The aestheticization of the world

por valeriamidena em June 22, 2015

Zin Lim :: #ID 11.1 (fragment from a photo by SaatchiArt)

 

 

 

 

 

 

We are no longer at a time when industrial production and culture referred to separate, radically irreconcilable universes; we are at a time when production, distribution and consumption systems are impregnated, penetrated and remodeled by operations which are fundamentally aesthetic. The style, the beauty, the mobilization of tastes and senses are imposed every day as strategic imperatives of the brands: this is an aesthetic mode of production that defines hyper-consumption capitalism.

In his latest book, ‘The artistic capitalism’ (co-written with the art critic Jean Serroy), the philosopher Gilles Lipovetsky suggests an innovative look at the relationship between the liberal economy and the contemporary aesthetic life. In a little over 400 pages, Lipovetsky brilliantly writes about one of the great paradoxes of consumer capitalism: while, on the one hand it produces undeniably disastrous effects on moral, social and economic fields, on the other hand, by exploring aesthetic-imaginary features in a rational and generalized manner (aiming at profit and market share), it enhances the creative, intuitive and emotional dimensions, thus stylizing the everyday universe.

According to Lipovetsky, this contemporary capitalism seeks to build an artist image for its authors: “gardeners have become landscapers; hairdressers, hair designers; cooks, culinary creators…”. Unlike the Fordist era, when the focus was on material production, this new model focuses on the immaterial – the intangible, the imaginary, the dream. This way, by appealing to the sensitivity of consumers, art and aesthetics would be put to the service of the market, resulting in the creation of what the author calls “artist capitalism”.

With a didactic and simple language, Lipovetsky makes a brief history connection (from Classical Antiquity to the present day) and then exposes his great analysis on contemporary relations among industry, consumption, brand, art and design. Elegant and provocative, he points out the hyper-individualism boosted by network sharing of aestheticized lives as the key link in this chain of complementary and interdependent interactions.

Considered one of the most important thinkers of our time, especially with regards to the sociology and philosophy of consumption, fashion and luxury, Lipovetsky expands our understanding on this world where “everything follows the logic of fashion: it is ephemeral and alluring”, and questions one of our most primitive instincts: the eternal search for beauty and the pleasure it brings to our souls.

The same author also published in English ‘The Empire of Fashion: Dressing Modern Democracy’ (by Paperback) and ‘Hypermodern Times’ (by Polity).

The beauty of imperfection

por valeriamidena em February 24, 2015

Richard Avedon :: portrait of Marella Agnelli :: 1959

 

 

 

 

 

 

 

 

 

 

 

 

Throughout Western history, the concept of beauty has always been associated with the idea of perfection. In ancient Greece, the definition of beautiful was structurally linked to notions of order, symmetry and clarity, and to the presence of proportions defined as harmonic. In the Middle Ages, Christianity gave beauty a symbolic dimension by interpreting it as divine attributes, such as goodness and truth – in this sense, also linked to the idea of perfection. And although Renaissance brought relativistic concepts, which incorporated cultural and socio-economic aspects to the concept of beauty, it was not until the seventeenth century that subjectivity began to permeate the notion of beauty (thus giving rise to the concept of “taste”).

In the second half of the eighteenth century, the social upheavals in Europe created a favorable environment for the revival of Ancient Greece and Rome’s ideals of beauty, widely used in the representative images of the French Revolution and the Napoleonic Empire. And it was precisely at that moment that Kant emerged, the first thinker to move the center of existence of beauty from the object to the subject. The division that Kant established between ‘judgment of knowledge’ (which creates concepts based on the object’s properties) and ‘aesthetic judgment’ (arising from the personal reaction of the beholder before the object) defined the foundations of contemporary aesthetics. The beauty is no longer only in what is seen, and also lies in the eyes that see.

