3rd Paradigm group show in Idstein, Germany and its echoes


idstein

A new major event for the artistic life of the 3rd Paradigm International Artists Group (founded by the well-known German visual artist, Adrian Bayreuther, in 2009), is the group show from the Cultural Center in Idstein, Hessen, between 1-18th of May 2013.
The artists of the group are Adrian Bayreuther (Germany), Alberto D’Assumpcao (Portugal), Olga Dmytrenko (USA), Harriette Lawler (USA), Izabella Pavlushko (Azerbaidjan) and Constantin Severin (Romania).

''Text and Time 71'' by Constantin Severin

”Text and Time 71” by Constantin Severin

The most important newspapaper in Wiesbaden, ”Wiesbadener Tagblatt”, with over 150,000 copies daily, dedicated an impressive article to this conceptual show, signed by Susanne GROSS, who succeeded to describe in some sentences the ”secrets” of the art of every artist of the group.


http://www.wiesbadener-tagblatt.de/region/untertaunus/idstein/13058857.htm

Inspired by the same show and by my art, the well-known Romanian writer and art specialist, Prof. dr. Maria Ana TUPAN, from the National University of Arts, Bucharest, wrote a cutting edge text:

The “third paradigm”, a manifesto of Internationale Gruppe “Drittes Paradigma“, founded by Adrian Bayreuther (2008), signifies an energy discharged both ways, between a Heideggerian revelation of Being and an indifferent flow of Time, or, in the language of the electronic age, between virtual and phenomenal. Is there a world out there corresponding to any mathematical structure, as Gödel and Tegmark would have us believe? Scientists will often come up with impossible questions to which there is no other answer but the artists’ gift for world-building. By modelling phenomena on computers and then visualizing the mathematical models, third paradigm artists achieve something in the way of differential calculus, which began by mapping physical space onto geometrical figures. The attempted approximation, however, was never complete. In opposition, the third paradigm is the life belt for ontological crossovers as Auhebung (sublimation), with the seen “saved” in and guaranteeing the unseen. A reality folding back on itself.
Text and Time, or, rather the archetypal weaving which articulates physical being and becoming are double-threading the space of Constantin Severin’s paintings, merging into each other, forking out of each other. Intuitive perspective is used for the encounter between art works of the past, a geometrical alphabet suggesting perpetual creation as in the hidden symbolism of Hebrew letters, and geometrical surfaces in clots of vivid colour. They don’t converge at a single point, as in linear perspective, suggesting ontological disruption. This space does not look coherent, but its elements seem to be glossing on one another. Real life looking scenes by Van Eyck or Velazquez dematerialise in mirrors or in words certifying the artist’s presence, as witness, in a world … of his own making. A reality folding back on itself.
The pure geometry of lines separating the regular stretches of colour metamorphose the objects of representation, modulating a nude of blooming womanhood into the abstract design of an ancient urn, mixing the seeds of life and the ashes of death, allowing the Velazquez narcissistic female body to slide into the familiar shape of the Neolithic Thinker’s wife, dug up at Hamangia, or placing it under a sort of “premier disque” (Robert Delaunay) which has started to revolve from the red end of the spectrum backwards towards light. The concept of creation engages nature, art, cosmic cycles, as well as an underlying mathematical symbolism. It is ontologically transgressive, a victory over the sun of material genesis (Kazimir Malevich), but conceptually homogeneous, aspiring, through abstract mapping, towards archetypes.

“A treia paradigmă”, manifestul asociaţiei internaţionale de artişti cu acest nume, creată în 2008 de Adrian Bayreuther, semnifică o energie polarizată în ambele direcţii, între o heideggeriană revelaţie a Fiinţei şi indiferentul flux al Timpului, sau, în limbajul epocii electronice, între virtual şi fenomenal. Există, oare, o lume corespunzătoare oricărei structuri matematice, aşa cum vor să ne facă să credem Gödel şi Tegmark? Savanţii au darul de a inventa mereu şarade pe care doar darul artiştilor de a construi lumi le mai poate dezlega. Modelând pe computer fenomenele şi vizualizându-le mai apoi, artiştii celei de a treia paradigme realizează ceva asemănător calculului diferenţial care a început prin a acoperi spaţiul fizic cu figuri geometrice. Aproximarea, însă, nu era niciodată completă. Dimpotrivă, a treia paradigmă e centura de siguranţă a saltului ontologic gândit ca Aufhebung (sublimare), văzutele fiind “salvate” în nevăzute, cărora le servesc drept garant.
Textul şi Timpul sau, mai degrabă, ţesătura care articulează fiinţa şi devenirea în spaţiul tablourilor lui Constantin Severin sunt un fir împletit, contopindu-se şi ramificându-se din nou. Perspectiva intuitivă este folosită pentru acest spaţiu neunitar, unde se întâlnesc capodopere din trecut şi un alphabet geometric sugerând geneza perpetuă, într-o manieră ce aminteşte de simbolismul ascuns al literelor ebraice. Spectrul ce descompune lumina-sinteză pare un alfabet inedit, ale cărui elemente umplu suprafeţe geometrice în tuşe viu colorate. Ele nu converg într-un singur punct, cum se întâmplă în perspectiva lineară, sugerând ruptură ontologică. Acest spaţiu nu pare coerent, în schimb componentele sale par să se comenteze reciproc. Scene împrumutate parcă din viaţa reală pictate de Van Eyck sau Velazquez se dematerializează în oglinzi şi cuvinte, certificând prezenţa artistului ca martor într-o lume ce este … propria-i lucrare. O realitate ce se pliază pe ea însăşi. Geometria pură a liniilor ce separă suprafeţele uniforme de culoare metamorfozează obiectele reprezentate, remodelând nudul unei înfloritoare feminităţi sub forma linear-abstractă a unei urne antice, amestecând seminţele vieţii şi cenuşa morţii, îngăduind narcisistului trup feminin pictat de Velazquez să lunece în familiarul mulaj al perechii Gânditorului Neolittic (Hamangia) sau sub incidenţa “primului disc solar” (Robert Delaunay) ce şi-a început mişcarea retrogradă, de la capătul roşu al spectrului înapoi la lumină. Conceptul de creaţie antrenează natura, arta, ciclurile cosmice, ca şi un simbolism matematic subiacent. E un act transgresiv din punct de vedere ontologic, o victorie asupra soarelui genezei materiale (Kazimir Malevici), dar conceptual omogen, aspirând, prin abstractizare, către arhetipuri.

About Constantin Severin

Constantin Severin (constantinseverin.ro) is a Romanian writer and, as a visual artist, the founder and promoter of the award-winning concept known as archetypal expressionism. He is the author of eight books of poetry, essays, and novels, and his poems have been published by major Romanian and international literary magazines. He is one of the editors of the French cultural magazine Levure littéraire.
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