back to top
Friday, July 18, 2025
Home Blog Page 80

Beyond Reality by Milton Becerra

BEYOND REALITY Milton Becerra
BEYOND REALITY Milton Becerra

META Miami and Henrique Faria New York are pleased to present Beyond Reality by Milton Becerra

In truth, the creation of the world always begins again, Edouard Glissant.

META Miami and Henrique Faria Fine Art are pleased to present BEYOND REALITY, Milton Becerra’s second solo exhibition in Miami. The exhibition combines a site-specific installation, three-dimensional works, ink on papers from the 70s, a photograph, and a sculpture.

Milton Becerra, The materializer and the conceptualizer

In truth, the creation of the world always begins again,

Edouard Glissant.

It was in 1985 that I invited Milton Becerra, a young Venezuelan artist who had recently arrived in France for the XI Youth Biennale (1980), to participate in a documentary, “From reality to magic, 21 artists from Latin America in Paris,” which I co-produced with a Brazilian journalist on the artists of this continent – among the most influential of the time – residing in the French capital. It brought together several generations, including Julio Le Parc, Antonio Seguí, Fernando Botero, Luis Caballero, Jack Vanarsky, José Gamarra, Gontran Netto and José Balmes, as well as Eduardo Berroeta, Vivian Scheihing, Saúl Kaminer and Julio Pacheco Rivas; others, requested, but absent from Paris at the time of filming, having been unable to participate in this film. This documentary would be screened in the “Latin America” section that I proposed at the Salon Grands et Jeunes (Grand Palais, 1985), for which I invited the artist to exhibit.

After the glorious years of the end and beginning of the 20th century when many Latin American painters chose Paris to seek out and sometimes adopt the artistic modernity that they could not find in their own countries (the Mexicans José Maria Velasco, Dr Atl and Diego Rivera, the Uruguayans Pedro Figari and Joaquím Torres Garcia or the Argentinian Emilio Pettoruti, to name just a few, without forgetting that it is in France, a few decades later, that the kinetic movement will take hold), Paris would once again become, during the sixties to eighties, the capital of Latin American art in Europe and attract ever more young artists from the subcontinent. Since the end of the ninth decade, the appeal of Paris has weakened – even if certain Parisian galleries today maintain a sustained interest in a few contemporary artists favorites of fairs and biennales –; the flow of arrivals has dried up, national scenes have developed in countries of origin, the market has consolidated for several Latin American artists in New York and especially Miami, making North America more attractive than Europe for artists from the South.

In the work of Milton Becerra (Táchira 1951), we can first note how his country’s most famous artistic heritage, kineticism, permeates to varying degrees the complex universe of lines and elaborations of frames and forms in which geometry and nature merge. In his claimed quest for questions that are both existential and formal, Becerra also strives to define the determining place that mathematical and scientific references have in his thinking. Furthermore, weightlessness, where his desire for space asserts itself, is decisive in his conceptual, artistic and sensitive approach, crossed by the obsession with time, this “time without duration” of which the writer Philippe Curval speaks of. If we look at the way in which the artist imagines his geometry and constructs his own “adventure of lines” (Henry Michaux on Paul Klee), we realize how much this challenge of the void is thought upstream and irrigates a discourse cultural (and aesthetic) imbued with reflection nourished by curiosities and knowledge. For the artist, the link with “nature”, through the mediation of line, is unwavering. In an intervention that invokes tradition or indigenous memory, at the crossroads of land art and “Arte povera” without claiming to belong to any of these movements – Becerra’s approach is thought of in its relationship to man and constantly evokes him in his “inhabited geometry” where stones, ropes and threads coexist.

His intellectual concerns and investigations in various fields constantly feed a work whose dynamism and renewal, in the logic of a chosen and assumed path, are inscribed in a reflection that is both moving and stable, the permanent axis of its creation. For Jean-Luc Nancy, “art is always cosmogonic”. Becerra does not escape this definition. If we associate his art with this impalpable dimension, his cosmogony is necessarily plural, discreet, touch of color or timbre, folded mass, radiant, scent, song or not suspended, since it birthing a world (and not building a system). There are is always as many worlds as it takes to make a world 2. This is Becerra’s approach which is based in this art of a permanently regenerated memory.

Milton Becerra sees geometry as one of the determining factors of his art. For him, it is inseparable from nature with which he has a close relationship. In his constructions, the frequency of the circle and the spiral is the foundation of his own “geometry” which, without being a reiteration of his first kinetic influences, abandoned very early – when Jesus Soto and Carlos Cruz-Diez were his masters -, pays homage to pre-Columbian art. It is not possible to preserve a memory if we cannot find it in the legacies left to us by our ancestors (…). What interests me is sacred geometry, how life is formed, and how we can see around us that everything has a structure, mathematical, geometric 3. Becerra summarizes here, in a few words, the essence of the aesthetic and existential thought that has inhabited him since his beginnings in Venezuela – his choice of a different and personal way of “making art” as he says – even -, and which will flourish upon its arrival in France.

By never ceasing to think and be the landscape, the human being that Becerra is first and foremost, but also the artist, defines himself as one with his territory and nature, thus affirming his authentic relationship with the ecology, a sign of its deep identity. We find this powerful and determining link between territory and identity among certain Mexican artists, including those from Oaxaca, particularly Rufino Tamayo and Francisco Toledo. From the 1970s, his “Hexagonometries” in the pure wake of kineticism, were followed by his first urban interventions in the surroundings of Caracas (destructions and natural environments) where the influences of Gordon Matta Clark were perceived and his first concerns were expressed. On the environment and its concerns about ecology. It was also during these years that he initiated photography, the practice of collages and photomontage, such as those of “rocas pintadas” (painted rocks), “arte corporal” (body art) with exposure of his own body and the “piedras atadas” (attached rocks). We remember at the end of the 70s – beginning of the 80s, the interventions made in nature by another Latin American artist, the Cuban Ana Mendieta, who also sought a matrixial, erotic fusion with the earth in an intertwining, between feminist posture and a quest for an identity.

Paris will be the trigger for Milton Becerra’s interest in the pre-Columbian cultures of Latin America; his work, “mysterious and ritualistic, outside of time” according to Pierre Restany, will initiate a major turning point where experiences linked to shamanism, fetishism, magic, ancestral rituals and spirituality will strengthen it, and enrich it while making it stand out a little more each time. What interests the artist is transformation, mutation. The suspensions of ropes and stones, the use of wax, metals, semi-precious stones, inlaid wood, then bamboo, skin, flint… will gradually confirm the references to local Indian historical traditions and the importance of the ceremonial in his work. To seek the “anima”, the sacred, is to recreate a space of mystical essence for him to find a relationship with what is lost. Weaving is, perhaps, for him, the ancestral way of connecting with the earth.

Knots and links, tensions of ropes and threads, are like initiatory paths that forge roots from birth to death and anchor Becerra in a threatened territory.

