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I don't mention these artists because there is a link with your visual work, but because they collaborate enormously with sometimes groups of people and local residents with their films. Sometimes there are so many people involved that it really becomes a community thing. Very inspiring if you yourself would like to organize and collaborate more. Try to watch their collaborative films in particular.

#SylvieZijlmans # Helwals Jongenelis

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Sylvie Zijlmans & Hewald Jongenelis | works

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Sylvie Zijlmans & Hewald Jongenelis / Study for Performers Den Ilp II / 2014-2019 / pigmented ink on photorag/gouache / 42×54,3 cm

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Uou talked about intergenerational trauma yesterday, this artist is also working on this topic, try reading something about her.

#Ninaboas

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Like bad news landing at a formal dinner, the works by Michaël Borremans menace the expectations of a perfect setting. His solo exhibition at Voorlinden, A Confrontation at the Zoo, composed of Borremans’ hand-selected paintings from the last 20 years, exemplifies the intuitive and poetic relationship between his different works. Now on show in Museum Voorlinden. 30 November 2024 - 23 March 2025. I would definitely go and see it if I were you, because I think it will be very inspiring!

#MichaëlBorremans

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related to family

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portrait made my me

similarities with work of Marlene Dumas

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Marlene Dumas

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Behind the Scenes, Creating a Production

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Behind the Scenes, Creating a Production

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Behind the Scenes, Creating a Production - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Proceso de creación de "El espíritu de la pintura. Cai Guo-Qiang en el Prado" (4)

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Avance del proceso de creación de Cai Guo-Qiang en el Salón de Reinos. Cai Guo-Qiang (Quanzou, China 1957) ha comenzado, en el Salón de Reinos, la producción de un conjunto de obras inéditas que formarán parte de la exposición El espíritu de la pintura.

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whispering room paradise institute installation sound art forty part motet walk dark pool central park artwork tate

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Please click here if you are not redirected within a few seconds.

Wassily Wassilyevich Kandinsky was a Russian painter and art theorist. Kandinsky is generally credited as one of the pioneers of abstraction in western art. Born in Moscow, he spent his childhood in Odessa, where he graduated from Odessa Art...

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Please click here if you are not redirected within a few seconds. Wassily Wassilyevich Kandinsky was a Russian painter and art theorist. Kandinsky is generally credited as one of the pioneers of abstraction in western art. Born in Moscow, he spent his childhood in Odessa, where he graduated from Odessa Art...

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art water video installation photography portrait crossing royal academy st paul's cathedral moving portrait sculpture

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[FULL VIDEO] Lost in the Memory Palace: Janet Cardiff & George Bures Miller - Vancouver Art Gallery

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Art as powerful communication | TVO Arts

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Art can express just about anything a person can think or feel, showcasing the richness of our experiences. Read more about how art communicates.

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With the premiere of the opera La Bohème the Croatian National Theater in Zagreb joins European theaters in commemorating the centenary of the death of Giacomo Puccini.

Libretto by Illica and Giacosa based on Murger

La Bohème, the famous opera of the Italian composer Giacomo Puccini, situated in the Latin quarter of Paris in the 1840s, brings us a tragic story of young artists, bohemians, grisettes and their love affairs. After the novel and drama of the French writer Henry Murger Scenes of Bohemian Life, Luigi Illica and Giuseppe Giacosa wrote the libretto for Puccini's opera. Puccini, the master of orchestration, virtuosity and of depicting human emotions, with different music described two large opera loves, one gentle, stable and tragic love of the poet Rodolfo and seamstress Mimì and one totally opposite, passionate and stormy love of painter Marcello and Musette. At the beginning we follow the young artists on the brink of starvation who are on their way to the café, but a chance encounter with the gentle neighbour stops one of them and this sets off a series of events that end tragically. After the flop at the world opening night, Puccini's opera with every new performance achieved success and gained more and more fans, while today it is an inevitable and adored work of every opera theatre. Along the famous arias and duets of Rodolfo and Mimì in which they tell their life stories to each other, and the popular seductive aria of Musette, Puccini offers and opera full of youthful freshness and charm that in its gentleness collapses under poverty and timeless suffering of young Parisian artists and their pure and true loves. The conductor is Pier Giorgio Morandi and the stage director Mario Pontiggia.

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Croatian National Theatre in Zagreb

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#psyhology #personalitytypes #surroundedbyidiots #ThomasErikson

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Read 2,522 reviews from the world's largest community for readers. A runaway bestseller in Sweden that has sold more than a million copies worldwide, Surro...

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#psyhology #5lovelanguages #GaryChapman

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The 5 Love Languages: The Secret to Love that Lasts

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Read 17.4k reviews from the world's largest community for readers. Over 20 million copies sold! A perennial New York Times bestseller for over a decade! ...

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#psyhology #AtomicHabits #JamesClear

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Let Me Tell You More About The Book...

