getting lost in localized mind.

Franco la Ceclas essay about the idea of getting lost in a culture and place and how its basically impossible to to struck a note with me for various reasons. For one i rarely ever feel lost and because of that i feel there is room for me to grow, o have heard from many accounts that when your lost you learn more about yourself and life than any other time. this article directly relates to out time in Italy, the group we have been a part of and how we have fit into a culture far different from our own. at the same time that i feel this way i also contradict the authors investigation by saying its as if your trying to kick a dead horse. that things are the way they are and looking to change this manner of human nature is futile, yes opening it for examination, for people to know where our current system roots from is inter sting and bears many resemblances to travelling and the idea of loosing ones self. yet in many ways it feels like the writer is more or less a historian with a singular view on how we have shaped our current orientation towards direction and sense of place.

The dumo in Florence.

The dumo located in the centre of Florence is another grand structure created by the urge to become closer to god and please his disciples. Built in the 15th century it was actually the largest dumo in Europe for a short period. Its grandeur is tough to grasp, its exterior is an amazing conglomeration of colours of marble obviously telling you that what ever you’re looking at is very important in the culture you’re immersed in. Since this was the second time I have visited the dumo in Florence I thought it would be an interesting experience as 8 years have passed since I was last there. To my surprise I felt little emotion when standing close to the structure, in fact the only emotion I felt was frustration. I think through this trip I get frustrated nearly every time I see massive human works projects don’t provide anything to man besides a grand place to warship the lord. It amazes me western Europe is stable when considering how religious it is.

To formally describe the dumo one must start with the large intricate doors, three sets of them rise 25 feet above the dumos entrance. Above each door is a saint holding a cross. Not to surprise you but above that there are numerous saints, angels and profits all spreading the words of Jesus and Christian gospel to the visitors of the site. What I found to be most interesting was that Michelangelo discovered the marble in which David was carved in that very space near the domo. The most interesting appeal to the structure is the interior. When viewing the exterior one would assume the interior will be full of statues, frescoes and other religious jargon yet upon entering the church one finds nothing of the sort. In fact the walls are a cold grey, the arches simplistic in look with no chaotic frescoes filling every inch of space. After becoming so accustomed to such noise it was very relaxing to enter the space and feel like its openness had been embraced.

borgese

The Borghese gallery in Rome featured many of the high renaissance artists typically thought of when thinking about this period in the art spectrum. My focus would have to be Bernini as I feel like his works are a hidden secret in Italy. Pluto and Proserpina absolutely blew me away and I would have to say that it is the most amazing marble carving I have ever seen. Pluto is a masculine male grasping Poserpina who appears to be doing everything in her power to exit his hold. A highlight of the piece is how she shall stretches back in a way that employs movement through space. An amazing feat when working with stationary subjects as well as marble. His hair is a twisted mess of locks peeling off his scalp reaching to a place once travelled. Bernini develops the twisting pose reminiscent of the popular style of Mannerism, combined with an impression of vital energy. In pushing against Pluto's face Proserpina's hand creases his skin and his fingers sink into the flesh of his victim creating a realistic appeal which sets this sculpture into another realm.

Viewing this work of the master I felt as if vie been somewhat brainwashed into believing with out ever actually viewing that Michelangelo’s David was the finest work of any renaissance era sculptor. That over the years I have accepted this opinion that has been pressed upon me with out actually basing it on how I felt. This created an interesting feeling when I arrived in Italy and began to view works of the masters. I found that many of the masterpieces which attract tourists from around the world didn’t really excite me. Beyond the content of the traditional tour is where I discovered Bernini, a true master of Italian artist craft. In the work of Pluto I was taken back with the depth of which the work penetrated my thought process when viewing it, rather than staring at the David in awe I wanted to feel the sculpture of Bernini, I wanted to understand why the sculpture drew me in as it did. A question that I will most likely find an answer to when I return home and begin missing Italy.

