Cuerpo y Alma

                  Andrés Ginestet
Connection between Minoan, modern and philosophical culture in Ginestet’s...
All information about the Minoan culture on: www.fhw.gr/chronos/02/crete/en/index.html
The cross
The Unchristian or Neolithic cross is, according to the American author Riane Eisler, „gylanic“ a symbol of the
...
Minoan cross simply
made in stone, symmetric




                           Ginestet crosses, asymmetrical and on a colour...
imploración de la luz
  – tríptico negro.
  Example for the
 combination of two
 postures on black.
imploración de la luz de día – exhalación + inhalación + exhalación – Example for the same combination on white
The posture of the figure by Andrés Ginestet
The following pictures indicate a connection that was created ex-post. Ginest...
An owl and two snakes




•   Minoan sculpture, showing the strength, the •        The woman in this picture has exactly t...
In this historical picture and representation
it is not just a piece of clothing that is
being represented. It is a whole ...
First sketch from 2002 of the theme „Picadoras“ that holds a clear connection to 9-11. It deals with the architectural des...
Three more examples of
 the development of the
   second collection of
      „Picadoras“.
Another example for the similarity between the works of Ginestet and the Minoan art is the choice of materials.
Ginestet, ...
See previous page
Two examples of an open and giving attitude.
Two Minoan rings in gold with different      Three different representations of bare-breasted women, richly embellished
re...
The position and behaviour of the woman in this photograph shares a similarity to the one of the Minoan statue, self embra...
The single horn and it’s meaning


                 The clear up-date in comparison to the Minoan objects
                ...
First collection „Picadoras“ in created with bronze, gold and precious stones. The 7 positions are held in the following
 ...
The imploration and import of the light


•   These works are dedicated to the „Admiration of light“ and its seven main co...
imploración de la luz – siete cristales más día y noche
Over-layering of embraces



 The over-layering turns into the picture in the next page. This photo
will become a new scul...
flor de luz I-III
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2009 5 10 Eng Minoicas Fotos

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2009 5 10 Eng Minoicas Fotos

