The art of impossible
I’ve been trying to elude Kusama’s topic, not because I'd rather keep away from mainstream characters and art, which I do, but because there’s not much to say about her. Instead, I prefer to write about less globally celebrated artists, even when they are very well known, but not like those icons such as Yayoi, Frida, Picasso, or Dalí.
If you’ve read my notes before, you've now realized that I expand my vision about art from the most classical and academic paintings to music, AI, or videogames. That has included, of course, architecture and the impossibilities of its art, transforming dreams into spaces, light, and shadow.
It’s not new to link art and science; today, more than ever, the point is crystal clear. But while we as a species travel the long way of history with those two grabbing our hand, it wasn’t always so evident.
While our society becomes increasingly robotized physically or through AI assistance, when we look back at our recent past, some of us still feel amazed by the marvels created by people before today’s reality. And here comes one of my favorite contemporary architects: Zaha Hadid, whose art brought life into astonishing buildings, delivering the vision of impossible structures in dancing lines floating in the air, and yet as solid as concrete.
No doubt that she, like any other artist or scientist, used all the advances available in her pursuit at the time to materialize her projects. Hadid’s work established what constitutes, to me, the capability to turn hard and potent structures into music and ephemeral brushes, both visible and “permanent” as much as we endure.
If you ever have the opportunity to stand in front of one of her buildings, step inside them. You’ll know what it is to be in the presence of a synesthetic experience with a glimpse of the future, and without the “immersion” tricks.
The art of impossible
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