Eighth meeting - November 10, 2010
Critical Novo 2010. Daria Deflorian meets Katie Ippaso
self as another.
Spending, not shown to avoid excessive immediacy and the design intent. Daria Deflorian
choose for the public the story of the idea of \u200b\u200bNovo Critical cornerstone of Reality, the future will show that the main character along with Antonio Tagliarini. No representation, therefore, what we have at the moment is the beginning of a shock, the entropy of an idea incubator. The encounter with the subject, says the artist, takes place during a sunny Sunday in March: Daria comes across by accident in the history of Janina Turek, home of Krakow from 1943 to 2000, the year of death, tells the details of their daily non-stop and never make them public. Gradually, the writing becomes his job: the most trivial and irrelevant details are recorded about 748 books, though they were books. Janina never writes of himself, and when it does happen in the third person, looking to live. The artistic intuition is imperious, categorical; il primo impatto fortemente emotivo. Ossessione patologica o meno, poco importa. Il racconto della Deflorian è commovente e commosso, la sua immagine della donna che spiò se stessa quasi come fosse una necessità imprescindibile, è felice e rispettosa. Forse ancora troppo partecipata. Per la domanda di Katia Ippaso sulle modalità della messa in scena non c’è ancora una risposta precisa. Ciò che è certo sono i molteplici interrogativi che la storia pone agli artisti e al pubblico. E il futuro titolo sintetizza e non lascia scampo: Reality contiene in sé il rapporto tra il reale e la sua rappresentazione. Ci troviamo ancora una volta a riflettere sul paradosso del Teatro, che è per definizione vita artificiale, Yes, but shared, and that both differ from that vision voyeuristic voyeurs which is proper instead of the modern reality show. We must work to subtraction, then, to eliminate that term altogether missing. It 'the same job as Janina pave the way for bringing into play the dialectic between public and private, ineffable and unutterable. Apparently his writings seem to fit into a closed circuit that bypasses both the size of their emotional experience, as a collective. A car stops on the meticulous sterile paper and mathematical meaning, where pathos and ethos vanish. Yet, says the Deflorian, the action of this woman seems to have something to do with not told anywhere else, with a size metaphysics to be investigated, as if the voluntary choice was to conceal the essential. In addition, we add, if one side seems to objectify the subject only through a private investigation and self-analytical, second, they reflect the continuity and the decision to keep these writings. A future memory. No violence, therefore, as someone suggested. A betrayal must, of course. Faced with an individuality split between that and what is not said - inescapable starting point arises-looking critic, to dialogue with the past history and present, to reflect on their identity and their everyday dimension.
choose for the public the story of the idea of \u200b\u200bNovo Critical cornerstone of Reality, the future will show that the main character along with Antonio Tagliarini. No representation, therefore, what we have at the moment is the beginning of a shock, the entropy of an idea incubator. The encounter with the subject, says the artist, takes place during a sunny Sunday in March: Daria comes across by accident in the history of Janina Turek, home of Krakow from 1943 to 2000, the year of death, tells the details of their daily non-stop and never make them public. Gradually, the writing becomes his job: the most trivial and irrelevant details are recorded about 748 books, though they were books. Janina never writes of himself, and when it does happen in the third person, looking to live. The artistic intuition is imperious, categorical; il primo impatto fortemente emotivo. Ossessione patologica o meno, poco importa. Il racconto della Deflorian è commovente e commosso, la sua immagine della donna che spiò se stessa quasi come fosse una necessità imprescindibile, è felice e rispettosa. Forse ancora troppo partecipata. Per la domanda di Katia Ippaso sulle modalità della messa in scena non c’è ancora una risposta precisa. Ciò che è certo sono i molteplici interrogativi che la storia pone agli artisti e al pubblico. E il futuro titolo sintetizza e non lascia scampo: Reality contiene in sé il rapporto tra il reale e la sua rappresentazione. Ci troviamo ancora una volta a riflettere sul paradosso del Teatro, che è per definizione vita artificiale, Yes, but shared, and that both differ from that vision voyeuristic voyeurs which is proper instead of the modern reality show. We must work to subtraction, then, to eliminate that term altogether missing. It 'the same job as Janina pave the way for bringing into play the dialectic between public and private, ineffable and unutterable. Apparently his writings seem to fit into a closed circuit that bypasses both the size of their emotional experience, as a collective. A car stops on the meticulous sterile paper and mathematical meaning, where pathos and ethos vanish. Yet, says the Deflorian, the action of this woman seems to have something to do with not told anywhere else, with a size metaphysics to be investigated, as if the voluntary choice was to conceal the essential. In addition, we add, if one side seems to objectify the subject only through a private investigation and self-analytical, second, they reflect the continuity and the decision to keep these writings. A future memory. No violence, therefore, as someone suggested. A betrayal must, of course. Faced with an individuality split between that and what is not said - inescapable starting point arises-looking critic, to dialogue with the past history and present, to reflect on their identity and their everyday dimension.
Francesca Bini
Observatory critical Roma2
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