photo: Cone of light - the new artistic movement of New Relativity - The artist Lili-oto explains the developments and prospects of its research started 20 years ago
see the website : http://www.lili-oto.com/
Friday, April 25, 2008
New aesthetic thought for the contemporary art for the United States
This site offers strata of a new aesthetic thought. A critical backbone for a post-emergence in contemporary art in the United States, a new look at contemporary creativity. The flow of contemporary creativity is simply sustaining the concept of art, art has to exist that the sustainability of this flow. the symbol of contemporary art freezes this flow, its rhythm, its frequency, its undulations, and sometimes its aporias his absences or its silences. This label of contemporary art is the freezer of contemporary guaranteeing ownership, control and drainage of this flow to testify then certify a death, the death of contemporary creation as an act founder vital and crucial for the survival of this symbol as a simple extension of an acronym ...
Monday, April 21, 2008
The light is in a ratio 2,5 between two-dimensional space and three-dimensional space. Spatial dimensions. Cone of light, Lili-oto theory
When I started my research in the mid-80s on the figure intermediary between painting and sculpture, or between the two dimensional and three dimensional, I intuitively thought I thought that the solution could only come to light and therefore a work associated with space light or as I discovered space-light... This is where the American artist Frank Stella stopped in its own research ..
Today I say that light is in a ratio 2,5 or in the dimensional 2,5 .
In space as in my art: three concepts
I think the notion of time and the concept of speed do not exist in the universe. Therefore, speed and the time are only two element of conceptual value of the space and our limits of representation. The notion of time in reality and in my view can be only a time overdetermined, the time overdetermined is different from a relative time, what does not detract from the relativity.
For me, the figure intermediary between painting and sculpture is necessarily a cone of light, art and science moves closer. There are a cone of light in physics and a cone of light in art. The concept of cone of light are differents in the absolute. The three concept elsewhere, the notion of absolute past and absolute future are closely linked to " become in the sense of emerging " in my art and my philosophy. In French we say : "en devenir"
The big difference between art and physics, is that the cone of light in art is in a ratio of 2.5, a ratio that exists in my mind in physics since this is the true dimension (2,5) of light.
lili-oto
Today I say that light is in a ratio 2,5 or in the dimensional 2,5 .
In space as in my art: three concepts
ratio 2,5
space-light
space-energy
From my point of view in absolute terms, the second and a half dimension exists, or a 2.5-dimension exists, it is a fully-fledged space and according to my theories: the true dimension of the energy space or the concept of space-energy..
I think the notion of time and the concept of speed do not exist in the universe. Therefore, speed and the time are only two element of conceptual value of the space and our limits of representation. The notion of time in reality and in my view can be only a time overdetermined, the time overdetermined is different from a relative time, what does not detract from the relativity.
For me, the figure intermediary between painting and sculpture is necessarily a cone of light, art and science moves closer. There are a cone of light in physics and a cone of light in art. The concept of cone of light are differents in the absolute. The three concept elsewhere, the notion of absolute past and absolute future are closely linked to " become in the sense of emerging " in my art and my philosophy. In French we say : "en devenir"
The big difference between art and physics, is that the cone of light in art is in a ratio of 2.5, a ratio that exists in my mind in physics since this is the true dimension (2,5) of light.
lili-oto
Sunday, April 20, 2008
Document contemporary art exhibition variations curvilinear
You will find below a PDF file from the exhibition "Variations curvilinear" held in in the art space Artoong Studio. Research on space-time, the potential forms ... A window on to the art of today on contemporary creativity in the visual arts.exhibition + publication + event
Document PDF Exhibition-Art-Contemporary-Curvilinear-Variations.pdf
Document PDF Exhibition-Art-Contemporary-Curvilinear-Variations.pdf
Saturday, April 19, 2008
"Prohibited Area" poem and art video lili-oto
TRANSLATION OF THE TEXT IN ENGLISH OF VIDEO :
"Prohibited Area"
With the destruction of the Berlin wall,
it's one of the signs, one of the spaces
of exclusion which disappears.
