Аналіз жанрової палітри творчої діяльності Ф. Кізлера
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Date
2019-03-20
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Видавництво Львівської політехніки
Abstract
Проаналізовано жанрову палітру творчої діяльності Ф. Кізлера та її вплив на
мистецтво ХХ–ХХІ ст.
Kiesler’s art was not based on the theory of form, color, and means; his art was not a political instrument to comment on the state of society, and he did not consider his art to be the product of a scientific process, a result that contained truth that was absolute. He believed that his art revealed a truth that science could not see, and that truth was the key to a “core” existence. He believed that his process and his ritual were attacked by the deceptive beliefs of others. “A revived art that has been stolen from a warm embrace, freezing in its nakedness, cooled by the sweat of its forehead, desperately needs a new cloak so as not to freeze to death”. Kiesler’s environmental and galactic art, like its endless architecture, were warm clothing for an art that desperately needed warmth. “Society depends on nothing less than its ability to come to terms with the infinite in terms of the finite through its symbols, be it totems or majestic churches” to represent their discoveries. Galactic creations were a manifestation of this system. Kiesler’s early galaxies were a combination of many two-dimensional sketches, and later his works became increasingly sculptural, he called them eco-friendly. The galaxies sometimes included up to 20 parts, which in the exhibited composition were the only work. Various fragments were placed directly on the wall, or hung at different distances from it. The galactic elements were not randomly and haphazardly located, the distances between them were carefully calculated by a formula known only to Kiesler. He will argue that this formula is generated by intuition, as is all knowledge of the universe. Keesler composed galactic art in the same way as stars and planets in the sky, and thought that because of this resemblance it would affect human consciousness. Keesler also wanted the galactic method to destroy modern display technology, where art was framed and isolated on the wall. He believed that the modern method hindered any correlative interaction between art, humanity and the universe. The galactic method was an attempt to overthrow these restrictions.
Kiesler’s art was not based on the theory of form, color, and means; his art was not a political instrument to comment on the state of society, and he did not consider his art to be the product of a scientific process, a result that contained truth that was absolute. He believed that his art revealed a truth that science could not see, and that truth was the key to a “core” existence. He believed that his process and his ritual were attacked by the deceptive beliefs of others. “A revived art that has been stolen from a warm embrace, freezing in its nakedness, cooled by the sweat of its forehead, desperately needs a new cloak so as not to freeze to death”. Kiesler’s environmental and galactic art, like its endless architecture, were warm clothing for an art that desperately needed warmth. “Society depends on nothing less than its ability to come to terms with the infinite in terms of the finite through its symbols, be it totems or majestic churches” to represent their discoveries. Galactic creations were a manifestation of this system. Kiesler’s early galaxies were a combination of many two-dimensional sketches, and later his works became increasingly sculptural, he called them eco-friendly. The galaxies sometimes included up to 20 parts, which in the exhibited composition were the only work. Various fragments were placed directly on the wall, or hung at different distances from it. The galactic elements were not randomly and haphazardly located, the distances between them were carefully calculated by a formula known only to Kiesler. He will argue that this formula is generated by intuition, as is all knowledge of the universe. Keesler composed galactic art in the same way as stars and planets in the sky, and thought that because of this resemblance it would affect human consciousness. Keesler also wanted the galactic method to destroy modern display technology, where art was framed and isolated on the wall. He believed that the modern method hindered any correlative interaction between art, humanity and the universe. The galactic method was an attempt to overthrow these restrictions.
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Keywords
театр, мистецтво, Ф. Кізлер, ідеї, простір, heater, art, F. Kiesler, ideas, space
Citation
Янчук К. В. Аналіз жанрової палітри творчої діяльності Ф. Кізлера / К. В. Янчук // Вісник Національного університету “Львівська політехніка”. Серія: Архітектура. — Львів : Видавництво Львівської політехніки, 2019. — Том 1. — № 2s. — С. 109–113.