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The Georgicks of Virgil, with an English Translation and Notes Virgil, John Martyn Ipsi in defossis specubus secura sub alta Otia agunt terra, congestaque robora, Pierius says it is confecto in the Roman manuscript. And Tacitus also says the Germans used to make caves to defend them from the severity of winter, .

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From July to October , this building hosted the alternatif club, le Consulat. Since he was a child, Zoer has been designing vehicles, traffic-jam scenes and car scrapyards. His fascination for comics led him to create his own fanzines. He studied industrial design and became interested in graffiti and painting in the early s.

He is passionate about scrapped cars and crumpled sheet metal with imperfect reflections. He portrays these elements in paintings that evoke a certain form of violence which he treats with poetic delicacy. He uses lettering — often preferring words to images, and distorting the stereotyped messages of slogans and advertisements. Text by MAC Lyon. Texte par le MAC Lyon. Now in its third year, HKwalls invited Zoer. The artist's research, draws from the real, from photographs and memories, reworked and developed according to the work space. The contemporary painter collects sensations, stimuli and images from the urban space, reworking their appearance and intertwining elements within completely different contexts.

Text by Diego Fadda for Ilgorgo.

zoer | zoerism french painter,mural artist,urban art

Texte de Diego Fadda pour Ilgorgo. Totally misplaced, in an extraordinary situation, it was important to find a way to fracture time and space. Painted, we perceive these vehicles according to a new scale. We go from the banal object almost forgotten to the coveted toy. By sharing and competing with one another through their artwork, they have been able to take their skill and creativity to new heights.

The title and core theme of their show, "L'etat Limite," is a reference to addiction, though in this case, the addiction they speak of is a particular phenomenon which results from breaking down the relationship between humans and material things. Under normal circumstances, humans and objects are separated by an invisible yet still substantial border.

However, if we are able to intensify their relationship, that border begins to disappear and we find ourselves led to a new universe free from the constraints of reality. The comfort of that reality thus becomes, in the artists' minds, an addiction. We hope that you will come to experience the artists' unique perspective and spatial staging for your- self. To exemplify this, it suffices to look at the role of light, which crosses through the frames that delimits and contains each painting.

From the beginning, the creation of the work is open to bystanders. This performance act opens the intervention to the public that traverse the area. The final result radiates pleasant and calming sensations that accompany the pedestrians that frequently pass by the location of the work. This is how art becomes a daily principle in the life of ordinary citizens. The vertical and horizontal lines that shape the cities and foster anxiety among their inhabitants are in symbiotic contrast to the relaxing and delightful curves whispered by Bottazzi.

Art influences the development of the observer. The following story is typical of a modern artist: at the age of seventeen, the decision is taken to become an artist; the family is against it, believing their child will die from hunger; and the child leaves home to make his dreams come true. The French fine artist Guillaume Bottazzi is holding his first exhibition in Hong Kong, where he is showing 23 recent large scale works in three exhibition halls at the Hong Kong Central Library.

The second part of this inspirational story is that during the next five years the protagonist, Guillaume Bottazzi, became a full-time, internationally known artist, who gained fame and fortune, producing over 40 works in public spaces. Despite his reputation and his rich international experience, he is as shy and simple as a young man.

Looking at the lines and shapes that float against a monochrome background makes you really want to ask the artist what they mean and what ideas they convey. Then, as you continue your visit of the exhibition, you realise that none of the paintings have a title. When I quizzed the artist, he answered that the graphic lines are not physical references but carry with them their own emotions and make you organise your thoughts.

To discuss this I take as an example the most colourful painting with a plain background that fills an entire wall. Here is the resulting exchange: I said that in this painting I saw a kind of prehistoric microbe, with shells. The painting often reveals transparent objects, distilling light and shadow in a traditional way and then you notice that the angles of light projection are in fact irrational, that the light comes from every direction, vertically and horizontally, in scattered films.

It is a creation that refuses to take physics into account. The artist says he just wants to create an atmosphere of the image, so that it can interact with the environment. He is the first to have come to Hong Kong for an exhibition and be prepared to talk directly to visitors.