  1. 1. Cuerpo y Alma Andrés Ginestet Connection between Minoan, modern and philosophical culture in Ginestet’s works. Picture references and explications. A quick review. © Ginestet, 2006
  2. 2. All information about the Minoan culture on: www.fhw.gr/chronos/02/crete/en/index.html
  3. 3. The cross The Unchristian or Neolithic cross is, according to the American author Riane Eisler, „gylanic“ a symbol of the femininity, fertility and cooperation of partnership, replacing the existing models of concurrence and domination. In connection with the work exhibited here, it is allowed to be understood as an independently conceived creation that is not influenced by any ideology. In this way, „gylanic“ concepts become visible that have been prominently present in the work of Ginestet since the 80‘s. His dialogical art simply finds another academic reference and explanation.The “tight-rope dancers”, in their aesthetic as well as their conceptual completion are the best evidence for a androgynous spirit. In this context, the „Elan“ completes the first visible and concrete realization . The Neolithic cross is a symmetrical, not a formally aesthetic Christian cross of suffering, but it serves the Egyptian as well as the Christian cross as an example, although it‘s meaning in the Christian version is reversed. In the Egyptian version the variant of the up-side-down elliptic drop or „Loop“ can be found. Later on, many other crosses appear in the modern art, in which they are emptied of their Christian meaning and in this way, liberated. Antoni Tapies has decisively contributed to this subject, but the work of Malevitsch is also to be understood in this concept, even if the interpretations of modern art claim otherwise. In this way, the Ginestet cross is an advanced version of the already known, that differentiates itself from the already known in that it reaches a grade of distinction, as described by Pierre Bourdieu. The cross of Ginestet is either very slightly asymmetrical, so that it is barely notable, or created so that it resembles so much the contents of the Christian cross that it can only be distinguished gradually by the title and recognized by the central figure in the cross of light. This closeness to the Christian ethos has been chosen consciously. Through this the relation to the original message of Jesus is clarified. The cross is proportioned to the depicted body, not the Christian proportion. The Christian cross usually is the cross of torture of Jesus, the cross to which he allegedly was nailed high above the crowd. Where the Christian cross takes on other proportions, it evades the androcratic principle, as Riane Eisler would write, and nears itself to the original cross.
  4. 4. Minoan cross simply made in stone, symmetric Ginestet crosses, asymmetrical and on a coloured background, made in the sculptural Photo-technique. The cross is shorter on the right side and longer on the left side. The difference is hardly perceptible. The cross is drawn as cross by the limitation of space within the picture, by the drawing of fields of light and colour. The cross itself is a cross of light, and the woman in the picture implores the light, as told by the title of the work. The proportion of the cross is such that it does not touch or cut the aura of the body. One of the results of the research done by Ginestet is the conclusion that one of the criteria why a painting feels more or less anxiety or pleasure depends on the inclusion or exclusion of the aura in the painting.
  5. 5. imploración de la luz – tríptico negro. Example for the combination of two postures on black.
  6. 6. imploración de la luz de día – exhalación + inhalación + exhalación – Example for the same combination on white
  7. 7. The posture of the figure by Andrés Ginestet The following pictures indicate a connection that was created ex-post. Ginestet has worked on his creation since 2001, since 9.11.2001 to be precise. In connection to his scientific work, through which he was making an effort to characterize and create pictures, it is to be understood that that he opposes the latent and visible violence to take position clearly, as it is also reasoned in his essay „Epoch“. The fragment is supposed to be revitalised, create life-embracing spaces for soul and body and to retrieve them from ignorance. Freedom is won through participation. His figural creations were formed, as already explained, as a part of his whole work that is dedicated to the androgyny principle. It did not make sense, in the political and cultural surroundings in which the author was situated, to create publicity. As always, art is the encoded key of a message. The redundancy aims to clarify the cryptographic contents, as this automatically implicates the translation and the lexical definition. In fact, the artist and scientist has been working inexhaustibly for years, together with his wife, to stop violence, in the scientific as well as the artistic environment. Consider that the varying enrichment of the art-and-science couple is a method and not pure show. It is part of the concept, like so often in art, of not just the final result but also the way to it: the working method. Also, other scientists take the works of Ginestet for their own use as well as for a dialogue between theory and praxis. Accordingly, it happens as in the present case, that a scientist sees the work of art, indicates the artist a defined trail, names a book title and the artist then investigates and searches again what is written there, to, like in this case, discover the Minoan culture and Riane Eisler. His sculptures, in this way, transform along with the creation of the bust Lisa (1999), to which an equally named essay was written „Lisa” or the “untouchableness of the untangible“ (2003). From that moment onwards starts a new cycle, that leads to the results before you. The choice here is directly connected to the subject that is also shown theoretically. His photographic work was created from the summer 2004 onwards, following the sculptural search of new vital contents, regardless that it also holds a emancipation of photography as medium technically speaking. Even more shocking is therefore the clearly visible connection between the Minoan art works and the art works of Ginestet. It is almost as if a certain type of spirit leads inevitably to a certain aesthetic.
  8. 8. An owl and two snakes • Minoan sculpture, showing the strength, the • The woman in this picture has exactly the same attitude as attitude and the position of any woman in Minoan the woman in the sculpture, only that the Minoan woman society. She wears the owl and the snakes as holds symbols of wisdom, and Ginestet’s hands take or offer symbols of wisdom. This sculpture in particular is light, or, call it transcendence. The similarity of concepts an example of the late Neolithic refinement of the between the Minoan and the work of Ginestet is astonishing Minoan culture. Her naked breasts are not enough, knowing that the artist took the picture in 2005, a precisely a sign of weakness. The reader may year before he ever heard of Riane Eisler. The difference ask himself for the reason it had to be? between the two artworks is the reference in Ginestet’s work to modernity, his context.