Atomic Habits is the most comprehensive and practical guide on how to create good habits, break bad ones, and get 1 percent better every day. I do not believe you will find a more actionable book on the subject of habits and improvement.

If you're having trouble changing your habits, the problem isn't you. The problem is your system.

Bad habits repeat themselves not because you don't want to change but because you have the wrong system for change. This is one of the core philosophies of Atomic Habits: You do not rise to the level of your goals. You fall to the level of your systems. In this book, you'll get a proven plan that can take you to new heights.

James Clear, one of the world's leading experts on habit formation, is known for his ability to distill complex topics into simple behaviors that can be easily applied to daily life and work. Here, he draws on the most proven ideas from biology, psychology, and neuroscience to create an easy-to-understand guide for making good habits inevitable and bad habits impossible.

Along the way, readers will be inspired and entertained with true stories about Olympic gold medalists, award-winning artists, business leaders, life-saving physicians, and star comedians who have used the science of small habits to master their craft and vault to the top of their field.

Atomic Habits will reshape the way you think about progress and success and give you the tools and strategies you need to transform your habits-whether you are a team looking to win a championship, an organization hoping to redefine an industry, or simply an individual who wishes to quit smoking, lose weight, reduce stress, and achieve success that lasts.

Browse our selection of the best Atomic Habits quotes or read the official Atomic Habits summary here.

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Atomic Habits: An Easy & Proven Way to Build Good Habits & Break Bad Ones

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Packed with evidence-based strategies, Atomic Habits will teach you how to make small changes that will transform your habits and deliver amazing results.

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Old Masters - Thomas Bernhard

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Yinka Shonibare CBE RA - Yinka Shonibare CBE RA

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Yinka Shonibare CBE RA's interdisciplinary practice examines race, class and cultural identity through the media of sculpture, painting, photography, film, textiles and public works.

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Angelo Carlo Dall'Oca BiancaLot 352: Angelo Dall'Oca Bianca

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Artista Tancredi Parmeggiani

Data1955

Tecnica Olio e tempera su tela

Dimensioni 129,5 x 181 cm

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Julia Bornefeld · Morphic Fields_Stella, ink on canvas, 190×290 cm

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Verona - contemporary art exhibition

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Anselm Kiefer's ongoing preoccupation with cultural memory, identity and history lends his works their multi-layered subject matter, fuelled by a variety of historical, mythological and literary sources.

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experiences my friends shared with me

idea for a book

supported by the photos and ilustrations

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story inspired by the artwork I've made

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Work is an art book that I created as a final project for the 'Photography' course last school year. Each person involved in this project comes from different international countries. Additionally, each of these individuals wears a unique tie, which is part of the background image in the book. The backgrounds feature my drawings of Croatian regions, and for observant viewers, there is a hidden map revealing these regions.

The main idea I wanted to convey with this project is the insufficient awareness of the origin of the tie, despite it being the most globally recognized fashion accessory.

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KRAVATA  - NAJBITNIJE, 6. 2023.  (ZA Luciju Kovačić)  (1), MBM

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experience in making art with the kids w are drop outs from school.

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Kreni zdravo! | Stranica o zdravim navikama i uravnoteženom životu

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Zašto se ljudi ponašaju na određeni način? Zašto se ljudi u identičnim situacijama ne ponašaju jednako? Što određuje ljudsko ponašanje? Kako se može predvidjeti ljudsko ponašanje?

Ovo su samo neka od pitanja s kojima se svakodnevno susreću psiholozi, psihijatri, socijalni pedagozi i brojni drugi stručnjaci koji se bave ljudskim ponašanjem. Osim njih, brojni drugi akademski i komercijalni istraživači pokušavaju razumjeti kako ljudi djeluju, donose odluke, planiraju i pamte kako bi mogli utjecati na njihovo ponašanje.

Što je ljudsko ponašanje?

Ljudi stalno pokušavaju ispuniti i zadovoljiti svoje tjelesne potrebe i mentalne želje unutar složenog i promjenjivog okruženja. Cijelo vrijeme su u interakciji s okolinom, a njihove strukture mozga su evoluirale te tako podržavaju kompleksne kognitivne procese usmjerene prema izvršavanju određenog ponašanja.

Na temelju ovih informacija vrlo jednostavno možemo zaključiti da je ljudsko ponašanje odgovor pojedinca na unutarnje i vanjske podražaje. No, znanstvena istraživanja preciznije navode da je ljudsko ponašanje složeno djelovanje tri glavne komponente - akcija, kognicija i emocija.

Akcije možemo opisati kao djelovanje koje se može opažati, kognicije se jednostavno opisuju kao verbalne ili neverbalne misli i mentalne slike koje se odvijaju u našem mozgu, a emocije su relativno kratko svjesno iskustvo kojega karakterizira intenzivna mentalna aktivnost i osjećaj koji nije rezultat rasuđivanja ili znanja.

