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2009 5 07 Ego Alter Ego Eng
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2009 5 07 Ego Alter Ego Eng

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picadoras

picadoras

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  • 1. ego and alter ego © Ginestet, 2005
  • 2. Elan 1988-1998 Seiltänzer, 1993-1996 • Series of sketches dedicated to the since 2001 ongoing developing of the theme «Picadoras» as in the monumental trilogy: – emancipation (Elan) - – dialogue (Seiltänzer project : tightrope-dancers) - – creation (not yet defined). • Second step: DIALOGUE, tightrope-dancers • After the emancipation, dialogue can be settled and this requires a definition of identities which separate to become ego and alter ego, female and male. • The male is still represented by a symbol, the bull. There exist other representations, but they will not be shown for the time being.
  • 3. The beginning • The first ideas and sketches started with the blue belt, a painting commissioned by Standardkessel director Dieter Dünnhaupt 2001. First sketches exist from as early as October 2001 and are born out of the observation of the 2 dancers biologically defined on each female torso. • The sketches were produced in Wuppertal (Germnay), Paris (France), in New York and Boca Raton, Florida (USA) in different sessions, always whilst traveling. • The 9-11 effect was claiming for a healing and as a consequence female figures were mixed up with architecture to form several ideas to replace the void left by the sky-scrapers in Manhattan. The idea was to heal the wounds and to replace destruction by life. In present day this void is not replaced in a positive way. I don’t agree with any of the developments started to close the wounds inflicted by terrorism. I don’t agree with any of the ideas of Liebeskind or of any of the politicians presently working to fill this void. • Since then I went on and do go on transforming in a utopian way, what needs to be cured and transformed, my work becoming vital and not lethal within the arts and within science. • The following sketch was one of those produced in New York in 2002, visiting Manhattan and living on Long Island at the home of Penny and Sy Budoff who have supported me and my work since 1998.
  • 4. The “blue belt” drawing (1050x110cm) and its sequels Sketches and final work drawn on paper with pure pigments and inks. Metamorphosis towards the “Picadoras” 2 Picadoras dancing Born out of a female torso
  • 5. More sequels: sketches of the “Picadoras” at the Polytechnic University Valencia, in the Staatliche Weingüter Hessen, and in the Königshöfe in Münster
  • 6. More sequels, sketches for the Picasso Square (Königshöfe) Münster
  • 7. More sequels: this project for the Picasso square won a first prize that was awarded by the city of Münster , but it was not built because the bishop did not allow it.
  • 8. More sequels, a project that was actually commissioned and was painted in Cologne, Germany: the Opera Mall this painting of 16x4 m was painted as fresco on plaster board in 10 days
  • 9. Coincidence or fate?
  • 10. HISTORICAL COINCIDENCE • During an exhibition in Barcelona in April 2006, a group of scientists of the university of Barcelona came into the exhibition and looked at my work. • Some of the scientists addressed themselves and explained that they saw some similarities between my work and a historical precedent, the Minoan art. They asked if I knew about it. • I did not know anything about the Minoan art. They asked me to read a book: The chalice and the blade, Rhiane Eisler. • After reading the book, I went onto the internet and looked for Minoan artwork. • I found these pictures and was stunned by the similarities between my creations and those of the Minoan art.
  • 11. Some associations between the Minoan and the Ginestet creation the Minoans also used gold to keep their most precious symbols as relevant symbols for their culture safe and preserved, and they have lasted to present day. Andres Ginestet restarted the same procedure, without having any knowledge of what the Minoan culture had created.
  • 12. Following the drawing: • The first sculpture of the second collection of “Picadoras”, the less symbolical and the more explicitly figurative ones was commissioned by Uli Widmaier, a former professor of mine in political sciences at the University of Bochum,Germany. • Uli was one of the strongest and most important supporters for all of my art and science development. He supported me through several huge crisis that my ideas created at the Bochum university in Germany and went on in a very stubborn fashion provoking the university establishment with his support, until my ideas were taken on in Canada and on a practical level in the European council. • Until and through his death in 2008 Uli was one of the strongest minds helping the accomplishment of my work against violence and restoration of gender balance, working in discretion and in solidarity, facing opponents and stigma.
  • 13. Bull looking into a lady’s eyes
  • 14. The lady and the bull do not match and she turns away.
  • 15. Two more designs that are still to be shaped as baroque sculptures all these designs are also to be converted into clothing ready to wear in the Minoan style.
  • 16. The bull and the lady, man and woman “at a friends wedding I saw a horizon raining”
  • 17. Conclusions and hypothesis: • If an artist feels that gender is a relevant matter and if an artist is sensitive, he automatically will work to restore gender balance if he feels that the balance is threatened. He will create a certain type of beauty to carry the message. • The way an artist will express the subliminal feelings regarding gender balance and justice is encoded in aesthetics. • Aesthetics are a code of their own, often described in words but never explained. • These aesthetics will be the same, regardless of the origin, the gender and the epoca in which the artist lives. • Andres Ginestet is not a reborn Minoan, but… • …the feeling of gender balance of the first human cultures expresses itself through the hands of Andres Ginestet in the same way it did do through the hands of Minoan artists. • The rules set within aesthetics and art are to watch that the general cultural balance between genders is kept, in order to guarantee the survival of the species. • The subliminal influence of the art and aesthetics is stronger than any economical, political or educational and manipulative attempt of constructing reality. • “At a friends wedding I saw a horizon raining” • History cannot be reversed or manipulated, the laws of fragmentation are stronger than any single human will. Gender balance has to be restored to the extent it was in Minoan times.