A constant state of flux acting as metaphors for the human condition.
Collage (from the French: coller, “to glue”) is a technique primarily used in the visual arts made from an assemblage of different forms to creating a new whole.
From its roots in european dadaism, shadowing modernism and tracing its way through photography, the term was coined by Georges Braque and Pablo Picasso in the beginning of the 20th century. Emerging as a reaction to the First World War, allowed artists to interact with existing materials – anything from newsprint and magazines to maps, tickets and propaganda and photographs – to rip them apart and then reassemble them, creating visually dynamic hybrids.
Collage is a medium as diverse as it is politically charged because interrogates the fundamental concept of what it is to create art, whilst offering a prismatic reflection of the social change and upheaval the whole past century.
Fragmented identity. Endless references.
Collage became one of today’s most influential artistic medium. Musicians, designers, writers and bloggers are collage artists now, using a creative assemblage process to build narratives embedded in subtle acts of choice. They turn to collage to respond to the possibilities and limits of an inescapable consumer culture.
In the last decades, and more pointedly from the end of 90’s, most of creative social drivers were so in love with the past that cuts it up and used it as wallpaper. This intense mashup of previous references from different times build up a new and difuse identity. It’s difficult to identify just one or two representative icons of fashion, art or music in the recent years, for example.
How culture builds upon culture in the information age?
Corporations are using copyright law to muzzle our freedom of expression and cultural appropriation. We have no rights to plunder pop culture to create new work in a world where every bit of cultural real estate has been bought up and fenced off by power corporations. These companies are called the “copyRIGHT” and the public domain that represents the free exchange of ideas is called the “copyLEFT.”
The museum is everywhere, There aren’t museums.
Street artists are responding to the privatisation of the city and the ubiquity of advertising using the open interpretation without losing sight of the sensitive canvas of the public space. When artistic techniques escape the critics and institutions, art and time become jumbled. Movements and counter-movements, past and present weave themselves to a thing so big it becomes invisible.
These enormous urban artworks offer a visual counterpoint to the banality of these unadorned surfaces of the city, weaving a new kind of urban narrative. So the whole city becomes a wild cut-and-paste work. In fact one could argue that the entire street art scene itself is a collage made by a variety of participants.
Collage it’s less a resolved image with a clearly stated intention and definite physical boundaries, and more a sprawling, evolving process of layering and accretion. It’s often the work, over time, of multiple hands, most likely to be anonymous. If street artists and graffiti writers began appropriating of public space, then you and me are just as free to appropriate the interventions, edit and recompose them, finding new possibilities to order visual narratives.
Rauschenberg told us once that the artist’s job is to be a witness to his times. And that’s why collage is the 20th century’s cutting edge. Let’s keep strong at the left side of the power, after all, art and ideas are inspired by other art and ideas.
Some nice collage and street art work:
This article is a collage made from these references:
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