Because acculturation and the disappearance of indigenous populations is a real subject in many Latin American countries. On the sustainability of this notion of connection to the land so deeply alive on the continent and the permanence of cultural identity, Virginia Pérez-Ratton, regarding Becerra, underlined the way in which (he) confronts creation, that is to say, as a way of exercising respect towards the environment from another perspective, from patience and the slowness of weaving as a possibility of survival.5

From his Parisian studio, Becerra does not dream of a mythical, frozen and watered-down Latin America. His commitment is far from being purely theoretical, since he will live for several years between Paris and the Venezuelan forest, where he will return several times to work. It will intervene in several territories, settle on the banks of the Orinoco River (1992), and share the daily life of the Yanomami Indians (1997), in Brazil and Venezuela. In this timeless retreat, he will find himself, recharge his batteries, and be able to open up to substance at philosophical, sensitive and aesthetic, which constantly nourishes his creation. There, he will enjoy, in silence, reflection and sharing, a stopped and active time; he will immerse himself there and give himself over to the immanence of the rite to constantly reweaving his link with life. A convinced ecologist, one of his main concerns is the future of still preserved but threatened nature and the indigenous communities, denouncing the harm that various pollution inflicts on it. His commitment in situ did not prevent him from participating in numerous international exhibitions, the first individual took place in Paris in 1983 at the Espace Latin-Americain. He was present in several Biennales, Sao Paulo in 1985 (he represented Venezuela) and in 1992; in Havana in 1994 and in Caracas, that of El Barro de América in 1995. He produced numerous exhibitions, including that of the Chacao Cultural Foundation in Caracas in 2007, to name just a few; it was recently represented by a huge installation at the Sydney Biennale (March-June 2022) and at the House of Latin America, “l’Outreligne”, in 2023.

One of the characteristics of the multiform art, for some unclassifiable, of Becerra (Gustavo Guerrero), is to experiment with techniques, materials, spaces, and cultures; it is mixing times, moving from the ancestral to the contemporary, from the conceptual to the material, without ever losing sight of its primary objective of being “a perpetual observer” of nature, a witness and a transmitter of transformation, “ of what is linked to the body and the mind” and which establishes its belonging to the territory. Becerra declared in 1996 the memory of a moment that anticipates the future it is the rhythm that moves us in the silence of creation. The artist has tied in his constructive imagination, a vital and dynamic network where the echo of origins rebounds on that of speculations of the future; beyond geography, beyond nature, beyond matter, beyond culture and aesthetics, beyond the sacred and the divine, it offers a “landscape of the sensitive” (Pierre Sansot) in the making and constantly changing.

-Christine Frérot

Translated by MARIA GABRIELA PELAEZ

1 Maria Elena Ramos, « Becerra se nos presenta como un materializador que si conceptualiza y, complementariamente, como un conceptualizador que si encarna », catalogue de l’exposition Cara y sello, Galería Beatriz Gil, Caracas, Venezuela, mai 2014.

2 Jean-Luc Nancy « Tatiana Trouvé », MAMCO, Genève, 2022

3« No es posible tener memoria si no podemos encontrarla en los legados que nos dejaron nuestros antepasados (…). Me interesa un geometria sagrada, como se conforma la vida, como podemos ver que todo alrededor tiene una estructura, matematica, geometrica ». Entrevista CF con Becerra en 2021.

5 Extrait catalogue de l’exposition. Museo de Arte y Diseño Contemporáneo, San José, Costa Rica, 1995.

Milton Becerra has dedicated himself to the exploration of color. Since the 70s, he introduced himself to a conceptual language that goes from the past to the present, accompanied by ancestral legacies and contemporary times, his constant concern for the relationship between planes, two-dimensional spaces and volumes, which begin to develop in the search for the existing connections between the individual, nature and their environment. He has been an artist designated to represent Venezuela at the 11th Paris Biennial and 18th Sao Paulo Biennial Brazil.

His artistic proposal is oriented towards performative research and articulated in disciplines, using sculpture, drawing, assemblages, painting, Site-specific Art, Eco-Art, Land Art, analog and digital photography, Super 8, as support. Video and 3D, texts and audio pieces, digital images, Art expeditions and exploration travel projects that link to obtain “forms from spatiotemporal sources, as diverse as they are distant, that converge in the same relationship that reflects the prodigious framework of the universe,” bringing its contemporary proposals closer to the past of America with the discoveries of the theories of quantum physics and the myths of the first tools of prehistory.

For the last 39 years, the artist has lived and worked in Paris, producing a wide variety of works, in which he combines a wide range of materials, including semi-precious stones, quartz, fragments of pre-Columbian ceramics, natural and nylon fibers, wood , copper, metal, and with less conventional media such as water, light and sound.

These works – possessing a unique symbolic force – refer us to a tribal, archaic and primitive world, with contents that have a universal character. Everything organic and geometric, or intuitive and rational, and that cohabits, harmonize and mix without conflict in these works of art. These principles are also found in his Constellations: assemblages of metal, stones and organic fiber, as if a metric, mathematical and geometric order infused spirit into these compositions, assemblages of crystals and fibers that describe graceful drawings in the air, suggesting sudden movements orbitals.

Recent institutional exhibitions, Kinetic webs, curated by Mari Carmen Ramírez, TransArt Foundation, Houston, Texas, 2023.

L’Outreligne, curated by Christine Frérot, Maison d’Amérique Latine, Paris, France 2023.

Rïvus, 23rd Sydney Biennale, curated by José Roca, Australia 2023.

Symphony of the Universe, Museum of Contemporary Art, Lima, Peru 2018.

Energy irradiation, “El Tanque” Cultural Center, Tenerife, Canary Islands 2016.

His work can be found in various collections, including:

Museum of Fine Arts, Houston, Texas; Rohrbach Zement Museum, Dotterhausen, Germany; Museum of Art, Pontevedra, Galicia, Spain; Museum of Modern Art, Paris, France; Museum of Contemporary Art and Design, San José, Costa Rica; Museum of Fine Arts, Caracas; Francisco Narváez Museum, Porlamar, Margarita Island, Venezuela.

Mercantil Foundation, Caracas; SaludArte Foundation, Miami Florida; TransArt Foundation, Houston, Texas; Cisneros Collection, New York.

Art Wynwood 2024

art wynwood
art wynwood

ART WYNWOOD: MIAMI’S PREMIER CONTEMPORARY ART FAIR MAKES A GRAND RETURN OVER PRESIDENTS DAY WEEKEND, FEATURING AN IMPRESSIVE LINEUP OF OVER 50 WORLD-CLASS GALLERIES

Art Wynwood, presented by Art Miami, is set to make its mark with its 11th edition this year. The event kicks off with an exclusive invitation-only VIP Preview on Wednesday, February 14, benefiting The Bass Museum, and opens to the public from Thursday, February 15 to Sunday, February 18, at One Herald Plaza.

Art Wynwood 2024 emerges as an unparalleled opportunity for collectors and art lovers alike to acquire some of the most significant artworks from the 20th and 21st centuries. With over 50 galleries from around the world, representing countries such as England, Italy, the Dominican Republic, Canada, Switzerland, France, Belgium, Germany, Spain, the United Kingdom, Venezuela, Austria, and across the United States, the fair will display a diverse range of murals, pop surrealism, street art, and other contemporary artworks. 