Akcije, kognicije i emocije su međusobno povezane i ne mogu se odvijati neovisno jedna o drugoj. Njihova ispravna interakcija omogućuje točnu percepciju svijeta oko sebe, slušanje unutarnjih želja i adekvatno reagiranje na podražaje koje svakodnevno dobivamo iz okoline.

Međutim, ponekad je teško odrediti što je uzrok, a što posljedica određenog ljudskog ponašanja. Drugim riječima, ne znamo je li nas neka emocija potaknula na djelovanje, odnosno akciju, ili nam je, pak, neka akcija ili kognicija izazvala određenu emociju.

No, u nekim slučajevima je ipak moguće odrediti uzrok i posljedice. Primjerice, zbog toga što ste tužni (emocija) i razmišljate o pitanjima međuljudskih odnosa (kognicija), odlučite prošetati gradom kako biste raščistili misli i ohladili glavu (akcija).

Odrednice ljudskog ponašanja

Ljudsko ponašanje nije uvijek lako predvidjeti i mijenjati, no postoje neke glavne postavke koje ga određuju i definiraju:

ljudi se odlučuju na djelovanje kako bi postigli svoje ciljeve, ostvarili želje i doživjeli pozitivna emocionalna stanja što znači da, iako ne možemo direktno opažati kognicije i emocije, one se zasigurno mogu uočiti kao posljedica na određenu akciju,

ljudi se svakodnevno susreću s novim informacijama koje integriraju u već postojeći kognitivni način razmišljanja što im omogućuje da se mogu lako adaptirati i prilagoditi na određene situacije te predvidjeti kako će na neke događaje djelovati naše akcije,

čak se i apstraktne spoznaje (npr. mašta) temelje na fizičkom aspektu zato što zamišljanje pokretanja tijela aktivira ista područja u mozgu koja su uključena kada se izvršavaju pokreti.

Ljudsko ponašanje i učenje

Ono što ste zasigurno već negdje čuli, ali ste možda zaboravili, je činjenica da ljudi uče ponašanje. Drugim riječima, ono što vidimo pokušavamo imitirati. Na tome se temelji veliki dio filozofije o ljudskom ponašanju. Učenje označava svaki proces stjecanja novih vještina i znanja, sklonosti, stavova i procjena, društvenih pravila i normi.

Stručnjaci su se tijekom prijašnjih godina neprestano prepirali oko toga je li ponašanje isključivo potaknuto genetskim predispozicijama ili okolinom. Danas oko toga više nema smisla raspravljati zato što je odgovor da su i geni i okolina u međusobnoj interakciji te zajedničkim djelovanjem utječu na ponašanje pojedinca.

Ljepota učenja je upravo u tome što ono nikada ne prestaje. Stjecanje novih vještina i znanja se razvija, usvaja i mijenja tijekom cijeloga života što može imati značajan utjecaj na neurološku razinu funkcioniranja čovjeka.

Iako je područje učenja u psihologiji izrazito opširno i kompleksno, važno je naglasiti da ljudi uče na različite načine, ali da im je isto tako važan ishod učenja, odnosno hoće li za određenu akciju dobiti nagradu ili kaznu. Također, ljudi povezuju podražaje iz okoline pa tako mogu na slične podražaje jednako reagirati, a isto tako mogu na temelju tuđih posljedica odlučiti hoće li imitirati ponašanje te osobe ili ne. U pitanju su složeni procesi koji se razlikuju te su jedinstveni za svaku osobu.

Kako odlučivanje utječe na ponašanje?

Iako se ponašanje stječe učenjem, ključna je uloga odluka koju osoba donosi kada razmišlja hoće li izvršiti određenu radnju ili ne. Sve to ovisi o potencijalnim rizicima i koristima te promatranju drugih. Činjenica je da ljudi svakodnevno donose odluke, samo ponekad toga nisu svjesni. Kad dođete u pekarnicu i razmišljate hoćete li kupiti pecivo sa sirom ili čokoladom, također donosite odluku, koliko god ona beznačajno izgledala.

Također je važno naglasiti da su ljudsko ponašanje i donošenje odluka pod snažnim utjecajem emocija. Naime, ako smo nakon donošenja određene odluke doživjeli pozitivne emocije, vjerojatnije je da ćemo sljedeći put u takvoj situaciji donijeti istu odluku.

Zahvaljujući toj pretpostavci, brojni ekonomski stručnjaci koriste takvo predviđanje ponašanja kako bi manipulirali raspoloženjem koje utječe na donošenje odluka. Zato prije nagovaranja na određenu kupovinu pokušavaju kod vas izazvati pozitivne emocije koje će vas potaknuti da, iako definitivno nešto ne želite kupiti, ipak razmislite o ponudi. U toj situaciji vi zapravo niste svjesni uzroka svojega ponašanja, odnosno nije vam potpuno jasno zašto uopće razmišljate o ponudi ako je prije toga niste željeli.