He is also personally leading workshops during the exhibition, where you can meet him and enjoy a rare creative experience. The work produced during the workshops will be shown in the exhibition hall. It is currently the biggest painting in Japan. Four documentaries are being shown in the exhibition, one of which explains for the first time the process of producing the work.


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Finally, I asked the painter to choose one of his favourite works in the exhibition, so that I could take a photograph of him in front of it. I chose a painting with a bright pink background on which several circles resembling floating white bubbles were painted. Guillaume Bottazzi stood in front of the picture, demonstrating that he thought it was an interesting choice. Monday — Sunday, 10am to 6pm. Chaubau — Scarcity Hong Kong — Mai Calendar of conferences.

This contemporary art museum carries out many exhibitions and events, which primarily focus on contemporary art from the latter half of the twentieth century. Bottazzi in Paris La Defense artistic path. Bottazzi - Biography Guillaume Bottazzi is a French visual artist, born in His workshop in Brussels has been set up since At the age of 17 he decided to become an artist and to make this his sole activity but he started his career on the streets and then began studying painting in Italy, in Florence.

Back in France, as a competition award winner, he set up in a workshop granted to him by the French Ministry of Culture. To date, Guillaume Bottazzi has signed off over 50 works for public spaces. Bottazzi has developed his work in several countries, especially in Europe, Asia and the United States. He worked in New York during the first decade of the s. In , he was artist in residence in Japan and he has spent a great deal of time in the Land of the Rising Sun.

In the Miyanomori International Museum of Art in Japan commissioned him to create the largest painting in the country. Admissions fees have been donated for the reconstruction of areas affected by the earthquake and tsunami. They have been incorporated in the new Ark Hills Sengokuyama high-rise building in the heart of the rejuvenated Toranomon district in Tokyo. This major Japanese gallery has enabled him to establish his style through several commissions for artworks.

In a public space in Brussels, with the partnership of European Commission in Belgium, he created a painting 16 metres high that now forms part of the heritage of Brussels-Capital. Curved art in the real world: A psychological look at the art of Guillaume Bottazzi. Before you continue reading this, please take a look at the space around you.

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You are most likely indoors. How did we guess this? Moreover, it is also likely that most of the objects that surround you, and the elements that constitute the room you are in, are human-made, designed by a human creator. Have you ever thought about how these surroundings affect the ways you feel, think, and behave? The artist Guillaume Bottazzi has devoted much of his work to actively designing aspects of the environment. He has achieved this not only by producing objects—such as artworks or three dimensional artworks—that can become part of the environment, but also by interventions that change the visual appearance of large-scale environments themselves.

Such interventions influence our perception and evaluation of those surroundings—and much more! For example, how we feel. But why approach his art—or any art for that matter—from a psychological perspective? Psychology is the science of mind and behavior. As such, it seeks to understand what makes us who we are as individuals and communities, what moves us and what stops us, what drives us to achieve, what makes us want and feel, and where our joys and miseries come from. An important part of who we are, and of how we feel, has to do with our interactions with our environment; specifically with the way we shape and experience our immediate surroundings.

Today, psychology is mostly practiced as an empirical science; it is based on data that were collected in experiments aiming to test and prove psychological theories. In our daily business as researchers in Psychology, therefore, we often conduct laboratory and field experiments, systematic observations, and collect data that either support or contradict the hypotheses that guide our studies.

More than years of inquiry have revealed many things about how the human mind and brain work. When psychology was founded as an academic discipline in the late 19th century, most research was concerned with sensory perception. In the tradition of Herman Helmhotz , and other great physiologists of that time, psychologists aimed to measure the intimate side of simple acts of perception: How does light arriving through the eyes get translated into a sensory experience? How does this feel? Is this subjective experience lawfully related to the amount and intensity of light? Pursuing this sorts of questions produced a greatly successful line of research.

It revealed many of the feats and tricks the human mind uses to understand the world, but also many of its biases, constraints, and limitations that help it deal with the vast array of information and events taking place around us. Some of these feats and constraints combine to endow humans with a certain memory span, a limited focus of attention, or the perception of color constancy and visual grouping, among many other possible examples.


