Hello all,

I would like to remind you that the "Sheep's Parade" deadline is May 15th. "Shep's Parade" is a project of the Museum of the Essential and Beyond That. Browser at:

http://arteonline.arq.br/sheep

There, of course< you will find lots of sheep flocks, but curiously all the sheep are different.

You will find there:

1- White sheep

2- Black sheep

3- colorful sheep

4- baby sheep

5- sacrificial lamb

6- 330º sheep

7- dancing shirts sheep

8- piano sheep

9- wolf sheep

10-asci ii sheep

11- poetry sheep

12- teenager sheep

13- movie sheep

14- qtv movie sheep

15- sheep photo

16- pixel sheep for sacrifice

and much more!

If you want to be received with music, do not dorgt of click on the title of the page... ;-)

Oh yes, I forgot the "electric green sheep", that are related to the first Collaborative review of this year, which is analysing Isabel Saij's works.

http://arteonline.arq.br/newsletter/reviews2005/english_saij.htm(English)

or

http://arteonline.arq.br/newsletter/reviews2005/portugues_saij.htm (Portugues / Espanhol)

Below some extracts "to make water in your mouth"... ;-)

Do you believe in the human species' CREATION POWER to change our "political landscape"?

"If you mean can we change the political landscape through the power of creativity, I think the answer is both yes and no. I don't think an artwork can change the political landscape, or at least it's very rare for such a thing to happen. However, I think digital technology, particularly the Web, is changing the whole shape of society, and creativity is a part of this." (Edward Picot)

"It depends on the historical circumstances. In general art is innocuous in relation to social changes and revolutions. Nevertheless, when the democratic communication channels are obstructed (as in the dictatorships or under a State of terrorism) Art can replace that deficiency. Art necessarily expresses the social conflict (it cannot be avoid, it is impossible... ) and only can change the society if it gets to transmit the necessity of changes. That is to say, it is not Art that changes Society but people, people that assume the conscience of necessity of changes."
(Clemente Padin)

much more on line...

or:

It seems to me very charming although dramatic this Isabel Saij's almost animated series of 3D images for which the Artist wrote the poetic declaration above. The use of colors is excellent and it punctuates the drama that is developed through the pictures. The way Saij uses different points of view increases the observer's interest who becomes more and more interested in discover what is going to happen in the next scene... The electric green sheep are teeny robots, a probable allusion to all that Saij has already revealed us in "Political Transparence". For me this is a fantastic series, I do not tire of observing it and everytime I discover new details and minutiaes which I really consider surprising. Congratulations Isabel!
(The download is very fast!)

or

"The starting point (first frame) of this animation is a drawing on a small plank of wood, measuring approximately 6x5 cm. After to scanthis small plank I created new drawings using the computer, each time I worked on the preceding drawing to develop a new phase. Result: 110 drawings. As they follow one another I could make an assembly of them, therefore an animation. I called it "digital sublimation" because I was thinking of the chemical transformation. It's when a material goes directly from the solid form to the gaseous one.

Normally the 3 stages are: solid, liquid, gaseous."
(Isabel Saij)

or

"One of the most disastrous illusions will not be that which consists in looking at the artistic expression as a specialists' activity, separated from the alive problems' reality? On the other hand, it seems to us, that any creation, whichever the level in which it situates and whichever are the ideologies that justify it, it is in immediate relation with this collective freedom, perpetually sprouting, which animates human reality, shakes the numbest or the most stratified structures and projects the human groups in the mutation, in the future, in the history."
(DUVIGNAUD, Jean. Sociologia da Arte. Rio de Janeiro, Editora Forense, 1970.)

or

For a while, let’s breathe the hilarious gas at the "Bagdah Cafe". Let's become volatile in spite of the hardness of reality. Perhaps being volatile we can decipher our own labyrinth and to get a creative exit to our lives. Let's start to change the world by ourselves..., let's become colourful sheep like Paulo Villela's happy flock ... (http://arteonline.arq.br/sheep/ Paulo Villela)

or

in this point I agree with Saij: we are all sheep
but neither all of us are white (or green)
the sheep's paper artist, is to be the black sheep:
to see when nobody sees.
to shout when nobody shout
(joeser Alvarez)

Would not you like to read the complete review (until now!)?

http://arteonline.arq.br/newsletter/reviews2005/english_saij.htm(English)

or

http://arteonline.arq.br/newsletter/reviews2005/portugues_saij.htm (Portugues / Espanhol)

YES, the first review 2005 continues, it is not ready yet! Do you wish to join us?

http://groups.yahoo.com/group/museumnewsletter/

All the best,

Regina Celia Pinto

http://arteonline.arq.br

http;//arteonline.arq.br/library.htm

<ENGLISH>

My electronic book Alice in the "Wonderbalcony" (which inaugurated the Summer and Winter Festival last December) today in the newspaper Ciberp@is / El Pais, Spain
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Ulisses, Moby Dick and Alice in the country of bits

At the balcony of wonders a work between reality and fancy, where the Brazilian Regina Celia Pinto offers an interpretation of the Lewis Carroll world from the perspective of her house's balcony, metaphor of the artist's life.
> http://arteonline.arq.br/alice

by Stefano Caldana and Roberta Bosco

(The English version is mine.)