In a special highlight, Art Wynwood will honor Peter Tunney with the prestigious Art Wynwood Lifetime Artistic Achievement Award. Tunney, a true creative force, has shared positive messages in unconventional ways and delivered art to collectors worldwide for over 30 years. Working across various mediums, including paint, collage, wood, photography, found objects, and discarded materials, Tunney draws inspiration from his nontraditional life, extraordinary experiences, and countless wild adventures. Beyond his existing Tribeca location, Tunney has operated a gallery in the vibrant Wynwood Walls of Miami for the past eight years. Presented during an elegant four-course dinner, the Lifetime Artistic Achievement Award acknowledges individuals in art whose careers have changed the industry. Previous award recipients include Mel Ramos, Martha Cooper, Shepard Fairey, Logan Hicks, Ron English and Risk. Limited Tickets available here. 

“Each year, Art Wynwood draws in influential collectors, curators, art consultants, designers, and art enthusiasts from across the globe,” notes Julian Navarro, Director of Art Wynwood. “The much-anticipated 2024 edition of Art Wynwood presents an engaging blend of both emerging and well-established contemporary galleries, along with exciting special projects and solo exhibitions.”

Silvia Karman Cubiñá, Executive Director/Chief Curator for The Bass Museum expresses excitement for the museum’s partnership with the leading winter art fair: “Art Wynwood is a vibrant space for art enthusiasts, collectors and visitors to explore international emerging artists and discover and acquire new works, further positioning Miami as a global center for contemporary art.”

Anticipated to draw notable participants, Art Wynwood 2024 will coincide with the renowned Discover Boating Miami International Boat Show. Adjacent to Art Wynwood, the boat show will showcase an in-water display of the most exceptional and uniquely crafted yachts and superyachts by the world’s leading custom boat builders.

ART WYNWOOD HOURS AND LOCATION: 

VIP Opening Night Preview: Wednesday, February 14 

Opening Night Platinum VIP Preview: 4:30  – 6 p.m.; Opening Night VIP Preview: 6  – 10 p.m. 

General Admission: Thursday, February 15 through Saturday, February 17: 11 a.m. – 7 p.m.; Sunday, February 18: 11 a.m. – 5 p.m. 

Location: The Art Wynwood Pavilion, One Herald Plaza at NE 14th Street, on Biscayne Bay between the Venetian Causeway & MacArthur Causeway, Downtown Miami 

TICKET INFORMATION: Tickets can be purchased at artwynwood.com/tickets. For additional information or tickets, call 305-517-7977 or email [email protected]

PRESS REGISTRATION: Press registration is available at: www.artwynwood.com/press-registration. 

MEDIA CONTACT:
Carma Connected
[email protected]
305-438-9200 

VIP RELATIONS, MARKETING, SPONSORS + PARTNERS:

Pamela Cohen
Vice President of Marketing, Sponsorships + VIP Relations
[email protected]
786-510-7035 

About Art Wynwood: 

Art Wynwood, hosted by Art Miami, will return for its 11th edition during Presidents Day Weekend. The event provides a unique platform for art enthusiasts to explore and collect contemporary, emerging, and modern art from over 50 international galleries, showcasing a diverse array of artistic expressions, including works from the 20th and 21st centuries, post-war, pop, street art, and various modern and contemporary genres. Art Wynwood 2024 is strategically timed to coincide with the Discover Boating Miami International Boat Show, enhancing the cultural experience on Biscayne Bay. For more information, please visit www.artwynwood.com. 

About Art Miami: 

Art Miami, owned by Informa Markets, is the leading international contemporary and modern art fair that takes place each December during Art Week. It is one of the most important annual contemporary art events in the United States, attracting motivated collectors, curators, museum professionals and art enthusiasts from around the globe. Now in its 33rd year, Art Miami remains committed to showcasing the most important artworks of the 20th and 21st centuries in collaboration with a selection of the world’s most respected galleries. Art Miami maintains a preeminent position in America’s contemporary art fair market. With a rich history, it is the original and longest-running contemporary art fair in Miami and continues to receive praise for the variety of unparalleled art that it offers. It is the “can’t miss” event for all serious collectors, curators, museum directors and interior designers providing an intimate look at some of the most important work at the forefront of the international contemporary art movement. www.artmiami.com

VIP PREVIEW.

Art Wynwood | VIP Preview

Art Wynwood invites VIP passholders and press to experience a First View of the highly anticipated Art Wynwood Fair

Wednesday, February 14, 2024
4:30pm – 6pm Platinum VIP Preview
6pm – 10pm  VIP Preview


Collectors, curators, artists, art enthusiasts and members of the press are invited to experience an exclusive First View of the highly anticipated Art Wynwood. This can’t miss event is the first opportunity to acquire the finest works from the emerging, cutting-edge, contemporary and modern art movements prior to the fairs’ opening to the public the following day.

Glory of the World: Color Field Painting (1950s to 1983)

Glory of the World: Color Field Painting (1950s to 1983)
Glory of the World: Color Field Painting (1950s to 1983)

A Review of “Glory of the World: Color Field Painting (1950s to 1983)”

Stepping into the “Glory of the World” exhibition felt like diving into a vast ocean of color rather than merely viewing paintings. Curator Bonnie Clearwater masterfully presents a selection of Color Field masterpieces that transport viewers directly into the creative minds of these abstract expressionists. While Frank Stella’s towering canvases undoubtedly stole the show, the diverse approaches of each artist ensured a dynamic and engaging experience.

The exhibition cleverly avoids simply lumping artists together based on style. Instead, it delves into the distinct perspectives and processes that fueled their vibrant creations. The influence of early abstract painters like Rothko is evident, yet each artist carves his or her own unique path within the Color Field movement. This nuanced approach fosters a deeper appreciation for individual artistic journeys while highlighting the shared exploration of color and form.

Particular praise goes to including works from the early years of Color Field, starting with Helen Frankenthaler’s groundbreaking stain paintings. This chronological approach grounds the movement in its historical context and allows viewers to witness its evolution and impact on later generations. The inclusion of recent reinterpretations from young artists further underscores the enduring relevance of Color Field painting today.

While the artwork is undeniably the show’s star, the accompanying materials deserve mention. The planned publication of a comprehensive exhibition book and the use of insightful wall texts enrich the experience by providing valuable context and analysis. Together, they create a well-rounded exploration catering to casual art enthusiasts and seasoned scholars.

In conclusion, “Glory of the World” is not just an exhibition; it’s an immersive experience that celebrates the transformative power of color and form. By showcasing the diversity and depth within the Color Field movement, the exhibition offers a captivating journey for anyone seeking to discover (or rediscover) the magic of abstract expressionism. It is highly recommended!

TUESDAY – SATURDAYSUNDAYFREE FIRST THURSDAY OF EVERY MONTHMONDAY
11 am – 5 pmNoon – 5 pm11 am – 7 pmClosed
NSU MUSEUM: E Las Olas Blvd, Fort Lauderdale, FL 33301

Dennis Kleidon’s “Taliesin” and “Poinciana” Paintings

Poinciana #10, Acrylic on Canvas, 31.5” x 41.5”, 2023
Poinciana #10, Acrylic on Canvas, 31.5” x 41.5”, 2023

Dennis Kleidon’s “Taliesin” and “Poinciana” Paintings at Art Space 349 (Palm Desert, CA) and Art Wynwood, Miami

Dennis Kleidon’s “Dialogues and Revelations” show at Art Space 349, El Paseo, California,
and NYC Walter Wickiser Gallery at Art Wynwood in Miami

By Lorien Suárez-Kanerva

From February 2nd to March 15th, Dennis Kleidon’s paintings will be exhibited at “Dialogues and Revelations” at Art Space 349 in El Paseo, Palm Desert, California, and at Art Wynwood in Miami from February 14-18 at the Walter Wickiser Gallery booth. The exhibitions showcase Kleidon’s conceptual series, including “Textures of Taliesin,” “Unleashed,” and his most recent “Poinciana” paintings. He formed part of the color field and abstract expressionist movements of the 60s. Of his contemporaries, he shared an affinity with the work of Kline, DeKooning, Motherwell, and Albers. Kleidon is an emeritus professor from the University of Akron, Ohio. He trained as an architect and designer and is also a classically trained pianist.