  9. 9. In this historical picture and representation it is not just a piece of clothing that is being represented. It is a whole concept of life. This is not the only form of life that has been transmitted from the past. One of the most interesting aspects is the representation of what could be meant as These pictures drawn by Ginestet show the second collection of cereals on the skirt. ·Picadoras” as he designed it. Any comment can be spared. The similarity The architectural structure within the skirt of concepts is obvious, as much as the small differences are. Mainly, the also tells a lot about the spirit and the female body is standing loose in a skirt that is “rigid” and self sustaining., intellectual capacities of the Minoans. as culture is.
  10. 10. First sketch from 2002 of the theme „Picadoras“ that holds a clear connection to 9-11. It deals with the architectural design- alternatives concerning the Twin Towers New York as well as the designs of Liebeskind, which express more pain than anything else. Although being understandable as a model, his designs are a torture as an actual piece of architecture. These sketches instead do not want to show any architecture, but aesthetic principles, that could be the base of the architecture. Architecture is a relevant part of communication between genders through all times. Architecture is an expression of the “zones of influence” of genders, be it communication-,work-,society-,or freedom zones. Architecture, more than any thing else, structures communication. For this reason Ginestet creates his architecture as a mirror of the communicational ability and the quality of dialogue between genders. Architecture is an articulated speech following shapes, materials, colours, sound, smell and texture. This is nothing more than a clarification of what is presented in his sculpture „Seiltänzer“. It is the second human stage after the emancipation, which serves as basis for the dialogical capability. Verbal and real fully responsible communication is only possible after emancipation. Previously, all form of dialogue is to be attributed to the process of definition of personality. In these sketches a clear attribution of the genders and of dialogue is constructed. In contrast to this idea, the consideration in the previously realized collection „Picadoras“ serves for emancipation and personality-definition. A third Life-work is intentional, of which the plan is not even an existing idea. These works were all constructed during large periods of time and will continue being created in this manner.
  11. 11. Three more examples of the development of the second collection of „Picadoras“.
  12. 12. Another example for the similarity between the works of Ginestet and the Minoan art is the choice of materials. Ginestet, as well as those ancestral Minoan artists, work in gold and precious stones, putting the emphasis not only on the value of the materials, but mainly making sure that the quality of the materials will carry the message that they express a long way, lasting through times. Further, not only the attitude of the women is similar, dancing and holding arms up, but also the fact that all the women are bear-breasted and wear skirts down to the floor, dresses that are even very carefully made and similar, containing representations of fertility as decoration in the Minoan case and being a symbol of male fertility and strength represented by the bull’s horn in the Ginestet work..
  13. 13. See previous page
  14. 14. Two examples of an open and giving attitude.
  15. 15. Two Minoan rings in gold with different Three different representations of bare-breasted women, richly embellished representations of women and clothing, all and ornamented, wearing no head cover, but with a very embellished bare-breasted and all dancing or acting in hairstyle, fitted with jewels and dressed in transparent sensual clothing. a ritual.
  16. 16. The position and behaviour of the woman in this photograph shares a similarity to the one of the Minoan statue, self embracing.
  17. 17. The single horn and it’s meaning The clear up-date in comparison to the Minoan objects consists in that Ginestet creates his statuettes out of two separate elements: The horn and the torso of the woman, that form a unity together. With this, the articulation of the figures, as representatives of seven emotions, feelings and handlings, which are an advance to creative work, as well as not entirely obvious gender - determinated beings, therefore androgynous beings, are obviously to be classified with the Elan and emancipation. It may seem to many a visitor as if the artist is dressing himself and his art in a tight corset. But the artist is merely following his free interpretation of the world, as he cannot live according to the ideal. It is and will stay as an expression of desire and longing.
  18. 18. First collection „Picadoras“ in created with bronze, gold and precious stones. The 7 positions are held in the following photographic works as well as being explained in the following text.
  19. 19. The imploration and import of the light • These works are dedicated to the „Admiration of light“ and its seven main colours.The seven colours appear in seven precious stones in another collection of the artist and symbolize seven feeling or emotional levels, meant for any kind of creation, be it artistically or humanly. • The installation encases nine pages. The first - the white one - represents daylight. The last - the black one- is a symbolization of night. In between you will find: • Orange is for pre-disposition. • Pink is for inspiration. • Blue is for development. • Green is for perfection. • Violet is for reflection. • Yellow is for Happiness and vanity. • Red is for emancipation. • The grey tones of the cross awaken the „Admiration of light“. Grey lights awake a longing for colours. Grey is the absence of colour. The picture “light-flower II” then becomes a revelation and a completion of what “light flower I and III cannot complete. Light-flower II becomes coloured light, because there the connection between the two negatives reaches closer to perfection and becomes something “new”, so that the image itself becomes something vital. The cross is a wide-spread artistic symbol, and in this case slightly asymmetrical.
  20. 20. imploración de la luz – siete cristales más día y noche
  21. 21. Over-layering of embraces The over-layering turns into the picture in the next page. This photo will become a new sculpture and by these means becomes the photo itself a sketch, and photography a new way of sketching.
  22. 22. flor de luz I-III

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