The Kantian thought paved the way for the great aesthetic ruptures that took place between the late nineteenth century and early twentieth century. The ideas of uniqueness, individuality, pleasure, emotion, power, courage, vitality, and others, were incorporated into the concept of beautiful. We were able to understand that there is beauty in perfection, but also that perfection is not a prerequisite of beauty. We sharpened our capacity of perception and expanded the possibility of giving pleasure to our souls. We began to admire the crystal clear voice of Nat King Cole as much as Chet Baker’s insecure voice; the classic proportions of Grace Kelly’s face, and the exotic and voluptuous features of Sophia Loren; the dense beauty of Raushenberg’s work and the almost superficial pop art of Warhol.

A few decades later, the path of apparent freedom curiously ended up leading us to an imprisonment. Stimulated by an industry that is interdisciplinarily structured in mass production and overestimation of youth to generate profits, the search for a beauty ideal – for the perfect beauty – has never been as exacerbated as today. In an insane and endless process, men and women throw themselves on a journey towards that which is nothing but a collective imaginary construction. And by abandoning their own beauty to (try to) attain the other, they live eternally unhappy, wandering along this path.

We need to rescue the wealth of plurality and the beauty that lies in imperfection. We need to remember the weirdness of Dovima. The eyes of Serge Gainsbourg, the teeth of Lauren Hutton. The mouth of Mick Jagger, the eyebrows of Frida Kahlo and the lines of Grace Jones. And, above all, remember the words of Leonard Cohen, who, in his song ‘Anthem’ from 1992, said:
“…Forget your perfect offering
There is a crack in everything
That’s how the light gets in.”

Singing the spaces, building the song

por valeriamidena em July 14, 2014

Zaha Hadid :: JS Bach Chamber Music Hall, Manchester, UK :: photo© Luke Hayes

 

 

 

 

 

 

 

 

 

 

 

Philosophers, historians and theorists have been long trying to establish a connection between music and architecture. Two thousand five hundred years ago, Pythagoras had already conceptualized the mathematical harmony as a cornerstone to explain the entire creation, the existence and operation of the universe. According to the Greek philosopher, the ‘pleasant relation of proportions’ would make all things vibrate in a great universal harmony, just like the notes in a song.

Some of these relationships of proportions established by Pythagoras came to define canonical spatial relations of classical architecture, as well as the predominant musical ‘patterns’ until the Modern Age. In architecture and western music, the beauty of a work was guided by the Pythagorean concept of harmony among its elements for centuries.

This understanding began to be questioned in music, with the emergence of the tonal system, which enabled the exploration of other relations of proportion and intervals, once considered inharmonious and therefore incorrect. Music went from tonality to atonality, until its dissolution and dodecaphony, with creators such as Schoenberg and John Cage. In parallel, social and political changes resulting from the rise of the bourgeoisie in Europe sparked the desire to set the formal rules of classicism free and the search for individual expression and innovation, allowing the emergence of a new architecture – which, by breaking the commitment to symmetry and the relations of proportions previously defined as pleasant (correct), culminated, centuries later, in experiences such as those of Frank Gehry or Daniel Liebeskind. Today, the notion of beauty – whether in music or architecture – is marked by new and diverse concepts.

Each in its own way, music and architecture are aesthetic compositions resulting from the association of different elements, organized and governed by certain principles. Height, length, proportion, alternation, repetition, arrangement, rhythm, intensity, density, texture, contrast, harmony, balance, tension… these are all elements of both musical and architectural creations. The quality of the work as well as its beauty stem from the knowledge, competence and sensitivity of its author in connecting these elements.

If, throughout history, architecture and music reveal parallel paths (and not just with regard to the evolution of knowledge, but also in their relationship with society), they currently seem to be following divergent paths: whereas the quality in a work of architecture is being increasingly perceived and required socially, one does not seem to care that our musical production is increasingly devoid of attributes. Today, we pursue and exalt the quality and beauty of homes, buildings, theaters and arenas, but to discuss the quality and the beauty of the music performed in these spaces is off the agenda.

At some point, our society has ceased to understand music as an aesthetic composition, and simply relegated it to the territory of entertainment. It’s a shame. By dispensing with the quality and beauty in our music production, we are increasingly missing the opportunity to expand our pleasures and the meaning of our existence.

