La incompleta

A work, in which art and design coexist, La incompleta (The Incomplete) was first exhibited in the Faculty of Architecture of Universidad de Belgrano in Buenos Aires in May 1986.

Create-me-not? - ¿No Me Crees?

THE INCOMPLETE: A MANY-LAYERED ARTWORK
LA INCOMPLETA: UNA OBRA DE ARTE CON PLURALIDAD DE SIGNIFICADOS


1 Mariano Akerman, The Incomplete | La incompleta, 1986
Present whereabouts unknown | Ubicación actual desconocida

At first glance, The Incomplete is disconcerting. This is due in part to its timeless and seemingly absurd appearance. Uncertainty results from its mysterious nature. The Incomplete has to do with the use of a symbolic, coded language. It therefore functions as a symbol. But the symbol is not exempt of ambiguity. The Incomplete is a symbiosis of preexistences and suggests various meanings at once. Intuition regulates it.

A primera vista, La incompleta desconcierta. Esto en parte se debe a su apariencia atemporal y absurda. Su misteriosa naturaleza produce incertidumbre. La incompleta tiene que ver con el uso de un lenguaje simbólico y codificado. Trabaja como símbolo. Mas dicho símbolo no está exento de ambigüedad. La incompleta es una simbiosis de preexistencias que sugieren una pluralidad de significados. La simbiosis se autorregula por medio de la intuición.

It is possible to talk here about a philosophy of coexistence that comprises the divine Creation (opera di natura) and that of man (opera di mano).

Se puede hablar aquí de una filosofía de coexistencia que comprende la Creación divina (opera di natura) y aquella propia del hombre (opera di mano).


2 Michelangelo, The Creation of Adam (detail) | La Creación de Adán (detalle), 1508-12
Sixtine Chapel, Rome | Capilla Sixtina, Roma

The opera di natura evokes God’s Creation, which is pure and self-sufficient. Balanced and tense at once, this is symbolized by an egg which alludes to the inapprehensible idea of cosmic origin. The opera di mano refers to man’s creation and its limitations. The latter is represented by a gray mass, containing the egg. To shelter the egg is here an allusion to the human being’s desire to incorporate the essence of the divine Creation in the opera di mano.

La opera di natura evoca la Creación de Dios, pura y autosuficiente. Equilibrada y tensa a la vez, ella es simbolizada con un huevo, que alude a la inaprensible idea del origen cósmico.
La opera di mano se refiere a la obra del hombre y sus limitaciones. La misma es representada por una masa gris que contiene al huevo. El que la masa cobije al huevo es una alusión al deseo del ser humano de incorporar en su obra la esencia de la creación divina.


3 Mariano Akerman, Digital Vessel | Vasija digital, 25.08.2005


4 Mariano Akerman, Digital Vessel | Vasija digital, 30.08.2006

Lao-Tse once noted that the essence of a vessel is not its shape, but the contention space it has inside. Similar is architecture, where essential is not its limits, but its space.

Lao-Tsé alguna vez observó que lo esencial en una vasija no es su forma, sino el espacio que encierra dentro de ella y resulta contenedor. Similar es la arquitectura, donde lo esencial no son límites, sino el espacio.

But, as men are full of contradictions, in the opera di mano, the structure is the ornament and the ornament is in turn the structure (as it occurs in Henry Van de Velde’s silver candlestick).

Pero, dado que los hombres están llenos de contradicciones, en la opera di mano, la estructura es el ornamento y el ornamento es a su vez la estructura (tal como ocurre en el candelabro de plata de Van de Velde).


5 Henry Van de Velde, Silver candlestick | Candelabro de plata, 1898
Musées Royaux d’Art et d’Histoire de Belgique, Brussels | Bruselas

In the opera di mano it is possible to distinguish a basis, neck and head. The neck links the base with the head. Wrapped in some sort of veil, the head presents dream fading away but also fantasy taking off. The basis, on the other hand, symbolizes reason and its tectonic weight. Reason thus weights a lot, but is well below the imagination, which rules it.

En la opera di mano es posible distinguir base, cuello y cabeza. El cuello liga a la base con la cabeza. Envuelta por una especie de velo, la cabeza presenta al sueño que se diluye pero también a la fantasía que vuela. La base, por otra parte, simboliza a la razón y su peso tectónico. Así, la razón pesa mucho, pero está por debajo de la imaginación, que la gobierna.


