158 lines
9.1 KiB
Plaintext
158 lines
9.1 KiB
Plaintext
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GwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwD
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T h e G R E E N Y w o r l d D o m i n a t i o n T a s k F o r c e ,
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I n c o r p o r a t e d
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Presents:
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__ __ 77777777777 666
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_____ ____ _| |__| |_ 777 666
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// | \ |_ __ _| 777 666
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|| ____ | || | | | | | 777 6666666666
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\\___// \/\/ |____/ |_ __ _| 777 666 666
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|__| |__| 777 6666 6666
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777 666666666
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"Pinocchio (Oil Painting by Jaisini): A Review" by Yustas Kotz-Gottlieb
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----- GwD: The American Dream with a Twist -- of Lime ***** Issue #76 -----
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----- release date: 05-25-00 ***** ISSN 1523-1585 -----
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[This can also be found on several web sites. Unfortunately, as of this
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release, there is not a URL for the reviewed painting. Performing a web search
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for the artist will (hopefully) soon yield a URL for the painting.]
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Jaisini, an artist of a new time and age, looks at the traditional art concerns
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of good and evil in a wider perspective. As we all know, this used to be a
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standard Biblical subject for the artist's exploration of the two sides of human
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nature.
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In Pinocchio, Jaisini introduces the performance of late modern critical nature.
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It is a moralizing representation which is open to interpretation. Little in
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Jaisini's art is straightforward representation. Most elements are open to a
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variety of interpretations, though a presence of a devil in Pinocchio brings us
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closer to the original concern.
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As we know, from the history of art, in the art works of medieval times,
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especially in the paintings of Bosch, devils appear among people during their
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ordinary working lives. It epitomized the medieval belief in the real unseen
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existence of demons and devils everywhere.
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For Jaisini it may be a simple message of the ever-present antagonist to the
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corruption of human nature. The pictorial language of the artist is based on his
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search for unusual associations. Here, Jaisini has produced a remarkably
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dramatic evocation of a turmoil at the party table. The idea of Pinocchio may be
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the Bosch type illustration of the body's prevalence over spirit. Jaisini does
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not show tormenting, but a more contemporary kind of punishment as the birth of
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a black child with a knife. His white mother is covered with a cum-stained
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tablecloth. When the true image of the childbirth is revealed, the shock tactic
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invades the space. The orgy itself, the table, and under the table seem like the
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replay of a crime scene.
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The giving-birth-mother exposes the unattractive site of birth. Her privacy is
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violated as she is a participant of the table orgy; it seems like some distant
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laughter echoed evilly in her attempt to give birth to that violent child with
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the knife that cannot yet kill but targets the surrounding world with its
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pirate-like curve. In Pinocchio the gap between the hard, prosaic reality grows
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more and more and the dreamy flexireality may be able to reflex more truthfully
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to contemporary life with it's complexity. No court of law has yet defined the
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art guilty of such reflection of unwanted truth, mimicking the facts of the
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physical world in connection of unlikely situations and less-expected
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interpretations.
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In the Pinocchio, the puppeteer behind the staged performance
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of the orgy is supposed to be the author of the painting, but is he? The artist
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seems to be a mediator of social sadistic fantasies who entered them through
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an artistic mode on the canvas with almost childish frivolity, but with serious
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impact. In his works the heroes are freed from the burden of the gendered flesh
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being puppets at the same table with people and creatures of superpower or
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animals. The works like Pinocchio, 911, and Meat Grinder have some
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post-traumatic content of the world in a process of losing emotional content
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with its murderous rage and maniacal annoyance of speeded change.
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The orgy, which takes place at the table and under it, could symbolize the
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notion of an 'absolute democracy.' To the artist that is satirical, cynical, and
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tragic all at the same time, 'the most shameless thing.' Jaisini shows a
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committee of three at the same festive table where two are absent. The ruler is
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introduced by the liar Pinocchio. The birds symbolize politicians that the
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artist saw as representatives of the evils inherent in the legal and political
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machinery.