From observations at Taliesin West in Phoenix, Arizona, the artist has created a conceptual framework that dialogues with Frank Lloyd Wright’s architectural approach and use of natural materials. As he describes,

The boulders, surrounded by concrete, struck me with their beauty and texture. It was clear how these natural materials reflected Wright’s respect for nature, truth, and beauty. The boulders make Taliesin West part of its site in the most literal way possible, organic architecture to its core.

Kleidon integrated a set of rectangular minimalist marbled textured backgrounds that frame the central space of the painting, much like man-made architectural walls. An outer rectangle surrounds an inner one. Each is composed of two distinct shades of a singular hue. The rectilinear shapes anchor brushstrokes that can evoke calligraphy where gesture bridges into language that would appear decipherable at the heart of the painting.

Unleashed #10, Acrylic on Canvas, 37.5” x 37.5”, 2017
Unleashed #10, Acrylic on Canvas, 37.5” x 37.5”, 2017

The artist observes that “the textures create a ‘wall’ for mid-field geometric shapes painted next, like a building in shadow or the geometry of an architectural plan.” These background rectangular fields of color are painstakingly crafted. “I work back and forth with overlays of color until I am satisfied with the hue and complexity of texture. This textural background is echoed in a geometric mid-ground and culminates in a bold series of brushstrokes.”

The artist’s gestural markings spring forth from a static framework to reflect the explosive nature of the creative spirit. The unfurling of brushed multi-colored streaks finds release from the encompassing housing. Each swirl of brush strokes is a completed singular motion by the artist’s hand. Each pigment selection remains beside the other as a tiered arc. Kleidon’s paintings draw on distinctive blues, reds, yellows, whites, and blacks, each appearing in the landscape.

Like rainbows, the brushstrokes move upwards and sideways within the rectangular tableau. Most arcs of the brush reveal a tracing of intact hues, yet the strokes take on a nuanced and muddier field of coloration when superimposed.

Poinciana #10, Acrylic on Canvas, 31.5” x 41.5”, 2023
Poinciana #10, Acrylic on Canvas, 31.5” x 41.5”, 2023

Distinctions in the predominance of particular hues and the outward expansion of the gestural brushstrokes appear and emphasize the nature of the artist’s manifested expression.
As a series, “Poinciana” holds a singular chromatic power as red transforms the neutral background into swirling flames. The progression reveals the gathering range and scope red holds as it consumes more of its rectangular enclosure gesturally. The moody, dimly lit NYC nightclubs where Ahmad Jamal’s jazz piano played and the noted musician’s music were pivotal influences to Kleidon’s work. The title is based on Jamal’s famous song and album, “Poinciana.”

Poinciana #13, Acrylic on Canvas, 31.5” x 41.5”, 2023
Poinciana #13, Acrylic on Canvas, 31.5” x 41.5”, 2023

“Taliesin,” in contrast, is still ignited at its core but pirouettes in a three-dimensional gestural fulcrum like “Poinciana”, yet without reaching the outer edges. The gestural spirit here remains more tacitly enclosed within its boulder and cement landscape. Each rectangular field’s marbled pattern becomes darker in tones of blue. At its core, it’s a deep Prussian blue, almost black, that sits as an arrangement akin to Josef Albers’s color field paintings. The streaks of color in the “Taliesin” paintings distinctly differ in color sensibility. White overpowers the reds as a gradient accompanied by a lesser degree of red, blue, black, and yellow. The movement of the strokes is arched and unfurling as gestural striations. The strokes don’t stray too far afield from the center, with distinct wisps that extend outward with a reduced range of color ̶white and orange or white and blue. At points, the paintbrush appears to have lifted off the surface, breaking the flow of the paintbrush’s movement.

Taliesin Unleashed #1, Acrylic on Canvas, 49.5” x 37.5”, 2020
Taliesin Unleashed #1, Acrylic on Canvas, 49.5” x 37.5”, 2020

I wanted to bring the beauty of these Taliesin textures and their earthy sienna, umber, and gray hues into my paintings…and soon investigated the touches of red, crimsons, and oranges…A close examination of the boulders reveals additional, unexpected colors ̶blues, turquoise and grays.

The distinctions in the color range and gestural scope of movement in “Poinciana” and “Taliesin” bring forward the heart of Kleidon’s work’s framework.

Three elements rise to the surface, critical to the impact of the paintings – the composition and movement of the background texture, inspired by the surface of the boulders of the Taliesin walls, the geometry in the middle ground like architectural forms within the natural environment, and the final expressive strokes of the brush capturing the creative spirit.

Ultimately, Kleidon reflects upon Wright’s statement that “Integrity is the first law of nature and spirit” by further reflecting on his artwork conceptually. “My painting seems to express a similar structure of values, of enlightened ways to see and respond to the universe.” He works to create paintings where all the compositional elements with their distinct details achieve a unifying form of balance that draws inspiration from the beauty of nature. It’s an aspiration that Kleidon has extended towards his creative way of being. “I will probably continue trying to achieve that sense of balance my entire life.” In this light, his artwork reflects an ongoing aspiration to bring into alignment both actions and intentions toward a unifying whole.

CALL FOR TEEN ARTISTS: Memory Soup

CALL FOR TEEN ARTISTS: Memory Soup
CALL FOR TEEN ARTISTS: Memory Soup

CALL FOR TEEN ARTISTS: Memory Soup

February 1 at 9:00 am – March 1 at 5:00 pm

Want to see your artwork displayed in an upcoming exhibition at NSU Art Museum?

Memory Soup is an exhibition of artwork in all media including performance-based and spoken word by Broward County teens curated by student members of NSU Art Museum’s Teen Art Council, which highlights the unique perspectives and experiences of teens across Broward County. Teens are invited to exhibit their artwork with their peers in NSU Art Museum Fort Lauderdale and engage with the greater community of Broward County.

Call for Submissions: 1 – 3 artworks

Submit Art: February 1 – March 1

Opening Reception at NSU Art Museum: April 4, 2024

Submission guidelines:

  • The submission period is open through 5 pm on March 1
  • Drop-off time for physical pieces of art is March 11 – March 29 at NSU Art Museum (One East Las Olas Blvd., Ft. Lauderdale, 33301)
  • Applicants must be aged 13 to 19 years and must be attending high school in Broward County
  • All mediums are encouraged, including visual art, dance, music, writing, and performance. There is a maximum of 3 submissions per artist, and all artwork must be recent work made within the student’s high school term.
  • All submissions must be submitted through the online form or by emailing [email protected].

SUBMIT ART HERE

Teen Art Council is made possible by the generosity of the Jerry Taylor & Nancy Bryant Foundation, Wege Foundation, Lillian S. Wells Foundation, Delia Moog, and Spirit Charitable Foundation.


