Art Critic Louis Choi Chul-joo Criticism [66] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Co

 Art Critic Louis Choi Chul-joo Criticism [66] Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire.: Picasso's "Virgin of Avignon (Le Bordel d’Avignon)" VS Choi Chul-joo's the definition of conceptual abstract realism abstraction

 

"Virgin of Avignon" by MoMA

 

"Virgin of Avignon" by MoMA

Picasso's "Virgin of Avignon (Le Bordel d’Avignon)" VS Choi Chul-joo's the definition of conceptual abstract realism abstraction

In Picasso's "Virgin of Avignon," the virgins as a signifiant image are subjective objects of symbolic structure, with desire as an unconscious linguistic meaning created by Picasso.

As a symbolic structure, the face and mask of a virgin are symbolic devices of the symbolic world that cover the desires of others with masks, creating a gap that is divided from reality. By seeing the gap as a reversible light, it allows us to recognize the structure of realism in reality. This defines conceptual and abstract realist paintings as a methodology for drawing the present subject.

Therefore, the definition of conceptual abstract realism abstraction is that the subject's structure is realized as a shaded structure of reversible light because it repeatedly visually recognizes the illuminated form according to the past temporality. In other words, the object is repeatedly shown with the present gaze according to the temporality, and the philosophical result that the concept of the object can be predicted with abstract causality is conceptual abstract realism abstraction.

In the symbolic world, the other's object is alienated from the lack of desire as a non-verbal meaning and loses its essence as the subject of desire, dividing it into Avignon's virgins, regarded as an abstract desire concept according to grammar disclosed as a symbolic image of existence in the previous stage of linguistic meaning.

As a result, Avignon's maidens choose the other's desire structure and make it meaningful as seeing the maidens in a linguistic sense rather than the image of the maidens as the subject of the desire structure.

 

In this way, virgins are images that lack linguistic meaning, and the desire structure is re-embodied, and the image of linguistic meaning becomes a new conceptual abstract realism image by repeating the design as an ex post effect of another desire structure.

Therefore, the direction and viewpoint of reversible light are all stages of the perspective visual system according to temporality, and the line space of the visual structure, that is, the linguistic image constitutes the desire structure, and the reversible light that constitutes the effect of the post-image has a intersection in the existential position with continuity.

At the intersection, the maidens create a multi-loyal structural image of the linguistic meaning of the unconscious structure composed of shades from the perspective and the multiple points of reversible light separated from the perspective of perspective, and the maidens are abstracted as divided subjects as flesh that can be momentarily stared at while being dismantled from the point of view of the stereophonic monolith.

As a divided subject, it acts as an existential image of the concept of abstract desire as an image with the same linguistic meaning as a virgin and self as a mirror image reflected in a pond.

Divided into the structure of desire in imagination, "Virgin of Avignon" consists of real images as self by equating conceptual abstract realism images with mirror images by mistaking chicks for young chickens in imagination.

Here, by equating the other's desire with the mirror image and stating the linguistic meaning of the image as a statements image, the ego acts as a linguistic meaning representing the other's desire.

As a linguistic meaning, the subject of the image structures the image like grammar with an object that specifies unconscious desire.

 

Picasso's "Virgin of Avignon," viewed from Choi Chul-joo's conceptual abstract realism perspective, is a prototype abstraction of conceptual abstract realism that reveals the dismantling structure of reality and desire before language beyond the conceptual abstraction of stereotacticism.

This is not a stereoscopic painting that simply dismantles the sign and reconstructs the structure of desire, but creates traces of desire that have not been linguized through the separation of signified image as a form and meaning as a linguistic meaning. This collides with the Lacan imagination and the real world and is read as Choi Chul-joo's conceptual abstract realism.

As the gaze of the other, the eyes of the maidens stare directly at the viewer, and form a structure in which the viewer is staring and staring at the same time, forming a visual structure with the concept of the other's desire.

The visual structure of the concept of desire interprets the nude images of virgins as a visual device in which sexual desire and death impulses intersect. In particular, as a structure of desire, it is interpreted as a visual device that creates a conceptual abstract realism image by colliding the African mask of the two women on the right with the female image in a linguistic sense as reality.

In "Virgin of Avignon," the clash between linguistic meaning and image implies an irony between the image of "Virgin" and its linguistic meaning, and its image and meaning reveal a division of desire through inconsistency.

As a reversible shaded structure of light, the linguistic instability of the lack of desire transfers to a conceptual abstract realist image as the present existential image, as the nude of the maidens equates with the principle of simultaneity of Cubism on both the front and the side with a reversible shaded light that does not distinguish direction and position.

The five virgins, interpreted as the other's desire structure, are no longer subjective characters, but symbolic desire beings composed of the other's desire structure. In particular, the African mask faces of the two characters on the right are traces of the other's gaze dismantling the subject of the desire structure.

The destruction of a viewpoint using Picasso's principle of synchronicity is the same as the multiple viewpoint in which Choi Chul-joo's desire structure is used as an image in a linguistic sense. This is not just a visual experiment, but it symbolizes the collapse of linguistic unity. In other words, it is a visualization of the divided self of modern people and is the core structure of conceptual abstract realism.

The composition Picasso borrowed from Cezanne's "Women in the Bath" is not just an imitation, but the same as creating an image by connecting the present with a shade of reversible light in Choi Chul-joo's conceptual abstract realism. This is not just an homage, but functions as a device of symbolic reproduction through repetition and difference of the desire structure.

 

Therefore, the 'Virgin of Avignon' is not just an image of the concept of Cubism, but a cause of the structure of desire that interprets the visual language meaning that reveals the structure of unconsciousness and desire in modern society as an image. This is a philosophical result that cannot abstractly define the structure of desire according to the object and causal relationship that embodies the structure of desire.

This is a philosophical result that cannot abstractly define the structure of desire according to objects and causality that specify the structure of desire, establishing events as a subject image of desire as an exemplary example of conceptual abstract realism through the dissolution of reality before language, the desires of others, and symbols.

Here, conceptual Abstraction Realism Abstraction is constructed to question the philosophical consequences that can be predicted by causal relationships, and the subject image asks what the desires of others want. And it maintains the abstractly specific subject of desire that must exist as a concept of desire as a conscious action.

The conscious behavior dismantles symbolic language and embodies a visual object in which significance separates it from the image of the signifiers as a linguistic meaning. And the object designs an image of linguistic meaning at the level of statements consciousness as an image and is transferred to the desire structure of unconscious images in the dimension of enunciation act.

 

Therefore, the conceptual abstract realism painting of desire becomes a structure of desire that visualizes the philosophical psychological structure as a conceptual abstract realism of the concept of imperceptible desire and the linguistic desire at the level of expressive consciousness and becomes a device of desire that painterly reveals the image of reality before the linguistic meaning. Here, it becomes an object of desire at the intersection of conceptual abstraction and unrealistic realism that represents insufficient desire.

In this way, conceptual abstract realism abstraction is a map of unconscious desire that reveals the hue and form of invisible desire in reversible shades of light./ Writing. Choi Chul-joo, a contemporary art critic (Doctor of Cultural Design)

 

Choi Chul-joo, a contemporary art critic