EXPULSA A NATUREZA E
ELA VOLTARÁ A GALOPE
The appearence of fruit became important for me, from an existencial point of view: I am impressed by the tremendous reproductive capacity of nature...Faced with the enormousness of a thing, such as a heap of fruit, you are bound to discover something similar to innocence. You have to rediscover an elementary imagination and a kind of innocence inside yourself....When the painter`s hand becomes nature, it represents the imagination.
Mario Merz, in Jean Christophe Ammann and Suzanne Pagé, "Entretien avec Mario Mertz," in Mario Merz, exhibition catalog (Paris: ARC/Musée dÀrt Moderne de la Ville de Paris; Basel: Kunsthalle,1981), cited in Celant, "The Organic Flow of Art,"35.
I had spend all day drawing that endlessly convoluted line,....following my thoughts and everything happening around me - for exemple, the twittering birds, the falling leaves. The distant rumble of a van. All these things entered the drawing, not in a natural way, of course, but as time, as a recording, as if the pencil lead were the point of certain instruments registering on a sheet of paper.
Mario Merz, in Germano Celant, "The Organic Flow of Art," Mario Merz, exhibition catalog( New York: Solomon R. Guggenheim Museum, 1989),15.
All artists, whether primitive or sophisticated, have been involved in the handling of chaos. The painter of the new movment ( i.e. Gottlieb, Rothko, Pollock and himself)...is therfore not concerned with geometric forms per se but in creating forms which by there abstract nature carry some abstract intellectual content. There is an attempt being made to assign a Surrealist explanation to the use these painters make of abstract forms...(but) Surrealism is interested in dream world that will penetrat the humam psyche. To that extent it is a mundane expression...The present painter is concerned, not with his own feelings or with the mystery of his own personality, but with the penetration into the world mystery. His imagination is therfore attempting to dig into metaphysical secrets. To that extent his art is concerned with the sublime. It is a religious art which throught symbols will catch the basic truth of life which is its sense of tragedy...the artist tries to wrest truth from the void.
Bernett Newman, in Jonathan Fineberg, "Art since 1940 - Strategies of Being",1995 Prentice Hall, p.100, Cited in Hess, Barnett Newman, 7-9.
"to perceive the most essencial of that which is reality in the present; because if we do not perceive this reality, we perceive something else which is not reality. We perceive something and are annoyed by things that in fact no longer have reality for the iner life. This is more than evident in the case of automobiles, production methods, capitalistic money dealings, etc. Everything which rushes to the forefront pretending to be reality is accepted as reality because the perception for the inner substance of things....is lacking; there is yet another hole, and that is reality. The other only pushes itself onto reality, but it is not reality."
Joseph Beuys, in Schirmer`s Visual Library, "Joseph Beuys Early Watercolors, with an introductory essay by Werner Schade, p.8
em breve..novos textos....../.....soon I will add new texts