CHECK-IN Line Performance
This Performance, called “CHECK-IN LINE”, was made during the LONDON RESEARCH PROJECT on a proposal of Sorin Scurtulescu, Saturday, 26.01.2019, 6pm by Sorin Scurtulescu, NOIMA Group & Cosmin Ciofirdel, Ceramics Sculpture Studio at Kingsgate Workshop Trust (110 - 116 Kingsgate Road NW6 2JG London).
This performance was made in London before the Balkan Performance Tour where NOIMA Group will take part on 1 february 2019 in Timisoara at Casa Artelor together with Àgnes Hamvas & Hubert Hasler, Emilia Jagica & Anikö Kiss.
The name of the performance was inspired by this thought as a precursor exercise.
This performance was inspired by the following text:
“Apelles was a contemporary of Protogenes, whose reputation he advocated. Pliny also recorded an anecdote that was making the rounds among Hellenistic connoisseurs of the first century CE: Apelles travelled to Protogenes' home in Rhodes to make the acquaintance of this painter he had heard so much about. Arriving at Protogenes' studio, he encountered an old woman who told him that Protogenes was out and asked for his name so she could report who had enquired after him. Observing in the studio a panel Protogenes had prepared for a painting, Apelles walked over to the easel, and taking up a brush told the servant to tell Protogenes "this came from me," and drew in colour an extremely fine line across the panel. When Protogenes returned, and the old woman explained what had taken place, he examined the line and pronounced that only Apelles could have done so perfect a piece of work; Protogenes then dipped a brush into another colour and drew a still finer line above the first one, and asked his servant to show this to the visitor should he return. When Apelles returned, and was shown Protogenes' response, ashamed that he might be bettered, he drew in a third colour an even finer line between the first two, leaving no room for another display of craftsmanship. On seeing this, Protogenes admitted defeat, and went out to seek Apelles and meet him face-to-face.”
Guillaume Apollinaire retold this story in his essay "On the Subject of Modern Painting", originally published in Les Soirées de Paris, February 1912. This tale is a literary tropeepitomizing the sublime simplicity of the greatest art in the hands of a consummate artist: comparable examples are Giotto's perfect circle, drawn freehand, and the scholar-painter Chuang-tzu's perfect crab, which, following ten years of preparation, was drawn in a single stroke without lifting his ink brush from the paper.https://en.wikipedia.org/wiki/Apelles