Body
I am flesh but I am also a vessel, a void I don’t know how deep or how vast is my/its emptiness I try to fill it to reach the lines marked at my side with feelings/knick-knacks/memories/stuff and I’m scared of stumping and dropping my insides at the wrong place
\ Consuelo Francisca Albornoz Marambio is a Chilean architect who recently finished her Master’s in architecture at the University of Chile. Besides her workfield interests, she is curious about art in different formats, media and culture. Also, she’s fond of handmade projects. As a young professional, she is looking to expand her work into a multidisciplinary level \
Blind Love
It is known that humans have many different qualities and capacities. From my point of view the ability to love, giving your heart to the other person, is the most difficult to achieve
\ Alberto Cordón focuses on the concept, although he has worked and experimented with various artistic disciplines he’s currently working with photography. His photographic work revolves around the roots, the beginnings, the past, longing, memory and the passage of time, taking urban and rural settings as inspiration, as well as inhospitable spaces, rubble and places abandoned and dilapidated. Although he works digital photography, he also investigates and experiment on other techniques such as analog photography, cyanotype, solarigraphy, antitype, chlorophyll printing, etc. Sometimes he also paints directly in the photographs, looking for a manual finish and thus distancing himself from the new technologies \
orange Limits
carrying the aftermath. Penalties: An orange bursting through the peel. Color and wax soaking Into the wood. Tarry pulp bound to fingertips yesterday until forever.
\ Katherine Harrison is a writer originally from South Florida living in Prague \
Capacity
Sometimes we need to understand what is real capacity. Model Capacity represents idea of “unfinished place“ as a space for growth, potencial change in form and shape. Black and white represent light and darkness, it happens sometimes that you find your light in absolutelydark place. Main parts are basic shapes: rectangular and circle as fundamental building blocksof geometry and neutral colours: black and white to represent stillness and strong contrast.
Black interior stands for “unknown“ and white exterior for “known” reality, as observable by human.
Free spaces and surfaces as base for future interventions. This is Capacity.
\ Martin Kamensky was born and based in Bratislava. He is an artist in field of graphics and sculpture, with passion for architecture, design and minimalism., his works mainly focus in line, colour and volume studies acompanied with exploring philosofical and social themes in connection to theinner human world \
On the concept of capacity in the aesthetic field
Meaningful plot twist
What does it happen when one of the concepts suggested is meaningful to define the search field itself? As a matter of fact, aesthetic competence is defined as the capacity to experience relational beauty, goodness and truth simultaneously. This kind of ability is expressed by artists in different forms, such as painting, sculpture, performance, installation and so on. In this sense, capacity in art could be define as the know-how to express emotions and messages; the most important feature that allows artist to make art.
However, artistic capacity has been subject to different interpretations and in fact it seems evident that there is not an unambiguous definition that can embrace indiscriminately different eras. That is the reason why I consider the nature of this concept so controversial. Nevertheless, I try to define in this essay a potential path of this idea during centuries, in order to understand if nowadays if it is still possible speak about capacity in art.
Technical capacities in ancient art
In Greek and Roman art artistic capacities were defined with respect to technical skills. In this sense the formal rigour, as well as the balance of the parts, of which I spoke in the previous essay, were the essential elements that define an artist and therefore his ability to create a work of art.
In this case artistic capacity is a formal and defined way and so the question arises: if artisticcapacity is outlined by rules, artist is reduced to a mere craftsman? So, it would seem and for decades that was the common opinion for the society. However, as I said before, artists define their works thanks to the particular capacity they have, that is to express emotional feelings in a universal language.
Thanks to this kind of consciousness, from the IV Century B.C. they begin to put signatures to their works to declare the uniqueness and irreplaceability of their masterpieces, but society needssignificant time to understand cultural improvements and in fact opinions changed only with Leonardo da Vinci, who was the first to recognize the artist as creative and intellectual person.
This idea takes on definitive nature in the seventeenth and eighteenth centuries, a period in which manual skills are increasingly combined with capacities of the intellect. Although this combination of parts resists for a long time, the terms in question assumed a different relevance during eras. (imm01)
The capacity of analysis in contemporary art
Between the late nineteenth and the first half of the twentieth century, manual skills play a lower role than intellectual expertise. The issue is particularly relevant due to semantic intricacy of modern and contemporary art, that is often defined as cryptic and suffers from a lack of general understanding. This phenomenon allows many to question about the capacities of artists and just think of the famous expression of the Italian art critic Francesco Bonami: I could do it too.