About the places that inhabit us

por valeriamidena em February 12, 2014

Turner :: Venice: San Giorgio Maggiore – Early Morning :: 1819

 

 

 

 

 

 

 

 

 

 

 

From Homer’s ‘Odyssey’ to Calvino’s ‘Invisible Cities’, there are countless beautiful encounters between literature and travel throughout our history. Unlike tourist guides, who seek to provide practical information on a particular city or place, travel literature, through the narrative of experiences, discoveries and reflections, takes personal adventure to a universal dimension capable of stirring the imagination, arousing sensations and inspiring desires.

Just like people, places have no life but through the relationships built on and through them. Epic narratives, exile stories, fictional novels and even some travel diaries shed light on these relationships and play a key role in expanding our ability to perceive, feel and imagine the world we live in. Would our perspective on the Sicily be the same without reading the text on Lampedusa? What about our perception of Paris without the memories of Hemingway? We are aware of the infinite diversity of places, landscapes, people and cultures that inhabit our world, but only the experiences in such diversity speak to our souls, not their rational understanding.

Each of us carries within ourselves a deep framework of images, feelings, words, or smells that relate to places, whether experienced or dreamed, ranging from the nearest to the farthest. Composed of a mixture of memories, desires and impressions, this is a collection that we put together throughout our lives; within us, they remain silent, asleep – but the slightest reference to any of the places that live inside us awakes this universe.

In this sense, the experience of a journey begins long before its real departure. Choosing a destination, deciding how to get there, analyzing possibilities and defining the itinerary, the inclusion (or not) of someone to come along… Every step from the first moment preparing a trip results not only from a cultural repertoire, but mainly from this oneiric and sensory universe that inhabits us. The broader this universe is, the more beautiful our experience will be – and the more pleasure we will give our soul.

Simplicity and style

por valeriamidena em May 20, 2013

Elsa Peretti :: photo by Duane Michals :: Vogue, 1974

Elsa Peretti :: photo by Duane Michals :: Vogue, 1974

Elsa Peretti is perhaps the greatest responsible for the contemporary image of Tiffany & Co. Since her first collection for the brand in 1974, the Italian designer has been creating beautiful objects and jewelry that are characterized by an organic simplicity and an unmistakable formal elegance – attributes that have kept her work among the best sellers of the company over the past 40 years.

Born in Florence in 1940, Elsa revealed her creative, curious and free spirit in a very early age. Daughter of a magnate of the oil industry, while still young she distanced herself from her conservative parents to spend time in Switzerland, and teach Italian and ski. Back in Italy, she graduated in interior design in Rome and, after breaking her engagement, moved to Milan and began working with the architect Dado Torrigiani. In the following year, 1963, she moved to Barcelona and began her career as a model, and plunged into the fascinating world of Catalan artists and architects – in particular Gaudi, a declared influence to her. Fascinated by the sculptural forms, she traveled to Japan and Hong Kong to immerse in Asian art and symbolism; finally, in 1968, she emigrated to the United States and went to live in New York (according to her, the best place to enjoy one’s youth at that time).

When walking the runways for Halston, Sant’ Angelo and De La Renta, Elsa noticed her special interest in the design of jewelry and accessories. With her somewhat rebellious personality, refined esthete perception and proximity to the fashion world, she quickly realized that the language that was emerging in clothing design (characterized by the combination of comfort, practicality and sensuality) should also permeate dressing accessories. Then she began her wax modeling work with abstract, simple and organic shapes inspired by the forms of nature; later, by dipping them in silver, she created beautiful pieces, attractive because of their clean and innovative design and their superb execution. Only 5 years separated her first necklace creation to her contract with Tiffany – and by the time the renowned jewelry brand launched her first collection, all her pieces of work were already sold out.

Elsa Peretti usually says that her work comes from her life. And there is no doubt that every one of her creations reflects her personality and the way she sees the world: her passion for nature, whose shapes she copies and then reinvents; her tireless curiosity, that moves her in search of various materials and production processes; her devotion to craftsmanship, that makes each creation the result of hard and investigative manual work; and her eternal rebellion that keeps the flame of questioning alive in her.