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By arranging the partitions of the bodies by the table cloth, which covers and
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opens some portions of the bodies, Jaisini lends an erotic dimension to the
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somber, grisaille color of the painting. The effect of sobriety, the controlled
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orgy, not as temperamental and eager as in Hot Dog Party, but rather dead, is
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achieved here. It seems that the table cloth demarcates two realities, which are
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not that different from each other, with the same signs of sinnery, evoking
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man's abstruse appetite for 'bad.'
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The table cloth opens a view that an aphorism describes well: "the only truths
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which are universal are those gross enough to be thought so."
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Jaisini doesn't adopt both, reality or unreal. He allows his works to receive
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different interpretations and to continue offering a mystery. A super-plasticity
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and integration in Jaisini's work sketch out a new cosmology with the senses
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translated into visual terms.
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The 'table' composition in Pinocchio, Hot Dog Party, Barbie Q, and so on,
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creates a phenomenological experience of space. Some things are effective and
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eternally magnetic. Jaisini as an alchemist searches for a philosopher's stone
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which can transmute base metals into gold. He canonizes the technique of his
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enclosed composition of a secluded line together with the continuous idea,
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almost a myth, a riddle, a fascinating concept, the artist creates a new
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reality, fully integrated, with its own laws and reasons for existence.
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The choice of images like Pinocchio, which are grotesque, brings the image to a
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new universal meaning. The clowns and fools are the representatives of the
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carnival spirit in the everyday life. In the Bosch's "Ship of Fools' the scene
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is presided over by a jester fool, whose role is to satirize the morals and
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manners of the day. Fools possess the time-honored privilege to be other than in
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this world, the right to be in life but not of it, the right to confuse, to
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tease, to act life as a comedy and to treat others as actors.
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Jaisini's style is marked by theatrical whimsicalism. His use of fools in some
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works could hold the artist's hope for humanity, hope that life is not
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necessarily predetermined towards loss, failure, and catastrophe. To the
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contrary, the artists like Bosch believed that sins of humankind are endemic and
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that hell is our ultimate destiny.
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Jaisini creates in a carnivalesque tone his Show Time, Talk Show, Hot Dog Party,
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Barbie Q, Lunch Time, Sinphony, etc., which reflects the current condition of
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historical development when life becomes a permanent mixed eruption of
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excitement, spectacle, happiness, joy, tragedy, loss, conflict, dilemma, terror,
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and death. Still, human destiny is conceived as open, or at least as not
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finally tragic and not predetermined to failure; it can change and transform.
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The artist gets his impetus and irrepressible energy to create in a sometimes
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carnivalesque tone, as a social critique, nonetheless serious for being
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theatrical, extravagant, and playful. Carnivalesque may remain an always
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dangerous supplement, challenging, destabilizing, revitalizing, pluralising
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single notions of true culture, true reason, true art.
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-Yustas Kotz-Gottlieb
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Writings:
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Talk Show - Marble Lady - Hot Dog Party - Pinocchio - Drunken Santa Manifesto
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-----------------------------<GwD Command Centers>------------------------------
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GwDweb: http://www.GREENY.org/
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GwD Publications: http://gwd.mit.edu/
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ftp://ftp.GREENY.org/gwd/
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GwD BBSes: C.H.A.O.S. - http://chaos.GREENY.org/
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Snake's Den - http://www.snakeden.org/
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E-Mail: gwd@GREENY.org
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* GwD, Inc. - P.O. Box 16038 - Lubbock, Texas 79490 *
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--------------------------------------------------------------------------------
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"A great many people think they are thinking when they are merely rearranging
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their prejudices." - William James
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--------------------------------------------------------------------------------
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-+- F Y M -+-
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GR33NY LIK3S mash3d p0tat03s
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MORE THAN FIVE YEARS of ABSOLUTE CRAP! /---------------\
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copyright (c) 2000 Yustas Kotz-Gottlieb :BRING THE NOIZE:
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textfile copyright (c) MM GwD Publications/GwD, Inc. : GwD :
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All rights reserved - reprinted by permission of the author \---------------/
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GwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwDGwD76
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