Major support for NSU Art Museum Fort Lauderdale is provided by the David and Francie Horvitz Family Foundation Endowment, the City of Fort Lauderdale, Jerry Taylor and Nancy Bryant Foundation, Broward County Cultural Division, the Cultural Council, and the Broward County Board of County Commissioners, Lillian S. Wells Foundation, Community Foundation of Broward, the State of Florida through the Division of Arts and Culture and the National Endowment for the Arts, Wege Foundation, Beaux Arts, Delia Moog, Dr. Barry and Judy Silverman, Broward Health, Friends of NSU Art Museum, Dr. Mariana Morris, and Spirit Charitable Foundation.

Painting Classes South Florida

Workshop, Intro to Creativity with Piet Mondrian

Thursday, February 15  · 6 – 8pm EST

An exploration of acrylic painting techniques, meditation, and the work of Piet Mondrian to kickstart your creativity

Painting workshop location: ARTS WAREHOUSE 313 Northeast 3rd Street Delray Beach, FL 33444

This acrylic painting workshop is a little art history, a little technique, and a lot of creative exploration! Instructor Beverly “Bevo” Manning will lead this class, exploring this session’s theme inspired by the greatest artist of the 20th century, Piet Mondrian, and guide students through his painting techniques used to make some of his most famous works. This workshop will also cover the fundamentals of color mixing and producing a balanced composition.

The main goal for this workshop is to give an opportunity for students to learn, explore, relax and enjoy painting. While everyone is encouraged to take this workshop, it was designed with three specific types of people in mind: those who’ve never painted before, those who feel like their creativity is being blocked, and those who just are curious to explore something new, all while leaving with a canvas painting.

Before starting the workshop, the instructor will introduce a meditation technique meant to open up the creative mind, helping each student set a specific intention that will subconsciously influence his/her/their painting style. Get ready to get creative!

All Materials are provided

Students will leave with a painted canvas

** Please note, Refunds will be processed only if requested 72+ hours prior to scheduled workshop date/time. No refund will be given if requested less than seventy two (72) hours until scheduled workshop time for any reason. Only one ticket transfer will be allowed per person per workshop type, and will only occur if requested outside of the 72 hour mark of the registered workshop. To request a refund and cancel your ticket, please call 561-330-9614**

Don’t just take our word for it, here are some reviews from last class’ participants:

“I really enjoyed this class. Great morning, great instructor.”

“Amazing! Wonderful way to spend a Saturday morning! Feeling gratitude for Beverly and Arts Warehouse!”

“Bev was inspiring! It’s been a long while since I held a paintbrush and have been feeling a little less than creative. Class was fun, art history mixed with meditation and painting- what could be better?! Thanks for helping me start to breakthrough my creative/artistic block!”

About the Instructor:

Beverly was born in New York City and raised in Ecuador. She graduated from Western Connecticut State University with a BA degree in Art with a concentration in Graphic Design and Photography. In 1996 she moved to Florida where she worked as a Graphic Designer.

Best known for her colorful abstract paintings, Manning acquired her technical skills by working with renowned painters from the South Florida area. She uses a wide range of mediums such as acrylics, newspaper, oil pastels and crayons, even her interior house paints. In other words, any and everything that can help to create and obtain vibrant paintings. Inspiration comes in many different forms, such as photos, flowers, and anything that touches her creativity. The main objective is to communicate feelings through colors and flowing lines that suggest the freedom of movement. Manning uses an array of techniques which range from Tapping and Meditation to art exercises in order to tune into her feelings. The techniques open up her creativity and prevents judgement towards her own creations.

In March of 2018, Manning exhibited at the office of The Octopi Group in Delray Beach, where 27 paintings in a collection where presented. She also has exhibited at Style de Vie and Cornell Museum in Delray Beach.

During the summer of 2019, she gave a number of workshops of personal wellness, nutrition and meditation by applying the knowledge obtained as a nutritional coach and therapeutic art life coach.

Kitaro Nishida y la lógica de la nada, pt. 1

Kitaro Nishida y la lógica de la nada, pt. 1
Kitaro Nishida y la lógica de la nada, pt. 1

