human lives in Space, and Space passes through a human." If I could remember
for sure this phrase by Mikhail Matyushin (and if I was certain it was him who
said it), I would use it as an epigraph.
concept of space is a basic one, it is not defined verbally here but is pre-assigned
through artistic (visual) media. The "Field of Vision" artistic action
which comprises a series of art exhibits and performances is the artistic device
designed to manifest (rather than define) space as an entity.
" as a work of art, sculpture certainly implies working with artistic space. Art and technique deal with space and develop it with two different aims and using two different methods.
But as for space, does it remain the same? Or is it different from the one that was first defined as late as after Galileo and Sir Isaac Newton? Is space that discontinuity which is uniform, showing no specific nature in any possible point, having equal value in any direction but imperceptible?
It is the space that, to a greater and greater degree, with more and more persistence, has been provoking the contemporary man to conquer it?
Isnt it true that contemporary visual arts are thus provoked into thinking of themselves in terms of the battle with space? Doesnt arts temporary contemporary nature thus turn out to be confirmed?
However, it is possible that space as designed by physic and technological means, whatever definitions it might be further subjected to, as the only true space? Could it be true that all spaces constructed otherwise, as artistic spaces, spaces of everyday behavior and communication, are nothing but subjective rudimentary and modified forms of the unitary objective cosmic space?
What if the objectivity of the objective universal space were, fatally, but a correlate of the subjectivity of a mind unacquainted to historical periods which preceded the European New Time?
Even if one acknowledges the different nature of space perception, in the past epochs, could this give one an insight into the essence of space? The question of what space is as space has not even been formulated, not to mention the answers. The question remains unanswered, in what way the space is, and if any being can be ascribed to it at all.
Isnt space one of the primophenomena whose perception, as Goethe has it, fills the man with a kind of fear bordering on horror? It would seem that there is nothing behind space to what it could be attributed. One cannot transcend from space to some other entity. The nature of space can be derived from space itself. Does it also allow to articulate itself?
The helplessness with which these questions are asked makes one admit:
Until one sees the true essence of space, any idea of artistic space will remain as vague. The way in which an artwork is penetrated by space is suspended in uncertainty at first " M. Heidegger, "Art and Space"
cannot help looking back at one of the first experiences of such filtration,
namely, the exhibition and the sale of emptiness by Iv Klain in Paris in 1958.
only messengers from this world to other ones are flies with their rare ability
to move from one space to another, which for some reason was overlooked by Lucian
in his "Praise for Flies"
TRAPS made of metal nets can secure space with extraordinary safety; space can
neither be scooped nor sucked out of them.
has been explaining to everybody for a long time that the space of the Universe
is limited but infinite. Like spherical surface, or like circumference.
Museum TRAP can also be extended, penetrating into any possible infinite space
to procure still new "exhibits", like they do in any museum.
is universally known that it was Pavel Filonov who said that a painting must
grow like a living organism.
instance, a dog exists in a space of odors rather than in a visual space. Different
from light beams, odors do not travel linearly. Consequently, even this level
of everyday existence is sufficient for non-Euclidean geometry to apply.
mantic experience tells us that it might be as dangerous to work with space
without knowing or feeling its laws, as it is dangerous to work, say, with electricity.
in our dreams we retain "our vision". We can see the same forms in
unusual combinations, like in a surrealist painting. I have never heard anybody
telling that he or she dreamt of something which does not resemble anything
else. This is the reason why I stopped being interested in dreaming. My virtual
dreams are in my SPACE TRAPS.
should be pointed out that I am consciously simplifying, schematizing, and I
do not mention here the very special space generated around an artwork which
is directly connected with the individual space of an artists emotions,
his or her soul.
this idea is trivial, it is very difficult even now for men to sneak into the
closest borderline confines.
the Absurd and the Chaos are the two worn out horses of art. They have been
ridden too long, and too many things have been lost in the race, or destroyed,
or decayed, and restoration is needed now.
people associate the change of strategy and tactics of artistic practices in
the mid-19th century with the invention of photography. The term "virtual
realities" appeared when the possibility arose to use the computer for
the creation of new forms of visual realities. However, such realities cannot
transcend the limitations imposed by the natural definition power inherent in
human vision. The computer, like photography, might provoke a new turn in "the
art of humans", but not eliminate art.
is based on the outer vision, lying on the surface. The image is
but an impression, a description, and therefore it is insufficient." (from
the Manifesto of Biocosmism, early 20th century).
since that very time, cognition is impossible without slaying actual reality
and further dismembering the corpse. To my mind, this is true for artistic creation,
not only for scientific analysis.
this paper I am trying to do without any support from contemporary theories
of Post-modernism, as those of this ending of the possibilities of art, deconstruction,
the defense of kitsch, schizoanalysis, etc. I would like to declare the relative
independence of my text. If I quote, I quote people who have long ceased being
anybodys rivals, people who knew artistic creation from inside, from the