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However, a different tradition has aimed to understand much more complex perceptual experiences, such as apprehending images, artworks, or even the full complex scene of our environment as it appears to us. This approach was already called for by the founders of this "new science" of Psychology in the 19th century, but for many reasons its development was much slower. And, although a science of perception of art is now established in Psychology , the perception and appreciation of our environment has only recently gained a relevant place in Psychology. What do we know about the perception of our environment?

Regarding preferences for certain environments, we know that people like nature as seen from a safe and hidden vantage point, with some views and possibilities for further exploration , and that people consistently like images that show landscape scenes more than urban scenes. This latter finding is particularly striking, because we spend a vast amount of our time in human-made environments. If you think of your daily routines, and those of the people you know, it is easy to see how only rarely do people in western countries encounter untouched nature. Why have so few studies been conducted to understand how environments designed and created by humans influence our lives and our feelings?

This is one of the mysteries of our research field.

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It is difficult to understand, because even common sense suggests that the design and creation of living environments might benefit from knowledge about the way that people perceive and evaluate the different alternatives of how environments look. One thing is very clear, though: people respond to the aspects of objects and places, and among these are basic visual features. Psychologists, and philosophers before them, have long searched for basic visual elements that guide our preferences, and affect our feelings and well-being. So, are there any general laws that can predict what most people will like?

One consistent finding is that curvature influences aesthetic responses. People prefer curved objects to sharp ones. This has been shown for car design, where curved design is often liked more , while apparently taste and fashion also affect such preferences. More systematically, it was demonstrated that when people were shown images of object such as watches, sofas, toys, and so on, on a computer screen for very brief times, then the curved-contour versions of the objects were liked much more.

In a follow-up study, these researchers also found evidence that the preference for curved contours is related to lower activity in brain regions that can be associated with fear. So, curved contours could be preferred because they seem less harmful, or plain and simply because they are inherently attractive.

Burke , for instance, believed that beauty is smooth, without edges or sharp angles. Like many artists, he intuitively applies these principles and produces visual doses of sensory pleasure. The presence of straight elements is not unusual—you may check again your current surroundings. So the question arises whether architecture might be an exception of our preference for curvature. To find this out, together with a large network of colleagues from psychology, neuroscience and architecture, we conducted a study in which we asked participants to look at carefully selected images of modern interior architecture spaces.

They were asked to evaluate each interior space, and while they did so we recorded their brain activity by means of functional magnetic resonance imaging. The people who took part in our experiment found the interior spaces with curved contours much more beautiful than those composed mostly of straight lines and corners, as in the other aforementioned aesthetic domains.

The brain imaging results showed that viewing the curved contour rooms was associated with an increase in activity in the anterior cingulate cortex, a brain region known to respond to the emotional importance of objects and to their rewarding aspects. Furthermore, the combination of our behavioral and neural evidence underscores the role of emotion in our preference for curvilinear objects in this domain. Thus, even in architecture curvature elicits pleasant feelings, which lead to a stronger appreciation of beauty in architectural designs that contain such curved visual features.

This is a crucial finding for two reasons. First, it was believed that such preference was primarily related to objects that could be handled and grasped. We now know it also applies to the spaces that envelope us. Second, most of the architectural spaces we inhabit are not curved. However, Art has the potential to bring this feature in. However, the design of human-made environment could benefit from knowledge and research and insight about the factors that affect people in their living environment. Thus, the perception of art and architecture from a psychological perspective reveals that both produce fascinating objects that bring pleasure through beauty and aesthetic qualities into our everyday life and surroundings.

Helmut Leder et Marcos Nadal. Those who have spent even a short time with Guillaume Bottazzi will have encountered his subtle medley of determination and sensitivity. He does not talk about his art like a journey that can be summed up or like a career, but rather like a gesture, one that nourishes an emotional grammar of space.

His art is receptive and unfamiliar with the formal divide between spectator and artwork since he has overcome that chasm and is able to make the forms and colours of bodies and sensations flow together in strategic parts of the city, inviting spectators to inhabit his paintings rather than simply observe them. Large painted walls look like steamers coming towards us, inviting us on a voyage; they brighten and uplift the tones and rhythms of urban space. It is much more.