Objašnjenje tome je upravo u složenosti ljudskog ponašanja. Ljudi većinom reagiraju racionalno, dobrovoljno i svjesno te se takvo ponašanje gotovo uvijek može nazvati normalnim ljudskim ponašanjem. Međutim, ljudi se ponekad ponašaju iracionalno i na temelju podsvjesnih uzroka, što znači da su u pozadini skriveni uzroci koji ih motiviraju na takvo ponašanje.

Kako možemo mjeriti ljudsko ponašanje?

Ljudsko ponašanje se ne može u potpunosti točno izmjeriti i definirati. Kod svake osobe su prisutni drugačiji uzroci i čimbenici koji utječu na njezine akcije u određenim situacijama. No, psiholozi se već godinama bave ispitivanjem ljudskog ponašanja putem opažanja, upitnika, fokus grupa, intervjua i brojnih drugih metoda.

Svaka od tih metoda ima svoje prednosti i nedostatke te donosi drugačiju vrstu rezultata, no činjenica je da nijedna metoda ne može u potpunosti točno odrediti uzroke ljudskog ponašanja.

Zahvaljujućim brojnim metodama mjerenja ponašanja, stručnjaci iz drugih područja (posebice marketinga) su odlučiti iskoristiti te metode te na taj način utjecati na ljudsko ponašanje. Drugim riječima, provođenjem raznih upitnika i anketa o željama ljudi se pokušava ući u svijest ljudi i saznati što im je važno i što žele. Iako ni taj način nećete u potpunosti predvidjeti ljudsko ponašanje, moći ćete na njega ipak djelomično utjecati.

Psihologija ljudi

Ljudi su složena bića. Iako naizgled izgledaju slično, njihov unutarnji svijet je uvelike različit. Njihovo ponašanje je višestruko i dinamično područje proučavanja već godinama, a još uvijek zahtijeva brojna ispitivanja kako bi se dobio uvid u ljudsku svijest.

Osim što se razlikuju po svojim genetskim obilježjima, ljudi se razlikuju i po svojim psihološkim čimbenicima, specifičnim okolnostima u kojima žive te situacijama s kojima se susreću. Niti jedna znanost u narednih stotinu godina neće moći u potpunosti dokučiti složenost ljudskih bića i njihovog ponašanja.

Ono što se trenutno može pretpostaviti o ljudima je nastalo na temelju evolucijskih promjena koje su obilježile ljudski rod. Zbog toga su žene oduvijek bile bazirane na međuljudske odnose dok su muškarci odgovorni za očuvanje teritorija. Isto tako, zbog uloge lovca i sakupljača u prošlosti, muškarac je još uvijek bolji u spacijalnoj orijentaciji, dok su kod žena ostale izraženije govorno-jezične sposobnosti zbog brige za potomstvo i njegovanja odnosa.

Svakako je važno naglasiti da se evolucijski temelji mogu koristiti za objašnjenje određenih ljudskih karakteristika, ali je važna i činjenica da sada živimo u vremenu u kojemu se ljudsko ponašanje oblikuje na potpuno drugačije načine (npr. putem interneta i razvoja tehnologije) što uvelike mijenja cijelu perspektivu njegovog proučavanja i ispitivanja.

Članak objavljen:
Izvori:

1. Farnsworth, B. (2017). Human Behavior: The Complete Pocket Guide. Imotions.

2. Geher, G. (2018). Laws of Human Behavior. Psychology Today.

3. Strauss, A. L. (2017). Social psychology and human values. Routledge.

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Zašto se ljudi ponašaju na određeni način? Zašto se ljudi u identičnim situacijama ne ponašaju jednako? Što određuje ljudsko ponašanje? Kako se može predvidjeti ljudsko ponašanje? Ovo su samo neka od pitanja s kojima se svakodnevno susreću psiholozi, psihijatri, socijalni pedagozi i brojni drugi stručnjaci koji se bave ljudskim ponašanjem.

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Bez pomoći i podrške drugih nije lako preživjeti tjeskobe i nevolje svijeta koje se svakodnevno događaju i narušavaju dobrobit pojedinca. Pomagati drugima u takvim situacijama bez očekivanja nagrade je glavna karakteristika prosocijalnog ponašanja, odnosno nesebične brige za druge koju nazivamo altruizam. Altruizam – psihologija Altruizam se definira kao želja za pomaganjem drugoj osobi, čak i […]

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Painting is not Julia Bornefeld's only strength. The work of the artist, who divides her time between Bruneck and Berlin, moves between canvas and space, concreteness and abstraction, as well as between poetical introspection and concrete objectivity. Thus in the interview Bornefeld does not only speak about painting but also about welding, writing, and sewing.

