REVIEW OF AESTHETICS AND FINE ART
MANIFESTO
A new aesthetic movement as a political concept to recreate a life-sensitive world: wild animals in an urban frame. WAUW, a kind of barking of animal presence in the urban world
At first it can be to give an inclusive definition of this new aesthetic movement in art. This movement is primarily based in London on work by international artists. It’s been gathering momentum for a few years. What is characteristic of this new vision of animals in urban landscapes that appears in this art movement must be its emerging theme, its figurative dimension, its gender inspiration. This art movement aims at integrating wild animals in nature with human in their own self-created nature, the urban environment. Frequently driven by female painters desiring to restore balance and safety in the community more connected with nature, their new representation of humanity reappraises the traditional model inherited by the previous male-dominated projection of nature as The Other. In this movement, Nature is returned from is “Other” status to an integrated “Self” status—a recognition of the ongoing connections among bodies, selves, communities, and cities. This artistic movement finds his function of reflecting a new model of relationship between wild animals and humans. The previous hierarchical order is confronted by a leveling demonstration of animals’ power to compel us to reconceptualize urban spaces. Although WAUW may be first regarded as a reaction against technologic world in so far as its degree of insensibility has caused a space of psychological insecurity, WAUW is not for exclusion of the technological so much as for the inclusion, or re-insertion, or the presence of Nature.
This manifesto targets the dominant ideology that models in urban architecture the degeneration of the sensibility of the living beings. The contemporary human, having become a puny and immature counterfeit of his species, which he deviates singularly, now disseminates his venom. It is this human supremacy and binary oppositions that have facilitated the objectivation, instrumentalisation and reduction of Nature. The artistic movement that we defend intends at reintegrating the molecules of life into the common space. We forbid the "debacterization" of living organisms that have developed our immune force. Our project in our pictorial creation is to rebuild a new order in the spatial, anthropological coexistence of species.
We intend to give life to the sacred that is introduced into the material and guarantee its pre-eminent place of power. We want to reverse the hierarchies that today are artificial and fictional so that everyone interprets their determinism with the foresight of their ontological nature.
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Marcela Olivia Dorantes, Oil on canvas, Révélation,30x24x11/2
WAUW brings together artists who challenge our view as citizens on our dichotomous representation of urban and wild life. The architects of urban space dehumanize, numb, uproot, radicalize, galvanize the living space with superficial energies. Blind, they impose a model based on cyclical and chaotic contamination that transforms everything including living, sentient beings as expendable materials and disposable commodities.
We aspire to restore the fundamental force of Creation in the space of life so that humanity does not build a new "dream" of barbarism nourished by the techniques of the society of hyperconsumption in technological matters.
We aspire to restore the fundamental strength of Creation in the living space so that humanity does not build a new dream of barabaria nourished by the techniques of the society of hyperconsumption in technological matters. We want to represent, we painters of the WAUW movement a new harmony in the cohabitation of different mammals and other species. We defend a humanity that can reclaim the psychological and sensitive characters of "sapiens philosophus et animalis" whose pimitive traits have been scuttled.
To do this, we reveal in our paintings the essentially universal and intelligible part of the wild animal. We insist on their role as crazy guard and on their particular meaning as referee of the living world governed by the presence of the stars.
Our ambition is to desecrate the lieutenants of the monetary Empire and to substitute them with wise men elected by natural hierarchical forces as are the Elements that govern the lives of the living beings that develop on this earth.
Our representation of society as we suggest it to the public through our works of art redefines other contours for our collective security, both in terms of our physical balance, the integrity of our psychological space and our well-being in the environmental crises that in the long term are the cause of our daily affections.
Decentralized by "non-dualistic materialism", the political decision-makers of the Nations orient their decisions by making triumph a new meaning of human domination: the urbanized primate reigns over technology and composites diverting sacred flows from their destination.
Legitimate authority appears in our works of art through the symbolism of the wild animal. For our movement, it represents the expression of a contrasted order by restructuring the space of urbanization of life through serenity and danger.
However, the condemnation of wild or farmed animals is not new. According to Michel Onfray, "a part of the animals were called to the court, their trial was instituted ... they were sentenced, who on excommunication, hanging, relaxing, relegating, rehabilitation, to the acquittal. (...) Eight centuries of lawsuits against animals (...) so that "the justice of men against (their) crimes" is exercised.
The philosopher from Caen quotes lawsuits that have become historical : that of "eels in Geneva in Switzerland in 1221, locusts and worms in Tyrol (in Austria) in 1338 (...) a pig in Frankfurt (Germany) in 1572 (...) a horse in Portugal in 1550, rats in Spain at the same time, a mare in Wünschelburg (Silesia) in 1676, a goat in Siberia (Russia) in the 17th century.
Are these sacrifices or processes learned by the community of the dominant gender that legitimizes an old order fashioned on an ethnocentric conception of the living?
We, the painters of polyethnicity, claim to make tomorrow's people profitable to refocus our conception of the atom on the the role and circultaion of the orbit in the
planosphère.
Naïg Desmadriguen
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