Well, the review is small but very nice and the colour picture which was published together is really big. I am very proud of this.

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<SPANISH / PORTUGUESE>

Meu livro eletronico Alice in the "Wonderbalcony" (que inaugurou o Festival de Verao e Inverno) hoje no jornal Ciberp@is / El Pais, Spain

Ulises, Moby Dick y Alicia en el pais de los bits

En el balcon de las maravillas uma obra entre realidad y fantasia, donde la brasilena Regina Celia Pinto ofrece una interpretacion del mundo de Lewis Carroll desde la perspectiva del balcon de su casa, metafora de la vida de la propria artista.
> http://arteonline.arq.br/alice

por Stefano Caldana y Roberta Bosco

Bem a resenha e curta mas muito simpatica e a imagem colorida que foi publicada junto e realmente bem grande. Estou muito orgulhosa disso,

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Regina Celia Pinto

http://arteonline.arq.br
http://arteonline.arq.br/library.htm

Well, browser at:

http://arteonline.arq.br/newsletter/debate.htm

Museum's newsletter has changed some information on this issue since last February. There you will find a link to Edward Picot's interesting article on this subject.

Best wishes,

Regina Celia Pinto

Museum of the Essential and Beyond That

http://arteonline.arq.br
http;//arteonline.arq.br/library.htm

patrick lichty wrote:

>
> >Selling ephemeral art is not new, but it remains problematic.
>
> funny, anyone conjures up a problem. probably just a form of
> xenophobia, a variation of seeing jesus face in a tortilla. people
> not comfortable with strange things and interpreting it with what
> they do know, which seldom makes any sense.
>
> I don't see there being a problem to it; I just don't see many people
> making a marketing model work. These are two very different. We all
> market, one way or another at one time or another.
>
>
>
> so you can start selling what are essentially kinetic electric
> sculptures but mostly balls in the court of the reticent buyers.
>
>
> Maybe. Somehow there doesn't seem to be a social contract that buyers
> can make sense of at the moment (or many instances of them)
>

Museum of the Essential and Beyond That's News: http://arteonline.arq.br

ELECTRIC GREEN SHEEP

INVITED ARTIST: ISABEL SAIJ (FRANCE)

http://arteonline.arq.br/newsletter/review2005/english_saij.htm

WORK: "POLITICAL TRANSPARENCY"

(http://www.iis.com.br/~regvampi/museu/netartwebart/isabelsaij.htm )

JOIN US !

SEND YOUR REQUEST TO arteonline@arteonline.arq.br / Subject: join
newsletter.

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2005 FIRST REVIEW:

1- Do you believe?

by Regina Celia Pinto

My grandmother, who was born in 1896, told me:

"I like romances, I like stories. Yes, I like. Now I do not know, the time went by...
When I was young the women were different. We could not do things,
stories... only sometimes. I had wish but I did not have perhaps competence to write a story. Neither I had the facilities of today. I belong to 96, I do not belong to 900. When I was born women did not study. Who am I? I went to school because my mother was a little bit more advanced. She was one of the few advanced people..."

My grandmother studies were only the elementary school's studies, however she read one book a week during great part of her life.

It is interesting to compare my grandmother's text of and Saij's bio, who was born 58 years after 1896.

Isabel Saij
born 1954
french
lives and works in Mervent (France) and Vienna (Austria)

1984 : dissertation in "visual art and science of art" La Sorbonne Paris 1
subject : "Egon Schiele 1890/1918"

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The first movements toward universal suffrage (or manhood suffrage) occurred in the early 19th century, and focused on removing property requirements for voting. Only in the late 19th and early 20th century, the focus of universal suffrage became the removal of restrictions against women having the right to vote.

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These few paragraphs above which I chose to start my comments on Isabel
Saij's work evidence the XX century importance for the feminine gender.

"Political Transparency", Isabel Saij's work which we are analyzing,
demonstrates political understanding and reveals that using Art and
Technology, without any doubt, it is a consequence of the feminine gender's conquests of the XX century.

"Political Transparency" and the Author's text on the work ("A black and white, a black or white system or wise of thinking, a binar one, a manichean one, in a grey zone with barred windows." ) remind me "Mille Plateaux" by Deleuze and Guattari, where they affirm that the face is a white wall with a black hole and also they indicate the relationship between body and power. It is the despotic and authoritarian power's concrete arrangement which unchains the abstract machine of "visageite", which operates a "visageification" of the whole body, of their surroundings and of their objects, turning into landscape all the worlds and ambients. The face is political. We are what the power wants!