Julia, can you remember your first contact with art?
I can still remember one truly life-changing experience: I grew up partly in Innsbruck, but mostly in Kiel in Northern Germany. The permanent exhibition of the Museum für Kunst und Kulturgeschichte Schloss Gottorf in Schleswig presented the preserved body of a young person, that had been found by peat cutters in a bog near Windeby. As a ten year old, this mummified corpse confronted me in a profound manner with the reality of mortality and formed within me a connection with Viking culture. For nights I was torn between fear and fascination. In Tyrol the numerous crosses and representations of Christ impressed me. At age nineteen, I saw work by Beuys at the Hamburger Kunsthalle that left a deep impression on me. Death, representations of death in art, sacred, pagan, and Christian imagery dealing with death, and the finiteness of life have characterized my work and me for thirty years.

Did your surroundings influence your decision to study art?
I come from a combination of teacher and artist household - my grandfather was a conductor, a music director, and a pianist in Innsbruck and mother was also a musician. My biological father is a literary man and graphologist and as a libertarian has lived for decades on ships. This environment of music and culture as was influential. As a child I drew and painted constantly and at age sixteen I learned welding. Some of my school friends studied art, architecture, and theater or pursued other artistic careers.

You have studios in both Bruneck and Berlin. How do you divide your time between these two locations?
For decades I have been commuting between Northern Germany and South Tyrol and numerous exhibitions in Germany, Austria, Switzerland, and Italy have come about as a result. My two children have grown up partly in Germany and partly in the mountains of South Tyrol where I have found good work conditions. The fabric factory Moessmer in Bruneck has provided a 600 square meters studio for me and two other women that we occupy as artists in residence. In Berlin I have a loft-like space where I edit texts, design and plan exhibitions along with art in architecture projects, conceptualize works and meet with people from the cultural scene.

Are there any points of contact between your work and the work of the fabric factory, in which your Bruneck studio is located?
An active fabric factory is an unusual yet at the same time very inspiring work environment. Frequently I produce works using products/ from the factory. For ten years we three artists have produced art projects in the public space under the group name "Artists by Moessmer".

Let's go from your work environment to your work. How would you explain to someone who has never heard about you or your art what your work is about?
Originally, I studied painting, but in time my works became increasingly more space consuming. In the meantime, there were also photographic and video works, which are partly integrated in the objects and installations. In my work processes, I address psychological topics using partly performative, partly ritualistic approaches, and I also pursue feministic and socio-critical issues. I arrange my exhibitions so that the works become staged scenes appearing like set pieces from a drama. Often I become more interested in the exhibition space and change the style or technique. My kinetic objects may be equipped with light and sound, perhaps a composition that is developed and performed by specially invited musicians.

You mentioned that you use diverse media in your works. Do these media have their own functions for you?
There is painting. Painting does not lie. A "good painting" simply is a "good painting". And I can't even say when and whether I shall paint a "good painting". A painting surprises the painter, one cannot plan it, it evolves. My objects on the other hand adapt their forms and dimensions often relation to the respective exhibition space. The choice of media may occur quite spontaneously, how this plays out is important to me. Sometimes there are performative steps between one and the other as in the case of the body-related work series. I slip in the sewn objects and these become a second skin. I portray these skins in movement via photographic sequences.

In your sculptures you often use the enlargement or distortion of familiar objects. What do you intend to express by these transformations?
Do you recall that as a child, things seemed much larger than they do now from an adult perspective? When one observes something that evokes an intense emotional response one's perception of both the thing and its location may become blurred and its dimension increased. In other words, our perception of an object, a space, or another person, may change significantly by means of a combination of psychophysical response and memory. The personal perception of a situation is much more directly described in the form of film and literature than in an object.

What is the relationship between painting and physical objects in your work?
For me painting and drawing are the most immediate means of expression. Through painting I get to self-reflection. The act of painting over hours and days is a highly concentrated activity. As a student I constructed objects from unfinished canvases. I disassembled the canvases encompassed and pressed things into them, tore and rended them - in this way my plastic works gradually began to develop.

At the beginning of the interview, you mentioned that representations of life and death in both sacred and secular imagery have fascinated you from childhood. How does this translate into your work?
I see the artist as a border crosser. While I am working - especially when I am painting - I experience immersion and the access to the past or to the future. In part I have the feeling that I process the history of my forefathers in my works. Upon the loss of close relatives, I began working with fire and smoke rituals. In many cultures such rites accompany the transition from life to death. Through the use of the element of fire a relationship to the supernatural is established. The performative staging of the fire ritual locates its antecedent/precursor in the work, the painting, or photograph. This has resulted in works like The Burning Supper and Mama.

