teach brain-deadening courses in art history. Every attempt is made to codify the students' reactions.
 
I'm not just talking about political art. I mean ANYTHING that truly comes out of reliance on imagination.
 
Those who run things---and their willing dupes---want reality to look a certain way and be experienced and felt in certain ways. These limited spectra form a shared lowest common denominator.
 
Even so-called spiritual experience is codified. It's called organized religion. I call it "give money to the ceiling." You give your money and they tell you high how the ceiling of your experience is and what you'll find when you get there.
 
Art has none of these limitations. It's created by people who've gone beyond the shrunken catalog of emotions, thoughts, and perceptions.
 
Art, by which I mean imagination, throws caution to the winds. It invents realities that engender new reactions, never before experienced.
 
The hammer blows and the soft propaganda of the common culture install layers of mind control: "See things, experience things in these prescribed ways."
 
Over the years, I've encouraged a number of people to become artists. Aside from the work they then invented, I noticed their whole approach to, and perception of, life altered radically.
 
Their sense of vitality, their courage, their adventurous spirit came to the foreground.
 
Mind control, both externally applied and self-induced, is all about putting a lid on creative power. That is its real target.
 
Technocrats would like you to believe that hooking your brain up to some super-computer will fulfill your needs and desires. They seek to prove that all invention, all creation, all art, all imagination is merely a set of calculations within a closed system.
 
This effort betrays their own despair: they see no way they can truly create.
 
It is the vacuum in which all elites live. They build up a frozen dead consciousness of models and algorithms and "solutions," and they seek to impose it, as reality, on the minds of populations.
 
Essentially, they're saying, "If we have a soul-sickness, you have to have it, too."
 
It's called hatred of life.
 
On the other hand, individual creative power launches from a platform of freedom and rises through layer upon layer of greater freedom.
 
From that perspective, authoritarian power looks like a sick-unto-dying charade.
 
There are two levels of fake news. The first one, many people know about. This is false and deceptive information broadcast by major media, to keep the public from discovering what really goes on under the surface and behind the veil, where power is used.
 
The second level, very few people understand. It is owned and operated by what I call the Wizards of Is. They say, "Now this IS and that IS and here is something else that IS...keep looking and thinking about what is, what already exists."
 
"Familiarize yourself with everything that already exists. We will give you an endless supply of things and ideas you can peruse and feast on. We will give you what exists. Look at all these things and accept them. Keep doing that."
 
The corollary is: There is nothing for you to create. Everything that can be created is being created. You yourself have no power to create.
 
This is the deeper lie. This is where the battle stops and the individual surrenders.
 
This is where the individual who could be more becomes less.
 
This is where the artist is still-born and decides to live in half-light.
 
This is also where vital energies deplete and peter out.
 
This is where the machine takes over.
 
OR...
 
The individual can wake up and deploy his imagination.
 
Without limit.
 
This is where the new battle begins. This is where the artist sets aside all the standard responses and petty emotions and, instead, INVENTS.
 
This is where fear is blown away.
 
This is where the individual reacquaints himself with his deepest drives.

---------------


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