
                  *       *     *      *      * * *        *
                 A A      N     N     A A     D    D      A A
                A   A     N N   N    A   A    D     D    A   A
               A     A    N   N N   A     A   D     D   A     A
              A  ***  A   N     N  A  ***  A  D     D  A  ***  A
             A         A  N     N  A       A  D    D  A         A
            A           ******************************           A
          A                  "Jaisini"                 aNAda #27   A
        A                                                            A
     A                by Yustas Kotz-Gottlieb          03/19/00         A
 A                                                                          A
     ********************************************************************

 **Editor's note: This file has an interesting story.  Apparently, this guy,
   Mr. Kotz-Gottlieb ("Gottlieb" meaning 'God-love' in German), has been
   mass-spamming art websites, guestbooks, e-mails, and newsgroups with his
   attempt to spread the word of fine art to the masses.  And it is with
   great pleasure that aNAda was sent one of his letters, and it is with even
   more pleasure for us to post it here today.  Yes.

 {*****}

        I am Yustas Kotz-Gottlieb, a writer in New York.  I work on a book
 about Gleitzeit art by Jaisini.

        This action is on behalf of Gleitzeit - art - Jaisini movement to
 bring high aesthetics closer to people.

        Thank you.
        Yustas Kotz-Gottlieb

 {*****}

 Jaisini
 Manifesto
 (short version)

 Gleitzeit


        Gleitzeit style based on depiction of visual flexibility with
 theoretical flexibility.

        A painting which purpose is to achieve composition of enclosure.

        Art based on the depiction of a circle evolution of understanding and
 seeing.

        A kind of art which draws upon imagery and seeks to reveal and
 abstract idea of the connection within.

        It's flexible because it has multiple principles.

        Paintings with a capacity to change visually by the artistic magic
 changing your subconscious mind.

        It is a session of Hypnosis which controls you by a disorganized
 absolute harmony of everything expected from a "nonexistent" picture.

        It depends upon the pattern of line as a primal creator of whatever
 associated or disassociated from the theme.

        The artist's mind is the superior beginning of the line, but the line
 is free and emancipated.

        Flexi is a new neo-pro-anti-post

 {*****}


 Pinocchio

 (Oil painting by Jaisini)


        Jaisini, an artist of a new time and age, looks at the traditional
 art concerns of good and evil in a wider perspective.  As we all know, this
 used to be a standard Biblical subject for the artist's exploration of the
 two sides of human nature.

        In Pinocchio, Jaisini introduces the performance of late modern
 critical nature.  It is a moralizing representation which is open to
 interpretation.  Little in Jaisini's art is straightforward representation.
 Most elements are open to variety of interpretations, though a presence of
 devil in Pinocchio brings us closer to the original concern.

        As we know, from the history of art, in the art works of medieval
 times, especially in the paintings of Bosch, devils appear among people
 during their ordinary working lives.  It epitomized the medieval belief in
 the real unseen existence of demons and devils everywhere.

        For Jaisini it may be a simplest message of the ever-present
 antagonist to the human corrupt nature.  The pictorial language of the
 artist is based on his search for the unusual associations.  Here, Jaisini
 has produced a remarkably dramatic evocation of a turmoil at the party
 table.  The idea of Pinocchio may be the Bosch's type illustration of the
 body prevalence over spirit.  Jaisini does not show tormenting but a more
 contemporary kind of punishment as a birth of a black child with a knife.
 His white mother is covered with table cum-stained cloth.  When the true
 image of the childbirth is revealed, the shock tactic invades the space.
 The orgy itself, the table and under the table seem like a replay of a crime
 scene.

        The giving birth mother exposes the unattractive site of birth.  Her
 privacy is violated as she is a participant of the table orgy it seems like
 some distant laughter echoed evilly in her attempt to give birth to that
 violent child with the knife that cannot yet kill but targets surrounding
 world with it's pirate like curve.  In Pinocchio the gap between the hard,
 prosaic reality grows more and more and the dreamy flexireality may be able
 to reflex more truthfully contemporary life with it's complexity.  No court
 of law yet defined the art guilty of such reflection of unwanted truth,
 mimicking the facts of physical world in connection of unlikely situations
 and less expected interpretations.  In the Pinocchio the puppeteer behind
 the staged performance of the orgy is supposed to be the author of the
 painting, but is he?  The artist seems to be a mediator of social sadistic
 fantasies who entered them through artistic mode on the canvas with almost
 childish frivolity but with serious impact.  In his works the heroes are
 freed from the burden of the gendered flesh being puppets at the same table
 with people and creatures of superpower or animals.  The works like
 Pinocchio, 911, Meat Grinder have some posttraumatic content of the world in
 a process of loosing emotional content with its murderous rage and maniac
 annoyance of speeded change.

