mooi – Übersetzung – Keybot-Wörterbuch

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Keybot 16 Ergebnisse  d-sites.net  Seite 9
  'Over het failliet van ...  
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Al is een sporadisch uitpakken met het straathoertje in de tempel mooi meegenomen, 'populaire' kunst blijft aldaar tot nader order not done. Alleen op de varkenshuiden van Wim Delvoye valt er in de musea iets te bespeuren van de wereldwijd bloeiende sector van de tatoeage.
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Although it is a bonus to show off with some street whore in the temple, popular art continues to be 'not done' there. Only on the pig skins of Wim Delvoye is the world-encompassing practice of tattoos represented in the museums. Lichtenstein and Murakami are all too well known in the establishment, but cartoonists have to content themselves with their own museums. Banksy made it into the MoMA, but the real graffiti artist continue to leave their works anonymously in the streets. Andy Warhol brought Campbell soup cans and Brillo boxes into the museum, but the glamour of the world of advertising continues to thrive on billboards, lifestyle magazines and promotional clips around the world. Jeff Koons and John Currin made even porn socially acceptable in the museum, but the real acts continue to be performed in the red light districts or to be stared at on countless computer screens.
  "Wim Delvoye: tussen cl...  
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Wim Delvoye heeft mooi beweren dat het hem in de eerste plaats is te doen om de 'street value' van zijn werken, buiten het museum zou zijn 'Cloaca' gewoon worden ervaren als wat ze is: een leuke ludieke machine - al zou ze op straat alleen maar haar status als 'kunstwerk' inboeten, niet haar waarde als ludiek voorwerp, terwijl bij Duchamp alleen maar het urinoir overblijft.
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Fake is, finally, the emphasis with which Delvoye repeats again and again that he seeks to create 'images' - although he rather prefers the polyvalent term 'icons'. From Pierce onwards, the 'icon' is the Trojan horse with which the sign is smuggled into art - or phrased more properly: with which the image is turned into a sign and thus stops to be art. Logos like the Y in a circle of Mercedes are 'icons', but they are not images in the sense that the Mona Lisa is an image. The Mona Lisa is also an icon in another sense: in the sense that also Madonna is an icon. When Delvoye is talking about 'images' or 'icons', he only takes advantage of this ambivalence. 'Cloaca' may well be a strong icon - in the sense of a non-verbal symbol that (functionally) resembles its referent, as well as in the sense of a generally recognised value - it is therefore not an image in the sense that the Mona Lisa is an image.
  'Bill Fontana's muzikal...  
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Mooi, maar geen kunst: al worden er geluiden gemaakt zoals in de muziek en in het evocatieve soundscape, deze geluiden roepen geen andere wereld op, maar zijn zelf de wereld waar het hem is om te doen.
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A particular variant of such real soundscapes are the creations of Bill Fontana in which the sounds are relocated, but not so drastically that it is no longer possible to see the visual sources of the sound. The sound remains connected with its visual source. Such a soundscape is ‘Acoustical Views of Kyoto’ (1990) where ‘urban, religious and natural' sounds are relocated to the top of a hill, from where one could see the places where the sound originates. Bill Fontana describes the experience as 'hearing as far as you can see'. A similar project is 'Acoustical visions of Venice' (2000): 'whenever a bell rang or ship blew its horn, one heard it first at the speed of light and then at the speed of sound'. Also in 'Sound Island', there was a second installation on the observation terrace of the monument inwhich 16 loudspeakers on the perimeter played live sounds from locations in Paris that were more or less visible.
  'De geheime charmes van...  
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We nemen aan dat Luc Tuymans' manie voor bleke kleurtjes in eerste instantie wortelt in zijn poging om zich af te zetten tegen de fotografie. Maar het was mooi meegenomen dat die keuze hem ook onderscheidde van andere schilders, zoals de nieuwe wilden, die furore maakten op het ogenblik dat hij met zijn 'retour à la peinture' uitpakte.
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A similar analysis applies to the bleached palette that has become Luc Tuymans' hallmark. Also this is borrowed from not fully developed Polaroids, and is especially appropriate to distinguish the image from photography, that excels in its ability to render the full gamut of colours in all its richness. Let us remark that the aversion for 'technicolor' appears only after the invention of colour photography. As long as photography was only able to render black and white, painting profiled itself through playing off colour, preferably unbroken by the rendering of tone: exemplary in the cloisonné technique of Gauguin or the pointillism of Seurat. We conclude that Luc Tuymans' mania of washed-out colours originates in his endeavour to distinguish himself from photography. In addition, it also distinguished him from other painters like the Neue Wilden, that made a furore when he began with his 'retour à la peinture'.
  'Joel-Peter Witkin: Hei...  
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We moeten onvermijdelijk denken aan de evenzeer stuntelige en dwangmatige symmetrie die Molinier aan zijn assemblages van ledematen oplegt: compositie niet zozeer als een soort dwangbuis die ongecontroleerde impulsen in toom moet houden, maar eerder als een soort manoeuvre dat ervoor moet zorgen dat de blik zich niet afwendt van de horror. Zegt Witkin niet zelf: 'Zelfs als je nee wil zeggen tegen het onderwerp, de weergave ervan is zo mooi dat je toch ja zegt'.