I don't take any interest in the wall itself,
but in the "inter-space between the walls",
this prohibited area, this no man's land.
Symbol of the breach between two
political and economic systems, it
materialized interdictions, and was an
invitatation to desires, dreams, and
to the most senseless ideals.
My mother country was this no man's land,
for ever now it will be diluted
and scattered... Lili-oto
With the destruction of the Berlin wall,
it's one of the signs, one of the spaces
of exclusion which disappears.
I don't take any interest in the wall itself,
but in the "inter-space between the walls",
this prohibited area, this no man's land.
Symbol of the breach between two
political and economic systems, it
materialized interdictions, and was an
invitatation to desires, dreams, and
to the most senseless ideals.
My mother country was this no man's land,
for ever now it will be diluted
and scattered... Lili-oto
-
Idea, text and speech : lili-oto
Image : P Leblanc
Image : P Leblanc
Friday, April 18, 2008
artist, The Trouble With Being, united states, usa
lili-oto : The trouble with being, The life of an artist, contemporary art, visual arts, fine arts...
The trouble with Being
the trouble with Being Born
the trouble with being nothing
the trouble with being in flesh backbone
the trouble with being angel and tyrant
the trouble with seduction
the trouble with education
the trouble with physics
the trouble with mathematics
the trouble with power
the trouble with culture
the trouble with contemporaneity
the trouble with spectacular
the trouble with morality
the trouble with religions
the trouble with gaps
the trouble with Thought
the trouble with elsewhere
the trouble with being a poet
the trouble with being artist
the trouble with being plastic
the trouble with being consumerism
the trouble with being being Lili-oto
the trouble with being art
the trouble with being the Making
the trouble with being being in a latent
the trouble with being to die
The trouble with being being nothing and being born
Thursday, April 17, 2008
piece of writing of a young artist, contemporary art, visual art
I decided not to touch up and to make no correction in my written texts, young artist, in 1980s. They explain the starting point of my researches and my artistic activity with all awkwardness, naivety of a young artist in its workshop faced with its creation. (These texts accompanied several exhibitions as " ephemeral Gardens " and the first Lyons biennial "OUT" of contemporary art in France.
First glance, first question : Are my works fragments which have been torn away, uprooted and then exhibited, or a chaotic and hazardous assemblage, warering in a combination of destruction and reconstruction ?
All fragments here are systematically made of new materials, and this case, they are not a part of something that "has been", but fragments of a birth.
At the beginning, there is conciousness of... conciousness of a frontal space. When I am in front a wall, in my studio for instance, I have in mind one or several mental images - but not the concept of the "Quadro" (painting).
The first process already splits this space : I hang a transparent PVC film on a very large metallic frame, and I set up between the frame and the wall strong light-spots (1 or 2 Kw), which will light the plastic and leave the wall in obscurity. The PVC film becomes a catalyst of light, through the imperfection of its transparency, and because the heat of the light-spots puts steam on it. The presence of this frontal space is intensified by this light source creating a facticious wall. When I paint on PVC, I get the feeling to paint directly on light, and through the violence of the ligth facing me, through the transparency, I come to the materialization of a frontal space between the wall and me.
Te second process is a choice between a plane surface and a volume. In both cases, the plastic film is "destructured" with cutting-outs and heat - It's the birth of a first fragment, the "Original Fragment" (or "Base Fragment"). The more my thoughts get concious of this frontal space, the more it splits up and grows with the adjunction of other fragments (of walls, tiles...). In this elaboration I don't know "whether I go to the wall, or the wall comes to me".
------------------------------------------------------
I have always been fascinated by the "vis inertiae" of material. For a material, inertia is the resistance to movement linked to its mass. Each material has its own inertia - oil, acrylic, glass, granite, wood, plastic, iron, aluminium,... It's a specific value for each material, reaching beyond the limits of its own physical laws; it becomes a suggestive value, wich sole conciousness lies in the radiance of its own dialectic.
