Alberto D’assumpção Exhibition Comments

alberto — Sat, 05 Jun 2021 20:43:48 +0000

COELVM: Prima Sala
By art director (12/06/2007 - 12:21)
The exhibition's staging for this year followed criteria of assonance and contrast between the different languages and messages that artists use to communicate.
The sky with its suggestions; religion, as spiritual research up to psychological and more interior analysis are the pillars of this review of contemporary art.
In the central room (the first room), the main one, we find the works of Jake Baddeley, Alberto D'assumpçao, and Raluca Misca. These three artists represent three different languages and three different ways of expressing the themes of the exhibition.
D'Assumpçao moves through abstract and rationalistic forms with solid and decisive colors, creating a musical and mystical vision of the universe. Spheres and planes that link together lead us to that mysterious, magical and unknown universe that intrigues the seeker of truth.
The artist also hints at a solution to the age-old dispute between mystical strength and rational-scientific strength by drawing the church's windows in the background.
For example, Jake Baddeley expresses himself with figuration using an iconography drawn from tradition, halfway between the decorative and the romantic. His works are modern allegories of religious concepts, ideas, or depictions of celestial stars. They are images that give other answers to the age-old gap between science and religion. Baddeley leans towards the transcendent, and the sky for him is a place populated by mythological and spiritually charged figures. They are almost like shovels of arcana to be read and interpreted to reveal our future, to give us some answers.
Finally, Raluca Misca introduces us to the psychological dimension that this exhibition offers. It seems that the artist looks into his soul through the distorting lenses of a kaleidoscope, in which emotions are mixed in a thousand shades of color, and only some figurative elements allow us to grasp the general meaning of the work. They are light works in which the air passes through them and seems to shake them and bring them to life. Some artists seem more interested in understanding themselves and their psyche rather than scanning the sky in search of answers or contacts with the divine.

The post Alberto D’assumpção Exhibition Comments appeared first on Alberto D'Assumpção Art Gallery .

Alberto D’assumpção Blog

alberto — Wed, 02 Jun 2021 20:04:58 +0000

How valuable is ‌art?

According to Gordon Graham, several theories have been advanced over the years, but none of them is enough to explain the unique value of great art. (Philosophy of the Arts, 52.) So what might be Graham’s answer? An art form is valuable in providing‌ ‌Knowledge‌ ‌and‌ ‌understanding.

In consonance with Christoph Baumberger:

These qualities have a valuable contribution to make the artistic value of works of art, like the depth and subtlety they provide or how they make us reappraise the world physically and emotionally. Often, we criticize other works as superficial or sentimental and consider them inartistic. The artistic evaluations seem to include cognitive assessment or dependent upon them. It is vital to take an aesthetic cognitivism approach to artwork evaluation.

A work of art has cognitive functions. This claim can see as a combination‌ ‌of‌ ‌an‌ ‌epistemic‌ ‌and‌ ‌an‌ ‌aesthetic‌ ‌claim:‌ ‌(1)‌ ‌Epistemic‌ ‌claim‌:‌ ‌Artworks‌ ‌have‌ ‌cognitive‌ ‌functions. (2)‌ ‌‌Aesthetic‌ ‌claim‌:‌ ‌Cognitive‌ ‌functions‌ ‌of‌ ‌artworks‌ ‌may determine their aesthetic‌ ‌value. (“Art and Understanding: In Defence of Aesthetic Cognitivism,” 1.)

Baumberger‌ ‌divides the cognitive contributions of artworks into two categories: 1) Contributions that do not need to be considering knowledge, and 2) Contributions beyond Knowledge.

Contributions that Do not Constitute knowledge

-Categories “Artworks,‌ ‌especially‌ ‌literary‌ ‌works,‌ ‌can‌ ‌provide‌ ‌new categories for describing‌ ‌objects.”‌ ‌(10)

-Perspectives‌:‌ ‌ “Using images to emphasize and attenuate, exaggerate and deploy, add and omit, deform and alienate, provide a new perspective on objects, allowing us to conceptualize them differently. “(10 )

-Questions: “Artworks‌ ‌often provoke further inquiry because they raise pertinent questions. A literary work, for example, rarely offers moral doctrines or solutions to ethical dilemmas. In addition, they demonstrate that moral decisions often involve more complexity and difficulty than we had previously thought, thereby raising serious questions.‌”‌(12)

-Phenomenal knowledge: “Claims that artwork can provide us with a sense of how it feels (or was) to have specific experiences or emotions or be within a particular situation. By broadening our perspective, they enable us to experience things we may have never experienced or felt previously.‌” ‌(13)

–Thought Experiments: “In art, a thought experiment can be contrived. While scientific and philosophical thought experiments are fiction in science and philosophy, literary fiction is a notion of experiments in art. […] Imaginative fiction asks what would happen if certain conditions were met, and it can provoke us to examine the consequences of these assumptions.”(14–15).

Contributions‌ ‌that‌ ‌Go‌ ‌Beyond‌ ‌Knowledge

-Grasping Connections: The knowledge gained during the creation of artwork can help us to understand what we already believe.”‌ ‌(16)

-Improving Cognitive Abilities: “Artworks can improve our general cognitive abilities such as reasoning, emotion, perception, imagination, and memory. Nevertheless, they provide us with cognitive exercises or exhibit examples of cognitive activities.”‌ ‌(17)

Finally, according to Art Seeking Understanding. How do art and understanding relate to what Sir John referred to as spiritual reality, empirically speaking? Is it possible for art to provide us with ‌new‌ ‌spiritual‌ ‌information? Well, they are testing aesthetic cognitivism in this experiment.

The post Alberto D’assumpção Blog appeared first on Alberto D'Assumpção Art Gallery .