so long felt the need to share with the world all the 'critical' on the various works of art that crossed my mind, and I finally decided this was the right time (before I forget them ) and that it is the space. Criticism, yes ... then a picture, or any work that is not only criticism, and even more than that, he originates first of all to me an infinite number and concentric, centrifugal and centripetal multiple divisible memories and feelings ... with connected ... no? See in life we \u200b\u200bare allowed more than 
understand. Interpreting for most of the time is a long and brain that not everyone wants to do. Iconography, iconology, symbolism ... words that most people can not explain or tell ... but this does not mean that any person can not say in front of his view of any work. Did you ever say this 'thing', statue or picture that is (the music is different matter) brings to mind another thing that has nothing to do? and what you hear you answer yes, in fact, has nothing to do neinte. But you, inside you, in your underwear, you think like Nanni Moretti said, "has nothing to do but got to do!" Here I mean ... In my ongoing training of art criticism, some very small it seemed to understand that the criticisms apply to work for what they are worth, no matter who says them. Be the most famous of the luminaries or the last of the men may have a corollary of the first explanations to convince us, the other can not have one, but the feelings that led him to 'tell her,' to talk about a particular rather than another are all valid, because private and personal. By 'good' does not mean objectively verifiable and historically, those ok we can give them the historian. I am of the author only has the key to what he meant. And here it creates a paradoxical situation. To understand a work that the author should leave a detailed explanation, a kind of manual autographed work by work, by which to interpret can not run away, just read the warnings. But this thing is not possible, and even when it was not something that an author feels to do. First because I'm of the opinion that every person has only one way (and some not even that) that is able to express at best, and usually written language and visual language coincided not really. Second, writing down feelings? Knowing exactly what you feel, how to say it, and how it is interpreted? If you do not say that it is not allowed to own all right? I speak also for my little personal experience. I was asked to write what I wanted to be close to my works for an exhibition, a kind of presentation: now, even though my works in question were not sure who knows what epsressionismo Russian enterprise was more difficult than ever! 
And to what end and hung, and still at a distance of a couple of years are not happy with what I wrote and that people read. But now ... Okay ...
However, this space is dedicated to my work, but the most famous: of which you can find pages, books and volumes of criticism famous for ever and ever, and which certainly do not pretend to put myself in competition ... but on which, as they say, well I say mine. I wondered, can never be of interest to anyone in the world that comes to my mind looking at a painting? One of my memories as a child, the one strange thing in the bottom right there in that picture of the Dutch 300 which I think I've only noticed on the face of the earth, on which I made by myself congiutture interstellar, or if I say that I think the Mona Lisa is not that much and I prefer it another .... the responses were numerous. The best were: Okay I do not call Achille Bonito Oliva blog as a blog but a difference unless you want me to do? And then talk about something that is not in competition TV is going to sound good no? And then what is it? Sgarbi can only say that work sucks? Last but not least: sorry, I had in mind this fine title for a while 'time, it was a shame not to use it! :)
understand. Interpreting for most of the time is a long and brain that not everyone wants to do. Iconography, iconology, symbolism ... words that most people can not explain or tell ... but this does not mean that any person can not say in front of his view of any work. Did you ever say this 'thing', statue or picture that is (the music is different matter) brings to mind another thing that has nothing to do? and what you hear you answer yes, in fact, has nothing to do neinte. But you, inside you, in your underwear, you think like Nanni Moretti said, "has nothing to do but got to do!" Here I mean ... In my ongoing training of art criticism, some very small it seemed to understand that the criticisms apply to work for what they are worth, no matter who says them. Be the most famous of the luminaries or the last of the men may have a corollary of the first explanations to convince us, the other can not have one, but the feelings that led him to 'tell her,' to talk about a particular rather than another are all valid, because private and personal. By 'good' does not mean objectively verifiable and historically, those ok we can give them the historian. I am of the author only has the key to what he meant. And here it creates a paradoxical situation. To understand a work that the author should leave a detailed explanation, a kind of manual autographed work by work, by which to interpret can not run away, just read the warnings. But this thing is not possible, and even when it was not something that an author feels to do. First because I'm of the opinion that every person has only one way (and some not even that) that is able to express at best, and usually written language and visual language coincided not really. Second, writing down feelings? Knowing exactly what you feel, how to say it, and how it is interpreted? If you do not say that it is not allowed to own all right? I speak also for my little personal experience. I was asked to write what I wanted to be close to my works for an exhibition, a kind of presentation: now, even though my works in question were not sure who knows what epsressionismo Russian enterprise was more difficult than ever! 
And to what end and hung, and still at a distance of a couple of years are not happy with what I wrote and that people read. But now ... Okay ... However, this space is dedicated to my work, but the most famous: of which you can find pages, books and volumes of criticism famous for ever and ever, and which certainly do not pretend to put myself in competition ... but on which, as they say, well I say mine. I wondered, can never be of interest to anyone in the world that comes to my mind looking at a painting? One of my memories as a child, the one strange thing in the bottom right there in that picture of the Dutch 300 which I think I've only noticed on the face of the earth, on which I made by myself congiutture interstellar, or if I say that I think the Mona Lisa is not that much and I prefer it another .... the responses were numerous. The best were: Okay I do not call Achille Bonito Oliva blog as a blog but a difference unless you want me to do? And then talk about something that is not in competition TV is going to sound good no? And then what is it? Sgarbi can only say that work sucks? Last but not least: sorry, I had in mind this fine title for a while 'time, it was a shame not to use it! :)
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