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Paolo
Ferrari
Aphorisms
on Art
3.
Art (in-Absence) is the expression of the mind-brain
coupling with the new real being which, constituted by the object in-art,
brings to light the antecedent
of reality: this coupling would enable the emergence of all that is other
than short lived darkness, as it has so far manifested in the thinking,
living and history of Homo s.
4. A work of art should
represent - sometimes even in a dramatic way - the light capable of taking
things beyond the threshold in
which they have been confined by a creating act that was too poor and
not abstract enough for a brain which has thoroughly accepted its own
evolutionary path towards the nothing, beyond the usual negative figment
of imagination this concept arouses.
5. An in-Absence action is brought about, in
art, through single points, signs and layers in which every single element
is a whole outright; every act, sign colour and state are the
accomplished expressivity of an artwork which, at every single step,
is already defined.
Each step of action represents the doubling-fulfilment
of the previous step and of all those before: it is the unitary and accomplished
expression of a place which, in the very same act of being composed, constructs,
in a virtual way, the entirety
of its own level and of all the probable ones, given the strains and forms
through which action becomes evident.
6. Each stroke, point or
dot in an artwork or in music implies the fulfilment of the work as a
whole. What is going to happen afterwards is the expression of the existence
of the work on several planes- infinite planes- interacting together to
generate in the user - within the relationship between the work (object)
and the subject (observer) - that abstract dynamics of infinite points in simultaneous action which
are the fundamental quality of action in in-Absence art.
7. Art - should a form of
reality like this still have to exist - has the task of letting a stage
anteceding things emerge (in a subliminal time); it should give voice
to what precedes the Big-bang which originated the universe the way we experience it; a
second universe were to be born
having form and matter capable
of not obstructing the speed of the thought released at last according
to its abstract capabilities.
8. Art is the mediation of
a new universe which has as its own fundamental the fact of being empty at its centre; it takes place without necessarily showing such
a space at the very start - according to a the evident codification by
the nervous apparatus assigned to this task - a central space like this,
a space which designates a stage in which time flows quiet and discreet,
not necessarily and not directly induced to imprint whatever project of
thought or expression of existence.
9. Art in-Absence is in constant
correspondence with reality : it is neither a stage of imagination nor
an hypothesis of form, or feasibility about the developement of things
in the world. It is brought about in constant coupling with that state
of things struggling to emerge, ruled as it is by the laws
of evidence that, in their turn, are subject
to senses, perceptions and thought of a (human) kind which is by now to
be superseded actually because of its central evolutionary structures
(the developed brain neo-cortex) that, for the time being, are bound to
and saturated by activities and functions not pertaining to it.
10. The kind of form to be
assigned to an observed object is almost irrilevant: the object is anyway
poor because of the reality usually perceived and elaborated by ordinary
senses and thought; the object in itself is not important, neither is
the representation of it imposed by the mind-brain. What would count most
in an art of the future (Homo abstractus) is the acquired capabililty
of an idea, of an act, of a jesture to deliver a complex universe, which
could provide, at any rate, for its own annihilation,
should it meet a peculiar quality
of a mind(-brain) willing, in the end, to accept that it is not necessary
for something to exist or for someone to leave a mark, an imprint to dialogue.
11. We have no sign, no picture, no
abstraction truly indicating the existence of a world: this world ceased
already an infinite time ago and everyday the man's brain, sick almost
to death of a very sharp, incurable nostalgia, brings on the stage the
cobbles of a reality that has really little hope of surviving an (artistic)
act capable of looking beyond past objects... so incomplete, so dull and
imperfect they appear, of so poor a truth, so heavy and bulky they are
because of their fixity and concreteness due to a world-brain(-body) brimming
with inborn immaturity, that one had better lose than find them.
12. The objects of the world,
those of art included, would fail in every instant of their time, should
they mean to show a chance for possible human and ultrahuman worlds: only
ultraretinal objects could indicate the possibility of a highly conductive
way bringing men into that territory where things cease to be things and
the nothing is capable of an infinite of different expression.
13. No object showing itself
just as a derivative of the thing (of the world the way it is) can be
regarded as an artistic object. Only that object which is able to overcome
reality's temptation for it to remain just as nature and history tend
to keep it, will bear the name of object
in-art.
Up to now art has mostly mirrored human time, the uncertain time of Homo
s.: art will have to prove to be a threshold or vehicle inviting the
human species to take their eyes away from that reflecting mirror in which
they have so far fruitlessly mirrored themselves, to finally take part
in the limpid games of the nothing dwelling in the infinite, beyond the
claustrophobic bond of human sentiment, of human insubstantial imagination.
14. Wherever there is utmost
objectivity and thus reality, reaching its extreme detachment from whoever
observes and experiences it, has disappeared, there emerges the object
(in-Absence) - my works of art
in-Absence - which is the expression
of the nouminous and bright nothing made of cessation and loss (defeat)
of the thing the way it is.
15.
There, on the border, where the object is indeed object (objective)
and it is therefore so distant from any subjectivity, that it can almost
do without it, and remove itself from sight and intellect for good, there
I stand as thinking activity in order to generate what I call Art in-Absence.
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