Sorry we are late on this post but we felt it was important to share it with you even if late. Felipe Pantone and Demsky exhibited new work in November in Valencia Spain. The exhibition “Ultradinámica” referenced a recent manifesto the artists have wrote about their work. The new work was a reference to the manifesto and the artists conceptual approach. It is great to see artists from our generation take initiative and expand upon their already proficient visual language. By adding context with written manifesto it allows a wider scholarly observer to decipher the work. Excellent exhibition, you can also read the full manifesto below.



Ultradynamism is:

– The aggressive change, the somersault and the spacial jump, the dissolve of the tradition, admitting the interested appropriation.

-The seek of accuracy through estimation.

– The use of computers as an efficient element of the arts in order to introduce complex and accurate dimensions.

– The will of bringing spaces closer: Internet’s fractal aspects with its infinite relations and developments. The use of it as a space for exhibition, divulgation, and creation.

– The contribution of new systems in the knowledge of perceptual phenomena.

– The stimulus of interpretations, creating in the spectator a state of active participation.

– The production of improbable shapes, avoiding any predictable order.

-The incorporation in the pictorial space of uncertainty and surprise, instability and displacement. Improvisation, immediate solution, and wrongful appropriation in the public space.

– The inducement of the sensorial capacity through the projection of states, at times precise, ordered, and geometrical, other times chaotic, unstable, and liquid. To impress in art a rationalist and ordered vision that incorporates chance and the motion of the madding ultradynamic chaos.

– Sharp shapes, structures that offer an aggressive-active expression. Leaning directions that give figures a dynamic stability.

– The creation of rational work, bridge between art and science, in which the non-rational self is less interesting than the intention to arrange the impetus of the world through geometry, utilizing the creative exercise as a source of knowledge.

– Graffiti as the ultimate ism, consistent with the liquid modernity, with its transitory relations and its disposable and ephemeral condition.

– The intention to capture the velocity and the enormous ultradynamic information.

– The constant allusion to future and cosmos, through shape and concept, as an element of thrust towards the aforesaid. The reference to omnipresence and the aspiration to it through graffiti.

– The exaltation of the eternal omnipresent velocity, driving force of the absolute.

Valencia, 2nd November 2013