Art Critic Louis Choi Chul-joo

Contemporary ArtReview Velazquez Meninas

Art Critic Louis Choi Chul-joo Criticism [70] The invisibility of Velazquez's <Las Meninas> existential space, Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire.: The invisibility of Velazquez's <Las Meninas> existential space

Velázquez (Diego Rodríguez de Silva y Velázquez), The Handmaids (Las Meninas),

1656. oil on canvas, 318cm×276cm, Museo del Prado, Madrid

The invisibility of Velazquez's <Las Meninas> existential space

In the Baroque period of the 17th century, as an ideological and atypical painter in absolute monarchy, the character who appeared in Velazquez's "The Handmaids" excludes symbolism from the space of the canvas and emphasizes the realistic presence of the object as a substance. Velazquez solves the problem of gaze perspective in "The Handmaids". First, it decides who the object is, how the arrangement of the characters will be organized, and where the viewpoint will be placed.

And by excluding temporality, the space opens and identifies the king, queen, and Velazquez as they open up to different viewpoints. The appearance of the maids is not a symbolic existence like a mythical woman, but shows the phenomenon of the time and the presence of humans. As an expression of the shape of symbolism, he emphasizes his presence as the subject of reality by gaze at the position in space rather than the characteristic description of the maids.

Therefore, Velázquez does not paint a simple court scene that is tailored to the subjective point of view of the gaze painting according to who sees it and who sees it. He places the power relationship between the 'viewer' and the 'visible' on the canvas. The characters in the painting look at the audience, but the king and queen in the mirror are in the audience's place. In this way, Velázquez asks the question of who is the subject of gaze.

This is the politics of artistic gaze that corrects the wrong gaze as an aesthetic dilemma of "Is the political subject of gaze the subject of power or art?"

In "The Handmaids", the object reflected in the mirror is an illusion, and the object of illusion in the mirror is real. The progression of this illusion is the cutting of the subject by significance. The subject of the object reflected in the mirror is cut into reality as an object of illusion. As an illusion, reality is a non-real being reflected in the mirror and takes place in a circular structure through the mirror as an object of illusion. Here, the semantic function is symbolic by accepting a new subject by Sinifian.

Therefore, in "The Handmaids", the mirror reproduces the object of illusion as a non-real thing. The mirror image in "The Handmaids" in the mirror is not just a reflective device. It is a philosophical device that asks the nature of representation.

Velázquez appears himself in a mirror painting, suggesting that the artist is not a mere non-realist representative of an illusion object but a being who constitutes reality. This repeats the question of "Does the mirror reflect reality or create reality" to the fantasy object as a non-realist.

Significance(記標) is meaning and is cut to accept a new subject. In this way, the cut subject is fixed in a representative shape. In a painting, the space reflected in the mirror is another space in the physical space revealed in the scene of the painting, that is, the reality seen as a 'gaze' that cannot be seen from the point of view of the entire scene of the painting. In order to reproduce the reality seen through such a gaze, the artist in the painting uses a mirror as a material.

Velázquez (Diego Rodríguez de Silva y Velázquez), The Handmaids (Las Meninas),

1656. oil on canvas, 318cm×276cm, Museo del Prado, Madrid

"The Handmaids" is not a space-time as a single mirror material by constructing reality and an illusion space in reality in the picture reflecting the layer of existence as the material of the mirror. In the picture, reality and the fantasy space in reality form another existential space of multi-layered reality.

He cannot see the canvas painted in "The Handmaids", but the object painted in it creates an existential space in reality that can be a king and a queen in a mirror, and creates an illusion space in reality to recognize "the existence of the invisible" as a structure. This expresses the "invisibility of the existential space" as an image space, and what "The Handmaids" reveal as art constitutes a trace of the existential space of the invisible, not the visible.

In "The Handmaids", the mirror is a real representation of time and space that shows us the contemporary space seen by Velazquez. The shape reflected in the mirror is an invisible space, and it is the shape in his time that was seen by Velazquez. The gaze he looks at and the gaze of the other are identified, and it is transferred back to the gaze of the king and queen reflected in the mirror. The gaze moves back to the princess. It shows the reproducibility and gaze that symbolically reveals the princess' situation.

In this way, he reproduces the situation of the princess symbolically and makes her gaze at the status of the artist in "The Handmaids" by creating an existential space as a philosopher, not just a court painter.

He is not just a court painter, but he raises the artist's status to a position equal to that of power by placing his existence in the work. This is "the ontological declaration of an artist who expresses the subject as a self-portrait", so a painting allows us to gaze at the existential space that is not just a decoration but an independent act that constitutes the artist's existential space.

The artist's existential space, which represents the subject of the perspective visual system as a self-portrait, is separated and the gaze point is revealed in a reversible shadow of light. This distinction is a gaze point that focuses on the point where the light is revealed.

Velázquez, who appears in "The Handmaids", sees himself as an object reflected in the mirror and draws it. Another mirror in the painting shows Felipe IV and his wife, Maria Anna. This mirror reflects Velázquez and the king and queen outside the painting, but only the king and queen are reflected in the mirror in the painting.

What cannot be seen by the maids who exist in the meantime is an image that cannot be interpreted with a perspective visual system. Here, if the image reflected in the mirror is real, the mirror shows an image that does not fit the optical principle. Therefore, in "Maidens", the image in the mirror is a virtual non-realistic image, and it is a fantastic image that Velázquez revealed in the unconscious desire of the other.

This is because it is an image that is not revealed in "The Handmaids" and is seen as a non-reality in the perspective visual system. In the picture, the reality of Velazquez is revealed by contrasting the subject Princess Margarita as the other and the subject King and Queen as the absence. And the image reflected in the mirror is an invisible 'gaze' that deviates from the entire point of view. This is a metaphorical image as an inner reality looking at Princess Margarita rather than as a king and queen as a member.

Therefore, as soon as Velázquez's eyes are connected to capture the reflection of the king and queen in the mirror, the gaze continues to an unidentified man (the queen's mastermind) standing at the opposite door. If there are kings and queens reflected in the mirror, the man standing at the opposite door is an image of non-existence. Therefore, the rest of the characters are virtual images as non-existence. By revealing the image seen through such a gaze, Velázquez erases the space domain and mannerism of 17th-century painting.

In "The Handmaids", the place revealed by Lacan's gaze is a space of existence in which the position of the man standing at the door appearing at the vanishing point in the entire virtual image cannot be counted. Therefore, the man is the reality of the existential space that Velazquez revealed through gaze from the other's desire point of view. Velazquez reveals himself as an object in "The Handmaids" as a painter. The object as such a subject cannot be a cognitive subject. However, the image of reality and non-existence is reproduced in the same space.

Therefore, "The Handmaids" is not just a painting, but an immeasurable existential space, a philosophical structure of desire structure, obtained from the artist's experience.

In this way, Velazquez drew a philosophy of existential space that could not be drawn with a brush to find a connection with the gaze image of the existential space that could not be expressed on the same plane, and made him stare at the transparency of the space with that philosophy./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)

Choi Chul-joo, a conceptual abstract realism painter