Art — April 1, 2010
The Venice Biennale Art Exhibition
Adi Da is very eclectic in the way he approaches realization of the notions and the energies he plays with. It solicits a specific kind of internal language in myself. It’s like I begin to emotionally and psychologically think and feel in a different language and I relate to it in a different way than I did before. This is something that I’ve acquired over the last two years in being… working with his art and being in front of his art.
And he is very unique, I mean he really and truly is, and it’s not only his art. It’s a marvelous story. I feel this is a spiritual teacher who follows a very distinct tradition in Western Art about spirituality in art. Who’s very articulate. Who has decided to bring his art before the world.
When the proposal was first thrown in front of me, that Adi Da should be in the Biennale, but it had to be a collateral. – that’s probably the most difficult category to get into, with you know, 500 to some applicants or whatever. And they picked 33 or 35 this year. I mean it’s not an easy chore at all. At first I rejected the idea. I said, with all the challenges in front of you, this isn’t it. But then I thought – this is such a mad idea, that it may just be a good idea, it might work because we really need to jumpstart international awareness of Adi Da Samraj. And the Biennale could perhaps be exactly the proper forum.
It was absolutely marvelous. It’s like a production, and people walk in on the opening day and go “Oh, this is absolutely fabulous.” And we have received very good reviews and those people who have seen it… I mean – to walk into an exhibition like that and describe it as “stunning” “not to be missed” “the finest example of digital art I have ever seen.” I mean, well, something’s going right.
And Achille Bonito Oliva is probably, if not the, one of the most respected critics and curators in Italy. He curated two previous Biennale shows, enormously respected individual. And he told me that he taken the time to look at Adi Da’s art and he was genuinely impressed with it. And then I opened the issue of his perhaps curating the show, and without hesitation, he said, “Of course, I would love to curate the show.”
And during the opening at the Palace de Volante, he is taking the Asasur Galantur, the head the culture for Venice through the exhibition, then sitting there and explaining to her what was going on. It was just absolutely marvelous to see. So, we’re very fortunate to have him actually. And for us, it was important to have a major critic who was able to position Adi Da’s work in a broader, historic context. -Stuart Gibson, Chief Consultant to the UNESCO/Hermitage Project
(Translated from Italian speaker.)
“It’s easy to see in Adi Da’s work the usual references to optical art or pop art, but in the end, it’s a unique expression that is surprising. He understands that most Americans haven’t studied Latin or Greek but he could reference the work of Adi Da to the word Epiphany. Epiphany means apparitions. So the way to relate to Adi Da’s art is that of an apparition that presents itself to the viewers spiritually, mentally and psychology. . . The work of Adi Da is spiritual nourishment and tonight with the physical nourishment we celebrate him.”
To see more of Adi Da’s art, visit Da Plastique.
In this book, Adi Da Samraj accounts for the significance of the aesthetic experience when viewing art. Aesthetic experience as he explains, is primarily and fundamentally, about ecstasy or the experiential transcending of the psycho-physical limits of egoity (or of 'self'-separateness). "When the viewing of image-art is right and true, there is a thrill in the event, a profundity of experience. If the viewing of image-art is not right and true, then that thrill, that profundity, is absent, and the secondary uses of the image art come to the fore". -Adi Da Samraj