It is solidly rooted in both a culture and a passion. That of Italian art, of Fra Angelico , studied early on, when the artist was barely in his twenties. Then came a passion for travel, trips and encounters. Next, things flourished and accelerated: a studio in Lyon, consecration in America and the Japanese adventure starting in And then Asia. A world in which art conjures as much as it shows; a world in which deliberate obliqueness and fertile allusiveness demand different approaches to seeing and sensing.

A foray into otherness, too. A constant, turbulent renewal. A modern and intense blending of speed and depth of perception. Museums where movement fuses with new creations to create events in city space and thus re-present, reclaim and reconstruct the body of monuments. Another monumental mark left on Japan is an abstract work of 3. A work that become part of the inheritage of the city, monumental and thus visible from numerous vantage points which are more or less errant or stationary, up close or distant, attentive or furtive; the presence of the surface in these variations of intensity creates a desire to look at the painting by moving with it and almost within it.

A body summoned, provoked and then finally invited to move beyond the banal acknowledgement of a lifeless or frozen gaze.. There is something very musical at work which stems from a perpetual swaying between the different possibilities of what is seen, the interlacing of its layers and dynamic.

The work is not solitary, sentenced to the silence of seclusion; it becomes serial, calling for and at the same time creating a very large audience which is at once its inspiration, witness and protector. An art of connections and metamorphosis. Creating, giving us much to see, but not trying to explain any more than necessary. Getting others equally involved. In Japan, France or elsewhere, the regorous generosity of Guillaume Bottazzi makes him present for all those who look at and inhabit his work.

Here too, and again, Japan — where cultural mediation is non-existent — serves as a telltale territory. Working with spectators, getting them involved in the time it takes and for the duration of the creation, talking to them, appearing as a body that is set up in a place while creating forms, rhythms and colours, all of this forms an event. I see the source of an adventure that uses a backdrop and network of sensations to test of what the spectator is — deliberately or unwittingly — capable.

If, at each encounter, they seem to float, imbibed with lightness and scansion in the overly geometrical and cumbersome layout of flat and cubic space in our cities, time is nonetheless present. And, as such, the paintings are also slow, they require endurance and our relationship changes with each one. And then they become independent again. They once again become what those who look at, visit and feel inspired by them, wish them to be. The paintings journey on with each publicly commissioned piece.

The artist attempted and tackled an experiment in artistic mediation with blind people in France and deaf people in Japan.

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An experiment with obvious limitations, that required a great force of conversion and translation and which, by altering the way things are usually experienced, created a spectator in a borderline state, an impending witness. Art in this context was the root of a concrete gesture, one that is to the point and seeks out metamorphosis of feelings and experience, without allowing itself to be intimidated or stifled by a ready-made theory or psychology of sensations.

The art of Guillaume Bottazzi intertwines similar and diverse forms and tenses. Like all innovative art, in doing so, Guillaume Bottazzi draws out the childhood not childish potential that all transformations require — a hidden and erotic potential to shift conventional sensory grammar. Douville psychoanalyst and anthropologist. With this work, he has just completed his 70th work in the legendary site of what may rightly be described as the largest body of modern and contemporary art in the open air in France.

The work will certainly attract and may even intrigue people. The most fascinating and intriguing aspect of this work is the surprising, even strange distortion that exists between the apparently cold and neutral material support and the warm, almost enchanting gentleness of the compositions. The artist usually works on uniform fibre cement surfaces that may sometimes even be mobile a wall on top of a wall or a support on a rail. In general, the walls that G. Bottazzi uses are always impressive due to their monumental scale and their coldness.

Yet they are never amorphous. They always radiate an internal strength relating to their materiality. Hence they often appear grave and austere, even solemn, in their power. On the other hand, they all have a frontal presence: the vertical, devoid of a centre, is the obvious sign of elevation to the sacred!

As a material, the wall may also evoke something dull, mute and sombre. This is the mysterious medium on which this artist works. In addition, he almost always uses scaffolding, maintaining direct and effective contact with it. This means that G. The special attraction that Japan holds for this artist is easier to understand now! The same Brahmin spent 12 years meditating in front of a wall in order to attain enlightenment, in other words perfect insight into reality. Consequently the wall we come up against, that we Westerners think of as empty of meaning, is experienced differently in reality by the Zen practitioner.