6 Mariano Akerman, The Incomplete | La incompleta, 1986-88. Orfila Collection, Buenos Aires

Artificial is the matter of man’s fabrication, whereas natural is that of the divine oeuvre. Curiously, he material alluding to man’s creation looks malleable, while the one representing the divine oeuvre appears to be rigid. Furthermore, the former seems to offer unlimited possibilities, unlike the eggshell, which theoretically would contain the matter of the fact, but is actually no more than a void. Because of its characteristic tension and irreverent insinuations, The Incomplete would be a visual paradox, a total work of art (Gesamtkunstwerk) that tastes bittersweet. In this context, it should be noted that The Incomplete also presents a red signwhithindicatesthelimitbetween exuberant fantasy and total absurdity.

Artificial es la sustancia plástica que constituye creación del hombre, mientras que natural es aquella que simboliza la creación divina. Aunque parezca extraño, de ser comparada con la maleable sustancia de la creación del hombre, la materia que alude a la obra divina se presenta rígida. La primera parece ofrecer un sinnúmero de posibilidades, a diferencia de la cáscara del huevo, que en teoría contendría la esencia del asunto, pero de hecho no es más que un vacío. Por su tensión característica e irreverentes insinuaciones, La incompleta sería una paradoja visual, una obra de arte total (Gesamtkunstwerk) con sabor agridulce. En este contexto conviene recordar que por encima de su cuello, La incompleta presenta una señal roja que indica el límite entre la fantasía exuberante y el absurdo total.


7 Mariano Akerman, The Incomplete | La incompleta, 1986

By exploring unknown territories and attempting to establishing their boundaries, The Incomplete becomes art.

Al explorar territorios desconocidos e intentar establecer sus fronteras, La incompleta se vuelve arte.


8 Mariano Akerman, “La Incompleta,” logo, 1986


9 Mariano Akerman, “La Incompleta,” original text | texto original, 05.1986

Akerman, Mariano. Akermariano. Create-me-not? The Incomplete: A Many-Layered Artwork. Art. Architecture. Architectural Studies. Design. Mixed media. Sculpture. Drawing and Collage. Digital Art. Original text. ¿No me crees? La incompleta: ona obra de arte con pluralidad de significados. Arte. Arquitectura. Estudios en Architectura. Diseño. Técnica mixta. Escultura. Dibujoayacollage. Arte digital. Texto original.


10 Mariano Akerman, “La Incompleta,” logo (digital), 2006

© Mariano Akerman. All Rights Reserved. No part of this article may be reproduced in any form and by any means (including recording, and any form of storage and retrieval), without permission in writing from the author. © Mariano Akerman. Todos los derechos reservados. Ninguna parte de este artículo debe ser reproducida en ninguna forma ni por ningún medio, sin el previo acuerdo escrito del autor.

Comments
1. El arte nos sirve para complacernos en el por su belleza. Tambien como un espejo que nos pregunta y un recurso para mirarnos en todas sus representaciones posibles, aun las mas terrorificas, porque el arte simplemente nos conecta con lo humano que compartimos todos en esta conciencia universal que nos acompaña a lo largo de nuestras existencias.
Un fuerte abrazo, Silvia
2. Everyone may interpret artworks in personal ways. I think remarks and comments by some artists sometimes provide us with telling insights, with the potential of leading us to new viewpoints. Experience demonstrates that there is rarely a single way of appreciating or interpreting art. Art has to do with intentions, codes, a specific context and background, which are convenient to keep in mind as we approach it. As a discipline, art has its rules and symbolism. Art also has its sources and impact. And, of course, there's also the personality of the artist.
3. Hola, apareci. estuve viendo tus obras y trabajos, no cabe duda que sos
muy creativo. me gusto mucho. un abrazo papa. September 4th 2006