You frequently write texts to accompany your works. What role does writing play in your work, and what aspects of your art do you intend it to enhance?
When I was younger I already had an appreciation for such writings as The Practice of Art against Aesthetic Reality by Antoni Tapies. All of the works of the literary and cultural critic Elisabeth Bornfenld can be found in my book collection. It is inspiring to follow the work and work processes of other artists and academics. This is the sense in which I wish to describe my own inner drive or to speak about my work processes. The description of exhibition concepts, invitations to discussion circles and interviews challenges the medium of language.

In addition to Antoni Tapies, can you name other people who have influenced you and your work, and perhaps still do?
When I was sixteen I saw drawings by Arnulf Rainer at Galerie Elisabeth and Klaus Thoman in Innsbruck that had an impact on me. In my early twenties Beuys and especially Antoni Tapies, but also Emil Schumacher, Alberto Burrin, and Emilio Vedova, with whom I studied and was strongly influenced by. Coming from Northern Germany I have followed with interest the work of Jonathan Meese, Daniel Richter, and John Bock. To me, Anish Kapoor is one of the most spiritual artists. In addition such artists like Louise Bourgeois, Maria Lassnig, Pipilotti Rist, Marina Abramovic, Mona Hatoum, and the writer Elfriede Jelinek have also had an influence on me.

What are you presently involved in?
At the moment I am working on an abstract work cycle with the title Morphic Fields, which is still in a developmental phase. Through the informal application of black ink on canvas I create pictures that appear as insights into the universe or perhaps photographs taken from a great distance from the surface of the earth and which "bloom" in a strange and somber manner. It is a painting technique that constantly surprises me. The content of this cycle is concerned with theory relating to Morphogenetic Fields that may be said to have the capacity for memory imposing patterns on otherwise random or indeterminate patterns of activity. Through my informal use of painting there emerge "resonance patterns". As a counterbalance to this quite abstract approach, I sometimes undertake quite representational works, for example the fire pictures that tend toward the direction of old master paintings.

Can you give us a preview of where your art can be seen in the near future?
Presently I'm working on a large exhibition for the Landesmuseum Franzensfeste in the South Tyrol. I will exhibit together with the artist Michael Fliri in the former gunpowder storage and weapons arsenal in the fortifications built between 1833 and 1838 under Emperor Franz I. At the beginning of the year, I had my studio in this fortification for four months. The title of the exhibition is Grenzgänge [Border Crossing] and the dimension of the fortification shows me my borders (laughs). Recently the Alperia Tower, the 40-meter-high water reservoir of the city of Bozen, was engaged in cooperation with the architect Valentina Bonato and the architectural team, Studio Museum39. The tower is like a light installation and reflects the heating and cooling process of the water. I'm also working on the realization of various art-in-architecture projects in Germany and Italy.

More to discover

Andreas Werner, Vienna/Lower Austria

Stefanie Moshammer
"Fred's Sword"

Maruša Sagadin, Vienna

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In the Studio: Julia Bornefeld, South Tyrol

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MURTIĆ, Edo, Susret, 1978.

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Emilio Vedova, Absurdes Berliner Tagesbuch, Installation View, 1963 – 1965, courtesy Berlinische Galerie

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Emilio Vedova, Absurdes Berliner Tagesbuch, Installation View, 1963 – 1965, courtesy Berlinische Galerie

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https://whitehotmagazine.com/articles/vedova-1919-2006-berlinische-gallerie/1166

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Spring, Summer, Fall, Winter... and Spring by Kim Ki-duk
The story about the life of a Buddhist monk as he passes through the seasons of his life, from childhood to old age.

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A man for all seasons

The Bodhisattva of Compassion,
When he meditated deeply,
Saw the emptiness of all five skandhas
And sundered the bonds that caused him suffering.
- The Heart Sutra

IN A WORLD obsessed with finding significance and validation through being a somebody, Spring, Summer, Autumn, Winter ... and Spring tells the story of a solitary monk who has found meaning through forsaking the secular realm and diving deep into the very depths of his own soul. And yet, despite his secluded existence, the outside world inevitably comes calling, reminding us that detachment can only ever truly be a state of mind and disposition of heart.

Written and directed by Korean auteur, Kim Ki-duk's exquisitely beautiful masterpiece filmed at Jusan Pond in North Gyeongsang Province in South Korea portrays the subsequent relationship between a Buddhist renunciate and his young protégé, characters whose names are never relayed. Nevertheless, despite the film's absence of any specific temporal referencing, Spring, Summer, Autumn, Winter ... and Spring is a deeply sophisticated meditation on the vagaries of the human condition reflected within the passing seasons of nature.

Here then,
Form is no other than emptiness,
Emptiness no other than form.
Form is only emptiness,
Emptiness only form.
- The Heart Sutra

Akin to Michelangelo Frammartino's Le Quattro Volte, which explores similar themes associated with the transience of life set against a backdrop of the natural landscape, the stunning alpine topography forms an integral element to this elegiac drama, with each of the five titular segments representing a stage in a man's life and the associated lessons he must learn.