The inertia of material may be seen as the fruit of a "Resonance"; from its very substance, and in the depths of its bowels, it may reveal an "Organic Sonority". Depending on the act, or the intervention, the organic sonority changes, its variations may be identified as "PHONEMAS" (sonant elements of language). The connection of silence and inertiae opens a new field of investigation, another world, and above all another language.
The different materials (of everyday use, and non-precious) : tiles, paper, cardboard, plaster, PVC film, are transposed, their previous "oder of importance" (sign, value, fonction,...) is transgressed in order to reconstitute a new "self value". For instance, the transparent PVC Film becomes a full space when the ligth goes through it, but this new space is ephemeral.
The subject intermingles with the materials being represented (presented again), and its object is an organic composition, where the language of material, the "phonemas", provide a new palette.
Each material is taken into consideration, from the pigment to the light, nothing is excluded. As to my object, the absence of references withdraws it from figurative or abstractive art. No writing, whether philosophical or spiritual, is mine. Therefore, all fragments brougth together don't vibrate but with their own being, their interactions. They are no parts of a whole, an entity, like the painting, but a CONSTELLATION.
lili-oto
First glance, first question : Are my works fragments which have been torn away, uprooted and then exhibited, or a chaotic and hazardous assemblage, warering in a combination of destruction and reconstruction ?
All fragments here are systematically made of new materials, and this case, they are not a part of something that "has been", but fragments of a birth.
At the beginning, there is conciousness of... conciousness of a frontal space. When I am in front a wall, in my studio for instance, I have in mind one or several mental images - but not the concept of the "Quadro" (painting).
The first process already splits this space : I hang a transparent PVC film on a very large metallic frame, and I set up between the frame and the wall strong light-spots (1 or 2 Kw), which will light the plastic and leave the wall in obscurity. The PVC film becomes a catalyst of light, through the imperfection of its transparency, and because the heat of the light-spots puts steam on it. The presence of this frontal space is intensified by this light source creating a facticious wall. When I paint on PVC, I get the feeling to paint directly on light, and through the violence of the ligth facing me, through the transparency, I come to the materialization of a frontal space between the wall and me.
Te second process is a choice between a plane surface and a volume. In both cases, the plastic film is "destructured" with cutting-outs and heat - It's the birth of a first fragment, the "Original Fragment" (or "Base Fragment"). The more my thoughts get concious of this frontal space, the more it splits up and grows with the adjunction of other fragments (of walls, tiles...). In this elaboration I don't know "whether I go to the wall, or the wall comes to me".
------------------------------------------------------
I have always been fascinated by the "vis inertiae" of material. For a material, inertia is the resistance to movement linked to its mass. Each material has its own inertia - oil, acrylic, glass, granite, wood, plastic, iron, aluminium,... It's a specific value for each material, reaching beyond the limits of its own physical laws; it becomes a suggestive value, wich sole conciousness lies in the radiance of its own dialectic.
The inertia of material may be seen as the fruit of a "Resonance"; from its very substance, and in the depths of its bowels, it may reveal an "Organic Sonority". Depending on the act, or the intervention, the organic sonority changes, its variations may be identified as "PHONEMAS" (sonant elements of language). The connection of silence and inertiae opens a new field of investigation, another world, and above all another language.
The different materials (of everyday use, and non-precious) : tiles, paper, cardboard, plaster, PVC film, are transposed, their previous "oder of importance" (sign, value, fonction,...) is transgressed in order to reconstitute a new "self value". For instance, the transparent PVC Film becomes a full space when the ligth goes through it, but this new space is ephemeral.
The subject intermingles with the materials being represented (presented again), and its object is an organic composition, where the language of material, the "phonemas", provide a new palette.
Each material is taken into consideration, from the pigment to the light, nothing is excluded. As to my object, the absence of references withdraws it from figurative or abstractive art. No writing, whether philosophical or spiritual, is mine. Therefore, all fragments brougth together don't vibrate but with their own being, their interactions. They are no parts of a whole, an entity, like the painting, but a CONSTELLATION.
lili-oto
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