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Viernes, 17 de agosto de 2007. Parallels: A note on the art of David Palacios. Caracas, November 2006. The art of unmasking art. Notes on art-percentual (fragments). A statistical analysis of David Palacios’ installation: Still Life, The End. The objects received as gifts from friends and other acquaintances, are decontextualized and useless, they indicate a sort of banality and introduce the spectator into “the sense of nonsense”. This can be interpreted as a jab at art, which bestows up...However, this...

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davidpalacios/Textos | davidpalaciostextos.blogspot.com Reviews

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Viernes, 17 de agosto de 2007. Parallels: A note on the art of David Palacios. Caracas, November 2006. The art of unmasking art. Notes on art-percentual (fragments). A statistical analysis of David Palacios’ installation: Still Life, The End. The objects received as gifts from friends and other acquaintances, are decontextualized and useless, they indicate a sort of banality and introduce the spectator into “the sense of nonsense”. This can be interpreted as a jab at art, which bestows up...However, this...

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davidpalacios/Textos: The Politics of Synesthesia

http://www.davidpalaciostextos.blogspot.com/2007/08/politics-of-synesthesia.html

Jueves, 16 de agosto de 2007. The Politics of Synesthesia. The Politics of Synesthesia. A bit of the same old story. These works, with their focus on the optical instead of the retinal, had to be addressed to a viewer capable of suppressing any anecdotal content and thus realize the dream of making it comprehensible, regardless of the personal experience of that viewer. Resounding solitude, loud green. 8220;Politically correct kinetic art? SUAZO, Félix, “Territorios en Reclamación, Sobre la obra de...

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davidpalacios/Textos: agosto 2007

http://www.davidpalaciostextos.blogspot.com/2007_08_01_archive.html

Viernes, 17 de agosto de 2007. Parallels: A note on the art of David Palacios. Caracas, November 2006. The art of unmasking art. Notes on art-percentual (fragments). A statistical analysis of David Palacios’ installation: Still Life, The End. The objects received as gifts from friends and other acquaintances, are decontextualized and useless, they indicate a sort of banality and introduce the spectator into “the sense of nonsense”. This can be interpreted as a jab at art, which bestows up...However, this...

3

davidpalacios/Textos: Residual or emergent?

http://www.davidpalaciostextos.blogspot.com/2007/08/residual-or-emergent.html

Viernes, 17 de agosto de 2007. The art of unmasking art. Notes on art-percentual (fragments). A statistical analysis of David Palacios’ installation: Still Life, The End. The objects received as gifts from friends and other acquaintances, are decontextualized and useless, they indicate a sort of banality and introduce the spectator into “the sense of nonsense”. This can be interpreted as a jab at art, which bestows upon itself a role of transcendence. Publicar un comentario en la entrada.

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davidpalacios/Textos: NOS/OTROS

http://www.davidpalaciostextos.blogspot.com/2007/08/nosotrosde-la-sociedad-del-arte-en.html

Jueves, 16 de agosto de 2007. Publicar un comentario en la entrada. Suscribirse a: Enviar comentarios (Atom). Parallels: A note on the art of David Palacios. Museums of the world. The Politics of Synesthesia.

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davidpalacios/Textos: Parallels: A note on the art of David Palacios

http://www.davidpalaciostextos.blogspot.com/2007/08/parallels-note-on-art-of-david-palacios.html

Viernes, 17 de agosto de 2007. Parallels: A note on the art of David Palacios. Caracas, November 2006. Publicar un comentario en la entrada. Suscribirse a: Enviar comentarios (Atom). Parallels: A note on the art of David Palacios. Museums of the world. The Politics of Synesthesia.

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Viernes, 17 de agosto de 2007. Parallels: A note on the art of David Palacios. Caracas, November 2006. The art of unmasking art. Notes on art-percentual (fragments). A statistical analysis of David Palacios’ installation: Still Life, The End. The objects received as gifts from friends and other acquaintances, are decontextualized and useless, they indicate a sort of banality and introduce the spectator into “the sense of nonsense”. This can be interpreted as a jab at art, which bestows up...However, this...

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