Study notes

Study Notes

by Alejandro M. Parisi

A digital exhibition

presented by Zenvampires

Study Notes

We proudly present “Study Notes” by Alejandro M. Parisi.

Alejandro Martín Parisi, born in 1982, of Argentine and Italian nationality, has lived in Paris since 2015. From his stay in France, he incorporates notes from seminars on art history and art market into his pictorial work, as well as drawings made in Parisian museums and parks.

The artist used many of the art history and art market study notes for his work when he arrived in Paris in August 2015, and then continued to work on the set until today. These works have never been exhibited before.

Below you’ll find some words from the artist. And of course his work. 

If you are interested in purchasing one of the paintings you can find here the price list and the contact details of the artist. 

For this body of work, I used many of my notes from studying art history and the art market when I arrived in Paris in August 2015 and then continued reworking until today. These works were never shown.

I’ve been painting since I’m 19 years old, which means that I’ve been painting for 20 years now (14 professionally). All these years one of my searches was to transform the act of painting as natural as having breakfast or getting dressed. The means for arriving at this notion took me until today to include as much as I can from my everyday life, mainly the notes I daily make, not only when I study but also any idea that I might want to write down or even the grocery list. By doing this I can remind myself that I’m always painting. 

For this exhibition at the castle, I’m showing works that I’ve never shown before. Some of them are made of collage with the notes I took when I was studying art market, after my arrival to Paris in August 2015. Prior to this, I was born and lived all of my life in the capital city of Argentina, Buenos Aires.

I got this idea from one of my classmates, after 2 weeks from having started the master and feeling a little frustrated for not having much free time to paint, she told me she liked my notes. That same night I started creating my first paintings in Paris. Needless to say I became one of the best students that year. I literally never missed a class and took tons of notes, almost a transcript from the teachers lessons.

I learned to create with what I have in my hand and in my mind and I still work to erase the distance between the two.

“Academic Reference N.1” 2015 – 61 x 46cm – Mixed media on paper mounted on canvas
“Academic Reference N.14” 2016 – 61 x 46cm – Mixed media on paper mounted on canvas
“Academic Reference N.29” 2016 – 61 x 46cm – Mixed media on paper mounted on canvas
"Academic-Reference-N.43" 2016/19 - 85 x 46cm - Mixed media on paper mounted on canvas
“Academic Reference N.46” 2016/19 85 x 46cm Mixed media on paper mounted on canvas
“Academic Reference N.48” 2016/19 85 x 46cm Mixed media on paper mounted on canvas
“Academic Reference N.51” 2016/19 – 85 x 46cm – Mixed media on paper mounted on canvas copia
“Le Journal peinture Nro 1” 2016 60 x 30cm Mixed media on paper
“Le Journal peinture Nro 2” 2016 – 60 x 30cm - Mixed media on paper
“Le Journal peinture Nro 5” 2016 – 60 x 30cm - Mixed media on paper
“Le Journal peinture Nro 6” 2016 – 60 x 30cm - Mixed media on paper
"Aida" 2020-diptych 120 x 120cm mixed media on canvas
"Athens" 2019-diptych 120 x 120cm mixed media on canvas
“Notes papier N.4” 2020 – 30,5 x 22cm – Mixed media on paper
“Notes papier N.5” 2020 – 30,5 x 22cm – Mixed media on paper
“Notes papier N.6” 2020 – 30,5 x 22cm - Mixed media on paper

Sitting down at my desk, I grab my notes from school and wonder, how much do I remember of all of this? I look at every piece of paper I read over all the information again and suddenly noticed that everything that I read, I read it for the first time. The person who took those notes is no longer the person who later studied those notes and passed the exams and it’s no longer the person who is looking at these notes today.

When I’m about to work I have no memory of ever having learned anything. This feeling I cannot help having it. One part of my brain is occupied in patterns which respond to automatic programs but another part of my brain responds to other forces, which can only appear when I forget about what I know. They tell me what I should do today only on the condition that I don’t ask for tomorrow and that I don’t complain about yesterday.

Alejandro M. Parisi

Klangturm

Klangturm

Der Klang

Ich möchte an dieser Stelle keine Raumtheoretische Debatte anfangen. Jedoch hat der Klang, der uns in einer Stadt umgibt auch einen Einfluss auf uns. Darauf, wie wir reagieren, darauf, wie wir leben und auch darauf, wie wir uns fühlen. 

Wir können es auch anthropologisch betrachten und sagen, dass Menschen sich beim Klang der Natur am besten fühlen. Doch das tun wir nicht. Wir laden Euch an, die Erfahrung des Klanges selbst zu machen. 

Der Turm

Auch die Architektur hat einen Einfluss darauf, wie wir mit dem Raum interagieren. Wie wir den Raum wahrnehmen. Wie wir uns in der Umgebung am Ende fühlen. Wobei es nicht darum geht, ob die uns umgebende Architektur gut oder schlecht ist. Zwar gilt für die Umgebung dasselbe anthropologische Prinzip, wie für den Klang. Dennoch stört uns schlechte Architektur weniger als das, was wir gemeinhin als “Lärm” bezeichnen. 

