ピクチャリング （1/2） picturing (1/2)
At the beginning was the photograph.
Photography killed the painters’ jobs in Paris.
What do you expect from photography?
If you think a photograph captures the truth, I may hereby disappoint you, – that’s not the case.
Looking back, during my long career I learned how to manipulate, how to change history through photography.
Well. So, why does someone want to create a work that looks like a photograph? Why does that person want to paint the same picture again on canvas and not let the photographic print exist as it is?
The obvious answer elevates us into the realm of art. The painterly process and the choice of the photograph will surprise you, will shock, or will distress you. Why is it for you important to know which media had the creator used? Why do you think, a piece of linen has to be elevated into the “artistic-practice-elitist-sphere” whereas a photo print is being put into the “common place” of the “amateurish layperson”?
As we’re writing 2020, art lovers, experienced with acquired knowledge, know the answer regarding contemporary photography and contemporary painting.
Perception is guided by one’s emotion. The building, the room, the aura manipulate your feelings. Art works put in “perfect staged environments” give you humility. The “organiser” (from a spiritual building/museum/gallery) demands respect from you.
Suddenly you accept the “value” of an art work, because it had been “chosen” by art-colleagues and/or art dealers and/or critics and/or curators and/or auctioneers. Plus, as we’re art historically educated, a masterfully executed frame gives the image the “wished expertise”.
Today, I would like to up-load only pictures, images. Without any information. A photo or a painting?
In part 2, I’ll give you the answers.
Tokyo, 28th of September
up-date 2020/10/10, the answer is:
ピクチャリング・アメリカ @ ドイツ・グッゲンハイム・ベルリン：トリステス＋退屈 (2/2)
picturing america @ Deutsche Guggenheim Berlin: Tristesse + Boredom (2/2)