Art history is not the history of the past, just as human emotion does not express nor adjudges the process of emotionalism. Contemporary art would seem to be a wireless phone living just in one’s ears, whose number is an orgy of academic beasts skating in the ice of stock trader eyes.
“Transpositionism” is an open art-science feast…It is the philosophy which vertebrates the project of the dematerializing of art and sciences, it is the thought of the fusion of all aesthetics. It is the emancipation of all what remains of conceptual matrixes which have manipulated critics and any reflection on creative power and its constant reformulation. And this results from certain vices which make shape and volume gallop towards organized systems or entities which pretend to be indispensible in universal history.
Transpositionism contains visions of new visions, worlds of new worlds, self-conscious of a new conscious. It is a target that the viewer will collage and de-collage; will propose art from the world of nonart; will articulate and disarticulate; will glue and de-glue with the extra-pictorial objects because the authenticity of a work of art is always invisible but its easthetical paradigm is ever visible.
“Transpositionism” seeks to sharpen a new iconography of innovation and creative integration without falling into the simultaneity nor in comparative art. It does not seek to go back to the “palette” to narrate the beauty of creativity nor the recovery of the concept of representation so as to dispense with any chromatic orientation, nor undermine or ignore the new means of expression generated by the first confrontations of this millenium.
It is the end of the dictatorship of the palette in order to enrich the artistic vision with all the innovative devices which can allow the human creature be a free creator
“Transpositionism” does not aim to be the curator in a united aesthetical identification of all the artistic tendencies or visual arts; rather, to infinite the legibility of visual arts in a fashion both pluralistic and heterodox. From classic dynamism to impressionist, expressionist and geometrical dynamism, from chromatic to iconographic dynamism.
Shape and Volume are now orphans. Next to them stands a brain-installed plastic, dictating strategic tool, which has however been unable to condition the creative act.
To “Transpose” is only a vehicle resting upon all possible methodologies seeking to generate a scenario of un-categorized expositive rules in order to highlight and promote an aesthetical fiction-goal with no cultural rules. Art History is the history of what we have not yet seen.
Transpositionism contains visions of new visions, worlds of new worlds, self-conscious of a new conscious. It is a target that the viewer will collage and de-collage; will propose art from the world of nonart; will articulate and disarticulate; will glue and de-glue with the extra-pictorial objects because the authenticity of a work of art is always invisible but its easthetical paradigm is ever visible.
By Bartus Bartolomes
(*) Il Manifesto del Arte “Transposicionista”. Paris, 2010.
Note of the Author: The first Manifesto was published in San Francisco, California, almost three decades ago. The Manuscript disappeared when my residence in New Dehli, India, where I resided in the early 80’s, was ransacked. A great deal of my archives and valuable plastic art works were lost as a result of the civil war ensuing the death of Prime Minister Indira Ghandi.
