Critique vs Criticism

By Surani Perera
As part of Colombo Art Biennale 2012, a talkCritique vs.
Criticism by Sri Lankan Artist Leo Pasqualgewas given at the
J.D.A. Perera Gallery of the Faculty of Visual Arts of Colombo in
Horton Place on 16 February.
Leo Pasqualge started the talk by saying that censorship is a
concept that if practiced can automatically lead to self-
censorship. As a person, when something happens, the
decision to keep your mouth shut and not talk about the issue
is self-censorship.
Not only will you not talk about it, you will not write about it.
Why should people keep information away from the public? If
somebody is afraid of censorship, Pasqualge said it is because
the censor is afraid that it will be harmful to their self-interest.
In keeping with the theme of this years Art Biennale
Becoming, Pasqualge asks usWhat are we becoming?
when we as a person or society stop talking about issues
around us that are naturally concerningin effect we resort to
self-censorshipbecause we are afraid.
What would successive self-censorship across various domains
mean over a longer period of time? More importantly, what
would it lead to?
Moving on to the title of the topic, Pasqualge highlighted how
criticism is different from critique. Criticism is based on ill will.
You critique a person or action, or a work of art to help that
person grow. However, criticism shuts that person down.
Pasqualge, all this while, spoke standing next to his art exhibits
displayed on the wall. One of the paintings, mostly black in
colour, was untitled like all his other art on display. We could
call this particular piece The Black Paintingthe artist
however intended to depict it as 'Censorship'. So we get inkling
as to how language or the language game as it is called plays a
role in effective censorship.
The artists 'Censorship' piece was inspired by the essay "Art in
the Age of Mechanical Reproduction," by the German Jewish
writer/critic Walter Benjamin. Benjamin was hated by Hitler
and was hunted down and killed by Nazi agents at the Spanish-
Portuguese border (Though before Benjamin could be captured
he committed suicide). Pasqualges biography brief for the
event says The process of becoming is a fact. So is censorship,
which is a global phenomenon. Post-war Sri Lanka is indeed at a
threshold.
Censorship may be a political act the deliberate use of
power, competition and games to coerce. It may be used at the
level of one person to another - in relation between groups;
within and between countries. Censorship may be based on the
censor's fear, who in turn uses fear to encourage self-
censorship. Fear and/or prudence leads one to self-censorship.
The question once again is: what are we becoming as a result?
Coming back to critique, which Pasqualge said is similar to
aesthetic evaluationhe said it helps the progress of an artist
by making him/her better themselves.
Talking about how it matters how you look at art, the artist
reiterated the language game and how non-representational
art has not title to identify it. A title, as it involved word and
language, gives a person the ability to censor through
misinformation or disinformation.
No matter what you paint, you are trying to say something
said Pasqualge. The post-modern view in art history was a
concept put forward by Roland Barthes; his famous essay
Death of the Author he proclaims the viewer is making
his/her own choice. Artists intentions are perfectly matched
with the viewers empathy sometimes; that is a successful
painting. If the artist can transfer his intention to the viewers,
then our game is won, said Pasqualge further.
Censorship is connected to a power relationship. It may be
between a group of humansit may even be ragging and
bullying. I call it censorship said Pasqualge.
He added that you can create art with a quiet eye; without
fanning the flames you can dowse it. You can do it on a
platform without shouting and yelling your guts out.
Becoming: What are we becoming? Are we becoming better?
About Leo Pasqualge
Leo's passion for art originated with his father, who was a
Renaissance man interested in art, architecture, music and
photography. As a teenager, painting became a pastime, which
culminated in an exhibition with several friends at the Lionel
Wendt Art Gallery. Leo enrolled at Pratt Institute in New York
to study fine arts/painting in 1992. After graduation he worked
at a retail art supply shop, and as a gallery assistant at
museums and galleries in New York. In 2001, he returned to Sri
Lanka and has been painting and teaching since then.