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Ilias Marmaras

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TO CLAIM THAT I UNDERSTAND A WORK OF ART I
ASSUME THAT I MUST FIRST COME TO AN ASSESSMENT OF
THE WORD "TO UNDERSTAND IN A SENSE DIFFERING FROM
THAT OF A FAILED EXPLANATION." COMPREHENDING A WORK
OF ART, THEREFOR, IS PART OF THE EXPLANATION OF WHAT
IS TO UNDERSTAND WORKS OF ART. COMPREHENSION CONSISTS IN
BEING ABEL TO PERCEIVE CONNECTIONS, AND THE WORK OF ART
FUNCTIONS MOST IMMEDIATELY IN MAKING' SENSE WHEN THE
MEANING OF ITS LINKAGES IS PERCEIVED. APPRECIATING IT
AESTHETICALLY, ON THE OTHER HAND, IS NOT (QUITE) CONTEMPLATING
IT AND PRONOUNCING IT "BEAUTIFUL" OR NOT. APPRECIATION CAN
- AND DOES - ASSUME AN INFINITE NUMBER OF MODES ACROSS
DIFFERENT TIME PERIODS OR CULTURES, MODES WHICH WOULD NOT
MAKE IT NECESSARY THAT ONE WOULD SAY - ABOUT THE WORK-
ANYTHING AT ALL. THE REFLEXIONS AND THE GLOW ARE IN THE
DEPTH OF THE PICTURE. (1)
MORE IS CREATED THE MORE ONE SEEKS TO SEE BELOW THE VARNISH,
THE SEEKING ITSELF BEING REWARDED, IN TURN, WITH EVER BRIGHTER
GLOWING.(HENCE THE PRESSURE FOR GREATER TRANSPARENCY
IN THE EIGHT?)RECEPTIVE OF SIGNS SIGNIFYING THE MOVES BY WHICH
THEY ARE ERASED,REFLECTING THAT WHICH JUST WAS,
AND POINTING TO THAT WHICH ANNIHILATES IT. BESIDES TO GLOW
IS TO BE OF THE ESSENCE.
I.M.
(1) L.WITTGENSTEIN, THE BROWN NOTEBOOK

 


ILIAS MARMARAS
"SANS TITRE" 1998
HUILE SUR TOILE
PHOT. KOSTAS DELLIGIANNIDES



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