Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 13
Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism example [13] Contemporary Artwork Critic Louis Choi's art criticism of published on Facebook : Damien Hirst's work The Shark <The Physical Impossibility of Death in the Mind of Someone Living> : Damien Hirst's work The Shark is not an artwork, but a conceptual representation.
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Louis Choi Chul-joo's Art criticism: Damien Hirst's work The Shark 《The Physical Impossibility of Death in the Mind of Someone Living》 is not a painting work of art, but a conceptual representation.
This is not just a shocking installation art, but a real image before language, a prototype image of conceptual abstract realism that visualizes the physical impossibility of death in the mind of a living person and the structure of a lack of desire. It visualizes the impossibility of biological death, not a pictorial image, but has resulted in revealing the biological reality of death as an inappropriate preservation.
Damien Hirst's work Shark, which follows commercial pop art that rejects romantic aesthetic acts created by the United States, is not an artwork but a conceptual representation.
As a conceptual expression, the shark acts as a symbolic structure in which the shark floating on the object formaldehyde reveals the lack of reality, concealing the reality of death, and staring at the desire of the other. This is a device of linguistic deficiency that prevents the viewer from recognizing the reality of death.
The time has passed for his sketches to be wrapped in conceptual art and popularized as British pop art.
The shark in the glass tank made of dismantled sketches in the linguistic sense has shifted its artistic value as a trace of reality to installation art as an image in the linguistic sense.
Concept is an act of art that meets reality. If reality becomes stuffed animal, not a painting, it is an excessive literary idea.
Sharks in glass tanks, where light shadows are flipped over and linguistic meanings are dismantled by temporality, collide between reality and imagination at the intersection of light and shade, and nonverbal reality leaves artistic traces through the separation of image and meaning. In fact, it features sharks and other animals like theater actors in an exaggerated literary style.
Pop art, which rejected real aesthetic behavior, emphasized various consumerism that deviated from social norms, but communicated with the media.
The conceptual value of Damien's work, which represents contemporary art in England, cannot be replaced by an aesthetic act that has stopped by mistaking it for Shakespeare's play.
The shark as a map image of desire is not just a symbol of death, but a philosophical device that traces the reality of deficiency as an unverified trace of desire. This is a structure of desire and a linguistic meaning, a pre-stage of the image of a real shark that unconsciously visualizes death. Therefore, it is difficult to express the aesthetic value of 'Shark' by introducing other animals with the conceptual value of installation art.
Modern art stopped meaningless aesthetic activities through photography momentarily as it barely began to breathe in the prohibited regulations of the past time, but his shark, which is not different from the photographic image, is just an image using formaldehyde as a developer.
Therefore, the existence of a shark shows a lack of reality staring at the desires of the other, but it is a phase of abstract realism.
Conceptual artists focus on imagination in conceptual art, but their concepts do not represent the concepts of contemporary art.
As a conceptual structure, the glass tank is a device of the symbolic world that blocks out linguistic meaning. It is an image as a precursor to which linguistic meaning is not revealed. It is an installation image of one of various contemporary art.
Therefore, just because the concept of contemporary art cannot be known, a simple concept cannot be decorated with artistic value.
Formaldehyde, where he stopped the actual structure, is a material trace of his desire to preserve reality, but it does not act as an aesthetic structure.
His brand, created by Tate and Saatchi Gallery, contributed to his work like a commercialized work, transforming aesthetic behavior into the value of precious metals.
And can the former head of interpretation of the Tate Museum, who raised Hirst's sketches to the level of Cubist Picasso, say similar sketches are different in concept!
This is different from Picasso's painting, which shows the reality of abstract realism, but it shows only a divided image of a subject who cannot reach reality by looking at the shark's position.
Hirst's shark formed an artistic consumption structure by using a desire structure composed of capital as an extreme experiment of conceptual art, but it can be transferred to a device that asks back the boundaries and ethics of art.
Nevertheless, when interpreted as a philosophical painting that visualizes the structure of the ontological anxiety and desire of modern people, his "shark" is established as a circular reality image of conceptual abstract realism that reveals not only simple shocks or commercial installations but also the encounter of linguistic reality and desire as a thinking being.
Although the art act turned out to be non-realistic, the romantic painter who tried to meet the real repeatedly encountered the canvas painted as non-realistic and became contemporary art./ Writing. Art critic Choi Chul-joo (Doctor of Cultural Design)
Contemporary Art Critic Louis Choi Chul-joo