User:Mano Daniel Szollosi/Graduation Thesis: Difference between revisions
(Created page with "=Graduation Thesis= ==Paradox as the core method== by Manó Dániel Szöllősi ===Chapter One=== The starting point of my thesis is the presentation of the breakthrough disc...") |
mNo edit summary |
||
| Line 5: | Line 5: | ||
===Chapter One=== | ===Chapter One=== | ||
The starting point of my thesis is the presentation of the breakthrough discovery of the coherent method in my previous practise and the expression of the fascination for twists, paradoxes, reversed logic and loopholes. | The starting point of my thesis is the presentation of the breakthrough discovery of the coherent method in my previous practise and the expression of the fascination for twists, paradoxes, reversed logic and loopholes. | ||
Although that the subject and topics of these work are very broad and vary – what connects them is the method applied. | |||
And it lets me deal with a diverse range of topics which is liberating. | And it lets me deal with a diverse range of topics which is liberating. | ||
This chapter defines through | This chapter defines through analysing my previous works what is this method of mine including influential works and examples of other artists. | ||
| Line 16: | Line 16: | ||
The project creates value out of pure loss. | The project creates value out of pure loss. | ||
The technique it uses – | The technique it uses – commissioned Chinese artists to transpose the photos to handmade oil paintings – creates the loophole effect: several original modern oil painting has been stolen when they were exhibited feeding my final project creating new oil painting and exhibited again. | ||
Further than that it also applies a paradoxical – controversial technique: the fact that an art student (since the 'Ready-mades') can exhibit and claim as his own work a series of handmade oil paintings without ever touching a brush or canvas. | Further than that it also applies a paradoxical – controversial technique: the fact that an art student (since the 'Ready-mades') can exhibit and claim as his own work a series of handmade oil paintings without ever touching a brush or canvas. | ||
===Chapter Three the | ===Chapter Three the analysis of the context of Empty Spots=== | ||
The project deals with the aura of the stolen art pieces. | The project deals with the aura of the stolen art pieces. | ||
Revision as of 17:01, 9 January 2013
Graduation Thesis
Paradox as the core method
by Manó Dániel Szöllősi
Chapter One
The starting point of my thesis is the presentation of the breakthrough discovery of the coherent method in my previous practise and the expression of the fascination for twists, paradoxes, reversed logic and loopholes. Although that the subject and topics of these work are very broad and vary – what connects them is the method applied. And it lets me deal with a diverse range of topics which is liberating.
This chapter defines through analysing my previous works what is this method of mine including influential works and examples of other artists.
Chapter two introduces the final project.
'Empty spots' 'steals' back what has been stolen: it revalues a great value-loss. A value that is actually completely fictitious – because clearly the painting were not for sale – but has been multiplied by this real event. The project creates value out of pure loss.
The technique it uses – commissioned Chinese artists to transpose the photos to handmade oil paintings – creates the loophole effect: several original modern oil painting has been stolen when they were exhibited feeding my final project creating new oil painting and exhibited again.
Further than that it also applies a paradoxical – controversial technique: the fact that an art student (since the 'Ready-mades') can exhibit and claim as his own work a series of handmade oil paintings without ever touching a brush or canvas.
Chapter Three the analysis of the context of Empty Spots
The project deals with the aura of the stolen art pieces.
Bibliography Walter, Benjamin – The Work of Art in the Age of Mechanical Reproduction, 1936