Die Aktion

In Hamburg wurden beide Komponenten zusammengefügt. Die Termine können hier (externer Link) abgelesen werden. 

Verzweigungen

Rhizom ist nicht nur der Titel des Vorworts zu Tausend Plateaus sondern auch eines der Begriffe, die Deleuze und Guattari in ihrem Diskurs nutzen. Ich würde den Begriff nicht diskutieren wollen sondern die Nutzung ausweiten. Ich würde sagen, dass Rhizom, dass die Wurzel, ein sehr gutes, ein sehr praktisches Bild ist, um die Wirklichkeit zu beschreiben. Geschichten der Menschen ähneln oft den Spuren der Wurzeln. Sie verzweigen sich, manchmal aber auch kommen sie zusammen. Um sich dann erneut zu verzweigen und fortzuschreiten. 

Das Bild der Wurzel berichtet uns aber auch von einer anderen Sache. Von der Vielfalt. Davon nämlich, dass Menschen und deren Leben unterschiedlich sind und dass diese Unterschiede eben manchmal zusammenkommen können und manchmal entfernt sind und dennoch Gemeinsamkeiten aufweisen. Auch wenn Begriffe wie „Verschiedenheit“ typisch für die europäische Kultur sind. Diese zu zeigen kann interessant sein. 

Dennoch ist es manchmal schwierig, Geschichten wie einen Rhizom erzählen zu wollen. Intensitäten, Geflechte, Schicksale können so untergehen. Es besteht die Gefahr, dass der Zuschauer diese vielleicht nicht entziffern kann. Diese Gefahr besteht allerdings nicht beim Ukraїner The Movie. Hier zeigt sich eine ganze Gesellschaft wie ein Rhizom. Wie ein Wurzelwerk. Wie eine Ansammlung von Intensitäten. Und von Lebensgeschichten. 

Gemacht um jungen Ukrainern das Land zu zeigen kann uns das Werk jetzt zeigen, welches Land da gerade überfallen wird. Erinnert der Folm gleichzeitig an den Geist Derridas. Den Geist einer friedvollen Welt. Den Geist einer Welt vor dem mörderischen Überfall eines barbarischen Nachbarn. 

Hier (externer Link) kann er angeschaut werden: https://ukrainer.net/ukrayiner-the-movie-de/

Their misunderstanding of me was not the same as my misunderstanding of them*

Roy Wagner told it describing his first contact with the Daribi of New Guinea. The misunderstanding. Their ontology is quite different than others. Their understanding of the world is quite different than others. But do we need to go so far? Do we need to travel to New Guinea in order to meet new ontology? In Europe (and also in the United States, Australia, etc…) we do everything in order to integrate immigrants. We try to understand. But we will never do. Because we have our own ontology. And our ontology does not allow us to understand. We can only make our own pictures. Those pictures can help to learn our own ontology. But not other ontologies. Even if we try to understand, we are trapped in our picture of the world. We have tried to document it and have photographed street art (paste-up, objects, graffiti). 

All photos ©by Zenvampires. 

We do not know all the artists. 

*Wagner, Roy, 1981 The Invention of Culture

Foto ©Zenvampires
Foto ©Zenvampires
Foto ©Zenvampires
Foto ©Zenvampires
Foto ©Zenvampires
Foto ©Zenvampires
Foto ©Zenvampires
Foto ©Zenvampires
Foto ©Zenvampires
Foto ©Zenvampires
Foto ©Zenvampires
Foto ©Zenvampires
Foto ©Zenvampires
Foto ©Zenvampires

DANCING WOMAN

Dancing Woman

by Thorsten Raab

A digital exhibition presented by

Zenvampires

Some entities can, when we look at them, communicate with us. They tell us more than we see with eyes. Like the surface or color. They communicate with us. They can let us feel a rhythm. And the rhythm comes before the music. Creating music today, we mostly create a good rhythm before we create music. Some anthropologists say (I’m not sure if Levy – Strauss said it), that ancient cultures, mostly shaman cultures, used all the same rhythm. Rhythm can let us dance and the dance can let us forget. But rhythm is not only important for music. It’s also important for writing. Homer used it as well as Shakespeare. And even if a writer doesn´t use it (like Bursa in his poems), he worked with it. Because when we break the rhythm, the audience can feel it. The entity then has nothing to say. Or it says that it´s broken. Husserl spent hours to find out, what an entity can tell us.

When we use rhythm in paintings, it may be possible to dance. In the rhythm. Thorsten’s paintings have that rhythm. When we look at them, we can feel it. As I said describing his previous exhibition (here), we can feel the music in his pictures. And then maybe we can dance to the music. Try it. Just look and dance.

Thorsten is a painter and DJ from Hamburg, Germany. He is inspired by funk, dub, Hip-Hop, and what we know as Black Music. But also by writers like Paul Auster and Toni Morrison. And also by street art, by Outsider art (in Germany known as Art Brut), and also by the Cobra Group.