29.8.2006

My Argentinean Viewpoint

Argentina: Beauty of Beauties

A personal recollection. Photographs, April-May 2006

1 Buenos Aires

2 Patagonia

3 Iguazú Falls, Misiones

4 San Ignacio Ruins, Misiones

5 Jujuy


Comments

1. Oh my God... some of these pictures are breathtaking... you hail from a very beautiful and vibrant country. SDV.
2. Wonderful. MH.
3. Great photographs. Sweetlife
4. Should I comment in english now..? I have just looked at all your blogs. They are all excellent, I am SO happy you are posting all this, not only your wonderful art, but also the wonders of our "not known" beautiful country, and other great argentine artists too. Thanks so much. By the way, what great selection you made here..!!!! but you still need to post some of the "colonial" Argentine and those little towns that remained in the past, like Purmamarca and so many others in Jujuy, Salta.. Anxious...? Bet I am !!!! I am fascinated!!!! Thank you again, gab
5. These are amazing! Thanks you for sharing! SW.
6. They are real good love the autumn colours.
7. Thank you Mariano for inviting me to see your pictures. Your art is absolutely beautiful. Thanks again! Nitza
8. From one Akerman to another, what a fantastic set of pictures. Paul Akerman
9. Wow! Those photos are truly awesome. Meanderthalys
10. Gabriella, “An Argentine in Blogster!,” 12 November 2006 (http://gabriella.blogster.com/argentine_blogster_.html)
Gabriella: “ My friend Kuan (strider333), was the one who wrote me to let me know. Yes, and he is not just "any" blogger... I am proud and happy to know that my beloved country is being represented by somebody of his talent.
Mariano Akerman, is an artist in the whole meaning of the word. My words will run short if I try to describe his art. […] I just feel so happy that he his posting here (not to mention proud too. As an Argentine in a different country, I always feel that it is hard to transmit how Argentine looks like, its personality, its character. Not only of the people, the culture, but also of her beauty. I think I met here just a few people that "touched" Buenos Aires for one day, and left...
Buenos Aires is a more "European like" city, reminding Paris in some parts, but with all sorts of different neighborhoods each one with its own personality. It has an intense cultural movement, something that I miss here where I live... Mariano has posted photos (taken by him) not only of Buenos Aires (in one of his posts), but also of different provinces, towns and cities from the whole country, which is very large. He makes a very interesting mix of photos, paintings of himself and of other renown[ed] Argentine artists, which gives his "presentations" a unique flavor, intertwining also his own comments, and graphic classic comedians such as our most popular Quino.
He will take you from the Misiones Falls (north) to the Perito Glaciar Moreno (south), stopping in some other places in the middle of the country.
In his last post, you'll see an interesting display of his paintings with very interesting comments about them.
Welcome Mariano Akerman ! ”
Comments following her post: “that is awesome … [SMILE]” (luckystar); “[THUMBUP][THUMBUP] WONDERFUL” (mentalhealthrn); “I LOVED Buen[o]s Aires--especially the hours they keep! My kind of city--comes alive at night. And the people were really great with this North American who barely spoke their language. [+] Took a look at his photos--really nice work. [THUMBUP] [+] I read about ALL his presentations!” (greatmartin); “Checked his site.. looks great! [HEART]” (coincutter); “another one who checks his site [thumbs up]” (kevinhere); “He is amazing! [THUMBUP][THUMBUP]” (maggiemae).

Polaris

Together with Noga and Orion, Polaris belongs to Mariano Akerman’s “Inner Constellations.” Painted in 2002, Polaris was first exhibited at the Alliance Française de Manille in 2005.[1] Then, it was generally understood as a landscape, an abstract painting, or both at the same time.

Mariano Akerman (Akermariano), Polaris (initial state), 2002-5. Watercolor, 29 x 21.5 cm.

As it had happened with some other paintings by Akermariano, Polaris was reformulated. Having been re-elaborated not long ago, this image is no longer a watercolor, but a watercolor with collage. Initially it may have been abstract, but today it is definitely a figurative composition.

Mariano Akerman, Polaris (revised state), 2007. Watercolor and collage, 29 x 21.5 cm. Dr. Carlos Magsanoc Collection, Makati Medical Center, Metro-Manila, Philippines.

In its revised state, Polaris includes twelve new elements. Among these new elements, we find four pears that can be easily identified as such. Other elements look more abstract, yet each of them possesses a symbolism of its own.

In Polaris, neither the presence of such elements nor their location in the picture are arbitrary. The new elements interact as a whole, but this doesn’t necessarily mean that their interaction refers to actions taking place simultaneously. In other words, things happening in different moments here coexist in a single frame.

