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FULL FALL NEWS

FIAC 2015 @ Galerie 1900*2000
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Once again I am very honoured to announce my participation at the Paris Art Fair:  FIAC with Galerie 1900*2000

A-13 . Inkjet Photo Print - Mat Lamination. Mounted on Aluminum Box. 60 x 36 x 5 cmEdition of 3. 

A-22 . Inkjet Photo Print - Mat Lamination. Mounted on Aluminum Box. 64 x 50 x 5 cm. Edition of 3 - 37 x 22 x 4 cm. editions of 10
Other examples of works produced in 2015
A-29 . Inkjet Photo Print - Mat Lamination. Mounted on Aluminum Box. 50 x 50 x 5 cmEdition of 3. 
A-23 . Inkjet Photo Print - Mat Lamination. Mounted on Aluminum Box. 

34 x 45 x 4 cm ( 4 modules of 11 x 17 x 4 cm ). Edition of 3

 

A-35 .  Inkjet Photo Print - Mat Lamination. Mounted on Aluminium Box. Lacquered steal base. 53 x 41 x 13 cm . ( 4 modules 11 x 17 cm + base 23 x13 cm ) Unique

Recent text  on my work that I like very much. Written  by Alexandra Schmidt an Austrian writer / blogger based in Salzburg:

There is a long history of destruction of works of art. Very often it comes down to wanton destruction for political reasons. The Nazis destroyed "degenerate art", currently the Islamic State destroys art and artefacts of "infidels" in Syria. Destruction of works of art can also be part of the art itself or part of the confrontation with it. At the Institute for Art Destruction (IMC) Berlin artworks are destroyed in order to illustrate uniqueness - of the artwork, the artist, of life itself and the destruction "of other originals such as the rainforest". There you can save a work of art from destruction by buying it. Sometimes the destruction is also a mistake: the amateurish repair of Tutankhamen mask with unsuitable glue was such a mishap, and the removal of works of art by cleaning staff, because it had seemed like dirt or debris, has happened before. From there the quip has arisen to ask at each pile of putative junk "Is this art or can it be thrown away?"

Gaston Bertin formes collages or sculptures made of paper and photographes them. Then he destroyes the collage, there is only the photograph remaining. The photography is the work of art itself, not just "a picture of something." Photographs are always objects per se: For what is in the picture, in which light, at which time it was taken, the same motive can be made a day later under the same conditions but might not yet be completely equally photographed. 

Gaston Bertin has studied photography, industrial design and architecture and earlier in his life he had made street photography. Street photography is a method in which "the moment" plays a particularly important role. Never again there will be exactly the same moment again - the decision to pull the trigger, even half a second to wait to take the same view at a different time - whichever is in front of the lens, a street photographer can not strongly influence. He must accept what the public space gives him, as it presents itself, whether it rains, what there is.

When Gaston Bertin now takes pictures of self-created and self-destroyed collages and sculptures, no one but himself alone determines his motive and what view of the subject he granted the observer. Through the forms, the creation of the subject, the artist alone determines how the design will look like. None other than he has influence on the concrete design of the motif. And by the subsequent destruction none other than he ever will have a chance or opportunity to see the photo with their own eyes, "to get an idea of ​​it."

This complete autonomy on appearance and design of the motif and its destruction, as soon as there is a photo of it, is wholly self-determinated and is the opposite of street photography and how flexible you have to be for it or that somebody else could make almost the same picture of something. That is what Gaston Bertins work is about: to self-determination and the complete autonomy and power over his own work. 

Generally speaking, the act of destruction can be seen as aggressive, or also as helpless: aggressive, because something is vandalized, it was nevertheless important enough to be created before. Helpless because it is guaranteed and secured solely by the destruction of the object that no one else will be able to take of a photo of it.

newly design web page www.gastonbertin.com

"Il n'y a de beautés durables que celles qui sont fondées sur des rapports avec les êtres de la nature. Si l'on imaginait les êtres dans une vicissitude rapide, toute peinture ne représentant qu'un instant qui fuit, toute imagination serait superflue. Les beautés ont dans les arts le même fondement que les vérités dans la philosophie. Qu'est-ce que la vérité ? La conformité de nos jugements avec les êtres. Qu'est-ce que la beauté d'imitation ? La conformité de l'image avec la chose. “  Diderot 

14th street, New York City. 1985

Instant self-gratification fills the room with perpetual void. Mirrors where you are more beautiful than in others reverse the subjectivity of your blind mind. I you cannot show the others, show the stone. Nothingness is everything forever. No square satisfies my need. I hear no scream, I fear no tears. Suzy is high. Too old to die young, I am looking for truth.

 

https://en.wikipedia.org/wiki/Truth
Copyright © 2015 Gaston Bertin, All rights reserved.


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