Artworks are living things. Few artists would tell the truth of this claim, nor those who can inspire very hard feelings with objects that pass through life, seem to talk to us, and that we establish relationships that can last with it.
Living creatures, the works of art (thus “old” old “old), like us, to find their place in the world, survive or survive more often. Fucks of time. It is something we feel live, in finding artwork, with internal life and time experience, mysterious vitality and indifference indifference, in fact, in fact, “those who mean”.
Recognition of works of art as living is the law to change consciousness, both liberating art for both the imaginary response. Jago Cooper, who conformed to the “Arte Living Art” Center in Norwich Sainsbury, took over the Sainsbury Center of Robert and Lisa Sainsbury, over 50 years ago at the University of East Anglia.
The change in politics is a bold and ambitious change, who needs to be conserving and protected as a property, known as “alive and animated”. Sainsbury Center “The World’s First Museum has formally claimed to recognize the life of art,” and, according to Cooper, has changed government guidelines according to this change of understanding.
“Great artists, leaders and creators believe that they transfer their lives and physically materialize their art. This way they create new living entities, so that they need to know and understand,” Cooper writes.
It is more difficult to define how this art life is intended. It could be compared to the age of an animistic animal that is with the philosophical puzzle of human consciousness or non-animal, rocks, wind, soul, and internal life. Echoes the vitalism of ancient Greeks, took advantage of the universe pneumaOr the breath of life, but is in a heart that is not in the western heart, the things that should be aware of the idea of artwork, control and managed.
The result is a profound change with the aim of a museum, not only as they appear in work work, but in decisions used in conservation and care and, most importantly, the language used to describe. Meeting a work of art should be like falling in love, as Cooper says, forming the basis of a permanent relationship.
Art is born, not created
It is very easier to fall in love with the maintenance of that force of feeling throughout life. A work of art as a living, symbolically or sold by the Sainsbury Center literally literally, the artwork poses how these artworks are preserved and preserved questions. In the Sainsbury Center, there are no more described, made or created, but at least (at least), they have been “born”, which means whether to kill works of art and artificially preserved artwork.
Kim Kraczon, the conservative of contemporary art specializes in sustainability, recognizes the natural life of works of art, still meets the important resistance of a profession that traditional visions understand, but also more refined methods to protect the life of the works of art. Artificial intelligence, for example, to determine the best location in the Museum that will be degraded by the slowest rate in polymers (some types of plastics, paradoxically, are among the volatile materials and representatives of conservatives).
There is also a very remarkable question about the conservation of the conservation of work and the amount of energy, and many of them will never see the light of the day. “Producing eternity”, as Fernando Domínguez Rubio wrote in 2020 book Still life: Ecology of modern imagination at the Art Museum“It’s very expensive … one of the biggest expenses in the Museum’s operating budget.”
It is also an intensive carbon for 24 hours a day, throughout the year and more than half of the museum’s energy consumption. Rubio estimates energy consumption for the MOMA PS1 PS1 in New York PS1 for each square meter per square meter, that is, “keeping the work of the works alive than caring for human bodies.”
Frances Morris, former director of Tate Modern stated that museums fail to fail in their public role and collect and conserve the public well-being of the planet. In the heart, it comes better to keep things better, or that is, if it reaches the account of a work of art, to communicate and enrich the surrounding world.
“There is no automatic ethical requirement of conservatives to keep things as long as possible”, Jane Henderson, Professor of Conservation and the General Secretariat of the International Institute in 2020; “Life experiences should be equivalent to concern because it should be” longer-life “because objects connect people who create their value.”
Do not respect the art of
The words of Henderson did not respect his work, but rather loved (Eric Shanes mentioned in the 1989 Book of the 1989), he meant to use them, while reorganizing what was in love. Today, artists are increasingly aware of the need to pay homage to the environmental responsibility for the central responsibility of their work.
In an interview with Phyllida Barlow, he achieved a “point fracture” with the environmental questions, and has never been shown or sold in the Hannover Sprengel Museum, with the intention of recycling or reusing. Exhibition Kurt Schwitters Smwitters It was the original recycler that he was in, and there was nothing garbage and Merz collage and the mount to fill the room with the strange and inaccurate life.
The Faktum Foundation is the last announcement of a digital façade of Schwitters Merz children In the heritage of cylinders in the Lake district, such projects are raised with the idea of the idea of natural lifestyle and materials found in the heart of veracity and the work of Schwitters and Schwitters.
Recognizing works of art as a living thing, we are dependent on aging and death, it remains a complex and emotional idea. It is the subject I am studying in a series of lectures, All worth saving In scable malts. It is a liberating thought, much more than ideological or political claims about works of art, as it is not what the art means, but what is basically.
It’s a way to try to cross the talks, but it’s time to spend time in museums, when our last significant spaces (at least when they come in) is still closer. Museums is the best place to fall in love with living art, although alive, anywhere else, a dangerous business.