Today we are acquainted with the western convention holding that things happening in different moments must be depicted in separate frames. This is the case, for instance, of each biblical episode depicted in the brass panels of Hildesheim, Cathedral doors (c. 1015).[2]

Biblical episodes, bronze doors, St. Michael's Cathedral, Hildesheim, c. 1015

During the Middle Ages, however, things were not always so conventional. Let’s consider, for example, a marble panel from the pulpit of the Pisa Baptistery by Nicola Pisano (completed in 1260).[3]

N. Pisano, Annunciation, Birth of Jesus and Adoration of the Shepherds, 1260

Here, in a single rectangular panel, we find depicted “The Annunciation,” “The Birth of Jesus,” and “The Adoration of the Shepherds.” These episodes coexist in a single format, suggesting that everything represented in the panel occurs at the same time. But, of course, we do know that this is certainly not the case, for how could the shepherds be adoring Jesus at the very same moment The Annunciation to Mary is taking place and the Child isn’t born yet?[4] In Polaris, things happening in different moments coexist in a single format too. Yet, unlike each motif in Pisano’s imagery, another one by Akermariano may be eventually symbolic of anumber of things. In Polaris, for example, there are four pears; curiously enough, three of them represent one person, whereas an additional one represents another person (see below). Human beings are sometimes like pears: sweet and fragile, that is, succulent yet vulnerable.

Let’s now identify Akermariano’s motifs and their possible meaning in Polaris 2007:

The fluid background of the picture suggests that everything takes place in Manila, an always hot and humid city, inexorably covered by diverse sticky substances (Polaris, initial state). Someone (1), with a personal history (2), is on his way to a medical center. This person, a patient (3), has washed himself up thoroughly (4) and waits to be seen by a professional (5). The doctor (6) receives him (3). Having examined the patient (3) and considering everything he learnt (7), the doctor (6) has an idea that will help him in healing the patient (8). The doctor thus recurs to the appropriate healing instrument (9) and uses it where needed (10). Not long after the patient recovers (11) and feels as light as a bird (12).

Polaris is thus a painting with identifiable motifs and considerable symbolism. Simultaneously, it shows events taking place in different moments. Indeed, all of them coexist in a single visual composition which is also an Inner Constellation in its own right.

Mariano Akerman, Radiography of Polaris (initial state), digital image, 22 June 2007.

Mariano Akerman, Radiography of Polaris (revised state), digital image, 22 June 2007.

References [1] Manila, Alliance Française, Les contellations intérieures / The Inner Constellations : Paintings, Drawings and Collages by Mariano Akerman, November 2005, # 9. [2] Paul Johnson, Art: A New History, London: Weidenfeld & Nicolson, 2003, p. 147. [3] E.H. Gombrich, The Story of Art (1950), London: Phaidon, 1989, fig. 135. [4] A painting by Fra Angelico, The Annunciation (1430), surprisingly includes in the same panel “Adam and Eve being expelled from the Garden of Eden” (i.e., from the garden contiguous to Mary’s house, where Gabriel is meeting the Virgin). The painting of Fra Angelico, however, is not a disparate that mixes up distinctbiblical moments, but a theological contrast between the original sin and Mary’s Immaculate Conception (Claude Frontisi, Histore visuelle de l’art, Paris : Larousse, 2002, p. 177).

“Polaris,” pictures, comments and design by Mariano Akerman. © 2007 Akermariano. All rights reserved.

Comment. Collage work is most wonderful! I have done a few in my life time and love to look at them and see what has been reflected outward from my subconscious. Any artwork speaks to our imagination but collage work offers even more for our own personal translation. Excellent work mon ami. B.S.

Re: Picasso cultivated the art of collage with passion. I am particularly in love with the surreal ones by Max Ernst. My reason to have incorporated collage as a favorite working method: it is a flexible technique, based on inclusion, and providing us with new possibilities. New relations in terms of design and new associations too. I love watercolor textures and precise lines as well. Collage allows a well-balanced union of them both. Collage is a challenging, revealing technique through which I attempt to create little eternities. Such eternities reflect a little bit of my conscious, subconscious and unconscious all at once. Each part of a collage and its interplay in the whole composition reflects my Self. I indeed share your views.