asiakomarova@gmail.com, www.asiakomarova.com
Title thesis:
I am not a genius declaring that contemporary art is a product of Western society. A product, a relevant idea and a cultural movement and so to say a historical event of the West.
Approaching contemporary art as a historical event facilitates us the visualisation of it in a chronological order. We can see an origin and probably an end. The challenge lies in accepting that we live in the time of the end. As a ‘post-apocalyptic survivor’ I have the privilege to fantasise about the future, where this category of art has exhausted itself and we step into a new era.
The subjects I want to focus on in this text are: how long are we still going to experiment inside the ‘white cubes’? When Westerns are asking for change; how does art respond to it ? Do we, the producers, have a plan B ?
Link to thesis (PDF)
Drifting from the practice of street art, today I keep using the same strategic approach when it comes to producing. As a consequence the main subject of my work comes to the limitations of what is and what is not allowed in society, and what humans allow themselves to be. Therefore my public represents any passers-by, and my material and tools are their indifference. The triangle of the artwork, the artist and the public, exposes unexpected and non-negotiable happenings.
The starting point for my work is any social ‘gap’ that allows for
exploration, investigation and interpretation. Consequently the decisions I make when developing projects are strictly dependant on the situation, and the process has more relevance than the end result or the media.
At first appearance my artwork has a critical quality, and secondly it gives solutions to problems.
My goal is to not reduce myself
to a critique, but to be pragmatic and shape new movements. As a human-being I choose to do not
to dream, and as an artist I aim to make dreams come true.
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asiakomarova@gmail.com, www.asiakomarova.com
Title thesis:
I am not a genius declaring that contemporary art is a product of Western society. A product, a relevant idea and a cultural movement and so to say a historical event of the West.
Approaching contemporary art as a historical event facilitates us the visualisation of it in a chronological order. We can see an origin and probably an end. The challenge lies in accepting that we live in the time of the end. As a ‘post-apocalyptic survivor’ I have the privilege to fantasise about the future, where this category of art has exhausted itself and we step into a new era.
The subjects I want to focus on in this text are: how long are we still going to experiment inside the ‘white cubes’? When Westerns are asking for change; how does art respond to it ? Do we, the producers, have a plan B ?
Link to thesis (PDF)
Drifting from the practice of street art, today I keep using the same strategic approach when it comes to producing. As a consequence the main subject of my work comes to the limitations of what is and what is not allowed in society, and what humans allow themselves to be. Therefore my public represents any passers-by, and my material and tools are their indifference. The triangle of the artwork, the artist and the public, exposes unexpected and non-negotiable happenings.
The starting point for my work is any social ‘gap’ that allows for
exploration, investigation and interpretation. Consequently the decisions I make when developing projects are strictly dependant on the situation, and the process has more relevance than the end result or the media.
At first appearance my artwork has a critical quality, and secondly it gives solutions to problems.
My goal is to not reduce myself
to a critique, but to be pragmatic and shape new movements. As a human-being I choose to do not
to dream, and as an artist I aim to make dreams come true.
|
|
|
|
|
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