Despite the minimal use of dialogue, through the use of Buddhist iconography and Aesopian symbols, we become acutely aware of the inherent message of the ancient nondual teachings embodied in the doctrine of the Three Universal Truths- annica (impermanence), dukka (suffering) and anatta (no self)-as they unfold throughout the movie, with the principles of the Four Noble Truths-the causes and cessation of suffering-forming the didactical framework through which the plot evolves.

Moreover, in a film steeped in visual imagery, the lake itself functions as a metaphor for universal mind, its silent waters the very embodiment of the enlightenment state, with the floating hermitage representative perhaps of the fragile self, drifting silently atop its omnipresent depths.

Similarly, the monastery's humble rowboat is symbolic of the individual's journey on the spiritual path. Beautifully painted with images of Guan Yin (the bodhisattva of compassion and mercy) as she extends a hand that holds the lotus-born child, Maitreya, the future Buddha, it is the yana or vehicle by which the young monk is transported to his spiritual destiny, across the ocean of samsara to the mountain shore of liberation and release.

Feeling, thought and choice,
Consciousness itself,
Are the same as this.
All things are by nature void
They are not born or destroyed
Nor are they stained or pure
Nor do they wax or wane.
- The Heart Sutra

And thus it is springtime. In the manner of a dramatized Eastern fable, the film commences with two wooden carved doors of a "gateless gate" creaking open to reveal a mysterious monastery drifting upon the serene surface of a pond, whose sole occupants are an old monk (Oh Young-soo) and his child disciple (Kim Jong-ho). Life is quiet and simple and like any young boy, the master's student enjoys playing with his puppy and collecting herbs until one day, he is consumed by the capricious cruelties of childhood.

After tying pebbles to a fish, a frog and a snake, the young monk later awakens to find that he himself is fettered by a large smooth stone tied to his back. It is the first harsh lesson to be learnt, not through angry chastisement but by redemptive endeavour: the old monk calmly instructs the young boy to release the creatures from their suffering, vowing that if any of the animals die, "You will carry the stone in your heart for the rest of your life."

Indeed, the first Noble Truth-the nature of suffering-is a grave precept to take on board at such an early age, made all the more poignant by the weeping of the boy when he discovers that although the frog has managed to survive, both the fish and snake have perished, signalling a portentous omen of that which is yet to come.

So, in emptiness, no form,
No feeling, thought or choice,
Nor is there consciousness.
No eye, ear, nose, tongue, body, mind;
No colour, sound, smell, taste, touch,
Or what the mind takes hold of,
Nor even act of sensing.
- The Heart Sutra

The wooden gates open once again, this time on the season of summer. The young novice is now a teenager (Seo Jae-kyung), moderately adept at keeping the Buddhist rituals of the temple in place. Soon, however, the tranquillity of the hermetic abode is disturbed by the arrival of a young woman, afflicted with an unspecified malady. The master allows her to stay in order to restore her physical and mental strength, noting calmly, "When she finds peace in her soul, her body will return to health."

Needless to say, the young woman awakens sexual desire in the student, with their playful flirtations culminating in passionate lovemaking amidst shoreside rocks and the hull of the master's rowboat. Upon discovering their secret tryst, the old monk is, however, unmoved and simply observes, "Lust leads to desire for possession, and possession leads to murder," once again foreshadowing later events. He then dispatches the young woman, now healed, back to her mother. The student is devastated and, forsaking his monastery home, follows after her leaving his eremitic life behind.

The lush and arcadian environment where nature is in its fullest bloom has seeped deep into the soul of the student, stimulating the innate need for consummation and lust. Indeed, the master acknowledges the inevitability of his protégé's actions by stating wrily it is only natural for him to succumb; without the full realization of the Buddha's teachings, the cause of our pain and anguish, as the second Noble Truth wisely informs us, is unfettered craving and desire.

No ignorance or end of it,
Nor all that comes of ignorance;
No withering, no death,
No end of them.
- The Heart Sutra

The wooden threshold now reveals the arrival of autumn. The old monk has considerably aged and yet his modest life is as it always was. Returning from a trip to replenish food supplies, by chance, the master notices devastating news about his former student reported in the local newspaper. Anticipating his imminent arrival, the pupil returns, now a thirty-year-old fugitive (Kim Youg-min), on the run from a violent crime he has recently committed.

In an act of penance, the student attempts suicide but his master beats him brutally before writing out the Heart Sutra ( Prajnaparamitahrdaya or The Heart of the Perfection of Wisdom) on the monastery deck, using his cat's tail as a calligraphy brush. When he finishes, he commands the young monk: "Carve out all of these characters and while you are carving, anger will be cut out of your heart." As the disciple's rage dissipates through the painstaking transcription, two policemen arrive to arrest the young monk and carry him away to his fate.

