Rome is the luckiest.
Lyons, Aachen, Ravenna and Vienna are less fortunate, me Carpathians are almost unfortunate.
For the farther you find yourself away from the former capital, the less perceptible is the Remainder of the Empire. And along the Carpathians ridge there laid not the borderline but the Rome Empire's reconnaissance limen of Antoninus Pius time of rule. What left for us? Reminiscence. Will. Fore-standing.
REMINISCENCE.
It exists always concerning, relatively and corresponding to a landscape. As long as the landscape by self is an existential wardrobe for carnival drapery of the fickleness that defines here being, then reminiscence is the mirror nailed to the doors of this wardrobe. The craft of land-art reaches sometimes the mastership of the wardrobe door key. And as the immanent brutality of an artist resounds to that of a warrior having perished on this soil, in this substance of desire, on this land-for-art; as the door lock is being raped with the veteran mastership of the Roman legionary, 8 then this land-ROBE opens and envelopes every human tempted to SEE in the mirror of being. Then one SEEs cohesion and ruin of macromolecules dying in time of desire on the terrain of the bygone epochs.
Land-artist Yaroslav Yanovsky is a brutal artist.
His spatial artifacts pull out weird molecules from the Reminiscence into the sphere of reflection.
There lives a temptation of acquired deity in them.
It stupefies the more, when given that the modern tourists inhabited Carpathians are anti-divine mountains. One can't perceive Tibetan dialogue of cliffs and the Heaven here; there are no underground Andes sanctuaries here, and the corpse of the Great Lord never decomposed here among regional fir-groves and bushes. Set into ignoramus generations split mythology, brutal Yanovsky does not disturbs somnolence of the time-honored prophets. Not fixed by any sings the shadows vanished.
...POST-DEITY...
As a matter of fact, one can restore here the Empire only, unrolling upon the myth-of-art-restored limen the wandering deity of circus acts. And not wait for the revenge.
Like a paleontologist, who builds up a Jurassic Park inhabitant upon the smallest remainder of a bone, a land-artist makes possible a divine Shadow of the Empire in inconspicuous mountainous availability, playing with priming structures. Or even Shadows of the Empires. Existential flow sucks into duration of ages, elements of space, vibrations of languages and slangs which echoed along centuries in the Carpathians gorges, and also energy of ancient acts of love, battles and hunts. The Reminiscence then, by Fore-standing of a landscape to the fore of both Eternity and personal Yanovsky's will, gives birth to virtual here-existence at the brink of all limits.
WILL. It always begins from heuristic aspiration for temptation. Flowing away, time always degenerates into synthesis, i.e. into an agreement with decease. Anaximander seems to have understood that exploring the fate of things of being, doomed for redemption of existence.
Will is virgin.
It retains the beast of lust in numerator and differs so from mere human aspiration-to create, that divides its existential number into lust.
Will licks through plastic masses seeking the Remainder and hisses dissatisfying when squeezed by the banks of Fore-standing.
FORE STANDING.
It is coupled with the Ground animating the latter by eternity. The Ground and conceptualism are ordinarily incompatible, as much as ordinarily incompatible are modes of thinking of a hundred-year-old and an adolescent substant with a computer's monitor. A beforehand synthesis of Will (the concept) and Fore standing (the Ground) is erroneous.
And the only possible aesthetics of such a synthesis is the aesthetics of erroneous.
Only upon me error can be built new universes of making possible. For in a plain matter of fact there is an embryo of rest and the error only heuristically stipulates the universal meaning of Creation.
Fore standing is valuable by errors of wills and their very availability turns a deadly self-standing into anti-standing (opposition), i.e. into MOVEMENT. Out of distorted by errors substances there appear unrolling of myths that branch of being into paths of hope.
In his article "Philosophy and Literature" Hans George Hadamer defined an inner value of this appearance:
"Thanks to the discovery of future as the highest value the Judaic-Christian tradition, and thanks to eschatology with its prophecy there occurred a breakthrough into such a dimension of Weltanschauung which ancient Greeks possessed at the periphery of their consciousness: into the dimension of history... If history [...] defines movement of humans in time representing itself also in forms either the Scripture or a religious hope, then there appears at the foreground yet another angle of human experience that is hope. The whole history of European thinking stretches along the force field between the unrolling human experience which is historic and at the same time is aimed at the future, and the system of notions which is built in imitation of the Universe".
The model of this Universe-like aimed-at-the-future structure is being built by Yaroslav Yanovsky in his Carpathian land-art pictures. And in the space of this model there appears a need to BE, infixed on the Ground.
©Volodymyr Yeshkilev
©Yaroslav Yanovsky. Project "Landscape", action "Metal House & Wood". 1996.
©Yaroslav Yanovsky.Project "Landscape3", action "Museum of Nature". 2001.
©Roman Shevtsiv. "Lake" for project "Landscape3". 2001.