We are proud to present a second exhibition by Thorsten Raab. 

All pieces ©by Thorsten Raab. Photo edition by Zenvampires.

We don´t sell Thorstens paintings. We only show them.

 

Click on the picture for a better resolution.

FOXY | Acryl auf Leinwand, 100cm x 100cm
PEACE | mixed media ( Tinte, Acryl ) auf Packpapier, ca.100cm x 70cm
ROBOTNIK | Acryl Farbstifte & Edding auf grundiertes Packpapier, 100cm x 70cm
DIA DE LOS MUERTES | Acryl Farbstifte & Buntstifte auf grundiertes Packpapier
YELLOWISH GREEN (AMSTERDAM) | Acrylfarbe auf grundiertes Packpapier, ca. 100cm x 70cm
BOOST | Acryl Farbstifte & Edding, Hairspray auf grundiertes Packpapier, ca. 110cm x 80cm
DANCING WOMAN | Übermalung mit Acryl Farbstiften und Acryl auf Linoleumdruckpapier
MIXED FIGURES | Jaxonkreide & Edding auf Packpapier
MAZED | Acryl & Acryl Farbstifte auf grundiertes Packpapier, ca. 60cm x 70cm
QUEEN & PRINCE | Acryl auf grundiertem Packpapier, ca. 60cm x 70cm
SPRING AGAIN (R.I.P BIZ MARKIE) | Acryl & Acryl Farbstifte auf Packpapier, 100cm x 180cm
Don T Loose Ya Mind ( FROM TUTU ALBUM ) | Edding auf Weisspapier
LOST | Acryl Farbstifte & Edding auf grundiertes Packpapier, ca. 70cm x 64cm
N.Y.C / 2001 | Acryl Farbstifte auf Papier ( Übermalung )
OOOH JESUS | Acryl und Industrie Painter auf Malpappe , 80cm x 60cm
ABORIGINES | Acryl auf Leinwand, 70cm x 50cm

Modernity. Before modern time.

Visionary Doug Engelbart did quite a bit more than invent the mouse, but also pioneered the Graphics User Interface. His Stanford demo in 1968 “The Mother of all Demos” was groundbreaking vision for features we see as normal in computers. But he did more than innovated technology, he had visions for the future of organizations. CC0 License. Source: https://en.wikipedia.org/wiki/The_Mother_of_All_Demos

In his essay Nous n’avons jamais été modernes Bruno Latour says, due to our understanding of time we are convinced, only we have the most developed and the best technology. In this conception (our conception of Kantian understanding of time, not Latours), the best and the latest technology can exist only now. The past appears to us as non technological. Or no modern. Or, with other words, technologically retarded. Our definition of „revolution“ (or what we call revolution) allows us, according to Latour, to believe in an interruption of time. An interruption of the process of technology. Everything after the revolution is new. Everything what was before a revolution appears as old. Obsolete. Non modern. 

It’s a very interesting conception. We see previous epochs then as something, yeah, obsolete. But it also works in present time. We see other cultures, mostly native cultures as not technical. We may see their technology as old. As something, which is non usable in our modern times. 

And with this conception we are trapped into our time. And cannot sometimes recognise, that some of our ideas, some of technologies we use are old than we expect. 

Something like a user interface for example, the way, we interact with a computer, is a very important idea. The idea of word processing, the idea of a mouse, the idea of hypertext. All this we use today working on or with our computers. 

Douglas Engelbart showed all this in a remarkable demonstration back in 1968. You can watch it using a modern computer. Here (external link): 


https://www.youtube.com/watch?v=yJDv-zdhzMY

Who owns the city?

Who owns the city? Who owns the open space? Citizens have already reclaimed the spaces in the city with graffiti and tags. In this context, street art is an attempt to reclaim the aesthetics of the city. To create an alternative to advertising. And to express thoughts freely. It is a forbidden alternative. And thereby a subversive act. Art. Which, in addition to the advertising that is supposed to encourage us to buy, those of the posters of various organizations, in addition to the official language assert itself. And shows that the city belongs to us. To the people who live in it. That our perspective, may it be so small, that this perspective becomes present in the public space. 

Max Dogin documents street art that changes the image of the city with paste-up technique (and not only). Those are aesthetic attempts, invisible in the fast pace of the city. Pasted up in a hurry. 

We are proud to show some of them here. Even if the author is not always known.

Foto ©Max Dogin
Foto ©Max Dogin
Foto ©Max Dogin
Foto ©Max Dogin
Foto ©Max Dogin
Foto ©Max Dogin
Foto ©Max Dogin
Foto ©Max Dogin
Foto ©Max Dogin
Foto ©Max Dogin
Foto ©Max Dogin
Foto ©Max Dogin
Foto ©Max Dogin
Foto ©Max Dogin

Zenvampirism

Hört sich kompliziert an. Und hierzu haben wir etwas zu sagen und bereiten einen Podcast vor. 

Schon bald. Hier, auf dieser Seite. 

Cookie Consent mit Real Cookie Banner