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Napisano: 25 Jul 2009 18:16
U kojoj meri savremena umetnost može odgovoriti na zahteve crkve i u kojoj meri je crkva spremna da prihvati savremenu umetnost? Još jedan odgovor na ovo pitanje pružiće video umetnik Bil Viola, koji je angažovan da izradi dva oltara sa temama koje se odnose na Bogorodicu i svetitelje mučenike, za katedralu Svetog Pavla u Londonu.
Viševekovna tradicija neće biti u potpunosti narušena. Više plazma ekrana biće postavljeno na panele koji se mogu sklopiti, čime će biti podržan tradicionalni oblik zapadnog oltara, poliptih.
Citat:The project will commence production in mid 2009 with completion in early 2011.Bill Viola has been commissioned to create two altarpieces on the themes of Mary and Martyrs. These two multi-screen video installations will be permanently located at the end of the Quire aisles, flanking the High Altar of the Cathedral and the American Memorial Chapel where US Service men and women who gave their lives in the Second World War are commemorated.
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This commission forms part of St Paul's Cathedral Arts Project, an ongoing programme which seeks to explore the encounter between art and faith. Recent projects have included installations by Rebecca Horn, Yoko Ono and Martin Firrell.
Izvor: http://www.stpauls.co.uk/News-Press/Latest-News/Bi.....r-St-Pauls
Citat:Bill Viola said: “The two themes of Mary and Martyrs symbolise some of the profound mysteries of human existence. One is concerned with birth and the other with death; one with comfort and creation, the other with suffering and sacrifice. If I am successful, the final pieces will function both as aesthetic objects of contemporary art and as practical objects of traditional contemplation and devotion.”
Izvor: http://www.artdaily.org/index.asp?int_sec=11&int_new=32164
O umetniku: http://www.billviola.com/biograph.htm
Dopuna: 28 Mar 2010 2:36
Citat:A big debate arose around the opportunity to display indefinitely Viola’s altarpieces in the London iconic church of St Paul’s. The American artist is not new at all at religious settings of art, in fact some of his works were already exhibited in churches, and even if he is “an eclectic, world-faith melange of Sufism, zen, Buddhism and Christian mysticism” as he has been labelled, his works are always very deep, full of spiritually, and always concerning important aspects of human life: birth, death, sorrow, separation, perception, soul. Viola’s art relies on metaphors and symbols to convey the feelings and sensations to others, considering west iconographic tradition and mental approach and east philosophical knowledge. The Church, for all its dependence on tradition and evocation of ancient authorities, welcomed innovation in imagery that could stimulate the worshipper, and although much of this innovation was a matter of style or form, some of it also affected subject matter. The two themes of Mary and Martyrs as well, symbolise some of the profound mysteries of human existence, just like the American artist announced: “One is concerned with birth and other with death; one with comfort and creation, the other with suffering and sacrifice”.
It’ s quite interesting at the end that the two videos, settled in such a prominent location, will be regularly on in a loop mood, except during the liturgical services, just like avoiding considering their function as a religious and contemplative object, regularly recognized to traditional sacred imagines. But there are quite several reasons for this continuing difficulty of video art. Video requires the viewer to occupy real time in order to experience the medium, to stand as a body in public space among other bodies and wonder what to do with yourself, spending from few minutes to an unbearable ten or twenty watching a stream of images on a monitor or projected onto a wall, following the red line given by the director. Video art far from being a rupture that radically changes the terms of art, is one that enables and extends the existing concerns of representation within painting. Without explaining anything, the piece, in fact, shifts the perspective of both time and space so that momentary human experience becomes rich in the assumption of the past and projects forward to the possibilities of the future just waiting for the increasing of the movie. This means that viewer is completely involved in a sort of global representation that captures mind and soul totally and strongly.
http://www.engramma.it/eOS/index.php?id_articolo=443
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