Kitaro Nishida y la lógica de la nada, pt. 1

Autor: Darin McNabb

Kitaro Nishida y la lógica de la nada, pt. 1

El poeta inglés William Blake escribió “Si las puertas de la percepción se purificaran todo se le aparecería al hombre como es, infinito”. Con estas palabras Blake expresó un impulso muy hondo en el ser humano lo cual se expresa en el arte, la religión y sin duda en la filosofía, el impulso de la trascendencia. Experimentamos un mundo finito y limitado, pero si la percepción pudiera purificarse, vaya transformación habría.
El escritor Aldous Huxley se inspiró en las palabras de Blake y escribió un libro llamado precisamente Las puertas de la percepción donde habla de su experiencia de purificar las puertas con psicotrópicos. ¿Conoces el grupo de rock The Doors? En inglés ‘doors’ significa ‘puertas’. Donde Huxley se inspiró en Blake, Jim Morrison se inspiró en Huxley, tomando el nombre de su grupo del título de su libro. Su canción más conocida se llama “Break on Through”. En ella cantan “Break on through to the other side”. ‘Break’ significa ‘romper’, entonces hablan de romper algo para pasar a través de ello al otro lado. ¿Qué es ese algo que hay que romper? Cuando enseñaba en clase El nacimiento de la tragedia, utilizaba esta canción para ilustrar lo que decía Nietzsche sobre el velo de Maya. En la antigua filosofía hindú, la realidad última es Brahman, el ser supremo abarcador y unitario. Sin embargo, nuestra experiencia no es de esa unidad sino de la dualidad, de un mundo fenoménico compuesto de opuestos contrarios. Vemos la realidad de esa manera debido a ‘maya’ una palabra que significa ‘magia’ o ‘ilusión’ y que se refiere a la fuerza que nos hace ver el mundo así, casi como si fuera un velo arrojado sobre la realidad. Para Nietzsche, lo apolinio es un velo de Maya que cubre lo dionisiaco, y es la fuerza que Jim Morrison en su canción dice que hay que romper para luego pasar al otro lado.
Los psicotrópicos y los narcóticos en general logran purificar o al menos transformar la percepción. La religión también, especialmente cuando se combina con el arte – pienso en las alturas de las iglesias góticas, cómo sus inmensos volúmenes difuminan la luz iluminando así los vitrales, y la música y el canto y el incienso. Hecho bien, la religión puede tener efectos psíquicos muy fuertes.
¿Y la filosofía? En las filosofías antiguas de la India, de Grecia y del mundo helenístico, el intento de comprender la realidad estaba íntimamente ligado a la vida, a vivir bien. Pero no se trataba tanto de purificar la percepción como de purificar la concepción. Si cambias tus ideas, cambias tu vida. Aun cuando en los siglos venideros la filosofía perdiera su orientación existencial, seguía tratando de entender la realidad, la cual casi siempre veía como distinta o más allá de la experiencia común
y corriente.
Volvamos un momento a la cita de Blake. Dice: “Si las puertas de la percepción se purificaran todo se le aparecería al hombre como es, infinito. A continuación dice: “Pero el hombre se ha encerrado en sí mismo hasta ver todas las cosas a través de las estrechas rendijas de su caverna”. No sé si con eso de ‘caverna’ Blake hacía una referencia implícita a Platón, pero para mí está claro, y también irónico. Platón utiliza su alegoría de la caverna para ilustrar la condición de esclavitud e ignorancia del ser humano y cómo salir de ello. En su cita, Blake dice que lo que esclaviza de alguna manera es lamente. Al parecer, la caverna de la que hay que salir es la misma mente ya que el hombre se ha encerrado ahí y el mundo que ve a través de sus estrechas rendijas, o sea, los conceptos, no es más que un pálido reflejo de la realidad misma.
El famoso mitólogo Joseph Campbell dijo en una entrevista que la gente no busca tanto el sentido de la vida como una experiencia de estar vivo, o sea, no buscan comprender la realidad última sino experimentarla. ¿Puede la filosofía alcanzar la realidad y permitirle a uno experimentarla si no hace más que mirar por las estrechas rendijas de la mente? He contado todo eso de Blake, Huxley, The Doors, y Nietzsche para plantear esta pregunta y para introducir una respuesta muy interesante. Viene de un pensador que pocos conocen, el filósofo japonés Kitaro Nishida. Nishida nació en 1870, una fecha significativa ya que sólo dos años antes Japón había terminado unos 230 años de aislamiento. Entre 1639 y 1868 era prohibido para los japoneses salir de su país y para los extranjeros entrar. En 1853 llegaron cuatro barcos estadounidenses armados de cañones exigiendo que Japón se abriera al comercio. Dándose cuenta de que la espada no iba a ganar frente al cañon, accedieron, formalizando la apertura en 1868, y dos años después nace Nishida. Así que la generación en la que creció y se formó fue una de mucha exploración y asimilación del mundo externo. Aprendió inglés y alemán entre otros idiomas y leyó extensamente los grandes autores de la filosofía occidental. Ahora, si Nishida no hubiera hecho más que asimilar el pensamiento occidental, trabajándolo desde Japón como sucursalero, lo más seguro es que no estaríamos tratándolo aquí en la Fonda. Nishida, sin embargo, es el más reconocido filósofo japonés con un pensamiento propio y bastante interesante, lo suficientemente innovador de hecho como para que una escuela se creara al su alrededor – la así llamada Escuela de Kioto. Japón, en efecto, fue aislado durante más de dos siglos, pero eso no quiere decir que carecía de su propia cultura y forma de ver y experimentar el mundo. De hecho, uno de sus aportes más importantes se dedica precisamente a purificar las puertas de la percepción, a saber, el budismo zen. Al abordar la filosofía occidental, Nishida no llegó a ella con una mente en blanco sino con una experiencia de vida profundamente saturada del zen y sus enseñanzas. Hoy en día hay muchos libros sobre la filosofía del zen, pero los primeros que expusieron sus ideas para un público occidental los escribió el gran amigo y colega de Nishida – D. T. Suzuki. Nishida dejó este trabajo de divulgación a su amigo, prefiriendo buscar más bien alguna manera de comprender su experiencia del zen dentro del marco conceptual de Occidente.
Hay dos cosas que hacen que esta tarea no sea nada fácil. La primera es que el zen, además de ser una filosofía, es también una religión. En Occidente, la filosofía es una cuestión de creencias y razonamientos que atañen únicamente a la mente. En este sentido uno puede sostener creencias acerca del zen y lo que nos dice acerca del mundo. Pero también, y principalmente, el zen es una religión en el sentido de que se trata no de creencias sino de una transformación de la conciencia. Donde en la filosofía occidental se pone énfasis en el razonamiento, en el zen japonés lo importante es la experiencia práctica. En tanto una filosofía, el zen se ocupa del conocimiento, sin embargo ese conocimiento no es principalmente teórico sino práctico.
Y al delimitarnos al aspecto puramente filosófico del zen vemos otra cosa que dificulta la tarea de Nishida. Como dice el mismo Nishida: “En Occidente han considerado el ser como el fundamento de la realidad, mientras que en Oriente han tomado la nada como su fundamento”. Esta diferencia no es superficial sino que se coloca en el nivel más profundo. Nishida pasó toda su vida reflexionando sobre este tema, y encontró no sólo una manera de tratar la experiencia del zen de forma conceptual, sino que mostró de forma ingeniosa la incoherencia de pensar la realidad en términos del ser. Al final de nuestro examen de Nishida, veremos cómo utiliza su famosa noción de ‘basho’ para eliminar esta incoherencia, sustituyendo en lugar del ser, la nada. Es realmente fascinante lo que hace. Bueno, vamos a ver dos escritos suyos: la primera parte de su primer libro que se llama Indagación del bien de 1911, y también su artículo titulado “Basho” de 1926. Pero antes de pasar a ellos quisiera hablar un poco sobre el zen japonés y su concepto de ‘satori’ pues será importante tenerlo en cuenta al ver su argumento.
La finalidad de la práctica del zen es una experiencia que se llama satori,
parecida a esa experiencia que describe William Blake de percibir el mundo tal como
es. Para ello, Blake dice que hay que purificar las puertas. En el zen esa purificación
se lleva a cabo mediante una combinación de meditación, interacciones con el
maestro, y mucho trabajo físico como lavando platos y trabajando en el jardín. Una
actividad que no conduce a satori es el razonamiento. El medio del razonamiento
son los conceptos, y los conceptos son abstracciones. Con ellos distinguimos y
categorizamos aspectos de la realidad. Pero lo que busca el zen es una experiencia
de la realidad tal como es concretamente, no abstractamente. En Occidente,
empleamos estructuras conceptuales binarias o dualistas: mente y cuerpo, ser y nada,
bien y mal, finito e infinito, que, como el velo de Maya, nos hacen ver de manera
dualista una realidad esencialmente unitaria e indiferenciada. El raciocinio
conceptual, tan importante para la filosofía occidental, es entonces inútil para el zen
pero no sólo eso, sino que puede de hecho impedir que uno alcance satori. Para el
maestro, es el ego del alumno lo que constituye el mayor problema, por lo que en
buena parte las actividades de la disciplina monástica procuran la auto-negación,
distraer al alumno de sí mismo, de su autoconciencia. El razonamiento es un impedimento a satori porque tiende a reforzar la conciencia de uno mismo lo cual oculta o vela la naturaleza no dual de la realidad.
Entonces, satori es una experiencia que no se logra conceptualmente y gracias a ello el conocimiento de la realidad que le da a uno no puede expresarse o trasmitirse conceptualmente, es decir, con el lenguaje. Es algo inefable que sólo puede experimentarse directamente. ¿Y qué es eso que se experimenta? William Blake lo describió con la palabra ‘infinito’, Platón como la esfera inteligible de Ideas, otros lo han llamado Dios, lo absoluto, el motor inmóvil, etc. El zen japonés lo llama ‘mu’ lo cual significa algo así como ‘la nada’ o ‘vaciedad’. Antes hablamos del velo de Maya. Un velo cubre y por tanto oculta algo. En el hinduismo, lo que oculta es Brahman pero si no hay nada ahí para ocultarse, como en el zen japonés, pues la metáfora del velo ya no tiene mucho sentido. La palabra ‘mu’ o ‘la nada’ es precisamente eso, una palabra, un concepto, que señala pero no logra captar larealidad a la que se refiere. Es por eso que los maestros zen emplean los famosos koan en sus enseñanzas, preguntas extrañas, como la de ¿Cuál es el sonido de una sola mano aplaudiendo?, que tratan de poner al manifiesto lo inadecuado del razonamiento lógico. En Occidente, el concepto de ‘nada’ se interpreta como la ausencia de algo, de un ser, de modo que tenemos el binomio ser-nada. Sin embargo, eso es una dualidad, y la realidad que se revela en la experiencia de satori está más allá de la dualidad. Así que, ‘mu’ no es un algo divino, sean Ideas o un Dios, pero tampoco es la simple nada, la ausencia de algo. Como Nishida se dio cuenta a lo largo de su vida intelectual, expresar esto filosóficamente, en la lógica del ser de Occidente, no es nada fácil.