Once again, the old monk is left alone to reflect upon the purpose of life. His duty towards his former student is now completed for he understands that even the pursuit of wisdom itself is rooted in emptiness. He builds a funeral pyre in the rowboat and, covering his ears, eyes, nose and mouth with paper in the manner of the traditional Buddhist death ritual, is engulfed by flames as the boat drifts slowly across the lake, the scene closing with a snake slithering along the hermitage deck.

Nor is there pain, or cause of pain,
Or cease in pain, or noble path
To lead from pain;
Not even wisdom to attain!
Attainment too is emptiness.
- The Heart Sutra

The creaking of the wooden doors now reveals winter has descended upon the secluded monastery, long since abandoned and frozen in ice. Once again, the student returns (as the director himself, Kim Ki-duk), this time on parole as a mature man in middle age. Coming to the realization that his beloved teacher has left the temporal world, he excavates his master's charred remains from the icy corpse of the rowboat, placing them on the altar, and then embarks upon a new life of prayer, meditation and qigong.

The monk's spiritual journey is finally coming to an end as the last two of the Buddha's Noble Truths are now realized through penance and disciplined adherence to the steps of the Eightfold Path. And thus, in a pilgrimage of atonement for the accumulation of all the suffering in his heart, both unwittingly and wittingly enacted, the monk takes out a statue of Guan Yin, then attaches a millstone to his body with a rope and drags it to the top of a mountain, whereupon he sits in meditation, looking down on his floating hermitage and reflecting upon the unending cycles of human existence.

It is not before long that a veiled woman appears, bearing an infant, whom she entrusts in the care of the monk. Slipping away in the dead of night, the young mother slips on the frozen pond's surface and falls down a hole, only to be discovered the following morning trapped lifeless under the ice.

So know that the Bodhisattva
Holding to nothing whatever,
But dwelling in Prajna wisdom,
Is freed of delusive hindrance,
Rid of the fear bred by it,
And reaches clearest Nirvana.
- The Heart Sutra

The wooden threshold opens one final time on a beautiful spring day. The infant is now a young boy and the former student is now master to his new charge. The student is seen tormenting a turtle, harking back to the capriciousness of his predecessor at the beginning of the tale and the egoic seed of attachment and destruction impregnated within in all beings, preparing us yet again for the cycle of life to start anew ...

Thus the circle of life repeats itself again-nature rejuvenates herself every four seasons, man reincarnates himself through the lifespan of every man and yet everything remains exactly as it was, is, and shall forever be. As the film fades into emptiness, for several moments afterwards we feel the ambient sounds of the natural world-the tinkling of the wind chime, birdsong, the lapping of water against the rowboat-continuing to resonate deep within us, instilling reverence for the sacredness of nature and sublimity of the empty void.

Exquisitely scored and shot with each frame exuding the composition of a painting, Spring, Summer, Autumn, Winter... and Spring transmits a transcendental beauty all of its own, elevating the soul with its elegant and timeless aesthetic from innocence, through love and evil, to enlightenment and finally rebirth, subtlely and silently observed by the impassive gaze of a bodhisattva.

All Buddhas of past and present,
Buddhas of future time,
Using this Prajna wisdom,
Come to full and perfect vision.

Hear then the great dharani,
The radiant peerless mantra,
The Prajnaparamita
Whose words allay all pain;
Hear and believe its truth!

Gate Gate Paragate Parasamgate
Bodhi Svaha
Gate Gate Paragate Parasamgate
Bodhi Svaha
Gate Gate Paragate Parasamgate
Bodhi Svaha
- The Heart Sutra

Post Notes

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Kim Ki-duk, Spring, Summer, Autumn, Winter ... and Spring - The Culturium

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Kim Ki-duk's drama is set on and around a remote mountain lake where a Buddhist monastery floats on a raft amidst the breathtakingly beautiful landscape.

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Fresh Water for Flowers by Valérie Perrin

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The Catcher in the Ray - Jerome David Salinger

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Brian Boucher

As shipping costs rise, galleries get creative

Mon, Sep 25, 2023

From building and packing crates in-house to flying in artists to create the work locally, galleries are finding new ways to minimize transport spend and cut carbon emissions

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Brian Boucher As shipping costs rise, galleries get creative Mon, Sep 25, 2023 From building and packing crates in-house to flying in artists to create the work locally, galleries are finding new ways to minimize transport spend and cut carbon emissions

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Artificial intelligence functions in WangShui’s studio practice as a kind of oracle, a conduit for ways of seeing and understanding not immediately accessible to the narrative-hungry human gaze.

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How artist WangShui learned about their own practice from AI

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Ahead of their solo show at Haus der Kunst, they speak to Brian Droitcour about GANs, reality TV, a (...)