[This news piece was originally covered in the US section of PERFIL… Thus, the translation for you. It’s unfair that you guys can not understand what the original news piece says! This is Art, and Art has no language. Hahahahahahaha!! My comments in italics. Also, I’m sorry for being the connational of this lady. Really.]
The enveloping and seductive art of Amalia Amoedo returns to Miami
The Argentine artist will offer a selection of her work in a sample titled SEMANTICS, which can be enjoyed from July 22 to August 22.
Uh oh… we already began with two lies in this news piece!! First, the label of “artist” applied to this lady… when it’s clear that she can’t be called an artist at all. The second lie, is the part that says “it can be enjoyed”. If you enjoy this, you are a moron… or a three-year-old kid. Really. No offense to morons, or three year old children, they do the best they can, given their possibilities.
Argentine artist Amalia Amoedo, who has already participated in several international exhibitions, presents in this opportunity a significant selection of her work in an experimental individual exhibition titled SEMANTICS. The event will be held at the Turnberry Ocean Club in Sunny Isles Beach, Florida from the 22nd of July to the 22nd of August.
“Experimental individual exhibition.” What? Are they going to showcase her “work” with virtual reality, or what? With holograms? With shark lazors? What are they talking about? Oh, this artsy people, they are so difficult to understand for the common man…
Pietro Daprano, curator of the exhibition, maintains that the works “correspond to a revision that seeks to analyze the qualities of color itself, aspects of meaning and meaning of codes, symbols and words that converge in the linguistic system of the visual texts elaborated by Amalia Amoedo. The exhibition of works in an unconventional space leads to a reflection on the primacy of practical value of things over any other value.”
“Visual texts?” Did he snort coke or what? Of course texts are visual, moron! And besides, we are talking about paintings, not texts. This is a text. Really. THIS IS A TEXT. Moron.
“Amoedo crumples her experiences and turns them into visual concerns through the use of nontraditional materials and a flaming use of color, which when crossed with other elements, give rise to autobiographical narratives related to the stages of her childhood, wrapped in an extravagant atmosphere that seems to flirt with a couple of concepts from times of aesthetic genesis: Kitsch and Pop”, he adds.
Ah, I see. She paints scenes of her childhood. That’s why she paints as she still was a child. Really. As you will see, this woman is over 40-years-old. Really. Also, the bullshit that he uses to justify the “paintings” of this lady, reminds me of the quote my fake art teacher said about my “art” on this piece…
Amoedo, for her part, defines: “My work is an existential dialogue, from the sensible, that seeks to verbalize complex and subtle issues around memory, feelings and emotions in a different way than written and verbal language.”
“I’m sensitive!! Don’t say my “art” is shit, please, no!!! Please!! My art is an existential dialogue!! It questions itself its right to exist, or to be burned in a pyre. Really!!”
“There are lines of research in my artistic work to which I integrate textiles, toys, caramel-like shapes, carousel horses and other objects with verisimilar appearance related to childhood, with the idea of elaborating metaphors related to both the emotions and memories of the imaginary infantile, as well as to the subconscious borders.”
Bullshit. You can’t paint better than this, that’s why you do it… It’s fine, just don’t pretend that you do the emotions and memories of the imaginary infantile. It’s an insult to children, really. At least kids don’t pop up with some artsy explanation that pretends to be deep about their art. They just do it, and that’s it. Besides, children do not peddle their stuff either.
The project idea at Turnberry Ocean Club at 215 185th St, Sunny Isles Beach, Florida 33160, is an initiative developed by Carminne Dodero along with Dario Campidoglio, organizers of the traditional Six O’Clock Tea benefit parade.
Who? Ah, yeah, sorry. Some chick that has a lot of money and does tea parties for friends and stuff. You can drink the tea from there… which I expect to be better than the shit this “artist” does. Really.
Profile of Amoedo. The artist was born in Buenos Aires in 1976 and from a very young age she was linked to art. Currently, besides attending to her artistic work, she splits her time as an active member of the Amalia Lacroze Collection of Fortabat; Member of the Council of ArteBA, member of different non-governmental organizations and President of the Federal Police Foundation.
Whoa there!! Now I understand why she can’t do better! She is a really busy woman!! She lives permanently in a rush! That’s why she can’t do better art. Really! How many years did Michelangelo spend to paint the ceiling of the Sistine Chapel? Four years?! Well, you can’t rush quality…
She studied with prestigious masters such as Marcia Schvartz, Miguel Harte, Nicola Costantino and Jorge Gumier Maier and she exposes her work both in Argentina and abroad.
Her masters cheated her. They should return her money back… and other things as well.
And I must give you the source.
