Even so, the eroticism of careful observation and reaction seems to be the only way towards an orientation, the only way to escape from isolation or to integrate the alien aspect.
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However, while those artists generally sought interaction with, or reaction from, their fellow pedestrians, in Evidence Locker Magid has eyes only for the “eyes” that are trained on her.
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The themes in his work and the confrontational way in which, in terms of painting, he gives these form, provoke so many reactions that it is almost impossible not to take them into account.
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Although the article has since attracted a lot of counter reactions and criticism, its main argument that most films are structured around eroticizing women to build up the viewer’s desires, can hardly be denied anymore.
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This question becomes even more pressing when you realize that the companies’ reactions focus on those points which they themselves specialize in and which, moreover, are geared towards emphasizing their own competence in their particular field.
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Recorded in the dark, in real time, with a very long exposure, each reaction and tiny movement becomes exaggerated and monumentalised as if in slow motion which lends a grace and beauty to the work at odds with the domestic familiarity of the scene.
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A development in which he at first primarily related to his subject matter and medium before, in response to the fierce reactions of the public, he became increasingly fascinated by the complex relation between image and spectator, painting and reality.
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Working with such pseudo-identities is perhaps to be seen as a reaction to the quirk in the media, and in current exhibition practice, by which every realistic photographic portrait is elevated almost uncritically into an icon for a group or society, and to art.
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The output of this group of young designers, photographers, stylists, fashion designers and artists that was brought together in this exhibition was not constrained by a fixed theoretical frame, but by personal encounters, reactionary and creative decisions that led to the final presentation as you see it.
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Zamenhoff should be seen instead to have been working within a tradition advanced in the 18th Century by the likes of René Descartes, in France, and Jan Amos Comensky, in Czechoslovakia, that sought to replace Latin, the language of the reactionary Catholic Church, with a language that would unite rather than to divide.
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