        The orgy which takes place at the table and under it could symbolize
 the notion of an 'absolute democracy.'  To the artist that is satirical,
 cynical, and tragic all at the same time, 'the most shameless thing.'
 Jaisini shows a committee of three at the same festive table where two are
 absent.  The ruler is introduced by the liar Pinocchio.  The birds symbolize
 politicians whom artist saw as representatives of the evils inherent in the
 legal and political machinery.

        By arranging the partitions of the bodies by the table cloth, which
 covers and opens bodies portions, Jaisini lends an erotic dimension to the
 somber, grisaille color of the painting.  The effect of sobriety, the
 controlled orgy, not a temperamental and eager as in Hot Dog Party, but
 rather dead is achieved here.  It seems that the table cloth demarcates two
 realities, which are not that different from each other, with the same signs
 of sinnery, evoking man's abstruse appetite for 'bad.'

        The table cloth opens a view that an aphorism describes well: "the
 only truths which are universal are those gross enough to be thought so."

        Jaisini doesn't adopt both, reality or unreal.  He allows his works
 to receive different interpretations and to continue offering a mystery.  A
 super plasticity and integration in Jaisini's work sketch out a new
 cosmology with the senses translated into visual terms.

        The 'table' composition in Pinocchio, Hot Dog Party, Barbie Q, and so
 on, creates a phenomenological experience of space.  Some things are
 effective and eternally magnetic.  Jaisini as an alchemist, searches for a
 philosopher's stone which can transmute base metals into gold.  He canonizes
 the technique of his enclosed composition of a secluded line together with
 the continuous idea, almost a myth, a riddle, a fascinating concept, the
 artist creates a new reality, fully  integrated, with its own laws and
 reasons for existence.

`       The choice of images like Pinocchio, which are grotesque, brings the
 image to a new universal meaning.  The clowns and fools are the
 representatives of the carnival spirit in the everyday life.  In the Bosch's
 "Ship of Fools' the scene is presided over by a jester fool, whose role is
 to satirize the morals and manners of the day.  Fools posses the
 time-honored privilege to be other in this world, the right to be in life
 but not of it, the right to confuse, to tease, to act life as a comedy and
 to treat others as actors.

        Jaisini's style is marked by theatrical whimsicalism.  His use of
 fools in some works could hold the artist's hope for humanity, hope that
 life is not necessarily predetermined towards loss, failure, and
 catastrophe.  To the contrary, the artists like Bosch believed that sins of
 humankind are endemic and that hell is our ultimate destiny.

        Jaisini creates in a carnivalesque tone his Show Time, Talk Show, Hot
 Dog Party. Barbie Q, Lunch Time, Sinphony, etc., which reflects the current
 condition of historical development when life becomes a permanent mixed
 eruption of excitement, spectacle, happiness, joy, tragedy, loss, conflict,
 dilemma, terror, and death.  Still, human destiny is conceived as open or at
 least as not finally tragic and not predetermined to failure, but can change
 and transform.  The artist gets his impetus and irrepressible energy to
 create in sometimes carnivalesque tone, as a social critique, nonetheless
 serious for being theatrical, extravagant, and playful.  Carnivalesque may
 remain an always dangerous supplement, chellenging destabilizing,
 revitalizing, pluralising single notions of true culture, true reason, true
 art.

 by Yustas Kotz-Gottlieb

 "Pinocchio" (Oil painting) by Paul Jaisini,
 New York 2000, Text Copyright;Yustas Kotz-Gottlieb
 ALL RIGHTS RESERVED 


 Writings:

 Talk Show
 Marble Lady
 Hot Dog Party
 Pinocchio
 Drunken Santa
 Manifesto

 {**************************************************************************}
 {  (c)2000 aNAda e'zine *            * aNAda027 * by Yustas Kotz-Gottlieb  }
  **************************************************************************