Entering the Vatican city-

I entered the walls of the Vatican City on a Wednesday, possibly the 1001st person to enter so my admission was free and I shook the popes hand. Amazing. I actually was interested to be there as nearly every piece of are I have viewed over the last few weeks has revolved around Jesus his saints and pleasing the god above our heads. So I felt it would be interesting to see what the city which directs half of the 1st worlds thoughts would like to portray in their gallery. Wandering through if not being pushed by the Dutch and German tour guides skipping through the palace towards the grand finale of the Sistine Chapel I found that of the many works of art we have viewed thus far the Vatican museum by far had them all beat. From raphels sketches to his massive rugs hanging after the hall of maps. Hell the hall of maps amazed me as much as the chapel, seeing how the world was viewed and for the walls to retain such resonance in a modern world is an interesting juxtaposition. luckily I didn’t have my camera with me as I didn’t charge the battery but after seeing all the tourist groups I began to think it was a good idea. Yes a couple of images from the Vatican would have been nice to take home yet at the same time I can always Google image it, copy it and print it. That way I can differentiate myself from the trains of custie tourists there to see only one place. What really threw me off was the small yet very to the nexus contemporary gallery just before you entered the chapel. With some 50 works of art mostly painting and a couple sculptures all cantered around the idea of Christ. While I slowly made my way through the miniature contemporary gallery I began to notice that there were scores of people being hoarded straight past the gallery not even stopping to take a look inside. I even overheard an American tour group leader proclaim over his intercom that there is nothing of importance in there. In fact I think out of the 30 odd minutes I spent in there I doubt more than 5 people took the time to even walk though it as their Sistine chapel fever was in full effect. Upon reaching the famed chapel I found it to be as I expected, crowed with every tourist in Rome looking to get closer to god. Noisy with guards storming around letting loose on unruly tourists taking pictures and speaking in 10 foot voices. of course I must agree its a grand fresco, the most impressive one I have ever witnessed in person yet in truth it didn’t inspire me what so ever. It’s the epitome of objective art work. It now serves one purpose in my eyes which is defining Italy’s present tourist market, a money maker. for some reason I simply find it so awkward that nuns worked the gift shop, just as when your supposed to be quiet in the chapel only for loud speakers to echo heavily though my bones as some gaudy voice tells you in short to shut up. Surprised the fresco didn’t shake off the walls with how that base was hitting. again not to sound like a downer the chapel was worth seeing and I would recommend it to anyone in Italy, only take with you your dog collar and follow the lemmings. a major complaint I do have with the Vatican mouse was that in order for the chapel to be the final banger you enter the chapel from the wrong end, the end your should be seeing when you enter the correct way. In fact I vacated in a frenzy of thinking about fresh air and realized I exited the wrong way, going back though the chapel I entered the correct way and amazing it struck me as a much more grand room. All and all it was a good experience but as I am not a religious person I think next time I will leave it for the Christians.

accademia

the accademia gallery in Florence was a highlight of our trip thus far, from the high Renaissance musical instruments to the David it kept my mouth open with ohhs and ahhs all afternoon. what caught my attention more than that of any other piece in the gallery including the infamous David were Michelangelo's slaves. Also titled the prisoners these four statues are unfinished works by Michelangelo that were originally created to Adorne the grave of pope Julius the 2Nd in Rome yet ended up in the grotto of the boboli gardens at the end of the 15Th century. the sculptures which are unfinished and at various stages in completion are simply awe inspiring. to see such works of art from an age where ever thing was completed so perfectly and for them to be in the state they are and preserved is amazing. i spent more time viewing them than viewing the centerpiece of the museum, the David.

to see the figures locked in stone and yet nearly released from the "prison" in which they are in cased makes me feel inspired. this is because they grasp tightly onto the unknown appeal of art and sculpture which was ultimately extremely rare and probably somewhat unheard of during Michelangelo's time. its like a contemporary work of art 500 years before the creation of contemporary art and most likely an accident. they portray a seance of dire frustration as they are in cased in the very matter of which they are. a somewhat interesting combination of feelings. although the works were never finished i feel that they are finished to a perfection years ahead of their time, that because i am clueless as to why they were never finished it leads me to hope to believe that this is how Michelangelo wanted this project to be exhibited.

siena post5

The uffitzi gallery in florence was to me a art history lesson at its grandest level, a meuseum which hosted hundreds of renessaunce works from painters and sculpters alike. Its layout was uner freindly with each room dedicated to only a couple of artists. although i feel the layout was done in a very old fashion way. that of trying to get as much into a space as possible without making the viewer feel as they are doing so. something that i feel in very in common with italy and our trip thus far in gereral. which brings me to wonder why our exhibition back in eugene is all about clean lines, minimalsit work. here and everything we have experienced here seems to be crammed together unorganized and basically the way that italians seem to go about their daily lives. or for that matter the ones living in siena.


the birth of venus.

The Birth of Venus
Sandro Botticelli


Botticellis painting the birth of venus is oil on canvas aproxx 8' by10' and hangs half way through the uffitzi, its a formitable work of art due to its size and graduer. a famous painting indeed it was being swarmed by tourists just wanting to be close to it. thus i couldnt stand back and take the peice in more than i could by enlarging it on a large computer screen that way i didnt have peoples heads to peer over. yet besides the problems of overcrowed meusems it was a joy to be in its presence. going back to my origonial theme about the majority of work i have viewed on this trip i wonder again about the works the artist would have produced if it were up to him at the time of his life?

the painting itself is somewhat easy to desypher, a naked venus is covering her privates with long red hair. to her right a motherly figure is casting a drape over her to cover her as a new born would be covered in present day. she stands on a large clam shell. to her left a man is a winged man carrying a woman lightly shalled. the painting is classic with no signs of brush strokes, a formal composition of characters and since it was a comissioned painting litle is know about his interpretation.

siena post4

part two of the bienalle consisted of the arsenalle, also curated by Robert storr it provided a look into the politically charged artists and their expression of politics through art. i found much of the work to be simply too easy to decipher and somewhat force fed into my senses. the piece which i found to be the most moving and there for have chosen to write about was the photographs by -- taken in a war torn and severely damaged Beirut. the photographs were nicely displayed, well lit and framed. each photograph displayed a bullet ridden building empty of all signs of life, giving you the impression that nothing could survive there. the idea of the piece was to display the way in which wars destroy modern structures and make them look as if they are ancient ruins.

