Their coherence, although, should not be confounded with a new order, harmony or even less with luck.īeing coherent in a unique and intense manner makes Rosario Buccellato's paintings so confusing and disturbing. These paintings are no flukes, they rather capture and fix the uniqueness of coincidence. s paintings affirm deeper (or higher?) coherence than the one apparent in our world.He finds this coherence by making collages and acts it out in his painting.Ĭasualita is based on the artist's firm conviction that in coincidence there lies a truth, which transcends schedule and foreseeability. Time domain, spectral and sweep source modalities are briefly described, and important physical parameters of the OCT instrument are discussed. ![]() ![]() To Rosario Buccellato perception and designing of Casualitll, of coincidence, means that he realizes a certain kind of coherence, which is initially only discovered by him: structural, perspective, in form and content. An overview of the optical coherence tomography (OCT) technique is given. Incoherence does not inhibit connections: fabrication via fabrics by means of art. How does the artists create new contexts in his paintings? ln many pictures by disposing textiles: panels, curtains and clothes structure the paintings, they conceal and reveal. The fabrication of new tones, depending on the number of layers, is almost an epitome of a technique of coincidence. By this means the tone is unpredictable, which concerns the intensification as weil as the designing of contrasts. No other technique than varnish painting might be in a better correlation to the novelty of thesefigurative combinations: Lots of lucent layers produce transparent transitions ofthe colours. Collage as a sort of directed coincidence, which creates a new meaning by constructing a new context:Īnimals which do not react to human beings, people in diserdered communication, anchorless and on shaky ground, perspectives and Iack of prospects. While combining his own and external objets trouvts, he helps coincidence along. He follows his visual inspirations as weil as his intuitions and designing them the artist arrives at the technique of collage. To a connoisseur of pictures and images, to a painter as Rosario Buccellato "coincidence" might first of all mean alert and mindful perception: co-incidences of hisinner and outer world: pictures, Situations, encounters, perception en passant. If you, however, refer to the original meaning of "technique", to "art(ifice)" and "craftship", that is to all forms of human skill and creativity, the contradiction mentioned makes sense and will be of appealing interest. ln any case you cannot produce coincidence, it happens. Good and bad luck are usually interpreted as coincidence, unpredictable and without an evident cause. ![]() Finally, the article draws on Riegl’s idea that Dutch group portraits incorporate spectators as active constitutors of artistic form to offer some suggestions about Lukács’s theory of the revolutionary party.Rosario Buccellato's exhibition CasualitáĪt first sight the title "Techniques of Coincidence" seems to be contradictory.Ĭalculability, repeatability and rationality of technique in general almost have to exclude coincidence and accident because they put well-planned and scheduled procedures at risk. ![]() The article thus reinterprets reification as the formal definition of the subject as an isolated individual playing no active part in the structure of social forms. Both Lukács and Riegl incorporate notions of agency and active involvement in the forms of representation into these accounts of subjectivity: what Riegl finds in the Kunstwollen of different works of art, Lukács finds in the formal structures of social reality. This article argues instead that he treats subjectivity as a formally defined position within the totality of consciousness, an account of consciousness that closely parallels Alois Riegl’s theory of the spectator as a formally defined component of works of art. Interpretations of Georg Lukács’s theory of reification and consciousness have typically assumed that Lukács relies on an essentialized notion of subjectivity that can be restored by dereification.
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