Even today, there is no model more perfect for Elsa Peretti’s creations than herself. Style (which, according to the designer herself, does not go with excesses), beauty, simplicity, competence, elegance and personality – to see, wear, admire and learn.

To learn more: http://elsaperettidesign.blogspot.com.br

Dust in the wind

por valeriamidena em January 13, 2013

Dorothea Lange :: ‘Dust Storm Near Mills’ :: 1935

 

 

 

 

 

 

 

 

 

The main value of material wealth lies in the fact that it meets the basic needs of our existence. The greater the wealth, the greater the access, the level of comfort and the quality we can ensure to our health, food, housing and education (the latter in its three dimensions: personal, social and cultural). Therefore it is natural to imagine that material and socio-cultural enrichment should go hand in hand.

In a not too distant past, as it broadened its purchasing power, the rising bourgeoisie sought to reproduce the aristocratic way of life, in which it perceived a distinctive quality. The aspiration was not limited to material goods: much more than to objects, it aspired to a certain way of being and behaving, perceived as more beautiful, elegant and pleasurable. To attend operas and soirées, to sponsor art production or to have the best tutors for their children were, for the bourgeoisie, desires as strong as to wear French fabrics or to show off German crystals. Rather than allowing for the acquisition of objects, material enrichment was sought for its access to a much valued universe of knowledge, culture and information.

In a significant portion of rising classes in contemporary society, however, we curiously observe a rather distinct behavior. Today we see people increasing their financial possibilities and, consequently, the sizes of their cars and homes, enhancing health and body care, sophisticating food and drink at the table, multiplying the clothes in the closet … but there seems to be no concern, for a great part of these people, with the elevation of their level of education and culture. Material enrichment appears to have a goal in itself – to obtain things which are materially richer. As a result, we see an increasingly brutish, mean and arrogant society, in which people who know by heart the names of the most sophisticated brands of clothes and cars cannot cite even one significant name in the arts or literature. They communicate through poor vocabulary (if not vulgar), and are incapable of a nice gesture.

Education and culture are a means to reflect on our existence, to build, discuss and convey values, and to raise awareness about ourselves, each other, and the world. They allow us to refine our senses and sharpen our perception, enabling us to see and appreciate the beauty – of an artwork, a thought or an attitude; they also allow feelings like kindness, gentleness and solidarity to bloom in relationships, making them loving and constructive; they also place us in a historical perspective, enabling the development of a critical look and the strengthening of universal values like truth, freedom and equality.

By itself, material wealth is like dust in the wind – it has no value whatsoever. Only through education and culture we can become better people – capable, then, of building a better, more enjoyable and pleasurable society to live in.

Villa-Lobos Superstar

por valeriamidena em May 6, 2012

PauBrasil :: Villa-Lobos Superstar

 

 

 

 

 

 

 

 

To my friends Marcos and Lucia

 

Heitor Villa-Lobos, as every great creator, began his work under the influence of the great masters of the style in his time (such as Wagner and Puccini), and then separated from the academic work and created his own innovative and very unique language.

By incorporating elements of folklore, popular music and the indigenous culture into instrumental music (solo, chamber and symphonic), Villa-Lobos embraced the most relevant issues of modernism, giving a new dimension to the so-called nationalist music, and putting Brazilian music in the world scene. And throughout his history, the composer never followed a linear path – he explored many stylistic possibilities and experimented with the most unusual combinations of instruments, always freely and in an evolving manner.

The Pau Brasil band, today made up of some of the greatest Brazilian musicians (Rodolfo Stroeter, Paulo Bellinati, Nelson Ayres, Ricardo Mosca and Teco Cardoso), has always aimed to find new ways to Brazilian instrumental music. Since it was created in 1979, the reinterpretation of genres and styles, and the combination of the traditional and the contemporary to create a “viscerally Brazilian” repertoire form an intrinsic part of its identity – which, along with its technical excellence, elegant performance and good taste in the definition of the repertoire – made this band a benchmark in Brazilian instrumental music, with international recognition.

