From Animation, London: Holland Park, 18.10-3.11 2013

Kensington and Chelsea twitter

The exhibition also included these video-animations:

I am the best philosopher in London, but I don't care about philosophy...

从艺术节选 20010-2007
Excerpts from the Art 2010-2007

20010-2007 مقتطفات من الفن

The same reality can be viewed differently.

Cubism Picasso, Braque and surrealism Dalí, Ernst, Magritte look for the deepness of the expression or dreamy reality, Bacon reforms the deepness into malformations, Rothko’s abstractions attack the perception, and Warhol’s pop-art remakes the surface: 15 minutes of fame.

In parallel, there is a philosophical tradition of analysing: searching for the pure idea, thing in itself, authenticity of cognition, Dao (Plato, Kant, Husserl, Lao Tze) or rather the focus is put on dialectics, experience, will, decision, utility, text, study, cogito, society, xxx (Heraclitus, Hume, Nietzsche, Sartre, James, Wittgenstein, Confucius, Descartes, Rousseau, Yyy).

La misma realidad se puede ver de manera diferente. El cubismo Picasso, Braque y el surrealismo Dalí, Ernst, Magritte buscan la profundidad de la expresión o la realidad de ensueño, Bacon transforma la profundidad en las malformaciones, las abstracciones de Rothko atacan a la percepciones, y el pop-art de Warhol rehace la superficie: 15 minutos de la fama.

En paralelo, hay una tradición filosófica de análisis: la búsqueda de la idea pura, una cosa en sí misma, la autenticidad de la cognición, Dao (Platón, Kant, Husserl, Lao Tze), o más bien la atención se centra en la dialéctica, la experiencia, la voluntad, decisión, la utilidad, texto, estudio, cogito, la sociedad, xxx (Heráclito, Hume, Nietzsche, Sartre, James, Wittgenstein, Confucio, Descartes, Rousseau, YYY).

Picasso, Braque pioneered Cubism 1907, showing the object in different angles, evoking plasticity. Its novelty is HOW it is done, not WHAT it shows. Surrealism 1920s randomly links objects, motifs leading to a new curved style, induced by Chirico 1888-1978, mastered by Dalí 904-1989. Surrealism innovates the content altering the form, while the cubist new form alters the content.

Picasso, Braque foi pioneira cubismo 1907, mostrando o objeto em diferentes ângulos, evocando plasticidade. Sua novidade é a forma COMO ele é feito, não o QUE ele mostra. Surrealismo 1920s liga aleatoriamente objetos, motivos que levam a um novo estilo curvado, induzida por Chirico 1888-1978, masterizado por Dalí 904-1989. Surrealismo inova o conteúdo, que altera a forma, enquanto a nova forma cubista altera o conteúdo.

Возможно, самая впечатляющая импрессионистская живопись, по крайней мере не хуже, чем Подсолнечники Ван Гога 1888, или Хокусай Большая Волна от Канагавы 1829. Аналогично кубизм, импрессионизм обновляет форму: фрагментирование изображения, изменяющего иллюминат, окрашивать, изменяют размеры, пятнает... его части, чтобы перекрасить его снова.

Perhaps the most impressive impressionistic painting, at least not worse than Van Gogh's Sunflowers 1888, or Hokusai's The Great Wave off Kanagawa 1829. Likewise cubism, impressionism innovates the form: fragmenting the image, altering illuminate, colorify, resize, blur... its fractions to repaint it again.

Identical things don't exist, not due to manufacture limit (Heisenberg's uncertainty) to produce EXACTLY same things, but because they have different positions, creation times. If probability of the first is 1/a, probability of the next is 1/a²

Choses identiques ne existent pas, non pas parce que la limite de fabrication (l'incertitude de Heisenberg) pour produire EXACTAMENT les même choses, mais parce que ils ont positions différente, autre moments de la création. Si la probabilité de la première est 1/a, la probabilité de la prochaine est 1/a²