Nuremberg, 6 September 1938
The proof of the endowment of a true artist is always to be found in the fact that his work of art expresses the general will of a period. Perhaps that is most clearly shown in architecture …. The religious mystical world of the Christian Middle Ages, turning inwards upon itself, found forms of expression which were possible only for that world — for that world alone could they be of service. A Gothic stadium is as unthinkable as a Romanesque railway station or a Byzantine market hall. The way in which the artist of the Middle Ages, of the beginnings of the modern world, found the artistic solution for the buildings which he was commissioned to create is in the highest degree striking and admirable.
Amiens choir, 13th-century France.
That way, however, is no evidence that the conception of the content of life held by…
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Wait, have I become batshit insane? This is art:
And there’s more art:
Let’s see how far I can carry this.
There’s something my “art teacher” told me. Listen:
One could say that any child could make a drawing like Gas Mask only in the sense that any fool with a hammer could fragment sculptures as Rodin did, or any house painter could spatter paint as well as Pollock. In none of these cases would it be true. In each case the art lies not so much in the finesse of the individual mark, but in the orchestration of a previously uncodified set of personal “rules” about where to act and where not, how far to go and when to stop, in such a way as the cumulative courtship of seeming chaos defines an original, hybrid kind of order, which in turn illuminates a complex sense of human experience not voiced or left marginal in previous art.
That explains the Keks that you see. Also the pink “calligraphy”. And the yellow cross. It’s art. It’s deep, meaning, powerful, creative, thought-provoking, question making, it challenges the preexistent power structures and the status quo of the Temple of Art Cannon. There’s a deep meaning on the thesaurus of hidden thoughts, voiced in a seemingly inconnex manner. But, the beauty doesn’t lie in the randomness of the traces– it lies on the hidden significance of the paths of human life– symbolized by the complex and capricious traces of Gas Mask. Life is random, and art imitates life, in this case, by tracing marks on the canvas. Because, what is life, if not a never-ending success of turns and returns, sometimes to go back to the same place, sometimes to go nowhere and sometimes to go off charts…
Sorry. It’s too much. I’m deeply sorry.
The Führer, Adolf Hitler, had a name for this kind of shitty art. It was called Entarte Kunst. Back in the times of Weimar Germany, the art museums had dedicated to purchase all this kind of crap. Like this other example:
Do you know what is worse? Compared to the previous examples, this doesn’t look like shit. It’s still shit, however, but you can pretend with a certain degree of verisimilitude that you can see something.
And the guy that used to make this kind of stuff, did even more weird shit. Like this one:
To be honest, I didn’t need to read that this guy (Jean-Michel Basquiat) did die of a overdose. Because, it’s pretty obvious that he was high as balls on at least ONE substance. I say at least, because he probably did more kinds of dope. You know, the inspiration to make truly meaningful art it’s hard to find these days… every artist needs a little help. Specially if you happen to be like the uninspired butt of Cy Twombly. Or myself.
The case of Twombly it’s even more heinous. Did you see what my “art teacher” told me? Those words were never uttered, in relation to my piece of “art”. But… if you click on the little 1, you’ll see that it takes you actually somewhere. A guy called Kirk Varnedoe did say those words indeed. In case you haven’t spotted the piece of art that I’m talking about, it’s the first one. The red scribblings.
I only changed the name of “Twombly” for “Gas Mask”. Very lazy, right? But it probably works anyway. Neither piece of “art” is that, it’s only a tasteless joke. On you.
This is a piece of art that you might not know who did it. Look:
You can see that there are worlds of difference between Basquiat, Twombly, Hitler and me. Both Basquiat and Twombly were professional clowns that pretended to make “art”. Basquiat died as a victim of his own success and too many drugs. And he joined the “Club of the 27”– that is, the guys and gals that died when they were 27 years old. Basquiat is an useful corpse (that painting of him that I showed you before has been sold very recently), and he died in 1988. Also, he died young, leaving a “mark” as a trailblazer. Until the media that hyped him forget about him. Then he will drift into irrelevance.
Pertaining to Twombly, his career has been much longer than Basquiat’s. Besides, he could have been the father of the latter, due to generation gap (Twombly was born in 1928, and Basquiat was born in 1960). The not-so-fake quote that I’ve showed you before was made because the guy who said those words felt that it was necessary to pronounce them. Why? Because Twombly’s art is an utter piece of shit. Look at this:
You can’t tell me that this is art. It’s just a meaningless staining of colors on a canvas. Sorry, but I won’t buy pseudo-intellectual shit like the one I’ve written before. It just won’t happen.
I’m not by means an artist. But you don’t need to be an artist, or to have an art major (one of the most pointless grades to get, seriously, if you feel the need to study that, just DON’T)*, to appreciate good art.