Bueno, pasemos a su primer libro – Indagación del bien. En el prefacio Nishida dice: “Di al libro el título de “Indagación del bien” porque me daba cuenta de que si bien la investigación filosófica constituye la primera mitad [del libro], el problema de la vida humana es el tema central que se extiende por toda la obra”. Este libro no es un tratado sobre ética sino, como la famosa obra de Spinoza, una indagación sobre la naturaleza de la realidad que, una vez comprendida, permite que uno viva bien. ¿En qué consiste esa realidad? A continuación dice: “Yo deseaba explicar todas las cosas sobre la base de la experiencia pura entendida como la única realidad”. La realidad, la única realidad, es la experiencia pura. ¿Y qué es la experiencia pura? En las primeras líneas del primer capítulo dice: “Experimentar significa conocer hechos tales como estos son, conocer de conformidad con hechos renunciando por completo a las propias elaboraciones. Lo que generalmente llamamos experiencia está adulterado con alguna clase de pensamiento, de manera que al decir pura me refiero a la experiencia tal como ella es, sin el menor aditamento de deliberada distinción”. Nishida dice que cuando estamos conscientes de algo, sea un hecho presente o un recuerdo, en el momento de hacernos atrás y juzgar esa conciencia, que ya deja de ser una experiencia pura. Dice: “Una experiencia verdaderamente pura no tiene significación alguna; es simplemente conciencia presente de hechos tales como ellos son”.
A mi juicio, su caracterización de la experiencia pura se parece mucho, de hecho, yo diría que es idéntica, a cómo Charles Sanders Peirce caracteriza su categoría de la primeridad. Para Peirce, todo fenómeno considerado como una simple totalidad consta de una cualidad que se aprehende mediante el sentir. Dice que semejante fenómeno “precede a toda síntesis y a toda diferenciación: no tiene unidad ni partes. No puede pensarse de manera articulada: afírmenlo, y ya ha perdido su característica inocencia, pues la afirmación siempre implica una negación de alguna otra cosa. ¡Deténganse a pensarlo y se ha ido! Lo que el mundo fue para Adán el día que abrió sus ojos ante él, antes de haber hecho distinción alguna o de haber llegado a ser consciente de su propia existencia, eso es primero, presente, inmediato, fresco, nuevo, iniciador, original, espontáneo, libre, vívido, consciente y evanescente. Acuérdense sólo de que toda descripción suya debe ser falsa”. El ‘mu’ del zen japonés, la ‘experiencia pura’ de Nishida y la categoría de la primeridad en Peirce parecen todos referirse a la realidad como unitaria y no dual, una totalidad inmediata que es anterior a cualquier distinción entre esto y aquello.
No sé si Nishida leyó a Peirce pero está claro que leyó al amigo y colega de Peirce – William James. De hecho, de él toma el concepto de ‘experiencia pura’. En su libro Ensayos sobre empirismo radical James plantea que hay un solo material primordial del mundo, un material del que todo se compone. Ese material lo llama “experiencia pura”. Dice que de ese material o experiencia pura “la atención recorta objetos, que luego la concepción nombra e identifica – en el cielo ‘constelaciones’, en la tierra ‘playa’, ‘mar’, ‘acantilado’, ‘arbustos’, ‘pasto’. Del tiempo recortamos ‘días’ y ’noches’, ‘veranos, e ‘inviernos’. Decimos que es cada parte del continuo sensible, y todos estos ‘que’s abstraídos son conceptos”. La experiencia pura, para James, es un continuo indiferenciado que las necesidades y los fines humanos fragmentan en objetos, relaciones, y conceptos. Estos fragmentos son abstracciones las cuales no
deberían confundirse con la realidad de la que provienen y de la que dependen.
Dice James: “La experiencia pura es el nombre que doy al flujo inmediato de la vida que proporciona el material a nuestra reflexión posterior con sus categorías conceptuales. Sólo los recién nacidos o hombres que se encuentran en un semicoma por el sueño, las drogas, la enfermedad o los golpes, podemos suponer que sólo ellos tienen una experiencia pura en el sentido literal de un eso que no es todavía ningún que determinado”. Eso del recién nacido o el hombre en estado de semicoma refleja lo que dice Peirce sobre Adán en el Jardín de Edén. Su experiencia no es de una multiplicidad de cosas sino de un simple eso, un bloque inmediato e indiferenciado.
No extraña que esta idea de James le haya resultado muy atractiva a Nishida ya que embona muy bien con el concepto de satori que vimos en el zen japonés. Sin embargo, Nishida no hace referencia al zen en su escrito. Más bien, y en sintonía con el trabajo de James, comenta cómo la propuesta de la experiencia pura resuelve varios problemas que provienen del empirismo clásico de Hume y Locke y también de las soluciones a estos problemas propuestas por el idealismo alemán. Vamos a ver estos problemas con algo de detalle.
El primero es el problema de las relaciones. Si dos cosas, digamos A y B, guardan una relación entre sí, sea la relación causal, espacial, temporal, o lógica, podemos preguntar ¿dónde está esa relación, en qué consiste? Si la relación es una tercera entidad distinta de A y B, entonces, siendo ella algo distinto, relaciones adicionales tendrían que establecerse entre la relación y las entidades A y B, y así sucesivamente hasta el infinito. Y si la relación es parte de una de las entidades, digamos de A, tendremos el mismo problema ya que seguimos con dos cosas cuya relación entre sí tiene que establecerse, pero no puede.
Dado este problema, el empirismo clásico tomaba una postura nominalista con respecto a las relaciones, o sea, que son ficciones, conveniencias que empleamos para explicar la experiencia pero que no son reales. Esto conduce a la famosa tesis de Hume sobre la causalidad, que nunca percibimos una relación causal entre las cosas sino sólo una asociación, y también que nunca percibimos el yo sino sólo un flujo de percepciones. Y de ahí los problemas del solipsismo y de un escepticismo generalizado, aquél, por cierto, que despertó a Kant de sus sueños dogmáticos. En vez de postular la realidad de las relaciones, los idealistas en general ubicaba la función sintética de las relaciones en un sujeto o algún otro fenómeno trascendental, más allá de la experiencia empírica.
La respuesta de James, tanto al empirismo como al idealismo, era el empirismo radical. En su propuesta de la experiencia pura el escepticismo es superado al negar el dualismo clásico entre sujeto y objeto, entre conocedor y conocido. Bueno, lo que niega es que esos dualismos sean fundamentales, que sean ontológicamente primordiales. Y evita el problema de las relaciones al insistir que son dadas en la experiencia, que son datos de la experiencia primitiva, y no construcciones mentales.
Bueno, por todas esas razones y por el trasfondo de la cultura zen, Nishida encontró muy atractiva esa noción de experiencia pura, y creo que es algo que cualquiera puede apreciar intuitivamente si piensa en esa idea de que el mapa no es el territorio. Lo que Nishida y James están diciendo es que para que haya un mapa, es decir, un sistema de representación con sus estructuras conceptuales dualistas de
sujeto-objeto, mente-materia, causa-efecto, etc., etc. tiene que haber primero y anterior a ello un territorio, una realidad no-dual que sea recortado por esos binomios. Eso, para ellos, es lo que es ontológicamente primordial.
Aun cuando te parezca factible e interesante eso, a lo mejor te resulte extraño el propio término de ‘experiencia pura’, pues el término ‘experiencia’ lo entendemos como un fenómeno subjetivo, algo que un sujeto tiene y que surge a partir de ese sujeto vinculándose con objetos externos a la mente. Si es así, ¿no deberían sujeto y objeto, mente y cuerpo, ocupar ese nivel ontológico de primordialidad? No deberían ser más reales que eso de ‘experiencia pura’ dado que la relación sujeto-objeto es lo que posibilita la experiencia en primer lugar? La respuesta de Nishida es, a primera vista, bastante extraña. Ya citamos lo que dice en el prefacio: “Yo deseaba explicar todas las cosas sobre la base de la experiencia pura entendida como la única realidad”. A continuación dice: “Al pasar el tiempo, llegué a comprender que la experiencia existe no porque haya un individuo, sino que un individuo existe porque existe la experiencia”. Hay dos cosas que hay que notar aquí.
Primero, al hablar de experiencia pura Nishida no habla de la experiencia de un individuo sino del estado no-dual e indiferenciado de la realidad en su totalidad. Y segundo, que esa realidad es lo que es primordial, no el sujeto o el objeto. Si el individuo fuera primero, si partiéramos de él para explicar la realidad, pues no podríamos hacerlo porque terminaríamos en el escepticismo y el solipsismo del empirismo clásico.
En todo caso, si no hubiera más que este “uno primordial”, por llamarlo así, no sería muy llamativo el planteamiento de Nishida ya que, por muy real que fuera, una comprensión de la realidad tiene que dar cuenta de la diversidad y multiplicidad que experimentamos. Nishida da cuenta de ello con el concepto de contradicción que toma de Hegel, quien de hecho menciona varias veces en el texto. Se podría pensar que el espíritu absoluto de Hegel sería el equivalente de la experiencia pura de Nishida, sin embargo me parece que el Dios de Spinoza es mejor modelo. En la siguiente cita vemos la influencia tanto de Hegel como de Spinoza. Dice Nishida: “Esta única realidad es oposición y conflicto infinitos y también unidad infinita.
Trátase de una actividad infinita, independiente que se realiza a sí misma. Llamamos Dios a la base de esta actividad infinita. Dios no es algo que trascienda la realidad, Dios es la base misma de la realidad”.
La experiencia pura esa a grandes rasgos el Dios de Spinoza, es la base, el punto de partida de todo y también para nosotros el punto de llegada, el alfa y el omega. En el hinduismo, se habla de la identidad de Brahman y Atman, del alma cósmico con el alma individual. La idea es que este último vaya más allá de su ego superficial, el que percibe gracias al velo de Maya, y que se identifique con su alma más profundo, el Atman, lo que en el zen llaman el rostro original, de esta manera identificándose con Brahman o Dios. Es lo que Spinoza describe al final de La ética como el tercer género de conocimiento, el amor intelectual de Dios.
Aunque Nishida se apoya en estos y otros autores en su libro, no quiero dejar la impresión de que su planteamiento sea un simple refrito de ideas planteadas por otros. Guarda diferencias con James y Hegel y los demás y si leyéramos con detenimiento su texto, podríamos apreciar la interesante visión que está tratando de expresar. Sin embargo, tratándose de su primer libro, de su primer intento de pensar cabalmente la realidad, no extraña que su argumento haya quedado corto. Tras la publicación de Indagación del bien algunos criticaron a Nishida por psicologismo. Como señalaron Husserl, Peirce y los neo-kantianos en general, el psicologismo es el pecado que uno comete cuando trata de explicar el conocimiento, el pensamiento o la realidad en general en términos de la psicología, de hechos psicológicos. Es un pecado porque hechos psicológicos, el hecho de que pensamos de tal o cual manera, no es normativo sino sólo descriptivo; no garantiza que el conocimiento producido con base en esos procesos sea fidedigno o universal. Lo que hace falta es un análisis no psicológico sino puramente lógico.
En un escrito posterior Nishida reconoció esto. Nunca rechaza la idea de la realidad como en su fondo indiferenciada y no-dual, pero sí cambia su manera de plantearla. En otro escrito, pasa del punto de vista de la experiencia pura al de la voluntad absoluta (inspirado en Fichte), pero encontrando el mismo problema pasa luego, por medio de una reflexión sobre el hipokeimenon de Aristóteles, a plantear una lógico del basho, el concepto por el que es más famoso y lo que realmente interesa analizar y compartir con ustedes. Eso para la próxima.

