aktualita ART SPACE ECOLOGY15|10|2018 - 15|10|2018
Black Rose Books, Montreal, Canada

In Art, Space, Ecology, internationally renowned curator and critic John K. Grande interviews twenty major contemporary artists whose works engage with the natural environment. 
ŠEJN / IMAGE BODY SOUND ŠEIN ŠEIN / ARCHIVES & CABINETS Faces SITE SPECIFIC ARCHIVES OF PERCEPTION / Art 1/2005 book 3 Writen Landscapes SVBROSA LVTEA MLAKA St. Mary Václav Cílek. Inner and Outer Landscapes Kunst als existenzielle Naturerfahrung Colorvm Natvrae Varietas MASSIVFRAGIL Miloš Šejn James Turrell Visions in Fire, 1990 ABOVE THE GROUND / Fine Arts 5/1990 Photographs / Drawings / Books Works from 1984 - 1988 Mažarná / Definition of Space by Fire THE ROCK Light in Stones REVOLVERREVUE 103 MORAWA

Art 1/2005 - Journal of the Institute for Art History of the Academy of Sciences of the Czech Republic
Pages 44-60
15 ill., portfolio, 210 x 296 mm

Editor in Chief: Lenka Bydžovská
Published by the Institute for Art History
© ÚDU AV ČR, Praha 2005
ISSN 0049 5123

Between 1983 and 1989, Milos Sejn made a set of about 50 processual scrolls. On long roles of paper or textile, he made impressions of natural surfaces and reworked them with the help of found materials and pigments typical of a given locale. Traditionally, the scroll was considered a material remnant of an 'interaction with the landscape', a record of an event or of a private ritual/dialogue with nature, a typical form of conceptual art. One can, however, interpret them as images of a landscape. In his processual scrolls, Šejn demonstrates that a representation of a landscape that we have 'under us' - the face of the terrain, a representation that originates from touch - is just as legitimate as a classical painting of a landscape. He teaches our senses to perceive the landscape in sculptural terms, unlike the ordinary landscape painting, which offers a view of scenery. The surface of Šejn's scrolls is first and foremost an impression of the horizontal face of the earth, a place of fixation of the building features or natural components that constitute the landscape in question. In addition, it can also represent the position of the individual observer within its frame. The result is a depiction that does not have the illusive quality of mimetic landscape painting, but that, in its way, offers a more complex account of a given place. In his processual scrolls, and in other similar formats (books - folding picture books). Šejn completes the transformation of the way the painting surface depicts a landscape, begun by some of his great predecessors - for example, Daoji (1642-1708) and Caspar David Friedrich. This form of landscape is the result of a very subjective experience. For Šejn, however, the landscape never functions simply as a suitable platform for a metaphorical expression of a metaphysical or religious sentiment, or other intellectual content, as is the case with many modern painters. The essence of his version of Erlebniskunst is the natural and complex act of perception, inextricably bound up with its object, the landscape. Sejn's processual scrolls, archives of moments of his perception of the landscape, thus constitute a metaphor for the process of perception and visual consciousness that offers a model of enactive vision. *

Extract from "Archives of Perception" by Ladislav Kesner jr.
* Summary translated by Kathleen Hayes.

pdfLadislav Kesner jr._ARCHIVES OF PERCEPTION.pdf
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