Saij stated:

"We're the sheep, whether we like it or not. The broadcast is perpetually lying, the press lies, manipulating and manipulated, and the politicians seem to orchestrate the whole, entirely bound, as we are. What could they do, apart from making a marvellous shining show...
We're the sheep and the pantins. They are too.." (Isabel Saij)

Undo the face is not a small work. If the face is political, undo it also is a politics. We can not fight against the face and against the abstract machine of "visageite", It is necessary to fight with these elements and to invent a new use for them.

It is only in the conscience and in the subjective passion's black hole, where each one connects to the unknown spaces of the other, that we can dismount that system... We have need of thinking head's intellectual availability (like the Isabel Saij's thinking
head) which enable the abstract machine of "visageite" for a different
operation, then a year zero will start, but for that it is necessary to
break the previous codes.

"Have a good time, relax, every thing's fine. We can trust them, they do their job for our own good...they protect us...sure... Wolfowitz became administrator of the world bank." (Isabel Saij)

Will we be really in a labyrinth without exit * or does it remain some
hope?

Another French Author, Jean Duvignaud, stated:

"Artistic creation is a bet on the human species capacity to invent new
kinds of relations and to live still unknown emotions."

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And you, what do you think?

Do you also believe in the human species CREATION POWER to change our
"political landscape"?

Do you believe in UNIVERSAL SUFFRAGE to change the world?

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* labyrinths., dear Isabel, could you tell us anything on "e-motions". your surprising series of sheep? http://arteonline.arq.br/sheep (Isabel Saij [III]

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REMEMBER:

YOU DO NOT NEED TO BE A SCHOLAR TO PARTICIPATE, SEND YOUR OWN COMMENTS,
YOUR IDEAS WILL BE ALWAYS WELCOME! BUT IF YOU ARE A SCHOLAR, NO PROBLEM TOO! ;-)

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To read the 2004 reviews browser at:

http://arteonline.arq.br/newsletter

2004 artist's, thinkers: Muriel Frega, Marcelo Frazao, Joeser Alvarez and Joel Weishaus

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Best regards from Rio de Janeiro,

Regina Celia Pinto

http://arteonline.arq.br
http://arteonline.arq.br/library.htm

Museum of the Essential and Beyond That's News:

ELECTRIC GREEN SHEEP, the first collaborative review of 2005 is just starting!

INVITED ARTIST: ISABEL SAIJ (FRANCE)

JOIN US !

http://arteonline.arq.br/newsletter/review2005/english_saij.htm

SEND YOUR COMMENTS TO: arteonline@arteonline.arq.br

1- BIO AND INFORMATION:

Isabel Saij
born 1954
French
lives and works in Mervent (France) and Vienna (Austria)

1984 : dissertation in "visual art and science of art" La Sorbonne Paris 1
subject : "Egon Schiele 1890/1918"

1983-1999 : Material painting, objects, installations exhibited in solo,
group exhibitions and on art fairs

2000: Beginning of the computer generated art: 2D and 3D drawings, 2D and 3D
animations, real virtuality, netart,...

2002: First online exhibitions of netart pieces.

2003: Reviewer for the californian e-zine "netartreview"
(http://www.netartreview.net)

2005: Current activities:
-netartist, multimedia artist, copyleft activist
-critic
-photographer
-sound designer
-researcher

The works can be see directly on-line at the following adresses:
http://www.saij-netart.net
http://www.saij-copyleft.net
http://www.bibiche.net
http://www.digressions.net
http://www.saij-photos.net
http://perso.wanadoo.fr/isabelsaij-net

2- WORK (s)at the Museum:

POLITICAL TRANSPARENCY

http://www.iis.com.br/~regvampi/museu/netartwebart/isabelsaij.htm

Black & white. Black or white. Stacking layers. Interferences.
Geometrical 2D shapes, clear and good perceptible, easily moving.
Geometrical 3D shape swivelling, all facets looking perfectly polish,
without any uneveness or roughness.

We look at them, through them, around them.Story without words.
What to say?

These constantly moving objects can't go mouldy, can they? A black and
white, a black or white system or wise of thinking, a binar one, a manichean
one, in a grey zone with barred windows. Wrong or right, it's easy, it's funny, isn't it?

Our western politicians (those I know better?)... Paragons, whatever you think of....

Much more at: http://arteonline.arq.br/newsletter/review2005/english_saij.htm

OTHER EXTRAORDINARY SHEEP

at: http://arteonline.arq.br/sheep (- find , page-bottom, look for Isabel Saij -)

Thanks for your kind atention,

Regina Celia Pinto

http://arteonline.arq.br
http://arteonline.arq.br/library.htm