Fine Arts: Painting with Oils and Acrylics

MDC Painting with Oils and Acrylics
MDC Painting with Oils and Acrylics

Fine Arts: Painting with Oils and Acrylics

0239 – Painting with Oils and Acrylics (Kendall Campus)

Delivery Options MDC In-PersonEmail this information to yourself or a friendRemind me of this course at a later dateCourse InquiryPrint Version

Course Description

Beginners receive basic instruction including information on mixing color, composition and design. More advanced students can work independently. Individual instruction is given to all students. All levels are welcome.

Enroll Now – Select a section to enroll in

Fine Arts: Drawing From Life Classes

Fine Art or Art Education Miami Dade College
Fine Art or Art Education Miami Dade College

Fine Arts: Drawing From Life Classes

0240 – Essentials of Drawing from Life (Kendall Campus)

Art or Art Education Associate in Arts | Miami Dade College

Delivery Options MDC In-Person

Course Description

Have you ever wanted to draw what you see? This course will focus on the foundation principles of drawing and train your eyes to “see” and understand the world of three-dimensional forms. You will learn the essential skills to accurately portray forms to paper. You will gain an understanding of simple and complex edges, proportion and relationships and shading techniques to create volume and detail.

Enroll Now – Select a section to enroll in

Fine Arts

MDC outdoor portrait photography
MDC outdoor portrait photography

Fine Arts: Outdoor Portrait Photography

Whether you are a budding artist, or ready to move forward in your journey, we have the right class for you. A pleasurable hobby for the senses or the foundation of a more sophisticated path into arts through lines and shapes, colors and forms.

1149 – Outdoor Portrait Photography (Kendall Campus)

Course Description

Enhance your portrait photography skills by learning about portrait planning sessions, leveraging lighting techniques to your advantage, and incorporating studio strobes into outdoor portrait shoots. We’ll delve into the psychology of photography, posing, selecting locations, composing shots, and choosing backgrounds. The class includes three outdoor photo shoots.

Request information

Page 80 of 194
1 78 79 80 81 82 194
- Advertisement -

Recent Posts