With Arshile Gorky, Willem de Kooning, Jackson Pollock, and others, he was a member of the illustrious New York School, a loose association of visual artists. As a teacher at his Hans Hofmann School of Fine Arts, which he founded in 1933 after emigrating to the United States, he exerted a formative influence over a generation of young painters. New York, USA, 1966) ranks among the preeminent artists of the twentieth century. 38 € Add to cartĮxpressive Forms between Art and ArchitectureĪs an exponent of Abstract Expressionism, Hans Hofmann (b. Cognitively, this machine will be superior to us in any case – only the necessary feeling of happiness of a consensual coexistence does not seem quite conceivable. Nor is it guaranteed that we as Homo Sapiens will be assigned a place in this paradise by such a unilaterally gifted superintelligence. However, it is doubtful whether this approach alone can really give rise to a superintelligence that will one day create a resource-saving paradise on earth. Of course, AI has already made impressive progress in many areas of our public services via the hard components of machine learning. The necessity of shaping the present through artistic thought and action can no longer be limited to the art context.įREETERS’ AI approach should be understood less as a scientific methodology and more as a call not to reduce our intelligence to only rational thought processes with a utility maxim. The artistic practice of Freeters is characterized by strategies of thought and action that are needed in a society with constantly changing conditions, in a working world that overturns itself in its dynamics. This book is about the mediation of artistic thinking and artistic action in processes. The artistic intelligence used in the process transforms into spaces for thinking, working, living, playing and learning, creating identity, emotion and inspiration.
42 € Add to cartįREETERS stands for an artist collective that designs, creates, transforms and plays with spaces, for and with the people who experience their time there.
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It contains numerous transcriptions of textual parentheses, legends, and instructions on how to decode the works and poetic fragments embedded in Chira’s pictures. The extensive monograph with more than 750 illustrations surveys Alexandru Chira’s output of four decades and synthesizes years of research undertaken at the National Museum of Contemporary Art in Bucharest. In the course of his decades-long fascination with an agrarian aesthetic, architecture, design, astronomy, history, magic, ufology, mysticism, shamanism, and theosophy fused, yielding a kind of practical knowledge as well as spiritual speculations sustaining his endeavor. Much of his oeuvre accordingly consists of sketches and elaborations relating to the monument. In the 1990s-by then Chira held a professorship and was a widely recognized artist-he fulfilled a lifelong dream by building the “Tăușeni Ensemble,” the largest monument single-handedly created by one man in Transylvania. He sowed symbols across his paintings, sometimes transplanted them to create new semiotic interconnections, then reaped them and stored up his harvest in painted machines of varying shapes and dimensions.
Working in his art laboratory, Chira resembled a farmer tilling his field. His paintings, drawings, and objects, whose individual elements recall switches, screens, keyboards, and levers, were designed to “bring rain and rainbows,” to promote prosperity and prevent floods. Bucharest, 2011) oeuvre systematically and comprehensively maps a fictional field of research.
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