Earlier this year, Pau Brasil released the outstanding CD ‘Villa-Lobos Superstar’ (in partnership with the string quartet Ensemble SP, and with the participation of Renato Braz in the vocals). With magnificent arrangements by Ayres and Bellinati, the CD brings a sensitive reinterpretation of works like the Bachianas Brasileiras No. 4 (Prelude and Tune) and No. 5 (full), in addition to several other songs, all of which in beautiful and moving interpretations. And the surprising inclusion of a string quartet in a traditional jazz band, combined with the inclusion of points of light created by the voice of Renato Braz, give this CD a Villa-Lobos-like language: innovative and unique.

By reinterpreting Villa-Lobos with such ability, Pau Brasil not only demonstrates knowledge of the composer’s work, but mainly carries it out as it states appreciation for history, reveals talent for innovation and reiterates its willingness to always evolve.

To learn more: http://www.grupopaubrasil.com.br

Intolerance

por valeriamidena em April 21, 2012

'Intolerance: Love's Struggle Throughout the Ages' :: D. W. Griffith :: 1916

‘Intolerance: Love’s Struggle Throughout the Ages’ :: D. W. Griffith :: 1916

 

 

 

 

 

 

 

 

 

 

‘Intolerance: Love’s Struggle Throughout the Ages’ was launched in 1916 by DW Griffith. With unprecedented production costs at the time, this silent film is about 4 hours long and, through the dramatization of a poem by Walt Whitman, interconnects four episodes in human history which were deeply marked by intolerance: the war of Babylon in Mesopotamia (about 6 centuries BC); the crucifixion of Christ in 33, in Judea; the night of St. Bartholomew, in sixteenth-century France; and the love of two young people during a workers’ strike in the United States of modern times.

The bigotry against opinions, attitudes, beliefs or ways of being that differ from our own, and the resulting repression, through coercion or force, of ideas we disapprove of, have been the source of huge suffering and countless atrocities throughout history. The inability to accept and coexist with diversity is perhaps one of the greatest evils we can bring upon ourselves.

A few days ago, the judgment on the decriminalization of abortion of anencephalic fetuses generated a discussion of great impact on public opinion in Brazil. Amid articles and protests, a story written by a major newspaper caught my eye. Two women were interviewed for this article: the first woman reported her suffering for being forced to gestate an anencephalic fetus for 9 months – even appealing to several courts, she did not obtain authorization for an abortion in time to do it safely. She said she spent 9 months preparing for the funeral of a child she never got to meet, and that the experience was traumatic enough to make her give up another pregnancy.

The second interview was with a woman who had a pregnancy of an anencephalic fetus, but unlike the first, chose to follow through with the pregnancy, convinced that this was the right thing to do. As the mother of a three-year old boy, she had just buried her stillborn, and expected to recover physically to try another pregnancy.

What caught my attention in the interviews was not to see that, when faced with the same challenge, two people (in similar socio-economic and cultural conditions) had such different postures – but the fact that, while the former advocated the right to choice, the second firmly condemned anyone who would make a different choice from hers. Even worse, she argued that there was no choice to be made – after all, if her conduct was “obviously” the right one, why should we allow someone to make a “wrong” choice?

At the heart of the denial of the legitimacy of different opinions, attitudes, beliefs or ways of being lie vanity and arrogance. Judging that others are less competent to make choices and choose paths and believing that our truth must be accepted by others show how much more we need to evolve as human beings and citizens. Thousands of years later, after much knowledge acquired, so many discoveries and technologies, we still allow intolerance to enslave the freedom of choice to which we are all entitled.

To learn more: http://www.youtube.com/watch?v=GF7ho_-1aWo

Our innovative history

por valeriamidena em February 1, 2012

Mosaic :: BR Conspiration :: Fábio Galeazzo :: 2012

According to some historians, the first record of tiles in Brazil dates back to around 1620, when pieces of glazed ceramics from Portugal came to adorn the convent of Santo Amaro de Água Fria, in Olinda. Since then – whether for its strong representation of the metropolis’s culture, for its plastic beauty or for its thermal comfort characteristics (well suited to our climate) – the tile gained more and more space in Brazilian buildings. Initially present in panels of religious or government-owned buildings, in a few decades the beautiful pieces began to be imported not only from Portugal but also from France and the Netherlands (countries that produced their tiles with an important forma of artistic expression) and also began to serve as frontages of urban buildings.

