Sept 1st, 2022 - Feb 28th, 2023
Curator: Rodrigo Franzão
Panorama:116 Artworks, 43 Artists, 18 Nationalities
Plato elucidates that the concept of beauty is related to the perception of perfection, of what is concluded to be true. Beauty would be the prism of its own existence. Contemplating it would only be possible when one understood its essence. A methodology that gives the individual the opportunity to know the true harmony of the Cosmos. Conquering such knowledge would happen when the beholder, by means of reason, surrenders to his or her own philosophical and cognitive evolution. By achieving this exorbitant virtue, the individual will be detached from the illusions and sensory appearances of the world, thus having the opportunity to rediscover himself and reveal his true core. An almost divine milestone, when one puts into context the evolutionary process of the human being, which transcends physical form and empirical investigation.
The exhibition, "Intellectual Beauty", leads us to reflect on this process of evolution and transcendence. A path traveled individually by each admirer of art. A fascinating trajectory, which leads us receptively to the clairvoyance that the concept of beauty is intimately linked to transparency in the process in which the individual manipulates and appropriates the materiality of the world in order to flourish his evolution. Appropriation apparently frequent in the world of ideas; affluence of memory, affection, experience, and beauty.
Harold Osborne, Art Critic and one of the founders of the British Aesthetic Society in 1960, advises us in his book, "Aesthetics and Art Theory," that the expression and idea of beauty refrains from the flaunting of theoretical rules in its appreciation. Just as Plato says, when he suggests that Beauty is grounded in its very existence. For Osborne it is impossible to introduce a contestation of judgment by pre-established rules to any object in the world; precisely because when arguments and judgments are presented in this way, a logical judgment is made rather than a judgment about the feeling that blossoms in the individual's encounter with the creative outcome, the art object.
The works presented in this exhibition celebrate the ideas announced by the Greek Philosopher, Plato, and the Art Critic, Osborne. The first thinker leads us to the supremacy of how we should interpret and, poetically, surrender to the context that beauty transits, enriching us with wisdom and guiding us so that the beauty of the object is contemplated in its entirety when we understand its essence - a daily and productive task in impartiality; the second educates us, recommending that the best form of contemplation is the delight of the intimate feeling in its purest instance on the idealized matter from originality and conformity without the sobriety and dialectic of judgment.
Note, then, that the forty-three (43) artists, of different nationalities, present in this exhibition have accomplished their mission and are in agreement with the teachings of the two thinkers, since they have used their sensitive reality to introduce to the beholder the sensorial perceptions of a reality emancipated from rules and theories, free and absorbed by inspiration. Proposing to the beholder, to recognize the pure essence of the works presented and spontaneously offer himself to his own feeling without pre-established judgments, so that he can then reach his true virtue and transcend his physical form, understanding that the encounter of the individual with the artistic artifact is a moment of intellectual beauty and pleasure of the senses.