when viewing the photographs i was somewhat disturbed when i studied the images up close, the number of rounds fired into the buildings had crumbled the cement soo much they looked as if they were ruins. how the artist captured the images when the light was flat and the streets were empty only make the pictures more intense and captivating. when viewing the photographs it was a slightly depressing feeling that came over me. as the streets are so devoid of life and structures are soo dull and crumbled. the idea that at one time this place thrived and was a successfully city but due to political reasons civil war tore it apart.

blog 3

Venice biennale- giardidi

in our discussion on the night of visiting the Venice bienalle i spoke about the Romanian artists and the low budget monuments, yet i only did so because there was an aquard format to our discussion. As such I'm dedicating this blog to the Russian video as that piece moved me more and brought about more feeling than that of any other exhibit in the giardidi. the video produced by Tatiana Arzamasova, Lev Evzovich, Evgeny Svyatsky + Vladimir Fridkes.

the video primarily a computer animated film about 25 minutes in length depicted a landscape in distress of which only one mountain was there life. flashing to and from the beings on a mountain to such scenes as jeeps being sucked into the sand, volcanoes exploding and planes crashing into pieces. The subjects atop the mt. were attempting to destroy each other with various instruments such as bats, knives, swords and golf clubs. although they never actually show any death the video speaks of what will come in the future if the subjects continue on the path they have been place upon.

the context of the video made me feel as it was speaking of a somewhat global crisis of over using our resources and that doing so leaves us little choice in the future. Coming from a somewhat struggling nation trying to find a place in the capitalist world it has chosen to become a part of. It speaks of a challenging and unsettling future for the youth in this emerging nation. The piece was amazing in that it somewhat flawlessly aimed the user to feel sorrow for the youth's depicted in the scenes without the use of gory bloodshed, only the idea of a hint. The video (which i watched twice) took quite a turn towards the end when it actually depicted the outcome of a dark future to come, planes crashing and trains flying from bridges, volcanoes exploding and the end of life as we know it. By far the most captivating piece of the exhibit for me it bridged the gap between over use and out comes in a subtle yet straightforward nature that was somewhat engaging and also unnerving to watch at times.

blog 2

my second blog entry focuses on the villa rotunda a piece of Renaissance in the truest form its entrance places you in to a large and comfortable courtyard surrounded by ancient stone walls, the building itself is very formal in that every part of it is symmetrical. Each and every piece down to the steps are identical on each of the four faces it has. Even down to the steps which i counted and found to be the exact number on each side of the building. upon entering the villa one can understand that the original space had been altered to the various owners specifications, not the size dimension or shape of the rooms but the fresco's were not all original. one could tell this by comparing the ceilings with the fresco's on the walls, obviously done much later as they didn't show the same signs of age that the ceilings did. As i walked the interior i discovered that each and every room was exact in dimension to its opposite in either or all directions, and that each room stayed true to the golden mean rule.

In keeping with its symmetry the villa made me feel very grateful that I'm living in an age where such symmetry is not thought of as appealing. true its a magnificent structure and its grandeur is that of a true masterpiece but when i think of an appealing structure i stray from large goddy columns and big over sized doors. I envy mismatched lines, criss crossing features and change. As i truly feel perfection during the building of the villa equals that of misperfection is more appealing to the current views of how a structure should occupy a space. For me it represented an age in design where such symmetry was adorned yet personally it didn't appeal to me besides that i had learned about the building in school and to be standing, sitting and touching it brought a certain pleasure that is hard to describe. i guess a feeling of content came over me when walking up the villas gravel drive, something that one cannot just feel by reading or seeing pictures of it.

blog 1

siena-

the dumo in siena is what one would typically think an ancient European church would look like, large white marble facade covered in intricate and extremely delicate carvings and statues. upon entering the structure ceilings rise immensely above ones head to feel as if they are over 100 feet above your head, the arches which support the immense weight of a stone roof give you the sense that what is above your head is feather weighted. the floors are carved marble of various colors inlaid with other darker stones with motifs depicting scenes from the bible, Romans seeking the head of baby Jesus murdering all the children and pregnant women. Something that would not go over well in American churches. The main or central dome of the building is massive in size rising nearly 200 feet above ones head and 8o feet across at the base its amazing that such a structure is standing as strong and sturdy as it is such a long time after its creation.

The time that possibly thousands of men and women dedicated their lives to creating such a massive and central point of Italian life is somewhat depressing. Yes its a very impressive work of art and one should appreciate it for what it is. Yet at the same time i feel for the craftspeople who may or may not have chosen to spend large periods of their lives creating works soly for the purpose of trying to build the most amazing dumo which at the time was a method of flexing a cities strength or power. That the men and women who created this amazing and timeless structure were prohibited from expressing themselves through creating their own personal works of art keeps us from truly understanding the feeling of life during the creation of the dumo. To me it merely suggests that siena was a strong powerful city full of skilled craftspeople.