*There are things with more dignity than holding a piece of paper that just exemplifies how brainwashed you are. Really, if you have to choose between majoring in some-such art or some bullshitty career like “women’s studies”, or not to study at all, then don’t study. You’ll save money, and you’ll retain at least a shred of sanity and common sense.
The humanities and the arts majors are nowadays a sure-fire way of getting brainwashed, for the 90% of people. The hard sciences have some degree of corruption as well, but is not nearly as big as in the social sciences. Obviously, you can’t (still) say that 2+2=5 to a student of math. I mean, a real one. But you can probably pull that one out on someone like this.
The Nationalsocialists did care for good art. Art that didn’t need the skills of a fast talking jew to be sold or admired. Obviously, it had a lot to do with the fact that Hitler himself was an artist.
And he was willing to extend his hand to any aspiring artist that didn’t do degenerate art. And that praised the values of a healthy Germany.
In Nationalsocialist Germany, art (nor artists) didn’t have the need to alienate the common people from them. On the contrary, art was meant to be appreciated by the common man, and not to be only “understood” to some clique of self-proclaimed “intellectuals”, pseudo-artists and art major groupies who find hidden transcendental meanings behind a pineapple.
And, running the risk of sounding repetitive, it’s the jews who are behind all of this. As artists, gallery owners, marchants or art critiques. They were behind the corruption of art in Weimar Germany. And they were ousted in 1933 by the Nationalsocialist government. Now, they are behind the corruption of art everywhere.
There’s “art” and art.
You can’t really compare these pieces. The first one seems to be an amateurish painting or, a painting a small child could produce for his art class. Except for the theme of the painting… wait… can somebody explain what is going on?
When you look at the second painting, you can see the air of serenity, even a subtle mirth of the woman who is breastfeeding her child. Obviously, the technique and execution that this painting has beats hands down the first one. But it’s not just a matter of technique or of skill on the execution of the idea. It’s the idea on itself, and the feelings it can evoke. Just look again at both paintings and tell me if the second one doesn’t move you. They also say that beauty is in the eye of the beholder (and indeed, that painting is beautiful), but also, it evokes a sense of peace and serenity to me.
I ought not to tell you which one exalts the human nature and which one diminishes it, or at least, doesn’t contribute anything of value.
Some more paintings. Not necessarily from the Nationalsocialist era, but still, worthy of admiration.
And here is a sculpture by Arno Breker:
This is just a small token of all the good art that was produced in Germany. Nowadays, if you search for “german art”, beware, because you’ll have to filter a lot of terrible stuff, coming from the 50’s onwards. It’s not all the fault of the Germans, however, because the jewish parasite has ensconced again into German life. Like in the days of the Weimar Republic.
Obviously, I had to show you only paintings from Germany made preferably in the Nationalsocialist era. That doesn’t mean, however, that the other Aryan countries do not have any artists worthy of mention. You probably know most of them, but I’ll mention them anyway. Da Vinci, Michelangelo, Rembrandt, Velazquez, Goya, Raphael, Caravaggio and a long et cetera…
These artists spent years in training to master their inner talents. They didn’t come saying “I’ve got some cryptic message and thus I make art”. They may have had a cryptic message to say in some paintings, but they honed their skills first! Some of them painted for nobles and kings, and the royals were not willing to take bullshit from nobody! (Unlike today). So, in those cases, it was a guarantee that the artist indeed had artistic talent, and that he knew his stuff. If the artist were to do a botched work, he would have to pay with his own money and properties to the King. As a indemnification. Because they wasted time and the money of the State, and in some way, also insulted the King or Queen.
Compare now to this state of affairs. Botched works of “art” are everywhere. The states happily buy, promote and encourage every type of degenerate art. The so-called modern “art”, or contemporaneous “art”. An insult to every sense, especially the common sense.
“The artist does not create for the artist: He creates for the people and we will see to it that henceforth the people will be called in to judge its art”. Adolf Hitler.*
*Please excuse the emasculated source from where I lifted that last quote. It seems that he equates everything bad to the “Nazis”. If he only knew that Eisenhower was a jew, and that he killed by starvation and diseases over 900.000 German prisoners of war… after the war, he would look at him with different eyes. Of course, probably for Mr. Tolerance those wicked “Notzees” had it coming.
From Mein Kampf
If we study the course of our cultural life during the last twenty-five years we shall be astonished to note how far we have already gone in this process of retrogression. Everywhere we find the presence of those germs which give rise to protuberant growths that must sooner or later bring about the ruin of our culture. Here we find undoubted symptoms of slow corruption; and woe to the nations that are no longer able to bring that morbid process to a halt…
Read more at: Adolf Hitler on the Destruction of Art and Culture