Also in the late nineteenth century, Brazil started manufacturing the tile – but it was not before the beginning of the twentieth century that our production became regular. And although during that time some architects abandoned the use of this material (as a rejection of elements that represented the colonial period), the modern Brazilian movement, seeking to “combine tradition and modernity, and turn domestic and traditional materials into a bridge between the colonial and the modern”* (re)incorporated the tile to its architecture. Since then, the domestic tile has become a powerful artistic expression of our own culture, and depicted, along with geometric shapes, elements of our landscape, our wildlife and our flora.

Under this historical perspective, the tiles created by designer Fabio Galeazzo and now released by Azulejaria Brasil (Cerâmica Antigua) have gained even greater momentum. In a collection named Conspiração BR (BR Conspiracy, in a free translation), which consisted of 20 prints divided into four themes, Galeazzo rescues and revisits, with mastery, one of the most important elements of our architecture.

Galeazzo reveals deep knowledge, extreme sensitivity and an enormous capacity for innovation through his choice of format (15cm X 15cm, the most traditional in our production), his choice of themes (which range from Festa do Divino images to prints traditionally found in the Brazilian cheetah), and his assembly of the color palette, thus obtaining results of undeniable plastic beauty.

By combining technical and theoretical expertise, sensitivity and talent, Galeazzo proves that interior design can indeed be innovative and storytelling, playful and cultural – all at once, while providing beauty to the environment, pleasure to the eye and comfort to the soul.

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A non-style guide

por valeriamidena em January 26, 2012

La Parisienne :: Inès de la Fressange et Sophie Gachet :: Ed. Flammarion :: 2010

Since its launch in 2010, much has been said about the book by Inès de la Fressange and Sophie Gachet. In fact, this is a great book: the text is full of humor, grace and vivacity; the illustrations (made by Inès herself) convey the same attributes, with some delicacy and even a bit of irony on herself; the photos (by Sophie and Inès) reveal a particular and unpretentious look on objects and places; and the information… well, who would not like to have a list of addresses to the less obvious and best products and services in Paris?

At a closer look, however, the book proves to be much more than a ‘style guide’ – a title not included in the original publication (simply “La Parisienne”), but added to the title in its English version (“Parisian chic: a style guide by Inès de la Fressange”), and also adopted in the Portuguese version (“A Parisiense: o guia de estilo de Inès de la Fressange”).

The term ‘guide’ implies in a work with rules and instructions that, if followed, are able to ensure the success of a certain project or attitude. But the notion that there is a formula, a recipe for being ‘chic’ (!) or to have ‘style’ is diametrically opposed to the thought that develops throughout the book – and it becomes clear right at its very beginning: “You need to learn to take liberties with the categorical statements… Some rules were made to be broken… Do you like orange dress with yellow shoes? Go ahead, people will follow you eventually!”

I believe that the great merit of the book is, in fact, to stimulate reflection and understanding on ourselves, and to value individual expression – whether in dressing, living or consuming. To read something like: “(The Parisian) is not one to spend all her salary in a must-have. First because she has no money, and second because she believes she is as talented as a stylist: why overpay for an outfit that she could have imagined herself?” is far more instructive than getting to know Inès’ particular view on how to match shoes and dresses.

Or this: “Why think that it is absolutely necessary to pay millions to have art at home? Have your children’s favorite drawings framed… Acrylic magnetic frames will transform any piece of paper you value, even a message scribbled on a napkin… “Is it really important to know where the acrylic magnetic paintings are from? No, what is relevant is the notion that each individual decides what they want to frame – that which is most valuable.

To have style is to know yourself and be clear about your preferences; it is to know what gives you pleasure, what coexists in harmony with your way of moving, thinking, acting, and living. And make each choice, consequently, an expression of individuality. To have style is to be aware of one’s uniqueness – and enjoy this condition with joy and pleasure.

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