Spreading the experience of truth between beholder and creator of the artwork
This initiative takes its impetus from the spirit that animated the great men of the Enlightenment: the dissemination of new concepts. In our specific case, the spreading, to the greatest number of people, of a different way of relating to artworks. A way that does not stop at the sentiment of beauty or ugliness. Not confined to the simple aesthetic experience of artworks. The aim is to elevate, to spread a new approach to and appreciation of artworks, one that sees intimate complicity between artist and beholder. To raise perception of and participation in artworks as experience of truth that unites and involves both the creator of the work of art and the beholder who experiences it as specific existential experience. A different relationship in which centrality to the artist’s history, to the technical interpretation of his works, to the various historical-artistic assessments, to the aesthetic criticisms is taken on by empathetic participation between painter, sculptor, poet, dramatist or novelist, and the art lover he addresses. An eccentric relationship, interweave of rationality and irrationality, which eludes any attempt to describe it, explain it and classify it according to rational canons. A way for the art lover to step in and take part in artworks, a way that unites beauty and truth, that touches, penetrates and changes those who participate. An experience that ceases to be merely an aesthetic participation and becomes an occasion for cultural enrichment, dialogue, comparison with the content that the artist has poured into the artwork. An opportunity to be fertilized through the form of beauty, by forms of truth, warm, lived, freed from the rational, conceptual and intellectual sheath of science and philosophy. From other forms of languages ordered according to the prevailing cold rationality. An encounter with works of the past whose meanings, sedimented in their languages, free themselves in flight, envelop us, penetrate us, speak to us, arouse emotions and awe. They present truths where artistic creation and reality interpenetrate to offer us arabesques of elements, the chance to see what is fleeting. They reawaken dormant emotions, offer different ways of being and living, values and ideals, and opportunities for happy fertilizations. Encounter and interpenetrations that free, on the wing, the chance to rethink ourselves, to place ourselves differently with respect to our present time. They are opportunities for useful changes in order to give more light, harmony, depth and meaning to our current way of life. Many artworks represent a bridge between the past and the present where, thanks to this meeting of experiences of shared truths, the past becomes present, the occasion for a different way of facing our future. In conclusion, in proposing this "other" way of approaching artworks, we lay the foundations for bringing out form and consistency to different experiences of participation. A modality where beauty, truth, the good, reality, the possibility of a new vision of ourselves and of the world around us intertwine, interpenetrate and stand out as fertile possibilities of life.
Why we chose the web as a privileged tool for spreading the experience of truth
History teaches us that any innovation finds in its path a myriad of obstacles. In the art sector, the field is led by castes of art philosophers, art historians and art critics, incarnating a fierce and rapacious conservation. On this conservation rest power, authority and the dominant role, inclusive of privileges and various advantages. A caste dominance supported by the majority of the traditional mass-media, the majority of public and private institutions. A dominance fueled by the generous financial resources of foundations and patrons of the arts. Life for innovators has always been hand-to-mouth, made up of deformations, isolation, marginalization and attempts to eliminate the foreign body. But thanks to them, to their perseverance, determination, coherence and courage, history has been enriched by new ideas in various fields, culturally raising human societies. We don’t claim to be bearers of heavenly innovations and we don’t presume to be protagonists of major social, political, economic and cultural changes. We, with the passion that drives us, releases strength and vitality, want to offer our contribution for a different way of relating to artworks. We have few financial resources, but we are driven by the ardent desire to offer these visions and experiences to as many people as possible: lovers of beauty and truth, men and women, young and old, each one with their own cultural level, high or otherwise. We, in the main, are addressing ordinary people, wary and distant as we are from all castes, be they large or small. We are aware of the hostility that art philosophers, historians and art critics harbor towards us and, feeling politely the same way ourselves, we believe that the Web, with its limitless potential, may be the area where our objectives will find a favorable environment. The place where a great many people may get to know, verify and participate in this project of ours, on the invisible in art.
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