Manifesto of Alter-reality

Theory and concept of exhibition with big scale of sculpture

Project Catharsis” exhibition is artistic manifesto of alter-reality. Internal projection of reality results from the persective of perceiving the outer world. That wich we perceive is settles somewhere between objective reality and subjective reality ( constucted at the level of the observers sensory reception through inner mental filters). Show of the sculpture will be with stimulation of impression of synesthesia with a big scale of sculpture which enhances the impression of surrealism and alter-reality.

The main concern of the „Catharsis” is to show the art exhibition of works created by Katarzyna Lipecki and first show of theory alterreality new direction of art.

Alterrealitty delived from surrealism This period in art was „the articulation of inner visual perception” in which artists tried to create the sculptures that deranged the logical order of reality. Often they present the visions between waking and sleeping, fantasy or hallucinations-evidently contradicting realism. Their surrealistic style depicts the vision of the artist’s inner world in which the vision of man is the encyclopedia of the knowledge of the mankind psychology. Moreover, the imagery is also the reference to the inner emotional sphere, and the concentration on emotions and sensations associated with the understanding of the specific concept. The direction art alterreality is base of inner sensations multiple realities. It is a kind of consciousness analysis taking into account phenomenon of cognitive psychology. Occurrence of inner forms is analysed from neurobiological perspective and various reactions of the brain to art.

Alter-reality theory

This The original project, which had passed some modifications was the project titled „Catharsis”. It was based on my artistic experience of an object, specifically on the interaction between aesthetics of classical art, and the final product of an inner form (in this case, the brain consciousness) The process of transformation, is not only based on transformation of the form itself, but also on the anatomical structure of an object, which has its own internal processes.

The observer can feel the anatomy of the sculpture, however after the short examination it’s rather deformed version that differs from realistic anatomy. One can perceive it erroneous. However, it is the product of the imagination.

In classical arts the artist aims to modify his perception of an object while observing the forms (arts) of antiquity, it is a variation of reality, kind of coexisting reality. My goal was to create such a modification that would give a base for new aesthetic grounds, that could create an sensuous form that would change the inner interpretation of beauty. Human gains the „ultimate image of beauty” through cultural experiences, society to which the individual belongs to, usually shares the same image of beauty. But beauty is never a fixed and stable idea it varies depending on the „state and form” of certain civilization.

It is also linked to the subject, which „consumes” a given century, forming the inner Spirit of the Era. „The Spirit of the Era” can be captured by creating (in terms of art) the ultimate(marginal) form of interpretation of the era, by means of the marginal form, artist creates a core that brings a different type of an artistic communication. The project primarily consists of the series of sculptures. The exterior of the exhibition hall was to highlight the classic peace that fuses with restlessness of the matter(sculpture), its deformation, which differs from the classical form of beauty, never the less, still a form of beauty. Deformation, deviation, disease all have a distinct nature of their own, it is a kind of reverse matter which despite its distinctiveness has definite form, and a definite pattern of harmony, which in comparison to certain standards of beauty is considered as „uncouth or crude”, the truth is it can not be consolidated in into one reality or a fixed scheme.

Neuro-aesthetics i searching for neurobiological basis of aesthetic experience, suspecting a various brain response to various forms of art. Art which is based on the anti-aesthetic responses, can be observed through the „prism of art” when it is affecting cognitive-emotional reactions, however, the severity of dysfunction caused by a reaction to the ugliness, when observer perceive the deformed object is rather based on the sensations of stimulus, further the decision-making process occurs, which allows to experience in art multiple dimensions; evoking an aesthetic feeling in observer, despite experiencing (observing) a form which denies beauty by all meas.

The contrast between the integrity of the harmony of antiquity, and its right on pristine beauty, merge together with deformation of matter, and the anatomical deformity.

The entire project Catharsis not only about sculptures, but also about the space that surrounds them.

All the walls, ceiling and floor should be covered with a black reflective plastic. On some walls, multimedia projectors should be positioned in such a way that the perspective would be extended and distorted so that the exhibition hall would influence to a large extent on the sense of reality of the observer. Power of the hall interior is in deformation of perspective, and feeling the infinite reflections.

”Neuroaesthetics attempts to find a neurobiological basis in aesthetic experience by assigning various reactions of the brain to different art forms. This art is based on anti-aesthetic reactions and it can be perceived as art that has an effect on the cognitive-emotional state. However, the escalation of dysfunction caused by reactions to the ugliness through deformation may be more due to the sensation of an ambiguous stimulus, causing the onset of a decision-making process which allows the art to be experienced in multidimensional ways. Hence the perceiver experiences aesthetic pleasure despite the experiencing a form that denies beauty”

Kate Lipecky

Manifesto of Alter-Reality – concept of exhibition with smaller scale of sculpture.

Visual sketch of the exhibition:

The surface on walls, floor and celling is covered by black, reflective and plastic-look material only one wall oposit door and some places in exhibition space could be in white colour because of use multimedia projectors and mirrors (to stimulate alterreality)