It goes without saying that contemporary artists remove the figure in favor of concepts and in this sense and moreover the development of different mediums has contributed to the loss of meaning, that leads to identify a work of art as a blunder.
Nevertheless, this type of discrimination, dictated by the attitude of recognizing an artist for his technical capacities, leads me to reflect on the same abilities of the observer. Even if works of art has always required a strong capacity to observe, only now we realize that this ability must be exercised to really understand the artistic genius.
As Bertolt Brecht said, to understand art you must participate in its production and combine or contrast your own experience to that of the artist. Participation can only take place when the subject is able to observe, but that experience is not accessible by everyone. The work of art cannot be exhausted in its own aesthetic charm but must necessarily be deepened in the expression it brings with and in the processes that have determined it. (imm02)
Human or artificial capacity?
And now? Is it still possible access to this kind of experience? The growing technological developments have led us today to experience another type of art, that is generated by Artificial Intelligence.
According to the current thinking, the use of generative models drastically reduces the commitment of human artist due to this artificial software. In this sense the artistic capacities are entrusted to an artificial hand, which can be used by anyone. So, should we still talk about human artistic abilities?
It is one of the most urgent issues and there are opposing views to give a clear and unambiguous answer. The concern regards exactly the inability to distinguish determined capacities in order to give a statute to the artists. We always keep in mind that behind any artificial intelligence, there is always a human contribution, without which the machine could not survive. Then, you might think of these devices as media to express ever higher artistic capacities. A new era brings, once again, a new meaning to this inexplicable concept.(imm03)
\ Vittoria Mascellaro after she received a degree in Philosophy at Università degli Studi in Milan, she attended a two-year specialisation in Visual Arts and Curatorial Studies in NABA. She is currently cultrice della materia Sociology of Art at Accademia di Belle Arti in Catania and she is curating the exhibition project The Rights from Future Generations – A Perspective on (A)rt and (I)nnovation in Monza \
More involved and less attached
Less obsessive More fluidity Less confusion More understanding Less feeling less More feeling more More love And More compassion But not actually more Because I already have enough
\ Alison Mason \
Here all along
Think about cabinets that contain things hidden behind closed doors until something specific in them is needed, or a pattern of discoloured bricks in a wall can contain a hidden message that you might never see unless someone tells you. In the case of printing paper, all possibilities are contained in this white roll that could be fully black, or selectively black (in shapes of letters and words, or otherwise).
I like to think of how your shopping list is in two places: on your phone, but also contained in the bill you will take home after you pay (already there, out of all the possible combinations of shopping you could do, it awaits to be revealed).
I see here a correlation with The Library of Babel by Jorge Luis Borges, where an infinite library hosts all the novels that have ever and will be written. One could find the greatest new novels nobody has read, but it is a matter of searching through an infinite sea of clutter. Makes one evidently wonder whether it would be quicker in a lifetime to hone the skills and write the book, or try to find it already contained in the infinite library? Same with the printing paper, I hope to make some active choices of how I heat it, in order to reveal patterns of black on white that you normally don’t expect from this usually banal everyday object.
\ Andreea Samoilă is an artist, designer & researcher \
continue. + Crime!
night times, i ache for ink and paper . my neurones in a ferocious frenzy , plotting treasons of the past and future . i am the scream at nights . i long for ink and paper . to tell what ? so what ? library ? the books bring me to my knees . i know , i long for culture . i take pleasure in learning and listening to stories , cause i criticize . the truth won’t matter , it is me who is baffled by your ingenious exaggerations . and i pout my lips . on the thin line of wanting to be kissed in a humming silence or is it , continue! dance with my ears . i’ve got two for a reason . treason . a consumer character . you ask me a question and i don’t know who you are . you am i . i pause , i’m puzzled . the train of thoughts went off the track . will it collide? at this point, i
\ Sanaz “dark; but lit!” instinct . a painter a poet . an ink! artist art is a ritual . text, langue. all researched technically to colour to spirits of ancient to the contemporarydepth ancestors . immersive intimate intuitive . born in the cityof Shiraz Iran my real name is sanaz an immigrant woman now with Canadian pasaporte places travel to me . hence based on Earth on hunt of the next hôme khoone خونه \
alfabèto 