UFORA'S IMAGINARY MUSEUM PART 1

Work by Rob Mintz

These paintings on paper encourage a kinesthetic response of tactile and motor sensations --- along with an art-historical decoding of the faktur. A direct appeal to the physiology of perception requires optic agitation. I intend for these paintings to radiate an abstract clarity. On a restless surface forms are suspended in unstable equilibrium, ciphers of the universal solitude. Reflecting consciousness in ways nature cannot, jostling shapes become emblematic of a transpersonal realm. The painter’s jouissance is a call for an end to the reign of necessity, the great dream of utopian fantasy. Kierkegaard wrote of “the infinite passion, the absolute venture.” Art will be that or nothing. My works on paper externalize the drift of subjectivity and autonomous introspection. Often I compose them to contain many smaller images, having absorbed the situation of exhibition: all museums, real or imaginary, place one picture next to another.

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UFORA'S IMAGINARY MUSEUM PART 2

Work by Dalibor Polivka

Polivka's 5 concepts for UIM.
1. Fags of the province of all mankind. (P.O.A.M.) are symbolic manifestation of colonial ceremony, establishment of an extraterrestrial real estatend consecration of art to eradicate the establishment of any kind of dominance.
 
2. Tents/Invisible Dwellings representing museum without walls. Teeppee like structures are a manifestation of a fake neo-traditional ritual, detached from history, origins, and natural environment. They are a reaction to the shift in function of original dwellings as places for daily living, reduced today to the pretentious ceremonial purposes. 

Invisible Dwellings refer to a failed effort of the Acjachemen and Tongva tribes to be federally recognized, and never will be given their geographical location in Orange County. 

3. SOS_thermal blankets are wrapping the origins of art (invisible figures). The warmth preserving foil protects the proto-art’s fundamental function of survival - yet to be discovered.


4. Firepits & Sound of the Earth- Sound installation calling for a return to the nature of mind.


5. Pigment/Chromium Oxide
Video/objects/paintings/ photography
The End Of Artistic Tyranny.  

Artwork is reduced to a representation of an formal element to limit works expected  functions. Exhibiting a formal property and applications of Chromium Oxide, is a way of stripping the artwork of its artistic dress. This reduces the importance of cultural context and allows to manipulate biographical and historic context of a form.