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Remarkably enough, that is not the way in which his interpreters want to understand Witkin's subject matter. Some, like Germano Celant and Christian Palmer, prefer to praise his laudable endeavour to lift the reigning taboo on deformation, illness, suffering and death: 'The freak or the handicapped person must not be ostracised'.And in the same vein, Witkin is talking about 'the love and courage it takes to find wonder and beauty in people who are considered by society to be damaged, unclean, dysfunctional or wretched. My art is the way I perceive and define life. It is sacred work, since what I make are my prayers.** To stress the respectability of his proceeding, he denies any link to SM, and emphasises that he is interested in 'self-awareness': 'I don't photograph anyone who likes pain, only people who use it for their self-awareness. I have been approached by sadists who wanted me to photograph people they torture, but I refused, because I don't like their purpose' * And - apparently, there is something to hidehere - Witkin has still another justification in petto: he describes himself as "loving the unloved, the damaged, the outcasts," (interview in Vanity Fair). Keith Seward goes even so far as to compare Witkin with Saint Francis ' who drank the pus of lepers in order to overcome his repulsion of them'.***. Or: how, in the end, sadomasochistic pleasure is turned into its very opposite: 'I try to imbue compassion into my images'* No sadism, hence, but love...
  'De geheime charmes van...  
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En die boodschap luidt dat iets pas kunst is als het geschilderd is. Het is daarbij mooi meegenomen dat via de herschilderde foto ook nog een vage herinnering aan wat ooit historieschilderkunst heette in het museum kan worden binnengesmokkeld.
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The answer is that Luc Tuymans is not so much interested in history painting as rather in something totally different: the trench war between photography and painting. By repainting photographs, he unambiguously states that only the hand of the painter can work the wonder that - in Luc Tuymans' mind - remains out of reach of the photographer. That is why he so conspicuously borrows his motif from the photographical image in view of transforming it in a painting. No doubt, after such transformation, the painting tells something totally different from the photo. But so would re-photographing - of the same photo or the same motif! And we are still talking in terms of the image. For, since it is the comments that constitute Luc Tuymans' images, embedding the photo in an appropriate context of comments would also do! On closer view, it cannot be a contentual concern that lies at the roots of this undertaking. It rather seems that we must conclude with Marshall McLuhan that the medium is the message here. And that message sounds that an image is art only when it is painted. It is only through repainting the photo in view of conveying this message, that also a vague reminder of what used to be called 'history painting', can be smuggled into the museum again.
  Het verliefde paar. Hoo...  
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Het 'hypnotiseren' van de ander lijkt zich vaak tot 'zelfhypnose' uit te breiden. Geliefden willen zich niet alleen mooi voordoen voor elkaar, maar worden ook vaak wérkelijk mooier. Reeds Michelet schrijft: 'Men loopt ... weinig risico als men met een lelijke trouwt. Ze is dat vaak slechts uit gebrek aan liefde. Van zodra ze geliefd wordt, verandert ze helemaal, en men herkent ze vaak niet meer' .
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That the 'first sight' of romantic lovers seems to be a divine inspiration induces many an author to find a rational foundation for this choice. Their theories prefer to overlook that the 'coup de foudre' precisely has to compensate for the impossibility to make a rational choice. One of the oldest of these theories is the well known story of Aristophanes in Plato's Symposion: how double-beings are cut in two halves that henceforth are desperately searching for their lost counterpart. This theory is echoed in the eugenetic theory that partners make their choice in view of obtaining an average, like in Campanella's City of the Sun. With Schopenhauer, it is the sense of beauty which thereby guides the sexual drive. Galton made a composite photograph of many faces and found the all composites are more beautiful than the separate elements, because all the irregularities are wiped out. The theory became popular among philosophers of art (Groos, Taine, Baine, Guyau enz.). In the wake of Schopenhauer, Weininger formulates a law of attraction which allows to predict that there are always two beings who are the best match. With Jung, the choice is made in view of flattening the opposition between extraversion and introversion, as well as between the four ways of perceiving (intuition, feeling, thinking and sensation). Symons believes Galton is right in putting that sexual selection tends to reduce variability and to reduce the extremes in the distribution over the population. Money is talking of 'love maps'. Al these theories survive in popular thinking in the form of the belief in 'types' in all kinds of forms and in the feeling that partners are predestined to each other, the feeling of always have know each other.
  'Paul McCarthy: de laat...  
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Het is daarbij mooi meegenomen dat de weerstand tegen nieuwe bevrijdingen toeneemt naarmate de driften uit diepere kelders worden gehaald: des te groter is de herrie, en des te luider rinkelt de kassa.
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The second kind of transgression on the other hand - the questioning of the norm - offers endless perspectives. Wares are the natural allies, not so much of utility, than rather of the drives. It matters to conquer new markets. Norms differ from culture to culture, and they are often adjusted during the course of time. Above, we described how the severe sexual moral of Christendom came to be questioned in ever broader layers of the population. In every phase of the process during which the flesh was restored, the artists in question could reckon not only on the indignation of those who wanted to maintain the status quo, but above all on the interest of all those who were out at undisturbed erotic pleasure. As the flesh became restored, the possibilities for shocking and attracting the attention were increasingly reduced. But, that is not much of a problem for clever guys. In the dungeons of oppression, many drives are awaiting their liberation. Why not release ever new drives from their chains? The sexuality that came to be freed, turned out to be heterosexually restricted. There remained a struggle to be fought for the homosexual variant. And when this victory was won, the possibility remained to extend the kinds of intercourse and the age of the partners. At the same time, the sadomasochistic universe could be disclosed. The interesting thing here is that the resistance only increases when the drives are released from deeper dungeons: all the greater is the sensation and all the greater the attention attracted.